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A BIBLIOGR APHY OF THE FOLIO SOCIET Y

1947– 2023

F O L I O 76 A bibliography of The Folio Society 1947–2023

Compiled by Alice Ford-Smith

This edition is digitally published by The Folio Society Ltd, Clove Building, 4 Maguire Street, London s e 1 2 n q www.foliosociety.com

The text of this bibliography is based in part on that of Folio 60, compiled by Paul W. Nash and published in 2007. Text © The Folio Society 2024

H OW TO U S E F O L I O 76 Entries are presented in chronological order of publication beginning with the first in 1947, to the most recent in November 2023. These are given yearly and are ordered in approximate order of publication within each year. Each entry consists of the book’s item number, followed by the title, author, introducer and illustrator as recorded on the book’s title-page. This wording is transcribed as exactly as possible, with only commas added, where necessary, for clarity. Only the first word, the first word of an alternative title and any proper nouns are capitalised. Following this are the volume’s size, pagination, type used and description of by whom the book was printed and bound. Each subsequent printing of a particular book is listed below its entry. A typical entry may therefore be thus: Author

Item number Introducer, and other contributors Pagination

Further notes

Title

Illustrator

Volume dimensions

¶ Second printing: 2015. ¶ Third printing: 2015. ¶ Fourth printing: 2016. ¶ Fifth printing: 2019. Bound by Josef Spinner. ¶ Sixth printing: 2020. ¶ Seventh printing: 2020. ¶ Eighth printing: 2021.

Reprints

Types used Printer Binding details

F O L I O 76

1947

1947 1 Tolstoy, the raid: two hussars, three deaths: Polikushka, the death of Ivan Ilyitch: two old men, with illustrations by Elizabeth Macfadyen, tales. ‘The raid’ and ‘Two old men’ translated by Louise and Aylmer Maude, the other stories by Constance Garnett. 253 × 160 × 25 mm. Pp. [1–9] 10–280. Type: Perpetua. Printed and bound by Brepols. Quarter black cloth, red cloth boards. White dust-jacket printed in red and black. The illustrations consist of nine pen-and-ink sketches, reproduced from line-blocks. The title-page is a little adventurous in design for a first book, with the main title ‘Tales’ appearing at the foot of the page, beneath the imprint. This book, and items 2 and 6 below, were printed and bound in Belgium because of paper rationing and the difficulties of finding printers willing to take on new work in post-war Britain; Charles Ede notes in Folio 21 that the work was printed by Brepols ‘as a favour’ and that the standard of printing ‘leaves a good deal to be desired’. The illustrations are the first (and apparently penultimate) published work of the artist. 2 Trilby by George du Maurier, with six of the author’s pencil studies. 262 × 191 × 31 mm. Pp. [1–7] 8–275 [276]: [6] leaves of plates (facing pp. 49, 64, 129, 144, 209, 224). Type: Garamond. Printed and bound by Brepols. Quarter dark red buckram, grey paper boards with a repeat pattern in red by Alice Hindson. Grey dust-jacket printed in red and black with the same pattern as the boards. The appendix (pp. [271]–275) consists of a passage originally suppressed for its apparent references to Whistler; it is published here for the first time in book form, from the text which appeared in Harper’s magazine in 1894. The pencil studies were among those made by the author for the first edition, where the illustrations are printed from wood-engraved blocks. The standard of printing is rather higher in this second book. 3 Aucassin & Nicolette, translated from the Old-French by F.W. Bourdillon and illustrated by Lettice Sandford. 226 × 148 × 10 mm. Pp. [i–iv], 1–60. Type: Caslon. Printed by the Chiswick Press. Bound by Stevenson in full white cloth, blocked in blue with a fleur-de-lys pattern and lettered in silver. Transparent plastic dust-jacket printed in black. Some copies were issued (probably later) in a marbled paper-covered slip case. There are 44 different drawings by Sandford, used as head- and tail-pieces throughout the text, with that on the title-page being repeated on page 59. Charles Ede was able to print the book in Britain because printers were allowed paper from their own ration for books of up to 64 pages.

1948

1948 4 William Shakespeare, the sonnets, decorations by Reynolds Stone. 189 × 125 × 14 mm. Pp. [1–160]. Type: Perpetua. Printed in green and black by the Chiswick Press. Bound by Stevenson in quarter green leather, red cloth boards. Pale grey dust-jacket printed in dark green. Although dated ‘MCMXLVII’ on the title-page the book was not issued until January 1948. The decorative head-pieces and title-page ornament were drawn in pen and ink and printed from line-blocks in green. The modern spelling text used was that of A.H. Bullen. Some copies have a variant dust-jacket bearing advertisements for items 19, 23 and 38. It is probable that this jacket was printed around 1950 for remaining copies of the first impression. Charles Ede says in Folio 21 that ‘great pains were taken to match the head-pieces to the optical width of each sonnet, and their accurate positioning gave the printer a somewhat nightmare problem’. This was the first in an informal series of poetry books, mostly by British poets, printed in crown octavo format, issued in quarter leather and usually illustrated with wood-engravings; the series was sometimes referred to as ‘The Folio Poets’ (see also items 9, 19, 23, 38, 52, 57, 86.5, 123, 124.5, 136, 184, 189.7, 195, 208, 278, 357, 384, 443 and 464). A new ‘Folio Poets’ series began in 2001 (see item 1051). 5 Candide or The optimist by M. de Voltaire, illustrated by Kenneth Hobson. Translated by Henry Morley. 221 × 134 × 14 mm. Pp. [i–viii], 1–135 [136]: [7] leaves of colour plates (facing pp. [i], 16, 24, 65, 80, 97 and 112). Type: Bodoni. Printed by the Chiswick Press. Bound by Mackay in quarter black buckram, marbled paper boards. Yellow dust-jacket printed in black and colour. The plates were printed lithographically from Hobson’s watercolour paintings. In addition there are 30 pen-and-ink sketches used as head-pieces; the title-page (which is repeated on the dust-jacket) was also drawn in pen and ink by Hobson. The illustrations were not commissioned by Folio and had been made some years previously for another edition which was abandoned. The translation used is a slightly revised version of that made by Henry Morley (1822–1894) and first published posthumously in 1922. He is not acknowledged anywhere in the text, nor in Folio 21, and it is possible that it was this version of the text that was to have been published with Hobson’s illustrations, and that the two came into Folio’s possession without any record of who was responsible for the translation. Charles Ede thought the text type ‘too large for the page and quite inadequately leaded’. 6 The confessions of an English opium-eater by Thomas de Quincey, with illustrations engraved on wood by Blair Hughes-Stanton. 222 × 141 × 19 mm. Pp. [1–2], [i–iv] v–xiv, [1–2] 3–218 [219–220]. Type: Perpetua. Printed and bound by Brepols. Full black cloth with a design in gold. White dust-jacket printed in red and black. The ten wood-engraved head-pieces were commissioned by another publisher who never used them. They did not print well on the poor quality paper, and the second edition of 1963 (item 189.3) did them greater justice. 7 Théophile Gautier, Mademoiselle de Maupin, translated by R. and E. Powys Mathers, illustrated by Mark Severin. 227 × 174 × 25 mm. Pp. [1–6] 7–284 [285–288]: [8] leaves of collotype plates (facing pp. 32, 52, 72, 112, 206, 222, 248 and 278). Type: Perpetua. Printed by Book Plates (Photo Litho) Ltd, the plates by the Chiswick Press. Bound by Book Plates (Photo Litho) Ltd in full cream cloth, decorated in blue and gold. Cream dust-jacket printed in red and black. The text was printed photolithographically, in a reduced format, from the Golden Cockerel Press edition (1938). Charles Ede says in Folio 21 that ‘the resulting bastard format has been found useful on a number of subsequent occasions, not least for the Shakespeare series. The pencil drawings should have been engravings, but we just could not afford to pay for the additional work.’

1948

¶ Second impression: 1950, with the dust-jacket text revised. 8 The voyages of Lemuel Gulliver to Lilliput & Brobdingnag by Dean Swift, illustrated by Edward Bawden. 214 × 141 × 18 mm. Pp. [iii–xiii] xiv–xx [xxi–xxii], [1] 2–153 [154]: [12] leaves of colour plates. Type: Baskerville with Vesta for display. Printed by the Chiswick Press. Bound by Mackay in quarter dark red cloth, marbled paper boards. White dust-jacket printed in black and colour. Paper rationing meant that only the first two of Gulliver’s journeys could be included. One leaf in the first gathering has been cancelled (possibly a list of plates, removed because of inaccuracies in the page numbering). In early 1997 ‘The Folio fifty’ was launched, a collection of the 50 most popular books which were to be reprinted or newly published to celebrate Folio’s fiftieth anniversary. The present title is number 41 in ‘The Folio fifty’. 9 Rupert Brooke, poems, illustrations by [John] Buckland-Wright. 190 × 132 × 17 mm. Pp. [i–iv] v–ix [x–xii], 1–164. Type: Perpetua with the text in italic (Felicity). Printed in blue and black by the Chiswick Press. Bound by Mackay in quarter blue leather, pink cloth boards. White dust-jacket printed in blue and black or glassine dust-jacket printed in black. Includes nine full-page scraperboard illustrations (on pages [ii], [xii], [26], [34], [86], [94], [112], [136] and [144]) which Charles Ede thought ‘one of the artist’s less happy efforts’. Part of an informal poetry series (see item 4). ¶ Second impression: 1950, with a transparent plastic dust-jacket printed in black. A copy has been reported with a blue slip case in addition to the jacket. 10 The crime of Sylvestre Bonnard by Anatole France [decorative rule], a translation by Lafcadio Hearn, illustrated by [Harold] Hope-Read [sic]. Introduction by Lafcadio Hearn. 222 × 145 × 20 mm. Pp. [i–iv] v–vii [viii–x], 1–180 [181–182]: [14] leaves of plates. Type: Plantin with Bodoni Ultra italic for display. Printed by Cowell. Bound by Mackay in full white cloth patterned in brown and pink, black leather spine-label. White dust-jacket printed in pink and brown repeating the pattern on the boards. The artist Harold Hope Read (1881–1959) usually spelt his name without a hyphen. 11 Homer, the Odyssey, translated in selection by F.L. Lucas, Fellow of King’s College Cambridge, illustrations engraved on copper by John Buckland-Wright. 253 × 161 × 15 mm. Pp. [1–10] 11–134 [135–136]. Type: Centaur and Arrighi with Imprint Shadow for display. Printed by Waterlow and Sons, collotypes by Van Leer. Bound by Stevenson in full pale brown canvas with a figure of Odysseus by Buckland-Wright in gold. White dust-jacket printed in pale brown and black. The text is Lucas’s verse translation of selected passages, with prose links between them. The 16 leaves of plates were printed by collotype from the original copperplate engravings which had been made for a proposed edition by another publisher. They are, unexpectedly, included in the pagination. 12 Robert Louis Stevenson, Dr. Jekyll & Mr. Hyde, illustrations by Mervyn Peake, introduction by John Hampden. 221 × 142 × 15 mm. Pp. [1–8] 9–148. Type: Imprint. Printed in black and yellow by Mackay. Bound by Mackay in black and cream cloths, divided vertically down the centre of each board, with a figure of Hyde by Peake in gold covering the joint. White dust-jacket printed in yellow and black. The 12 full-page illustrations were printed from relief blocks, in black and yellow. The yellow was also used for capitals and display, although Charles Ede thought it ‘too weak’ for this purpose. Most of the illustrations appear facing chapter openings, with the chapter title printed in yellow on the recto. A variant dust-jacket printed only in yellow has been reported. This may well represent a second impression of the jacket (and possibly of the book), as Folio’s address is given as ‘Dean’s Yard’, which it occupied only between mid-1952 and 1955.

1948

12.5 The earliest chemical industry, an essay in the historical relations of economics & technology illustrated from the alum trade, by Charles Singer, with a preface by Derek Spence. 341 × 223 × 45 mm. Pp. [i–iv] v–xviii [xix–xx], 1–337 [338–340]: [5] leaves of colour, [1] folded leaf of monochrome collotype plates (facing pp. [iii], 114, 141, 158, 172 and 181). Type: Baskerville with Old Face Open for display. Printed by the Chiswick Press on cream Arnold mould-made paper, the colour collotypes by Alinari. Bound by Stevenson in full red buckram, black leather spine-label. Probably not issued in a dust-jacket. This book was commissioned from Charles Ede in the early days of Folio by Peter Spence and Sons, to mark their centenary. In addition to the frontispiece the book contains 181 numbered figures. These include five further plates (all but one in colour), and 13 colour lithographic illustrations pasted to the text pages. Pages [41–42], [105–106], [183–184] and [285– 286] are also monochrome collotype plates, printed recto and verso, but are included in the pagination. The remaining figures are all printed from line-blocks, with the maps and diagrams in figures 50, 51, 74, 97 and 128 printed in up to four colours (red, black, blue and yellow). The colophon on page [339] describes the edition, and states that 100 copies were bound in full red morocco by Sangorski and Sutcliffe and were signed by Singer and Spence. Beneath the colophon is a copper-engraved device, which was specially commissioned from Stephen Gooden for this edition. The 100 special copies were issued in a red cloth-covered slip case. No copy with a dust-jacket has been seen and, despite a reference to a jacket in Folio archives, it is probable that the book was not issued in one.

1949

1949 13 The school for scandal, Richard Brinsley Sheridan, with an introduction by Sir Laurence Olivier and designs for decor & costumes by Cecil Beaton. Edited by Raymond Crompton Rhodes. 254 × 191 × 17 mm. Pp. [1–4] 5–119 [120]: [9] leaves of colour plates (facing pp. [1], 24, 33, 41, 56, 73, 88, 109 and 116). Type: Baskerville with Cochin for display. Printed in black and red by Mackay. Bound by Mackay in full red cloth with a silhouette in gold by Beaton. White dust-jacket printed in red and black. In addition to the colour plates showing costume designs there are five full-page monochrome drawings of set designs (on pages [18], [47], [63], [81] and [102]) and 16 smaller drawings in the text. The book was published to coincide with the opening of the Old Vic production by Olivier (who also played Sir Peter Teazle), for which the set and costume designs had been made. 14 A sentimental journey through France and Italy by Laurence Sterne, with an introduction by Oliver Warner and illustrations by Nigel Lambourne. 208 × 147 × 19 mm. Pp. [i–ii] iii–xii, [1] 2–161 [162–164]: [16] leaves of colour plates. Type: Baskerville with Juno for display. Printed in black and pink by Cowell. Bound by Cowell in full white cloth with a design in blue, pink and black by Barbara Ward Lambourne; endleaves with a design in blue by B.W. Lambourne. White dust-jacket printed in blue, pink and black. Charles Ede says in Folio 21 that ‘The illustrations were drawn on Plastocowell, then a comparatively new process, and in some cases the artist had difficulty in judging the final weight of the colours, which had to be drawn in black as separations’. 15 The compleat angler or The contemplative man’s recreation, written by Izaac Walton and Charles Cotton, illustrated by Lynton Lamb. 229 × 150 × 27 mm. Pp. [i–vi] vii–xii [xiii–xiv], 1–272 [273–274]. Type: Caslon. Printed (with the title-spread in black and green) and bound by Mackay. Full green cloth with a border of rules in blind; endleaves with a design in grey by Lamb. White dust-jacket printed in grey and black. There are 28 small illustrations in the text by Lamb, and a full-page frontispiece. 16 Arabian love tales, being romances drawn from the book of the thousand nights and one night rendered into English from the literal French translations of Dr. J.C. Mardrus by Powys Mathers, and illustrated by Lettice Sandford. 225 × 172 × 25 mm. Pp. [i–viii] ix [x], 1–245 [246]. Type: Garamond with hand-drawn lettering for the title. Printed by the Chiswick Press. Bound by Mackay in full blue-green cloth decorated in brown and gold; endleaves with a design in blue-green by Sandford. White dust-jacket printed in blue-green and black. There are 12 full-page line-drawings by Sandford, and the title ‘Arabian love tales’ is also printed from lettering drawn by the artist. 17 The parson’s daughter and other stories by Anthony Trollope, selected and introduced by John Hampden, wood-engravings by Joan Hassall. 219 × 144 × 21 mm. Pp. [i–xii], [1–3] 4–228. Type: Bembo. Printed by the Chiswick Press. Bound by Mackay in full cream cloth with a repeat pattern in green. White dust-jacket printed in green and black. There are 17 wood-engravings by Hassall, including the full-page frontispiece. For another collection of stories by Trollope with wood-engravings by Hassall see item 37. 18 R.S. Surtees, Jorrocks’ jaunts and jollities, with colour plates by Henry Alken. 229 × 152 × 28 mm. Pp. [1–9] 10–228: [15] leaves of coloured plates. Type: Imprint. Printed by Mackay, the lithographs by Van Leer. Bound by Mackay in full red buckram (uniform with item 15). White dust-jacket printed in grey and black. Intended to be uniform with The compleat angler (item 15). The plates were drawn by Alken for the second edition of 1843. The second plate is a steel-engraved title reading ‘The Jaunts and Jollities Of That Renown’d

1949

Sporting Citizen Mr Martin Jorrocks of St Botolph Lane & Great Corham St.’ All the plates were printed lithographically in monochrome and hand-coloured by pochoir by Maud Johnson. The popularity of this work led Charles Ede to institute a series of the novels of Surtees with pochoir-coloured plates (see items 28, 34, 49, 59, 70, 82 and 94). A facsimile of the second edition of 1843 was published in 1984 (item 539.5). 19 Poems, P.B. Shelley, selected and introduced by Richard Church, wood-engravings by John Buckland-Wright. 190 × 129 × 21 mm. Pp. [i–iv] v–xvii [xviii], 1–190. Type: Perpetua. Printed in dark brown and black by the Chiswick Press. Bound by Mackay in quarter dark brown leather, blue-green buckram boards. Transparent plastic dust-jacket printed in black. There are 37 wood-engraved decorations, including the frontispiece portrait of Shelley and its border (which is repeated around the lettering of the title-page). A total of 30 blocks were cut, with seven being used twice. Part of an informal poetry series (see item 4). 20 Carmen, a romance by Prosper Mérimée, with a study of the opera of the same name by Winton Dean, embellished with drawings by Goya. Translated by Lady Mary Lloyd. 221 × 145 × 15 mm. Pp. [i–vi], 1–123 [124–126]: [8] leaves of collotype plates (facing pp. [i], 10, 27, 42, 59, 74, 91 and 106). Type: Garamond. Printed by Mackay, the collotypes by the Chiswick Press. Bound by Mackay in full cream cloth with a design in red by Kenneth Hobson. Transparent plastic dust-jacket printed in green. The study of the opera covers pages 85–124. Manon Lescaut was published in 1950 in a similar style (see item 29). 21 Grimm’s folk tales, translated by Eleanor Quarrie, with etchings by George Cruikshank, coloured by hand. Introduction by Eleanor Quarrie. 189 × 129 × 20 mm. Pp. [1–2] 3–206 [207–208]: [18] leaves of coloured plates. Type: Imprint with Old English for display. Printed by Mackay, the lithographs by the Chiswick Press. Bound by Mackay in full red cloth with a figure in gold on a grey panel. White dust-jacket printed in purple and pale blue. This was the first new translation commissioned by Folio. The Cruikshank etchings were reproduced lithographically in monochrome and hand-coloured by Maud Johnson, using as models a series of watercolours thought to be by the artist. However, Charles Ede was told after publication that these were probably ‘forgeries’ by another member of the Cruikshank family, and when the book was reprinted the etchings were not coloured.

1950

1950 22 The history of Henry Esmond, colonel in the service of Her Majesty Queen Anne, written by William Makepeace Thackeray, illustrated with lithographs by Clarke Hutton. 228 × 149 × 40 mm. Pp. [i–ii] iii–vi [vii–viii], 1–425 [426–428]: [12] leaves of plates. Type: Imprint. Typeset by the Chiswick Press, printed by Mackay, the lithographs by the Chiswick Press. Bound by Mackay in quarter dark blue leather, blue buckram boards. Issued without a dust-jacket. This was the first of Folio’s annual ‘Presentation Volumes’, issued free to members. 23 Poems of John Keats, edited and selected by Rosalind Vallance, with an introduction by B. Ifor Evans and wood-engravings by Dorothea Braby. 189 × 128 × 23 mm. Pp. [i–vi] vii–xxi [xxii–xxiv], 1–280. Type: Perpetua. Printed in grey and black by the Chiswick Press. Bound by Mackay in quarter grey leather, cream cloth boards. Transparent plastic dust-jacket printed in black. There are 17 wood-engraved decorations, including the frontispiece portrait of Keats and its decorative border. Charles Ede notes that a few copies, ‘probably not more than a dozen’, had a bright yellow cloth on the boards. Part of an informal poetry series (see item 4). 24 Gustave Flaubert, Salambo, translated by E. Powys Mathers, introduction by Gerard Hopkins, engravings on copper by Ru van Rossem. 228 × 149 × 28 mm. Pp. [1–6] 7–303 [304]: [10] leaves of collotype plates (facing pp. [1], 32, 65, 96, 129, 160, 193, 224, 256 and 300). Type: Garamond. Printed by Mackay, the collotypes by the Chiswick Press. Bound by Mackay in full grey-blue cloth with a repeat pattern in red. Transparent plastic dust-jacket printed in red. The title-page is dated ‘MCMXL’ in error. A small number of copies, probably fewer than 50, were specially bound by Sangorski and Sutcliffe in quarter brown morocco with marbled paper boards. These copies are signed by the illustrator and contain plates printed directly from the copperplates rather than by collotype. A second impression is advertised on the dust-jacket of Madame Bovary (item 44) and may have been published in late 1952, although no copy has been traced. 25 Voltaire’s England, edited by Desmond Flower, engravings by Hogarth. 227 × 149 × 21 mm. Pp. [i–v] vi–xvi, [1] 2–190 [191–192]: [15] leaves of collotype plates. Type: Baskerville with Fry’s Ornamented for display. Printed by Mackay, the collotypes by the Chiswick Press. Bound by Mackay in quarter green cloth, grey cloth boards with a design in gold by John Westwood. White dust-jacket printed in green and black. The text, selected and for the most part translated by Flower, is a collection of Voltaire’s writings on England and the English. The frontispiece is a reproduction of J.É. Liotard’s portrait of Voltaire, engraved by J.J. Balechon. 26 Homer, the Iliad, translated in selection by F.L. Lucas, Fellow of King’s College Cambridge, illustrations engraved on copper by John Buckland-Wright. 253 × 161 × 15 mm. Pp. [1–8] 9–117 [118]. Type: Centaur and Arrighi with Old Face Open for display. Printed by Waterlow and Sons, the collotypes by the Chiswick Press. Bound by Stevenson in full grey cloth with a figure in gold. White dust-jacket printed in pale blue and black. As with The Odyssey (item 11), with which this book is uniform, the leaves bearing the collotype reproductions of Buckland-Wright’s nine engravings are included in the pagination (as pp. [1–2], [19–20], [33–34], [39–40], [57–58], [63–64], [73–74], [83–84] and [93–94]). Both the translation and the plates were commissioned for this edition. 27 The tragedy of Romeo and Juliet by William Shakespeare, introduction by Nevill Coghill, designs by Jean Hugo. Glossary by Josephine Lane. Wood-engravings by Valentine Hugo. 227 × 170 × 16 mm. Pp. [1–2] 3–131 [132]: [12] leaves of colour plates. Type: Baskerville. Printed in red and black by Mackay. Bound by Mackay in full

1950

red cloth with a design in black and gold by John Westwood. Transparent plastic dust-jacket printed in black. In addition to the plates there are nine wood-engraved illustrations in the text. This was the first of Folio’s series of Shakespeare’s plays. All the books in the series are bound in the same style, with John Westwood’s design of seven quills on the front board and the spine lettered in gold in sans serif type. Each text was taken from the ‘New Temple Shakespeare’ published by J.M. Dent and edited by M.R. Ridley, and the illustrations were original costume, and sometimes set designs for the play. In most cases an introduction was commissioned from an actor or director who had been involved. For the present book, the plates were reproduced lithographically from wood-engravings by Valentine Hugo, originally published in a limited edition by Éditions au Sans Pareil of Paris; the designs by Jean Hugo on which they are based had been made for a production of Jean Cocteau’s adaptation of the play at the Soirées de Paris. A potted history of the series can be found in Charles Ede’s foreword to Introductions to Shakespeare (1977 item 423). For other books in the series see items 33, 46, 55, 71, 81, 93, 105, 118, 129, 142, 154, 173, 188, 199, 215, 230, 241, 257, 273, 288, 302, 321, 335, 349, 353, 358, 368, 372, 383, 388, 392, 396, 400 and 406. All the books in the series were also issued together in 1976 (see item 407). 28 R.S. Surtees, Mr. Sponge’s sporting tour, with colour plates by John Leech. 228 × 150 × 36 mm. Pp. [1–13] 14–510 [511–512]: [13] leaves of coloured collotype plates. Type: Imprint. Printed by Mackay, the collotypes by the Chiswick Press. Bound by Mackay in full red cloth (uniform with item 18). White dust-jacket printed in grey and black. The plates are from the original edition of 1853 and were hand-coloured by pochoir by Maud Johnson. See item 18 above. 29 The history of the Chevalier des Grieux and of Manon Lescaut by the Abbé [Antoine-François] Prévost, with an essay by Edward Sackville-West on the novel and the operas, and wood-engravings by Valentin Le Campion. Translated by Helen Waddell. 222 × 143 × 25 mm. Pp. [1–6] 7–219 [220–224]. Type: Garamond. Printed by the Chiswick Press. Bound by Hunter and Foulis in full purple cloth. White dust-jacket printed in purple-red and black. There are 21 wood-engravings, including the frontispiece and two tail-pieces; there is also a decorative border around the frontispiece which is repeated on the title-page. Each page bearing a wood-engraving was ori ginally protected with a tissue guard, although in many copies these have been lost. The book was designed to be similar to Carmen (1949 item 20). 30 Herman Melville, Typee, introduction by Robert Gibbings, with pencil drawings by Jacques Boullaire. 228 × 149 × 28 mm. Pp. [i–xiv], [1] 2–277 [278]: [9] leaves of collotype plates (facing pp. [1], 6, 39, 55, 70, 135, 150, 199 and 214). Type: Perpetua with Gill Floriated capitals for display. Printed by the Thanet Press, the collotypes by the Chiswick Press. Bound by Stevenson in full yellow cloth with a repeat pattern in green by John Buckland-Wright. White dust-jacket printed in green and black. Charles Ede notes in Folio 21 that ‘The artist originally agreed to illustrate the book with drypoints, but found it impossible to complete these in the Marquesas, where he was staying at the time . . .’ There is a variant state of the binding with a green leather spine-label.

1951

1951 31 Incognita or Love and duty reconcil’d by William Congreve, with an introduction by Alan Pryce-Jones and engravings by van Rossem. Edited by Philip Henderson. 253 × 156 × 11 mm. Pp. [i–iv], [1–3] 4–71 [72–76]: [6] leaves of colour plates (facing pp. [1], [8], 13, 28, 45 and 60). Type: Garamond. Printed in red and black by Mackay, the lithographs by the Chiswick Press. Bound by Mackay in quarter dark blue leather, cream cloth boards with a design in blue and orange by van Rossem. Issued without a dust-jacket. The Presentation Volume for 1951. The text was edited by William Henderson and was originally published in this form by Everyman. In addition to the plates and cover design there is an historiated capital on page [11], designed by van Rossem and printed in red and black. The endleaves are, unusually, part of the text gatherings and form pages [i–iv] and [73–76]. 32 The moonstone, a romance by Wilkie Collins, lithographs by Edwin La Dell. 228 × 152 × 40 mm. Pp. [i–x], [1] 2–417 [418]: [9] leaves of colour plates (facing pp. [i], 35, 66, 98, 131, 202, 226, 259 and 394). Type: Plantin with Thorne Shaded for display. Printed by Mackay, the lithographs by the Chiswick Press. Bound by Mackay in full blue-grey cloth with a repeat pattern in blind. White dust-jacket printed in green and pink. 33 The tragedy of Macbeth by William Shakespeare, introduction by Sir Lewis Casson, designs by Michael Ayrton. Glossary by Josephine Lane. 226 × 171 × 14 mm. Pp. [1–2] 3–111 [112]: [8] leaves of colour plates (facing pp. [1], 20, 32, 49, 81 and 96, and between pp. 56–57). Type: Plantin. Printed in red and black by Mackay, the lithographs by the Chiswick Press. Bound by Mackay in red series binding (see item 27). White dust-jacket printed in grey, red and black. The illustrations show costume and set designs drawn by Ayrton for this edition, after the original designs for a 1942 production. When the second edition was published the original designs were used instead. 34 R.S. Surtees, Handley Cross, with colour plates by John Leech. 227 × 157 × 51 mm. Pp. [i–viii], [1] 2–671 [672]: [16] leaves of coloured collotype plates. Type: Imprint. Printed by Mackay, the collotypes by the Chiswick Press. Bound by Mackay in full red cloth (uniform with item 18). White dust-jacket printed in grey and black. The plates are from the original edition of 1843 and were hand-coloured by pochoir by Maud Johnson. See item 18 above. 35 Letters of Horace Walpole, selected by W.S. Lewis, with an introduction by R.W. Ketton-Cremer. Notes by M.E. Manisty. 227 × 148 × 28 mm. Pp. [i–iii] iv–xxxv [xxxvi–xxxvii], 38–283 [284]: [8] leaves of collotype plates (facing pp. [i], 49, 64, 81, 161, 176, 225 and 240). Type: Baskerville. Printed by Mackay, the collotypes by the Chiswick Press. Bound by Mackay in quarter dark blue cloth decorated in silver, blue cloth boards. White dust-jacket printed in dark blue. The plates reproduce contemporary engraved portraits. 36 Harold Nicolson, some people, with etchings by Philippe Jullian. 227 × 139 × 23 mm. Pp. [i–xiv], [1–3] 4–179 [180–182]: [9] leaves of collotype plates (facing pp. 15, 30, 47, 62, 90, 110, 127, 142 and 174). Type: Centaur and Arrighi with Locarno (Koch Antiqua) for display on the dust-jacket. Printed by R. and R. Clark, the collotypes by the Chiswick Press. Bound by Hunter and Foulis in full pale blue cloth. White dust-jacket printed in pale blue and black. In addition to the plates, the title-page and frontispiece are a double-page etching by Jullian, incorporating the title lettering. The front endleaves are part of the first gathering (which includes the title-page and frontispiece) and are included in the pagination as pages [i–iv].

1951

37 Mary Gresley and other stories by Anthony Trollope, edited and introduced by John Hampden, wood-engravings by Joan Hassall. 219 × 142 × 19 mm. Pp. [i–xii], [1–3] 4–169 [170]. Type: Bembo. Printed by the Chiswick Press. Bound by Hunter and Foulis in full cream cloth with a repeat pattern in red by Hassall. White dust-jacket printed in red with the same pattern used on the boards. There are 13 wood-engravings by Hassall, including the full-page frontispiece and title-page device. For another collection of stories by Trollope with wood-engravings by Hassall see item 17. 38 The complete poems of Emily Brontë, edited with an introduction by Philip Henderson. Wood-engraved portrait frontispiece by Sem Hartz. 189 × 131 × 23 mm. Pp. [i–iv] v–xv [xvi], 1–282 [283–288]. Type: Perpetua. Printed by the Chiswick Press. Bound by Mackay in quarter red-brown leather, dark green cloth boards. White dust-jacket printed in black. The dust-jacket includes an advertisement for other books in the series (see item 4 above) including ‘Rupert Brook’s [sic] Poems’. For a later selection of poems by the Brontë sisters see item 595. 39 The red badge of courage by Stephen Crane, edited and introduced by John T. Winterich, with civil war photographs [by Matthew Brady and others]. 224 × 172 × 18 mm. Pp. [1–4] 5–159 [160]: [10] leaves of plates (facing pp. [1], 29, 36, 57, 72, 105, 121, 136, 141 and 148). Type: Plantin with Studio for display. Printed in red and black by Mackay, the lithographs by the Chiswick Press. Bound by Mackay in full grey cloth with a repeat pattern in dark blue. White dust-jacket printed in red and black (repeating the frontispiece photograph). 40 The Newgate calendar, edited and selected by Sir Norman Birkett, with contemporary engravings. 227 × 150 × 25 mm. Pp. [1–2] 3–259 [260]: [8] leaves of collotype plates (facing pp. [1], 32, 97, 128, 193 and 224, and between pp. [16]–17). Type: Caslon. Printed by Mackay, the collotypes by Van Leer. Bound by Mackay in quarter red cloth, marbled paper boards. White dust-jacket printed in red and black. The text contains 28 trials drawn from the eighteenth-century collection first published around 1773 as ‘The Newgate Calendar . . .’ The edition used here was the updated text of 1779, published in 50 weekly parts for binding in five volumes as The malefactor’s register; or, The Newgate and Tyburn calendar. The plates were also reprinted from this edition, and the title-plate and frontispiece of one of the later volumes are reproduced as a facing pair of plates, with the recto of the title-plate bearing the fly-title to ‘The Trials’. A further expanded edition of the text was compiled by William Jackson and published in 60 parts in 1795, and expanded new editions continued to be published well into the nineteenth century; some of these later editions were drawn on for The new Newgate calendar, which was published by Folio in 1960 (item 138). ¶ Second impression: 1952. 41 The sofa, a moral tale by Crébillon fils [Claude-Prosper Jolyot de Crébillon], translated by Bonamy Dobrée, with etchings by Robert Bonfils. 228 × 152 × 28 mm. Pp. [i–ii] iii–v [vi], 1–256 [257–258]: [7] leaves of collotype plates (facing pp. [1], 43, 58, 123, 138, 219 and 234). Type: Bodoni. Printed by R. and R. Clark, the plates probably by the Chiswick Press. Bound by James Burn in full pink cloth. White dust-jacket printed in pink and black. There is a variant binding of quarter pale blue cloth with pink cloth boards (not seen). 41.5 The art of the book, some record of work carried out in Europe and the U.S.A. 1939–1950, edited by Charles Ede. The Studio Publications. 291 × 209 × 23 mm. Pp. [i–iv] v–x [xi–xii], 1–91 [92–96] 97–98 [99–103] 104 [105–110] 111–117 [118–122] 123–136 [137–141] 142–150 [151–158] 159–178 [179–187] 188–194 [195–202] 203–214. Type: Perpetua. Printed by Mackay, the collotypes and lithographs by the Chiswick Press. Bound by Mackay in full green-grey cloth. White dust-jacket printed in pale green and dark green. This work, a collection of essays on book design and production by 39 individuals from ten countries, was edited by Ede and ‘Designed and produced by the Folio Society for The Studio . . .’ (as stated on the verso of the title-leaf ).

1951

It was one in an occasional series of volumes with the title ‘The Art of the Book’, published by The studio from 1914. There are 215 numbered figures in the text, reproducing typographical specimens, dust-jackets, bindings and so forth, with 84 pages being printed in two or more colours by a combination of lithography and letterpress. Pages [107–108], [121–122] and [155–156] bear collotype reproductions of book illustrations. The work is an important contribution to the study of book design in the post-war years.

1952

1952 42 Cornelius Tacitus, the reign of Nero, translated by G.G. Ramsay, with an introduction by Dr A.S. Osley and illustrations by Eric Fraser. 226 × 145 × 15 mm. Pp. [1–4] 5–144 [145–148]. Type: Imprint with Bembo Light Titling and Bembo for display. Printed and bound by Mackay. Full gold cloth with a frieze design in black by Fraser; endleaves with a map of ‘The Roman Empire in the time of Nero’ in black. Red dust-jacket printed in black (possibly not issued with all copies). The Presentation Volume for 1952. The text was selected by Ramsay from the ‘Annals’. The illustrations consist of six pen-and-ink drawings, including the full-page frontispiece. 43 The vicar of Wakefield by Oliver Goldsmith, with illustrations by Margaret Wetherbee. 209 × 145 × 21 mm. Pp. [I–II] III–VII [VIII], 1–175 [176]: [8] leaves of two-colour plates (facing pp. [I], 8, 41, 56, 89, 104, 121 and 136). Type: Bembo. Printed by the Chiswick Press. Bound by James Burn in full white linen with a reverse repeat pattern in dark green by Wetherbee; green endleaves decorated in black. White dust-jacket printed in green and black. 44 Madame Bovary by Gustave Flaubert, with dry-points by Grau Sala. Translated by Eleanor Marx Aveling. 226 × 149 × 25 mm. Pp. [1–6] 7–309 [310–312]: [12] leaves of collotype plates. Type: Garamond. Printed by Mackay, the collotypes by the Chiswick Press. Bound by Mackay in full lilac cloth with a design in black and silver by John Westwood. White dust-jacket printed in green and black. 44.5 R.S. Surtees, Jorrocks’ jaunts . . . As the first edition of 1949 (item 18) but reset throughout. A typed note pasted into Folio’s library copy of the first edition notes the existence of this second edition. However, no copy has been traced and it may be a ghost, or a reference to a second impression. A variant dust-jacket (blank on the rear where the original bore an advertisement for The compleat angler) may possibly have been produced for the edition. The copy of this jacket seen was, sadly, not wrapped round anything. 45 Memoirs of Prince Alexy Haimatoff by Thomas Jefferson Hogg, with an introduction by Sidney Scott, [wood-] engravings by Douglas Percy Bliss. 226 × 135 × 16 mm. Pp. [1–6] 7–155 [156]. Type: Bodoni. Printed and bound by Jarrold. Quarter dark green buckram, marbled paper boards. White dust-jacket printed in pink and black. The ‘engravings’ consist of eight full-page wood-engravings in the text, and another used on the dust-jacket. Shelley’s review of the work, first published under the pseudonym of ‘John Brown’ in 1813, is reprinted on pages 147–[157]. 46 The tragedy of Antony & Cleopatra by William Shakespeare, with an introduction by Sir Laurence Olivier, designs for costumes & scenery by Audrey Cruddas and Roger Furse. Glossary by Josephine Lane. 223 × 172 × 17 mm. Pp. [1–2] 3–134 [135–136]: [8] leaves of colour plates (facing pp. [1], 16, 33, 48, 65, 80, 97 and 112). Type: Bembo. Printed in purple and black by Mackay, the lithographs by Jarrold. Bound by Mackay in purple series binding (see item 27). White dust-jacket printed in yellow, black and colour. In addition to the plates, which show costume designs by Cruddas, there are five sketches of set designs by Furse in the text. All the designs were made for Olivier’s 1952 production at the Saint James’s Theatre. 47 The quest for Corvo by A.J.A. Symons, with introductions by Sir Norman Birkett and Sir Shane Leslie. Wood-engraved title-page portrait by Sem Hartz. 227 × 153 × 27 mm. Pp. [i–viii] ix–xxx, 1–289 [290]: [6] leaves of collotype plates (facing pp. 11, 26, 139, 154, 250 and 267). Type: Garamond with Egmont for display.

1952

Printed by Mackay, the collotypes by the Chiswick Press. Bound by Mackay in quarter black buckram, pale grey paper boards with a design in grey and red by John Westwood. White dust-jacket printed in red. The plates consist of five portraits of Frederick Rolfe, better known as Baron Corvo (on two plates), and four facsimiles of manuscripts. The type was originally composed for the Falcon Press (which never published the book), and Charles Ede notes in Folio 21 that ‘although we had it hand-leaded, it is perhaps a little large for our page’. He also reprints in the same description a section from a letter of praise from Sir Shane Leslie, who grants Folio the sole right to the name ‘Printers to the Corvine Society’. ¶ Reissued [i.e. another impression]: 1992, printed and bound by the Bath Press. Quarter dark blue buckram. Dark blue slip case. 48 The last days of Shelley and Byron, being the complete texts of [Edward John] Trelawny’s ‘recollections’ edited, with additions from contemporary sources, by J.E. Morpurgo. 227 × 146 × 22 mm. Pp. [i–ii] iii–xvii [xviii], 1–208 [209–210]: [8] leaves of collotype plates (facing pp. [i], xvi, 47, 62, 95, 110, 175 and 190). Type: Baskerville. Printed by William Clowes, the collotypes by Waterlow. Bound by William Clowes in quarter grey cloth, dark green cloth boards. White dust-jacket printed in black and green. The plates consist of contemporary portraits and engravings. Trelawny’s text was first published in 1858. 49 R.S. Surtees, Mr. Facey Romford’s hounds, with colour plates by John Leech and Hablot K. Browne. 226 × 150 × 36 mm. Pp. [i–viii], [1] 2–430 [431–432]: [16] leaves of coloured collotype plates. Type: Imprint. Printed by Mackay, the collotypes by the Chiswick Press. Bound by Mackay in full red cloth (uniform with item 18). White dust-jacket printed in grey and black. The plates are from the original edition, first published in parts between May 1864 and April 1865, and were hand-coloured by pochoir by Maud Johnson. See item 18 above. 50 Two tales of the Congo by Joseph Conrad, with copper-engravings by Dolf Rieser. 219 × 147 × 17 mm. Pp. [1–11] 12–166 [167–168]. Type: Poliphilus and Blado with Albertus for display. Printed by R. and R. Clark, the collotypes by Waterlow. Bound by Hunter and Foulis in full grey canvas with a design in black by Rieser. White dust-jacket printed in black. The eight plates, although printed separately, are included in the pagin ation (as pp. [1–2], [19–20], [64–65], [79–80], [115–116], [100–101], [136–137] and [151–152]). The two tales are ‘An outpost of progress’ and ‘Heart of darkness’. A suite of impressions of the original engravings was also published by Folio, in a limited edition of 75 copies. 51 A tale of two cities by Charles Dickens, with drawings by Richard Sharp. 226 × 149 × 27 mm. Pp. [i–iv], [1–2] 3–329 [330]: [13] leaves of line-block ‘plates’. Type: Plantin with Perpetua for display. Printed in red and black by Mackay. Bound by Mackay in full white cloth with a repeat pattern in grey by Sharp. White dust-jacket printed in pink and black. Although the plates were here printed from line-blocks as part of the letterpress gatherings they are, in exact opposition to the foregoing item, not included in the pagination. This was the first of many, many books in which such false ‘plates’ were printed. 52 The book of Psalms, written out by Helen E. Hinkley. 189 × 135 × 23 mm. Pp. [1–236]. Printed in dark purple and green by Jarrold. Bound by Mackay in quarter purple leather, cream cloth boards. White dust-jacket printed in dark purple. The text was reproduced lithographically from the calligrapher’s manuscript. Part of an informal poetry series (see item 4). Charles Ede had originally planned a typographical treatment of the Psalms, but decided that it was an impossible text to illustrate, since any artwork would have to be ‘completely banal’ in order not to run the risk of giving offence. The manuscript was commissioned in order to give an artistic treatment to an otherwise unadorned text, although Ede thought it ‘a tour de force on the part of the scribe’ but not ‘an altogether happy solution from a publishing point of view’.

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1953 53 Lancelot & Guinevere. Edited from Sir Thomas Malory’s Morte Darthur, with drawings by Lettice Sandford. 226 × 146 × 16 mm. Pp. [1–6] 7–207 [208]. Type: Plantin with Perpetua for display. Printed and bound by Mackay. Full silver cloth decorated in red. Not issued in a dust-jacket. The Presentation Volume for 1953. There are 12 drawings in the text, each appearing as a head-piece and border decoration at the beginning of a chapter, and a double-page title illustration. The text is drawn from Eugène Vinaver’s text of Malory, with some modernisation of spelling and punctuation. 54 Mrs Aphra Behn, two tales, the royal slave and the fair jilt, illustrations by Iris Francis. 220 × 144 × 16 mm. Pp. [i–viii], 1–146 [147–148]. Type: Poliphilus and Blado with Goudy Modern and Rondo Bold for display. Printed by Cambridge University Press. Bound by Jarrold in quarter black cloth, marbled paper boards. White dust-jacket printed in brown and black. The illustrations consist of six full-page wood-engravings, two head-pieces and a title-page border (repeated on the dust-jacket). The first story is more commonly known as ‘Oroonoko’. 55 William Shakespeare, as you like it, introduction by Peter Brook, décor and costumes by Salvador Dalí. Glossary by Josephine Lane. 224 × 172 × 13 mm. Pp. [1–2] 3–95 [96]: [8] leaves of colour plates (facing pp. [1], 16, 33, 48, 53, 60, 65 and 80). Type: Garamond. Printed in green and black by Mackay, the lithographs by the Chiswick Press. Bound by Mackay in green series binding (see item 27). White dust-jacket printed in colour. The set and costume designs were made for Visconti’s production in Rome; Dalí’s backdrop design is repeated on the dust-jacket. 56 The history of the adventures of Joseph Andrews and his friend Mr Abraham Adams, by Henry Fielding, wood-engravings by Derrick Harris. 227 × 150 × 28 mm. Pp. [i–iv] v–xviii, [1–2] 3–303 [304–306]. Type: Plantin. Printed by R. and R. Clark. Bound by Hunter and Foulis in full white linen with a reverse repeat pattern in brown by Harris, leather spine-label. White dust-jacket printed in green and black. The wood-engravings consist of 16 vignettes (including one on the dust-jacket) and five full-page illustrations (including the frontispiece). 57 Eastern love poems, translated by Powys Mathers, illustrated by [Ru] van Rossem. 189 × 128 × 16 mm. Pp. [1–12] 13–148. Type: Bembo. Printed by Mackay on pale green paper. Bound by Mackay in quarter black leather, pink cloth boards. White dust-jacket printed in green and black. Part of an informal poetry series (see item 4). There are 32 drawings in the text, including the frontispiece and title-page vignette. The verses were selected from three works published during the translator’s lifetime but, before publication, Mathers’s widow informed Charles Ede that some of the poems were not translations at all but original works. These verses were therefore suppressed. However, after publication it became clear that almost all the remaining text was also the original work of Mathers. 58 Norman Douglas, in the beginning, illustrated by Richard Sharp. Introduction by Constantine FitzGibbon. 227 × 140 × 20 mm. Pp. [1–4] 5–210 [211–216]. Type: Centaur and Arrighi. Printed and bound by Butler and Tanner. Full red cloth decorated in brown and gold. White dust-jacket printed in green and black. The illustrations consist of 42 small head-pieces and 11 full-page drawings, including the frontispiece.

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59 R.S. Surtees, plain or ringlets, with colour plates by John Leech. 228 × 152 × 34 mm. Pp. [1–13] 14–462 [464]: [12] leaves of coloured collotype plates. Type: Imprint. Printed by Jarrold, the collotypes by the Chiswick Press. Bound by Jarrold in full red cloth (uniform with item 18). White dust-jacket printed in grey and black. The plates are from the original edition of 1859 and were hand-coloured by pochoir by Maud Johnson. See item 18 above. 60 Eugenie Grandet by Honoré de Balzac, soft-ground etchings by Dodie Masterman. Translated by Ellen Marriage. 228 × 149 × 22 mm. Pp. [1–2] 3–7 [8], 1–215 [216]: [8] leaves of collotype plates (facing pp. [1], 40, 57, 90, 152, 169, 185 and 200). Type: Garamond with Times New Roman on the dust-jacket. Printed by William Clowes, the collotypes by Waterlow. Bound by William Clowes in full dark green cloth with a design in red by John Westwood. White dust-jacket printed in grey and black (with the frontispiece repeated in reverse). 61 Louis XIV at Versailles, a selection from the memoirs of the Duc de Saint-Simon [Louis de Rouvroy] translated and edited by Desmond Flower, with etchings by [Gaston] Goor. With an historical note on the Palace of Versailles by Charles Mauricheau-Beaupré. 224 × 149 × 25 mm. Pp. [i–vi] vii–xxii [xxiii–xxiv], 1–234 [235–236]: [8] leaves of collotype plates (facing pp. [i], 32, 48, 65, 96, 113, 161 and 176) + [1] folded genealogical table (facing p. 234). Type: Fournier with June for the title. Printed by Oxford University Press. Bound by James Burn in full blue cloth with a design in silver by John Westwood. White dust-jacket printed in blue and black. A ‘special library edition’ was issued without the illustrations and genealogical table in a binding of full black cloth. This appears to be a separate, unillustrated issue of the first impression. A trade edition was issued by Cassell and Company in 1954, bound in blue cloth with a white dust-jacket printed in red and black. This lacks the plates, but has the plan of Versailles on pages [223–224] enlarged into a folded plate. ¶ Second impression: 1954, with different books advertised on the back panel of the dust-jacket. 62 Emlyn Williams, readings from Dickens. Introduction by Bernard Darwin. Frontispiece by Barnett Freedman. 221 × 144 × 16 mm. Pp. [i–xx], [1–3] 4–164: [4] leaves of plates (facing pp. [i], 29, 44 and [64]). Type: Baskerville with Chisel for display. Printed by Jarrold, the lithographs by the Curwen Press, the collotypes by the Chiswick Press. Bound by Jarrold in full dark green linen with a vignette in gold on a red ground; endleaves decorated in pink and black with designs by Freedman. White dust-jacket with a design in green and red by Freedman. The plates consist of a two-colour frontispiece by Freedman, photographs of Dickens and of Emlyn Williams as Dickens, and an engraving of ‘Mr. Charles Dickens’s Last Reading’. Some sets of sheets were sold to Heinemann, who issued them under their own imprint, in a smaller format and with only the frontispiece by way of illustration. 63 The young king and other stories by Oscar Wilde. With three-colour wood-engravings by John Gaastra. 253 × 163 × 19 mm. Pp. [1–11] 12–156 [157–160]. Type: Perpetua. Printed by the Shenval Press. Bound by James Burn in quarter red buckram, pale blue paper boards with a repeat pattern in black by Gaastra. Pale blue dust-jacket printed in black with the same pattern used on the boards. There are 24 vignettes in the text, and full-page frontispiece and title-page designs by Gaastra. A total of eight colours were used, with the gatherings imposed in such a way that the wood-engravings in each could be printed in three colours selected from the eight.

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1954 64 Sir Francis Drake’s raid on the treasure trains, being the memorable relation of his voyage to the West Indies in 1572, faithfully taken from eye-witness reports by members of the expedition, and enlarged by Drake’s own hand, now newly edited by Janet & John Hampden with wood-engravings by Geoffrey Wales. 221 × 144 × 12 mm. Pp. [1–4] 5–91 [92]. Type: Poliphilus and Blado with Tudor Black for display (and Centaur and Arrighi on the title-page). Printed and bound by Jarrold. Full dark blue canvas with a design in green and gold; endleaves with a map in green. There were two issues of the edition, one as the Presentation Volume for 1954, with the imprint ‘Printed for Members only . . .’, and the other with the imprint ‘Westminster | THE FOLIO SOCIETY | mcmliv’. Copies of the latter issue have a white dust-jacket printed in blue-green and black, while the first issue probably appeared without a jacket (as was usual for the Presentation Volumes). The text was drawn from Sir Francis Drake revived (1626). The wood-engravings consist of a full-page frontispiece and seven vignettes. 65 The fortunes & misfortunes of the famous Moll Flanders, who was born in Newgate, and during a life of continu’d variety for threescore years, besides her childhood, was twelve year a whore, five times a wife (whereof once to her own brother), twelve year a thief, eight year a transported felon in Virginia, at last grew rich, liv’d honest, and died a penitent, by Daniel Defoe, with drawings by Nigel Lambourne. 229 × 148 × 27 mm. Pp. [i–iv] v–xi [xii], 1–330 [331–332]. Type: Caslon. Printed by Cowell. Bound by James Burn in full cream linen with a repeat pattern in red, leather spine-label; grey endleaves. White dust-jacket printed in red and black. When making a mock-up of the title-page, Charles Ede drafted the subtitle from memory and, through an oversight, this was sent to the publisher and printed in all copies. The mistake was only recognised after the book had been bound. The first gathering was reprinted, with the title-page reading as above, and inserted into most copies, but a few survive with the original imaginary title, which is The fortunes & misfortunes of the famous Moll Flanders, who was born in Newgate and, during a life of continu’d variety, was ten year a whore, three times married (of which once to her own brother), seven year a thief, three year a transported felon in Virginia, where she reformed her ways and died a penitent . . . The drawings consist of a full-page frontispiece, and 18 smaller illustrations in the text. ¶ Second impression: 1955 (not seen). ¶ Third impression: 1956 (not seen). ¶ [Another impression]: [1957?], bound in pale grey linen with a repeat pattern in red; white endleaves. Folio’s address is given as 70 Brook Street (the address from 1956). However, this may be a ‘Third impression, 1956’. 66 Wilkie Collins, tales of suspense, edited by Robert Ashley and Herbert van Thal, lithographs by Anne Scott. 226 × 149 × 27 mm. Pp. [i–viii], [1] 2–255 [256]: [8] leaves of two-colour plates (facing pp. 16, 33, 48, 112, 145, 176, 224 and 241). Type: Times New Roman with Bodoni, Bodoni Ultra italic and Thorne Shaded for display. Printed by Butler and Tanner, the lithographs by the Curwen Press. Bound by Butler and Tanner in full black cloth with a design in silver. White dust-jacket printed in brown and black. In addition to the black and brown plates, the title-spread is printed in black and brown, with an illustration by Scott. ¶ Second impression: 1954. ¶ Third impression: 1955. ¶ Reissued [i.e. fourth? impression]: 1990 item 670, issued with Poe’s Tales of mystery and imagination. 67 Restoration carnival, five courtier poets, Rochester, Dorset, Sedley, Etherege & Sheffield, by Vivian de Sola Pinto. Frontispiece and title-page border by T.L. Poulton. 221 × 137 × 20 mm. Pp. [1–7] 8–253 [254–256]. Type: Ehrhardt. Printed by Cambridge University Press. Bound by Mackay in full dark red cloth with a design in black and silver by John Westwood. White dust-jacket printed in red and black. The typographical ornaments

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and woodcut capitals used at the beginning of each section are reproduced from Plantin’s Index characterum of 1567. 68 Voice from the ranks, a personal narrative of the Crimean campaign by a sergeant in the Royal Fusiliers [Timothy Gowing] with contemporary wood-engravings from battlefront sketches by war artists, edited by Kenneth Fenwick. 218 × 146 × 17 mm. Pp. [i–vi] vii–xx, 1–145 [146–148]. Type: Walbaum. Printed by the Curwen Press. Bound by James Burn in full red cloth decorated in dark blue and gold; dark blue endleaves. White dust-jacket printed in red and dark blue. There are 32 wood-engravings, including the full-page frontispiece portrait of ‘Sergeant-Major Timothy Gowing’, many originally published in The illustrated London news between 1854 and 1856. This was the first of the first-person narratives which became quite a feature of the Society’s publishing programme. The Curwen Press used the same type for an edition issued by Heinemann in a slightly smaller format. A number of minor typographical changes were made (including the removal of the multiple rules at the head of each chapter title), and the work was printed on a smoother cream paper. Charles Ede notes in Folio 21 that ‘On publication, we found that we had miscalculated our requirements, and so the other publisher permitted us to buy back some of the sheets’. A cancel title-leaf was printed for these copies. Thus the edition appears in two states, most easily distinguished by the presence or absence of multiple rules. 69 The pastoral loves of Daphnis & Chloe [by Longus], done into English by George Moore, with etchings by Marcel Vertès. 251 × 192 × 13 mm. Pp. [1–6] 7–95 [96]: [6] leaves of collotype plates (facing pp. 17, 24, 41, 48, 65 and 72). Type: Centaur and Arrighi. Printed by Oxford University Press. Bound by James Burn in quarter parchment, pale blue linen boards. Glassine dust-jacket. Grey slip case with printed paper panels pasted to both sides, each bearing the title and a reduced copy of one of the plates. The title-page and frontispiece were also printed by collotype, but are included in the pagination. The illustrations were part of a series originally designed for a French limited edition of the text. This was the first Folio book to be issued in a slip case, although, at this stage, this was done as an experiment and to enhance the impression that this was a special edition, finely printed and illustrated in the private press tradition. ¶ Second impression: 1955, bound by the Pitman Press. Pale grey-brown slip case with the title-panel pasted only to the back panel. 70 R.S. Surtees, ask mamma, with colour plates by John Leech. 229 × 153 × 33 mm. Pp. [1–9] 10–463 [464]: [13] leaves of coloured collotype plates. Type: Imprint. Printed by Jarrold, the collotypes by the Chiswick Press. Bound by Jarrold in full red cloth (uniform with item 18). White dust-jacket printed in grey and black. The plates are from the original edition of 1858 and were hand-coloured by pochoir by Maud Johnson. See item 18 above. 71 The tragedy of Hamlet, Prince of Denmark, by William Shakespeare, with an introduction by Richard Burton, designs by Roger Furse. Glossary by Josephine Lane. 224 × 173 × 17 mm. Pp. [1–2] 3–134 [135–136]: [9] leaves of plates (facing pp. [1], 16, 25, 33, 40, 48, 65, 80 and 96). Type: Plantin. Printed by Mackay, the lithographs by the Chiswick Press. Bound by Mackay in dark red series binding (see item 27). White dust-jacket printed in red and black. The illustrations show costume and scenic designs drawn by Furse for the J. Arthur Rank film with Laurence Olivier. 72 Alphonse Daudet, Sappho, a picture of life in Paris, translation by Eithne Wilkins, illustrations by Susan Einzig. 227 × 148 × 20 mm. Pp. [i–viii], [1] 2–183 [184]: [8] leaves of collotype plates (facing pp. [i], 8, 25, 40, 89, 104, 120 and 151). Type: Bembo. Printed by R. and R. Clark, the collotypes by the Chiswick Press. Bound by Hunter and Foulis in full blue-green artificial silk. Glassine dust-jacket. Grey slip case with a paper panel

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pasted to one side bearing the title and a ninth illustration by Einzig. The plates are etchings, reproduced by collotype. 73 The castle of Fratta by Ippolito Nievo, in a translation by Lovett F. Edwards, illustrations by Eric Fraser. 228 × 142 × 19 mm. Pp. [i–ii] iii–v [vi], 1–224 [225–226]: [8] leaves of collotype plates (facing pp. [i], 16, 69, 102, 110, 144, 156 and 211). Type: Bodoni with a hand-drawn open-face version for the title. Printed by William Clowes, the collotypes by the Chiswick Press. Bound by William Clowes in quarter grey canvas, marbled paper boards. White dust-jacket printed in grey and dark brown. The text is the first section of a work originally published as Le confessioni di un ottuagenario. Charles Ede says in Folio 21 that ‘The illustrations were drawn in black ink and Chinese white on sheets of marbled linoleum’. 74 The decameron of Giovanni Boccaccio, translated by Richard Aldington, with aquatints by [John] Buckland-Wright, the first five days. 251 × 165 × 24 mm. Pp. [1–4] 5–393 [394–396]. Type: Poliphilus and Blado. Printed by Butler and Tanner, the collotypes by the Chiswick Press. Bound by James Burn in full brown buckram with a design in red and green. White dust-jacket printed in red and green. Although the ten leaves of collotype plates were printed separately, they are included in the pagination as pages [1–2], [59–60], [73–74], [87–88], [137– 138], [183–184], [217–218], [283–284], [309–310] and [355–356]. The ‘last five days’ was published in 1955 (item 76). ¶ Second impression: 1955 (not seen). ¶ Third impression: 1956 (not seen). ¶ Fourth impression: 1958 (not seen). ¶ Fifth impression: 1960 (not seen).

1955

1955 75 An account of the discovery of Tahiti, from the journal of George Robertson, Master of H.M.S. Dolphin, edited, with an introduction by Oliver Warner, with wood engravings by Robert Gibbings. 221 × 146 × 16 mm. Pp. [1–4] 5–127 [128]. Type: Poliphilus and Blado. Printed by Butler and Tanner. Bound by Kitcat in quarter green cloth, yellow paper boards with a repeat pattern in dark brown by Gibbings. Not issued in a dust-jacket or slip case. The Presentation Volume for 1955. There are ten wood-engravings of various sizes, including the frontispiece map of Tahiti and the title-page vignette. The text was drawn from a volume published by the Hakluyt Society in 1948, with the addition of extracts from diaries kept by others aboard HMS Dolphin between 19 June and 27 July 1767. ¶ [Second impression]: Folio Press and J.M. Dent, 1973 item 336. ¶ Reissued [i.e. another impression]: 1992, printed and bound by the Bath Press. Quarter dark red cloth; dark red endleaves. Yellow slip case. For this impression the wood-engravings were printed lithographically from good pulls, rather than from the poor impressions found in the earlier printings. ¶ Second printing of reissue [i.e. another impression]: 1995. ¶ Third printing of reissue [i.e. another impression]: 2015. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. Dark red slip case. 76 The decameron of Giovanni Boccaccio, translated by Richard Aldington, with aquatints by [John] Buckland-Wright, the last five days. 251 × 162 × 29 mm. Pp. [1–4] 5–323 [324]. Type: Poliphilus and Blado. Printed by Butler and Tanner, the collotypes by the Chiswick Press. Binding and dust-jacket as item 74. The first five days had been published in 1954 (item 74). As in the first volume, the ten collotype plates were printed separately but are included in the pagination as pages [1–2], [31–32], [65–66], [87–88], [121–122], [151–152], [201–202], [223– 224], [265–266] and [307–308]. ¶ Second impression: 1955 (not seen). ¶ Third impression: 1956 (not seen). ¶ Fourth impression: 1958 (not seen). ¶ Fifth impression: 1960 (not seen). 77 Maxim Gorki, the Artamonovs, wood-cuts by Peter Pendrey. Translated with an introduction by Alec Brown. 228 × 153 × 33 mm. Pp. [i–ii], [1–4] 5–281 [282]. Type: Times Wide with Albertus for display. Printed (with the title-page in red and black) and bound by William Clowes. Full grey canvas with a frieze design in black by Pendrey; red endleaves. White dust-jacket printed in red and black. There are nine woodcuts including the title-spread and four full-page illustrations (on pages [2–3], 9, 29, 89, 155, 165, 195, 215 and 253); they were cut in a larger size and photographically reduced for the line-blocks used to print them here. 78 The expedition of Humphry Clinker by Tobias Smollett, wood-engravings by Derrick Harris. Introduction by J.H. Lyde. 228 × 149 × 33 mm. Pp. [iii–iv] v–x [xi–xiv], 1–371 [372]: [11] leaves of two-colour plates. Type: Baskerville with Imperial Script for display. Printed in blue and black by Richard Clay. Bound by Richard Clay in full white linen with a repeat pattern in blue by Harris, red leather spine-label. White dust-jacket printed in blue and black. The first gathering in the first impression is made up as follows: [A]4 ([A]1+χ4). This was corrected for the second impression, in which the list of engravings follows the title-leaf rather than the introduction. ¶ [Second impression]: [1956?], with the first gathering collating [A]8 (see above).

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79 A journal of the terror, being an account of the occurrences in the Temple during the confinement of Louis XVI, by M. [Jean-Baptiste] Cléry the King’s valet-de-chambre, together with a description of the last hours of the King, by the Abbé [Henry Essex Edgeworth] de Firmont, edited by Sidney Scott. 217 × 133 × 22 mm. Pp. [i–v] vi–x [xi–xii], 1–163 [164]: [8] leaves of collotype plates (facing pp. [i], 16, 49, 64, 97, 112, 129 and 144). Type: Fournier with Old Face Open for display. Printed by Cambridge University Press, the collotypes by Waterlow. Bound by James Burn in full dark blue buckram with a design in gold. Glassine dust-jacket. Grey slip case. The plates consist of collotype reproductions of contemporary etched portraits and views. Page [57] bears two ground plans of the tower of the Temple. The text is from the English edition of 1798, and the binding design is based on that of an edition of Theocritus bound for Marie-Antoinette in 1792. ¶ Second impression: 1959 (not seen). ¶ Third impression: 1961, bound by Webb. ¶ Fourth impression: (not seen). ¶ [Another impression]: Folio Press and J.M. Dent, 1974 item 362. ¶ Reprinted with a new binding and colour illustrations: 2002, measuring 216 × 131 × 18 mm. Pp. [i–ix] x–xiv [xv–xvi], [1] 2–163 [164–168]: [10] pages of colour plates. Printed and bound by Cambridge University Press. Quarter dark red buckram, pale brown paper boards with a reproduction of a print in brown; dark red endleaves. Dark red slip case. The illustrations consist of a new series of colour reproductions of contemporary paintings and prints. 80 Guy de Maupassant, Bel-Ami, translated by Eric Sutton, lithographs by Alistair Grant. Introduction by Kenneth Hopkins. 227 × 152 × 25 mm. Pp. [i–ii] iii–v [vi–viii], 1–303 [304]: [11] leaves of colour plates. Type: Goudy Modern with Goudy Old Style and hand-drawn lettering for display. Printed by William Clowes, the lithographs by the Curwen Press. Bound by William Clowes in full cream cloth with an illustrative design in dark purple by Grant. White dust-jacket printed in red and pale blue, repeating the design on the binding. 81 Othello by William Shakespeare, introduction by Ivor Brown, designs by Tanya Moiseiwitsch. Glossary by Jean Rook. 224 × 173 × 17 mm. Pp. [1–2] 3–136: [8] leaves of colour plates (facing pp. [1], 16, 33, 48, 65, 80, 96 and 113). Type: Bembo. Printed in red and black by Benham and Company, the lithographs by Van Leer. Bound by Mackay in dark purple series binding (see item 27). White dust-jacket printed in dark brown and colour. The designs were made for the Stratford Memorial Theatre Company’s tour of New Zealand and Australia in 1953. 82 R.S. Surtees, Hawbuck Grange, with colour plates by ‘Phiz’ [Hablot K. Browne]. 228 × 150 × 22 mm. Pp. [1–9] 10–211 [212]: [8] leaves of coloured collotype plates (facing pp. [1], 16, 65, 80, 113, 128, 161 and 176). Type: Period Old Style. Printed by Jarrold, the collotypes by the Chiswick Press. Bound by Jarrold in full red cloth (uniform with item 18). White dust-jacket printed in grey and black. The plates are from the original edition of 1847 and were hand-coloured by pochoir by Maud Johnson. See item 18 above. 83 The London spy by Ned Ward, edited with notes and introduction by Kenneth Fenwick, contemporary prints by Hogarth and others. 227 × 148 × 31 mm. Pp. [i–iii] iv–xiv [xv–xvi], 1–327 [328]: [12] leaves of collotype plates. Type: Caslon. Printed by Mackay, the collotypes by Waterlow. Bound by Mackay in quarter black cloth, marbled paper boards, designed by John Westwood. White dust-jacket printed in dark blue. The text is adapted from the edition published in 1703. 84 D.H. Lawrence, the virgin & the gipsy, with etchings by Dodie Masterman. Introduction by Rayner Heppenstall. 227 × 135 × 16 mm. Pp. [1–9] 10–154 [155–156]. Type: Perpetua. Printed by R. and R. Clark, the collotypes by the Chiswick Press. Bound by Hunter and Foulis in full pale blue cloth with an illustration by Masterman in dark blue. Glassine dust-jacket. Dark blue slip case. Although printed separately, the eight leaves of plates are included in the pagination (as pp. [3–4], [27–28], [37–38], [55–56], [73–74], [91–92], [125–126] and [143–144]).

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85 Rubáiyát of Omar Khayyám, the first version of Edward Fitzgerald. 157 × 115 × 8 mm. Pp. [1–24]: [4] leaves of colour plates (facing pp. [1], [5], [8] and [16]). Type: Joanna with Perpetua on the title-page. Printed in red and black by Oxford University Press. Bound by the Pitman Press in full red brocade with a design in silver and gold; pale blue-green endleaves. Gold clamshell box with a red paper label. The plates are reproductions of four Persian miniatures found by Desmond Flower in a manuscript of the poem in the collection of Professor S. Najib Ash af Nadvi in Patna. The brocade was specially commissioned for this edition. ¶ Second impression: 1959 (not seen). ¶ Third impression: 1960, bound by Webb, Son and Company. ¶ Fourth impression: 1962 (not seen). 86 The semi-attached couple by the Hon. Emily Eden, with wood-engravings by Dorothea Braby. 209 × 146 × 23 mm. Pp. [1–7] 8–247 [248]: [7] leaves of two-colour wood-engraved plates (facing pp. [1], 16, 56, 96, [128], 160 and 200). Type: Bembo. Printed by Butler and Tanner, with the plates in pink and black. Bound by the Pitman Press in full pink artificial silk. Glassine dust-jacket. Grey slip case. Some copies were bound in blue-green artificial silk; this appears to be a secondary binding, and the majority of copies are clothed in pink. The wood-engravings made for this book were also published by the artist as a separate suite of prints. 86.5 Rupert Brooke, poems . . . As the 1948 edition (item 9) but reset throughout. Pp. [i–iv] v–ix [x–xii], 1–163 [164]. Type: Bembo with the text in italic. Printed and bound by Mackay. White dust-jacket printed in blue and black. It is not stated anywhere in the book that this is a new edition; the title-page is still dated 1948, and it is necessary to examine the type face or dust-jacket to distinguish the two editions. This edition probably appeared in 1955, although the copy in Folio’s library is dated ‘1956’ in pencil. It was included in ‘The Folio Poets’ series (see item 4). ¶ Third impression [i.e. second edition, second impression?]: 1958 (not seen). ¶ Fourth impression [i.e. second edition, third impression?]: 1959 (not seen). ¶ Fifth impression [i.e. second edition, fourth impression?]: 1961 (not seen).

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1956 87 [Mathieu François] Pidansat de Mairobert, memoirs of Madame du Barry, edited with an introduction by Eveline Cruickshanks, with drawings by Sir William Russell Flint. 221 × 133 × 15 mm. Pp. [1–5] 6–167 [168]: [7] leaves of colour gravure plates (facing pp. [1], 48, 65, 80, 97, 145 and 160). Type: Cochin with June for display. Printed by Spottiswoode, Ballantyne and Company, the gravures by Harrison and Sons. Bound by Kitcat in quarter blue artificial silk, pink paper boards patterned in silver. Glassine dust-jacket. Pale brown slip case. The Presentation Volume for 1956. The plates are three-tone gravure reproductions of Russell Flint’s drawings in sepia, with highlights in white and red-brown. The text was originally published as Anecdotes sur M. la Comtesse du Barri, and the version published here is a revision of the anonymous English translation of 1777. 88 The woman in white by Wilkie Collins, lithographs by Lynton Lamb. 229 × 150 × 39 mm. Pp. [i–viii], [1–2] 3–519 [520]: [12] leaves of plates. Type: Times New Roman with Thorne Shaded for display. Printed by Mackay, the lithographs by the Curwen Press. Bound by Mackay in full blue-grey grained cloth. White dust-jacket printed in brown and black. 89 Thornton Wilder, the bridge of San Luis Rey, [wood-] engravings by Frank Martin. 229 × 134 × 18 mm. Pp. [1–11] 12–144. Type: Bodoni. Printed by Benham and Company in pale brown and black. Bound by James Burn in full dark brown canvas with a design in black by Martin; endleaves with an enlarged wood-engraving by Martin. Black slip case. In addition to the endleaf decoration, the wood-engravings consist of six full-page illustrations and five vignette head-pieces at chapter openings, all printed in pale brown and black. 90 The trial of Joan of Arc, being the verbatim report of the proceedings from the Orleans manuscript, translated with an introduction and notes by W.S. Scott. 250 × 160 × 17 mm. Pp. [1–8] 9–173 [174–176]. Type: Poliphilus and Blado with Libra for display. Printed by Butler and Tanner. Bound by the Dorstel Press in full blue buckram with a design in gold. Blue slip case. The text is illustrated with ten facsimile woodcuts from early French printed books. Charles Ede says in Folio 21 that ‘This can probably count as the first piece of original publishing undertaken by Folio. The Orleans manuscript of the trial was “discovered” after the Second World War; it is the only text in oratio recta (therefore almost certainly giving Joan’s actual words) and differs in important respects from the other manuscripts . . .’ An American issue of the same sheets has the imprint of ‘Associated Booksellers, Westport, Conn.’ at the foot of the title-page. It was published in a white dust-jacket printed in pale blue and black, with the American imprint at the foot of the spine and the price $4.00. 91 The confessional of the black penitents by Ann Radcliffe, wood-engravings by Philip Ross. 227 × 150 × 33 mm. Pp. [i–viii], 1–403 [404–408]. Type: Plantin with Imprint Shadow for display. Printed and bound by Richard Clay. Quarter black cloth, marbled paper boards. Black slip case. The text was originally published as The Italian or The confessional of the black penitents . . . in 1797. There are 16 full-page wood-engravings in the book, including the frontispiece; this is printed within a wood-engraved border, which is repeated on the title-page. 92 The young visiters or Mr Salteenas plan by Daisy Ashford, illustrations by Diana Brough, coloured by hand. Introduction by J.M. Barrie. 207 × 142 × 11 mm. Pp. [1–17] 18–78 [79–80]. Type: Perpetua. Printed by Mackay. Bound by Richard Clay in quarter dark red buckram with pictorial paper boards designed by Brough; endleaves with portraits in green and black by Brough. Green slip case. There are eight leaves of plates in the book, printed separately, but included in the pagination (as pp. [1–2], [19–20], [29–30], [39–40], [49–50],

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[59–60], [69–70] and [75–76]). All are line-block reproductions of Brough’s drawings, printed in black and hand-coloured by pochoir by Maud Johnson. 93 The tragedy of King Lear by William Shakespeare, introduction by Donald Wolfit, designs by [Isamu] Noguchi. Glossary by Jean Rook. 223 × 173 × 17 mm. Pp. [1–2] 3–131 [132]: [7] leaves of colour plates (facing pp. [1], 16, 33, 49, 64, 81 and 96). Type: Plantin. Printed in red-brown and black by Benham and Company, the lithographs by the Chiswick Press. Bound by Mackay in red-brown series binding (see item 27). White dust-jacket printed in brown and black. The set and costume designs by Noguchi were produced by collage, using various brightly coloured papers, arranged in geometric patterns. They were made for the 1955 tour of Europe by the Shakespeare Memorial Theatre. ¶ Second impression: 1960 (not seen). ¶ Third impression: 1973, with the plate captions reset. The lithographs printed by Curwen Prints. Pale red-brown series binding. Mottled grey slip case (instead of a dust-jacket). This impression is described separately in Folio 34 and Folio 40 as item 344. 94 R.S. Surtees, Hillingdon Hall, with the original illustrations [by G. Wildrake, W. Heath and J. Jellicoe] coloured by hand. 228 × 150 × 33 mm. Pp. [1–7] 8–470 [471–472]: [12] leaves of coloured collotype plates. Type: Period Old Style. Printed by Jarrold, the collotypes by the Chiswick Press. Bound by Jarrold in full red cloth (uniform with item 18). White dust-jacket printed in grey and black. The plates are from the original edition of 1845 and were hand-coloured by pochoir by Maud Johnson. See item 18 above. This was the last of Charles Ede’s Surtees series. The lesser-known novels sold less well than the famous Jorrocks books, and it is probable that the last three Surtees books (items 70, 82 and 94) are among the rarest of the early Folio titles. A new series of facsimile reprints of the original editions was bought-in and published from 1982 (see item 506.3). 95 [Robert] Southey’s life of Nelson, edited and introduced by Kenneth Fenwick. 228 × 15 × 28 mm. Pp. [1–8] 9–304: [12] leaves of gravure plates. Type: Baskerville with Old Face Open for display. Printed by Richard Clay, the gravures by the Grout Engraving Company. Bound by Richard Clay in full dark blue buckram with a design in gold; endleaves with a map. Dark blue-grey slip case. The plates consist of gravure reproductions of contemporary paintings, portraits and aquatints, including the frontispiece portrait of Nelson painted between 1777 and 1781 by J.F. Rigaud. There are also several maps in the text, printed from line-blocks. The design of the binding is based on that of an early nineteenth-century volume then in J.R. Abbey’s collection. A copy has been reported in a variant binding, with the same blocking used for the second edition (item 148.5). Such copies are most probably later issues, bound up around 1959. 96 Émile Zola, Nana, translated by Charles Duff, etchings by [Marcel] Vertès. 253 × 192 × 34 mm. Pp. [i–vi], [1] 2–387 [388]: [15] leaves of collotype plates. Type: Garamond with hand-drawn lettering for the title. Printed by Richard Clay, the collotypes by Van Leer. Bound by Richard Clay in full purple artificial moiré silk. Glassine dust-jacket. Grey slip case. There are variant bindings in lilac artificial silk and in red cloth. 97 Walter de la Mare, ghost stories, with lithographs by Barnett Freedman. Introduction by Kenneth Hopkins. 225 × 149 × 23 mm. Pp. [1–11] 12–234 [235–236]. Type: Walbaum. Printed by Butler and Tanner, the lithographs by the Curwen Press. Bound by Butler and Tanner in full yellow canvas with a design in brown by Freedman; blue-green endleaves with a design in brown by Freedman. Dark grey slip case. There are 16 pages of two-colour plates, including the title-plate, which, although printed separately and inserted into the gatherings, are included in the pagination (as pp. [2–3], [11–12], [49–50], [73–74], [117–118], [169–170], [181–182], [197–198]). All except the title-plate consist of a decorative divisional-title on the recto and an illustration of the story that follows on the verso.

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98 Geoffrey Chaucer, the Canterbury tales, translated into modern English by Nevill Coghill, [volume] I, woodcuts by Edna Whyte. 220 × 129 × 26 mm. Pp. [1–6] 7–287 [288]. Type: Plantin with Old English for display. Printed by Butler and Tanner. Bound by Mackay in quarter dark brown leather, grey-brown canvas boards; endleaves with a design by Whyte. White dust-jacket printed in dark green and black. The illustrations consist of 12 full-page, and 20 smaller woodcuts, the latter used as head- and tail-pieces. Volume II was published in 1957 (item 100). ¶ Second impression: 1957 (not seen).

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1957 99 Oscar Wilde, Salomé, newly translated by Vyvyan Holland, [wood-] engravings by Frank Martin. 208 × 142 × 11 mm. Pp. [1–12] 13–62 [63–64]. Type: Perpetua. Printed in blue-green and black by the Curwen Press. Bound by Richard Clay in full blue and green brocade. The Presentation Volume for 1957. Black slip case. The illustrations consist of six full-page, and two vignette wood-engravings, printed in two colours. The brocade for the binding, which has a repeat pattern of peacocks, was specially commissioned from ‘British Celanese’. The translation was also commissioned for this edition. 100 Geoffrey Chaucer, the Canterbury tales, translated into modern English by Nevill Coghill, [volume] II, woodcuts by Edna Whyte. 220 × 129 × 26 mm. Pp. [1–6] 7–304. Type: Plantin with Old English for display. Printed by Butler and Tanner. Bound by Mackay in quarter dark brown leather, grey-brown canvas boards; endleaves with a design in black by Whyte. White dust-jacket printed in dark green and black. The illustrations consist of ten full-page, and 22 smaller woodcuts, the latter used as head- and tail-pieces. Volume I was published in 1956 (item 98). ¶ Second impression: 1957 (not seen). 101 Fyodor Dostoyevsky, crime and punishment, translated by Constance Garnett, lithographs by [Ru] van Rossem. 227 × 150 × 35 mm. Pp. [i–viii], 1–454 [455–456]: [12] leaves of plates. Type: Scotch Roman with Albertus for display. Printed by Mackay, the lithographs by the Curwen Press. Bound by Mackay in full red linen with an illustrative design in black by van Rossem. Red dust-jacket printed in black (repeating the design of the binding). 102 Niccolao Manucci, memoirs of the Mogul court, edited by Michael Edwardes. Translated by William Irvine. 253 × 159 × 20 mm. Pp. [1–2] 3–180: [8] leaves of gravure plates (facing pp. [1], 16, 49, 64, 97, 112, 145 and 148). Type: Poliphilus and Blado with Rondo for display. Printed by R. and R. Clark, the gravures by Sun Printers. Bound by Hunter and Foulis in full yellow linen with a design in grey by T. J. Widdaker; endleaves with a map in grey. Grey slip case. The plates are reproductions of Indian miniatures. The text was edited from Irvine’s 1907 translation of Storia do Mogor, a first-hand account of the Mogul court in the mid-seventeenth century. 103 The history of Mr Polly by H.G. Wells, drawings by Ian Ribbons. 228 × 148 × 22 mm. Pp. [i–vi] vii–ix [x], 1–204 [205–206]. Type: Bell. Printed by Western Printing Services. Bound by Richard Clay in full white cloth with a repeat pattern in black, red leather spine-label. Dark grey slip case. The illustrations consist of a frontispiece and 11 vignettes in the text, all printed from line-blocks. 104 Napoleon Bonaparte, the Waterloo campaign, edited & translated by Somerset de Chair, with an introduction by Henry Lachouque. Maps by George Tuckwell. 220 × 146 × 18 mm. Pp. [1–5] 6–158 [159–160]: [2] leaves of gravure plates (facing pp. [1] and 16). Type: Walbaum with Old Face Open for display. Printed in red and black by Robert MacLehose, the gravures by the Grout Engraving Company. Bound by James Burn in full dark red buckram with a design in gold. Grey slip case. The plates reproduce a portrait of Napoleon, and a painting of ‘Napoleon Dictating His Memoirs At St Helena’. In addition there are 16 maps by Tuckwell in the text, some printed in red and black. De Chair’s translation of Napoleon’s memoirs was originally made

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for the Golden Cockerel Press, and the present volume was his own selection from the work. The binding is based on a volume from Napoleon’s library, and bears his coat of arms. 105 A midsummer night’s dream, William Shakespeare, introduction by Sir Ralph Richardson, designs by Oliver Messel. Glossary by Jean Rook. 224 × 171 × 12 mm. Pp. [i–iv] v–viii [ix–x], 1–80: [8] leaves of colour plates (facing pp. [i], 6, 23, 26, 43, 50, 54 and 63). Type: Garamond. Printed in green and black by Mackay, the lithographs by the Curwen Press. Bound by Mackay in green series binding (see item 27). White dust-jacket printed in green and black. The costume and set designs were from Tyrone Guthrie’s production at the Old Vic in 1937. 106 Edgar Allan Poe, tales of mystery and imagination, edited by Herbert van Thal, monotypes by Michael Ayrton. 228 × 151 × 29 mm. Pp. [i–vii] viii–xiii [xiv], [1] 2–302. Type: Times New Roman. Printed and bound by Richard Clay. Full black canvas decorated in silver. White dust-jacket printed in pink and black. There are ten full-page illustrations in the text, printed from relief blocks. 107 Ignacio Manuel Altamirano, El Zarco the bandit, translated by Mary Allt, wood-engravings by Zelma Blakely. 220 × 133 × 18 mm. Pp. [1–7] 8–160. Type: Bodoni with a shaded Bodoni for the title. Printed by Western Printing Services. Bound by Hunter and Foulis in full orange cloth with a frieze design in black by Blakely. Black slip case. There are eight full-page wood-engravings, on pages [1–2], [25–26], [53–54], [75–76], [89–90], [107–108], [129–130] and [157–158]. This English text, which is a free translation and abridgement of the Spanish text originally published in 1904, is published here for the first time. 108 Hogarth’s England, a selection of the engravings with descriptive text by Eveline Cruikshanks [sic]. 254 × 189 × 12 mm. Pp. [1–6] 7–80. Type: Baskerville with Old Face Open for display. Printed by Sun Printers. Bound by the Dorstel Press in quarter dark blue buckram, pale blue paper boards. Glassine dust-jacket. The Presentation Volume for 1958. There are 57 etchings printed in the text, including the frontispiece, reproduced by gravure. 109 Galley slave, the autobiography of Jean Marteilhe, edited by Kenneth Fenwick. 220 × 145 × 20 mm. Pp. [i–viii] ix–xiii [xiv], [1] 2–182: [8] leaves of gravure plates (facing pp. 39, 54, 71, 86, 103, 118, 135 and 150). Type: Imprint. Printed by R. and R. Clark. Bound by Hunter and Foulis in quarter dark blue cloth, Cockerell marbled paper boards. Dark blue slip case. The plates reproduce contemporary etchings. In addition there is a plan and section of a galley on page [40], and the title-page is printed within a pen-drawn border incorporating chained slaves and a cruel slave-driver. Marteilhe’s work was first published as Memoires d’un Protestant condamné aux galères de France pour cause de religion . . . in 1757. The present text is edited from an anonymous English translation published in 1864 as The autobiography of a French Protestant. Charles Ede notes that ‘some of the more tedious moralizing and denominational fulminations were omitted’. 110 Pride & prejudice by Jane Austen, introduction by Richard Church, wood-engravings by Joan Hassall. 229 × 149 × 28 mm. Pp. [i–iv] v–ix [x], 1–294. Type: Fournier. Printed by Butler and Tanner. Bound by James Burn in quarter grey cloth, yellow paper boards with a repeat pattern in pink by Hassall; endleaves with a design in orange by Hassall. Grey slip case. There are ten wood-engravings in the text, including the frontispiece. This was the first of a series of the novels of Jane Austen. Each was issued with the same decor ated endleaves and patterned paper on the boards (although different colours were used), and the text was drawn from the Oxford University Press series, edited by R.W. Chapman. The others in the series are items 122, 135, 147, 157, 175 and 189; all were reset for the collected edition in 1975 (see items 375–381). ¶ Second impression: 1959. ¶ Third impression: 1961 (not seen).

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111 The Bible designed to be read as literature, edited and arranged by Ernest Sutherland Bates, with old master drawings, volume I. Introduction by Laurence Binyon. 259 × 168 × 44 mm. Pp. [i–iii] iv–xxi [xxii], [1–5] 6–520 [521– 522]: [16] leaves of gravure plates. Type: Baskerville. Printed by Richard Clay, the gravures by Sun Printers. Bound by Richard Clay in full dark green buckram with a design in gold. White dust-jacket printed in dark green. Bates’s text is drawn largely from the Authorised Version, with the Revised Version used for the Apocryphal books. Volume II was published in 1958 (item 112). 111.5 Christmas eve at Bracebridge Hall by Washington Irving, illustrated by Randolph Caldecott. A Folio Miniature. 152 × 111 × 1 mm. Pp. [1–8]. Type: Bell. Printed in red and black by the Pitman Press. Bound (probably by the Pitman Press) in cream card wrappers, printed in red, dark green and black, with the title as above, sewn with red thread. White paper envelope. This diminutive pamphlet was published as a Christmas greeting in 1957, with the imprint ‘A Folio Miniature’ printed on the back wrapper. The use of the indefinite article suggests the possibility that other pamphlets may have been issued in the same manner, although none has been traced. The text is taken from Irving’s The sketch book (1820), and is illustrated with eight drawings by Caldecott printed in red, two being used on the wrappers. For a later use of the ‘Folio Miniatures’ series title see item 371.3.

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1958 112 The Bible designed to be read as literature, edited and arranged by Ernest Sutherland Bates, with old master drawings, volume II. 258 × 167 × 46 mm. Pp. [i–iii] iv–viii [ix–x], [1–5] 6–560 [561–562]: [16] leaves of gravure plates. Type: Baskerville. Printed by Richard Clay, the gravures by Sun Printers. Bound by Richard Clay in full dark green buckram with a design in gold. White dust-jacket printed in dark green. Volume I was published in 1957 (item 111). 113 William Beckford, Vathek, translated with an introduction by Herbert B. Grimsditch, illustrated with lithographs by Edward Bawden. 220 × 125 × 18 mm. Pp. [1–4] 5–128: [8] leaves of colour plates (facing pp. [1], 16, 41, 65, 80, 97, 112 and 120). Type: Ehrhardt with Columna for the title. Printed by the Curwen Press. Bound by James Burn in quarter black cloth, multicoloured patterned paper boards designed by Bawden; multicoloured endleaves by Bawden. Brown slip case. Beckford’s text was originally published in French in 1787. The present translation was made in 1929 for an edition published by the Nonesuch Press, and a trade edition was first published by the Bodley Head in 1953. 114 The Chevalier de Johnstone, a memoir of the ’forty-five, edited with an introduction by Brian Rawson. Maps by George Tuckwell. 221 × 146 × 26 mm. Pp. [1–7] 8–255 [256]: [8] leaves of gravure plates (facing pp. [1], 24, 33, 65, 80, 120, 129 and 144). Type: Fournier with Old Face Open for display. Printed by Robert MacLehose, the gravures by the Grout Engraving Company. Bound by Hunter and Foulis in full dark blue buckram with a design in gold; endleaves with a map in blue-grey. Dark blue and grey slip case. The plates are reproductions of contemporary portraits and etchings; in addition there are maps by Tuckwell on pages 27, [38–39], [49], [53], 57, [71], [79], [90–91], [103], [124–125] and 149. The binding design is based on an Edinburgh binding of the mid-eighteenth century in the National Library of Scotland. 115 The adventures of Sherlock Holmes by Sir Arthur Conan Doyle, drawings by Paul Hogarth. Introduction by Brian A. Marsh. 227 × 148 × 29 mm. Pp. [i–xvi], [1] 2–291 [292]. Type: Bell. Printed and bound by Mackay. Full brown canvas, black leather spine-label; pale blue-green endleaves. Pale blue-green dust-jacket printed in brown. The illustrations consist of 13 full-page drawings, including the frontispiece. ¶ Second impression: 1960, the binding decorated with black rules, blue leather spine-label. Slip case (not seen). This is recorded in Folio 21 as a ‘variant binding’. 116 The third crusade, an eye witness account of the campaigns of Richard Coeur-de-Lion in Cyprus and the Holy Land, edited with an introduction by Kenneth Fenwick, [wood-] engravings by Raymond Hawthorn. 253 × 152 × 18 mm. Pp. [1–10] 11–164: [6] leaves of colour wood-engraved plates (facing pp. 41, 56, 69, 92, 125 and 148). Type: Poliphilus and Blado with Libra for display. Printed by Butler and Tanner, the plates by Mackay. Bound by Kitcat in full cream vegetable parchment (‘Linson’) with a design in gold; endleaves with a map in red. Red slip case. The plates were printed in red, black, yellow and grey-green, each from four separate wood-engraved blocks, as was the illustration on the title-spread (pp. [4–5]). The text was drawn from an anonymous English translation of the Itinerarium peregrinorum et gesta Regis Ricardi published in 1848. The Itinerarium is itself a prose translation of the ‘Carmen Ambrosii’, a Norman French verse chronicle attributed to ‘Ambroise’, who is thought to have accompanied Richard on the third crusade.

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117 Ihara Saikaku, five Japanese love stories (koshoku gonin onna), translated into English by William Theodore de Bary, wood-engravings by Mark Severin. 207 × 146 × 18 mm. Pp. [1–7] 8–159 [160]. Type: Lutetia. Printed in purple and black by R. and R. Clark. Bound by the Dorstel Press in full pale green artificial silk; grey endleaves with a design in purple by Severin. Dark purple-red slip case. The illustrations consist of eight full-page wood-engravings, including the frontispiece. 118 William Shakespeare, King Richard II, introduction by Sir John Gielgud, designs by Loudon Sainthill. Glossary by Jean Rook. 224 × 172 × 15 mm. Pp. [1–2] 3–116: [8] leaves of colour plates (facing pp. [1], 16, 33, 48, 53, 60, 81 and 96). Type: Bulmer. Printed in blue and black by Mackay, the lithographs by the Curwen Press. Bound by Mackay in blue series binding (see item 27). White dust-jacket printed in blue and black. The set and costume designs were made for Gielgud’s production at the Lyric Theatre, Hammersmith, in 1952. ¶ Second impression: 1961. ¶ Third impression: 1974, with the plates printed by Alabaster Passmore. Mottled grey slip case (instead of the dust-jacket). 119 Aldous Huxley, point counter point, drawings by [Leonard] Rosoman. 228 × 152 × 33 mm. Pp. [i–vi], 1–422. Type: Scotch Roman. Printed and bound by Richard Clay. Full blue-green cloth decorated in dark green and gold. White dust-jacket printed in orange and black. There are 12 full-page drawings in the text, printed from line-blocks. 120 The remarkable life of Don Diego, being the autobiography of Diego de Torres Villarroel, translated from the Spanish by William C. Atkinson, with [wood-] engravings by Harold Bennett. 221 × 140 × 22 mm. Pp. [1–7] 8–223 [224]. Type: Bodoni Small Face. Printed by Western Printing Services. Bound by Webb, Son and Company in quarter black buckram, marbled paper boards. Green slip case. An English translation and abridgement of the autobiography of Torres Villarroel, published here for the first time. The original had first been published in parts between 1743 and 1758. 121 Henri de Toulouse-Lautrec, Paris album, with an introduction & descriptive notes by David Piper. 253 × 191 × 12 mm. Pp. [1–80]. Type: Garamond with Scroll Shaded for display. Printed by the Haycock Press. Bound by the Dorstel Press in quarter dark green buckram, pink paper boards. Glassine dust-jacket. The Presentation Volume for 1959. The work was printed lithographically in order that nearly every recto could bear a monochrome reproduction of one of Lautrec’s drawings or paintings, facing the descriptive text by Piper. There are 40 reproductions in all, including the frontispiece. ¶ Second impression: 1959 (not seen). 122 Sense & sensibility by Jane Austen, introduction by Richard Church, wood-engravings by Joan Hassall. 227 × 148 × 25 mm. Pp. [i–iv] v–vii [viii–x], 1–285 [286]. Type: Fournier. Printed by Butler and Tanner. Bound by James Burn in series binding (see item 110), with blue-green paper boards patterned in green; endleaves printed in dark green. Grey slip case. There are 12 wood-engravings in the text, including the frontispiece. ¶ Second impression: 1960 (not seen). ¶ Third impression: 1964. 123 John Donne, poems of love, introduction by Kingsley Hart. Wood-engraved portrait by Peter Reddick. Designed by John Ryder. 192 × 128 × 22 mm. Pp. [1–4] 5–208. Type: Van Dijck. Printed in red and black by the Westerham Press. Bound by the Dorstel Press (some copies by Mackay) in quarter dark red-brown leather, pale blue cloth boards. Pale brown dust-jacket printed in red and black. Part of an informal poetry series (see

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item 4). This is a most attractive and restrained edition of Donne’s poems, designed by John Ryder (the only book he designed for Folio), and always popular with the members. There were numerous reprints, and the history of these is somewhat complex (see below). In the first impression the titles to the poems were printed in black, with a Monotype ornament in red at either end; the third impression had the titles in red, without the ornaments. ¶ Second impression: 1959, issued in a slip case instead of a dust-jacket (not seen). ¶ Third impression: 1961, measuring 188 × 124 × 22 mm. Bound by Key and Whiting. Grey slip case. ¶ Fourth impression [i.e. second edition]: 1963 item 189.7. ¶ Reprinted [i.e. second edition, second? impression]: Folio Press, 1979 item 450. 124 The book of the thousand nights and one night, rendered into English from the literal and complete French translation of Dr J.C. Mardrus by Powys Mathers . . . Volumes I and III illustrated with drawings by Eric Fraser. Volumes II and IV illustrated with wood-engravings by Frank Martin. 254 × 161 × 34–36 mm. 4 vols (pp. [i–iv] v–vii [viii–xii], 1–644: [13] leaves of line-block ‘plates’; [i–iv] v–vii [viii], 1–592: [13] leaves of wood-engraved ‘plates’; [i–iv] v–vii [viii], 1–569 [570–572]: [13] leaves of line-block ‘plates’; [i–iv] v–vii [viii], 1–537 [538– 540]: [13] leaves of wood-engraved ‘plates’). Type: Fournier. Printed and bound by Richard Clay. Quarter white parchment, red paper boards patterned in gold. Glassine dust-jackets. Mottled grey four-volume slip case. Charles Ede notes that the four volumes were ‘Published as an “Extra” as distinct from the normal monthly publications’. ¶ Second impression: 1959. ¶ Third impression: 1973, with red endleaves. Plain grey four-volume slip case. This impression is described separately in Folio 34 and Folio 40 as item 330. Five hundred copies were offered in a variant binding of full red morocco with a design in gold by Jeff Clements (with dark green endleaves and a dark green four-volume slip case). The quarter parchment copies were issued with a separate note inserted, describing the material used for the binding and explaining why the four spines will not necessarily match one another. 124.5 William Shakespeare, the sonnets, decorations by Reynolds Stone. Second impression [i.e. edition]. As the 1948 edition (item 4) but reset throughout. Bound by Webb, Son and Company. Grey slip case. Some copies at least were issued in a pale grey dust-jacket printed in dark green with a purely typographical design. ¶ Third impression [i.e. second edition, second impression]: 1961.

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1959 125 The trial of Charles I, a contemporary account taken from the memoirs of Sir Thomas Herbert and John Rushworth, edited by Roger Lockyer, introduction by C.V. Wedgwood. 223 × 145 × 19 mm. Pp. [1–4] 5–164: [8] leaves of gravure plates (facing pp. [1], 16, 65, 80, 97, 112, 150 and 159). Type: Baskerville with Old Face Open for display. Printed by Mackay, the gravures by the Grout Engraving Company. Bound by Mackay in full black buckram with a design in gold; endleaves with a design in dark purple. Green slip case. The design of the binding is based on a volume from Charles I’s library now in the British Library. The plates are reproductions of contemporary portraits and etchings, and the text was drawn from Herbert’s Threnodia Carolina (1678) and Rushworth’s Historical collections . . . (1659), with appendices containing other relevant source material. ¶ Second impression: 1960 (not seen). 126 Robert Louis Stevenson, the beach of Falesá, introduction by H.E. Bates, drawings by Clarke Hutton. 223 × 131 × 14 mm. Pp. [1–4] 5–127 [128]. Type: Bell with Studio for display. Printed in pale brown and black by Robert MacLehose. Bound by Hunter and Foulis in full green canvas with a design in black by Hutton; endleaves with a design in pale brown by Hutton. ¶ Second impression: 1960. 127 Herodotus, the struggle for Greece, translated by Kenneth Cavander, with an introduction by Russell Meiggs, two-colour wood-engravings by Raymond Hawthorn. 254 × 160 × 18 mm. Pp. [1–7] 8–171 [172]: [9] leaves of two-colour wood-engraved plates (facing pp. [1], 25, 32, 56, 96, 113, 136, 153 and 168). Type: Poliphilus and Blado with Delphian for display. Printed by Butler and Tanner, the plates by Mackay. Bound by Mackay in full blue-grey canvas with a design in gold; endleaves with a map in brown and black. The wood-engravings are printed in brown and black; in addition there are pen-drawn head-pieces designed by Hawthorn, and maps on pages 68, 80, 97, 111 and 148. The text is a free translation and abridgement of the last three books of Herodotus’ Histories. ¶ Second impression: 1962. ¶ Third impression: 1964. 128 The history of Tom Jones, Henry Fielding, [wood-] engravings by Derrick Harris. Introduction by Kenneth Hopkins. 228 × 151 × 41 mm. Pp. [i–iv] v–xix [xx], 1–636. Type: Plantin with Select numerals for section numbers. Printed and bound by Richard Clay. Full red-brown linen with a repeat pattern in green by Harris, black leather spine-label. White dust-jacket with a design in red-brown and green by Harris. Number 48 in ‘The Folio fifty’ (see item 8). There are 35 illustrations in the text, including the frontispiece and the title-page, which is wholly wood-engraved. There is also a wood-engraved cartouche by Harris, used at the beginning of each book. These are some of Harris’s finest wood-engravings and, sadly, his swansong. Charles Ede says ‘The type is too small: we should have opted for more pages on a slightly thinner paper’. This was achieved with the second edition of 1973. ¶ Second impression: 1960 (not seen). 129 William Shakespeare, love’s labour’s lost, introduction by Paul Rogers, designs in colour by Berkeley Sutcliffe. 222 × 173 × 13 mm. Pp. [1–6] 7–103 [104]. Type: Bembo. Printed in green-blue and black by Mackay, the

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lithographs by the Curwen Press. Bound by Mackay in green-blue series binding (see item 27). Mottled grey slip case. The eight plates, although printed separately, are included in the pagination (as pp. [1–2], [19–20], [37–38], [55–56], [61–62], [71–72], [81–82] and [91–92]). The set and costume designs were made for Hugh Hunt’s 1949 production at the Old Vic. ¶ Second impression: 1973. 130 Short stories by Guy de Maupassant, translated by Gerard Hopkins, drawings by Nigel Lambourne. 227 × 151 × 29 mm. Pp. [i–iv] v–xi [xii], 1–320. Type: Scotch Roman with Imprint Shadow for display. Printed and bound by Richard Clay. Full lilac cloth with an illustrative design in purple by Lambourne; pale green endleaves. Dark green slip case. The illustrations consist of 14 full-page drawings, including the frontispiece. This is the first edition of this translation, which was commissioned by Folio. ¶ Second impression: 1960, with darker green endleaves. Black slip case. ¶ Third impression: 1964 (not seen). ¶ Fourth impression: 1965 (not seen). ¶ Fifth impression: 1969 (not seen). ¶ Sixth impression: 1973. ¶ Reissue [i.e. another impression]: 1993 item 747, retitled The necklace and other stories. 131 A life of the Buddha, from a Burmese manuscript, edited by Michael Edwardes, drawings by T.J. Widdaker. Based on a translation by Chester Bennett. 226 × 134 × 23 mm. Pp. [1–2] 3–188: [8] leaves of plates (facing pp. [1], 16, 33, 48, 81, 96, 145 and 160). Type: Ehrhardt with Temple Script for display. Printed by Western Printing Services, the lithographs by the Curwen Press. Bound by Webb, Son and Company in quarter brown leather, yellow canvas boards. Yellow slip case. The plates are printed in black on yellow paper. The text was edited from a translation by an American missionary, the Rev. Chester Bennett, first published in The journal of the American Oriental Society in 1851. ¶ Second impression: 1960 (not seen). 132 G.K. Chesterton, Father Brown stories, illustrations by Edward Ardizzone. 227 × 149 × 26 mm. Pp. [i–viii], [1] 2–270 [271–272]. Type: Imprint. Printed and bound by Mackay. Full grey cloth, leather spine-label; dark red endleaves. Red slip case. There are 14 full-page drawings by Ardizzone, including the frontispiece. Two new collections of Father Brown stories were published in 1996 (items 862–864). ¶ Second impression: 2015. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. 133 The gold rush, an account of six months in the California diggings by E. Gould Buffum, with a preface by Oscar Lewis. 209 × 144 × 19 mm. Pp. [1–2] 3–30 33–152: [8] leaves of gravure plates (facing pp. [1], 16, 33, 48, 65, 80, 97 and 112). Type: Antique Old Style with Antique Number 6 for display. Printed by Robert MacLehose, the gravures by the Grout Engraving Company. Bound by Hunter and Foulis in full blue cloth, illustrative yellow cover-label. Blue-grey slip case, some examples patterned in gold. The plates reproduce contemporary paintings and wood-engravings, the latter mostly drawn from periodicals. The text is edited from the first edition, published in 1850 as Six months in the gold mines. The omission of pages 31 and 32 was caused by the excision of leaf B8; Charles Ede says this was ‘probably because it was a blank preceding the blank recto of a plate’. 134 Vincent van Gogh, portrait of Provence, with an introduction and descriptive notes by David Piper. 298 × 220 × 11 mm. Pp. [1–64]. Type: Plantin. Printed by Hunt, Barnard and Company. Bound by Webb, Son and Company in quarter blue cloth, yellow paper boards. Glassine dust-jacket. The Presentation Volume

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for 1960. There are 30 colour half-tone reproductions of paintings by van Gogh, printed on rectos to face Piper’s descriptive text and quotations from the artist’s letters. ¶ Second impression: 1960 (not seen). 135 Mansfield Park by Jane Austen, introduction by Richard Church, wood-engravings by Joan Hassall. 229 × 148 × 31 mm. Pp. [i–iv] v–vii [viii–x], 1–364 [365–366]. Type: Fournier. Printed by Butler and Tanner. Bound by James Burn in series binding (see item 110), with orange paper boards patterned in lilac; endleaves printed in lilac. Grey slip case. There are 11 wood-engravings in the text, including the frontispiece. ¶ Second impression: 1961, bound by Key and Whiting. ¶ Third impression: 1966. 135.5 William Shakespeare, as you like it . . . Second impression [i.e. edition]. As the 1953 edition (item 55) but reset throughout. 223 × 170 × 14 mm. Mottled grey slip case. ¶ Third impression [i.e. second edition, second impression]: 1965. ¶ Fourth impression [i.e. second edition, third impression]: 1973. 136 Sir Philip Sidney, Astrophel and Stella, edited with an introduction by Kingsley Hart. Wood-engraved portrait by Peter Reddick. 190 × 129 × 21 mm. Pp. [1–4] 5–168. Type: Blado and Poliphilus. Printed in black, red, orange, purple, green and dark blue by Western Printing Services. Bound by Webb, Son and Company in quarter red leather, pale grey cloth boards; endleaves with typographical ornaments in green. Grey slip case. Part of an informal poetry series (see item 4). The typographical head-pieces on each page, and the titles and page numerals, are printed in a different colour in each forme (thus there are three colours in each gathering and two on each page).

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1960 137 The transformation of Lucius, otherwise known as The golden ass, by Lucius Apuleius, translated by Robert Graves, lithographs by Michael Ayrton. 254 × 158 × 22 mm. Pp. [1–4] 5–208: [9] leaves of two-colour plates (facing pp. [1], 49, 64, 76, 97, 112, 141, 180 and 195). Type: Ehrhardt with Columna for display. Printed by Western Printing Services, the lithographs by the Curwen Press. Bound by Kitcat (some copies by Evans of Croydon) in full cream vegetable parchment (‘Linson’), with designs in brown and gold by Ayrton; endleaves with a design in black and brown by Ayrton. Brown slip case. During the 1950s a number of members had expressed an interest in having the option to buy Folio books in specially bound and signed limited editions. This book was the first of Charles Ede’s experiments in this direction, and an extra colophon leaf was printed, stating that 250 copies were specially bound in full brown morocco and numbered and signed by Ayrton. However, it appears that the response was disappointing, and only 75 copies were actually bound up and issued in this form (see Folio 21). Four other ‘limited editions’ were published during 1960, but the response was equally poor and the experiment was repeated only intermittently before 1990, although a number of titles were offered in special bindings (see items 139, 141, 143, 145, 252, 269, 283, 298, 500, 516, 533, 591, 624 and 661). For the ‘Folio Press Fine Editions’ see item 592, and for notes on the more successful later ‘limited editions’ see item 707. 138 The new Newgate calendar, edited with an introduction by Lord Birkett. Illustrated by Hablot K. Browne (‘Phiz’). 227 × 146 × 26 mm. Pp. [1–7] 8–12 [1–2] [13] 14–265 [266]: [8] leaves of gravure plates (facing pp. [1], 14, 95, 110, 159, 174, 207 and 222). Type: Bell. Printed by Mackay, the gravures by the Grout Engraving Company. Bound by Mackay in quarter green cloth, marbled paper boards. Dark brown slip case. The fly-title between pages 12 and [13] is not included in the pagination. This book was issued as a companion volume to The Newgate calendar (item 40), with the trials covering the period 1800 to 1841, and drawn from Chronicles of crime, edited by Camden Pelham in 1886. The plates, all based on drawings by Hablot K. Browne, are from the same source, and are printed in sepia. ¶ [Second? impression]: 1993 item 748, issued with The Newgate calendar. 139 Henry Mürger, vie de Bohème, translated by Norman Cameron, introduction by Michael Sadleir, drawings by Dodie Masterman. 208 × 146 × 29 mm. Pp. [1–5] 6–302 [303–304]: [12] leaves of plates. Type: Garamond. Printed by Richard Clay, the lithographs by the Curwen Press. Bound by Richard Clay (some copies by Mansell) in full cream linen with a design in blue-green and brown by Masterman; pale blue endleaves. Dark brown slip case. A colophon leaf stating that ‘Of this edition 250 copies have been specially bound . . .’ and signed by Masterman was inserted into some copies, which were bound in full blue-green morocco. However, Charles Ede notes that only 46 copies were actually bound and issued in this form. 140 The life of the Admiral Christopher Columbus by his son Ferdinand, translated and annotated by Benjamin Keen. 251 × 158 × 27 mm. Pp. [1–12] 13–271 [272]: [11] leaves of gravure plates. Type: Poliphilus and Blado with Libra for display. Printed by Butler and Tanner, the gravures by the Grout Engraving Company. Bound by Mackay in quarter cream leather, Japanese wood-veneer boards, designed by John Westwood; endleaves with a map in pale brown. Black slip case. The plates reproduce contemporary woodcuts and engravings. In addition there are maps on pages [88], 98, [124], 132, [136], [199] and [230], and the coat of arms of the Columbus family on the title-page.

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140.5 The tragedy of Romeo and Juliet . . . Second impression [i.e. edition]. As the 1950 edition (item 27) but reset throughout. Mottled grey slip case. ¶ Third impression [i.e. second edition, second impression]: 1965. ¶ Fourth impression [i.e. second edition, third impression]: 1972. 141 A journal of the plague year, being observations or memorials of the most remarkable occurrences, as well public as private, which happened in London during the last great visitation of 1665, by Daniel Defoe, with woodcuts by Peter Pendrey. Introduction by Kenneth Hopkins. 227 × 149 × 24 mm. Pp. [1–4] 5–248. Type: Plantin. Printed and bound by Richard Clay. Full black buckram with a design in silver and blind by Pendrey; endleaves with a map in dark red-brown. Dark red slip case. There are 14 full-page woodcut illustrations in the text, including the frontispiece. A separate colophon leaf, stating that 250 copies were specially bound and signed by Pendrey, was inserted into some copies, which were bound in full black morocco. However, Charles Ede notes that only 49 copies were bound up and issued in this form. ¶ Reissued [i.e. another impression]: 1992, printed and bound by the Bath Press. Binding decorated in blind; endleaves with a woodcut in dark brown by Pendrey. ¶ Reissued, second printing [i.e. another impression]: 1993. ¶ Reissued, third printing [i.e. another impression]: 1995. 142 William Shakespeare, the taming of the shrew, introduction by Robert Atkins, designs by May Néama. Glossary by Jean Rook. 224 × 170 × 13 mm. Pp. [1–2] 3–88: [8] leaves of colour plates (facing pp. [1], 16, 29, 36, 45, 52, 65 and 80). Type: Bembo. Printed in green and black by Mackay, the lithographs by Novello and Company. Bound by Mackay in dark green series binding (see item 27). Mottled grey slip case. The costume and set designs were made for a 1950 production at the Théâtre Nationale de Belgique in Antwerp. ¶ Second impression: 1973, with the plates printed by the Hollen Street Press. 143 Robert Bage, Hermsprong or Man as he is not, drawings by Cecil Keeling. Introduction by Brian Rawson. 228 × 140 × 25 mm. Pp. [i–ii] iii–vii [viii–x], 1–262: [10] leaves of two-colour plates (facing pp. [i], 42, 71, 86, 116, 136, 166, 183, 215 and 230). Type: Ehrhardt. Printed by Western Printing Services, the lithographs by the Hollen Street Press. Bound by Key and Whiting in quarter black buckram, Cockerell marbled paper boards; endleaves with a design in lilac by Keeling. Green-blue slip case. The plates are printed in lilac and black. A colophon stating that 250 copies were specially bound and signed by Keeling was inserted into some copies, which were bound in full green morocco. However, only 25 copies were bound and issued in this form. Charles Ede notes that this book is ‘An example of the “unpopular” title which we feel must be included in a programme from time to time, both for its intrinsic merit and to give balance. “Hermsprong” is a brilliant novel, but fulfilled all our expectations as an extremely poor seller.’ 143.5 The laws of Oleron, this facsimile copy of the laws of Oleron as they appear in the black book of the Admiralty is presented to the people of Oleron by subscribers in the United Kingdom and the United States of America in commemoration of the sexcentenary of the Court of Admiralty in England. 259 × 174 × 10 mm. Pp. [1–24]: photographic title-plate. Type: Bembo italic. Printed in black, dark brown, red, blue and gold by the Chiswick Press. Bound by Sangorski and Sutcliffe in full dark green cloth. The title-plate is a monochrome photograph of a specially commissioned calligraphic manuscript, set within a decorative border. The text is a collotype facsimile of pages [38] 39–58 of the ‘Black book of the Admiralty’, a fifteenth-century illuminated manuscript now in the Public Record Office. A brief letterpress note on page [1] states that ‘The pages here reproduced . . . contain the Black Book text of the Laws or Customs of Oléron, which are amongst the oldest medieval sea laws known to survive . . .’ The colophon names the printer and binder, and states that 200 numbered copies were

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printed and that ‘The production has been supervised by the Folio Society’. An extra bifolium, printed in 12-point Plantin, with the title Admiralty Court sexcentenary, June 1960, list of subscribers to the fund for the reproduction of the laws of Oleron from the black book of the Admiralty on page [1], is loosely inserted into all copies. Pages [2–3] bear the list of subscribers’ names (mostly institutions associated with the Admiralty or shipping), and page [4] is blank. The work was published before 10 July 1960, when the British Library received its copy. This was one of the last books to be printed by the Chiswick Press, which closed shortly afterwards. 144 O. Henry, short stories, drawings by Paul Hogarth. 228 × 148 × 23 mm. Pp. [1–9] 10–222 [223–224]. Type: Imprint. Printed and bound by William Clowes. Full brown cloth with a design in dark brown by Hogarth; blue-green endleaves. Dark blue slip case. There are 11 full-page drawings by Hogarth, including that on the title-spread. 145 Memoirs of Louis Philippe, Comte de Segur, edited with an introduction by Eveline Cruickshanks. 221 × 147 × 31 mm. Pp. [i–ii] iii–xii, [1–2] 3–340: [12] leaves of gravure plates. Type: Fournier with Fry’s Ornamented for display. Printed by Richard Clay, the gravures by the Grout Engraving Company. Bound by Richard Clay in full red buckram with a design in gold; endleaves with a map in dark green. Green slip case. The plates reproduce contemporary portraits and etchings. The Memoirs were first published simul taneously in French and English between 1826 and 1827, and the present text is edited from this English version. The binding is based on a French design of the period. A separate colophon leaf, stating that 250 copies had been specially bound, was inserted into some copies which were bound in full red morocco. However, only 41 copies were actually bound up and issued in this form. 146 Edgar Degas, ballet dancers, selected with an introduction by Lillian Browse. 296 × 218 × 10 mm. Pp. [1–80]. Type: Plantin. Printed by Robert MacLehose. Bound by Richard Clay in quarter orange cloth, pale green paper boards. Glassine dust-jacket. The Presentation Volume for 1961. There are 70 reproductions, many of them full-page, of Degas’s paintings and sketches, 14 printed in colour by half-tone. 147 Northanger Abbey by Jane Austen, introduction by Richard Church, wood-engravings by Joan Hassall. 228 × 147 × 22 mm. Pp. [1–4] 5–222 [223–224]. Type: Fournier. Printed by Butler and Tanner. Bound by Key and Whiting in series binding (see item 110), with yellow paper boards patterned in brown; endleaves printed in blue. Grey slip case. There are 15 wood-engravings in the text, including the frontispiece. ¶ Second impression: 1964. 148 Oscar Wilde, the importance of being earnest, illustrated by Cecil Beaton. 251 × 190 × 11 mm. Pp. [1–9] 10–78 [79–80]. Type: Walbaum. Printed in dark green and black by Mackay, the lithographs by Novello and Company. Bound by Mackay in full dark green artificial silk; grey endleaves printed in pink. Pink slip case. The six leaves of colour plates are, although printed separately, included in the pagination as pages [1–2], [7–8], [17–18], [35–36], [57–58] and [72–73]. In addition there are 18 sketches by Beaton printed in dark green. A ‘trade’ impression of this work, printed from the same setting of type, was published in Sydney, Australia, by Morgan Publications in 1961. 148.3 Walter de la Mare, ghost stories . . . Second impression [i.e. edition]. As the 1956 edition (item 97) but reset throughout. Bound by Evans of Croydon in full grey canvas with the same design in red. Grey slip case. ¶ Third impression [i.e. second edition, second impression]: 1964 (not seen).

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148.5 [Robert] Southey’s life of Nelson, edited and introduced by Kenneth Fenwick. As the 1956 edition (item 95) but reset throughout. The plates were printed by D.H. Greaves. With a simplified version of the binding, omitting the central panel. ¶ Third impression [i.e. second edition, second impression]: 1963. 148.7 The third crusade, an eye witness account of the campaigns of Richard Coeur-de-Lion in Cyprus and the Holy Land . . . Second impression [i.e. edition]. As the 1958 edition (item 116) but reset throughout. The text has been slightly revised and rearranged.

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1961 149 Droll stories, collected in the monasteries of Touraine and given to the light by Honoré de Balzac, translated into modern English by Alec Brown, with drawings by Mervyn Peake. 252 × 162 × 35 mm. Pp. [i–ii] iii–vii [viii], [1–2] 3–408: [24] leaves of two-colour plates. Type: Garamond with Garamond Bold for display and Castellar on the title-page. Printed by Richard Clay, the lithographs by Novello and Company. Bound by Richard Clay in full brown canvas with a design in darker brown and grey; pale brown endleaves. Blue slip case. The plates were each printed in two colours, black and either green, red-brown or blue. The drawings for them were finished by Peake’s wife, Maeve Gilmore. 150 The conquest of New Granada by Juan Rodríguez Freile, translated into English by William C. Atkinson, [wood-] engravings by Harold Bennett. 223 × 147 × 22 mm. Pp. [1–5] 6–228. Type: Poliphilus and Blado. Printed by Butler and Tanner. Bound by Evans of Croydon in full dark green buckram with a design in gold; endleaves with a map in dark red. Dark red slip case. There are seven full-page wood-engravings in the text, including the frontispiece portrait of Freile. The title-page also has a wood-engraved border by Bennett. The design of the binding is based on one executed for the Spanish royal family and bears their crest. This is the first English translation of selections from Freile’s text, and was commissioned by Folio. 151 The prisoner of Zenda, being the history of three months in the life of an English gentleman, Anthony Hope, illustrations by Biro. 227 × 138 × 20 mm. Pp. [i–ii] iii–v [vi], 1–151 [152–154]: [8] leaves of three-colour plates (facing pp. [i], 18, 27, 52, 74, 91, 122 and 131). Type: Ehrhardt. Printed by Western Printing Services, the lithographs by Novello and Company. Bound by Key and Whiting in quarter black buckram, white paper boards with a repeat pattern in brown, green and black by Biro; endleaves with an illustration in brown, green and black by Biro. Pink-orange slip case. 151.5 A midsummer night’s dream . . . Second impression [i.e. edition]. As the 1957 edition (item 105) but reset throughout. Mottled grey slip case (instead of the dust-jacket). ¶ Third impression [i.e. second edition, second impression]: 1968. 152 The life and death of Thomas Becket, Chancellor of England and Archbishop of Canterbury, based on the account of William fitzStephen his clerk, with additions from other contemporary sources, translated and edited by George Green away. 253 × 160 × 23 mm. Pp. [1–8] 9–172: [9] leaves of gravure plates (facing pp. [1], 33, 48, 65, 80, 97, 112, 129 and 144). Type: Plantin with Old English for display. Printed by William Clowes, the gravures by the Vandyck Printers. Bound by William Clowes in quarter red leather, Japanese wood-veneer boards; endleaves with wood-engraved crests in red. Black slip case. The plates reproduce leaves from an illuminated thirteenth-century French manuscript of a life of Becket. ¶ Second impression: 1962. ¶ Third impression: 1965. ¶ Fourth impression: 1967 (not seen). 153 Tobias Smollett, the adventures of Roderick Random, wood-engravings by Frank Martin. 228 × 148 × 30 mm. Pp. [i–ii], [1–4] 5–458 [459–462]. Type: Bulmer with Fry’s Ornamented for display. Printed and bound by Mackay. Full white linen with a repeat pattern in green by Martin, leather spine-label; red endleaves. Grey slip case. There are 41 wood-engravings in the text, including the frontispiece.

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154 William Shakespeare, King Richard III, introduction by Douglas Seale, designs by Leslie Hurry. Glossary by Jean Rook. 223 × 170 × 16 mm. Pp. [i–ii] iii–viii [ix–xii], 13–127 [128]: [8] leaves of colour plates (facing pp. [i], 16, 33, 48, 65, 80, 97, 112). Type: Times New Roman. Printed in dark blue and black by Mackay, the lithographs by Brüder Rosenbaum. Bound by Mackay in dark blue series binding (see item 27). Mottled grey slip case. The costume designs were executed for Douglas Seale’s production at the Old Vic in 1957. ¶ Second impression: 1970. 154.5 The tragedy of Hamlet, Prince of Denmark, by William Shakespeare . . . Second impression [i.e. edition]. As the 1954 edition (item 71) but reset throughout. Printed in dark red and black. Mottled grey slip case (instead of the dust-jacket). ¶ Third impression [i.e. second edition, second impression]: 1964. ¶ Fourth impression [i.e. second edition, third impression]: 1970, with the plates printed by Cotswold Collotype. 155 Liam O’Flaherty, the informer, lithographs by Nigel Lambourne. 229 × 149 × 19 mm. Pp. [1–4] 5–192: [8] leaves of plates (facing pp. 32, 49, 65, 80, 113, 128, 144 and 161). Type: Imprint. Printed by Richard Clay, the lithographs by Cowell. Bound by Richard Clay in full grey canvas with an illustrative design in black by Lambourne; patterned endleaves. Black slip case. The artist had to work without seeing more than a few brief extracts from the text, which fell at the beginning and end of gatherings, so that his plates would illustrate the appropriate sections of the text. Charles Ede describes this as ‘a fierce discipline from which Lambourne emerged with flying colours’. ¶ Second impression: 1962, with a grey slip case. 156 William T. Sherman, from Atlanta to the sea, edited with an introduction by B.H. Liddell Hart. Maps by K.C. Jordan. 229 × 171 × 31 mm. Pp. [1–5] 6–304: [16] leaves of photographic plates. Type: Modern Extended with Thorne Shaded for display. Printed by Richard Clay, the gravures by Jarrold. Bound by Richard Clay in blue and grey cloths, divided vertically down the centre of each board, with a design in gold; endleaves with a map in dark blue. Red slip case. There are numerous small maps in the text. ¶ Second impression: 1962. 157 Persuasion by Jane Austen, introduction by Richard Church, wood-engravings by Joan Hassall. 228 × 148 × 23 mm. Pp. [1–4] 5–235 [236]. Type: Fournier. Printed by Butler and Tanner. Bound by Key and Whiting in series binding (see item 110), with blue-green paper boards patterned in lilac; endleaves printed in pink. Grey slip case. There are 14 wood-engravings in the text, including the frontispiece. ¶ Second impression: 1963. 158 The ingenious gentleman Don Quixote de la Mancha, by Miguel de Cervantes Saavedra, translated from a Spanish text based upon the first editions of 1605 and 1615 with notes and preface by Samuel Putnam, lithographs by José Narro, volume I [–II]. 253 × 180 × 42–44 mm. 2 vols (pp. [i–ii] iii–xi [xii], [1–2] 3–441 [442]: [21] leaves of plates; [i–iv] v [vi], [1–2] 3–473 [474–476]: [29] leaves of plates). Type: Plantin with Raffia Initials for display. Printed by Richard Clay, the lithographs by the Baynard Press. Bound by Richard Clay in quarter green leather, grey canvas boards; brown endleaves. Pale brown two-volume slip case. The green leather on the spine has usually faded to blue-green.

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159 Pablo Picasso, four themes, with an introduction and descriptive notes by Roland Penrose. 292 × 218 × 11 mm. Pp. [1–72]. Type: Plantin. Printed by Robert MacLehose. Bound by Richard Clay in quarter black buckram, black and white cloth boards. Glassine dust-jacket. The Presentation Volume for 1962. There are 30 colour half-tone reproductions of paintings by Picasso, mostly printed on the rectos to face Penrose’s explanatory text. ¶ Second impression: 1962. 160 The sonnets of Michelangelo, translated by Elizabeth Jennings, with a selection of Michelangelo drawings and an introduction by Michael Ayrton. 188 × 126 × 15 mm. Pp. [1–3] 4–112: [16] leaves of gravure plates. Type: Spectrum. Printed by Enschedé. Bound by Key and Whiting in quarter white parchment, pale green-blue artificial silk boards; pale green-blue endleaves. Grey slip case. Some copies were bound later with a darker cloth on the boards, since the artificial silk was found to fray. 161 Fanny Burney’s diary, a selection from the diary and letters edited by John Wain. 221 × 145 × 29 mm. Pp. [i–iv] v–xii, [1–3] 4–315 [316]: [12] leaves of gravure plates. Type: Baskerville. Printed by Richard Clay, the gravures by the Vandyck Printers. Bound by Richard Clay in full red buckram with a design in gold; endleaves patterned in grey. Grey slip case. The plates are reproductions of contemporary portraits and prints. The text is edited from the standard edition of 1904 prepared by Charlotte Barrett, with the entries from before 1778 taken from The early diary of Frances Burney published in 1889, edited by Annie Raine Ellis. Some copies were issued in a variant binding of full dark red buckram. ¶ Second impression: 1962 (not seen). 162 Lewis Carroll, Alice’s adventures in Wonderland, with forty-two illustrations by John Tenniel. 222 × 137 × 15 mm. Pp. [i–xii], [1–2] 3–113 [114–116]. Type: Bell. Printed in red and black by Mackay. Bound by Mackay in quarter pink cloth, blue-green paper boards with six of Tenniel’s illustrations in red; cream endleaves. Blue-green slip case. This was the first in an informal series of ‘Children’s classics’, of which one was issued every year from 1961 to 1966. For others in the series see items 174, 187, 200, 214 and 228. The 42 wood-engraved illustrations from the first edition are printed in the text in red. ¶ Second impression: 1966. ¶ Reissued [i.e. another impression]: 1990 item 679, issued with Through the looking-glass.

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1962 163 William Forbes-Mitchell, the relief of Lucknow, edited with an introduction by Michael Edwardes. 251 × 163 × 18 mm. Pp. [1–5] 6–159 [160]: [8] leaves of gravure plates (facing pp. [1], 8, 49, 64, 97, 112, 129 and 144). Type: Bell. Printed by Mackay, the gravures by the Vandyck Printers. Bound by Mackay in full dark blue cloth with a medallion design in silver; endleaves with a map in brown. Brown slip case. The plates reproduce contemporary etchings. In addition there are maps on pages [33] and [84]. The text is edited and abridged from Forbes-Mitchell’s eyewitness account, first published in 1893 as Reminiscences of the great mutiny. 164 [Pierre] Choderlos de Laclos, les liaisons dangereuses (dangerous acquaintances) translated with an introduction by Richard Aldington, wood-engravings by Raymond Hawthorn. 228 × 146 × 32 mm. Pp. [1–6] 7–399 [400]: [12] leaves of two-colour line-block plates. Type: Ehrhardt. Printed by Western Printing Services, the plates in pale grey-green and black by Mackay. Bound by Richard Clay in full dark red shadow-striped artificial silk; endleaves with a repeat pattern in pale grey-green by Hawthorn(?). Grey slip case. Each plate is printed in black, within a wood-engraved border printed in pale grey-green. The frontispiece is also printed in the same way, and the border is also used on the title-page, although both are part of the first gathering and are included in the pagination. Folio 21 records binding variants in green and red artificial silk, and in red cloth, although the red artificial silk variant probably relates to the second impression. The green silk variant binding has been seen on a copy of the first impression. ¶ Second impression: 1962, bound in full red artificial silk. 165 Lives of the most notorious pirates by Captain Charles Johnson, edited with an introduction by Christopher Lloyd from the text of Arthur L. Hayward. 223 × 147 × 27 mm. Pp. [1–7] 8–232: [8] leaves of gravure plates (facing pp. [1], 32, 49, 65, 80, 128, 156 and 208). Type: Van Dijck. Printed by Mackay, the gravures by the Vandyck Printers. Bound by Mackay in quarter black cloth, marbled paper boards; green endleaves. Green slip case. The text is selected from the fourth edition of A general history of the robberies and murders of the most notorious pirates by A.L. Hayward, which was published in two volumes in 1726. The plates reproduce seven etchings from a Dutch edition of 1725, and one etched portrait of ‘Captain John Avery’ taken from A general history of . . . the most famous highwaymen, murderers, street robbers etc., a rival work published in 1734. 166 The pilgrim’s progress from this world to that which is to come, delivered under the similitude of a dream by John Bunyan. Introduction by ‘R.B.C.’. 225 × 147 × 33 mm. Pp. [1–6] 7–290 [291–292]: [12] leaves of gravure plates. Type: Caslon. Printed by Butler and Tanner, the gravures by the Vandyck Printers. Bound by Mackay in quarter dark green leather, red-brown canvas boards; green endleaves. Mottled grey slip case. The plates reproduce some of the copper etchings by John Sturt from the London edition of 1728. ¶ Second impression: 1964, the gravures printed by Harrison and Sons. ¶ Second [i.e. third?] impression (with a new binding and additional illustrations): 2001, measuring 229 × 149 × 29 mm. Pp. [1–6] 7–290 [291–292]: [22] leaves of ‘plates’. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in quarter dark brown buckram, pale brown paper boards with Sturt’s frontispiece repeated in brown; pale brown endleaves. Dark brown slip case. There are reproductions of ten additional etchings by Sturt. ¶ Second [i.e. fourth?] printing: 2003. ¶ Third [i.e. fifth?] printing: 2004, bound by Cambridge University Press. ¶ Fourth [i.e. sixth?] printing: 2006.

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166.5 The compleat angler . . . Second impression [i.e. edition]. As the 1949 edition (item 15) but reset throughout. Full green cloth, undecorated (but lettered on the spine as item 15). Slip case (not seen). ¶ Third impression [i.e. second edition, second impression]: 1964. ¶ Fourth impression [i.e. second edition, third impression]: 1966 (not seen). 167 Joseph Conrad, Almayer’s folly, a story of an eastern river, drawings by Clarke Hutton. 222 × 145 × 19 mm. Pp. [i–iv] v–viii [ix–x], 1–144 [145–146]: [8] leaves of two-colour plates (facing pp. [i], 6, 31, 46, 70, 87, 118 and 141). Type: Scotch Roman. Printed by Richard Clay, the lithographs by Fletcher and Son. Bound by Richard Clay in full grey cloth with a design in black by Hutton; brown endleaves. Green and dark green or dark blue slip case. 168 Thomas Wolsey, late Cardinal, his life and death, written by George Cavendish his gentleman-usher, edited with an introduction by Roger Lockyer. 221 × 146 × 25 mm. Pp. [1–4] 5–242 [243–244]: [12] leaves of gravure plates. Type: Poliphilus and Blado. Printed by Western Printing Services, the gravures by the Vandyck Printers. Bound by Key and Whiting in full purple buckram with a design in gold; endleaves with coats of arms in dark purple. Grey slip case. The plates reproduce contemporary portraits and etchings. The design on the front board is based on the gold-tooling on the binding of a Latin manuscript from Cardinal Wolsey’s library, now in the Bodleian. ¶ Second impression: 1964. ¶ [Third? impression]: Folio Press and J.M. Dent, 1973 item 337. ¶ Third [i.e. fourth?] printing (with colour illustrations): 1999, the pagination running [1–4] 5–242 [243–244]: [8] leaves of colour plates (facing pp. [1], 16, 54, 81, 112, 129, 144 and 161). Printed by the Saint Edmundsbury Press, the plates by Barwell Colour Print. Bound by Hunter and Foulis. Dark blue slip case. The original gravure plates have been abandoned and a new series of colour reproductions of contemporary paintings substituted. The list of illustrations on page 5 has been reset accordingly. ¶ Fourth [i.e. fifth?] printing: 2000. 169 Elizabeth Barrett Browning, sonnets from the Portuguese, introduction by Dorothy Hewlett, decorations by Reynolds Stone. 204 × 135 × 11 mm. Pp. [i–iv] v–xiv, [1–50]. Type: Dante. Printed in orange-red and black by the Stamperia Valdonega. Bound by Evans of Croydon in full dark red patterned brocade; pale green endleaves. Gold slip case with a printed fore-edge label. The wood-engraved ‘decorations’ by Stone consist of 20 different factotum head-pieces, one printed at the head of each sonnet (with 18 used twice and two used four times), and a portrait vignette on the title-page. 170 Karel Capek, tales from two pockets, translated from the Czech by Paul Selver, with drawings by Karel Svolinsky. 209 × 145 × 20 mm. Pp. [i–vii] viii–x, [1–3] 4–213 [214]. Type: Imprint with Imprint Shadow italic for display. Printed and bound by Richard Clay. Full blue cloth with a design in dark blue by Svolinsky; pale blue-green flecked endleaves. Red and mottled grey slip case. There are 11 full-page illustrations in the text, including the frontispiece, printed from line-blocks as pages [2], [18], [39], [53], [77], [99], [131], [151], [167], [191] and [211]. 171 A short history of English literature by Gilbert Phelps. 254 × 159 × 22 mm. Pp. [1–8] 9–159 [160]: [40] pages of plates. Type: Baskerville. Printed and bound by Jarrold. Quarter dark blue leather, blue cloth boards; grey-green endleaves. Red slip case. The Presentation Volume for 1963. All the plates except the frontispiece are, unusually at this date, printed on both rectos and versos, and show facsimiles of various manuscripts, printed books, portraits, paintings and etchings illustrating the progress of English literature. The text was specially commissioned by Folio.

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172 The natural history of Selborne by Gilbert White, edited with an introduction and notes by W.S. Scott, drawings by John Piper. 253 × 162 × 22 mm. Pp. [i–v] vi–x [xi–xii], [1–3] 4–213 [214–216]: [12] leaves of collotype plates. Type: Baskerville. Printed by Richard Clay, the collotypes by Cotswold Collotype. Bound by Richard Clay in full white linen with an illustrative design in black and grey by Piper; endleaves with a map in green. Brown slip case. The text is edited from the first edition of 1789. ¶ Second impression: 1963 (not seen). ¶ Third impression: 1965, bound by James Burn and Company. 173 William Shakespeare, Julius Caesar, introduction by Glen Byam Shaw, designs by Motley. Glossary by Jean Rook. 223 × 171 × 15 mm. Pp. [1–2] 3–95 [96]: [8] leaves of colour plates (facing pp. [1], 16, 21, 28, 53, 60, 65 and 80). Type: Bulmer. Printed in purple and black by Mackay, the lithographs by Brüder Rosenbaum. Bound by Mackay in purple series binding (see item 27). Mottled grey slip case. The plates reproduce the set and costume designs made for the 1957 production by the Royal Shakespeare Company at Stratford. The designs were made by Margaret Harris of the designers ‘Motley’. ¶ Second impression: 1970. 174 Lewis Carroll, through the looking-glass and what Alice found there, with fifty illustrations by John Tenniel. 222 × 138 × 18 mm. Pp. [i–xii], [1–2] 3–132. Type: Bell. Printed in red and black by Mackay. Bound by Mackay in quarter pink cloth, pale blue-green paper boards with six of Tenniel’s illustrations in red; pale yellow endleaves. Pale blue slip case. The 50 wood-engraved illustrations from the first edition are printed in the text in red. Issued in an informal series of children’s classics (see item 162). ¶ Reissued [i.e. another impression]: 1990 item 679, issued with Alice’s adventures in Wonderland. 175 Emma by Jane Austen, introduction by Richard Church, wood-engravings by Joan Hassall. 228 × 149 × 33 mm. Pp. [1–6] 7–382 [383–384]. Type: Fournier. Printed by Butler and Tanner. Bound by Key and Whiting in series binding (see item 110), with orange paper boards patterned in red; endleaves printed in dark brown. Grey slip case. There are 13 wood-engravings in the text, including the frontispiece. 175.5 William Shakespeare, Othello, introduction by Ivor Brown, designs by Tanya Moiseiwitsch. Glossary by Jean Rook. Second impression [i.e. edition]. As the 1955 edition (item 81) but reset throughout. Pp. [1–2] 3–118 [119–120]: [8] leaves of colour plates (facing pp. [1], 16, 33, 48, 65, 80, 96 and 105). Type: Plantin. Printed in red and black by Mackay, the lithographs by Van Leer. Mottled grey slip case. ¶ Third impression [i.e. second edition, second impression]: 1967. ¶ Fourth impression [i.e. second edition, third impression]: 1973, with the lithographs printed by Alabaster Passmore. 175.7 The sonnets of Michelangelo, translated by Elizabeth Jennings . . . Second edition. As the 1961 edition (item 160) but reset throughout, with the preliminaries in a larger size of type. Pp. [1–3] 4–116: [16] leaves of gravure plates. Quarter white parchment, pale blue woven artificial silk boards. ¶ Second impression: 1963. ¶ Third impression: (not seen). ¶ Fourth impression: 1970, bound by Mackay, with some copies in full green-blue cloth decorated in gold.

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1963 176 My life on the plains or Personal experiences with Indians, by General G.A. Custer, edited with an introduction and postscript by Kenneth Fenwick. 222 × 146 × 26 mm. Pp. [1–5] 6–254 [255–256]: [8] leaves of gravure plates (facing pp. [1], 32, 65, 80, 113, 128, 193 and 208). Type: Scotch Roman. Printed by Richard Clay, the gravures by the Vandyck Printers. Bound by Richard Clay in full grey open-weave cloth over blue-green boards, brown leather spine-label; endleaves with a map in brown. Dark grey-green slip case. There is a variant binding in quarter grey open-weave cloth with brown cloth on the boards. The plates reproduce contemporary photographs, and the text was edited from the first edition of 1874. 177 William Makepeace Thackeray, vanity fair, drawings by Robin Jacques. 227 × 151 × 43 mm. Pp. [i–vi] vii–xii [xiii–xiv], 1–674 [675–680]: [21] leaves of line-block ‘plates’. Type: Fournier. Printed and bound by Richard Clay. Full green-blue artificial silk; pale lilac endleaves. Lilac and black slip case. The spine of the binding has often faded to purple. 178 At the court of the Borgia, being an account of the reign of Pope Alexander VI, written by his master of ceremonies Johann Burchard, edited and translated by Geoffrey Parker. Maps by K.C. Jordan. 220 × 147 × 24 mm. Pp. [1–7] 8–245 [246]: [8] leaves of gravure plates (facing pp. [1], 16, 64, 81, 129, 144, 192 and 209). Type: Poliphilus and Blado. Printed by Butler and Tanner, the gravures by the Vandyck Printers. Bound by Key and Whiting in full dark brown buckram with a design in gold, black and red; endleaves with a map in red-brown in reverse. White slip case. The plates reproduce contemporary portraits and etchings, and there are also maps on pages [40–41], [68], 86, 133 and 189. There is a typographical head-piece at the beginning of each chapter. The text is the first English translation of selected passages from the diary kept by Burchard between 1483 and 1506, which was first published in Castile in 1906. ¶ Reissued [i.e. second? impression]: 1990, printed and bound by the Bath Press. Full brown cloth; endleaves with the same map in brown, not in reverse. Black slip case. ¶ Second [i.e. third?] printing: 1991. ¶ Third [i.e. fourth?] printing: 1991. ¶ Fourth [i.e. fifth?] printing: 1993. ¶ Fifth [i.e. sixth?] printing: 1994. ¶ Sixth [i.e. seventh?] printing: 1996. ¶ Seventh [i.e. eighth?] printing: 1997 [i.e. 1998]. ¶ Eighth [i.e. ninth?] printing: 1999. ¶ Ninth [i.e. tenth?] printing: 2002. ¶ Tenth [i.e. eleventh?] printing: 2003. ¶ Eleventh [i.e. twelfth?] printing: 2004. ¶ Twelfth [i.e. thirteenth?] printing: 2005. 179 Charles Lamb: essays, edited with an introduction by Rosalind Vallance & John Hampden, wood-engravings by Frank Martin. 224 × 148 × 18 mm. Pp. [1–7] 8–181 [182–184]. Type: Baskerville. Printed in red-brown and black by Robert MacLehose. Bound by Evans of Croydon in full black buckram with a design in gold; endleaves with a repeat pattern in red-brown by Martin. Red-brown slip case. The design of the binding is based on one executed by Roger Payne around 1795, now in the British Library. There are 26 wood-engraved illustrations printed in the text in red-brown. ¶ Second impression: 1965 (not seen). ¶ Third impression: 1967, bound by Mackay. 180 Chéri by Colette, translated by Roger Senhouse, dry-point etchings by Philippe Jullian. 222 × 146 × 18 mm. Pp. [i–ii], [1–2] 3–160: [7] leaves of collotype plates (facing pp. 32, 41, 57, 72, 97, 120 and 160). Type: Walbaum with hand-drawn lettering for the title. Printed by William Clowes, the collotypes by Van Leer. Bound

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by William Clowes in full black, dark red-brown, dark green, or pink artificial silk with a design in gold by Brian Paine; pink endleaves. Green and black slip case. 181 John Evelyn’s diary, a selection from the diary edited by Philip Francis. 223 × 147 × 27 mm. Pp. [i–v] vi–xiv, [1–3] 4–253 [254]: [10] leaves of gravure plates. Type: Van Dijck. Printed by Mackay, the gravures by the Vandyck Printers. Bound by Mackay in full blue buckram with a design in gold; endleaves with a repeat pattern in grey. Grey slip case. The plates reproduce contemporary drawings, manuscripts, etchings and engravings. There is a variant binding in Folio’s library in full dark blue smooth cloth. ¶ Second impression: 1963 (not seen). 182 Henry James, Washington Square, lithographs by Lynton Lamb. 208 × 146 × 19 mm. Pp. [1–6] 7–196: [8] leaves of two-colour plates (facing pp. [1], 8, 24, 57, 72, 104, 137 and 192). Type: Monotype Bell. Printed by Robert MacLehose, the lithographs by Fletcher and Son. Bound by Mackay in full white linen with an illustrative design in green and brown by Lamb; yellow-green endleaves. Grey and white slip case. 183 Expedition to Surinam, being the narrative of a five years expedition against the revolted negroes of Surinam in Guiana on the wild coast of South America from the year 1772 to 1777, elucidating that country and describing its productions with an account of Indians of Guiana and negroes of Guinea, by Captain John [Gabriel] Stedman, newly edited and abridged by Christopher Bryant and illustrated with engravings selected from the earliest edition, themselves made after drawings by the author. 253 × 160 × 24 mm. Pp. [i–v] vi–viii [ix–x], [1] 2–239 [240–242]: [12] leaves of gravure plates. Type: Plantin with Perpetua Light Titling for display. Printed by Richard Clay, the gravures by D.H. Greaves. Bound by Richard Clay in full pale yellow canvas with an illustrative design in green; endleaves with a map in dark green. Black and pale yellow (wood-grain) slip case. The text was edited from the first edition of 1796, which was entitled Narrative of a five years’ expedition against the revolted negroes of Surinam, in Guiana . . . , and the plates reproduce some of the etchings from this edition, some of which were made by William Blake. 184 Poems of Samuel Taylor Coleridge, selected with an introduction by Graham Hough. Wood-engraved frontispiece portrait by Peter Pendrey. 190 × 129 × 18 mm. Pp. [1–6] 7–175 [176]. Type: Bembo. Printed in red and black by Mackay. Bound by Mackay in quarter black leather, red-brown cloth boards; green endleaves patterned in orange and black. Grey slip case. Part of an informal poetry series (see item 4). The main text is set in italic type. For a later selection of Coleridge’s verse, in the new ‘Folio Poets’ series, see item 1147. ¶ Second impression: 1965. 185 Rembrandt van Rijn, paintings, drawings and etchings, selected and introduced by Nigel Lambourne. 294 × 220 × 11 mm. Pp. [1–80]. Type: Plantin. Printed and bound by Jarrold. Quarter black buckram, red embossed paper (‘Glindura’) boards. Glassine dust-jacket. The Presentation Volume for 1964. There are 24 pages of colour and 57 pages of monochrome reproductions, printed with the text by offset lithography. An ‘Erratum’ slip was printed to correct an error in the caption on page [78], and was pasted to page [5]. One of the two copies in Folio’s library is marked up with annotations for a later edition, although none has been traced. 186 Maria de Zayas y Sotomayor, a shameful revenge and other stories, translated with an introduction by John Sturrock, illustrated by Eric Fraser. 226 × 148 × 19 mm. Pp. [i–iv] v–x [xi–xii], 1–200. Type: Ehrhardt. Printed and bound by Mackay. Quarter red cloth, white paper boards patterned with a marbled design by John Piper; red

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endleaves. Mottled grey slip case. There are nine full-page wood-engravings printed in the text as pages [2], [7], [39], [66], [83], [123], [144], [159] and [181]. The translation was specially commissioned by Folio. 187 Robert Louis Stevenson, treasure island, drawings by Peter Roberson. 227 × 147 × 22 mm. Pp. [1–10] 11–223 [224]. Type: Van Dijck. Printed and bound by Mackay. Full blue cloth with a design in darker blue by Roberson; endleaves with a map in red by K.C. Jordan. White and gold slip case. There are ten full-page drawings in the text, printed from line-blocks as pages [2], [20], [29], [61], [77], [107], [155], [169], [183] and [213]. Issued in an informal series of children’s classics (see item 162). 188 William Shakespeare, all’s well that ends well, introduction and designs by Osbert Lancaster. Glossary by Jean Rook. 223 × 170 × 13 mm. Pp. [1–4] 5–94 [95–96]: [8] leaves of colour plates (facing pp. [1], 16, 21, 28, 53, 60, 65 and 80). Type: Bembo. Printed in green and black by Mackay, the lithographs by Brüder Rosenbaum. Bound by Mackay in dark green series binding (see item 27). Mottled grey slip case. The costume and scenery designs by Lancaster were created for the 1953–1954 production at the Old Vic. ¶ Second impression: 1974 (not seen). I have been told of this impression, but have not seen a copy. If it exists it is most curious, since this impression was not used for the reissue as the ‘The Folio Press Shakespeare’ in 1976, suggesting that a substantial number of copies of the first impression still existed when the second was produced. 189 Shorter works by Jane Austen, introduction by Richard Church, decorations by Joan Hassall. 228 × 149 × 28 mm. Pp. [i–iv] v–x, [1–2] 3–303 [304–306]. Type: Fournier. Printed by Butler and Tanner. Bound by Key and Whiting in series binding (see item 110), with pink paper boards patterned in red; endleaves printed in purple. Grey slip case. There are ten wood-engravings in the text, including the frontispiece. ¶ Second impression: 1964 (not seen). 189.3 The confessions of an English opium-eater by Thomas de Quincey, with illustrations engraved on wood by Blair Hughes-Stanton. Second impression [i.e. edition]. 221 × 148 × 24 mm. Pp. [i–vi] vii–xiv, [1–2] 3–229 [230– 232]. Type: Scotch Roman. Printed by Richard Clay. Bound by Mackay in full black cloth with a design in gold; brown endleaves. Blue or brown slip case. Although calling itself a ‘Second impression’, this is a completely new edition of the book first published in 1948 (see item 6). ¶ Third impression [i.e. second edition, second impression]: 1966. ¶ Reissued [i.e. second edition, another impression]: 1992, measuring 227 × 149 × 23 mm. Printed and bound by the Bath Press. Full green cloth. Green slip case. Numerous corrections were made to the text of this impression. 189.5 The tragedy of Antony & Cleopatra . . . Second impression [i.e. edition]. As the 1952 edition (item 46) but reset throughout. Pp. [1–2] 3–128. Mottled grey slip case. A page-for-page resetting of item 46, with the glossary condensed and the ‘Historical Note’ omitted. ¶ Third impression [i.e. second edition, second impression]: 1967. ¶ Fourth impression [i.e. second edition, third impression]: 1975, with the lithographs printed by Alabaster Passmore. 189.7 John Donne, poems of love . . . Fourth impression [i.e. second edition]. As the 1958 edition (item 123) but reset throughout. 189 × 128 × 23 mm. Printed and bound by Mackay. Brown slip case. Despite being completely reset, the title-page is still dated ‘1958’.

100

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¶ [Second edition, second? impression]: Folio Press, 1979 item 450. ¶ Reprinted by photolithography [i.e. second edition, another impression]: 1990, without the fleurons on the title-page. Printed in brown and black on pale green paper by the Bath Press. Bound by the Bath Press in full blue buckram decorated in silver; red endleaves. Red slip case. The binding design is the same as that used for the Folio Press reprint of 1979 (item 450), and bears this imprint on the spine, although the title-page imprint is still ‘1958 Folio Society’. ¶ Reprinted by photolithography, second printing [i.e. second edition, another impression]: 1992, with an arrangement of fleurons on the title-page in brown and black. 189.9 The trial of Charles I . . . Third impression [i.e. second edition]. As the first edition of 1959 (item 125) but reset throughout. The gravures were printed by the Vandyck Printers. Green slip case.

1964

1964 190 Ibn Ishaq, the life of Muhammad apostle of Allah, edited by Michael Edwardes. Translated by Edward Rehatsek. 221 × 145 × 19 mm. Pp. [1–4] 5–177 [178–180]: colour frontispiece. Type: Imprint. Printed by Mackay, the frontispiece by Jarrold. Bound by Mackay in full dark green buckram with a design in red and gold; endleaves with a map in dark green. Dark green and pale green slip case. The frontispiece is a reproduction of an early fifteenth-century miniature of Mecca taken from Khamsah-e-Nizami. Rehatsek’s translation had been made in 1891, and was presented to the Royal Asiatic Society. However, this is its first publication. The design of the binding is based on that of a Koran. ¶ Second impression: (not seen). ¶ Third impression: 1967, bound in paler green cloth. ¶ Fourth printing (with a new binding and frontispiece): 2003, with additional blank leaves at beginning and end. Printed and bound by the Bath Press. Paler green endleaves, with no map. Although the binding has been redrawn, the design is essentially the same. The spine lettering is slightly different, and now runs tail to head. The new frontispiece reproduces a page of manuscript, and the map which originally appeared on the endleaves has been redrawn by Reginald Piggott and printed on page [14]. The title-page has been redated ‘2003’. ¶ Fifth printing: 2004. ¶ Sixth printing: 2004. ¶ Seventh printing: 2005 (not seen). ¶ Eighth printing: 2006. The spine lettering runs head to tail. 190.5 The red badge of courage by Stephen Crane . . . As the 1951 edition (item 39) but reset throughout. The photographs were printed by D.H. Greaves. Blue and grey cloth, divided vertically down the centre of each board. Red slip case (instead of a dust-jacket). ¶ Second impression: 1964 (not seen). ¶ Third impression: 1966 (not seen). ¶ Fourth impression: 1972, with the pagination altered to [1–5] 6–159 [160], and the binding enlarged to 227 × 170 × 19 mm. ¶ Reprinted by offset litho (fifth impression): 1997, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis as the first edition (item 39), but with red endleaves and a dark blue slip case (instead of the dust-jacket). ¶ Reprinted by offset litho (sixth impression): 1998. 191 Emily Brontë, Wuthering Heights, lithographs by Charles Keeping. 225 × 148 × 30 mm. Pp. [1–4] 5–274 [275–276]: [12] leaves of two-colour plates. Type: Scotch Roman. Printed by Richard Clay, the lithographs by Cowell. Bound by Jarrold (some copies by Mackay) in quarter black leather, dark red cloth boards; green endleaves. Black and grey slip case. This was the first in a series of the Brontë sisters’ works, issued in a uniform binding with a geometrical design by John Westwood on the spine, blocked in gold and another colour (red for Emily, green for Charlotte and blue for Anne). For others in the series see items 203, 225, 243, 262 and 276. See also item 295. ¶ Second impression: 1965, pale grey slip case. ¶ Third impression: 1967 (not seen). ¶ Fourth impression: 1971 (not seen). ¶ Fifth impression: 1975, bound by Mackay. Black and grey slip case. ¶ Reissued with new illustrations [i.e. another impression]: 1991–1996 item 702, revised and issued with the other six novels by the Brontë sisters. See also items 827 and 829, issued with Jane Eyre and separately. 192 Gaius Suetonius Tranquillus, the twelve Caesars, translated by Robert Graves, wood-engravings by Raymond Hawthorn. 253 × 164 × 30 mm. Pp. [1–7] 8–318 [319–320]. Type: Poliphilus and Blado with Columna for display. Printed and bound by Butler and Tanner. Full red-brown cloth with a medallion design in blue and

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gold; endleaves with a map in dark blue. Blue and dark blue slip case. Folio 21 notes two binding variants, one without the blue part of the design on the boards, and the other in a finer-grain cloth with ‘Society’ added after ‘Folio’ on the spine (the latter not seen). There are 12 full-page wood-engravings in the text, each illustrating one of the Caesars. In 1967 Folio published The rise and fall of Athens in a uniform style (see item 231). ¶ Second impression: 1965 (not seen). ¶ Third impression: 1966. ¶ Reissued [i.e. another impression]: 1990, dark blue slip case. ¶ Second [i.e. another] printing: 1991. ¶ Third [i.e. another] printing: 1992. ¶ Fourth [i.e. another] printing: 1994. ¶ Fifth [i.e. another] printing: 1995. ¶ Sixth [i.e. another] printing: 1997. ¶ Seventh [i.e. another] printing: 1998, with lilac endleaves. ¶ Eighth [i.e. another] printing: 1999. ¶ Ninth [i.e. another] printing: 2000, with white endleaves. ¶ Tenth [i.e. another] printing: 2001. ¶ Eleventh [i.e. another] printing: 2002. ¶ Twelfth [i.e. another] printing: 2003. ¶ Thirteenth [i.e. another] printing: 2005. ¶ Fourteenth [i.e. another] printing: 2006 (not seen). ¶ Fifteenth printing: 2007. ¶ Sixteenth printing (not seen). ¶ Seventeenth printing: 2009. Printed and bound by T.J. International. ¶ Eighteenth printing (with a new binding): 2018, measuring 252 × 162 × 26 mm. Printed and bound by C & C Offset. Three-quarter purple cloth blocked in gold with paper front board printed with the profiles of the twelve leaders; dark purple endleaves with the map now in gold. Grey slip case. Recorded as ‘three-quatrter’ bound on the verso of the title-leaf. 193 William Hazlitt · essays, edited with an introduction by Rosalind Vallance & John Hampden, wood-engravings by Frank Martin. 228 × 148 × 18 mm. Pp. [i–vii] viii–xi [xii], [1–3] 4–164. Type: Baskerville. Printed by Richard Clay in green and black. Bound by Mackay in full dark red buckram with a design in gold; endleaves with a repeat pattern in green by Martin. Red or grey-green slip case. The design of the binding is based on that of one of the volumes in the British Library bearing George III’s monogram. There is a total of 18 wood-engraved vignettes in the text, all printed in green. 194 Fyodor Dostoyevsky, the brothers Karamazov, translated by David Magarshack, drawings by Nigel Lambourne. 227 × 151 × 42 mm. Pp. [1–4] 5–845 [846–848]. Type: Plantin with Albertus for display. Printed by Richard Clay. Bound by Mackay in full red linen with an illustrative design in black by Lambourne; grey-blue endleaves. Mottled grey and black slip case. The illustrations consist of 24 full-page drawings, including the frontispiece, printed from line-blocks. ¶ Second impression: 1965. 195 Poems of Andrew Marvell, introduction by C.V. Wedgwood. Wood-engraved frontispiece portrait by Peter Reddick. 190 × 129 × 19 mm. Pp. [1–4] 5–182 [183–184]. Type: Van Dijck. Printed in red-brown and black by Mackay. Bound by Mackay in quarter grey leather, green cloth boards; pink endleaves. Grey slip case. Part of an informal poetry series (see item 4). 196 Harriette Wilson’s memoirs, selected and edited with an introduction by Lesley Blanch. 252 × 163 × 35 mm. Pp. [1–5] 6–378 [379–380]: [12] leaves of gravure plates. Type: Garamond. Printed by Richard Clay, the gravures by D.H. Greaves. Bound by Mackay in full purple artificial silk with a design in gold on the spine; green endleaves. Pale lilac slip case. The plates reproduce some of the etchings from the 1825 edition. ¶ [Another impression]: Folio Press, 1979 item 447. 197 Thomas Love Peacock, Crotchet Castle, with an introduction by Kenneth Hopkins, wood-engravings by Peter Reddick. 228 × 138 × 16 mm. Pp. [1–4] 5–172. Type: Walbaum with Elongated Roman for display. Printed

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and bound by Butler and Tanner. Quarter brown buckram, Cockerell marbled paper boards; pale yellow endleaves. Pale brown slip case. There are eight full-page wood-engravings, printed in the text as pages [2], [45], [71], [79], [109], [121], [134] and [160]. 198 Scott’s last expedition, the personal journals of Captain R.F. Scott, CVO, RN, on his journey to the South Pole with an introduction by Sir Vivian Fuchs. 253 × 171 × 31 mm. Pp. [1–4] 5–322 [323–324]: [16] leaves of plates. Type: Times New Roman. Printed by Mackay, the lithographs by Jarrold. Bound by Mackay in full blue linen with a design in gold by Brian Paine; endleaves with a map in dark blue. Pale grey and black slip case. The plates reproduce photographs taken on the expedition; there is also a ground plan of the hut used by Scott and his party on page 69. ¶ Second impression: 1965. ¶ Third impression: 1968. 199 William Shakespeare, measure for measure, introduction by Harold Hobson, designs by Alix Stone. Glossary by Jean Rook. 222 × 172 × 15 mm. Pp. [1–2] 3–92: [8] leaves of colour plates (facing pp. [1], 16, 21, 28, 33, 48, 65 and 80). Type: Bembo. Printed in green and black by Mackay, the lithographs by Jarrold. Bound by Mackay in green series binding (see item 27). Mottled grey slip case. The costume designs were made for the Royal Shakespeare Company production at Stratford in 1962. 200 The rose and the ring or The history of Prince Giglio and Prince Bulbo, a fireside pantomime for great and small children by W M Thackeray, with eight watercolour drawings by the author. 220 × 144 × 18 mm. Pp. [1–4] 5–125 [126–128]: [8] leaves of colour plates (facing pp. [1], 16, 33, 48, 65, 80, 97 and 112). Type: Bembo. Printed and bound by Mackay. Quarter pink cloth, pale blue paper boards with six drawings by Thackeray in blue; pink endleaves. Pink slip case. Issued in an informal series of children’s classics, with a binding uniform with the earlier editions of Lewis Carroll (see items 162 and 174). The plates reproduce watercolour sketches made by the author on the original manuscript of the story. 201 Regency England, the great age of the colour print by Reay Tannahill. 190 × 220 × 15 mm. Pp. [1–112]. Type: Lumitype Baskerville. Typeset by Butler and Tanner, printed by Brüder Rosenbaum. Bound by Key and Whiting in quarter black buckram, decorative red and gold paper boards; pale green endleaves. Glassine dust-jacket. The Presentation Volume for 1965. There are 50 numbered reproductions of hand-coloured aquatints and etchings from the Regency period, each printed on a recto with explanatory text on the facing verso. This was the first book to be photo-typeset for Folio. The type was set in England and sent to Vienna so that both text and plates could be printed together lithographically. ¶ Second impression 1965. 202 Jerome K. Jerome, three men in a boat, to say nothing of the dog! Drawings by Ian Ribbons. 222 × 134 × 19 mm. Pp. [1–4] 5–190 [191–192]. Type: Ehrhardt with Gresham for display. Printed and bound by Mackay. Full blue canvas with an illustrative design in brown by Ribbons; orange endleaves. Brown slip case. The illustrations consist of eight full-page drawings printed in the text as pages [2], [19], [39], [67], [81], [107], [133] and [186]. 202.5 The tragedy of Macbeth by William Shakespeare . . . As the first edition of 1951 (item 33) but reset throughout. 223 × 171 × 13 mm. Pp. [1–2] 3–96: [8] leaves of colour plates (facing pp. [1], 16, 37, 44, 53, 60, 65 and 80). Type: Plantin. Printed in red and black by Mackay, the lithographs by Brüder Rosenbaum. Mottled grey slip case. The present edition is completely reset, with a new series of plates showing the

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original costume designs by Michael Ayrton and John Minton from John Gielgud’s production staged at the Piccadilly Theatre in 1942. There is a variant binding in darker red cloth. ¶ Second impression: 1968. ¶ Third impression: 1973.

1965

1965 203 Charlotte Brontë, Jane Eyre, lithographs by Anthony Colbert. 228 × 148 × 35 mm. Pp. [i–iv] v–x [xi–xii], 1–410 [411–412]: [12] leaves of two-colour plates. Type: Scotch Roman. Printed by Richard Clay, the litho graphs by Cowell. Bound by Mackay in quarter black leather series binding, green cloth boards (see item 191); red endleaves. Black and grey slip case. The lithographs are mostly printed in pink and green. ¶ Second impression: 1966. ¶ Third impression: 1970. ¶ Fourth impression: 1974. ¶ Reissued with new illustrations [i.e. another impression]: 1991–1996 item 702, revised and issued with the other six novels by the Brontë sisters. See also items 827 and 828, issued with Wuthering Heights and separately. 204 Richard III, the great debate, [containing] Sir Thomas More, history of King Richard III [and] Horace Walpole, historic doubts on the life and reign of King Richard III, edited with introductions by Paul Kendall. 219 × 143 × 25 mm. Pp. [1–4] 5–244: [8] leaves of gravure plates (facing pp. [1], 16, 81, 96, 161, 176, 209 and 224). Type: Van Dijck with Old English for display. Printed by Mackay, the lithographs by D.H. Greaves. Bound by Mackay in quarter black cloth, white cloth boards with a design in orange, black and gold; orange endleaves. Black and mottled grey slip case. The plates reproduce contemporary portraits and etchings, except for the last which shows an illuminated miniature of ‘The Tower And London Bridge’ from a medieval manuscript. The text was edited from More’s History, first published as a continuation of John Hardyng’s Chronicle in 1543 with additions by the publisher Richard Grafton, and Walpole’s Historic doubts of 1768. For a later work on Richard see item 1220. ¶ Second impression: 1966. 205 Jonathan Swift, Gulliver’s travels, lithographs by Edward Bawden. 227 × 153 × 29 mm. Pp. [1–13] 14–262 [263–264]: [16] leaves of colour plates. Type: Ehrhardt with Castellar for display. Printed by Mackay, the lithographs by Cowell. Bound by Mackay in quarter green cloth, grey and red patterned paper boards by Bawden; dark red endleaves. Grey slip case. Number 41 in ‘The Folio fifty’ (see item 8). Eight of the plates were redrawn in a larger format after those in the first edition of 1948, which included only the first two ‘travels’ (see item 8). In addition there are four maps and two other illustrations in the text (on pages [24], [80], [142], 156, 168 and [198]) taken from editions of 1726 and 1735. ¶ Second impression: 1966. ¶ Third impression: 1969. ¶ Fourth impression: 1972 (not seen). ¶ Fifth impression: 1976. ¶ Sixth impression: 1979. ¶ Reissued [i.e. another impression]: 1990, printed and bound by the Bath Press. Quarter red cloth, spine lettered in silver; grey endleaves. ¶ Reissued, second printing [i.e. another impression]: 1991. ¶ Reissued, third printing [i.e. another impression]: 1992. ¶ Reissued, fourth printing [i.e. another impression]: 1994. ¶ Reissued, fifth printing [i.e. another impression]: 1997. ¶ Reissued, sixth printing [i.e. another impression]: 1998, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. ¶ Seventh printing: 2007. Plate originally facing p. 28 moved to frontispiece. Bound by Cambridge University Press. Quarter blue cloth, grey and blue patterned paper boards; blue endleaves. Blue slip case. 206 Francisco Balbi di Correggio, the siege of Malta 1565, translated from the Spanish edition of 1568 by Ernle Bradford. Maps by K.C. Jordan. 251 × 157 × 19 mm. Pp. [1–5] 6–192: [8] leaves of gravure plates (facing p. [1] and between pp. 40–41, 72–73, 88–89, 104–105, 120–121, 152–153 and 168–169). Type: Poliphilus and Blado.

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Printed by Butler and Tanner, the gravures by D.H. Greaves. Bound by Key and Whiting in quarter parchment, brown wood-veneer boards; endleaves with a map in green. Brown and dark blue slip case. The frontispiece reproduces a portrait of ‘Grand Master La Valette’, and the remaining plates are all double-page reproductions of etchings by Mateo Perez d’Aleccio. There are also maps on pages 15, 46, 48, 57, 62, 65, 70, 71, 77, 84, 88, 95, 99, 102, 113, 118, 121, 126, [132], 149, [151], 160, 172, 176 and 183, as well as on the endleaves. The translation was specially commissioned by Folio. 207 Stendhal [Henri Beyle], scarlet and black, a chronicle of the nineteenth century, translated and with an introduction by Margaret R.B. Shaw and wood-engravings by Frank Martin. 227 × 148 × 37 mm. Pp. [i–iv] v–xvii [xviii], [1–2] 3–482 [483–486]. Type: Times New Roman with Centaur for display. Printed by Richard Clay. Bound by Mackay in full red linen with a repeat pattern in grey by Martin, black leather spine-label; black endleaves. Black slip case. The illustrations consist of 13 full-page wood-engravings, including the frontispiece (which were also available as a separate suite of prints, in a limited edition of 75 copies). The work was first published in Paris in 1831 as Le rouge et le noir, and Shaw’s translation first appeared in 1953. ¶ Second impression: 1966. ¶ Reissued [i.e. another impression]: 1993, printed and bound by Cambridge University Press. Green leather spine-label; grey endleaves. Grey slip case. 208 Publius Ovidius Naso, ars amatoria, translated by B.P. Moore, drawings by Victor Reinganum. 189 × 129 × 17 mm. Pp. [1–4] 5–127 [128]. Type: Blado and Poliphilus. Printed in brown and black by Butler and Tanner. Bound by Mackay in quarter dark green leather, brown cloth boards; endleaves with a repeat pattern in brown by Reinganum. Grey slip case. Part of an informal poetry series (see item 4). The illustrations consist of a full-page frontispiece, three head-pieces, and 71 smaller decorations printed from 48 different designs (of which 17 are repeated once, and three are repeated twice). There is a typographical error (‘mus’ for ‘must’) on page 28, which was corrected for the second impression. ¶ Second impression: 1967. 209 Samuel Johnson, lives of the English poets, selected and edited by Robert Montagu, Milton, Cowley, Shenstone, Congreve, Rochester, Thomson, Gay, Pope, Gray, Otway, Dryden. 228 × 150 × 38 mm. Pp. [1–5] 6–420: [12] leaves of plates. Type: Baskerville with Gresham for display. Printed by Richard Clay, the lithographs by D.H. Greaves. Bound by Mackay in quarter dark brown cloth, marbled paper boards; pale yellow endleaves. Brown slip case. The plates reproduce portraits of the poets. The portrait of ‘Abraham Cowley’ originally issued with the book (facing p. 129) was in fact the ‘Chandos’ portrait of Shakespeare (easily distinguishable from Cowley by the beard and earring). The explanation given in Folio 21 was that a ‘Learned Foundation’, when asked for a photograph of their portrait of Cowley, supplied Shakespeare by mistake. A cancel plate was printed and issued, but many copies survive with the erroneous plate. 209.5 The fortunes & misfortunes of the famous Moll Flanders . . . by Daniel Defoe, with drawings by Nigel Lambourne. As the 1954 edition (item 65), but reset throughout. 227 × 151 × 26 mm. Pp. [i–iv] v–xi [xii], 1–329 [330–332]. Printed and bound by Mackay. Full orange cloth with a design in green by Lambourne, black leather spine-label. Grey slip case. ¶ Second impression: 1967. ¶ Third impression: 1972 (not seen). ¶ Reprinted with a new binding [i.e. fourth? impression]: 1997, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in quarter dark red cloth, pale brown cloth boards printed with the title in red and black; dark red endleaves. Pale brown slip case. The title has been set on the cover in a variety of didone typefaces and in Gill Shadow.

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210 Mother Courage, Johann von Grimmelshausen, translated by Walter Wallich, lift-ground drawings by Fritz Wegner. 208 × 145 × 18 mm. Pp. [1–4] 5–151 [152]. Type: Plantin with Studio for display. Printed by Richard Clay. Bound by Mackay in full cream canvas with a frieze design in blue by Wegner; dark red endleaves. Blue-grey slip case. The illustrations consist of a full-page frontispiece and 28 smaller illustrations in the text. The term ‘lift-ground’ on the title-page appears to refer to scraperboard. This is the first English translation of this text, and was specially commissioned by Folio. ¶ Second impression: 1967. 211 The voyage of the frigate Pallada, Ivan Goncharov, edited and translated by N.W. Wilson. 253 × 162 × 25 mm. Pp. [1–6] 7–266 [267–268]: [8] leaves of gravure plates (facing pp. [1], 28, 61, 92, 141, 172, 205 and 236). Type: Ehrhardt. Printed by Mackay, the gravures by D.H. Greaves. Bound by Mackay in full blue-green cloth with an illustrative design in dark blue; endleaves with a map in dark blue. Dark blue slip case. The plates reproduce contemporary drawings and etchings. In addition there are maps on pages 57, 135, 189 and 220. This translation, from the complete Soviet Muraveisky edition of Goncharov’s work (published in 1957), was another of those specially commissioned for Folio. ¶ Second impression: 1967. 212 Renoir: paintings, drawings, lithographs and etchings, selected and introduced by Nigel Lambourne. 295 × 218 × 10 mm. Pp. [1–76]. Type: Garamond. Printed and bound by Jarrold. Quarter dark green buckram, green vegetable parchment (‘Elephanthide’) boards. Glassine dust-jacket. The Presentation Volume for 1966. The illustrations consist of 32 colour reproductions of paintings, and 29 monochrome reproductions of drawings, lithographs and etchings. The text and illustrations were all printed by photolithography. ¶ Second impression: 1966. 213 James Joyce, a portrait of the artist as a young man, drawings by Dodie Masterman. Introduction by Tim Wilkinson. 227 × 137 × 22 mm. Pp. [1–6] 7–263 [264]. Type: Bell. Printed and bound by Mackay. Full brown cloth with an illustrative design in green by Masterman; pale yellow endleaves. Green slip case. There are eight full-page illustrations printed from line-blocks in the text as pages [2], [34], [73], [101], [143], [163], [196] and [227]. This was the first Folio book to be bound with a flat spine, a style which Charles Ede thought ‘particularly suitable for some twentieth-century titles’. ¶ Second impression: 1966. 214 Grimm’s folk tales, translated by Eleanor Quarrie with engravings by George Cruikshank. 188 × 130 × 26 mm. Pp. [1–11] 12–231 [232]: [16] leaves of plates. Type: Spectrum. Printed by the Alden Press, the lithographs by Mackay. Bound by Mackay in quarter red buckram, pale green paper boards patterned in green; pale green endleaves. Dark brown slip case. This translation was published in 1949 by Folio in a completely different form, with 18 plates by Cruikshank (see item 21). Here 16 of the same plates are printed in monochrome on white paper with a pale yellow-green tint. The work was issued in an informal series of children’s classics (see item 162). 215 William Shakespeare, King Henry IV part one, introduction by Roger Planchon, designs by René Allio. Glossary by Jean Rook. 223 × 171 × 14 mm. Pp. [1–2] 3–104: [8] leaves of colour plates (facing pp. [1], 16, 52, 61, 68, 77, 93 and 100). Type: Bulmer. Printed in blue and black by Mackay, the lithographs by Brüder Rosenbaum.

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Bound by Mackay in blue series binding (see item 27). Mottled grey slip case. The costume designs reproduced in the plates were made for Roger Planchon’s production of 1960. Part two was published in 1975 (item 383). ¶ Second impression: 1975. 216 Memoirs of the Comte de Gramont by Anthony Hamilton, translated by Horace Walpole, edited with an introduction by David Hughes. 228 × 149 × 27 mm. Pp. [1–5] 6–256: [16] leaves of plates. Type: Fournier. Printed by Richard Clay, the lithographs by Jarrold. Bound by Mackay in full dark green buckram with a design in gold; green endleaves. Dark grey-green slip case. The plates are reproductions of etchings from the 1793 edition of Walpole’s translation, from which the text was also edited. The binding is based on a design executed by Samuel Mearne for Charles II, now in the British Library. 216.5 Greek, Etruscan and Roman pottery and small terracottas, a brief guide for the small collector, with a note on Greek dress, by Felicity Nicholson. Collectors’ Corner. Drawings by Christina Hoare. 253 × 190 × 10 mm. Pp. [1–4] 5–66 [67–68]. Type: Poliphilus and Blado. Printed and bound by Jarrold. Quarter black linen, red-brown cloth boards; endleaves with a map in dark blue. Glassine dust-jacket and mottled pink slip case. This appears to have been the first and last use of the ‘Collectors’ Corner’ imprint for a book. Collectors’ Corner, later renamed ‘Folio Fine Art’, was an attempt to make prints and other collectables available to members at affordable prices. The text is illustrated with 20 groups of line-drawings by Hoare and 44 mono chrome photographs.

1966

1966 217 Erich Maria Remarque, all quiet on the western front, translated by A.W. Wheen. Lithographs by Charles Keeping. 221 × 143 × 17 mm. Pp. [1–4] 5–184: [12] leaves of two-colour plates. Type: Imprint with Mercurius for display. Printed by Mackay, the lithographs by Cowell. Bound by Mackay in full pale brown canvas with a design in darker brown by Keeping; brown endleaves. Brown slip case. The lithographs are printed in brown and black. The capitals at the beginning of each chapter were printed using a ‘stippled’ version of Mercurius, in order that ‘they did not overpower the page’ (Folio 21). ¶ Second impression: 1967. 218 The autobiography of Benvenuto Cellini, translated by George Bull. 253 × 165 × 31 mm. Pp. [1–5] 6–351 [352–384]. Type: Bembo. Printed by Richard Clay, the lithographs by Jarrold. Bound by Mackay in full dark red buckram with a design in gold; pale grey endleaves. Grey slip case. The design of the binding is based on a mid-sixteenth-century Italian binding now in the British Library. Pages [353–384] consist of a catalogue of ‘The Works Of Benvenuto Cellini’, with photographs of all the surviving works reproduced lithographically, with letterpress captions. ¶ Second impression: 1967. ¶ Third impression: 1970. 219 The life of Mr Jonathan Wild the great by Henry Fielding, with wood-engravings by Frank Martin. 227 × 147 × 19 mm. Pp. [1–4] 5–186 [187–188]. Type: Plantin. Printed and bound by Mackay. Full white linen with a repeat pattern in brown by Martin, black leather spine-label. Grey or red slip case. The title-page is a wood-engraving, with the title set above a large vignette showing Wild beside a gallows saying ‘D—n Me Tis Only A Dance Without Music’, with the name of the artist and the imprint wood-engraved beneath. In addition there are 22 wood-engraved illustrations in the text. ¶ Reissue with new binding [i.e. another impression]: 1995 item 818, issued with three other works by Fielding. 220 Major John Corneille, journal of my service in India, edited with an introduction by Michael Edwardes, illustrations by B.S. Biro. Map by K.C. Jordan. 218 × 146 × 21 mm. Pp. [1–3] 4–181 [182–184]: frontispiece. Type: Bas kerville. Printed by Richard Clay, the frontispiece by Jarrold. Bound by Mackay in full brown cloth with an etching in black; endleaves with the coats of arms of George II and the East India Company. Brown slip case. The frontispiece reproduces a page from the original manuscript, which was compiled between 1754 and 1757. This is the first publication of the diary, which was discovered in France in the early 1960s. Val Biro’s 14 scraperboard illustrations consist of 11 head-pieces, two cartouches (used on the divisional-titles for the two parts of the book), and the title-page vignette. The etching used on the binding shows Fort Saint George at Madras, and was made at around the time Corneille was in India. There is a map of Plassy on page 122. 221 Zuleika Dobson or An Oxford love story, with illustrations by the author, Max Beerbohm. 220 × 144 × 24 mm. Pp. [1–6] 7–228: [8] leaves of colour plates (facing pp. [1], 16, 45, 86, 112, 129, 161 and 176). Type: Ehrhardt. Printed by Mackay, the lithographs by Jarrold. Bound by Mackay in full yellow linen with a design in brown; endleaves with medallions in colour by Beerbohm. Dark grey-green slip case. The plates reproduce for the

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first time some of the watercolours which Beerbohm had made for his own copy of the book. Two further portrait medallions are reprinted on the endleaves. ¶ Second impression: 1967. 222 Hassan, the story of Hassan of Bagdad and how he came to make the golden journey to Samarkand, James Elroy Flecker, introduction by Basil Dean, costume designs by Peter Bucknell. 252 × 192 × 14 mm. Pp. [1–2] 3–95 [96]: [6] leaves of colour plates (facing pp. [1], 16, 33, 48, 65 and 80). Type: Centaur and Arrighi with hand-drawn lettering for the title. Printed in black and blue on pale blue ‘Silurian’ paper by Richard Clay, the lithographs by Brüder Rosenbaum. Bound by Mackay in full dark blue artificial moiré silk; pale blue endleaves. Gold slip case. The costume designs and introduction were both produced for the Festival of Britain production of the play in 1951. ¶ Second impression: 1969, printed on a different pale blue paper. ¶ Third printing: 2015. Printed on Old Mill Stucco paper by Memminger MedienCentrum. Bound by Josef Spinner. 223 Contemporary chronicles of the Hundred Years War, from the works of Jean le Bel, Jean Froissart & Enguerrand de Monstrelet. Translated & edited by Peter E. Thompson. Maps by K.C. Jordan. 252 × 162 × 37 mm. Pp. [1–7] 8–358 [359–360]: [11] leaves of colour plates. Type: Poliphilus and Blado with Hammer Uncial for display. Printed by Mackay, the lithographs by Jarrold. Bound by Mackay in quarter dark blue leather, wood-veneer boards; endleaves with crests in dark blue. Blue-grey slip case. The plates reproduce miniatures from manuscripts in the British Library and Bibliothèque Nationale. In addition there are 13 maps by Jordan in the text. Thompson’s translation and selection from the three chronicles was specially commissioned by Folio. ¶ Second impression: 1966. ¶ Third impression: 1969 (not seen). 223.5 Geoffrey Chaucer, the Canterbury tales, translated into modern English by Nevill Coghill . . . 222 × 125 × 28–29 mm. 2 vols (pp. [1–6] 7–287 [288]; [1–6] 7–304). Type: Plantin with Old English for display. Printed and bound by Mackay. Quarter dark brown leather, canvas boards; endleaves with decorations in black by Edna Whyte. Grey-green two-volume slip case. The text is a line-for-line resetting of the earlier edition, with the same illustrations, consisting of 22 full-page, and 42 smaller woodcuts, the latter used as head- and tail-pieces. The title-page has been redated ‘MCMLXVI’, but this is the only obvious way to distinguish the letterpress of the two editions. Another impression of the present edition, with the two volumes bound together and continuously paginated, describes itself as the ‘second edition’. ¶ Third impression [i.e. second edition, second? impression]: 1968. ¶ Fourth impression [i.e. second edition, third? impression]: 1970. 224 Dickens’ London, essays selected and introduced by Rosalind Vallance, engravings by George Cruikshank. 228 × 148 × 26 mm. Pp. [1–4] 5–239 [240]: [15] leaves of plates. Type: Bell with Thorowgood for display. Printed by Mackay, the lithographs by the Baynard Press. Bound by Mackay in full pale brown buckram with a design in brown by Cruikshank; green endleaves. Dark brown slip case. The plates reproduce etchings originally published in The gentleman’s pocket magazine in 1827 and 1829 and show London characters such as a ‘Brewer’s Drayman’ and a ‘Bricklayer’s Labourer’. Most of the text is drawn from Sketches by Boz (1836) and The uncommercial traveller (1860) and all the essays had previously appeared in various periodicals to which Dickens contributed. In 1975 Folio published Dickens in Europe as a companion volume in a uniform style (item 373).

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¶ Second impression: 1967. ¶ Third impression: 1970. ¶ Fourth impression: 1972. ¶ Fifth impression: 1974, the lithographs printed by Dunn. ¶ Sixth impression: 1977. ¶ Seventh impression: 2009, the pagination running [1–4] 5–239 [240–242]. Printed and bound by Cambridge University Press. Quarter brown cloth with paper boards printed with etchings by Cruikshank and spine redesigned; dark cream endleaves. ¶ Eighth impression: 2009. ¶ Ninth impression: 2009. Printed and bound by T.J. International. ¶ Tenth impression: 2010. ¶ Eleventh impression: 2011. ¶ Twelfth impression: 2012. 225 Anne Brontë, the tenant of Wildfell Hall, lithographs by Julian Trevelyan. 227 × 150 × 33 mm. Pp. [1–2] 3–377 [378–380]: [12] leaves of two-colour plates. Type: Scotch Roman. Printed by Richard Clay, the lithographs by the Baynard Press. Bound by Mackay in quarter black leather series binding, blue linen boards (see item 191); grey endleaves. Grey and black slip case. Trevelyan’s lithographs are printed in grey-blue and dark brown. ¶ Second impression: 1969. ¶ Reissued with new illustrations [i.e. another impression]: 1991–2004 item 702, revised and issued with the other six novels by the Brontë sisters. 226 Paris in the Revolution, a collection of eyewitness accounts edited by Reay Tannahill. 253 × 190 × 14 mm. Pp. [1–7] 8–127 [128]. Type: Garamond. Printed and bound by Jarrold. Quarter black buckram, blue paper boards decorated in white. Glassine dust-jacket. The Presentation Volume for 1967. The entire work was printed lithographically, including the 52 numbered illustrations (26 monochrome and 26 in colour), mostly reproducing contemporary prints and paintings. In addition there is a border on the title-page taken from Révolutions de Paris (1789). The binding reproduces part of the ‘Décret De La Convention Nationale’ of 1793. ¶ Second impression: 1967. ¶ Third impression: 1967. 227 Kálmán Mikszáth, St Peter’s umbrella, translated by B.W. Worswick, woodcuts by Zoltan Perei. Revised by István Fekete. Introduction by ‘R.B.C.’. 210 × 143 × 23 mm. Pp. [1–6] 7–218 [219–220]. Type: Bulmer with Albertus for display. Printed (with the title-page in pink and black) and bound by Mackay. Full green cloth with a design in brown by Perei; endleaves with a repeat pattern in pink by Perei. Brown slip case. The illustrations consist of 17 woodcuts, including the title-spread. The text is a revision by István Fekete of Worswick’s translation, which was first published in 1900. 228 Little women, Louisa M. Alcott, drawings by Dodie Masterman. 229 × 150 × 26 mm. Pp. [1–4] 5–251 [252]. Type: Bembo. Printed by the Stellar Press. Bound by Mackay in full pale blue canvas with a design in dark blue; yellow endleaves. Yellow-brown slip case. The illustrations consist of 13 full-page drawings, including the frontispiece, printed from line-blocks. The work was issued in an informal series of children’s classics (see item 162). ¶ Second printing: 2007, the pagination running [1–4] 5–251 [252–256]. Printed and bound by Cambridge University Press. Quarter pale blue cloth with white paper boards with a repeat illustration in green, blue and pink by Masterman; pale blue endleaves. Blue slip case. 229 Dove cottage, the Wordsworths at Grasmere 1799–1803, being the Grasmere journal by Dorothy Wordsworth, together with selections from the correspondence of Dorothy and William Wordsworth, edited by Kingsley Hart. Photographs by John Preston-Bell. 228 × 148 × 22 mm. Pp. [1–4] 5–217 [218–220]: [12] leaves of gravure plates. Type: Fournier. Printed by Richard Clay, the gravures by D.H. Greaves. Bound by Mackay in quarter dark red buckram, red pastepaper boards; endleaves with a lithograph of Dove Cottage in grey. Grey slip case. The photographs were specially commissioned by Folio. Charles Ede says in Folio 21 that ‘The result, we feel, justified the experiment’.

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230 William Shakespeare, twelfth night, introduction by Peter Hall, designs by Lila di Nobili. Glossary by Jean Rook. 222 × 172 × 14 mm. Pp. [1–3] 4–88: [8] leaves of colour plates (facing pp. [1], 16, 21, 28, 33, 48, 65 and 72). Type: Van Dijck. Printed in green and black by Mackay, the lithographs by Brüder Rosenbaum. Bound by Mackay in green series binding (see item 27). Mottled grey slip case. The costume designs by Madame di Nobili are said in the text to have been made for the Royal Shakespeare Company production at Stratford in 1956. This is an error, however. They were actually made for Sir Peter Hall’s 1958 production, which was revived in 1960. ¶ Second impression: 1973, bound in darker green cloth.

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1967 231 Plutarch, the rise and fall of Athens, translated with an introduction and commentary by Ian Scott-Kilvert, wood-engravings by Raymond Hawthorn. Maps by K.C. Jordan. 254 × 164 × 32 mm. Pp. [1–7] 8–343 [344]. Type: Poliphilus and Blado with Columna for display. Printed and bound by Mackay. Full green cloth with a design in gold; endleaves with a map in red-brown. Red-brown and green slip case. The text is a selection of eight of Plutarch’s Lives grouped in chronological order. Each ‘life’ has a divisional-title-leaf printed in Columna with one of Hawthorn’s full-page wood-engravings on the verso. Thus, with the frontispiece, there is a total of nine illustrations (on pages [2], [20], [58], [98], [134], [162], [212], [254] and [298]). In addition there are maps on pages 76, 79, 105, 122, 237, [331], 334, 335, 338 and 341. The work is bound and printed to be uniform with The twelve Caesars (1964 item 192). ¶ Second impression: 1969. 232 Herman Melville, three stories, with wood-engravings by Garrick Palmer. Introduction by John Hampden. 226 × 174 × 22 mm. Pp. [1–6] 7–210 [211–212]. Type: Bulmer with Vendôme for display. Printed (with the title-spread in blue and black) and bound by Mackay. Full blue linen with an illustrative design in darker blue by Palmer; grey endleaves. Dark blue slip case. The three stories are ‘Bartleby’, ‘Benito Cerino’ and ‘Billy Budd’, the titles being listed on the page facing the title-page; both pages are printed within blue borders. The illustrations consist of eight full-page wood-engravings (printed as pp. [33], [47], [56], [117], [129], [141], [166] and [199]). Charles Ede had planned to print the book in a smaller format but, due to a misunderstanding, the artist produced his first wood-engraving in a size too large, and the format of the text was consequently altered to fit. 233 Sir Roger de Coverly by Joseph Addison, Sir Richard Steele & Eustace Budgell, edited by John Hampden, with wood-engravings by Richard Shirley Smith. From the text edited by D.F. Bond. 226 × 148 × 17 mm. Pp. [1–6] 7–158 [159–160]. Type: Baskerville. Printed by Richard Clay. Bound by Mackay in quarter brown buckram, marbled paper boards; green endleaves. Brown slip case. The illustrations consist of a frontispiece portrait of Addison and Steele and 30 wood-engraved head-pieces, one used at the opening of each essay. Shirley Smith also designed a decorative rule, which is used beneath each head-piece and on the title-page. The essays themselves were first published in Addison and Steele’s Spectator in 1711 and 1712, and are reprinted here from the Oxford edition edited by D.F. Bond. ¶ Second impression: 1968. 234 Franz Kafka, the trial, photogrammes by Nigel Lambourne. Translated by Willa and Edwin Muir. 225 × 139 × 23 mm. Pp. [1–6] 7–219 [220]. Type: Monophoto Apollo. Printed by Oliver Burridge Ltd. Bound by Mackay in full black PVC with a design in black, grey and orange; grey endleaves. Mottled grey slip case. Some copies have the spine lettered in gold, others in orange. This was the first book to be set in Monophoto Apollo, which had been specially designed for filmsetting. This, it was felt, would be in keeping with the photogrammes and self-consciously ‘modern’ style of binding. The work was printed lithographically throughout. The illustrations consist of 41 abstract designs, mostly printed in the outer margins, but also including the title-spread. ¶ Second impression: 1968.

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235 The song of songs, copper engravings by Ru van Rossem. 278 × 179 × 9 mm. Pp. [1–4] 5–22 [23–24]: [6] leaves of collotype plates (facing pp. [1], 8, 11, 14, 19 and 22). Type: Blado and Poliphilus. Printed by Mackay on pale pink ‘Silurian’ paper with pink fibres, the collotypes by Van Leer. Bound by Mackay in full pale orange silk; pale pink ‘Silurian’ endleaves. Grey slip case. Van Rossem’s copperplates were executed for an edition published by the Collectors’ Book Club in 1949, and are reproduced here from the originals by collotype. There are two typographical errors on page 15, ‘By’ for ‘But’ in line 2 and ‘busy’ for ‘bushy’ in line 18, which were corrected for the second impression. ¶ Second impression: 1968. 236 The history and remarkable life of the truly honourable Colonel Jack by Daniel Defoe, with wood-engravings by John Lawrence. 223 × 148 × 31 mm. Pp. [1–2] 3–318 [319–320]: [12] leaves of two-colour wood-engraved plates. Type: Caslon. Printed by Richard Clay, the wood-engravings by Mackay. Bound by Mackay in full yellow linen with an illustrative design in black by Lawrence, black leather spine-label; black endleaves. Black slip case. Lawrence’s full-page wood-engravings are printed in brown and black, each colour from a sep arate block. 237 The history of the great rebellion, Edward Hyde: Earl of Clarendon, edited by Roger Lockyer. Maps by K.C. Jordan. 255 × 161 × 39 mm. Pp. [1–3] 4–469 [470–472]: [32] leaves of gravure plates. Type: Van Dijck with Fell for display. Printed by Oxford University Press, the gravures by D.H. Greaves. Bound by Mackay in full dark blue buckram with a design in gold; endleaves printed in blue-grey. Grey slip case. The binding design is based on one executed around 1700 and now in the British Library. The text is selected and edited from books 6–11 of the History, which was first published in Oxford in 1702. The plates reproduce contemporary etchings and portraits, including the frontispiece portrait from the first edition. The endleaves bear reprints of plates from 1702, showing the standards of the opposing forces. In addition there are 39 maps by Jordan printed in the text. 237.5 The history of the adventures of Joseph Andrews and his friend Mr Abraham Adams, by Henry Fielding . . . As the 1953 edition (item 56) but reset throughout. Pp. [1–4] 5–319 [320]. Printed by Richard Clay. Bound by Mackay; pale yellow endleaves. Mottled grey or plain brown slip case (instead of the dust-jacket). 238 Ivan Turgenev, the torrents of spring, translated by David Magarshack, illustrated by Faith Jaques. 221 × 144 × 20 mm. Pp. [1–2] 3–167 [168]: [8] leaves of two-colour plates (facing pp. [1], 16, 35, 48, 55, 80, 120 and 145). Type: Fournier with June for display. Printed by Richard Clay, the lithographs by the Baynard Press. Bound by Mackay in quarter blue linen, pastepaper boards; pale blue endleaves. Grey slip case. The plates are printed in subtle shades of blue-grey and green. ¶ Second impression: 1968. 239 Eminent Victorians, Cardinal Manning, Florence Nightingale, Dr Arnold, General Gordon [by] Lytton Strachey. 228 × 150 × 25 mm. Pp. [1–9] 10–286 [287–288]: [7] leaves of gravure plates (facing pp. [1], 25, 112, 123, 175, 203 and 256). Type: Scotch Roman. Printed by Richard Clay, the gravures by D.H. Greaves. Bound by Mackay in full red buckram with a design in black; pale blue endleaves printed in black. Brown slip case. The endleaves reproduce the first page of Strachey’s manuscript. The illustrations consist of portraits of the Victorians, some being photographs and some paintings. ¶ [Another impression]: Folio Press, 1979 item 449.

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240 Canaletto, paintings, drawings and etchings selected and introduced by Gregory Martin. 215 × 295 × 10 mm. Pp. [1–76]. Type: Baskerville. Printed and bound by Jarrold. Quarter dark blue buckram, blue paper boards. Glassine dust-jacket. The Presentation Volume for 1968. Besides the engraved frontispiece portrait of Canaletto, there are 62 numbered illustrations reproducing paintings, drawings and etchings by the artist, including 32 in colour. Some copies were published in America with a cancel title-leaf bearing the imprint of Newbury Books, Boston, and dated 1970. These copies were issued in a white dust-jacket printed in blue and black. 241 William Shakespeare, King Henry VI, part one [–three], introduction by Dame Peggy Ashcroft, designs by Ann Curtis. Glossaries by Jean Rook. 222 × 171 × 15–16 mm. 3 vols (pp. [1–2] 3–96: [6] leaves of colour plates (facing pp. [1], 16, 33, 48, 65 and 80); [1–6] 7–100: [6] leaves of colour plates (facing pp. [1], 16, 33, 48, 65 and 80); [1–6] 7–97 [98–100]: [8] leaves of colour plates (facing pp. [1], 16, 33, 48, 53, 60, 65 and 80)). Type: Times New Roman. Printed in blue and black by Mackay, the lithographs by Brüder Rosenbaum. Bound by Mackay in blue series binding (see item 27). Mottled grey three-volume slip case. The designs were made for the Royal Shakespeare Company production at Stratford in 1964. 242 Travels with a donkey in the Cevennes, Robert Louis Stevenson, drawings by Edward Ardizzone. 221 × 136 × 18 mm. Pp. [1–10] 11–135 [136]. Type: Bell. Printed (with the title-page in green and black) and bound by Mackay. Full green cloth with a design in black by Ardizzone; orange endleaves. Green slip case. There are 32 illustrations, mostly vignettes, including the frontispiece and cover design. Ardizzone’s original head-piece drawings incorporated capital letters felt by the designer (Peter Guy) to be unusable; the artist was amused at his request to remove them, and conceded ‘I always was a ham-fisted letterer’. ¶ Second impression: 1969. ¶ Third impression: 1970. ¶ Fourth impression: 1972. ¶ Fifth impression: 1975. ¶ Sixth impression: 1978 (not seen). ¶ Seventh impression: 1981, printed by Western Printing Services. Some copies were bound later by the Bath Press. Pale green endleaves. Cream slip case. ¶ Eighth impression: 1988, printed and bound by the Bath Press. Pale yellow endleaves. ¶ Ninth impression: 1990. ¶ Tenth printing: 1992. ¶ Eleventh printing: 1993. ¶ Twelfth printing: 2001, with pale green endleaves. Dark green slip case. ¶ Thirteenth printing: 2003. ¶ Fourteenth printing: 2004. ¶ Fifteenth printing: 2006, with green-grey endleaves. ¶ Sixteenth printing: 2012. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. ¶ Seventeenth printing: 2013. 243 Charlotte Brontë, Villette, lithographs by Clarke Hutton. 228 × 149 × 38 mm. Pp. [1–2] 3–443 [444]: [12] leaves of two-colour plates. Type: Scotch Roman. Printed by Richard Clay, the lithographs by the Baynard Press. Bound by Mackay in quarter black leather series binding, green linen boards (see item 191); red endleaves. Grey slip case. Hutton’s illustrations are printed in pink and dark green. ¶ Reissued with new illustrations [i.e. another impression]: 1991–2004 item 702, revised and issued with the other six novels by the Brontë sisters.

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1968 244 The great Gatsby, F. Scott Fitzgerald, illustrations by Charles Raymond. Introduction by Tim Andrews. 220 × 137 × 18 mm. Pp. [1–6] 7–158 [159–160]: [8] leaves of plates (facing pp. [1], 24, 46, 51, 89, 109, 143 and 146). Type: Imprint with hand-drawn lettering for display. Printed by Mackay, the lithographs by the Baynard Press. Bound by Mackay in full pale yellow cloth with an illustrative design by Raymond; green endleaves. Green slip case. Because of copyright problems this edition was not available in the USA or Canada. 245 The travels of Marco Polo, translated and introduced by Ronald Latham. Maps by K.C. Jordan. 253 × 160 × 34 mm. Pp. [1–7] 8–310 [311–312]: [12] leaves of colour plates. Type: Bembo with display lettering drawn by Lacey Everett. Printed by Richard Clay, the lithographs by Jarrold. Bound by Mackay in quarter black cloth, wood-veneer boards; endleaves with a reverse map by K.C. Jordan. Black slip case. The plates reproduce illuminations from a fourteenth-century French manuscript of the story, now at the Bodleian Library. There are full-page maps by Jordan on pages 39 and 75. ¶ Second impression: 1969. ¶ Third impression: 1973, with a mottled grey slip case. ¶ Reissued [i.e. another impression]: 1990, printed and bound by Butler and Tanner. Red cloth boards; endleaves with the same map in red, but not in reverse. Dark red slip case. The quality of the printing of the plates was improved for this impression. ¶ Reissued, second printing [i.e. another impression]: 1991. ¶ Reissued, third printing [i.e. another impression]: 1992. ¶ Reissued, fourth printing [i.e. another impression]: 1994. ¶ Reissued, fifth printing [i.e. another impression]: 1996. ¶ Reissued, sixth printing [i.e. another impression]: 1997. ¶ Reissued, seventh printing [i.e. another impression]: 1999, with a darker red slip case. ¶ Reissued, eighth printing [i.e. another impression]: 2008, printed and bound by Grafos. Slip case decorated with image from manuscript pasted around sides. 246 Tartarin of Tarascon, Alphonse Daudet, translated by J.M. Cohen, lithographs by M. Lin-Desportes. 209 × 146 × 17 mm. Pp. [1–2] 3–118 [119–120]: [7] leaves of plates (facing pp. [1], 17, 24, 33, 79, 82 and 117). Type: Garamond with Thorowgood italic for display. Printed by Butler and Tanner, the lithographs by the Baynard Press. Bound by Mackay in full orange cloth with a frieze design in black by John Lawrence; yellow endleaves. Grey slip case. This translation was commissioned by Folio. 247 The Northanger set of Jane Austen horrid novels. Folio Press. Edited by Devendra P. Varma. 7 vols (see below). Type: Scotch Roman with Old English for display. Printed by Richard Clay. Bound by Mackay in full black buckram decorated in blind and gold; black endleaves. Black seven-volume slip case. Each title-page has the series title (as above) at the head. The title of the series is drawn from Austen’s Northanger Abbey, in which Miss Isabella Thorpe recommends to Miss Catherine Morland seven novels which she had been told were ‘all horrid’. For many years these seven works were suspected to be the product of Austen’s imagination. But Montague Summers and others proved their existence and published the proof in Notes and queries during the First World War, and Michael Sadleir identified them all in detail in 1927. The present edition of these seven tales of Gothic horror was the first work published under the ‘public’ imprint of The Folio Press, and was also the first typographical book to contain no illustrations of any kind (the Psalms had been given a purely calligraphic treatment in 1952 (item 52)). The seven volumes are as follows:

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[1] Castle of Wolfenbach, in two volumes, by Eliza Parsons. 252 × 150 × 18 mm. Pp. [i–viii] ix–xxiv, [1–2] 3–178 [179–180]. First published in 1793. Varma’s preface to the series is printed on pages xiii–xxiv. [2] Clermont, a tale in four volumes by Regina Maria Roche [quotation from Edmund Waller]. 252 × 157 × 33 mm. Pp. [i–vi] vii–xii, [1–2] 3–372 [373–376]. First published in 1798. [3] The mysterious warning, a German tale in four volumes by Eliza Parsons [quotation from Hamlet]. 252 × 155 × 34 mm. Pp. [i–vi] vii–xviii, [1–2] 3–380 [381–342]. First published in 1796. [4] The necromancer, or The tale of the Black Forest, founded on facts, translated from the German of Lawrence Flammenberg by Peter Teuthold, in three parts. 252 × 154 × 19 mm. Pp. [i–vi] vii–xvi, [1–2] 3–157 [158]. First published in 1794. [5] The midnight bell, a German story founded on incidents in real life, in three volumes, by Francis Lathom [quotation from Othello]. 252 × 156 × 20 mm. Pp. [i–vi] vii–xv [xvi], [1–2] 3–196 [197–200]. First published in 1798. [6] The orphan of the Rhine, a romance in four volumes by Eleanor Sleath [quotation from As you like it]. 252 × 156 × 34 mm. Pp. [i–vi] vii–xi [xii–xiv], [1–2] 3–359 [360–362]. First published in 1798. [7] Horrid mysteries, a story translated from the German of the Marquis of Grosse by Peter Will, in four volumes. 252 × 155 × 33 mm. Pp. [i–vi] vii–xviii, [1–2] 3–357 [358]. First published in 1796. 248 The life and death of the Mayor of Casterbridge, the story of a man of character, by Thomas Hardy, wood-engravings by Peter Reddick. 228 × 148 × 29 mm. Pp. [1–4] 5–334 [335–336]. Type: Baskerville. Printed by Richard Clay. Bound by Mackay in full dark brown cloth decorated in green with a design of a corn dolly, dark brown leather spine-label; brown endleaves with Emery Walker’s ‘Map of the Wessex of the Novels and Poems’. Brown slip case. Including the frontispiece, there are 36 wood-engravings, printed in the text. This was the first in a series of the works of Hardy, all published in a uniform binding and typographical style, and with wood-engravings by Peter Reddick (see also items 294, 545, 583, 607, 629, 654, 681, 698.5, 709, 716, 744, 773, 769.5 and 896). For many of the later titles, and for later impressions of the present edition, Emery Walker’s map was redrawn by David Eccles for the endleaves. Some of the later impressions were issued only with the boxed sets of Hardy’s novels. ¶ Reprint [i.e. second impression]: 1986, measuring 227 × 150 × 24 mm. Printed and bound by the Bath Press. With the spine-label blocked rather than of leather. Pale brown slip case. This impression was described separately in Folio 40 as item 562. ¶ Reissued 1986, reprinted [i.e. third impression]: 1988. ¶ Third [i.e. fourth] printing: 1990. ¶ Fourth [i.e. fifth] printing: 1991. Part of this impression was issued with item 698.5. ¶ Fifth–sixth [i.e. sixth–seventh] printing: 1992 item 698.5, issued with five other novels by Hardy. ¶ Seventh [i.e. eighth] printing: 1993. Part of this impression was issued with item 698.5. ¶ Eighth [i.e. ninth] printing: 1993. Part of this impression was issued with item 698.5. ¶ Ninth [i.e. tenth] printing: 1993. Part of this impression was issued with items 698.5 and 769.5. ¶ Tenth [i.e. eleventh] printing: 1996 (not seen). ¶ Eleventh [i.e. twelfth] printing: 1997. Part of this impression was issued with item 896. 249 Malleus maleficarum by Jacobus Sprenger and Heinrich Kramer, the hammer of witchcraft, translated by Montague Summers and edited with an introduction by Pennethorne Hughes. Title-page decoration by Val Biro. 251 × 159 × 25 mm. Pp. [1–4] 5–221 [222–224]. Type: Plantin with Old English for display. Printed (with the title-page in red and black) by Richard Clay. Bound by Mackay in full black cloth with a design in silver and metallic red by Fiona Campbell; grey endleaves. Mottled grey slip case. The work is illustrated with 24

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woodcuts taken from Father Franciscus Maria Guiaccius’s Compendium maleficarum of 1626. The text was first published in Latin in 1468, and Summers’s translation first appeared in 1928. ¶ Second impression: 1969, with the spine lettered vertically rather than horizontally. 250 Monkey, Wu Ch’êng-ên, translated by Arthur Waley, illustrated by Duncan Grant. 227 × 148 × 31 mm. Pp. [1–4] 5–311 [312]: [12] leaves of two-colour plates. Type: Centaur and Arrighi. Printed by Richard Clay, the lithographs by the Baynard Press. Bound by Mackay in quarter dark green cloth, white paper boards with a design in red and black by Grant; grey endleaves. Grey slip case. The lithographs are printed in grey-green and black. 251 The fight for freedom: Palermo, 1860, [by] F. Brancaccio di Carpino, tre mesi nella vicaria di Palermo nel 1860, translated and edited by John Parris. 227 × 172 × 24 mm. Pp. [1–5] 6–216: [12] leaves of gravure plates. Type: Walbaum. Printed by Mackay, the gravures by D.H. Greaves. Bound by Mackay in full red cloth with a contemporary etching in black; endleaves with a map in red. Black slip case. The illustrations consist of contemporary portraits, etchings and photographs; the plate facing page 181 shows what is described as one of the earliest examples of photomontage used to produce a ‘fake’ news photograph. This is the first English translation of the text, and was specially commissioned by Folio. 252 The life of Samuel Johnson by James Boswell, exhibiting a view of literature & literary men in Great Britain for near half a century during which he flourished, edited by Rodney Shewan, volume one [–two]. 254 × 163 × 38–44 mm. 2 vols (pp. [1–7] 8–568: [16] leaves of gravure plates; [1–9] 10–682 [683–684]: [16] leaves of gravure plates). Type: Ehrhardt with Rosart capitals at chapter openings. Printed by Mackay, the gravures by D.H. Greaves. Bound by Mackay in quarter dark green leather, green cloth boards with an oval brown paper cover-label; brown endleaves. Pale brown two-volume slip case. Two hundred copies were offered in an alternative binding of full red morocco titled in gold, with Cockerell marbled endleaves and a red buckram-covered slip case. The text follows the first edition of 1791, corrected according to Boswell’s Principal corrections and additions, published to accompany the second edition in 1793. ¶ Reissued [i.e. another impression]: 1990, with a half-title-leaf added to each volume. Printed and bound by Butler and Tanner. Quarter dark brown cloth, brown cloth boards; pale brown endleaves. Brown two-volume slip case. The new binding was designed by Humphrey Stone. ¶ Reissued, second printing [i.e. another impression]: 1991. ¶ Reissued, third printing [i.e. another impression]: 1993. ¶ Fifth [i.e. another?] printing (with a new binding): 1998, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full pale brown cloth with a reproduction of an engraving (‘The literary party’) in brown; pale brown endleaves. Red two-volume slip case titled in gold. 253 Four quartets, T.S. Eliot. 190 × 166 × 10 mm. Pp. [1–10] 11–55 [56]. Type: Ehrhardt with Rosart for display. Printed by Mackay on pale brown Basingwerk ‘Suede’ paper. Bound by Mackay in full pale brown canvas, orange spine- and cover-labels. Dark brown slip case. A spare spine-label is attached to the back paste-down. This attractive and restrained edition of some of the most highly regarded verse of the century was the first Folio poetry book not to be printed in crown octavo format. This was necessitated by the long lines in sections of Eliot’s text. The height of the binding is, however, the same as that of a crown octavo, so this volume may take its place alongside the other Folio poets. ¶ Second impression: 1969. ¶ Third impression: 1973.

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254 The trial of Joan of Arc . . . Second impression [i.e. edition]. As the 1956 edition (item 90) but reset throughout. Printed and bound by Mackay. Dark grey slip case. ¶ Third impression [i.e. second edition, second impression]: 1971 (not seen). 255 Cobbett’s England, a selection from the writings of William Cobbett, with engravings by James Gilray, edited with an introduction by John Derry. Maps by K.C. Jordan(?). 228 × 150 × 27 mm. Pp. [1–5] 6–276: [8] leaves of collotype plates (facing pp. 49, 64, 113, 128, 161, 176, 225 and 240). Type: Ehrhardt. Printed by Mackay, the collotypes by Cotswold Collotype. Bound by Mackay in quarter blue cloth, pink paper boards decorated in black; blue endleaves. Dark blue slip case. The boards are printed with a pastiche of an early nineteenth-century hand-bill or poster, set within a typographical border in Thorowgood and Egiziano types, reading ‘A Selection from the writings of William Cobbett, giving a view of Cobbett the man, Cobbett and his contemporaries, Cobbett the Parliamentary Reformer, Cobbett the traditionalist, Cobbett and contemporary social problems, Cobbett and the changing face of England, taken from Peter Porcupine, Rural Rides, The Political Register &c &c’. 256 Reay Tannahill, the fine art of food. 254 × 192 × 15 mm. Pp. [1–5] 6–128. Type: Garamond. Printed and bound by Jarrold. Quarter green cloth, white, pink and pale green patterned paper boards. Glassine dust-jacket. The Presentation Volume for 1969. The text includes 62 illustrations, 30 in colour, reproducing paintings, drawings and prints depicting food and gastronomy. The book was printed lithographically throughout. A number of sets of sheets were also sold to the Australian publisher Alpha Books, which issued them with a cancel title-leaf in Sydney in 1968, in a full red cloth binding. 257 William Shakespeare, Troilus and Cressida, introduction by Bohdan Korzeniewski, designs by Andrzej Majewski. Glossary by Jean Rook. 223 × 173 × 16 mm. Pp. [1–2] 3–127 [128]: [8] leaves of colour plates (facing pp. [1], 16, 33, 48, 65, 80, 97 and 112). Type: Bulmer. Printed in brown and black by Mackay, the lithographs by Cowell. Bound by Mackay in red-brown series binding (see item 27). Mottled grey slip case. The set and costume designs were executed for Korzeniewski’s 1960 production at the Slowacki Theatre in Cracow. A note in the file copy in Folio’s library records that extra copies of the plates were printed. They were probably kept in storage and bound with the second impression in 1975. ¶ Second impression: 1975. 258 Folio 21, a bibliography of the Folio Society 1947–1967, with an appraisal by Sir Francis Meynell, R.D.I. Folio Press. Compiled with an ‘Historical note’ (pp. 11–16) by Charles Ede, based on bibliographical work by Sandra Raphael. Photographs by John Preston-Bell. 285 × 194 × 23 mm. Pp. [1–6] 7–207 [208]. Type: Bas kerville with Fry’s Baskerville for display. Printed by Mackay, the lithographs by Cowell, the Curwen Press and Jarrold. Bound by Mackay in full grey cloth with Folio’s device in blind on the front board, black leather spine-label; dark red endleaves. Dark red and black slip case. Errata slip attached to page [5]. Tim Wilkinson comments in Folio 1968–71 (item 310) that ‘Possibly it was rather conceited of us to think that anyone might be interested in our past history, but . . . we felt that we would like to have a record, even were it to be published for ourselves alone’. The bibliography includes descriptions of items 1–243, with a total of 120 pages devoted to colour and monochrome facsimiles of text, display and illustrations from the books, and photographs of the bindings. The last seven leaves had to be cancelled and reprinted, apparently because of numerous errors in the text of the index. A supplement, covering the period 1968–1971 (items 244–306), was published in 1972, and was reissued with the sheets of the present work in the same year as Folio 25 (see items 310 and 311).

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¶ [Second issue]: 1972 item 311. 259 Charlotte Brontë, Shirley, lithographs by Walter Hoyle. 229 × 150 × 35 mm. Pp. [i–iv] v–xi [xii–xiv], 1–488 [489–490]: [15] leaves of two-colour plates. Type: Scotch Roman. Printed by Richard Clay, the lithographs by the Baynard Press. Bound by Mackay in quarter black leather series binding, green cloth boards (see item 191); red endleaves. Black and grey slip case. The lithographs are printed in lilac and brown. ¶ Reissued with new illustrations [i.e. another impression]: 1991–2004 item 702, revised and issued with the other six novels by the Brontë sisters. 260 The letters of Dorothy Osborne to Sir William Temple 1652–1654, edited by Kingsley Hart. 222 × 146 × 23 mm. Pp. [i–ii], [1–4] 5–213 [214]. Type: Van Dijck. Printed and bound by Mackay. Full blue buckram with a design in gold; pink endleaves. Dark red slip case. The title is printed across an opening (pp. [2–3]) beneath colour reproductions of portraits of the correspondents.

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1969 261 Geoffrey of Monmouth, the history of the kings of Britain, translated with an introduction by Lewis Thorpe. 228 × 148 × 27 mm. Pp. [1–9] 10–260: [11] leaves of colour plates. Type: Poliphilus and Blado. Printed by Mackay, the lithographs by the Westerham Press. Bound by Mackay in quarter black leather with a design in gold by Louis Dodd, red cloth boards; endleaves with a map by K.C. Jordan in dark purple. Gold slip case. The plates reproduce details from illuminated manuscripts. ¶ Second impression: 1969. ¶ Third impression: 1971. ¶ Fourth impression: 1974. ¶ Fifth impression: 1975. ¶ Second edition [i.e. another impression]: 1984, printed photolithographically by the Thetford Press. Bound by the Pitman Press in full dark red cloth, cover-label; pale grey endleaves with a design in dark grey. Pale brown slip case. Only pages [2], [7] and [8] have been reset for this ‘edition’, and the plates are differently distributed. This impression is described separately in Folio 40 as item 541. 262 Anne Brontë, Agnes Grey, lithographs by Anthony Moore. 228 × 150 × 24 mm. Pp. [1–2] 3–165 [166–168]: [8] leaves of two-colour plates (facing pp. [1], 33, 48, 65, 80, 113, 128 and 157). Type: Scotch Roman with Bodoni for display. Printed by Richard Clay, the lithographs by the Baynard Press. Bound by Mackay in quarter black leather series binding, blue linen boards (see item 191); grey endleaves. Dark grey and black slip case. ¶ Reissued with new illustrations [i.e. another impression]: 1991–2006 item 702, revised and issued with the other six novels by the Brontë sisters. 263 The citizen of the world, or Letters from a Chinese philosopher residing in London to his friends in the east, by Oliver Goldsmith, with decorations by Cecil Keeling. Introduction by Rosalind Vallance. 227 × 148 × 25 mm. Pp. [1–4] 5–349 [350–352]. Type: Fournier. Printed by Richard Clay. Bound by Mackay in quarter blue cloth, Cockerell marbled paper boards; cream endleaves with 12 of Keeling’s decorations in brown. Cream slip case. The decorations consist of small stylised human heads, used in pairs at the opening of each section of text, and on the endleaves. 264 With Napoleon in Russia 1812, the diary of Lt H.A. Vossler, a soldier of the Grand Army 1812–1813, translated by Walter Wallich, lithographs by Christian-Wilhelm von Faber du Faur. 219 × 170 × 21 mm. Pp. [1–5] 6–176: [6] leaves of two-colour plates (between pp. 32–[33], 48–49, [80]–81 and 144–145, and facing pp. 96 and 128). Type: Baskerville. Printed by Richard Clay, the lithographs by the Stellar Press. Bound by Mackay in full white cloth with a design in cream and dark grey by von Faber du Faur; cream endleaves with a map by K.C. Jordan. Mottled grey slip case. The manuscript of the German diary was purchased by Folio at auction, and the translation was specially commissioned from Wallich. The plates are reproductions of tinted lithographs by an artist who was caught up in the fighting in 1812. They first appeared in a collection of 100 plates by von Faber du Faur entitled Blätter aus meinem Portefeuille, im Laufe des Feldzugs 1812 in Russland an Ort und Stelle gezeichnet . . . , which was issued at Stuttgart, in parts, between 1831 and 1843. The first plate reproduced here has the printer’s signature ‘G. Küstner gedr.’ as well as those of ‘von Faber du Faur’ as artist and ‘Emminger’ as the lithographer. Four of the plates are printed as double-page images, and guarded-in. ¶ Second impression: 1970. ¶ Third printing: 2015, printed and bound by Grafos. Dark brown slip case.

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265 Joyce Cary, the horse’s mouth, drawings by John Bratby. Introduction by Kingsley Hart. 228 × 171 × 26 mm. Pp. [1–6] 7–340. Type: Plantin with Condensed Sans Serif Number 7 for display. Printed and bound by Mackay. Full red cloth with a design in black by Hart; grey endleaves. Grey slip case. The illustrations consist of 29 drawings, three being full-page (pp. [2], [179] and [335]), eight half-page (pp. 33, 75, 126, 128, 169, 231, 273 and 308), and the remainder printed as vignettes in the margins. 266 Publius Vergilius Maro, the Georgics, translated into English verse by K.R. Mackenzie, soft-ground etchings by Nigel Lambourne. 252 × 160 × 16 mm. Pp. [1–4] 5–96: [5] leaves of etched plates (facing pp. [1], 13, 31, 49 and 69). Type: Walbaum with Columna for display. Printed by Mackay, the etchings by Kultura. Bound by Mackay in full pale brown canvas decorated in brown; orange endleaves. Brown slip case. The etchings were printed directly from the original plates by a Hungarian firm of security printers; each is protected with a tissue guard. 267 Émile Zola, Thérèse Raquin, translated and with an introduction by Leonard Tancock, lithographs by Janos Kass. 221 × 144 × 24 mm. Pp. [1–6] 7–199 [200]: [8] leaves of two-colour plates (facing pp. [1], 42, 65, 97, 112, 150, 161 and 184). Type: Ehrhardt. Printed by Mackay, the lithographs by the Baynard Press. Bound by Mackay in full grey cloth with a design in orange, brown and gold by Jeff Clements; dark brown endleaves. Dark brown slip case. 268 The memoirs of Sir James Melville of Halhill, containing an impartial account of the most remarkable affairs of state during the sixteenth century, not mentioned by other historians: more particularly relating to the kingdoms of England and Scotland, under the reigns of Queen Elizabeth, Mary, Queen of Scots, and King James. In most of which transactions the author was personally and publicly concerned, edited and with an introduction by Gordon Donaldson. 252 × 160 × 18 mm. Pp. [1–5] 6–184: [8] leaves of colour plates (facing pp. [1], 16, 55, 160 and 169, and between pp. 64–65, 80–81 and 144–145). Type: Van Dijck with Castellar for display. Printed by Mackay, the lithographs by Jarrold. Bound by Mackay in full dark green buckram with a design in gold; pale green flecked endleaves. Pale green slip case. The device used on both boards of the binding is based on a coat of arms of Mary, Queen of Scots, found in a seventeenth-century manuscript history of Scotland’s nobility at the College of Arms. The plates reproduce contemporary manuscripts and paintings. ¶ Second impression: 1972. 269 The decameron of Giovanni Boccaccio . . . Second edition. As the 1954–1955 edition (items 74 and 76) but reset throughout. 2 vols. Printed by Mackay, the collotypes by Cotswold Collotype. Bound by Mackay in full brown buckram, decorated as items 74 and 76; pale brown endleaves. Brown two-volume slip case. Some copies were published in a special binding of full cream leather, with Cockerell marbled endleaves and a cloth-covered slip case. ¶ Third [i.e. second?] printing (with a new binding): 1998, measuring 253 × 164 × 33–38 mm. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full dark green cloth with a design in red and gold by David Eccles; red endleaves. Green two-volume slip case, repeating the binding design in gold in outline. 270 George and Weedon Grossmith, the diary of a nobody, drawings by John Lawrence. 223 × 121 × 19 mm. Pp. [1–6] 7–165 [166–168]. Type: Bell. Printed and bound by Mackay. Full yellow cloth with a design in purple by Lawrence; lilac endleaves. Dark grey slip case. Folio 1968–71 notes that ‘It was possibly a rash act to replace the almost inseparable Weedon illustrations with the work of a present-day artist, but we believe the risk turned out to be well justified’.This was one of Peter Guy’s last productions for Folio. However, he disowns the yellow binding and – especially – the lilac endleaves; in some later printings these were changed to a

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more tasteful green. In 2005 this title was selected as Keith Waterhouse’s ‘Castaway’s Choice’. This is an ongoing series of books chosen by well-known individuals as their ‘desert island’ favourite. In some cases the book chosen had not previously been published by Folio, in which case an edition, often with a foreword by the celebrated selector, was quickly prepared. In other cases, an existing title was chosen and reissued, or sometimes reprinted with a new preface. ¶ Second impression: 1970. ¶ Third impression: 1973 (not seen). ¶ Fourth impression: 1975, with blue endleaves. Blue slip case. ¶ Fifth impression: 1977. ¶ Sixth impression: 1979. ¶ Seventh impression: 1989, printed and bound by the Bath Press. Green-grey endleaves. Green slip case. ¶ Eighth impression: 1990. ¶ Ninth printing: 1992. ¶ Tenth printing: 1994. ¶ Eleventh printing: 1996. ¶ Twelfth printing: 1997. ¶ Thirteenth printing: 1999. ¶ Fourteenth printing: 2002. ¶ Fifteenth printing: 2003 (not seen). 271 Albrecht Dürer, paintings, drawings and prints, selected and introduced by Nigel Lambourne. 297 × 217 × 10 mm. Pp. [1–64]. Type: Monophoto Plantin. Printed by the Westerham Press. Bound by Nevett, Key and Whiting in quarter red cloth, orange embossed paper (‘Medallion Glindura’) boards. Glassine dust-jacket. The Pre sentation Volume for 1970. The work was printed lithographically throughout, including the text and 73 numbered illustrations, 16 in colour. 272 Alessandro Manzoni, the betrothed (i promessi sposi), translated and with a preface by Archibald Colquhoun, drawings by Eric Fraser. 228 × 149 × 37 mm. Pp. [1–4] 5–624. Type: Centaur and Arrighi with Castellar for the chapter numbers. Printed by Richard Clay. Bound by the Garden City Press in full purple cloth with a design in black and gold by John Westwood; black endleaves. Dark purple slip case. The illustrations consist of 16 full-page ‘drawings’, many of which are probably in reality scraperboard designs retouched with pen and ink. 272.5 David Kindersley, alphabet exhibition. 213 × 212 × 1 mm. Pp. [1–12]. Type: Gill Sans. White printed paper wrappers (included in the pagination), stapled with three steel staples. The final leaf is blank. The title is taken from the front wrapper. This is the catalogue of an exhibition of Kindersley’s alphabets held by Folio at its premises in Stratford Place between 17 October and 14 November 1969. The first 18 items are posters, printed in limited editions and hand-coloured by the artist. Items 19–36 are ‘different treatments of the letter form ranging through incised slates, vacuum formed plastic and perspex’, and the final pages offer Kindersley’s ‘Personal Monograms Incised in Slate’ (item 37 in the exhibition) and the two alphabet posters published by Folio, which were included in Folio 50 as item 272.7, and in earlier listings as item 274.1. These should, strictly speaking, have been omitted as ephemera, and justice has now been done by cancelling item 272.7. However, for those interested, the details are: [Two alphabet posters by David Kindersley]. 763 × 508 mm. Printed lithographically, with black key drawings plus two colours drawn on the stone. Published together in a cardboard tube, with four hanging bars, at 50 shillings. 272.7 Entry cancelled (see item 272.5). 273 William Shakespeare, the comedy of errors, introduction by Clifford Williams, designs by Anthony Powell. Glossary by Jean Rook. 222 × 170 × 12 mm. Pp. [1–4] 5–77 [78–80]: [8] leaves of colour plates (facing pp. [1], 16, 21, 28, 37, 44, 49 and 64). Type: Garamond. Printed in black and green by Mackay, the lithographs by Brüder Rosenbaum. Bound by Mackay in green series binding (see item 27). Mottled grey slip case. The costume designs were executed for Clifford Williams’s Royal Shakespeare Company production at Stratford in 1962. 274 Music, men, and manners in France and Italy 1770, being the journal written by Charles Burney, Mus. D. during a tour through those countries undertaken to collect material for a general history of music, transcribed from the original manuscript in the British Museum, Additional Manuscript 35122, and edited with an introduction by H. Edmund Poole.

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252 × 162 × 27 mm. Pp. [i–ii] iii–xxix [xxx], 1–245 [246]: [16] pages of plates. Type: Imprint with Caslon for display. Printed by Butler and Tanner, the lithographs by D.H. Greaves. Bound by Mackay in full green buckram decorated in red and gold; pale green endleaves. Red slip case. The plates reproduce contemporary ephemera, drawings, paintings and etchings, and are (with the exception of the frontispiece) printed on both rectos and versos. In addition there are maps on pages 32–33, 42, 62–63, 97, 124–125, 156–157 and 213–215, taken from two contemporary Italian travel books, and illustrations on page [230] of ‘Some of the musical instruments of antiquity mentioned by Burney . . .’ There are also bars of music on pages 127, 183 and 225, and a facsimile of part of an etching from Burney’s General history of music, showing musical notation, appears on page 55. 274.1 Two alphabet posters by David Kindersley. See item 272.5.

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1970 275 Flavius Arrianus, the life of Alexander the Great, translated by Aubrey de Sélincourt, wood-engravings by Raymond Hawthorn. Additional text by J.K. Davies. Maps by K.C. Jordan. 253 × 162 × 29 mm. Pp. [1–7] 8–265 [266–268]: [10] leaves of two-colour wood-engraved plates (facing pp. [1], 49, 64, 89, 145, 160, 177, 192, 224 and 240). Type: Poliphilus and Blado with Augustea Open for display. Printed by Butler and Tanner, the wood-engravings by Mackay. Bound by Mackay in full dark blue cloth with a medallion design in silver; endleaves with a map in orange and brown. Dark blue and black slip case. The wood-engravings are all full-page, and each is printed from two separate blocks in orange and black. There is a total of 14 maps in the text, not including that on the endleaves. This translation was first published in 1958, and was added to here by J.K. Davies, whose explanatory text is printed in italics and in square brackets, as necessary, in the introduction and before the main text. ¶ Second impression: 1971. 276 Charlotte Brontë, the professor, lithographs by Marion Wilson. 228 × 151 × 29 mm. Pp. [i–iv] v–xii [xiii–xiv], 1–205 [206–210]: [8] leaves of two-colour plates (facing pp. [i], 27, 51, 66, 99, 114, 155 and 184). Type: Scotch Roman with Bodoni for display. Printed by Richard Clay, the lithographs by the Westerham Press. Bound by Mackay in quarter black leather series binding, green cloth boards (see item 191); red endleaves. Black and grey slip case. The lithographs are printed in red and black. ¶ Reissued with new illustrations [i.e. another impression]: 1991–2004 item 702, revised and issued with the other six novels by the Brontë sisters. 277 The Creevey papers, edited by John Gore. 222 × 150 × 31 mm. Pp. [i–v] vi–xvi, [1–3] 4–334 [335–336]: [15] leaves of gravure plates. Type: Baskerville. Printed by Richard Clay, the gravures by D.H. Greaves. Bound by the Garden City Press in full green buckram with a design in gold by Madeline Dinkel; pale purple endleaves. Green slip case. The illustrations reproduce contemporary paintings, etchings and lithographs. The text consists of selections from the letters to and from Thomas Creevey, and from the other papers, including notes for a proposed history of his own times, that were left at the author’s death. The text covers the period 1793–1838 and is preceded by a biographical essay by Gore. This is the first publication of any part of the text. 278 Poems by William Wordsworth, selected and edited with an introduction by George Mallaby, with wood-engravings by Thomas Bewick selected by Montague Weekley. Frontispiece by Peter Reddick. 192 × 129 × 24 mm. Pp. [1–4] 5–270 [271–272]. Type: Bulmer. Printed and bound by Mackay. Quarter brown leather, brown cloth boards; pale brown endleaves. Pale brown slip case. Part of an informal poetry series (see item 4). In addition to the wood-engraved frontispiece portrait by Reddick, there are 28 vignettes by Bewick. ¶ Second impression: 1970. ¶ Third impression: 1973. 279 Cakes and ale or The skeleton in the cupboard by W. Somerset Maugham, monotypes by Dodie Masterman. Typographical design by Brian Paine. 229 × 159 × 22 mm. Pp. [i–ii], [1–4] 5–187 [188–190]. Type: Ehrhardt with Goudy Heavy for display. Printed by Western Printing Services. Bound by Mackay in full green cloth with a pictorial design in black by Masterman; pale green endleaves. Dark blue slip case. There are nine

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full-page monotypes, printed from line-blocks in the text as pages [2], [29], [38], [55], [70], [87], [113], [141] and [166]. 280 Richard Hakluyt, the Tudor venturers, selected from The principal navigations, voyages, traffics and discoveries of the English nation, made by sea or over land, and edited by John Hampden. Maps by K.C. Jordan. 253 × 161 × 29 mm. Pp. [1–9] 10–310 [311–312]: [12] leaves of gravure plates. Type: Van Dijck. Printed by Mackay, the gravures by D.H. Greaves. Bound by Mackay in quarter black leather, wood-veneer boards with a design in blue and gold by Jeff Clements; endleaves with a map in grey. Brown slip case. The plates reproduce contemporary etchings, manuscripts and portraits, and a model of a Tudor sailing ship; the plates between pages 32–33 and 152–153 are double-page reproductions of engraved maps. In addition, there are maps by Jordan on pages 46, 115, 139, 146, 147, 204, 231, 258 and 266. The text is edited from Hakluyt’s The principal navigations, voyages and discoveries of the English nation, which was first published in London in 1589, and appeared in an enlarged edition between 1598 and 1600. ¶ Second impression: 1972, with a blue slip case. 281 Niccolò Machiavelli, the prince, translated and with an introduction by George Bull, including the prelude by Benito Mussolini. Capitals by David Kindersley. 189 × 142 × 18 mm. Pp. [1–8] 9–143 [144]: collotype frontispiece. Type: Centaur and Arrighi. Printed in red-brown and black by Cambridge University Press, the collotype by Cotswold Collotype. Bound by Cambridge University Press in full blue artificial silk, with an arabesque design in silver and gold by Brian Paine; pale blue endleaves with a similar design in dark blue by Paine. Silver or dark blue slip case. The capitals, which were specially commissioned for this edition, are based on those in the Hypnerotomachia Poliphili, printed by Aldus Manutius in 1499. This was the first English translation of Mussolini’s preface. The frontispiece reproduces a photograph of a bust of Machiavelli. The binding cloth has often faded to purple. ¶ Second impression: 1972. ¶ Second edition [i.e. third impression]: 1975. Although described as the ‘Second edition 1975’ on the verso of the title-leaf this impression is largely printed from type cast from the original Monotype keyboarding, and is not genuinely a new edition; some minor revisions have been made to the text, including the addition of an extra paragraph in the introduction and the resetting of certain sentences and paragraphs (notably on pages 43–44, 52, 60–61, 80–81 and 87–88) to improve the translation. ¶ Second edition, second impression [i.e. fourth impression]: 1978. 282 Laurence Sterne, the life and opinions of Tristram Shandy, gentleman, edited by Graham Petrie, with an introduction by Gilbert Phelps, wood-engravings by John Lawrence. 230 × 150 × 35 mm. Pp. [1–6] 7–229 [230] 241–492 [493–494]: [1] black leaf, [1] marbled leaf. Type: Plantin. Printed by Richard Clay. Bound by Mackay in full cream cloth with a reverse repeat pattern in green-brown by Lawrence, pale brown leather spine-label; pale brown endleaves. Grey-green or brown slip case. The text follows that of the first edition, published in nine volumes between 1759 and 1767. The hiatus in the page numbering is caused by there being no chapter 24, only a blank page, as Sterne intended. Folio 1968–71 notes that some members thought this a fault, and returned their copies. The black ‘page’ (a leaf of black paper, rather than a blackened leaf of white as in the first edition) is inserted between pages 40 and 41, and the marbled leaf is between pages 176 and 177. The spine-label has often faded to cream or grey. ¶ Second impression: 1974, with a brighter green slip case. ¶ Third printing with a new foreword and a new binding design: 2005, the title-page concluding . . . with an introduction by Gilbert Phelps, a foreword by Lindsey Davis and wood-engravings by John Lawrence. 229 × 152 × 41 mm. The pagination ends 241–492 [493–496]. Printed and bound by Cambridge University Press. Full white cloth with a design in black, green, yellow,

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purple and blue by Lawrence; green-grey endleaves. The new two-page foreword by Davis is accommodated by moving the ‘Note on the text’ from page 13 to the foot of the facing page and rejigging the early pagin ation. The title-page and list of contents have been reset, and the marbled leaf is now tipped to an integral blank; but, apart from these small changes, this is a straight reprint, albeit in more elaborate dress, for inclusion in Folio’s ‘Castaway’s Choice’ series, having been chosen by Davis, Norman Cohn and Bamber Gascoigne (see item 270). 283 The Bible designed to be read as literature, edited and arranged by Ernest Sutherland Bates, with old master drawings . . . Second impression [i.e. edition]. As the 1957–1958 edition (items 111 and 112) but reset throughout. 2 vols. Printed by Richard Clay, the gravures by D.H. Greaves; dark red endleaves. Dark red and green two-volume slip case. Some copies were offered in an alternative binding of full dark green morocco, with Cockerell marbled endleaves and a black cloth-covered slip case. The 32 plates are identical to those printed in the first edition of 1957–1958. ¶ Third [i.e. second] impression: 1997, measuring 261 × 191 × 39–43 cm. Printed and bound by Butler and Tanner. Full dark blue cloth with designs in gold based on paintings by William Blake; blue endleaves. Dark blue and blue slip case lettered in gold. In this repackaged reprint the quality of the monochrome illustrations has been improved, and colour plates have been substituted for nine of the original monochrome reproductions in each volume. ¶ Second [i.e. third] printing: 1999. 284 The Chevalier de Johnstone, a memoir of the ’forty-five, edited with an introduction by Brian Rawson. Maps by K.C. Jordan. As the 1958 edition (item 114) but reset throughout. Pp. [1–6] 7–251 [252]: [8] leaves of gravure plates (facing pp. [1], 16, 33, 48, 81, 96, 117 and 124). Printed by the Alden Press, the gravures by D.H. Greaves. Bound by Mackay. The plates are the same as those in the 1958 edition (item 114), but here they have been reordered. The text has also been revised, and the maps redrawn by K.C. Jordan on pages 27, 38–39, 50, 53, 57, 71, 79, 90–91, 101, 120–121 and 146. ¶ Second impression: 1972. 285 Einhard the Frank, the life of Charlemagne, translated and with an introduction by Lewis Thorpe. Map by K.C. Jordan. 255 × 159 × 12 mm. Pp. [1–9] 10–88. Type: Poliphilus and Blado. Printed and bound by Jarrold. Full cream vegetable parchment (‘Linson’) with a gold cypher on the front board; pink endleaves with the same cypher repeated in gold. Dark red or purple slip case. The Presentation Volume for 1971. The text is a translation of Einhard’s Vita Caroli, written around 830. The book was printed lithographically throughout, including 16 full-page colour illustrations, mostly reproducing illuminated manuscripts, and a double-page map by Jordan. 286 A.S. Pushkin, the queen of spades, the captain’s daughter, translated by Gillon R. Aitken, etchings by Clarke Hutton. 228 × 137 × 21 mm. Pp. [1–5] 6–192: [8] leaves of etched plates (facing pp. [1], 18, 32, 47, 69, 96, 135 and 164). Type: Walbaum with Gresham for display. Printed by Mackay, the etchings by Kultura. Bound by Mackay in quarter black cloth, blue patterned paper boards; black endleaves. Grey slip case. The plates were printed directly from Hutton’s etched plates, as with item 266. 287 The rubaiyat of Omar Khayyam, the first version of Edward Fitzgerald, drawings by Virgil Burnett. Introduction by Tim Wilkinson. 222 × 133 × 8 mm. Pp. [1–32]. Type: Poliphilus and Blado with Romulus Open for display. Printed in brown and black by Mackay. Bound by Mackay in full red-brown cloth with a design in silver and gold by Madeline Dinkel. Gold clamshell box, pale brown cover-label. First published by Folio in a very different format in 1955 (item 85). The publication history of this popular title grew very complex,

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with a number of different impressions. Until the type was completely reset in 1982 it is clear from surviving correspondence that the type was kept standing by Mackay, rather than being recast for each new printing; by the time the fifth impression came to be printed the type was very worn, and the verse numbers had to be reset. ¶ Second impression: 1971. ¶ Third impression: 1973. ¶ Fourth impression: 1975, with a gold slip case. ¶ Fifth impression: 1978. 288 William Shakespeare, Titus Andronicus, introduction by Gerald Freedman, designs by Ming Cho Lee and Theoni Aldredge. Glossary by Jean Rook. 222 × 173 × 13 mm. Pp. [1–2] 3–91 [92]: [8] leaves of colour plates (facing pp. [1], 16, 21, 28, 33, 48, 65 and 80). Type: Plantin. Printed in black and brown by Mackay, the lithographs by the Curwen Press. Bound by Mackay in brown series binding (see item 27). Mottled grey slip case. The costume and set designs were executed for Freedman’s 1967 production at the Delacorte Theater in New York. 289 A Christmas carol by Charles Dickens, a facsimile of the manuscript in the Pierpont Morgan Library, with the illustrations of John Leech and the text from the first edition. Folio Press. Introduction by Monica Dickens. Designed by Norma Levarie. Wood-engraved vignettes by W.J. Linton. 276 × 221 × 18 mm. Pp. [i–iv] v–xi [xii], [1–4] 5–142 [143–148]. Type: Bodoni Book. Printed by the Meriden Gravure Company. Bound by Mackay in full green buckram; yellow endleaves. Green and black slip case. The facsimiles of the manuscript are generally printed on the rectos, with the printed text on the facing versos. There are also facsimiles of pages from the first edition of 1843, showing Linton’s wood-engraved vignettes, on pages [28], [68], [106] and [143], and colour facsimiles of Leech’s plates printed in the size of the originals and tipped to pages [xii], [29], [69] and [107]. Sets of sheets of this edition were purchased from the New York publisher James H. Heineman, with the first gathering reprinted to include the imprint of The Folio Press. 290 Homage to Catalonia by George Orwell, with an introduction by Bob Edwards. 223 × 145 × 21 mm. Pp. [1–4] 5–214 [215–216]: [8] leaves of plates (facing pp. [1], 16, 48, 65, 112, 129, 177 and 192). Type: Times New Roman with Egyptian Open for display. Printed by Alden and Mowbray, the lithographs by the Westerham Press. Bound by Mackay in full grey cloth with a photographic design in black; red endleaves with a map. Red slip case. The plates reproduce contemporary photographs, and another is used to decorate the binding. ¶ Second impression: 1972. ¶ Third impression: 1975 (not seen).

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1971 291 Giorgio Vasari, life of Michelangelo Buonarroti, translated with an introduction by George Bull, and Michelangelo works selected by Peter Murray. 230 × 175 × 20 mm. Pp. [i–ii], [1–6] 7–158 [159–160]: 31 leaves of plates. Type: Bembo with Bembo light titling for display. Printed by Mackay, the lithographs by the Westerham Press. Bound by Mackay in full brown buckram with a design in brown and gold; blue-green endleaves. Brown slip case. The text is followed by 31 leaves, each bearing a photographic plate on the recto, with descriptive letterpress on the facing verso. The frontispiece is correctly part of the first gathering, being conjugate with pages 11 and 12 and having the half-title on the recto, but is not included in the pagination. The genuine plates reproduce paintings, sculpture and architectural designs by Michelangelo. The binding design is based on that of an early sixteenth-century manuscript in the British Library. The text is extracted from Bull’s 1965 Penguin translation of parts of Vasari’s Vite de’ più eccellenti pittori, scultori ed architetti, which was first published in 1550; however, the Penguin edition had been expurgated, and Bull was able to restore the text for the Folio edition. A three-volume selection from Bull’s revised edition of 1987 was published in a uniform style in 1993 (item 761). ¶ Second impression: 1972. 292 Fyodor Dostoyevsky, the idiot, translated with an introduction by David Magarshack, drawings by Charles Keeping. 228 × 148 × 42 mm. Pp. [1–8] 9–670 [671–672]. Type: Times New Roman with Castellar for display. Printed and bound by Richard Clay. Full green cloth with a design in brown by Keeping; brown endleaves. Brown slip case. The illustrations consist of 20 full-page drawings printed from line-blocks. 293 Flavius Josephus, the destruction of the Jews, translated and with an introduction by G.A. Williamson, wood-engravings by Garrick Palmer. Maps by K.C. Jordan. 253 × 161 × 32 mm. Pp. [1–3] 4–295 [296]: [12] leaves of two-colour wood-engraved plates. Type: Poliphilus and Blado with Hammer Uncial for display. Printed and bound by Mackay. Full red cloth with a design in dark red by Palmer; endleaves patterned in red by Clarke Hutton. Mottled grey slip case. The wood-engravings are printed in pink and black. In addition there are full-page maps by Jordan on pages [20], [59], [275] and [285]. The text was selected from Williamson’s 1959 translation of Flavius Josephus’ history of the Jewish War of a d 66 and its aftermath, written in Greek in the closing years of the first century. 294 The return of the native by Thomas Hardy, wood-engravings by Peter Reddick. 228 × 149 × 33 mm. Pp. [1–4] 5–413 [414–416]. Type: Baskerville. Printed by Richard Clay. Bound by Webb and Son in full green series binding, decorated in pale green (see item 248); brown endleaves with Walker’s map. Brown slip case. There is a total of 38 wood-engravings, mostly on a small scale, printed in the text. The paper used is Grosvenor Chater’s ‘Basingwerk Parchment’, a medium noted for its fine reception of wood-engraved images. Some of the later impressions were issued only with the boxed sets of Hardy’s novels. ¶ Second impression: 1972 (not seen). ¶ Third impression: 1975, bound by Mackay. ¶ Reprint [i.e. fourth impression]: 1986, printed and bound by the Bath Press. With the spine-label blocked rather than of leather. This impression was described separately in Folio 40 as item 563. ¶ Reprint [i.e. fifth impression]: 1989. ¶ Reprint [i.e. sixth impression]: 1990. ¶ Fourth [i.e. seventh] printing: 1991 (not seen). ¶ Fifth [i.e. eighth] printing: 1991. Part of this impression was issued with item 698.5. ¶ Sixth–eighth [i.e. ninth–eleventh] printing: 1992–1993 item 698.5, issued with five other novels by Hardy. ¶ Ninth [i.e. twelfth] printing: 1993.

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Part of this impression was issued with item 698.5. ¶ Tenth [i.e. thirteenth] printing: 1993 items 698.5 and 769.5, issued with other novels by Hardy. ¶ Eleventh [i.e. fourteenth] printing: 1996 (not seen). ¶ Twelfth [i.e. fifteenth] printing: 1997. Part of this impression was issued with item 896. 295 Elizabeth Gaskell, the life of Charlotte Brontë, edited with an introduction by Winifred Gérin. 227 × 148 × 38 mm. Pp. [1–3] 4–450 [451–452]: [32] leaves of gravure plates. Type: Modern Extended with Bodoni for display. Printed by Richard Clay, the gravures by D.H. Greaves. Bound by Mackay in quarter grey cloth, pink and grey decorated paper boards; grey endleaves. Grey and black slip case. The spine is decorated with the series design used for the Brontës’ works (see item 191). The plates reproduce contemporary portraits, etchings and photographs. Folio 34 and Folio 40 both note that the frontispiece is printed in colour, but this is not the case and the error was probably caused by confusion with item 297. There is a typographical error on page [214], where the number of chapter 12 is given as ‘21’. The text is revised by the editor to include identifications of all the characters, and incorporates the variant readings in the second and third editions, the last of which was expurgated and expanded with new material. ¶ Second impression: 1973. 296 Oliver Goldsmith, the vicar of Wakefield, lithographs by Margaret Wetherbee. 222 × 142 × 21 mm. Pp. [1–2] 3–219 [220]: [8] leaves of two-colour plates (facing pp. [1], 22, 56, 84, 121, 136, 153 and 168). Type: Caslon. Printed by Western Printing Services, the lithographs by Mackay. Bound by Mackay in full red cloth with a repeat pattern in white, green leather spine-label; endleaves with a design in green and black by Wetherbee (different from that used for the first edition). Dark red slip case. First published by Folio, with the same plates, in 1952 (item 43). ¶ Second impression: 1973. ¶ Third impression: (not seen). 297 Charlotte Brontë, five novelettes, passing events, Julia, Mina Laury, Captain Henry Hastings, Caroline Vernon, transcribed from the original manuscripts and edited by Winifred Gérin. Folio Press. 255 × 165 × 30 mm. Pp. [1–5] 6–367 [368]: [10] leaves of plates (facing pp. [1], 73, 97, 112, 145, 160, 241, 256, 321 and 336). Type: Baskerville. Printed by Mackay, the lithographs by Jarrold. Bound by Mackay in full dark red buckram; endleaves with a colour ‘Map of the Great Glasstown Confederacy by Branwell Brontë’. Grey and black slip case. The plates reproduce etchings, drawings and paintings, some by members of the Brontë family. The frontispiece by Charlotte Brontë is printed in four colours. Some of the punctuation in the text was set in Baskerville semi-bold, to distinguish it as having been added by the editor to render the text more readable. Only an edited version of ‘Mina Laurie’ and parts of ‘Caroline Vernon’ and ‘Passing events’ had been published before this edition. 298 Leo Tolstoy, war and peace, translated and with an introduction by Rosemary Edmonds, drawings by Feliks Topolski. 251 × 168 × 47–48 mm. 2 vols (pp. [1–4] 5–707 [708]; [1–4] 5–728). Type: Poliphilus and Blado with Albertus for display. Printed and bound by Mackay. Quarter dark red leather, grey canvas boards with a design in black by Topolski; pale blue endleaves with drawings in black by Topolski. Black two-volume slip case. There are a little over 600 drawings in the two volumes, printed from line-blocks and mostly arranged into groups to form full-pages (some of the original drawings were sold to members shortly after publication). Two thousand copies were issued in a special binding of full dark blue leather with brown pastepaper endleaves, in a dark blue cloth-covered slip case. ¶ Second impression: 1977, published by the Folio Press for the Book of the Month Club in New York. 241 × 160 × 40 mm. Printed by Fletcher and Son. Quarter dark red cloth. This impression was sold only in

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America. ¶ [Third impression]: 1978 item 432, in one volume. ¶ Reprinted (reduced format, two volumes) [i.e. fourth? impression]: 1997, the dimensions now 240 × 163 × 45–46 mm. Printed and bound by the Bath Press. Quarter red cloth with the spine lettering redesigned; cream flecked endleaves. Slip case with a colour reproduction of a painting of a battle scene. This is at least the fourth revised reprint of War and peace (see also item 432). The text is in the same setting, but minor improvements and corrections have been made, and the whole has been slightly reduced in format from the original edition. The binding has also been reworked to make it uniform with those for Doctor Zhivago (item 883) and Crime and punishment (item 907). Part of this impression was later issued with item 918. 299 Francis Bacon, the history of the reign of King Henry the Seventh, edited with an introduction by Roger Lockyer. 221 × 146 × 29 mm. Pp. [1–5] 6–256: [13] leaves of plates, [1] folded genealogical table (facing p. [237]). Type: Centaur and Arrighi. Printed by Cambridge University Press, the lithographs by Jarrold. Bound by Mackay in quarter dark green leather, green cloth boards with a design in red and gold by Jeff Clements; endleaves printed in colour. Pale green slip case. All the plates reproduce contemporary portraits, except for the last which is a facsimile of a page from Henry VII’s account book. The frontispiece is printed in colour. The endleaves reproduce in four colours a section of late fifteenth-century tapestry now at Winchester College. There is also a wood-engraving of Henry VII’s tomb on page 236. ¶ Second impression: 1974, with a pale blue-green slip case. 300 Brave new world, Aldous Huxley, with drawings by Leonard Rosoman. 235 × 160 × 17 mm. Pp. [1–8] 9–176. Type: Monophoto Univers Light with Moore Computer for display. Printed and bound by Jarrold. Full laminated aluminium foil, lettered and decorated with a design in grey by Rosoman; red endleaves. Black slip case. Number 43 in ‘The Folio fifty’ (see item 8). There are nine full-page illustrations, printed lithographically with the text as pages [2], [20], [31], [57], [68], [91], [117], [139] and [171]. This was the first of the general series of Folio books to be set in a sans serif type and was also the first which was not consciously traditional in appearance. With its shining metallic binding, unusual typography, and disturbing illustrations, it must have seemed very startling and futuristic in its day. Today its appeal is as a period-piece of early 1970s science fiction design. ¶ Second impression: 1972. ¶ Third impression: 1975 (not seen). ¶ Fourth impression: 1977, printed by Mackay. ¶ Fifth impression: 1980. ¶ Reprinted: 1997, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. ¶ Reprinted: 1997 [i.e. 1998]. This reprint is impossible to distinguish from the foregoing, as both are described on the verso of the title-leaf merely as ‘Reprinted 1997’. Since the first 1997 printing was exhausted by the end of the year, however, and the reprint did not actually appear until the first days of 1998, it can be assumed that any copies received by members in 1997 are from the first printing of that year, and any received later are from the second. 301 Sebastian Brant, the ship of fools, translated by William Gillis. Introduction by Patricia Ingle Gillis. 241 × 144 × 32 mm. Pp. [i–vi] vii–xxviii, [1] 2–344. Type: Poliphilus and Blado with Old English for display. Printed and bound by Mackay. Full pale blue canvas with a woodcut design in dark blue; blue endleaves. Brown slip case. The translation was commissioned from Gillis by Folio, but he died before the book was published, and his widow completed the editing of the text and supplied an introduction. The book is illustrated with 118 woodcuts from the original edition, which was published in Basel in 1494 as Das Narrenschiff. They include the printer’s device and two versions of the cut for chapter 9, supplied from the first and second editions. The title-page also has woodcut side-ornaments, which are repeated on the binding. Many of the woodcuts in the book are now thought to be the work of the young Albrecht Dürer.

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302 William Shakespeare, the tempest, introduction by Sir John Clements, designs by Ralph Koltai. Glossary by Jean Rook. 223 × 172 × 13 mm. Pp. [1–2] 3–88: [8] leaves of colour plates (facing pp. [1], 16, 33, 48, 53, 60, 65 and 80). Type: Walbaum. Printed in black and green by Mackay, the lithographs by Brüder Rosenbaum. Bound by Mackay in brown series binding (see item 27). Mottled grey slip case. The plates reproduce Koltai’s metallic costume designs for John Clements’s Chichester Festival production of 1968. Folio’s library copy includes a note that additional sets of the plates were printed, perhaps with the intention of including them in a second impression. However, none has been traced, and the Folio Press Shakespeare series reissue contains copies of the first impression. 303 Francisco Goya, paintings, drawings and prints, selected and introduced by Philip Troutman. 294 × 218 × 11 mm. Pp. [1–64]. Type: Plantin. Printed and bound by Jarrold. Quarter brown buckram, dark grey-green embossed paper (‘Glindura’) boards. Glassine dust-jacket. The Presentation Volume for 1972. The book contains 71 numbered reproductions of Goya’s works, 21 of them in colour. 304 Elisabeth Ayrton, royal favourites, recipes from palace kitchens. Folio Press. 197 × 144 × 12 mm. Pp. [1–5] 6–80. Type: Imprint. Printed (with the title-page in red and black) and bound by Mackay. Full red buckram with a design in green and gold by Jeff Clements; pink endleaves. Transparent plastic dust-jacket (not seen). The text and title-page are decorated with a small crown ornament drawn by Jeff Clements. The dust-jacket was intended to make the book resistant to kitchen fluids. 305 Bibhutibhushan Banerji, pather panchali, song of the road, translated by T.W. Clark and Tarapada Mukherji, lithographs by Janet Archer. 228 × 139 × 28 mm. Pp. [1–4] 5–273 [274–276]: [12] leaves of two-colour plates. Type: Ehrhardt with Vendôme for display. Printed by Mackay, the lithographs by Cowell. Bound by Mackay in full red open-weave cloth (described in Folio 1968–71 as ‘Japanese grass-paper’), dark green leather spine-label; red-brown endleaves. Red-brown slip case. The lithographs are printed in red-brown and pale brown. 306 Memoirs of a fox-hunting man by Siegfried Sassoon, with an introduction by Sir Alan Lascelles and drawings by Lynton Lamb. 209 × 141 × 25 mm. Pp. [1–6] 7–290 [291–292]. Type: Barbou with Chambord Italic for display. Printed and bound by Mackay. Full pale brown cloth with a design in red and black by Lamb; pale green endleaves. Brown slip case. There are 11 line-drawings in the text, including the frontispiece. For the third, and subsequent impressions, the typographical error on page 248 (‘clocks’ for ‘docks’) was corrected. ¶ Second impression: 1973. ¶ Third impression: 1974, measuring 210 × 143 × 29 mm. Printed on a heavier white paper. ¶ Fourth impression: 1977. ¶ Fifth impression: 1979. ¶ Reissue [i.e. another impression]: 1993 item 755, issued with the other George Sherston novels (items 343 and 367).

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1972 307 Plato, the trial and execution of Socrates, translated with an introduction by Peter George, drawings by Michael Ayrton. 227 × 161 × 23 mm. Pp. [1–5] 6–197 [198–200]: [8] leaves of plates (facing pp. [1], 53, 60, 70, 97, 112, 145 and 196). Type: Centaur and Arrighi. Printed by Cambridge University Press, the lithographs by the Scolar Press. Bound by Mackay in quarter vegetable parchment (‘Elephanthide’), red cloth boards; cream endleaves. Cream slip case. The translation was commissioned by Folio. 308 The life and strange surprizing adventures of Robinson Crusoe of York, mariner, who lived eight and twenty years all alone in an uninhabited island on the coast of America near the mouth of the great river of Oroonoque, having been cast on shore by shipwreck, wherein all the men perished but himself, with an account how he was at last strangely deliver’d by pyrates, written by himself [i.e. Daniel Defoe], linocuts by John Lawrence. Introduction signed ‘R.M. [i.e. John Hampden]’. 228 × 150 × 30 mm. Pp. [1–4] 5–284. Type: Bulmer. Printed and bound by Mackay. Full orange cloth with a pictorial design in green by Lawrence, black leather spine-label; orange endleaves. Yellow slip case. There are 21 linocuts in the text, reduced and printed from line-blocks, all but the frontispiece as half-page illustrations. ¶ Second printing: 1998, printed and bound by T.J. International. Full pale brown cloth with a metallic green spine-panel; dark green endleaves. Dark green slip case. ¶ Third printing: 1999. ¶ Fourth printing: 2001. ¶ Fifth printing: 2006. ¶ Sixth printing: 2008. Selected by Simon Armitage as his ‘Castaway’s Choice’. 309 The buccaneers of America, comprising a pertinent and truthful description of the principal acts of depredation and inhuman cruelty committed by the English and French buccaneers against the Spaniards in America. Written by A.O. Exquemelin, who himself, of necessity, was present at all these acts of plunder. Translated by Alexis Brown with an introduction by Jack Beeching. Maps by K.C. Jordan. 252 × 159 × 22 mm. Pp. [1–3] 4–194 [195–196]: [10] leaves of gravure plates (facing pp. [1], 49, 64, 88, 101, 108, 113 and 120, and between pp. 132–133 and 164–165). Type: Van Dijck with Rosart for display. Printed by Mackay, the gravures by D.H. Greaves. Bound by Mackay in quarter blue leather, wood-veneer boards with a design in black by John Westwood; endleaves with a map in brown. Brown slip case. The plates reproduce contemporary portraits and etchings (with two double-page images). In addition there are full-page maps by Jordan on pages 20 and 72. The text is a translation of Exquemelin’s De Americaensche Zee-Roovers, first published in Amsterdam in 1678. ¶ Second impression: 1973 (not seen). 310 Folio 1968–71, a bibliography of the Folio Society, with an introduction by Hugh Williamson. Folio Press. Compiled by Tim Wilkinson, with an ‘Historical Note’ by Brian Rawson. Photographs by John Preston-Bell. 284 × 186 × 11 mm. Pp. [1–5] 6–60. Type: Baskerville with Fry’s Baskerville for display. Printed and bound by Mackay. Full grey cloth (uniform with item 258). Red and black slip case. The text describes items 244–306, with a total of 31 pages devoted to colour and monochrome facsimiles of text, display and illustrations from the books, and photographs of the bindings. 445 sets of sheets were issued with the unsold sheets of Folio 21 (item 258) as Folio 25 (see item 311). ¶ [Second issue]: 1972 item 311.

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311 Folio 25, a bibliography of the Folio Society 1947–1971. Folio Press. A reissue of the sheets of Folio 21 and Folio 1968–71 with a cancel title-leaf and half-title. Details as items 258 and 310 but the binding measures 283 × 189 × 25 mm. Pp. [i–ii], [1–6] 7–207 [208], [1–5] 6–60. Full grey cloth, red leather spine-label. The very small number of copies issued in this form (only 445) makes this one of the rarest of Folio’s publications. 312 Dylan Thomas, under Milk Wood, a play for voices, edited with an introduction by Douglas Cleverdon, lithographs by Ceri Richards. 252 × 160 × 17 mm. Pp. [1–2] 3–93 [94–96]: [9] leaves of two-colour plates (facing pp. [1], 28, 37, 44, 49, 53, 60, 64 and 88). Type: Ehrhardt with Egmont Inline for display. Printed in red and black by Mackay, the lithographs by Cowell. Bound by Mackay in red buckram, with green linen on the front board, decorated in black; endleaves printed in red. Grey slip case. Number 46 in ‘The Folio fifty’ (see item 8). The lithographs are printed in purple and black. The binding is unusual, with one material (red buckram) used for the spine and back board, and another (green linen) used for the front board, which is also decorated with a leaf design in black: this style of binding, or a variation of it, was later used for several other works. The front endleaves are white, with a red circular motif (resembling the stain left by a glass of red wine), and the back endleaves are printed with a similar reverse design in red. ¶ Second impression: 1973 (not seen). ¶ Third impression: 1975, the lithographs printed by Mackay. Pale green slip case. ¶ Fourth impression: 1979, with a lilac slip case. ¶ Reprinted (with a variant binding): 1997, with the title-page reset with Festival for display. Printed in purple and black by BAS Printers. Bound by Hunter and Foulis in purple cloth, with pale grey linen on the front board, decorated in purple; pale grey endleaves. Pale grey slip case. For this new impression the opportunity was taken to redesign the binding, and to harmonise the colours with those of the text and plates. ¶ Second [i.e. another] printing: 1997. ¶ Third [i.e. another] printing: 1999, printed and bound by the Bath Press. ¶ Fourth [i.e. another] printing: 2000, in a dark purple slip case. ¶ Fifth [i.e. another] printing: 2003 (not seen). ¶ Sixth [i.e. another] printing: 2004 (not seen). ¶ Seventh [i.e. another] printing: 2006, printed and bound by Grafos. ¶ Eighth [i.e. another] printing: 2009. ¶ Ninth [i.e. another] printing: 2014. 313 Edmund Gosse, father and son, a study of two temperaments [quotation from Schopenhauer]. 222 × 143 × 22 mm. Pp. [1–2] 3–225 [226–228]: [8] leaves of collotype plates (facing pp. [1], 16, 49, 64, 113, 128, 177 and 192). Type: Baskerville. Printed by Richard Clay, the collotypes by Cotswold Collotype. Bound by Mackay in full white cloth lithographed in colour; grey endleaves. Grey slip case. The plates reproduce contemporary photographs of members of the Gosse family. The illustration on the binding is a detail from a watercolour by Eliza Gosse of ‘Sandhurst’, the family home. 314 George Eliot, Middlemarch, drawings by Robin Jacques. Introduction by Kingsley Hart. 228 × 148 × 43 mm. Pp. [1–4] 5–837 [838–840]. Type: Fournier. Printed by Richard Clay. Bound by Mackay in full red-brown artificial silk, oval yellow cover-label printed in red with an illustration by Jacques; yellow endleaves with silhouettes in red-brown by Jacques. Yellow slip case. Number 7 in ‘The Folio fifty’ (see item 8). There are 28 full-page illustrations printed in the text from line-blocks. ¶ Reissued [i.e. another impression]: 1994, with a revised title-page, noting Hart’s introduction. Printed and bound by the Bath Press. Quarter blue cloth, blue vegetable parchment (‘Elephanthide’) boards; pale blue endleaves. Pale blue slip case. This new impression was no doubt hurried into print to capitalise on the interest in the novel stirred by the popular television adaptation of 1994. ¶ Reissued, second [i.e. another] printing: 1998. 315 Thomas More, Utopia, translated and with an introduction by Paul Turner, lithographs by Edward Bawden. 252 × 161 × 19 mm. Pp. [1–4] 5–140 [141–144]: [6] leaves of colour plates (facing pp. [1], 40, 85, 92, 113 and

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128). Type: Poliphilus and Blado with Columna for display. Printed by Mackay, the lithographs by Cowell. Bound by Mackay in full green canvas with a design in brown, orange and gold by Bawden; orange endleaves. Orange slip case. More’s ‘Utopian alphabet’ is reprinted on page 25 from the first edition of 1516. ¶ Second impression: 1973. 316 Rudyard Kipling, twenty-one tales, selected and with an introduction by Tim Wilkinson, drawings by Ian Ribbons. 227 × 150 × 33 mm. Pp. [i–vii] viii–xii, [1] 2–355 [356]. Type: Scotch Roman. Printed and bound by Richard Clay. Full yellow cloth with a design in brown by Ribbons; pale blue endleaves. Brown slip case. There are 14 full-page drawings printed in the text from line-blocks. The illustrations, and 14 of the tales, were reprinted as Short stories in 1996 (item 840). ¶ Second impression: 1974 (not seen). ¶ Third impression: 1976. ¶ Fourth impression: 1979, pale blue slip case. ¶ Fifth impression: 1982. ¶ Sixth impression: 1986, printed and bound by the Bath Press. ¶ Seventh impression: 1987. ¶ Eighth impression: 1990. ¶ Ninth printing: 1992. 317 Solo recital, the reminiscences of Michael Kelly, edited with a biographical index by Herbert van Thal, introduction by J.C. Trewin. 227 × 150 × 32 mm. Pp. [1–3] 4–372: [12] leaves of gravure plates. Type: Bell with Fry’s Ornamented for display. Printed by Mackay, the gravures by D.H. Greaves. Bound by Mackay in quarter dark red cloth, Cockerell marbled paper boards; pale yellow endleaves. Brown slip case. The plates reproduce contemporary portraits, etchings and aquatints. The text is decorated with Bernhard Cursive ornaments. 318 Shakespeare’s sonnets. Introduction by Tim Wilkinson. Wood-engraved frontispiece portrait by Peter Reddick. 221 × 145 × 22 mm. Pp. [1–168]. Type: Van Dijck. Printed in red-brown and black on pale grey Abbey Mills paper by Mackay. Bound by Mackay in full red buckram. Gold slip case. Groups of Granjon’s Arabesque ornaments are printed in red-brown as head-pieces, on the title-page and on the endleaves, and are used to decorate the front board in dark red and gold. Two earlier editions (items 4 and 124.5) were printed in Perpetua and illustrated by Reynolds Stone. A fourth edition, with ‘A lover’s complaint’ and a new series of wood-engravings, was published in 1989 (item 641). 319 London 1851, the year of the Great Exhibition by Eric de Maré. 194 × 252 × 15 mm. Pp. [1–128]. Type: Monophoto Century Schoolbook. Printed and bound by Henri Proost. Quarter black cloth, four-colour laminated paper boards; illustrated endleaves. Glassine dust-jacket. The Presentation Volume for 1973. There are 108 numbered illustrations in the text, 35 in colour, and the endleaves and binding are printed with two further colour illustrations. They reproduce etchings, wood-engravings and aquatints from contemporary sources. A number of sets of sheets were reissued in the following year under The Folio Press and J.M. Dent imprint (see item 342.5). ¶ [Second issue]: 1973 item 342.5. 320 Denis Diderot, the nun, translated and with an introduction by Leonard Tancock, lithographs by Charles Mozley. 227 × 148 × 19 mm. Pp. [1–4] 5–168: [6] leaves of two-colour plates (facing pp. [1], 48, 76, 80, 98, 124 and 152). Type: Garamond with Monastic for display. Printed by Richard Clay, the lithographs by the Westerham Press. Bound by Mackay in quarter black cloth, black and gold paper boards; black endleaves. Green slip case. The lithographs are printed in black and pale yellow. There is also a less-common variant binding in full smooth pale brown cloth. This translation was specially commissioned by Folio.

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321 William Shakespeare, Pericles, Prince of Tyre, introduction by Richard Pasco, designs by Paul Shelving. Glossary by Jean Rook. Plates drawn by Richard Moore. 220 × 170 × 14 mm. Pp. [1–2] 3–89 [90–92]: [8] leaves of colour plates (facing pp. [1], 16, 33, 48, 53, 60, 65 and 80). Type: Imprint. Printed in black and red-brown by Mackay, the lithographs by Brüder Rosenbaum. Bound by Mackay in red-brown series binding (see item 27). Mottled grey slip case. The costume designs were made by Shelving for the Birmingham Repertory Theatre’s production of 1954, but were redrawn by Richard Moore for the plates published here. 322 Etruscan places by D.H. Lawrence, introduction by Lawrence Durrell, photographs by Leonard von Matt. 220 × 142 × 17 mm. Pp. [1–9] 10–157 [158–160]. Type: Monophoto Bembo with Mercurius Bold Script for display. Printed by Jarrold. Bound by Mackay in full pale grey cloth with a photograph in grey-green; endleaves with a map in dark grey-green. Mottled red slip case. There are 31 monochrome photographs, printed lithographically with the text, five of which (including the frontispiece portrait of Lawrence) are full-page. A further photograph of the interior of the Baron’s tomb at Tarquinia is used on the binding. 322.5 The song of songs . . . Third impression [i.e. second edition]. As the first edition of 1967 (item 235) but reset throughout. 281 × 81 × 11 mm. Printed by Mackay on lilac paper. Bound by Mackay in full dark red artificial silk; lilac endleaves. Lilac slip case. ¶ Fourth impression [i.e. second edition, second impression]: 1975.

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1973 323 Philippe de Commynes, the universal spider, the life of Louis XI of France, translated and edited by Paul Kendall. Maps by K.C. Jordan. 252 × 160 × 28 mm. Pp. [1–7] 8–300 [301–304]: [12] leaves of colour plates. Type: Bembo with Castellar for display. Printed by Richard Clay, the lithographs by Alabaster Passmore. Bound by Mackay in quarter blue leather, pale blue canvas boards; endleaves with a map in dark red. Mottled dark red or grey slip case. The text was originally written in two sections, books one to six between 1489 and 1491, and books seven and eight around 1494 to 1495, some ten to twenty years after the events described. The present text, which was commissioned by Folio, is the first English translation to have been prepared from a collation of the surviving early manuscripts, rather than from a single manuscript or from a later corrupt French printed edition. Only the first six books are included here, and the text is most closely drawn from the Dobrée manuscript of about 1520, now in the Museum at Nantes. The plates reproduce 12 illu minated miniatures from the same manuscript. In addition there are full-page maps by Jordan on pages [31], 103, 191, 205 and 228, and on the endleaves. This was the first book in which much of the information which had formerly been carried on the verso of the title-leaf has been incorporated into a colophon, naming the printers, binder, and the paper and cloth stocks used. This practice lasted until 1980 (item 460) and irregularly for a few years afterwards. 324 Ghost stories of M.R. James, selected and with an introduction by Nigel Kneale, lithographs by Charles Keeping. 227 × 160 × 23 mm. Pp. [i–v] vi–xi [xii–xiv], [1] 2–207 [208–210]: [9] leaves of two-colour plates (facing pp. [i], 2, 51, 66, 87, 126, 147, 178 and 195). Type: Times New Roman with Consort for display. Printed and bound by Mackay. Full white cloth with a design in grey and dark purple by Keeping; lilac endleaves. Dark grey slip case. The plates are printed in grey and dark purple. ¶ Second impression: 1974. ¶ Third impression: 1979. 325 Francis Parkman, the Oregon trail, sketches of prairie and Rocky Mountain life, with an introduction by Martin Ridge and linocuts by Peter Pendrey. 220 × 140 × 29 mm. Pp. [1–5] 6–309 [310–312]. Type: Modern Extended with Grotesque Bold Condensed for display. Printed by Richard Clay. Bound by Mackay in quarter brown cloth with a design in gold by Pendrey, orange paper boards with a pattern in red by Pendrey; endleaves with a map in dark red-brown. Pale brown slip case. The linocuts consist of the frontispiece and 27 smaller designs, each used as a head-piece at the opening of a chapter. The colophon notes that the relief blocks for printing the cuts were made by V. Siviter Smith and Company of Birmingham. The text was first published in 1849, and the present text follows the revised illustrated edition of 1892. ¶ Second impression: 1975. 326 The history of Tom Jones, Henry Fielding . . . As the first edition of 1959 (item 128) but reset throughout. 228 × 152 × 42 mm. Pp. [i–iv] v–xix [xx], 1–697 [698–700]. Type: Plantin with Select numerals for section numbers. Printed and bound by Mackay. Full white linen with a design in red-brown and dark green by Derrick Harris (as printed on the dust-jacket of the first edition), dark green leather spine-label; dark green endleaves. Mottled green slip case. Number 48 in ‘The Folio fifty’ (see item 8). ¶ Reissue [i.e. another impression]: 1995 item 818, issued with three other works by Fielding.

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327 Philip Stanhope, fourth Earl of Chesterfield, letters to his son, selected, edited and introduced by James Harding, wood-engravings by Richard Shirley Smith. 227 × 140 × 22 mm. Pp. [1–2] 3–201 [202–204]: frontispiece. Type: Baskerville with Old Face Open for display. Printed in brown and black by Mackay. Bound by Mackay in quarter black buckram, Cockerell marbled paper boards; pale grey endleaves. Mottled grey slip case. There are 12 wood-engraved head-and-shoulders portraits by Shirley Smith, printed in pairs, in brown. Each is used twice, in a different combination, so there are 24 pairs in all. The frontispiece reproduces William Hoare’s painting of Stanhope of about 1743, now in the National Portrait Gallery. 328 Fernando de Rojas, the Spanish bawd, being the tragi-comedy of Calisto and Melibea, translated and with an introduction by J.M. Cohen, aquatints by Dodie Masterman. 222 × 144 × 21 mm. Pp. [1–4] 5–205 [206–208]: [8] leaves of collotype plates (facing pp. [1], 32, 65, 96, 113, 136, 153 and 192). Type: Garamond with Chisel and Garamond italic for display. Printed by J.M. Dent, the collotypes by Cotswold Collotype. Bound by J.M. Dent in full blue cloth with a design in gold, black and red by Jeff Clements; black endleaves. Pale blue slip case. The first edition of Calisto (later called La Celestina) was published in 1499, and the book quickly achieved popularity. It is written in the form of a drama, although Cohen describes it as ‘certainly a novel’ on page 7. The present translation was first published in the Penguin Classics series in 1964. 329 Major General Sir William Napier, history of the war in the Peninsula, edited and introduced by Brian Connell. Maps by K.C. Jordan. 252 × 162 × 29 mm. Pp. [1–7] 8–331 [332]: [14] leaves of plates. Type: Bell with Gresham for display. Printed and bound by Mackay. Full blue buckram with a design in gold; endleaves with a map in purple. Grey slip case. The text is abridged from the original edition, published in six volumes between 1828 and 1840. The plates reproduce contemporary etchings and paintings. In addition there are 28 maps by Jordan, printed in the text. The design of the binding is based on a Spanish example of 1819. ¶ Second impression: 1974. 330 The book of the thousand nights and one night . . . Third impression. See item 124. 331 Beowulf, translated by Kevin Crossley-Holland, introduction by Bruce Mitchell, lithographs by Virgil Burnett. 252 × 162 × 13 mm. Pp. [1–6] 7–125 [126–128]: [8] leaves of two-colour plates (facing pp. [1], 28, 52, 61, 65, 101, 108 and 117). Type: Poliphilus and Blado with Rosart for display. Printed by Mackay, the lithographs by Cowell. Bound by Mackay in full brown canvas with a design in green by Jeff Clements; endleaves with a design in green and black by Burnett. Mottled pale brown slip case. The plates are printed in green and black. ¶ Second impression: 1974. ¶ Third impression: 1978. ¶ Fourth impression: 1986, printed and bound by the Bath Press. Full pale brown canvas decorated in dark brown. This impression was listed in Folio 40 as item 576. 332 E.M. Forster, Howards End, introduction by Gilbert Phelps, drawings by Jennifer Campbell. 228 × 150 × 29 mm. Pp. [1–4] 5–309 [310–312]. Type: Barbou with Fournier and Molé Foliate for display. Printed and bound by Mackay. Quarter green cloth, gold boards with a repeat pattern in black by Campbell; pale green endleaves. Pale green slip case. There are 13 full-page drawings printed in the text from Magnesium line-blocks. 333 The Bayeux tapestry and the Norman invasion, with an introduction and a translation from the contemporary account of William of Poitiers by Lewis Thorpe. 253 × 192 × 14 mm. Pp. [1–7] 8–64 [65–109] 110 [111–112]. Type: Poliphilus and Blado with Libra for display. Printed by Mackay, the lithographs by Jarrold. Bound by Jarrold in quarter red cloth, dark blue plasticised paper boards; pink endleaves. Glassine dust-jacket. Mottled dark red slip case. The Presentation Volume for 1974. The entire tapestry was specially photographed for this edition by Michael Holford, and pages [66–107] bear lithographic reproductions of these photographs. This

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is the second colour reproduction of the tapestry to have been published in Britain, the first being Hilaire Belloc’s The book of the Bayeux tapestry published in 1914. ¶ Second impression: 1973. ¶ Third impression: 1979. ¶ Fourth impression: 1981. 334 The gunpowder plot, the narrative of Oswald Tesimond alias Greenway, translated from the Italian of the Stonyhurst manuscript, edited and annotated by Francis Edwards S.J., F.S.A., F.R.Hist.S. 228 × 150 × 28 mm. Pp. [1–3] 4–257 [258–260]: [11] leaves of plates. Type: Van Dijck. Printed and bound by Mackay. Full grey cloth with a design in red and black by Jeff Clements; red endleaves. Pale grey slip case. The plates reproduce contemporary etchings, portraits and manuscripts, including, on the final four plates, examples of the handwriting of four of the conspirators. There are also illustrations of handwriting on pages 249 and 254. Each chapter has a composite typographical head-piece made from Monotype ornaments. ¶ Second printing (with a new binding): 2005, the spine measuring 25 mm. Pp. [i–ii], [1–3] 4–257 [258–262]: [11] leaves of ‘plates’. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full red cloth with a design in black and gold by Francis Mosley; dark red endleaves. Black slip case. 335 The life and death of King John by William Shakespeare, introduction by Stuart Burge, designs by Robin Archer. Glossary by Jean Rook. 222 × 173 × 14 mm. Pp. [1–2] 3–100: [8] leaves of colour plates (facing pp. [1], 16, 20, 29, 33, 48, 64 and 81). Type: Ehrhardt. Printed in black and blue by Mackay, the lithographs by Alabaster Passmore. Bound by Mackay in dark blue series binding (see item 27). Mottled grey slip case. The costume designs were made for Burge’s 1968 production at the Nottingham Playhouse. 336 An account of the discovery of Tahiti . . . A photolithographic reprint of the 1955 edition (item 75) with the imprint of the Folio Press and J.M. Dent. Details as item 75 but the dimensions are 222 × 142 × 13 mm. Printed by the Pitman Press. Bound by J.M. Dent in full green cloth with a frieze design in gold; yellow-green endleaves. Transparent plastic dust-jacket with yellow-green paper flaps printed in black. 337 Thomas Wolsey, late Cardinal, his life and death written by George Cavendish . . . A photolithographic reprint of the 1962 edition (item 168) with the imprint of the Folio Press and J.M. Dent. Details as item 168, but the dimensions are 221 × 142 × 23 mm. Printed by the Pitman Press. Bound by J.M. Dent in full blue cloth with a design in gold; pale blue endleaves. Transparent plastic dust-jacket with pale blue paper flaps printed in black. This is at least the third impression of this edition (see item 168). 338 Émile Zola, Nana . . . A photolithographic reprint of the 1956 edition (item 96) with the imprint of the Folio Press and J.M. Dent. Details as item 96, but the dimensions are 228 × 162 × 32 mm. Printed by the Pitman Press. Bound by J.M. Dent in full red-brown cloth with a design in gold; orange endleaves. Transparent plastic dust-jacket with orange paper flaps printed in black. 339 The compleat angler . . . written by Izaak Walton and Charles Cotton . . . A photolithographic reprint of the 1962 edition (item 166.5) with the imprint of the Folio Press and J.M. Dent. Details as item 166.5, but the dimensions are 228 × 148 × 27 mm. Printed by Cambridge University Press. Bound by J.M. Dent in full brown cloth with a design in gold; pale brown endleaves. Transparent plastic dust-jacket with pale brown paper flaps printed in black. This is at least the fourth impression of this edition (see item 166.5). 340 A tale of two cities by Charles Dickens . . . A photolithographic reprint of the 1952 edition (item 51) with the imprint of the Folio Press and J.M. Dent. Details as item 51 but the preliminary matter has been re arranged and the title-page is printed in black. 227 × 150 × 27 mm. Printed by Cambridge University Press.

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Bound by J.M. Dent in full red cloth decorated in gold; pink endleaves. Transparent plastic dust-jacket with pink paper flaps printed in black. 341 Poems, P.B. Shelley . . . A photolithographic reprint of the 1949 edition (item 19) with the imprint of the Folio Press and J.M. Dent. Details as item 19 but the wood-engravings are printed in pale brown. Printed by Cambridge University Press. Bound by J.M. Dent in full pale brown cloth decorated in gold; yellow-brown endleaves. Transparent plastic dust-jacket with yellow-brown paper flaps printed in black. 342 Leaves from the journal of our life in the Highlands from 1848 to 1861 by Queen Victoria, edited by Arthur Helps, introduced by Elizabeth Longford. 228 × 162 × 17 mm. Pp. [1–6] 7–140 [141–144]. Type: Monophoto Century Schoolbook with Windsor Outline and Century Schoolbook Bold for display. Printed by Cambridge University Press. Bound by Mackay in full white cloth decorated with a royal tartan in colour; endleaves printed in colour. White slip case. There are 64 monochrome illustrations in the text, reproducing etchings, photographs and wood-engravings taken from the first edition of 1868 or from the first extensively illustrated edition of the same year. The endleaves reproduce two chromolithographs of interiors at Balmoral, also taken from the illustrated edition. An erratum slip, supplying an omitted line, is tipped to page 86. One of the copies in Folio’s library has been marked up with corrections, probably for a revised second impression, although none has been traced. 342.5 London 1851, the year of the Great Exhibition by Eric de Maré . . . A reissue of the remaining sheets of the 1972 edition with the imprint of The Folio Press and J.M. Dent. Details as item 319, but the title-leaf is a cancel dated 1973. Dust-jacket printed in colour (reproducing the design of the boards). 342.7 Jayant Madhvani, edited by Robert Becker and Nitin Jayant Madhvani [quotation from Madhvani]. Privately printed. 253 × 160 × 16 mm. Pp. [i–v] vi–xii, [1] 2–79 [80–84]: colour frontispiece, [18] pages of colour and monochrome plates. Type: Poliphilus and Blado. Printed and bound by Mackay. Full dark blue artificial silk, decorated in silver and gold; blue endleaves. Dark blue slip case. This book was ‘Designed and produced by the Folio Society Ltd’ as a private commission, taken on by Tim Wilkinson for the editors. The book is a collection of brief essays and memoirs, beginning with a letter of condolence from Idi Amin, gathered as a tribute to Madhvani, who had died in 1971. The frontispiece is a portrait of the subject, and the other plates reproduce photographs of scenes from his political and private life and of his funeral rites. The binding is similar to that for Machiavelli’s The prince (item 281) and may also have been designed by Brian Paine.

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1974 343 Memoirs of an infantry officer by Siegfried Sassoon, drawings by Lynton Lamb. 210 × 143 × 20 mm. Pp. [1–7] 8–244 [245–248]. Type: Barbou with Chambord Italic for display. Printed and bound by Mackay. Full pale brown cloth with a design in brown and dark brown by Lamb (in series with item 306); dark brown endleaves. Dark brown slip case. In addition to the frontispiece, there are ten half-page drawings by Lamb, each printed as a head-piece at the opening of a chapter. ¶ Second impression: 1974 (not seen). ¶ Third impression: 1977 (not seen). ¶ Reissue [i.e. another impression]: 1993 item 755, issued with the other George Sherston novels (items 306 and 367). 344 The tragedy of King Lear by William Shakespeare . . . Third impression 1973. See item 93. 345 Homer, the Odyssey, translated by E.V. Rieu, lithographs by Elisabeth Frink. 253 × 160 × 30 mm. Pp. [1–7] 8–284 [285–288]: [12] leaves of three-colour plates. Type: Plantin with Antikva Margaret for display. Printed by Richard Clay, the lithographs by the Curwen Press. Bound by Mackay in full brown canvas with a design in black and gold by Sally Lou Smith; pale brown endleaves. Mottled blue-green slip case. The plates are printed in grey-brown, green and black. ¶ Second impression: 1975. 346 Bernal Díaz, the conquest of New Spain, translated and introduced by J.M. Cohen. Maps by K.C. Jordan. 251 × 163 × 35 mm. Pp. [1–7] 8–351 [352]: colour frontispiece, [15] leaves of plates. Type: Centaur and Arrighi. Printed by Butler and Tanner, the frontispiece by Alabaster Passmore, the other lithographs by Fletcher and Son. Bound by Butler and Tanner in full green buckram with a design in gold; endleaves with maps in red-brown. Red-brown slip case. The plates reproduce illustrated pages from the Codex Florentino, a sixteenth-century Mexican manuscript describing the conquest. In addition there is a full-page map by Jordan on page [188]. The text is translated from the first 157 chapters of Díaz’s Historia verdadera de la conquista de la Nueva España, which had been written between around 1562 and 1572, some 50 years after the ‘conquest’ in which he had taken part. The design of the binding is based on a Spanish example of around 1630, and the book is decorated with head-pieces at the opening of each chapter, and other ornaments, which were drawn for this edition based on the tools used on the binding. ¶ Second impression: 1978. 347 Restoration comedy, edited by A. Norman Jeffares, Professor of English Literature, University of Leeds, volume 1 [–4]. Folio Press and Rowman and Littlefield, New Jersey. 253 × 157 × 39–43 mm. 4 vols (pp. [i–vii] viii–xxvii [xxviii], [1–3] 4–624: [6] leaves of plates (facing pp. [5], [137], [221], [313], [405] and [519]); [i–vii] viii–xiii [xiv], [1–3] 4–651 [652–654]: [6] leaves of plates (facing pp. [5], [95], [231], [337], [441] and [559]); [i–vii] viii–xiii [xiv], [1–3] 4–656 [657–658]: [6] leaves of plates (facing pp. [5], [109], [229], [341], [437] and [559]); [i–vii] viii–xiii [xiv], [1–3] 4–589 [590–594]: [6] leaves of plates (facing pp. [9], [105], [207], [307], [407] and [509])). Type: Van Dijck with Caslon for display. Printed and bound by Mackay. Full green buckram; pale green endleaves. Dark brown four-volume slip case. Each volume contains six plays reprinted from the original editions published between 1664 and 1723, with a portrait of the author facing a type-facsimile of the original title-page. There is a general introduction in volume 1. The contents are as follows. Volume 1:

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Thomas Killigrew’s The parson’s wedding (first published 1664), Sir Charles Sedley’s The mulberry garden (1668), George Etherege’s She would if she could (1668), John Dryden’s Sir Martin Mar-All (1668), William Wycherley’s The country wife (1674), and George Etherege’s The man of mode (1676). Volume 2: Tom Durfey’s Madam Fickle (1676), William Wycherley’s The plain dealer (1676), Aphra Behn’s The rover (1677), John Dryden’s The kind keeper (1680), Edward Ravenscroft’s The London cuckolds (1682), and John Crowne’s Sir Courtly Nice (1685). Volume 3: Aphra Behn’s The lucky chance (1687), Thomas Shadwell’s The squire of Alsatia (1688), William Congreve’s Love for love (1695), Colley Cibber’s Love’s last shift (1696), and Sir John Vanbrugh’s The relapse and The provoked [sic] wife (both 1697). Volume 4: George Farquhar’s The constant couple (1699), William Congreve’s The way of the world (1700), Colley Cibber’s The careless husband (1705), George Farquhar’s The recruiting officer (1706) and The beaux [sic] stratagem (1707), and Richard Steele’s The conscious lovers (1723). 348 Virginia Woolf, between the acts, introduction by Quentin Bell, lithographs by Gillian Barlow. 229 × 150 × 20 mm. Pp. [1–2] 3–9 [10–14] 15–160 [161–164]: [8] leaves of two-colour plates (facing pp. [1], 33, 48, 64, 81, 97, 137 and 158). Type: Walbaum. Printed and bound by Mackay. Quarter dark red linen, white paper boards with a design in grey-green and brown by Fiona Campbell; dark red endleaves. Grey-green slip case. The plates are printed in dark brown and grey-green. 349 William Shakespeare, the merry wives of Windsor, introduction by Terry Hands, designs by Timothy O’Brien. Glossary by Jean Rook. 222 × 172 × 14 mm. Pp. [1–2] 3–99 [100]: [8] leaves of colour plates (facing pp. [1], 16, 21, 28, 33, 48, 65 and 80). Type: Bell. Printed in black and green by Mackay, the lithographs by Alabaster Passmore. Bound by Mackay in dark green series binding (see item 27). Mottled grey slip case. The costume designs were executed for Terry Hands’s Royal Shakespeare Company production of 1968. 350 The rare adventures and painful peregrinations of William Lithgow, edited, with an introduction by Gilbert Phelps. Maps by K.C. Jordan. 222 × 145 × 30 mm. Pp. [1–7] 8–290 [291–292]. Type: Van Dijck. Printed and bound by Mackay. Full dark green buckram with a design in yellow and gold by Jeff Clements; endleaves with a map in colour. Yellow slip case. Lithgow’s complete text was first published as The totall discourse, of the rare aduentures, and painefull peregrinations of long nineteene yeares trauayles . . . in 1632, and the Folio edition was the first since 1906. There are nine full-page woodcuts printed in the text as pages [2], [80], [149], [157], [159], [208], [241], [267] and [275], all taken from the edition of 1632. The title-page of the first edition is reproduced on page [23]. In addition there are maps by Jordan on pages 40–41, 110, 184–185 and 216–217, as well as a colour reproduction of one of Hondius’s maps of Europe on the endleaves. 351 Herman Melville, Moby Dick or The whale, wood engravings by Garrick Palmer. 229 × 151 × 35 mm. Pp. [1–4] 5–515 [516]. Type: Scotch Roman. Printed by Richard Clay. Bound by Mackay in full blue cloth with a wood-engraving in black by Palmer; blue endleaves. Mottled grey slip case. There are 25 wood-engravings printed in the text, including 13 full-page, ten half-page, and two which are each spread over an opening (on pages 490–491 and [508–509]). ¶ Second impression: 1998, printed and bound by the Bath Press. Pale grey endleaves. Dark blue slip case. ¶ Third printing: 2006, the pagination now running [1–4] 5–515 [516–520] and with pale blue endleaves. This reprint coincides with the selection of this title as the ‘Castaway’s Choice’ of Robert Macfarlane and James Naughtie (see item 270). ¶ Fourth printing: 2007. ¶ Fifth printing: 2007, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. 352 Erasmus of Rotterdam, praise of folly, translated with an introduction and notes by Betty Radice. Drawings by Hans Holbein. 252 × 157 × 15 mm. Pp. [1–4] 5–115 [116–120]: [9] leaves of colour plates (facing pp. [1], 16, 32, 65, 80, 97, 104, 111 and 114). Type: Poliphilus and Blado. Printed by Mackay, the lithographs by Alabaster

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Passmore. Bound by Mackay in full red cloth with ‘Moriae Encomium’ in black and gold (the lettering designed by Fiona Campbell); grey endleaves. White slip case. The frontispiece reproduces Quentin Metsijs’s portrait of Erasmus. The remaining plates all show ink sketches by Holbein made in the margins of a copy of Johann Froben’s 1515 Basel edition of the Latin text, which was first published in Paris in 1511. 353 William Shakespeare, the life of King Henry VIII, introduction by Sir Herbert Beerbohm Tree, designs by Percy MacQuoid. Glossary by Jean Rook. 222 × 172 × 16 mm. Pp. [1–2] 3–120: [8] leaves of colour plates (facing pp. [1], 16, 33, 48, 65, 80, 97 and 104). Type: Van Dijck. Printed in black and blue by Mackay, the lithographs by Alabaster Passmore. Bound by Mackay in blue series binding (see item 27). Mottled grey slip case. Un usually for the Folio’s Shakespeare series, the costume designs were taken not from a recent production, but from that staged by Sir Herbert Beerbohm Tree at His Majesty’s Theatre in 1910. Tree’s introduction is taken from his 1910 publication Henry VIII and his court, which detailed his interpretation of the play. 354 Anton Chekhov, short stories, translated and with an introduction by Elisaveta Fen, aquatints by Nigel Lambourne. 229 × 140 × 25 mm. Pp. [1–4] 5–259 [260]: [8] leaves of collotype plates (facing pp. [1], 26, 73, 80, 128, 205, 220 and 258). Type: Garamond. Printed by Mackay, the collotypes by Cotswold Collotype. Bound by Mackay in full yellow cloth with a design in brown by Lambourne; dark green endleaves. Brown slip case. When the type was recast for the second impression, a number of minor typographical errors were corrected. For another selection of Chekhov’s stories see item 1060. ¶ Second impression: 1977. ¶ Third impression: 1979. 355 Commander F.A. Worsley, DSO, OBE, RD, RNR, Shackleton’s boat journey, introduction and notes by Duncan Carse. Photographs by Frank Hurley. 223 × 141 × 17 mm. Pp. [1–2] 3–147 [148]: [9] leaves of plates (facing pp. [1], 16, 24, 37, 44, 49, 64, 112 and 146). Type: Times New Roman. Printed and bound by Mackay. Full white cloth lithographed in four colours from a photograph by Duncan Carse; endleaves with a map in blue. Grey slip case. The plates are reproductions of Hurley’s photographs taken on Shackleton’s expedition across Antarctica between 1914 and 1916. Frank Arthur Worsley was the captain of the Endurance, and his account of the journey was first published in 1933, and in a revised edition (as reprinted here) in 1940. ¶ Second impression: 1975 (not seen). 356 The private lives of the Tudor monarchs, selected and edited by Christopher Falkus. 252 × 166 × 16 mm. Pp. [1–5] 6–127 [128]. Type: Monophoto Poliphilus and Blado. Printed and bound by Jarrold. Quarter vegetable parchment (‘Elephanthide’) decorated in gold, dark red linen boards; blue endleaves. Not issued in a slip case. The Presentation Volume for 1975. The text and illustrations were printed lithographically, the latter consisting of 68 numbered reproductions of contemporary paintings, drawings, etchings and documents, and photographs of Tudor objects, 34 in colour. An errata slip was issued to correct the captions on pages 31, 39 and 44; these were corrected in the text of the second impression. ¶ Second impression: 1975, with a darker, coarser cloth on the boards. Some copies (perhaps all) were issued in a glassine dust-jacket and blue slip case. 357 Poems by Gerard Manley Hopkins, selected and edited by Norman H. MacKenzie. Wood-engraved portrait frontispiece by Peter Reddick. 223 × 143 × 16 mm. Pp. [1–4] 5–163 [164]. Type: Bulmer. Printed in green and black by Mackay. Bound by Mackay in quarter purple leather, pale blue cloth boards; endleaves patterned in purple. Pale blue slip case. Part of an informal poetry series (see item 4).

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358 William Shakespeare, the two gentlemen of Verona, introduction by Denis Carey, designs by J. Hutchinson Scott. Glossary by Jean Rook. 222 × 171 × 14 mm. Pp. [1–2] 3–90 [91–92]: [8] leaves of colour plates (facing pp. [1], 16, 33, 48, 53, 60, 65 and 76). Type: Poliphilus and Blado. Printed in black and green by Mackay, the lithographs by Alabaster Passmore. Bound by Mackay in green series binding (see item 27); cream endleaves. Mottled grey slip case. The costume designs were made for Scott’s 1951 production at the Bristol Old Vic. 359 Robert Louis Stevenson, Dr. Jekyll & Mr. Hyde . . . A photolithographic reprint of the 1948 edition (item 12) with the imprint of The Folio Press and J.M. Dent. Details as item 12 but printed by Cambridge University Press. Bound by J.M. Dent in full black cloth with the figure of Hyde in gold; yellow endleaves. Transparent plastic dust-jacket with yellow paper flaps. 360 Oscar Wilde, Salomé . . . A photolithographic reprint of the 1957 edition (item 99) with the imprint of The Folio Press and J.M. Dent. Details as item 99 but printed in blue and black by Mackay. Bound by J.M. Dent in full blue cloth with a design in gold; pale blue-green endleaves. Transparent plastic dust-jacket with pale blue-green paper flaps printed in black. Some copies were issued in a white or dark blue slip case instead of a dust-jacket, and Dent issued copies in a pale blue-green dust-jacket printed in black. 361 Herman Melville, Typee . . . A photolithographic reprint of the 1950 edition (item 30) with the imprint of The Folio Press and J.M. Dent. Details as item 30 but the pagination runs [i–xx], [1] 2–277 [278–284]. Printed by Ebenezer Baylis. Bound by J.M. Dent in full dark green cloth, decorated in gold; green endleaves. Transparent plastic dust-jacket with green paper flaps printed in black. Although the plates are now printed with the text, the pagination has been little disturbed. Some copies were issued in a white slip case instead of a dust-jacket, while others were issued by Dent in a printed green paper dust-jacket. 362 A journal of the terror . . . A photolithographic reprint of the 1955 edition (item 79) with the imprint of The Folio Press and J.M. Dent. Details as item 79 but the binding measures 222 × 130 × 18 mm. Bound by J.M. Dent in full blue cloth with a different design in gold; purple endleaves. Transparent plastic dust-jacket with purple paper flaps printed in black. Some copies were issued by Dent in a printed purple paper dust-jacket. 363 The Newgate calendar . . . [Third? impression]. A photolithographic reprint of the 1951 edition (item 40) with the imprint of The Folio Press and J.M. Dent. Details as item 40 but printed by Redwood Burn. Bound by J.M. Dent in full red cloth decorated in gold; red endleaves. Transparent plastic dust-jacket with red paper flaps printed in black. ¶ [Fourth? impression]: 1993 item 748, issued with The new Newgate calendar. 364 The trial of Charles I . . . A photolithographic reprint of the second edition of 1963 (item 189.9) with the imprint of The Folio Press and J.M. Dent. Details as item 189.9 but printed by Whitstable Litho. Bound by J.M. Dent in full dark red cloth with a different design in gold; purple endleaves. Transparent plastic dust-jacket with purple paper flaps printed in black. Some copies were issued by Dent in a printed purple paper dust-jacket. 365 Frances Trollope, domestic manners of the Americans, lithographs by Auguste Hervieu, edited with an introduction by Herbert van Thal. 228 × 164 × 23 mm. Pp. [1–4] 5–299 [300]. Type: Monophoto Imprint. Printed by BAS Printers. Bound by Mackay in quarter grey-blue cloth, grey paper boards patterned in red; grey endleaves with a map in red. Dark red slip case. The frontispiece shows a portrait of Trollope by Hervieu, and the

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remaining illustrations reproduce his lithographs from the first edition of 1832. There are 24 full-page illustrations in all, printed lithographically with the text. 366 Philip Meadows Taylor, confessions of a thug, edited with an introduction by Brian Rawson, drawings by Clarke Hutton. 228 × 148 × 27 mm. Pp. [1–6] 7–372 [373–376]. Type: Ehrhardt with Vendôme for display. Printed and bound by Mackay. Full yellow-brown cloth with a frieze design in dark green by Hutton; endleaves with a map in dark green. Yellow-brown slip case. There is a total of 15 full-page illustrations, printed in the text from Magnesium line-blocks. 366.3 Brewer’s dictionary of phrase and fable . . . revised by Ivor H. Evans. Centenary edition, third impression (corrected). 217 × 147 × 54 mm. Pp. [i–iv] v–xvi, 1–1175 [1176]: frontispiece. Type: Plantin. Printed by William Clowes and Sons. Bound (possibly by Mansell) in full blue-green morocco, decorated in gold and blind (probably to a design by Jeff Clements); Cockerell marbled endleaves. Not issued in a dust-jacket or slip case. Published by Folio with its imprint in the year after the book was first offered to members in a Folio binding in 1973. 366.5 Geoffrey Chaucer, the Canterbury tales, translated into modern English by Nevill Coghill, woodcuts by Edna Whyte. As item 223.5, but bound in one volume paginated [1–4] 5–587 [588]. Printed and bound by Mackay; yellow endleaves printed in brown. Pale brown slip case. This is, despite the statement on the verso of the title-leaf, another impression of the two-volume edition published in 1966 (item 223.5), with only the page numerals in the second volume changed. By this stage it is impossible to know how many impressions of this edition had been made, but the numbering of these impressions begins again here, on the assumption by the publisher that this was a new edition. ¶ Second [i.e. another] impression: 1975. ¶ Third [i.e. another] impression: 1979. 366.7 Roget’s thesaurus of English words and phrases, new edition completely revised and modernized by Robert A. Dutch . . . Second impression. 231 × 156 × 55 mm. Pp. [i–vi] vii–lii, [1–2] 3–1309 [1310]. Printed by Butler and Tanner. Bound (possibly by Mansell) in full blue-green morocco with a design in gold and blind by Bernard Middleton; Cockerell marbled endleaves. This is a reissue of the dictionary, with the first gathering reprinted to include the Folio imprint on the title-page. Copies were bought from the Longman Group, and specially bound in this manner for sale to members at £19.50 in late 1974. See also item 366.9.

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1975 366.9 Chambers biographical dictionary, editors J O Thorne MA, T C Collocott MA. 216 × 147 × 65 mm. Pp. [i– xvi], 1–1432. Printed by Constable. Bound (possibly by Mansell) in full brown morocco with a design in gold and blind by Jeff Clements; Cockerell marbled endleaves. This is a reissue of the dictionary, with the first gathering reprinted to include the Folio imprint on the title-page. Copies were bought from Chambers, and specially bound in this manner for sale to members at £19.50 in early 1975. Once the impression with the Folio imprint was exhausted, around 1983, sets of Chambers’ own sheets were bought in and bound in the same manner. Copies were also available in Chambers’ own blue cloth binding, in a slip case covered with a Rampant Lions Press paper. 367 Sherston’s progress by Siegfried Sassoon, drawings by John Lawrence. 210 × 141 × 17 mm. Pp. [1–7] 8–171 [172]. Type: Barbou with Chambord Italic for display. Printed and bound by Mackay. Full pale brown cloth with a design in brown and black by Lawrence (in series with item 306); red-brown endleaves. Brown slip case. In addition to the frontispiece, there are eight three-quarter-page drawings by Lawrence, each printed as a head-piece at the opening of a chapter, and a small vignette on the title-page. The title-page is dated ‘London 1974’, but the book was not published until early in 1975. ¶ Reissue [i.e. another impression]: 1993 item 755, issued with the other George Sherston novels (items 306 and 343). 368 William Shakespeare, the merchant of Venice, introduction and designs by Julia Trevelyan Oman. Glossary by Jean Rook. 222 × 171 × 14 mm. Pp. [1–2] 3–95 [96]: [8] leaves of colour plates (facing pp. [1], 16, 33, 48, 53, 60, 65 and 80). Type: Scotch Roman. Printed in black and brown by Mackay, the lithographs by Alabaster Passmore. Bound by Mackay in dark brown series binding (see item 27). Mottled grey slip case. The costume designs were created for the National Theatre’s 1970 production at the Old Vic. 369 Homer, the Iliad, translated by E.V. Rieu, lithographs by Elisabeth Frink. 252 × 164 × 36 mm. Pp. [1–7] 8–362 [363–364]: [16] leaves of three-colour plates. Type: Plantin with Antikva Margaret for display. Printed by Richard Clay, the lithographs by the Curwen Press. Bound by Mackay in full pale brown canvas with a design in black and gold by Sally Lou Smith; pale brown endleaves. Pale blue slip case. Rieu’s translation was first published in 1966. ¶ Second impression: 1978. 370 Antonio Pigafetta, Magellan’s voyage, a narrative account of the first navigation, translated and edited by R.A. Skelton from the manuscript in the Beinecke Rare Book and Manuscript Library of Yale University. 228 × 150 × 18 mm. Pp. [1–5] 6–159 [160]: [6] leaves of colour plates (facing pp. [1], 25, 49, 64, 113 and 128). Type: Van Dijck with Old English for display. Printed by Mackay, the lithographs by Alabaster Passmore. Bound by Mackay in full dark blue cloth with a design in purple and gold by Elisa Trimby; endleaves with a map in purple. Mottled pale blue slip case. The frontispiece shows a portrait of Magellan and the remaining plates reproduce pages from the original illuminated manuscript, which was written around 1525. ¶ Second impression: 1977. This impression may have been issued in a transparent plastic dust-jacket.

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371 Alexandre Dumas the younger, la dame aux camélias, translated from the French by Barbara Bray, drawings by Jennifer Campbell. 222 × 142 × 19 mm. Pp. [1–4] 5–219 [220–224]. Type: Garamond. Printed by the Compton Press. Bound by Mackay in full dark green artificial silk with a design in white and gold by Sally Lou Smith; pale green endleaves. Gold slip case. There are eight full-page drawings by Campbell, printed in the text as pages [2], [27], [51], [59], [99], [159], [191] and [215]. The spine of the binding has usually faded to brown. 371.3 Roy Strong, Nicholas Hilliard. Folio Miniatures, Michael Joseph Ltd. 186 × 124 × 7 mm. Pp. [1–2] 3–48. Type: Monophoto Bembo. Printed and bound by Henri Proost. Full glazed paper, printed in colour; brown endleaves. Not issued in a dust-jacket or slip case. Pages 33–48 bear colour reproductions of 22 of Hilliard’s miniatures. The remainder of the text is printed lithographically in monochrome, including six further illustrations. One of the colour illustrations is also reproduced on the front board. This was the first of Michael Joseph’s series of ‘Folio Miniatures’, which were published ‘in association [later ‘co-operation’] with The Folio Press’. Each book in the series was issued in the same species of glazed paper boards, in the same format, ‘perfect’ bound with a flat spine. The subject matter of the books in the series is generally art and architecture, with a brief text by a leading historian followed by a series of colour illustrations. Although this is the first of the series, the term ‘Folio Miniature’ had been used by Charles Ede almost 20 years previously, when he published Christmas eve at Bracebridge Hall . . . ([1957] item 111.5). For others in the present series see items 371.5, 371.7, 371.9, 394.3, 394.5, 394.7, 394.9, 425.3, 425.5, 425.7 and 425.9. 371.5 David Holloway, Derby day. Folio Miniatures, Michael Joseph Ltd. 186 × 124 × 7 mm. Pp. [1–2] 3–47 [48]. Type: Monophoto Primer. Printed and bound by Henri Proost. Full glazed paper, printed in colour; brown endleaves. Not issued in a dust-jacket or slip case. Pages 33–[48] bear colour reproductions of 17 paintings of Derby day between 1791 and 1968. The remainder of the text is printed lithographically in monochrome, including seven further illustrations. A detail from one of the colour illustrations is also reproduced on the front board. 371.7 Madeleine Bingham, the making of Kew [quotation from Edith Sitwell]. Folio Miniatures, Michael Joseph Ltd. 186 × 124 × 7 mm. Pp. [1–2] 3–48. Type: Monophoto Garamond. Printed and bound by Henri Proost. Full green glazed paper, printed in colour; green endleaves. Not issued in a dust-jacket or slip case. Pages 33–48 bear colour reproductions of 18 paintings and prints of Kew. The remainder of the text is printed lithographically in monochrome, including five further illustrations. A detail from one of the colour illustrations is also reproduced on the front board. 371.9 James Pope-Hennessy, the Houses of Parliament, with ten photographs by Eric de Maré. Preface by John Letts. Folio Miniatures, Michael Joseph Ltd. 186 × 123 × 7 mm. Pp. [1–2] 3–32: 16 pages of colour plates. Type: Monophoto Baskerville. Printed and bound by Henri Proost. Full blue glazed paper, printed in colour; blue endleaves. Not issued in a dust-jacket or slip case. The final 16 pages bear colour reproductions of eight nineteenth-century prints and paintings, and ten photographs of the interior of the House by de Maré. The remainder of the text is printed lithographically in monochrome, including a plan of the building on page [19]. Unusually for this series, the work was not specially commissioned, but had been published in 1945 as the introduction to a picture book about Parliament published by Batsford. 372 William Shakespeare, the winter’s tale, introduction by Flora Robson, designs by Carl Toms. Glossary by Jean Rook. 222 × 172 × 13 mm. Pp. [1–2] 3–114 [115–116]: [8] leaves of colour plates (facing pp. [1], 16, 37, 44, 49, 64, 81 and 96). Type: Barbou. Printed in black and blue by Mackay, the lithographs by Alabaster Passmore. Bound by Mackay in blue-green series binding (see item 27). Mottled grey slip case. The costume designs were made for the 1966 production at the Edinburgh Festival.

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373 Dickens in Europe, essays selected and introduced by Rosalind Vallance. 228 × 148 × 26 mm. Pp. [1–2] 3–212 [213–216]: [14] leaves of plates. Type: Bell with Thorowgood for display. Printed and bound by Mackay. Full pale brown buckram decorated in brown; green endleaves with a map. Brown slip case. The plates reproduce etchings and drawings, mostly of the locations described in the text. The binding is decorated with an etched view of Dickens’s ‘Swiss Chalet’ at Gadshill. A good deal of the text is drawn from Pictures from Italy (1845). ¶ Second impression: 1977. ¶ Third impression: 2010, the dimensions now 228 × 150 × 23 mm and pagination [1–2] 3–212. Printed and bound by T.J. International. Now in quarter brown cloth with paper boards printed with Swiss Chalet etching and spine redesigned; dark cream endleaves with same map. 374 Leo Tolstoy, Anna Karenina, translated and with an introduction by Rosemary Edmonds, monotypes by Dodie Masterman. 229 × 151 × 50 mm. Pp. [1–4] 5–866 [867–868]. Type: Fournier with Old Style Bold Outline for display. Printed and bound by Richard Clay. Full pale lilac cloth with a design in purple by Masterman; lilac endleaves. Dark blue slip case. There are 33 full-page illustrations in the text, reproduced from line-blocks. 375–381 [Folio series of Jane Austen’s works]. 7 vols (see below). Printed and bound by Butler and Tanner. Quarter grey series binding (see item 110), patterned paper boards (a different colour for each volume); endleaves with a design by Joan Hassall (in a different colour for each volume). Grey seven-volume slip case. Number 2 in ‘The Folio fifty’ (see item 8). Each volume has an introduction by Richard Church and wood-engravings by Hassall, and is a new edition of the separate Folio editions published between 1957 and 1963. In Folio 34 and Folio 40 the set was assigned the numbers 375–381, rather than a single number; however, there is some sense to this since for some impressions the volumes were also available separately. The seven volumes are as follows: [1] (item 375) Pride & prejudice . . . As the 1957 edition (item 110) but reset throughout. Pp. [1–4] 5–308 [309–312]. Yellow paper boards patterned in lilac; orange endleaves. [2] (item 376) Sense & sensibility . . . As the 1958 edition (item 122) but reset throughout. Pp. [1–4] 5–299 [300]. Pale blue paper boards patterned in green; dark green endleaves. [3] (item 377) Mansfield Park . . . As the 1959 edition (item 135) but reset throughout. Pp. [1–4] 5–378 [379– 380]. Orange paper boards patterned in lilac; lilac endleaves. The verso of the title-leaf notes in error that the ‘First Folio Society edition’ was published in ‘1961’. [4] (item 378) Northanger Abbey . . . As the 1960 edition (item 147) but reset throughout. Pale brown cloth boards patterned in brown; blue endleaves. [5] (item 379) Persuasion . . . As the 1961 edition (item 157) but reset throughout. Blue paper boards patterned in blue-grey; pink endleaves. [6] (item 380) Emma . . . As the 1962 edition (item 175) but reset throughout. Pp. [1–4] 5–382 [383–384]. Orange paper boards patterned in dark red; dark brown endleaves. [7] (item 381) Shorter works . . . As the 1963 edition (item 189) but reset throughout. Pp. [1–7] 8–313 [314–316]. Red paper boards patterned in dark red; purple endleaves.

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¶ Second impression: 1978. ¶ Third impression: 1984. Part of this impression was available in an alternative binding of full dark red morocco, with gilt edges and a dark red seven-volume slip case. This was also the case with at least some of the subsequent impressions. ¶ Fourth impression: 1987. ¶ Fifth impression: (not seen). ¶ Sixth impression: 1989 (not seen). ¶ Seventh impression: 1989, bound in quarter red buckram series binding, white paper boards patterned in red; plain pale brown endleaves. Red seven-volume slip case. This impression was very large, chiefly because copies were offered to new members as an incentive to join in 1990. ¶ Eighth printing: 1991. ¶ Ninth printing: 1991. ¶ Tenth printing: 1991. ¶ Eleventh printing: 1993. ¶ Twelfth printing: 1994. Some sets of this impression were broken up, with three of the novels being issued as Three classic novels (item 846.5) and the remainder published as a boxed set (item 847). ¶ Thirteenth printing: 1996. Extra copies of volumes [1], [2] and [6] were printed for Three classic novels (item 846.5). One thousand copies were bound in full blue-green leather, blocked in gold with a new design, with a dark green cloth-covered slip case bearing the title ‘The Folio Jane Austen’ for the first time. ¶ Fourteenth printing: 1996. Extra copies of volumes [1], [2] and [6] were printed for Three classic novels (item 846.5). ¶ Fifteenth printing: 1996. Extra copies of volumes [1], [2] and [6] were printed for Three classic novels (item 846.5). ¶ Sixteenth printing: 1996. Extra copies of volumes [1], [2] and [6] were printed for Three classic novels (item 846.5). ¶ Seventeenth printing: 1997. For this reprint pulls from the original wood-engravings were used to ‘re-originate’ the illustrations and improve the quality of their reproduction. Extra copies of volumes [1], [2] and [6] were printed for Three classic novels (item 846.5). ¶ Eighteenth printing: 1997. For the first time in many years, the volumes of this impression had separate dark red slip cases and were available both individually and as a complete set. Extra copies of volumes [1], [2] and [6] were printed for Three classic novels (item 846.5). ¶ Sixteenth [i.e. nineteenth] printing [of volumes [1] and [2]]: 1999. This impression consists of Pride & prejudice and Sense & sensibility only; the separate availability of individual volumes of the previous impression meant that these two titles were the first to go out of print. ¶ Twentieth printing: 2003 (not seen), printed and bound by the Bath Press. 382 Samuel Smiles, the lives of George and Robert Stephenson, introduction by Eric de Maré [quotation from Pope]. 252 × 160 × 24 mm. Pp. [1–3] 4–304 [305–308]: [8] leaves of colour plates (facing pp. [1], 80, 97, 193 and 208, and between pp. 48–49, 144–145 and 256–257). Type: Modern Extended with Scotch Roman for display. Printed by Richard Clay, the lithographs by Alabaster Passmore. Bound by Mackay in full dark green cloth with a yellow paper label printed in green inset in the front board; endleaves printed in colour. Pale yellow-brown slip case. The plates reproduce contemporary prints and lithographs, all but two with hand-colouring. Two further coloured lithographs are reproduced on the endleaves. In addition there are 22 wood-engraved vignettes printed in the text, with that on page [165] (showing the ‘Rocket’) also reproduced on the front board. The text was first published in 1857 and revised and reprinted many times during the nineteenth century. The last edition to be revised by the author was that of 1874, and this is the text reproduced here, with the wood-engravings taken from the 1862 edition, which was published as volume III of Smiles’s The lives of the engineers. 383 William Shakespeare, King Henry IV part two, introduction by Brewster Mason, designs by Elizabeth Haffenden and Joan Bridge. Glossary by Jean Rook. 222 × 173 × 15 mm. Pp. [1–2] 3–112: [8] leaves of colour plates (facing pp. [1], 16, 33, 48, 53, 60, 81 and 96). Type: Bulmer. Printed in black and blue by Mackay, the lithographs by Alabaster Passmore. Bound by Mackay in blue series binding (see item 27). Mottled grey slip case. The costume designs originate from the Mermaid Theatre production of 1970. Part one had been published in 1965 (item 215). 384 Alfred Tennyson, in memoriam Arthur H. Hallam, with an introduction and notes by Kingsley Hart. Wood-engraved portrait frontispiece by Peter Reddick. 192 × 127 × 18 mm. Pp. [1–4] 5–151 [152]. Type: Bulmer. Printed in dark red and black by Mackay. Bound by Mackay in quarter black leather, green cloth

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boards; red endleaves patterned in black. Pale grey slip case. Part of an informal poetry series (see item 4). The text is decorated with Bernhard Cursive ornaments, which are also used to form the pattern on the endleaves. 385 Christopher Isherwood, goodbye to Berlin, with drawings by George Grosz selected by Frank Whitford. 228 × 160 × 23 mm. Pp. [1–4] 5–256. Type: Walbaum with Walbaum Medium for display. Printed and bound by Mackay. Full white cloth lithographed in colour with a watercolour by Grosz; brown endleaves. White slip case. There are 12 full-page drawings in the text. The illustrations were not originally made for this text but, in Frank Whitford’s selection, are remarkably effective. ¶ Second impression: 1977. ¶ Third impression: 1979. ¶ Fourth impression: 1987, printed and bound by the Bath Press. ¶ Fifth impression: 1989. 386 Wren’s London by Eric de Maré. 253 × 195 × 14 mm. Pp. [1–10] 11–128. Type: Monophoto Bembo. Printed and bound by Jarrold. Full blue cloth with an armorial design in gold; cream endleaves printed in brown. Glassine dust-jacket. The Presentation Volume for 1976. There are 85 numbered illustrations, 35 in colour, printed lithographically with the text. They reproduce etchings, paintings, manuscripts and photographs of contemporary objects. There are two further etchings on the endleaves. Some copies, presumably of remaindered sheets, were published by Michael Joseph in full dark brown or green cloth, with a white dust-jacket printed in colour with two of the illustrations from the book. The title-leaf seems not, however, to have been cancelled for this issue and still bears the Folio imprint; Michael Joseph’s name appears only on the binding and dust-jacket. 387 John Aubrey, brief lives, a selection based upon existing contemporary portraits, edited by Richard Barber. 253 × 161 × 18 mm. Pp. [1–5] 6–324 [325–328]. Type: Monophoto Bembo. Printed by BAS printers. Bound by Mackay in full grey-brown canvas with a design in brown and gold by Jeff Clements; pale orange endleaves. Orange-brown slip case. The illustrations consist of 93 monochrome reproductions of portraits, illustrating the 92 biographical sketches (there are two portraits for the Danvers family), and the frontispiece which is a facsimile of the first page of the manuscript of Aubrey’s sketch of his own life. For the second, and subsequent impressions, the typographical error on page [145] (‘litery’ for ‘literary’) was corrected. ¶ Second impression: 1976 (not seen). ¶ Third impression: 1979, with yellow endleaves. Pale brown slip case. ¶ Fourth impression: 1983, printed and bound by the Pitman Press. ¶ Fifth impression: 1988, printed and bound by the Bath Press. Quarter dark green cloth, pale brown cloth boards, decorated in black and gold to a design by Malcolm Harvey Young. Grey slip case. This new binding is uniform with that for The worlds of John Aubrey (1988 item 608). ¶ Sixth impression: 1990, with a black slip case. ¶ Seventh printing: 1992. ¶ Eighth printing: 1994. ¶ Ninth printing: 1996. ¶ Tenth printing: 1997, in quarter blue-green cloth. ¶ Eleventh printing: 1999. ¶ Twelfth printing: 2001 (not seen). 388 William Shakespeare, the tragedy of Coriolanus, introduction by Manfred Wekwerth and Joachim Tenschert, designs by Manfred Grund. Glossary by Jean Rook. 222 × 173 × 15 mm. Pp. [1–2] 3–134 [135–136]: [8] leaves of colour plates (facing pp. [1], 16, 33, 48, 65, 80, 97 and 112). Type: Poliphilus and Blado. Printed in black and purple by Mackay, the lithographs by Alabaster Passmore. Bound by Mackay in purple series binding (see item 27). Mottled grey slip case. The costume designs were created for the 1971 National Theatre production at the Old Vic. 389 Laxdæla saga, translated with an introduction by Magnus Magnusson and Hermann Pálsson, wood-cuts by Peter Pendrey. 228 × 140 × 22 mm. Pp. [1–4] 5–256. Type: Ehrhardt with Klang for display. Printed by Ebenezer

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Baylis. Bound by Mackay in quarter black leather, printed marbled paper boards designed by Sidney Cockerell; endleaves with a map in brown and black. Blue slip case. The woodcuts consist of 21 half-page illustrations, and the frontispiece. The text is revised from the translators’ 1968 Penguin Classics edition. ¶ Second impression: 1978 (not seen). 390 Samuel Johnson, the history of Rasselas, Prince of Abyssinia, with an introduction by Gilbert Phelps and lithographs by Edward Bawden. 223 × 136 × 17 mm. Pp. [1–6] 7–130 [131–132]: [7] leaves of four-colour plates (facing pp. [1], 26, 35, 53, 68, 93 and 125). Type: Imprint with Old Face Open and Imprint Shadow for display. Printed by Constable, the lithographs by Cowell. Bound by Mackay in quarter dark blue cloth, white paper boards with a pattern in yellow, green and grey by Bawden; yellow endleaves. Yellow or pale blue slip case. The lithographs are printed in yellow, green, grey and black.

1976

1976 391 Anthony Trollope, the warden, introduction by Julian Symons, drawings by Peter Reddick. 228 × 150 × 22 mm. Pp. [1–8] 9–234 [235–236]. Type: Scotch Roman. Printed and bound by Butler and Tanner. Quarter brown cloth, brown paper boards with a design in white by Sally Lou Smith; endleaves with a map in brown. White slip case. The warden was first published in 1855. The present illustrations consist of nine full-page drawings (including the frontispiece), and 21 smaller designs, mostly used as tail-pieces at the end of chapters. This was the first in a series of editions of Trollope’s Barsetshire novels, all bound with the same patterned paper on the boards and gold-blocked spine design. The endleaves reproduce a map of Barchester and the surrounding area, based on the author’s sketch. For others in the Barsetshire series see items 410, 426, 440, 459 and 475; see also item 483. ¶ Second impression: 1977. ¶ Third impression: 1980. ¶ Fourth impression: 1987. 392 William Shakespeare, King Henry V, introduction by Michael Croft, designs by Graham Barlow. Glossary by Jean Rook. 222 × 170 × 14 mm. Pp. [1–2] 3–116: [8] leaves of colour plates (facing pp. [1], 16, 33, 48, 65, 80, 85 and 92). Type: Baskerville. Printed in black and blue by Mackay, the lithographs by Alabaster Passmore. Bound by Mackay in dark blue series binding (see item 27). Mottled grey slip case. The costume and set designs were created for the 1958 production at the Nottingham Playhouse. 393 Sir John Barrow, the eventful history of the mutiny and piratical seizure of HMS Bounty, edited and with an introduction by Captain Stephen W. Roskill CBE, DSC, Litt D, FBA, RN. 222 × 142 × 24 mm. Pp. [1–5] 6–261 [262–264]: [12] leaves of plates. Type: Ehrhardt. Printed by Mackay, the lithographs by Cowell. Bound by Mackay in full dark blue cloth with a design in blue and gold by Jeff Clements; blue endleaves with a map in dark blue. Dark blue slip case. The text was first published in 1831, and three of the plates are reprinted from the first edition. The remaining plates come from other nineteenth-century works, or reproduce contemporary portraits, drawings and prints. ¶ Second impression: 1977. ¶ Second [i.e. third?] impression (with a new binding): 1998, printed by the Saint Edmundsbury Press. Bound by Jarrold in full white cloth printed in colour with a painting by Robert Dodd; white endleaves with the map in dark brown. Brown slip case. ¶ Second impression (with a new printing [sic]), second [i.e. fourth?] printing: 1999. ¶ Fifth printing: 2001. Bound by Cambridge University Press. Dark green slip case. ¶ Sixth printing: 2003 (not seen). 394 Saki, short stories, selected and introduced by John Letts, drawings by Sir Osbert Lancaster. 228 × 148 × 22 mm. Pp. [1–4] 5–244 [245–246]: [9] leaves of line-block ‘plates’ (facing pp. 44, 66, 103, 110, 119, 142, 161, 208 and 244). Type: Imprint. Printed and bound by Richard Clay. Full pale green cloth with a design in dark green by Lancaster; pale yellow-green endleaves. Pale green slip case. ¶ Second impression: 1977. ¶ Third impression: 1979, bound in a different shade of green cloth. ¶ Fourth impression: 1982, printed by New Western Printing. Bound by the Pitman Press. ¶ Fifth impression: 1983. ¶ Sixth impression: 1986, printed and bound by the Bath Press. ¶ Seventh impression: 1989. 394.3 Harold Rosenthal, Covent Garden memories and traditions. Folio Miniatures, Michael Joseph Ltd. 186 × 124 × 7 mm. Pp. [1–2] 3–32: 16 pages of colour plates. Type: Monophoto Ehrhardt. Printed and bound

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by Henri Proost. Full red glazed paper, printed in colour; endleaves with a photograph in brown. Not issued in a dust-jacket or slip case. The 16 numbered plates which follow the text bear colour reproductions of paintings and prints of Covent Garden, and a photograph of Rex Whistler’s 1939 Royal Command Performance programme (also reproduced on the front board). The remainder of the text is printed lithographically in monochrome, including six further illustrations. The endleaves reproduce an etching of around 1861 showing the Floral Hall and Royal Opera House. 394.5 Pyne’s royal residences, John Cornforth. Folio Miniatures, Michael Joseph Ltd. 187 × 124 × 7 mm. Pp. [1–2] 3–32: [16] pages of colour plates. Type: Monophoto Bembo. Printed and bound by Henri Proost. Full dark blue-green glazed paper, printed in colour; endleaves with medallion portraits by Josiah Wedgwood in dark blue-green. Not issued in a dust-jacket or slip case. The final eight leaves bear colour reproductions of 16 of the hand-coloured aquatints in William Pyne’s History of the royal residences . . . , originally published in parts between June 1816 and mid-1820. The remainder of the text is printed lithographically in monochrome, including six further illustrations. A detail from one of the colour illustrations is also reproduced on the front board. 394.7 Martyn Goff, the Royal Pavilion, Brighton. Folio Miniatures, Michael Joseph Ltd. 186 × 124 × 7 mm. Pp. [1–2] 3–32: [16] pages of colour plates. Type: an unidentified Monophoto face, resembling Garamond. Printed and bound by Henri Proost. Full pale brown glazed paper, printed in colour; endleaves printed in brown. Not issued in a dust-jacket or slip case. The final eight leaves bear colour reproductions of some of the hand-coloured aquatints in John Nash’s The Royal Pavilion at Brighton . . . ([1826]), and photographs of the Pavilion as it is today. The remainder of the text is printed lithographically in monochrome, including six further illustrations. The endleaves reproduce the longitudinal section of the Pavilion from Nash’s work, and the front board bears a photograph of part of the roof of the building, showing the onion domes. 394.9 The London Zoo, Sally Holloway. Folio Miniatures, Michael Joseph Ltd. 186 × 124 × 7 mm. Pp. [1–2] 3–32: [16] pages of colour plates. Type: Monophoto Plantin. Printed and bound by Henri Proost. Full brown glazed paper, printed in colour; endleaves printed in brown. Not issued in a dust-jacket or slip case. The final eight leaves bear colour reproductions of paintings and prints of the Zoo, its founders and animals, from the period 1835 to 1882, with the final page showing Ching Ching and Chia Chia in 1974. The remainder of the text is printed lithographically in monochrome, including eight further illustrations. The endleaves reproduce an engraved admission ticket of the 1830s. The captions to plates [7] and [8] were transposed, and a printed erratum slip was issued with some copies, usually pasted to the title-leaf. 395 The siege of Quebec and the campaigns in North America 1757–1760 by Captain John Knox, edited and introduced by Brian Connell. Maps by K.C. Jordan. 251 × 160 × 30 mm. Pp. [1–4] 5–319 [320]: [13] leaves of plates. Type: Fournier with Colonna for the chapter numerals. Printed by Constable, the lithographs by Mackay. Bound by Mackay in full red buckram with a design in gold, black spine-label; endleaves with a map. Dark blue slip case. The text was first published in two volumes in 1769, and the present text consists of about half of the original narrative, newly edited into 14 chapters with notes added at the beginning of each. The plates reproduce contemporary portraits, prints, paintings and drawings. In addition there are maps by Jordan on pages 25, 37, 82, 188, 219, 262 and 278. The binding is based on a design of 1764 attributed to Richard Adams. 396 William Shakespeare, Cymbeline, introduction by Ian Richardson, designs by John Napier. Glossary by Jean Rook. 222 × 171 × 16 mm. Pp. [1–2] 3–125 [126–128]: [8] leaves of colour plates (facing pp. [1], 16, 33, 48, 65, 80, 97 and 112). Type: Bell. Printed in black and blue-green by Mackay, the lithographs by Alabaster Passmore. Bound by Mackay in pale blue-green series binding (see item 27). Mottled grey slip case. Napier’s costume designs were made for the Royal Shakespeare Company’s production in 1974.

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397 Jean Cocteau, les enfants terribles, translated by Rosamond Lehmann, with soixante dessins pour les enfants terribles by the author. 228 × 159 × 19 mm. Pp. [1–8] 9–118, [i–ii], 1–61 [62–64]. Type: Garamond with hand-drawn lettering (by Michael Harvey) for display. Printed by Ebenezer Baylis. Bound by Mackay in full dark green cloth with a design in black and gold by Sue Bradbury; dark blue endleaves. Dark blue slip case. The second part of the book consists of a reprint of the 62 plates of Cocteau’s Soixante dessins pour les enfants terribles. Pages [i–ii] are the hand-drawn title-plate from the suite, which reads ‘Les Enfants terribles illustres par l’auteur 1934’. The text had been published in 1929, and the present English translation first appeared in 1955. 398 Boxiana or Sketches of ancient and modern pugilism, from the days of the renowned James Figg and Jack Broughton to the heroes of the later milling era, Jack Scroggins and Tom Hickman, by Pierce Egan, a selection, edited and introduced by John Ford. 253 × 160 × 22 mm. Pp. [i–ii], [1–5] 6–208 [209–210]: [8] leaves of colour plates (facing pp. 47, 62, 79, 94, 111, 126, 159 and 174). Type: Baskerville. Printed by Mackay, the lithographs by Alabaster Passmore. Bound by Mackay in quarter red-brown cloth, yellow paper boards patterned in red-brown; endleaves printed in colour. Red-brown slip case. The text is edited from the original edition, which was published in parts, divided into five volumes, between 1812 and 1829, with some small additions from others of Egan’s works. Among these last is Picture of the fancy on the road going to a fight at Moulsey Hurst (1819), which includes the long hand-coloured ‘frieze’ etching by George Cruikshank which is printed (by Alabaster Passmore) on the endleaves, with sections of the related letterpress included as an appendix on pages [194]–202. The plates reproduce contemporary hand-coloured etchings and engravings of prize-fights and fighters. 398.5 Bruce Campbell, the bird paintings of Henry Jones, foreword by HRH the Duke of Edinburgh KG, KT, preface by Professor Lord Zuckerman OM, KCB, FRS. Folio Fine Editions with the Zoological Society of London. Designed by Colin Cohen. 393 × 471 × 35 mm. Pp. [1–108]. Type: Monophoto Bodoni. Typeset by Filmtype Services, printed on Hollingworth Turkey Mill cartridge by Lund Humphries. Bound by Hunter and Foulis in half green leather, green buckram boards; Compton marbled endleaves. Brown slip case with the Zoological Society’s crest in gold. This was the largest and most expensive book published by Folio at this period, costing £350.00 on publication (the price later rising to £425.00). There are 24 leaves of colour reproductions of 27 of Jones’s stunning watercolours of exotic birds, each facing a brief explanatory text by Campbell. The original watercolours are among more than 1200 in the library of the Zoological Society, and the present selection was published partly to celebrate the 150th anniversary of the Society. Each copy is said to have been issued with a book-plate designed by Leo Wyatt loosely inserted, although no example has been traced. The colophon records that 500 copies were printed, but it is clear from Folio records that 200 copies were originally bound up, and further copies were bound in small batches over ensuing years, as demand dictated. For the later use of the imprint ‘Folio Fine Editions’ see item 592. 399 Benito Pérez Galdós, the disinherited, translated by Lester Clark, drawings by Augustin Blancovaras. 241 × 161 × 36 mm. Pp. [i–iv] v–xiv [xv–xviii], 1–339 [340]: [19] leaves of line-block ‘plates’. Type: Plantin. Printed and bound by Richard Clay. Full grey cloth with a design in red by Blancovaras; dark red endleaves. Blue-grey slip case. This translation of Galdós’s work, which was first published in 1881, was specially commissioned by Folio. 400 William Shakespeare, much ado about nothing, introduction by Denise Coffey, designs by Tim Goodchild. Glossary by Jean Rook. 222 × 171 × 13 mm. Pp. [1–2] 3–95 [96]: [8] leaves of colour plates (facing pp. [1], 16, 21, 28, 33, 48, 65 and 80). Type: Walbaum with Walbaum Bold for the title. Printed in black and green by Mackay, the lithographs by Alabaster Passmore. Bound by Mackay in dark green series binding (see item 27). Mottled grey slip case. The costume designs were created for a production at the Regent’s Park Open Air Theatre in 1970.

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401 Victor Hugo, les misérables, translated and with an introduction by Norman Denny, lithographs by Charles Keeping, volume I [–II]. Folio Press. Footnotes by Marius-François Guyard. 253 × 162 × 38–48 mm. 2 vols (pp. [i–ii] iii–xiii [xiv], [1–2] 3–629 [630]: [24] leaves of two-colour plates; [i–ii] iii–v [vi], [1–2] 3–471 [472–474]: [24] leaves of two-colour plates). Type: Garamond. Printed by Richard Clay, the lithographs by Mackay. Bound by Mackay in black buckram, with grey canvas on the front board, with a design in black by Jeff Clements; purple endleaves. Grey canvas-covered two-volume slip case. The plates are printed in lilac and grey. This translation was specially commissioned for publication by Folio. ¶ Second impression: 1977, printed by Fletcher and Son. Published by the Book of the Month Club, New York. 402 François-Marie Arouet de Voltaire, the history of Charles XII, King of Sweden, translated by Antonia White, introduction by R.M. Hatton. 228 × 147 × 25 mm. Pp. [1–3] 4–285 [286–288]: [14] leaves of plates. Type: Van Dijck with Rosart for display. Printed and bound by Mackay. Full vegetable parchment (‘Elephanthide’) with an armorial design in red and gold; endleaves with a map by K.C. Jordan in dark blue-green. Red slip case. The plates reproduce contemporary etchings, paintings and portraits. The text was first published in French as L’histoire de Charles XII in 1731. 403 Raleigh Trevelyan, the shadow of Vesuvius, Pompeii a d 79. 254 × 192 × 14 mm. Pp. [1–10] 11–128. Type: Monophoto Times New Roman with Castellar for display. Printed and bound by Jarrold. Quarter brown cloth, cream paper boards decorated in gold; pale blue endleaves printed in dark blue. Glassine dust-jacket. The Presentation Volume for 1977. The illustrations consist of 94 numbered images, 43 in colour, printed lithographically with the text. They reproduce portraits, paintings, etchings and drawings made during the excavations of Pompeii in the late eighteenth and early nineteenth centuries, and photographs of the ruins as they were in 1976. In addition, the title-page is printed within a colour reproduction of one of John Goldicutt’s drawings published in Specimens of ancient decorations from Pompeii (1825), and two further etchings of Vesuvius are reproduced on the endleaves. ¶ [Second impression]: 1976, published by Michael Joseph Ltd ‘by arrangement with the Folio Society’. Pale grey dust-jacket. ¶ Second [i.e. third] impression: 1978, also published by Joseph. 404 Lewis Carroll, the hunting of the snark, an agony, in eight fits, drawings by Quentin Blake. 228 × 160 × 10 mm. Pp. [1–52]. Type: Bell with Mackay Centenary for display. Printed in brown and black by Mackay. Bound by Mackay in full white cloth with a watercolour in four colours by Blake; pale brown endleaves. Pale blue slip case. The text is printed with a combination of letterpress for the verse and lithography for the illustrations, which are printed in brown and woven about the text. Some copies were bound later in plain pink cloth because the printed cloth was produced in insufficient quantities to cover the entire first impression. ¶ Second impression: 1978. 405 Mary H. Kingsley, travels in West Africa, edited and introduced by Elspeth Huxley. 253 × 153 × 25 mm. Pp. [1–2] 3–276 [277–280]: [13] leaves of plates. Type: Modern Extended with Scotch Roman for display. Printed by Richard Clay, the lithographs by Mackay. Bound by Mackay in full pale green buckram with a photograph in dark green; endleaves with a map in brown. Brown slip case. The text was first published in 1897 and the plates reproduce contemporary or near-contemporary photographs, with another printed lithographically on the binding. 406 The life of Timon of Athens by William Shakespeare, introduction by Paul Scofield, designs by Desmond Heeley. Glossary by Jean Rook. 222 × 171 × 12 mm. Pp. [1–2] 3–88: [7] leaves of colour plates (facing pp. [1], 17, 32,

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37, 44, 57 and 72). Type: Ehrhardt. Printed in black and brown by Mackay, the lithographs by Alabaster Passmore. Bound by Mackay in brown series binding (see item 27). Mottled grey slip case. For this final book in the Shakespeare series, which had started back in 1950 with Romeo and Juliet (item 27), it seems that no twentieth-century costume designs from an actual production could be found, and the plates in this edition were specially commissioned from Desmond Heeley. The publication of this play was all that was necessary for Folio’s grand reissue of the series (see item 407). ¶ [Another issue]: 1976 item 407, issued with the other plays in the Folio Press Shakespeare series. ¶ Second impression: 1978 (not seen). 407 The Folio Press Shakespeare. Folio Press. 37 vols (see below). Once the last of the plays securely attributed to Shakespeare had been published (see item 406), the way was clear for Folio to produce a collected edition. In order to achieve this they bound up 675 (some Folio prospectuses say 750) sets of the sheets of each of the plays already published in a new binding of full vegetable parchment (‘Elephanthide’), with John Westwood’s series design blocked in gold and one other colour. The binding was undertaken by Mackay. It is significant that sufficient stocks of unsold sheets of some titles survived from the 1950s and 1960s to allow this, bearing witness to the slow sales of some of the plays. The production of the full series, under the Folio Press imprint, was seen partly therefore as a way of using up the remaining stocks, and leaving the way clear for a new Folio Shakespeare, based on a more modern edition of the text (the ‘New Temple Shakespeare’ had, by 1976, been superseded and the 1988 edition (item 624) was based on the Oxford text). The endleaves are in all cases dark brown, and each volume contains a leaf of pale brown paper printed in black and brown in 10-point Bembo with a list of the works in ‘The Folio Press Shakespeare’. The volumes were issued in six brown slip cases, each with a vegetable parchment label on the fore-edge titled in gold with Shakespeare’s name, a list of the plays, and the Folio Press imprint. The slip cases are numbered 1–6, and each has a key colour, which is used on the fore-edge label and as the second colour on the binding. The full set was published at £165.00. The series is made up as follows: Slip case 1 (key colour red-brown): [1–3] King Henry VI part one [–three] . . . (1967 item 241). [4] Titus Andronicus . . . (1970 item 288). [5] King Richard III . . . (1961 item 154, second impression 1970). [6] The taming of the shrew . . . (1960 item 142, second impression 1973). [7] The comedy of errors . . . (1969 item 273). Slip case 2 (key colour dark purple): [8] Love’s labour’s lost . . . (1959 item 129, second impression 1973). [9] The two gentlemen of Verona . . . (1974 item 358). [10] King Richard II . . . (1958 item 118, third impression 1974). [11] The tragedy of Romeo and Juliet . . . (1960 item 140.5, ‘fourth impression’ 1972).

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[12] A midsummer night’s dream . . . (1961 item 151.5, ‘third impression’ 1968). [13] The merchant of Venice . . . (1975 item 368). Slip case 3 (key colour dark red): [14] The life and death of King John . . . (1973 item 335). [15] King Henry IV part one . . . (1965 item 215, second impression 1975). [16] King Henry IV part two . . . (1975 item 383). [17] King Henry V . . . (1976 item 392). [18] Much ado about nothing . . . (1976 item 400). [19] The merry wives of Windsor . . . (1974 item 349). Slip case 4 (key colour dark green): [20] Julius Caesar . . . (1962 item 173, second impression 1970). [21] Twelfth night . . . (1966 item 230, second impression 1973). [22] As you like it . . . (1959 item 135.5, ‘fourth impression’ 1973). [23] The tragedy of Hamlet . . . (1961 item 154.5, ‘fourth impression’ 1970). [24] Troilus and Cressida . . . (1968 item 257, second impression 1975). [25] Othello . . . (1962 item 175.5, fourth impression 1973). Slip case 5 (key colour dark brown): [26] All’s well that ends well . . . (1963 item 188). [27] Measure for measure . . . (1964 item 199). [28] The life of Timon of Athens . . . (1976 item 406). [29] The tragedy of King Lear . . . (1956 item 93, third impression 1973). [30] The tragedy of Antony & Cleopatra . . . (1963 item 189.5, ‘fourth impression’ 1975). [31] The tragedy of Macbeth . . . (1964 item 202.5, second edition, third impression 1973). Slip case 6 (key colour dark blue):

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[32] The tragedy of Coriolanus . . . (1975 item 388). [33] Pericles, Prince of Tyre . . . (1972 item 321). [34] Cymbeline . . . (1976 item 396). [35] The winter’s tale . . . (1975 item 372). [36] The tempest . . . (1971 item 302). [37] The life of King Henry VIII . . . (1974 item 353). 408 The castle of Otranto, a gothic story by Horace Walpole, introduction by Devendra P. Varma, lithographs by Charles Keeping. 228 × 148 × 16 mm. Pp. [1–6] 7–142 [143–144]: [6] leaves of two-colour plates (facing pp. [1], 48, 57, 89, 120 and 137). Type: Bulmer with Gill Floriated Capitals and Haas ornaments for display. Printed and bound by Mackay. Quarter black cloth, marbled paper boards by Ingeborg Börjeson; dark green endleaves. Grey slip case. The story was first published by Walpole in late 1764, and the text published here follows that used for the collected edition of Walpole’s works of 1798. The plates are printed in purple and green. 408.5 The hobbit or There and back again, J.R.R. Tolkien. George Allen & Unwin Ltd for the Folio Society. 229 × 151 × 27 mm. Pp. [1–11] 12–286 [287–288]: [13] leaves of colour plates. Type: Garamond with Perpetua for display. Printed and bound by Mackay. Quarter brown leather, brown canvas boards with a design in dark brown by Jeff Clements; endleaves with a map in red and black. Mottled brown and black slip case. In 1975 George Allen and Unwin published their own fourth edition of The hobbit. In the following year this was reprinted in a ‘De Luxe edition’, and the present work is made up from sets of sheets of this ‘edition’, with the first gathering reprinted to include the Folio imprint. The plates and endleaves reproduce Tolkien’s own watercolour illustrations for the work. Some copies (probably only a small number) of Allen and Unwin’s ‘De Luxe’ edition were issued in the Folio binding, but without the Folio imprint on the title-page. Folio designed and published its own edition in 1979 (item 456), and used Jeff Clements’s binding design for this and for The lord of the rings (1977 item 417). 409 Serghei Aksakov, a Russian gentleman, translated and with an introduction by J.D. Duff, lithographs by Jane Johnson. 228 × 140 × 23 mm. Pp. [1–6] 7–239 [240]: [9] leaves of two-colour plates (facing pp. [1], 37, 65, 96, 113, 144, 161, 192 and 209). Type: Walbaum with Bauer Bodoni Bold for display. Printed and bound by Mackay. Full grey open-weave cloth over pale orange boards (described in Folio 40 as ‘Japanese sack-cloth’), black leather spine-label; dark purple endleaves. Orange-brown slip case. The text was first published in Russian in 1846. The present translation was made from the Russian edition of 1900, and was reprinted here from the Oxford University Press edition of 1922.

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1977 410 Anthony Trollope, Barchester Towers, introduction by Julian Symons, drawings by Peter Reddick. 228 × 150 × 33 mm. Pp. [1–4] 5–462 [463–464]. Type: Scotch Roman. Printed and bound by Butler and Tanner. Quarter dark green series binding (see item 391); endleaves with a map in dark green. Dark brown slip case. The illustrations consist of 36 half-page vignettes and the full-page frontispiece. Barchester Towers was first published in 1857. ¶ Reprinted [i.e. second impression]: 1982, with a pale grey slip case. 411 The Smith of Smiths, being the life, wit and humour of Sydney Smith, by Hesketh Pearson, introduction by Malcolm Muggeridge. 228 × 148 × 27 mm. Pp. [1–7] 8–299 [300]: [14] leaves of plates. Type: Bell. Printed and bound by Mackay. Quarter blue cloth, Cockerell marbled paper boards; pink endleaves. Pale brown slip case. The plates reproduce contemporary prints, drawings and paintings (many of them portraits), and a photograph of Pearson filling his pipe. ¶ Second impression: 1979. 412 Stella Gibbons, Cold Comfort Farm, with water-colour drawings by Quentin Blake. 228 × 159 × 25 mm. Pp. [1–4] 5–203 [204]: [9] leaves of four-colour plates (facing pp. [1], 33, 64, 81, 97, 112, 128, 145 and 184). Type: Imprint. Printed and bound by Mackay. Full green cloth with a design in brown by Blake; orange endleaves. Pale brown slip case. Number 23 in ‘The Folio fifty’ (see item 8). Two typographical errors, ‘eight’ for ‘eighty’ on page 31, line 7, and the omission of the word ‘few’ on page 105, line 3, were not corrected until the fourth impression. ¶ Second printing: 1981, printed by Western Printing Services, the lithographs by Mackay. ¶ Third printing: 1986, printed and bound by the Bath Press. ¶ Fourth printing: 1990 with the errors on pages 31 and 105 corrected (see above). ¶ Fifth printing: 1992. ¶ Sixth printing: 1995. ¶ Seventh printing: 1996. ¶ Eighth printing: 1997, with a dark green slip case. ¶ Ninth printing: 1999. ¶ Tenth printing: 2006, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in darker green cloth. Pale green endleaves. This reprint coincides with the selection of this title as the ‘Castaway’s Choice’ of Libby Purves (see item 270). ¶ Eleventh printing: 2007, the pagination running [i-ii], [1–4] 5–203 [204–206]. [9] leaves of four-colour plates (facing pp. [1], 33, 62, 79, 95, 110, 126, 143 and 184). 413 A narrative of the voyage of H.M.S. Beagle, being passages from the narrative written by Captain [Robert] FitzRoy, R.N., together with extracts from his logs, reports and letters; additional material from the diary and letters of Charles Darwin, notes from Midshipman Philip King and letters from Second Lieutenant Bartholomew Sulivan, selected and edited by David Stanbury. Drawings by Conrad Martens. 251 × 160 × 32 mm. Pp. [1–7] 8–359 [360]: [12] leaves of colour plates. Type: Ehrhardt with hand-drawn lettering for display. Printed by Mackay, the litho graphs by the Westerham Press. Bound by Mackay in full white cloth with a watercolour in four colours by Martens; endleaves with a map in brown. Brown slip case. The text is an abridgement of FitzRoy’s Narrative of the surveying voyages of His Majesty’s ships Adventure and Beagle . . . , which was first published in 1839, with additional material from Darwin’s works and other sources, many of them not previously published. Most of the plates reproduce watercolours by Conrad Martens, one of the artists to serve aboard the Beagle.

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The lettering used for the main title and chapter headings was produced by the ‘Hand Drawn Lettering Company’. ¶ Second impression: 1979. ¶ Third impression: 1979. 414 Federico García Lorca, three tragedies, Yerma, blood wedding, the house of Bernarda Alba, translated by Sue Bradbury, linocuts by Peter Pendrey. 228 × 161 × 20 mm. Pp. [1–7] 8–181 [182–184]. Type: Bodoni with Gill Sans Bold for display. Printed and bound by Richard Clay. Red cloth, with pale blue paper on the front board printed in brown with a linocut by Pendrey; pink endleaves. Black slip case. There are 16 vignette linocuts in the text, mostly used as head-pieces at the beginning of scenes, as well as a full-page frontispiece portrait of Lorca and the binding illustration. 415 Selections from the reminiscences of Captain Gronow, edited and introduced by Nicolas Bentley . . . [verse quotation from the first edition]. 253 × 163 × 27 mm. Pp. [1–5] 6–271 [272]: [12] leaves of plates. Type: Van Dijck. Printed and bound by Mackay. Full black buckram with design in gold; yellow endleaves with a map in brown. Dark red slip case. The plates reproduce contemporary prints and portraits. The Reminiscences were first published in four volumes in 1861, 1863, 1865 and 1866; the present text is abridged from the first three volumes, and rearranged according to theme. The binding is based on a mid-nineteenth-century design. 416 Stendhal, the Charterhouse of Parma, translated by C.K. Scott Moncrieff, wood-engravings by Zelma Blakely. Introduction by Gilbert Phelps. 228 × 150 × 34 mm. Pp. [1–6] 7–498 [499–500]. Type: Barbou with Dresden for display. Printed and bound by Mackay. Full green cloth with a repeat pattern in dark green by Blakely, black leather spine-label; green endleaves. Dark orange slip case. There are 19 full-page wood-engravings printed in the text, including the frontispiece. 416.1 America in the making, glimpses of America before independence, selected from the letters of Hector St John de Crèvecoeur and edited by Marcus Cunliffe, introduction by Brian Connell, wood-engravings by Sarah van Niekerk. 229 × 150 × 10 mm. Pp. [1–4] 5–63 [64]. Type: Garamond. Printed and bound by Mackay. Full blue cloth with an engraving in dark blue. Not issued in a dust-jacket or slip case. There are six wood-engraved head-pieces printed in the text. The engraving on the binding is a view of Sherburne in 1810. This work was published as an additional title, outside the general programme. The text is letters III–VIII from St John de Crèvecoeur’s The divided loyalist, which was then in production (1978 item 438). The text is largely printed from the same setting of type as that in the larger collection, and the head-pieces also appear in both works. 416.2 A few royal occasions . . . See item 418.5. 416.3 Michael Howe, the last & worst of the bushrangers, a facsimile of the original edition of 1818. Written by Thomas Wells(?). Introduction by Ian Atkins. 210 × 139 × 9 mm. Pp. [i–iii] iv, [1–5] 6–36. Type: Baskerville. Printed and bound by Mackay. Full pale brown cloth printed in black with an illustration and the title. Not issued in a dust-jacket or slip case. This work was published as an additional title, outside the general programme. The bulk of the text is the facsimile of the life of Howe, which has been attributed to Thomas Wells and was the first popular book to be published in Australia. Only three copies of the original survive, and the present facsimile is taken from that at the Bodleian (Arch. AA e.126). 417 [The lord of the rings by J.R.R. Tolkien]. 228 × 148 × 26–31 mm. 3 vols (see below). Type: Barbou with Libra for display. Printed and bound by Mackay. Quarter pale grey leather, pale grey cloth boards with a design in gold by Jeff Clements (as item 408.5); endleaves with a map in dark blue. Pale grey and black three-volume slip case. Predictably, this work is number 1 in ‘The Folio fifty’ (see item 8). The illustrator,

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‘Ingahild Grathmer’, was in fact Queen Margrethe II of Denmark. Tolkien had seen her sketches and been favourably impressed, so, despite his stated opposition to an illustrated edition of the trilogy, his executors were persuaded to allow this edition to proceed. The Queen’s designs were redrawn by Fraser – it is said, to their considerable improvement. Margrethe’s drawings (in Fraser’s redrawn versions) were also used in a Danish translation published in 2001. The three volumes are as follows: [1] J.R.R. Tolkien, the fellowship of the ring, being the first part of the lord of the rings, illustrations by Ingahild Grathmer, drawn by Eric Fraser. Pp. [1–7] 8–459 [460–464]. The illustrations consist of four full-page drawings (including the frontispiece) and 21 head-pieces. [2] J.R.R. Tolkien, the two towers, being the second part of the lord of the rings, illustrations by Ingahild Grathmer, drawn by Eric Fraser. Pp. [1–9] 10–372 [373–376]. The illustrations consist of three full-page drawings (including the frontispiece) and 20 head-pieces. [3] J.R.R. Tolkien, the return of the king, being the third part of the lord of the rings, illustrations by Ingahild Grathmer, drawn by Eric Fraser. Pp. [1–7] 8–487 [488]. The illustrations consist of three full-page drawings (including the frontispiece) and 16 head-pieces. This volume also contains appendices, genealogical tables, and an index to the work, all containing erroneous page-references, retained from the Allen and Unwin edition. This was not corrected until the ‘Reissue’ of 1990. ¶ Second impression: 1979 (not seen). ¶ Third impression: 1981 (not seen). ¶ Reissued [i.e. another impression]: 1990, printed and bound by the Bath Press. Full cream vegetable parchment (‘Elephanthide’) with a design in silver, red and gold; endleaves with a different map in red. Red three-volume slip case lettered in Libra ‘the lord of the rings’. ¶ Second [i.e. another] printing: 1991. ¶ Third [i.e. another] printing: 1993. ¶ Fourth [i.e. another] printing: 1993. ¶ Fifth [i.e. another] printing: 1995. ¶ Reprinted (with a new binding): 1997, measuring 228 × 151 × 33–42 mm. Full green vegetable parchment (‘Elephanthide’) with a design in gold, black and another colour (yellow for volume I, blue for volume II, red for volume III) by Francis Mosley; pale green endleaves with the map in green. Dark red three-volume slip case titled and decorated in gold. This binding is uniform with that for The Silmarillion (item 914), and the new printing of The hobbit (item 456), both issued in 1997. ¶ Second [i.e. another] printing: 1998. ¶ Third [i.e. another] printing: 1999, with a dark red slip case. ¶ Fourth [i.e. another] printing: 2000. ¶ Fifth [i.e. another] printing: 2000. ¶ Sixth [i.e. another] printing: 2001. In 2002, 1750 copies from this impression were bound by Smith Settle in full gold-blocked leather and issued as a ‘limited edition’ in a slip case with leather ends. ¶ Seventh [i.e. another] printing: 2002. ¶ Eighth [i.e. another] printing: 2002. ¶ Ninth [i.e. another] printing: 2002. ¶ Tenth [i.e. another] printing: 2004. ¶ Eleventh [i.e. another] printing: 2004. ¶ Twelfth [i.e. another] printing: 2006, bound in pale blue-green vegetable parchment (‘Elephanthide’). ¶ Thirteenth [i.e. another] printing: 2007, printed and bound by Grafos. ¶ Fourteenth [i.e. another] printing: 2010. ¶ Fifteenth [i.e. another] printing: 2013. ¶ Sixteenth [i.e. another] printing: 2013. ¶ Seventeenth [i.e. another] printing: 2016. Printed and bound by C & C Offset. ¶ Eighteenth [i.e. another] printing: 2018. 418 Music at court, Christopher Hogwood. 250 × 191 × 13 mm. Pp. [1–8] 9–127 [128]. Type: Bembo. Printed and bound by Constable. Quarter blue cloth, white paper boards decorated in red; grey endleaves printed in red. Glassine dust-jacket (not seen). The Presentation Volume for 1978. The text includes 87 numbered illustrations, 49 in colour, reproducing paintings, documents, stage scenery, portraits and prints to illustrate the history of royal and noble patronage of music. In addition there are seven illustrative head-pieces, one at the opening of each chapter, and a colour vignette on the title-page. One of the head-pieces is also reproduced on the endleaves, and the boards show a section of Handel’s manuscript for Zadoc the priest. The work was printed throughout by lithography. A trade edition was published by Victor Gollancz Ltd in 1980.

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¶ Second impression: 1978. 418A Music at court, directed by Christopher Hogwood with the Academy of Ancient Music. A set of two 12-inch long-playing records, published separately to illustrate item 418. 418.5 A few royal occasions, selected by Sue Bradbury and with an introduction by John Letts [quotation]. Folio Press. 223 × 133 × 9 mm. Pp. [1–4] 5–64. Type: Ehrhardt. Printed and bound by Mackay. Full white cloth lithographed in red, blue, yellow and green with a contemporary print. Not issued in a dust-jacket or slip case. This work was published as an additional title, outside the general programme. The text consists of brief sketches of royal events, drawn from a variety of (usually contemporary) sources, as published in Folio books over the previous 30 years. Some copies with the Folio Press imprint on the title-page were published by Michael Joseph at £2.95, in a printed dust-jacket bearing Joseph’s imprint ‘for the Folio Press’. This title was listed as item 416.2 in Folio 34 and Folio 40, but Folio’s records show that it was published in August 1977, after Michael Howe, The lord of the rings and Music at court. 419 Abelard & Heloise, the story of his misfortunes and the personal letters, translated with an introduction and notes by Betty Radice, wood-engravings by Raymond Hawthorn. 253 × 161 × 17 mm. Pp. [1–7] 8–130 [131–132]. Type: Bembo with Romulus Open for display. Printed and bound by Mackay. Full cream canvas with a design in gold by Sally Lou Smith; blue endleaves with a map in dark blue. Dark blue slip case. In addition to the frontispiece, there are 13 head-pieces by Hawthorn. The text is a translation of Pierre Abelard’s Historia calamitatum and of his letters, written in the first half of the twelfth century. ¶ Second impression: 1978 (not seen). 420 Shota Rustaveli, the knight in panther skin, a free translation in prose by Katharine Vivian. Foreword by D.M. Lang. Prefatory note by A.G. Baramidze. 222 × 143 × 22 mm. Pp. [1–4] 5–207 [208]: [8] leaves of colour plates (facing pp. [1], 48, 80, 97, 112, 129, 152 and 193). Type: Bulmer. Printed and bound by Mackay. Full purple-red artificial silk with a design in silver and gold by Levan Tsutskiridze, adapted by Sally Lou Smith; green endleaves with a map. Slip case (not seen). The text was originally composed in the twelfth century, and the plates reproduce pages from a seventeenth-century Georgian illuminated manuscript of the work. 421 Journal of a country curate, selections from the diary of Francis Kilvert, selected and with an introduction by Peter Wait, photographic re-creations by Tim Stephens. 228 × 148 × 27 mm. Pp. [1–9] 10–338 [339–340]. Type: Baskerville. Printed by the Shenval Press. Bound by Mackay in quarter brown cloth, white paper boards with photographs in brown; endleaves with a map in dark brown. Pale yellow-brown slip case. There are 29 duotone photographs in the book, each being a montage of images, some from the nineteenth century and some from the time of publication; two further sepia photographs by Stephens are used on the boards. The title-spread has a photograph above and the text beneath. The text and illustrations were printed lithographically. ¶ Second impression: 1978. 422 Arthur Conan Doyle, the lost world, being an account of the recent amazing adventures of Professor George E. Challenger, Lord John Roxton, Professor Summerlee, and Mr E.D. Malone of the daily gazette. Illustrated by Elisa Trimby and Tim Stephens. 222 × 143 × 21 mm. Pp. [1–9] 10–195 [196–200]: [11] leaves of plates. Type: Modern. Printed by Richard Clay, the lithographs by Fletcher and Son. Bound by Mackay in full orange cloth, white cover-label with a design by Trimby; pale grey endleaves. Slip case (not seen). The plates consist

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of drawings by Trimby, and photographs and photomontages by Stephens, as they might have been produced by the narrator Edward D. Malone. In addition there is a map by Trimby on page [126]. 423 Introductions to Shakespeare, being the introductions to the individual plays in the Folio Society edition 1950–76, foreword by Charles Ede. 228 × 161 × 27 mm. Pp. [1–5] 6–245 [246–248]: [12] leaves of colour plates. Type: Plantin with Castellar for display. Printed and probably bound by Mackay. Orange cloth, with pale brown paper on the front board, printed in brown and black; pale orange endleaves. Pale yellow-brown slip case. The plates are reprinted from 12 of the plays (see item 407), and the frontispiece is Peter Reddick’s wood-engraved portrait of Shakespeare from the Sonnets of 1972 (item 318). The front board is printed in Gresham and Scotch Roman with a list of the authors of the introductions, and a reduced wood-engraving by Valentine Hugo, originally published in The tragedy of Romeo and Juliet (1950 item 27). Charles Ede’s foreword gives a potted history of the publication of Folio’s Shakespeare series. 424 James Tucker, Ralph Rashleigh, introduced and edited by Colin Roderick, drawings by Nigel Lambourne. 228 × 151 × 27 mm. Pp. [1–6] 7–341 [342–344]. Type: Plantin. Printed and bound by Richard Clay. Full pale green cloth with a design in brown by Lambourne; endleaves with a map in dark brown. Brown slip case. There is a total of 16 full-page drawings, including the frontispiece. The text is edited from the original pseudonymous manuscript, written around 1840 by a convict in Australia (later identified by Roderick as James Tucker). 425 The happy captive by Francisco Núñez de Pineda y Bascuñán, translated from the Spanish by William C. Atkinson, vinyl-cuts by John Lawrence. 223 × 144 × 16 mm. Pp. [i–ii], [1–4] 5–154 [155–158]. Type: Poliphilus and Blado with Libra for display. Printed and bound by Mackay. Quarter dark red leather, pale brown cloth boards with a design in red by Sue Bradbury; pink endleaves with maps. Gold or orange-brown slip case. The endleaves reproduce two maps from Antonio de Herrera’s Historia general de los hechos de los Castellanos (1730). Lawrence’s vinyl-engravings consist of 16 half- or quarter-page designs, and an illustrative border on the title-page. A copy has been reported in a variant binding of quarter orange leather. 425.3 The Tower of London, A.L. Rowse. Folio Miniatures, Michael Joseph Ltd. 187 × 123 × 9 mm. Pp. [1–2] 3–32: 16 pages of colour plates. Type: Monophoto Garamond. Printed by the Sackville Press. Bound by J.M. Dent in full green glazed paper, printed in colour; pale yellow endleaves with an etched map. Not issued in a dust-jacket or slip case. The final eight leaves reproduce miniatures, portraits, prints and photographs reflecting the history of the Tower. The remainder of the text is printed lithographically in monochrome, including 13 further illustrations and a title-page vignette. One of the colour illustrations is also reproduced on the front board. 425.5 Kenneth Hudson, pleasures and people of Bath. Folio Miniatures, Michael Joseph Ltd. 186 × 122 × 8 mm. Pp. [1–2] 3–32: [16] pages of colour plates. Type: Monophoto Garamond. Printed by the Sackville Press. Bound by J.M. Dent in full glazed paper, printed in colour; pale orange endleaves with a wood-engraving in brown. Not issued in a dust-jacket or slip case. The final eight leaves bear colour reproductions of prints and photographs of Bath. The remainder of the text is printed lithographically in monochrome, including six further illustrations. An extra reproduction of a print of Bath is used on the front board. 425.7 The history of the circus, Nicolas Bentley. Folio Miniatures, Michael Joseph Ltd. 187 × 123 × 8 mm. Pp. [1–2] 3–32: [16] pages of colour plates. Type: Monophoto Garamond. Printed by the Sackville Press. Bound by J.M. Dent in full orange-pink glazed paper, printed in colour; pale orange endleaves with an etching in brown. Not issued in a dust-jacket or slip case. The final eight leaves bear colour reproductions of circus posters and other prints and photographs of circuses. The remainder of the text is printed

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lithographically in monochrome, including eight further illustrations, one on the title-page. A detail from one of the colour illustrations is reproduced on the front board. 425.9 David Sekers, popular Staffordshire pottery. Folio Miniatures, Michael Joseph Ltd. 187 × 123 × 9 mm. Pp. [1–2] 3–47 [48]. Type: Monophoto Garamond. Printed by the Sackville Press. Bound by J.M. Dent in full yellow glazed paper, printed in colour; yellow endleaves with a wood-engraving. Not issued in a dust-jacket or slip case. Pages 33–[48] bear colour reproductions of 19 photographs of Staffordshireware. The remainder of the text is printed lithographically in monochrome, including seven further illustrations. An extra photograph of a Staffordshire earthenware group is reproduced on the front board.

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1978 426 Anthony Trollope, Doctor Thorne, introduction by Julian Symons, drawings by Peter Reddick. 229 × 150 × 34 mm. Pp. [1–4] 5–507 [508]. Type: Scotch Roman. Printed and bound by Butler and Tanner. Quarter orange series binding (see item 391); endleaves with a map in orange. Pale grey slip case. The text was first published in 1858. ¶ Second impression: 1980. 427 Pliny, a self portrait in letters, translated and introduced by Betty Radice. 253 × 161 × 24 mm. Pp. [1–7] 8–249 [250–252]: [9] leaves of plates (facing pp. [1], 49, 64, 97, 112, 145, 160, 209 and 224). Type: Poliphilus and Blado with hand-drawn lettering for the title. Printed and bound by Mackay. Full brown cloth with a design in red and gold by Sally Lou Smith; endleaves with a map in dark red. Dark red slip case. The plates reproduce photographs of Roman busts; in addition there is a plan of the Laurentine villa on page 58. ¶ Second printing [i.e. impression]: 2010. Printed and bound by L.E.G.O. in three-quarter dark green cloth with paper boards printed with Roman wall painting image; pale green endleaves with map in dark green. Dark green slip case. 428 Saki, the unbearable Bassington, introduced by Joan Aiken, drawings by Osbert Lancaster. 229 × 148 × 19 mm. Pp. [1–4] 5–146 [147–148]: [6] leaves of line-block ‘plates’ (facing pp. 26, 60, 81, 86, 96, 123). Type: Imprint with Imprint Shadow for display. Printed and bound by Richard Clay. Full blue-green cloth with a design in dark blue by Lancaster; pale blue-green endleaves. Blue slip case. As with Saki’s Short stories (item 394), the plates are not correctly plates at all, being printed from line-blocks as leaves in the letterpress gatherings and, with the exception of the frontispiece and the final plate (pp. [2] and [147]), not included in the pagination. 429 Peter Kropotkin, memoirs of a revolutionist, edited and introduced by Colin Ward. 252 × 160 × 29 mm. Pp. [1–5] 6–338 [339–340]: [12] leaves of plates. Type: Modern Extended with Bodoni for display. Printed and bound by Constable. Full black buckram with a design in gold, red cover-label; red endleaves with a map. Grey-brown slip case. The plates reproduce 24 contemporary photographs and portraits. The text was written by Kropotkin in both Russian and English, and the present edition follows the first English edition published in 1899. 430 Katherine Mansfield, twelve stories, selected and introduced by Jane Miller, drawings by Jennifer Campbell. Typographical design by George Mackie. 228 × 140 × 25 mm. Pp. [1–6] 7–268 [269–272]: [11] leaves of two-colour plates. Type: Walbaum. Printed and bound by Mackay. Quarter green cloth, green paper boards with a repeat pattern in black by Teresa Pemberton. The plates are printed in green and black. 431 The trial of John Bunyan & the persecution of the Puritans, selections from the writings of John Bunyan and Agnes Beaumont, edited and introduced by Monica Furlong. 211 × 144 × 23 mm. Pp. [1–5] 6–199 [200]: [10] leaves of plates (facing pp. [1], 16, 49, 64, 97, 112, 128, 145, 161 and 176). Type: Plantin. Printed and bound by Mackay. Quarter brown leather, pale brown Japanese wood-veneer boards; pale brown endleaves. Pale brown slip case. The plates reproduce portraits, etchings, woodcuts, and facsimiles of books and manuscripts relating to Bunyan and the Puritans.

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432 Leo Tolstoy, war and peace . . . A reduced photolithographic reprint in one volume of the edition first published in 1971 in two volumes (item 298). Details as item 298 but the binding measures 240 × 161 × 60 mm. Pp. [1–4] 5–1430 [1431–1432]. Printed by Fletcher and Son. Bound (probably by Richard Clay) in quarter red cloth, as item 298 but with different spine-lettering. Grey and white slip case. Only the title-leaf and the pagination of the second volume have been reset, to allow the work to be bound as a single volume. 433 The great enterprise, the history of the Spanish Armada as revealed in contemporary documents selected and edited by Stephen Usherwood. 252 × 161 × 21 mm. Pp. [1–5] 6–192: [24] pages of colour and monochrome plates. Type: Poliphilus and Blado with Egmont Inline for the title. Printed by Mackay, the lithographs by Constable. Bound by Constable in full blue cloth with a medallion design in gold; endleaves printed in colour. Glassine dust-jacket (some copies may also have been issued in a red slip case). The Presentation Volume for 1979. The plates reproduce contemporary paintings, portraits, prints, maps and manuscripts; two paintings of the Armada are printed on the endleaves. The second impression, which was published in the same year, presumably in response to the popularity of the work, is not so designated anywhere in the volume, and can only be distinguished from the first impression by the presence of two extra lines on the verso of the title-leaf, naming Constable as the printer of the plates and binder. ¶ [Second impression]: 1978. 433A Music from the Armada years, the Academy of Ancient Music directed by Christopher Hogwood [and] Hespèrion XX directed by Jordi Savall. A set of two 12-inch long-playing records, specially commissioned by Folio and published separately to illustrate item 433. 434 Dumas on food, selections from le grand dictionnaire de cuisine by Alexandre Dumas [père], translated by Alan and Jane Davidson, introduced by Alan Davidson. 253 × 162 × 26 mm. Pp. [1–4] 5–323 [324]. Type: Monophoto Fournier. Printed by the Alden Press. Bound by Mackay in full dark red-purple cloth with a contemporary illustration in cream and brown; pale brown endleaves. Pale brown slip case. The 64 illustrations, which are printed lithographically with the text, show nineteenth-century woodcuts and lithographs. The binding reproduces two further designs, probably taken from a mid-nineteenth-century menu. ¶ Second impression: 1979 (not seen). 435 Memoirs of the public and private life of Queen Caroline by Joseph Nightingale, edited and introduced by Christopher Hibbert. 229 × 150 × 27 mm. Pp. [1–3] 4–362 [363–364]: [12] leaves of plates. Type: Baskerville with Fry’s Ornamented for display. Printed and bound by Constable. Full orange buckram with a design in gold; dark yellow endleaves with coats of arms in red-brown. Pale yellow-brown slip case. The design of the binding is based on an example made in London about 1820. The plates reproduce contemporary portraits and prints. ¶ Second impression: 1979. 436 The Exeter riddle book, translated and introduced by Kevin Crossley-Holland, drawings by Virgil Burnett. 222 × 142 × 15 mm. Pp. [1–6] 7–139 [140]. Type: Van Dijck with Castellar for display. Printed in red and black by Mackay. Bound by Mackay in full grey vegetable parchment (‘Elephanthide’) with a design in blue and gold by Jeff Clements; pale blue endleaves. Brown-red slip case. Burnett’s illustrations consist of a full-page frontispiece, and 75 head-pieces printed in red at the head of each riddle (and often containing, or hinting at, the solution). The riddles translated in the main text are those numbered 1–17, 20–29, 30a, 31–35, 37–40, 42–62, 65, 66, 69, 70, 72, 74, 76, 77, 80, 81, 83–86, 91, 93 and 95, those omitted being ‘very badly

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damaged or impossibly obscure’. However, Crossley-Holland translates all but five of the 21 remaining riddles in his endnotes. 437 The hole in the wall, Arthur Morrison, introduction by Peter Forster, drawings by Val Biro. 222 × 142 × 16 mm. Pp. [1–8] 9–199 [200]. Type: Imprint with display lettering drawn by Brian Paine. Printed and bound by Richard Clay. Full white cloth with a design in black and dark green by Biro; pale grey endleaves. Dark grey-blue slip case. The illustrations consist of eight full-page drawings, printed in the text as pages [2], [29], [49], [67], [91], [129], [167] and [193]. 438 Hector St John de Crèvecoeur, the divided loyalist, Crèvecoeur’s America, selected from his letters and sketches and introduced by Marcus Cunliffe, wood-engravings by Sarah van Niekerk. 228 × 149 × 20 mm. Pp. [1–4] 5–235 [236]. Type: Garamond. Printed and bound by Mackay. Quarter dark red cloth, Mitchell and Malik (Ann Muir) marbled paper boards; dark green endleaves. Dark red slip case. In addition to the full-page frontispiece, the illustrations consist of 17 head-pieces, one at the opening of each letter or sketch. The text is selected from Letters from an American farmer (first published in 1782) and from some of Crèvecoeur’s surviving manuscripts, which were published in 1925 as Sketches of eighteenth-century America. The type of letters III–VIII was printed and published separately by the Folio Press in 1977, while the present work was in production (see item 416.1). 439 James Hogg, the private memoirs and confessions of a justified sinner, written by himself, with a detail of curious traditionary facts and other evidence by the editor, with an introduction by Douglas Gifford, linocuts by Peter Pendrey. 229 × 151 × 24 mm. Pp. [1–5] 6–226 [227–228]: [9] leaves of two-colour linocut plates (facing pp. [1], 41, 56, 65, 80, 112, 129, 160 and 192). Type: Bell with Gresham for display. Printed and bound by Mackay. Full red cloth with a design in black by Pendrey; dark blue endleaves. Dark blue slip case. The linocuts are printed from Magnesium line-blocks in brown and blue.

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1979 440 Anthony Trollope, Framley Parsonage, introduction by Julian Symons, drawings by Peter Reddick. 228 × 150 × 33 mm. Pp. [1–4] 5–472 [473–476]. Type: Scotch Roman. Printed and bound by Butler and Tanner. Quarter pale green series binding (see item 391); endleaves with a map in pale green. Pale grey slip case. There are 35 half-page illustrations in the text, in addition to the full-page frontispiece. ¶ Reprinted [i.e. second impression]: 1983. 441 The life and campaigns of the Black Prince, from contemporary letters, diaries and chronicles, including Chandos Herald’s life of the Black Prince, edited and translated by Richard Barber. 228 × 147 × 17 mm. Pp. [1–6] 7–139 [140]: [8] leaves of colour plates (facing pp. [1], 16, 32, 49, 81, 96, 113 and 128). Type: Van Dijck with Old English for display. Printed and bound by Mackay. Full red cloth with an armorial design in silver and black; grey endleaves with a map in red. Grey slip case. The plates reproduce miniatures from two fourteenth-century French manuscripts in the British Library (Cotton Nero E ii, pt 2 and Royal 20 c.viii). ¶ Second impression: 1979. 442 E.M. Delafield, diary of a provincial lady, Jilly Cooper wrote the introduction, Nicolas Bentley drew the pictures. 222 × 122 × 17 mm. Pp. [1–4] 5–170 [171–172]. Type: Bell. Printed and bound by Mackay. Full grey cloth with a design in red by Bentley; dark green endleaves. Dark red slip case. Bentley’s drawings consist of 16 half-page vignettes (one used as the frontispiece) and the binding design. ¶ Second impression: 1984, with an extra preliminary blank. Printed and bound by the Bath Press. Dark blue slip case. For this impression, reproduced photolithographically from the first, the binding was redesigned so that the lettering on the spine was vertical rather than horizontal. This impression was described separately in Folio 40 as item 525. ¶ Third impression: 1985. ¶ Fourth impression: 1989. ¶ Fifth impression: 1990. ¶ Sixth impression: 2015, the pagination running [1–4] 5–170 [171–176]. Printed and bound by Kösel with the spine lettering now in red. Slip case returned to dark red. 443 Poems by Thomas Hardy, selected & edited with an introduction by Trevor Johnson, wood-engravings by Jacques Hnizdovsky. 192 × 126 × 24 mm. Pp. [1–6] 7–268 [269–272]. Type: Baskerville. Printed and bound by Mackay. Quarter dark green leather, green cloth boards; dark orange endleaves. Pale yellow-brown slip case. Part of an informal poetry series (see item 4). In addition to the frontispiece portrait of Hardy, there are 14 half-page wood-engravings by Hnizdovsky, in the ‘woodcut’ style. ¶ Second impression: 1980. ¶ Third impression: 1984, printed and bound by the Pitman Press. Quarter green cloth, pale green paper boards with an enlarged copy of part of one of Hnizdovsky’s wood-engravings in dark green; pale green endleaves. Pale grey slip case. This impression was described separately in Folio 40 as item 537. 444 Escape from the terror, the journal of Madame de la Tour du Pin, edited and translated by Felice Harcourt. 253 × 161 × 26 mm. Pp. [1–3] 4–345 [346–352]: [12] leaves of plates. Type: Barbou. Printed and bound by Mackay. Full purple-blue buckram with a design in gold; endleaves with a map in purple-red. Lilac slip case.

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The binding is based on a design executed by Rondeau between around 1800 and 1802. The plates reproduce contemporary drawings, prints and paintings. 445 Flora Thompson, Lark Rise, with an introduction by Sir Hugh Casson. 228 × 149 × 21 mm. Pp. [1–7] 8–241 [242–244]. Type: Monophoto Photina. Printed by the Alden Press. Bound by Mackay in full grey cloth lithographed with a contemporary photograph in dark green; orange endleaves. Pale yellow-brown slip case. There are 24 contemporary photographs in the book (including portraits of the author, her mother and brother), with another reproduced on the binding. This edition was printed lithographically throughout. ¶ Second impression: 1980. ¶ Third impression: 1983, bound by the Pitman Press. 446 A short history of English literature by Gilbert Phelps. Folio Press. As the first edition of 1962 (item 171) but reset throughout. 228 × 148 × 19 mm. Pp. [1–7] 8–214 [215–216]. Type: V.I.P. Palatino. Printed and bound by Mackay. Full blue cloth with a design in gold; pale blue endleaves. Blue-grey and blue slip case. The text is a close resetting of the first edition, with the same plates, printed lithographically and now included in the pagination. 447 Harriette Wilson’s memoirs . . . A photolithographic reprint of the 1964 edition (item 196) with the imprint of The Folio Press. Details as item 196, but the binding measures 253 × 160 × 32 mm. Printed by Fletcher and Son. Bound by Richard Clay in full dark red cloth with a design in gold; red endleaves. Pale pink slip case printed in dark red. 448 [Pierre] Choderlos de Laclos, les liaisons dangereuses . . . A photolithographic reprint of the 1962 edition (item 164) with the imprint of The Folio Press. Details as item 164, but printed in black and grey by Mackay. Bound by Mackay in full red cloth with a design in gold; pale grey endleaves. Pale grey slip case. The title-page is now dated ‘MCMLXXIX’. 449 Eminent Victorians . . . A photolithographic reprint of the 1967 edition (item 239) with the imprint of The Folio Press. Details as item 239, but printed by Fletcher and Son. Bound by Richard Clay in full orange linen with a design in gold; plain yellow endleaves. Pale brown slip case. ¶ Reprinted: 1986, printed and bound by Butler and Tanner. ¶ Reprinted: 1987 (not seen). 450 John Donne, poems of love . . . A photolithographic reprint of the second edition of 1963 (item 189.7) with the imprint of The Folio Press. Details as item 189.7, but the binding measures 192 × 128 × 22 mm. Printed and bound by Mackay. Full dark green cloth decorated in gold; yellow-green endleaves. Pale green slip case. The title-page is now dated 1979. ¶ Reprinted by photolithography: 1986, measuring 192 × 127 × 16 mm. Printed and bound by Clark Constable. This printing was fraught with problems. The title-leaf had to be cancelled because of poor-quality printing, and a defect in the reproduction was noticed on page 50 after several hundred copies had been distributed; a further cancel was printed for this leaf, and a number of those copies which had been issued were returned or recalled. Clark Constable went into receivership as these problems were being sorted out. ¶ Reprinted by photolithography: 1989, measuring 192 × 126 × 21 mm. Printed and bound by the Bath Press. 451 Dante Alighieri, the divine comedy, translated and introduced by Kenneth Mackenzie, with one hundred and eleven engravings by John Flaxman. 253 × 161 × 37 mm. Pp. [i–iv] v–xix [xx], [1–2] 3–554 [555–556]. Type: Monophoto Bembo with Castellar for display. Typeset by Richard Clay, printed in blue and black by Fletcher and

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Son. Bound by Richard Clay in full blue cloth with a design in black and gold by Charles Foster; pale blue endleaves. Pale grey slip case. Tommaso Piroli’s 111 outline engravings of Flaxman’s illustrations to Dante are printed in blue. Folio originally approached Tom Phillips to illustrate Dante, but later withdrew. Phillips went on to publish his Inferno under his own Talfourd Press imprint, and Folio thus missed out on participating in one of the most exciting livres d’artiste of the period. ¶ Reprinted: 1983. 452 A man of singular virtue, being a life of Sir Thomas More by his son-in-law William Roper and a selection of More’s letters, selected, edited and introduced by A.L. Rowse. 253 × 170 × 13 mm. Pp. [1–6] 7–127 [128]. Type: V.I.P. Plantin. Printed and probably bound by Mackay. Quarter black cloth, red embossed paper boards with a design in gold; green endleaves. Red and pink printed slip case. The Presentation Volume for 1980, and dated ‘1980’ on the title-page. There are 57 numbered illustrations in the book, 23 in colour, reproducing contemporary portraits, prints and documents. The work was printed lithographically throughout. 453 Walt Whitman, specimen days in America, introduction by Gavin Ewart. 228 × 160 × 24 mm. Pp. [1–2] 3–253 [254–256]: [10] leaves of plates (facing pp. [1], 16, 49, 64, 97, 112, 161, 179, 209 and 224). Type: Bulmer. Printed and bound by Mackay. Full pale grey cloth lithographed with a photograph in brown; endleaves with a map in brown. Green slip case. The text was first published in 1882 as Specimen days and collect, and the version published here is that of the revised English edition of 1887. The plates reproduce 18 contemporary photographs and wood-engravings, with another photograph used on the binding. 454 Henri Alain-Fournier, le grand Meaulnes, the land of lost content, translated by Katharine Vivian, introduction by Patrick Garland, lithographs by Ian Ribbons. 222 × 142 × 20 mm. Pp. [1–2] 3–217 [218–220]: [9] leaves of plates (facing pp. [1], 32, 72, 96, 113, 144, 161, 192 and 205). Type: Garamond. Printed and bound by Mackay. Full green cloth with a design in black by Ribbons; red endleaves. Blue slip case. 455 Ivan Turgenev, fathers and sons, translated by Rosemary Edmonds, introduction by Colin Ward, lithographs by Janos Kass. 228 × 142 × 26 mm. Pp. [1–4] 5–260 [261–264]: [11] leaves of two-colour plates. Type: Walbaum with Mackay Centenary for display. Printed and bound by Mackay. Quarter brown cloth, pale brown paper boards patterned in black and white; dark orange endleaves. Blue slip case. The lithographs are printed in black and brown. 456 J.R.R. Tolkien, the hobbit or There and back again, illustrations by Eric Fraser. 228 × 150 × 25 mm. Pp. [1–7] 8–245 [246–248]. Type: Barbou with Libra for display. Printed and bound by Mackay. Quarter dark red leather, dark red cloth boards (decorated as item 408.5); endleaves with a map in red and black. Dark red or pale grey slip case. The illustrations consist of two full-page drawings (including the frontispiece) and 19 head-pieces. The endleaves reproduce Tolkien’s own drawing of ‘Thror’s Map’. Folio had already published an edition of The hobbit in 1976, using sheets printed for George Allen and Unwin (see item 408.5). Folio records show that there was an American issue with a variant text on the verso of the title-leaf, acknow ledging Houghton Mifflin as U.S. distributors (such a copy has been seen only in the second impression of 1980). ¶ Second impression: 1980. Some copies are in a variant state for the American market (see above). ¶ Reprinted (with a new binding) [i.e. third? impression]: 1997, printed and bound by the Bath Press. Full red vegetable parchment (‘Elephanthide’) with a design in gold, black and green by Francis Mosley; pale grey flecked endleaves with the map in red and black. Dark red slip case. This binding is uniform with that for The Silmarillion (item 914), and the new printing of The lord of the rings (item 417), both issued in 1997. ¶ Reprinted (with a new binding), second printing [i.e. fourth? impression]: 1999. ¶ Reprinted (with a new binding),

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third printing [i.e. fifth? impression]: 1999. ¶ Reprinted (with a new binding), fourth printing [i.e. sixth? impression]: 2001. ¶ Reprinted (with a new binding), fifth printing [i.e. seventh? impression]: 2001. ¶ Reprinted (with a new binding), sixth printing [i.e. eighth? impression]: 2002. ¶ Reprinted (with a new binding), seventh printing [i.e. ninth? impression]: 2002. 1750 copies of this impression were bound by Smith Settle in quarter dark brown morocco. Brown morocco-covered slip case. The slip case and spine are blocked in gold with calligraphic lettering drawn by John Andrew. An additional leaf pasted-in before the half-title bears a colophon reading in part ‘This edition . . . is limited to 1750 numbered copies . . .’ These specially bound copies were issued in the spring of 2003. ¶ Reprinted (with a new binding), eighth printing [i.e. tenth? impression]: 2004. ¶ Reprinted (with a new binding), ninth printing [i.e. eleventh? impression]: 2006. ¶ Tenth printing [i.e. twelfth? impression]: 2007. Black slip case. ¶ Eleventh printing [i.e. thirteenth? impression]: 2008. Printed and bound by Grafos. ¶ Twelfth printing [i.e. fourteenth? impression]: 2009. ¶ Thirteenth printing [i.e. fifteenth? impression]: 2010. ¶ Fourteenth printing [i.e. sixteenth? impression]: 2010. ¶ Fifteenth printing [i.e. seventeenth? impression]: 2011. ¶ Sixteenth printing [i.e. eighteenth? impression]: 2012. ¶ Seventeenth printing [i.e. nineteenth? impression]: 2013. ¶ Eighteenth printing [i.e. twentieth? impression]: 2016. Printed and bound by C & C Offset. Cream endleaves. ¶ Nineteenth printing [i.e. twenty-first? impression]: 2020. Dark red slip case. ¶ Twentieth printing [i.e. twenty-second? impression]: 2021. ¶ Twentyfirst printing [i.e. twenty-third? impression]: 2022. Printed by Memminger MedienCentrum and bound by Josef Spinner. Pale grey flecked endleaves. 457 The pillow book of Sei Shoˉnagon, translated and edited by Ivan Morris, introduction by Robin Duke, illustrations by Jasper Deane. 241 × 160 × 26 mm. Pp. [1–5] 6–269 [270–272]: [9] leaves of colour plates (facing pp. [1], 48, 65, 112, 144, 161, 209, 233 and 240). Type: Ehrhardt with Blado for display. Printed by Western Printing Services, the lithographs by Constable. Bound by the Pitman Press in full black artificial moiré silk with Japanese characters in gold; lilac endleaves. Pale lilac slip case. In addition to the plates, there are drawings on pages 18 and 21. The text consists of 326 thoughts, some in poetic form, others rendered as prose sketches, freely translated from the tenth-century original. ¶ Second impression: 1980 (not seen). ¶ Third impression: 1984, printed by the Pitman Press. Bound in plain black artificial silk; pale green endleaves. ¶ Fourth printing [i.e. impression]: 2015. Printed and bound by Kösel; lilac endleaves again. Black slip case. 458 Travels through France and Italy by Tobias Smollett, with an introduction by Christopher Hibbert. 253 × 160 × 27 mm. Pp. [1–3] 4–276 [277–278]: [12] leaves of plates. Type: Plantin. Printed and bound by Mackay. Quarter black cloth, pale blue and yellow paper boards with a repeat pattern by Sebastian Carter; pale blue or yellow endleaves with a map. White slip case. The patterned paper on the boards was designed and printed by the Rampant Lions Press in Cambridge; that on the front board is printed in blue on pale blue paper, and that on the back board in brown on yellow paper. The endleaves are printed with the same colour scheme. The plates reproduce 20 contemporary portraits and prints. Travels through France and Italy was first published in 1766, and describes in letters the author’s tour undertaken between June 1763 and June 1765. The present edition follows the author’s last revision of his text, published shortly before his death in 1771.

1980

1980 459 Anthony Trollope, the small house at Allington, introduction by Julian Symons, drawings by Peter Reddick. 228 × 151 × 37 mm. Pp. [1–4] 5–586 [587–588]. Type: Scotch Roman. Printed and bound by Butler and Tanner. Quarter dark red series binding (see item 391); endleaves with a map in dark red. White slip case. There is a total of 47 half-page sketches by Reddick, in addition to the full-page frontispiece. 460 Pages from the Goncourt journal, edited, translated and introduced by Robert Baldick, with contemporary photographs by [Félix] Nadar and others. 228 × 149 × 29 mm. Pp. [i–ii], [1–7] 8–432 [433–434]. Type: V.I.P. Melior. Typeset by Western Printing Services, printed and bound by Mackay. Full white cloth with a design in brown after Nadar; orange endleaves. Dark red slip case. The illustrations consist of a frontispiece (which is not included in the pagination, although it was printed with the text) and 18 photographs. Although Folio had experimented with having books photocomposed and printed lithographically, it was at around this point, on the cusp of the eighties, that it became rather more common; the use of letterpress began to dwindle, although some books continued to be set in Monotype, and the quality of design of the books suffered a few shaky moments. Although some excellent books were produced in the early eighties, it was not until around 1987 that things began to improve consistently. By this time computer typesetting had largely superseded photo composition, and the new technology was able, in the right hands, to produce work every bit as fine as the old. Although the introduction of the Folio Press Fine Editions in 1987 (see item 592) marks a high point in the typographical development of Folio, it would be wrong to think that those books printed by letterpress are necessarily superior to the rest. The present work also marks the point at which a colophon, naming the printer, binder and paper and cloth stock used, ceased to be regularly printed at the end of the book. Since The universal spider in 1973 (item 323) this had been the common practice, with only the Presentation Volumes, books in series which had started before 1973, and a very few others, not ending in this way. The colophons made their first appearance shortly after Charles Ede ceased to design the books, and it is perhaps significant that the only book to which he contributed after this date, Introductions to Shakespeare (1977 item 423), is one of the few to lack a colophon. In the present work, and many of those which follow, the relevant information has been moved to the verso of the title-leaf. 461 My life and hard times and other observations by James Thurber, selected and with an introduction by Tim Wilkinson. Drawings by Thurber. 228 × 161 × 22 mm. Pp. [1–5] 6–253 [254–256]. Type: V.I.P. Optima. Typeset by Western Printing Services, printed and bound by Mackay. Full pale brown buckram decorated in brown with drawings by Thurber; grey-green endleaves. Green slip case. The text is illustrated with 69 of Thurber’s line drawings. There were innumerable errors in the typesetting of this text (‘burgular’ for ‘burglar’ on page 15, line 8, for example), and one of the copies in Folio’s library is marked up by Tim Wilkinson with corrections for a second impression; however, none has been traced. 462 Haydn’s music for England, the Academy of Ancient Music directed by Christopher Hogwood. A set of two 12-inch long-playing records, specially commissioned by Folio and issued with: Haydn’s visits to England by Christopher Hogwood. 223 × 143 × 13 mm. Pp. [1–6] 7–116. Type: V.I.P. Baskerville with Columna for display. Printed and bound by Mackay. Full cream cloth printed in dark blue; yellow-brown endleaves. Glassine dust-jacket. The book, which contains 21 reproductions of contemporary portraits, prints and documents, was originally issued only with the two records, in a box designed to house them. The boxed set was sold at £15.95. However, it is probable that some copies of the book were later sold separately.

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463 Mikhail Lermontov, a hero of our time, translated by Reginald Merton, introduction by Peter Forster, lithographs by Dodie Masterman. 228 × 140 × 18 mm. Pp. [1–5] 6–175 [176]: [7] leaves of two-colour plates (facing pp. [1], 32, 49, 72, 104, 121 and 152). Type: Fournier with Monotype ornaments for decoration. Printed by Western Printing Services, the lithographs by the Curwen Press. Bound by the Pitman Press in quarter red cloth, grey paper boards decorated in white; grey endleaves. Dark blue slip case. The plates are printed in pale yellow and dark brown, in the manner of nineteenth-century tinted lithographs. 464 John Clare, bird poems, introduction by Peter Levi, wood-engravings by Thomas Bewick. 193 × 126 × 16 mm. Pp. [1–4] 5–143 [144]. Type: Bell. Printed and bound by Mackay. Quarter blue artificial leather, grey cloth boards; dark orange endleaves. Pale yellow-brown slip case. Part of an informal poetry series (see item 4). There are 41 wood-engravings by Bewick, all reprinted from A history of British birds (first published in two volumes, 1797–1804), as reprinted in 1885 in the ‘Memorial Edition’ of Bewick’s works (1885–1887). Their choice for the present work (and perhaps also the choice of this text) may not be wholly unconnected with Folio’s edition of Bewick’s My life (1981 item 485), which was then in preparation, and includes many of the same wood-engravings. 465 The history of England in the eighteenth century by Thomas Babington Macaulay, edited and supplemented by Peter Rowland, introduction by Professor J.P. Kenyon. 253 × 161 × 30 mm. Pp. [1–5] 6–318 [319–320]: [12] leaves of plates. Type: Caslon. Printed by Richard Clay, the lithographs by Fletcher and Son. Bound by Richard Clay in full dark pink buckram with a design in red and gold; cream endleaves. Pale yellow-brown slip case. The plates reproduce 20 contemporary portraits and prints. The binding is based on a design by Roger Payne of around 1785. The series was continued in 1985 and 1986 (see items 551, 552 and 570). ¶ Reprinted: 1982, printed by New Western Printing. Bound by the Pitman Press in red buckram. ¶ Third impression: 1985, printed by the Alden Press. Bound by Cambridge University Press in red cloth. ¶ Fourth impression: 1988. ¶ Fifth printing: 1991, with an extra preliminary blank and a half-title printed on the recto of the frontispiece. 466 The Mabinogion, translated by Lady Charlotte Guest, edited and introduced by Leslie Norris, wood-engravings by Joan Freeman. 228 × 149 × 25 mm. Pp. [1–7] 8–268. Type: Poliphilus and Blado with Hammer Uncial for display. Printed and bound by Mackay. Full green coarse-weave cloth with a design in orange and gold by Jeff Clements; orange endleaves with a map. Pale grey slip case. There are 12 head-pieces by Freeman, in addition to the full-page frontispiece. This translation was first published in Llandovery between 1838 and 1849. 467 The book of the thousand nights and one night . . . A photolithographic reprint of the 1958 edition (item 124) with the imprint of The Folio Press. Details as item 124, but printed by Fletcher and Son. Bound by Richard Clay in quarter cream vegetable parchment (‘Elephanthide’). White four-volume slip case. Of the copies printed only around half were bound-up at the time, with the remainder being bound in small batches over the following five years. 468 Arthur Koestler, darkness at noon, translated by Daphne Hardy, introduction by Vladimir Bukovsky, wood-engravings by George Buday. 222 × 143 × 25 mm. Pp. [1–6] 7–267 [268]. Type: Ehrhardt semi-bold with Gill Sans for display. Printed and bound by Mackay. Black cloth, with grey cloth on the front board, with a design in black, grey and gold by Sue Bradbury; red endleaves. Dark red slip case. In addition to the frontispiece, there are nine full-page wood-engravings printed on pages 39, 51, 85, 97, 127, 163, 215, 245 and [263]. ¶ Second impression: 1984, printed and bound by the Pitman Press.

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469 Venice, the most triumphant city by George Bull. 241 × 158 × 18 mm. Pp. [1–5] 6–192. Type: V.I.P. Bembo. Printed and bound by Mackay. Full blue-green cloth with a design in gold; pale green endleaves printed in brown. Glassine dust-jacket. The Presentation Volume for 1981. The work is illustrated with 89 reproductions of paintings, prints and photographs of sculpture and buildings in Venice, 46 in colour. The decoration of the binding is based on fifteenth-century ornaments used by the Venetian printer Erhard Ratdolt. An American edition was published by the Saint Martin’s Press, New York, in 1981. 469A Venice preserv’d, Venetian music of the 17th and 18th centuries by Monteverdi, Vivaldi and others, the Academy of Ancient Music directed by Christopher Hogwood. A set of two 12-inch long-playing records, specially commissioned by Folio and published separately to illustrate item 469. 470 Anna Harriette Leonowens, the English governess at the Siamese court, recollections of six years at the royal palace at Bangkok, introduced by Robin Duke, with illustrations from the first edition, engraved from photographs presented to the author by the King of Siam. 253 × 160 × 23 mm. Pp. [1–5] 6–234: [15] leaves of wood-engraved ‘plates’. Type: Monophoto Times New Roman with York for display. Printed and bound by Mackay. Full pale pink linen, cream cover-label printed in brown; pale yellow-green endleaves. White slip case. There are 16 full-page wood-engravings, 15 printed as ‘plates’ and one as a frontispiece. Sadly, the design of the title-page is poor, with the letters, words and lines unevenly spaced; similar problems are evident in the text. This is the kind of typography that gave the Photo Typositor the bad name it did not deserve. The text was first published in 1870, and was, indirectly, the inspiration for the renowned musical The King and I. 471 After many a summer, Aldous Huxley, introduction by David Holloway, illustrations by Michael Foreman. 228 × 159 × 22 mm. Pp. [1–6] 7–239 [240]: [9] leaves of colour plates (facing pp. [1], 49, 64, 80, 112, 144, 176, 193 and 225). Type: Perpetua with Perpetua Light Titling for display. Printed by Cambridge University Press. Bound by Mackay in full green cloth with a design in dark green by Foreman (printed by silk-screen); dark green endleaves. Pale grey slip case. The plates are printed in colour and are, unusually for Folio, in a wildly flamboyant and surreal style. The title-page and the other elements of display represent one of Folio’s excursions into asymmetrical typography. In this case the results are less than satisfying. 472 Karen Blixen, out of Africa, introduction by Elspeth Huxley, linocuts by Peter Pendrey. 241 × 161 × 25 mm. Pp. [1–5] 6–12 [13–17] 18–296. Type: Bulmer with Castellar for display. Printed and bound by Mackay. Full pale brown cloth lithographed in brown with a contemporary photograph; endleaves with a map in dark green. Pale yellow-brown slip case. In addition to the frontispiece there are 34 smaller cuts, often used as head-pieces. ¶ Second impression: 1986, printed and bound by the Bath Press. Full pale yellow cloth printed in brown with an enlargement of the head-piece from page [138]; endleaves with a map in brown. This redesigned impression, which may have been published in response to renewed interest in the book following the release of the film with Robert Redford and Meryl Streep, was listed separately in Folio 40 as item 577. 473 The unlucky family, Mrs Henry de la Pasture, introduced by Auberon [and Daisy] Waugh, illustrated by John Lawrence. 228 × 148 × 19 mm. Pp. [i–vii] viii–xiii [xiv], [1] 2–144 [145–146]. Type: Imprint with Imprint Shadow for display. Printed and bound by Clark Constable. Full pale yellow cloth with a design in red by Lawrence; purple-red endleaves. Dark purple-red slip case. Lawrence has supplied a frontispiece and 14 head-pieces, all drawn with pen and ink. 474 [Henry David] Thoreau, Walden, introduced by Colin Ward, wood-engravings by Michael Renton. 222 × 133 × 23 mm. Pp. [1–7] 8–298 [299–300]. Type: Plantin with Studio for display. Typeset by Mackay,

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printed by Western Printing Services. Bound by Mackay in quarter grey cloth, pale green paper boards with a design in green by Teresa Pemberton; dark yellow endleaves. Pale yellow-brown slip case. Renton’s wood-engravings consist of a frontispiece portrait and 19 half- or quarter-page vignettes. 475 Anthony Trollope, the last chronicle of Barset, introduction by Julian Symons, drawings by Peter Reddick. 228 × 150 × 47 mm. Pp. [1–4] 5–772 [773–776]. Type: Scotch Roman. Printed and bound by Butler and Tanner. Quarter yellow series binding (see item 391); endleaves with a map in yellow. White slip case. There is a total of 59 half-page sketches by Reddick, in addition to the full-page frontispiece.

1981

1981 476 Black mischief, Evelyn Waugh, illustrations by Quentin Blake, introduction by William Deedes. 223 × 141 × 18 mm. Pp. [1–4] 5–206 [207–208]. Type: Baskerville with Monotype ornaments for decoration. Printed by Western Printing Services. Bound by the Fakenham Press in full black cloth with a medallion design in gold by Blake; yellow endleaves with a map. Pale brown slip case. There are 19 pen-and-ink sketches by Blake, including the frontispiece, all printed from line-blocks. The title-page is dated ‘1980’, although the book was not issued until early 1981. 477 Robert Graves, goodbye to all that, introduced by Raleigh Trevelyan. 227 × 147 × 25 mm. Pp. [1–5] 6–295 [296]. Type: V.I.P. Times New Roman with Rosart for display. Printed by Mackay. Bound by Kitcat in full pale grey cloth lithographed in black with a photograph; yellow-green endleaves with a map in green. Pale grey slip case. The text is Graves’s revised version, with a new prologue and epilogue, as first published in 1957. The illustrations, which were printed lithographically with the text, consist of 26 contemporary photographs. Another Great War photograph is reproduced on the binding. It is appropriate that this title was the last to be printed by Folio’s most faithful printer. The name of the binder is given on the verso of the title-leaf as ‘G & J Kitkat’ [sic]. ¶ Reprinted: 1982 (not seen). ¶ Reissued with a new binding [i.e. third impression]: 1996, printed and bound by Cambridge University Press. Full grey-green cloth with the photograph in dark green; grey endleaves with the map in green. Dark green slip case. ¶ Fourth printing: 1997. ¶ Fifth printing: 1997, printed and bound by the Bath Press. ¶ Sixth printing: 1999. ¶ Seventh printing: 2001. ¶ Eighth printing: 2003 (not seen). 478 Guy de Maupassant, une vie, translated by Katharine Vivian, introduction by Mervyn Horder, lithographs by Laszlo Acs. 223 × 132 × 19 mm. Pp. [1–4] 5–238 [239–240]: [9] leaves of two-colour plates (facing pp. [1], 16, 48, 96, 113, 160, 177, 200 and 233). Type: Old Style No. 2 with Klang for display. Printed by Western Printing Services, the lithographs by the Westerham Press. Bound by the Pitman Press in quarter brown-green cloth, yellow paper boards decorated in green-brown; dark green-brown endleaves. Yellow slip case. The lithographs are printed in lilac and black. Une vie was first published in Paris in 1883, and the present translation was commissioned by Folio. 479 Greville’s England, selections from the diaries of Charles Greville 1818–1860, edited, introduced and annotated by Christopher Hibbert. 252 × 159 × 30 mm. Pp. [1–5] 6–303 [304]: [11] leaves of plates. Type: Bell. Printed by Western Printing Services, the lithographs by Jolly and Barber. Bound by Kitcat in full green buckram decorated in gold; yellow endleaves. Pale yellow-brown slip case. The binding is based on a mid-nineteenth-century design by James Hayday. The plates reproduce contemporary portraits and prints. ¶ Reprinted: 1982, bound by the Fakenham Press. ¶ Reprinted [i.e. third? impression]: 1986 (not seen). 480 Charles Dickens, the posthumous papers of the Pickwick Club, introduction by Christopher Hibbert, drawings by Charles Keeping. 240 × 160 × 44 mm. Pp. [i–iv] v–xxvi, 1–740 [741–742]. Type: Imprint. Printed by Fletcher and Son. Bound by the Fakenham Press in quarter dark green cloth with a design in black and gold, orange paper boards patterned in brown; orange endleaves. Green slip case. Once Shakespeare had been tackled (see item 407), the next great challenge for Folio, and one which could be postponed no longer, was a complete and uniform edition of Dickens’s novels. Christopher Hibbert provided introductions to all the books in the

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series, and Charles Keeping supplied the illustrations, becoming the only artist ever to tackle all the novels. The novels were bound in a uniform manner, with a different coloured patterned paper on the boards of each, and the spines lettered in Albertus. The shade of green cloth used often varied slightly for later impressions, and the bulk of these bulky books also changed, as different paper stock was used. In 1994 and 1995 there was a mass reprint of the works (describing itself as a ‘Reissue’), in a new series binding of full cream cloth printed with a montage of Keeping’s illustrations from the text, with dark red spine-labels; dark red endleaves. Dark red slip case with Dickens’s signature in gold. I have referred to this binding in the descriptions of Dickens’s novels which follow as the ‘second series binding’. For these ‘Reissues’ the title-pages were all reset, although the wording was not altered. Some of the copies of the ‘reissued’ volumes were published in groups of five, in a five-volume slip case (see items 771, 799 and 808), although the majority seem to have been sold separately. A new series of Dickens’s novels began to appear in 2004 (see item 1197). The ‘Pickwick Papers’ was first published in monthly parts between April 1836 and November 1837, with the complete text being published in book form in the latter year. The illustrations consist of a frontispiece and 56 smaller sketches by Keeping. ¶ Second impression: 1984, measuring 240 × 160 × 40 mm. Printed and bound by Butler and Tanner. Yellow paper boards; yellow endleaves. ¶ Third impression: 1988, measuring 240 × 164 × 45 mm. ¶ Reissue [i.e. fourth? impression]: 1994, measuring 239 × 160 × 45 mm. Printed and bound by the Bath Press. Second series binding (see above). Part of this impression was issued with item 771. 481 D H Lawrence, the rainbow, introduction by Richard Hoggart, illustrations by Charles Raymond. 253 × 160 × 37 mm. Pp. [1–4] 5–430 [431–432]: [19] leaves of plates. Type: Garamond with Egmont for display. Printed by Western Printing Services, the lithographs by Jolly and Barber. Bound by Kitcat in full orange cloth with a design in black by Raymond; pale blue endleaves. Dark blue slip case. 481.5 Remembrance of things past [by Marcel Proust]. 206 × 135 × 52–58 mm. 3 vols (see below). Type: Gara mond with Old Face Open for the titles. Printed by Constable. Binder not known. Full black artificial silk, decorated in red and gold with a design by Sally Lou Smith; dark red endleaves. Black artificial silk-covered three-volume slip case. This is a separate impression of 1000 copies of the edition published by Chatto and Windus in 1981, with the preliminary matter revised to include the Folio imprint. The etchings first appeared in a Chatto edition of 1957. In addition to the plates, there is a small vignette on each title-page. The main title of the work appears on the half-title to each volume. Folio designed and published its own edition in 2000 (item 1027). The three volumes are as follows: 1 Marcel Proust, volume one, Swann’s way, within a budding grove, translated by C.K. Scott Moncrieff and Terence Kilmartin, dry-point etchings by Philippe Jullian. Pp. [1–2], [i–ix] x–xii, [1–3] 4–1040 [1041–1042]: [16] leaves of plates. 2 Marcel Proust, volume two, the Guermantes way, cities of the plain, translated by C.K. Scott Moncrieff and Terence Kilmartin, dry-point etchings by Philippe Jullian. Pp. [i–vii] viii, [1–2] 3–1197 [1198–1200]: [16] leaves of plates. 3 Marcel Proust, volume three, the captive, the fugitive, time regained, translated by C.K. Scott Moncrieff and Terence Kilmartin; and by Andreas Mayor, dry-point etchings by Philippe Jullian. Pp. [i–viii], [1] 2–1128: [16] leaves of plates. 482 The life and letters of John Keats by Joanna Richardson. 223 × 131 × 17 mm. Pp. [1–3] 4–170 [171–172]: [7] leaves of plates (facing pp. [1], 48, 65, 97, 112, 145 and 156). Type: Spectrum. Printed by Western Printing Services, the lithographs by Jolly and Barber. Bound by Kitcat in quarter dark blue cloth, Cockerell marbled

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paper boards; blue-grey endleaves. Cream slip case. The plates reproduce contemporary portraits of Keats and members of his circle. 483 Anthony Trollope, the two heroines of Plumpington and other stories, introduced by Julian Symons, drawings by Peter Reddick. 228 × 149 × 25 mm. Pp. [1–5] 6–276. Type: Scotch Roman. Printed and bound by Butler and Tanner. Quarter red cloth, pink paper boards with a pattern in grey by Sally Lou Smith; green endleaves. Dark red slip case. There is a total of 21 half-page sketches by Reddick, in addition to the full-page frontispiece. This work was designed to resemble the books in the series of Barsetshire novels (see item 391), although the binding is not to the same series design. The book was printed lithographically throughout. ¶ [Second impression]: [c.1983]. A silent reprint of this book appears to have been made on thinner, whiter paper. Bound in a paler red cloth, decorated in gold alone, pale pink paper boards; pale pink endleaves. Pale grey slip case. 484 Folio 34, a checklist of the publications of the Folio Society 1947–1980, with appraisals by John Dreyfus and John Letts. Folio Press. Compiled by Tim Wilkinson and Anne Page. 210 × 141 × 13 mm. Pp. [1–6] 7–128. Type: Sabon. Printed and bound by the Pitman Press. Full dark green linen with a design in black and gold by David Eccles. Glassine dust-jacket. The work is less lavishly produced and bibliographically detailed than Folio 21 (item 258), and describes items 1–475, with a total of 38 vignettes (mostly wood-engravings) from the books described. The text was reprinted with additions as Folio 40 (1987 item 584). 485 Thomas Bewick, my life, edited and with an introduction by Iain Bain, with numerous wood-engravings and watercolours by the author. 241 × 160 × 20 mm. Pp. [1–4] 5–192: [16] pages of colour plates. Type: Monophoto Ehrhardt. Printed by Jolly and Barber. Bound by the Pitman Press in quarter brown cloth, pale yellow-green paper boards with a Bewick wood-engraving in brown; dark blue endleaves. Glassine dust-jacket. The Pre sentation Volume for 1982. The text, illustrations and colour plates were all printed lithographically; the latter show 31 of Bewick’s watercolour drawings for his wood-engravings. The text is illustrated with 67 wood-engravings by Bewick and his pupils, all reproduced at actual size from the ‘Memorial Edition’ of Bewick’s works of 1885–1887, as well as a frontispiece reproducing George Gray’s portrait of Bewick as a young man. The text follows Iain Bain’s 1975 Oxford edition, which was the first to present the complete text of Bewick’s manuscript. 486 Anne Hughes: her boke, edited by Molly Preston, introduced by Michael Croucher, linocuts by Tony Evora. 193 × 127 × 16 mm. Pp. [1–4] 5–176. Type: Plantin. Printed by Western Printing Services. Bound by Richard Clay in full orange cloth with a design in brown by Evora, brown leather spine-label; pale orange endleaves. Pale brown slip case. In addition to the frontispiece there are 12 vignettes and one full-page linocut by Evora. The text purports to be the diary of a farmer’s wife during the early nineteenth century, and was first published in Farmer’s weekly in 1937. 487 The Pastons, a family in the Wars of the Roses, edited by Richard Barber. 251 × 160 × 21 mm. Pp. [1–4] 5–208: [10] leaves of colour plates (facing pp. [1], 16, 48, 65, 96, 113, 144, 161, 177 and 192). Type: Bembo with Solemnis for the title. Printed by Western Printing Services, the lithographs by Jolly and Barber. Bound by the Camelot Press in quarter orange cloth, dark blue-green cloth boards with a Tudor rose design in red and white; pale green endleaves with a map in dark green. White slip case. The plates are colour reproductions of sections from the ‘Devonshire hunting tapestries’ at the Victoria and Albert Museum, woven during the 1430s. Much of the text consists of the letters of members of the Paston family, dated between 1426 and 1475.

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¶ Second impression: 1985, measuring 252 × 162 × 18 mm. Printed and bound by the Pitman Press. Full green-grey cloth with a different Tudor rose design in red and gold; green endleaves with the map in brown. This impression was described separately in Folio 40 as item 544. ¶ Third impression (with a new binding): 2001, measuring 229 × 160 × 24 mm. Printed by the Saint Edmundsbury Press. Bound by the Cambridge University Press in full artificial cloth with a colour reproduction of a detail from the ‘Devonshire hunting tapestries’; pale green endleaves with the map (redrawn by Reginald Piggott) in dark blue. Dark blue slip case. The title-leaf has been reset, but the remaining text is reprinted without change. The plates show the same images, printed from improved new photographs of the tapestries. ¶ Fourth impression: 2002 (not seen). 488 Owen Wister, the Virginian, introduction by Kenneth Ulyatt, drawings by Val Biro. 226 × 156 × 22 mm. Pp. [1–8] 9–285 [286–288]: [12] leaves of plates. Type: Modern Extended with Bodoni Ultra for the title. Printed by the Camelot Press, the lithographs by Jolly and Barber. Bound by the Camelot Press in full pale yellow cloth with a design in brown by Biro; pale grey-brown endleaves. Pale brown slip case. 489 Charles Dickens, great expectations, introduction by Christopher Hibbert, drawings by Charles Keeping. 240 × 160 × 29 mm. Pp. [1–2], [i–vi] vii–xv [xvi], 1–419 [420–422]. Type: Imprint. Printed by Fletcher and Son. Bound by the Fakenham Press in series binding (see item 480), lilac paper boards patterned in purple; lilac endleaves. Green slip case. The work was first published in America in 1861, and in England in 1862, following serial publication in All the year round between December 1860 and August 1861. The illustrations consist of a frontispiece and 29 smaller sketches by Keeping. ¶ Reissue [i.e. second? impression]: 1994, measuring 239 × 161 × 34 mm. Printed and bound by the Bath Press. Second series binding (see item 480). Part of this impression was issued with item 771. 490 The poems of Catullus, translated by James Michie, introduction by Gavin Ewart. 222 × 140 × 17 mm. Pp. [1–6] 7–224. Type: Walbaum with hand-drawn capitals (by Michael Harvey). Printed in green and black by Clark Constable. Bound by Clark Constable in quarter dark green leather, pale green cloth boards; pale brown endleaves. White slip case. The capitals were redrawn by Harvey after those of the sixteenth-century writing master Giovanni Antonio Tagliente. The Latin text is printed on the versos with Michie’s translation on the facing rectos. The ‘quarter’ binding is unusually generous in the first impression, with the green leather substitute extending to cover more than a third of each board; the second impression had a much more modest coverage. The translator’s name was misspelt ‘Mitchie’ when the book was first issued, but this was noticed almost at once and a cancel title-leaf was printed and inserted into most copies. However, a small number had already been distributed and survive with the original title-leaf. ¶ Reprinted: 1982 (see above). 491 The discovery and conquest of Peru, a translation of books I to IV of Agustín de Zárate’s history of these events, supplemented by eye-witness accounts of certain incidents by Francisco de Jerez, Miguel Estete, Juan Ruiz de Arce, Hernando Pizarro, Diego de Trujillo, and Alonso de Guzman, who took part in the conquest, and by Pedro Cieza de Léon, Garcilaso de la Vega ‘the Inca’, and José de Acesta, later historians who had first hand sources of information. Translated with an introduction by J.M. Cohen, illustrated by Edward Bawden. 230 × 171 × 25 mm. Pp. [1–9] 10–271 [272]: [10] leaves of three-colour plates (facing pp. [1], 46, 65, 80, 104, 121, 145, 160, 192 and 229). Type: Ehrhardt. Printed by Western Printing Services, the lithographs by the Westerham Press. Bound by the Pitman Press in yellow-brown artificial canvas with a design in silver by Bawden; endleaves with a map in dark green. Pale grey slip case. The plates are printed in red-brown, black and yellow.

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491.5 The Fitzwilliam virginal book, English keyboard music of the 16th and 17th centuries, Christopher Hogwood. A set of two 12-inch long-playing records, issued together in a box with: The Fitzwilliam virginal book, the manuscript, by Iain Fenlon . . . 297 × 209 × 2 mm. Pp. [i–ii], 1–13 [14]. The title is taken from the paper wrappers, which are included in the pagination.

1982

1982 492 D H Lawrence, women in love, introduction by Richard Hoggart, illustrations by Charles Raymond. 252 × 160 × 37 mm. Pp. [1–2] 3–447 [448]: [18] leaves of plates. Type: Garamond with Egmont for display. Printed by Western Printing Services, the lithographs by the Westerham Press. Bound by the Camelot Press in full orange cloth with a design in black by Raymond; pale green endleaves. Pale green slip case. This edition was designed to be uniform with The rainbow (1981 item 481). 493 The witches of Salem, a documentary narrative, edited by Roger Thompson, linocuts by Clare Melinsky. 223 × 147 × 17 mm. Pp. [1–7] 8–194 [195–196]. Type: Goudy Old Style with Caslon for display. Printed by Western Printing Services. Bound by the Pitman Press in black cloth, with white cloth on the front board, with a design in black by Melinsky; dark pink endleaves. Red slip case. In addition to the frontispiece, there are 11 half-page linocuts by Melinsky. The text is based on the surviving records of the Salem persecutions of 1692 and 1693, and on a number of contemporary and later published sources. 494 Paris under siege, a journal of the events of 1870–1871 kept by contemporaries and translated and presented by Joanna Richardson. 230 × 159 × 23 mm. Pp. [1–5] 6–221 [222–224]: [10] leaves of plates (facing pp. [1], 16, 69, 76, 97, 112, 160 and 177, and between pp. 144–145 and 184–185). Type: Ehrhardt. Printed by Western Printing Services, the lithographs by Jolly and Barber. Bound by the Pitman Press in full pale grey cloth with a contemporary etching in brown; pale brown endleaves. Cream slip case. The plates, two of which are double-page, reproduce contemporary prints and photographs. 495 Helen Waddell, songs of the wandering scholars, edited and with a preface by Dame Felicitas Corrigan, O.S.B., wood-engravings by Joan Freeman. 253 × 160 × 30 mm. Pp. [1–6] 7–371 [372]. Type: Perpetua. Printed and bound by Clark Constable. Full brown-green cloth with a frieze of Monotype ornaments in purple and gold; pale brown endleaves. Lilac slip case. Joan Freeman’s wood-engravings consist of a full-page frontispiece and nine head-pieces. The text was edited by Corrigan from three works by Waddell published between 1927 and 1976; where the text is in translation, the English is printed on the rectos and the original language on the versos. 496 Charles Dickens, our mutual friend, introduction by Christopher Hibbert, drawings by Charles Keeping. 241 × 161 × 52 mm. Pp. [i–iv] v–xvii [xviii], 1–779 [780–782]. Type: Imprint. Printed by Fletcher and Son. Bound by the Fakenham Press in series binding (see item 480), pale blue paper boards patterned in blue; pale blue endleaves. Green slip case. The work was first published in parts between May 1864 and November 1865, and was issued in book form as soon as the final part had appeared. The illustrations consist of a frontispiece and 67 smaller sketches by Keeping. ¶ Second impression: 1987, measuring 240 × 161 × 40 mm. Printed and bound by Butler and Tanner. ¶ Reissue [i.e. third? impression]: 1995, measuring 239 × 161 × 47 mm. Printed and bound by the Bath Press. Second series binding (see item 480). Part of this impression was issued with item 808. ¶ Reissue [i.e. fourth? impression]: 1995 [i.e. 1997]. There were, in fact, two separate impressions of the 1995 ‘Reissue’ of this title. When the original impression was exhausted, a few hundred further copies were printed in 1997 to meet demand, without any change being made on the verso of the title-leaf. This was also true of many of the other titles in the Dickens series (see items 505, 521, 529, 566, 579, 587, 599 and 610). There are two ways to distinguish

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the two impressions. Firstly the paper is often different (although in the present case this is not so), and secondly the 1997 impression lacks Dickens’s signature on the slip case. 497 Commando, a Boer journal of the Boer War, Deneys Reitz, introduction by Leo Cooper, preface by General the Right Honourable J.C. Smuts. 229 × 159 × 28 mm. Pp. [i–v] vi–xv [xvi], [1–2] 3–276: [13] leaves of plates. Type: Modern Extended with Bodoni for display. Printed by Western Printing Services, the lithographs by Jolly and Barber. Bound by the Fakenham Press in full yellow-green cloth with a contemporary drawing in green by R. Caton Woodville; pale green endleaves with a map in green. Pale brown slip case. An errata slip was printed and is generally found tipped to page xii. The plates reproduce 19 contemporary photographs, drawings and prints, many of them originally published in The illustrated London news. 498 A novel about journalists, scoop, Evelyn Waugh, introduction by James Cameron, illustrations by Quentin Blake. 223 × 142 × 20 mm. Pp. [1–8] 9–229 [230–232]. Type: Baskerville with a Monotype border unit for decor ation. Printed by Western Printing Services. Bound by the Fakenham Press in full red cloth with a design in gold by Blake; pale grey endleaves. Pale grey slip case. This edition was intended to be uniform with Black mischief (1981 item 476). Blake’s illustrations consist of a full-page frontispiece and 16 smaller drawings. 499 The war in Granada, Diego Hurtado de Mendoza, translated and with an introduction by Martin Shuttleworth. 228 × 149 × 24 mm. Pp. [1–4] 5–272: [12] leaves of plates. Type: Poliphilus and Blado with a version of Fournier’s floriated type for display. Printed by Western Printing Services, the lithographs by Jolly and Barber. Bound by the Pitman Press in full brown buckram with a design in gold by Jeff Clements; pale brown endleaves with a map in red. Purple-red slip case. The plates reproduce 18 contemporary drawings and paintings. The binding is based on a sixteenth-century Moorish design. The text was first published as Guerra de Granada in 1627, following a number of earlier manuscript copies; the present translation, the first in English, was commissioned by Folio. 500 Malory’s chronicles of King Arthur. 228 × 146–148 × 21–26 mm. 3 vols (see below). Type: Plantin with Othello for display. Printed and bound by Clark Constable. Full blue cloth with a design in red and gold by Edward Bawden; pink endleaves. Red and dark blue three-volume slip case titled (as above) on the fore-edge and with designs in blue by Bawden. Some copies were issued in a special binding of full red morocco, in a cloth-covered slip case (not seen). Bawden later published some of the linocuts he had made for this book as separate prints. The three volumes are as follows: I. Sir Thomas Malory’s chronicles of King Arthur, I, the tale of King Arthur, comprising the tale of King Arthur, the tale of King Arthur that was emperor himself through dignity of his hands, a noble tale of Sir Lancelot du Lake, and the tale of Sir Gareth of Orkney, revised and with an introduction by Sue Bradbury, foreword by Kevin Crossley-Holland, linocuts by Edward Bawden. Pp. [1–4] 5–292. In addition to the frontispiece, there are 18 smaller linocuts by Bawden, as well as the series title which has been cut as part of a circular motif on the half-title and is different in each volume. II. Sir Thomas Malory’s chronicles of King Arthur, II, Sir Tristram de Lyonesse, revised and with an introduction by Sue Bradbury . . . [continues as volume I]. Pp. [1–4] 5–348 [349–352]. In addition to the frontispiece and half-title, there are 24 smaller linocuts by Bawden. III. Sir Thomas Malory’s chronicles of King Arthur, III, the morte d’Arthur, comprising the tale of the Sangreal, the book of Sir Lancelot and Queen Guinevere, and the most piteous tale of the morte d’Arthur sans Guerdon, revised and with an introduction by Sue Bradbury . . . [continues as volume I]. Pp. [1–4] 5–262 [263–264]. In addition to the frontispiece and half-title, there are 19 smaller linocuts by Bawden.

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¶ Second impression: 1988, printed and bound by Hunter and Foulis. Red endleaves. ¶ Third impression: 1990, printed by Martin’s of Berwick. 501 The Sun King and his loves, Lucy Norton. Illustrations selected by Joy Law. 252 × 158 × 14 mm. Pp. [1–6] 7–156 [157–160]. Type: Monophoto Garamond with American Type Founders decorated capitals and Monotype ornaments for decoration. Printed and bound by Balding and Mansell. Blue cloth, with colour-printed paper on the front board; endleaves with ‘The family tree of Louis XIV’ in colour. Glassine dust-jacket. The Presentation Volume for 1983. In addition to the colour frontispiece, endleaves and front board, there are 95 numbered illustrations, 41 in colour. They show contemporary paintings, drawings and prints. A trade edition was published by Hamish Hamilton in 1983. 501A Musique pour la chambre du Roy, chamber music at Versailles 1697 to 1747, Christopher Hogwood, Christopher Coin, the Academy of Ancient Music. A set of two 12-inch long-playing records, boxed with separate illustrated programme notes (pp. [1] 2–7 [8]) by Lucy Robinson. Published separately to illustrate item 501. 502 Henry James, the Europeans, introduction by Gilbert Phelps, drawings by Robin Jacques. 229 × 147 × 19 mm. Pp. [1–2] 3–188 [189–192]: [9] leaves of two-colour plates (facing pp. [1], 33, 48, 80, 97, 128, 145, 160 and 184). Type: Walbaum with Gresham for display. Printed by Western Printing Services, the lithographs by the Westerham Press. Bound by the Pitman Press in full grey and white striped cloth with a design in dark green and gold by Sally Lou Smith; pale yellow-brown flecked endleaves. Pale yellow-brown slip case. The plates are printed in black and brown. The cloth exhibits an unusual quality when exposed to light, in that the grey stripes fade to pale blue-green; thus many copies have blue-green stripes on the spine, and grey stripes on the boards. 503 Lamas of the western heavens, Régis-Evariste Huc, translated by Charles de Salis with an introduction by John Keay, [wood-] engravings taken from the first English edition. 240 × 150 × 29 mm. Pp. [1–9] 10–351 [352]. Type: Monophoto Apollo. Typeset by BAS Printers, printed by Jolly and Barber. Bound by the Pitman Press in full dark blue cloth decorated in grey and gold; pale grey endleaves printed in dark blue. Mottled grey slip case. This text, which was specially commissioned by Folio, is a translation of the second volume of Souvenirs d’un voyage dans la Tartarie et le Thibet (first published in 1851), with summaries of volume one and the later third volume, L’empire Chinois (1854). The 46 wood-engraved illustrations and vignettes are taken from the first English edition of the first two volumes published in 1851. The design of the binding is based on a nineteenth-century Tibetan masker’s apron from the mystery play ‘Tag-mar-ch’am’. ¶ Second impression: 1984, measuring 239 × 149 × 22 mm. Printed and bound by the Pitman Press. 504 Around the world in eighty days, Jules Verne, drawings by Peter Brookes, translated by G.M. Towle and N. Danvers. 228 × 147 × 18 mm. Pp. [1–8] 9–223 [224]. Type: Monophoto Joanna. Typeset by Watkins Repro, printed by Fletcher and Son. Bound by Hunter and Foulis in full green cloth with a design in red and gold by Brookes; brown endleaves. Brown slip case. Brookes’s drawings consist of the title-spread (with the title running beneath) and six further illustrations, each spread across an opening. ‘N. Danvers’ is the pseudonym of Nancy R.E. Bell. ¶ Second impression: 1984, printed and bound by the Pitman Press. For this impression the title-page has been reset, and the artist’s name misspelt ‘Peter Brook’ [sic]. 505 Charles Dickens, the mystery of Edwin Drood, edited by Arthur J. Cox, with an introduction by Christopher Hibbert, drawings by Charles Keeping. 241 × 160 × 22 mm. Pp. [i–iv] v–xviii, 1–251 [252–254]. Type: Imprint.

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Printed by Fletcher and Son. Bound by the Fakenham Press in series binding (see item 480), grey paper boards patterned in black; grey endleaves. Green slip case. This work was Dickens’s last, and was incomplete at the time of his death. Six numbers of the intended 12 appeared between April and September 1870, the last three after the author’s death. The illustrations consist of a frontispiece and 23 smaller sketches by Keeping. ¶ Second impression: 1988, printed and bound by Butler and Tanner. ¶ Reissue [i.e. third? impression]: 1995, measuring 239 × 161 × 27 mm. Printed and bound by the Bath Press. Second series binding (see item 480). Part of this impression was issued with item 808. ¶ Reissue [i.e. fourth? impression]: 1995 [i.e. 1997], printed on a dead white paper (the earlier impression dated 1995 is on cream paper). See item 496. 506 Love and death, six stories by Ivan Turgenev, translated, and with an introduction by Richard Freeborn, lithographs by Elisa Trimby. 228 × 149 × 24 mm. Pp. [1–2] 3–296: [12] leaves of two-colour plates. Type: Fournier. Printed by New Western Printing, the lithographs by the Westerham Press. Bound by the Pitman Press in full yellow cloth with a design in brown by Trimby; pale yellow endleaves. Pale yellow-brown slip case. Although the title-page is dated ‘1983’ this book was actually issued in November 1982. The lithographs are printed in black and orange-brown. 506.3 Mr. Sponge’s sporting tour. By the author of “Handley Cross,” “Jorrocks’s [sic] jaunts,” etc. etc. With illustrations by John Leech. Bradbury and Evans. Introduction by Auberon Waugh. 224 × 150 × 33 mm. Pp. [1–2], [i–ix] x [xi–xii], [1] 2–408: [15] leaves of colour and monochrome plates. Printed and bound by Butler and Tanner. Full red artificial leather decorated in gold as the 1853 edition; pale yellow endleaves. Gold slip case. This facsimile of the edition originally published by Bradbury and Evans in 1853 was first issued by the R.S. Surtees Society in 1981. Folio arranged to have a reprint made, with its own imprint on the verso of the title-leaf, which was then issued in November 1982. A separate four-page ‘Introduction’ by Auberon Waugh was specially written for this edition. The title-leaf and frontispiece are both technically plates, although the former is included in the pagination. This was the first of a series of facsimile reprints of early editions of Surtees’s works. Each was first published by the R.S. Surtees Society, and a number of sets of sheets were bought by Folio and specially bound (the Surtees Society’s copies were bound in different cloths), sometimes with a new title-leaf. However, some of the impressions offered in the Folio lists of ‘Special Publications’ do not actually bear the Folio imprint. The picture is further complicated by the fact that, in some cases, stocks of the original printing with the Folio imprint were insufficient to satisfy demand, which was met by having copies of the Surtees Society’s impression bound in the same style. This was the case with the present title, later copies of which lack the Folio imprint. For others in the series with the Folio imprint see items 506.5, 523.7, 523.8, 539.5, 554.5 and 581.5. For the first Folio edition see item 28. 506.5 Mr. Facey Romford’s hounds. By the author of “Handley Cross,” “Mr. Sponge’s sporting tour,” “ask mamma,” etc. etc. With illustrations by John Leech and Hablot K. Browne. Bradbury and Evans. Introduction by Enoch Powell. 224 × 151 × 38 mm. Pp. [1–4], [i–v] vi–xii, [1] 2–405 [406]: [28] leaves of colour and monochrome plates. Printed and probably bound by Butler and Tanner. Full red cloth decorated in gold as the 1864 edition; pale yellow endleaves. Gold slip case. This facsimile of the first edition, originally published by Bradbury and Evans in 1864, was first published by the Surtees Society in 1982. Folio also issued a number of copies with the note that the work was published by ‘the R.S. Surtees Society for the Folio Society’ on the verso of the title-leaf. The first two leaves bear an ‘Introduction’ by Enoch Powell, specially written for this edition. See item 506.3. 507 The diary of a young lady of fashion in 1764–5, Magdalen King-Hall, introduction by Frank Delaney, relief-engravings by Frank Martin. 222 × 134 × 15 mm. Pp. [1–6] 7–175 [176]. Type: Spectrum. Printed in brown and black by New Western Printing. Bound by the Fakenham Press in quarter green cloth, cream paper

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boards patterned in brown and yellow-brown; dark brown-green endleaves. Pale grey slip case. Despite the poor appearance of some Folio titles at this date, this book is well designed, with Martin’s ‘relief-engravings’ (presumably made on vinyl or perspex rather than boxwood) carefully disposed and well printed in brown. In addition to the frontispiece there are seven head-pieces by Martin. The work was originally published in 1925 as ‘by Cleone Knox, an Irish heiress, edited by a descendant Alexander Blacker Kerr’. However, the diary was later admitted to be an invention by Magdalen King-Hall, an aspiring novelist who had composed it when still only 19. 507.5 The rubaiyat of Omar Khayyam, the first version of Edward Fitzgerald . . . Reset sixth impression [i.e. third edition]. As the second edition of 1970 (item 287), but reset throughout. 223 × 135 × 8 mm. Printed in brown and black by New Western Printing. Bound by Hunter and Foulis in full orange-brown cloth with a design in silver and gold by Madeline Dinkel. Gold slip case. ¶ Seventh impression [i.e. third edition, second impression]: 1986, measuring 219 × 133 × 8 mm. Printed and bound by the Bath Press. ¶ Eighth impression [i.e. third edition, third impression]: 1990, bound in dark red cloth. For this impression the title-lettering was expertly reset by Michael Mitchell of the Libanus Press who commented ‘I have long waited for the word which could be used to drive mad any student when being taught letterspacing and lo! “Rubaiyat” does it.’ ¶ Ninth printing [i.e. third edition, fourth impression]: 1991. ¶ Tenth printing [i.e. third edition, fifth impression]: 1992. ¶ Eleventh printing [i.e. third edition, sixth impression]: 1994. ¶ Twelfth printing [i.e. third edition, seventh impression]: 1996. ¶ Thirteenth printing [i.e. third edition, eighth impression]: 1997. ¶ Fourteenth printing [i.e. third edition, ninth impression]: 1999. ¶ Fifteenth printing [i.e. third edition, tenth impression]: 2000. 507.7 The illustrated Pepys, extracts from the diary, selected & edited by Robert Latham. Folio Society with Bell & Hyman Limited. 252 × 191 × 20 mm. Pp. [1–7] 8–240: [16] pages of colour plates. Type: Monophoto Poli philus and Blado with Palatino for display. Printed and bound by Mackay. Full green cloth decorated in gold; endleaves with a map in dark green. Glassine dust-jacket. This edition was originally published in paperback by Bell and Hyman, and Folio arranged to have sets of sheets reprinted with the joint imprint, and specially bound for members. The plates reproduce contemporary paintings; in addition there are 80 monochrome reproductions of prints and facsimiles in the text, and the first seven pages are illustrated with borders taken from C.J. Visscher’s Prospect of London of 1616. ¶ Reprinted: 1983 (not seen). ¶ Reprinted: 1985, printed and bound by Printer Barcelona Gràfica. 507.9 Remembrance of things past. See item 481.5.

1983

1983 508 Michael Sadleir, Blessington-d’Orsay, a masquerade, introduction by Joanna Richardson. 252 × 161 × 28 mm. Pp. [1–7] 8–305 [306–308]: [12] leaves of colour plates. Type: Baskerville. Typeset by the Northumberland Press, printed by Fletcher and Son. Bound by Richard Clay in quarter green cloth, pink paper boards patterned in gold; pale green-yellow endleaves. Pale grey slip case. The plates reproduce contemporary portraits and hand-coloured prints. 509 Benjamin Disraeli, Sybil or The two nations, introduction by Patrick Cormack, drawings by Nigel Lambourne. 227 × 148 × 29 mm. Pp. [1–8] 9–423 [424]. Type: Scotch Roman with a Monotype border unit for decoration. Printed by New Western Printing. Bound by the Pitman Press in full yellow cloth with an illustration in dark green by Lambourne; dark green endleaves. Yellow-brown slip case. There are 18 full-page drawings by Lambourne, including the frontispiece, all printed from line-blocks. 510 Edward Gibbon, the history of the decline and fall of the Roman Empire, volume I, the turn of the tide, edited and with an introduction by Betty Radice. 252 × 160 × 28 mm. Pp. [1–2], [1–5] 6–26 [27–31] 32–320 [321–322]: [14] leaves of ‘plates’. Type: Poliphilus and Blado. Printed by the Alden Press. Bound by the Pitman Press in full dark red-brown buckram decorated in gold; cream endleaves with a map in dark red. Pale yellow-brown slip case. The series of eight volumes of Gibbon’s ‘Decline and fall’ continued to be published, one a year, between 1983 and 1990 (see items 524, 543, 560, 582, 606, 628 and 653); in 1995 the eight volumes began to be issued together (item 825). Gibbon’s Memoirs of my life (item 680) were added in 1991 and a complementary atlas was published in the same year (item 703). Each volume of the main work was typeset in a uniform style, with the same dark red-brown buckram binding, based on a design of around 1780 attributed to Henry Walther. Around 1988 the manufacturer of the buckram abandoned the traditional starch-sized cloth in favour of a waterproof alternative. In order to keep the series uniform, a vast quantity of the old-style cloth was purchased, and continued to be used until 1990, by which time the buckrams most commonly used for Folio books had an acrylic coating. The ‘plates’ reproduce photographs of surviving Roman buildings and an tiquities, and etchings, mostly showing Roman views, many taken from G.B. Piranesi’s Vedute di Roma ([1748–1788]), with others from James Stuart and Nicholas Revett’s Antiquities of Athens (1762–1816) and other seventeenth- and eighteenth-century works. The endleaf maps are different in each of the volumes. ¶ Second impression: (not seen). ¶ Third impression: 1986. ¶ Fourth impression: 1989. ¶ Reissued with new binding [i.e. another impression]: 1995–2006 item 825, issued with the other seven volumes. 511 The wreck of the Wager, the narratives of John Bulkeley [and John Cummins] and the Hon. John Byron, edited and introduced by Christopher Hibbert. 222 × 141 × 24 mm. Pp. [1–2] 3–275 [276]: [11] leaves of plates. Type: Bell with Old Face Open for display. Printed by New Western Printing, the lithographs by Jolly and Barber. Bound by Hunter and Foulis in quarter dark blue leather, pale blue paper boards with a repeat linocut pattern in black by Edward Bawden; pale yellow endleaves with a map in dark blue. Cream slip case. The plates reproduce contemporary etchings, paintings and drawings. The text is edited from Bulkeley and Cummins’s A voyage to the South Seas, in the years 1740–1 . . . (1753), and The narrative of the Honourable John Byron . . . (1768). The title-page of the former work is reproduced on page [13]. 512 Charles Dickens, the personal history of David Copperfield, introduction by Christopher Hibbert, drawings by Charles Keeping. 240 × 160 × 49 mm. Pp. [i–iv] v–xix [xx], 1–803 [804]. Type: Imprint. Printed by Fletcher

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and Son. Bound by Richard Clay in series binding (see item 480), cream paper boards patterned in dark green; cream endleaves. Green slip case. Number 3 in ‘The Folio fifty’ (see item 8). The work was first published in monthly parts between May 1849 and November 1850, and in book form as soon as the final part had appeared. The illustrations consist of a frontispiece and 64 smaller sketches by Keeping. ¶ Second impression: 1987, measuring 240 × 161 × 42 mm. Printed and bound by Butler and Tanner. ¶ Reissue [i.e. third? impression]: 1994, measuring 239 × 161 × 48 mm. Printed and bound by the Bath Press. Second series binding (see item 480). ¶ Second printing [i.e. fourth? impression]: 1994. Part of this impression was issued with item 771. ¶ Third [i.e. fifth?] printing: 1998. 513 A passage to India, E.M. Forster, introduction by Michael Holroyd, illustrations by Ian Ribbons. 228 × 149 × 25 mm. Pp. [1–6] 7–301 [302–304]: [11] leaves of two-colour plates. Type: Times New Roman with Gill Shadow No. 1 for display. Printed by Clark Constable, the lithographs by Jolly and Barber. Bound by the Pitman Press in full pale orange-brown cloth with an illustration in brown by Ribbons; pale brown endleaves. Pale yellow-brown slip case. ¶ Second impression: 1985, printed by the Bath Press, the lithographs by the Stellar Press. Bound by the Bath Press. 514 Alexander Herzen, childhood, youth & exile, being parts I & II of My past thoughts, translated by J.D. Duff, introduction by Colin Ward. 240 × 158 × 25 mm. Pp. [1–3] 4–303 [304]: [14] leaves of plates. Type: Fournier. Printed by New Western Printing, the lithographs by Jolly and Barber. Bound by the Pitman Press in full orange cloth decorated in dark green and gold; dark green endleaves. Green slip case. The plates reproduce contemporary portraits, drawings and prints. 515 P.G. Wodehouse, short stories, selected and with an introduction by Christopher Falkus, drawings by George Adamson. 228 × 150 × 23 mm. Pp. [1–5] 6–370 [371]. Type: Joanna with Joanna Solotype for display. Printed by Latimer Trend. Bound by the Pitman Press in full pale yellow cloth with a ‘dogtooth’ check pattern in brown; pale brown endleaves. Pale brown slip case. In addition to the frontispiece, there are 19 drawings by Adamson. ¶ Second impression: 1984, printed and bound by the Pitman Press. ¶ Third impression: 1989, printed and bound by the Bath Press. ¶ Fourth printing: 1991. 516 Daniel Defoe, a tour through the whole island of Great Britain, volume one [–three], introduction by Pat Rogers. 253 × 189 × 21–22 mm. 3 vols ([i–v] vi–x, [1] 2–277 [278]; [i–vii] viii–x, [1–3] 4–276 [277–278]; [i–vii] viii–x, [1–3] 4–319 [320]). Type: Baskerville. Printed and bound by Cambridge University Press. Full brown buckram decorated in gold; pale brown endleaves with maps in brown. Dark red and pale brown three-volume slip case printed in brown. Defoe’s great topographical work was first published in three volumes in 1724, 1725 and 1726. The text is arranged county-by-county, with volume I containing East Anglia, the south-eastern counties and Land’s End to London, volume II the city of London, west Wales and the Midlands, and volume III the north Midlands, Yorkshire, north-east England and Scotland. In the present edition the text is illustrated with contemporary prints, drawings and paintings (there are 37 in volume I, 33 in volume II and 32 in volume III); the endleaves reproduce some of John Ogilby’s etched road maps, and another etching is printed on the slip case. The work was printed on ‘art’ paper, and is hence remarkably heavy for its size. The binding is based on a design of the 1720s attributed to Christopher Chapman. Although the title-page imprint is ‘London the Folio Society’ the spine of the binding of each volume has ‘The Folio

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Press’ imprint. A small number of copies was offered in a special binding of full dark brown morocco, in a dark brown cloth-covered slip case. 517 The fire of liberty, compiled, edited and with an introduction by Esmond Wright. 251 × 160 × 18 mm. Pp. [1–3] 4–256: [24] pages of colour and monochrome plates. Type: Monophoto Van Dijck. Printed by Jolly and Barber. Bound by the Pitman Press in full red cloth with the device of the President of the United States in blue and silver; endleaves printed in colour. Glassine dust-jacket. The Presentation Volume for 1984. The plates reproduce 40 prints, portraits and paintings from the time of the American Revolution, 19 in colour. Two further coloured prints are printed on the endleaves. A number of sets of sheets of the first impression was published in New York, by the Saint Martin’s Press, with a cancel title-leaf. ¶ Second impression: 1984, with a white slip case printed in lilac (instead of the dust-jacket). ¶ Third impression: 1984. 518 Sir Gawain and the green knight, translated and with an introduction by Keith Harrison, lithographs by Virgil Burnett. 251 × 158 × 12 mm. Pp. [1–6] 7–98 [99–100]: [5] leaves of two-colour plates (facing pp. [1], 44, 49, 64 and 74). Type: Arrighi and Centaur. Printed and bound by Clark Constable. Full green canvas with an armorial design in brown; endleaves with an illustration in pale brown and black by Burnett. Dark brown slip case. The lithographs are printed in pale brown and black. The story was later included in British myths & legends (items 954 and 1123.5). 519 The history of Myddle, Richard Gough, edited with an introduction and notes by David Hey, photographic illustrations by Tim Stephens. 252 × 152 × 23 mm. Pp. [1–2] 3–313 [314–316]: [10] leaves of two-colour plates (facing pp. [1], 32, 64, 97, 129, 160, 192, 225, 257 and 284). Type: Caslon. Printed by New Western Printing, the lithographs by Jolly and Barber. Bound by the Pitman Press in full pale brown cloth, cream cover-label printed in brown and blue; blue endleaves with a map. Pale blue slip case. The plates are printed in brown and blue. Gough’s history of the parish of Myddle was written in the opening years of the eighteenth century but not published until 1834, more than a century after his death. 520 Miles Franklin, my brilliant career, introduction by Joan Aiken, drawings by Dodie Masterman. 229 × 160 × 22 mm. Pp. [1–4] 5–255 [256]. Type: Garamond. Printed by New Western Printing. Bound by the Pitman Press in full blue cloth with a design in dark blue and gold by Sue Bradbury; pale blue endleaves printed in dark blue. Pale yellow-brown slip case. There are 54 drawings in the book, four of them full-page (including the frontispiece); six more are used on the endleaves. 521 Charles Dickens, hard times for these times, introduction by Christopher Hibbert, drawings by Charles Keeping. 240 × 160 × 24 mm. Pp. [1–2], [i–iv] v–xiv [xv–xvi], 1–244 [245–246]. Type: Imprint. Printed by Fletcher and Son. Bound by Richard Clay in series binding (see item 480), pale yellow-brown paper boards patterned in brown; pale yellow-brown endleaves. Green slip case. The work was first published in 1854, following serial publication in Household words between April and August of that year. The illustrations consist of a frontispiece and 18 smaller sketches by Keeping. ¶ Second impression: 1987, printed and bound by Butler and Tanner. ¶ Reissue [i.e. third? impression]: 1994, measuring 239 × 161 × 27 mm. Printed and bound by the Bath Press. Second series binding (see item 480). Part of this impression was issued with item 799. ¶ Reissue [i.e. fourth? impression]: 1994 [i.e. 1997], printed on a dead white paper (the earlier impression dated 1994 is on cream paper). See item 496.

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522 A pedestrian journey through Russia and Siberian Tartary to the frontiers of China, the frozen sea and Kamtchatka, by Captain John Dundas Cochrane R.N., edited and with an introduction by Mervyn Horder. 252 × 160 × 21 mm. Pp. [3–4] 5–217 [218]: [11] leaves of plates. Type: Bulmer with Baskerville for display. Printed and bound by Clark Constable. Full white cloth with a contemporary Russian engraving in blue; pale yellow endleaves with a map in blue. Blue slip case. The text was first published in 1823, and new editions appeared in 1824, 1825 and 1829; the present text follows the last of these. The plates reproduce contemporary prints and drawings. Although they were all printed separately and inserted into the gatherings the frontispiece is notionally included in the pagination. 523 Knut Hamsun, Pan, from Lieutenant Thomas Glahn’s papers, translated by James W. McFarlane, with an introduction by Peter Forster, wood-engravings by Fredrik Matheson. 228 × 139 × 14 mm. Pp. [1–6] 7–121 [122]: [5] leaves of wood-engraved ‘plates’ (facing pp. 17, 33, 49, 87 and 120). Type: Ehrhardt with Castellar for display. Printed by New Western Printing. Bound by the Pitman Press in full grey cloth with an illustration in brown by Matheson; dark brown endleaves. Pale grey slip case. 523.5 The Lisle letters, an abridgement, edited by Muriel St. Clare Byrne, selected and arranged by Bridget Boland, foreword by Hugh Trevor-Roper. Folio Press. 241 × 171 × 36 mm. Pp. [i–viii] ix–xxvi, 1–436 [437–438]. Type: Garamond. Probably printed by the University of Chicago Press. Bound by the Pitman Press(?) in full dark blue cloth, decorated in gold; pale grey endleaves. Gold slip case. There are 21 numbered monochrome illustrations printed in the text. This work was originally published by the University of Chicago Press in six stupendous volumes. These were offered to members in the Spring 1983 number of Folio magazine at ‘considerably less than the published price’. The present abridgement was also first published by the University of Chicago, but Folio was able to arrange for a separate impression to be made with the Folio Press imprint on the title-page. The American-printed sheets were apparently bound in Britain, and were made available to members from late 1983. A copy of the Folio impression (probably a freak) has been reported in a variant binding of quarter red cloth, blue cloth boards, in the dust-jacket of the University of Chicago Press. 523.7 “Ask mamma;” or, The richest commoner in England. By the author of “Handley Cross,” “Mr. Sponge’s sporting tour,” etc. etc. With illustrations by John Leech. Bradbury and Evans. Introduction by Rebecca West. 224 × 150 × 36 mm. Pp. [1–4], [i–vii] viii–ix [x–xii], [1] 2–412: [13] leaves of colour plates. Printed and bound by Butler and Tanner. Full red artificial leather decorated in gold as the 1858 edition; pale yellow endleaves. Gold slip case. This facsimile of the first edition, originally published by Bradbury and Evans in 1858, was first issued by the R.S. Surtees Society in 1983. Folio bought in a number of sets of sheets, and arranged to have the first gathering reprinted with its own imprint on the verso of the title-leaf. A separate four-page ‘Introduction’ by Rebecca West was specially written for this edition. Some later copies lack the Folio imprint (see item 506.3). 523.8 Handley Cross; or, Mr. Jorrocks’s hunt. By the author of “Mr. Sponge’s sporting tour,” “Jorrocks’s Jaunts,” etc. etc. With illustrations by John Leech. Bradbury and Evans. Introduction by Raymond Carr. 225 × 150 × 50 mm. Pp. [1–8], [i–vii] viii [ix–x], [1] 2–550 [551–574]: [17] leaves of colour plates. Printed and bound by Butler and Tanner. Full red artificial leather decorated in gold as 1854 edition; pale yellow endleaves. Gold slip case. This facsimile of the 1854 edition, published by Bradbury and Evans, was first issued by the R.S. Surtees Society in 1983. Folio bought in a number of sets of sheets, and arranged to have the first gathering reprinted with its own imprint on the verso of the title-leaf. A separate ‘Introduction’ by Raymond Carr was specially written for this edition. The final leaves bear a list of subscribers and advertisements for other publications of the R.S. Surtees Society. Some later copies lack the Folio imprint (see item 506.3).

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523.9 Dr Haydn and Mr Salomon, the Academy of Ancient Music [and] the Salomon String Quartet. A set of two 12-inch long-playing records, boxed with separate illustrated programme notes (pp. [1–4]) by Christopher Hogwood.

1984

1984 524 Edward Gibbon, the history of the decline and fall of the Roman Empire, volume II, Constantine and the Christian empire, edited and with an introduction by Betty Radice. 252 × 160 × 26 mm. Pp. [1–5] 6–15 [16–21] 22–348: [10] leaves of ‘plates’ (facing pp. 48, 64, 112, 128, 160, 176, 208, 224, 288 and 320). Type: Poliphilus and Blado. Printed by the Alden Press. Bound by the Pitman Press in series binding (see item 510). ¶ Second impression: 1984. ¶ Third impression: 1986. ¶ Fourth impression: 1990, bound by the Bath Press. ¶ Reissued with new binding [i.e. another impression]: 1995–2006 item 825, issued with the other seven volumes. 525 Diary of a provincial lady . . . Second impression. See item 442. 526 George Sand, the story of my life, translated, edited and with an introduction by Dan Hofstadter. 227 × 150 × 25 mm. Pp. [1–3] 4–342 [343–344]: [16] pages of plates. Type: Fournier. Printed by New Western Printing, the lithographs by the Pitman Press. Bound by the Pitman Press in full blue artificial silk with a design in gold by Sue Bradbury; yellow-brown endleaves. Yellow-brown slip case. The plates reproduce photographs, drawings and prints of Sand, her contemporaries and haunts. 527 Joseph Conrad, Nostromo, a tale of the seaboard, introduction by Richard Holmes, lithographs by Paul Hogarth. 252 × 163 × 29 mm. Pp. [1–6] 7–384: [15] leaves of two-colour plates. Type: Ehrhardt with Castellar for display. Printed by New Western Printing, the lithographs by the Pitman Press. Bound by the Pitman Press in full orange cloth with a design in black and silver by David Eccles; endleaves printed in brown and black. Dark orange slip case. The plates are printed in brown and black. ¶ Second impression: 1985, printed and bound by the Pitman Press. 528 The siege of Delhi, mutiny memories of an old officer by Richard Barter, late of the 75th Gordon Highlanders and the 15th Ludhiana Sikhs. Edited with an introduction by Christopher Hibbert. 227 × 160 × 15 mm. Pp. [i–iv] v–xvi, 1–130: [14] pages of ‘plates’. Type: Century Expanded. Printed and bound by the Pitman Press. Full yellow cloth lithographed in brown with a contemporary etching; pale brown endleaves printed in brown. Pale yellow-brown slip case. This is the first complete edition of these memoirs, which were compiled in 1869, some 12 years after the events they describe. The ‘plates’ reproduce contemporary photographs and etchings, and further etchings are printed on the binding and endleaves. ¶ Second impression: [1986?], printed and bound by the Bath Press. 529 Charles Dickens, dealings with the firm of Dombey and Son, wholesale, retail and for exportation, introduction by Christopher Hibbert, drawings by Charles Keeping. 241 × 162 × 49 mm. Pp. [i–iv] v–xix [xx], 1–816 [817–820]. Type: Imprint. Printed by Fletcher and Son. Bound by Richard Clay in series binding (see item 480), brown paper boards patterned in black; brown endleaves. Green slip case. The work was first published in parts between October 1846 and April 1848, and was issued in book form as soon as the final part had appeared. The illustrations consist of a frontispiece and 62 smaller sketches by Keeping.

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¶ Reissue [i.e. second? impression]: 1995, measuring 239 × 161 × 48 mm. Printed and bound by the Bath Press. Second series binding (see item 480). Part of this impression was issued with item 808. ¶ Reissue [i.e. third? impression]: 1995 [i.e. 1997]. See item 496. 530 Mungo Park, travels in the interior of Africa, introduction and epilogue by John Keay. 239 × 160 × 20 mm. Pp. [i–iv] v–xxii, 1–203 [204]: [14] leaves of ‘plates’. Type: Photina. Printed by Jolly and Barber. Bound by the Pitman Press in full blue cloth, pale pink cover-label; pale grey endleaves with a map. Dark red slip case. Park’s text was first published in 1799. The ‘plates’ reproduce late eighteenth- and early nineteenth-century prints. ¶ Second impression: 1986, bound by the Bath Press in a darker blue cloth. Red slip case. ¶ Third impression: 1989. ¶ Fourth printing: 1991, bound in a darker blue cloth. Dark blue slip case. 531 E.Œ. Somerville & Martin Ross, experiences of an Irish R.M., selected and with an introduction by John O’Dono van, drawings by Paul Cox. 227 × 148 × 21 mm. Pp. [i–iv] v–xvii [xviii], 1–267 [268–270]. Type: Times New Roman. Printed by the Pitman Press. Bound by Cowell in full green cloth with an illustration in black by Cox; pale green endleaves. Black slip case. In addition to the frontispiece there are 42 smaller drawings by Cox. ¶ Second impression: 1984, bound by the Pitman Press. ¶ Third impression: 1986, printed and bound by the Bath Press. ¶ Fourth printing: 1991. 532 The monk, Matthew Lewis, introduction by Devendra P. Varma, wood-engravings by George Tute. 228 × 149 × 26 mm. Pp. [i–iv] v–xx, 1–311 [312]: [10] leaves of ‘plates’ (facing pp. 43, 83, 95, 128, 156, 182, 211, 246, 270 and 309). Type: Plantin with Old English for display. Printed and bound by the Pitman Press. Quarter black cloth, red and black Cockerell marbled paper boards; pale grey endleaves printed in black. Pale grey slip case. A wood-engraving of a rosary by Tute is printed on the endleaves. Lewis’s sensational novel was first published in 1796, when he was in his early twenties. ¶ Second impression: 1985, with a black slip case. ¶ Third impression: 2010, the dimensions now 228 × 150 × 29 mm. Pp. [i–iv] v–xx, 1–312: [10] leaves of ‘plates’ (facing pp. 43, 82, 95, 128, 156, 182, 211, 246, 270 and 309). Printed and bound by T.J. International with spine redesigned. Red slip case. 533 The Forsyte saga. 241 × 171 × 21–29 mm. 3 vols (see below). Type: Perpetua. Printed by New Western Printing, the lithographs by Cowell. Bound by Butler and Tanner in quarter orange canvas, cream paper boards patterned in a different colour for each volume; cream endleaves decorated in the same colour as the boards. Blue and cream three-volume slip case patterned in blue. Some copies were issued in a special binding of full red-brown morocco, with a red-brown cloth-covered slip case. The three volumes were first published in 1906, 1920 and 1921 respectively, and were first reprinted as the ‘saga’ in 1922. The illustrations by Anthony Gross are taken from an edition published by Heinemann in 1950; his drawings are also used on the endleaves and slip case. The three volumes are as follows: [1] The Forsyte saga, the man of property by John Galsworthy, drawings by Anthony Gross. Pp. [1–4] 5–406 [407–408]: [5] leaves of colour plates (facing pp. [1], 48, 192, 273 and 397). The boards and endleaves are printed in red-brown. In addition to the plates there are 14 full-page drawings, and 12 head- and tail-pieces by Gross, printed from line-blocks in the text. [2] The Forsyte saga, in Chancery by John Galsworthy, drawings by Anthony Gross. Pp. [1–2] 4–310 [311–312]: [4] leaves of colour plates (facing pp. [1], 160, 234 and 276). The boards and endleaves are printed in blue-green.

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In addition to the plates there are nine full-page drawings, and 14 head- and tail-pieces by Gross, printed from line-blocks in the text. [3] The Forsyte saga, to let by John Galsworthy, drawings by Anthony Gross. Pp. [1–2] 3–268 [269–272]: [3] leaves of colour and monochrome plates (facing pp. [1], 129 and 244). The boards and endleaves are printed in green. In addition to the plates there are five full-page drawings, and 14 head- and tail-pieces by Gross, printed from line-blocks in the text. ¶ Second impression (with a new binding): 2002, the spines measuring 27–34 mm. Printed and bound by the Bath Press. Quarter dark blue buckram, white paper boards with a pattern in blue-green by Diana Wilbraham (designed for the Curwen Press); endleaves with a ‘Forsyte Family Tree’ incorporating portraits of the protagonists in dark blue-green. Dark green slip case titled in gold on a red panel. The positions of some of the colour plates have been altered slightly. The appearance of this new impression may not have been wholly unconnected with the screening of a new television adaptation of the saga in spring 2002. 534 The merchant of Prato, Iris Origo. 253 × 163 × 32 mm. Pp. [i–iii] iv–vi, 1–371 [372–378]: [12] leaves of colour plates. Type: Bembo. Printed and bound by Butler and Tanner. Full dark red cloth decorated in black and gold; colour-printed endleaves. Mottled grey slip case. The plates reproduce 22 medieval illuminations and paintings, with one more printed on the endleaves. The binding design is based on a mosaic from the Cathedral of Ravello. 535 Shades of the Alhambra, Raleigh Trevelyan. 252 × 192 × 12 mm. Pp. [1–6] 7–127 [128]. Type: Bembo with Fry’s Ornamented for display. Typeset by Deltatype, printed by the Springbourne Press. Bound by R.J. Acford in laminated paper boards decorated in black, orange, blue and white; pale brown endleaves printed in orange. Slip case (not seen). The Presentation Volume for 1985. There are 89 illustrations in the book, 52 in colour, reproducing photographs, prints, maps, manuscripts and paintings relating to the Alhambra Palace. The design on the binding is based on a fourteenth-century tessellated pavement. A trade edition was published by Secker and Warburg in 1985, based closely on the Folio edition. 536 Cousin Pons, Honoré de Balzac, translated and with an introduction by Herbert J. Hunt, lithographs by Shirley Hughes. 228 × 139 × 25 mm. Pp. [i–ii] iii–xiv, 1–320 [321–322]: [12] leaves of two-colour plates. Type: Gara mond. Printed by the Alden Press. Bound by the Pitman Press in full grey cloth with an illustration in black by Hughes; pale grey endleaves. Dark blue slip case. The lithographs are printed in blue-green and black. 537 Poems by Thomas Hardy . . . Third impression. See item 443. 538 George Orwell, Animal Farm, a fairy story, drawings by Quentin Blake. 229 × 160 × 12 mm. Pp. [1–4] 5–104. Type: Plantin with Klang for display. Printed by Jolly and Barber. Bound by Hunter and Foulis in full white cloth with an illustration in pink, brown and black by Blake; pale brown endleaves. Cream slip case. Number 8 in ‘The Folio fifty’ (see item 8). Blake’s drawings consist of a frontispiece and 26 text illustrations. ¶ Second impression: 1985 (not seen). ¶ Third impression: 1988, printed and bound by the Bath Press. ¶ Fourth impression: 1989. ¶ Fifth printing: 1991. ¶ Sixth printing: 1992. ¶ Seventh printing: 1994. ¶ Eighth printing: (not seen). ¶ Ninth printing: (not seen). ¶ Tenth printing: (not seen). ¶ Eleventh printing: 1996. ¶ Twelfth printing: 1997. ¶ Thirteenth printing: 1998, with a brown slip case. Spine-lettering redesigned. ¶ Fourteenth printing: 2000. ¶ Fifteenth printing: 2002, with an orange slip case. ¶ Sixteenth printing: 2002 (not seen). ¶ Seventeenth printing: 2012, the dimensions now 227 × 161 × 16 mm and Akzidenz Grotesque

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for display. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. With a brown slip case again. ¶ Eighteenth printing: 2013. 539 Charles Dickens, the adventures of Oliver Twist, introduction by Christopher Hibbert, drawings by Charles Keeping. 240 × 160 × 25 mm. Pp. [i–iv] v–xx, 1–380. Type: Imprint. Printed by Fletcher and Son. Bound by Richard Clay in series binding (see item 480), green paper boards patterned in dark green; green endleaves. Green or pale green slip case. The work was first published in monthly parts between February 1837 and March 1839, and was issued in book form in 1838. The illustrations consist of a frontispiece and 26 smaller sketches by Keeping. ¶ Second impression: 1987, measuring 240 × 160 × 27 mm. Printed and bound by Butler and Tanner. ¶ Reissue [i.e. third? impression]: 1994, measuring 239 × 161 × 33 mm. Printed and bound by the Bath Press. Second series binding (see item 480). Part of this impression was issued with item 771. 539.5 Jorrocks’ jaunts and jollities. The hunting, shooting, racing, driving, sailing, eccentric and extravagant exploits of that renowned sporting citizen, Mr. John Jorrocks. With an introduction by Michael Wharton and numerous illustrations by H. Alken, Phiz [Hablot K. Browne], W. Heath. 226 × 149 × 40 mm. Pp. [i–vi], [1] 2–291 [292–296]: [31] leaves of colour and monochrome plates. Printed and bound by Butler and Tanner. Full red artificial leather decorated in gold as the second edition of 1843; pale yellow endleaves. Gold slip case. This facsimile of the second edition, originally published by Bradbury and Evans in 1843 (the first edition of 1838 was not illustrated), was first issued by the R.S. Surtees Society in 1984. Folio bought in a number of sets of sheets, and arranged to have the first gathering reprinted with its own imprint on the title-page. Although an introduction by Michael Wharton is mentioned on the title-page, no copy has been found to contain one. For details of the series see item 506.3. 540 Aeschylus, the Oresteia, translated by Robert Fagles, introduction by Peter Levi, drawings by Laurence Preece. 252 × 162 × 17 mm. Pp. [i–ix] x–xviii [xix–xx], [1–3] 4–65 [66–71] 72–116 [117–121] 122–164 [165–169] 170–184 [185–186]. Type: Sabon. Printed and bound by the Pitman Press. Full grey canvas with a design in black by Preece; pale brown endleaves printed in black. Pale pink-brown slip case. There are seven full-page drawings by Preece. 541 Geoffrey of Monmouth, history of the kings of Britain . . . See item 261. 542 Drawn from life, the journalism of William Makepeace Thackeray, with drawings by the author, selected, edited and with an introduction by Margaret Forster. 222 × 142 × 23 mm. Pp. [i–v] vi–xxiv, [1–3] 4–279 [280]. Type: Baskerville. Printed and bound by Butler and Tanner. Full pale brown cloth with a montage of Thackeray’s sketches in brown; dark brown endleaves. Pale brown slip case. Sixty-one of Thackeray’s drawings are reprinted in the text, with another used as the frontispiece. 542.5 The Playfair hours, a late fifteenth century illuminated manuscript from Rouen (V&A, L.475–1918), Rowan Watson. Victoria and Albert Museum. Designed by Patrick Yapp. 217 × 154 × 17 mm. Pp. [1–7] 8–126 [127–128]. Type: Van Dijck. Printed by the Westerham Press. Binder not known. Full dark blue cloth; pale blue endleaves patterned in blue. Dark blue slip case, white cover-label printed in colour. This commentary on, and facsimile of, the manuscript was ‘Published by the Victoria and Albert Museum, 1984, with the Folio Society and Readers Union . . .’ Pages 81–112 are printed in colour, and reproduce pages from the manuscript, also numbered as ‘Plate I [–XXXII]’. There are also 30 monochrome reproductions printed in the text.

1985

1985 543 Edward Gibbon, the history of the decline and fall of the Roman Empire, volume III, the revival and collapse of paganism, edited and with an introduction by Betty Radice. 252 × 161 × 27 mm. Pp. [1–5] 6–14 [15–19] 20–367 [368–370]: [15] leaves of ‘plates’. Type: Poliphilus and Blado. Printed by the Alden Press. Bound by the Pitman Press in series binding (see item 510). ¶ Second impression: 1987, bound by the Bath Press. ¶ Third impression: 1990. ¶ Reissued with new binding [i.e. another impression]: 1995–2006 item 825, issued with the other seven volumes. 544 The Pastons . . . Second impression. See item 487. 545 Far from the madding crowd by Thomas Hardy, introduction by Bel Mooney, wood-engravings by Peter Reddick. 227 × 149 × 24 mm. Pp. [i–iv] v–xviii, 1–413 [414]. Type: Baskerville. Typeset by Latimer Trend, printed and bound by the Pitman Press. Full yellow-brown series binding decorated in red (see item 248); pale brown endleaves printed in dark brown. Red slip case. The book contains 31 wood-engravings by Reddick, including the frontispiece. This work was reprinted at least 12 times, although at least two of the early impressions are not identified as such on the verso of the title-leaf. Copies of these impressions can only be identified as reprints by their bulk and by the imprint of the Bath Press replacing that of the Pitman Press. Some of the later impressions were issued only as part of the boxed set of Hardy’s novels. ¶ [Second impression]: [1987?], measuring 227 × 147 × 33 mm. Printed and bound by the Bath Press. ¶ [Third impression]: [1989]. ¶ Fourth printing: 1990. ¶ Fifth printing: 1991. Part of this impression was issued with item 698.5. ¶ Sixth printing: 1992 item 698.5, issued with five other novels by Hardy. ¶ Seventh printing: 1992. Part of this impression was issued with item 698.5. ¶ Eighth-tenth printing: 1993 items 698.5 and 769.5, issued with other novels by Hardy. ¶ Eleventh printing: 1996. ¶ Twelfth printing: 1997. Part of this impression was issued with item 896. 546 [James] Boswell’s London journal 1762–63, edited and introduced by Frederick A. Pottle. 252 × 161 × 30 mm. Pp. [i–iv] v–viii, 1–365 [366–368]: [12] leaves of ‘plates’. Type: Walbaum. Typeset by Gloucester Typesetting, printed and bound by the Pitman Press. Quarter dark blue cloth, grey paper boards decorated in dark blue; pale grey endleaves printed in dark blue. Pale grey slip case. The ‘plates’ reproduce contemporary prints and drawings. A portrait is used on the endleaves, and the boards are printed with a facsimile of a page from Boswell’s manuscript. The frontispiece portrait of the author is correctly included in the pagination. ¶ Second impression: 1986 (not seen). ¶ Third impression: 1989 (not seen). ¶ Second [i.e. fourth?] printing: 2006 item 1302. 547 W. Somerset Maugham, short stories, selected and introduced by Sue Bradbury, drawings by Christopher Brown. 228 × 150 × 25 mm. Pp. [i–viii] ix–xix [xx], 1–339 [340–342]: [11] leaves of ‘plates’. Type: Plantin with Gallia for display. Printed and bound by the Pitman Press. Full blue cloth with an illustration in green by Brown; pale blue endleaves. Black slip case. ¶ Second impression: 1985, printed and bound by the Bath Press. Pale blue slip case. ¶ Third impression: 1989. ¶ Fourth printing: 1990.

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548 Charles Dickens, Bleak House, introduction by Christopher Hibbert, drawings by Charles Keeping. 241 × 160 × 45 mm. Pp. [1–2], [i–iv] v–xxii, 1–852 [853–856]. Type: Imprint. Printed and bound by Butler and Tanner. Series binding (see item 480), pale brown paper boards patterned in brown; pale brown endleaves. Green slip case. The work was first published in monthly parts between March 1852 and September 1853, and was issued in book form as soon as part publication was complete. The illustrations consist of a frontispiece and 67 smaller sketches by Keeping. ¶ Second impression: 1986, measuring 239 × 161 × 46 mm. ¶ Reissue [i.e. third? impression]: 1994, measuring 239 × 161 × 52 mm. Printed and bound by the Bath Press. Second series binding (see item 480). Part of this impression was issued with item 799. 549 Cobbett’s America, a selection from the writings of William Cobbett, edited with an introduction by J.E. Morpurgo. 229 × 149 × 22 mm. Pp. [i–v] vi–xxxi [xxxii], [1–5] 6–246 [247–250]: [11] leaves of ‘plates’. Type: Ehrhardt. Printed and bound by Butler and Tanner. Quarter blue cloth, pale green paper boards decorated in dark blue; pale green endleaves with a map in dark blue. Dark blue slip case. This book is a sequel to Cobbett’s England (1968 item 255), and is bound in a similar style. The boards are printed with a pastiche of an early nineteenth-century hand-bill or poster, set within a typographical border in Thorowgood and Egiziano types, reading ‘A Selection from the writings of William Cobbett, giving a view of His Youth Recalled, his adventures in Canada, his pugnacious career as A Philadelphian Journalist, his outspoken comments on The War Of 1812, his pungent reminiscences of A Years Residence On Long Island and his reflections on America Remembered, taken from Porcupine Works, Advice to Young Men, The Political Censor &c &c’. The ‘plates’ reproduce contemporary prints and portraits. 550 L.P. Hartley, the go-between, with an introduction by Frank Delaney, illustrated by Carel Weight. 229 × 148 × 20 mm. Pp. [i–viii] ix–xvii [xviii], 1–236 [237–238]: [8] leaves of two-colour plates (facing pp. 30, 47, 62, 79, 110, 127, 206 and 223). Type: Perpetua. Typeset by Gloucester Typesetting, printed by Jolly and Barber. Bound by Hunter and Foulis in full pale brown cloth with a design in pink by David Eccles; red endleaves. Red slip case. The lithographs are printed in pink and green. 551 The history of England from 1485 to 1685 by Thomas Babington Macaulay, compiled and edited by Peter Rowland. 252 × 160 × 27 mm. Pp. [i–xi] xii–xxxiii [xxxiv], [1] 2–337 [338–342]: [11] leaves of ‘plates’. Type: Baskerville. Printed by the Alden Press. Bound by Cambridge University Press in full dark green cloth with the series design in green and gold (see item 465); pale brown endleaves. Pale yellow-brown slip case. The ‘plates’ reproduce contemporary prints and photographs, and a portrait of the author. ¶ Second printing: 1987. ¶ Third printing: 1989. 552 The history of England from the accession of James II, volume I [–II], by Thomas Babington Macaulay, introduction by Peter Rowland. Folio Press. 252 × 160 × 35 mm. 2 vols (pp. [1–2], [i–v] vi–xxiv, [1] 2–526 [527–528]: [11] leaves of ‘plates’; [1–2], [i–v] vi–xvii [xviii], [1] 2–542: [12] leaves of ‘plates’). Type: Baskerville. Printed by the Alden Press. Bound by Cambridge University Press in full dark blue cloth with the series design in pale blue and gold (see item 465); pale brown endleaves. Pale yellow-brown two-volume slip case with a portrait of Macaulay in grey and blue. The ‘plates’ reproduce contemporary prints and photographs. Volumes III–V were published in 1986 (item 570). ¶ Second printing: 1987. ¶ Third printing: 1989.

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553 England’s Constable, the life and letters of John Constable, Joseph Darracott. 241 × 157 × 13 mm. Pp. [1–5] 6–143 [144]. Type: Monophoto Baskerville with Old Face Open for display. Printed (with the title-page in brown and black) by Jolly and Barber. Bound by Hunter and Foulis in full grey-brown cloth, cover-label printed in brown with a detail of one of Constable’s sketches; pale yellow flecked endleaves. Slip case printed in colour. The Presentation Volume for 1986. The work is illustrated with 82 reproductions of paintings and drawings, mostly by Constable, 56 in colour; one of the paintings is also reproduced on the slip case. 554 Gentlemen prefer blondes, the illuminating diary of a professional lady, Anita Loos, introduction by Hugo Vickers, drawings by ffolkes. 222 × 134 × 17 mm. Pp. [1–2], [i–x] xi–xxi [xxii], [1–2] 3–134 [135–136]. Type: Monophoto(?) Ehrhardt with Ronaldson for display. Printed in dark brown by Latimer Trend. Bound by the Bath Press in full yellow cloth with an illustration in dark brown by ffolkes; yellow endleaves. Pale brown slip case. There are 21 drawings in the text, including that on the title-spread; in addition there is a small outline of a ‘flapper’ used on the divisional-title to each of the five chapters. ¶ Second printing: 1987, printed in black. ¶ Third printing: 1989, printed by the Bath Press. 554.5 Hillingdon Hall, or The Cockney squire, a tale of country life, by author [sic] of “Handley Cross,” “Jorrocks’s jaunts and jollities,” &c. With twelve illustrations by Wildrake – Heath – Jellicoe. Introduction by Robert Blake. 224 × 149 × 42 mm. Pp. [i–xii], [1] 2–519 [520–524]: [12] leaves of colour and monochrome plates. Printed and bound by Butler and Tanner. Full red artificial leather decorated in gold as the 1888 edition; pale yellow endleaves. Gold slip case. This facsimile of the 1888 edition (the first single-volume edition) was first issued by the R.S. Surtees Society in 1984. Folio bought in a number of sets of sheets, and arranged to have the first gathering reprinted with its own imprint on the title-page. For details of the series see item 506.3. 555 Poetic gems, selected from the works of William McGonagall, poet and tragedian, died in Edinburgh 29 September 1902, foreword by Spike Milligan, brief biography and reminiscences by the author, tribute and ode from three students at Glasgow University, and other tributes and testimonials, dramatic collages by Michael Foreman. Designed by Hugh Williamson. 223 × 135 × 19 mm. Pp. [i–iv] v–ix [x], 1–217 [218–220]: [11] leaves of ‘plates’. Type: Monophoto Photina. Printed and bound by Butler and Tanner. Full grey-brown cloth with a collage design in dark brown by Foreman; black endleaves. Dark red slip case. The title-page is set within a border (in Egyptian Expanded, Wide Latin, Sans Serif Shaded, Condensed Sans Serif No. 7, Antique Nos 2, 5 and 6, Figgins Shaded, Consort Condensed, Old English and Victoria Titling) in imitation of a Victorian poster or hand-bill; it was designed and hand set by Ian Mortimer. The title-page was poorly printed in the first impression, however, and some of the detail of Mortimer’s design was lost. For the second impression of 1987 the original design was rephotographed and a much better result achieved. ¶ Reprinted: 1987, with a red slip case. 556 Folk-tales of the British Isles, chosen and with an introduction by Kevin Crossley-Holland, wood-engravings by Hannah Firmin. Designed by Humphrey Stone. 228 × 150 × 28 mm. Pp. [i–vii] viii–xi [xii–xiv], 1–393 [394]. Type: Monophoto Palatino. Typeset by Tradespools, printed and bound by the Bath Press. Quarter black cloth, pale green paper boards with a pattern in dark green based on a design by Birgitte Cramer; pale green flecked endleaves. Green slip case. Firmin’s wood-engravings consist of a frontispiece and 57 head-pieces, one of which is used seven times. ¶ Second impression: 1986. ¶ Third impression: 1990. ¶ Fourth printing: 1992. ¶ Fifth printing: 1993. ¶ Sixth printing: 1995. ¶ Seventh printing (with a new binding): 2006, measuring 229 × 148 × 34 mm. Pp. [1–4],

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[i–vii] viii–xiv, 1–393 [394–398]. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full blue cloth with a design in gold, colour cover-label by Firmin; pale blue endleaves. Dark blue slip case. 557 Charles Dickens, a tale of two cities, introduction by Christopher Hibbert, drawings by Charles Keeping. 241 × 164 × 26 mm. Pp. [i–iv] v–xv [xvi], 1–342 [343–344]. Type: Imprint. Printed and bound by Butler and Tanner. Quarter series binding (see item 480), red paper boards patterned in black; red endleaves. Green slip case. The work was first published in book form in 1859, following serial publication in All the year round between April and November of that year. The present edition includes 24 pen-and-ink illustrations, including the full-page frontispiece. ¶ Second impression: 1987. ¶ Reissue [i.e. third? impression]: 1994, measuring 239 × 161 × 30 mm. Printed and bound by the Bath Press. Second series binding (see item 480). Part of this impression was issued with item 771. 558 The retreat from Moscow, the memoirs of Sergeant Bourgogne 1812–1813, translated by J.W. Fortescue, introduction by Vincent Cronin. Revised by Anne Page. 253 × 162 × 22 mm. Pp. [i–iv] v–viii, 1–262: [9] leaves of ‘plates’ (facing pp. 10, 20, 40, 62, 90, 100, 146, 152 and 196). Type: Monophoto Garamond. Typeset by Wyvern Typesetting, printed (with the title-page in green and black) and bound by the Bath Press. Full blue-green cloth with a contemporary etching in black; endleaves with a map in dark green. Pale brown slip case. The ‘plates’ reproduce nineteenth-century paintings and etchings. The text is revised by Anne Page from Fortescue’s 1926 translation of Adrien-Jean-Baptiste-François Bourgogne’s Mémoires, first published in 1898. ¶ Second printing: 1987. ¶ Third impression: 1990. 559 Sir Walter Scott, the bride of Lammermoor, introduction by Gilbert Phelps, wood-engravings by Sue Scullard. 241 × 161 × 27 mm. Pp. [i–vi] vii–xxi [xxii], 1–305 [306]. Type: Bembo with Old English for display. Typeset by Gloucester Typesetting, printed and bound by Butler and Tanner. Full purple cloth with a design in black by Scullard; lilac flecked endleaves. Pale grey slip case. There are 38 wood-engravings in the text, including four head- and tail-pieces, and a full-page frontispiece. 559.5 The shorter Pepys, selected and edited by Robert Latham from the diary of Samuel Pepys, a new and complete transcription, edited by Robert Latham, and William Matthews. 231 × 161 × 56 mm. Pp. [i–viii] ix–l, 1–1033 [1034–1046] 1047–1096 [1097–1102]: [14] pages of ‘plates’. Type: Bembo. Printed and bound by the Bath Press. Full dark blue cloth, decorated in gold; dark red endleaves. Dark blue slip case. The ‘plates’ reproduce contemporary portraits and prints. A new impression, with a different title, format and illustrations, was published in three volumes in 1996 (item 854), and the full text was published in 2003 (item 1143). ¶ [Another impression]: 1996 item 854, with a new title.

1986

1986 560 Edward Gibbon, the history of the decline and fall of the Roman Empire, volume IV, the end of the western empire, edited and with an introduction by Betty Radice. 252 × 160 × 27 mm. Pp. [1–5] 6–15 [16–21] 22–394: [15] leaves of ‘plates’. Type: Poliphilus and Blado. Printed by the Alden Press. Bound by the Bath Press in series binding (see item 510). ¶ Second impression: 1986. ¶ Third impression: 1989. ¶ Fourth impression: (not seen). ¶ Reissued with new binding [i.e. another impression]: 1995–2006 item 825, issued with the other seven volumes. 561 The mill on the Floss by George Eliot, introduction by Bel Mooney, wood-engravings by Alyson MacNeill. 252 × 162 × 34 mm. Pp. [i–iv] v–xv [xvi], [1–4] 5–335 [336–340] 341–491 [492–496]. Type: Monophoto Ehrhardt. Printed and bound by Butler and Tanner. Full blue cloth decorated in gold; pale grey endleaves. Dark blue slip case. The binding is based on a publisher’s binding of the period of the first edition, which was published in three volumes in 1860. There is a total of 37 small wood-engravings in the text, and a full-page frontispiece. 562 The life and death of the Mayor of Casterbridge . . . Reprint [i.e. second impression]. See item 248. 563 The return of the native . . . Reprint [i.e. fourth impression]. See item 294. 564 Revolt in the desert by ‘T.E. Lawrence’, introduction by Raleigh Trevelyan, photographs by T.E. Lawrence and others, sketches by Edward Bawden. 241 × 163 × 25 mm. Pp. [i–iv] v–viii, 1–326: [9] leaves of ‘plates’ (facing pp. 31, 50, 71, 102, 134, 172, 202, 232 and 285). Type: Monophoto Bembo. Typeset by Deltatype, printed and bound by the Bath Press. Full yellow cloth with a sketch in brown by Bawden; cream endleaves with a map in dark brown. Pale brown slip case. The ‘plates’ reproduce 12 photographs taken by Lawrence and his comrades during the Arab campaign between 1916 and 1918, and four sketches made by Bawden during the Second World War. The text was first published in 1927 and is Lawrence’s abridgement of his Seven pillars of wisdom, which he did not wish to publish during his lifetime (although private editions appeared in 1919 and 1926). For a complete edition of the Seven pillars see item 1048. Two variant text papers have been identified for what appears to be the first impression of the present edition: one is cream and the other white, described as ‘Folio Cream Wove’ and ‘Wentworth Opaque’ respectively on the versos of the title-leaves (which bear variant texts). This probably masks a silent reprint, since copies on the different papers appear to have been bound at different times, with variant slip cases (pale brown for the cream paper, pale yellow for the white). If this is the case, then the cream paper probably represents the first impression, and the white a slightly later run-on. ¶ [Second impression?]: 1986 (see above). ¶ Second [i.e. third?] printing: 1988. ¶ Third [i.e. fourth?] printing: 1989, with a cream slip case. ¶ Fourth [i.e. fifth?] printing: 1991, with a pale brown slip case. ¶ Fifth [i.e. sixth?] printing: 1993, with a cream slip case. ¶ Sixth [i.e. seventh?] printing: 1994. ¶ Seventh [i.e. eighth?] printing (with a new binding): 2006, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full white artificial cloth with a photograph in sepia; cream flecked endleaves with the map in dark brown. Dark brown slip case. The spine lettering has been redesigned. ¶ Eighth [i.e. ninth?] printing: 2007. ¶ Ninth [i.e. tenth?] printing: 2008, printed by the Amadeus Press.

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565 Short stories by Ernest Hemingway, selected and with an introduction by David Hughes, illustrations by Ian Beck. 228 × 148 × 22 mm. Pp. [iii–vi] vii–xvi, 1–272 [273–274]: [12] leaves of two-colour plates. Type: Perpetua. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter black cloth, laminated paper boards with a pattern in red and black by Beck; pale grey endleaves. Red slip case. Number 44 in ‘The Folio fifty’ (see item 8). The plates are printed in blue and black, with the frontispiece erroneously included in the pagination. ¶ Second impression: 1988. ¶ Third impression: 1990. ¶ Fourth printing: 1992. ¶ Fifth printing: 1993. ¶ Sixth printing: 1997, with the spine redesigned to read vertically rather than horizontally. ¶ Seventh printing: 1997 [i.e. 1998]. ¶ Eighth printing: 1999. ¶ Ninth printing: 2008, the dimensions now 228 × 150 × 30 mm. Printed and bound by Grafos with the spine redesigned again. ¶ Tenth printing: 2010. ¶ Eleventh printing: 2011. ¶ Twelfth printing: 2012. ¶ Thirteenth printing: 2013. 566 Charles Dickens, the life and adventures of Nicholas Nickleby, introduction by Christopher Hibbert, drawings by Charles Keeping. Edited by Michael Slater. 241 × 163 × 48 mm. Pp. [i–vi] vii–xxxiii [xxxiv], 1–818 [819–822]. Type: Imprint. Printed and bound by Butler and Tanner. Series binding (see item 480), pink paper boards patterned in black; pink endleaves. Green slip case. The work was first published in monthly parts between March 1838 and September 1839, and was issued in book form as soon as part publication was complete; the present text was edited by Michael Slater for the Penguin edition. The illustrations consist of a frontispiece and 65 smaller sketches by Keeping. ¶ Second impression: 1988. ¶ Reissue [i.e. third? impression]: 1994, printed and bound by the Bath Press. Second series binding (see item 480). Part of this impression was issued with item 799. ¶ Reissue [i.e. fourth? impression]: 1994 [i.e. 1997], printed on a dead white paper (the earlier impression dated 1995 is on cream paper). See item 496. 567 The devils of Loudun, Aldous Huxley, introduction by Felice Harcourt, illustrations by John Bratby. 241 × 160 × 29 mm. Pp. [i–viii] ix–xxiii [xxiv], 1–311 [312–314]: [11] leaves of ‘plates’. Type: Fournier with Bodoni for display. Typeset by Gloucester Typesetting, printed and bound by Butler and Tanner. Full red cloth with an illustration in black by Bratby; pale brown endleaves. Red slip case. The text was set on a Monotype machine and printed lithographically from a pull of the type thus cast. During the 1980s and early 1990s this method of producing camera-ready copy became more common, as an alternative to photo- or computer composition, and the technique continues to be used occasionally in the twenty-first century. 568 England their England, A.G. Macdonell, introduction by Hugo Vickers, illustrations by Peter Brookes. 252 × 161 × 20 mm. Pp. [i–iv] v–xvi, 1–185 [186]: [11] leaves of ‘plates’. Type: Monophoto Galliard with Playbill for display. Printed and bound by the Bath Press. Full yellow cloth with a design in brown by Brookes; cream endleaves. Pale brown slip case. The binding design is a pastiche of the cover of Wisden’s almanac. ¶ Second printing: 1987, with green endleaves. ¶ Third printing: 1991, with the title-page, and pages [iv]–vi reset, and the display throughout now set in Fry’s Ornamented. Printed and bound by the Bath Press, with the spine-lettering reversed (now running head to tail). Dark brown endleaves. Green slip case. 569 Two years before the mast, a personal narrative of life at sea by Richard Dana, Jr., introduction by Mervyn Horder, drawings by Ian Ribbons. 228 × 159 × 22 mm. Pp. [i–v] vi–x, 1–342. Type: Monophoto Bembo. Photoset by Tradespools, printed in brown by Butler and Tanner. Bound by Butler and Tanner in full dark brown cloth with an oval paper cover-label printed in brown; endleaves with a ship in brown. Pale brown slip case. There

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are 29 small drawings by Ribbons, as well as the illustration on the front board and the frontispiece. The text was first published in New York in 1840, and the appendix, containing the author’s later reflections, appeared in 1876. 570 The history of England from the accession of James II, volume III [–V], by Thomas Babington Macaulay, introduction by Peter Rowland. Folio Press. 252 × 160 × 20–39 mm. 3 vols (pp. [1–2], [i–v] vi–xxiv, [1] 2–582 [583–584]: [11] leaves of ‘plates’; [1–2], [i–v] vi–xxxiv, [1] 2–661 [662]: [11] leaves of ‘plates’; [1–2], [i–v] vi–xxiii [xxiv], [1] 2–244 [245–246]: [8] leaves of ‘plates’ (facing pp. 26, 50, 60, 86, 136, 164, 204 and 224)). Type: Baskerville. Printed by the Alden Press. Bound by Cambridge University Press in full dark blue cloth with the series design in pale blue and gold (see item 465); pale brown endleaves. Pale yellow-brown three-volume slip case with a portrait of Macaulay in grey and blue. The plates reproduce contemporary prints and photographs. Volumes I and II were published in 1985 (item 552). ¶ Second impression: 1990. 571 Geoffrey Chaucer, the Canterbury tales, original text edited by F.N. Robinson, translation by David Wright, illustrated by Raymond Hawthorn · Sue Scullard · George Tute · Sarah van Niekerk · Charles Shearer · Frank Martin · Peter Forster · Robert Kettell · Hannah Firmin · John Lawrence · Annie Newnham · Peter Reddick. 239 × 143 × 31–45 mm. 3 vols (pp. [i–iv] v–lx, [1] 2–331 [332]; [i–iv] v–vii [viii], [1] 2–379 [380–384]; [i–iv] v–vii [viii], [1] 2–599 [600]). Type: Monophoto Garamond with Albertus for display. Printed (with the title-pages in red and black) by the Alden Press. Bound by the Bath Press in quarter red leather, cloth boards (green, red and blue respectively) with a large fleuron in gold; pale blue endleaves printed in black. Red or blue three-volume slip case. The original text is printed on the versos, with Wright’s translation on the facing rectos. The illustrators are only listed on the title-page to volume I. Each tale is illustrated with one woodcut or wood-engraving on the divisional-title; in all there are 24 illustrations, five in volume I, seven in volume II, and 12 in volume III, as well as a wood-engraving by Sue Scullard used on the endleaves of all three volumes (the latter was also issued as a separate print, in a limited edition of 500 copies). ¶ Second impression: 1987, with the binding and typography smartened up. ¶ Third impression: 1989. ¶ Fourth printing: 1990. 572 Chartres, the making of a miracle, Colin Ward. 284 × 188 × 13 mm. Pp. [1–4] 5–95 [96]: 32 pages of colour and monochrome plates. Type: Monophoto Palatino with Goudy Medieval for display. Typeset by Delta type, printed by Jolly and Barber. Bound by the Bath Press in full dark red cloth decorated in silver; pale grey flecked endleaves. Red slip case printed in black with an etched view of Chartres. The Presentation Volume, for British and European members, for 1987 (American members received item 573). The plates reproduce photographs of stained glass, and other features in, and images of, the Cathedral in colour (plates 21–28 are in monochrome). In addition there are 33 monochrome illustrations in the text. The plan of the labyrinth on page 39 is also used to decorate the binding. In the following year the book was issued as the 1988 Presentation Volume for North American members. 573 The first colonists, Hakluyt’s voyages in North America, a modern version, with an introduction by A.L. Rowse. Illustrated by John White, Theodor de Bry and others. 286 × 220 × 18 mm. Pp. [1–2], [i–vii] viii–xii, [1] 2–142 [143–146]: 16 pages of colour plates. Type: Monophoto Bembo with Castellar for the title. Printed by the Alden Press, the lithographs by Jolly and Barber. Bound by the Bath Press in full pale brown canvas with a compass rose motif in dark brown; cream endleaves. Pale brown slip case. The Presentation Volume for North American members for 1987 (European members received item 572). The plates reproduce 16 watercolours of maps, scenes, flora and fauna of North America, made by John White in 1585 and 1586. In

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addition there are 28 monochrome illustrations in the text, reproducing contemporary prints and drawings, including Theodor de Bry’s etchings from the English edition of his America . . . (1590–1591), based on White’s watercolours. ¶ Second printing: 1987, with pale blue endleaves. In a pale blue slip case. The compass rose motif on the front board is in dark blue. The Presentation Volume for European members for 1988. The quality of the printing and paper was improved for this impression. 574 A.E. Housman, a Shropshire lad, with illustrations by Patrick Procktor. Designed by Sebastian Carter. 228 × 158 × 13 mm. Pp. [1–2] 3–101 [102–104]: [6] leaves of colour plates (facing pp. [1], 16, 49, 64, 81 and 96). Type: Monophoto Plantin with hand-drawn lettering for the title. Printed by Jolly and Barber. Bound by Butler and Tanner in full pale grey canvas with an illustration in black by Procktor; pale brown endleaves printed in brown. Brown slip case printed in dark brown. The artist’s designs were rendered in watercolour in red, black and blue, on a paper with red specks. The endleaves and slip case bear further watercolours by Procktor. Some copies were issued in a variant binding of full grey-brown canvas, with the spine decorated in dark brown and gold (instead of black alone). These two variants recur with the second impression, but the dark brown and gold variant has the spine-lettering running tail to head (all the other variants run head to tail) and the variant decorated in black is bound in a finer pale grey-brown cloth. The latter represents a later binding, made during late 1989 and early 1990. ¶ Second impression: 1986, with variant bindings (see above). ¶ Third printing: 1991, with the binding lettered in black alone. 575 The Brownings, a biography compiled from contemporary sources by Joanna Richardson. 227 × 148 × 19 mm. Pp. [i–x] xi–xv [xvi], [1–2] 3–285 [286–288]: [8] leaves of ‘plates’ (facing pp. 8, 28, 60, 90, 142, 168, 188 and 224). Type: Walbaum. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Full dark red cloth with a repeat pattern in gold; pale yellow-brown endleaves. Pale brown slip case. ¶ Second printing: 1987. 576 Beowulf . . . Fourth impression. See item 331. 577

Out of Africa . . . Second impression. See item 472.

578 The secret garden, Frances Hodgson Burnett, drawings by Dodie Masterman. 227 × 161 × 19 mm. Pp. [i–iv] v [vi], 1–230 [231–234]. Type: Baskerville. Typeset by Wyvern Typesetting, printed and bound by the Bath Press. Full green cloth with an illustration in dark green by Masterman; pale green flecked endleaves. Pale green slip case printed in black. There are 41 illustrations in all, mostly small vignettes (often used as tail-pieces, with one on the title-page and another on the slip case), but including three full-page drawings and the frontispiece; there is also a small ornament by Masterman used at each chapter opening. ¶ Second printing: 1987, with the title-page reset. ¶ Third printing: 1990. ¶ Fourth printing: 1991. ¶ Fifth printing: 1993. ¶ Sixth printing: 1994. 579 Charles Dickens, little Dorrit, introduction by Christopher Hibbert, drawings by Charles Keeping. 241 × 162 × 45 mm. Pp. [i–iv] v–xxii, 1–833 [834]. Type: Imprint. Printed and bound by Butler and Tanner. Series binding (see item 480), pale green paper boards patterned in green; pale green endleaves. Green slip case. The work was first published in monthly parts between December 1855 and June 1857, and was issued

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in book form as soon as part publication was complete. The illustrations consist of a frontispiece and 70 smaller sketches by Keeping. ¶ Reissue [i.e. second? impression]: 1995, measuring 242 × 162 × 49 mm. Printed and bound by the Bath Press. Second series binding (see item 480). Part of this impression was issued with item 808. ¶ Reissue [i.e. third? impression]: 1995 [i.e. 1997]. See item 496. 580 Peregrinations of a pariah, Flora Tristan, translated by Charles de Salis, introduction by Joanna Richardson. 253 × 160 × 24 mm. Pp. [i–iv] v–xv [xvi], 1–291 [292]: [10] leaves of ‘plates’ (facing pp. 30, 66, 84, 116, 124, 134, 162, 190, 252 and 262). Type: Old Style. Printed and bound by Butler and Tanner. Full red cloth lithographed in black with a contemporary engraving, black spine-label; grey endleaves with a map. Pale grey slip case. The ‘plates’ reproduce contemporary drawings, paintings and prints. The text was first published in French in two volumes in 1838; the present translation is based on an abridgement of 1980, and was commissioned by Folio. A decorative cartouche is used on the title-page, at the opening of each chapter, and on the endleaves. 581 An autobiography in fact and fiction from the writings of Benjamin Constant, the despot and the slave, translated and edited by Dan Hofstadter, drawings by Emma Chichester Clark. 229 × 149 × 15 mm. Pp. [i–ii] iii–vii [viii], [1–2] 3–140: [6] leaves of colour plates (facing pp. [i], 8, 57, 72, 105 and 124). Type: Bell. Typeset by Speedspools, printed by the Bath Press, the lithographs by Jolly and Barber. Bound by the Bath Press in full blue cloth with a design in silver by Clark; lilac flecked endleaves. Cream slip case. This volume displays many of the design faults of Folio books published at this time. The title-page is poorly designed, and the lettering on the spine, far too small to block successfully, is scarcely legible on most copies. However, this book is redeemed by the charm of the illustrations. 581.5 “Plain or ringlets?” By the author of “Handley Cross,” “Mr. Sponge’s sporting tour,” “ask mamma,” etc. etc. With illustrations by John Leech. Introduction by Molly Keane. 224 × 150 × 40 mm. Pp. [1–8], [i–v] vi–viii [ix–x], [1] 2–406 [407–410]: [12] leaves of colour and monochrome plates. Printed and probably bound by Butler and Tanner. Full red artificial leather decorated in gold as the 1860 edition; pale yellow endleaves. Gold slip case. This facsimile of the first edition, originally published by Bradbury and Evans in 1860, was first issued by the R.S. Surtees Society in 1986. Folio bought in a number of sets of sheets, and arranged to have the first gathering reprinted with its own imprint on the title-page. A separate eight-page ‘Introduction’ by Molly Keane was specially written for this edition. For details of the series see item 506.3. 581.7 Christopher Barker, portraits of poets, edited by Sebastian Barker. 303 × 227 × 15 mm. Pp. [1–4] 5–124 [125–128]. Type: Ehrhardt. Typeset by Type Generation, printed by Balding and Mansell. Binder not known. Full black cloth lettered in silver, photographic cover-label; pale brown endleaves. Brown slip case. The text consists of 124 poems by twentieth-century poets, each facing a photographic portrait of the poet by Barker (with that of John Betjeman repeated on the front board). The book was originally published by Carcanet, and Folio had a number of copies printed with its own imprint.

1987

1987 582 Edward Gibbon, the history of the decline and fall of the Roman Empire, volume V, Justinian and the Roman law, edited and with an introduction by Felipe Fernández-Armesto. 252 × 160 × 29 mm. Pp. [1–7] 8–25 [26–29] 30–394: [15] leaves of ‘plates’. Type: Poliphilus and Blado. Printed by the Alden Press. Bound by the Bath Press in series binding (see item 510). This volume was the first to be published after the death of Betty Radice, who had edited volumes I–IV, and is dedicated to her. The spine-title of the first impression, ‘Justinian and Roman law’, lacked a ‘the’, which seems to have migrated to the spine of the following item. For the second and subsequent impressions this wayward article was forcibly returned to its rightful position. ¶ Second impression: 1988. ¶ Third impression: 1990. ¶ Reissued with new binding [i.e. another impression]: 1995–2006 item 825, issued with the other seven volumes. 583 Wessex tales, strange, lively, and commonplace by Thomas Hardy, introduction by Robert Gittings, wood engravings by Peter Reddick. 227 × 149 × 17 mm. Pp. [i–iv] v–xiii [xiv], 1–199 [200–202]. Type: Baskerville. Printed and bound by the Bath Press. Full dark blue series binding decorated in pale blue (see item 248); pale blue endleaves with the map in dark blue. Dark blue slip case. The book contains 13 wood-engravings by Reddick, including the frontispiece. For the first impression the spine-title was ‘The Wessex Tales . . .’, but in subsequent impressions the erroneous article, apparently a fugitive from Gibbon (item 582), was dropped. ¶ Second printing: 1989 (not seen). ¶ Third printing: 1991. ¶ Fourth printing: 1993. ¶ Fifth printing: 1994 [i.e. 1995?]. 584 Folio 40, a checklist of the publications of the Folio Society 1947–1987, with an introduction by Nicolas Barker. Compiled by Tim Wilkinson and Anne Page, with anonymous additions. Folio Press. 223 × 142 × 13 mm. Pp. [1–8] 9–157 [158–160]. Type: Sabon. Printed and bound by the Bath Press. Full dark blue cloth with a design in white and gold by David Eccles (as Folio 34 item 484); pale blue endleaves with a wood-engraving in dark blue by John Lawrence. Transparent plastic dust-jacket. This list is an extension of Folio 34 (item 484), and in fact pages 1–109 are largely reprinted from the same setting of Sabon, with additions and corrections, and with descriptions of the books published to the end of 1987 added in the same manner. Items 1–601 are now listed. There are 49 small illustrations in the text (taken from the books described), of which the first 38 are the same as those in Folio 34. 585 Fuller’s worthies, selected from the worthies of England by Thomas Fuller, edited and introduced by Richard Barber. 253 × 160 × 33 mm. Pp. [i–v] vi–xxi [xxii], [1] 2–441 [442–444]: [26] leaves of ‘plates’. Type: Garamond with Imprint Shadow for display. Typeset by Tradespools, printed and bound by Butler and Tanner. Full dark blue cloth with a design in gold by David Eccles; pale blue endleaves. Pale grey slip case. The ‘plates’ reproduce sixteenth- and seventeenth-century etchings, engravings and paintings. 586 Cranford by Mrs Gaskell. Introduction by Susan Hill. Wood-engravings by Joan Hassall. 227 × 148 × 18 mm. Pp. [i–vi] vii–xii, 1–200 [201–204]. Type: Caslon with Old Face Open for display. Typeset by Tradespools, printed and bound by the Bath Press. Quarter red cloth, pale yellow paper boards with a repeat pattern in grey; pale yellow endleaves. Dark blue slip case. The 27 wood-engravings by Hassall include the title-page design, four full-page illustrations, and 22 vignette tail-pieces (one of them used twice and another thrice).

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They were originally published by George Harrap and Company in 1940 but, sadly, the present lithographic reprint does them very little justice. The title-page imprint was added to Hassall’s design by David Eccles. ¶ Second printing: 1990. ¶ Third printing: 1991. 587 Charles Dickens, Barnaby Rudge, a tale of the riots of ’eighty, introduction by Christopher Hibbert, drawings by Charles Keeping. 240 × 161 × 38 mm. Pp. [i–v] vi–xix [xx], 1–609 [610–612]. Type: Imprint. Printed and bound by Butler and Tanner. Series binding (see item 480), orange paper boards patterned in black; orange endleaves. Green slip case. The work was first published in monthly parts as part of Master Humphrey’s clock between February and November 1841, and was issued in book form as soon as part publication was complete. The illustrations consist of a frontispiece and 41 smaller sketches by Keeping. ¶ Second impression: 1988. ¶ Reissue [i.e. third? impression]: 1995, measuring 239 × 161 × 43 mm. Printed and bound by the Bath Press. Second series binding (see item 480). Part of this impression was issued with item 808. ¶ Reissue [i.e. fourth? impression]: 1995 [i.e. 1997], printed on a dead white paper (the earlier impression dated 1995 is on cream paper). See item 496. 588 Journey through Britain, John Hillaby, photographs by Tim Stephens. Maps by David Eccles. 251 × 190 × 20 mm. Pp. [i–vi], [1] 2–174 [175–178]: [12] leaves of sepia duotone plates. Type: Plantin with Caslon Open Face for the title. Printed by the Bath Press, the duotones by Jolly and Barber. Bound by the Bath Press in full pale grey cloth lithographed with a sepia photograph by Stephens; pale brown endleaves. Pale brown slip case. The text was first published in 1968. 589 Memoirs of a mercenary, being the memoirs of Master Johann Dietz, surgeon in the army of the Great Elector and barber to the royal court, translated by Bernard Miall, edited and introduced by Mervyn Horder. 227 × 150 × 23 mm. Pp. [i–vi] vii–viii, 1–221 [222]: [5] leaves of ‘plates’ (facing pp. 60, 99, 150, 180 and 200). Type: Garamond with hand-drawn lettering for the title. Typeset by Wyvern Typesetting, printed and probably bound by the Bath Press. Full lilac cloth lithographed in black with a contemporary etching; pale lilac flecked endleaves. Pale grey slip case. The text was first published in 1915 from a German manuscript of the late seventeenth century. This translation was first published in 1923. The ‘plates’ reproduce drawings and woodcuts from the sixteenth and seventeenth centuries. Further such illustrations appear on pages [2], 13 and 136. 590 F. Scott Fitzgerald, tender is the night, a romance, introduction by Dennis Potter, lithographs by Glynn Boyd Harte [quotation from Keats]. 230 × 146 × 25 mm. Pp. [1–5] 6–315 [316–320]: [12] leaves of two-colour plates. Type: Ehrhardt. Typeset by Wyvern Typesetting, printed by Bell and Bain, the lithographs from ‘Plasto cowell’ by Cowell. Bound by Hunter and Foulis in full white cloth with a moon and stars design in silver and blue by Harte; endleaves with a starry sky in blue. Dark blue slip case. The lithographs are printed in blue and orange. This was the last use of Plastocowell by Folio, and quite possibly the last commercial use of the medium by any publisher. ¶ Second impression: 1987. ¶ [Second edition]: 2005 item 1232. ¶ Third printing: 2015, the dimensions now 228 × 149 × 29 mm. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier. 591 The complete novels of Mrs Ann Radcliffe. Designed by David Eccles. 6 vols (see below). Type: Caledonia with Thorowgood and Fraktur Bold for display. Typeset by Tradespools, printed and bound by the Bath Press. Quarter black cloth, dark purple-red paper boards with a repeat pattern in black; dark purple-red endleaves. Dark red six-volume slip case with the title of the series on the front and back panels. Each volume in the set followed the text of the first edition, and was illustrated with a full-page wood-engraved

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frontispiece by Sarah van Niekerk. The text is decorated with typographical ornaments, used to make up a head-piece and factotum at the beginning of each chapter, and for other decorations. There was also a special issue of the edition, with each volume bound in quarter black calf, marbled paper boards (bevelled), in a marbled paper-covered six-volume slip case. The six volumes are as follows: [1] The castles of Athlin and Dunblane, a highland story by Ann Radcliffe, introduction by Devendra P. Varma, wood-engraving by Sarah van Niekerk. 251 × 158 × 14 mm. Pp. [i–vi] vii–xv [xvi–xviii], 1–98 [99–100]: wood-engraved frontispiece. First published in 1789. [2] A Sicilian romance by Ann Radcliffe, introduction by Devendra P. Varma, wood-engraving by Sarah van Niekerk. 251 × 160 × 20 mm. Pp. [i–vi] vii–xii [xiii–xiv], 1–166 [167]: wood-engraved frontispiece. First published in 1790. [3] The romance of the forest by Ann Radcliffe, introduction by Devendra P. Varma, wood-engraving by Sarah van Nie kerk. 251 × 160 × 27 mm. Pp. [i–vi] vii–x [xi–xiv], 1–334 [335–336]: wood-engraved frontispiece. First published in 1791. [4] The mysteries of Udolpho, a romance by Ann Radcliffe, introduction by Devendra P. Varma, wood-engraving by Sarah van Niekerk. 252 × 163 × 43 mm. Pp. [i–vi] vii–xiii [xiv], 1–710 [711–712]: wood-engraved frontispiece. First published in 1794. [5] The Italian, or The confessional of the black penitents by Ann Radcliffe, introduction by Devendra P. Varma, wood-engraving by Sarah van Niekerk. 251 × 162 × 33 mm. Pp. [i–iii] iv–xiii [xiv], 1–433 [434]: wood-engraved frontispiece. First published in 1797. [6] Gaston de Blondeville, or The court of Henry the Third keeping festival in Arden by Ann Radcliffe, introduction by Devendra P. Varma, wood-engraving by Sarah van Niekerk. 251 × 160 × 25 mm. Pp. [i–vi] vii–xi [xii], 1–241 [242]: wood-engraved frontispiece. The text was written in 1802, but was not published until 1826. 592 On the morning of Christ’s nativity, & other poems by John Milton, with engravings by Brian Hanscomb. Folio Press. 250 × 165 × 12 mm. Pp. [i–viii], 1–70 [71–72]. Type: Caslon with Castellar for display. Printed in red-brown and black on white Zerkall mould-made paper by Napier, Jones Ltd. Bound by Hunter and Foulis in quarter red-brown buckram, Rackenmarmor Swedish marbled paper boards, red-brown buckram cover-label; pale grey-brown endleaves. Transparent plastic dust-jacket. Issued in the ‘Folio Press Fine Editions’ series. Hanscomb’s five small copper-engraved vignettes are printed in red-brown from line-blocks, one on the divisional-title to each poem. This was the first in the ‘Folio Press Fine Editions’ or ‘Folio Fine Editions’ series, which was instituted to celebrate Folio’s fortieth anniversary (although The bird paintings of Henry Jones had been published with the imprint ‘Folio Fine Editions’ in 1976 (item 398.5)). The aim was to produce slim volumes to the highest standard, using mould-made paper and letterpress printing, bound (with gilt top edges) and, where appropriate, illustrated in the private press tradition. For further details see Paul W. Nash’s article in Parenthesis (4, April 2000, pp. [22]–24). For others in the series see items 593–595, 616–619, 642, 643, 645, 649, 664–667, 690–692 and 707. 593 Domestic manners and private life of Sir Walter Scott, by James Hogg, the Ettrick Shepherd, with a preface and notes by the author and a portrait by Peter Reddick, reprinted from the original edition of 1834. Folio Press. Typographical design by Bernard Roberts. 250 × 166 × 12 mm. Pp. [i–vii] viii–ix [x–xii], [1] 2–49 [50–52]. Type: Bulmer with one line of Old English on the title-page. Printed on white Zerkall mould-made paper by Napier, Jones Ltd. Bound by Hunter and Foulis in quarter brown buckram, Rackenmarmor Swedish marbled paper boards,

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brown buckram cover-label; pale yellow endleaves. Transparent plastic dust-jacket. Issued in the Folio Press Fine Editions series (see item 592). Reddick’s wood-engraved portrait of Scott has not printed well on this rather rough, heavily sized variety of Zerkall paper, which is not responsive to wood-engravings unless damped. 594 The tower, W.B. Yeats, with an introduction by Bel Mooney. Folio Press. Typographical design by Sebastian Carter. 251 × 166 × 11 mm. Pp. [1–6] 7–62 [63–64]. Type: Joanna with Gill Shadow for display. Printed in dark blue and black on white Zerkall mould-made paper by Napier, Jones Ltd. Bound by Hunter and Foulis in quarter blue buckram, Rackenmarmor Swedish marbled paper boards, blue buckram cover-label; blue-grey endleaves. Transparent plastic dust-jacket. Issued in the Folio Press Fine Editions series (see item 592). As one would expect, Carter’s typography makes this one of the most successful and attractive books in the series. 595 Poems by Charlotte, Emily Jane & Anne Brontë, selected by Stevie Davies. Folio Press. 250 × 165 × 11 mm. Pp. [1–5] 6–94 [95–96]. Type: Bell. Printed in green-brown and black on white Zerkall mould-made paper by Napier, Jones Ltd. Bound by Hunter and Foulis in quarter black buckram, Rackenmarmor Swedish marbled paper boards, black buckram cover-label; brown endleaves. Transparent plastic dust-jacket. Issued in the Folio Press Fine Editions series (see item 592). 596 The hound of the Baskervilles, Sir Arthur Conan Doyle, introduction by Julian Symons, lino-cuts by Edward Bawden. 228 × 160 × 21 mm. Pp. [i–viii] ix–xv [xvi], [1–2] 3–182: [5] leaves of linocut ‘plates’ (facing pp. 31, 64, 93, 142 and 163). Type: Baskerville with linocut lettering by Bawden for the title. Typeset by Speedspools, printed and bound by the Bath Press. Full black cloth with a design in yellow and white by Bawden; black endleaves. Cream slip case. These splendid linocuts were among Bawden’s last published book illustrations. ¶ Second impression: 1988. ¶ Third printing: 1991. ¶ Fourth printing: 1992. 597 The odes of Horace, translated by James Michie, illustrated by Elisabeth Frink. Typographical design by Humphrey Stone. 280 × 187 × 27 mm. Pp. [1–9] 10–288. Type: Baskerville. Typeset by Fakenham Photosetting, printed by Butler and Tanner. Bound by Hunter and Foulis in quarter black leather, grey canvas boards; dark green endleaves. Grey-green slip case. There are 11 double-page pencil drawings by Frink. ¶ Second impression: 1988. 598 Robert Louis Stevenson, kidnapped, introduction by Frank Delaney, drawings by Annie Newnham. Typographical design by Dennis Hall (adapted in-house). 227 × 159 × 21 mm. Pp. [1–8] 9–222 [223–224]. Type: Baskerville. Typeset by Wyvern Typesetting, printed and bound by the Bath Press. Full blue cloth with a design in black by Newnham; pale blue endleaves. Dark blue slip case. Newnham’s illustrations consist of 22 drawings, two being full-page (including the frontispiece) and two double-page, plus the cover illustration; one of the drawings is repeated on the half-title, which bears the lengthy original title of the book ‘Kidnapped, being memoirs of the adventures of David Balfour in the year 1751: how he was kidnapped and cast away . . . written by himself and now set forth’. Catriona was published in a uniform style in 1988 (item 621). ¶ Second impression: 1987. ¶ Third impression: 1990. ¶ Fourth printing: 1992. 599 Charles Dickens, the old curiosity shop, introduction by Christopher Hibbert, drawings by Charles Keeping. 240 × 163 × 36 mm. Pp. [i–iv] v–xxii, 1–528 [529–530]. Type: Imprint. Printed and bound by Butler and Tanner. Series binding (see item 480), blue-green paper boards patterned in dark green; blue-green endleaves. Green slip case. The work was first published in monthly parts as part of Master Humphrey’s clock between

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April 1840 and February 1841, and was issued in book form as soon as part publication was complete. The illustrations consist of a frontispiece and 36 smaller sketches by Keeping. ¶ Second impression: 1988, measuring 241 × 161 × 36 mm. ¶ Reissue [i.e. third? impression]: 1994, measuring 239 × 161 × 40 mm. Printed and bound by the Bath Press. Second series binding (see item 480). Part of this impression was issued with item 799. ¶ Reissue [i.e. fourth? impression]: 1994 [i.e. 1997], printed on a dead white paper (the earlier impression dated 1994 is on cream paper). See item 496. 600 A life of love & music, the memoirs of Hector Berlioz 1803–1865, translated & edited by David Cairns. 251 × 166 × 35 mm. Pp. [i–vii] viii–xiii [xiv–xviii], [1–3] 4–466 [467–468]: [12] leaves of ‘plates’. Type: Ehrhardt. Typeset by Fakenham Photosetting, printed and bound by the Bath Press. Full red cloth with a caricature of Berlioz in gold; grey endleaves. Grey slip case. The ‘plates’ reproduce contemporary photographs, etchings, paintings and drawings. ¶ Second impression: 1988. 601 Albert Camus, the plague, the plague, translation by Stuart Gilbert, introduction by Derek Parker, drawings by Linda Kitson. 227 × 150 × 24 mm. Pp. [1–2], [i–viii] ix–xv [xvi], [1–2] 3–248 [249–252]: [9] leaves of ‘plates’ (facing pp. 51, 72, 76, 96, 143, 147, 192, 194 and 237). Type: Times New Roman with hand-drawn lettering for display. Typeset by Wyvern Typesetting, printed and bound by the Bath Press. Full orange-red cloth, decorated in black and gold, orange cover-label with an illustration by Kitson; pale brown endleaves printed in black. Cream slip case. The main title appears on the title-page in white on an irregular black slab, with the words ‘THE PLAGUE’ appearing twice, once in upright characters with a partial third set of characters above, and once in distorted reflection. ¶ Second impression: 1988. 602 A Stanley Spencer almanack, with designs by Stanley Spencer. 171 × 131 × 16 mm. Pp. [1–176]. Type: Caslon. Printed by Redwood Burn. Bound by the Bath Press in quarter dark brown cloth, Cockerell marbled paper boards; pale grey endleaves. Glassine dust-jacket. In 1983, the 1927 Chatto and Windus almanac, with drawings by Stanley Spencer, was reprinted and published by Chatto. The references to 1927 were removed, and much of the book consisted of pages bearing only the day and month, for use as a diary. In 1983 Folio bought 1000 sets of sheets and had them bound in quarter black cloth; however, the title-page still named Chatto as the publisher. This edition was reprinted in 1984, 1985 and 1986. In the following year, however, the present impression was printed with a new title-leaf naming Folio as publisher. Another impression with the Folio imprint appeared later in the same year (see below). When Folio needed another reprint in 1991, however, the original printer no longer possessed the origination, and the so-called ‘Third printing’ was printed by the Bath Press from a set of sheets of the present impression, but with the imprint again being that of Chatto and Windus. The binding of the first impression is described as quarter ‘art leather’ in Folio’s literature, although all copies seen are in quarter black cloth. Across all the different impressions the colour and pattern of Cockerell marbled paper used on the boards varies considerably. ¶ [Another impression]: 1987. 603 The Englishman’s flora, Geoffrey Grigson, illustrated with woodcuts from sixteenth-century herbals, foreword by Jane Grigson, introduction by Professor William T. Stearn. 287 × 197 × 41 mm. Pp. [1–8] 9–478 [479–480]. Type: Garamond. Printed in brown and black by Butler and Tanner. Bound by Butler and Tanner in quarter dark green cloth, grey and white printed ‘marbled’ paper boards; cream endleaves. Cream slip case. This work

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was first published in 1955, and in 1987 J.M. Dent published a facsimile of the first edition, with a new introduction and foreword. Folio also arranged for a small number of copies to be printed with its own imprint, and copies were available to members before the end of 1987. 604 Entry cancelled.

1988

1988 605 From myth to modernism, a short guide to the world novel, Gilbert Phelps. 253 × 162 × 23 mm. Pp. [i–v] vi–xiv, [1–2] 3–397 [398–402]. Type: Ehrhardt. Printed and bound by Butler and Tanner. Quarter green cloth, grey-brown paper boards with a pattern in red, blue and gold by Anna Murray; green endleaves. Dark red slip case. The text was specially commissioned by Folio, and was published in a trade edition by Routledge in 1988. The title-page of the Folio edition is dated ‘1987’ but the book was not issued until early 1988. 606 Edward Gibbon, the history of the decline and fall of the Roman Empire, volume VI, Mohammed and the rise of the Arabs, edited and with an introduction by Felipe Fernández-Armesto. 250 × 162 × 27 mm. Pp. [i–ii], [1–7] 8–15 [16–21] 22–377 [378–382]: [16] leaves of ‘plates’. Type: Poliphilus and Blado. Printed by the Alden Press. Bound by the Bath Press in series binding (see item 510). ¶ Second impression: 1989. ¶ Third impression: 1990. ¶ Reissued with new binding [i.e. another impression]: 1995–2006 item 825, issued with the other seven volumes. 607 Tess of the d’Urbervilles, a pure woman, faithfully presented by Thomas Hardy [quotation from Shakespeare], introduction by Elspeth Sandys, wood engravings by Peter Reddick. 227 × 150 × 32 mm. Pp. [i–iv] v–xix [xx], 1–418 [419–420]. Type: Baskerville. Printed and bound by the Bath Press. Full purple series binding decorated in lilac (see item 248); lilac endleaves with the map in purple. Cream slip case. Number 9 in ‘The Folio fifty’ (see item 8). The book contains 19 wood-engravings by Reddick, including the frontispiece. Some of the later ‘reprints’ were issued only as part of the boxed sets of Hardy’s novels. ¶ Reprint [i.e. second impression]: 1989 (not seen). ¶ Reprint [i.e. third impression]: 1990 (not seen). ¶ Reprint [i.e. fourth impression]: 1991, measuring 227 × 147 × 34 mm. Bound in darker purple cloth. Grey slip case. Part of this impression was issued with item 698.5. ¶ Fifth printing: 1991 [i.e. 1992] item 698.5, issued with five other novels by Hardy. ¶ Reprint [i.e. sixth impression]: 1992. Part of this impression was issued with item 698.5. ¶ Reprint [i.e. seventh impression]: 1993 item 698.5, issued with five other novels by Hardy. ¶ Reprint [i.e. eighth impression]: 1993 items 698.5 and 769.5, issued with other novels by Hardy. ¶ Reprint [i.e. ninth impression]: 1993. Part of this impression was issued with item 698.5. ¶ Tenth printing: 1996 (not seen). ¶ Eleventh printing: 1997, printed and bound by Butler and Tanner. Part of this impression was issued with item 896. ¶ Tenth [i.e. twelfth] printing: 2007, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. Bound in cloth with a design in green and white by Reddick; green endleaves. Green slip case. 608 The worlds of John Aubrey, being a further selection of brief lives, together with excerpts from his writings on an tiquities, science and folklore, selected and edited by Richard Barber. Designed by Malcolm Harvey Young. 251 × 160 × 31 mm. Pp. [i–ii], [1–5] 6–297 [298–302]. Type: Monophoto Bembo. Typeset by Keyspools, printed and bound by the Bath Press. Quarter dark red cloth, white cloth boards decorated in black and gold; dark red endleaves. Grey slip case. There is a total of 34 illustrations printed in the text, being reproductions of contemporary portraits, documents, etchings and paintings; three are double-page illustrations, and some are sketches by Aubrey himself. This was the first Folio book which had the spine-title running from head to tail, rather than from tail to head; this quickly became standard practice for those books which could not be lettered horizontally on the spine. The book was designed to be uniform with the fifth impression of Aubrey’s Brief lives (see item 387).

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609 Virginia Woolf, to the lighthouse, watercolours by Maryclare Foa, introduction by Gilbert Phelps. 227 × 159 × 22 mm. Pp. [i–iv] v–xv [xvi], [1–2] 3–192: [6] leaves of colour plates (facing pp. [i], [xvi], 49, 64, 129 and 144). Type: Walbaum. Typeset by Speedspools, printed and bound by the Bath Press. Full pale blue cloth with a design in dark blue and silver by Foa; pale blue-grey endleaves. Dark blue slip case. ¶ Second impression: 1988. ¶ Third impression: 1990. ¶ Fourth printing: 1992. ¶ Fifth printing: 1994. 610 Charles Dickens, the life and adventures of Martin Chuzzlewit, introduction by Christopher Hibbert, drawings by Charles Keeping. 241 × 163 × 53 mm. Pp. [i–v] vi–xxiv, 1–812. Type: Imprint. Printed and bound by Butler and Tanner. Series binding (see item 480), green paper boards patterned in dark green; green endleaves. Green slip case. The work was first published in monthly parts between January 1843 and mid-1844, and was issued in book form as soon as part publication was complete. The illustrations consist of a frontispiece and 54 smaller sketches by Keeping. With Martin Chuzzlewit the Folio’s uniform edition of Dickens’s novels was complete. The Christmas books were added to the series later in the year (item 622). There was a second impression of Martin Chuzzlewit in 1989, in order to correct the omission of the first three lines on page 732. A few hundred copies of this impression were printed, but the details on the verso of the title-leaf were not altered, and the only way to tell a second impression is by the correct appearance of this page, and by the slightly different paper stock used. Some other titles in the Dickens series were also reprinted in this manner, but as yet it has not been possible to identify them. ¶ [Second impression]: [1989] (see above). ¶ Reissue [i.e. third? impression]: 1994, measuring 239 × 161 × 50 mm. Printed and bound by the Bath Press. Second series binding (see item 480). Part of this impression was issued with item 799. ¶ Reissue [i.e. fourth? impression]: 1994 [i.e. 1997]. See item 496. 611 South from Granada, Gerald Brenan, introduction by Philip Ziegler. 227 × 150 × 25 mm. Pp. [i–ix] x–xviii, [1] 2–278: [12] leaves of ‘plates’. Type: Garamond with Monotype ornaments for decoration. Typeset by Fakenham Photosetting, printed and bound by the Bath Press. Full white cloth with a pattern in brown and green by Jane Hamlyn; pale grey-brown endleaves. Pale brown slip case. The ‘plates’ reproduce contemporary photographs. 612 A lady’s life in the Rocky Mountains by Isabella Bird, introduction by Dervla Murphy. 251 × 161 × 23 mm. Pp. [i–iv] v–xxv [xxvi], 1–176: [11] leaves of ‘plates’. Type: Fournier. Typeset by Speedspools, printed and bound by the Bath Press. Full pale green cloth with a contemporary etching in dark green; dark green endleaves. Pale grey slip case. The ‘plates’ reproduce contemporary etchings, photographs and wood-engravings. A further wood-engraving is used on the title-spread. The text was first published in 1879. ¶ Second impression: 1989. 613 Uncle Silas, a tale of Bartram-Haugh by J. Sheridan le Fanu, illustrated by Charles Stewart. Introduction by Devendra P. Varma. 229 × 160 × 34 mm. Pp. [i–iv] v–xxi [xxii], 1–392 [393–394]: [28] leaves of ‘plates’. Type: Imprint with Engravers’ Titling for display and hand-drawn lettering (by Stewart) for the title. Printed by Butler and Tanner. Bound by Hunter and Foulis in full dark green cloth with a design in gold by Stewart; pale yellow endleaves. Pale yellow slip case. Stewart’s line-drawings are particularly effective and, in addition to the 29 full-page designs, he has supplied 34 vignette head- and tail-pieces (five of them used four or five times each). The binding is also successful as a pastiche of a nineteenth-century decorated publisher’s binding. The cloth had to be specially calendered to make it smooth enough to take the fine detail of Stewart’s design.

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¶ Second printing: 2015. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier; green endleaves. Dark green slip case. 614 Augustus Carp, Esq., by himself [i.e. Sir Henry Howarth Bashford], being the autobiography of a really good man, introduction by John Letts, drawings by David Eccles. Typographical design by David Eccles. 222 × 134 × 21 mm. Pp. [i–viii] ix–xviii [xix–xx], 1–199 [200–204]. Type: Bell with London Text for display. Typeset by Speedspools, printed and bound by the Bath Press. Full dark red cloth with a design in black and gold by Eccles; dark blue endleaves. Dark blue slip case. Eccles’s drawings consist of the frontispiece, 12 half-page designs, and 17 ornaments (mostly tail-pieces). The text was first published pseudonymously (or pseudo-eponymously?) in 1924. 615 Lord Byron and some of his contemporaries, the life of George Gordon Byron 1788–1824 told by himself and by some of those who knew him, compiled and edited by Joanna Richardson. 227 × 150 × 25 mm. Pp. [i–v] vi–xi [xii], [1–3] 4–251 [252]: [12] leaves of ‘plates’. Type: Sabon. Typeset by Wyvern Typesetting, printed and bound by the Bath Press. Full red cloth, colour-printed cover-label; black endleaves. Black slip case. In addition to the ‘plates’ there are five full-page portraits which are included in the pagination; the cover-label reproduces a further portrait of Byron. 616 These things also are spring’s, poems by Edward Thomas, selected and introduced by Patrick Garland, wood-engravings by James Bostock. Folio Press. Typographical design by Bernard Roberts. 251 × 163 × 13 mm. Pp. [i–vi] vii–viii, 1–70 [71–72]. Type: Plantin. Printed in green and black on white Van Gelder mould-made paper by Napier, Jones Ltd. Bound by Hunter and Foulis in quarter green moiré silk, Mitchell and Malik (Ann Muir) marbled paper boards, spine- and cover-labels; brown endleaves. Transparent plastic dust-jacket. Issued in the Folio Press Fine Editions series (see item 592). There are 12 wood-engravings, one (on the title-page) printed in black and the remainder printed in green. For the first time in many years the wood-engravings were printed directly from the wooden blocks. 617 The life of Dr John Donne, late Dean of St Paul’s Church, London, by Izaak Walton, introduction by Colin Ward. Folio Press. Typographical design by Malcolm Harvey Young. 251 × 164 × 12 mm. Pp. [1–8] 9–74 [75–76]: lithographic frontispiece. Type: Spectrum. Printed on white Van Gelder mould-made paper by Napier, Jones Ltd. Bound by Hunter and Foulis in quarter green moiré silk, Mitchell and Malik (Ann Muir) marbled paper boards, pale grey spine- and cover-labels; blue-grey endleaves. Transparent plastic dust-jacket. Issued in the Folio Press Fine Editions series (see item 592). The text was first published in 1640 as a preface to a collection of Donne’s sermons, and in a separate revised edition in 1658. The frontispiece reproduces an etched portrait of Donne. 618 The Anglo-Saxon elegies, translated and introduced by Kevin Crossley-Holland, with [vinyl-] engravings by Hannah Firmin. Folio Press. 251 × 163 × 13 mm. Pp. [1–8] 9–77 [78–80]. Type: Bembo with Bembo Light Titling for display. Printed in red-brown and black on white Van Gelder mould-made paper by Napier, Jones Ltd. Bound by Hunter and Foulis in quarter dark brown moiré silk, Mitchell and Malik (Ann Muir) marbled paper boards, spine- and cover-labels; pale brown endleaves. Transparent plastic dust-jacket. Issued in the Folio Press Fine Editions series (see item 592). The vinyl-engravings consist of eight large designs, one used on each divisional-title, and a smaller title-page decoration. 619 Lays of ancient Rome, Thomas Babington Macaulay. Folio Press. Typographical design by Humphrey Stone. 251 × 164 × 13 mm. Pp. [i–vi] vii–xx [xxi–xxii], 1–89 [90]. Type: Scotch Roman. Printed in red and black on white Van Gelder mould-made paper by Napier, Jones Ltd. Bound by Hunter and Foulis in quarter dark red moiré silk, Mitchell and Malik (Ann Muir) marbled paper boards, pale grey spine- and cover-labels;

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pink flecked endleaves. Transparent plastic dust-jacket. Issued in the Folio Press Fine Editions series (see item 592). The title-page is set within a border of Monotype ornaments and other typographical ornaments are used as head- and tail-pieces, all printed in red. 620 My early times by Charles Dickens, compiled and edited by Peter Rowland. Designed by Peter Campbell. 240 × 162 × 22 mm. Pp. [1–8] 9–252 [253–256]. Type: Monophoto Bell. Printed by Jolly and Barber. Bound by the Bath Press in quarter red cloth, cream vegetable parchment (‘Parchemarque’) boards decorated in black; endleaves printed in colour. Red slip case. The Presentation Volume for 1989. Copies were issued with a cream paper wrap-around band printed with a facsimile of Sue Bradbury’s handwriting reading ‘With the editor’s compliments – your 1989 Presentation Volume’. Edited from essays, letters and speeches by Dickens, the text is illustrated with 62 contemporary portraits, facsimiles, paintings and prints, 13 in colour; two further watercolours are printed on the endleaves. A revised trade edition was published by the Aurum Press in 1997. 621 Robert Louis Stevenson, Catriona, introduction by Frank Delaney, drawings by Annie Newnham. 227 × 160 × 25 mm. Pp. [1–8] 9–271 [272]. Type: Baskerville. Typeset by Wyvern Typesetting, printed and bound by the Bath Press. Full yellow cloth with a design in black by Newnham; yellow-brown endleaves. Yellow slip case. Newnham’s illustrations consist of 17 drawings, two being full-page (including the frontispiece) and two double-page, plus the cover illustration. The half-title bears the lengthy original title of the book ‘Catriona, a sequel to Kidnapped, being memoirs of the further adventures of David Balfour at home and abroad . . . written by himself and now set forth’. Kidnapped was published in a uniform style in 1987 (item 598). 622 Charles Dickens, Christmas books, introduction by Christopher Hibbert, drawings by Charles Keeping. 241 × 162 × 34 mm. Pp. [i–vi] vii–xii, [1–4] 5–159 [160–164] 165–403 [404]. Type: Imprint. Printed and bound by Butler and Tanner. Series binding (see item 480), red paper boards patterned in black; red endleaves. Green slip case. The work contains ‘A Christmas carol’ (first published in 1843), ‘The chimes’ (first published in 1844), ‘The cricket on the hearth’ (first published in 1845), ‘The battle of life’ (first published in 1846), and ‘The haunted man’ (first published in 1848). There are 24 drawings by Keeping, including a full-page frontispiece for each story and one other full-page illustration. These were Keeping’s last drawings for Folio, and this book is dedicated to his memory. ¶ Second impression: 1989. ¶ Reissue [i.e. third? impression]: 1994, measuring 239 × 163 × 35 mm. Printed and bound by the Bath Press. Second series binding (see item 480). 623 The leopard, Giuseppe di Lampedusa, translated by Archibald Colquhoun, introduction by Raleigh Trevelyan, drawings by Ian Ribbons. 240 × 161 × 23 mm. Pp. [i–viii] ix–xix [xx], 1–186 [187–188]: [10] leaves of two-colour plates (facing pp. 13, 28, 44, 61, 93, 108, 133 and 164, and between pp. 36–37 and 148–149). Type: Bembo with Old Face Open for the title. Typeset by Speedspools, printed (with the title-page in yellow and black) and bound by the Bath Press. Quarter dark red cloth, yellow and black Italian patterned paper boards; cream endleaves. Yellow slip case. ¶ Second impression: 1989. ¶ Third impression: 1990. ¶ Fourth printing (with new illustrations and a new binding): 2000, the title-page concluding . . . illustrations by John Holder. Pp. [i–viii] ix–xix [xx], 1–186 [187– 188]: [8] leaves of colour plates (facing pp. [iii], 45, 60, 92, 109, 156, 173 and between 148–149). Printed and bound by Butler and Tanner. Full red cloth with a design in black and gold by Holder. Red slip case. The title-page is monochrome.

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624 William Shakespeare, the complete plays, volume I [–VI]. Edited and introduced by Stanley Wells, with editorial assistance from Gary Taylor, John Jowett, William Montgomery and others. 251 × 159 × 36–41 mm. 6 vols (pp. [i–x] xi–xlvii [xlviii–l], [1–2] 3–585 [586–590]; [i–viii], [1–2] 3–657 [658–664]; [i–viii], [1–2] 3–640; [i–viii], [1–2] 3–607 [608]; [i–viii], [1–2] 3–670 [671–672]; [i–viii], [1–2] 3–653 [654–656]). Type: Baskerville with Fournier for display. Typeset by Oxford University Press (the Fournier by Speedspools), printed (with the title-pages in red and black) and bound by the Bath Press. Quarter dark red buckram, paper boards (see below) with a pattern in gold by Anna Murray; cream endleaves. Dark blue six-volume slip case titled in gold ‘William Shakespeare [Shakespeare’s signature] The Complete Plays’. Once the previous Folio edition of Shakespeare’s plays was complete (see item 407), Folio could concentrate on producing a new edition, based on a more authoritative text. The text chosen was that edited by Stanley Wells and others for the Oxford University Press and first published in 1986. Each play was prefaced with a brief introduction by Wells, and a wood-engraved frontispiece by a different artist. Members were also offered the chance to have the set specially bound in full red ‘Oasis’ morocco with Cockerell marbled endleaves, housed in an oak slip case, for £1000.00. These copies were printed with a different text on the verso of the title-leaf of volume I, stating that they were specially bound by Hunter and Foulis. The contents of the six volumes are as follows: I Pink paper boards. The text begins with a general introduction, and the plays are: The two gentlemen of Verona (frontispiece by Llewellyn Thomas); The taming of the shrew (frontispiece by Crisfield Chapman); Henry VI parts 2 and 3 (frontispieces by Sue Scullard); The most lamentable Roman tragedy of Titus Andronicus (frontispiece by Frank Martin); and Henry VI part 1 (frontispiece by Sue Scullard). II Blue paper boards. The plays are: The tragedy of King Richard III (frontispiece by Peter Reddick); The comedy of errors (frontispiece by Betty Pennell); Love’s labour’s lost (frontispiece by Llewellyn Thomas); A midsummer night’s dream (frontispiece by Peter Forster); The most excellent and lamentable tragedy of Romeo and Juliet (frontispiece by Crisfield Chapman); The tragedy of King Richard II (frontispiece by Hilary Paynter); and The life and death of King John (frontispiece by Anne Jope). III Green paper boards. The plays are: The comical history of the merchant of Venice (frontispiece by Harry Brockway); The history of Henry IV (frontispiece by George Tute); The merry wives of Windsor (frontispiece by John Lawrence); Henry IV part 2 (frontispiece by George Tute); Much ado about nothing (frontispiece by Anne Jope); The life of Henry V (frontispiece by Howard Phipps); and The tragedy of Julius Caesar (frontispiece by Raymond Hawthorn). IV Pink paper boards. The plays are: As you like it (frontispiece by Betty Pennell); The tragedy of Hamlet, Prince of Denmark (frontispiece by Simon Brett); Twelfth night; or What you will (frontispiece by John Lawrence); Troilus and Cressida (frontispiece by Peter Forster); Measure for measure (frontispiece by Crisfield Chapman); and The tragedy of Othello the Moor of Venice (frontispiece by Frank Martin). V Blue paper boards. The plays are: All’s well that ends well (frontispiece by Harry Brockway); The life of Timon of Athens (frontispiece by Shirley Mungapen); The history of King Lear, the quarto text (frontispiece by Hilary Paynter); The history of King Lear, the folio text (frontispiece by Peter Reddick); The tragedy of Macbeth (frontispiece by Barbara Crow); The tragedy of Antony and Cleopatra (frontispiece by Simon Brett); and Pericles, Prince of Tyre (frontispiece by Garrick Palmer). VI Green paper boards. The plays are: The tragedy of Coriolanus (frontispiece by Raymond Hawthorn); The winter’s tale (frontispiece by Garrick Palmer); Cymbeline, King of Britain (frontispiece by Sarah van Niekerk); The tempest (frontispiece by Shirley Mungapen); All is true (Henry VIII, frontispiece by Howard Phipps); and The two noble kinsmen (frontispiece by Barbara Crow). The text ends with a ‘Select glossary’.

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¶ Second impression: 1990, with two three-volume slip cases. ¶ [Third impression]: 1997 item 891, in eight volumes. 625 The secret memoirs of a Renaissance Pope, the Commentaries of Aeneas Sylvius Piccolomini, Pius II, an abridgement, translated by Florence A. Gragg, edited with an introduction by Leona C. Gabel. Typographical design by Bernard Roberts. 227 × 163 × 38 mm. Pp. [1–6] 7–373 [374–376]: [12] pages of plates (between pp. [112]–113). Type: Centaur and Arrighi. Typeset by Speedspools, printed and bound by the Bath Press. Full cream vege table parchment (‘Elephanthide’) with Piccolomini’s crest in blind, dark red leather spine-label (lettered by David Eccles); purple-red endleaves. Brown slip case. The text is a selection from Gragg’s 1959 translation of Piccolomini’s manuscript, written between around 1458 and 1464 and now in the Vatican library. The plates reproduce a fresco of Piccolomini’s life, painted in the early sixteenth century and now in Siena Cath edral (the ten central images from the fresco are numbered I–X). ¶ Second impression: 1989. ¶ Third printing: 1991. 626 Edited by Richard Kendall, Degas by himself, drawings, prints, paintings, writings. 316 × 252 × 35 mm. Pp. [1–5] 6–328. Type: Van Dijck. Typeset by Balding and Mansell, printed and bound by Graphicom. Full red cloth, colour-printed cover-label; grey-brown endleaves. Pale grey slip case. The work was published by Macdonald Orbis in 1988, and Folio arranged to have a number of copies printed with the Folio imprint. Cézanne by himself was published in the same manner in 1989 (see item 652). The first in the ‘series’ was, however, Vincent by himself, which was bought-in and issued in a Folio binding. The present book is mostly taken up with 317 colour reproductions of Degas’s works. 626.5 Bruce Bernard, the queen of heaven, a selection of paintings of the Virgin Mary from the twelfth to the eighteenth century, with an introductory essay by Peter Levi & notes to the plates by Christopher Lloyd. 316 × 251 × 25 mm. Pp. [1–6] 7–248. Type: Poliphilus and Blado. Typeset by Balding and Mansell, printed and bound by Graphi com. Full blue cloth, colour-printed cover-label; dark blue endleaves. Dark blue slip case. The work was published by Macdonald Orbis in 1987, and Folio arranged to have a number of copies printed with the Folio imprint. The book is mostly taken up with the 165 numbered colour reproductions of paintings of the Virgin. 627 The Impressionist revolution, edited by Bruce Bernard. 246 × 289 × 30 mm. Pp. [1–7] 8–272. Type: Poliphilus and Blado. Typeset by Balding and Mansell, printed and bound by Cayfosa. Full dark green cloth, colour-printed cover-label; grey-brown endleaves. Green slip case. The work was originally published by Macdonald Orbis in 1986, and Folio arranged to have copies of this impression bound in its own style. Following this Folio produced its own reprint in 1988.

1989

1989 628 Edward Gibbon, the history of the decline and fall of the Roman Empire, volume VII, the Normans in Italy and the crusades, edited and with an introduction by Felipe Fernández-Armesto. 251 × 161 × 30 mm. Pp. [1–7] 8–440 [441–444]: [18] leaves of ‘plates’. Type: Poliphilus and Blado. Printed by the Alden Press. Bound by the Bath Press in series binding (see item 510). ¶ Second impression: 1990. ¶ Reissued with new binding [i.e. another impression]: 1995–2006 item 825, issued with the other seven volumes. 629 Under the greenwood tree, or The Mellstock quire, a rural painting of the Dutch school by Thomas Hardy, introduction by Angela Thirlwell, wood engravings by Peter Reddick. 227 × 150 × 20 mm. Pp. [i–iv] v–xx, 1–172. Type: Baskerville. Printed and bound by the Bath Press. Full dark green series binding decorated in pale green (see item 248); green endleaves with the map in dark green. Pale green slip case. The book contains 13 wood-engravings by Reddick, including the frontispiece. Some of the later impressions were issued only with the boxed sets of Hardy’s novels. ¶ Second impression: 1989. ¶ Third printing: 1990, with a pale brown slip case. ¶ Fourth printing: 1991. Part of this impression was issued with item 698.5. ¶ Fifth printing: 1991 [i.e. 1992] item 698.5, issued with five other novels by Hardy. ¶ Sixth printing: 1992 item 698.5, issued with five other novels by Hardy. ¶ Seventh printing: 1993. Part of this impression was issued with item 698.5. ¶ Eighth printing: 1993 item 698.5, issued with five other novels by Hardy. ¶ Ninth printing: 1993. Part of this impression was issued with item 698.5. 630 Undertones of war, Edmund Blunden, introduction by Jon Stallworthy. 280 × 186 × 27 mm. Pp. [i–x] xi–xviii, [3–8] 9–237 [238]: [12] leaves of ‘plates’. Type: Monophoto Imprint. Printed and bound by Butler and Tanner. Full dark brown cloth with Paul Nash’s ‘Void of war’ in green; black endleaves. Black slip case. The text also includes Blunden’s ‘De bello Germanico’. The illustrations reproduce war art by Paul Nash, William Orpen, Muirhead Bone and others. Something went wrong in the physical make-up of this book, rendering the pagination incomplete at the beginning of the text; in addition the ‘plates’ are in some confusion, with four being included in the pagination (the title-spread, and pp. [4], [168] and [210]), each with text on the recto, and 12 not included. Five of the ‘plates’ are double-page. ¶ Second impression: 1991, with the spine redesigned to read ‘Undertones of War’ without the author’s name or imprint (present in the first impression). ¶ Third impression: 1992. 631 Dream Street, stories by Damon Runyon, selected by Sue Bradbury, Nicolas Bentley and David Eccles drew the pictures. 229 × 162 × 23 mm. Pp. [i–vi] vii–xviii [xix–xx], 1–236. Type: Goudy Old Style. Typeset by Speedspools, printed and bound by Hartnoll. Full pale orange cloth with a pattern in green, red and black by Alan Powers; pale brown endleaves. Pale pink slip case. There are 16 full-page drawings, each used as a frontispiece to one of the stories, and a pictorial title-page design. Bentley’s illustrations are reprinted from the collections of Runyon stories published in the 1930s; for the remaining stories Eccles supplied pastiches of the Bentley style which are indistinguishable from the originals. ¶ Second impression: 1989.

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632 Anthony Trollope, can you forgive her? Introduction by David Skilton, illustrations by Llewellyn Thomas. 227 × 153 × 45 mm. Pp. [i–iv] v–xxi [xxii], 1–739 [740]: [15] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter red buckram with a design in black and gold by Malcolm Harvey Young, pale grey paper boards with a border in red; pale grey endleaves. Dark red slip case. The text was first published in parts in 1864 and 1865, and the present edition follows the text of the two-volume edition of 1865. This marks the beginning of the ‘Folio Society edition of the novels of Anthony Trollope’ which was published under the general editorship of David Skilton in a uniform series binding. The Barsetshire novels had already been published as a separate group (see item 391), but were also included in the present series. In the first impression of Can you forgive her? there were numerous errors and blemishes in the text, the worst of which were corrected in an errata slip. The text was corrected for the second impression. For further works in the series see items 633, 647, 648, 658, 659, 674, 675, 685, 686, 700, 701, 714, 715, 729, 730, 742, 743, 759, 760, 768, 769, 776, 777, 784, 785, 805, 807, 819, 820, 849, 850, 866, 867, 880, 881, 888, 889, 897, 898, 916, 917, 928, 929, 944–946, 962, 963, 969 and 972. ¶ Second impression: 1990. ¶ Third printing: 1992. ¶ Fourth printing: 1993. Part of this impression was issued with two other Palliser novels as item 768. 633 Anthony Trollope, Ayala’s angel, introduction by Alice Thomas Ellis, illustrations by Robert Geary. 227 × 150 × 35 mm. Pp. [i–iv] v–xviii, 1–532 [533–534]: [16] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter blue-grey series binding (see item 632), pale blue paper boards with the border in blue; pale blue endleaves. Blue-grey slip case. The text was first published in 1881. ¶ Second impression: 1990. ¶ Second [i.e. third] printing: 1999, in a dark blue slip case. 634 A memoir of Jane Austen by her nephew, J.E. Austen-Leigh, introduction by Fay Weldon. 224 × 133 × 23 mm. Pp. [i–iv] v–xx, 1–202: [10] leaves of ‘plates’ (facing pp. [iii], 2, 11, 24, 54, 64, 78, 94, 106 and 132). Type: Bembo. Typeset by Gloucester Typesetting, printed and bound by Butler and Tanner. Full pale orange cloth with a silhouette of Austen in silver and black; pale orange endleaves. Pale yellow slip case with the silhouette repeated in black. The ‘plates’ reproduce portraits of members and associates of the Austen family; the frontispiece is printed in colour and is the only true plate. The text is taken from the enlarged second edition of 1871 (the first had appeared in 1870). ¶ Second impression: 1990. ¶ Third impression: 1990. ¶ Fourth printing: 1992. ¶ Fifth printing: 1994. ¶ Sixth impression: 1996. ¶ Seventh impression: 1997. ¶ Eighth impression: 2015, the dimensions now 202 × 134 × 24 mm and pagination running pp. [i–iv] v–xix [xx], 1–202 [203–204]: [9] leaves of colour plates (facing pp. [iii], 12, 29, 45, 60, 77, 92, 109 and 124). Printed and bound by Kösel in dark red buckram. The binding has been redesigned. Dark red endleaves. Not issued in a slip case. The quality of the illustrations has improved enormously, with some images being almost recognisable from those gathered in 1989. Only James Edward Austen-Leigh’s portrait, originally facing page 2, is absent. 635 Thomas Mann, Buddenbrooks, the decline of a family, translated by H.T. Lowe-Porter, illustrations by Leonard Rosoman, introduction by Derek Parker. Typographical design by Malcolm Harvey Young. 240 × 160 × 44 mm. Pp. [1–6] 7–541 [542–546]: [12] leaves of two-colour plates. Type: Ehrhardt. Typeset by Fakenham Photosetting, printed and bound by Butler and Tanner. Quarter black buckram, pale blue paper boards patterned in black; blue-green endleaves. Pale blue-green slip case. Rosoman’s plates are printed in green and grey-brown. Lowe-Porter’s translation was revised for this edition.

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636 The Dickens encyclopaedia, Arthur L. Hayward, an alphabetical dictionary of references to every character and place mentioned in the works of fiction with explanatory notes on obscure allusions and phrases. Drawings by Charles Keeping. 241 × 182 × 24 mm. Pp. [1–5] 6–256. Type: Ehrhardt. Typeset by Fakenham Photosetting, printed and bound by the Bath Press. Quarter dark green cloth, brown paper boards with drawings by Keeping in black; brown endleaves. Green slip case. The work uses 92 of Charles Keeping’s line-drawings made for the novels, as well as 45 reproductions of contemporary prints, portraits and photographs, and modern photographs of buildings. The title-spread has the main title, author’s name and imprint on the recto, with the subtitle on the facing verso, each in a small box surrounded by a chaos of Dickensian figures as drawn by Keeping. A similar montage is printed on the boards. 637 Benjamin Franklin, his life as he wrote it, compiled, edited and with an introduction by Esmond Wright. 253 × 161 × 23 mm. Pp. [1–4] 5–260: [14] leaves of ‘plates’. Type: Plantin with De Roos Inline for the title. Typeset by Wyvern Typesetting, printed and bound by Cambridge University Press. Quarter blue buckram, pink paper boards with the signatures to the Declaration of Independence in red, with Franklin’s signature in gold; blue endleaves. Dark blue slip case. The ‘plates’ reproduce contemporary portraits, paintings and prints. ¶ Second impression: 1990. 638 The French revolution [by Thomas Carlyle]. Designed by Bernard Roberts. 227 × 161 × 31–37 mm. 3 vols (see below). Type: Scotch Roman. Printed and bound by the Bath Press. Full dark brown and red cloth (dark brown on the spine and fore-edge) decorated in gold; endleaves printed in black. Red three-volume slip case titled (as above) in gold. The plates reproduce contemporary paintings and etchings; further prints and watercolours are reproduced on the endleaves. This work was first published in 1837, and the Folio edition appeared on 14 July 1989, to mark the bicentenary of the storming of the Bastille. In the following month a second impression of 1000 copies was made, with a different text on the verso of the title-leaf; copies of this impression were offered to members at £450.00, bound by Hunter and Foulis in full dark green ‘Oasis’ morocco, with Cockerell marbled endleaves, in a leather-covered wooden slip case. The three volumes are as follows: I Thomas Carlyle, the French revolution, a history, volume I, the Bastille, introduction by Richard Cobb. Pp. [i–ix] x–xv [xvi], [1–3] 4–275 [276]: [16] leaves of plates. II Thomas Carlyle, the French revolution, a history, volume II, the constitution. Pp. [i–ix] x, [1–3] 4–292 [293–294]: [16] leaves of plates. III Thomas Carlyle, the French revolution, a history, volume III, the guillotine. Pp. [i–ix] x, [1–3] 4–344 [345–346]: [16] leaves of plates. ¶ [Second impression]: 1989, specially bound (see above). ¶ Second [i.e. third] printing: 2001, printed and bound by the Bath Press. Red slip case with a reproduction of a painting in colour. 639 P.G. Wodehouse, leave it to Psmith, introduction by Benny Green, illustrations by Paul Cox. 227 × 150 × 26 mm. Pp. [i–vi] vii–xxi [xxii], 1–269 [270]. Type: Galliard. Printed and bound by the Bath Press. Full grey cloth with a design in black and brown by Cox; dark red endleaves. Dark red slip case. There are 87 drawings printed in the text, some half-page and some vignettes used as head- and tail-pieces, with one repeated on the title-page.

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¶ Second printing: 1991. ¶ Third printing: 1992. ¶ Fourth printing: 1995. 640 The complete novels, Raymond Chandler. Introduction by Frank Macshane. Frontispiece drawings by Sue Bradbury. 222 × 141 × 18–32 mm. 7 vols (see below). Type: Dante with Univers and an adapted version of Kombie for display. Typeset by Profile Information, printed and bound by Butler and Tanner. Full grey cloth with a silhouette of Philip Marlowe by David Eccles in dark grey; dark red endleaves. Dark grey seven-volume slip case titled (as above) in silver. This was the first time Folio used the device of having a silhouette on the binding, which moves progressively backwards on each volume, so that the same silhouette is visible across the spines of the seven volumes when correctly placed in the slip case. The seven volumes are as follows: [1] Raymond Chandler, the big sleep. Pp. [i–iv] v–xv [xvi], 1–183 [184]. [2] Raymond Chandler, farewell my lovely. Pp. [i–iv], 1–227 [228]. [3] Raymond Chandler, the high window. Pp. [i–iv], 1–199 [200–204]. [4] Raymond Chandler, the lady in the lake. Pp. [i–iv], 1–206 [207–208]. [5] Raymond Chandler, the little sister. Pp. [i–iv], 1–222 [223–224]. [6] Raymond Chandler, the long goodbye. Pp. [i–iv], 1–285 [286–288]. [7] Raymond Chandler, playback. Pp. [i–iv], 1–150 [151–156]. ¶ Second impression: 1989. ¶ Third printing (with new illustrations): 2000, printed and bound by Butler and Tanner. Each volume includes between six and nine new ‘plates’ by Geoff Grandfield, whose name appears on each title-page; an extra leaf has been inserted into each volume listing the plates (necessitating the re pagination of the preliminaries of volume [1]), and Sue Bradbury’s original frontispieces have been dropped. The first volume now has Frank Macshane’s name on the title-page as author of the introduction. The binding has been redrawn by Grandfield, reinterpreting Eccles’s original design. 641 William Shakespeare, the sonnets & a lover’s complaint, introduction by Katherine Duncan-Jones, [wood-] engravings by Simon Brett, Peter Reddick, Jane Lydbury, Harry Brockway, Peter Forster, George Tute & Michael Renton. 222 × 154 × 22 mm. Pp. [1–224]. Type: Narrow Bembo Italic. Typeset by the Merrion Press, printed and bound by the Bath Press. Quarter dark blue buckram, blue paper boards with a pattern in gold by Anna Murray; dark red endleaves. Dark red slip case. The Presentation Volume for 1990. The text is illustrated with a total of 36 wood-engravings, six being contributed by each artist except Michael Renton, who engraved the title-spread (which consists of two blocks, that on the recto bearing the title, imprint and portrait, and that on the verso having the names of the contributors). This is, typographically and in terms of the illustrations, one of Folio’s most pleasing publications. For the second impression two typographical errors (‘un’ for ‘an’ in sonnet 23 and ‘angel’ for ‘finger’ in sonnet 96) were corrected. ¶ Second impression: 1990. ¶ Reissued with new binding [i.e. third impression]: 2004, printed on a rougher, whiter paper. The boards covered with crushed purple artificial silk; lilac endleaves. Dark blue slip case. ¶ Fourth printing: 2006. This reprint coincides with the selection of this title as the ‘Castaway’s Choice’ of Joseph Connolly (see item 270). ¶ Fifth printing: 2007, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. ¶ Sixth printing: 2008, printed by Martins of Berwick; purple endleaves. ¶ Seventh

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printing: 2009. ¶ Eighth printing (not seen). ¶ Ninth printing: 2011. ¶ Tenth printing: 2013. ¶ Eleventh printing: 2015. Printed and bound by L.E.G.O. with greater crushed dark brown-red artificial silk; dark red endleaves. ¶ Twelfth printing: 2018, with the spine redesigned. Quarter dark blue cloth. Dark red slip case. 642 William Barnes, Dorset poems, with translations by Pauline Tennant, introduction by Peter Levi, [wood-] engravings by William Barnes. Folio Press. Typographical design by Humphrey Stone. 253 × 162 × 13 mm. Pp. [i–vi] vii–xii, [1] 2–83 [84]: lithographic frontispiece. Type: Bulmer. Printed on cream Mohawk paper by Napier, Jones Ltd. Bound by Hunter and Foulis in quarter pale orange cloth, pale grey moiré silk boards, pale orange cover-label; Mitchell and Malik (Ann Muir) marbled endleaves. Transparent plastic dust-jacket. Issued in the Folio Press Fine Editions series (see item 592). There are nine wood-engraved vignettes by Barnes, printed from line-blocks, and a lithographic frontispiece reproducing Barnes’s engraved trade-card advertising his skills as an engraver. Fifty sets of unbound sheets of each of the Fine Editions for 1989 were used by Designer Bookbinders as the set books for their 1990 design competition. 643 Thomas Dekker, the wonderful year 1603, introduction by A.L. Rowse. Folio Press. Typographical design by Bernard Roberts. 253 × 162 × 11 mm. Pp. [1–6] 7–61 [62–64]. Type: Ehrhardt. Printed on cream Mohawk paper by Napier, Jones Ltd. Bound by Hunter and Foulis in quarter brown cloth, purple moiré silk boards, cover-label printed in brown; Mitchell and Malik (Ann Muir) marbled endleaves. Transparent plastic dust-jacket. Issued in the Folio Press Fine Editions series (see item 592). Fifty sets of sheets were taken by Designer Bookbinders (see item 642). 644 The Norse myths, introduced and retold by Kevin Crossley-Holland, with wood engravings by Jane Lydbury. Typographical design by Bernard Roberts. 229 × 149 × 30 mm. Pp. [iii–xiii] xiv–xlix [l], [1–3] 4–290. Type: Caslon with Perpetua for the title. Typeset by Speedspools, printed by the Bath Press. Bound by Hunter and Foulis in quarter dark red leather, white paper boards with a pattern in grey by Robert Scott Simon; grey endleaves. Slip case covered with the same paper used on the boards. There are 11 splendid half-page wood-engravings, and seven equally splendid vignette head-pieces (each repeated three or four times). In 1991, this title was chosen as the set book for the Designer Bookbinders’ 1992 design competition, and 200 sets of unbound sheets of the third printing were supplied for this purpose. ¶ Second impression: 1990. ¶ Third printing: 1991 (see above). ¶ Fourth printing: 2015, the dimensions now 229 × 150 × 25 mm. Printed and bound by Grafos. Plain red slip case. ¶ Fifth printing: 2016. Printed and bound by L.E.G.O. with slip case now printed and lightweight. 645 The rape of the lock, an heroi-comical poem in five canto’s by Alexander Pope, illustrated by Peter Forster [quotation from Martial]. Folio Press. Edited by Geoffrey Tillotson. 253 × 162 × 10 mm. Pp. [1–4] 5–44 [45–48]. Type: Centaur and Arrighi. Printed on cream Mohawk paper by Napier, Jones Ltd. Bound by Hunter and Foulis in quarter blue cloth, pink moiré silk boards, blue cover-label; Mitchell and Malik (Ann Muir) marbled endleaves. Transparent plastic dust-jacket. Issued in the Folio Press Fine Editions series (see item 592). There are 12 remarkable wood-engravings by Forster, printed in pink, yellow and blue by lithography, with two of the putti used again in black on the title-page. The bulk of the edition was published in September 1989, but a production fault meant that several hundred had to be reprinted, and were not completed and issued until early 1990. Fifty sets of sheets were taken by Designer Bookbinders (see item 642). 646 Mistress Masham’s repose, T.H. White. Illustrated by Charles Stewart. 278 × 186 × 20 mm. Pp. [i–vi] vii–xiii [xiv–xvi], 1–148 [149–152]: [11] leaves of colour plates. Type: Perpetua. Typeset by Gloucester Typesetting, printed on pale blue paper and bound by the Bath Press. Full dark red-brown artificial moiré silk with a design in gold by Stewart; pale blue-green endleaves with a map by Raymond McGrath in green.

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White slip case. The title-plate is a double-page colour-spread showing an aerial view of Malplaquet Hall (the setting of the story). In 1990, this title was chosen by Designer Bookbinders as the set book for their 1991 binding competition (which was sponsored by Folio) and 150 sets of unbound sheets of the second impression were supplied for this purpose. ¶ Second impression: 1990 (see above). ¶ Third printing: 1992. 647 Anthony Trollope, Phineas Finn, the Irish member, introduction by J. Enoch Powell, illustrations by Llewellyn Thomas. 228 × 150 × 40 mm. Pp. [i–iv] v–xix [xx], 1–631 [632–636]: [16] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter green series binding (see item 632), pale green paper boards with the border in green; pale green endleaves. Pale green slip case. The text was first published in Saint Pauls magazine between October 1867 and May 1869. ¶ Second impression: 1990. ¶ Third printing: 1992. ¶ Fourth printing: 1993. Part of this impression was issued with two other Palliser novels as item 768. ¶ Fifth printing: 1998, with a green slip case. 648 Anthony Trollope, Dr Wortle’s school, introduction by John Rae, illustrations by Robin Jacques. 227 × 147 × 25 mm. Pp. [i–iv] v–xviii, [1–2] 3–199 [200–206]: [16] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter dark brown series binding (see item 632), pale brown paper boards with the border in dark brown; pale brown endleaves. Brown slip case. The text was first published in Blackwood’s magazine in 1880, and in book form in 1881. In the ‘plate’ facing page 34 there is an error, in that the clock on the mantel shows the time 2:25 p.m. Between the first and second impressions a little more than seven and a half hours have elapsed, and the clock now shows 10:10 p.m. ¶ Second impression: 1990. ¶ Second impression, second [i.e. third] printing: 1999, with a blue slip case. 649 Wilfred Owen, poems of war. Folio Press. 253 × 161 × 10 mm. Pp. [1–6] 7–63 [64]. Type: Plantin. Printed in green-brown and black on cream Mohawk paper by Napier, Jones Ltd. Bound by Hunter and Foulis in quarter black cloth, dark green moiré silk boards, black cover-label lettered in gold; Mitchell and Malik (Ann Muir) marbled endleaves. Transparent plastic dust-jacket. Issued in the Folio Press Fine Editions series (see item 592). Each page bears a war photograph printed in green-brown, with the text overprinted in black. This work had been planned for publication in August, but the complex nature of the printing (a combination of letterpress and lithography) meant that copies were not bound and issued until around October. Fifty sets of unbound sheets were taken by Designer Bookbinders (see item 642). 650 Anton Chekhov, the island of Sakhalin, translated by Luba and Michael Terpak, introduction by Irina Ratushinskaya. Typographical design by Caroline Archer. 252 × 161 × 28 mm. Pp. [i–v] vi–xvii [xviii], 1–287 [288]: [15] leaves of ‘plates’. Type: Sabon. Typeset by Wyvern Typesetting, printed and bound by the Bath Press. Full pale grey-brown cloth with a design in red and gold by Sue Bradbury; dark red endleaves. Dark red slip case. Chekhov’s account of his visit to the penal colony of Sakhalin in 1890 is illustrated with contemporary photographs, many taken by I.I. Pavlovsky during the visit. 651 The journeys of Pietro Della Valle, the pilgrim, translated, abridged and introduced by George Bull. Typographical design by Bernard Roberts. 229 × 162 × 27 mm. Pp. [i–vi] vii–xix [xx], [1–2] 3–303 [304–306]: [17] leaves of ‘plates’. Type: Monophoto Garamond. Printed and bound by Butler and Tanner. Full dark red and green cloths, divided vertically down the centre of each board, with capitals in green and gold; endleaves printed in green. Dark red slip case. This is the first substantial English translation of Della Valle’s Viaggi, which was written in the form of letters during the early seventeenth century, and only partially published during the

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author’s life. The ‘plates’ are reproductions of the etchings in a Dutch edition of 1664–1665, and the endleaves reproduce etched portraits from a French edition of 1745. 652 Edited by Richard Kendall, drawings, paintings, writings, Cézanne by himself. 316 × 250 × 32 mm. Pp. [1–5] 6–320. Type: Van Dijck. Typeset by August Filmsetters, printed and bound by Graphicom. Full orange cloth, colour-printed cover-label; dark red endleaves. Dark red slip case. The work was published by Macdonald Orbis in 1988, and Folio arranged to have a number of copies reprinted with the Folio imprint in 1989. Degas by himself had been published in the same manner in 1988 (see item 626). The present book is mostly taken up with 311 colour reproductions of Cézanne’s works.

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1990 653 Edward Gibbon, the history of the decline and fall of the Roman Empire, volume VIII, the fall of Constantinople and the Papacy in Rome, edited and with an introduction by Felipe Fernández-Armesto. 252 × 161 × 29 mm. Pp. [1–3] 4–363 [364–366]: [16] leaves of ‘plates’. Type: Poliphilus and Blado. Printed by the Alden Press. Bound by the Bath Press in series binding (see item 510). ¶ Second impression: 1990. ¶ Reissued with new binding [i.e. another impression]: 1995–2006 item 825, issued with the other seven volumes. 654 The trumpet-major, John Loveday, a soldier in the war with Buonoparte, and Robert his brother, a tale by Thomas Hardy, introduction by Paul I. Webb, wood-engravings by Peter Reddick. 227 × 147 × 27 mm. Pp. [i–iv] v–xvi, 1–314 [315–320]. Type: Baskerville. Printed and bound by the Bath Press. Full red series binding decorated in dark red (see item 248); red endleaves with the map in black. Orange-pink slip case. The book contains 20 wood-engravings by Reddick, including the frontispiece. Some of the later impressions were issued only as part of the boxed sets of Hardy’s novels. ¶ Second printing: 1990. ¶ Third printing: 1991, with grey endleaves. Grey slip case. Part of this impression was issued with item 698.5. ¶ Fourth [–fifth] printing: 1992 item 698.5, issued with five other novels by Hardy. ¶ Sixth printing: 1993. Part of this impression was issued with item 698.5. ¶ Seventh printing: 1993 item 698.5, issued with five other novels by Hardy. ¶ Eighth printing: 1993 items 698.5 and 769.5, issued with other novels by Hardy. 655 Antoine de Saint-Exupéry, wind, sand and stars, translated by Lewis Galantiere, introduced by Cecil Lewis, illustrated by Linda Kitson. 241 × 162 × 23 mm. Pp. [i–vii] viii–xi [xii], [1–5] 6–36 [37–41] 42–70 [71–75] 76–80 [81–85] 86–152 [153–157] 158–197 [198–200]. Type: Fournier. Typeset by Gloucester Typesetting, printed and bound by Butler and Tanner. Full blue cloth with a design in silver and black by Kitson; endleaves printed in black. Dark blue slip case. There are 11 double-page drawings by Kitson, one at the beginning of each chapter and one on the title-spread, in addition to the binding and endleaf designs. ¶ Second printing: 1991. ¶ Third printing: 1992. ¶ Fourth printing: 2015. Incorrectly described as third printing. Printed and bound by L.E.G.O. 656 The Folio anthology of essays, selected and introduced by Frank Delaney, with [wood-] engravings by Reynolds Stone. Designed by Malcolm Harvey Young. 252 × 159 × 42 mm. Pp. [1–2], [i–ix] x–xvii [xviii–xx], [1–4] 5–549 [550–552]. Type: Bembo. Typeset by Fakenham Photosetting, printed and bound by the Bath Press. Full red cloth with a typographical design in dark red and gold by Young; pale grey endleaves. Pale grey slip case. Stone’s 18 wood-engravings are used as ornaments on the divisional-titles, and as tail-pieces to some of the essays. This title was published in conjunction with Century Hutchinson, with a proportion of the print-run bearing their imprint and being bound in a different manner. Folio continued the series of ‘Folio Anthologies’ with Humour in 1992 (item 712) and Autobiography in 1994 (item 781). 657 H.G. Wells, short stories, selected and introduced by Tim Heald, illustrated by Jonathan Hitchen. 228 × 146 × 30 mm. Pp. [1–2], [i–ix] x–xvii [xviii–xx], [1–2] 3–262 [263–266]: [12] leaves of two-colour plates. Type: Bembo with Gill Sans for display. Typeset by Wyvern Typesetting, printed and bound by the Bath Press. Full pale

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brown cloth with a design in silver and dark brown by Hitchen; dark brown endleaves. Pale brown slip case. Hitchen’s highly effective ‘modernist’ illustrations are printed in cream and black. ¶ Second printing: 1991. 658 Anthony Trollope, Lady Anna, introduction by Paul Johnson, illustrations by Barry Wilkinson. 227 × 149 × 30 mm. Pp. [i–iv] v–xviii, 1–335 [336]: [15] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter dark red series binding (see item 632), pink paper boards with the border in dark red; pink endleaves. Pink slip case. The text was first published in The fortnightly review between April 1873 and April 1874, and in book form in 1874. ¶ Second printing: 1999, with pale grey paper boards; pale grey endleaves. Dark red slip case. 659 Anthony Trollope, the Eustace diamonds, introduction by P.D. James, illustrations by Llewellyn Thomas. 227 × 149 × 39 mm. Pp. [i–iv] v–xix [xx], 1–647 [648–652]: [16] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter dark blue series binding (see item 632), pale blue paper boards with the border in dark blue; pale blue endleaves. Dark blue slip case. The text was first published in parts between July 1871 and February 1872, and in book form in late 1872. ¶ Second printing: 1992. ¶ Third printing: 1993. Part of this impression was issued with two other Palliser novels as item 768. ¶ Fourth printing: 1998. 660 Samuel Johnson, a journey to the Western Isles of Scotland, James Boswell, the journal of a tour to the Hebrides. Illustrations by William Daniell. 252 × 162 × 41 mm. Pp. [i–vi] vii–xxxii, [1–2] 3–412 [413–414]: [24] leaves of colour plates. Type: Garamond. Typeset by Speedspools, printed and bound by Butler and Tanner. Full green cloth with an aquatint of Arros Castle in black, dark red-brown leather spine-label; dark brown endleaves. Dark brown slip case. The plates reproduce portraits, and hand-coloured aquatints by William Daniell from his Voyage round Great Britain (1825). In addition there is a map on page [ix]. Johnson’s work was ori ginally published in 1775, and Boswell’s in 1786. ¶ Second printing: 1991. ¶ Third printing: 1992. 661 Mr Norris changes trains, Christopher Isherwood, illustrations by Beryl Cook, introduction by Samuel Hynes. 280 × 185 × 23 mm. Pp. [i–vi] vii–xv [xvi], 1–174 [175–178]: [8] leaves of colour plates (facing pp. [iii], 1, 25, 84, 104, 133, 157 and between pp. 40–41). Type: Plantin Light with Bauhaus for display. Typeset by Speedspools, printed by the Bath Press, the lithographs by Jolly and Barber. Bound by Hunter and Foulis in full yellow cloth with a repeat pattern in grey; dark brown endleaves. Dark brown slip case. Beryl Cook was persuaded to illustrate this book because it gave her the opportunity to paint a variety of wigs. She went on to illustrate Waugh’s The loved one, which was published in a similar style in 1993 (item 745). One hundred numbered copies were specially bound in quarter yellow morocco, with Ann Muir marbled paper boards, in a black slip case, with a colophon on page [175] signed by Cook. A few lettered copies (probably around 25) were also issued in this form, for private distribution by Folio, and a limited edition print of one of the paintings was published by London Contemporary Art, and offered to members at a special price. ¶ Second printing: 1992. 662 William Allingham, the diaries, edited by H. Allingham and D. Radford, introduction by John Julius Norwich. Photographs by Julia Margaret Cameron. Designed by Malcolm Harvey Young. 252 × 162 × 33 mm. Pp. [1–6]

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7–351 [352]: [16] leaves of duotone plates. Type: Bulmer. Typeset by Gloucester Typesetting, printed and bound by Butler and Tanner. Full green cloth with a design in gold; dark green endleaves. Green slip case. The plates are printed in sepia, and reproduce portrait photographs by Cameron. ¶ Reprinted, with a new introduction: 2007, the title-page concluding . . . introduction by Christopher Ricks, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. Selected by Christopher Ricks as his ‘Castaway’s Choice’. 663 Evelyn Waugh, sword of honour. 240 × 160 × 26–29 mm. 3 vols (see below). Type: Baskerville with Trooper for display. Typeset by Fakenham Photosetting, printed (with the title-page in black and brown) and bound by the Bath Press. Full white cloth with a design in black, brown and blue by John Lawrence; endleaves different in each volume (see below). Pale brown vegetable parchment (‘Elephanthide’) three-volume slip case titled (as above) in gold. The three volumes are as follows: [1] Men at arms, Evelyn Waugh, illustrations by John Lawrence, introduction by Mark Amory. Pp. [i–viii] ix–xvii [xviii–xx], 1–210 [211–212]: [8] leaves of colour plates (facing pp. 45, 60, 76, 93, 117, 132, 180 and 197). Pale pink endleaves. In addition there are four head-piece drawings by Lawrence printed in the text. [2] Officers and gentlemen, Evelyn Waugh, illustrations by John Lawrence. Pp. [i–x], 1–227 [228–230]: [8] leaves of colour plates (facing pp. 38, 54, 62, 118, 150, 167, 182 and 199). Pale yellow endleaves. In addition there are four head-piece drawings by Lawrence printed in the text. [3] Unconditional surrender, Evelyn Waugh, illustrations by John Lawrence. Pp. [i–x], 1–212 [213–214]: [8] leaves of colour plates (facing pp. 39, 54, 86, 103, 111, 150, 166 and 183). Pale blue endleaves. In addition there are four head-piece drawings by Lawrence printed in the text. ¶ Second printing: 1993. ¶ Third printing, reissued (with a new binding) [sic]: 2001, bound in full plasticised cloth with a design in colour by Lawrence; dark green endleaves. Dark green slip case. 664 George Crabbe, Peter Grimes, the poor of the borough, introduction by Kevin Crossley-Holland, lithographs by Alan Powers. Typographical design by Martino Mardersteig. 250 × 163 × 15 mm. Pp. [1–6] 7–76 [77–80]: [7] leaves of two-colour plates (facing pp. [3], 25, 32, 41, 65, 73 and between pp. 60–61). Type: Garamond. Printed on white Magnani mould-made paper by the Stamperia Valdonega, the lithographs by the Senecio Press. Bound by Legatoria Torriani in quarter dark grey cloth, pale blue-green paper boards patterned in blue and red by the Stamperia Valdonega; pale blue-green endleaves. Transparent plastic dust-jacket. Issued in the Folio Press Fine Editions series (see item 592). Powers’s seven subtle lithographs are printed in blue-grey and brown. The 1990 and 1991 series of Fine Editions were undertaken by Martino Mardersteig’s Stamperia Valdonega, which had previously printed only one book for Folio, E.B. Browning’s Sonnets from the Portuguese of 1962 (item 169). 665 Robert Graves, love poems, selected and introduced by Sue Bradbury. Typographical design by Sebastian Carter. 250 × 163 × 12 mm. Pp. [1–6] 7–63 [64]. Type: Dante with hand-drawn lettering (by Carter) for the title. Printed (with the title-page in red and black) on white Magnani mould-made paper by the Stamperia Valdonega. Bound by Legatoria Torriani in quarter red cloth, pale grey paper boards patterned in blue and red by the Stamperia Valdonega; pale grey endleaves. Transparent plastic dust-jacket. Issued in the Folio Press Fine Editions series (see item 592). This is a lovely example of restrained typographical design, and Carter’s title lettering is particularly effective.

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666 Henry James, the Aspern papers, lithographs by Edward Piper. Folio Press. Typographical design by Malcolm Harvey Young. 250 × 163 × 15 mm. Pp. [1–8] 9–91 [92–96]: [6] leaves of two-colour plates (facing pp. [17], 32, 72, 89 and between pp. 12–13 and 48–49). Type: Dante with Arrighi for the title. Printed on white Magnani mould-made paper by the Stamperia Valdonega, the lithographs by the Senecio Press. Bound by Legatoria Torriani in quarter dark green cloth, pale green-brown paper boards patterned in green and red by the Stamperia Valdonega; pale green-brown endleaves. Transparent plastic dust-jacket. Issued in the Folio Press Fine Editions series (see item 592). Piper’s lithographs are printed in pale blue and pale brown. The artist died shortly after the printing of the plates, which he had supervised, and the book is dedicated to him. 667 Poems from the Greek anthology, translated by James Michie, introduction by Peter Levi. Typographical design by Bernard Roberts. 250 × 163 × 12 mm. Pp. [1–2], [i–iv] v–xiii [xiv], [1] 2–45 [46–48]. Type: Pastonchi and Greek types. Printed in red-brown and black on white Magnani mould-made paper by the Stamperia Valdonega. Bound by Legatoria Torriani in quarter brown cloth, pale brown paper boards patterned in green and red by the Stamperia Valdonega; pale brown endleaves. Transparent plastic dust-jacket. Issued in the Folio Press Fine Editions series (see item 592). The title-page, and several headings, are decorated with borders of Greek key ornaments designed by Giovanni Mastersteig and printed in red-brown. 668 The house of mirth, Edith Wharton, illustrations by Eric Holzman, introduction by Bel Mooney. 240 × 160 × 32 mm. Pp. [i–vi] vii–xiii [xiv], [1–2] 3–300 [301–304]: [13] leaves of plates. Type: Ehrhardt with Saint George Initials for display. Printed and bound by Butler and Tanner. Full white cloth with an illustration in yellow, brown and grey by Holzman; pale brown endleaves. Cream slip case. The plates are printed in brown-green. 669 Maria Perry, Elizabeth I, the word of a prince, a life from contemporary documents. Designed by Malcolm Harvey Young. 252 × 175 × 29 mm. Pp. [1–10] 11–352. Type: Garamond with Fry’s Ornamented for the title. Printed and bound by Butler and Tanner. Quarter dark red cloth, cream vegetable parchment (‘Elephanthide’) boards with Elizabeth’s signature in gold; purple-red endleaves patterned in gold. Purple-red slip case patterned as the endleaves. The Presentation Volume for 1991. There are 97 illustrations in the text, 35 in colour; they reproduce contemporary paintings (mostly portraits), prints and documents. ¶ Second printing: 1991. ¶ Third printing: 1991. ¶ Fourth printing: 1993. ¶ Fifth printing: 1994. ¶ Sixth printing: 1995. 670 [Tales by Wilkie Collins and E.A. Poe]. 227 × 148 × 22–23 mm. 2 vols (see below). Printed and bound by the Bath Press. Full black cloth with a design in red and silver by Malcolm Harvey Young; dark red endleaves. Black two-volume slip case. Photolithographic reprints of the editions first published in 1954 and 1957 (items 66 and 106). The two volumes are as follows: [1] Wilkie Collins, tales of suspense . . . Reissued. Pp. [i–viii], [1] 2–255 [256]: [8] leaves of two-colour ‘plates’ (facing pp. 16, 33, 48, 112, 145, 176, 224 and 241). [2] Edgar Allan Poe, tales of mystery and imagination . . . Reissued. Pp. [i–vii] viii–xiii [xiv], [1] 2–302. 671 The essential Darwin. Frontispieces by Simon Brett. Typographical design by Humphrey Stone. 252 × 161 × 32–48 mm. 4 vols (see below). Type: Ehrhardt. Printed and bound by Butler and Tanner. Full green buckram with a design in gold incorporating the title (as above) and a silhouette of Darwin, dark brown leather spine-labels; dark brown endleaves. Dark green four-volume slip case repeating the binding design. Each volume contains Simon Brett’s wood-engraved portrait of Darwin as a frontispiece. The four volumes are as follows:

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[1] A naturalist’s voyage, journal of researches into the natural history and geology of the countries visited during the voyage of H.M.S. Beagle round the world, under the command of Capt. Fitz Roy R.N., by Charles Darwin, introduction by Richard Dawkins. Pp. [i–v] vi–xxviii [xxix–xxx], [1] 2–395 [396–400]: lithographic frontispiece. There are 14 small wood-engravings, taken from a nineteenth-century edition of the text, which was originally published in 1839. The present text follows the revised third edition of 1860. [2] On the origin of species by means of natural selection, or The preservation of favoured races in the struggle for life, by Charles Darwin. Pp. [i–iv] v–xii, 1–298 [299–300]: lithographic frontispiece. The text follows that of the first edition of 1859. [3] The descent of man and selection in relation to sex, by Charles Darwin. Pp. [i–v] vi–xv [xvi], [1–2] 3–592: litho graphic frontispiece. There are 78 numbered figures in the book, being wood-engravings reprinted from a nineteenth-century edition. The text follows that of the second edition of 1874 (the first edition had appeared in 1871). [4] The expression of the emotions in man and animals, by Charles Darwin. Pp. [i–v] vi [vii–viii], [1] 2–258 [259– 264]: [7] leaves of plates (facing pp. [iii], 104, 121, 136, 153, 168 and 185). There are 21 numbered figures in the book, being wood-engravings reprinted from the first edition of 1872. With the exception of the frontispiece, the plates are also reprinted from the first edition, and bear VII numbered pioneering photographic depictions of the emotions. The text follows that of the first edition. 672 Procopius: the secret history, translated by G.A. Williamson & introduced by Philip Ziegler. Typographical design by Bernard Roberts. 228 × 160 × 20 mm. Pp. [i–vi] vii–xix [xx–xxii], 1–151 [152–154]: [12] pages of colour plates. Type: Poliphilus and Blado. Typeset by Speedspools, printed and bound by the Bath Press. Full white cloth with a tessellated pavement design in red and green by Jonathan Hitchen; grey-green endleaves. Grey-green slip case. The text was written around a d 550 and was first published in France in 1623. The present translation was made in 1966. The plates reproduce contemporary tessellated pavements and murals. In addition, there are maps on page [145] and a genealogical table on page [143]. ¶ Second printing: 1991. ¶ Third printing: 1993. ¶ Fourth printing: 1995, with pale grey endleaves. White slip case. ¶ Fifth printing: 1997. ¶ Sixth printing: 1998, printed and bound by Jarrold. Pale grey slip case. ¶ Seventh printing: 2000 (not seen). ¶ Eighth printing: 2009, printed and bound by Cambridge University Press; dark cream endleaves. Pale green slip case. ¶ Ninth printing: 2009, printed by Martins of Berwick. Bound by Hunter and Foulis. Dark green slip case. 673 1066 and all that, a memorable history of England, comprising all the parts you can remember including 103 good things, 5 bad kings, and 2 genuine dates, by Walter Carruthers Sellar, aegrot: Oxon:, and Robert Julian Yeatman, failed M.A. etc. Oxon: illustrated by John Reynolds, gent:, introduced by Ned Sherrin, M.A. Oxon: barrister-at-law. 202 × 134 × 18 mm. Pp. [i–v] vi–xxxviii, 1–116 [117–122]. Type: Old Style with Caslon for display. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Full brown kraft paper printed in black with the title in ‘schoolboy’ lettering by David Eccles; cream endleaves. Brown kraft paper slip case. There are 56 small illustrations in the text, all taken from the first edition of 1930. The typography also follows the schoolbook style of the first edition. ¶ Second printing: 1991. ¶ Third printing: 1992. ¶ Fourth printing: 1993. ¶ Fifth printing: 1995. ¶ Sixth printing: 1997. ¶ Seventh printing: 1998. ¶ Eighth printing: 1999. ¶ Ninth printing: 2001. ¶ Tenth printing: 2003 (not seen). ¶ Eleventh printing: 2014. Printed and bound by Grafos; brown endleaves. ¶ Twelfth printing: 2014.

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674 Anthony Trollope, Rachel Ray, introduction by John Letts, illustrations by David Eccles. 227 × 149 × 30 mm. Pp. [i–iv] v–xxii, 1–332: [15] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter green series binding (see item 632), grey-green paper boards with the border in green; grey-green endleaves. Grey-green slip case. The text was first published in 1863. ¶ Second printing: 1999, in a green slip case. 675 Anthony Trollope, Phineas redux, introduction by Robin Gilmour, illustrations by Llewellyn Thomas. 228 × 151 × 41 mm. Pp. [i–iv] v–xxii, 1–628 [629–634]: [16] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter red-brown series binding (see item 632), pale brown paper boards with the border in red-brown; pale brown endleaves. Pale brown slip case. The text was first published in The graphic between July 1873 and January 1874, and in book form in 1873. ¶ Second printing: 1992. ¶ Third printing: 1993. Part of this impression was issued with two other Palliser novels as item 769. ¶ Fourth printing: 1998, with cream paper boards; cream endleaves. Brown slip case. 676 Sybille Bedford, a visit to Don Otavio, a traveller’s tale from Mexico, introduction by Bruce Chatwin, illustrations by Val Biro. Typographical design by Malcolm Harvey Young. 252 × 161 × 24 mm. Pp. [3–10] 11–273 [274]: [16] pages of plates. Type: Goudy Old Style with Albertus for display. Typeset by Speedspools, printed and bound by Butler and Tanner. Full orange cloth with a design in red; pale brown endleaves with a map in red. Pale brown slip case. The plates reproduce photographs taken in Mexico during the 1950s and 1960s. In addition there are 15 small drawings by Biro printed in the text, and a ‘running jaguar’ decoration on the title-spread, which is repeated on the binding. 677 Agatha Christie [railway mysteries]. Designed and ornamented by David Eccles. 221 × 143 × 25 mm. 2 vols (see below). Type: Bembo with Gill Sans for display. Typeset by Fakenham Photosetting, printed and bound by the Bath Press. Pink-brown two-volume slip case with a railway signal design in brown and white by Eccles titled ‘Agatha Christie’. Eccles’s design, particularly for the bindings, is very effective and redolent of the period. The two volumes (which were also issued separately) are as follows: [1] Agatha Christie, the mystery of the blue train, introduction by Tim Heald. Pp. [i–iv] v–xiv, 1–255 [256–258]. Full blue cloth with a 1930s train design in dark blue and white by Eccles; dark blue endleaves. [2] Agatha Christie, 4.50 from Paddington, introduction by Robert Barnard. Pp. [i–iv] v–xi [xii], 1–239 [240–244]. Full green cloth with a 1950s train design in dark green and white by Eccles; dark green endleaves. 677.5 Agatha Christie, mystery of the blue train . . . A separate issue of one of Christie’s railway mysteries. Details as volume I of item 677, but with a blue single-volume slip case. 677.7 Agatha Christie, 4.50 from Paddington . . . A separate issue of one of Christie’s railway mysteries. Details as volume II of item 677, but with a blue single-volume slip case. 678 Troilus & Criseyde, original text by Geoffrey Chaucer, edited by Walter W. Skeat, translated and introduced by Stewart Boston, illustrations by Peter Brookes. 280 × 185 × 49 mm. Pp. [1–2], [i–vii] viii–xi [xii–xiv], [1] 2–496: [6] leaves of colour plates (facing pp. [iii], [1], [67], [171], [279] and [379]). Type: Monophoto Photina with display lettering drawn by John Andrew. Printed by Butler and Tanner, the lithographs by the Senecio Press. Bound by Hunter and Foulis in quarter dark green leather, cream paper boards patterned in green and brown

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by the Stamperia Valdonega; brown endleaves. Brown slip case. A detail of the plate facing page [279] was used for a Royal Mail postage stamp in late 1995. 679 [Lewis Carroll’s Alice books]. 2 vols (see below). Photolithographic reprints of the editions of 1961 and 1962. Details as items 162 and 174, but printed and bound by the Bath Press. Quarter red cloth, pale blue paper boards; pale blue endleaves. Pale blue two-volume slip case. Number 18 in ‘The Folio fifty’ (see item 8). The two volumes are as follows: [1] Lewis Carroll, Alice’s adventures in Wonderland . . . Reissued [i.e. another impression]. This volume was the ‘Castaway’s Choice’ of Rachel Billington (see item 270). [2] Lewis Carroll, through the looking-glass . . . Reissued [i.e. another impression]. ¶ Reissued, second printing [i.e. another impression]: 1991. ¶ Reissued, third printing [i.e. another impression]: 1992. ¶ Reissued, fourth printing [i.e. another impression]: 1992. ¶ Reissued, fifth printing [i.e. another impression]: 1992. ¶ Reissued, sixth printing [i.e. another impression]: 1993. ¶ Reissued, seventh printing [i.e. another impression]: 1993. ¶ Reissued, eighth printing [i.e. another impression]: 1993. ¶ Reissued, ninth printing [i.e. another impression]: 1995, printed and bound by Cambridge University Press. ¶ Reissued, tenth printing [i.e. another impression]: 1995. ¶ Reissued, tenth [sic] printing [i.e. another impression]: 1996. ¶ Reissued, eleventh printing [i.e. another impression]: 1997, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. ¶ Reissued, twelfth printing [i.e. another impression]: 1997. ¶ Reissued, thirteenth printing [i.e. another impression]: 1998. ¶ Reissued, fourteenth printing [i.e. another impression]: 1998, with a dark red slip case. ¶ Reissued, fifteenth printing [i.e. another impression]: 2000. ¶ Reissued, sixteenth printing [i.e. another impression]: 2001. ¶ Reissued, seventeenth printing [i.e. another impression]: 2003. ¶ Reissued, eighteenth printing [i.e. another impression]: 2004, printed and bound by Grafos. ¶ Re issued, nineteenth printing [i.e. another impression]: 2005 (not seen). ¶ Reissued, twentieth printing: 2007. ¶ Reissued, twenty-first printing (not seen). Part of A Children’s Treasury series. ¶ Reissued, twenty-second printing: 2009. ¶ Reissued, twenty-third printing: 2010. ¶ Reissued, twenty-fourth printing: 2011. ¶ Re issued, twenty-fifth printing: 2012. ¶ Reissued, twenty-sixth printing: 2013. ¶ Reissued, twenty-seventh printing: 2016. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. ¶ Reissued, twenty-eighth printing: 2018. Printed and bound by C & C Offset.

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1991 680 Edward Gibbon, memoirs of my life, edited and with an introduction by Betty Radice. 252 × 160 × 27 mm. Pp. [1–7] 8–247 [248]: [12] leaves of ‘plates’. Type: Poliphilus and Blado. Printed by the Alden Press. Bound by the Bath Press in full dark green cloth, decorated in gold as The decline and fall (see item 510); endleaves printed in black. Cream slip case. The ‘plates’ reproduce contemporary portraits and prints, with two views of ancient ruins (one an etching, the other a painting) printed on the endleaves. Betty Radice’s text and introduction had first been published by Penguin Books in 1984. 681 The woodlanders by Thomas Hardy [quotation], introduction by Tim Heald, wood-engravings by Peter Reddick. 227 × 150 × 28 mm. Pp. [1–2], [i–iv] v–xiv, 1–348 [349–352]. Type: Baskerville. Typeset by Fakenham Photosetting, printed and bound by the Bath Press. Full dark brown series binding decorated in orange (see item 248); brown endleaves with the map in dark brown. Brown slip case. The book contains 15 wood-engravings by Reddick, including the frontispiece. ¶ Second printing: 1991. ¶ Third printing: 1993. ¶ Fourth printing: 1996. ¶ Fifth printing: 1997, printed and bound by Butler and Tanner. Part of this impression was issued with item 896. 682 The Berlin diaries 1940–1945 of Marie ‘Missie’ Vassiltchikov, edited and with a foreword by George Vassiltchikov, and with an introduction by Christabel Bielenberg. Maps by John Flower. 252 × 161 × 30 mm. Pp. [i–vii] viii–xix [xx–xxiv], [1] 2–296: [30] pages of plates. Type: Imprint with Gill Sans Bold for display. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Full red cloth with a pattern in black by Sebastian Carter; grey endleaves. Grey slip case. The plates reproduce contemporary photographs. In addition there are maps by Flower on pages [xx–xxiv]. ¶ Second printing: 1993. ¶ Third printing: 1994. 683 Hours in a library, Leslie Stephen, introduction by Jonathan Steinberg, volume I [–III]. Designed by Caroline Archer. 228 × 150 × 30–32 mm. 3 vols (pp. [i–v] vi–xxviii [xxix–xxx], 1–354; [i–v] vi–vii [viii], 1–360; [i–v] vi–vii [viii], 1–343 [344]). Type: Sabon. Typeset by Fakenham Photosetting, printed and bound by the Bath Press. Full blue-green cloth with a design in black and gold by Archer; dark blue endleaves. Dark blue three-volume slip case. There are 35 full-page portraits in the work (11 in volume I, and 12 each in volumes II and III), the frontispiece to each volume being a portrait of Stephen. 684 Crime stories from the ‘Strand’, selected by Geraldine Beare, introduction by H.R.F. Keating, illustrations by David Eccles. Designed by David Eccles. 240 × 160 × 35 mm. Pp. [i–vi] vii–xviii, [1–2] 3–350. Type: Ehrhardt with Gill Shadow for display. Typeset by Fakenham Photosetting, printed and bound by the Bath Press. Full blue-grey cloth with a design in black and gold; dark red endleaves. Gold slip case. There are 19 stories, originally published in the Strand magazine between 1891 and 1940, each illustrated with a full-page drawing; there are also three smaller drawings, and a frontispiece, all by Eccles. Short stories from the ‘Strand’ (1992 item 711) and Adventure stories from the ‘Strand’ (1995 item 802) were published in the same series, with the same style of binding and slip case. ¶ Second printing: 1991. ¶ Third printing: 1992. ¶ Fourth printing: 1993. ¶ Fifth printing: 1995, printed and bound by Cambridge University Press. ¶ Sixth printing: 2009, the dimensions now 236 × 162 × 34 mm.

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Printed and bound by T.J. International; blue endleaves. Blue slip case. ¶ Seventh printing: 2010. ¶ Eighth printing: 2011. 685 Anthony Trollope, the prime minister, introduction by Asa Briggs, illustrations by Llewellyn Thomas. 228 × 150 × 41 mm. Pp. [i–iv] v–xix [xx], 1–680 [681–682]: [16] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter grey-brown series binding (see item 632), pale grey paper boards with the border in grey-green; pale grey endleaves. Pale grey slip case. The text was first published in parts between November 1875 and June 1876, and in book form when part publication was complete. ¶ Second printing: 1993. Part of this impression was issued with two other Palliser novels as item 769. ¶ Second [i.e. third] printing: 1998, with a black slip case. 686 Anthony Trollope, the Macdermots of Ballycloran, introduction by Owen Dudley Edwards, illustrations by Elisa Trimby. 227 × 148 × 39 mm. Pp. [i–iv] v–l, 1–448: [15] leaves of ‘plates’. Type: Bell. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter green series binding (see item 632), cream paper boards with the border in dark green; cream endleaves. Green slip case. The text was first published in 1847. ¶ Second printing: 1995. ¶ Third printing: 1998, with a dark green slip case. 687 The story of San Michele, Axel Munthe, introduction by Tim Burnett. 253 × 161 × 33 mm. Pp. [i–v] vi–xxiv, 1–360: [28] pages of plates. Type: Bembo with Bembo Light Titling for display. Printed and bound by Butler and Tanner. Full orange cloth with a design in brown and gold by Sue Bradbury; pale green endleaves. Dark brown slip case. The plates reproduce contemporary photographs. ¶ Second printing: 1993. 688 Cyrano de Bergerac’s voyages to the moon and the sun, translation and notes by John [sic] Aldington, introduction by John Wells, illustrations by Quentin Blake. 279 × 184 × 25 mm. Pp. [i–vi] vii–xii, [1–2] 3–208 [209–212]. Type: Fournier. Typeset by Wyvern Typesetting, printed and bound by the Bath Press. Quarter dark brown cloth, pale brown paper boards, cover-label printed in brown; cream endleaves with a pattern in brown by Blake. Dark brown slip case. De Bergerac’s fantastic tales were written between around 1648 and 1650, with Les estats et empires de la lune being published in 1662 (the voyage to the sun was not published until the twentieth century). Richard Aldington’s first name is wrongly given on the title-page but correctly recorded on the copyright statement. His translation first appeared in 1923. The illustrations consist of 115 spirited drawings by Blake, 11 full-page, and one double-page, and a small drawing of the sun and moon used on the cover-label and repeated on the endleaves. 689 Robert Browning, dramatic monologues, selected and introduced by A.S. Byatt, illustrated by Richard Shirley Smith. 228 × 160 × 28 mm. Pp. [i–v] vi–xxxi [xxxii], 1–310 [311–312]. Type: Bodoni with Modern No. 20 for display. Typeset by Gloucester Typesetting, printed in red-brown and black by Butler and Tanner. Bound by Butler and Tanner in quarter dark red cloth, white paper boards with a pattern in pink and brown by Shirley Smith; cream endleaves. Pale brown slip case. Shirley Smith’s illustrations consist of a frontispiece and 32 cartouches and vignettes (15 used twice, one used thrice, and one used four times), all printed in red-brown. ¶ Second printing: 1992.

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690 Oscar Wilde, de profundis, edited & illustrated by Peter Forster. 249 × 161 × 18 mm. Pp. [i–iv] v–xiii [xiv], 1–111 [112–114]: [7] leaves of plates (facing pp. [iii], 19, 34, 50, 67, 82 and 99). Type: Van Dijck. Printed on white Magnani mould-made paper by the Stamperia Valdonega. Bound by Legatoria Torriani in quarter black cloth, white paper boards with a repeat pattern in black by Forster; black endleaves. Transparent plastic dust-jacket. Issued in the Folio Press Fine Editions series (see item 592). Forster’s plates are a combination of pen-and-ink drawing and wood-engraving and are here reproduced by lithography. 691 Walter de la Mare, motley and other poems, introduction by Giles de la Mare, lithographs by Ian Archie Beck. Typographical design by Sebastian Carter. 250 × 162 × 14 mm. Pp. [1–4] 5–63 [64]: [7] leaves of two-colour plates (facing pp. [3], 17, 26, 33, 57, 63 and between pp. 52–53). Type: Modern No. 7. Printed (with the title-page in dark blue and black) on white Magnani mould-made paper by the Stamperia Valdonega, the lithographs by the Senecio Press. Bound by Legatoria Torriani in quarter dark blue cloth, white paper boards with a repeat pattern in blue-green and blue by Beck; blue-green endleaves. Transparent plastic dust-jacket. Issued in the Folio Press Fine Editions series (see item 592). In addition to the plates, which are printed in blue-grey and grey, there are five smaller decorations, printed in the text from line-blocks (three being repeated). 692 Barrack-room ballads by Rudyard Kipling, introduction by Sue Bradbury, illustrations by Ian Ribbons. 250 × 162 × 12 mm. Pp. [1–4] 5–71 [72]. Type: Scotch Roman with Victoria Titling for display. Printed on white Magnani mould-made paper by the Stamperia Valdonega. Bound by Legatoria Torriani in quarter dark brown cloth, yellow paper boards with a repeat pattern in brown by Ribbons; brown endleaves. Transparent plastic dust-jacket. Issued in the Folio Press Fine Editions series (see item 592). Ribbons’s illustrations consist of 14 drawings, printed in yellow-brown and black in the text. 693 Clarissa, or The history of a young lady comprehending the most important concerns of private life and particularly showing the distresses that may attend the misconduct both of parents and children in relation to marriage, published by the editor of Pamela, Samuel Richardson, edited & with notes by Angus Ross, introduced by Angus Wilson & illustrated by Simon Brett. 251 × 163 × 45 mm. 2 vols (pp. [1–15] 16–780 [781–782]: [13] leaves of two-colour ‘plates’; [1–4] 781–1533 [1534–1536]: [12] leaves of two-colour ‘plates’). Type: Linotype Times New Roman with Garamond and Old Face Open on the title-page. Typeset by BPCC Hazell Books, printed and bound by the Bath Press. Quarter dark blue cloth, green (volume I) or blue-green (volume II) moiré silk boards; grey-green (volume I) or pale grey (volume II) endleaves. Dark green two-volume slip case. The text was first published in parts in 1747 and 1748. Each of Brett’s wood-engravings is printed in black within a grey decorative border. The ‘plate’ facing page 812 has an additional wood-engraving on the verso (facing page 813). The setting of type used for this lengthy text was that made for the Penguin edition, slightly enlarged. ¶ Second printing: 1994. 694 Marlborough, his life and times, by Winston S. Churchill, volume I [–IV], introduction by Maurice Ashley. Typographical design by Peter Guy. 252 × 176 × 36–46 mm. 4 vols (pp. [i–vii] viii–xix [xx], [1] 2–447 [448]: colour lithographic frontispiece, [16] pages of ‘plates’; [i–v] vi–x, [1] 2–463 [464–470]: colour lithographic frontispiece, [16] pages of ‘plates’; [i–v] vi–x, [1] 2–431 [432–438]: colour lithographic frontispiece, [16] pages of ‘plates’; [i–v] vi–x, [1] 2–558: colour lithographic frontispiece, [16] pages of ‘plates’). Type: Ehrhardt. Printed and bound by Butler and Tanner. Full red cloth decorated in gold; pale grey endleaves. Red four-volume slip case with Marlborough’s crest in gold. In each volume the frontispiece was printed separately in colour and inserted, while the remaining ‘plates’ are monochrome and form part of the text gatherings; there are also numerous maps and additional illustrations printed in the text. The ‘plates’ reproduce contemporary portraits, prints and documents. The binding is a pastiche Queen Anne design.

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695 Paradise lost, a poem in twelve books by John Milton, with an introduction by John Wain and illustrations by Ian Pollock. 357 × 266 × 38 mm. Pp. [i–iv] v–xv [xvi], [1–2] 3–304: [18] leaves of colour plates. Type: Bembo with Centaur and Arrighi for display. Typeset by Gloucester Typesetting, printed by Butler and Tanner, the lithographs by Lawrence Allen. Bound by Butler and Tanner in full black buckram with a serpent design in gold by Pollock; dark blue-grey endleaves. Black slip case titled in gold. The typography, illustration and binding combine to make this one of the most satisfying books published by Folio. ¶ [Second impression]: 2003 item 1135. 696 Daphne du Maurier, four Cornish novels. 228 × 148 × 28–37 mm. 4 vols (see below). Type: Garamond. Printed and bound by the Bath Press. Full blue-grey cloth with a design in dark brown and gold by Emma Chichester Clark; pale blue-grey endleaves. Dark brown four-volume slip case titled (as above) in gold. The four volumes are as follows: [1] Daphne du Maurier, Jamaica Inn, illustrations by Emma Chichester Clark, introduction by Raleigh Trevelyan. Pp. [i–vi] vii–xv [xvi], 1–288: [8] leaves of ‘plates’ (facing pp. 14, 43, 89, 143, 185, 228, 249 and 278). [2] Daphne du Maurier, Rebecca, illustrations by Emma Chichester Clark. Pp. [i–vi], 1–430: [10] leaves of ‘plates’ (facing pp. 1, 40, 95, 132, 191, 240, 283, 351, 381 and 411). ¶ Reissued as a single volume [i.e. second impression]: 1997 item 882. [3] Daphne du Maurier, Frenchman’s Creek, illustrations by Emma Chichester Clark. Pp. [i–vi], 1–247 [248–250]: [8] leaves of ‘plates’ (facing pp. 8, 42, 78, 98, 157, 197, 231 and 234). [4] Daphne du Maurier, my cousin Rachel, illustrations by Emma Chichester Clark. Pp. [i–vi], 1–336 [337–338]: [8] leaves of ‘plates’ (facing pp. 21, 77, 129, 161, 205, 241, 267 and 308). 697 Coleridge among the lakes & mountains, from his notebooks, letters and poems 1794–1804, selected and edited by Roger Hudson. Designed by Malcolm Harvey Young. Maps by Denys Baker. 245 × 173 × 23 mm. Pp. [1–7] 8–256. Type: Baskerville. Printed by Jolly and Barber. Bound by the Bath Press in full white cloth lithographed in colour with a painting of Lake Windermere; pale green endleaves. Pale green slip case. The Presentation Volume for 1992. There are 68 illustrations in the text, all but 13 in colour, reproducing contemporary paintings (mostly views of the Lake District), prints and documents. 698 The amateur emigrant & the Silverado squatters, Robert Louis Stevenson, introduction by James Michie. 239 × 159 × 24 mm. Pp. [i–vii] viii–xv [xvi], [1–7] 8–231 [232]: [14] leaves of ‘plates’. Type: Century Schoolbook with Latin Condensed for display. Typeset by Fakenham Photosetting, printed and bound by the Bath Press. Full dark red cloth with a contemporary wood-engraving in black; pale grey endleaves with a map in red by Denys Baker. Black slip case. The ‘plates’ reproduce contemporary photographs and prints; three also have images on the verso. ¶ Second printing: 1993. ¶ Third printing: 1995. 698.5 [Folio series of Hardy’s works: novels]. 6 vols (see below). Printed and bound by the Bath Press. Dark green six-volume slip case with the Folio device in gold. Once the series of Hardy’s works was well under way, the six most popular novels were reprinted and issued together (the only works from the series not to be included at this stage were The woodlanders (1991 item 681) and Wessex tales (1987 item 583)). Each

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time the boxed set was reprinted over the next few years, extra copies of certain novels were ordered, for separate issue. The six volumes are as follows: [1] Far from the madding crowd . . . (1985 item 545, fifth printing 1991). ¶ Sixth printing: 1992. ¶ Seventh printing: 1992. ¶ Eighth printing: 1993. ¶ Ninth printing: 1993. ¶ Tenth printing: 1993. Part of this impression was issued with item 769.5. [2] The life and death of the Mayor of Casterbridge . . . (1968 item 248, ‘fourth printing’ 1991). ¶ Fifth [i.e. sixth] printing: 1992. ¶ Sixth [i.e. seventh] printing: 1992. ¶ Seventh [i.e. eighth] printing: 1993. ¶ Eighth [i.e. ninth] printing: 1993. ¶ Ninth [i.e. tenth] printing: 1993. Part of this impression was issued with item 769.5. [3] The return of the native . . . (1971 item 294, ‘fifth printing’ 1991). ¶ Sixth [i.e. ninth] printing: 1992. ¶ Seventh [i.e. tenth] printing: 1992. ¶ Eighth [i.e. eleventh] printing: 1993. ¶ Ninth [i.e. twelfth] printing: 1993. Part of this impression was issued with item 769.5. ¶ Tenth [i.e. thirteenth] printing: 1993. [4] Tess of the d’Urbervilles . . . (1988 item 607, ‘Reprint [i.e. fourth impression]’ 1991). ¶ Fifth printing: 1991 [i.e. 1992]. ¶ Reprint [i.e. sixth impression]: 1992. ¶ Reprint [i.e. seventh impression]: 1993. ¶ Reprint [i.e. eighth impression]: 1993. Part of this impression was issued with item 769.5. ¶ Reprint [i.e. ninth impression]: 1993. [5] The trumpet-major . . . (1990 item 654, third printing 1991). ¶ Fourth printing: 1992. ¶ Fifth printing: 1992. ¶ Sixth printing: 1993. ¶ Seventh printing: 1993. ¶ Eighth printing: 1993. Part of this impression was issued with item 769.5. [6] Under the greenwood tree . . . (1989 item 629, fourth printing 1991). ¶ Fifth printing: 1992. ¶ Sixth printing: 1992. ¶ Seventh printing: 1993. ¶ Eighth printing: 1993. ¶ Ninth printing: 1993. 699 The pursuit of love, a novel by Nancy Mitford, introduced by Hugo Vickers, illustrated by Roland Pym. 222 × 143 × 23 mm. Pp. [i–vi] vii–xv [xvi], 1–202 [203–206]: [13] leaves of ‘plates’. Type: Goudy Old Style. Typeset by Speedspools, printed and bound by Cambridge University Press. Full white cloth with an illustration in colour by Pym; lilac endleaves. Pale green slip case. In addition to the ‘plates’ (one of which also has an illustration on the verso), there are nine small drawings in the text and a frontispiece. Love in a cold climate was published in a uniform style in 1992 (item 721). ¶ Second printing: 1992. ¶ Third printing: 1993. ¶ Fourth printing: 1995. ¶ Fifth printing: 2009, printed and bound by T.J. International. Grey slip case. 700 Anthony Trollope, the Duke’s children, introduction by Roy Jenkins, illustrations by Llewellyn Thomas. 227 × 150 × 37 mm. Pp. [1–2], [i–iv] v–xix [xx], 1–565 [566–570]: [16] leaves of ‘plates’. Type: Bell. Typeset

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by Speedspools, printed and bound by the Bath Press. Quarter dark purple series binding (see item 632), pale blue paper boards with the border in purple; pale blue endleaves. Pale grey slip case. The text was first published in All the year round between October 1879 and July 1880, and in book form when part publication was complete. ¶ Second printing: 1993. Part of this impression was issued with two other Palliser novels as item 769. ¶ Third printing: 1998, with a dark blue slip case. 701 Anthony Trollope, the Belton estate, introduction by David Skilton, illustrations by Alexy Pendle. 228 × 149 × 32 mm. Pp. [i–iv] v–xix [xx], 1–365 [366]: [15] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter dark green series binding (see item 632), pale green paper boards with the border in dark green; pale green endleaves. Pale brown slip case. The text was first published in The fortnightly review between May 1865 and January 1866, and in book form in late 1865. ¶ Second printing: 1999, with a dark green slip case. 702 Charlotte, Emily + Anne Brontë, the complete novels, illustrated with wood-engravings. Reissued with new illustrations [i.e. another impression]. 227 × 150 × 18–38 mm. 7 vols (see below). Type: Scotch Roman with Bodoni for display. Printed and bound by the Bath Press. Full green moiré silk; pale green endleaves. Seven-volume slip case covered with green moiré silk and titled (as above) in gold. Each of the volumes in this collection is a reprint of Folio’s earlier editions, published between 1964 and 1970, with the text ‘cut and pasted’ around a new series of wood-engravings. The bibliographical history of the set is very complicated because Jane Eyre and Wuthering Heights, the two most popular of the novels, were also issued together in a two-volume slip case in 1995 and again in 1997 in a second edition (see items 827 and 878), and these volumes were also available separately in separate slip cases at various times (items 828, 829, 931 and 932). The green silk used for the bindings fades in sunlight to a pale grey-green. The seven volumes are as follows: [1] Charlotte Brontë, Shirley, wood-engravings by Howard Phipps. Pp. [1–6] 7–508. There are nine wood-engravings printed in the text. For the first impression of 1968 see item 259. [2] Charlotte Brontë, Villette, wood-engravings by Peter Reddick. Pp. [3–6] 7–450. There are 11 wood-engravings printed in the text. For the first impression of 1967 see item 243. [3] Emily Brontë, Wuthering Heights, wood-engravings by Peter Forster. Pp. [3–6] 7–293. There are 28 wood-engravings, four used twice, and two used thrice (sometimes with minor modifications). The frontispiece is inspired by the only known portrait of Emily, painted by her brother Branwell. For the first impression of 1964 see item 191. [4] Anne Brontë, the tenant of Wildfell Hall, wood-engravings by Ian Stephens. Pp. [5–8] 9–385 [386–388]. There are 16 wood-engravings printed in the text. For the first impression of 1966 see item 225. [5] Charlotte Brontë, Jane Eyre, wood-engravings by Simon Brett. Pp. [3–6] 7–436 [437–438]. There are 29 wood-engravings by Brett, and one by Thomas Bewick printed in the text. For the first impression of 1965 see item 203. [6] Anne Brontë, Agnes Grey, wood-engravings by Harry Brockway. Pp. [5–8] 9–172. There are 14 wood-engravings printed in the text. For the first impression of 1969 see item 262.

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[7] Charlotte Brontë, the professor, wood-engravings by George Tute. Pp. [3–6] 7–226. There are 12 wood-engravings printed in the text. For the first impression of 1970 see item 276. ¶ Reissued, second [i.e. another] printing: 1991 (not seen). ¶ Reissued, third [i.e. another] printing: 1993. ¶ Reissued, fourth [i.e. another] printing: 1993 (not seen). ¶ Reissued, fifth [i.e. another] printing: 1995. ¶ Reissued, sixth [i.e. another] printing: 1996. Extra copies of volumes [3] and [5] were printed for items 827–829. ¶ Reissued, seventh [i.e. another] printing: 1997. This new impression of the work includes five straight reprints, along with second printings of the second editions of Jane Eyre and Wuthering Heights (see item 878). ¶ Reissued, eighth [i.e. another] printing: 1998, printed and bound by T.J. International. This impression includes five straight reprints, along with fourth printings of the second editions of Jane Eyre and Wuthering Heights (see items 878, 931 and 932). ¶ Reissued, ninth [i.e. another] printing: 2004 (not seen), printed by the Saint Edmundsbury Press. Bound by Cambridge University Press. This impression consists of five straight reprints, along with fifth printings of the second editions of Jane Eyre and Wuthering Heights, although these were misnumbered as ‘ninth’ printings (see items 878, 931 and 932). ¶ Tenth printing [of volumes [3] and [5]]: 2006 items 931 and 932. 703 Edward Gibbon’s atlas of the world, introduction and commentary by Felipe Fernández-Armesto, modern maps and index gazetteer by Andrew Heritage and P.J.M. Geelan. Designed by Tracy Evener (with in-house adaptations). 348 × 262 × 18 mm. Pp. [1–4] 5–51 [52–56] 57–69 [70–75] 76–116 [117–120]. Type: Poliphilus and Blado. Printed and bound by Butler and Tanner. Full dark blue buckram decorated in gold; blue-grey endleaves printed in dark blue. Dark blue slip case. The work contains 28 monochrome reproductions of antique maps known to have been available to Gibbon, and 23 new maps specially prepared for this work to illustrate Gibbon’s Decline and fall . . . (see item 510). There are also 13 other illustrations, including the frontispiece and title-page vignette. The endleaves reproduce a Dutch etching of the interior of a map-seller’s shop of 1730, incorporating a large figure of Atlas. ¶ Second printing: 1995. 704 Edward Holmes, the life of Mozart, including his correspondence, edited, with an introduction and additional notes by Christopher Hogwood. Typographical design by Bernard Roberts. 251 × 160 × 29 mm. Pp. [i–vii] viii–xxxi [xxxii–xxxiv], [1] 2–318: [24] pages of plates. Type: Garamond. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter dark red cloth, blue cloth boards with a silhouette of Mozart in red and gold; endleaves printed in brown. Dark red slip case. The ‘plates’ reproduce contemporary prints and paintings; in addition there is a map on page [xxxiv], and various staves of music printed in the text. The endleaves reproduce part of Mozart’s manuscript of the C Minor Piano Concerto of 1786. The text follows the first edition of 1845 with only minor additions. ¶ Second printing: 1992. ¶ Third printing: 1994. ¶ Fourth printing: 1997. ¶ Fifth printing: 2004. 705 Just so stories for little children by Rudyard Kipling, illustrated by the author. 239 × 159 × 21 mm. Pp. [1–4] 5–189 [190–192]. Type: Plantin with Windsor for display. Typeset by Wyvern Typesetting, printed and bound by the Bath Press. Full yellow-brown cloth with a design in dark brown and gold based on one of Kipling’s illustrations; pale yellow endleaves. Brown slip case. The author’s illustrations are reproduced from the original drawings now in the British Library. The text follows that of the first edition of 1902, with the addition of an extra story, ‘The tabu tale’, which had previously appeared only in American editions. This work was published jointly with the British Library, and some copies bear their imprint on the title-page. A series of editions of Kipling’s stories and poems was published by Folio between 1991 and 1996, with

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similar, if not exactly uniform, typography and binding (see also items 731, 832–835, 840, 871 and 872). Seven volumes from the series were later published together (see items 843 and 844). ¶ Second printing: 1992. ¶ Third printing: 1993. ¶ Fourth printing: 1994. ¶ Reprinted [i.e. fifth impression]: 1994, published by the British Library, as the first reprint of their ‘edition’ of the work. ¶ Fifth [i.e. sixth] printing: 1996. Part of this impression was issued with items 843 and 844. ¶ Seventh–tenth printing: 2002– 2005 item 1119, issued with The jungle book. 706 Alfred Lord Tennyson, the lady of Shalott, [wood-] engravings by Howard Phipps. 116 × 83 × 8 mm. Pp. [1–32]. Type: Ehrhardt. Typeset by Gloucester Typesetting, printed by the Bath Press. Bound by Hunter and Foulis in full dark red artificial moiré silk, lettered in gold on a black panel; dark red endleaves with a repeat pattern in gold by Phipps. Gold slip case. There are five small wood-engravings by Phipps. This was the first of a new series of miniature poetry books, each illustrated with wood-engravings, and with a typographical border on the title-page. They were issued in a uniform binding of artificial moiré silk, with patterned endleaves and a gold slip case. For others in the series see items 732, 763, 791, 815, 859 and 901. ¶ Second printing: 1993. 707 Woman in white, poems by Emily Dickinson, selected, edited and with an introduction by J.D. McClatchy, with wood-engravings by Jane Lydbury. Typographical design by Bernard Roberts. 250 × 161 × 11 mm. Pp. [i–iv] v–xi [xii], 1–63 [64]. Type: Centaur and Arrighi with Dante for display. Printed on white Magnani mould-made paper by the Stamperia Valdonega. Bound by Legatoria Torriani in quarter dark green cloth, cream paper boards with a wood-engraved repeat pattern in green by Lydbury; dark green endleaves. Transparent plastic dust-jacket. Issued in the Folio Press Fine Editions series (see item 592). This title was, like the others in the 1991 series, originally planned for the summer (see items 690–692). However, last-minute copyright problems with some of the poems chosen meant that others had to be substituted, and the scheme of the wood-engravings altered, so that the printing was not completed until October, and copies were not bound and distributed until December. This was the last book in the Fine Editions series. Although the 20 titles published were among the most carefully designed, with all the beauty and mystical aura of private press books, the series had not proved popular enough with the members to justify its continuation. Instead, some of the more successful Folio books were offered in special bindings (see items 734, 737, 745, 749, 764, 787, 809, 813, 914 and 925). 708 Plato, symposium, translated by Tom Griffith, introduction by Anthony Quinton, illustrated by Tom Phillips. 280 × 174 × 16 mm. Pp. [i–iv] v–xxi [xxii–xxiv], 1–66 [67–72]: [10] leaves of colour plates (facing pp. [iii], 1, 8, 16, 25, 33, 40, 48, 57 and [67]). Type: Poliphilus and Blado with title lettering drawn by Phillips. Printed and bound by Butler and Tanner. Full dark brown cloth with a design in pale brown by Phillips; pale yellow endleaves. Pale brown slip case. The final plate is reinterpreted by Phillips as the binding design, and both are based on a series of photographs by Eadweard Muybridge. The proportions of the book are those of the ‘golden section’, which also underlies the composition of the illustrations. ¶ Second printing: 1992.

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1992 709 Jude the obscure by Thomas Hardy [quotation], introduction by Samuel Hynes, wood-engravings by Peter Reddick. 227 × 150 × 32 mm. Pp. [1–2], [i–vi] vii–xxiii [xxiv], [1–2] 3–402 [403–406]. Type: Baskerville. Typeset by Fakenham Photosetting, printed and bound by the Bath Press. Full grey series binding decorated in black (see item 248); pale grey endleaves with the map in black. Black slip case. The book contains 18 wood-engravings by Reddick, including the frontispiece. ¶ Second printing: 1993. ¶ Third printing: 1994, with a grey slip case. ¶ Fourth printing: 1997. Part of this impression was issued with item 896. 710 Columbus on himself, Felipe Fernández-Armesto. Typographical design by Sebastian Carter. 250 × 161 × 26 mm. Pp. [i–ii], [1–8] 9–279 [280–284]: [12] pages of colour plates, [10] leaves of monochrome ‘plates’. Type: Sabon and Sabon Bold with title lettering drawn by Carter. Typeset by Goodfellow and Egan, printed (with the title-page in red and black) and bound by the Bath Press. Full white cloth with a contemporary map in colour; dark green endleaves. Pale yellow slip case. The ‘plates’ reproduce contemporary documents, paintings, woodcuts, etchings and maps. The text is drawn from Columbus’s diaries and log-books. 711 Short stories from the ‘Strand’, selected by Geraldine Beare, introduction by Frank Delaney, illustrations by David Eccles. 240 × 160 × 33 mm. Pp. [i–vi] vii–xviii, [1–2] 3–180. Type: Ehrhardt with Gill Shadow for display. Typeset by Fakenham Photosetting, printed and bound by the Bath Press. Full grey-brown series binding (see item 684) with a different design by Eccles. There are 25 stories, originally published in the Strand magazine between 1895 and 1948, each illustrated with a full-page drawing; there are also three smaller drawings, and a frontispiece, all by Eccles. ¶ Second printing: 1993. ¶ Third printing: 1995. 712 The Folio anthology of humour, preface by P.G. Wodehouse. Designed by Malcolm Harvey Young. 251 × 162 × 33 mm. Pp. [1–6] 7–400. Type: Bembo with Gill Sans for display. Typeset by Fakenham Photosetting, printed and bound by the Bath Press. Full yellow cloth with a design in green, red and black by Young; yellow endleaves. Green slip case. There are 35 humorous pieces in the book, selected from Wodehouse’s collection A century of humour (1935) and from A second century of humour (1936). The title is printed across a double-page spread. For other ‘Folio anthologies’ see items 656 and 781. ¶ Second printing: 2007, printed and bound by Cambridge University Press. Red slip case. ¶ Third printing: 2008. 713 The goodman of Paris (le ménagier de Paris), a treatise on moral and domestic economy by a citizen of Paris, c. 1393, translated and with an introduction and notes by Eileen Power. Typographical design by Bernard Roberts. 251 × 176 × 38 mm. Pp. [i–vii] viii–xiv, 1–238 [239–242]: [10] leaves of colour plates (facing pp. [iii], 35, 50, 67, 82, 83, 98, 115, 130, 131, 146, 147 and 179). Type: Caslon. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Full green cloth, colour-printed cover-label; pale green endleaves. Pale brown slip case. The plates mostly reproduce miniatures from French medieval manuscripts, with a further

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reproduction used as the cover-label. The frontispiece shows van Eyck’s ‘Arnolfini wedding’. Three of the plates are printed both recto and verso. ¶ Second printing: 1993, with a brown slip case. 714 Anthony Trollope, the three clerks, introduction by N. John Hall, illustrations by Patrick Benson. 227 × 152 × 34 mm. Pp. [i–iv] v–xix [xx], 1–539 [540]: [16] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter blue series binding (see item 632), pale blue paper boards with the border in blue; pale blue endleaves. Dark blue slip case. The text was first published in 1858. ¶ Second printing: 1999, with a blue slip case. 715 Anthony Trollope, the way we live now, introduction by Noel Annan, illustrations by Francis Mosley. 227 × 150 × 49 mm. Pp. [i–iv] v–xx, 1–844: [16] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter dark red series binding (see item 632), purple-pink paper boards with the border in dark red; purple-pink endleaves. Purple-pink slip case. The text was first published in parts between February 1874 and September 1875, and in book form in mid-1875. ¶ Second printing: 1999 (not seen). 716 [Folio series of Hardy’s works: romances and fantasies]. 227 × 147 × 23–27 mm. 3 vols (see below). Type: Baskerville. Typeset by Fakenham Photosetting, printed and bound by the Bath Press. Full red series binding decorated in dark red (see item 248); pale grey or red endleaves with the map in black. Dark red three-volume slip case with the Folio device in gold. At this point the decision was made to speed up publication of the series of Hardy’s works, which had begun in 1968 with The Mayor of Casterbridge (item 248), by publishing the remaining texts in groups of three. In each case the three volumes were to be bound in different shades of the same colour cloth, and issued together in a three-volume slip case (see also items 744 and 773). The present group of novels was described in the prospectus for the series as the ‘Romances and fantasies’. The three volumes are as follows: [1] A pair of blue eyes by Thomas Hardy [quotation], introduction by James Gibson, wood-engravings by Peter Reddick. Pp. [i–iv] v–xii [xiii–xiv], 1–373 [374–378]. Dark red cloth. In addition to the frontispiece there are 12 wood-engraved vignettes, eight appearing twice and two thrice. [2] The well-beloved, a sketch of a temperament by Thomas Hardy [quotation], introduction by James Gibson, wood-engravings by Peter Reddick. Edited by Tom Hetherington. Pp. [i–vi] vii–xiv, [1–2] 3–239 [240–242]. Pale red-brown cloth. In addition to the frontispiece there are ten wood-engraved vignettes, five of which appear twice, two thrice, and one four times. [3] Two on a tower by Thomas Hardy [quotation], introduction by James Gibson, wood-engravings by Peter Reddick. Pp. [i–iv] v–xii, 1–273 [274–276]. Red cloth. In addition to the frontispiece there are 14 wood-engraved vignettes, three of which appear twice, four thrice, and one four times. ¶ Second printing: 1993. ¶ Third printing: 1995. 717 Erskine Childers, the riddle of the sands, introduction by Maldwin Drummond, illustrations by Daniel Whistler. 240 × 161 × 31 mm. Pp. [1–4] 5–296: [11] leaves of ‘plates’. Type: Bembo. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Full orange-red cloth with a design in black and gold by Whistler; pale

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brown endleaves with map in brown. Dark brown slip case. In addition to the ‘plates’ there are 28 head-pieces by Whistler and an illustration on the title-spread. There are also maps on pages [17], [18] and 215 as well as on the endleaves. The implausible statement on the verso of the title-leaf that the binding is in ‘Egyptian cotton sailcloth’ is, in fact, true; the cloth was purchased from an Egyptian supplier, and was dyed in England to be as close as possible in colour to the sailcloth (coloured with red lead) seen on barges in the Baltic. The book was among the most successful of the period, with its subtle pencil drawings by Whistler, and striking binding design. ¶ Second printing: 1993, bound using a more conventional bookcloth. ¶ Third printing: 1995. ¶ Reissued, fourth printing: 2008. Printed and bound by L.E.G.O. Now bound in dark orange cloth with a different design by Whistler in pale and dark blues; pale blue endleaves with the map in blue. Blue slip case. Selected by Bill Bryson as his ‘Castaway’s Choice’. ¶ Fifth printing: 2009. ¶ Sixth printing: 2009. 718 Three men in a boat, Jerome K. Jerome, illustrated by Paul Cox. 260 × 192 × 23 mm. Pp. [1–8] 9–215 [216]. Type: Bembo with hand-drawn lettering for the title. Printed by Richard Clay. Bound by the Bath Press in full cream cloth with a design in dark red and gold by Cox; colour-printed endleaves. Red slip case. The work was first published by Folio in 1964 (item 202). The present edition is a reprint, with Folio imprint, of the edition published by Pavilion books in 1989 to mark the centenary of the work. There are 85 colour illustrations by Cox printed in the text and on the endleaves. The binding design was specially produced for Folio. ¶ Second printing: 1993. ¶ Third printing (not seen). ¶ Fourth printing (not seen). ¶ Fifth printing: 2007, the dimensions now 260 × 195 × 25 mm. Printed and bound by Firmengruppe APPL. ¶ Sixth printing: 2008. ¶ Seventh printing: 2017, with the spine redesigned. Now printed by C & C Offset and bound by them in pale blue-green cloth printed in blue and blocked in silver. Blue slip case. 719 My life & times by Jerome K. Jerome, introduction by Joseph Connolly. 240 × 160 × 25 mm. Pp. [i–vii] viii–xvi, [1] 2–223 [224]: [16] pages of plates. Type: Plantin Light. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Full pale brown cloth with a bicycle design in dark brown; pale yellow endleaves. Dark red-brown slip case. The plates reproduce contemporary photographs of Jerome, his haunts and members of his literary circle. ¶ Second printing: 1993. ¶ Third printing: 1995. 720 Mervyn Peake [the Gormenghast trilogy]. 252 × 180 × 23–35 mm. 3 vols (see below). Type: Ehrhardt with Sculptura for the titles. Typeset by Fakenham Photosetting, printed and bound by the Bath Press. Full white cloth with a design in black by Peter Harding; dark red endleaves. Dark red and black three-volume slip case titled (as above) in black. The title-spreads were set in Sculptura, and the lettering was then ‘distressed’ by various means to give it a battered and freckled look; each title-spread also bears an illustrative capital by Harding. This edition was praised by the journal Peake studies, which described it as ‘the finest edition of the books yet produced, and a must for admirers of the Titus books’ (see Peake studies, 3:i, p. [21]). The three volumes are as follows: [1] Mervyn Peake, Titus Groan, introduction by Michael Moorcock, illustrations by Peter Harding. Pp. [i–viii] ix–xviii [xix–xx], 1–422 [423–428]. There are 66 drawings printed in the text, 24 full-page, three double-page and the remainder half-page.

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[2] Mervyn Peake, Gormenghast, illustrations by Peter Harding. Pp. [i–vi], 1–444 [445–450]. There are 73 drawings printed in the text, 31 full-page, four double-page and the remainder half-page. [3] Mervyn Peake, Titus alone, illustrations by Peter Harding. Pp. [i–iv] v–vii [viii], 1–246 [247–248]. There are 53 drawings printed in the text, 26 full-page, four double-page, 22 half-page and one vignette. ¶ Second printing: 2000, with the spine and slip case redesigned. This new impression was produced to meet demand generated by a BBC television adaptation of the first two Titus books in early 2000. ¶ Third printing: 2011, the dimensions now 252 × 182 × 27–37 mm. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. 721 Love in a cold climate, a novel by Nancy Mitford, introduced by Pauline Tennant, illustrated by Roland Pym. 222 × 143 × 24 mm. Pp. [i–vi] vii–xiv, [1–2] 3–241 [242]: [16] leaves of ‘plates’. Type: Goudy Old Style. Typeset by Speedspools, printed and bound by Cambridge University Press. Full white cloth with an illustration in colour by Pym; pale blue endleaves. Grey-green slip case. In addition to the ‘plates’ there are 17 smaller illustrations printed in the text, and a frontispiece. The pursuit of love had been published in a uniform style in 1991 (item 699). ¶ Second printing: 1993. ¶ Third printing: 1995, with a grey slip case. ¶ Fourth printing (not seen). ¶ Fifth printing: 2009. Printed and bound by T.J. International. 722 Pax Britannica, Jan Morris. Typographical design by Sebastian Carter. 238 × 162 × 34–40 mm. 3 vols (see below). Type: Ehrhardt with New Clarendon and Thorne Shaded for display. Typeset by Selwood Systems, printed and bound by the Bath Press. Full blue buckram with a Victorian sovereign design in gold and blind; endleaves printed in colour. Black three-volume slip case with colour-printed panels bearing the title (as above). The half-titles also bear the general title ‘The pax Britannica trilogy’ and the volume number. The plates mostly reproduce nineteenth- and early twentieth-century prints, paintings and photographs. The three volumes are as follows: I Jan Morris, heaven’s command, an imperial progress. Pp. [i–vi] vii–xvi [xvii–xviii], [1–2] 3–470: [32] pages of plates. II Jan Morris, Pax Britannica, the climax of an empire. Pp. [i–vi] vii–xii [xiii–xiv], 1–408 [409–410]: [32] pages of plates. III Jan Morris, farewell the trumpets, an imperial retreat. Pp. [i–vi] vii–xii [xiii–xiv], [1–2] 3–482: [32] pages of plates. ¶ Second printing: 1992. ¶ Third printing: 1993. ¶ Fourth printing: 1993. ¶ Fifth printing: 1995. ¶ Sixth printing: 2010, the dimensions now 240 × 163 × 40–42 mm. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. 723 The diary of a country parson, the Revd James Woodforde, selected by David Hughes, [wood-] engravings by Ian Stephens. 204 × 143 × 34 mm. Pp. [i–vi] vii–xviii, 1–445 [446]. Type: Baskerville with Fry’s Baskerville for display. Typeset by Gloucester Typesetting, printed and bound by Butler and Tanner. Quarter dark blue buckram, Ann Muir marbled paper boards; dark red endleaves. White slip case. There are 24 wood-engravings printed in the text, including the frontispiece. In addition there are six tail-pieces, one used twice and five used thrice. With this work Folio began a series of eighteenth- and nineteenth-century memoirs and diaries,

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all illustrated with wood-engravings and bound in a uniform style. For others in the series see items 772, 811, 846, 884, 938. ¶ Second printing: 1993. ¶ Third printing: 1994, bound in quarter black buckram. Dark red slip case. ¶ Fourth printing: 1996. ¶ Fifth printing: 1998, printed and bound by the Bath Press. ¶ Sixth printing: 1999, bound in quarter dark blue buckram. ¶ Seventh printing: 2015. Printed by Memminger MedienCentrum. Bound by Josef Spinner. Marbled paper boards now by Jemma Lewis. 724 Herodotus, the histories, translated from the text of [Johann Christian Felix] Baehr by Henry Cary, edited and annotated by Dr Chris Scarre, with maps and geographical concordance by Andrew Heritage and P.J.M. Geelan. Add itional illustrations by Coral Mula. Maps by Denys Baker. Index by Janet Smy. Designed by Malcolm Harvey Young. 252 × 175 × 47 mm. Pp. [i–v] vi–xxi [xxii], [1–2] 3–631 [632–634]: [48] pages of ‘plates’. Type: Photina. Printed by Butler and Tanner. Bound by Hunter and Foulis in quarter dark red artificial leather, red cloth boards with a Greek vase design in black; pale orange endleaves with a map in dark brown. Dark brown slip case. The ‘plates’ reproduce etchings and wood-engravings from the eighteenth and nineteenth centuries, with new maps, drawings and photographs commissioned by Folio. This was the first title in a series of Classical and mythological texts, all published in a uniform style (see also items 756, 790, 812, 853, 858, 954, 957, 987, 1039, 1072, 1107, 1155, 1195, 1252 and 1308). ¶ Second printing: 1993. ¶ Third printing: 1996, printed and bound by the Bath Press; cream endleaves. 725 Perfect and imperfect enjoyments: poems by John Wilmot, Earl of Rochester, with an introduction by Christopher Hibbert and illustrated with paintings by Richard Shirley Smith. Folio Press. 310 × 214 × 19 mm. Pp. [1–6] 7–109 [110–112]: [8] leaves of colour plates (facing pp. [3], 19, 30, 52, 70, 89, 95 and 96). Type: Garamond. Printed on white Magnani mould-made paper by the Stamperia Valdonega, the lithographs by the Senecio Press. Bound by the Fine Bindery in quarter dark red morocco, Cockerell marbled paper boards; dark green endleaves. Dark green clamshell box, cover-label. There is a colophon on page [111] stating that 500 numbered copies were printed of which ‘450 copies are quarter bound . . . and 50 special copies are bound in full vellum with a separate portfolio of illustrations . . .’ In addition to the 500 numbered copies, 40 additional lettered copies (35 standards and five specials) were printed and bound for private distribution by Folio. The special copies are contained in a dark brown cloth-covered clamshell box, with the extra suite of plates in a dark brown card portfolio. The labels for the boxes were printed by the Libanus Press. This is a beautifully designed and bound edition, only let down by poor inking, which has rendered some pages grey and webby. Some copies also suffered from a problem with the ‘gold’ leaf of the spine-lettering, which turned green after a while when it reacted badly with the leather. A small number of copies were returned to the binder and rebound, but many deteriorated after they had been distributed. 726 Bestiary, being an English version of the Bodleian Library, Oxford M.S. Bodley 764, with all the original miniatures reproduced in facsimile. Translated and introduced by Richard Barber. 275 × 176 × 21 mm. Pp. [1–6] 7–205 [206–208]. Type: Monophoto Photina with title lettering drawn by Sebastian Carter. Typeset by Selwood Systems, printed and bound by Butler and Tanner. Quarter dark blue buckram, cream paper boards decorated in colour; dark blue endleaves. Dark blue slip case. The Presentation Volume for 1993. There are 135 reproductions of illuminations printed in the text, with two repeated on the boards. In addition, there is a large illuminated capital ‘B’ on the title-page, also used on page 23. The illustrations are placed in exactly the same positions on the page as they are in the original manuscript, which necessitated considerable juggling of the text to make it fill the spaces between them. Two hundred sets of unbound sheets were supplied to Designer Bookbinders, who had chosen this work for their 1993 competition. A trade impression was published by Boydell and Brewer.

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727 A short history of the English people, John Richard Green, edited and with an introduction by Roger Hudson. Typographical design by Bernard Roberts. 252 × 174 × 58 mm. Pp. [i–v] vi–xliv, [1] 2–878 [879–882]: [42] leaves of ‘plates’. Type: Ehrhardt. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Full dark green buckram with a design of decorative rules in gold by Malcolm Harvey Young; pale brown endleaves. Dark brown slip case. The work was originally published in 1874. The ‘plates’ reproduce etchings, engravings, and paintings, mostly of the eighteenth and nineteenth centuries, as well as five maps drawn for the present edition. ¶ Second printing: 1993. 728 Śakuntalā by Kālidāsa, translated by Michael Coulson, with the story of Śakuntalā from the Mahā-bhārata, translated by Peter Khoroche, Śakuntalā, Abanindranath Tagore, translated by William Radice, Śakuntalā, a tale retold in Pahari miniatures by Daljeet Khare, National Museum of India, introduction by William Radice. Typographical design by Bernard Roberts. 252 × 193 × 20 mm. Pp. [i–vii] viii–xv [xvi], [1–5] 6–103 [104–109] 110–123 [124–129] 130–150 [151–152]: XII pages of colour plates (between pp. [143–144]). Type: Garamond. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Full blue-green artificial moiré silk; pale pink endleaves. Dark blue slip case. The plates reproduce 12 of a series of 54 nineteenth-century Indian paintings depicting scenes from the story. The main text of the book is a translation of Kālidāsa’s play, probably written during the late fourth or early fifth century. This is followed by prose translations of the earlier version of the tale which appears in the Mahabharata, and of Abanindranath Tagore’s Bengali version, first published in 1895; the two prose versions are here published in new translations, while the play is in Coulson’s English version of 1981. 729 Anthony Trollope, Sir Harry Hotspur of Humblethwaite, introduction by Sue Bradbury, illustrations by Peter Brookes. 228 × 149 × 23 mm. Pp. [1–2], [i–iv] v–xxii, 1–172 [173–178]: [11] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter red series binding (see item 632), pale orange paper boards with the border in red; pale orange endleaves. Red slip case. The text was first published in Macmillan’s magazine between May and December 1879, and in book form in the same year. ¶ Second printing: 1999. 730 Anthony Trollope, the Kellys and the O’Kellys, or Landlords and tenants, introduction by Terence de Vere White, illustrations by Alexy Pendle. 228 × 150 × 32 mm. Pp. [i–iv] v–xvi, 1–424: [16] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter green series binding (see item 632), cream paper boards with the border in green; cream endleaves. Green slip case. The text was first published in three volumes in 1848. ¶ Second printing: 1994. 731 The jungle book by Rudyard Kipling, illustrated in colour by Maurice and Edward Detmold. 251 × 192 × 21 mm. Pp. [1–8] 9–191 [192]: [22] pages of colour plates. Type: Plantin with Windsor for display. Typeset by Faken ham Photosetting, printed and bound by the Bath Press. Full green cloth with a design in black and gold; pale yellow endleaves. Dark green slip case. Number 10 in ‘The Folio fifty’ (see item 8). The text was first published in 1894, and the Detmold illustrations were first used in 1908. An erratum slip was printed for the second impression in 1994, noting that the copyright of the colour plates lay with Macmillan; this information was included on the verso of the title-leaf in subsequent impressions. The second jungle book was published in a uniform style in 1994 (item 786), and the two fit into Folio’s series of Kipling’s works (see item 705).

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¶ Second printing: 1994, with an erratum slip (see above). ¶ Third printing: 1995. ¶ Third printing reissued [i.e. fourth impression]: 1996, with the title-page reset to read The jungle book by Rudyard Kipling, illustrated by Maurice and Edward Detmold. 241 × 161 × 22 mm. Printed and bound by Butler and Tanner. Full orange-brown cloth with a different cover-illustration. Printed in a reduced format to match the other books in the Kipling series; some of the plates are reduced in size, and the margins of the text pages have been trimmed. Part of this impression was issued with other works by Kipling as items 843 and 844. ¶ Fifth printing: 1997. ¶ Sixth–ninth printing: 2002–2004 item 1119, issued with Just so stories. 732 Robert Browning, the pied piper of Hamelin, [wood-] engravings by John Lawrence. 116 × 85 × 7 mm. Pp. [1–32]. Type: Blado. Typeset by Gloucester Typesetting, printed by the Bath Press. Bound by Hunter and Foulis in dark brown series binding (see item 706); dark red endleaves. There are six small wood-engravings by Lawrence printed in the text. A problem with blocking the cover decoration meant that the first copies were delivered in October 1992, while the remainder were bound later, using a different brass, and were not completed until December. 733 Four mysteries, Wilkie Collins. 240 × 160 × 34–45 mm. 4 vols (see below). Type: Ehrhardt with Gill Shadow and Old Style Grotesque for display. Typeset by Fakenham Photosetting, printed and bound by the Bath Press. Full green buckram with a Victorian pastiche design in black and gold by Jonathan Hitchen; cream endleaves. Green four-volume slip case decorated and titled (as above) in gold. The moonstone and The woman in white had already been published by Folio, in 1951 (item 32) and 1956 (item 88) respectively. The four volumes are as follows: [1] Wilkie Collins, the woman in white, introduced by Ruth Rendell, illustrated by Alexy Pendle. Pp. [i–iv] v–xiii [xiv], [1–8] 9–521 [522]: [12] leaves of ‘plates’. ¶ Second–third printing: 2004–2005 item 1213. [2] Wilkie Collins, no name, introduced by Kenneth Robinson, illustrated by Alexy Pendle. Pp. [i–iv] v–xii, [1–6] 7–583 [584–588]: [12] leaves of ‘plates’. [3] Wilkie Collins, Armadale, introduced by Tim Heald, illustrated by Alexy Pendle. Pp. [1–2], [i–iv] v–xii, [1–6] 7–629 [630–634]: [12] leaves of ‘plates’. [4] Wilkie Collins, the moonstone, introduced by P.D. James, illustrated by Alexy Pendle. Pp. [i–iv] v–xiv, [1–8] 9–425 [426]: [12] leaves of ‘plates’. 734 J.M. Barrie, Peter Pan, or The boy who would not grow up, introduction by Andrew Birkin, illustrations by Paula Rego. Typographical design by Malcolm Harvey Young. 279 × 183 × 19 mm. Pp. [i–viii] ix–xxx, 1–106: [11] leaves of colour plates. Type: Galliard. Typeset by Wyvern Typesetting, printed and bound by the Bath Press. Full blue buckram with a design in silver by Rego; cream endleaves. Blue slip case. Four of the plates are printed both recto and verso. This is the dramatic version of Peter Pan, which was written and first performed in 1904, and first published in 1928. The book was published in conjunction with the Great Ormond Street Hospital for Sick Children, to which Barrie bequeathed his copyright. One hundred and twenty numbered copies, signed by Rego, were also issued, with a colophon on an extra leaf inserted after page 106. These copies were bound by the Fine Bindery in quarter blue morocco with Ann Muir marbled paper on the boards, orange endleaves and an orange slip case. A few lettered copies (probably around 25) were also issued in this form, for private distribution by Folio.

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735 The scarlet letter by Nathaniel Hawthorne, introduced by Russell Banks, woodcuts by David Frampton. 228 × 150 × 24 mm. Pp. [1–7] 8–252 [253–256]. Type: Scotch Roman. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Full grey-black linen with a design in red and gold by Frampton; red endleaves. Black slip case. There are 17 half-page woodcuts, the frontispiece being repeated on the front board. ¶ Second printing: 1993. ¶ Third printing: 1995. ¶ Fourth printing: 2007, printed and bound by Cambridge University Press. 736 William Blake, songs of innocence & of experience, introduction by Richard Holmes. 162 × 109 × 16 mm. Pp. [i– iv] v–xviii, [1–110]. Type: Bulmer. Typeset by Gloucester Typesetting, printed by Balding and Mansell. Bound by Hunter and Foulis in full dark red buckram with a design in gold based on Blake’s title-leaf; lilac endleaves. Dark red slip case. The bulk of the text consists of colour reproductions of the 54 leaves of Blake’s original etched edition of 1794, printed on the rectos, with the same text set in roman type on the facing versos. The edition was based on a facsimile published by the Tate Gallery. ¶ Second printing: 1993. ¶ Third printing: 1994. ¶ Fourth printing: 1996. ¶ Fifth printing: 1997 [i.e. 1998], printed by Barwell Colour Print on a white paper. ¶ Sixth printing: 2006, printed by the Amadeus Press. Bound by Hunter and Foulis; flecked white endleaves. Part of this impression was published by the Tate Gallery. ¶ Seventh printing (not seen). ¶ Eighth printing: 2008. No slip case. ¶ Ninth printing: 2009. ¶ Tenth printing (not seen). ¶ Eleventh printing (not seen). ¶ Twelfth printing: 2010. ‘Re-set’ by Stormcreative Publishing Ltd. ¶ Thirteenth printing: 2015. Bound by T.J. International. 737 Of gods and men by Frederic Raphael, with paintings by Sarah Raphael. 280 × 187 × 19 mm. Pp. [1–11] 12–174 [175–176]: [8] leaves of colour plates (facing pp. [3], 33, 48, 80, 97, 129, 144 and 168). Type: Poliphilus and Blado with title lettering drawn by John Andrew. Typeset by Selwood Systems, printed and bound by Butler and Tanner. Quarter black cloth, white paper boards with a design in colour by Sarah Raphael; pale blue-grey endleaves. Dark blue slip case. One hundred numbered copies were also issued, bound by the Fine Bindery in quarter purple Nigerian morocco, with Ann Muir marbled paper boards, black endleaves and a black slip case with a cover-label. An extra leaf was inserted after the final leaf, with a colophon on the recto, signed by the author and artist. A few lettered copies (around 25) were also issued in this form, for private distribution by Folio.

1993

1993 738 Bed 29 and other stories by Guy de Maupassant, translated by Donald Adams, drawings by Helen Smithson. 228 × 149 × 34 mm. Pp. [i–iv] v–xviii, 1–221 [222]: [16] leaves of ‘plates’. Type: Scotch Roman with Imprint Shadow for display. Typeset by Speedspools, printed and bound by the Bath Press. Full pale brown cloth with a design in dark brown by Smithson; dark brown endleaves. Dark brown slip case. In conjunction with this new collection, Folio also reprinted the Short stories of 1959, with a new title (see item 747). The two collections were designed to be similar in appearance. ¶ Second printing: 1994. 739 The grand quarrel, from the Civil War memoirs of Mrs Lucy Hutchinson; Mrs Alice Thornton; Ann, Lady Fanshawe; Margaret, Duchess of Newcastle; Anne, Lady Halkett, & the letters of Brilliana, Lady Harley, edited & introduced by Roger Hudson. 240 × 162 × 30 mm. Pp. [i–vii] viii–xxiv [xxv–xxix] xxx–xxxviii [xxxix–xliv], [1] 2–256 [257–260]: [16] pages of plates. Type: Caslon. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Full dark blue buckram with a repeat pattern of typographical ornaments in gold; pale blue-grey endleaves. Dark blue slip case. The names of the authors are given in full on the spine. The plates reproduce contemporary prints and paintings. In addition, there are genealogical tables on pages [xxvi–xxviii] and maps on pages [xl] and [xli]. The title-page is decorated with a pastiche woodcut head-piece and typographical ornaments. 740 Charles Maturin, Melmoth the wanderer, introduced by Devendra P. Varma and illustrated by Felix Zakar. 251 × 177 × 40 mm. Pp. [i–vi] vii–xvii [xviii], [1–4] 5–505 [506–510]: [8] leaves of colour plates (facing pp. 14, 31, 94, 238, 255, 398, 478 and 503). Type: Baskerville with Mikado Black for the title. Typeset by Fakenham Photosetting, printed and bound by the Bath Press. Full cream vegetable parchment (‘Elephanthide’) with a design in black and dark red by Zakar; red (front) and black (back) endleaves. Black slip case. In addition to the remarkable plates, Zakar has supplied a demonic binding design and a title-page vignette. 741 T.H. White, the age of scandal, an excursion through a minor period, with an introduction by Reay Tannahill. Typographical design by George Mackie. 203 × 141 × 25 mm. Pp. [1–8] 9–240: [16] leaves of ‘plates’. Type: Fournier with Cochin for display. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter dark brown cloth, white paper boards with a repeat pattern in pale brown and black by Peter Forster; pale brown endleaves. Pale brown slip case. The ‘plates’ reproduce contemporary prints and paintings. ¶ Second printing: 1994. ¶ Third printing: 1996. 742 Anthony Trollope, Orley Farm, introduction by John Mortimer, illustrations by Llewellyn Thomas. 228 × 152 × 47 mm. Pp. [i–iv] v–xx, 1–736 [737–740]: [16] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter pale blue series binding (see item 632), pale grey paper boards with the border in grey-green; pale grey endleaves. Pale grey slip case. The text was first published in parts between March 1861 and October 1862, and in book form in two volumes 1861–1862. ¶ Second printing: 1999, with the border on the board-paper in pale blue. Dark blue slip case.

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743 Anthony Trollope, an eye for an eye, introduction by Maeve Binchy, illustrations by Elisa Trimby. 228 × 150 × 22 mm. Pp. [i–iv] v–xvii [xviii], 1–169 [170–174]: [16] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter dark green series binding (see item 632), pale grey-blue paper boards with the border in dark green; pale grey-blue endleaves. Orange-brown slip case. The text was first published in The Whitehall review between August 1878 and February 1879, and in book form in two volumes in January 1879. ¶ Second printing: 1993. ¶ Third printing: 1995. ¶ Fourth printing: 1998, with a dark green slip case. 744 [Folio series of Hardy’s works: novels of ingenuity]. 227 × 147 × 30–32 mm. 3 vols (see below). Type: Baskerville. Typeset by Fakenham Photosetting, printed and bound by the Bath Press. Full brown series binding decorated in dark red (see item 248); brown endleaves with the map in black. Orange three-volume slip case with the Folio device in gold. This set was described in the prospectus as ‘The novels of ingenuity’. The three volumes are as follows: [1] Desperate remedies, a novel by Thomas Hardy [quotation], introduction by Trevor Johnson, wood-engravings by Peter Reddick. Pp. [i–vi] vii–xvi, 1–391 [392]. Pale brown cloth. In addition to the frontispiece there are ten wood-engraved vignettes, one used four times. [2] The hand of Ethelberta, a comedy in chapters by Thomas Hardy [quotation], introduction by Trevor Johnson, wood-engravings by Peter Reddick. Pp. [i–vi] vii–xiv, 1–392 [393–394]. Orange-brown cloth. In addition to the frontispiece there are 12 wood-engraved vignettes, seven of which appear twice and one three times; at least two are repeated from earlier volumes in the series. [3] A Laodicean, a story of today by Thomas Hardy [quotation], introduction by Trevor Johnson, wood-engravings by Peter Reddick. Pp. [i–vi] vii–xiv, [1–2] 3–406 [407–410]. Dark orange cloth. In addition to the frontispiece there are ten wood-engraved vignettes, four of which appear twice; at least three are repeated from earlier volumes in the series. ¶ Second printing: 1994. 745 The loved one, an Anglo-American tragedy · Evelyn Waugh · illustrations by Beryl Cook. Introduction by Alan Coren. Extract by Christopher Sykes. 280 × 185 × 19 mm. Pp. [i–vi] vii–xvii [xviii–xx], 1–107 [108]: [8] leaves of colour plates (facing pp. [iii], 4, 12, 29, 44, 61, 76 and 92). Type: Bembo with Locarno (Koch An tiqua) italic for display. Typeset by Gloucester Typesetting, printed by Butler and Tanner, the lithographs by Balding and Mansell. Bound by Butler and Tanner in full orange cloth with a flaming heart design in red; pink endleaves with the word ‘Aimée’ repeated in silver. Dark red slip case. An extract from Sykes’s 1975 biography of Waugh is used for an introduction. The work is similar in design to Isherwood’s Mr Norris changes trains (1990 item 661). One hundred numbered copies were specially bound by the Fine Bindery in quarter pink morocco, with Ann Muir marbled paper boards, in a white slip case, with a colophon signed by Cook on an extra leaf inserted after page [108]. A few lettered copies (probably around 25) were also issued in this form, for private distribution by Folio. The pink endleaf paper is called ‘Cloud Nine’; it was chosen for its nebulous appearance, but the name made it even more appropriate. This book is a wonderfully kitschy production. ¶ Second printing: 1994. ¶ Third printing: 2015. Printed by Memminger MedienCentrum. Bound by Josef Spinner.

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746 St Augustine, Bishop of Hippo, confessions, based on a translation by J.G. Pilkington, edited by Justin Lovill with an introduction by J. Enoch Powell and wood-engravings by Simon Brett. 251 × 163 × 33 mm. Pp. [1–6] 7–294 [295–296]: colour frontispiece. Type: Palatino. Typeset by Speedspools, printed and bound by the Bath Press. Full pale brown vegetable parchment (‘Elephanthide’) with a crozier design in gold; dark brown endleaves. Dark brown slip case. In addition to the 13 head-pieces by Brett, the frontispiece reproduces an illuminated portrait of Saint Augustine from the ‘Sforza book of hours’ of about 1490. Brett’s contribution to the book is highly original, with his wood-engravings interlacing with the text at the opening of each chapter. ¶ Second printing: 1994. ¶ [Third? impression]: 2006 item 1323. 747 The necklace and other stories by Guy de Maupassant, translated by Gerard Hopkins, drawings by Nigel Lambourne. Reissue [i.e. another impression]. As item 130, but reprinted with a new title. Pp. [1–2], [i–vi] vii–xi [xii], 1–320 [321–322]. Printed and bound by the Bath Press. Full pale green cloth with an illustrative design in dark green by Lambourne. This ‘Reissue’ was published in conjunction with Bed 29 and other stories (item 738), with which it makes some attempts to be uniform. 748 [The Newgate calendars]. 2 vols (see below). Printed and bound by the Bath Press. Quarter black cloth, brown paper boards with a repeat pattern in black and gold by Daniel Norman; brown endleaves. Brown two-volume slip case. A photolithographic reprint of two volumes first published in 1951 (item 40) and 1960 (item 138) respectively, with some minor alterations, including the addition of a list of plates to the first volume. The ‘plates’ have now been included in the gatherings, but the original pagination has largely been retained. The reproduction of the title-page of The malefactor’s register . . . has been changed to show that of the first volume of the 1779 edition. Through a production fault page [2] in the first volume was printed blank (it should have borne the second page of the contents); the error was not corrected when the set was reprinted in 1994. The two volumes are as follows: [1] The Newgate calendar, edited and selected by Sir Norman Birkett, with contemporary engravings. [Fourth? impression]. 227 × 151 × 27 mm. Pp. [i–iv], [1–4] 5–259 [260]: [8] leaves of ‘plates’ (facing pp. [iii], [16], [16], 57, 97, 128, 193 and 224). For further details see item 40. [2] The new Newgate calendar, edited with an introduction by Lord Birkett. With drawings by Hablot K. Browne (‘Phiz’). [Second? impression]. 227 × 151 × 26 mm. Pp. [i–ii], [1–7] 8–12 [1–2] [13] 14–265 [266]: [8] leaves of ‘plates’ (facing pp. [1], 14, 59, 144, 162, 175, 199 and 230). For further details see item 138. ¶ Second [i.e. fifth?/third?] printing: 1994, with a grey-green slip case. 749 Christopher Marlowe, the tragical history of Doctor Faustus, edited by A.H. Bullen, introduced by Charles Nicholl, wood-engravings by George Tute. 251 × 185 × 14 mm. Pp. [1–6] 7–74: [7] leaves of ‘plates’ (facing pp. 22, 28, 36, 44, 52, 64 and 72). Type: Centaur and Arrighi. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter black cloth, red paper boards decorated in black and gold; black endleaves. Black slip case with Marlowe’s signature in gold. Tute’s eight full-page wood-engravings are reproduced lithograph ically, with enlarged details of the frontispiece and plate [7] also being used on the boards. One hundred and fifty numbered copies were also issued, with a colophon signed by Tute on a leaf inserted after page 74. These copies were bound by the Fine Bindery in quarter dark brown morocco, with Cockerell marbled paper on the boards and red endleaves and slip case (with details from two of the wood-engravings in sunken panels on the boards). A few lettered copies (probably around 25) were also issued in this form, for private distribution by Folio. Tute’s wood-engravings are particularly fine, and the typography and design of this edition make it one of the best Folio books of the period.

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750 Sherlock Holmes, complete stories [first series, short stories], A. Conan Doyle. 222 × 144 × 23–33 mm. 5 vols (see below). Type: Baskerville. Typeset by Fakenham Photosetting, printed and bound by Butler and Tanner. Full green-brown cloth with a design in dark brown by David Eccles; dark brown endleaves. Black five-volume slip case titled (as above) in gold. Folio had already published The adventures of Sherlock Holmes in 1958 (item 115). Eccles’s binding design shows silhouettes of Holmes and Watson, which advance across the volumes in the same manner as the Chandler bindings (see item 640). When the second series of four books was published in 1994 (item 778) the advancement of the silhouettes continued, so that the entire picture may be seen across the spines of all nine volumes. See also item 879. The five volumes are as follows: [1] The adventures of Sherlock Holmes, Arthur Conan Doyle, introduced by Peter Cushing, illustrated by Francis Mosley. Pp. [1–8] 9–317 [318–320]: [8] leaves of ‘plates’ (facing pp. 39, 80, 108, 141, 178, 213, 231 and 262). Contains 12 short stories. [2] The memoirs of Sherlock Holmes, Arthur Conan Doyle, illustrated by Francis Mosley. Pp. [1–8] 9–256: [8] leaves of ‘plates’ (facing pp. 26, 54, 95, 113, 158, 198, 203 and 256). Contains 11 short stories. [3] The return of Sherlock Holmes, Arthur Conan Doyle, illustrated by Francis Mosley. Pp. [1–8] 9–327 [328]: [8] leaves of ‘plates’ (facing pp. 21, 95, 125, 164, 181, 187, 246 and 282). Contains 13 short stories. [4] His last bow, some reminiscences of Sherlock Holmes, Arthur Conan Doyle, illustrated by Francis Mosley. Pp. [1–8] 9–204 [205–208]: [8] leaves of ‘plates’ (facing pp. 32, 48, 77, 118, 124, 156, 163 and 193). Contains eight short stories. [5] The case-book of Sherlock Holmes, Arthur Conan Doyle, illustrated by Francis Mosley. Pp. [1–8] 9–250 [251–254]: [9] leaves of ‘plates’ (facing pp. 34, 52, 67, 93, 121, 148, 178, 206 and 227). Contains 12 short stories. ¶ Second printing: 1994. ¶ Third printing: 1995. ¶ Fourth printing (with a new binding): 2004, printed and bound by the Bath Press. Full red artificial cloth with Eccles’s design (redrawn) in black and Doyle’s signature in gold; dark red endleaves. Red slip case with the new title Arthur Conan Doyle, the complete Sherlock Holmes short stories in gold. 751 Jean Rhys, the wide Sargasso Sea, introduced by Bel Mooney, copper engravings by Chris Daunt. 222 × 143 × 18 mm. Pp. [i–vi] vii–xiv, [1–2] 3–161 [162]: [12] leaves of ‘plates’. Type: Bembo with Albertus for display. Typeset by Gloucester Typesetting, printed (with the title-page in green and black) on pale green paper by Cambridge University Press. Bound by Cambridge University Press in dark green and pale green cloths, divided vertically down the centre of each board, with a design in green by Daunt who hand-cut the spine-lettering; green-blue endleaves. Green-blue slip case. ¶ Second printing: 1994. 752 Oscar Wilde [works]. Designed by Malcolm Harvey Young. 252 × 163 × 46–49 mm. 3 vols (see below). Type: Linotype Walbaum with hand-drawn lettering (by Young, based on the typeface Edda) for display. Typeset by Fakenham Photosetting, printed and bound by the Bath Press. Full pale brown cloth with a design in dark brown and gold by Young; dark brown endleaves. Dark brown three-volume slip case with Wilde’s name in gold (in lettering designed by Young). The three volumes are as follows: [1] Oscar Wilde, stories, edited and introduced by Merlin Holland, illustrations by Ian Archie Beck. Pp. [i–vii] viii–xxii, [1] 2–456 [457]: colour frontispiece, [20] leaves of ‘plates’.

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[2] Oscar Wilde, plays and poems, edited by Merlin Holland. Pp. [i–v] vi–x [xi–xii], [1] 2–492: colour frontispiece, [20] pages of plates. The plates reproduce photographs of theatres and early performances of the plays, playbills and posters, and costume and set designs. The frontispiece shows Moreau’s painting Salomé dansant devant Hérode. [3] Oscar Wilde, letters and essays, edited by Merlin Holland. Pp. [i–v] vi–viii [ix–x], [1] 2–576 [577–582]: colour frontispiece, [12] pages of plates. The plates reproduce contemporary documents and photographs of Wilde, his family and circle. The frontispiece shows Toulouse-Lautrec’s portrait of Wilde. ¶ Second printing: 1994. ¶ Third printing: 1995. ¶ Fourth printing: 1997. ¶ Fifth printing: 2003 (not seen). 753 The Alice B. Toklas cookbook, introduction by Diana Souhami, drawings by Natacha Ledwidge. 239 × 160 × 23 mm. Pp. [i–ii], [1–6] 7–282 [283–286]. Type: Goudy Old Style with hand-drawn lettering for display. Typeset by Speedspools, printed and bound by the Bath Press. Full silver cloth with a design in black by Ledwidge; black endleaves with a design in silver by Ledwidge. Black slip case. There are 88 line-drawings printed in the text, in addition to the title-page design. The binding cloth was chosen for its durability and water-resistance, so that the book could be used in the kitchen without fear of wine, chocolate or cannabis spillage. 754 The grand tour 1592–1796, edited by Roger Hudson. Maps by Denys Baker. Typographical design by Malcolm Harvey Young. 247 × 176 × 25 mm. Pp. [i–ii], [1–2] 3–9 [10–14] 15–270. Type: Janson. Typeset by Selwood Systems, printed and bound by Mandarin Offset. Full white cloth with a painting in colour; pale grey endleaves. Pale grey slip case. The Presentation Volume for 1994. The text is selected from the writings of 24 travellers who made the ‘Grand Tour’. There are 113 illustrations printed in the text, 72 in colour, reproducing contemporary paintings and prints. There are also two maps by Baker on pages [10–12]. ¶ Second printing: 1993. 755 The complete memoirs of George Sherston [by Siegfried Sassoon]. Reissue [i.e. another impression]. 3 vols. Details as items 306, 343 and 367 save that the first and last volumes each have two additional final blank leaves. Printed and bound by the Bath Press. Full pale green-brown cloth with designs in red-brown and black by Lynton Lamb and John Lawrence; red endleaves. Red three-volume slip case titled (as above) in gold within a barbed wire cartouche on the front and back panels. The three volumes are photolithographic reprints of Memoirs of a fox-hunting man (1971 item 306), Memoirs of an infantry officer (1974 item 343) and Sherston’s progress (1974 [i.e. 1975] item 367), with only the text on the verso of each title-leaf reset. Each is described as a ‘Reissue 1993’, but the first work is at least the sixth impression, the second is at least the fourth impression, and the third at least the second. 756 Virgil, Aeneid, translated by John Dryden, with 72 illustrations by Francis Cleyn engraved by Wenceslaus Hollar &c, and an introduction by Peter Levi. 252 × 178 × 42 mm. Pp. [1–2], [i–iv] v–xx [xxi–xxii], 1–417 [418–420]: [70] leaves of ‘plates’. Type: Caslon with Ehrhardt for display. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter dark green series binding (see item 724), green cloth boards with an engraving in black; pale green endleaves with a map by Denys Baker in dark green. Green slip case. The ‘plates’, and two other illustrations included in the pagination, reproduce the etched and engraved plates by Pierre Lambert and Wenceslaus Hollar, after drawings by Francis Cleyn, which had originally appeared in John Ogilby’s translation of 1654. The same plates were reprinted for the first edition of Dryden’s translation, published by Jacob Tonson in 1697. The frontispiece was engraved by Michiel Van der Gucht for Tonson’s edition.

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¶ Second printing: 1995. 757 The adventures of Huckleberry Finn, Mark Twain, introduction by Colin Ward, wood engravings by Harry Brockway. 228 × 149 × 25 mm. Pp. [i–iv] v–xv [xvi], 1–288. Type: Bulmer with Victoria Condensed for display. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter black cloth, white paper boards with a repeat pattern in black by Brockway; green-grey endleaves. Green-grey slip case. Number 17 in ‘The Folio fifty’ (see item 8). There are 16 wood-engravings printed in the text, one being used on the title-page. This was one of the most successful books of the period, with the typography, binding and illustrations in harmony. Tom Sawyer was published in uniform style in 2005 (see item 1273). ¶ Second printing: 1994. ¶ Third printing: 1997. ¶ Fourth printing: 1998. ¶ Fifth printing: 1999. ¶ Sixth printing: 2004. ¶ Seventh printing: 2006. ¶ Eighth printing: 2006. ¶ Ninth printing: 2008, printed and bound by L.E.G.O. 758 Chinggis Khan, the golden history of the Mongols, translated and with an introduction by Urgunge Onon, revised by Sue Bradbury. Typographical design by Bernard Roberts. 251 × 147 × 23 mm. Pp. [i–v] vi–xviii [xix–xx], [1] 2–188: [8] leaves of colour plates (facing pp. [iii], 13, 28, 45, 60, 124, 141 and 156). Type: Sabon with Garamond for display. Typeset by Selwood Systems, printed (with the title-page in red and black) and bound by the Bath Press. Full white cloth decorated in black and red with the title and Onon’s name in Mongolian characters (drawn by Onon), and the English title on the spine (drawn by John Andrew); red endleaves with a map by Denys Baker. Black slip case. This account of the Khan’s life and military campaigns was written, probably by several hands, around 1230, and was virtually unknown until 1866, when a manuscript was discovered in Peking. The plates reproduce contemporary and contemporary-style paintings of the Khan and his exploits. An errata slip was issued with some copies, correcting minor errors on pages 164 and 167, which were reset for the second and subsequent impressions. For a later work on the Khan see items 1237 and 1279.7. ¶ Second printing: 1994. ¶ Third printing: 1997. ¶ Fourth printing: 1998. ¶ Fifth printing: 1999. ¶ Sixth printing: 2004. ¶ Seventh printing: 2006. 759 Anthony Trollope, the Bertrams, introduction by David Skilton, illustrations by Peter Brookes. 228 × 147 × 33 mm. Pp. [i–iv] v–xviii, 1–531 [532–534]: [16] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter blue series binding (see item 632), pale blue paper boards with the border in blue; pale blue endleaves. Dark red slip case. The text was first published in 1859. ¶ Second printing: 1999, with a blue slip case. 760 Anthony Trollope, cousin Henry, introduction by Gilbert Phelps, illustrations by Francis Mosley. 228 × 148 × 21 mm. Pp. [i–iv] v–xx, 1–166: [11] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter red series binding (see item 632), lilac paper boards with the border in red; lilac endleaves. Red slip case. The text was first published in The Manchester weekly times and in The north British weekly mail between March and May 1879, and in book form in the same year. ¶ Second printing: 1999, with pale grey paper boards; pale grey endleaves. 761 Giorgio Vasari, lives of the artists, a selection translated by George Bull, volume I [–III]. 228 × 172 × 27–30 mm. 3 vols (pp. [1–2], [i–x] xi–xxvi, [1–2] 3–256 [257–260]: [32] pages of colour plates; [i–v] vi–viii [ix–x], [1–2] 3–278: [36] pages of colour and monochrome plates; [i–v] vi–viii [ix–x], [1–2] 3–310: [28] pages of colour

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and monochrome plates). Type: Bembo with Bembo Light Titling for display. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Full brown cloth decorated as item 291; brown endleaves. Brown three-volume slip case titled in gold. The plates reproduce paintings, sculpture and buildings by the artists and architects described. Folio had published Vasari’s Life of Michelangelo in 1971 (item 291), and the present selection from Bull’s 1987 two-volume Penguin edition is in a uniform style. For further details see item 291. ¶ Second printing: 1993. ¶ Third printing: 1994. ¶ Fourth printing: 1995. 762 The adventures of the treasure seekers, E. Nesbit. 203 × 135 × 22–30 mm. 3 vols (see below). Type: Imprint with Goudy Old Style for display. Typeset by Selwood Systems, printed and bound by the Bath Press. Full cream cloth with a design in blue-green, black and gold by David Eccles; cream endleaves. Pale blue-green three-volume slip case titled (as above) in gold. The three novels originally appeared between 1899 and 1904, and the illustrations by C. Walter Hodges were made for the 1947 edition of all three works. The adventures of the five children was published in a uniform style in 1994 (item 794). The three volumes are as follows: [1] The story of the treasure seekers, being the adventures of the Bastable children in search of a fortune, by E. Nesbit, with illustrations by C. Walter Hodges. Pp. [i–vi], 1–218. There are 30 line-drawings printed in the text, including the frontispiece. [2] The wouldbegoods, being the further adventures of the treasure seekers, by E. Nesbit, with illustrations by C. Walter Hodges. Pp. [i–vi], 1–314. There are 28 line-drawings printed in the text, including the frontispiece. [3] New treasure seekers by E. Nesbit, with illustrations by C. Walter Hodges. Pp. [i–vi], 1–278 [279–282]. There are 27 line-drawings printed in the text, including the frontispiece. ¶ Second printing: 2009, printed by Memminger MedienCentrum. Bound by Real Lachenmaier now in quarter dark green cloth with printed paper boards; blue-green endleaves. Dark green three-volume slip case titled in gold. 763 Andrew Marvell, the garden & other poems, [wood-] engravings by Harry Brockway. 115 × 85 × 7 mm. Pp. [1–32]. Type: Fournier. Typeset by Gloucester Typesetting, printed by the Bath Press. Bound by Hunter and Foulis in blue-green series binding (see item 706); dark green endleaves. There are nine small wood-engravings by Brockway. This book had the honour to be chosen by Designer Bookbinders for their 1994 exhibition, staged to mark the centenary of the 1894 Tregaskis exhibition at which William Morris’s translation of The tale of King Florus & the fair Jehane, published by the Kelmscott Press, was the set book. 764 The art of love, Publius Ovidius Naso, translated by James Michie, paintings by Grahame Baker. 279 × 185 × 14 mm. Pp. [1–12] 13–96: [8] leaves of colour plates (facing pp. [5], 25, 32, 41, 56, 64, 73 and 89). Type: Centaur and Arrighi. Typeset by Gloucester Typesetting, printed (with the title-page in dark red and black) and bound by the Bath Press. Full pale orange cloth, cover-label with a design in dark red and black by Baker; dark red endleaves. Dark red slip case. One hundred numbered copies were specially bound by the Fine Bindery in quarter blue morocco, with Ann Muir marbled paper on the boards and blue endleaves and slip case. A colo phon, signed by Baker and Michie, was printed on an extra leaf and inserted after page 96. A few lettered copies (probably around 25) were also produced in this form, for private distribution by Folio. Baker’s colourful plates were inspired by Greek vase paintings, with all the elegance and phallic detail that this implies. The illustrator became known, for Folio purposes, as Grahame Baker-Smith from 2011.

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¶ Second printing: 1994. ¶ Third printing: 1996. ¶ Fourth printing: 1998. ¶ Fifth printing: 2009, printed by Grafos. Brown endleaves and slip case. 765 The history of England by Jane Austen, a facsimile of her manuscript written aged sixteen & illustrated by her sister Cassandra, with an introduction by Deirdre Le Faye & a transcript of the text. 212 × 168 × 10 mm. Pp. [i–iv] v–ix [x–xii], [xiii–xv] xvi–xxvi, 1–34. Type: Fournier. Typeset by Gloucester Typesetting, printed by the Bath Press, the facsimiles by Napier, Jones Ltd. Bound by the Bath Press in quarter cream vegetable parchment (‘Elephanthide’), Ann Muir marbled paper boards; pale yellow endleaves. Cream vegetable parchment slip case with the title-page repeated in gold. The colour facsimile of Austen’s original manuscript, now in the British Library, covers pages 1–34. The edition was published in conjunction with the British Library (who issued the book in full blue cloth and a dust-jacket) and with Algonquin Books of Chapel Hill, North Caro lina. This title was chosen for the 1994 Designer Bookbinders’ design competition, and 200 sets of unbound sheets were supplied for this purpose. 766 The source of the Nile, the lake regions of central Africa, a picture of exploration by Richard F. Burton, introduced by Ian Curteis [quotation from Shakespeare]. Typographical design by Bernard Roberts. 253 × 176 × 45 mm. Pp. [i–v] vi–xxv [xxvi], [1] 2–604 [605–606]: [12] leaves of ‘plates’ + [1] folded map. Type: Imprint. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Full pale brown cloth with a pastiche Victorian design in black and gold by David Eccles; brown endleaves. Black slip case. The text was first published in 1860 as The lake regions of central Africa, and the present edition reproduces the 23 wood-engraved illustrations and 12 wood-engraved plates from the first edition. Each copy contains a loose lithographic reproduction of the map which was also published in the first edition. This was the first in a series of Victorian or similar works of travel and exploration, each with a binding designed by David Eccles in imitation of a gold-blocked publisher’s binding of the period. For others in the series see items 800, 826, 865, 906, 922, 981, 1028, 1048, 1102, 1156, 1178, 1222 and 1287. See also item 1079. ¶ Second printing: 1994. ¶ Third printing: 1996. ¶ Fourth printing: 1998. ¶ Fifth printing: 1999. 767 The Folio diary 1994. 247 × 174 × 14 mm. Pp. [1–5] 6–112. Type: PostScript Photina. Typeset by Folio. Printed in green and black by Mandarin Offset. Bound by Mandarin Offset in quarter dark green buckram, yellow paper boards patterned in green and red; dark green endleaves. Glassine dust-jacket. Each leaf of the diary itself has one week on the recto and, on the facing verso, a brief extract of text, and usually an illustration, from a recent Folio book. This book was the first to be typeset in-house. Unless otherwise stated, subsequent books are typeset by Folio. 768 Anthony Trollope, the Palliser novels [first series]. 3 vols (see below). A reissue of various impressions of the three novels, in a grey three-volume slip case decorated and titled (as above) in black and gold. The three volumes are as follows: [1] Anthony Trollope, can you forgive her? . . . (1989 item 632, fourth printing 1993). [2] Anthony Trollope, Phineas Finn . . . (1989 item 647, fourth printing 1993). [3] Anthony Trollope, the Eustace diamonds . . . (1990 item 659, third printing 1993). 769 Anthony Trollope, the Palliser novels [second series]. 3 vols (see below). A reissue of various impressions of the three novels, in a grey three-volume slip case decorated and titled (as above) in black and gold. The three volumes are as follows:

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[1] Anthony Trollope, the Duke’s children . . . (1991 item 700, second printing 1993). [2] Anthony Trollope, Phineas redux . . . (1990 item 675, third printing 1993). [3] Anthony Trollope, the prime minister . . . (1991 item 685, second printing 1993). 769.5 [Folio series of Hardy’s works: novels]. 5 vols (see below). Printed and bound by the Bath Press. Dark green five-volume slip case. This is a variation on item 698.5, omitting Under the greenwood tree . . . (1989 item 629) and apparently issued only in 1993. The five volumes are as follows: [1] Far from the madding crowd . . . (1985 item 545, tenth printing 1993). [2] The life and death of the Mayor of Casterbridge . . . (1968 item 248, ‘ninth printing’ 1993). [3] The return of the native . . . (1971 item 294, ‘tenth printing’ 1993). [4] Tess of the d’Urbervilles . . . (1988 item 607, ‘Reprint [i.e. eighth impression]’ 1993). [5] The trumpet-major . . . (1990 item 654, eighth printing 1993).

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1994 770 Samuel Taylor Coleridge, the rime of the ancient mariner, wood engravings by Garrick Palmer, introduction by Richard Holmes. 260 × 215 × 12 mm. Pp. [1–6] 7–50: [7] leaves of ‘plates’ (facing pp. 22–23, 24–25, 31, 32, 36, 42 and 47). Type: Spectrum. Printed on pale blue paper by the Bath Press. Bound by the Bath Press in full dark purple-red artificial moiré silk, cover-label with a wood-engraving in dark purple-red by Palmer; pale blue endleaves. Dark red slip case. Folio had done well to avoid publishing a separate edition of this text for so long but, in 1993, it bowed to the inevitable and produced the present edition, with Palmer’s ten full-page wood-engraved ‘plates’ (two are printed both recto and verso, and the frontispiece is included in the pagination). ¶ Second printing: 1995, printed on white paper. 771 [Folio series of Dickens’s novels]. 5 vols (see below). Dark red five-volume slip case with Dickens’s signature in gold. This set of five novels was published as part of Folio’s reprint of Dickens’s works. Each is another issue of the separately published impression (usually called a ‘Reissue’ on the verso of the title-leaf ), which appeared simultaneously. The five volumes are as follows: [1] The posthumous papers of the Pickwick Club . . . (1981 item 480, ‘Reissue’ 1994). [2] Great expectations . . . (1981 item 489, ‘Reissue’ 1994). [3] The personal history of David Copperfield . . . (1983 item 512, ‘Second printing’ 1994). [4] The adventures of Oliver Twist . . . (1984 item 539, ‘Reissue’ 1994). [5] A tale of two cities . . . (1985 item 557, ‘Reissue’ 1994). 772 The natural history and antiquities of Selborne, Gilbert White, introduced by Ian Niall, [wood-] engravings by Chris Wormell. 222 × 144 × 32 mm. Pp. [i–vi] vii–xiv [xv–xvi], 1–384. Type: Baskerville with Fry’s Baskerville for display. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter dark green series binding (see item 723); brown endleaves. Brown slip case. This work was first published in 1962 (item 172), with different illustrations. Wormell’s Bewickian wood-engravings consist of a frontispiece, 11 half-page illustrations, and 12 tail-pieces (six of them used twice). Two hundred sets of unbound sheets were taken by Designer Bookbinders for their 1996 design competition. ¶ Second printing: 1995. ¶ Third printing: 1997, with a dark brown slip case. 773 [Folio series of Hardy’s works: short stories]. 227 × 149 × 19–27 mm. 3 vols (see below). Type: Bas kerville. Printed and bound by the Bath Press. Full blue series binding decorated in dark blue (see item 248); pale blue endleaves with the map in dark blue. Dark blue three-volume slip case with the Folio device in gold. This set was described in the prospectus as ‘The short stories’. The three volumes are as follows:

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[1] A changed man, the waiting supper and other tales, concluding with the romantic adventures of a milkmaid by Thomas Hardy, introduction by Gilbert Phelps, wood-engravings by Peter Reddick. Pp. [i–vi] vii–xii [xiii–xiv], 1–323 [324– 326]. Dark blue cloth. In addition to the frontispiece there are seven wood-engraved vignettes. [2] Life’s little ironies, a set of tales with some colloquial sketches entitled a few crusted characters by Thomas Hardy, introduction by Gilbert Phelps, wood-engravings by Peter Reddick. Pp. [i–vi] vii–xv [xvi], 1–238 [239–240]. Pale blue cloth. In addition to the frontispiece there are five wood-engraved vignettes. [3] A group of noble dames, that is to say, the first Countess of Wessex, Barbara of the House of Grebe, the Marchioness of Stonehenge, Lady Mottisfont, the Lady Icenway, Squire Patrick’s lady, Anna, Lady Baxby, the Lady Penelope, the Duchess of Hamptonshire, the Honourable Laura, by Thomas Hardy [quotation], introduction by Gilbert Phelps, wood-engravings by Peter Reddick. Pp. [1–2], [i–viii] ix–xiv, [1–2] 3–190 [191–192]. Grey-blue cloth. In addition to the frontispiece there are seven wood-engraved vignettes. This last volume in this set is dedicated to Gilbert Phelps, who died in 1993. 774 John Mortimer, Rumpole, selected and introduced by the author, illustrations by Paul Cox. 240 × 161 × 28 mm. Pp. [I–VII] VIII–XII, [1] 2–362 [363–364]. Type: Plantin with Bernard Condensed for display. Printed and bound by the Bath Press. Bound by the Bath Press in full lilac cloth with a design in dark red and silver by Cox; pale grey endleaves. Pale grey slip case. There are ten Rumpole stories in this selection, originally published between 1978 and 1992. ¶ Second printing: 1995. ¶ Third printing: 1995. ¶ Fourth printing: 1996. ¶ Fifth printing: 1998, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. ¶ Sixth printing: 1998, with the spine redesigned to have horizontal titling on a dark red panel. ¶ Seventh printing: 1999, with a dark red slip case. ¶ Eighth printing: 2001. ¶ Ninth printing: 2006, printed and bound by L.E.G.O. Full pale grey cloth. 775 William Dampier, buccaneer explorer, edited and with an introduction by Gerald Norris. 252 × 161 × 28 mm. Pp. [1–2], [i–v] vi–xxi, [1] 2–268 [269–270]: colour frontispiece, [13] leaves of ‘plates’. Type: Garamond. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Full yellow-brown cloth with an etching of a sailing ship in black; pale yellow endleaves with maps. Black slip case. The ‘plates’ reproduce contemporary portraits, paintings and etchings. The text is drawn from A new voyage around the world, first published in 1697, and other writings by Dampier. 776 Anthony Trollope, he knew he was right, introduction by Robertson Davies, illustrations by Shirley Bellwood. 228 × 152 × 52 mm. Pp. [1–2], [i–iv] v–xvi, 1–823 [824]: [16] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter dark red series binding (see item 632), cream paper boards with the border in dark red; cream endleaves. Dark red slip case. The text was first published in parts between October 1868 and May 1869, and in book form once part publication was complete. 777 Anthony Trollope, the American senator, introduction by Louis Auchincloss, illustrations by Shirley Tourret. 228 × 150 × 38 mm. Pp. [1–2], [i–iv] v–xviii, 1–513 [514–516]: [16] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter blue series binding (see item 632), lilac paper boards with the border in blue; lilac endleaves. Blue slip case. The text was first published in Temple Bar between May 1876 and July 1877, and in book form in three volumes in 1876. 778 Sherlock Holmes, complete stories [second series, novels], A. Conan Doyle. 222 × 144 × 23–29 mm. 4 vols (see below). Type: Baskerville. Printed and bound by Butler and Tanner. Full green-brown cloth decorated as the first series (item 750). Black four-volume slip case titled (as above) in gold. The first series of five

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volumes, containing all the short stories, had been published in 1993 (see item 750). This set was advertised as the ‘Complete Novels’, but the slip case manufacturer used the blocking brass from the ‘Complete Stories’ instead, and this error was allowed to stand. However, some copies were made up using the correct brass, in case of complaints. The four volumes are as follows: [1] A study in scarlet, introduced by Michael S. Cox, illustrated by Francis Mosley. Pp. [1–8] 9–180: [6] leaves of ‘plates’ (facing pp. 28, 61, 95, 112, 123 and 166). A short novel, and Holmes’s first appearance in print. [2] The sign of four, Arthur Conan Doyle, illustrated by Francis Mosley. Pp. [1–10] 11–161 [162–164]: [6] leaves of ‘plates’ (facing pp. 32, 56, 73, 86, 118 and 144). [3] The hound of the Baskervilles, Arthur Conan Doyle, illustrated by Francis Mosley. Pp. [1–12] 13–223 [224–228]: [6] leaves of ‘plates’ (facing pp. 24, 57, 81, 134, 164 and 200). [4] The valley of fear, Arthur Conan Doyle, illustrated by Francis Mosley. Pp. [1–12] 13–224 [225–228]: [6] leaves of ‘plates’ (facing pp. 42, 76, 99, 122, 138 and 216). ¶ Second printing: 1996, with the title on the slip case corrected to read Sherlock Holmes complete novels. ¶ Third printing [of volume [3]]: 2006 item 1347. 779 I, Claudius, from the autobiography of Tiberius Claudius, Emperor of the Romans, born 10 b c , murdered and deified a d 54 [Latin inscription], introduction by Allan Massie, illustrations by Neil Packer, Robert Graves. 252 × 160 × 32 mm. Pp. [i–vi] vii–xviii, 1–349 [350]: [8] leaves of colour plates (facing pp. [iii], 46, 63, 126, 143, 206, 223 and 303). Type: Centaur and Arrighi. Printed and bound by the Bath Press. Full green buckram with a repeat pattern in gold by Packer; cream endleaves with a genealogical table in green by Denys Baker. Green slip case. Number 11 in ‘The Folio fifty’ (see item 8). The author’s name appears at the foot of the title-page, beneath the imprint. In 1995 Folio published Claudius the god in a uniform style (see item 804). ¶ Second printing: 1995. ¶ Third printing: 1997. ¶ Fourth printing: 2006, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. Dark green slip case. 780 English eccentrics, Edith Sitwell, introduction by Mervyn Horder, illustrations by Roland Pym. 227 × 148 × 27 mm. Pp. [i–ix] x–xiii [xiv–xviii], [1] 2–268: [17] leaves of ‘plates’. Type: Perpetua. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter dark green-blue buckram, pale blue paper boards patterned in dark green, grey-green and silver by Pym; pale blue endleaves. Pale blue slip case. ¶ Second printing: 1996. ¶ Third printing: 1998. ¶ Fourth printing: 1999, with a dark green slip case. 781 The Folio anthology of autobiography, selected and edited by Angela Thirlwell. Designed by Malcolm Harvey Young. 252 × 162 × 33 mm. Pp. [i–iv] v–xxiii [xxiv], 1–397 [398–400]: [28] pages of plates. Type: Bembo. Printed and bound by the Bath Press. Full pale blue cloth, striped with green-blue, with a design in silver by Young; pale blue endleaves. Pale blue slip case. The plates reproduce photographs and paintings, nearly all being portraits of authors represented in the text. In all there are brief contributions from 274 different writers. For other ‘Folio Anthologies’ see items 656 and 712. 782 Steven Runciman, a history of the crusades. Typographical design by Bernard Roberts. 240 × 162 × 25–36 mm. 3 vols (see below). Type: Esprit Book with Charlemagne for display. Typeset by Fakenham Photosetting, printed and bound by the Bath Press. Full brown vegetable parchment (‘Elephanthide’) with a cross design

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in blue and gold by Sara Ayad; blue endleaves patterned in gold. Blue three-volume slip case decorated and titled (as above) in gold. The three volumes are as follows: I Steven Runciman, a history of the crusades, volume I, the first crusade and the foundation of the kingdom of Jerusalem. Pp. [i–xi] xii–xiii [xiv], [1–3] 4–316 [317–322]: [9] leaves of colour plates (facing pp. [iii], 35, 50, 98, 115, 130, 147, 194 and 211). There are also five maps printed in the text. II Steven Runciman, a history of the crusades, volume II, the kingdom of Jerusalem and the Frankish east 1100–1187. Pp. [i–xi] xii, [1–3] 4–428 [429–436]: [9] leaves of colour plates (facing pp. [iii], 20, 37, 84, 101, 197, 212, 292 and 309). There are also six maps printed in the text. III Steven Runciman, a history of the crusades, volume III, the kingdom of Acre and the later crusades. Pp. [i–xi] xii, [1–3] 4–448: [9] leaves of colour plates (facing pp. [iii], 133, 148, 213, 228, 261, 276, [356] and 373), [1] folded genealogical table (facing p. 448). There are also five maps printed in the text. ¶ Second printing: 1994. ¶ Third printing: 1995, printed and bound by Cambridge University Press. ¶ Fourth printing: 1996, printed and bound by the Bath Press. ¶ Fifth printing: 1996. ¶ Sixth printing: 1997. ¶ Seventh printing: 1997, printed and bound by Butler and Tanner. ¶ Eighth printing: 1998. ¶ Ninth printing: 2001, the binding redesigned in full blue vegetable parchment (‘Elephanthide’) with a geometrical design in gold; red endleaves. Dark blue three-volume slip case decorated and titled (‘A History of the Crusades’) in gold. ¶ Tenth printing: 2002 (not seen). ¶ Eleventh printing: 2003 (not seen). ¶ Twelfth printing: 2006 (not seen). ¶ Thirteenth printing: 2007, printed and bound by Butler and Tanner. ¶ Fourteenth printing: 2008. ¶ Fifteenth printing: 2010, printed by Memminger MedienCentrum. Bound by Real Lachenmaier. 783 Henry James, the portrait of a lady, introduced by Joan Aiken, illustrated by Robin Jacques. 251 × 162 × 40 mm. Pp. [1–2], [i–vi] vii–xxix [xxx], [1–2] 3–509 [510–512]: [16] leaves of ‘plates’. Type: Granjon with Windsor Condensed for display. Printed and bound by the Bath Press. Full brown cloth with a lily motif in green, yellow and gold by Daniel Norman; yellow endleaves with the same lily motif in brown, green and red. Grey-green slip case. 784 Anthony Trollope, Castle Richmond, introduction by Max Hastings, illustrations by Rod Waters. 227 × 149 × 35 mm. Pp. [i–iv] v–xx, 1–478: [15] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter orange series binding (see item 632), pale brown paper boards with the border in brown; pale brown endleaves. Brown slip case. The text was first published in 1860. 785 Anthony Trollope, the Claverings, introduction by Max Egremont, illustrations by Alexy Pendle. 227 × 150 × 35 mm. Pp. [i–iv] v–xviii, 1–478: [16] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter grey-green series binding (see item 632), pale green paper boards with the border in green; pale green endleaves. Green slip case. The text was first published in The Cornhill magazine between February 1866 and May 1867, and in book form in April 1867. 786 The second jungle book by Rudyard Kipling, with illustrations by Edward Detmold recreated in colour by David Eccles. 251 × 193 × 23 mm. Pp. [1–8] 9–231 [232]: [8] leaves of colour plates (facing pp. 16, 33, 80, 97, 128, 145, 192 and 209). Type: Plantin with Windsor for display. Printed and bound by the Bath Press. Full brown cloth with a design in black and gold by Eccles; brown endleaves. Brown slip case. The text was first published in 1895. Detmold’s illustrations originally appeared in The illustrated London news serialisation of the book in 1910 and 1911. The original drawings were lost, probably in the bombing of the newspaper’s offices during the Second World War, so the present plates were copied from the best prints that could be found, and

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coloured by David Eccles. The jungle book was published in a uniform style in 1992 (item 731), and the two fit into Folio’s series of Kipling’s works (see item 705). ¶ First printing reissued [i.e. second impression]: 1996, measuring 240 × 161 × 23 mm. Printed and bound by Butler and Tanner. Full green cloth with a different cover-illustration. Printed in a reduced format to match the other books in the Kipling series; the plates are reduced in size, and the margins of the text pages have been trimmed. Part of this impression was issued with other works by Kipling as items 843 and 844. 787 Paula Rego, nursery rhymes, introduction by Marina Warner. 288 × 228 × 11 mm. Pp. [1–6] 7–70 [71–72]. Type: Scotch Roman. Printed and bound by the Bath Press. Quarter green buckram, pale green paper boards with designs in black by Rego; endleaves with designs in black by Rego. Green slip case decorated in gold. In addition to the endleaf design, there are 31 full-page drawings by Rego printed in the text, eight being in colour, and two being repeated on the boards. One hundred numbered copies were specially bound by the Fine Bindery in quarter red morocco, with Ann Muir marbled paper on the boards. An extra colophon leaf, signed by Rego, is inserted in these copies, after page [72]. A few lettered copies (probably around 25) were also issued in this form, for private distribution by Folio. Most of the drawings were originally made for the Marlborough Galleries, but a few were specially drawn to complete this edition. Thames and Hudson published a ‘trade’ edition of the work at the same time, in a different binding. They issued another ‘compact’ version in 2019. ¶ Second printing: 2010, the dimensions now 288 × 224 × 13 mm. Printed by C & C Offset and bound by Hunter and Foulis. Plain green slip case. 788 W.S. Gilbert & Arthur Sullivan, volume I [–II] the Savoy operas, introduced by Fredric Woodbridge Wilson. 252 × 163 × 26 mm. 2 vols (pp. [i–vii] viii–xxi [xxii], [1–3] 4–321 [322]: [14] pages of colour and monochrome plates; [i–vii] viii, [1–3] 4–338 [339–344]: [18] pages of colour and monochrome plates). Type: Ehrhardt. Typeset by Fakenham Photosetting, printed and bound by Butler and Tanner. Quarter red cloth, grey cloth boards; red endleaves with a ‘G&S’ pattern in dark brown by David Eccles. Grey two-volume slip case with a design in colour by Eccles. Wilson’s introduction is in volume I and is not mentioned on the title-page to the second volume. The text consists of all of Gilbert’s words for the 14 operettas written with Sullivan between 1871 and 1896. The plates reproduce contemporary photographs of actors and stage sets, posters and programmes for early performances, and other related documents. The frontispieces are portraits of Gilbert and Sullivan respectively. ¶ Second printing: 2001. 789 Voltaire, the Calas affair, a treatise on tolerance, translated and edited by Brian Masters. 240 × 144 × 20 mm. Pp. [i–iv] v–xx, 1–145 [146–148]: [18] pages of ‘plates’. Type: Fournier. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Full grey vegetable parchment (‘Elephanthide’) with a contemporary etching in red; dark red endleaves. Dark red slip case. Voltaire’s Traité sur la tolérance was first published in 1763, the year after Jean Calas’s torture and execution by the Catholic magistracy in Toulouse. The ‘plates’ reproduce seventeenth- and eighteenth-century engravings, etchings and documents. 790 Thucydides, the history of the Peloponnesian War, translated by Benjamin Jowett, edited and annotated by Chris Scarre, with maps and geographical concordance by Andrew Heritage and P.J.M. Geelan. Additional illustrations by Coral Mula. Maps by Denys Baker. Index by Ailsa Heritage. Designed by Malcolm Harvey Young. 252 × 176 × 45 mm. Pp. [i–iv] v–xix [xx], [1–2] 3–543 [544–548]: [24] pages of ‘plates’. Type: Photina. Typeset by Selwood Systems, printed and bound by the Bath Press. Quarter purple-red series binding (see

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item 724), lilac cloth boards with a Greek warrior design in red-brown; lilac endleaves with a map in red-brown. Dark red slip case. The ‘plates’ reproduce prints and paintings from the eighteenth and nineteenth centuries, with new maps, drawings and photographs commissioned by Folio. 791 Sir Patrick Spens & other ballads, [wood-] engravings by Jane Lydbury. 117 × 86 × 8 mm. Pp. [1–6] 7–32. Type: Joanna italic. Typeset by Gloucester Typesetting, printed and bound by Mandarin Offset. Dark blue series binding (see item 706); dark blue endleaves. There are five small wood-engravings by Lydbury. When exposed to sunlight the binding cloth fades to purple. 792 Nelson and Emma, edited by Roger Hudson. Maps by Denys Baker. 245 × 175 × 23 mm. Pp. [1–6] 7–256. Type: Modern Extended. Printed and bound by the Bath Press. Quarter dark blue buckram, cream vegetable parchment (‘Elephanthide’) boards with oval portraits of Nelson and Emma in colour; cream endleaves with a map in dark blue. White slip case with a painting of the Battle of Trafalgar in blue. The Presentation Volume for 1995. There are 91 illustrations printed in the text, 48 in colour, reproducing contemporary paintings, prints, cartoons and documents. 793 The Mapp and Lucia novels, E.F. Benson. 222 × 143 × 24–29 mm. 6 vols (see below). Type: Goudy Old Style. Printed and bound by the Bath Press. Full cloth (a different colour for each volume) with an illustration by Natacha Ledwidge. Lilac six-volume slip case title (as above) in gold. The six volumes are as follows: [1] Queen Lucia, E.F. Benson, introduction by Brian Masters, illustrations by Natacha Ledwidge. Pp. [1–6] 7–242 [243–244]: [6] leaves of ‘plates’ (facing pp. 40, 69, 114, 149, 197 and 231). Lilac cloth, decorated in dark red; pale pink endleaves. In addition to the ‘plates’ there are 12 small drawings by Ledwidge, including the title-page device, with one repeated on the binding. [2] Miss Mapp, E.F. Benson, illustrations by Natacha Ledwidge. Pp. [1–8] 9–232 [233–236]: [6] leaves of ‘plates’ (facing pp. 42, 77, 107, 146, 177 and [233]). Blue-grey cloth, decorated in dark blue; pale blue endleaves. In addition to the ‘plates’ there are ten small drawings by Ledwidge, including the title-page device, with one repeated on the binding. [3] Lucia in London, E.F. Benson, illustrations by Natacha Ledwidge. Pp. [i–ii], [1–6] 7–232 [233–234]: [6] leaves of ‘plates’ (facing pp. 27, 85, 112, 157, 191 and 226). Lilac-grey cloth, decorated in purple-grey; lilac endleaves. In addition to the ‘plates’ there are nine small drawings by Ledwidge, including the title-page device, and one extra drawing used on the binding. [4] Mapp and Lucia, E.F. Benson, illustrations by Natacha Ledwidge. Pp. [i–ii], [1–6] 7–277 [278–282]: [6] leaves of ‘plates’ (facing pp. 28, 72, 129, 182, 229 and 266). Pale pink-grey cloth, decorated in dark brown; pale pink endleaves. In addition to the ‘plates’ there are ten small drawings by Ledwidge, including the title-page device, and one extra drawing used on the binding. [5] Lucia’s progress, E.F. Benson, illustrations by Natacha Ledwidge. Pp. [i–ii], [1–6] 7–230 [231–234]: [6] leaves of ‘plates’ (facing pp. 15, 66, 87, 121, 163 and 196). Pale blue-grey cloth, decorated in dark blue; pale blue endleaves. In addition to the ‘plates’ there are ten small drawings by Ledwidge, including the title-page device, and one extra drawing used on the binding. [6] Trouble for Lucia, E.F. Benson, illustrations by Natacha Ledwidge. Pp. [i–ii], [1–6] 7–230 [231–234]: [6] leaves of ‘plates’ (facing pp. 37, 68, 104, 137, 165 and 198). Pale grey-blue cloth, decorated in dark brown; lilac

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endleaves. In addition to the ‘plates’ there are 12 small drawings by Ledwidge, including the title-page device, and one extra drawing used on the binding. ¶ Second printing: 2009, printed and bound by L.E.G.O. Pale blue slip case. Queen Lucia now with green-grey cloth decorated in dark green; green-grey endleaves. Lucia in London now with pagination [1–6] 7–232 [233– 236]: [6] leaves of ‘plates’ (facing pp. 27, 85, 112, 157, 191 and 226). Lilac cloth decorated in purple. Mapp and Lucia now with pagination [1–6] 7–277 [278–284]: [6] leaves of ‘plates’ (facing pp. 28, 72, 129, 182, 229 and [266]). Green-grey cloth, decorated in green; green-grey endleaves. Lucia’s progress now with pagination [1–6] 7–230 [231–236]: [6] leaves of ‘plates’ (facing pp. 15, 66, 87, 121, 163 and 196). Trouble for Lucia now with pagination [1–6] 7–230 [231–236]: [6] leaves of ‘plates’ (facing pp. 37, 68, 104, 137, 165 and 198). Lilac cloth decorated in purple. 794 The adventures of the five children, E. Nesbit. 203 × 135 × 22–28 mm. 3 vols (see below). Type: Imprint with Goudy Old Style for display. Printed and bound by the Bath Press. Full cream cloth with a design in dark brown, black and gold by David Eccles; cream endleaves. Pale pink three-volume slip case titled (as above) in gold. The three novels originally appeared between 1902 and 1906, and the illustrations by H.R. Millar accompanied their appearance in the Strand magazine during the same period. The adventures of the treasure seekers had been published in a uniform style in 1993 (item 762). The three volumes are as follows: [1] Five children and it, by E. Nesbit, with illustrations by H.R. Millar. Pp. [i–viii], 1–214 [215–216]. There are 50 line-drawings printed in the text. [2] The phoenix and the carpet, by E. Nesbit, with illustrations by H.R. Millar. Pp. [i–viii], 1–260 [261–264]. There are 68 line-drawings printed in the text. [3] The story of the amulet, by E. Nesbit, with illustrations by H.R. Millar. Pp. [i–viii], 1–291 [292–296]. There are 70 line-drawings printed in the text. ¶ Second printing: 2009, printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter dark red cloth with printed paper boards; dark purple endleaves. Dark red three-volume slip case titled in gold. Only the illustration used for front board of third volume has changed. 795 Chekhov: a life in letters, translated and edited by Gordon McVay. 241 × 162 × 33 mm. Pp. [i–viii] ix–xxii, [1] 2–378: [16] pages of ‘plates’. Type: Ehrhardt with Windsor Condensed for display. Typeset by Speedspools, printed and bound by Butler and Tanner. Full black buckram, with Chekhov’s signature in gold; cream endleaves. Dark red slip case. The ‘plates’ reproduce contemporary photographs. 796 Thomas Love Peacock, Nightmare Abbey, introduced by Marilyn Butler, drawings and wood-engravings by Peter Forster. 228 × 150 × 18 mm. Pp. [i–iv] v–xviii, [1–2] 3–124 [125–126]. Type: Bulmer with Fraktur Bold for display. Printed and bound by the Bath Press. Full purple cloth with a design in black by Forster; black endleaves. Black slip case titled in gold. In addition to the wood-engraved binding design, Forster’s illustrations consist of a frontispiece, 12 full-page drawings, 29 smaller designs, eight small tail-pieces, and a wood-engraved border and ornament on the title-page. 797 Robert Louis Stevenson, treasure island, illustrated by N.C. Wyeth. 235 × 184 × 28 mm. Pp. [1–5] 6–8 [9–15] 16–238 [239–240]: [15] leaves of colour and monochrome plates. Type: New Caledonia. Printed and bound by the Bath Press. Full dark brown cloth with a design in gold by David Eccles; colour-printed endleaves. Brown slip case. Number 13 in ‘The Folio fifty’ (see item 8). In addition to the plates (one of which reproduces

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the treasure map in monochrome), the endleaves bear an extra colour illustration by Wyeth. Part of the edition was published as a paperback by Victor Gollancz, with their imprint on the title-page. ¶ Second printing: 1997. ¶ Third printing: 1998. ¶ Fourth printing: 2005 (not seen). ¶ Fifth printing, newly illustrated: 2006, the title-page concluding . . . illustrated by Philip Bannister. Pp. [1–5] 6 [7–15] 16–238 [239– 240]: [12] leaves of colour plates. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier; cream endleaves. Dark brown slip case. This reprint coincides with the selection of this title as Michael Dobbs’s ‘Castaway’s Choice’ (see item 270). ¶ Sixth printing: 2007, the title-page commencing Treasure island, Robert Louis Stevenson. 798 Robert Louis Stevenson, Dr. Jekyll & Mr. Hyde . . . As the 1948 edition (item 12) but reset throughout. 222 × 144 × 18 mm. Pp. [1–8] 9–148 [149–152]. Type: Imprint. Printed and bound by the Bath Press. Black slip case. For this edition the spine-titling was improved. ¶ Second printing: 2015. Printed by Memminger MedienCentrum. Bound by Josef Spinner. The spine has again been redesigned. Not issued in a slip case. ¶ Third printing (not seen). ¶ Fourth printing: 2022. Black slip case. 799 [Folio series of Dickens’s novels]. 5 vols (see below). Dark red five-volume slip case with Dickens’s signature in gold. This set of five novels was published as part of Folio’s reprint of Dickens’s works. Each is another issue of the separately published impression (called a ‘Reissue’ on the verso of the title-leaf ), which appeared simultaneously. The five volumes are as follows: [1] Bleak House . . . (1985 item 548, ‘Reissue’ 1994). [2] Hard times for these times . . . (1983 item 521, ‘Reissue’ 1994). [3] The life and adventures of Martin Chuzzlewit . . . (1988 item 610, ‘Reissue’ 1994). [4] The life and adventures of Nicholas Nickleby . . . (1986 item 566, ‘Reissue’ 1994). [5] The old curiosity shop . . . (1987 item 599, ‘Reissue’ 1994). 800 The history of the conquest of Mexico, with a preliminary view of the ancient Mexican civilization and the life of the conqueror Hernando Cortés, by William H. Prescott, introduction by Felipe Fernández-Armesto. 252 × 172 × 47 mm. Pp. [i–v] vi–xxx, [1] 2–723 [724–730]: [16] pages of colour and monochrome plates. Type: Imprint. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Full dark green series binding (see item 766); pale green endleaves with a map. Black slip case. The text was first published in 1843. In addition to the plates, there are 18 monochrome illustrations, including the frontispiece portrait and a map, printed in the text. ¶ Second printing: 1996. 801 Bloomsbury guides to English literature. Bloomsbury. General editor Marion Wynne-Davies. 205 × 134 × 27–35 mm. 6 vols (see below). Type: Ehrhardt. Typeset by Hewer Text Composition Services, printed and probably bound by Richard Clay. Full black cloth. White dust-jacket printed in dark blue and colour. This series of guides was originally published by Bloomsbury in paperback format. In 1994 the work

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was reprinted, with a note on the verso of the title-leaf reading ‘This hardback edition produced exclusively for the Folio Society’. The individual guides were also available separately. The six volumes are as follows: [1] Bloomsbury guides to English literature, the Renaissance, a guide to English Renaissance literature: 1500–1660, edited by Marion Wynne-Davies. Pp. [i–x], [1] 2–302 [303–310]. [2] Bloomsbury guides to English literature, Augustan literature, a guide to Restoration and eighteenth century literature: 1660–1789, edited by Eva Simmons. Pp. [i–xviii], [1] 2–295 [296–302]. [3] Bloomsbury guides to English literature, Romantic literature, a guide to Romantic literature: 1780–1830, edited by Geoff Ward. Pp. [i–xii], [1] 2–259 [260]. [4] Bloomsbury guides to English literature, Victorian literature, from 1830 to 1900, edited by Jane Thomas. Pp. [i–xii], [1] 2–242 [243–244]. [5] Bloomsbury guides to English literature, the twentieth century, a guide to literature from 1900 to the present day, edited by Linda R. Williams. Pp. [i–xii], [1] 2–336 [337–340]. [6] Bloomsbury guides to English literature, the novel, a guide to the novel from its origins to the present day, edited by Andrew Michael Roberts. Pp. [i–xii], [1] 2–366 [367–368].

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1995 802 Adventure stories from the ‘Strand’, selected by Geraldine Beare, introduction by Tim Heald, illustrations by David Eccles. 239 × 161 × 34 mm. Pp. [i–vi] vii–xix [xx], [1–2] 3–329 [330–332]. Type: Ehrhardt with Gill Shadow for display. Typeset by Fakenham Photosetting, printed and bound by the Bath Press. Full green series binding (see item 684) with a different design by Eccles; dark green endleaves. There are 20 stories, originally published in the Strand magazine between 1892 and 1949, each illustrated with a full-page drawing; there are also two smaller drawings, and a frontispiece, all by Eccles. 803 Saint Joan of Arc, born 6 January 1412, burned as a heretic, 30 May 1431, canonised as a Saint, 16 May 1920, Vita Sackville-West, woodcuts by Chris Daunt. Maps by J.F. Horrabin. 253 × 160 × 29 mm. Pp. [i–vii] viii–xvi [xvii–xviii], [1] 2–339 [340–342]: colour frontispiece. Type: Dante with Poetica for the title. Typeset by Gloucester Typesetting, printed and bound by Cambridge University Press. Full blue cloth with a sword design in silver; pale grey endleaves with a map in dark blue. Silver slip case with Joan’s signature in dark blue. Each of the 18 chapters has a woodcut head-piece by Daunt. There are maps by Horrabin on pages [92], [124] and [212], as well as on the endleaves; in addition, there is a reproduction of a page from the transcript of the trial on page [279], and a genealogical table on page [298]. The frontispiece reproduces a miniature portrait of Joan. ¶ Second printing: 1995. ¶ Third printing: 1997, printed and bound by Butler and Tanner. ¶ Fourth printing: 1999. ¶ Fifth printing: 2004, printed and bound by the Bath Press. 804 Claudius the god and his wife Messalina, the troublesome reign of Tiberius Claudius Caesar, Emperor of the Romans (born 10 b c , died a d 54), as described by himself; also his murder at the hands of the notorious Agrippina (mother of the Emperor Nero) and his subsequent deification, as described by others, introduction by John Mortimer, illustrations by Neil Packer, Robert Graves. 251 × 162 × 33 mm. Pp. [i–vi] vii–xiv, 1–400 [401–402]: [8] leaves of colour plates (facing pp. [iii], 50, 67, 146, 163, 242, 259 and 394). Type: Centaur and Arrighi. Printed and bound by the Bath Press. Full purple buckram with a pattern in gold by Packer (as item 779); pale grey endleaves with a genealogical table in dark blue by Denys Baker. Dark blue slip case. There is a map by Denys Baker on page [vi]. This edition is uniform with I, Claudius (1994 item 779) and, like the earlier volume, has Graves’s name at the foot of the title-page, beneath the imprint. 805 Anthony Trollope, the warden, introduction by Owen Chadwick, illustrations by Alexy Pendle. 227 × 150 × 24 mm. Pp. [i–iv] v–xxiv, 1–172 [173–178]: [16] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter orange series binding (see item 632), pink paper boards with the border in brown; pink endleaves with a map in brown. Pale brown slip case. The warden had previously been published in Folio’s Barsetshire series (1976 item 391). The Barsetshire books in the present series have a map of the county ‘Drawn by Lynton Lamb from Trollope’s original sketch map . . .’ printed on the endleaves. ¶ Second printing: 1996. ¶ Third printing: 1998. Part of this impression was issued with the other Barsetshire novels as item 946. ¶ Fourth printing: 2002 item 946. 806 The kings of England, ever since it was so called, by Robert Glover and Thomas Milles, edited by Derek Parker with an introduction by Nigel Ramsay. 252 × 159 × 35 mm. Pp. [i–ix] x–xx, [1] 2–371 [372]: [16] pages of colour plates. Type: Caslon. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter dark

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brown leather, pale brown paper boards patterned in dark brown; pale brown endleaves. Pale brown slip case. The plates reproduce a series of seventeenth-century portraits of monarchs, formerly in the collection of the Dukes of Leeds at Hornby Castle. The pattern used on the boards is based on the knotted decoration of a binding found on a copy of the first edition, which was published in 1610. 807 Anthony Trollope, John Caldigate, introduction by R.C. Terry, illustrations by Francis Mosley. 228 × 152 × 33 mm. Pp. [i–iv] v–xx, 1–498 [499–500]: [11] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter dark brown series binding (see item 632), pale brown paper boards with the border in dark brown; pale brown endleaves. Dark brown slip case. The text was first published in Blackwood’s magazine between April 1878 and June 1879, and in book form in May 1879. ¶ Second printing: 1999. 808 [Folio series of Dickens’s novels]. 5 vols (see below). Dark red five-volume slip case with Dickens’s signature in gold. This set of five novels was published as part of Folio’s reprint of Dickens’s works. Each is another issue of the separately published impression (called a ‘Reissue’ on the verso of the title-leaf ), which appeared simultaneously. The five volumes are as follows: [1] Barnaby Rudge . . . (1987 item 587, ‘Reissue’ 1995). [2] Dealings with the firm of Dombey and Son . . . (1984 item 529, ‘Reissue’ 1995). [3] Little Dorrit . . . (1986 item 579, ‘Reissue’ 1995). [4] The mystery of Edwin Drood . . . (1982 item 505, ‘Reissue’ 1995). [5] Our mutual friend . . . (1982 item 496, ‘Reissue’ 1995). 809 The wind in the willows, Kenneth Grahame, illustrated with paintings by James Lynch, with an introduction by Alan Bennett. 247 × 176 × 23 mm. Pp. [1–8] 9–206 [207–208]: [8] leaves of colour plates (facing pp. 32, 41, 48, 65, 112, 129, 177 and between pp. 168–169). Type: Dante. Printed and bound by Butler and Tanner. Full green artificial moiré silk with a circular design in gold by Lynch; grey-green endleaves. Grey-green slip case. Number 6 in ‘The Folio fifty’ (see item 8). One hundred numbered copies were also issued, specially bound by the Fine Bindery in quarter blue morocco, with Ann Muir marbled paper on the boards. An extra colophon leaf, signed by Lynch, was inserted after page 206. A few lettered copies (probably around 25) were also issued in this form, for private distribution by Folio. A number of artists were approached to illustrate the text, but most felt overshadowed by the earlier work of E.H. Shepard and Arthur Rackham. However, in James Lynch Folio found an artist with the courage to tackle the job with a fresh eye, and he produced a series of stunning new paintings, and a binding design. ¶ Second printing: 1996. ¶ Third printing: 1997. ¶ Fourth printing: 1999, printed by the Saint Edmundsbury Press, the plates by Barwell Colour Print. Bound by Hunter and Foulis. ¶ Fifth printing: 2001. ¶ Sixth printing: 2002. ¶ Seventh printing: 2003. ¶ Eighth printing: 2004, the plates printed by M and M Press. 810 The rise and fall of the Third Reich, a history of Nazi Germany by William L. Shirer, volume I [–II]. 252 × 165 × 52 mm. 2 vols (pp. [i–vi] vii–xiv, [1–2] 3–684 [685–690]: [16] pages of plates; [i–vi] vii–viii, [1–2] 3–670 [671–672]: [16] pages of plates). Type: Ehrhardt with Neographik for display. Typeset by Fakenham Photosetting, printed and bound by Butler and Tanner. Full red cloth with a swastika design (fractured for

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volume II) in black and white; endleaves with maps in red and black by Denys Baker. Black two-volume slip case printed in black and white. The plates reproduce contemporary photographs. ¶ Reprinted in four volumes, with a new binding design and new illustrations: 2004 item 1177. 811 Memoirs of a Georgian rake, William Hickey, edited by Roger Hudson, [vinyl-] engravings by John Lawrence. 223 × 143 × 34 mm. Pp. [i–vi] vii–xvii [xviii], 1–414. Type: Baskerville with Fry’s Baskerville for display. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter dark red series binding (see item 723); blue endleaves with a map in black by Denys Baker. Dark blue slip case. Lawrence’s vinyl-engravings consist of a frontispiece and 23 half-page and smaller illustrations, four being used twice as tail-pieces. ¶ Second printing: 1996. ¶ Third printing: 1998. 812 Metamorphoses, Ovid, translated and introduced by Mary M. Innes, illustrations by Richard Shirley Smith. 252 × 176 × 48 mm. Pp. [i–iv] v–xxix [xxx–xxxii], 1–350 [351–352]: [8] leaves of colour plates (facing pp. 32, 49, 97, 112, 225, 240, 288 and 305). Type: Baskerville with Fry’s Baskerville for display and title lettering drawn by Shirley Smith. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter dark blue series binding (see item 724), pale grey cloth boards with a design in dark green by Shirley Smith; grey endleaves. Grey slip case. In addition to the plates there are 12 tail-pieces (one used twice) and the title-page design, which incorporates the main title and imprint in a pastiche of a classical monumental inscription. Two hundred unbound copies were taken by Designer Bookbinders for their 1996 design competition. 813 Brideshead revisited, the sacred and profane memories of Captain Charles Ryder, Evelyn Waugh, introduced by Frederic Raphael, illustrated by Leonard Rosoman. 241 × 161 × 28 mm. Pp. [i–viii] ix–xix [xx], 1–275 [276]: [8] leaves of colour plates (facing pp. 76, 93, 172, 181, 205, 236, 245). Type: Bembo. Printed and bound by Butler and Tanner. Full yellow cloth with a repeat pattern in green by Rosoman; green endleaves. Green slip case. Number 22 in ‘The Folio fifty’ (see item 8). One hundred numbered copies were also issued, specially bound by the Fine Bindery in quarter red-brown morocco, with Ann Muir marbled paper on the boards and pale brown endleaves and slip case. An extra colophon leaf, signed by Rosoman, was inserted after page [276], and the text on the verso of the title-leaf has been revised to name the binder. A few lettered copies (probably around 25) were also issued in this form, for private distribution by Folio. ¶ Second printing: 1995. ¶ Third printing: 1997. ¶ Fourth printing: 1997. ¶ Fifth printing: 2007, printed and bound by Cambridge University Press. Pale green cloth with a design in gold by Rosoman; dark green endleaves. Dark green slip case. Selected by Michael Howard, former Leader of the Conservative Party, as his ‘Castaway’s Choice’. ¶ Sixth printing (not seen). ¶ Seventh printing: 2008, printed by Memminger MedienCentrum. Bound by Real Lachenmaier. 814 Maurice Maeterlinck, the life of the bee, translated by Alfred Sutro, introduced by John Heath-Stubbs, illustrated by Wilf Hartley. 228 × 160 × 19 mm. Pp. [1–6] 7–188 [189–192]. Type: Walbaum. Printed in brown and black by Cambridge University Press. Bound by Cambridge University Press in full pale brown cloth decorated in gold with a honeycomb pattern by Hartley; pale brown endleaves. Pale brown slip case. Maeterlinck’s text was first published in 1901 as La vie des abeilles, and Sutro’s English translation first appeared in the same year. Hartley’s illustrations consist of eight full-page drawings, and 29 small vignettes, all printed in brown.

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815 Edgar Allan Poe, the raven, [wood-] engravings by George Tute. 117 × 85 × 7 mm. Pp. [1–32]. Type: Bulmer. Typeset by Gloucester Typesetting, printed and bound by Mandarin Offset. Black series binding (see item 706); black endleaves. There are seven small wood-engravings by Tute. When exposed to light, the binding cloth fades to grey. 816 H. Rider Haggard, African adventures. 222 × 142 × 26–31 mm. 3 vols (see below). Type: Century Old Style with Lithos for display. Printed and bound by Cambridge University Press. Full pale brown cloth with a design in red, black and gold by David Eccles; dark red endleaves. Dark red three-volume slip case titled (as above) in gold. The three volumes are as follows: [1] King Solomon’s mines by H. Rider Haggard, introduction by Frank Delaney, illustrations by David Eccles. Pp. [i– viii] ix–xxiii [xxiv], 1–247 [248]. Eccles’s illustrations consist of a frontispiece, nine full-page drawings, a map on page 18, and 17 tail-pieces. [2] Allan Quatermain, being an account of his further adventures and discoveries in company with Sir Henry Curtis, Bart., Commander John Good, RN, and one Umslopogaas, by H. Rider Haggard [quotation ‘Ex Africa semper aliquid novi’], illustrations by David Eccles. Pp. [i–xii] xiii–xviii [xix–xx], 1–296 [297–300]. Eccles’s illustrations consist of a frontispiece, ten full-page drawings, and 15 tail-pieces (two used twice, and at least three repeated from the previous volume). [3] She, a history of adventure by H. Rider Haggard, illustrations by David Eccles. Pp. [i–x] xi–xv [xvi], 1–317 [318–320]. Eccles’s illustrations consist of a frontispiece, 12 full-page drawings, one small drawing, and 17 tail-pieces (one used twice, and at least five repeated from the previous volumes). 817 The history and adventures of the renowned Don Quixote, translated from the Spanish of Miguel de Cervantes Saavedra, to which is prefixed, some account of the author’s life, by T. Smollett MD, introduction by Robin Chapman, illustrations by Quentin Blake. 252 × 162 × 52 mm. Pp. [1–2], [i–iv] v–xxxix [xl], 1–768 [769–774]: [16] leaves of two-colour ‘plates’. Type: Ehrhardt. Printed and bound by Cambridge University Press. Full yellow cloth with a design in dark brown by Blake; dark brown endleaves. Dark brown slip case with lettering in gold by Blake. Number 34 in ‘The Folio fifty’ (see item 8). Cervantes’s work was first published in Spanish in two parts in 1605 and 1615, and was translated into many languages, including English, during the following 20 years. Smollett’s translation appeared in 1755, with a revised edition (followed here) in 1770. The ‘plates’ are printed in pink and black, and Blake has also supplied a frontispiece and eight head- and tail-pieces, printed in the same colours. The text and illustrations combine very effectively to make this among the most attractive books of the period. ¶ Second printing: 1997, printed by BAS Printers. Bound by Hunter and Foulis in coarser-grain, slightly darker cloth. ¶ Third printing: 1998, printed and bound by T.J. International. ¶ Fourth printing: 2005 item 1259, issued with a commentary. 818 The novels of Henry Fielding. 4 vols (see below). Printed and bound by Cambridge University Press. Dark green four-volume slip case with the title around a circular portrait of Fielding blocked in gold. The four volumes are as follows: [1] The history of the adventures of Joseph Andrews and his friend Mr. Abraham Adams, by Henry Fielding, wood-engravings by Derrick Harris. As the first Folio edition of 1953 (item 56) but reprinted by photolithog raphy. 228 × 150 × 30 mm. Full red linen with a design in black by Simon Brett; dark green endleaves. Brett’s binding design is a skilful pastiche of Derrick Harris’s wood-engraved design for the binding of The history

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of Tom Jones (the second volume below). A second edition had been published in 1967 (item 237.5), but for some reason the earlier edition was chosen for this collected reprint. The new title-page is hand-drawn with pen and ink. [2] The history of Tom Jones, Henry Fielding . . . As the first impression of the second edition of 1973 (item 326) but reprinted by photolithography. 228 × 149 × 45 mm. Full red linen with a design in black by Derrick Harris; dark green endleaves. Harris’s binding design is repeated with slight alterations from the second edition. Additional copies of this title alone were printed for separate issue (see item 818.5). [3] Henry Fielding, Amelia [quotations in Latin and Greek], wood-engravings by Simon Brett. Introduction by Mervyn Horder. 228 × 149 × 33 mm. Pp. [i–iv] v–xv [xvi], 1–475 [476–481]. Type: Plantin. Full red linen with a design in black by Brett; dark green endleaves. The wood-engravings consist of 33 vignettes (three used as head-pieces, one of which is repeated) and the full-page frontispiece and title-page. The vignettes on pages 430 and 458 are printed from the same wood-engraving, with different sections masked-out. There is also a wood-engraved cartouche by Brett which is used at the heading of each chapter, sometimes in combination with a head-piece. This is the only one of the four volumes to be published here for the first time. Brett’s binding design imitates Harris’s for The history of Tom Jones (the second volume above), but his illustrations, although in keeping with Harris’s and Martin’s for the other volumes, display a good deal of the Brett style. [4] The life of Mr Jonathan Wild the great by Henry Fielding . . . Reissue with a new binding. As the first impression of 1966 (item 219), but reprinted by photolithography. 228 × 148 × 22 mm. Full red linen with a design in black by Simon Brett; dark green endleaves. Brett’s binding design is a skilful pastiche of Harris’s wood-engraved design for the binding of The history of Tom Jones (the second volume above), with Martin’s death’s head tail-piece reprinted on the back board. 818.5 The history of Tom Jones, Henry Fielding . . . A separate issue of one of The novels of Henry Fielding. Details as volume [2] of item 818, but in a plain dark green single-volume slip case (not seen). ¶ Second printing: 2008, printed by the Saint Edmundsbury Press. Now bound in cream cloth with Harris’s design printed with additional green, purple and brown inks; brown endleaves. Pale green slip case. Selected by the author Jonathan Coe as his ‘Castaway’s Choice’. 819 Anthony Trollope, Barchester Towers, introduction by Ruth Rendell, illustrations by Alexy Pendle. 228 × 150 × 32 mm. Pp. [i–iv] v–xx, 1–476: [16] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter dark blue series binding (see item 632), pale blue paper boards with the border in dark blue; pale blue endleaves with the map in dark blue. Dark blue slip case. Number 30 in ‘The Folio fifty’ (see item 8). Barchester Towers had previously been published in Folio’s Barsetshire series (1977 item 410). ¶ Second printing: 1997. ¶ Third printing: 1998. Part of this impression was issued with the other Barsetshire novels as item 946. 820 Anthony Trollope, the landleaguers, introduction by Frank Delaney, illustrations by Val Biro. 228 × 148 × 35 mm. Pp. [i–iv] v–xxi [xxii], 1–357 [358–362]: [16] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter dark green series binding (see item 632), pale green paper boards with the border in dark green; pale green endleaves. Dark green slip case. The text was first published in Life, a

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weekly journal of science, literature, the fine arts and finance between November 1882 and October 1883, and in book form once part publication was complete. ¶ Second printing: 1997. ¶ Second [i.e. third] printing: 1998, with a dark blue slip case. 821 The Pre-Raphaelites and their world, a personal view, from some reminiscences and other writings of William Michael Rossetti, introduction and epilogue by Angela Thirlwell. Edited by Sue Bradbury. 263 × 191 × 22 mm. Pp. [1–2], [i–vii] viii–xvii [xviii–xx], [1] 2–234. Type: Walbaum with Clairvaux for the title. Printed and bound by the Bath Press. Full dark purple cloth blocked in gold and printed in red, green and blue-green with a design by David Eccles; red endleaves. Red slip case. The Presentation Volume for 1996. There are 104 illustrations printed in the text, 62 in colour, mostly reproducing paintings and drawings by, and portrait photographs of, the Pre-Raphaelites. The text is mostly drawn from Rossetti’s Some reminiscences (1906) and A memoir of Dante Gabriel Rossetti (1895), with additions from the other sources. The binding design is quite stunning and is based on that of Gems of English art (published by Routledge in 1869). The binding won for the Bath Press the Printing World Aster Universal Award. 822 The coming of the Great War, Barbara W Tuchman. 252 × 161 × 40–41 mm. 2 vols (see below). Type: Utopia with Clairvaux for display. Printed and bound by the Bath Press. Full black buckram with a repeat pattern of small crowns (volume I) and Maltese crosses (volume II) in gold. Gold two-volume slip case titled (as above) in black. Copies of the individual volumes from this edition were also issued separately (see items 823 and 824). The two volumes are as follows: [1] Barbara W. Tuchman, the proud tower, a portrait of the world before the War, 1890–1914. Pp. [i–vii] viii–xiii [xiv], [1] 2–505 [506]: [16] pages of colour and monochrome plates. Dark blue endleaves. [2] Barbara W. Tuchman, the guns of August. Pp. [i–vii] viii–xii, [1] 2–490 [491–492]: [16] pages of plates. There are also eight maps by Reginald Piggott printed in the text. Red endleaves. ¶ Second printing: 1997, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. ¶ Second [i.e. third] printing: 1997, printed and bound by Butler and Tanner. 823 Barbara W. Tuchman, the proud tower . . . A separate issue of the first volume of The coming of the Great War. Details as volume I of item 822, but with a plain gold single-volume slip case. ¶ Second printing: 1997, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. ¶ Second [i.e. third] printing: 1997, printed and bound by Butler and Tanner. 824 Barbara W. Tuchman, the guns of August. A separate issue of the second volume of The coming of the Great War. Details as volume II of item 822, but with a plain gold single-volume slip case. ¶ Second printing: 1997, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. ¶ Second [i.e. third] printing: 1997, printed and bound by Butler and Tanner. 825 Edward Gibbon, the history of the decline and fall of the Roman empire, volume I [–VIII] . . . Reissued with a new binding. A reprint of the eight volumes originally published separately between 1983 and 1990. Details as items 510, 524, 543, 560, 582, 606, 628 and 653, but printed and bound by Cambridge University Press. Full cream vegetable parchment (‘Elephanthide’) decorated in gold, red and blue (based on the earlier binding

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design); cream endleaves with maps in dark blue. Two red four-volume slip cases titled and decorated in gold. Number 20 in ‘The Folio fifty’ (see item 8). ¶ Second [i.e. another] printing: 1996. ¶ Third [i.e. another] printing: 1996, printed and bound by the Bath Press. ¶ Fourth [i.e. another] printing: 1997. ¶ Fifth [i.e. another] printing: 1997. ¶ Sixth [i.e. another] printing: 1997. Extra copies of volumes I–IV were printed for a two-stage offer, in which members could have the first four volumes on approval and at a special price, in the hope that they would then buy the second set of four; naturally, not everyone did, and for this reason it was not necessary to print so many copies of volumes V–VIII. ¶ Seventh [i.e. another] printing: 1998. Extra copies of volumes I–IV were again printed. ¶ Eighth [i.e. another] printing: 1998. ¶ Ninth [i.e. another] printing: 1998. ¶ Tenth [i.e. another] printing: 1999, with volumes V–VIII printed and bound by Butler and Tanner (but the first four volumes still the work of the Bath Press). This pattern was followed in the subsequent two impressions. ¶ Eleventh [i.e. another] printing: 2000. ¶ Twelfth [i.e. another] printing: 2001. ¶ Thirteenth [i.e. another] printing: 2003, all eight volumes printed and bound by the Bath Press. ¶ Fourteenth [i.e. another] printing: 2004. ¶ Fifteenth [i.e. another] printing: 2006. This reprint coincided with the selection of this title as the ‘Castaway’s Choice’ of four celebrated individuals (see item 270). ¶ Sixteenth [i.e. another] printing: 2006 (not seen). ¶ Seventeenth [i.e. another] printing (not seen). ¶ Eighteenth [i.e. another] printing: 2009. Printed and bound by T.J. International. ¶ Nineteenth [i.e. another] printing: 2011. 826 William Russell, special correspondent of The Times, introduced by Max Hastings, edited by Roger Hudson. 252 × 174 × 41 mm. Pp. [i–vii] viii–xxvii [xxviii], [1–4] 5–426: [26] pages of ‘plates’. Type: Modern Extended. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Full grey-brown series binding (see item 766); grey-brown endleaves. Black slip case. The ‘plates’ reproduce contemporary photographs, illustrative of Russell’s reports from The Times and other newspapers, originally published between 1854 and 1882. ¶ Second printing: 1996. ¶ Third printing: 1997. ¶ Fourth printing: 1999 (not seen). 827 Charlotte & Emily Brontë. Reissued with new illustrations, fifth printing [i.e. another impression]. A separate issue of the ‘fifth printing’ of Jane Eyre and Wuthering Heights from the Brontë set. Details as volumes [5] and [3] of item 702, but the bindings measure 227 × 150 × 25–32 mm. Green two-volume slip case titled (as above) in gold. Numbers 15 and 16 in ‘The Folio fifty’ (see item 8). The two volumes were also issued separately (items 828 and 829). ¶ Sixth [i.e. another] printing: 1996. 828 Charlotte Brontë, Jane Eyre . . . Reissued with new illustrations, fifth printing [i.e. another impression]. A separate issue of the ‘fifth printing’ of Jane Eyre from the Brontë set. Details as volume [5] of item 702, but the binding measures 227 × 151 × 32 mm. Green single-volume slip case. ¶ Sixth [i.e. another] printing: 1996. 829 Emily Brontë, Wuthering Heights . . . Reissued with new illustrations, fifth printing [i.e. another impression]. A separate issue of the ‘fifth printing’ of Wuthering Heights from the Brontë set. Details as volume [3] of item 702, but the binding measures 227 × 149 × 24 mm. Green single-volume slip case. ¶ Sixth [i.e. another] printing: 1996.

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830 The best of Dorothy Parker, introduction by Mervyn Horder, illustrations by Helen Smithson. 222 × 140 × 24 mm. Pp. [1–4] 5–233 [234–240]: [8] leaves of ‘plates’ (facing pp. 44, 52, 72, 106, 124, 156, 181 and 208). Type: Goudy Old Style with Spartan Bold for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full silver plasticised cloth with a design in black by Smithson; pale grey endleaves. Pale grey slip case. The binding was decorated by silk-screen printing and then laminated, to seal in the powerful smell of the process. For the second impression, the binding was foil-blocked and not laminated. This was the first volume in a series of selections from the great humorists. For others in the series see items 848, 875, 912, 913, 941, 977, 1021, 1070 and 1140. ¶ Second printing: 1996, printed by Hunter and Foulis. ¶ Third printing: 1997, printed by the Saint Edmundsbury Press. ¶ Fourth printing: 1998. ¶ Fifth printing: 1998. ¶ Sixth printing: 2002. ¶ Seventh printing: 2003 (not seen). ¶ Eighth printing: 2004. ¶ Ninth printing: 2005. ¶ Tenth printing: 2006. ¶ Eleventh printing: 2008. ¶ Twelfth printing: 2009, printed by Martins of Berwick. ¶ Thirteenth printing: 2019, with a new binding. Printed and bound by L.E.G.O. in full cream cloth printed in pale green and blocked in brown with a design by Jamie Keenan; dark red endleaves. Dark red slip case. 2019 given as year on title-page. 831 Henry Williamson, Tarka the otter, his joyful water-life and death in the country of the two rivers, illustrations by C.F. Tunnicliffe, introduction by J.W. Fortescue. 228 × 161 × 21 mm. Pp. [i–vi] vii–xii [xiii–xiv], 1–220 [221–224]. Type: Scotch Roman. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Full green-grey cloth, cover-label with the frontispiece repeated; green endleaves with a map by Denys Baker in dark green. Green slip case printed in dark green. There are 24 wood-engravings by Tunnicliffe, the frontispiece being repeated on the front board, and another enlarged for the slip case. The text first appeared in 1927, and Tunnicliffe’s illustrations were made for the Bodley Head edition of 1932. Here, for the first time, the page was made large enough so that the wood-engravings could be printed the right way around (in the 1932 edition some had been printed as full-page plates, turned through 90 degrees). ¶ Reprinted with a new foreword: 2005, the title-page concluding . . . introduction by J.W. Fortescue, foreword by Paul Scofield. Pp. [i–vi] vii–xiv [xv–xvi], 1–220 [221–224]. This book was Scofield’s selection for Folio’s ‘Castaway’s Choice’ (see item 270). 832 ‘Captains courageous’, a story of the grand banks by Rudyard Kipling, illustrated by I.W. Taber. 240 × 160 × 20 mm. Pp. [1–6] 7–191 [192]. Type: Plantin with Windsor for display. Printed and bound by Butler and Tanner. Full blue cloth with a design in black and gold by David Eccles; pale yellow endleaves. Dark blue slip case. There are 21 drawings by Taber printed in the text. 833 Kim by Rudyard Kipling, illustrated in colour by Auguste Leroux. 240 × 160 × 27 mm. Pp. [1–6] 7–288: [12] leaves of colour plates. Type: Plantin with Windsor for display. Printed and bound by Butler and Tanner. Full red-brown cloth with a design in black and gold by David Eccles; pale yellow endleaves. Dark brown slip case. 834 Poems by Rudyard Kipling, illustrated by W. Heath Robinson. 240 × 160 × 25 mm. Pp. [1–14] 15–236 [237–240]: [8] leaves of colour plates (facing pp. [3], 48, 65, 72, 81, 96, 128 and 145). Type: Plantin with Windsor for display. Printed and bound by Butler and Tanner. Full green cloth with a design in black and gold by David Eccles; pale yellow endleaves. Dark green slip case. In addition to the plates, there are 15 monochrome line-drawings by Heath Robinson printed in the text. The monochrome illustrations were first published in Kipling’s The song of the English (1915) and Collected verse (1910).

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835 Puck of Pook’s Hill by Rudyard Kipling, illustrated by H.R. Millar. 240 × 159 × 24 mm. Pp. [1–10] 11–201 [202]: [19] leaves of ‘plates’. Type: Plantin with Windsor for display. Printed and bound by Butler and Tanner. Full pink cloth with a design in black and gold by David Eccles; pale yellow endleaves. Dark red slip case. The text and ‘plates’ are taken from Macmillan’s ‘Uniform edition’ of 1906. 836 Hans : Andersen’s fairy : tales : with illustrations : by W : Heath : Robinson. 252 × 193 × 48 mm. Pp. [1–2], [i–iv] v–xi [xii], [1] 2–288 [289–290]: [16] leaves of colour plates. Type: Scotch Roman. Printed and bound by the Bath Press. Full red cloth with a design in white and gold by Robinson; pale yellow endleaves. Red slip case. Number 47 in ‘The Folio fifty’ (see item 8). In addition to the plates, there are 94 pen-and-ink drawings by Robinson, 17 of them full-page (one for each story), and a title-page design with lettering by the artist. This edition is based closely on the famous and beautifully illustrated Constable edition of 1913; Robinson’s binding design was redrawn by David Eccles, and the illustrations and plates are all reprinted, the latter with careful attention to the removal of the grey-brown paper colour of the originals (thus rendering the colours brighter). The text was set to resemble the 1913 edition, but with improved word spacing, and was optically thickened to give more of a letterpress ‘feel’, without the excessive ink-spread of the first edition. The page references in the list of plates do not tally exactly with the plate positions, and some plate margins are wrong. Twenty-five copies were produced with these defects corrected, in case of complaints (although none was received). This was the first in an informal series of improved facsimiles of classic children’s books, to which a number of newly created titles were later added. ¶ Second printing: 1996. ¶ Third printing: 1997. ¶ Fourth printing: 1997. ¶ Fifth printing: 1998. ¶ Sixth printing: 1999. ¶ Seventh printing: 1999. ¶ Eighth printing: 2000, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. ¶ Ninth printing: 2001. ¶ Tenth printing: 2001 (not seen). ¶ Eleventh printing: 2002 (not seen). ¶ Twelfth printing: 2004 (not seen). ¶ Thirteenth printing: 2004. ¶ Fourteenth printing: 2006. ¶ Fifteenth printing: 2007, the dimensions now 252 × 193 × 44 mm. ¶ Sixteenth printing: 2008, printed by the Amadeus Press. ¶ Seventeenth printing: 2009. ¶ Eighteenth printing: 2011. ¶ Nineteenth printing: 2013. Printed and bound by L.E.G.O. ¶ Twentieth printing: 2017. 837 Painter of passion, the journal of Eugène Delacroix, a selection edited by Hubert Wellington, translated from the French by Lucy Norton, introduction by Timothy Wilson-Smith. 252 × 176 × 48 mm. Pp. [i–ix] x–xxi, [1] 2–378: [16] leaves of colour plates. Type: Fournier. Printed and bound by the Bath Press. Full red canvas with an oval portrait of Delacroix on the front board; endleaves printed in colour. Grey slip case. The endleaves reproduce pages from the manuscript of part of the journal, with the artist’s coloured sketches; the text was first published in French in 1893, and the present text is revised from Norton’s translation, which appeared in 1951. 838 The Cambridge cultural history of Britain, edited by Boris Ford. Cambridge University Press. 253 × 175 × 23–28 mm. 9 vols (see below). Type: Plantin. Printed and bound by Cambridge University Press. Full dark blue cloth. Dark blue nine-volume slip case titled (as above) in black. This work was originally published by the Cambridge University Press in 1988 as The Cambridge guide to the arts of Britain. The present edition, although bearing the Cambridge imprint on the title-pages, was ‘produced exclusively for the Folio Society, 1995’ (as stated on the verso of each title-leaf ). In addition to the plates, each volume has numerous illustrations printed in the text. The nine volumes are as follows: 1 The Cambridge cultural history of Britain, edited by Boris Ford, volume 1, early Britain. Pp. [i–v] vi–xi [xii], [1–2] 3–289 [290–292]: [8] pages of colour plates (between pp. 52–53).

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2 The Cambridge cultural history of Britain . . . volume 2, medieval Britain. Pp. [i–vi] vii–x, [1–2] 3–290 [291–294]: [8] pages of colour plates (between pp. 54–55). 3 The Cambridge cultural history of Britain . . . volume 3, sixteenth-century Britain. Pp. [i–v] vi–x, [1–2] 3–325 [326]: [8] pages of colour plates (between pp. 54–55). 4 The Cambridge cultural history of Britain . . . volume 4, seventeenth-century Britain. Pp. [i–v] vi–xi [xii], [1–2] 3–340: [8] pages of colour plates (between pp. 20–21). 5 The Cambridge cultural history of Britain . . . volume 5, eighteenth-century Britain. Pp. [i–v] vi–ix [x], [1–2] 3–349 [350]. 6 The Cambridge cultural history of Britain . . . volume 6, the romantic age in Britain. Pp. [i–iv] v–xii, [1–2] 3–330 [331–332]: [8] pages of colour plates (between pp. 52–53). 7 The Cambridge cultural history of Britain . . . volume 7, Victorian Britain. Pp. [i–v] vi–xii, [1–2] 3–347 [348]: [8] pages of colour plates (between pp. 52–53). 8 The Cambridge cultural history of Britain . . . volume 8, early twentieth-century Britain. Pp. [i–vi] vii–x, [1–2] 3–348 [349–350]: [8] pages of colour plates (between pp. 22–23). 9 The Cambridge cultural history of Britain . . . volume 9, modern Britain. Pp. [i–v] vi–xii, [1–2] 3–350 [351–352]: [8] pages of colour plates (between pp. 52–53).

1996

1996 839 Edward Lear’s complete nonsense, introduced by Quentin Blake, illustrations by the author, hand-coloured for this edition. 229 × 162 × 28 mm. Pp. [1–8] 9–286 [287–288]. Type: Bulmer with Horndon for display and hand-drawn lettering for the title. Printed by Butler and Tanner. Bound by Butler and Tanner in full yellow cloth with a design in red, orange, green and blue by Richard Beards; red endleaves. Yellow slip case with a continuation of the cover-design. The illustrations are taken from the first editions of Lear’s five nonsense books, originally published between 1846 and 1895, with hand-colouring added for Folio by Richard Beards, who also drew the coloured title-spread. The illustrations are printed in black and four solid colours in imitation of the stencil-coloured books of the period. ¶ Second printing: 1997. ¶ Third printing: 1998. ¶ Fourth printing: 1999. ¶ Fifth printing: 2002. ¶ Sixth printing: 2004. ¶ Seventh printing: 2012, with redesigned and extended title which reads ‘hand-coloured for this edition by Richard Beards.’ Printed by Martins of Berwick. Bound by Hunter and Foulis. Now bound in red cloth blocked in gold and black with design by Neil Gower based on the 1846 edition. Yellow slip case. A more traditional feel: nineteenth-century style binding, conventional title-page and plain slip case. ¶ Eighth printing: 2013. Bound by Charles Letts & Co. 840 Short stories by Rudyard Kipling, illustrated by Ian Ribbons. 240 × 161 × 28 mm. Pp. [1–8] 9–269 [270]: [13] leaves of ‘plates’. Type: Plantin with Windsor for display. Printed and bound by Butler and Tanner. Full pale orange cloth with a design in black and gold by David Eccles based on one of Ribbons’s ‘plates’; pale yellow endleaves. Orange slip case. This work reprints the illustrations and 14 of the stories originally published in Twenty-one tales in 1972 (item 316). 841 The Kon-Tiki expedition, by raft across the South Seas, Thor Heyerdahl, translated by F.H. Lyon, introduced by Tim Severin. 222 × 143 × 15 mm. Pp. [1–8] 9–298 [299–304]: [16] pages of plates. Type: Bembo with Tekton for display. Printed and bound by the Bath Press. Full white canvas with the Kon-Tiki emblem in brown and dark brown; cream endleaves with a map in dark brown. Dark brown slip case with the Kon-Tiki emblem in gold. The plates reproduce photographs taken before and during the expedition. 842 [The novels of E.M. Forster]. 240 × 162 × 20–32 mm. 6 vols (see below). Type: Bembo with Ellington for display. Printed by the Bath Press, the lithographs by Barwell Colourprint. Bound by the Bath Press in quarter dark brown cloth, cream paper boards with brown, green and gold vertical stripes; dark green endleaves. Dark green six-volume slip case with lithographs in brown by Glynn Boyd Harte. The plates represent an attempt to replicate the Plastocowell process (see item 590), the lithographs being drawn on special film and then printed in ‘self ’ colours. Two different colourways were employed, each of four colours. Howards End and A passage to India had already been published by Folio in 1973 (item 332) and 1983 (item 513) respectively. The six volumes are as follows: [1] E.M. Forster, where angels fear to tread, introduction by Bernard Levin, lithographs by Glynn Boyd Harte. Pp. [i–vi] vii–xix [xx], 1–155 [156]: [5] leaves of four-colour plates (facing pp. [iii], 28, 45, 124 and 141). [2] E.M. Forster, the longest journey, lithographs by Glynn Boyd Harte. Pp. [i–viii] ix–xiii [xiv], 1–274: [5] leaves of four-colour plates (facing pp. [iii], 67, 82, 131 and 146).

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[3] E.M. Forster, a room with a view, lithographs by Glynn Boyd Harte. Pp. [i–viii], 1–227 [228]: [7] leaves of four-colour plates (facing pp. [iii], 73, 88, 137, 152, 169 and 176). For these plates Boyd Harte cheekily adapted images of Julian Sands and Helena Bonham-Carter from the Merchant Ivory film of 1985. [4] E.M. Forster, Howards End, lithographs by Glynn Boyd Harte. Pp. [i–viii], 1–323 [324–328]: [7] leaves of four-colour plates (facing pp. [iii], 8, 25, 72, 120, 137 and 296). [5] E.M. Forster, a passage to India, lithographs by Glynn Boyd Harte. Pp. [i–x], 1–292 [293–294]: [9] leaves of four-colour plates (facing pp. [iii], 7, 22, 55, 70, 119, 134, 199 and 278). [6] E.M. Forster, Maurice, lithographs by Glynn Boyd Harte. Pp. [i–viii], 1–213 [214–216]: [5] leaves of four-colour plates (facing pp. [iii], 8, 25, 152 and 169). 843 [Folio series of Kipling’s works]. 7 vols (see below). Black seven-volume slip case. A separate issue of seven of the works from Folio’s Kipling series. This set of seven volumes was published only in Britain; a similar set was published for the American market, but with ‘Captains courageous’ substituted for Puck of Pook’s Hill (see item 844). The seven volumes are as follows: [1] The jungle book by Rudyard Kipling . . . (1992 item 731, ‘Third printing reissued’ 1996). [2] The second jungle book by Rudyard Kipling . . . (1994 item 786, ‘First printing reissued’ 1996). [3] Just so stories for little children by Rudyard Kipling . . . (1991 item 705, ‘Fifth printing’ 1996). [4] Kim by Rudyard Kipling . . . (1995 item 833). [5] Short stories by Rudyard Kipling . . . (1995 item 840). [6] Poems by Rudyard Kipling . . . (1995 item 834). [7] Puck of Pook’s Hill by Rudyard Kipling . . . (1995 item 835). 844 [Folio series of Kipling’s works]. 7 vols (see below). Black seven-volume slip case. A variant issue of item 843 for the American market. The seven volumes are as follows: [1] The jungle book by Rudyard Kipling . . . (1992 item 731, ‘Third printing reissued’ 1996). [2] The second jungle book by Rudyard Kipling . . . (1994 item 786, ‘First printing reissued’ 1996). [3] Just so stories for little children by Rudyard Kipling . . . (1991 item 705, ‘Fifth printing’ 1996). [4] Kim by Rudyard Kipling . . . (1995 item 833). [5] Short stories by Rudyard Kipling . . . (1995 item 840). [6] Poems by Rudyard Kipling . . . (1995 item 834). [7] ‘Captains courageous’, a story of the grand banks by Rudyard Kipling . . . (1995 item 832).

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845 William Makepeace Thackeray, vanity fair, introduction by Fay Weldon, illustrations by Roland Pym. 240 × 162 × 43 mm. Pp. [i–iv] v–xvii [xviii], 1–682 [683–686]: [16] leaves of colour plates. Type: Bell. Printed by the Saint Edmundsbury Press, the lithographs by the Cloister Press. Bound by Hunter and Foulis in full yellow cloth printed in blue and black with a pattern by Pym; blue endleaves. Blue slip case. Number 38 in ‘The Folio fifty’ (see item 8). In addition to the plates there are 51 small tail-pieces by Pym. ¶ Second printing: 1998. ¶ Third printing: 2006, the lithographs printed by the Amadeus Press. 846 Rides round Britain, John Byng, Viscount Torrington, edited by Donald Adamson, [wood-] engravings by Anne Hayward. Maps by Denys Baker. 223 × 140 × 34 mm. Pp. [i–viii] ix–xix [xx], 1–505 [506–508]. Type: Bas kerville with Fry’s Baskerville for display. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter dark brown series binding (see item 723); dark brown endleaves. Dark brown slip case. Hayward’s wood-engravings consist of a frontispiece and 25 half-page and smaller illustrations. In addition there are nine maps by Baker. ¶ Second printing: 1997. ¶ Third printing: 1998. 846.5 Jane Austen, three classic novels, Jane Austen. 3 vols. A reissue of Pride & prejudice, Sense & sensibility and Emma from the seven-volume set first published in 1975 (see items 375–381). Details as items 375, 376 and 380, but issued in a red three-volume slip case titled (as above) in gold. In late 1995, copies of the seven-volume set were split up. The three most popular novels were published together in early 1996 as Three classic novels, and the left-over four volumes were issued together shortly afterwards (item 847). Most copies are from the twelfth printing of 1994, although some may have been left over from the eleventh printing of 1993. When the thirteenth and subsequent impressions of the seven-volume set were made, additional copies of these three novels were printed, to form the subsequent impressions of Three classic novels. ¶ Thirteenth printing: 1996. ¶ Fourteenth printing: 1996. ¶ Fifteenth printing: 1996. ¶ Sixteenth printing: 1996. ¶ Seventeenth printing: 1997. For this reprint pulls from the original wood-engravings were used to ‘re-originate’ the illustrations and improve the quality of their reproduction. ¶ Eighteenth printing: 1997. ¶ Sixteenth [i.e. nineteenth] printing: 1999 items 375–381. ¶ Twentieth printing: 2003 items 375–381. 847 [Novels and shorter works by Jane Austen]. 4 vols. A reissue of Mansfield Park, Northanger Abbey, Persuasion and the Shorter works from the seven-volume set first published in 1975 (see items 375–381). Details as items 377–379 and 381, but issued in a plain red four-volume slip case. When copies of the twelfth (and possibly the eleventh) impression of the collected works were split up to make the first published set of Three classic novels (item 846.5), the left-over copies of the remaining four volumes were issued together in the present form. 848 The cream of Noël Coward, selected by Michael [S.] Cox, illustrated by Helen Smithson, preface by Graham Payne & Sheridan Morley. 222 × 142 × 26 mm. Pp. [1–4] 5–277 [278–280]: [11] leaves of ‘plates’. Type: Dante with Gill Sans Extra Condensed for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full gold plasticised cloth with a design in black by Smithson; dark green endleaves. Dark green slip case. Issued in the humorous series begun with item 830. ¶ Second printing: 1997. ¶ Third printing: 1999. 849 Anthony Trollope, Doctor Thorne, introduction by P.D. James, illustrations by Alexy Pendle. 227 × 150 × 35 mm. Pp. [i–iv] v–xv [xvi], 1–524 [525–528]: [16] leaves of ‘plates’. Type: Bell. Typeset by Gloucester Typesetting,

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printed and bound by the Bath Press. Quarter dark brown series binding (see item 632), brown paper boards with the border in dark brown; brown endleaves with the map in dark brown. Dark brown slip case. Doctor Thorne had previously been published in Folio’s Barsetshire series (1978 item 426). ¶ Second printing: 1997. ¶ Third printing: 1998. Part of this impression was issued with the other Barsetshire novels as item 946. 850 Anthony Trollope, Nina Balatka, the story of a maiden of Prague, introduction by Angela Thirlwell, illustrations by Rod Waters. 227 × 149 × 25 mm. Pp. [i–iv] v–xviii [xix–xx], [1–2] 3–186 [187–188]: [12] leaves of ‘plates’. Type: Bell. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter red series binding (see item 632), pale grey paper boards with the border in red; pale grey endleaves. Red slip case. The work was first published in Blackwood’s magazine between July 1866 and January 1867, and in book form in two volumes once part publication was complete. ¶ Second printing: 1999. 851 John Prebble, Glencoe & Culloden. Wood-engravings by Harry Brockway. Maps by Denys Baker. 228 × 147 × 28–31 mm. 2 vols (see below). Type: Ehrhardt with Caslon for display. Typeset by Gloucester Typesetting, printed and bound by Cambridge University Press. Full white cloth with an enlarged wood-engraving in dark grey by Harry Brockway; dark red endleaves. Dark red two-volume slip case titled (as above) in gold. Prebble’s two studies were originally published in 1961 and 1966, and for the present edition he has added a new introduction to volume I. Each of the ‘plates’ bears one of Brockway’s (brilliant) wood-engravings, and another is used as the frontispiece to each volume. The two volumes are as follows: [1] John Prebble, Glencoe, the story of a massacre [quotation]. Pp. [i–x] xi–xv [xvi–xvii], 1–262 [263–264]: [11] leaves of ‘plates’. [2] John Prebble, Culloden. Pp. [i–x], 1–309 [310–312]: [11] leaves of ‘plates’. ¶ Second printing: 1997, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. ¶ Third printing: 1998. ¶ Fourth printing: 1998. ¶ Fifth printing: 2003 items 1128, 1129 and 1130.5. 852 Joseph Conrad, Lord Jim, a tale, illustrations by Francis Mosley, introduction by Gavin Young. 230 × 160 × 30 mm. Pp. [1–6] 7–294: [13] leaves of ‘plates’. Type: Garamond with Romana for display. Printed and bound by Cambridge University Press. Full dark blue cloth with a design in silver and black by Mosley; pale blue endleaves. Blue slip case with Conrad’s signature in silver. The binding design, with a huge shadow of a liner, just touched by glints of moonlight, is particularly effective. This was the first in a new series of Conrad’s novels, all printed and bound in a uniform manner, with linocuts by Mosley. For others in the series see items 869, 890, 979, 980, 1004, 1005, 1052, 1053, 1089, 1090, 1125, 1126, 1166, 1167, 1225 and 1226. ¶ Second printing: 1997, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. 853 Robert Graves, the Greek myths, introduced by Kenneth McLeish, illustrations by Grahame Baker. Maps by Denys Baker. 253 × 178 × 52 mm. Pp. [1–10] 11–700 [701–704]: [16] leaves of two-colour plates. Type: Ehrhardt with Lithos for display. Printed and bound by the Bath Press. Quarter dark brown series binding (see item 724), red-brown linen boards with a design in white and dark brown by Baker; pale brown endleaves with a map. Dark brown slip case. The plates, which are in imitation of Greek terracotta vase paintings, are printed in red-brown and black from Baker’s original scraperboard designs. A cheaper, two-volume, version

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of the book was published from 1998 (see item 924). The illustrator became known, for Folio purposes, as Grahame Baker-Smith from 2011. ¶ Second printing: 1997. ¶ Third printing (two volumes): 1998 item 924. ¶ Third [i.e. fourth] printing: 1998. ¶ Fourth [i.e. fifth]–twenty-first printing: 1998–2006 item 924. 854 Pepys’s diary, volume I [–III], selected and edited by Robert Latham from The diary of Samuel Pepys, a new and complete transcription, edited by Robert Latham and William Matthews. 252 × 162 × 36–39 mm. 3 vols (pp. [i–v] vi–xlviii, 1–337 [338–352]: [12] leaves of colour and monochrome plates; [i–vi] vii [viii], 1–372 [373–376]: [12] leaves of colour and monochrome plates; [i–vi] vii [viii], 1–374 [375–376]: [12] leaves of colour and monochrome plates) + [1] colour lithographic print. Type: Bembo. Printed and bound by the Bath Press. Full dark blue buckram decorated in gold; endleaves printed in blue. Three-volume slip case printed in colour. Number 32 in ‘The Folio fifty’ (see item 8). This is a new impression of The shorter Pepys (1985 item 559.5), with the preliminary matter partly reset, a revised index, the pagination altered for three-volume publication, new illustrations, and a new title. The plates reproduce contemporary paintings, prints and documents, and the endleaves bear pages from Pepys’s journals. The slip case is decorated with a hand-coloured etched view of London across the Thames; a copy of the same print, with different hand-colouring, was supplied separately with the set. Volume I covers 1660–1663, volume II covers 1664–1666 and volume III covers 1667–1669. There are maps and genealogical tables on pages [338–350] of volume I. ¶ Second printing: 1997. ¶ Third printing: 1998. ¶ Fourth printing: 1999. ¶ Fifth printing: 1999 (not seen). ¶ Sixth printing: 2002 (not seen). 855 England under the Stuarts, George Macaulay Trevelyan O.M. Preface by Felipe Fernández-Armesto. Introduction by David Cannadine. Maps by Reginald Piggott. Designed by Bernard Roberts. 252 × 163 × 43 mm. Pp. [i–v] vi–xxiv, [1] 2–503 [504]: [25] leaves of colour and monochrome plates. Type: Plantin. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Full dark blue buckram with a design in gold by Roberts; grey endleaves with a map in dark blue. Dark blue slip case with the series title in a pale blue panel on the front. The plates reproduce contemporary paintings and prints. In addition there are maps by Piggott on pages [320], 439, [443] and on the endleaves. This was the first in Folio’s ‘A History of England’ series, issued under the general editorship of Felipe Fernández-Armesto. For further titles in the series see items 893, 908, 909, 940, 971, 975, 976, 978, 995, 996, 997, 1018 and 1071. ¶ Second printing: 1997. ¶ Third printing: 1997, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. Part of this impression was issued in September 1997 with the remainder of the series as a five-volume set (see item 909). ¶ Fourth printing: 1997. Part of this impression was issued with item 909. ¶ Fourth [i.e. fifth] printing: 1998. Part of this impression was issued with item 909. ¶ Sixth printing: 1999. ¶ Fifth [i.e. seventh] printing: 1999, printed and bound by the Bath Press. ¶ Seventh [i.e. eighth] printing: 2002, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. ¶ Eighth [i.e. ninth] printing: 2002 (not seen). 856 The complete entertainments [by Graham Greene]. 228 × 149 × 24–26 mm. 6 vols (see below). Type: Gara mond with Gill Sans for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full blue cloth with a design (different for each volume) in black and yellow by Geoff Grandfield; yellow endleaves. Blue six-volume slip case decorated and titled (as above) with a design in black and yellow by Grandfield. Each of the six spines has a large capital at the head and foot, which spell out the author’s name, when the volumes are placed in the correct sequence. The six volumes are as follows:

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[1] Graham Greene, Stamboul train, an entertainment, illustrated by Geoff Grandfield, introduction by Bryan Forbes. Pp. [1–8] 9–240 [241–242]: [7] leaves of ‘plates’ (facing pp. 21, 40, 63, 118, 161, 200 and 239). [2] Graham Greene, a gun for sale, an entertainment, illustrated by Geoff Grandfield. Pp. [1–6] 7–209 [210]: [7] leaves of ‘plates’ (facing pp. 11, 40, 72, 117, 148, 188 and 204). [3] Graham Greene, the confidential agent, an entertainment, illustrated by Geoff Grandfield. Pp. [1–10] 11–225 [226]: [7] leaves of ‘plates’ (facing pp. 45, 76, 121, 147, 162, 187 and 221). [4] Graham Greene, the ministry of fear, an entertainment, illustrated by Geoff Grandfield. Pp. [1–10] 11–242: [7] leaves of ‘plates’ (facing pp. 17, 64, 114, 121, 159, 186 and 240). [5] Graham Greene, the third man, the fallen idol, loser takes all, illustrated by Geoff Grandfield. Pp. [1–12] 13–237 [238–242]: [7] leaves of ‘plates’ (facing pp. 90, 105, 118, 130, 144, 206 and 237). [6] Graham Greene, our man in Havana, an entertainment, illustrated by Geoff Grandfield. Pp. [1–8] 9–231 [232– 234]: [7] leaves of ‘plates’ (facing pp. 20, 71, 128, 134, 187, 215 and 223). ¶ Second printing: 2004. 857 The jubilee years, 1887–1897, compiled by Roger Hudson. 261 × 191 × 21 mm. Pp. [1–6] 7–240. Type: Bulmer. Printed and bound by the Bath Press. Quarter dark blue-green buckram, white paper boards with a design in colour by David Eccles; grey flecked endleaves. Grey slip case decorated in gold. The Presentation Volume for 1997. The text is illustrated with 67 colour and 49 monochrome reproductions of contemporary paintings, prints, documents and photographs. Eccles’s binding design is adapted from a Victorian poster. This book was chosen by Designer Bookbinders for their 1998 competition, and 200 sets of unbound sheets were supplied for this purpose. 858 Homer, the Iliad, translated by Robert Fagles, introduction and notes by Bernard Knox, illustrated by Grahame Baker. Maps by Anita Karl and James Kemp. 253 × 179 × 49 mm. Pp. [i–v] vi [vii–xi] xii–lxxxv [lxxxvi–xcii], [1] 2–596: [8] leaves of colour plates (facing pp. [iii], 20, 64, 180, 268, 356, 404 and 484). Type: Centaur and Arrighi. Printed by the Saint Edmundsbury Press, the lithographs by BAS Printers. Bound by Hunter and Foulis in quarter red-brown series binding (see item 724), pale brown cloth boards with a design in dark brown by Baker; cream endleaves with a map in dark brown. Black slip case. Number 26 in ‘The Folio fifty’ (see item 8). The illustrator became known, for Folio purposes, as Grahame Baker-Smith from 2011. ¶ Second printing: 1997. ¶ Third printing: 1998. ¶ Fourth printing: 1999. ¶ Fifth printing: 2001. ¶ Sixth printing: 2006, the plates printed by the Amadeus Press. Quarter dark red buckram; pale brown endleaves with the map in dark brown. Dark red slip case. This reprint coincides with the selection of this title as the ‘Castaway’s Choice’ of Jilly Cooper and Sara Wheeler (see item 270). ¶ Seventh printing: 2007. ¶ Eighth printing: 2008. ¶ Ninth printing: 2019. Printed and bound by Kösel. Slip case blocked with Folio’s logo in gold. ¶ Tenth printing: 2021. 859 Fifty Folio epigrams, [wood-] engravings by Peter Forster. Edited by Sue Bradbury. 117 × 86 × 7 mm. Pp. [1–32]. Type: Baskerville. Typeset by Gloucester Typesetting, printed in yellow and black by BAS Printers. Bound by Hunter and Foulis in yellow series binding (see item 706); black endleaves. There are 18 small wood-engravings by Forster, in his usual thrilling style. This book was chosen by Designer Bookbinders for their 1997 competition.

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860 Asa Briggs, a Victorian trilogy. 254 × 174 × 29–36 mm. 3 vols (see below). Type: Bulmer. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full dark red cloth with a design in gold, black and another colour (different for each volume) by David Eccles; coloured endleaves with a repeat pattern in grey (see below). Dark red three-volume slip case with a design in gold by Eccles (incorporating the title as above). The title-spread of each volume consists of Eccles’s binding design for that volume on the recto, with the series design (as used on the slip case) on the facing verso. It is hardly surprising that Folio chose to use these designs both outside and in, as they are marvellous pastiches, with different Victorian images inserted into the cartouches in each volume. The three volumes are as follows: [1] Victorian people. Pp. [i–viii] ix–xiii [xiv–xvi], 1–261 [262–264]: [12] pages of colour and monochrome plates. There is a general introduction by Briggs in this volume. Brown is used for the endleaves and the second colour on the binding. The text was originally published as Victorian people, a reassessment of persons and themes, 1851–67. [2] Victorian cities. Pp. [i–x], 1–330 [331–334]: [12] pages of colour and monochrome plates. Green is used for the endleaves and the second colour on the binding. [3] Victorian things. Pp. [i–x], 1–406: [12] pages of colour and monochrome plates. Pink is used for the endleaves and the second colour on the binding. 861 P.G. Wodehouse, Jeeves & Wooster. 222 × 143 × 23–29 mm. 6 vols (see below). Type: Goudy Old Style with Gill Sans Ultrabold for display. Printed and bound by Butler and Tanner. Full cream cloth with illustrations in colour by Paul Cox; cream endleaves. Cream six-volume slip case decorated and titled (as above) in dark red and gold. The six volumes are as follows: [1] P.G. Wodehouse, thank you, Jeeves, introduced by Hugh Laurie, illustrated by Paul Cox. Pp. [1–6] 7–233 [234– 240]. There is a total of 45 drawings by Cox, including nine full-page (one being the frontispiece), two double-page, 22 head-pieces and a tail-piece. [2] P.G. Wodehouse, right ho, Jeeves, illustrated by Paul Cox. Pp. [1–6] 7–239 [240]. There is a total of 48 drawings by Cox, including nine full-page (one being the frontispiece), two double-page, 23 head-pieces and a tail-piece. [3] P.G. Wodehouse, the code of the Woosters, illustrated by Paul Cox. Pp. [1–6] 7–238 [239–240]. There is a total of 39 drawings by Cox, including seven full-page (one being the frontispiece), one double-page, 14 head-pieces and a tail-piece. [4] P.G. Wodehouse, joy in the morning, illustrated by Paul Cox. Pp. [1–4] 5–247 [248]. There is a total of 56 drawings by Cox, including eight full-page (one being the frontispiece), three double-page, 29 head-pieces and a tail-piece. [5] P.G. Wodehouse, the mating season, illustrated by Paul Cox. Pp. [1–6] 7–232 [233–240]. There is a total of 54 drawings by Cox, including nine full-page (one being the frontispiece), two double-page, 27 head-pieces and a tail-piece. [6] P.G. Wodehouse, ring for Jeeves, illustrated by Paul Cox. Pp. [1–6] 7–207 [208]. There is a total of 52 drawings by Cox, including nine full-page (one being the frontispiece), two double-page, 22 head-pieces and a tail-piece.

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¶ Second printing: 1997, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. ¶ Third printing: 1998, with a pale brown slip case. ¶ Fourth printing: 1999. ¶ Fifth printing: 2000. 862 G.K. Chesterton, the Father Brown stories [star], introduction by Colin Dexter, illustrations by Val Biro. 239 × 162 × 31 mm. Pp. [1–8] 9–359 [360]: [12] leaves of ‘plates’. Type: Ehrhardt with Albertus for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full purple cloth with a design in black by Biro; pale grey endleaves. Dark purple slip case. The ‘plates’ reproduce Biro’s full-page scraperboard illustrations. This volume contains the stories originally published in 1911 and 1914 as The innocence of Father Brown and The wisdom of Father Brown. The stories from three later collections were published as a companion volume (item 863), and some copies of the two volumes were issued together (item 864). 863 G.K. Chesterton, the Father Brown stories [two stars], illustrations by Val Biro. 239 × 162 × 33 mm. Pp. [1–10] 11–448: [12] leaves of ‘plates’. Type: Ehrhardt with Albertus for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full purple cloth with a design in black by Biro; pale grey endleaves. Dark purple slip case. The two stars on the title-page and spine signify that this is the second volume of stories; the first volume had only one star (see item 862). The ‘plates’ reproduce Biro’s full-page scraperboard designs. This volume contains the stories originally published as The incredulity of Father Brown (1926), The secret of Father Brown (1927) and The scandal of Father Brown (1929). Part of the impression was issued separately, and part in a two-volume slip case with the first collection of stories (as item 864). 864 G.K. Chesterton, the Father Brown stories . . . A reissue of the foregoing two items. Details as items 862 and 863, but issued together in a dark purple two-volume slip case. The bindings of the two volumes were designed in such a way that, when correctly placed together in the slip case, the image of Father Brown is complete across the two spines. ¶ Second printing: 2003 (not seen). ¶ Third printing: 2005, with a brighter purple slip case. 865 London characters and crooks by Henry Mayhew, edited and introduced by Christopher Hibbert. Photographs by John Thomson. 252 × 181 × 43 mm. Pp. [i–v] vi–xv [xvi–xviii], [1–3] 4–535 [536–542]: [20] leaves of duotone plates. Type: Bulmer. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Full green-grey series binding (see item 766); pale brown endleaves. Black slip case. The plates reproduce the original Woodburytypes from Adolphe Smith and John Thomson’s Street life in London (1877–1878). They were printed as sepia duotones on a tinted ground, thus capturing all the tone and detail of the originals. The text is based on the four volumes of Mayhew’s London labour and the London poor, originally published between 1851 and 1862, with additional material drawn by Hibbert from a variety of sources. ¶ Second printing: 1998. ¶ Third printing: 1999. ¶ Fourth printing: 2010, the dimensions now 252 × 176 × 45 mm. Pp. [i–v] vi–xvii [xviii], [1–3] 4–535 [536–542]: [20] leaves of duotone plates. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier; pale brown flecked endleaves. 866 Anthony Trollope, Framley Parsonage, introduction by Antonia Fraser, illustrations by Alexy Pendle. 227 × 149 × 34 mm. Pp. [i–iv] v–xvii [xviii], 1–496: [15] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter green-grey series binding (see item 632), cream paper boards with the border in dark green; cream endleaves with the map in dark green. Green slip case. The text was first published in The Cornhill magazine between January 1860 and April 1861, and in book form in two volumes once part publication was complete. It was first published in 1979 (item 440). ¶ Second printing: 1998. Part of this impression was issued with the other Barsetshire novels as item 946.

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867 Anthony Trollope, Ralph the heir, introduction by John Letts, illustrations by Shirley Bellwood. 227 × 149 × 33 mm. Pp. [i–iv] v–xx, 1–502: [15] leaves of ‘plates’. Type: Bell. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter blue series binding (see item 632), pale blue paper boards with the border in dark blue; pale blue endleaves. Blue slip case. The work was first published in Saint Pauls magazine between January 1870 and July 1871, and in book form in three volumes once part publication was complete. The present edition follows the text of the first single-volume edition, also published in 1871. ¶ Second printing: 1999. 868 To kill a mockingbird, Harper Lee, introduction by Albert French, illustrations by Aafke Brouwer. 252 × 150 × 26 mm. Pp. [1–4] 5–11 [12–16] 17–270 [271–272]. Type: Old Style. Printed and bound by Butler and Tanner. Full orange cloth with a design in black and gold by Brouwer; red-brown endleaves. Red-brown slip case. Number 42 in ‘The Folio fifty’ (see item 8). Including that on the title-page, there are 26 drawings by Brouwer, 16 being full-page. ¶ Second printing: 1997. ¶ Third printing: 1998. ¶ Fourth printing: 1999. ¶ Fifth printing: 2001. ¶ Sixth printing: 2002. ¶ Seventh printing: 2003. ¶ Eighth printing: 2005, printed and bound by L.E.G.O. ¶ Ninth printing: 2006. This reprint coincides with the selection of this title as the ‘Castaway’s Choice’ of Pam Ayres (see item 270). ¶ Tenth printing: 2007. ¶ Eleventh printing: 2008. ¶ Twelfth printing: 2009. ¶ Thirteenth printing: 2010. ¶ Fourteenth printing: 2011. ¶ Fifteenth printing: 2012. ¶ Sixteenth printing: 2013; dark orange endleaves. Brown slip case. 869 Joseph Conrad, Nostromo, a tale of the seaboard, illustrations by Francis Mosley, introduction by Richard Holmes. 228 × 162 × 36 mm. Pp. [1–8] 9–423 [424]: [13] leaves of ‘plates’. Type: Garamond with Romana for display. Printed and bound by Hunter and Foulis. Series binding (see item 852). The first edition of 1984 (item 527) also included Holmes’s introduction, but had a different series of illustrations. ¶ Second printing: 2004, the pagination running [1–8] 9–424 [425–426]: [12] leaves of ‘plates’. Printed by the Saint Edmundsbury Press. ¶ Third printing: 2008. 870 The fairy tales of the brothers Grimm, illustrated by Arthur Rackham. Translated by Mrs. Edgar Lucas. 251 × 193 × 52 mm. Pp. [i–iv] v–xvi, 1–325 [326–328]: [40] pages of colour plates. Type: Scotch Roman. Printed and bound by the Bath Press. Full blue cloth with a design in gold by Rackham; pale green flecked endleaves with a design in blue by Rackham. Blue slip case. The plates reproduce 41 paintings, with eight being printed on one side only. In addition, there are 55 pen-and-ink drawings by Rackham, and a title-page border and lettering by the artist. This edition is based closely on the famous and beautiful Constable edition of 1909; the format is similar, the text and binding design are identical, and Rackham’s illustrations and plates are all reprinted. ¶ Second printing: 1997. ¶ Third printing: 1998. ¶ Fourth printing: 1999. ¶ Fifth printing: 1999. ¶ Sixth printing: 2000. ¶ Seventh printing: 2001, measuring 252 × 191 × 48 mm. Printed by the Saint Edmundsbury Press on a thinner paper. Bound by Hunter and Foulis. ¶ Eighth printing: 2002. ¶ Ninth printing: 2002. ¶ Tenth printing: 2003 (not seen). ¶ Eleventh printing: 2004. ¶ Twelfth printing: 2006, the pagination running [i–iv] v–xvi, 1–319 [320]. Many of the colour plates have been slightly repositioned. ‘The Jew among the thorns’ was removed from the sequence, and the pages repaginated from number 182. Two of Rackham’s line-drawings have been lost in the process. The story, and images, reflect the (profoundly prejudiced) attitudes of their day, and it was thought only proper to remove them. The quality of the printing of the colour plates has regrettably deteriorated with this impression. ¶ Thirteenth printing: 2007. ¶ Fourteenth printing: 2008.

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¶ Fifteenth printing: 2009, printed by Martins of Berwick. ¶ Sixteenth printing: 2011. ¶ Seventeenth printing: 2013. ¶ Eighteenth printing: 2015, printed and bound by L.E.G.O. The pale cream endleaves are now only faintly flecked. ¶ Nineteenth printing: 2018. ¶ Twentieth printing: 2021. ¶ Twenty-first printing: 2023. 871 Rewards and fairies by Rudyard Kipling, illustrated by Charles E. Brock. 241 × 160 × 24 mm. Pp. [1–8] 9–256 [257–258]: [11] leaves of ‘plates’. Type: Plantin with Windsor for display. Printed and bound by Butler and Tanner. Full pale blue cloth with a design in black and gold by David Eccles based on one of Brock’s illustrations. Blue slip case. ¶ Second printing: 1999, printed and bound by T.J. International. 872 The complete Stalky & Co. by Rudyard Kipling, illustrated by David Eccles. 240 × 161 × 26 mm. Pp. [1–10] 11–288: colour frontispiece, [8] leaves of ‘plates’ (facing pp. 18, 39, 67, 115, 145, 187, 237 and 257). Type: Plantin with Windsor for display. Printed and bound by Butler and Tanner. Full red cloth with a design in black and gold by Eccles. Red slip case. The first ‘complete’ edition of the Stalky stories was published in 1929. 873 The first [–seventh] book of the chronicles of Narnia. 204 × 148 × 18–23 mm. 7 vols (see below). Type: Bembo. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full green cloth with an armorial design in silver and gold by David Eccles (incorporating the title as above); cream endleaves. Gold seven-volume slip case with Pauline Baynes’s map of Narnia in colour. The seven volumes contain a total of 126 line-drawings by Baynes, all reprinted from the first editions published between 1950 and 1956. The seven volumes are as follows: [1] C.S. Lewis, the magician’s nephew, illustrated by Pauline Baynes. Pp. [1–8] 9–191 [192]. [2] C.S. Lewis, the lion, the witch and the wardrobe, illustrated by Pauline Baynes. Pp. [1–8] 9–172 [173–176]. [3] C.S. Lewis, the horse and his boy, illustrated by Pauline Baynes. Pp. [1–10] 11–207 [208]. [4] C.S. Lewis, Prince Caspian, the return to Narnia, illustrated by Pauline Baynes. Pp. [1–8] 9–206 [207–208]. [5] C.S. Lewis, the voyage of the Dawn Treader, illustrated by Pauline Baynes. Pp. [1–10] 11–230 [231–232]. [6] C.S. Lewis, the silver chair, illustrated by Pauline Baynes. Pp. [1–10] 11–224. [7] C.S. Lewis, the last battle, illustrated by Pauline Baynes. Pp. [1–6] 7–192. ¶ Second printing: 1998, with the binding decoration redesigned to be the same on each volume, and printed in gold only. The title on the cover now reads ‘The chronicles of Narnia’ without the number of the book. ¶ Third printing: 1998. ¶ Fourth printing: 1999. ¶ Fifth printing: 2000. ¶ Sixth printing: 2001. ¶ Seventh printing: 2002. ¶ Eighth printing: 2012, with a new binding. Now printed by Martins of Berwick. Bound in pale blue cloth printed in black and blocked in gold with a different Pauline Baynes illustration on each. Grey endleaves. Blue seven-volume slip case with ‘The chronicles of Narnia, C. S. Lewis’ in gold. ¶ Ninth printing: 2012. 874 Prince Felix Youssoupoff, lost splendour, translated from the French by Ann Green and Nicolas Katkoff, with an introduction by Count Nikolai Tolstoy. 252 × 160 × 25 mm. Pp. [i–iv] v–xix [xx], 1–252: [12] pages of plates. Type: Garamond. Printed and bound by the Bath Press. Quarter dark purple artificial moiré silk, purple paper

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boards decorated in black; pale grey endleaves. Grey slip case. The plates reproduce 23 contemporary photographs, some from the family album of the author. The boards bear photographic portraits of Rasputin and the author. In 1916 Youssoupoff was the leader of a group of conspirators who believed that all the political ills of Russia could be blamed on Rasputin, and who therefore decided to murder him and save their country.

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1997 875 The genius of James Thurber, selection and introduction by Michael J. Rosen. 222 × 145 × 27 mm. Pp. [1–6] 7–155 [156–165] 166–256. Type: Berkeley with Banco for display. Printed and bound by the Bath Press. Full silver plasticised cloth with a design in black by Helen Smithson (using some of Thurber’s sketches); pale grey endleaves. Pale grey slip case. The illustrations consist of 97 of Thurber’s drawings, including one used on the title-page; pages [156–165] are entirely taken up with a selection of the author’s cartoons. ¶ Second printing: 1998. ¶ Third printing: 2000 (not seen), printed and bound by Butler and Tanner. ¶ Fourth printing: 2003 (not seen). ¶ Fifth printing: 2004. 876 Philip Ziegler, the black death. 240 × 160 × 26 mm. Pp. [i–vii] viii–xiii [xiv], 1–280 [281–282]: [12] pages of colour plates. Type: Minion with Athenaeum for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full black cloth with a design in red and gold by Francis Mosley; red-grey endleaves with a map by Denys Baker. Black slip case. The plates reproduce medieval manuscripts and paintings. The fiddling skeleton from Mosley’s binding design is repeated on the title-page. This was the first in a series of historical ‘shockers’, dealing with death, disease and general foulness in the past. For others in the series see items 937, 965, 1040, 1081, 1142 and 1341. ¶ Second printing: 1998. ¶ Third printing: 1999. ¶ Fourth printing: 2001. ¶ Fifth printing: 2003 (not seen). ¶ Sixth printing: 2006 (not seen), printed and bound by Grafos. 877 Folio 50, a bibliography of the Folio Society 1947–1996, compiled by Paul W. Nash, with essays by Sue Bradbury, Valerie Grove, Frank Delaney, Robertson Davies, Douglas Martin, Charles Ede, Quentin Blake, Roderick Cave and Paul W. Nash. Folio Press in association with the British Library. 287 × 187 × 36 mm. Pp. [1–7] 8–62 [63–67] 68–331 [332–336]: XXXII pages of colour plates (between pp. [64–65]). Type: Bembo. Printed by the Saint Edmundsbury Press, the plates by Barwell Colourprint. Bound by Hunter and Foulis in full grey cloth lettered in red and gold with Reynolds Stone’s Folio device on the front board; dark red endleaves. Dark red and white slip case with a collage of Folio wood-engravings by Nash. In addition to the plates, which show bindings, dust-jackets and illustrations from Folio books, there is a total of 173 monochrome illustrations and facsimiles printed in the text. The frontispiece reproduces one of George Tute’s wood-engravings from The tragical history of Doctor Faustus (item 749), and nearly every opening in the bibliography bears at least one illustration. 878 Charlotte & Emily Brontë. A new setting of Jane Eyre and Wuthering Heights, as previously issued together as item 827. Printed by the Saint Edmundsbury Press. Bound as item 827 by Hunter and Foulis. Although dated 1996 on the verso of each title-leaf, copies were not ready until early 1997. The wood-engravings are the same as those in the first edition, but differently disposed. These two new editions were also sometimes included, in later impressions, in issues of the seven-volume set of the Brontës’ works (item 702). The two volumes are as follows: [1] Charlotte Brontë, Jane Eyre, wood engravings by Simon Brett. 229 × 150 × 33 mm. Pp. [1–4] 5–421 [422–424]. [2] Emily Brontë, Wuthering Heights, wood engravings by Peter Forster. Reset with textual corrections. 229 × 150 × 27 mm. Pp. [1–4] 5–278 [279–280].

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¶ Second printing: 1997 item 702, issued with the ‘seventh printing’ of the seven-volume set. ¶ Third printing: 1998. Part of this impression was issued as two separate volumes (items 931 and 932). ¶ Fourth printing: 1998, printed by T.J. International. Part of this impression was issued as two separate volumes (items 931 and 932), and part with the ‘eighth printing’ of the seven-volume set (item 702). ¶ Ninth [i.e. fifth] printing: 2004 item 702, issued with the ‘ninth printing’ of the seven-volume set. ¶ Tenth [i.e. sixth] printing: 2006 items 931 and 932. 879 Sherlock Holmes, selected stories, Arthur Conan Doyle, introduced by Richard Lancelyn Green, selected by Joe Whitlock-Blundell [sic], illustrated by Francis Mosley. 221 × 145 × 33 mm. Pp. [1–8] 9–324 [325–330]: [11] leaves of ‘plates’. Type: Baskerville. Typeset by Fakenham Photosetting, printed and bound by Butler and Tanner. Full green buckram with a design in black and gold by Mosley; green endleaves. Dark green slip case. Number 19 in ‘The Folio fifty’ (see item 8). This selection of stories is reprinted from the same setting of type, and the same drawings, used for the complete edition of Holmes stories published in 1993 (item 750). Only the pagination has been altered, and a new introduction added. Mr Whitlock Blundell usually gives his name without a hyphen and, although he designed the present book, somehow this error crept through. ¶ Second printing: 1998. ¶ Third printing: 1998, bound in a paler green cloth. 880 Anthony Trollope, kept in the dark, introduction by Derek Parker, illustrations by Kate Aldous. 228 × 150 × 24 mm. Pp. [i–iv] v–xiii [xiv], 1–176 [177–178]: [8] leaves of ‘plates’ (facing pp. [iii], 10, 27, 52, 62, 118, 136 and 151). Type: Bell. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter brown series binding (see item 632), pale yellow paper boards with the border in brown; pale yellow endleaves. Brown slip case. The work was first published in Good words between May and December 1882, and in book form in the same year. 881 Anthony Trollope, the small house at Allington, introduction by Margaret Markwick, illustrations by Alexy Pendle. 228 × 152 × 36 mm. Pp. [i–iv] v–xix [xx], 1–606: [15] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter dark green series binding (see item 632), green paper boards with the border in dark green; green endleaves with the map in dark green. Dark green slip case. The work was first published in The Cornhill magazine between September 1862 and April 1864, and in two volumes in March of the latter year. ¶ Second printing: 1998. Part of this impression was issued with the other Barsetshire novels as item 946. 882 Daphne du Maurier, Rebecca, illustrations by Emma Chichester Clark. Reissued as a single volume. 228 × 148 × 36 mm. Pp. [i–vi], 1–430: [10] leaves of ‘plates’ (facing pp. 1, 40, 95, 132, 191, 240, 283, 351, 381 and 411). Type: Garamond. Printed and bound by the Bath Press. Full blue-grey cloth with a design in dark brown and gold by Emma Chichester Clark; lilac endleaves. Dark brown slip case. Number 45 in ‘The Folio fifty’ (see item 8). This is a reprint of this volume from Four Cornish novels, published in 1991 (item 696), with the binding adapted from the design used for My cousin Rachel. ¶ Second [i.e. third] printing: 1997 [i.e. 1998]. ¶ Fourth printing: 1999. ¶ Fifth printing: 2001. ¶ Sixth printing: 2002 (not seen). ¶ Seventh printing: 2004 (not seen), printed and bound by Cambridge University Press. ¶ Eighth printing: 2005 (not seen). ¶ Ninth printing: 2007, printed by the Saint Edmundsbury Press; pale grey endleaves. ¶ Tenth printing: 2008, printed and bound by T.J. International. Blue cloth with the My cousin Rachel design in black and gold. ¶ Eleventh printing: 2008.

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883 Boris Pasternak, Doctor Zhivago, translated from the Russian by Max Hayward and Manya Harari, introduction by Yevgeny Yevtushenko, illustrations by Véronique Bour. 239 × 165 × 44 mm. Pp. [i–viii] ix–xx, 1–460: [9] leaves of colour plates (facing p. [iii] and between pp. 36–37, 68–69, 100–101, 180–181, 244–245, 292–293, 356–357 and 388–389). Type: Ehrhardt with Latin Condensed for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in quarter dark red cloth, embossed white paper boards with a design in colour by Bour; grey-brown flecked endleaves. Dark red slip case. All the plates except for the frontispiece are double-page. Part of the edition was later issued as one of the Great Russian novels (item 918). 884 Our village by Mary Russell Mitford. Introduction by Ronald Blythe. Wood-engravings by Joan Hassall. 202 × 144 × 36 mm. Pp. [i–viii] ix–xxiii [xxiv], 1–422 [423–424]. Type: Baskerville. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter blue-grey series binding (see item 723); dark green endleaves. Dark green-grey slip case. Mitford’s text was originally published in five volumes between 1824 and 1832. The selection in the present text was first published in Dent’s ‘Everyman’ edition in 1936, and Joan Hassall’s wood-engravings were made for an edition published by George G. Harrap and Co. in 1947. In all there are 26 wood-engravings, including the title-page design (which has been adapted for Folio use), one head-piece and nine tail-pieces. ¶ Second printing: 1998 (not seen). 885 The mirror of the past, Barbara W Tuchman. 252 × 164 × 39–46 mm. 2 vols (see below). Type: Utopia with Clairvaux for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full black buckram with a repeat pattern of small fleurs-de-lys (volume I) and wheel-like ornaments (volume II) in gold. Gold two-volume slip case titled (as above) in black. This set is in series with The coming of the Great War (item 822). The two volumes are as follows: [1] Barbara W. Tuchman, a distant mirror, the calamitous fourteenth century. Pp. [i–vii] viii–xx, [1–3] 4–673 [674– 676]: [16] pages of colour and monochrome plates. The endleaves are blue, with maps in black. In addition, there are maps between pages 76–77 and facing pages 246 and 270, all by Reginald Piggott. [2] Barbara W. Tuchman, the march of folly, from Troy to Vietnam. Pp. [i–vii] viii [ix–x], [1] 2–419 [420–422]: [16] pages of plates. The endleaves are orange-brown. 886 I capture the castle, Dodie Smith, introduction by Valerie Grove, illustrations by Aafke Brouwer. 228 × 150 × 29 mm. Pp. [1–6] 7–334 [335–336]. Type: Bembo with Americana for display. Printed and bound by Butler and Tanner. Full blue cloth with a design in silver and black by Brouwer; pale blue endleaves. Dark blue slip case. There is a total of 34 line-drawings by Brouwer, 13 being full-page, with one used on the title-spread. ¶ Second printing: 1997. ¶ Third printing: 2006 (not seen), printed and bound by Cambridge University Press. 887 Alexander the great by Robin Lane Fox. Maps by Reginald Piggott. 253 × 164 × 43 mm. Pp. [i–xii] xiii–xvi [xvii–xviii], [1–2] 3–588 [589–590]: [12] pages of colour plates. Type: Galliard with Aldus for the figures. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full red cloth with a portrait of Alexander in copper; lilac endleaves with a map in dark brown. Dark red slip case. A revised edition of a work first published by Allen Lane in 1973. There are maps by Piggott on pages 15, 98, 168–169, 273, 327, 341 and 247. The title-spread is printed over a monochrome reproduction of part of the fresco of ‘La Battaglia di Isso’ from the Museo Nazionale at Naples. This is the first in a series of five biographies of great classical

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leaders (see also items 921, 930, 933 and 934), which were soon issued together as Rulers of the ancient world (item 965.5). See also item 1168. ¶ Second printing: 1997 [i.e. 1998]. Part of this impression was issued with item 965.5. ¶ Third printing: 1998. ¶ Fourth printing: 1999. ¶ Fifth printing: 2001. ¶ Sixth printing: 2001. ¶ Seventh printing: 2003. ¶ Eighth printing: 2004. 888 Anthony Trollope, the last chronicle of Barset, introduction by A.N. Wilson, illustrations by Alexy Pendle. 228 × 150 × 45 mm. Pp. [i–iv] v–xviii, 1–800: [15] leaves of ‘plates’. Type: Bell. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter dark red series binding (see item 632), red paper boards with the border in dark red; red endleaves with the map in dark red. Dark red slip case. The work was first published in weekly parts between December 1866 and July 1867, and as a single volume once part publication was complete; the present edition follows the latter edition of the text. ¶ Second printing: 1998. Part of this impression was issued with the other Barsetshire novels as item 946. ¶ Third printing: 2002 item 946. 889 Anthony Trollope, Marion Fay, a novel, introduction by J. Hillis Miller, illustrations by Rod Waters. 228 × 150 × 34 mm. Pp. [i–iv] v–xxi [xxii], 1–502 [503–508]: [15] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter blue series binding (see item 632), pale grey paper boards with the border in blue; pale grey endleaves. Blue slip case. The work was first published simultan eously in The graphic and in The illustrated Sydney news between December 1881 and June 1882, and in three-volume book form once part publication was complete. The present edition is based on the text of the three-volume edition. 890 Joseph Conrad, heart of darkness and two other stories, illustrations by Francis Mosley, introduction by Jeremy Harding. 228 × 160 × 30 mm. Pp. [1–8] 9–297 [298]: [12] leaves of ‘plates’. Type: Garamond with Romana for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in series binding (see item 852). Number 38 in ‘The Folio fifty’ (see item 8). The two other stories are ‘Youth’ and ‘The end of the tether’. ‘Heart of darkness’ had been published in 1952 in Two tales of the Congo (item 50). Due to an inexplic able error, the text of pages 38 and 39 was transposed. The error was not noticed until several thousand copies had been distributed, but in the remaining copies these leaves were cancelled, as they were in those copies returned as defective. The problem was corrected for the second printing. ¶ Second printing: 1997. ¶ Third printing: 2003 (not seen). ¶ Fourth printing: 2004 (not seen). ¶ Fifth printing: 2008. 891 William Shakespeare, the complete plays. 240 × 154 × 34–38 mm. 8 vols (see below). Type: Baskerville with Fournier for display. Typeset by Oxford University Press, printed and bound by the Bath Press. Quarter dark green buckram, pale grey paper boards with a design in dark green by Richard Shirley Smith; pale grey endleaves. Two four-volume green slip cases titled (as above) and decorated in gold. Number 4 in ‘The Folio fifty’ (see item 8). The text of each of the plays is reprinted from the setting made for the 1988 edition of The complete plays (item 624), with corrections, new preliminary matter, and the reorganisation of the whole into eight volumes. Some of the wood-engravings are also reprinted, but others have been replaced with new designs. Each volume begins with a general introduction by Jonathan Bate, and each play has a preface by Stanley Wells. The eight volumes are as follows:

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[1] William Shakespeare, the complete plays, tragedies, edited by Stanley Wells and Gary Taylor, introduced by Jonathan Bate. Pp. [i–vi] vii–xviii, [1–2] 3–465 [466–470]. Contains: The tragedy of Hamlet, Prince of Denmark (frontispiece by Simon Brett); The tragedy of Othello, the Moor of Venice (frontispiece by Harry Brockway); The tragedy of King Lear (frontispiece by Peter Reddick); and The tragedy of Macbeth (frontispiece by George Tute). [2] William Shakespeare, the complete plays, comedies . . . Also edited by John Jowett. Pp. [i–vi] vii–xv [xvi], [1–2] 3–417 [418–424]. Contains: The merry wives of Windsor (frontispiece by John Lawrence); Much ado about nothing (frontispiece by John Lawrence); As you like it (frontispiece by Peter Forster); Twelfth night, or What you will (frontispiece by John Lawrence); and All’s well that ends well (frontispiece by Harry Brockway). [3] William Shakespeare, the complete plays, classical plays . . . Also edited by John Jowett. Pp. [i–vi] vii–xvi [xvii–xviii], [1–2] 3–495 [496–502]. Contains: The most lamentable Roman tragedy of Titus Andronicus, The tragedy of Julius Caesar, The life of Timon of Athens, The tragedy of Antony and Cleopatra and The tragedy of Coriolanus, all with frontispieces by Simon Brett. [4] William Shakespeare, the complete plays, romances . . . Also edited by John Jowett and William Montgomery. Pp. [i–vi] vii–xvi [xvii–xviii], [1–2] 3–478. Contains: Pericles, Prince of Tyre, The winter’s tale, Cymbeline, King of Britain, The tempest and All is true (Henry VIII), all with frontispieces by Jane Lydbury. [5] William Shakespeare, the complete plays, tragicomedies . . . Also edited by John Jowett and William Montgomery. Pp. [i–vi] vii–xvi, [1–2] 3–500 [501–504]. Contains: The most excellent and lamentable tragedy of Romeo and Juliet (frontispiece by Peter Forster); The comical history of the merchant of Venice, or otherwise called the Jew of Venice (frontispiece by Harry Brockway); Troilus and Cressida (frontispiece by Peter Forster); Measure for measure (frontispiece by Peter Forster); and The two noble kinsmen (frontispiece by Harry Brockway). [6] William Shakespeare, the complete plays, early comedies . . . Pp. [i–vi] vii–xvi, [1–2] 3–410 [411–414]. Contains: The two gentlemen of Verona (frontispiece by Llewellyn Thomas); The taming of the shrew (frontispiece by John Lawrence); The comedy of errors (frontispiece by Betty Pennell); Love’s labour’s lost (frontispiece by Llewellyn Thomas); and A midsummer night’s dream (frontispiece by Peter Forster). [7] William Shakespeare, the complete plays, histories I . . . Also edited by John Jowett. Pp. [i–vi] vii–xv [xvi], [1–2] 3–485 [486–488]. Contains: The life and death of King John, The tragedy of King Richard the second, The tragedy of Henry the fourth (1 Henry IV), The second part of Henry the fourth and The life of Henry the fifth, all with frontispieces by George Tute. [8] William Shakespeare, the complete plays, histories II . . . Also edited by William Montgomery. Pp. [i–vi] vii–xv [xvi], [1–2] 3–454 [455–456]. Contains: The first part of Henry the sixth, The first part of the contention of the two famous houses of York and Lancaster (2 Henry VI), The true tragedy of Richard Duke of York and the good King Henry the sixth (3 Henry VI) and The tragedy of King Richard the third, all with frontispieces by Peter Reddick. ¶ Second printing: 1998. ¶ Third printing: 1999. ¶ Fourth printing: 2000. ¶ Fifth printing: 2001. ¶ Sixth printing: 2002 (not seen). ¶ Seventh printing: 2007, printed by the Saint Edmundsbury Press. Bound by Cambridge University Press with a new design in quarter dark red leather with printed paper boards of differing panoramic views of London; dark purple endleaves. Two four-volume dark red slip cases titled (as above) and decorated in gold. Selected by Richard Eyre (plus ten others) as his ‘Castaway’s Choice’. 892 The Folio golden treasury, ‘the best songs and lyrical poems in the English language’, chosen and introduced by James Michie, illustrated with wood engravings by various artists selected by Simon Brett. 279 × 195 × 50 mm. Pp. [i–iv]

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v–xxxiv [xxxv–xl], 1–733 [734–736]. Type: Baskerville with Fry’s Baskerville for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in quarter black leather, yellow cloth boards with a pattern by Brett in black; brown endleaves. Black slip case decorated in gold. There is a total of 552 different verses in the work, illustrated with 323 wood-engravings. Some of the latter are reprinted from Folio books, and some from other publications, while 95 have been specially commissioned. One of Peter Forster’s wood-engravings is repeated five times on pages 383–386, each time in a more advanced state of composition (or decomposition). When the book was delivered from the binder it was noticed that T.S. Eliot’s name on page xxvi had been misspelled. This leaf was therefore reprinted and cancelled before copies were distributed. The binding and illustration of this volume make it among the most attractive of the period. 893 England under the Tudors, G.R. Elton. Introduction by Felipe Fernández-Armesto. Designed by Bernard Roberts. Maps by Reginald Piggott. 252 × 163 × 43 mm. Pp. [i–v] vi–xxiv, [1] 2–518 [519–520]: [8] leaves of colour plates, [16] leaves of ‘plates’. Type: Plantin. Printed and bound by the Bath Press. Series binding (see item 855). Issued in the series ‘A History of England’. The work was first published in 1955, and the present edition follows the text of the third edition of 1991. In addition to the various illustrations, which reproduce contemporary paintings, prints and documents, there are full-page maps on pages [176], [333], [368] and [381]. Part of the edition was issued in September 1997 with the remainder of the series as a five-volume set (see item 909). ¶ Second printing: 1997, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. Part of this impression was issued with item 909. ¶ Third printing: 1998. Part of this impression was issued with item 909. ¶ Fourth printing: 1999. ¶ Fifth printing: 2000. ¶ Sixth printing: 2002. ¶ Seventh printing: 2002 (not seen). 894 No man is an island, a selection from the prose of John Donne, selected, edited and introduced by Rivers Scott. Designed by Bernard Roberts. 240 × 144 × 28 mm. Pp. [i–vii] viii–xxii, [1–3] 4–198 [199–200]: colour frontispiece, [18] leaves of ‘plates’. Type: Caslon. Typeset by Gloucester Typesetting, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full vegetable parchment (‘Parchemarque’), printed letterpress with an extract by Donne; purple endleaves with a repeat pattern of Monotype ornaments. Purple slip case decorated as the endleaves. The frontispiece is a portrait miniature of Donne, and the ‘plates’ reproduce contemporary prints and documents. ¶ Second printing: 1998. ¶ Third printing: 1999. ¶ Fourth printing: 2001. ¶ Fifth printing: 2003 (not seen). ¶ Sixth printing: 2004 (not seen). ¶ Seventh printing: 2006, printed and bound by the Bath Press. ¶ Eighth printing: 2015, printed and bound by Grafos. 895 Ghost stories and other horrid tales, selected and illustrated by Charles W. Stewart. 231 × 163 × 31 mm. Pp. [i–ix] x–xv [xvi–xviii], [1] 2–319 [320–324]: [20] leaves of colour ‘plates’. Type: Dante with Fette Fraktur, Extra Ornamented No. 2, Academy Engraved and Egyptienne F on the title-page. Printed and bound by Butler and Tanner. Full paper with an illustration in blue, green, red and black by Stewart; green endleaves. Black slip case lettered in gold. In addition to the ‘plates’ the title-page vignette is also printed in colour, and mono chrome line-drawings appear on pages xv and [127]. The 23 stories are selected from the works of J. Sheridan Le Fanu, Robert Louis Stevenson, Lafcadio Hearn, Vernon Lee, M.R. James, Walter de la Mare and Marjorie Bowen. ¶ Second printing: 1998.

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896 Thomas Hardy, Wessex novels. 6 vols (see below). Printed and bound by Butler and Tanner. Dark green six-volume slip case titled (as above) in gold. This set of Wessex novels is a new collection of reprints, containing some of the novels included in item 698.5, but with The woodlanders and Jude the obscure substituted for The trumpet major (1990 item 654) and Under the greenwood tree (1989 item 629). Copies of all six volumes were also available separately. The six volumes are as follows: [1] Far from the madding crowd . . . (1985 item 545, twelfth printing 1997). [2] The woodlanders . . . (1991 item 681, fifth printing 1997). [3] The return of the native . . . (1971 item 294, ‘twelfth printing’ 1997). [4] The life and death of the Mayor of Casterbridge . . . (1968 item 248, ‘eleventh printing’ 1997). [5] Tess of the d’Urbervilles . . . (1988 item 607, eleventh printing 1997). [6] Jude the obscure . . . (1992 item 709, fourth printing 1997). 897 Anthony Trollope, the vicar of Bullhampton, introduction by John Halperin, illustrations by Francis Mosley. 228 × 152 × 33 mm. Pp. [i–iv] v–xxii, 1–502 [503–506]: [16] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter dark blue series binding (see item 632), blue paper boards with the border in dark blue; blue endleaves. Dark blue slip case. The work was first published in monthly parts between July 1869 and May 1870, and in book form once part publication was complete. 898 Anthony Trollope, the fixed period, introduction by Graham Handley, illustrations by Elisa Trimby. 228 × 150 × 21 mm. Pp. [i–iv] v–xviii, 1–154 [155–158]: [8] leaves of ‘plates’ (facing pp. [iii], 14, 38, 57, 80, 99, 108 and 131). Type: Bell. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter green series binding (see item 632), pale green paper boards with the border in green; pale green endleaves. Dark green slip case. The work was first published in Blackwood’s magazine between October 1881 and March 1882, and in book form once part publication was complete. The present edition follows the text prepared by Robert H. Super, and first published by the University of Michigan Press in 1990. 899 Christopher Hibbert, Italian cities. 252 × 196 × 33–34 mm. 3 vols (see below). Printed by the Saint Edmundsbury Press, the plates by the Burlington Press. Bound by Hunter and Foulis in full artificial silk (a different colour for each volume) decorated in gold; endleaves printed in gold to a design by David Eccles. Dark blue three-volume slip case printed in black and titled (as above) in gold. These three volumes were reprinted lithographically from the type set for the first editions, with new preliminary matter, and additional colour plates in the Rome volume. The three volumes are as follows: [1] Christopher Hibbert, Venice, the biography of a city. Drawings by Ursula Sieger. Pp. [i–xii], [1–4] 5–435 [436]: [16] pages of colour plates. Type: Galliard. Binding colour: green; dark green endleaves. Originally published by Grafton Books in 1988. The colour plates reproduce paintings, and there are a further 120 monochrome reproductions of portraits, prints and photographs. [2] Christopher Hibbert, Florence, the biography of a city. Drawings by Ursula Sieger. Maps by Reginald Piggott. Pp. [i–xviii], [1–4] 5–398: [16] pages of colour plates. Type: Bembo. Binding colour: cream; dark brown endleaves. Originally published by Viking in 1993. The colour plates reproduce paintings and manuscripts, and there are a further 123 monochrome reproductions of portraits, prints and photographs, and three maps.

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[3] Christopher Hibbert, Rome, the biography of a city. Pp. [i–xii], [1–2] 3–387 [388]: [16] pages of colour plates. Type: Dante. Binding colour: red; dark red endleaves. Originally published by Viking in 1985. The colour plates show paintings, statues and documents, and there are a further 132 monochrome reproductions of portraits, prints, photographs and sculpture. ¶ Second printing: 1998. ¶ Third printing: 1999, printed and bound by the Bath Press. ¶ Fourth printing: 2000. ¶ Fifth printing: 2001. 900 The great novels [by Graham Greene]. 229 × 150 × 24–29 mm. 6 vols (see below). Type: Garamond with Gill Sans for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full green cloth with a design (different for each volume) in black and orange by Geoff Grandfield; orange-red endleaves. Green six-volume slip case decorated and titled (as above) with a design in black and orange by Grandfield. As with the earlier The complete entertainments (1996 item 856), each of the six spines has a large capital at the head and foot, which spell out the author’s name, when the volumes are placed in the correct sequence. The six volumes are as follows: [1] Graham Greene, Brighton rock, introduced by Norman Sherry, illustrated by Geoff Grandfield. Pp. [1–6] 7–317 [318–322]: [7] leaves of ‘plates’ (facing pp. 50, 95, 112, 152, 176, 231 and 308). [2] Graham Greene, the power and the glory, illustrated by Geoff Grandfield. Pp. [1–10] 11–255 [256–258]: [7] leaves of ‘plates’ (facing pp. 23, 59, 131, 154, 183, 213 and 248). [3] Graham Greene, the heart of the matter, illustrated by Geoff Grandfield. Pp. [1–12] 13–304 [305–306]: [7] leaves of ‘plates’ (facing pp. 48, 87, 104, 179, 229, 276 and 296). [4] Graham Greene, the end of the affair, illustrated by Geoff Grandfield. Pp. [1–12] 13–208 [209–210]: [7] leaves of ‘plates’ (facing pp. 25, 38, 72, 78, 99, 138 and 172). [5] Graham Greene, the quiet American, illustrated by Geoff Grandfield. Pp. [1–10] 11–206 [207–210]: [7] leaves of ‘plates’ (facing pp. 24, 42, 85, 121, 156, 177 and 200). [6] Graham Greene, a burnt-out case, illustrated by Geoff Grandfield. Pp. [1–8] 9–226: [7] leaves of ‘plates’ (facing pp. 21, 64, 78, 110, 143, 183 and 219). 901 Fifty Folio love poems, [wood-] engravings by Simon Brett. Edited by Sue Bradbury. 116 × 84 × 8 mm. Pp. [1–64]. Type: Van Dijck italic. Typeset by Gloucester Typesetting, printed by the Burlington Press. Bound by Hunter and Foulis in cream series binding (see item 706); red endleaves. There are 32 small wood-engravings by Brett, one being repeated. ¶ Second printing: 1997. 902 Egypt revealed, artist-travellers in an antique land, T.G.H. James. Maps by Denys Baker. 263 × 192 × 24 mm. Pp. [1–8] 9–224. Type: Minion with Amasis for display. Printed and bound by Butler and Tanner. Full blue cloth with a design in green and gold by David Eccles; white endleaves printed in colour. Colour-printed slip case. The Presentation Volume for 1998. The text includes 112 illustrations, 75 printed in colour, reproducing paintings, hand-coloured etchings and lithographs, and photographs of Egyptian sites and hieroglyphics. There are also two maps by Baker. The endleaves and slip case reprint paintings by Henry Salt of decoration on the columns of the tomb of Seti I.

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903 Madame Bovary by Gustave Flaubert, with dry-points by Grau Sala. Translated by Eleanor Marx Aveling. Introduced by Mary McCarthy. 228 × 151 × 28 mm. Pp. [1–6] 7–331 [332–336]: [12] leaves of ‘plates’. Type: Garamond. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full red cloth with a design in black by Sala; pale brown endleaves. Dark blue slip case. This edition is based on that published in 1952 (item 44), but with the text revised and reset, and the binding redesigned to bear images taken from Sala’s dry-points. Mary McCarthy’s 1964 essay ‘On Madame Bovary’ has been added as an introduction to the present edition. ¶ Second printing: 2006, bound in quarter dark red cloth, pink artificial moiré silk boards; dark red endleaves. Dark red slip case. This reprint coincides with the selection of this title as the ‘Castaway’s Choice’ of Harriet Walter (see item 270). ¶ Third printing: 2006 (not seen). 904 Cautionary tales and other verses by Hilaire Belloc, illustrated by Posy Simmonds. 230 × 161 × 17 mm. Pp. [1–12] 13–160. Type: Walbaum with hand-drawn lettering on the title-spread. Printed by the Burlington Press. Bound by Hunter and Foulis in full yellow cloth with a design in dark green, red, white and black by Simmonds; yellow endleaves. Red slip case. There is a total of 35 illustrations to the verses, eight in colour. The text is a selection from Belloc’s corrective poetry for children, originally published between 1896 and 1932. ¶ Second printing: 1998. ¶ Third printing: 1999, printed and bound by Jarrold. ¶ Fourth printing: 2001, printed and bound by Cambridge University Press. ¶ Fifth printing: 2002 (not seen). ¶ Sixth printing: 2006. ¶ Seventh printing: 2012. Printed by Martins of Berwick. Bound by Hunter and Foulis. 905 Classic short stories. 240 × 162 × 36–41 mm. 3 vols (see below). Type: Ehrhardt with Fritz Quadrata for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full cloth with a design by Malcolm Harvey Young (see below). Black three-volume slip case decorated and titled (as above) in red and gold, repeating the binding design. In 1998 some copies of the second printing were issued with French short stories (see items 919 and 920). For further volumes, collections and issues in the same series see items 966, 998, 999 and 1017. The three volumes are as follows: [1] English short stories, introduced by David Hughes, illustrated by Rod Waters. Pp. [i–ix] x–xii, [1–3] 4–444: [16] leaves of ‘plates’. Bound in pale blue-green cloth decorated in blue, red and gold; green endleaves. There are 23 stories by different English authors. [2] Russian short stories, introduced by John Bayley, illustrated by Roman Pisarev. Pp. [i–ix] x–xviii, [1–3] 4–386 [387–390]: [16] leaves of ‘plates’. Bound in pale red cloth decorated in dark red, orange and gold; red endleaves. There are 21 stories by Russian masters ranging from Pushkin to Solzhenitsyn. [3] American short stories, introduced by William Abrahams, illustrated by Paul Gulla. Pp. [i–ix] x–xvii [xviii], [1–3] 4–436 [437–438]: [16] leaves of ‘plates’. Bound in orange cloth decorated in dark red, red and gold; brown endleaves. There are 28 stories, by the great dead writers of the United States. ¶ Second printing: 1997. Part of this impression was issued with item 920. 906 Captain Cook’s voyages 1768–1779, selected and introduced by Glyndwr Williams. Maps by Denys Baker. 253 × 177 × 42 mm. Pp. [i–v] vi–xiii [xiv–xix] xx–xxxiv [xxxv–xxxvi], [1] 2–552: [14] pages of colour plates, [20] pages of ‘plates’. Type: Baskerville. Typeset by Gloucester Typesetting, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full pale blue-grey cloth with a design in black and gold by David Eccles; pale blue endleaves with a map in dark blue. Black slip case. The text is selected from the

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accounts of Cook’s three voyages, as originally published in 1773, 1777 and 1784. The present edition includes colour reproductions of contemporary paintings and drawings, and a series of monochrome illustrations mostly taken from prints; there are also maps by Baker on pages [xiv–xviii] and on the endleaves. Although not a Victorian text, this work was issued in Folio’s series of Victorian-style works of exploration (see item 766). ¶ Second printing: 1998. ¶ Third printing: 1999. ¶ Fourth printing: 1999. ¶ Fifth printing: 2001. ¶ Sixth printing: 2003 (not seen). ¶ Seventh printing: 2003 (not seen). 907 Fyodor Dostoyevsky, crime and punishment, translated from the Russian by David McDuff, introduction by Stephen Tumim, [wood-] engravings by Harry Brockway. 240 × 164 × 44 mm. Pp. [i–viii] ix–xiv, 1–510: [14] leaves of ‘plates’. Type: Ehrhardt with Latin Condensed for display. Printed and bound by the Bath Press. Quarter red cloth, white cloth boards with an enlargement of one of Brockway’s wood-engravings in black; white flecked endleaves. Dark green slip case. Part of the impression was later issued with War and peace and Doctor Zhivago (see item 918). In 1999 the wood-engravings were reprinted from the original blocks by the Rampant Lions Press, and published by the Primrose Academy with extracts from another translation of the text. ¶ Second printing: 2016. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. Red endleaves. Black slip case. The spine has also been redesigned. 908 [Anglo-Saxon and medieval England]. Prefaces by Felipe Fernández-Armesto. Designed by Bernard Roberts. Maps by Reginald Piggott. 253 × 164 × 38–45 mm. 3 vols (see below). Type: Plantin. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in series binding (see item 855). Three-volume slip case. Issued in the series ‘A History of England’. Part of the edition was issued with the remainder of the series as a five-volume set (see item 909). The three volumes are as follows: [1] Anglo-Saxon England, Peter Hunter Blair . . . Pp. [i–v] vi–xxxv [xxxvi–xxxviii], [1] 2–364 [365–366]: IX leaves of colour plates (facing pp. [iii], 161, 174, 251, 266, 297, 310, 327 and 342), 15 [i.e. 22 ] pages of ‘plates’. In addition to the full-page illustrations (mostly showing archaeological remains and manuscripts) there are seven smaller figures in the text, and nine maps. Some of the monochrome ‘plates’ are printed both recto and verso. [2] Early medieval England, M.T. Clanchy. Pp. [i–v] vi–xviii [xix–xxii], [1–3] 4–452 [453–458]: IX leaves of colour plates (facing pp. [iii], 10, 27, 102, 119, 178, 195, 394 and 411), 16 pages of ‘plates’. The colour plates reproduce details of illuminated manuscripts, a stained-glass window and the ‘mappa mundi’. [3] England in the later middle ages, a political history, M.H. Keen . . . Pp. [i–v] vi–xxiv [xxv–xxvi], [1] 2–543: XIII leaves of colour plates, 12 leaves of ‘plates’. ¶ Second printing: 1997. Part of this impression was issued with item 909. ¶ Third printing: 1998. Part of this impression was issued with item 909. ¶ Fourth–seventh printing: 1999–2004 items 971, 975 and 978. 909 A history of England [Anglo-Saxon to Stuart]. 5 vols. This issue consists of the latest impressions of the five works so far published in the series ‘A History of England’, issued together in a five-volume slip case, uniform with that used for the constituent volumes. The groups of asterisks on the spines designate the volume numbers in this set. However, England under the Tudors was printed and bound by a different company, and looks slightly different from the other four volumes. This problem was solved for the first reprint. For details of the constituent parts see items 855 (third printing), 893 and 908.

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¶ [Reprint]: 1997, consisting of the fourth printing of item 855 and the second printing of items 893 and 908. ¶ [Reprint]: 1998, consisting of the ‘Fourth [i.e. fifth] printing’ of item 855 and the third printing of items 893 and 908. 910 Gwyn Jones, the Vikings, introduction by Magnus Magnusson. Maps and decorations by Simon Noyes. 252 × 176 × 43 mm. Pp. [i–vi] vii–xxii, 1–490: [16] pages of colour plates. Type: Imprint. Printed (with the title-page in dark brown and black) by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full red buckram with a design in gold by Noyes; cream endleaves with a map in dark red. Dark red slip case decorated in gold. The plates reproduce photographs of Norse antiquities. In addition there are 12 monochrome maps by Noyes, who also designed the decoration used on the title-page, binding and slip case. This marked the beginning of a new series of histories of ancient civilisations (for later volumes see items 985, 1009–1012, 1045–1045.7, 1055, 1092, 1188–1190 and 1230). ¶ Second printing: 1999. ¶ Third printing: 2001. ¶ Fourth printing: 2002 (not seen). ¶ Fifth printing: 2004. ¶ Sixth printing: 2009, the dimensions now 252 × 175 × 46 mm. Printed by Martins of Berwick. ¶ Seventh printing: 2018, the dimensions now 252 × 180 × 40 mm. Pp. [i–iv] v–xxii, 1–490: [16] pages of colour plates. Printed and bound in full red-brown buckram by C & C Offset. Brown slip case. The plates have been refreshed, with some new photography, redesigned pages and slightly fewer images. ¶ Eighth printing: 2020. 911 J.B. Priestley, English journey, being a rambling but truthful account of what one man saw and heard and felt and thought during a journey through England during the autumn of the year 1933, introduction by Margaret Drabble. Illustrated with monochrome photographs. 263 × 191 × 27 mm. Pp. [1–7] 8–348 [349–352]. Type: Bembo with Gill Sans and Gill Shadow for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full black buckram with ‘1933’ repeated in blind and three photographs printed on the front board; white endleaves with a photograph. Black slip case with a photograph. Priestley’s work was first published in 1933, and the present edition follows the ‘Jubilee Edition’ of 1984, which included 80 photographs dating from the period between the wars. The printing of the photographs has been undertaken with great care, to retain and, if possible, improve the contrast and clarity of the originals. The binding is a remarkable tour de force, with three of the images printed directly onto the surface of the buckram. ¶ Second printing: 1998 (not seen). ¶ Third printing: 2001, in a plain black slip case. 912 The plums of P.G. Wodehouse, picked [and introduced] by Joe Whitlock Blundell, and illustrated by Paul Cox. 222 × 143 × 28 mm. Pp. [i–vi] vii–xii [xiii–xiv], 1–258. Type: Bembo with Gill Sans Ultrabold Condensed for display. Printed and bound by Butler and Tanner. Full gold plasticised cloth with a design in black by Cox; green-yellow endleaves. Green-yellow slip case. The illustrations consist of 64 ink-and-wash drawings, including seven full-page, one one-and-two-thirds of a page, and one double-page. These ‘plums’ were issued in the series of humorists begun with item 830. ¶ Second printing: 1998. ¶ Third printing: 1999. ¶ Fourth printing: 2002 (not seen). ¶ Fifth printing: 2003 (not seen). ¶ Sixth printing: 2003 (not seen). ¶ Seventh printing: 2004 (not seen). ¶ Eighth printing: 2006, in full cream cloth with Cox’s design in dark brown; dark red endleaves. Dark red slip case. The spine-lettering has also been redesigned. This reprint coincides with the selection of this title as the ‘Castaway’s Choice’ of Terry Wogan (see item 270). 913 The wit of Oscar Wilde, selected and introduced by Merlin Holland, illustrated by Ian Archie Beck. 222 × 143 × 25 mm. Pp. [1–8] 9–237 [238–240]. Type: Walbaum. Printed and bound by Butler and Tanner. Full gold plasticised cloth with a design in black by Beck; green-yellow endleaves. Green-yellow slip case.

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The illustrations consist of 27 ink-and-wash drawings and decorations. These extracts from some of Wilde’s essays, poetry and plays were issued in the series which began with item 830. ¶ Second printing: 1998. ¶ Third printing: 1999. ¶ Fourth printing: 2001. ¶ Fifth printing: 2002. ¶ Sixth printing: 2003 (not seen), with pale brown endleaves. Pale brown slip case. ¶ Seventh printing: 2003 (not seen). ¶ Eighth printing: 2005. ¶ Ninth printing: 2006, in full pale blue cloth with Beck’s design in dark blue and silver; pale blue endleaves. Dark blue slip case. The spine-lettering has also has been redesigned. ¶ Tenth printing: 2007. ¶ Eleventh printing: 2007. ¶ Twelfth printing (not seen). ¶ Thirteenth printing: 2009, printed and bound by T.J. International. ¶ Fourteenth printing: 2009. ¶ Fifteenth printing: 2010. ¶ Sixteenth printing (not seen). ¶ Seventeenth printing: 2012. ¶ Eighteenth printing: 2013. 914 J.R.R. Tolkien, the Silmarillion, consisting of quenta Silmarillion (the history of the Silmarils) together with Ainulindalë (the music of the Ainur) and Valaquenta (account of the Valar), to which is appended Akallabêth (the downfall of Númenor) and of the rings of power and the third age, edited by Christopher Tolkien, illustrated by Francis Mosley. 228 × 151 × 36 mm. Pp. [1–5] 6–7 [8–13] 14–420: [1] leaf of two-colour ‘plates’ (facing p. 138) + [1] folded map. Type: Fournier with Omnia for display. Printed and bound by the Bath Press. Full blue vegetable parchment (‘Elephanthide’) with a design in gold, red and black by Mosley; pale grey flecked endleaves. Dark red-brown slip case. This edition is uniform with the new printings of The lord of the rings and The hobbit issued in 1997 as part of ‘The Folio fifty’ (see items 417 and 456). The binding design by Mosley is similar for each volume, with a different roundel used in the centre of the front board, and a different colour scheme. The 29 head-pieces and the frontispiece in the present work are in the same mood as those produced by Eric Fraser for The hobbit. In addition there are two maps printed in red and black, one as a ‘plate’ between pages 138 and 139, and one, a large folded ‘Map Of Beleriand And The Lands To The North’, drawn by Christopher Tol kien, tipped in at the end. ¶ Second printing: 2002. ¶ Third printing: 2003. Some copies of this impression were bound by Smith Settle in quarter dark brown morocco, gold Indian silk boards; dark brown endleaves. Brown morocco-covered slip case. The slip case and spine are blocked in gold with calligraphic lettering drawn by John Andrew. ¶ Fourth printing: 2003. Some copies of this impression were bound, like the foregoing, in quarter morocco (but with flecked cream endleaves). An additional leaf pasted-in before the half-title reads in part ‘this edition . . . is limited to 1750 numbered copies . . .’ ¶ Fifth printing: 2004. ¶ Sixth printing (not seen). ¶ Seventh printing: 2012, printed and bound by Grafos. ¶ Eighth printing: 2013. ¶ Ninth printing: 2018, printed and bound by C & C Offset. ¶ Tenth printing: 2020. ¶ Eleventh printing: 2021. ¶ Twelfth printing: 2022. Printed by Memminger MedienCentrum and bound by Josef Spinner. 915 Baroness Orczy, the Scarlet Pimpernel, introduced by Hilary Mantel, illustrated by Lucy Weller. 229 × 161 × 26 mm. Pp. [i–viii] ix–xvii [xviii], 1–253 [254]: [7] leaves of colour plates (facing pp. [iii], 55, 94, 111, 126, 143 and 247). Type: Fournier with Horndon for display. Printed and bound by Butler and Tanner. Full cream vege table parchment (‘Elephanthide’) with a design in colour by Weller; red endleaves. Red slip case. Weller’s seven plates are surreal photomontages, with another printed onto the binding. ¶ Second printing: 1998 (not seen). ¶ Third printing: 2000, printed by the Saint Edmundsbury Press. Bound by Cambridge University Press. ¶ Fourth printing: 2001. ¶ Fifth printing: 2008, bound by Hunter and Foulis. 916 Anthony Trollope, Miss Mackenzie, introduction by Mary Warnock, illustrations by Llewellyn Thomas. 228 × 151 × 27 mm. Pp. [i–iv] v–xvi, 1–330: [11] leaves of ‘plates’. Type: Bell. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter blue-grey series binding (see item 632), pale grey paper

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boards with the border in blue; pale grey endleaves. Blue slip case. The work was first published in two volumes in 1865. 917 Anthony Trollope, the golden lion of Granpere, introduction by Anthony Juckes, illustrations by Val Biro. 228 × 150 × 22 mm. Pp. [i–iv] v–xiv, 1–160 [161–164]: [7] leaves of ‘plates’ (facing pp. 18, 31, 57, 74, 102, 138 and 158). Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter red series binding (see item 632), pale yellow paper boards with the border in red; pale yellow endleaves. Red slip case. The work was first published in Good words between January and August 1872, and in book form in the same year. 918 Great Russian novels. 4 vols. A reissue of the two-volume reprint of War and peace, and the first editions of Crime and punishment and Doctor Zhivago in a dark green four-volume slip case bearing a sepia photograph and the title of the series. For details of the individual volumes see items 298, 883 and 907.

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1998 919 French short stories, introduction by Brian Masters, illustrated by Véronique Bour. 240 × 162 × 37 mm. Pp. [i–v] vi–xiv, [1–3] 4–412 [413–418]: [16] leaves of ‘plates’. Type: Ehrhardt with Fritz Quadrata for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full blue series binding decorated in red, purple and gold (see item 905); blue endleaves. Black slip case decorated and titled ‘Classic Short Stories’ in red and gold. This volume was also issued with the other titles in the ‘Classic Short Stories’ series (see item 920). ¶ Second printing: 2000. 920 Classic short stories. An issue of the second printing of the 1997 three-volume Classic short stories set (item 905) with copies of item 919. 4 vols (see below). Black four-volume slip case decorated and titled (as above) in red and gold. The four volumes are as follows: [1] English short stories, introduced by David Hughes, illustrated by Rod Waters. Second printing. As volume [1] of item 905. [2] Russian short stories, introduced by John Bayley, illustrated by Roman Pisarev. Second printing. As volume [2] of item 905. ¶ Third printing: 1999 item 998. [3] American short stories, introduced by William Abrahams, illustrated by Paul Gulla. Second printing. As volume [3] of item 905. ¶ Third printing: 1999 item 999. [4] French short stories, introduction by Brian Masters, illustrated by Véronique Bour. As item 919. 921 Julius Caesar by Christian Meier, introduced by Peter Jones, translated from the German by David McLintock. Maps by Reginald Piggott after Jean-Claude Lézin. 252 × 161 × 39 mm. Pp. [i–viii] ix–xvii [xviii–xx], 1–507 [508]: [16] pages of colour plates. Type: Galliard with Aldus for the figures. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full dark green cloth with a portrait of Caesar in copper; pale yellow endleaves with a map in dark green. Dark green slip case. First published in German in 1982, and in the present translation in 1995. This work was issued in Folio’s series of classical biographies (see item 887). The plates reproduce sculpture, reliefs, frescos and coins from the time of Caesar. There are maps by Piggott on pages [xviii] and [xix], and the title-spread is printed over a monochrome reproduction of a bas-relief of a bireme from Praeneste. ¶ Second printing: 1998. Part of this impression was issued with item 965.5. ¶ Third printing: 2004. 922 Robert Hughes, the fatal shore, a history of the transportation of convicts to Australia 1787–1868. Maps by Denys Baker. 252 × 177 × 43 mm. Pp. [i–vii] viii–xi [xii–xxi] xxii–xxv [xxvi–xxviii], [1] 2–643 [644]: [16] pages of colour plates. Type: Scotch Roman. Typeset by Gloucester Typesetting, printed by the Saint

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Edmundsbury Press. Bound by Hunter and Foulis in full orange cloth with a design in black and gold by David Eccles; pale brown endleaves with a map in dark brown. Black slip case. The plates reprint paintings, prints and photographs relating to the period of the text; there are also maps by Baker on pages [xii–xviii] and on the endleaves. This work continues Folio’s series of travel and exploration (see item 766). In the present case the Victorian-style publisher’s binding is perhaps a little inappropriate for a text first published in 1986. This title was the ‘Castaway’s Choice’ of Sir Trevor Mcdonald (see item 270). ¶ Second printing: 1999. ¶ Third printing: 2001. ¶ Fourth printing: 2006 (not seen), bound by Real Lachenmaier. ¶ Fifth printing: 2007. ¶ Sixth printing: 2014. Printed by Memminger MedienCentrum. 923 Muriel Spark, the prime of Miss Jean Brodie, illustrated by Beryl Cook. 279 × 185 × 20 mm. Pp. [i–ii], [1–8] 9-152 [153–158]: [6] leaves of colour plates (facing pp. [3], 14, 31, 110 and 127, and between pp. 62–63). Type: New Century Schoolbook with Script for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full blue cloth with a repeat pattern in white by Peter Forster; dark blue endleaves. Dark blue slip case. This book is uniform with Isherwood’s Mr Norris changes trains (1990 item 661) and Waugh’s The loved one (1993 item 745). ¶ Second printing: 1999. ¶ Third printing: 2000 (not seen), printed and bound by Grafos. ¶ Fourth printing: 2004 (not seen). ¶ Fifth printing (not seen). ¶ Sixth printing: 2013. 924 Robert Graves, the Greek myths, introduced by Kenneth McLeish, illustrations by Grahame Baker. Maps by Denys Baker. A reduced reprint of the first edition of 1996, divided into two volumes. Details as item 853, but the dimensions now 228 × 150 × 28 mm. 2 vols (pp. [1–10] 11–342, [1–2]: [12] leaves of ‘plates’; [i–ii], 343–700: [4] leaves of ‘plates’). Printed and bound by Butler and Tanner. Quarter brown cloth, white paper boards printed in brown and black; pale orange-brown endleaves with a map. Orange two-volume slip case titled in gold. The binding is a simplified version of that for item 853. The illustrations are all monochrome reproductions of the plates in the first edition (item 853). The second volume has no title-leaf of its own, only a half-title with ‘Volume II’ added. Due to the existence of two forms of the book, the numbering of the printings went astray almost at once, and in order to correct this the present impression was treated as a separate publication after 1999 (see also items 853, 1078 and 1123.5). The illustrator became known, for Folio purposes, as Grahame Baker-Smith from 2011. ¶ Third [i.e. fourth] printing: 1998 item 853. ¶ Fourth [i.e. fifth] printing: 1998. ¶ Fifth [i.e. sixth] printing: 1998, printed by the Saint Edmundsbury Press. Bound by Jarrold. ¶ Sixth [i.e. seventh] printing: 1999, printed and bound by Butler and Tanner. ¶ Seventh [i.e. eighth] printing: 1999, printed by the Saint Edmundsbury Press. Bound by Jarrold. ¶ Sixth printing: 1999. This was called the ‘Sixth printing’ as it was the sixth impression of the two-volume form of the work. ¶ Seventh printing: 2000, printed and bound by Butler and Tanner. ¶ Eighth printing: 2000, printed and bound by Grafos. ¶ Ninth printing: 2001. ¶ Tenth printing: 2001. ¶ Eleventh printing: 2001. ¶ Twelfth printing: 2002. ¶ Thirteenth printing: 2002 (not seen). ¶ Fourteenth printing: 2002 (not seen). ¶ Fifteenth printing: 2002 (not seen). ¶ Sixteenth printing: 2003 (not seen). ¶ Seventeenth printing: 2005. ¶ Eighteenth printing: 2005 (not seen). ¶ Nineteenth printing: 2005 (not seen). ¶ Twentieth printing: 2005 (not seen). ¶ Twenty-first printing: 2006 (not seen). ¶ Twenty-second printing: 2007 (not seen). ¶ Twenty-third printing: 2011. 925 Ulysses by James Joyce, preface by Stephen James Joyce, introduction by Jacques Aubert, with etchings by Mimmo Paladino. 240 × 170 × 50 mm. Pp. [i–v] vi–xix [xx–xxii], [1–3] 4–735 [736–738]: [18] leaves of two-colour plates. Type: Old Style. Printed by the Bath Press, the plates by the Norton Press. Bound by the Bath Press in full blue cloth with a design in gold, black and white (reproducing one of Paladino’s illustrations); dark

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blue endleaves. Dark blue slip case. Number 14 in ‘The Folio fifty’ (see item 8). The text is a carefully cleaned and corrected facsimile of the edition published in Paris in 1926, with new prefatory matter typeset by Folio. The etchings were originally printed on gold leaf for a limited edition published in Munich. They are reprinted here lithographically, with one repeated in a reduced format on the binding; two different gold inks were used, in addition to black, in an attempt to reproduce the depth and glow of the originals. ¶ Second printing: 1998, the plates printed by the Park Lane Press. ¶ Third printing: 1999. ¶ Limited edition bound in leather [i.e. fourth printing]: 2004, with the note on the etchings moved to cover page [vi]. Pp. [i– vii] viii–xix [xx–xxii], [1–3] 4–735 [736–738]: [18] leaves of two-colour plates. Printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in full blue-green morocco with a design in black and gold by Jeff Clements; gold endleaves. Dark grey clamshell box. The half-title has been replaced with a colophon, recording the limitation to ‘1760 copies, of which 1750 are for sale’ and noting that this impression was issued on ‘16 June 2004 to mark the centenary of the day on which the action of the book is set’. 926 Cecil Lewis, Sagittarius rising, introduction by Max Arthur, lithographs by C.R.W. Nevinson. 229 × 161 × 25 mm. Pp. [i–vi] vii–xiv [xv–xvi], 1–230: [10] leaves of ‘plates’ (facing pp. 18, 40, 68, 74 91, 110 and 158, and between pp. 66–67, 84–85 and 182–183). Type: Berkeley with Stencil for the chapter numbers. Printed and bound by Butler and Tanner. Green-grey cloth lettered in red, blue and white, with white cloth on the front board with one of Nevinson’s lithographs repeated in black; grey endleaves. Ribbed red slip case. Lewis’s text was first published in 1936. Nevinson’s illustrations are from a series of lithographs commissioned by His Majesty’s Stationery Office during the Great War. ¶ Second printing: 1999 (not seen), printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. ¶ Third printing: 2000. 927 Dante Alighieri, inferno, translated by Henry Francis Cary, introduced by Robin Hamlyn, with illustrations by William Blake. 325 × 230 × 39 mm. Pp. [1–2], [i–viii] ix–xviii [xix–xx], 1–151 [152–154]: [32] leaves of colour ‘plates’. Type: Walbaum. Printed and bound by the Bath Press. Full orange cloth with a design in dark brown by Blake; dark red endleaves printed in darker red with ‘All Hope Abandon Ye Who Enter Here’. Dark red slip case titled in gold. This translation was first published between 1804 and 1814, and was reprinted in a revised form (used here) in 1819. Blake’s drawings to Dante were made between around 1824 and his death in 1827, for a series of etchings that was never completed (one of the etchings is reproduced on the binding). Blake’s illustrations, despite being made during his final years when his health was failing, are vigorous and profound; and the volume is completely successful in design terms. ¶ Reprinted with a new binding [i.e. second impression]: 2004, bound in quarter dark brown morocco, pale blue artificial moiré silk boards. Dark brown slip case with one of Blake’s illustrations on the front panel. ¶ Third printing [i.e. third impression]: 2007, the dimensions now 325 × 230 × 32 mm. Printed by Scotprint. Bound by Hunter and Foulis. 928 Anthony Trollope, Linda Tressel, introduction by Joanna Trollope, illustrations by Shirley Tourret. 228 × 150 × 24 mm. Pp. [i–iv] v–xiii [xiv], [1–2] 3–178 [179–180]: [7] leaves of ‘plates’ (facing pp. [iii], 19, 59, 72, 123, 141 and 156). Type: Bell. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter orange-brown series binding (see item 632), pale brown paper boards with the border in orange-brown; pale brown endleaves. Brown slip case. The work was first published in Blackwood’s magazine between October 1867 and May 1868, and in book form once serial publication was complete. In addition to the ‘plates’ there is a three-quarter-page illustration on page [179].

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929 Anthony Trollope, is he Popenjoy? Introduction by David Skilton, illustrations by Kate Aldous. 228 × 150 × 34 mm. Pp. [i–iv] v–xxi [xxii], 1–510 [511–514]: [16] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter dark red series binding (see item 632), pink paper boards with the border in dark red; pink endleaves. Dark red slip case. The work was first published in All the year round between October 1877 and July 1878, and as a ‘triple-decker’ in April 1878. This is among Trollope’s longest novels, and has twice the number of illustrations usually allowed for books in the Trollope series. It has been printed on thinner paper, to prevent the volume from becoming obese. 930 Nero by Michael Grant, introduced by Kenneth McLeish. Maps by Reginald Piggott. 252 × 161 × 30 mm. Pp. [i–xiv] xv–xxvii [xxviii], 1–222 [223–228]: [16] pages of colour plates. Type: Galliard with Aldus for the figures. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full green-grey cloth with a portrait of Nero in copper; pale green endleaves with a map in dark green. Dark green slip case. First published in 1970, this work was issued in Folio’s series of classical biographies (see item 887). The plates reproduce frescos, sculpture and antiquities from the time of Nero. There are maps by Piggott on pages 4, 51, 81, 91, 98, 117, 136, 175 and 180, and on the endleaves. The title-spread is printed over a monochrome reproduction of a tessellated pavement depicting masks of comedy and tragedy. ¶ Second printing: 1998. Part of this impression was issued with item 965.5. ¶ Third printing: 1999. ¶ Fourth printing: 2004. 931 Charlotte Brontë, Jane Eyre, wood engravings by Simon Brett. Second edition, third printing. A separate issue of the first volume from the edition of 1997. Details as volume [1] item 878, but the binding measures 228 × 151 × 32 mm. Plain green slip case. ¶ Fourth printing: 1998, printed by T.J. International. Part of this impression was issued with Wuthering Heights (item 878) and part with the seven-volume set (item 702). ¶ Ninth [i.e. fifth] printing: 2004 item 702, issued with the seven-volume set. With this printing the complex numbering of the impressions went completely awry, and this impression was numbered the ‘ninth’ in notional succession to the ‘eighth’ printing of the seven-volume set (item 702). ¶ Tenth [i.e. sixth] printing: 2006, printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in quarter dark blue buckram, cream paper boards with a repeat wood-engraved pattern by Simon Brett in dark blue; dark blue endleaves. Dark blue slip case. This redesigned binding is uniform with that produced for the ‘tenth’ printing of Wuthering Heights (item 932). ¶ Eleventh [i.e. seventh] printing: 2007. 932 Emily Brontë, Wuthering Heights, wood engravings by Peter Forster. Reset with textual corrections [i.e. second edition], third printing. A separate issue of the second volume from the edition of 1997. Details as volume [2] of item 878, but the binding measures 228 × 149 × 26 mm. Plain green slip case. ¶ Fourth printing: 1998, printed by T.J. International. Part of this impression was issued with Jane Eyre (item 878) and part with the seven-volume set (item 702). ¶ Ninth [i.e. fifth] printing: 2004 item 702, issued with the seven-volume set. With this printing the complex numbering of the impressions went completely off the rails, and this impression was numbered the ‘ninth’ in notional succession to the ‘eighth’ printing of the seven-volume set (item 702). ¶ Tenth [i.e. sixth] printing: 2006, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in quarter dark blue buckram, cream paper boards with a repeat wood-engraved pattern by Simon Brett in dark blue; blue endleaves. Dark blue slip case. The redesigned binding is uniform with that produced for the ‘tenth’ printing of Jane Eyre (item 931). This reprint coincides with the selection of this title as the ‘Castaway’s Choice’ of Julian Fellowes (see item 270).

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933 Hannibal by Ernle Bradford, introduced by Kenneth McLeish. Maps by Reginald Piggott. 252 × 162 × 32 mm. Pp. [i–xii] xiii–xxv [xxvi–xxviii], 1–254 [255–260]: [8] pages of colour plates (between pp. 36–37, 52–53 and 108–109). Type: Galliard with Aldus for the figures. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full red cloth with a portrait of Hannibal in copper; pale grey endleaves with a map in red. Red slip case. First published by Macmillan in 1981, this work was issued in Folio’s series of classical biographies (see item 887). The plates reproduce antiquities and photographs of the Alps. There are maps by Piggott on pages [x], [xi], 86, 114, 117 and 223, and on the endleaves. The title-spread is surrounded with reproductions of three Roman coins. ¶ Second printing: 1998. Part of this impression was issued with item 965.5. ¶ Third printing: 1999. ¶ Fourth printing: 2001. ¶ Fifth printing: 2004. 934 Cleopatra by Jack Lindsay, introduced by Kenneth McLeish. Maps by Reginald Piggott. 252 × 162 × 36 mm. Pp. [i–xiv] xv–xxiv, 1–392: [16] pages of colour plates. Type: Galliard with Aldus for the figures. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full blue cloth with a portrait of Cleopatra in copper; pale blue endleaves with a map in dark blue. Dark blue slip case. First published in 1971, this volume was issued in Folio’s series of classical biographies (see item 887). The plates depict frescos, reliefs, antiquities and buildings from Egypt and Italy. There are maps by Piggott on pages [xii-xiv] and on the endleaves. The title-spread is printed over a monochrome reproduction of a mosaic depicting the Nile (shown in colour between pp. 128–129). This title, and the previous two in the series (items 930 and 933), are dedicated to Kenneth McLeish who wrote the introductions to these volumes and died in 1997. ¶ Second printing: 1998. Part of this impression was issued with item 965.5. ¶ Third printing: 1999. ¶ Fourth printing: 2004. 935 Boethius, the consolation of philosophy, translated and introduced by V.E. Watts with a preface by Brian Keenan. 228 × 162 × 24 mm. Pp. [1–9] 10–207 [208]: [7] leaves of colour plates (facing pp. [3], 16, 33, 64, 81, 128 and 145). Type: Centaur and Arrighi. Typeset by Gloucester Typesetting, printed and bound by Butler and Tanner. Full cream vegetable parchment (‘Parchemarque’) with a design in gold, red, blue and brown by David Eccles; cream vegetable parchment endleaves. Red slip case. Boethius wrote this work in Latin while awaiting execution around the year a d 525, and it has been transmitted in the form of various manuscripts, one of which, a French translation written and illuminated in 1476, has been reproduced in the plates. Sadly, the printing of the text of the first impression is very uneven. ¶ Second printing: 1999, printed by the Saint Edmundsbury Press. Bound by Jarrold. The quality of printing of this impression is somewhat improved. ¶ Third printing: 2000, printed and bound by Butler and Tanner. This impression represents a backward step in the quality of printing. ¶ Fourth printing: 2001. No improvement. ¶ Fifth printing: 2003 (not seen). ¶ Sixth printing: 2009, printed and bound by L.E.G.O. ¶ Seventh printing: 2009. ¶ Eighth printing: 2014. 936 W.B. Yeats, selected poems, with paintings by Jack B. Yeats. 223 × 198 × 30 mm. Pp. [i–iv] v–xxvii [xxviii– xxx], 1–228 [229–234]: [11] leaves of colour plates. Type: Walbaum. Printed by the Saint Edmundsbury Press, the plates by BAS Printers. Bound by Hunter and Foulis in full pale green cloth lettered in pale green and gold; brown endleaves. Brown slip case. The poems are selected from collections of Yeats’s verse origin ally published between 1889 and 1939, with ‘A general introduction for my work’ which he wrote for a projected (but unrealised) complete edition of his writings in 1937. The oil-paintings by J.B. Yeats have been printed with great care, to retain as far as possible the deep colours and texture of the originals. An unusually square format was adopted for the book, partly to accommodate the paintings, and partly to allow generous

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margins for the verses and to prevent the breaking of longer lines. The binding is subtle and simple, and this is one of the most pleasing Folio books of the period. It was selected as the ‘set book’ for the Designer Bookbinders’ competition of 1999. ¶ Second printing: 1999. Darker brown slip case. ¶ Third printing: 2015, printed and bound by Grafos; orange-brown endleaves. 937 Henry Kamen, the Spanish inquisition, a historical revision. 240 × 162 × 32 mm. Pp. [i–vii] viii–x, 1–363 [364–366]: [12] pages of colour plates. Type: Minion with Athenaeum for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full black cloth with a design in red and gold by Francis Mosley; red-brown endleaves with a map by Denys Baker. Black slip case. In the series begun with item 876. Kamen’s text was abridged by the author from the second edition of his scholarly study of the inquisition. The plates reproduce contemporary paintings and illuminations. Part of Mosley’s binding design is reproduced on the title-page. ¶ Second printing: 1999. ¶ Third printing: 2000. ¶ Fourth printing: 2002. ¶ Fifth printing: 2009, printed by the Amadeus Press. ¶ Sixth printing: 2009. 938 The diary of a village shopkeeper 1754–1765, Thomas Turner, edited by David Vaisey, [wood-] engravings by Miriam Macgregor. 203 × 144 × 34 mm. Pp. [i–vi] vii–xxxix [xl], 1–443 [444–448]: [1] folded table (facing p. [420]). Type: Baskerville with Fry’s Baskerville on the title-page. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter blue series binding (see item 723); dark red endleaves. Dark red slip case. Turner’s diary was first published in 1984, and a new edition appeared in 1994; this is the text followed here, with minor revisions. The folded table is a pedigree of the Turner family. In all there are 35 pastoral wood-engravings printed in the text, including the full-page frontispiece. They are just right for the text and, generally, just right. ¶ Second printing: 1999. 939 Geoffrey Chaucer, the Canterbury tales, a verse translation with an introduction and notes by David Wright. Wood-engravings by Simon Brett, Peter Forster, John Lawrence, Frank Martin, Peter Reddick, Sue Scullard, George Tute and Sarah van Niekerk. 240 × 143 × 44 mm. Pp. [i–v] vi–xxii [xxiii–xxiv], [1] 2–519 [520]. Type: Photina. Printed and bound by Butler and Tanner. Quarter red linen, white vegetable parchment (‘Parchemarque’) boards with a design in gold by John Andrew; cream endleaves with a wood-engraving in black by Scullard. Red slip case. Wright’s verse translation was first published in 1986, in parallel with the original text (item 571). The present edition has been reset, and the tales have been reordered with some of the text and apparatus omitted. The edition includes 23 wood-engravings in the text, 13 of which first appeared in the 1986 edition; the remainder are new to the present edition. Sue Scullard’s splendid endleaf design has been retained. ¶ Second printing: 1999. ¶ Third printing: 2000. ¶ Fourth printing: 2003 (not seen). ¶ Fifth printing: 2004. ¶ Sixth printing: 2005. This reprint coincides with the selection of this title as the ‘Castaway’s Choice’ of Ian Kershaw (see item 270). ¶ Seventh printing: 2007. 940 England in the eighteenth century, Roy Porter, with essays by J.H. Plumb, Eveline Cruickshanks, John B. Owen, Stanley Ayling, Sir Lewis Namier, Geoffrey Holmes and Daniel Szechi, John Cannon, Ian R. Christie and J.P. Courtney. Preface and introduction by Felipe Fernández-Armesto. Designed by Bernard Roberts. 252 × 162 × 48 mm. Pp. [i–vii] viii–xv [xvi], [1–3] 4–528: [8] leaves of colour plates, [16] leaves of ‘plates’. Type: Plantin. Printed

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by the Saint Edmundsbury Press. Bound by Hunter and Foulis in series binding (see item 855). Issued in the series ‘A History of England’ (part six). The first section of the text, ‘English society in the eighteenth century’, is a slightly revised version of Porter’s 1990 book (itself a revised edition of a work published in 1982). The second section, ‘People in politics’, is a selection of essays from various published sources, by the authors listed on the title-page. The plates and ‘plates’ reproduce contemporary prints, paintings and documents. ¶ Second printing: 1999. ¶ Third printing: 2002 (not seen). ¶ Fourth printing: 2003 (not seen). 941 The pick of Punch, selected and introduced by Miles Kington. Illustrated with cartoons. 222 × 145 × 26 mm. Pp. [1–4] 5–271 [272]. Type: Garamond with Horndon for display. Printed and bound by Butler and Tanner. Full gold plasticised cloth with a design in black by Helen Smithson (incorporating Punch cartoons); green-yellow endleaves. Green slip case. The volume contains 67 skits in prose or verse and 57 cartoons, all culled from the pages of Punch. The work was issued in the series which began with item 830. More pick of Punch was published in 2001 (item 1070). ¶ Second printing: 1999. ¶ Third printing: 2001. ¶ Fourth printing: 2003 (not seen), with a pale brown slip case. ¶ Fifth printing: 2005. 942 The grapes of wrath, John Steinbeck, introduction by Studs Terkel, illustrations by Bonnie Christensen. 240 × 163 × 38 mm. Pp. [1–6] 7–473 [474–480]. Type: Palatino with Kabel and Kabel Heavy for display. Printed and bound by Butler and Tanner. Full dark blue cloth with a design in red and gold by Christensen; dark blue endleaves. Dark blue slip case. The illustrations consist of 17 wood-engravings, two being full-page. ¶ Second printing: 2006, printed and bound by Cambridge University Press. Full orange-brown cloth (decorated as the first impression); orange-brown endleaves. Orange-brown slip case. ¶ Third printing: 2007. 943 Victor Hugo, the hunchback of Notre-Dame, translated by Walter J. Cobb with an introduction & illustrations by Quentin Blake. 252 × 163 × 42 mm. Pp. [i–viii] ix–xii, [1–2] 3–442: [13] leaves of two-colour ‘plates’. Type: Bulmer with Goudy Text and Lombardic Capitals for display. Printed by the Amadeus Press. Bound by Hunter and Foulis in full blue cloth with a design in black and gold by Blake; blue endleaves. Dark blue slip case. The text of the present edition is a revision of Walter Cobb’s 1965 translation of Hugo’s Notre-Dame de Paris (first published in 1831). Blake’s delightful illustrations are – unusually – printed with the text in shades of blue and black. In addition, there are 23 smaller monochrome sketches, used as tail-pieces and on the divisional-title of each ‘book’. 944 Anthony Trollope, Mr Scarborough’s family, introduction by Richard Mullen, illustrations by Alexy Pendle. 228 × 150 × 35 mm. Pp. [i–iv] v–xxii, 1–510 [511–514]: [16] leaves of ‘plates’. Type: Bell. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter dark blue-green series binding (see item 632), pale grey paper boards with the border in dark blue-green; pale grey endleaves. Dark blue slip case. The work was first published in All the year round between May 1882 and June 1883, and as a ‘triple-decker’ in April 1883. The text follows the original serial publication, although the later chapters were altered by the editor of All the year round (Charles Dickens junior), and the present edition reinstates the author’s original text. 945 Anthony Trollope, an old man’s love, introduction by David Skilton, illustrations by Rod Waters. 228 × 151 × 24 mm. Pp. [i–iv] v–xix [xx], 1–172: [8] leaves of ‘plates’ (facing pp. [iii], 11, 56, 73, 90, 124, 148 and 172). Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter dark red series binding (see item 632), pale blue paper boards with the border in dark red; pale blue endleaves. Dark red slip case. The work was first published in March 1884, some four months after the author’s death. It was his final completed novel.

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946 Anthony Trollope, the Barsetshire chronicles. 6 vols (see below). Two three-volume blue slip cases titled (as above) in black and gold. This is a separate collected issue of the new impressions made in July 1998 of the Barsetshire novels. The six volumes are as follows: [1] Anthony Trollope, the warden . . . (1995 item 805, third printing). [2] Anthony Trollope, Barchester Towers . . . (1995 item 819, third printing). [3] Anthony Trollope, Doctor Thorne . . . (1996 item 849, third printing). [4] Anthony Trollope, Framley Parsonage . . . (1996 item 866, second printing). [5] Anthony Trollope, the small house at Allington . . . (1997 item 881, second printing). [6] Anthony Trollope, the last chronicle of Barset . . . (1997 item 888, second printing). ¶ Third/fourth printing: 2002 (not seen). 947 George Orwell, reportage. Illustrated with photographs by Bill Brandt and others. 222 × 144 × 27–32 mm. 5 vols (see below). Type: Egyptienne F Roman. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full white cloth with a different monochrome photograph covering the boards of each volume; grey endleaves. Silver five-volume slip case with a monochrome photograph of Orwell and the title (as above) in black and silver. Each volume is illustrated with monochrome photographs, mostly contemporary, with many by Bill Brandt. The five volumes are as follows: [1] George Orwell, down and out in Paris and London, introduced by Michael Foot [quotation from Chaucer]. Pp. [i– vi] vii–xxvi [xxvii–xxviii], 1–216 [217–220]: [18] pages of photographic plates. First published in expurgated form in 1933; the Folio edition includes the restorations of the original text made by Peter Davison. The photographs of Paris are by Gilberte Brassaï and of London by Bill Brandt. [2] George Orwell, the road to Wigan Pier. Pp. [i–viii], 1–211 [212–216]: [18] pages of photographic plates. First published in 1937 with all the photographs included here except the frontispiece (which is by Bill Brandt). The Folio edition includes some minor corrections to the original text made by Peter Davison, and omits the original foreword by Victor Gollancz. [3] George Orwell, homage to Catalonia [quotation from the Bible]. Pp. [i–viii], 1–245 [246–248]: [18] pages of photographic plates. First published in expurgated form in 1938; the Folio edition includes the restorations of the original text made by Peter Davison. The photographs consist of those used in the first edition of this text, published in 1970 (item 290), plus others added for the first time. [4] George Orwell, my country right or left and other selected journalism. Pp. [i–x], 1–318: [18] pages of photographic plates. The text is selected from The collected essays, journalism and letters of George Orwell (4 vols, 1968). The photographs are contemporary, and earlier, from a wide variety of sources, including a frontispiece by Bill Brandt. [5] George Orwell, funny, but not vulgar and other selected essays and journalism. Pp. [i–x], 1–278: [18] pages of photographic plates. As with volume [4], the text is selected from The collected essays, journalism and letters of George Orwell of 1968 and the photographs are contemporary, with several by Bill Brandt.

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948 The immortals, London’s finest statues, photographs by Joe Whitlock Blundell, text by Roger Hudson. 190 × 127 × 8 mm. Pp. [1–5] 6–64. Type: Bulmer. Printed by Jarrold. Bound by Hunter and Foulis in full white plasticised paper with monochrome photographs on both boards; white endleaves with a map of central London. Not issued in a slip case. The work consists of 29 monochrome photographs by Whitlock Blundell, and two more on the binding, with commentary by Hudson. The illustrations were printed by the duotone process to retain all their depth and texture. 949 W. Somerset Maugham, collected short stories, volume I [–IV] introduced by Simon Raven, illustrations by Christopher Brown. 240 × 160 × 28–41 mm. 4 vols (pp. [i–viii] ix–xiv, 1–418 [419–422]: [14] leaves of ‘plates’; [i–viii] ix [x], 1–413 [414]: [12] leaves of ‘plates’; [i–viii] ix [x], 1–239 [240]: [7] leaves of ‘plates’ (facing pp. [iii], 45, 89, 121, 165, 187 and 216); [i–viii] ix–x, 1–436 [437–440]: [11] leaves of ‘plates’). Type: Plantin Light with Gill Sans Condensed for display. Printed and bound by the Bath Press. Full white cloth with a design in black and a different colour (green, purple, pink and pale blue respectively) for each volume by Brown; white endleaves. Dark red slip case decorated and titled in white and gold. The collection reprinted here was first published by Pan Books in 1975. Each binding, as well as having a varied design and a different key colour, includes on the spine an ace from one of the four suits, in the order spades, hearts, diamonds, clubs. 950 London, portrait of a city, compiled by Roger Hudson. Maps by Sheila Waters. 263 × 194 × 24 mm. Pp. [1–7] 8–272. Type: Baskerville with Bulmer for display. Printed and bound by Jarrold. Quarter brown cloth, colour-printed paper boards; brown endleaves patterned in dark brown. Brown slip case patterned as the endleaves, with a dark brown sunken panel containing the title in gold. The Presentation Volume for 1999. The text includes 162 illustrations, 95 printed in colour, reproducing paintings, hand-coloured prints, drawings and photographs of London from Roman times to the present day. The boards bear a reproduction of an unattributed watercolour capriccio of London buildings. 951 The story of the middle ages. Maps by Reginald Piggott. 229 × 177 × 31–43 mm. 5 vols (see below). Type: Dante with a different type for display in each volume. Printed and bound by Butler and Tanner. Full red or dark green cloth with a design in purple and gold by David Eccles; white endleaves with facsimile manu script printed in purple in reverse. Dark green five-volume slip case titled (as above) and patterned in purple and gold with the same design used on the binding. Each spine bears a different title and illustration. There are colour plates in each volume, showing contemporary manuscripts, tessellated pavements, statuary, bas-reliefs, buildings and artefacts. The five volumes are as follows: [1] The birth of the middle ages 395–814, H.St.L.B. Moss, introduction by D.J.A. Matthew. Pp. [i–iv] v–xxix [xxx], [1–2] 3–321 [322]: 17 pages of colour plates (recto of frontispiece blank). Display type: Herculanum. Binding colour: red. There are ten maps printed in the text. The work was first published in 1935. [2] The crucible of the middle ages, the ninth and tenth centuries in European history, Geoffrey Barraclough. Pp. [i–iv] v–xii, 1–216 [217–220]: 17 pages of colour plates (recto of frontispiece blank). Display type: Charlemagne. Binding colour: dark green. There are three maps printed in the text. The work was first published in 1976. [3] The making of the middle ages, R.W. Southern. Pp. [i–iv] v–xvi, 1–284 [285–288]: 17 pages of colour plates (recto of frontispiece blank). Display type: Goudy Text with Lombardic Capitals. Binding colour: red. There are no maps. The work was first published in 1953. [4] The high middle ages 1150–1309, John H. Mundy. Pp. [i–iv] v–xvi [xvii–xxvi], 1–443 [444–446]: 16 pages of colour plates (recto of frontispiece blank, plate 3 double-page). Display type: DucDeBerry. Binding colour:

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dark green. There are maps on pages [xvii–xxvi]. The work was first published as Europe in the high middle ages 1150–1309 in 1973. [5] The waning of the middle ages, a study of the forms of life, thought and art in France and the Netherlands in the fourteenth century, J. Huizinga, translated by F. Hopman. Pp. [i–iv] v–x, 1–341 [342]: 16 pages of colour plates (recto of frontispiece blank, plate 11 double-page). Display type: Clairvaux. Binding colour: red. There are no maps. The work was first published in English in 1924. ¶ Second printing: 1999. ¶ Third printing: 1999. ¶ Fourth printing: 2000. 952 The Dorothy L. Sayers crime collection. 228 × 150 × 25–34 mm. 5 vols (see below). Type: Ehrhardt with Odessa for display. Printed and bound by the Bath Press. Full white cloth with a design in colour by Natacha Ledwidge; pale blue-green endleaves. Dark green five-volume slip case decorated and titled (as above) in green and gold. The binding illustration is different for each volume. The five volumes are as follows: [1] Dorothy L. Sayers, strong poison, introduction by P.D. James, illustrations by Natacha Ledwidge. Pp. [i–iv] v–x [xi–xii], 1–234 [235–236]. There are 16 pen-and-ink-drawn illustrations, six of which are full-page. First published in 1931. [2] Dorothy L. Sayers, have his carcase, illustrations by Natacha Ledwidge. Pp. [i–x], 1–366 [367–374]. There are 16 illustrations, six of which are full-page. First published in 1932. [3] Dorothy L. Sayers, murder must advertise, illustrations by Natacha Ledwidge. Pp. [i–vi], 1–312 [313–314]. There are 17 illustrations, six of which are full-page. First published in 1933. [4] Dorothy L. Sayers, the nine tailors, changes rung on an old theme in two short touches and two full peals, illustrations by Natacha Ledwidge. Pp. [i–viii], [1–2] 3–302 [303–304]. There are 20 illustrations, eight of which are full-page, including a map (by Reginald Piggott) and a plan and view of the ‘Parish Church of Fenchurch St. Paul . . .’ (these last two being reprinted from the first edition of 1934, and not by Ledwidge). [5] Dorothy L. Sayers, gaudy night, illustrations by Natacha Ledwidge. Pp. [i–vi] vii–viii, 1-422 [423–424]. There are 17 illustrations, four of which are full-page. The text ends with ‘. . . a short biography of Lord Peter Wimsey, brought up to date (May 1935) and communicated by his uncle, Paul Austin Delagardie’. First published in 1935. ¶ Second printing: 2000. ¶ Third printing: 2006. Additional copies of volume [1] were printed for separate issue (see item 1338). 953 The rise and fall of the house of Medici, Christopher Hibbert, foreword by Harold Acton. Maps by Reginald Piggott. 229 × 175 × 34 mm. Pp. [i–xii] xiii–xix [xx–xxii], [1–2] 3–361 [362]: [32] pages of colour plates. Type: Centaur and Arrighi. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full dark blue cloth, woven with a fleur-de-lys and rampant lion pattern; colour-printed endleaves. Gold slip case printed in blue with the same pattern used on the binding. There are typographical ornaments on the title-page and at the opening of each chapter. The plates show contemporary paintings, buildings, prints and sculpture, and the endleaves reproduce details from Benozzo Gozzoli’s ‘Adoration of the Magi’ (painted 1459–1463). Maps by Piggott appear on pages [xx] and [xxi]. Hibbert’s text was first published in 1974.

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¶ Second printing: 1999. ¶ Third printing: 2002. ¶ Fourth printing: 2015. This has replaced the 2003 ‘fourth printing’, which was recorded in Folio 60 as not seen. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier. Plain gold slip case. 954 British · myths & · legends, edited and introduced by Richard Barber, illustrations by John Vernon Lord. 253 × 177 × 50 mm. Pp. [1–9] 10–708 [709–710]: [17] leaves of two-colour ‘plates’. Type: Ehrhardt with Charlemagne for display and hand-drawn lettering (by John Andrew) for the title. Printed and bound by the Bath Press. Quarter dark red series binding (see item 724), white linen boards with a design in red-brown, black and gold by Lord; dark red endleaves. Dark red slip case. John Andrew’s title-page lettering is also used on the spine. The text has been selected from a variety of ancient and medieval sources, including Saxo Grammaticus, Geoffrey of Monmouth, Beowulf and Sir Gawain and the green knight, in a variety of modern translations. A cheaper, three-volume, version of the book was published from 2002 (see item 1123.5). ¶ Second printing: 1999. ¶ Third printing: 2000. ¶ Fourth–eighth printing (three volumes): 2002–2006 item 1123.5. 955 A.J.P. Taylor, a century of conflict 1848–1948. Edited by Chris Wrigley. Maps by Reginald Piggott. 252 × 161 × 30–36 mm. 5 vols (see below). Type: Photina with Octavian for display. Printed and bound by Jarrold. Full black cloth with a design in red and gold by Malcolm Harvey Young; red endleaves with maps. Red five-volume slip case titled (as above) and decorated in black and gold. Each volume is illustrated with contemporary monochrome photographs. The five volumes are as follows: [1] A.J.P. Taylor, the struggle for mastery in Europe, volume I, balancing the powers, introduction by Chris Wrigley. Pp. [i–v] vi–l [li–lii], [1] 2–283 [284]: [26] pages of plates. The binding bears the dates ‘1848–1878’. There are maps on pages 109, 127, 158, 169, 199 and 275. [2] A.J.P. Taylor, the struggle for mastery in Europe, volume II, from peace to war. Pp. [i–v] vi–xi [xii–xiv], [285] 286–690 [691–694]: [26] pages of plates. The binding bears the dates ‘1878–1914’. There are maps on pages 330, 384, 409, 421, 453, 480, 539, 543 and 604. [3] A.J.P. Taylor, the First World War and its aftermath, introduction by Chris Wrigley. Pp. [i–v] vi–xvi [xvii–xviii], [1] 2–422 [423–424]: [26] pages of plates. The binding bears the dates ‘1914–1919’. There are maps on pages 90, 117, 127, 130, 138, 144, 150, 182, 198 and 206. [4] A.J.P. Taylor, the origins of the Second World War. Pp. [i–vii] viii–ix [x], [1] 2–315 [316–318]: [26] pages of plates. The binding bears the dates ‘1919–1939’. The only maps are those on the endleaves. [5] A.J.P. Taylor, the Second World War and its aftermath, introduction by Chris Wrigley. Pp. [i–v] vi–xv [xvi], [1–3] 4–363 [364–368]: [26] pages of plates. The binding bears the dates ‘1939–1948’. There are maps on pages 32, 47, 91, 139, 153, 159, 173, 194, 201 and 210. ¶ Second printing: 2000, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. 956 The Folio book of short novels, illustrated by Sara Fanelli. 240 × 164 × 44 mm. Pp. [i–viii], [1–2] 3–408: [5] double-leaves of colour plates (between pp. 16–17, 128–129, 224–225, 288–289 and 384–385). Type: Garamond with Amasis, Bembo, Gill Shadow, Kuenstler Script and Parisian for display, and hand-drawn lettering (by Fanelli) for the title-spread. Printed and bound by the Bath Press. Full silver cloth with a design in colour by Fanelli; dark blue endleaves. Red slip case. The five short novels are Henry James’s The turn of the screw,

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Jack London’s The call of the wild, Thomas Mann’s Death in Venice (translated by H.T. Lowe-Porter), D.H. Lawrence’s The virgin and the gipsy and Colette’s Gigi (translated by Roger Senhouse and Patrick Leigh Fermor). 957 Homer, the Odyssey, translated by Robert Fagles, introduction and notes by Bernard Knox, illustrated by Grahame Baker. Maps by Reginald Piggott after Anita Karl and James Kemp. 253 × 179 × 48 mm. Pp. [i–v] vi [vii–xi] xii–lxxxviii [lxxxix-xcvi], [1] 2–493 [494–496]: [9] leaves of colour plates (facing pp. [iii], 88, 129, 160, 224, 241, 328, 385 and 439). Type: Centaur and Arrighi. Printed by the Saint Edmundsbury Press, the plates by Barwell Colour Printers. Bound by Hunter and Foulis in quarter green series binding (see item 724), pale grey linen boards with a design in black by Baker; pale grey-green endleaves with a map. Green slip case. Pages [xc–xcv] bear maps by Piggott. The typography and illustrations are in the same style as the Folio edition of The Iliad (item 858). The illustrator became known, for Folio purposes, as Grahame Baker-Smith from 2011. ¶ Second printing: 2000. ¶ Third printing: 2001. ¶ Fourth printing: 2005, measuring 253 × 176 × 41 mm. Printed on thinner paper, the plates by the Amadeus Press. Quarter blue-grey buckram; pale grey endleaves (a simplified version of the series binding). Blue-grey slip case. This reprint was occasioned by the selection of this title as the ‘Castaway’s Choice’ of half a dozen celebrities (see item 270). ¶ Fifth printing: 2006. ¶ Sixth printing (not seen). ¶ Seventh printing: 2015. Printed and bound by Kösel. ¶ Eighth printing: 2019. Slip case blocked with Folio’s logo in gold. 958 · The · fables of Æsop · illustrated · by · ·Edward · J · Detmold·. 252 × 190 × 30 mm. Pp. [i–v] vi–xvi, [1] 2–152: [24] pages of colour plates. Type: Modern Extended with a hand-drawn title-page (by Detmold). Printed by the Saint Edmundsbury Press, the plates by the Amadeus Press. Bound by Hunter and Foulis in full pale brown buckram with a design in red, dark green and gold by Detmold (redrawn by David Eccles); dark green endleaves. Dark green slip case. This edition is a copy (greatly improved) of that published by Hodder and Stoughton in 1909. ¶ Second printing: 1999. ¶ Third printing: 2000. ¶ Fourth printing: 2001. ¶ Fifth printing: 2002 (not seen). ¶ Sixth printing: 2003 (not seen). ¶ Seventh printing: 2004 (not seen). ¶ Eighth printing: 2006. ¶ Ninth printing: 2007. ¶ Tenth printing: 2009, printed by Martins of Berwick. ¶ Eleventh printing: 2011. ¶ Twelfth printing: 2018. Printed and bound by L.E.G.O. 959 The fairy tales of Charles Perrault, illustrated by Edmund Dulac. Translated and edited by Arthur Quiller-Couch and Robert Samber. 253 × 191 × 36 mm. Pp. [i–x], 1–185 [186]: [34] pages of colour plates. Type: Caslon with Kuenstler Script for the title-page. Printed by the Saint Edmundsbury Press, the plates by the Amadeus Press. Bound by Hunter and Foulis in full red buckram with a design in pink, green, white and gold by Dulac (redrawn by David Eccles); grey endleaves. Red slip case. This edition is based on a collection of Perrault’s tales retold by Quiller-Couch, first published with Dulac’s illustrations in 1910 by Hodder and Stoughton. Other tales have been added from Samber’s eighteenth-century translations. In addition to the delightful colour plates, there are head- and tail-pieces for each story and other decorations drawn by Dulac. ¶ Second printing: 1999. ¶ Third printing: 2000. ¶ Fourth printing: 2000. ¶ Fifth printing: 2001. ¶ Sixth printing: 2002. ¶ Seventh printing: 2004. ¶ Eighth printing: 2004. ¶ Ninth printing: 2006 (not seen). ¶ Tenth printing: 2007; pale blue endleaves. ¶ Eleventh printing: 2009, printed by Martins of Berwick. ¶ Twelfth printing: 2011. 960 Lewis Carroll, complete & utter nonsense. 223 × 143 × 15–17 mm. 2 vols (see below). Type: Bell with Goudy Text for display. Printed and bound by T.J. International. Quarter green cloth, pale yellow paper boards

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with illustrations (redrawn by David Eccles) in dark green; pale yellow endleaves. Green two-volume slip case titled (as above) in gold. The two volumes are as follows: [1] Complete nonsense, Lewis Carroll, with sixty-five illustrations by Arthur B. Frost and an introduction by Alan Garner. Pp. [1–4] 5–131 [132–136]. Frost’s illustrations first appeared in Carroll’s Rhyme? And reason? in 1883, from which the verses are selected. [2] Utter nonsense, Lewis Carroll, with nine illustrations by Henry Holiday and twenty-eight by Harry Furniss. Pp. [1–4] 5–103 [104]. The text and illustrations are taken from The hunting of the snark (1876), Rhyme? And reason? (1883), Sylvie and Bruno (1889), Sylvie and Bruno concluded (1893) and other works by Carroll. 961 A child’s garden of verses, Robert Louis Stevenson, introduction by Michael Rosen, illustrations by Helen Smithson. 230 × 160 × 15 mm. Pp. [i–ii], [1–4] 5–104 [105–110]. Type: Bulmer. Printed and bound by Jarrold. Full green buckram with a design in red-brown, black and white by Smithson; pale blue endleaves. Dark red slip case. Smithson’s illustrations consist of 50 drawings, of which seven (including the title-spread) are full-page and printed in colour. Stevenson’s text was first published in 1885. ¶ Second printing: 2000 (not seen), printed and bound by Grafos. 962 Anthony Trollope, Harry Heathcote of Gangoil, a tale of Australian bush life, introduction by P.D. Edwards, illustrations by Rod Waters. 227 × 150 × 20 mm. Pp. [i–iv] v–xv [xvi], 1–98: [7] leaves of ‘plates’ (facing pp. 22, 32, 41, 61, 73, 84 and 88). Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter pale blue-grey series binding (see item 632), cream paper boards with the border in pale blue-grey; cream endleaves. Blue slip case. This story was first published in Britain as the Christmas 1873 number of The graphic, and was serialised in the Melbourne journal The age between November 1873 and December 1874. 963 Anthony Trollope, la vendée, an historical romance, introduction by Mervyn Horder, illustrations by Shirley Bellwood. 228 × 150 × 28 mm. Pp. [i–iv] v–xvii [xviii], 1–413 [414]: [16] leaves of ‘plates’. Type: Bell. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter green series binding (see item 632), pale green paper boards with the border in dark green; pale green endleaves. Green slip case. This early novel was first published in three volumes in 1856. The present text follows that of a revised impression printed in the same year. 964 J.L. Carr, a month in the country, introduced by Ronald Blythe, illustrated by Ian Stephens. 268 × 167 × 15 mm. Pp. [i–ii], [1–6] 7–121 [122–126]: [8] leaves of ‘plates’ (facing pp. [3], 19, 41, 60, 82, 92, 114 and 116). Type: Caslon. Typeset by Gloucester Typesetting, printed by the Saint Edmundsbury Press. Bound by Jarrold in quarter dark brown buckram, cream paper boards with a design in dark brown by Stephens; brown endleaves. Brown slip case. The description in the prospectus of the format as ‘Double Post 9mo’ is inexplicable (and perhaps a joke); no such format could exist, and the size and shape of the book is closer to a royal octavo. Ian Stephens’s wood-engravings are all full-page, with a detail of one being enlarged for the cover-paper. ¶ Second printing: 2010. Printed by Martins of Berwick. Bound by Hunter and Foulis. 965 Alison Weir, the Princes in the Tower, foreword by Ruth Rendell. 240 × 185 × 29 mm. Pp. [1–2], [i–iv] v–xv [xvi–xviii], 1–264 [265–268]: [12] pages of colour plates. Type: Minion with Athenaeum for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full black cloth with a design in red and gold by Francis Mosley; red-brown endleaves with a genealogical table by Reginald Piggott. Black slip case. In the series begun with item 876. The plates reproduce contemporary portraits and manuscripts.

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¶ Second printing: 2001. 965.5 Rulers of the ancient world. A collected issue of the second impressions of the five volumes of Folio’s series of biographies of classical rulers. Dark green five-volume slip case titled (as above) in gold. The volumes continued to be issued separately. The five volumes are as follows: [1] Alexander the Great . . . (1997 item 887, second printing). [2] Julius Caesar . . . (1998 item 921, second printing). [3] Nero . . . (1998 item 930, second printing). [4] Hannibal . . . (1998 item 933, second printing). [5] Cleopatra . . . (1998 item 934, second printing).

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1999 966 Irish short stories, introduced by Frank Delaney, illustrated by David Rooney. 240 × 161 × 42 mm. Pp. [i–v] vi–xvii [xviii], [1–3] 4–437 [438]: [16] leaves of ‘plates’. Type: Ehrhardt with Fritz Quadrata for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full pale green series binding decorated in red, dark green and gold (see item 905); dark green endleaves. Black slip case decorated and titled ‘Classic Short Stories’ in red and gold. There are 30 short stories here, a few by living authors. ¶ Second printing: 2000. 967 C.V. Wedgwood, the Thirty Years War, introduction by Roy Strong. Maps by Reginald Piggott. 253 × 163 × 51 mm. Pp. [i–iv] v–xix [xx–xxii], 1–508 [509–510]: [14] pages of colour plates, [12] pages of ‘plates’. Type: Janson. Printed by the Saint Edmundsbury Press. Bound by Jarrold in full pale brown cloth with an engraving in dark brown; pale brown endleaves with a map in dark brown. Dark brown slip case. The plates reproduce contemporary paintings and prints, with those between pages [346] and 347 bearing the 18 etchings of Jacques Callot’s Les misères et les malheurs de la guerre, originally published in Paris by Israël Henriet in 1633. The engraving used on the binding dates from 1614, and shows a cavalcade of infantry, cavalry and canon, being the means by which a city should prepare itself in peace for the possibility of war. This was the first in a series of historical accounts of great wars. For others in the series see items 1001, 1064, 1065, 1109, 1122 and 1279. ¶ Second printing: 2001, bound by Cambridge University Press. ¶ Third printing: 2010, printed by Memminger MedienCentrum. Bound by Real Lachenmaier. 968 Mission to Tashkent, Lieutenant-Colonel F.M. Bailey CIE, Gold Medallist of the Royal Geographical Society, Livingstone Gold Medallist of the Royal Scottish Geographical Society, introduction and epilogue by Peter Hopkirk. Maps by Denys Baker. 241 × 163 × 28 mm. Pp. [i–x] xi–xxiii [xxiv], 1–269 [270–272]: [18] pages of plates. Type: Sabon with Kabel Heavy for display. Printed and bound by Butler and Tanner. Quarter dark red cloth, white paper boards printed in colour with a reproduction of Bailey’s forged passport; dark red endleaves. Dark red slip case. The plates reproduce contemporary photographs. There are maps by Baker on pages [ix] and [x]. ¶ Second printing: 2000. ¶ Third printing: 2002. ¶ Fourth printing: 2003 (not seen). ¶ Fifth printing: 2005. 969 Anthony Trollope, the struggles of Brown, Jones, and Robinson, by one of the firm, introduction by Juliet McMaster, illustrations by Llewellyn Thomas. 227 × 150 × 24 mm. Pp. [i–iv] v–xix [xx], 1–176 [177–180]: [12] leaves of ‘plates’. Type: Bell. Typeset by Speedspools, printed and bound by the Bath Press. Quarter green series binding (see item 632), pale yellow paper boards with the border in dark green; pale yellow endleaves. Dark green slip case. The work was first published in The Cornhill magazine between August 1861 and March 1862, and in book form in New York in the latter year. It was not published as a single volume in Britain until 1870. 970 C.W. Ceram, gods, graves, and scholars, the story of archaeology, introduction by John Romer. Maps by Reginald Piggott. 252 × 195 × 47 mm. Pp. [i–iv] v–xxx, [1–2] 3–528 [529–530]: [48] pages of colour plates. Type: Centaur and Arrighi. Printed and bound by the Bath Press. Full dark blue cloth with a repeat design in blue-grey by Simon Brett on the front board; pale grey endleaves with Brett’s pattern repeated in grey. Dark

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blue slip case. The plates reproduce photographs of excavations, sites and finds, and prints and paintings. There are full-page maps on pages [6], [74], [202], [300] and [400], and a drawing of a relief on the title-page. ¶ Second printing: 2015. Printed and bound by Kösel. 971 Anglo-Saxon England, Peter Hunter Blair . . . Fourth printing. A separate impression of the first volume from the three-volume Anglo-Saxon and medieval section of the ‘History of England’ series. Details as volume [1] of item 908, but issued in a single-volume slip case. ¶ Fifth printing: 1999. ¶ Sixth printing: 2001. ¶ Seventh printing: 2004. 972 Anthony Trollope, an autobiography, introduction by John Sutherland. Edited by David Skilton. 228 × 149 × 28 mm. Pp. [i–iv] v–xxviii, 1–240 [241–244]: [14] pages of plates. Type: Bell. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Quarter grey series binding (see item 632), pale grey paper boards with the border in grey; pale grey endleaves. Grey slip case. Trollope’s autobiography was first published in 1883, and the present edition is based on Skilton’s text of 1996. The plates reproduce photographs, drawings and paintings relating to the author’s life. With this book the series of Trollope’s works came, at last, to an end. 973 A time of gifts, Patrick Leigh Fermor, illustrated by Daniel Whistler. Maps by Denys Baker. 241 × 161 × 28 mm. Pp. [i–viii], 1–292: [10] leaves of ‘plates’ (facing pp. 22, 51, 78, 104, 134, 163, 187, 230, 238 and 268). Type: Dante with Kabel for some display. Printed by the Saint Edmundsbury Press. Bound by Jarrold in full pale blue cloth with a design in dark green, silver and gold by Malcolm Harvey Young; pale blue-grey endleaves with a map in blue. Green slip case. In addition to the ‘plates’ the title-spread bears a drawing by Whistler. Uniform with item 1301. ¶ Second printing: 2000, bound by Cambridge University Press. ¶ Third printing: 2006 (not seen), bound by Hunter and Foulis. This reprint coincides with the selection of this title and item 1301 as the ‘Castaway’s Choice’ of Kevin Crossley-Holland (see item 270). ¶ Fourth printing: 2007. 974 Alexandre Dumas, the Count of Monte Cristo, introduced by John Mortimer, illustrated by Roman Pisarev. 251 × 177 × 59 mm. Pp. [1–4], [i–iv] v–xvi, 1–1016 [1017–1022]: [23] leaves of ‘plates’. Type: Ehrhardt with Goudy Text, Lombardic Capitals and Victoria Titling for display. Printed and bound by the Bath Press. Full dark red cloth with a design in black, grey, cream and gold by Pisarev; dark red endleaves. Dark red slip case. The text is a revision of the anonymous translation of Le Comte de Monte-Cristo which was published by Chapman and Hall in 1846. For three other works by Dumas, published in uniform style, see items 1067–1069. ¶ Second printing: 2000. 975 Early medieval England, M.T. Clanchy. Fourth printing. A separate impression of the second volume from the three-volume Anglo-Saxon and medieval section of the ‘History of England’ series. Details as volume [2] of item 908, but issued in a single-volume slip case. ¶ Fifth printing: 2000. ¶ Sixth printing: 2001. ¶ Seventh printing: 2004. 976 England in the age of improvement 1783–1867, Asa Briggs. Preface by Felipe Fernández-Armesto. Designed by Bernard Roberts. 252 × 163 × 41 mm. Pp. [i–v] vi–xvi [xvii–xviii], [1] 2–498: [9] leaves of colour plates, [16] leaves of ‘plates’. Type: Plantin. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis

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in series binding (see item 855). Issued in the series ‘A History of England’ (part seven). The plates reproduce contemporary paintings and prints. ¶ Second printing: 2000. ¶ Third printing: 2002 (not seen). 977 A treasury of Mark Twain, introduction by Roy Blount Jr, illustrated by Rod Waters. 222 × 142 × 28 mm. Pp. [1–4] 5–266: [11] leaves of ‘plates’. Type: Goudy Old Style. Printed by the Saint Edmundsbury Press. Bound by Jarrold in full silver plasticised cloth with a design in black by Waters; pale grey endleaves. Grey slip case. Issued in the series which began with item 830. ¶ Second printing: 2000, bound by Hunter and Foulis. ¶ Third printing: 2001. ¶ Fourth printing: 2002 (not seen). ¶ Fifth printing: 2003 (not seen). ¶ Sixth printing: 2005. ¶ Seventh printing: 2006, bound in full pale green cloth with Waters’s design in dark green; green endleaves. Green slip case. The spine has also been redesigned. ¶ Eighth printing: 2007. ¶ Ninth printing: 2008, printed by Martins of Berwick. ¶ Tenth printing: 2009. ¶ Eleventh printing: 2010. ¶ Twelfth printing: 2010. ¶ Thirteenth printing: 2011. ¶ Fourteenth printing: 2012. 978 England in the later middle ages, a political history, M.H. Keen . . . Fourth printing. A separate impression of the third volume from the three-volume Anglo-Saxon and medieval section of the ‘History of England’ series. Details as volume [3] of item 908, but issued in a single-volume slip case. ¶ Fifth printing: 2000. ¶ Sixth printing: 2001. ¶ Seventh printing: 2004, bound by Cambridge University Press. 979 Joseph Conrad, the secret agent, a simple tale, illustrations by Francis Mosley, introduction by Colin Ward. 229 × 161 × 28 mm. Pp. [1–6] 7–270 [271–272]: [12] leaves of ‘plates’. Type: Garamond with Romana for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in series binding (see item 852). ¶ Second printing: 2001. 980 Joseph Conrad, victory, an island tale, illustrations by Francis Mosley, introduction by Eleanor Bron. 229 × 161 × 31 mm. Pp. [1–6] 7–352: [12] leaves of ‘plates’. Type: Garamond with Romana for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in series binding (see item 852). ¶ Second printing: 2008. 981 The Raj, an eye-witness history of the British in India, edited by Roger Hudson, introduction by Raleigh Trevelyan. 253 × 176 × 46 mm. Pp. [i–vii] viii–xlvi [xlvii–xlviii], [1] 2–648: [22] pages of colour plates. Type: Baskerville. Typeset by Gloucester Typesetting, printed by the Saint Edmundsbury Press. Bound by Jarrold in full red cloth with a design in black and gold by David Eccles; orange-brown endleaves with a map by Reginald Piggott. Black slip case. The plates reproduce contemporary paintings and prints. This work continues the series of travel and exploration books (see item 766). ¶ Second printing: 2000, bound by Cambridge University Press. 982 Betjeman’s Britain, selected, edited and introduced by Candida Lycett Green, illustrated with photographs by John Piper, Edwin Smith, Bill Brandt and others. 263 × 192 × 25 mm. Pp. [1–5] 6–318 [319–320]. Type: Walbaum. Printed and bound by Jarrold. Full dark red cloth with five photographs printed on the front board; white

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endleaves printed with photographs. Black slip case with a photograph. This volume is uniform with Priestley’s English journey (item 911), and has been printed and bound with the same care. In all there are 105 photographs, including the two printed on the endleaves, the five on the binding, and that on the slip case. ¶ Second printing: 2000, printed and bound by the Bath Press. ¶ Third printing: 2003 (not seen). 983 Evelyn Waugh, comedies. 240 × 162 × 26–30 mm. 6 vols (see below). Type: Baskerville. Printed and bound by the Bath Press. Full white artificial cloth with a design in colour by John Holder; different coloured endleaves for each volume. Dark brown six-volume slip case titled (as above) in gold. The binding illustration is different for each volume. The six volumes are as follows: [1] Evelyn Waugh, decline and fall, introduction by David Lodge, illustrations by John Holder. Pp. [i–iv] v–xxvii [xxviii–xxx], 1–214: [7] leaves of colour plates (facing pp. [iii], 3, 18, 98, 115, 139 and 178). Orange endleaves. There are monochrome tail-pieces at the end of some chapters. This novel was originally published in 1928. [2] Evelyn Waugh, vile bodies, illustrations by John Holder. Pp. [i–x], 1–209 [210–214]: [7] leaves of colour plates (facing pp. [iii], 22, 39, 86, 111, 182 and 199). Pink endleaves. There are monochrome tail-pieces at the end of most chapters. First published in 1930. [3] Evelyn Waugh, black mischief, illustrations by John Holder. Pp. [i–viii], 1–212 [213–216]: [7] leaves of colour plates (facing pp. [iii], 56, 73, 96, 152, 169 and 184). Red endleaves. There are monochrome tail-pieces at the end of each chapter, and a map on page [viii]. The novel was first published in 1932. [4] Evelyn Waugh, a handful of dust, illustrations by John Holder. Pp. [i–x], 1–223 [224–230]: [7] leaves of colour plates (facing pp. [iii], 22, 39, 70, 87, 198 and 215). Purple endleaves. There are monochrome tail-pieces at the end of some chapters. First published in 1934. [5] Evelyn Waugh, scoop, a novel about journalists, illustrations by John Holder. Pp. [i–x], [1–2] 3–224 [225–230]: [7] leaves of colour plates (facing pp. [iii], 22, 39, 102, 119, 182 and 199). Dark blue endleaves. There are monochrome tail-pieces at the end of most chapters. The novel was first published in 1938. [6] Evelyn Waugh, put out more flags, illustrations by John Holder. Pp. [i–xii], 1–215 [216]: [7] leaves of colour plates (facing pp. [iii], 36, 53, 100, 117, 148 and 169). Green-blue endleaves. There are monochrome tail-pieces at the end of each chapter. The novel was first published in 1942. 984 Civilisation, a personal view, Kenneth Clark. 295 × 231 × 25 mm. Pp. [1–8] 9–276. Type: Minion. Printed and bound by Butler and Tanner. Full blue cloth with a design in red, silver and gold by David Eccles; pale brown endleaves with a photograph in brown. Blue slip case with part of the binding design repeated in gold. The Presentation Volume for 2000. The text includes 291 illustrations, 187 printed in colour, reproducing illuminated manuscripts, paintings, prints, drawings and photographs of buildings and sculpture. Eccles’s binding design is very pleasing, and his rendering of a composite capital works particularly well on the slip case. 985 Empires of the ancient Near East. Decorations by Simon Noyes. Maps by Reginald Piggott. 252 × 178 × 31–46 mm. 4 vols (see below). Type: Imprint. Printed by the Saint Edmundsbury Press. Bound by Jarrold in full series binding (see item 910 and below). Dark red four-volume slip case titled (as above) in gold. The plates reproduce photographs of ruins, art and artefacts. From the second printing of 2000 the individual volumes were also published separately (see items 1009–1012). The four volumes are as follows:

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[1] H.W.F. Saggs, the Babylonians, a survey of the ancient civilisation of the Tigris-Euphrates Valley, introduction by T.G.H. James. Pp. [i–iv] v–xxxvi, 1–444: [16] pages of colour, [12] pages of monochrome plates. The binding cloth, endleaf map and title-page frieze are in dark green. This work was first published in 1962; the present text follows the revised edition of 1988. [2] O.R. Gurney, the Hittites. Pp. [i–iv] v–xiv, 1–240 [241–242]: [12] pages of colour, [12] pages of monochrome plates. The binding cloth, endleaf map and title-page frieze are in dark brown. This work was first published in 1952, with revised editions following in 1954, 1981 and 1990; the present text has been further revised by the author. Due to an error, the author’s name was given on the binding as ‘O.M. Gurney’. A few copies had been issued before the mistake was noticed, but most were rebound with the error corrected. [3] Sir Alan Gardiner, the Egyptians, an introduction. Pp. [i–iv] v–xxiv, [1–2] 3–479 [480]: [32] pages of colour plates. The binding cloth and endleaf map are in dark red, and the title-page is dark brown. This work was first published in 1961. [4] J.M. Cook, the Persians. Pp. [i–iv] v–xxii, 1–374 [375–378]: [8] pages of colour, [10] pages of monochrome plates (two folded). The binding cloth, endleaf map and title-page frieze are in dark blue. This work was first published in 1983. ¶ Second printing: 2000, bound by Cambridge University Press. Part of this impression was issued as items 1009–1012. ¶ Third printing: 2000. Part of this impression was issued as items 1009–1012. ¶ Fourth printing: 2001. Part of this impression was issued as items 1009–1012. ¶ Fifth printing: 2001. Part of this impression was issued as items 1009–1012. ¶ Sixth printing: 2002. Extra copies of volume [1] were printed for item 1009. ¶ Seventh printing: 2003. ¶ Eighth printing: 2003 (not seen). ¶ Ninth printing: 2004. Part of this impression was issued as items 1009–1012. ¶ Tenth printing: 2006 (not seen). Extra copies of volumes [3] and [4] were printed for items 1011 and 1012. ¶ Eleventh printing: 2006. Extra copies of volumes [1] and [3] were printed for items 1009 and 1011. ¶ Twelfth printing (not seen). ¶ Thirteenth printing: 2010. Printed by Martins of Berwick and bound by Hunter and Foulis. ¶ Fourteenth printing: 2012. 986 [Novels by Ernest Hemingway]. 228 × 150 × 15–35 mm. 5 vols (see below). Type: Perpetua. Printed and bound by the Bath Press. Quarter black cloth (uniform with item 565), cream paper boards printed in black and another colour (see below); plain endleaves (a different colour in each volume). Red five-volume slip case with the author’s signature and portrait in black and gold. The five volumes are as follows: [1] Ernest Hemingway, the sun also rises, introduction by Joyce Carol Oates, illustrations by David Frankland. Pp. [i–ii], [1–6] 7–278 [279–282]: [10] leaves of ‘plates’. The binding paper is printed in pink and black, and the endleaves are cream. Originally published in 1926. [2] Ernest Hemingway, a farewell to arms, illustrations by David Frankland. Pp. [1–10] 11–312: [12] leaves of ‘plates’. The binding paper is printed in pale blue and black, and the endleaves are pale blue. Originally published in 1929. [3] Ernest Hemingway, to have and have not, illustrations by David Frankland. Pp. [i–ii], [1–10] 11–218 [219–222]: [8] leaves of ‘plates’ (facing pp. [3], 27, 48, 67, 102, 152, 183 and 210). The binding paper is printed in pale yellow and black, and the endleaves are pale yellow. Originally published in 1937.

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[4] Ernest Hemingway, for whom the bell tolls, illustrations by David Frankland. Pp. [1–8] 9–490 [491–492]: [14] leaves of ‘plates’. The binding paper is printed in pale grey and black, and the endleaves are pale grey. Ori ginally published in 1940. [5] Ernest Hemingway, the old man and the sea, illustrations by David Frankland. Pp. [1–10] 11–123 [124]: [6] leaves of ‘plates’ (facing pp. [3], 44, 61, 73, 91 and 100). The binding paper is printed in grey-green and black, and the endleaves are blue-green. Originally published in 1952. This volume is set in a larger size of type, with wide leading, to make the short text into a larger volume. ¶ Reissued [i.e. another impression]: 2008. Printed and bound by Grafos with the spine redesigned. 987 The Icelandic sagas [star], edited and introduced by Magnus Magnusson, illustrated by Simon Noyes. Translated by Magnusson, Hermann Pálsson and Paul Edwards. 253 × 176 × 52 mm. Pp. [i–ix] x–xxii, [1] 2–809 [810]: [16] leaves of colour plates. Type: Ehrhardt with Frances Uncial for display and hand-drawn lettering (by John Andrew) for the title. Printed by the Saint Edmundsbury Press. Bound by Jarrold in quarter dark blue series binding (see item 724), white linen boards with a design in dark blue, pale grey, red and gold by Noyes; pale grey endleaves with a map by Reginald Piggott. Dark blue slip case. John Andrew’s title-page lettering is also used on the spine. A second volume of sagas was published in 2002 (item 1107). ¶ Second printing: 2000, printed and bound by the Bath Press. ¶ Third printing: 2001. ¶ Fourth printing: 2002 (not seen). ¶ Fifth printing: 2015, the dimensions now 252 × 178 × 60 mm. Printed and bound by Kösel in quarter dark blue buckram instead of leather. 988 Medieval people, Eileen Power, introduced by Emmanuel Le Roy Ladurie [quotation from Charles Lamb]. 228 × 162 × 26 mm. Pp. [i–vi] vii–xxvii [xxviii–xxxii], 1–253 [254–256]: [14] pages of colour plates. Type: Centaur and Arrighi. Printed and bound by the Bath Press. Full vegetable parchment (‘Parchemarque’) with a design in gold and colour; dark blue endleaves. Dark blue slip case. The plates reproduce medieval manuscripts and miniatures, and photographs of a contemporary house at Coggeshall; in addition there is an anonymous map on pages [64–65]. The text was first published in 1924. The binding is a tour de force by the Bath Press, and reproduces a series of gilded miniatures from a manuscript at the Bodleian, using a com bination of blocking and printing techniques. ¶ Second printing: 2000. ¶ Third printing: 2001. ¶ Reissued [i.e. another impression]: 2008, printed and bound by L.E.G.O. Simpler binding design. 989 Winnie-the-Pooh, the collectors’ edition. 192 × 128 × 13–19 mm. 4 vols (see below). Type: Century Catalogue with Caslon on the title-pages. Originally typeset by Jarrold in the 1920s (the new material by Gloucester Typesetting). Printed and bound by Jarrold. Full cloth of approximately the same colour as the original editions, with designs in gold by E.H. Shepard; endleaves printed with vignettes by Shepard. Blue four-volume slip case titled (as above) and decorated in gold. Each volume is a facsimile of the first edition, with a binding design based on that of the original. The verso of each title-page notes that the edition was published by Methuen ‘in association with the Folio Society’. The four volumes are as follows: [1] When we were very young by A.A. Milne, with decorations by Ernest H. Shepard. Methuen. Pp. [i–vi] vii–x [xi–xii], 1–99 [100]. Bound in blue cloth. Originally published in 1924. [2] Winnie-the-Pooh by A.A. Milne, with decorations by Ernest H. Shepard. Methuen. Pp. [i–viii] ix–xi [xii–xvi], 1–158 [159–160]. Bound in dark green cloth. Originally published in 1926.

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[3] Now we are six by A.A. Milne, with decorations by Ernest H. Shepard. Methuen. Pp. [i–vi] vii–x, 1–102. Bound in dark red cloth. Originally published in 1927. [4] The house at Pooh Corner by A.A. Milne, with decorations by Ernest H. Shepard. Methuen. Pp. [i–vi] vii–xi [xii], 1–178 [179–180]. Bound in red cloth. Originally published in 1928. ¶ Second printing: 2003 (not seen). ¶ Third printing: 2004 (not seen). 990 E. Nesbit, the railway children, introduced by Helen Cresswell, illustrated by Inga Moore. 228 × 160 × 25 mm. Pp. [i–viii] ix–xv [xvi–xviii], 1–188 [189–192]: [7] leaves of colour ‘plates’ (facing pp. 18, 41, 66, 80, 101, 117 and 175). Type: Fournier with Richmond for display. Printed and bound by the Bath Press. Full white cloth with a design in green, black, orange and pale grey-brown by Moore; pale grey-brown endleaves. Dark green slip case. In addition to the colour ‘plates’ and title-spread there are eight monochrome tail-piece drawings by the artist. ¶ Second printing: 2000. ¶ Third printing: 2003 (not seen). ¶ Fourth printing: 2007, printed by Memminger MedienCentrum. Bound by Real Lachenmaier. ¶ Fifth printing: 2008. ¶ Sixth printing: 2013. ¶ Seventh printing: 2014. 991 The Arabian nights, tales from the thousand and one nights, illustrated by E.J. Detmold. 253 × 190 × 41 mm. Pp. [i–vii] viii, [1] 2–239 [240]: [12] leaves of colour plates. Type: Scotch Roman with Caslon on the title-page. Printed by the Saint Edmundsbury Press. Bound by Jarrold in full white cloth with a design in gold by Detmold (redrawn by David Eccles); white endleaves. Gold slip case. This edition is based on that published by Hodder and Stoughton in 1924. The plates have been improved by digital means, to bring them closer to the artist’s original intentions. ¶ Second printing: 2000, bound by Hunter and Foulis. ¶ Third printing: 2000. ¶ Fourth printing: 2001, with cream endleaves. Part of this impression was issued in early 2001 in a gold slip case, and part in June of the same year in a red slip case. ¶ Fifth printing: 2002 (not seen). ¶ Sixth printing: 2003, in a red slip case. ¶ Seventh printing: 2003 (not seen). ¶ Eighth printing: 2004. ¶ Ninth printing: 2006 (not seen). ¶ Tenth printing: 2007. ¶ Eleventh printing: 2007. ¶ Twelfth printing: 2008, printed by Martins of Berwick. ¶ Thirteenth printing: 2009. ¶ Fourteenth printing: 2011. ¶ Fifteenth printing: 2019. Printed and bound by L.E.G.O. 992 Tales of mystery and imagination by Edgar Allan Poe, illustrated by Harry Clarke. 252 × 192 × 48 mm. Pp. [1–8] 9–333 [334–336]: [24] leaves of ‘plates’. Type: Ehrhardt with Caslon for display. Printed by the Saint Edmundsbury Press. Bound by Jarrold in full black buckram with a spine-design in gold, cover-label printed in green-grey and black; black endleaves. Black slip case. Poe’s tales had formerly been published by Folio in 1957 and 1990 (items 106 and 670). The present edition is based on that published by George Harrap and Company in 1919, with an additional illustration for ‘The pit and the pendulum’ taken from an edition of 1933. In addition to Clarke’s remarkable art nouveau illustrations, there are two head-pieces and numerous grisly tail-pieces for the stories. ¶ Second printing: 2007, bound by Hunter and Foulis. 993 Notable historical trials. 253 × 161 × 48 mm. 4 vols (see below). Type: Miller. Printed and bound by Jarrold. Quarter red cloth, marbled paper boards; cream endleaves with a wood-engraving of Justice by Simon Brett in dark red. Dark blue four-volume slip case lettered in gold with the names of the defendants

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at the trials. Some copies were bound later, with colour-printed (rather than marbled) paper on the boards (not seen). The four volumes are as follows: I Notable historical trials volume I, from Socrates to the Gunpowder Plot, selected and edited by Justin Lovill, introduced by John Mortimer. Pp. [i–iv] v–xviii, 1–521 [522]: [9] leaves of colour plates, [20] pages of ‘plates’. II Notable historical trials volume II, from Galileo to Admiral Byng, selected and edited by Justin Lovill. Pp. [i–iv] v–x, 1–498: [8] leaves of colour plates, [20] pages of ‘plates’. III Notable historical trials volume III, from the Boston massacre to Queen Caroline, selected and edited by Justin Lovill. Pp. [i–iv] v–x, 1–514: [9] leaves of colour plates, [20] pages of ‘plates’. IV Notable historical trials volume IV, from Burke and Hare to Oscar Wilde, selected and edited by Justin Lovill. Pp. [i– iv] v–x, 1–554: [9] leaves of colour plates, [20] pages of ‘plates’. ¶ Second printing: 2010, the dimensions now 252 × 162 × 42–45 mm. Printed by Memminger Medien Centrum and bound by Real Lachenmaier. 994 After Pushkin, versions of the poems of Alexander Sergeevich Pushkin by contemporary poets, edited and introduced by Elaine Feinstein, preface by Marita Crawley, drawings by Alexander Pushkin. 252 × 161 × 13 mm. Pp. [1–4] 5–96. Type: Photina. Printed and bound by Butler and Tanner. Full pale blue-grey cloth with a typographical design in purple and gold; pale blue endleaves printed in dark brown. Dark blue slip case. This is a pleasing, slim volume of poetry, with a subtle binding bearing the names of the contributors, each with one letter in gold, spelling out the book’s main title. The poets included are Danny Abse, Evan Boland, Ranjit Bolt, Allen Curnow, Carol Ann Duffy, Elaine Feinstein, John Fuller, Louise Glück, Seamus Heaney, Ted Hughes, Bill Manhire, Edwin Morgan, Ruth Padel, Christopher Reid, Carol Rumens, Jo Shapcott, Charles Tomlinson and Daniel Weissbort. There are 11 sketches by Pushkin, as well as reproductions of pages from his notebooks on the endleaves. 995 Victorian England, G.M. Young, with essays by Frank Hardie, Lord Blake, Roland Quinault, Roy Jenkins, Algernon Cecil, Asa Briggs, Gertrude Himmelfarb, Pat Thane, John Stokes, Donald Read, Richard Jenkyns, Angela Lambert, and F.B. Smith, introduced by Asa Briggs. Preface by Felipe Fernández-Armesto. Designed by Bernard Roberts. 252 × 163 × 46 mm. Pp. [1–2], [i–vii] viii–xxi, [1–5] 6–546 [547–552]: [10] leaves of colour plates, [17] leaves of ‘plates’. Type: Plantin. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in series binding (see item 855). Issued in the series ‘A History of England’ (part eight). The plates reproduce contemporary paintings, prints, ephemera and photographs. ¶ Second printing: 2000. ¶ Third printing: 2003 (not seen). ¶ Fourth printing: 2004. 996 Edwardian England, a splendid illusion, Élie Halévy, translated from the French by E.I. Watkins, introduction by Felipe Fernández-Armesto. Designed by Bernard Roberts. 252 × 163 × 44 mm. Pp. [1–2], [i–v] vi–xviii, [1–3] 4–535 [536–540]: [9] leaves of colour plates, [16] leaves of ‘plates’. Type: Plantin. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in series binding (see item 855). Issued in the series ‘A History of England’ (part nine). The plates reproduce contemporary photographs, paintings, prints and ephemera. The text was abridged from two volumes, covering the period 1895–1914, in Halévy’s A history of the English people in the nineteenth century, originally published in 1951 and 1952. ¶ Second printing: 2001. ¶ Third printing: 2002 (not seen).

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997 Britannia, a history of Roman Britain, Sheppard Frere. Preface by Felipe Fernández-Armesto. Maps by Reginald Piggott. 253 × 163 × 41 mm. Pp. [i–vii] viii–xxiii [xxiv], [1] 2–431 [432]: IX leaves of colour plates, 24 pages of ‘plates’. Type: Plantin. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in series binding (see item 855). Issued in the series ‘A History of England’ (as an unnumbered supplementary part). The plates reproduce photographs of Roman sites, remains and artefacts. The text has been substantially revised for this edition. ¶ Second printing: 2000. ¶ Third printing: 2002. ¶ Fourth printing: 2003 (not seen). ¶ Fifth printing: 2004. 998 Russian short stories, introduced by John Bayley, illustrated by Roman Pisarev. Third printing. A separate reprint of the second volume from Classic short stories. Details as volume [2] of item 905, but in a single-volume slip case. 999 American short stories, introduced by William Abrahams, illustrated by Paul Gulla. Third printing. A separate reprint of the third volume from Classic short stories. Details as volume [3] of item 905, but in a single-volume slip case. 1000 George Eliot, complete novels. 227 × 15 × 41–53 mm. 7 vols (see below). Type: Ehrhardt. Printed and bound by the Bath Press. Full cloth (a different colour for each volume) with a design in gold by David Eccles overprinted with an oval wood-engraving in black by the artist; endleaves of the same colour as the cloth. Two dark green slip cases titled (as above) and decorated in gold, the first four-volume, the second three-volume. This is the first Folio publication in which the binder’s art has been such that a wood-engraving could be printed directly onto the cloth of each binding. The seven volumes, which were also issued sep arately (see items 1000.1–1000.7), are as follows: [1] George Eliot, Adam Bede, introduction by Jane Gardam, [wood-] engravings by Peter Reddick. Pp. [i–iv] v–xi [xii], [1–2] 3–483 [484]. Dark brown cloth. The novel was originally published in three volumes in 1859, and in a revised single-volume edition in 1862; the text of the latter has been followed here. There are 20 half-page or smaller wood-engravings, including that printed on the binding. [2] George Eliot, the mill on the Floss, introduction by Bel Mooney, [wood-] engravings by Ian Stephens. Pp. [i–iv] v–xv [xvi–xviii], [1–2] 3–484 [485–486]. Dark red cloth. The novel was originally published in three volumes in 1860, and in a revised single-volume edition in 1862; the text of the latter has been followed here. There are 25 half-page or smaller wood-engravings, including that printed on the binding. [3] George Eliot, Silas Marner the weaver of Raveloe, and scenes of clerical life, introduction by Jill Paton Walsh, [wood-] engravings by Miriam Macgregor. Pp. [i–vi] vii–xiv, [1–4] 5–505 [506]. Dark green cloth. Silas Marner was originally published in 1861, and in a revised edition in 1878; the text of the latter has been followed here. Scenes of clerical life appeared in Blackwood’s magazine during 1857, and has been printed here from the text of the single-volume edition of 1863. There are 23 half-page or smaller wood-engravings, including that printed on the binding. [4] George Eliot, Romola, introduction by Gillian Beer, [wood-] engravings by Peter Forster. Pp. [i–iv] v–xvi, 1–527 [528]. Purple cloth. The novel was originally serialised in The Cornhill magazine between July 1862 and August 1863, and in a revised two-volume edition in 1877–1878; the text of the latter has been followed here. There are 14 half-page head-pieces, a title-page vignette, and a cover-illustration by Forster.

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[5] George Eliot, Felix Holt the Radical, introduction by Kathryn Hughes, [wood-] engravings by George Tute. Pp. [i– vi] vii–xii [xiii–xiv], 1–415 [416–418]. Red cloth. The novel was originally published in three volumes in 1866. There are 13 wood-engravings, two being full-page and the remainder half-page or smaller, including the cover-illustration. [6] George Eliot, Middlemarch, a study of provincial life, introduction by Penelope Fitzgerald, [wood-] engravings by Simon Brett. Pp. [i–vi] vii–xii, 1–758 [759–760]. Dark blue cloth. The novel was originally published in parts between December 1871 and December 1872, and in a revised single-volume edition in 1874; the text of the latter has been followed here. There are 24 wood-engravings, five full-page and the remainder half-page or smaller, including the cover-illustration. The title-page vignette is repeated on page 753. [7] George Eliot, Daniel Deronda, introduction by A.S. Byatt, [wood-] engravings by Harry Brockway. Pp. [i–vi] vii–xiv [xv–xvi], [1–2] 3–724 [725–726]. Orange cloth. The novel was originally published in parts during 1876, and in a revised three-volume edition in 1878; the text of the latter has been followed here. There are 16 half-page or smaller wood-engravings, including the cover illustration. 1000.1 George Eliot, Adam Bede, introduction by Jane Gardam, [wood-] engravings by Peter Reddick. A separate issue of the first volume from Eliot’s Complete novels. Details as volume [1] of item 1000, but issued in a single-volume slip case. 1000.2 George Eliot, the mill on the Floss, introduction by Bel Mooney, [wood-] engravings by Ian Stephens. A separate issue of the second volume from Eliot’s Complete novels. Details as volume [2] of item 1000, but issued in a single-volume slip case. ¶ Second printing: 2008, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in quarter blue buckram, green-blue crushed silk boards; dark blue endleaves. Dark blue slip case. 1000.3 George Eliot, Silas Marner the weaver of Raveloe, and scenes of clerical life, introduction by Jill Paton Walsh, [wood-] engravings by Miriam Macgregor. A separate issue of the third volume from Eliot’s Complete novels. Details as volume [3] of item 1000, but issued in a single-volume slip case. 1000.4 George Eliot, Romola, introduction by Gillian Beer, [wood-] engravings by Peter Forster. A separate issue of the fourth volume from Eliot’s Complete novels. Details as volume [4] of item 1000, but issued in a single-volume slip case. 1000.5 George Eliot, Felix Holt the Radical, introduction by Kathryn Hughes, [wood-] engravings by George Tute. A separate issue of the fifth volume from Eliot’s Complete novels. Details as volume [5] of item 1000, but issued in a single-volume slip case. 1000.6 George Eliot, Middlemarch, a study of provincial life, introduction by Penelope Fitzgerald, [wood-] engravings by Simon Brett. A separate issue of the sixth volume from Eliot’s Complete novels. Details as volume [6] of item 1000, but issued in a single-volume slip case. ¶ Second printing: 2007, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in quarter dark purple buckram, purple crushed silk boards; dark purple endleaves. Purple slip case. Selected by Posy Simmonds as her ‘Castaway’s Choice’. ¶ Third printing: 2008.

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1000.7 George Eliot, Daniel Deronda, introduction by A.S. Byatt, [wood-] engravings by Harry Brockway. A separate issue of the seventh volume from Eliot’s Complete novels. Details as volume [7] of item 1000, but issued in a single-volume slip case. 1001 Thomas Pakenham, the Boer War. 253 × 161 × 50 mm. Pp. [i–iv] v–xxi [xxii], 1–774 [775–778]: [26] pages of plates. Type: Janson. Printed by the Saint Edmundsbury Press. Bound by Jarrold in full grey-brown cloth printed with a Boer War photograph; grey-brown endleaves with a map. Grey-brown slip case. Issued in Folio’s bellicose series (see item 967). The plates reproduce contemporary photographs. 1002 An innkeeper’s diary, John Fothergill, introduction by Craig Brown, illustrations by Peter Bailey. 252 × 144 × 30 mm. Pp. [i–vii] viii–xx [xxi–xxii], [1] 2–278 [279–282]. Type: Walbaum. Printed by the Saint Edmundsbury Press. Bound by Jarrold in quarter dark green cloth, pale yellow paper boards with a repeat pattern in green by Bailey; pale yellow endleaves. Dark green slip case. ¶ Second printing: 2000, bound by Cambridge University Press. ¶ Third printing: 2003 (not seen). ¶ Fourth printing: 2004. ¶ Fifth printing: 2005.

2000

2000 1003 Catherine the Great, life and legend, John T. Alexander. Maps by Denys Baker. 251 × 166 × 46 mm. Pp. [i– vii] viii–xxiv, [1–3] 4–532 [533–536]: [18] pages of colour plates. Type: Dante. Printed and bound by the Bath Press. Full red brocade, black leather spine-label; dark red endleaves. Red slip case with colour reproductions of a painting. The plates mostly reproduce contemporary paintings, with another used on the slip case. There are maps by Baker on pages [7], [78], [325] and [395]. The title-page is dated ‘1999’, but the first copies were circulated in January 2000. ¶ Second printing: 2000. 1004 Joseph Conrad, under western eyes, illustrations by Francis Mosley, introduction by Jeffrey Meyers. 228 × 162 × 31 mm. Pp. [1–6] 7–298: [12] leaves of ‘plates’. Type: Garamond with Romana for display. Printed by the Saint Edmundsbury Press. Bound by the Bath Press in series binding (see item 852). ¶ Second printing: 2001, printed by the Bath Press. 1005 Joseph Conrad, typhoon, the nigger of the ‘Narcissus’, and other stories, illustrations by Francis Mosley, introduction by Paul Theroux. 228 × 164 × 33 mm. Pp. [1–8] 9–353 [354]: [12] leaves of ‘plates’. Type: Garamond with Romana for display. Printed by the Saint Edmundsbury Press. Bound by the Bath Press in series binding (see item 852). The ‘other stories’ are ‘Amy Foster’, ‘Falk: a reminiscence’ and ‘Tomorrow’. 1006 R.D. Blackmore, Lorna Doone, a romance of Exmoor, introduced by John Sutherland, illustrated by David Rooney. 240 × 162 × 40 mm. Pp. [i–iv] v–xix [xx–xxii], 1–551 [552–558]: [14] leaves of ‘plates’. Type: Ehrhardt with Caslon for display. Printed and bound by the Bath Press. Full dark blue cloth with a design in black and gold by Rooney; dark blue endleaves. Dark blue slip case. In addition to the ‘plates’, there are vignettes on the title-page and page [552]; all are rendered with scraperboard. 1007 Anthem for doomed youth, poets of the Great War, edited and introduced by Lyn Macdonald. 240 × 161 × 27 mm. Pp. [i–iv] v–xxii [xxiii–xxiv], [1–2] 3–270: [26] pages of ‘plates’. Type: Plantin with Zapf Chancery Bold for display. Printed on pale green-grey paper and bound by the Bath Press. Full green-grey cloth with a Great War photograph in dark green; endleaves printed with a photograph in dark green. Pale green-brown slip case. The volume is illustrated throughout with Great War photographs, often portraits of the poets whose work is represented. Eleven are printed as double-page spreads, and bear divisional-titles for the different sections of the text. ¶ Second printing: 2001. ¶ Third printing: 2003 (not seen). 1008 The Dead Sea scrolls, a selection of original manuscripts translated and edited by Geza Vermes. Map by Reginald Piggott. 240 × 177 × 34 mm. Pp. [1–5] 6–10 [11–17] 18–335 [336]: [10] pages of colour, 8 pages of monochrome plates. Type: Miller with Ondine for display. Printed and bound by Butler and Tanner. Full vegetable parchment (‘Parchemarque’) printed in colour with a reproduction of one of the scrolls; vegetable parchment endleaves. Orange slip case. The monochrome plates show photographs of excavations and finds made at Qumran, and the colour plates reproduce further artefacts from the excavations. A map of ‘The Dead Sea

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area’ by Piggott is printed on page [11]. The typeface was chosen because it has both an italic (used for biblical quotations) and a ‘sloped roman’ (used for textual interpolations). ¶ Second printing: 2000, printed by the Saint Edmundsbury Press. Bound by Cambridge University Press. ¶ Third printing: 2002. ¶ Fourth printing: 2003 (not seen). ¶ Fifth printing: 2004 (not seen). ¶ Sixth printing: 2005 [i.e. late 2004]. ¶ Seventh printing: 2006. ¶ Eighth printing: 2007. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. ¶ Ninth printing (not seen). ¶ Tenth printing: 2013. 1009 H.W.F. Saggs, the Babylonians . . . Second printing. A separate issue of a volume from Empires of the ancient Near East. Details as volume [1] of item 985, but bound by Cambridge University Press. Single-volume plain dark red slip case. ¶ Third printing: 2000. Part of this impression was issued with item 985. ¶ Fourth printing: 2001. Part of this impression was issued with item 985. ¶ Fifth printing: 2001. Part of this impression was issued with item 985. ¶ Sixth printing: 2002. Part of this impression was issued with item 985. ¶ Seventh printing: 2003 item 985. ¶ Eighth printing: 2003 item 985. ¶ Ninth printing: 2004. Part of this impression was issued with item 985. ¶ Tenth printing: 2006 item 985. ¶ Eleventh printing: 2006. Part of this impression was issued with item 985. 1010 O.R. Gurney, the Hittites. Second printing. A separate issue of a volume from Empires of the ancient Near East. Details as volume [2] of item 985, but bound by Cambridge University Press. Single-volume plain dark red slip case. Some of the reprints of this volume listed below may not, in fact, have been issued sep arately, but only as part of the four-volume set. ¶ Third printing: 2000. Part of this impression was issued with item 985. ¶ Fourth printing: 2001. Part of this impression was issued with item 985. ¶ Fifth printing: 2001. Part of this impression was issued with item 985. ¶ Sixth–eighth printing: 2002–2003 item 985. ¶ Ninth printing: 2004. Part of this impression was issued with item 985. ¶ Tenth–eleventh printing: 2006 item 985. 1011 Sir Alan Gardiner, the Egyptians, an introduction. Second printing. A separate issue of a volume from Empires of the ancient Near East. Details as volume [3] of item 985, but bound by Cambridge University Press. Single-volume plain dark red slip case. ¶ Third printing: 2000. Part of this impression was issued with item 985. ¶ Fourth printing: 2001. Part of this impression was issued with item 985. ¶ Fifth printing: 2001. Part of this impression was issued with item 985. ¶ Sixth–eighth printing: 2002–2003 item 985. ¶ Ninth printing: 2004. Part of this impression was issued with item 985. ¶ Tenth printing: 2006 (not seen). Part of this impression was issued with item 985. ¶ Eleventh printing: 2006. Part of this impression was issued with item 985. 1012 J.M. Cook, the Persians. Second printing. A separate issue of a volume from Empires of the ancient Near East. Details as volume [4] of item 985, but bound by Cambridge University Press. Single-volume plain dark red slip case. Some of the reprints of this volume listed below may not, in fact, have been issued separately, but only as part of the four-volume set. ¶ Third printing: 2000. Part of this impression was issued with item 985. ¶ Fourth printing: 2001. Part of this impression was issued with item 985. ¶ Fifth printing: 2001. Part of this impression was issued with item 985. ¶ Sixth–eighth printing: 2002–2003 item 985. ¶ Ninth printing: 2004. Part of this impression was issued

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with item 985. ¶ Tenth printing: 2006 (not seen). Part of this impression was issued with item 985. ¶ Eleventh printing: 2006 item 985. 1013 Dashiell Hammett, the Maltese falcon, introduction by Sara Paretsky, illustrations by David Eccles. 222 × 143 × 26 mm. Pp. [1–8] 9–239 [240–244]: [10] leaves of ‘plates’ (facing pp. 37, 57, 91, 113, 131, 153, 180, 192, 217 and 234). Type: Plantin with Cascade Script for display. Printed and bound by Butler and Tanner. Full red cloth with a design in black and yellow by Eccles; yellow endleaves. Black slip case printed with a design in colour by Eccles. The illustrations, which include one printed across the title-spread, are in a suitable comic-book style. ¶ Second printing: 2001. ¶ Third printing: 2002 (not seen). ¶ Fourth printing: 2004, printed and bound by Cambridge University Press. ¶ Fifth printing (not seen). 1014 Graham Greene, the end of the affair, illustrated by Geoff Grandfield. Reissued as a single volume (with a revised binding). A separate impression of a volume from The great novels. Details as volume [4] of item 900, but the spine of the binding has been redesigned and the binding material is buckram. Plain dark green single-volume slip case. The separate printing of this volume was brought out to meet interest generated by a new film adaptation of Greene’s novel. 1015 Thomas Mann, the magic mountain, a novel, translated from the German by John E. Woods, introduced by Michael Wood, illustrated by Leonard Rosoman. 240 × 162 × 44 mm. Pp. [i–iv] v–xvi, 1–697 [698–704]: [11] leaves of colour plates. Type: Galliard with Kino for display. Printed and bound by Cambridge University Press. Blue cloth, with white cloth on the front board, with a design in blue and pale green by Rosoman; blue endleaves. Blue slip case. 1016 Memoirs of a seafaring life, the narrative of William Spavens, pensioner on the Naval Chest at Chatham, edited and introduced by N.A.M. Rodger, containing an account of a great variety of such incidents as the author met with in the sea service . . . to which is added a short and plain introduction to astronomy and geography; with a brief description of several countries in Europe, Asia, Africa, and America, and tables of latitude and longitude, &c. &c. And an explanation of nautical terms, the whole made easy, and adapted to the capacity of youth. Printed by the Bath Press, in the county of Somerset, for the members of the Folio Society. 228 × 149 × 25 mm. Pp. [i–ii], [1–4] 5–254: [8] pages of colour plates, [8] leaves of ‘plates’. Type: Caslon. Printed and bound by the Bath Press. Dark blue buckram, with white paper on the front board, printed with a colour reproduction of a painting; pale blue-grey endleaves. Dark blue slip case printed with a reproduction of an aquatint in shades of blue. The text was first published in 1796, and an attempt has been made to design the pages in a fitting style. The colour plates and front board of the binding reproduce paintings by William Bray, made on board the Pallas around 1775, while the monochrome illustrations show a series of more or less contemporary prints. ¶ Second printing: 2001. ¶ Third printing: 2003 (not seen). 1017 Japanese short stories, introduced by James Melville, illustrated by Yukki Yaura. 240 × 164 × 38 mm. Pp. [i–v] vi–xvii [xviii], [1–3] 4–445 [446–448]: [15] leaves of ‘plates’. Type: Ehrhardt with Fritz Quadrata for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full lilac series binding decorated in red, dark purple and gold (see item 905); lilac endleaves. Black slip case decorated and titled ‘Classic Short Stories’ in red and gold. There are 28 short stories, composed between the twelfth and twentieth centuries. 1018 England 1914–1945, A.J.P. Taylor, introduction by Chris Wrigley. Preface by Felipe Fernández-Armesto. Maps by Reginald Piggott. 251 × 162 × 47 mm. Pp. [i–v] vi–xxiv, [1] 2–638: [9] leaves of colour plates, [16]

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leaves of ‘plates’. Type: Plantin. Printed and bound by the Bath Press. Series binding (see item 855). Issued in the series ‘A History of England’ (as part ten). The plates reproduce photographs, posters and paintings of the period. ¶ Second printing: 2002. ¶ Third printing: 2003 (not seen), printed and bound by Cambridge University Press. 1019 The Barbarian invasions of the Roman empire, volume I, the Visigothic invasion, Thomas Hodgkin, introduced by Peter Heather. Map by Reginald Piggott. 251 × 176 × 43 mm. Pp. [i–v] vi–xxvi [xxvii–xxviii], [1] 2–644: [14] pages of colour plates. Type: Poliphilus and Blado. Printed and bound by the Bath Press. Quarter purple buckram, cream paper boards with a reproduction of a wood-engraving in black; cream endleaves with a map in purple. Red slip case with a wood-engraving in dark red. The eight volumes of this work were ori ginally published between 1880 and 1899, with revised editions of volumes I and II appearing in 1892, and of III and IV in 1896. The Folio editions follow the latter texts for the first four volumes, and the first edition text thereafter, with some minor revisions and simplification. The plates show carvings, coins, frescos and other artefacts. For volumes II–VIII see items 1020, 1062, 1063, 1095, 1096, 1136 and 1137. ¶ Second printing: 2001. ¶ Third printing: 2003 (not seen). ¶ Fourth printing: 2005. 1020 The Barbarian invasions of the Roman Empire, volume II, the Huns and the Vandals, Thomas Hodgkin, introduced by Peter Heather. Maps by Reginald Piggott. 251 × 176 × 38 mm. Pp. [i–v] vi–xiii [xiv–xviii], [1] 2–420 [421–424]: [12] pages of colour plates. Type: Poliphilus and Blado. Printed and bound by the Bath Press. Series binding (see item 1019). In addition to the plates, there are maps on pages [137] and [300] (as well as on the endleaves). For further details see item 1019. ¶ Second printing: 2001. ¶ Third printing: 2003 (not seen), printed and bound by Cambridge University Press. 1021 The best of the raconteurs, selected by Sheridan Morley and Tim Heald, with a preface by Sheridan Morley and illustrations by John Lawrence. 222 × 144 × 27 mm. Pp. [1–4] 5–288. Type: Bembo with Bordeaux Script for some display. Printed and bound by Butler and Tanner. Full metallic pale brown cloth with a design in black by Lawrence; pale brown endleaves. Brown slip case. The illustrations consist of 149 small ink sketches, one being repeated on the title-page. Many of the drawings are of real people – either the subjects or the authors of the stories recounted in the text – and their large number and vivacity give the volume a lively atmosphere. The binding is rather more attractive than that of the previous volumes in the series (see item 830). ¶ Second printing: 2001. ¶ Third printing: 2003 (not seen), bound in orange cloth; pale brown endleaves. Flecked orange slip case. ¶ Fourth printing: 2003 (not seen), with cream endleaves. ¶ Fifth printing: 2004. 1022 A room of one’s own and other essays, Virginia Woolf, selected and introduced by Hermione Lee. With illustrations by Vanessa Bell, Duncan Grant, Mark Gertler, Henry Lamb and Dora Carrington. 252 × 163 × 37 mm. Pp. [1–4] 5–416: [14] pages of colour plates. Type: Fournier. Printed and bound by Cambridge University Press. Green buckram, with white paper on the front board with a colour portrait of Woolf by Wyndham Lewis; green-grey endleaves. Dark brown slip case. The plates reproduce paintings, often portraits, by members of Woolf ’s circle. 1023 Primo Levi, if this is a man, translated by Stuart Woolf, with an introduction by Frederic Raphael and an afterword by the author [translated by Ruth Feldman], etchings by Jane Joseph. 228 × 175 × 23 mm. Pp. [1–7] 8–234: [11]

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leaves of ‘plates’. Type: Minion with Helvetica for display. Printed and bound by Butler and Tanner. Full dark blue cloth with a design in silver and grey by Joseph; silver endleaves. Dark blue slip case. This was the first in an occasional series of Levi’s works (see also item 1116). This title was the ‘Castaway’s Choice’ of Caroline Moorhead (see item 270). ¶ Second printing: 2001. ¶ Third printing: 2003 (not seen). ¶ Fourth printing: 2004 (not seen). ¶ Fifth printing: 2005 (not seen). ¶ Sixth printing: 2007. ¶ Seventh printing: 2008. ¶ Eighth printing: 2009, printed and bound by T.J. International. ¶ Ninth printing: 2009. 1024 Eminent Victorians, Cardinal Manning, Florence Nightingale, Dr Arnold, General Gordon, [by] Lytton Strachey, introduction by Michael Holroyd. 239 × 187 × 30 mm. Pp. [1–6] 7–272: [12] pages of colour plates. Type: Bulmer. Printed and bound by the Bath Press. Full dark green cloth with a design in gold by David Eccles, incorporating four portrait photographs; dark green endleaves. Dark green slip case. The plates reproduce contemporary photographs and prints. The binding, with its combination of gold-blocking and printed sepia photographs, is particularly effective. 1025 The road to Oxiana, Robert Byron, introduced by Geoffrey Moorhouse. 229 × 161 × 33 mm. Pp. [i–ii], [1–5] 6–329 [330–334]: [18] pages of plates. Type: Garamond with Ondine for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full blue cloth with a pattern in dark blue and gold by Humphrey Mosley; white endleaves with a pattern in dark grey and blue by Mosley. Dark blue slip case. The plates reproduce photographs taken by Byron in the Holy Land, Persia and Afghanistan during the 1930s. The binding and endpaper patterns are inspired by some of the Islamic decoration visible in the buildings photographed by the author. 1026 My life in art, Constantin Stanislavski, introduction by Simon Callow. Translated by J.J. Robbins. 239 × 163 × 40 mm. Pp. [i–v] vi–xxii [xxiii–xxiv], [1] 2–454 [455–456]: [16] pages of plates. Type: Dante with Gothic and Ariel for display. Printed and bound by the Bath Press. Full pale brown cloth with a design in red and black; red endleaves. Red slip case. The plates reproduce contemporary photographs of Stanislavski, his family, circle and haunts. The binding and title-page design are based on the geometrical interior decor of the Moscow Art Theatre. 1027 Marcel Proust, in search of lost time. 239 × 159 × 35–47 mm. 6 vols (see below). Type: Fournier. Printed and bound by the Bath Press. Full dark or pale blue cloth, decorated and titled in dark or pale blue and gold to a design by Malcolm Harvey Young; dark blue endleaves. Two pale blue three-volume slip cases, printed with a portrait of Proust and titled (as above) in gold. The first Folio edition was published as Remembrance of things past in 1981 (item 481.5). The same translation has been used here, with revisions by D.J. Enright. Each volume is illustrated with a portrait frontispiece of Proust, and reproductions of photographs taken by Eugène Atget between around 1896 and 1926. This title was the ‘Castaway’s Choice’ of several celebrated persons (see item 270). The six volumes are as follows: 1 Marcel Proust, in search of lost time, volume one, Swann’s way, translated by C.K. Scott Moncrieff & Terence Kilmartin, revised by D.J. Enright, introduction by Jean-Yves Tadié, photographs by Eugène Atget. Pp. [i–viii] ix–xxiv [xxv–xxvi], 1–429 [430]: [8] leaves of photographic plates (facing pp. 70, 87, 150, 167, 198, 215, 390 and 407). Bound in dark blue cloth. 2 Marcel Proust, in search of lost time, volume two, within a budding grove, translated by C.K. Scott Moncrieff & Terence Kilmartin, revised by D.J. Enright, photographs by Eugène Atget. Pp. [i–viii], 1–521 [522–528]: [8] leaves of photographic plates (facing pp. 56, 73, 152, 169, 232, 249, 392 and 409). Bound in pale blue cloth.

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3 Marcel Proust, in search of lost time, volume three, the Guermantes way . . . Pp. [i–x], 1–580 [581–582]: [8] leaves of photographic plates (facing pp. 70, 87, 134, 151, 358, 375, 534 and 551). Bound in dark blue cloth. 4 Marcel Proust, in search of lost time, volume four, Sodom and Gomorrah . . . Pp. [i–viii], 1–524 [525–528]: [8] leaves of photographic plates (facing pp. 8, 25, 168, 185, 280, 297, 376 and 393). Bound in pale blue cloth. 5 Marcel Proust, in search of lost time, volume five, the captive . . . Pp. [i–viii], 1–398 [399–400]: [8] leaves of photographic plates (facing pp. 8, 25, 104, 121, 152, 169, 376 and 393). Bound in dark blue cloth. 6 Marcel Proust, in search of lost time, volume six, the fugitive, time regained . . . Pp. [i–viii], [1–2] 3–649 [650–656]: [8] leaves of photographic plates (facing pp. 56, 73, 392, 409, 440, 457, 568 and 585). Bound in pale blue cloth. ¶ Second printing: 2001. ¶ Third printing: 2006 (not seen), printed by Memminger MedienCentrum. Bound by Real Lachenmaier. 1028 Pathfinders of the American west, the journals of [Meriwether] Lewis and [William] Clark, edited and introduced by Frank Bergon. Map by Reginald Piggott. 252 × 177 × 46 mm. Pp. [i–vii] viii–lvi, [1–3] 4–506 [507–508]: [18] pages of colour plates, [15] leaves of ‘plates’. Type: Bulmer. Typeset by Gloucester Typesetting, printed and bound by Cambridge University Press. Full green buckram with a design in black and gold by David Eccles; brown endleaves with a map. Black slip case. The plates reproduce contemporary paintings, drawings, prints and documents. In addition, there are small drawings on pages 144, 237, 264, 343, 355 and 356. This work was issued in Folio’s series of Victorian travel and exploration (see item 766). Lewis and Clark’s journals were first published in 1904–1905, and the present selection first appeared in 1989. 1029 :::Peter Whitfield::: :mapping the world: :::a history of exploration:::. 288 × 224 × 25 mm. Pp. [1–6] 7–263 [264]. Type: Garamond. Printed and bound by the Bath Press. Full green-blue cloth with a design in black and gold by David Eccles; brown endleaves with a map in dark brown. White slip case with a map in colour. The Presentation Volume for 2001. There is a total of 187 illustrations, nearly all in colour, including the title-spread; they reproduce maps and plans, paintings, prints and photographs. 1030 What is life? The physical aspect of the living cell, Erwin Schrödinger, based on lectures delivered under the auspices of the Dublin Institute for Advanced Studies at Trinity College, Dublin, in February 1943, introduction by Roger Penrose. Figures by Reginald Piggott after the author. 205 × 135 × 16 mm. Pp. [1–2], [i–v] vi–xxiv [xxv–xxvi], [1] 2–112 [113–116]. Type: Plantin. Printed and bound by Butler and Tanner. Full pale blue moiré silk with a design in gold by Stephen Raw; white endleaves with photographs of cells in colour. Dark blue slip case. The text is illustrated with 12 small figures and graphs, based on Schrödinger’s original sketches. ¶ Second printing: 2001. 1031 Dietrich Bonhoeffer, letters and papers from prison, the enlarged edition, edited by Eberhard Bethge, introduced by Irina Ratushinskaya, decorations by Christopher Brown. Map by Reginald Piggott. 252 × 162 × 35 mm. Pp. [i–iv] v–xviii, [1–2] 3–410 [411–414]. Type: Baskerville with Kabel for display. Printed and bound by the Bath Press. Full white artificial cloth with a design in black, silver, red and white by Brown; silver endleaves. Grey slip case. The documents cover the period April 1943–June 1945. Brown’s decorations appear on the divisional-title to each section of the text. ¶ Second printing: 2002.

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1032 The Mediterranean and the Mediterranean world in the age of Philip II, Fernand Braudel, translated from the French by Siân Reynolds, introduced by Eugen Weber, volume I [–III]. 252 × 177 × 41–50 mm. 3 vols (see below). Type: Imprint. Printed and bound by the Bath Press. Full green buckram, with a pattern of fleurons in gold by Bernard Roberts; pale grey endleaves with a map in dark green. Dark green three-volume slip case with a colour reproduction of a painting. The plates reproduce contemporary paintings, prints and documents. The title-pages of volumes II and III are identical to that for volume I, save that they do not mention Weber’s introduction (and bear, naturally, the appropriate volume numbers). The three volumes are as follows: I Pp. [i–v] vi–xxxvii [xxxviii–xl], [1–3] 4–406 [407–412]: [14] pages of colour plates, [12] pages of ‘plates’. Pages [379]–406 are occupied by maps, plans and graphs. II Pp. [i–v] vi–xv [xvi], [1–3] 4–607 [608–612]: [14] pages of colour plates, [12] pages of ‘plates’. Pages 568–607 are occupied by maps, plans and graphs. III Pp. [i–v] vi–xiii [xiv], [1–3] 4–517 [518]: [14] pages of colour plates, [12] pages of ‘plates’. Page 392 bears a graph. ¶ Second printing: 2000. 1033 The Folio diary 2001, travellers’ tales. 200 × 148 × 14 mm. Pp. [1–120]. Type: Dante. Printed and bound by Grafos. Full plasticised paper with a colour reproduction of an aquatint; pale grey endleaves with a pattern of fleurons in orange. Not issued in slip case. Each recto represents a week, with a reproduction of an illustration, or a quotation, from a Folio publication on the facing verso. ¶ Second printing: 2000 (not seen). 1034 Maya Angelou, I know why the caged bird sings. 252 × 167 × 25 mm. Pp. [1–10] 11–254 [255–256]. Type: Caxton. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in full brown cloth with a design in dark brown by David Sellars; brown endleaves. Dark brown slip case. A rare unillustrated volume from Folio. ¶ Second printing: 2001. ¶ Third printing: 2002 (not seen). ¶ Fourth printing: 2004. 1035 Katherine Mansfield, short stories, selected and introduced by William Trevor, illustrated by Susan Wilson. 228 × 162 × 35 mm. Pp. [1–2], [1–8] 9–414: [11] leaves of colour plates. Type: Van Dijck with Coronet Script and Gill Sans for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in quarter blue cloth, yellow paper boards with a pattern in dark green and blue by David Eccles; cream endleaves. Blue slip case. The patterned paper on the boards is based on a Maori design. Folio published a selection of Twelve stories by Mansfield in 1978 (item 430). 1036 Art and illusion, a study in the psychology of pictorial representation by E·H· Gombrich, with 320 illustrations. 251 × 179 × 32 mm. Pp. [i–vi] vii–xiv, [1–2] 3–386. Type: Plantin. Typeset and printed in Hong Kong (details unknown). Bound by the Bath Press in full dark blue buckram with a design in silver and grey; white endleaves with a colour reproduction of a painting. Yellow slip case with a reproduction of a painting in black and white. The edition was printed by arrangement with Phaidon, using the same setting of type and illustrations prepared for their fifth edition of 1977.

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1037 Rachel Carson, silent spring, introduction by Peter Matthiessen, illustrations by Jonathan Hitchen. 228 × 147 × 28 mm. Pp. [1–9] 10–317 [318–320]: [7] leaves of colour plates (facing pp. [3], 64, 81, 128, 145, 224 and 241). Type: Sabon with Helvetica for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full white plasticised paper with a design in colour by Hitchen; dark green endleaves. Dark green slip case. The ‘paintings’ for the plates were created with a combination of photography, computerised image-manipulation and conventional graphic media. ¶ Second printing: 2001. 1038 Waiting for Godot, a tragicomedy in two acts, Samuel Beckett, preface by Edward Beckett, illustrations by Tom Phillips. 280 × 175 × 16 mm. Pp. [1–6] 7–110 [111–112]. Type: Walbaum. Printed and bound by Butler and Tanner. Full yellow plasticised paper with a design in blue and brown by Phillips; green endleaves. Green slip case. There are five illustrations, all printed in colour from Phillips’s drawings. The frontispiece is based on a poster design of the 1980s, and incorporates a portrait of Beckett, seen from the rear; the remaining illustrations are more surreal, and explore a numerical theme with images drawn from the text. The format and layout of this volume are derived, as in Phillips’s earlier Folio title (item 708), from the proportions of the golden section. ¶ Second printing: 2001. 1039 Legends of King Arthur, edited and introduced by Richard Barber, illustrations by Roman Pisarev. 253 × 176 × 49 mm. Pp. [1–9] 10–726 [727–728]: [16] leaves of two-colour ‘plates’. Type: Ehrhardt with Charlemagne for display and hand-drawn lettering (by John Andrew) for the title. Printed and bound by the Bath Press. Quarter dark green series binding (see item 724), dark green cloth boards with a design in cream, black and gold by Pisarev; dark green endleaves. Dark green slip case. John Andrew’s title-page lettering is also used on the spine. The illustrations are printed in black and dark red, and reflect a late Victorian vision of the age of chivalry. The text is edited from various translations of Old English and European tales of Arthur and his knights. ¶ Second–fifth printing (three volumes): 2001–2004 item 1078. 1040 Desmond Seward, the monks of war, the military orders. Foreword by Matthew Festing. Index by Meg Davies. Maps by Reginald Piggott. 240 × 162 × 31 mm. Pp. [i–iv] v–xvi [xvii–xviii], [1–2] 3–338 [339–342]: [16] pages of colour plates, [8] pages of ‘plates’. Type: Minion with Athenaeum for display. Printed and bound by Butler and Tanner. Full black cloth with a design in red and gold by Francis Mosley; red-brown endleaves with a repeat pattern. Black slip case. In the series begun with item 876. The text was revised by the author from the third edition of his history of the crusaders and other religious orders of chivalry, first published in 1971. The plates reproduce paintings, while the ‘plates’ show photographs, artefacts, prints and documents. In addition, there is a small figure in the text on page 79, and five maps. ¶ Second printing: 2001, printed and bound by Grafos. ¶ Third printing: 2002. ¶ Fourth printing: 2003 (not seen). ¶ Fifth printing: 2006. ¶ Sixth printing: 2013. 1041 The Folio Christmas book, a collection of seasonal stories and poems, with sixteen colour illustrations. 241 × 164 × 36 mm. Pp. [1–9] 10–348 [349–352]: [16] leaves of colour plates. Type: Bembo. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in quarter red cloth, white paper boards with a design in colour and gold by John Holder; green endleaves. Green slip case. There are 23 stories, verses or playlets in the anthology, illustrated with 16 colour plates by 15 different artists. There are also

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monochrome drawings on pages 37, 137, 226, 272 and 294. The story ‘Christmas eve at Bracebridge Hall’ by Washington Irving (pp. [27]–37) was published as a separate Christmas greeting in 1957 (item 111.5). 1042 The compleat angler, or The · contemplative · man’s recreation, being a discourse of rivers, fishponds, fish and fishing, not unworthy the perusal of most anglers, by · Izaak · Walton, illustrated by · Arthur · Rackham. 253 × 190 × 30 mm. Pp. [1–4] 5–223 [224]: [12] leaves of colour plates. Type: Imprint. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in full green cloth with a design in gold by E.J. Sullivan (redrawn by David Eccles); grey-green endleaves with a design in dark green by Rackham. Green slip case. This is an improved facsimile of the 1931 edition published by George G. Harrap and Company. The text has been carefully reset, and Rackham’s colour plates and monochrome text illustrations have all been reproduced as faithfully as possible. 1043 Rumer Godden, the greengage summer, foreword by Jane Murray Flutter, introduction by Jane Asher, illustrations by Aafke Brouwer. 253 × 148 × 23 mm. Pp. [i–viii] ix–xxiv, [1–2] 3–170 [171–176]: [12] leaves of ‘plates’. Type: Bell with Cerigo Book for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full green cloth with a design in dark green and gold by Brouwer; green-grey endleaves. Dark green slip case. In addition to the ‘plates’ there are illustrations on the title-page and on pages [7], [40], [69], [72], [105], [119], [152], [157] and [171], mostly serving as tail-pieces. ¶ Second printing: 2002 (not seen). 1044 Virgil, the eclogues, translated by James Michie, introduction by Gilbert Highet, decorations by Richard Shirley Smith. 250 × 176 × 13 mm. Pp. [i–v] vi–xvi [xvii–xviii], [1–2] 3–61 [62]. Type: Centaur and Arrighi. Printed in pale brown and black and bound by Butler and Tanner. Quarter brown buckram, white paper boards with a pattern in yellow and brown by Shirley Smith; pale yellow endleaves. Brown slip case. There are 24 classically inspired illustrations or decorations by Shirley Smith, two being full-page; they are rendered very subtly with pen and ink, calling on all the artist’s skill as a draughtsman. The results are printed in pale brown and, combined with the elegant typography, make this one of the prettiest of all Folio editions. 1045 Empires of early Latin America. Decorations by Frances Button. Maps by Reginald Piggott. 252 × 176 × 36–39 mm. 3 vols (see below). Type: Imprint. Printed (with the title-pages in two colours) and bound by the Bath Press. Full series binding (see item 910 and below). Dark blue three-volume slip case titled (as above) in gold. The plates reproduce photographs of ruins, art, artefacts and prints. Some impressions of the volumes from the set were also available separately (see items 1045.3–1045.7). The three volumes are as follows: [1] Nigel Davies, the Incas, introduction by Warwick Bray. Pp. [i–iv] v–xxiii [xxiv], [1–2] 3–389 [390–392]: [12] pages of colour, [12] pages of monochrome plates. Title-page decoration in red. Dark red cloth; dark red endleaves. This work consists of The Incas (first published in 1995), and part of The ancient kingdoms of Peru (first published in 1997). [2] Norman Hammond, the Maya. Pp. [i–iv] v–xxxi [xxxii], 1–297 [298–304]: [12] pages of colour, [12] pages of monochrome plates. The title-page decoration, binding cloth and endleaves are purple. The text follows the 1994 reprint of the second edition, with a new introduction by Hammond. [3] Nigel Davies, the Aztecs, introduction by Norman Hammond. Pp. [i–iv] v–xxxiii [xxxiv], 1–375 [376–382]: [12] pages of colour, [8] pages of monochrome plates. The title-page decoration, binding cloth and endleaves are blue. This edition follows the first of 1973.

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¶ Second printing: 2001. Part of this impression was issued as items 1045.3–1045.7. ¶ Third printing: 2002. Part of this impression was issued as items 1045.3–1045.7. ¶ Fourth printing: 2004. Part of this impression was issued as items 1045.3–1045.7. ¶ Fifth printing: 2005. Part of this impression was issued as items 1045.3– 1045.7. ¶ Sixth printing: 2006 (not seen). Extra copies of volumes [1] and [2] were printed for items 1045.3 and 1045.5. ¶ Seventh printing: 2006. Some copies include the sixth printing of The Aztecs and The Incas due to production problems with these volumes. ¶ Eighth printing (not seen). ¶ Ninth printing: 2010, printed by the Amadeus Press. Bound by Hunter and Foulis. ¶ Tenth printing: 2012. 1045.3 Nigel Davies, the Incas, introduction by Warwick Bray. A separate issue of a volume from Empires of early Latin America. Details as volume [1] of item 1045, but in a single-volume slip case. ¶ Second printing: 2001. Part of this impression was issued with item 1045. ¶ Third printing: 2002. Part of this impression was issued with item 1045. ¶ Fourth printing: 2004. Part of this impression was issued with item 1045. ¶ Fifth printing: 2005. Part of this impression was issued with item 1045. ¶ Sixth printing: 2006 (not seen). Part of this impression was issued with item 1045. ¶ Seventh printing: 2006 item 1045. A planned separate issue of this impression was abandoned due to production problems. 1045.5 Norman Hammond, the Maya. A separate issue of a volume from Empires of early Latin America. Details as volume [2] of item 1045, but in a single-volume slip case. ¶ Second printing: 2001. Part of this impression was issued with item 1045. ¶ Third printing: 2002. Part of this impression was issued with item 1045. ¶ Fourth printing: 2004. Part of this impression was issued with item 1045. ¶ Fifth printing: 2005. Part of this impression was issued with item 1045. ¶ Sixth printing: 2006 (not seen). Part of this impression was issued with item 1045. ¶ Seventh printing: 2006 item 1045. 1045.7 Nigel Davies, the Aztecs, introduction by Norman Hammond. A separate issue of a volume from Empires of early Latin America. Details as volume [3] of item 1045, but in a single-volume slip case. This volume appears not to have been issued separately after 2005. A planned separate issue of the seventh printing was abandoned due to production problems. ¶ Second printing: 2001. Part of this impression was issued with item 1045. ¶ Third printing: 2002. Part of this impression was issued with item 1045. ¶ Fourth printing: 2004. Part of this impression was issued with item 1045. ¶ Fifth printing: 2005. Part of this impression was issued with item 1045. ¶ Sixth–seventh printing: 2006 item 1045. 1046 Winston S. Churchill, the Second World War . . . 240 × 174 × 50–60 mm. 6 vols (see below). Type: Ehrhardt. Printed and bound by the Bath Press. Full dark brown cloth with a photograph printed in cream and black on the front board; pale brown endleaves. Two dark brown three-volume slip cases, each with a monochrome photograph of Churchill on one panel. The plates reproduce contemporary photographs, and each volume is also illustrated with maps, plans, charts and graphs. The three volumes are as follows: I Winston S. Churchill, the Second World War, volume I, the gathering storm, introduction by Martin Gilbert. Pp. [i–vii] viii–xxiv [xxv–xxvi], [1–5] 6–946: [18] pages of plates. Originally published in 1948, with a revised edition (followed here) in 1949. II . . . volume II, their finest hour. Pp. [i–vii] viii–x [xi–xiv], [1–5] 6–621 [622–626]: [18] pages of plates. Originally published in 1949.

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III . . . volume III, the grand alliance. Pp. [i–vii] viii–xiv [xv–xvi], [1–5] 6–764 [765–768]: [18] pages of plates. Originally published in 1950. IV . . . volume IV, the hinge of fate. Pp. [i–vii] viii–xii [xiii–xiv], [1–5] 6–846 [847–850]: [18] pages of plates. Originally published in 1951. V . . . volume V, closing the ring. Pp. [i–vii] viii–xiv [xv–xvi], [1–5] 6–623 [624]: [18] pages of plates. Originally published in 1952. VI . . . volume VI, triumph and tragedy. Pp. [i–vii] viii–x [xi–xiv], [1–5] 6–658: [18] pages of plates. Originally published in 1954. ¶ Second printing: 2002 (not seen). ¶ Third printing: 2003. ¶ Fourth printing: 2004 (not seen). 1047 P.G. Wodehouse, Jeeves & Wooster [second series]. 223 × 142 × 24–26 mm. 5 vols (see below). Type: Goudy Old Style with Gill Sans Ultrabold Condensed for display. Printed and bound by Butler and Tanner. Full cream cloth with illustrations in colour by Paul Cox; pale orange endleaves. Cream five-volume slip case decorated and titled (as above) in dark blue and gold. Uniform with item 861. The five volumes are as follows: [1] P.G. Wodehouse, Jeeves and the feudal spirit, illustrated by Paul Cox. Pp. [1–6] 7–244 [245–248]. Originally published in 1954. There is a total of 62 drawings by Cox, including six full-page (one being the frontispiece), three spread across two pages, 22 head-pieces and eight tail-pieces. [2] P.G. Wodehouse, Jeeves in the offing . . . Pp. [1–6] 7–211 [212–216]. Originally published in 1960. There is a total of 57 drawings by Cox, including three full-page (one being the frontispiece), two spread across two pages, 20 head-pieces and ten tail-pieces. [3] P.G. Wodehouse, stiff upper lip, Jeeves . . . Pp. [1–6] 7–228 [229–232]. Originally published in 1963. There is a total of 62 drawings by Cox, including seven full-page (one being the frontispiece), two spread across two pages, 24 head-pieces and seven tail-pieces. [4] P.G. Wodehouse, much obliged, Jeeves . . . Pp. [1–6] 7–215 [216]. Originally published in 1971. There is a total of 53 drawings by Cox, including six full-page (one being the frontispiece), three spread across two pages, 17 head-pieces and six tail-pieces. [5] P.G. Wodehouse, aunts aren’t gentlemen, a Jeeves and Wooster story . . . Pp. [1–6] 7–193 [194–200]. Originally published in 1974. There is a total of 55 drawings by Cox, including six full-page (one being the frontispiece), four spread across two pages, 20 head-pieces and seven tail-pieces. 1048 T.E. Lawrence, seven pillars of wisdom, a triumph, foreword by Wilfred Thesiger, introduction by Michael Asher. Preface by Arnold W. Lawrence. Maps by Reginald Piggott. 252 × 175 × 54 mm. Pp. [1–2], [i–vii] viii–ix [x–xvii] xviii–l, [1–3] 4–584 [585–588]: [25] pages of plates. Type: Imprint with Caslon for display. Typeset by Gloucester Typesetting, printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in full yellow-brown buckram with a design in black and gold by David Eccles; pale yellow endleaves with a map. Black slip case. The plates reproduce contemporary photographs of Lawrence and the other players in the story, and of scenery and events described in the text. This work was issued in series of travel and exploration titles (see item 766). The text was first published in an edition of eight copies in 1922; a revised

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‘subscribers’ edition appeared in 1926, and the first trade edition was published following Lawrence’s death in 1935. Folio published an edition of the author’s abridgement of the text, Revolt in the desert, in 1986. ¶ Second printing: 2003 (not seen), bound by Real Lachenmaier. ¶ Third printing: 2011. Printed by Memminger MedienCentrum. 1049 East of the sun and west of the moon, old tales from the north, illustrated by Kay Nielsen. Norwegian folk tales by Peter Christen Asbjørnsen and Jørgen Moe, translated by Sir George Dasent. 253 × 190 × 36 mm. Pp. [1–2] 3–204: [17] leaves of colour plates. Type: Caslon. Printed and bound by Butler and Tanner. Full cream vegetable parchment (‘Elephanthide’) with a design in red and gold by Nielsen; cream endleaves with a design in black and gold by Nielsen. Red slip case. This is an improved facsimile of the Hodder edition of 1914. In addition to the colour plates, there are 22 pen-and-ink drawings by the artist and a repeated decoration. 1050 The last grain race, Eric Newby. 228 × 148 × 30 mm. Pp. [i–iv] v–xix [xx], 1–232 [233–244]: [24] pages of photographic plates. Type: Ehrhardt with Stencil for display. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in full pale yellow plasticised paper with a photograph in black; pale yellow endleaves with a map or drawing. Orange slip case. The plates reproduce photographs of life at sea taken by the author. An additional image is printed across the title-spread (with another used on the binding). The title-page is dated ‘2001’ but copies were bound and ready in December 2000. ¶ Second printing: 2003 (not seen).

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2001 1051 John Keats, the complete poems, edited by John Barnard, introduction by Andrew Motion, [wood-] engravings by Simon Brett. 280 × 188 × 39 mm. Pp. [i–iv] v–xix [xx], 1–472 [473–476]. Type: Baskerville. Printed and bound by the Bath Press. Quarter dark green leather, green cloth boards with a repeat pattern in black by Brett; dark green endleaves. Dark green slip case. Brett has created a total of 79 delightful wood-engravings, often printed as head- and tail-pieces to the poems. At least ten of the blocks are repeated, with four (including that used on the title-page) having been altered or adapted between repeats. This was the first in a new series of ‘The Folio Poets’ (so designated on the spine), not to be confused with the earlier octavo series which was sometimes given this name (see item 4); for subsequent titles see items 1108, 1147, 1196, 1254 and 1328. ¶ Second printing: 2002. ¶ Third printing: 2002 (not seen). ¶ Fourth printing: 2003. 1052 Joseph Conrad, the shadow-line and within the tides, illustrations by Francis Mosley, introduction by Alan Ross. 229 × 161 × 29 mm. Pp. [1–6] 7–280 [281–282]: [11] leaves of ‘plates’. Type: Garamond with Romana for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in series binding (see item 852). 1053 Joseph Conrad, chance, a tale in two parts, illustrations by Francis Mosley, introduction by Malcolm Bradbury. 229 × 161 × 31 mm. Pp. [1–6] 7–345 [346]: [11] leaves of ‘plates’. Type: Garamond with Romana for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in series binding (see item 852). 1054 Walter Scott, Rob Roy, introduction by Allan Massie, wood engravings by George Tute. 229 × 152 × 38 mm. Pp. [i–vi] vii–xv [xvi], [1–4] 5–500 [501–504]. Type: Walbaum. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in quarter brown buckram, Ann Muir marbled paper boards; dark green endleaves. Dark brown slip case. There are seventeen half-page-size wood-engravings by Tute, including the frontispiece. 1055 Nora Chadwick, the Celts, with an introductory chapter by Barry Cunliffe. Maps by Reginald Piggott. Decorations by Frances Button. 252 × 179 × 39 mm. Pp. [i–iv] v–xxvi, 1–317 [318]: [16] pages of colour, [16] pages of monochrome plates. Type: Imprint. Printed (with the title-page in brown and black) by the Saint Edmundsbury Press. Bound by Cambridge University Press in orange-brown series binding (see item 910) designed by Button; orange-brown endleaves. Dark brown slip case decorated in gold. The plates reproduce photographs of Celtic antiquities, carvings, buildings and archaeological sites. Piggott has supplied a series of maps on pages xiv–xxi. ¶ Second printing: 2002. ¶ Third printing: 2002 (not seen). ¶ Fourth printing: 2004, with flecked endleaves. ¶ Fifth printing: 2005. ¶ Sixth printing: 2006. ¶ Seventh printing: 2008. ¶ Eighth printing: 2008. Printed by Cambridge University Press. ¶ Ninth printing: 2009. ¶ Tenth printing (not seen). ¶ Eleventh printing: 2017. The title-page now in green-blue and black. Printed and bound by C & C Offset in green-blue buckram; brown endleaves. Brown slip case. ¶ Twelfth printing: 2020. 1056 Alan Moorehead, the Nile. 252 × 194 × 38–40 mm. 2 vols (see below). Type: Monophoto(?) Imprint with Modern No. 20 for display. Typeset by Clays Ltd, printed and bound by the Bath Press. Full dark green artificial moiré silk; dark green endleaves. Two-volume slip case decorated in colour and titled (as above) in gold. Reprinted for Folio from the setting of the Penguin editions of 1983. There are numerous monochrome

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reproductions of drawings, wood-engravings and photographs printed in the text. The two volumes are as follows: [1] The Blue Nile, Alan Moorehead. Pp. [1–12] 13–301 [302–304]: [14] pages of colour plates. [2] The White Nile, Alan Moorehead. Pp. [1–11] 12–320: [21] pages of colour plates. 1057 Roald Dahl, the complete tales of the unexpected and other stories, an omnibus volume containing kiss kiss, over to you, switch bitch, someone like you, and eight further tales of the unexpected, illustrated by Helen Smithson. 240 × 162 × 48 mm. Pp. [1–11] 12–768: [13] colour plates. Type: Ehrhardt with Gill Sans and Gill Shadow for display. Printed and bound by Grafos. Full pale yellow plasticised paper with a ‘snakeskin’ grain, with a design by Smithson in colour; black endleaves. Black slip case. ¶ Second printing: 2002. ¶ Third printing: 2004. ¶ Fourth printing: 2011. 1058 Alexander Thayer, life of Beethoven, revised by Elliot Forbes, edited with an introduction by Ian Curteis. Indices by Frank Pert. 252 × 161 × 48 mm. Pp. [i–v] vi–xx [xxi–xxii], [1–3] 4–614 [615–616]: [9] pages of colour, [11] pages of monochrome plates. Type: Granjon. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in quarter brown cloth, green cloth boards with a black and white portrait in an oval cartouche on the front board; endleaves with a facsimile music manuscript in brown. Brown slip case. The plates reproduced contemporary paintings, drawings, prints and silhouettes. There are also some bars of music printed in the text. The plate facing page xiv is, strictly speaking, a ‘plate’. ¶ Second printing: 2003 (not seen). ¶ Third printing: 2004. 1059 Medieval women, Eileen Power, edited by M.M. Postan, foreword by Emmanuel Le Roy Ladurie, introduction by Maxine Berg. 228 × 161 × 23 mm. Pp. [i–vi] vii–xlv [xlvi], [1–2] 3–130: [24] pages of colour plates. Type: Centaur and Arrighi. Printed and bound by the Bath Press. Full vegetable parchment (‘Parchemarque’) with a design in gold and colour on the front board; red endleaves. Red slip case. The plates reproduce medieval manuscripts, miniatures and carvings. The text was first published in 1975. This edition is uniform with item 988, and has a reproduction of a medieval miniature on the binding. ¶ Second printing: 2002 (not seen). 1060 Anton Chekhov, short stories, edited and introduced by Gordon McVay, foreword by Zinovy Zinik, illustrated by Debra McFarlane. Translated by Constance Garnett, Gordon McVay, Patrick Miles and Harvey Pitcher. 229 × 162 × 37 mm. Pp. [i–iv] v–xxiv, 1–480: [9] leaves of colour plates (facing pp. [iii], 41, 56, 137, 152, 328, 345, 441 and 456). Type: Ehrhardt with Walbaum and Gill Sans for display. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in quarter red cloth, red paper boards with a repeat pattern in dark red, cream and gold; pale brown endleaves. Red slip case. A different selection of Chekhov’s stories was published in 1974 (item 354). ¶ Second printing: 2002. ¶ Third printing: 2003 (not seen). 1061 Travels of a Victorian photographer, the photographs of Francis Frith, with texts by various writers, selected by Roger Hudson. 263 × 192 × 25 mm. Pp. [i–ii], [1–5] 6–298 [299–302]. Type: Bulmer. Printed and bound by Cambridge University Press. Full dark green cloth with four photographs printed on the front board; white endleaves printed with photographs in sepia. Dark green slip case with a photograph in sepia. This volume

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is uniform with items 911 and 982. In all there are 123 sepia photographs, mostly of topographical or architectural subjects, including the two printed on the endleaves, the four on the binding, and that on the slip case. The texts are mostly by contemporary travel-writers and novelists. ¶ Second printing: 2002, printed and bound by the Bath Press. Plain dark green slip case. ¶ Third printing: 2003. 1062 The Barbarian invasions of the Roman empire, volume III, the Ostrogoths 476–535, Thomas Hodgkin, introduced by Peter Heather. Map by Reginald Piggott. 252 × 179 × 39 mm. Pp. [i–v] vi–xiv [xv–xvi], [1] 2–480: [14] pages of colour plates. Type: Poliphilus and Blado. Printed and bound by the Bath Press. Series binding (see item 1019). The plates reproduce photographs of contemporary artworks and artefacts. For further details see item 1019. ¶ Second printing: 2002. ¶ Third printing: 2006, printed by the Saint Edmundsbury Press. Bound by Cambridge University Press. 1063 The Barbarian invasions of the Roman empire, volume IV, the imperial restoration 535–553, Thomas Hodgkin, introduced by Peter Heather. Maps by Reginald Piggott. 251 × 180 × 40 mm. Pp. [1–2], [i–v] vi–xv [xvi–xviii], [1] 2–488 [489–492]: [14] pages of colour plates. Type: Poliphilus and Blado. Printed and bound by the Bath Press. Series binding (see item 1019). The plates reproduce photographs of contemporary artworks and artefacts; in addition there are maps on pages 61 and 91 (as well as on the endleaves). For further details see item 1019. ¶ Second printing: 2002 (not seen). ¶ Third printing: 2005. 1064 Julian S. Corbett, the Seven Years War, a study in British combined strategy, introduction by Jeremy Black. Maps by Reginald Piggott. 252 × 163 × 50 mm. Pp. [i–iv] v–xxiii [xxiv], 1–674 [675–680]: [14] pages of colour plates, [8] leaves of ‘plates’. Type: Janson. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in full blue cloth printed with an etching in dark blue; pale blue endleaves with a map in dark blue. Dark blue slip case. Issued in Folio’s bellicose series (see item 967). The plates and ‘plates’ reproduce contemporary paintings, drawings and prints. In addition, there are maps on pages 10, 78, 148, 208, 239, 253, 264, 286, 316, 399, 441, 481 and 555 (as well as on the endleaves). 1065 C.V. Wedgwood, the English Civil War. Maps by Reginald Piggott. Indices by Meg Davies. 252 × 162 × 30–45 mm. 3 vols (see below). Type: Janson. Printed and bound by the Bath Press. Full pale grey cloth printed with an enlarged wood-engraving by Harry Brockway in dark red; dark red endleaves. Dark red three-volume slip case with a black panel titled (as above) in gold. Issued in Folio’s bellicose series (see item 967). The plates and ‘plates’ reproduce contemporary paintings, drawings, prints and documents. The three volumes are as follows: [1] C.V. Wedgwood, the King’s peace 1637–1641, introduction by Richard Ollard. Pp. [i–vi] vii–xxix [xxx–xxxii], [1–2] 3–483 [484]: [10] pages of colour plates, [12] pages of ‘plates’. Originally published in 1955. [2] C.V. Wedgwood, the King’s war 1641–1647. Pp. [i–iv] v–xxi [xxii–xxiv], [1–2] 3–552 [553–556]: [10] pages of colour plates, [10] pages of ‘plates’. Originally published in 1958.

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[3] C.V. Wedgwood, the trial of Charles I. Pp. [i–iv] v–xiv [xv–xvi], 1–237 [238–244]: [9] pages of colour plates, [8] pages of ‘plates’. Originally published in 1964. For an earlier work on the subject see items 125, 189.9 and 364. 1066 Jules Verne, journey to the centre of the earth, translated by William Butcher, introduced by Michael Crichton, illustrated by Grahame Baker. 228 × 161 × 30 mm. Pp. [1–2], [i–vi] vii–xxviii [xxix–xxx], 1–230 [231–232]: [9] leaves of colour plates (facing pp. 72, 89, 137, 152, 184 and 201, and between pp. [ii–iii], 168–169 and 192–193). Type: Bembo with Gill Shadow for display. Printed and bound by Grafos. Full plasticised cloth with a design in colour by Baker; lilac endleaves. Dark blue slip case. Three of the plates, including the pictorial title-spread, are double-page. The illustrator became known, for Folio purposes, as Grahame Baker-Smith from 2011. ¶ Second printing: 2002 (not seen). ¶ Third printing: 2004. 1067 Alexandre Dumas, the three musketeers, introduced by George MacDonald Fraser, illustrated by Roman Pisarev. After a translation by William Barrow. 252 × 177 × 42 mm. Pp. [i–iv] v–xx, 1–568 [569–572]: [12] leaves of ‘plates’. Type: Ehrhardt with Goudy Text, Lombardic Capitals and Victoria Titling for display. Printed and bound by the Bath Press. Full brown buckram with a design in black, cream and gold by Pisarev; pale brown endleaves. Dark brown slip case. This, and the following two titles, were available as an informal set as well as separately. All three volumes are in a uniform style, following that of item 974, with a different colour of cloth used for the binding. 1068 Alexandre Dumas, twenty years after, illustrated by Roman Pisarev. After a translation by William Robson. 252 × 173 × 50 mm. Pp. [i–iv] v–ix [x], 1–683 [684–686]: [12] leaves of ‘plates’. Type: Ehrhardt with Goudy Text, Lombardic Capitals and Victoria Titling for display. Printed and bound by the Bath Press. Series binding with a different design by Pisarev (see item 1067); pale brown endleaves. Dark brown slip case. 1069 Alexandre Dumas, the man in the iron mask, illustrated by Roman Pisarev. 252 × 175 × 44 mm. Pp. [i–iv] v–ix [x], 1–591 [592–598]: [12] leaves of ‘plates’. Type: Ehrhardt with Goudy Text, Lombardic Capitals and Victoria Titling for display. Printed and bound by the Bath Press. Series binding with a different design by Pisarev (see item 1067); pale brown endleaves. Dark brown slip case. 1069.5 George Orwell . . . complete novels. Edited by Peter Davison. 228 × 150 × 25–31 mm. 5 vols (see below). Type: Monophoto Bembo with Serengetti for display. Typeset by the Northumberland Press and Folio, printed and bound by the Bath Press. Full plasticised white paper with a design in shades of green, orange, yellow and black by Steven Devine; flecked endleaves (a different colour in each volume). Grey five-volume slip case titled (as above) in silver and copper. The text of the volumes was reprinted lithographically from the Secker and Warburg edition of The complete works of George Orwell (1986–1987). Nineteen eighty-four not unnaturally proved more popular than the other volumes and was reprinted separately (see item 1123.3). The five volumes are as follows: [1] George Orwell, Burmese days, introduction by Peter Davison, illustrations by Steven Devine [quotation from Shakespeare]. Pp. [i–vi] vii–xix [xx], 1–299 [300–302]: [7] leaves of ‘plates’ (facing pp. 48, 94, 128, 172, 199, 257 and 286). Brown-grey endleaves. The frontispiece is included in the pagination. Originally published in 1934. [2] George Orwell, a clergyman’s daughter, illustrations by Steven Devine [quotation from Hymns ancient and modern]. Pp. [i–viii], 1–297 [298]: [7] leaves of ‘plates’ (facing pp. 3, 44, 80, 122, 151, 230 and 264). Grey endleaves. The frontispiece is included in the pagination. Originally published in 1935.

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[3] George Orwell, keep the aspidistra flying, illustrations by Steven Devine. Pp. [i–viii], 1–276 [277–282]: [7] leaves of ‘plates’ (facing pp. 2, 29, 81, 117, 148, 198 and 273). Grey endleaves. The frontispiece is included in the pagination. Originally published in 1936. [4] George Orwell, coming up for air, illustrations by Steven Devine [quotation from a ‘popular song’]. Pp. [i–viii], [1–2] 3–247 [248–252]: [7] leaves of ‘plates’ (facing pp. 4, 49, 79, 113, 138, 198 and 242). Brown-grey endleaves. The frontispiece is included in the pagination. Originally published in 1939. [5] George Orwell, nineteen eighty-four, illustrations by Steven Devine. Pp. [i–vi], [1–2] 3–325 [326–332]: [7] leaves of ‘plates’ (facing pp. 7, 64, 101, 149, 191, 232 and 311). Grey endleaves. The frontispiece is included in the pagination. Originally published in 1949. ¶ Second–fourth printing [of volume [5]]: 2002–2005 item 1123.3. 1070 More pick of Punch, selected and introduced by Amanda Jane Doran, preface by Libby Purves. Illustrated with cartoons. 222 × 144 × 27 mm. Pp. [1–4] 5–271 [272]. Type: Garamond with Horndon for display. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in full gold plasticised cloth with a design in black by Helen Smithson (incorporating Punch cartoons); green-yellow endleaves. Green-yellow slip case. This volume follows The pick of Punch (1998 item 941) and contains 62 short pieces in prose or verse and 48 cartoons. The work was issued in the series which began with item 830. 1071 England 1945–2000, introduction by Roy Jenkins. A collection of essays by many hands. Preface by Felipe Fernández-Armesto. Designed by Bernard Roberts. Index by Douglas Matthews. 253 × 163 × 49 mm. Pp. [i–v] vi–xxix [xxx], [1–3] 4–624 [625–626]: [8] leaves of colour plates, [16] leaves of ‘plates’. Type: Plantin. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in series binding (see item 855). The eleventh volume in the series ‘A History of England’. This collection of new essays with a few snippets of contemporary journalism brings the series to a fascinating and triumphant climax (although a new volume may, perhaps, follow in a decade or two when a little more history has happened). The frontispiece shows a photograph of Prince Charles and the late Princess of Wales on their wedding day. ¶ Second printing: 2002 (not seen). ¶ Third printing: 2005 (not seen), printed and bound by Cambridge University Press. 1072 Myths + legends of India, selected, retold and introduced by William Radice. 253 × 179 × 53 mm. Pp. [i–v] vi–xxviii [xxix–xxx], [1–3] 4–784 [785–786]: [15] leaves of colour plates. Type: Ehrhardt with Ondine for display and hand-drawn lettering (by John Andrew) for the title. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in quarter dark blue series binding (see item 724), pale green linen boards with a design in dark blue and gold by Grahame Baker; dark blue endleaves. Dark blue slip case. John Andrew’s title-page lettering is also used on the spine. The text has been selected and adapted from a range of Indian sources, including a lengthy section from P. Lal’s English version of the Mahābhārata. The plates reproduce traditional Indian art. The binding designer became known, for Folio purposes, as Grahame Baker-Smith from 2011. ¶ Second printing: 2003 (not seen). 1073 The Folio Society book of the 100 greatest paintings, general editor Martin Bailey. 290 × 263 × 26 mm. Pp. [1–4] 5–230 [231–232]. Type: Dante with Centaur for display. Printed and bound by Grafos. Full blue buckram with a typographical design (based on the artists’ names) in gold; blue endleaves. Blue slip case with a colour

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reproduction of Vermeer’s ‘The art of painting’ on the front board. The Presentation Volume for 2002. The 100 paintings are arranged chronologically, from Duccio’s ‘Madonna’ of 1285 to Picasso’s Guernica of 1937. ¶ Second printing: 2003 (not seen). ¶ Third printing: 2004 (not seen). 1074 The Folio humour diary 2002. 199 × 148 × 13 mm. Pp. [1–120]. Type: Bell. Printed and bound by Grafos. Full plasticised paper with a design in colour by Clare Mackie; white endleaves with a pattern by Mackie in colour. Not issued in a slip case. An extra ‘freebie’ for members in autumn 2001. Each recto represents a week, with a reproduction of one or more illustrations and/or quotations from a Folio publication on the facing verso. 1075 The story of the Renaissance. Maps by Reginald Piggott. 228 × 175 × 35–41 mm. 5 vols (see below). Type: Poliphilus and Blado. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full dark red or dark blue buckram (see below) with a design in brown and gold by David Eccles; dark red or dark blue endleaves. Dark red and dark blue five-volume slip case titled (as above) in gold. The plates reproduce Renaissance paintings, drawings, manuscripts and prints, and photographs of carvings and architecture. The five volumes are as follows: [1] Vincent Cronin, the Florentine Renaissance. Pp. [i–vii] viii–x [xi–xv] xvi–xxvi [xxvii–xxviii], [1] 2–364: [26] pages of colour plates. Binding colour: dark red. Maps appear on pages [xii] and [xiii]. [2] Vincent Cronin, the flowering of the Renaissance. Pp. [i–vii] viii–x [xi–xv] xvi–xvii [xviii–xx], [1] 2–330 [331–332]: [26] pages of colour plates. Binding colour: dark blue. Maps appear on pages [xii] and [xiii]. [3] J.R. Hale, the Renaissance in Europe, preface by Michael Mallett. Pp. [i–vii] viii–xviii, [1] 2–295 [296–300] 301–342: [18] pages of colour plates. Binding colour: dark red. Maps appear on pages [296–299]. [4] G.R. Elton, Europe from Renaissance to Reformation, preface by Andrew Pettegree. Pp. [i–vii] viii [ix–xv] xvi– xxxi [xxxii–xxxvi], [1] 2–321 [322–324]: [18] pages of colour plates. Binding colour: dark blue. Maps appear on pages [x–xiii]. [5] Boies Penrose, travel and discovery in the Renaissance. Pp. [i–ix] x–xv [xvi–xviii], [1] 2–486: [18] pages of colour plates. Binding colour: dark red. Maps appear on pages [27], [46], [65], [78], [100], [130], [178] and [197]. ¶ Second printing: 2001. ¶ Third printing: 2009, printed by the Amadeus Press. 1076 Ordeal by fire, witnesses to the Great War, Lyn Macdonald, with research by Shirley Seaton. 238 × 163 × 30 mm. Pp. [i–iv] v–xiii [xiv], [1–2] 3–312: [26] pages of ‘plates’. Type: Plantin with Zapf Chancery for display. Printed on pale green-grey paper and bound by the Bath Press. Full green-grey cloth with a Great War photograph in dark green; endleaves printed with photographs in dark green. Pale green-brown slip case. Uniform with item 1007. The volume is illustrated throughout with Great War photographs, including six double-page spreads bearing divisional-titles for the sections of the text. ¶ Second printing: 2014. Now introduced by Richard van Emden. Pp. [i–iv] v–xvii [xviii], [1–2] 3–312 [313–316]. Printed on standard coloured Caxton wove paper. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. Black slip case.

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1076.5 The Folio diary 2002, travellers’ tales. As item 1033, but the diary text has been reset throughout. The illustrations and texts on the versos are reprinted without change from the 2000 edition. Not seen. 1077 The Franchise affair, Josephine Tey, introduction by Antonia Fraser, illustrations by Paul Hogarth. 228 × 150 × 28 mm. Pp. [i–iv] v–xiv [xv–xvi], 1–254: [9] leaves of ‘plates’ (facing pp. 22, 49, 102, 114, 138, 175, 188, 223 and 228). Type: Bembo with Cooper Black for display. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in full blue linen with a design by Hogarth in black; blue endleaves. Dark blue slip case. In addition to the ‘plates’ there is a frontispiece printed on page [ii]. ¶ Second printing: 2001. ¶ Third printing (not seen). ¶ Fourth printing: 2010, printed and bound by T.J. International. 1078 Legends of King Arthur, edited and introduced by Richard Barber, illustrations by Roman Pisarev. Second printing (three volumes). A reduced reprint of the first edition of 2000, divided into three volumes. Details as item 1039 but the dimensions now 229 × 151 × 21–25 mm. 3 vols (pp. [1–9] 10–235 [236], [1–6]: [7] leaves of ‘plates’; [i–ii], [237–239] 240–449 [450]: [4] leaves of ‘plates’; [i–ii], [451–453] 454–726: [5] leaves of ‘plates’). Printed and bound by Grafos. Quarter dark green buckram, white paper boards printed in green, black and gold; dark green endleaves. Dark green three-volume slip case titled in gold. The binding is a simplified version of that for item 1039, following the pattern established with item 924. The illustrations are all monochrome reproductions of the plates in the first edition. The second and third volumes have no title-leaves, only half-titles and the fly-titles ‘Tristan’ and ‘The Holy Grail’ respectively. The same titles are used on the spines, with volume I being here designated ‘Arthur’. ¶ Third printing: 2002 (not seen). ¶ Fourth printing: 2003 (not seen). ¶ Fifth printing: 2004. 1079 John Ruskin, the stones of Venice, edited & introduced by Jan Morris. 253 × 193 × 52 mm. Pp. [i–iv] v–xlvi, [1–2] 3–350: [14] leaves of colour, [16] pages of monochrome plates. Type: Centaur and Arrighi with Open Sans-Surryphs for the title. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in pale red-brown cloth with a design in black and gold by David Eccles; pale yellow endleaves. Black slip case. The colour plates reproduce some of Ruskin’s delightful paintings of Venice, while those in monochrome are facsimiles of the engravings in the first edition of 1851–1855. This is a good book, with typographical panache and beautifully reproduced illustrations. The design was inspired by the style of the series of Victorian travel and exploration (see item 766), but with a squarer format and more generous margins. ¶ Second printing: 2002. ¶ Third printing: 2003 (not seen). ¶ Fourth printing: 2004. ¶ Fifth printing: 2005. ¶ Sixth printing: 2010, printed by the Amadeus Press. 1080 The Benedictional of Saint Æthelwold. 2 vols (see below). Red two-volume clamshell box, spine-label (titled as above). This work consists of a fine facsimile of a tenth-century Anglo-Saxon illuminated manuscript (now in the British Library) and a separate volume of commentary by Andrew Prescott, housed in a recess in the box which contains the facsimile. The two volumes are as follows: [1] The Benedictional of Saint Æthelwold [facsimile]. 291 × 216 × 34 mm. Ff. 1–119 [120]. Printed by Cambridge University Press. Bound by Smith Settle in full dark brown morocco with raised bands titled (as above) in gold with lettering by John Andrew and decorated in gold and blind; gilt edges; dark red hand-made endleaves (from Fabriano’s ‘Roma’ range). The colophon records that 1000 numbered copies were available. A printed slip with notes on the care of leather is loosely inserted.

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[2] The Benedictional of Saint Æthelwold, commentary, Andrew Prescott. 230 × 158 × 11 mm. Pp. [i–vi], 1–41 [42]. Type: Dante. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in quarter dark red buckram, dark red hand-made paper (from Fabriano’s ‘Roma’ range) boards, cover-label; grey-brown flecked endleaves. 1081 Walter George Bell, the great plague in London, edited and introduced by Belinda Hollyer. Map by Reginald Piggott after Bell. 240 × 161 × 31 mm. Pp. [i–vi] vii–xxiv, 1–256: [10] pages of colour plates, [9] leaves of ‘plates’. Type: Minion with Athenaeum for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full black cloth with a design in red and gold by Francis Mosley; red-brown endleaves with a reproduction of a print by John Dunstall. Black slip case. In the series begun with item 876. Mosley has also supplied a suitably morbid vignette for the title-page. The plates and ‘plates’ reproduce contemporary and later paintings, prints and documents, as well as a colour electron micrograph of the rat flea. The plate between pages 200 and 201 is folded, and bears Piggott’s map on the recto and a facsimile of a ‘General Bill of Mortality’ of 1665 on the verso. ¶ Second printing: 2003 (not seen). ¶ Third printing: 2004. ¶ Fourth printing: 2004. ¶ Fifth printing: 2014, printed and bound by Grafos. 1082 Shakespeare’s comedy of a: midsummer: night’s: dream, with illustrations by W·Heath·Robinson. [Third edition]. 253 × 191 × 34 mm. Pp. [i–vi] vii–xi [xii–xvi], 1–183 [184–188]: [12] leaves of colour plates. Type: Caslon with hand-drawn lettering (by Robinson and David Eccles) on the title-page. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full green-grey linen with a design in three shades of green and gold by Robinson (redrawn by David Eccles); green-grey endleaves. Dark green slip case. This edition is based on that originally published by Constable in 1914 (it is the third separate edition of the play; see also items 105 and 151.5). In addition to the plates, there are numerous full-page and vignette drawings by Robinson which are, if anything, even more effective than his colour illustrations. 1083 The adventures of Robin Hood, collected and retold by Roger Lancelyn Green, illustrated by John Holder. 253 × 191 × 40 mm. Pp. [i–iv] v–xi [xii–xvi], [1–2] 3–222 [223–226]: [11] leaves of colour plates. Type: Caslon with hand-drawn lettering (by Holder) on the title-page. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full green buckram with a design in black and gold by Holder; green endleaves with a repeat pattern by Holder. Green slip case. This was an attempt to put Green’s text (first published in 1956) together with a new series of illustrations to produce something akin to the ‘facsimile’ editions of classic children’s books which Folio had recently issued (the previous item, for example). In addition to the plates, there is a total of 15 vignette drawings by Holder, three being repeated. ¶ Second printing: 2003 (not seen). ¶ Third printing: 2004. ¶ Fourth printing: 2005 (not seen). 1084 Ill met by moonlight, W. Stanley Moss, introduction by M.R.D. Foot, prologue and epilogue by Iain Moncreiffe, afterword by Patrick Leigh Fermor. 241 × 180 × 25 mm. Pp. [1–8] 9–214 [215–216]: [14] pages of plates. Type: Bembo. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in full dark blue cloth with a design in red and silver by David Rooney; silver-blue endleaves. Dark blue slip case. There are maps on pages [24] and [105]. ¶ Second printing: 2003 (not seen), printed and bound by Grafos. ¶ Third printing: 2004 (not seen). ¶ Fourth printing: 2004. ¶ Fifth printing: 2007, printed and bound by Grafos.

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1085 The name of the rose, Umberto Eco, translated from the Italian by William Weaver, illustrated by Neil Packer. 252 × 184 × 45 mm. Pp. [i–iv] v [vi–viii], 1–499 [500–504]: [8] leaves of colour plates (facing pp. [iii], 104, 121, 312, 329, 424, 441 and 488). Type: Centaur and Arrighi. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full red buckram with a design in white and gold by Packer; dark red endleaves with a design in gold by Packer. Black slip case. The splendid and bloody plates draw inspiration from medieval paintings and manuscript illuminations. In addition, Packer has drawn lettering for the chapter titles, and there is a map on pages [8–9]. ¶ Second printing: 2002 (not seen). ¶ Third printing: 2004, bound by Cambridge University Press. ¶ Fourth printing: 2011, the dimensions now 250 × 165 × 46 mm. Printed by Engelhardt und Bauer and bound by Schumacher. 1086 In search of England, H.V. Morton, introduction by Simon Jenkins, illustrations by Peter Bailey. 251 × 145 × 31 mm. Pp. [i–v] vi–xxi [xxii], [1–3] 4–305 [306]. Type: Walbaum. Printed and bound by the Bath Press. Full green linen with a design in black by Bailey; pale grey endleaves with a map by Reginald Piggott. Dark green slip case. Originally published in 1927. Bailey’s 39 small drawings are somewhat in the manner of Edward Ardizzone. ¶ Second printing: 2003 (not seen). ¶ Third printing: 2004, printed by the Saint Edmundsbury Press. Bound by Cambridge University Press. ¶ Fourth printing: 2005. 1087 Nicholas and Alexandra, Robert K. Massie. 252 × 163 × 45 mm. Pp. [i–vii] viii–xxiii [xxiv-xxvi], [1–3] 4–625 [626–630]: [22] pages of photographic plates. Type: Dante. Printed and bound by the Bath Press. Full blue brocade with a Russian imperial eagle repeat design, black leather spine-label; pale blue endleaves with a map by Reginald Piggott in dark blue. Dark blue slip case with sepia reproductions of a photograph. In series with item 1003. The plates reproduce contemporary photographs of the Russian royal family and the Revolution. The title-page is dated ‘2002’, but the first copies were circulated in December 2001. ¶ Second printing: 2017, printed and bound by C & C Offset in blue cloth with the eagles blocked in blind but a more elaborate spine; cream endleaves. 1087.5 Graham Greene, the quiet American, illustrated by Geoff Grandfield. Reissued as a single volume (with a revised binding). A separate impression of this volume from The great novels. Details as volume [5] of item 900, but the spine of the binding has been redesigned and the binding material is buckram. Plain dark green single-volume slip case.

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2002 1088 M.I. Finley, the world of Odysseus, introduction by Simon Hornblower. 252 × 175 × 25 mm. Pp. [i–vii] viii–xxv [xxvi-xxviii], [1] 2–193 [194–196]: [16] pages of colour plates. Type: Imprint with Lithos for display. Printed (with the title-page in brown-red and black) and bound by Cambridge University Press. Full red-brown cloth with a design in black and white by Grahame Baker; pale red-brown endleaves with a map by Reginald Piggott. Dark brown slip case. The plates show Greek vase-paintings. The frieze on the title-spread reproduces part of Baker’s binding design. The binding designer became known, for Folio purposes, as Grahame Baker-Smith from 2011. ¶ Second printing: 2002. ¶ Third printing: 2004 (not seen). 1089 Joseph Conrad, Almayer’s folly and tales of unrest, illustrations by Francis Mosley, introduction by Richard Woodman. 228 × 162 × 32 mm. Pp. [1–6] 7–329 [330]: [11] leaves of ‘plates’. Type: Garamond with Romana for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in series binding (see item 852). This book includes the second Folio edition of Almayer’s folly, which had been published with illustrations by Clarke Hutton in 1962 (item 167). 1090 Joseph Conrad, the rover, illustrations by Francis Mosley, introduction by Christopher Fletcher. 229 × 161 × 29 mm. Pp. [1–4] 5–243 [244–248]: [12] leaves of ‘plates’. Type: Garamond with Romana for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in series binding (see item 852). 1091 Elizabeth Gaskell, wives and daughters, an every-day story, introduced by Victoria Glendinning, illustrated by Alexy Pendle. Edited with endnotes by Pam Morris. 240 × 183 × 49 mm. Pp. [i–iv] v–xx, [1–2] 3–678: colour frontispiece, [19] leaves of ‘plates’. Type: Ehrhardt. Printed and bound by the Bath Press. Full pale brown cloth with a pattern in brown and blue by Frances Button; dark blue endleaves. Dark blue slip case. This was the first in a new series of the novels of Mrs Gaskell (see also items 1139, 1170, 1224 and 1283). ¶ Second printing: 2003 (not seen). ¶ Third printing: 2005 (not seen). 1092 David C. Douglas, the Normans, introduced by M.T. Clanchy. Maps by Reginald Piggott. Decorations by Frances Button. 253 × 175 × 45 mm. Pp. [i–iv] v–xix [xx], [1–2] 3–563 [564]: [16] pages of colour, [8] pages of monochrome plates. Type: Imprint. Printed (with the title-page in dark blue and black) by the Saint Edmundsbury Press. Bound by Hunter and Foulis in metallic blue series binding designed by Button (see item 910); pale blue endleaves with a map in dark blue. Dark blue slip case decorated in gold. The plates reproduce photographs of Norman antiquities, documents and architecture. Piggott has supplied a series of maps on pages 485–[490]. ¶ Second printing: 2003 (not seen). 1093 A history of Chinese civilisation, Jacques Gernet, translated by J.R. Foster and Charles Hartman, introduced by Jonathan D. Spence, volume I [–II]. Maps and plans by Reginald Piggott. 252 × 176 × 39–40 mm. 2 vols (pp. [i–v] vi–xxii [xxiii–xxviii], [1] 2–402 [403–404]: [24] pages of colour plates; [i–v] vi–xii [xiii–xvi], [405–406] 407–851 [852]: [24] pages of colour plates). Type: Utopia. Printed and bound by the Bath Press. Full brown buckram with designs in gold by Frances Button; brown endleaves with Chinese characters in dark brown.

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Dark brown two-volume slip case with a colour photograph on the front panel. The plates reproduce photographs of Chinese antiquities, manuscripts, artworks and historical events. Maps and plans by Piggott appear throughout both volumes. ¶ Second printing: 2002 (not seen). ¶ Third printing: 2003 (not seen). ¶ Fourth printing: 2004 (not seen), printed by the Saint Edmundsbury Press. Bound by Cambridge University Press. ¶ Fifth printing: 2004. ¶ Sixth printing: 2006. ¶ Seventh printing: 2008. 1094 Great stories of crime and detection. 229 × 164 × 41–45 mm. 4 vols (see below). Type: Fournier with Albertus on the title-pages. Printed and bound by Cambridge University Press. Quarter dark blue cloth with a spine-design by Frances Button, white paper boards with a design in black and blue by Nick Hardcastle (different for each volume); pale blue endleaves. Dark blue four-volume slip case lettered in gold with the names of the authors. The four volumes are as follows: I Great stories of crime and detection, volume I, beginnings to 1920, selected by Tim Heald, with an introduction by H.R.F. Keating, illustrated by Nick Hardcastle. Pp. [i–iv] v–xiii [xiv], 1–424 [425–428]: [11] leaves of ‘plates’. In addition to the ‘plates’ there is a frontispiece which is included in the pagination. The stories are arranged according to the date of birth of the author, from Edgar Allan Poe (1809–1849) to Jacques Futrelle (1875–1912). II Great stories of crime and detection, volume II, the twenties and thirties, selected by Tim Heald and Priscilla Ridgway, with an introduction by Robert Barnard, illustrated by Nick Hardcastle. Pp. [i–iv] v–xiii [xiv], 1–427 [428]: [11] leaves of ‘plates’. The authors range from Edith Wharton (1862–1937) to Graham Greene (1904–1991). III Great stories of crime and detection, volume III, the forties and fifties, selected by Tim Heald and Priscilla Ridgway, with an introduction by Priscilla Ridgway, illustrated by Nick Hardcastle. Pp. [i–iv] v–xvii [xviii], 1–429 [430–432]: [11] leaves of ‘plates’. The authors range from M.R. Rinehart (1876–1958) to Nicolas Freeling (1927–2003). IV Great stories of crime and detection, volume IV, from the sixties to the present day, selected and with an introduction by Tim Heald, illustrated by Nick Hardcastle. Pp. [i–iv] v–xiv, 1–459 [460]: [11] leaves of ‘plates’. The authors range from H.R.F. Keating (b. 1926) to Jerry Sykes (b. 1960). ¶ Second printing: 2002. 1095 The Barbarian invasions of the Roman Empire, volume V, the Lombard invasion 553–600, Thomas Hodgkin, introduced by Peter Heather. Maps by Reginald Piggott. 252 × 177 × 39 mm. Pp. [i–v] vi–xxii, [1] 2–387 [388–394]: [14] pages of colour plates. Type: Poliphilus and Blado. Printed and bound by the Bath Press. Series binding (see item 1019). In addition to the plates, there is a map on page [211] (as well as on the endleaves). For further details see item 1019. ¶ Second printing: 2003 (not seen), printed by the Saint Edmundsbury Press. Bound by Cambridge University Press. ¶ Third printing: 2006. 1096 The Barbarian invasions of the Roman Empire, volume VI, the Lombard kingdom 600–744, Thomas Hodgkin, introduced by Peter Heather. Maps by Reginald Piggott. 251 × 178 × 41 mm. Pp. [i–v] vi–xviii [xix–xx], [1] 2–424 [425–428]: [14] pages of colour plates. Type: Poliphilus and Blado. Printed and bound by the Bath Press. Series binding (see item 1019). As usual, there are maps on the endleaves. For further details see item 1019.

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¶ Second printing: 2003 (not seen), printed and bound by Cambridge University Press. ¶ Third printing: 2006. 1097 The Folio history of ancient Greece. Maps by Reginald Piggott. 253 × 179 × 29–42 mm. 4 vols (see below). Type: Imprint with Lithos for display. Printed (with the title-pages in black and brown) and bound by Cambridge University Press. Full brown-red (terracotta) cloth with a design in black and white by Grahame Baker; orange endleaves. Dark brown four-volume slip case titled (as above) in brown. The binding designs and title-page friezes by Baker are based on motifs from Greek vases. The plates show surviving examples of Greek architecture, vases, statues, reliefs, frescos, coins and other antiquities. The designer became known, for Folio purposes, as Grahame Baker-Smith from 2011. The four volumes are as follows: [1] A.R. Burn, the lyric age, the Greek world c. 750–510 b c , introduced by Simon Hornblower. Pp. [i–v] vi–xxxviii, [1–3] 4–438 [439–442]: [16] pages of colour, [12] pages of monochrome plates. Originally published in 1960. This volume includes a ‘General Introduction’ to the four volumes. [2] A.R. Burn, the Persian wars, the Greeks and the defence of the west, c. 546–478 b c , introduced by Simon Hornblower, postscript by D.M. Lewis. Pp. [i–v] vi–xxix [xxx–xxxii], [1] 2–560: [12] pages of colour, [12] pages of monochrome plates. Originally published in 1962, the present text is that of the second edition of 1984. [3] Simon Hornblower, the classical age, the Greek world, 479–323 b c . Pp. [i–v] vi–xxix [xxx–xxxii], [1] 2–408: [16] pages of colour, [16] pages of monochrome plates. Originally published in 1983, the present text is that of the third edition of 2002. [4] F.W. Walbank, the Hellenistic age, the Greek world 336–146 b c , introduced by Simon Hornblower. Pp. [i–vii] viii–xxv [xxvi], [1] 2–242 [243–246]: [12] pages of colour, [12] pages of monochrome plates. Originally published in 1981, the present text is that of the revised edition of 1992. 1098 The silk road, Frances Wood. 262 × 192 × 26 mm. Pp. [1–4] 5–270 [271–272]. Type: Sabon with Ondine for display. Printed by Bath Press Colourbooks. Bound by the Bath Press in full blue-green artificial silk with a design in gold by Neil Packer; pale blue endleaves with a map by Reginald Piggott in green. Pale brown slip case with a sepia photograph. This is the first edition of this book, which is illustrated with a total of 132 photographs, largely in colour, including the title-spread. The binding design is ‘based on a 13th-century Mongolian garment’. ¶ Second printing: 2003 (not seen). ¶ Third printing: 2004, bound in a coarser artificial silk of a paler blue-green. ¶ Fourth printing: 2005. ¶ Fifth printing: 2006. ¶ Sixth printing: 2007. Printed and bound by Firmengruppe APPL. 1099 Francis Bacon, essays or counsels, civil and moral, edited with an introduction by Brian Vickers, preface by Lord Quinton, [wood-] engravings by Harry Brockway. 241 × 143 × 26 mm. Pp. [i–v] vi–xxv [xxvi], [1–3] 4–258 [259–262]. Type: Caslon. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full vegetable parchment (‘Parchemarque’), stamped with the title and a border of typographical ornaments in red and black; red endleaves with a repeat pattern of Monotype ornaments. Red slip case decorated as the endleaves. There is a total of 43 wood-engravings by Brockway, all save the frontispiece portrait of Bacon being small tail-pieces. ¶ Second printing: 2003 (not seen), printed and bound by Grafos.

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1100 Scenes of medieval life. Maps by Reginald Piggott. 228 × 160 × 27–29 mm. 3 vols (see below). Type: Centaur and Arrighi. Printed and bound by the Bath Press. Full vegetable parchment (‘Parchemarque’) with a design by Neil Packer in gold and colour on the front board; cream endleaves with a map in dark blue. Red three-volume slip case titled (as above) in gold. The plates reproduce medieval manuscripts, miniatures, artefacts and buildings. This edition is uniform with items 988 and 1059, although the ‘medieval’ miniatures on the binding are pastiches by Packer. The three volumes are as follows: [1] Life in a medieval castle, Joseph and Frances Gies, preface by Judith Herrin. Pp. [i–vi] vii–xv [xvi–xviii], 1–232 [233–238]: [14] pages of colour plates. [2] Life in a medieval city, Joseph and Frances Gies, preface by Judith Herrin. Pp. [i–vi] vii–xv [xvi–xviii], 1–244 [245–246]: [14] pages of colour plates. In addition to the plates there is a full-page map on page [22]. [3] Life in a medieval village, Joseph and Frances Gies, preface by Judith Herrin. Pp. [i–vi] vii–xv [xvi–xviii], 1–252 [253–254]: [14] pages of colour plates. In addition to the plates there are maps and plans on pages [21], [29] and 31. ¶ Second printing: 2002 (not seen). 1101 The Folio book of humorous verse, selected and introduced by Edward Leeson, illustrated by Posy Simmonds. 228 × 162 × 26 mm. Pp. [i–iv] v–xv [xvi], [1–4] 5–263 [264]. Type: Walbaum. Printed and bound by the Bath Press. Full white cloth with a design by Simmonds in colour; yellow endleaves. Blue slip case. There is a total of 94 delightful colour-printed drawings by Simmonds, some inspired by earlier illustrations to these verses. ¶ Second printing: 2003 (not seen). ¶ Third printing: 2005. 1102 Into the dark continent, the travels of Henry Morton Stanley, edited and introduced by Frank McLynn. Typographical design by Bernard Roberts. 253 × 179 × 48 mm. Pp. [i–v] vi–xiv [xv–xvi], [1–3] 4–596 [597–598]: [10] pages of colour plates, [18] leaves of ‘plates’. Type: Baskerville. Typeset by Gloucester Typesetting, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full pale grey-brown cloth with a design in black and gold by David Eccles; pale grey-brown endleaves. Black slip case. The text is selected from Stanley’s How I found Livingstone (first published in 1872) and Through the dark continent (first published in 1878). The plates show contemporary photographs, while the ‘plates’ are reproductions of some of the original wood-engravings from Stanley’s books. This volume was issued in Folio’s series of Victorian-style works of exploration (see item 766). ¶ Second printing: 2003 (not seen). 1103 The best of Roald Dahl, illustrated by Quentin Blake. 218 × 145 × 18–23 mm. 6 vols (see below). Type: Baskerville with Gill Sans for display. Typeset, printed and bound by Cambridge University Press. Full cloth (a different colour for each volume) with a design by Blake in black and gold; endleaves of the same colour as the cloth. Pale blue six-volume slip case titled (as above) in gold with a repeat of one of Blake’s binding designs in black. This is a reprint for Folio of the Cambridge editions first printed between 1982 and 1995. Blake’s drawings include an introductory page in each volume, depicting all the main characters. The six volumes are as follows:

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[1] Roald Dahl, James and the giant peach, illustrated by Quentin Blake. Pp. [1–6] 7–154 [155–160]. There are 54 drawings by Blake. Binding colour: orange. [2] Roald Dahl, Charlie and the chocolate factory . . . Pp. [1–10] 11–189 [190–192]. There are 46 drawings by Blake. Binding colour: brown-grey. [3] Roald Dahl, Charlie and the great glass elevator . . . Pp. [1–8] 9–189 [190–192]. There are 50 drawings by Blake. Binding colour: blue. [4] Roald Dahl, the BFG . . . Pp. [i–viii], [1] 2–198 [199–200]. There are 77 drawings by Blake. Binding colour: green-blue. [5] Roald Dahl, the witches . . . Pp. [i–vi], 1–199 [200–202]. There are 97 drawings by Blake. Binding colour: green. [6] Roald Dahl, Matilda . . . Pp. [i–vi], 1–229 [230–234]. There are 114 drawings by Blake. Binding colour: yellow-brown. 1104 The Folio diary 2003, travellers’ tales. As item 1033, but the binding measures 199 × 147 × 13 mm. The illustrations and texts on the versos are all reprinted from the 2001 edition, with a new diary text. 1105 O. Henry, 101 stories, selected by Laurent Lalonde, introduced by Fred Chappell, illustrated by Rod Waters. 240 × 162 × 48 mm. Pp. [i–iv] v–xvi, 1–651 [652–658]: [23] leaves of ‘plates’. Type: Ehrhardt with Gill Sans for display. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in full pale brown cloth with a design in black, silver and blue by Waters; blue endleaves. Blue slip case. In addition to the ‘plates’ there is an integral frontispiece. A different selection of O. Henry’s tales was published in 1960 (item 144). ¶ Second printing: 2003 (not seen). ¶ Third printing: 2004. ¶ Fourth printing: 2005. 1106 Leaves from the journal of our life in the Highlands from 1848 to 1861 [by Queen Victoria], to which are prefixed and added extracts from the same journal giving an account of earlier visits to Scotland, and tours in England and Ireland, and yachting excursions, edited by Arthur Helps, introduced by Delia Millar. 294 × 238 × 32 mm. Pp. [i–vii] viii–xxvi, [1–3] 4–205 [206]: [19] leaves of colour ‘plates’, [2] pages of ‘plates’. Type: Bulmer. Printed and bound by Cambridge University Press. Full red buckram with an adapted facsimile of the original binding design in black and gold; pale grey flecked endleaves. Red clamshell box with a ‘VR’ motif in gold. This edition is based on the lavish illustrated edition published in 1868. Further illustrations have been added, however, and the colour ‘plates’ reproduce appropriate paintings from the royal collections. There are also new monochrome illustrations, in addition to the original wood-engraved vignettes. A colophon on the final page reads ‘This edition . . . has been published in 2002 by the Folio Society, London, in honour of the Golden Jubilee of Her Majesty Queen Elizabeth II. The edition has been limited to 1850 numbered copies of which this is no.’ (there were also fifty unnumbered copies for private distribution by Folio). 1107 The Icelandic sagas [two stars], translated, edited and introduced by Magnus Magnusson, illustrated by John Vernon Lord. 252 × 177 × 52 mm. Pp. [i–ix] x–xvi, [1–3] 4–759 [760]: [16] leaves of colour plates. Type: Ehrhardt with Frances Uncial for display and hand-drawn lettering (by John Andrew) for the title. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in quarter dark blue series binding (see item 724), pale blue linen boards with a design in dark blue, red and gold by Lord; pale grey endleaves

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with a map by Reginald Piggott. Dark blue slip case. This is the second volume of sagas. The first – which has only a single star on the title-page and spine – appeared in 1999 (item 987). ¶ Second printing: 2000 (not seen). 1108 William Wordsworth, selected poems, edited and introduced by Nicholas Roe, [wood-] engravings by Peter Reddick. 280 × 188 × 45 mm. Pp. [i–iv] v–xix [xx], 1–495 [496–500]. Type: Baskerville. Printed and bound by the Bath Press. Quarter dark green series binding (see item 1051); dark brown endleaves. Dark brown slip case. In ‘The Folio Poets’ series (see item 1051). There is a total of 85 wood-engravings, often printed as head- and tail-pieces to the poems. At least four of the blocks are repeated and the title-page portrait of Wordsworth is a reprint of the frontispiece from Folio’s 1970 edition of his Poems (item 278). ¶ Second printing: 2003 (not seen). ¶ Third printing: 2003 (not seen). 1109 David G. Chandler, the campaigns of Napoleon. Maps by Sheila Waters and Reginald Piggott. 252 × 162 × 40–43 mm. 3 vols (see below). Type: Janson. Printed by Scotprint. Bound by Hunter and Foulis in full pale grey-brown cloth printed with a reproduction of a painting in brown; pale grey-brown endleaves with a repeat pattern in grey. Pale brown three-volume slip case titled (as above) in gold on a black panel. Issued in Folio’s bellicose series (see item 967). The text was originally published in 1966, and has been reprinted here with new material added by the author. The plates reproduce contemporary paintings, drawings, prints and documents. Each volume also contains numerous maps and plans, some printed in red and black. The three volumes are as follows: I David G. Chandler, the campaigns of Napoleon, volume I, the rise, February 1793–September 1805. Pp. [i–iv] v–xlv [xlvi], [1–2] 3–386: [18] pages of colour plates, [1] folded map. II David G. Chandler, the campaigns of Napoleon, volume II, the zenith, September 1805–September 1812. Pp. [i–iv] v–xiv, [1–2] 3–436 [437–442]: [22] pages of colour plates. III David G. Chandler, the campaigns of Napoleon, volume III, the decline, September 1812–June 1815. Pp. [i–iv] v–xiv, [1–2] 3–431 [432–434]: [14] pages of colour plates. ¶ Second printing: 2009. Printed by Martins of Berwick. 1110 Thomas Becket [three stars] Frank Barlow. Maps by Reginald Piggott. 241 × 162 × 34 mm. Pp. [i–vii] viii–xiii [xiv–xvi], [1] 2–366 [367–368]: [18] pages of colour plates. Type: Plantin with Goudy Text for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full purple buckram with a design in gold by Simon Noyes; dark purple endleaves. Dark purple slip case. The text was originally published in 1986 and revised in 1987, 1997 and for the present edition. The plates reproduce medieval manu scripts and examples of architecture. There are full-page maps and plans on pages [xvi], [5], [15] and [148]. 1111 The Folio book of days, selected and introduced by Roger Hudson. 262 × 192 × 30 mm. Pp. [1–6] 7–336. Type: Ehrhardt. Printed and bound by the Bath Press. Full dark blue buckram with a design in black and gold by David Eccles; gold-green endleaves. Gold-green slip case with a colour panel reproducing 31 numbered vignettes from the book. The Presentation Volume for 2003. The text consists of a list of the 365 days of the year accompanied by quotations from diaries and journals, historical, literary and political. The extracts are illustrated with a total of 167 reproductions of drawings, paintings and photographs, 94 in colour (including the title-spread).

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1112 The Folio classical diary 2003. 199 × 147 × 13 mm. Pp. [1–120]. Type: Poliphilus and Blado. Printed and bound by Grafos. Full plasticised paper with a colour reproduction of a painting by Claude Lorraine; brown endleaves with a reproduction of part of the inscription from the base of Trajan’s Column in pale brown. Not issued in a slip case. An extra ‘freebie’ for members in autumn 2002. Each recto represents a week, with a suitable illustration and quotation from a Folio publication on each facing verso. 1113 The Folio book of the English Christmas, a collection of seasonal writing selected by Geraldine Beare, illustrated by John Holder. 252 × 192 × 33 mm. Pp. [1–4] 5–254 [255–256]: [7] leaves of colour plates (facing pp. [1], 33, 48, 113, 128, 224 and 241). Type: Bulmer with Goudy Text Lombardic Capitals on the title-page. Printed and bound by Cambridge University Press. Full dark red buckram with a design in gold, green and red by Holder; grey flecked endleaves. Green slip case. In addition to the plates, there are 36 vigorous text illustrations by Holder (a few repeated). Intended to catch the Christmas market, and it shows. 1114 Marcus Aurelius, meditations, translated with an introduction and notes by Maxwell Staniforth, preface by A.C. Grayling, [wood-] engravings by Simon Brett. 252 × 176 × 26 mm. Pp. [i–vi] vii–xxxiii [xxxiv], [1–4] 5–201 [202–206]. Type: Poliphilus and Blado. Printed in brown and black and bound by the Bath Press. Quarter dark brown leather, cream paper boards with a design in dark brown by Brett; dark brown endleaves. Dark brown slip case. There are 13 full-page wood-engravings by Brett, one printed at the beginning of each book and one as a frontispiece. The title-leaf is a cancel (correcting an error on the original version). This book is a delight, with a profound literary text, beautifully designed and illustrated, and presented in a simple, subtle binding. For a further collection of classical philosophy issued in a uniform style see item 1141. ¶ Second printing: 2003 (not seen). ¶ Third printing: 2004 (not seen), printed and bound by Cambridge University Press. ¶ Fourth printing: 2004 (not seen), printed and bound by the Bath Press. ¶ Fifth printing: 2006 (not seen). ¶ Sixth printing: 2014. Printed and bound by L.E.G.O. Now in quarter dark brown buckram with Folio’s updated logo on spine. 1115 Tanglewood tales, by Nathaniel Hawthorne, illvstrated by Edmvnd Dvlac. 253 × 192 × 36 mm. Pp. [i–vi] vii–viii [ix–x], 1–236 [237–242]: [14] leaves of colour plates. Type: Caslon. Printed by the Saint Edmundsbury Press, the plates by the Amadeus Press. Bound by Hunter and Foulis in full grey-green cloth with a design in gold, red and dark green by Dulac (redrawn by David Eccles); red endleaves. Dark red slip case. Another in Folio’s series of revitalised children’s books. This volume is based on the edition published by Hodder and Stoughton in 1918. 1116 Primo Levi, the truce, a survivor’s journey home from Auschwitz, translated by Stuart Woolf, introduction by David Mendel, etchings by Jane Joseph. 229 × 177 × 24 mm. Pp. [1–9] 10–239 [240]: [12] leaves of ‘plates’. Type: Minion with Helvetica for display. Printed and bound by Butler and Tanner. Full dark blue series binding (see item 1023). ¶ Second printing: 2004 (not seen), printed and bound by Cambridge University Press. 1117 The works of Geoffrey Chaucer. 2 vols (see below). Printed by Cambridge University Press. Bound by Smith Settle. Blue two-volume clamshell box, leather spine-label titled (as above) in gold. This facsimile of the Kelmscott Press edition of Chaucer’s Works (1896), reprinted lithographically on sympathetic paper and bound in an appropriate manner, is one of the most splendid books issued by Folio. Not surprisingly, the edition went out of print as soon as it was published. The two volumes are as follows:

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[1] The works of Geoffrey Chaucer, now newly imprinted [facsimile]. Edited by F. S. Ellis. With wood-engraved illustrations, borders and initials after designs by Sir E.C. Burne-Jones and William Morris. 429 × 308 × 76 mm. Pp. [i–viii], [1] 2–552 [553–558]. Type: Chaucer (the colophon set in Ehrhardt by Folio). Full cream morocco with raised bands, decorated in gold to a design by T.J. Cobden-Sanderson (redrawn by David Eccles); dark blue hand-made endleaves (from Fabriano’s ‘Roma’ range). A printed slip with notes on the care of leather is loosely inserted. [2] The Kelmscott Chaucer, an essay by William S. Peterson, reprinted to accompany the facsimile published by the Folio Society, 2002. 247 × 173 × 2 mm. Pp. [1–2] 3–15 [16]. Type: Ehrhardt. Sewn into blue-green paper wrappers titled (as above) in black. This essay, reprinted from Peterson’s great history of the Kelmscott Press (1991), is inserted in a pocket inside the box which holds the facsimile (volume [1] above). 1118 The enchanted April, Elizabeth von Arnim, introduction by Elizabeth Jane Howard, illustrations by Debra McFarlane. 253 × 150 × 24 mm. Pp. [i–iv] v–xi [xii–xiv], 1–204 [205–210]: [7] leaves of colour plates (facing pp. [iii], 34, 51, 98, 115, 178 and 195). Type: Fournier. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full pale blue-grey cloth with a design in black and gold by McFarlane: pale blue endleaves. Dark green slip case. A charming production, with delightful illustrations. ¶ Second printing: 2003 (not seen). ¶ Third printing: 2004. 1119 [Kipling’s Jungle book and Just so stories]. Sixth/seventh printing (with a new binding). Details as items 731 and 705, but the bindings measure 240 × 161 × 21–22 mm. Printed and bound by Butler and Tanner. Full red cloth with a design in black and cream (that on The jungle book by Frances Button); grey-brown flecked endleaves. Red two-volume slip case. ¶ Seventh/eighth printing: 2003 (not seen). ¶ Eighth/ninth printing: 2004. ¶ Ninth/tenth printing: 2005 (not seen). 1120 Akenfield, portrait of an English village, Ronald Blythe, illustrations by Peter Bailey. 252 × 162 × 30 mm. Pp. [i–v] vi–xxiv, [1–3] 4–328. Type: Walbaum. Printed and bound by the Bath Press. Quarter dark brown cloth, white paper boards with a design in black and gold by Bailey. Dark brown slip case. 1121 Alexis de Tocqueville, democracy in America, translated, edited and with an introduction by Harvey C. Mansfield and Delba Winthrop, preface by R.G.H. Seitz. 240 × 166 × 62 mm. Pp. [i–iv] v–xcix [c], [1–2] 3–722: colour frontispiece. Type: Minion with Walbaum, Bodoni italic and Bodoni Extra Bold for display. Typeset by the University of Chicago Press (the preliminaries by Folio), printed and bound by Cambridge University Press. Full red leather with a typographical design in gold; endleaves with a map in colour; dark red slip case. This edition is largely a reprint of that published by the University of Chicago Press in 2000. ¶ Second printing: 2004. ¶ Third printing: 2004. 1122 Garrett Mattingly, the defeat of the Spanish Armada, introduction by J.H. Elliott. Maps by Reginald Piggott. Index by Douglas Matthews. 253 × 162 × 45 mm. Pp. [i–iv] v–xxv [xxvi–xxx], 1–445 [446–450]: [26] pages of colour plates. Type: Janson. Printed and bound by Cambridge University Press. Full yellow-brown cloth with an engraving in red; red endleaves. Red slip case. Issued in Folio’s bellicose series (see item 967). The plates reproduce contemporary documents, prints, drawings and paintings.

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1123 The Ottoman empire [ornament], Lord Kinross, introduced by Norman Stone. Maps by Reginald Piggott. 252 × 174 × 54 mm. Pp. [i–vii] viii–xxiii [xxiv], [1] 2–671 [672]: [34] pages of colour plates. Type: Caslon with Albertus for display. Printed and bound by the Bath Press. Full pale yellow cloth with a design by Debra McFarlane in black and gold; cream endleaves with a map. Black slip case. ¶ Second printing: 2003 (not seen), printed by the Saint Edmundsbury Press. Bound by Cambridge University Press. ¶ Third printing: 2003 (not seen). ¶ Fourth printing: 2004. ¶ Fifth printing: 2006, bound by Real Lachenmaier. ¶ Sixth printing: 2008. 1123.3 George Orwell, nineteen eighty-four, illustrations by Steven Devine. Second printing. A separate impression of volume [5] from Orwell’s Complete novels. Details as volume [5] of item 1069.5, but issued in a plain single-volume slip case. ¶ Third printing: 2003 (not seen). ¶ Fourth printing: 2005. ¶ Fifth printing: 2007. 1123.5 British·myths &·legends, edited and introduced by Richard Barber, illustrations by John Vernon Lord. Fourth printing (three volumes). A reduced reprint of the first edition of 2001, divided into three volumes. Details as item 954 but the dimensions now 228 × 150 × 21–25 mm. 3 vols (pp. [1–9] 10–191 [192]: [8] leaves of ‘plates’; [193–195] 196–447 [448]: [4] leaves of ‘plates’; [449–451] 452–708 [709–710]: [5] leaves of ‘plates’). Printed and bound by Grafos. Quarter dark red buckram, paper boards printed in red and black; dark red endleaves. Dark red three-volume slip case titled in gold. The binding is a simplified version of that for item 954, following the pattern established with item 924. The illustrations are all monochrome reproductions of the plates in the first edition. The second and third volumes have no title-leaves, only the fly-titles ‘. . . Heroes and saints’ and ‘. . . History and romance’ respectively. The same titles are used on the spines, with volume I here designated ‘Marvels and magic’. ¶ Fifth printing: 2003. ¶ Sixth printing: 2004. ¶ Seventh printing: 2005 (not seen). ¶ Eighth printing: 2006. 1123.7 Graham Greene, Brighton rock, illustrated by Geoff Grandfield. Reissued as a single volume (with a revised binding). A separate impression of this volume from The great novels. Details as volume [1] of item 900, but the spine of the binding has been redesigned and the binding material is buckram. Plain dark green single-volume slip case. ¶ Third impression: 2003.

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2003 1124 The blue fairy book, edited by Andrew Lang, with an introduction by Joan Aiken, paintings & decorations by Charles van Sandwyk. 253 × 190 × 63 mm. Pp. [1–2], [i–iv] v–xvii [xviii–xx], 1–371 [372–374]: [17] leaves of colour plates. Type: Caslon with hand-drawn lettering (by van Sandwyk) for the title. Printed (the title-page in pink and black) and bound by Cambridge University Press. Full dark blue buckram with a design by van Sandwyk in red, cream and gold; dark blue endleaves with a design in gold by van Sandwyk. Dark blue slip case. This gives the appearance of being another in Folio’s series of facsimile children’s books. However, this volume is different, since the text was originally published (in 1889) in a smaller format with different illustrations, and the present volume has been typeset and illustrated by a contemporary artist in the style of the early twentieth century. In addition to the plates and the title-page design, there are 28 line-drawn illustrations and decorations by van Sandwyk, three repeated. ¶ Second printing: 2004 (not seen). ¶ Third printing: 2004, the title-page printed in red and black. ¶ Fourth printing: 2006, printed by Memminger MedienCentrum. Bound by Real Lachenmaier. ¶ Fifth printing (not seen). ¶ Sixth printing: 2008, the dimensions now 252 × 195 × 60 mm. ¶ Seventh printing: 2008. ¶ Eighth printing (not seen). ¶ Ninth printing: 2012. ¶ Tenth printing: 2019, the dimensions now 252 × 195 × 53 mm. Bound by Josef Spinner. 1125 Joseph Conrad, an outcast of the islands, illustrations by Francis Mosley, introduction by Richard Woodman. 229 × 162 × 35 mm. Pp. [1–6] 7–313 [314]: [11] leaves of ‘plates’. Type: Garamond with Romana for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in series binding (see item 852). ¶ Second printing: 2008. 1126 Joseph Conrad, the duel and other tales, illustrations by Francis Mosley, introduction by Giles Foden. 228 × 162 × 31 mm. Pp. [1–8] 9–263 [264]: [12] leaves of ‘plates’. Type: Garamond with Romana for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in series binding (see item 852). Originally published as A set of six in 1908. The binding design is particularly striking. ¶ Second printing: 2008. 1127 Jane Austen’s letters, collected and edited by Deirdre le Faye. 240 × 153 × 49 mm. Pp. [i–iv] v–xxx, 1–642: [18] pages of colour plates. Type: Fournier. Printed and bound by the Bath Press. Full artificial silk with an eighteenth-century wallpaper-design in red, yellow, blue, black and gold; dark red endleaves. Dark red slip case. The plates reproduce objects, or illustrations of people and places, mentioned in the letters or associated with the writer; the frontispiece is the only authentic portrait of Austen, drawn by her sister Cassandra around 1810. ¶ Second printing: 2003 (not seen), printed by the Saint Edmundsbury Press. Bound by Cambridge University Press. ¶ Third printing: 2004. ¶ Fourth printing: 2006. ¶ Fifth printing: 2007, printed and bound by Grafos. ¶ Sixth printing: 2008. 1128 John Prebble, Glencoe, the story of a massacre . . . Fifth printing. As volume I of item 851, but issued in a single-volume slip case. It was decided to make this fifth impression of the set two separate volumes, rather

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than issuing them together in a slip case. This was done partly to produce volumes uniform with item 1130, so that they could be issued separately and together (item 1130.5). 1129 John Prebble, Culloden. Fifth printing. As volume II of item 851, but issued in a single-volume slip case. 1130 John Prebble, the Highland clearances [quotation]. Wood-engravings by Harry Brockway. Maps by Reginald Piggott. 229 × 149 × 30 mm. Pp. [i–x] xi [xii], 1–284: [11] leaves of ‘plates’. Type: Ehrhardt with Caslon for display. Typeset by Gloucester Typesetting, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full white cloth with an enlarged wood-engraving by Harry Brockway in brown; dark red endleaves. Dark red slip case. Uniform with items 851, 1128 and 1129. Prebble’s text was originally published in 1963. Brockway’s wood-engravings are, once again, quite brilliant. 1130.5 The Highland trilogy. A collected issue of John Prebble’s three Folio books. Details as items 1128– 1130, but issued in a three-volume slip case titled (as above) in gold. 1131 Memoirs of a British agent [star] R.H. Bruce Lockhart, introduction, epilogue and notes by Robin Bruce Lockhart. 240 × 162 × 30 mm. Pp. [i–vi] vii–xviii, [1–2] 3–280: [18] pages of photographic plates, [6] pages of ‘plates’. Type: Sabon with Kabel Heavy for display. Printed and bound by Cambridge University Press. Quarter dark blue cloth, glazed white paper boards with reproductions of documents and photographs in sepia; dark blue endleaves. Blue slip case. The plates mostly reproduce photographs of impressively whiskered revolutionaries and politicians. The ‘plates’ show contemporary documents. ¶ Second printing: 2004. 1132 Tractatus de herbis, Egerton Ms 747. 2 vols (see below). Printed by the Bath Press. Dark green two-volume clamshell box, spine-label (titled as above). This work consists of a facsimile of a late thirteenth-century herbal now in the British Library, and a separate volume of commentary by Minta Collins, housed in a recess in the box which contains the facsimile. Although dated 2002, copies were not ready for distribution until early 2003. The two volumes are as follows: [1] Tractatus de herbis [facsimile]. 368 × 250 × 35 mm. Ff. [I–II] III–CIX [CX]. Type: Octavian for the colo phon. Photographed digitally by Laurence Pordes. Bound by Smith Settle in full dark green morocco with raised bands and bevelled boards titled (as above) in gold and decorated in black and blind, with red onlays, to a design by David Eccles, gilt edges; pale green and dark green hand-made endleaves. The colophon records that 1000 numbered copies were printed (there were a further 100 copies for private distribution). A slip bearing notes on the care of leather is loosely inserted. [2] Tractatus de herbis, British Library Egerton Ms 747, commentary Minta Collins, list of plants Sandra Raphael. 221 × 156 × 11 mm. Pp. [1–6] 7–76 [77–80]. Type: Ehrhardt. Bound by the Bath Press in quarter dark green buckram, pale green hand-made paper boards, cover-label; dark green endleaves. 1133 Winston S. Churchill, a history of the English-speaking peoples. Maps by Reginald Piggott. 240 × 177 × 31–36 mm. 4 vols (see below). Type: Baskerville. Printed and bound by Cambridge University Press. Full dark red buckram with a design in blue and gold by David Eccles; dark blue endleaves. Dark red four-volume slip case with a sepia photograph on the front panel. The plates reproduce a wide range of historical documents, artworks, artefacts and photographs. The four volumes are as follows:

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I Winston S. Churchill . . . volume I, the birth of Britain, introduction by Roy Jenkins. Pp. [i–v] vi–xxxii [xxxiii– xxxiv], [1–3] 4–445 [446]: [26] pages of colour plates. II Winston S. Churchill . . . volume II, the new world. Pp. [i–v] vi–x [xi–xvi], [1–3] 4–366 [367–368]: [26] pages of colour plates. III Winston S. Churchill . . . volume III, the age of revolution. Pp. [i–v] vi–xv [xvi–xviii], [1–3] 4–352 [353–358]: [26] pages of colour plates. IV Winston S. Churchill . . . volume IV, the great democracies. Pp. [i–v] vi–xiv [xv–xvi], [1–3] 4–347 [348–352]: [18] pages of colour, [8] pages of monochrome plates. ¶ Second printing: 2003 (not seen). 1134 T.H. White, the once and future king, introduction by Kevin Crossley-Holland, illustrations by John Lawrence. 240 × 162 × 43 mm. Pp. [i–viii] ix–xvi [xvii–xviii], [1–2] 3–616 [617–622]: [17] leaves of colour plates. Type: Bembo with Herculanum for display. Printed and bound by the Bath Press. Full pale blue cloth with a design in orange, silver and black by Lawrence; metallic pale blue endleaves. Dark blue slip case. The plates are lithographic reproductions of wood-engravings with borders printed in a second colour and additional hand-colouring, and are quite delightful. This title was selected as the ‘Castaway’s Choice’ of John Amis and Juliet Barker (see item 270). ¶ Second printing: 2004, printed and bound by Grafos. ¶ Third printing: 2004. ¶ Fourth printing: 2013. 1135 Paradise lost, a poem in twelve books by John Milton, with a preface by Peter Ackroyd, an introduction by John Wain and illustrations by William Blake. 328 × 250 × 41 mm. Pp. [i–viii] ix–xxi [xxii–xxiv], [1–2] 3–304: [12] leaves of colour plates. Type: Bembo with Centaur for display. Typeset by Gloucester Typesetting, printed and bound by Cambridge University Press. Quarter dark green morocco, pale orange artificial silk boards; dark green endleaves. Dark green slip case with a colour reproduction of one of Blake’s paintings on the front panel. The text is largely reprinted from the edition published in 1991 (item 695), with only the preliminary matter reset. It has been illustrated, however, with a splendid series of reproductions of watercolours by Blake, and has been given a new binding in keeping with the colours used by the artist in his paintings. See also item 1253. ¶ Second [i.e. third] printing: 2003. ¶ Third [i.e. fourth] printing: 2005 (not seen). 1136 The Barbarian invasions of the Roman empire, volume VII, the Frankish invasion 744–774, Thomas Hodgkin, introduced by Peter Heather. Map by Reginald Piggott. 251 × 177 × 38 mm. Pp. [1–2], [i–v] vi–xv [xvi–xviii], [1] 2–310 [311–316]: [14] pages of colour plates. Type: Poliphilus and Blado. Printed and bound by the Bath Press. Series binding (see item 1019). The plates reproduce contemporary artworks and artefacts. For further details see item 1019. ¶ Second printing: 2003 (not seen), printed and bound by Cambridge University Press. ¶ Third printing: 2005. 1137 The Barbarian invasions of the Roman empire, volume VIII, the Frankish empire 774–814, Thomas Hodgkin, introduced by Peter Heather. Map by Reginald Piggott. 251 × 176 × 36 mm. Pp. [1–2], [i–vii] viii–xvi [xvii– xviii], [1] 2–278 [279–284]: [14] pages of colour plates. Type: Poliphilus and Blado. Printed and bound by

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the Bath Press. Series binding (see item 1019). The plates reproduce contemporary artworks and artefacts. This is the final volume in the series which began with item 1019. ¶ Second printing: 2004. ¶ Third printing: 2005. 1138 John Buchan, the adventures of Richard Hannay. 203 × 136 × 34–38 mm. 5 vols (see below). Type: Goudy Old Style. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full cloth (a different colour for each volume) with a design in black, gold and one or two other colours by Nick Hardcastle. Dark green five-volume slip case titled (as above) in gold. The illustrations are delightfully redolent of the dormitory, where they should be viewed under the covers, by torchlight. The five volumes are as follows: [1] John Buchan, the thirty-nine steps and the power-house, introduced by Andrew Lownie, illustrated by Nick Hardcastle. Pp. [i–viii] ix–xxix [xxx], [1–4] 5–171 [172–176] 177–314 [315–318]: colour frontispiece, [10] leaves of ‘plates’ (facing pp. 31, 49, 56, 58, 101, 152, 241, 272, 286 and 291). Bound in grey cloth, additional binding colours green and red; grey flecked endleaves. [2] John Buchan, Greenmantle, illustrated by Nick Hardcastle. Pp. [i–xii], 1–298: colour frontispiece, [6] leaves of ‘plates’ (facing pp. 76, 85, 89, 182, 189 and 230). Bound in blue cloth, additional binding colours pale blue and blue; mottled blue-grey endleaves. [3] John Buchan, Mr Standfast, illustrated by Nick Hardcastle. Pp. [i–x], [1–2] 3–385 [386]: colour frontispiece, [6] leaves of ‘plates’ (facing pp. 73, 152, 209, 224, 276 and 371). Bound in dark grey cloth, additional binding colours pale grey and blue; brown flecked endleaves. [4] John Buchan, the three hostages, illustrated by Nick Hardcastle. Pp. [i–x], 1–338: colour frontispiece, [6] leaves of ‘plates’ (facing pp. 73, 90, 174, 207, 296 and 336). Bound in brown cloth, additional binding colour cream; brown flecked endleaves. [5] John Buchan, the island of sheep, illustrated by Nick Hardcastle. Pp. [i–x], [1–2] 3–269 [270–274]: colour frontispiece, [6] leaves of ‘plates’ (facing pp. 143, 145, 203, 221, 248 and 260). Bound in green cloth, additional binding colour green; pale green flecked endleaves. ¶ Second printing: 2004. ¶ Third–fourth printing [of volume [1]]: 2005–2006 item 1238. 1139 Elizabeth Gaskell, north and south, introduced by Jenny Uglow, illustrated by Alexy Pendle. Edited with endnotes by Patricia Ingham. 240 × 182 × 40 mm. Pp. [i–iv] v–xxi [xxii], [1–2] 3–436 [437–440]: colour frontispiece, [9] leaves of ‘plates’ (facing pp. 66, 140, 168, 200, 247, 275, 318, 367 and 398). Type: Ehrhardt. Printed and bound by Cambridge University Press. Full pale pink series binding (see item 1091), patterned in brown and red; red endleaves. Red slip case. ¶ Second printing: 2004. ¶ Third printing: 2005 (not seen). 1140 The best after-dinner stories, selected and introduced by Tim Heald, with illustrations by Paul Cox. 222 × 144 × 28 mm. Pp. [1–4] 5–268 [269–272]. Type: Galliard with Laudatio BQ Medium for display. Printed and bound by the Bath Press. Full white buckram with a design in dark red by Cox; dark red-purple endleaves. Dark red-purple slip case. There is a total of 93 drawings in pen and wash, eight being full-page and one spread across a page and a half, as well as a number of small vignettes repeated as tail-pieces. Issued in the series which began with item 830.

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¶ Second printing: 2003 (not seen). ¶ Third printing: 2004. ¶ Fourth printing: 2004. ¶ Fifth printing: 2005. ¶ Sixth printing: 2007. ¶ Seventh printing: 2008, printed and bound by T.J. International. ¶ Eighth printing: 2008. ¶ Ninth printing: 2009. ¶ Tenth printing: 2010. ¶ Eleventh printing: 2011. ¶ Twelfth printing: 2012. ¶ Thirteenth printing: 2013. 1141 Great philosophers of the ancient world. 251 × 177 × 37–46 mm. 5 vols (see below). Type: Poliphilus and Blado. Printed and bound by the Bath Press. Quarter dark brown leather, cream paper boards with an enlargement of a detail of the frontispiece in dark brown; dark brown endleaves. Dark brown five-volume slip case titled (as above) in gold. Uniform with item 1114. Simon Brett’s frontispieces are based on classical statues, and emphasise the gravity of the selected texts. From the second printing the five volumes were issued separately (see items 1168.1–1168.5). The five volumes are as follows: [1] Plato, republic, translation, introduction and notes by Robin Waterfield, preface by A.C. Grayling, frontispiece [wood-] engraving by Simon Brett. Pp. [i–vi] vii–lxxiii [lxxiv], [1–2] 3–515 [516–518]. [2] Aristotle, ethics, translation by J.A.K. Thomson, revised with notes and appendices by Hugh Tredennick, introduction and further reading by Jonathan Barnes, preface by A.C. Grayling, frontispiece [wood-] engraving by Simon Brett. Pp. [i–iv] v–li [lii], [1–2] 3–297 [298–300]. [3] Lucretius, on the nature of things, translation by Sir Ronald Melville, introduction and notes by Don and Peta Fowler, preface by A.C. Grayling, frontispiece [wood-] engraving by Simon Brett. Pp. [i–vi] vii–xli [xlii], [1–2] 3–342. [4] Cicero, on the good life, translation, introduction and notes by Michael Grant, preface by A.C. Grayling, frontispiece [wood-] engraving by Simon Brett. Pp. [i–vi] vii–xli [xlii], [1–2] 3–415 [416–422]. [5] Seneca, letters from a Stoic and three dialogues, translation and notes by Robin Campbell and C.D.N. Costa, introduction by C.D.N. Costa, preface by A.C. Grayling, frontispiece [wood-] engraving by Simon Brett. Pp. [i–vi] vii–xxxv [xxxvi], [1–2] 3–295 [296–300]. ¶ Second printing: 2003 items 1168.1–1168.5. ¶ Third printing [of volumes [1] and [2]]: 2003 items 1168.1 and 1168.2. 1142 Walter George Bell, the Great Fire of London in 1666, edited and introduced by Belinda Hollyer. Map by Reginald Piggott after Bell. 241 × 161 × 31 mm. Pp. [i–vi] vii–xxii, 1–261 [262]: [12] pages of colour plates, [12] leaves of ‘plates’ (one folded). Type: Minion with Athenaeum for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full black cloth with a design in red and gold by Francis Mosley; red-brown endleaves with an etching. Black slip case. In the series begun with item 876. The plates and ‘plates’ reproduce contemporary paintings, documents, prints and artefacts (some of the media of the prints are wrongly identified in the captions). A vignette by Mosley appears on the title-page. ¶ Second printing: 2004. 1143 The diary of Samuel Pepys, a new and complete transcription edited by Robert Latham and William Matthews, contributing editors William A. Armstrong · Macdonald Emslie, Oliver Millar · the late T.F. Reddaway, Volume I [–XI] · 1660 [–1668 –1669, Companion, Index]. 228 × 151 × 34–54 mm. 11 vols (see below). Type: Bembo. Typeset by Cambridge University Press and Folio, printed and bound by Cambridge University Press. Quarter dark brown leather, Ann Muir marbled paper boards; cream endleaves. Eleven-volume wooden case (or individual slip cases for the 11 vols). This impression was made for Folio from an edition originally published by Bell

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and Hyman between 1970 and 1983, with some new preliminary matter typeset by Folio (including, in volume I, a colophon giving the limitation statement (1000 copies) and details of the printing and binding). Each volume, except the last, has a new frontispiece, reproducing a contemporary painting or print. Some copies were bound later by Smith Settle. The 11 volumes are as follows: I 1660, with preface, acknowledgements, introduction etc. Pp. [1–2], [i–ix] x–clii [cliii–cliv], 1–325 [326–331] 332–348: colour frontispiece (portrait of Pepys by John Hayls, 1666). II 1661. Pp. [i–ix] x–xi [xii–xiv], 1–242 [243–249] 250–266: colour frontispiece (Charles II in procession by Dirck Stoop, 1662). III 1662. Pp. [i–ix] x–xi [xii–xiv], 1–304 [305–311] 312–328 [329–330]: colour frontispiece (portrait of Edward Montagu by Sir Peter Lely, 1659). IV 1663. Pp. [i–ix] x–xi [xii–xiv], 1–441 [442–447] 448–465 [466]: colour frontispiece (interior by Samuel Van Hoogstraeten, around 1662). V 1664. Pp. [i–ix] x–xi [xii–xiv], 1–363 [364–368] 369–386: colour frontispiece (portrait of George Monck by Sir Peter Lely, 1665–1666). VI 1665. Pp. [i–ix] x–xi [xii–xiv], 1–342 [343–349] 350–367 [368–370]: colour frontispiece (The battle of Lowestoft, 3rd June 1665 by Hendrik Van Minderhout). VII 1666. Pp. [i–ix] x–xi [xii–xiv], 1–426 [427–432] 433–450: frontispiece (portrait of Elizabeth Pepys by John Hayls, engraved by James Thomson, 1668). VIII 1667. Pp. [i–ix] x–xi [xii–xiv], 1–602 [603–607] 608–626: colour frontispiece (portrait of William Penn by Sir Peter Lely, 1665–1666). IX 1668–1669. Pp. [i–ix] x–xi [xii–xiv], 1–565 [566–570] 571–590 [591–594]: colour frontispiece (portrait of William Hewer by Sir Godfrey Kneller). X Companion, compiled and edited by Robert Latham. Pp. [i–ix] x–xiii [xiv–xvi], [1] 2–626 [627–640]: colour frontispiece (domestic scene by Gerard ter Borch, around 1668). XI Index, by Robert Latham. Pp. [i–ix] x–xiv [xv–xviii], [1] 2–340 [341–342]. 1144 A history of the Indians of the United States [ornament of brackets] Angie Debo, introduced by Shirley Leckie. 252 × 178 × 50 mm. Pp. [i–iv] v–xxxv [xxxvi–xxxviii], 1–490: [32] pages of colour plates. Type: Palatino with Kabel Heavy for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full dark green cloth with a sepia photograph covering three-quarters of the front board; dark brown endleaves. Dark green slip case. The plates are in two groups, the first reproducing historical paintings and the second photographs. ¶ Second printing: 2003 (not seen), bound by Cambridge University Press. ¶ Third printing: 2004, printed and bound by the Bath Press. ¶ Fourth printing: 2005. ¶ Fifth printing: 2006. ¶ Sixth printing: 2006. ¶ Seventh printing: 2007, printed and bound by Grafos. ¶ Eighth printing: 2008. ¶ Ninth printing: 2009. ¶ Tenth printing: 2010. ¶ Eleventh printing: 2013. ¶ Twelfth printing: 2018. Printed and bound by Kösel.

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1145 Agatha Christie, the complete Hercule Poirot short stories. 228 × 150 × 35–37 mm. 3 vols (see below). Type: Bell with Gill Sans for display. Printed and bound by Cambridge University Press. Full linen (a different colour for each volume) with a design in black, white and another colour by Christopher Brown. Brown-grey flecked three-volume slip case titled (as above) and decorated in black and white. The three volumes are as follows: 1 Agatha Christie, the complete Hercule Poirot short stories, volume 1, introduction by Maxim Jakubowski, illustrations by Christopher Brown. Pp. [i–viii] ix–xv [xvi], 1–344 [345–348]: [10] leaves of ‘plates’. Binding: blue-green, third colour grey; grey endleaves. This volume contains 22 stories. 2 Agatha Christie, the complete Hercule Poirot short stories, volume 2, illustrations by Christopher Brown. Pp. [i–viii], 1–352 [353–356]: [10] leaves of ‘plates’. Binding: grey-green, third colour green; green endleaves. This volume contains 12 stories. 3 Agatha Christie, the complete Hercule Poirot short stories, volume 3, illustrations by Christopher Brown. Pp. [i–viii], 1–371 [372]: [10] leaves of ‘plates’. Binding: pale orange, third colour dark yellow; dark yellow endleaves. This volume contains 16 stories, plus the foreword to the collection The labours of Hercules. ¶ Second printing: 2004 (not seen). 1146 Agatha Christie, the complete Miss Marple short stories, introduction by Stella Duffy, illustrations by Christopher Brown. 228 × 152 × 32 mm. Pp. [i–viii] ix–xv [xvi], 1–296 [297–300]: [10] leaves of ‘plates’. Type: Bell with Gill Sans for display. Printed and bound by Cambridge University Press. Full brown linen with a design in black, white and lilac by Brown; dark lilac endleaves. Brown-grey flecked slip case lettered and decorated in black and white. Uniform with item 1145, this collection includes 20 stories. ¶ Second printing: 2003 (not seen). ¶ Third printing: 2004. ¶ Fourth printing: 2005. ¶ Fifth printing: 2006, the binding with a new design in black, white and green-grey by Brown; green-grey endleaves. ¶ Sixth printing: 2007, the dimensions now 228 × 148 × 33 mm. ¶ Seventh printing: 2008. ¶ Eighth printing (not seen). ¶ Ninth printing: 2009. ¶ Tenth printing: 2010. Printed by Martins of Berwick and bound by Hunter and Foulis. ¶ Eleventh printing: 2011. ¶ Twelfth printing (with new illustrations and another new binding): 2012, the title-page concluding . . . illustrations by Andrew Davidson. The dimensions now 228 × 150 × 28 mm. Pp. [i–viii] ix–xv [xvi], 1–296: [8] leaves of colour plates (facing pp. [iii], 25, 40, 88, 152, 217, 232 and 264). Printed and bound by L.E.G.O. Dark red cloth with a new design by Davidson in brown, black and gold; dark red endleaves. Dark purple slip case. ¶ Thirteenth printing: 2013. 1147 Samuel Taylor Coleridge, selected poems, edited and introduced by Richard Holmes, [wood-] engravings by Miriam Macgregor. 280 × 187 × 43 mm. Pp. [i–iv] v–xxxv [xxxvi], 1–372. Type: Baskerville with Fry’s Bas kerville for some display. Printed and bound by the Bath Press. Quarter dark blue series binding (see item 1051); dark blue endleaves. Dark blue slip case. In ‘The Folio Poets’ series (see item 1051). There is a total of 74 very splendid wood-engravings, mostly printed as head- and tail-pieces to the poems. Two of the blocks are repeated and one is repeated in a revised and reduced form. Folio had published a small selection of Cole ridge’s Poems (1963 item 184) and, of course, his Rime of the ancient mariner (1994 item 770). ¶ Second printing: 2004 (not seen). 1148 James Joyce, Dubliners, the corrected text with an explanatory note by Robert Scholes, contemporary photographs by Dr J.J. Clarke. 240 × 160 × 25 mm. Pp. [1–8] 9–230 [231–232]: [11] leaves of sepia photographic plates.

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Type: Goudy Old Style with Windsor for display. Printed and bound by the Bath Press. Full brown cloth lettered in cream and gold; grey-brown flecked endleaves. Brown slip case with a sepia photograph. The photographs were taken in Dublin between 1897 and 1904. ¶ Second printing: 2003, printed by the Saint Edmundsbury Press. Bound by Cambridge University Press. ¶ Third printing: 2004. 1149 India, a history, John Keay, volume I [–II]. Maps and tables by Reginald Piggott. 253 × 177 × 37–41 mm. 2 vols (pp. [i–v] vi–xxx [xxxi–xxxii], [1] 2–331 [332], [1–4]: [32] pages of colour plates; [i–v] vi–x [xi–xii], [333] 334–670 [671–672]: [32] pages of colour plates). Type: Utopia. Printed by Memminger Medien Centrum. Bound by Real Lachenmaier in full open-weave cloth (red-brown for volume I, green for volume II) with a gold pattern by Frances Button on the front board; gold-green endleaves. Gold-green two-volume slip case with a colour photograph on the front panel. Uniform with item 1093. The plates reproduce photographs of Indian antiquities, manuscripts, artworks and historical events. Maps and plans by Piggott appear throughout both volumes. ¶ Second printing: 2004. ¶ Third printing: 2004. 1150 John Julius Norwich, Byzantium. 252 × 177 × 46–52 mm. 3 vols (see below). Type: Garamond. Printed and bound by Cambridge University Press. Full cloth (a different colour for each volume) with a design in black and gold by Neil Packer; cream endleaves with a map. Black three-volume slip case titled (as above) in gold. The plates reproduce photographs of carvings, mosaics, miniature paintings, coins and other artworks and artefacts, and the remains of Byzantine buildings. The three volumes are as follows: [1] Byzantium, the early centuries, John Julius Norwich. Pp. [i–iv] v–x [xi–xvi] xvii–xxv [xxvi–xxviii], 1–452: [26] pages of colour plates. Binding colour: orange-brown. [2] Byzantium, the apogee, John Julius Norwich. Pp. [i–vi] vii–x [xi–xviii] xix–xxii, 1–450: [26] pages of colour plates. Binding colour: dark red. [3] Byzantium, the decline and fall, John Julius Norwich. Pp. [i–iv] v–ix [x–xv] xvi–xxi [xxii], 1–537 [538]: [26] pages of colour plates. Binding colour: dark brown. ¶ Second printing: 2004. ¶ Third printing: 2005 (not seen). ¶ Fourth printing: 2007. ¶ Fifth printing (not seen). ¶ Sixth printing: 2009, the dimensions now 252 × 178 × 47–48 mm. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. ¶ Seventh printing: 2011. 1151 Cities and civilisations, Christopher Hibbert. 292 × 231 × 25 mm. Pp. [1–4] 5–279 [280–281]. Type: Poliphilus and Blado. Printed by Bath Press Colourbooks. Bound by the Bath Press in full dark brown buckram with a design in green, silver and gold by David Eccles; white endleaves with a photograph in yellow-brown. Dark green slip case with a colour photograph of a view of Florence (reprinted from page [92]) on the front panel. The Presentation Volume for 2004. There is a total of 215 illustrations, mostly in colour, showing views of the cities, their artworks, inhabitants and architecture. ¶ Second printing: 2004. 1152 The Folio diary 2004. 199 × 147 × 13 mm. Pp. [1–128]. Type: Dante. Printed and bound by Grafos. Full plasticised paper with a colour reproduction of a medieval illumination; endleaves (pages [1–4] and [125–128])

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printed in brown with a detail from the Winchester Bible manuscript. Not issued in a slip case. Issued free to members in autumn 2003. Each recto represents a week, with a reproduction of a medieval manuscript or illuminated miniature on the facing verso. 1153 Domesday book. Translated and edited by Ann Williams, G.H. Martin, Sarah Tyacke, Elizabeth Hallam Smith, James Holt and H.R. Loyn. Maps by Reginald Piggott. 270 × 178 × 43–49 mm. 3 vols (see below). Type: Octavian. Typeset by Tradespools, printed and bound by the Bath Press. Quarter dark brown artificial leather, yellow-brown vegetable parchment (‘Elephanthide’) boards with a design in dark brown (and spine-lettering in gold) by Francis Mosley; white endleaves with a reproduction of a detail from the Domesday book manuscript in dark purple. Three-volume slip case, the top and bottom covered with dark brown artificial leather, the sides and fore-edge with paper repeating the design of the endleaves. The text is set in a small size of type, in double columns, to accommodate the huge quantity of data. The three volumes are as follows: I Domesday book, a complete translation, volume I, great Domesday, Kent to Herefordshire, Alecto Historical Editions, Dr Ann Williams & Professor G.H. Martin, editors. Pp. [i–vi] vii–xiv, [1–2] 3–518, [1–4]. There is a map on page [2]. II Domesday book, a complete translation, volume II, great Domesday, Cambridgeshire to Lincolnshire . . . Pp. [i–vi] vii–xiv [xv–xvi], 519–965 [966]. There is a map on page [xvi]. III Domesday book, a complete translation, volume III, little Domesday & index of places . . . Pp. [i–vi] vii–xiv, [967–968] 969–1430 [1431–1432]. There is a map on page [968]. 1154 The Arabian nights. [Volumes I–III, second edition]. 251 × 193 × 45–48 mm. 3 vols (see below). Type: Garamond. Printed and bound by the Bath Press. Full pale blue artificial cloth with a design in gold by Roman Pisarev; pale blue endleaves. Dark red three-volume slip case titled (as above) with a reproduction of part of Kay Nielsen’s frontispiece from volume I. This is the second edition of this text, which was originally published in 1958 (items 124 and 467). See also items 16 and 991. The new illustrations commissioned for volumes II and III complement the earlier designs by Nielsen used in the first volume. Volumes IV–VI were published separately (see item 1164). The three volumes are as follows: I The Arabian nights, the book of the thousand nights and one night, volume I, rendered into English from the literal and complete French translation of Dr J.C. Mardrus by Powys Mathers, introduction by Marina Warner, illustrations by Kay Nielsen. Pp. [i–v] vi–xvi [xvii–xx], [1–3] 4–375 [376–380]: [8] leaves of colour plates (facing pp. [iii], 29, 44, 76, 93, 113, 204 and 221). Nielsen’s illustrations were made between 1917 and 1922, and this is their first publication with this text (they were among The unknown paintings of Kay Nielsen published by Pan Books in 1977). II The Arabian nights, the book of the thousand nights and one night, volume II . . . illustrations by Grahame Baker. Pp. [i–v] vi [vii–viii], [1] 2–424: [8] leaves of colour plates (facing pp. [iii], [1], 104, 121, 168, 185, 328 and 345). The illustrator became known, for Folio purposes, as Grahame Baker-Smith from 2011. III The Arabian nights, the book of the thousand nights and one night, volume III . . . illustrations by Debra McFarlane. Pp. [i–v] vi [vii–viii], 1–424: [8] leaves of colour plates (facing pp. [iii], 8, 144, 161, 256, 273, 384 and 401). 1155 Myths and legends of the ancient near east, selected, retold and introduced by Rachel Storm, illustrations by Jane Ray. 252 × 178 × 53 mm. Pp. [1–2], [i–xiii] xiv–xviii, [1] 2–642 [643–644]: [17] leaves of colour plates. Type:

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Ehrhardt with Ondine for display. Printed and bound by Cambridge University Press. Quarter red series binding (see item 724) with hand-drawn spine-lettering by John Andrew, blue-purple linen boards with a design in red, black and gold by Ray; dark red corrugated endleaves. Dark red slip case. 1156 Charles Darwin, journal of researches into the natural history and geology of the countries visited during the voyage of H.M.S. Beagle round the world under Captain Fitz Roy, R.N., introduced by Richard Keynes. Typographical design by Bernard Roberts. 252 × 179 × 51 mm. Pp. [i–v] vi–xxxiv [xxxv–xxxvi], [1–3] 4–518 [519–524]: [26] pages of colour, [12] pages of monochrome plates. Type: Baskerville. Typeset by Gloucester Typesetting, printed and bound by the Bath Press. Full blue-green cloth with a design in black and gold by David Eccles; pale blue endleaves with a map. Black slip case. This volume was issued in Folio’s series of Victorian works of exploration and travel (see item 766). The plates reproduce illustrations issued to accompany early editions of the work, while the frontispiece is a portrait of Darwin painted in 1840. ¶ Second printing: 2004. ¶ Third printing: 2006. ¶ Fourth printing: 2007, printed by Memminger MedienCentrum. Bound by Real Lachenmaier. ¶ Fifth printing: 2017, printed and bound by C & C Offset. 1157 The golden fleece, by Robert Graves, introduction by Lawrence Norfolk, illustrations by Grahame Baker. Maps by Reginald Piggott. 251 × 164 × 37 mm. Pp. [i–iv] v–lii, [1–2] 3–433 [434–438]: [15] leaves of colour plates. Type: Janson with a version of Albertus for display. Printed and bound by Cambridge University Press. Full blue-green buckram with a design in gold by Baker (as item 779); pale blue endleaves with maps. Dark green slip case. There is a further map on page [60] and a genealogical table on pages [xxviii–xxix]. First published in 1944, the present edition follows the general style of items 779 and 804, although the typography is different. The illustrator became known, for Folio purposes, as Grahame Baker-Smith from 2011. ¶ Second printing: 2004. 1158 The trial of the Templars, Malcolm Barber [cross]. Maps and plans by Reginald Piggott. 240 × 183 × 33 mm. Pp. [i–vii] viii–xvi [xvii–xviii], [1] 2–382: [22] pages of colour plates. Type: Sabon with Clairvaux for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full red cloth with a design in gold by Simon Noyes; cream flecked endleaves with a map in dark red. Red slip case. The plates show contemporary buildings, documents and artefacts. ¶ Second printing: 2004. ¶ Third printing: 2005 (not seen). ¶ Fourth printing: 2007, the dimensions now 240 × 160 × 35 mm. ¶ Fifth printing: 2008. 1159 The devil’s dictionary, Ambrose Bierce, introduced by Miles Kington, illustrated by Peter Forster. 177 × 117 × 35 mm. Pp. [i–iv] v–xviii, [1–2] 3–365 [366]. Type: Miller. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in quarter black buckram, marbled paper boards; black endleaves. Black slip case. The pattern of the marbled paper used on the boards is suggestive of rising flames. There are 26 satirical drawings by Forster, one representing each letter of the alphabet. ¶ Second printing: 2004. ¶ Third printing: 2004. ¶ Fourth printing: 2005 (not seen). ¶ Fifth printing: 2007. ¶ Sixth printing (not seen). ¶ Seventh printing: 2008, printed and bound by L.E.G.O. ¶ Eighth printing: 2009. ¶ Ninth printing: 2009. ¶ Tenth printing: 2010. ¶ Eleventh printing: 2012. ¶ Twelfth printing: 2013. 1160 Satyrica, Petronius Arbiter, a new translation by Frederic Raphael, illustrations by Neil Packer. 278 × 187 × 23 mm. Pp. [1–8] 9–157 [158–160]: [7] leaves of colour plates (facing pp. [3], 48, 65, 96, 113, 129 and 144). Type: Centaur. Printed and bound by the Bath Press. Quarter dark brown buckram, orange paper boards with a

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design in gold, silver and copper by Packer; pale yellow endleaves with a design in brown by Sarah Raphael. Dark brown slip case. In addition to the plates by Packer (reproducing his disturbing painted images) there is a drawing by the late Sarah Raphael on page [8]; in 1992 Sarah and Frederic Raphael had collaborated on Of gods and men (item 737). 1161 Charles Dickens, a Christmas carol, in prose, being a ghost story of Christmas, illustrated by Michael Foreman. 252 × 192 × 31 mm. Pp. [1–12] 13–173 [174–176]: [8] leaves of colour plates (facing pp. [3], 24, 41, 73, 88, 120, 137 and 156). Type: Caslon. Printed and bound by Cambridge University Press. Full blue buckram with a design in white, pale blue, red, black and gold by Foreman; white endleaves with colour paintings by Foreman. Red slip case. This is the second separate Folio edition of this text, which was published in a facsimile edition in 1970 (item 289), and was also included in the Christmas books of 1988 (item 622). In addition to Foreman’s colour paintings, there are 29 monochrome drawings by him printed in the text. 1162 Tales from Shakespeare, Charles and Mary Lamb, illustrated with paintings of scenes from Shakespeare by various artists, introduced by Katherine Duncan-Jones. 252 × 193 × 48 mm. Pp. [i–iv] v–xix [xx], 1–268: [12] leaves of colour plates. Type: Caslon. Printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in full green-grey buckram with a design by David Eccles in black, silver and gold; pale grey-green endleaves. Dark green slip case. This edition follows the style of Folio’s series of facsimile children’s books, but is an original concoction, albeit with historical illustrations (being paintings of Shakespearean subjects by late eighteenthand early nineteenth-century artists). ¶ Second printing: 2004, bound by Hunter and Foulis. 1163 Cider with Rosie, Laurie Lee, introduction by Valerie Grove, illustrations by Peter Bailey. 252 × 142 × 24 mm. Pp. [i–vi] vii–xiii [xiv–xviii], 1–221 [222]. Type: Walbaum. Printed and bound by the Bath Press. Pale green-grey cloth, with cream paper on the front board with a design in colour by Bailey; cream endleaves. Dark blue slip case with a design in colour by Bailey. ¶ Second printing: 2005. 1164 The Arabian nights. [Volumes IV–VI, second edition]. 251 × 194 × 50–51 mm. 3 vols (see below). Details as item 1154 (volumes I–III), save that the slip case is undecorated. The three volumes are as follows: IV The Arabian nights, the book of the thousand nights and one night, volume IV, rendered into English from the literal and complete French translation of Dr J.C. Mardrus by Powys Mathers, illustrations by Roman Pisarev. Pp. [i–v] vi [vii–viii], 1–424: [8] leaves of colour plates (facing pp. [iii], 56, 73, 137, 153, 169, 184 and 280). V The Arabian nights, the book of the thousand nights and one night, volume V . . . illustrations by Jane Ray. Pp. [i–v] vi [vii–viii], [1] 2–431 [432]: [8] leaves of colour plates (facing pp. [iii], 41, 56, 136, 264, 281, 312 and 329). VI The Arabian nights, the book of the thousand nights and one night, volume VI . . . illustrations by Neil Packer. Pp. [i–v] vi–vii [viii–x], [1] 2–448 [449–454]: [8] leaves of colour plates (facing pp. [iii], 38, 55, 78, 230, 247, 310 and 327). 1165 In Flanders fields, the 1917 campaign, Leon Wolff, preface by Lyn Macdonald, introduction by Major-General J.F.C. Fuller. Maps by Reginald Piggott. 240 × 163 × 27 mm. Pp. [i–vii] viii–xxviii [xxix–xxx], [1] 2–298: [18] pages of photographic plates. Type: Plantin with Stencil for display. Printed and bound by Cambridge University Press. Full pale grey-green cloth with a photograph in sepia and silver; dark grey endleaves.

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Mottled grey-green slip case. The plates reproduce (very well) contemporary photographs. In addition, there are maps on pages [64], [88], [116], [119], [197], [238] and [240]. ¶ Second printing: 2005, printed by the Saint Edmundsbury Press. ¶ Third printing: 2005 (not seen). ¶ Fourth printing: 2008, bound by Hunter and Foulis. 1166 Joseph Conrad, the rescue, a romance of the shallows, illustrations by Francis Mosley, introduction by Richard Woodman. 229 × 162 × 34 mm. Pp. [1–8] 9–351 [352]: [12] leaves of ‘plates’. Type: Garamond with Romana for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in series binding (see item 852). 1167 Joseph Conrad, the secret sharer and other stories, ’twixt land and sea, and tales of hearsay, illustrations by Francis Mosley, introduction by Jeremy Harding. 228 × 161 × 30 mm. Pp. [1–8] 9–288: [12] leaves of ‘plates’. Type: Gara mond with Romana for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in series binding (see item 852). The seven stories gathered here were originally published in ’Twixt land and sea (1912) and Tales of hearsay (1925). 1168 Daily life in ancient Rome, the people and the city at the height of the Empire, Jérôme Carcopino, edited by Henry T. Rowell, translated from the French by E.O. Lorimer, introduced by Keith Hopkins. Maps by Reginald Piggott. 252 × 176 × 37 mm. Pp. [i–vi] vii–xxiii [xxiv–xxviii], [1–2] 3–387 [388]: [24] pages of colour plates. Type: Poliphilus and Blado. Printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in full white cloth with a colour painting by Richard Shirley Smith; pale grey-pink flecked endleaves with a map in dark red. Dark red slip case. This work, originally published in 1939 as La vie quotidienne à Rome, was issued here in a style and format uniform with Folio’s series of classical biographies (see item 887). The plates reproduce photographs of Roman buildings, carvings and artefacts. 1168.1 Plato, republic . . . Second printing. A separate impression of a volume from Great philosophers of the ancient world. Details as volume [1] of item 1141, but issued in a single-volume slip case. ¶ Third printing: 2003. 1168.2 Aristotle, ethics . . . Second printing. A separate impression of a volume from Great philosophers of the ancient world. Details as volume [2] of item 1141, but issued in a single-volume slip case. ¶ Third printing: 2003. 1168.3 Lucretius, on the nature of things . . . Second printing. A separate impression of a volume from Great philosophers of the ancient world. Details as volume [3] of item 1141, but issued in a single-volume slip case. 1168.4 Cicero, on the good life . . . Second printing. A separate impression of a volume from Great philosophers of the ancient world. Details as volume [4] of item 1141, but issued in a single-volume slip case. 1168.5 Seneca, letters from a Stoic and three dialogues . . . Second printing. A separate impression of a volume from Great philosophers of the ancient world. Details as volume [5] of item 1141, but issued in a single-volume slip case.

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2004 1169 L.M. Montgomery, Anne of Green Gables, introduction by Margaret Atwood, illustrations by Anna C. Leplar. 228 × 160 × 27 mm. Pp. [i–iv] v–xiv [xv–xvi], 1–266 [267–272]: [9] leaves of colour plates (facing pp. [iii], 16, 48, 65, 129, 144, 176, 193 and 265). Type: Fournier with Richmond Bold for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full green-grey cloth with a design in yellow, orange, black and white by Leplar; orange-brown flecked endleaves. Dark green slip case. In addition to the plates, there are 11 pen-and-ink vignettes printed in the text (including one on the title-page). This title was published as Atwood’s ‘Castaway’s Choice’ (see item 270). ¶ Second printing: 2005. ¶ Third printing: 2006, with plain yellow endleaves. ¶ Fourth printing (not seen). ¶ Fifth printing: 2008. Printed by Martins of Berwick. ¶ Sixth printing: 2013. 1170 Elizabeth Gaskell, Mary Barton, a tale of Manchester life, introduced by Jenny Uglow, illustrated by Alexy Pendle. Edited with endnotes by Macdonald Daly. 241 × 162 × 36 mm. Pp. [i–iv] v–xviii, [1–2] 3–391 [392– 396]: colour frontispiece, [9] leaves of ‘plates’ (facing pp. 16, 37, 91, 137, 148, 170, 226, 270 and 339). Type: Ehrhardt. Printed and bound by Cambridge University Press. Full brown series binding (see item 1091), patterned in brown and blue-green; green endleaves. Dark green slip case. 1171 The book of Margery Kempe, a woman’s life in the middle ages, introduced and edited by B.A. Windeatt, preface by Alice Thomas Ellis, illustrations by Chris Daunt. 228 × 165 × 27 mm. Pp. [i–vi] vii–xxxiii [xxxiv], [1–2] 3–297 [298–302]. Type: Dante with Goudy Text Lombardic Capitals for display and hand-drawn lettering (by Daunt) for the title. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full vegetable parchment (‘Parchemarque’) printed in colour with a pastiche medieval design by Daunt; vegetable parchment endleaves. Pale blue slip case. The illustrations consist of 12 wood-engravings. 1172 Mary Queen of Scots, Antonia Fraser, introduction by Roy Strong. Maps, tables, etc. by Reginald Piggott. 252 × 163 × 48 mm. Pp. [i–v] vi–xxiii [xxiv–xxx], [1–3] 4–616: [22] pages of colour plates. Type: Ehrhardt. Printed by Scotprint. Bound by Hunter and Foulis in full dark red buckram with a coin design in gold on the cover; dark brown endleaves. Dark brown slip case. The plates show contemporary paintings, prints, artefacts and buildings. Pages [xxiv–xxvii] bear pedigrees and maps by Piggott. This is the first in a new series of biographies of British monarchs (see also items 1173, 1185, 1220 and 1263). ¶ Second printing: 2005 (not seen). 1173 William the Conqueror, the Norman impact upon England, David C. Douglas, introduction by Roy Strong. Maps, tables, etc. by Reginald Piggott. 252 × 164 × 44 mm. Pp. [i–v] vi–xvi [xvii–xx], [1] 2–452: [18] pages of colour plates. Type: Ehrhardt. Printed by Scotprint. Bound by Hunter and Foulis in full dark blue buckram with a coin design in gold on the cover; dark red-brown endleaves. Dark red slip case. In series with item 1172. The plates show contemporary manuscripts, paintings, artefacts and buildings. Pages [xvii–xix] bear maps by Piggott. ¶ Second printing: 2005.

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1174 Le morte Darthvr, Sir Thomas Malory Knt. 2 vols (see below). Printed by the Bath Press. Bound by Smith Settle. Black two-volume clamshell box, leather spine-label titled (as above) in gold. This facsimile of the third Dent edition of Malory’s work (1927), designed and illustrated by Aubrey Beardsley in 1893–1894, was printed on paper specially made by James Cropper to resemble the original as closely as possible. The title-pages are dated ‘MMIII’ and ‘2003’ respectively, but copies were not issued until early 2004. The two volumes are as follows: [1] The birth, life and acts of King Arthur, of his noble knights of the round table, their marvellous enquests and adventures, the achieving of the San Greal and in the end le morte Darthur . . . the text written by Sir Thomas Malory and imprinted by William Caxton at Westminster in the year MCCCCLXXXV, and now spelled in modern style, embellished with many original designs by Aubrey Beardsley [facsimile]. Edited, with a note on the text, by F.J. Simmons. 300 × 235 × 69 mm. Pp. [1–2], [i–v] vi–xxxi [xxxii], [1] 2–538 [539–544]: [23] leaves of ‘plates’, [2] leaves of plates. Type: Caslon with Old English for display (the title-page and colophon set by Folio). Full black morocco decorated in gold to a design by Beardsley (redrawn by Frances Button); pale brown hand-made endleaves (from Fabriano’s ‘Roma’ range). The colophon records that 1020 copies were printed. A printed slip with notes on the care of leather is loosely inserted. [2] Thomas Malory, the morte Darthur and Aubrey Beardsley [ornament] an essay by Anthony S. G. Edwards. 222 × 138 × 2 mm. Pp. [1–2] 3–15 [16]. Type: Ehrhardt. Sewn into printed pale brown paper wrappers. This essay was specially commissioned by Folio and is inserted in a pocket inside the box which holds the facsimile (volume [1] above). 1175 Citizens, a chronicle of the French Revolution, Simon Schama, volume I [–II]. Maps by Reginald Piggott after Jean Paul Tremblay. 252 × 178 × 30–34 mm. 2 vols (pp. [i–v] vi–xvi [xvii–xx], [1–2] 3–412; [i–v] vi [vii–x], [413–415] 416–914). Type: Photina. Printed by Grammlich. Bound by Real Lachenmaier in quarter black buckram, crushed red artificial silk boards; red endleaves. Black slip case with a colour reproduction of a painting on the front panel. The text was originally published in 1989, and is illustrated throughout in monochrome and colour with reproductions of contemporary artworks. 1176 Arnold Bennett, the old wives’ tale, introduction by Tim Heald, lithographs by Glynn Boyd Harte. 252 × 161 × 48 mm. Pp. [i–iv] v–xx [xxi–xxii], [1–2] 3–546: [9] leaves of colour plates (facing pp. [iii], 34, 98, 170, 234, 298, 362, 435 and 498). Type: Bembo. Printed and bound by Cambridge University Press. Full brown cloth with a design in dark blue and white by Harte; brown endleaves. Brown slip case with an additional design in colour by Harte (resembling a dust-jacket design) on the front panel. These were Boyd Harte’s last designs for Folio, published posthumously (he died in December 2003). They were printed by direct lithography, from colour separations drawn by the artist on specially prepared film. 1177 The rise and fall of the Third Reich . . . volume I [–IV]. Reprinted in four volumes, with a new binding design and new illustrations. As item 810, but the bindings measure 252 × 161 × 33–39 mm. 4 vols (pp. [i–vi] vii–xvi, [1–2] 3–308 [309–312]: colour frontispiece, [16] pages of plates; [i–vi] vii–ix [x], [1–2] 3–395 [396– 398]: colour frontispiece, [16] pages of plates; [i–vi] vii–viii, [1–2] 3–352: colour frontispiece, [16] pages of plates; [i–vi] vii–ix [x], [1–2] 3–303 [304–310]: colour frontispiece, [16] pages of plates). Typeset by Fakenham Photosetting and Folio, printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in dark metallic grey cloth, the front board of each volume covered with paper printed with a monochrome photographic montage; silver endleaves with maps by Reginald Piggott (different in each volume). Red four-volume slip case. This reprint of the 1975 edition has been repaginated as four volumes, and illustrated with a new series of contemporary photographs.

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1178 A secret pilgrimage to Mecca and Medina, Richard F. Burton, introduced by Tim Mackintosh-Smith. Typographical design by Bernard Roberts. Maps by Reginald Piggott. 252 × 176 × 56 mm. Pp. [i–v] vi–xvii [xviii–xx], [1] 2–539 [540–542]: [26] pages of sepia photographic plates + [1] folded colour map. Type: Baskerville. Printed and bound by Cambridge University Press. Full pale brown cloth with a design in black and gold by David Eccles; pale brown flecked endleaves. Black slip case. Issued in the series of travel and exploration books (see item 766). Burton’s text was first published in 1855–1856, and the present edition follows one of 1879 with a new series of reproductions of Victorian photographs. The loosely inserted map shows the route taken by Burton, and is reproduced from the original edition. ¶ Second printing: 2005. 1179 Frankenstein, or The modern Promethius, Mary Shelley, introduction by Miranda Seymour, illustrations by Harry Brockway. 228 × 150 × 24 mm. Pp. [i–viii] ix–xxviii, [1–2] 3–221 [222–224]: [10] leaves of ‘plates’ (facing pp. [iii], 13, 43, 47, 66, 93, 121, 136, 161 and 191). Type: Bulmer with Old English for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full grey cloth with a design in black and silver by Brockway; dark red endleaves. Black slip case. Although Folio considered publishing Frankenstein several times this is, surprisingly, the first edition of the book. It is a nicely restrained piece of design, perfectly complemented by Brockway’s wood-engraved illustrations. ¶ Second printing: 2005. 1180 Travels with Robert Louis Stevenson. 204 × 136 × 36–38 mm. 3 vols (see below). Type: Bell with Open Sans-Surryphs for display. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in full cloth (a different colour for each volume) with a design in black, gold and another colour by Nick Hardcastle. Dark red five-volume slip case titled (as above) in gold. Issued in an informal series with the Richard Hannay adventures (item 1138). The three volumes are as follows: [1] Robert Louis Stevenson, an inland voyage and other European tales, introduction by Richard Holmes, illustrations by Nick Hardcastle. Pp. [i–v] vi–xxxii, [1–3] 4–238 [239–240]: [8] leaves of ‘plates’ (facing pp. [iii], 12, 48, 86, 111, 156, 176 and 199). Green cloth, additional binding colour: pale green; green endleaves. [2] Robert Louis Stevenson, across the plains and travels from Scotland to California, illustrations by Nick Hardcastle. Pp. [i–v] vi [vii–viii], [1–7] 8–219 [220–224]: [8] leaves of ‘plates’ (facing pp. [iii], 8, 59, 67, 99, 155, 184 and 189). Dark red cloth, additional binding colour: orange; dark red endleaves. [3] Robert Louis Stevenson, in the South Seas, being an account of experiences and observations in the Marquesas, Paumotus and Gilbert Islands . . . illustrations by Nick Hardcastle. Pp. [i–v] vi–vii [viii–x], [1–3] 4–373 [374]: [8] leaves of ‘plates’ (facing pp. [iii], 60, 124, 147, 221, 272, 312 and 338). Blue cloth, additional binding colour: green; dark blue endleaves. 1181 The Habsburgs, embodying empire, Andrew Wheatcroft. Maps by Reginald Piggott. 227 × 176 × 42 mm. Pp. [i–viii] ix–xxix [xxx–xxxii], 1–445 [446–448]: [24] pages of colour, [8] pages of monochrome plates + [1] folded genealogical table (by Reginald Piggott). Type: Van Dijck with display in a Fraktur type designed for Maximilian I in the sixteenth century. Printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in full yellow artificial silk with a design in black by Frances Button; endleaves with a reproduction of a tapestry in colour. Black slip case. The plates reproduce paintings and photographs of the Habsburgs and their doings.

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¶ Second printing: 2005. 1182 The age of illumination. 262 × 192 × 23–26 mm. 3 vols (see below). Type: Centaur with Golden Cockerel and Hrabanus Script for display. Printed and bound by Cambridge University Press. Full gold cloth with a design in black by David Eccles, gilt top edge; metallic red endleaves. Black three-volume slip case titled (as above) in gold with a colour reproduction of a stained-glass window on the front panel. Each volume is lavishly illustrated with colour and monochrome reproductions of artworks, architecture and historical objects. The three volumes are as follows: [1] Gothic art and civilisation, George Henderson. Pp. [i–viii] ix–x, [1–2] 3–201 [202–206]. [2] Early medieval art and civilisation, George Henderson. Pp. [i–viii], [1–2] 3–260 [261–264]. [3] Byzantine art and civilisation, Steven Runciman. Pp. [i–viii], [1–2] 3–184. ¶ Second printing: 2004. 1183 The life of Saint Edmund, king & martyr. 253 × 171 × 27–35 mm. 2 vols (see below). Dark green two-volume clamshell box, leather spine-label titled (as above) in gold to a design by David Eccles. The facsimile is a careful digital reproduction of a fifteenth-century illuminated manuscript life of Saint Edmund by John Lydgate (now British Library MS Harley 2278). The two volumes are as follows: [1] [Life of Saint Edmund, facsimile]. Ff. [1] 2–119 [120]. Type: Centaur and Arrighi for colophon. Photographed digitally by Laurence Pordes. Printed by Cambridge University Press. Bound by Smith Settle in full cream morocco with three false raised bands, decorated in brown and gold, with onlays of red morocco decorated in black, blue and gold, to designs by David Eccles, gilt edges; dark brown hand-made endleaves (from Fabriano’s ‘Roma’ range). 1010 copies were bound thus for Folio, and a further 1000 copies were published by the British Library in a different binding. The colophon records that the boards are ‘bevelled’, but this is not in fact the case. A printed slip with notes on the care of leather is loosely inserted. [2] The life of St Edmund, king and martyr, the lives of Saints Edmund and Fremund in Ms Harley 2278, by John Lydgate, introduction, transcript and commentary by A.S.G. Edwards. Pp. [i–vi] vii–xxii [xxiii–xxiv], ff. 1–119 [120]. Type: Centaur and Arrighi. Printed by the Saint Edmundsbury Press (appropriately, given the subject of the manu script and the fact that it was probably written at Bury Abbey). Bound by Cambridge University Press in full green-blue buckram with a simplified version of David Eccles’s design for the facsimile in gold; pale brown flecked endleaves. The bulk of the text consists of an annotated transcription of the manuscript. 1184 The Folio Society book of the 100 greatest portraits, general editor Martin Bailey. 290 × 231 × 24 mm. Pp. [1–4] 5–219 [220–224]. Type: Dante with Centaur for display. Printed and bound by Grafos. Brown buckram, with white paper on the front board printed in colour with a detail of the ‘Mona Lisa’; gold endleaves. Dark brown slip case. The 100 paintings are all reproduced in colour, with commentaries by a team of art historians. ¶ Second printing: 2004 (not seen). ¶ Third printing: 2004 (not seen). ¶ Fourth printing: 2006. 1185 Henry VIII, J.J. Scarisbrick, introduction by Roy Strong. 252 × 162 × 46 mm. Pp. [i–vii] viii–xxvi [xxvii– xxviii], [1] 2–547 [548]: [22] pages of colour and monochrome plates. Type: Ehrhardt. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in full red buckram with a coin design in gold; dark purple endleaves. Dark purple slip case. In series with item 1172.

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1186 Bertrand Russell, history of western philosophy and its connection with political and social circumstances from the earliest times to the present day, introduction by A.C. Grayling. 240 × 165 × 62 mm. Pp. [i–v] vi–xxvi, [1–5] 6–833 [834–838]: photographic frontispiece. Type: Ehrhardt. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark brown morocco with a design in black and gold by Jeff Clements; pale brown endleaves with a repeat pattern by Clements in dark brown. Black slip case. It was a slightly curious decision for Folio to publish this book, given its length, weighty subject-matter and extremely limited scope for illustration (the frontispiece portrait of Russell is all that is needed). Putting it into a leather binding is equally unexpected, and the result is certainly one of the queerer birds in Folio’s aviary. It proved, however, to be a great favourite with members. ¶ Second printing: 2004. ¶ Third printing: 2005 (not seen). ¶ Fourth printing (not seen). ¶ Fifth printing: 2008. ¶ Sixth printing: 2008. 1187 Churchill, a life, volume I [–II], Martin Gilbert. Maps by the author. 240 × 176 × 50–53 mm. 2 vols (pp. [i–v] vi–xxiv [xxv–xxvi], [1] 2–568 [569], [1–5]: [34] pages of photographic plates; [i–vii] viii–ix [x–xi], 570–1198: [34] pages of photographic plates). Type: Plantin. Printed and bound by the Bath Press. Quarter dark purple buckram, dark grey cloth boards; dark blue endleaves. Dark blue two-volume slip case with a photographic portrait of Churchill on the front panel. The plates reproduce monochrome photographs of Churchill and his circle, and contemporary documents and cartoons. 1188 The Mycenaeans and the Minoans. Decorations by Frances Button. 252 × 175 × 38–39 mm. 2 vols (see below). Type: Imprint. Printed and bound by Cambridge University Press. Series binding (see item 910 and below). Dark red two-volume slip case titled (as above) in gold. The plates reproduce photographs of art, artefacts and architectural remains. The two volumes, which were also issued separately (see items 1189 and 1190), are as follows: [1] Lord William Taylour and John Chadwick, the Mycenaeans and the decipherment of Linear B, introduced by J. Lesley Fitton. Maps and plans by Reginald Piggott. Pp. [i–iv] v–xxiii [xxiv], [1–2] 3–378 [379–384]: [32] pages of colour plates. Title-page decoration in brown. Dark brown cloth; pale brown endleaves with a map in dark brown. This work consists of Taylour’s The Mycenaeans (first published in 1964) and Chadwick’s The decipherment of Linear B (first published in 1958); both texts have been revised and corrected. [2] J. Lesley Fitton, the Minoans, with essays by J. Lesley Fitton, Phyllis Young Forsyth and Sinclair Hood. Maps and plans by Fitton. Pp. [i–iv] v–xix [xx], [1–2] 3–392 [393–396]: [32] pages of colour plates. Title-page decor ation in red-brown. Red cloth; pale brown endleaves with a map in red. This work was first published in 2002. ¶ Second printing: 2004. Part of this impression was issued as items 1189 and 1190. 1189 Lord William Taylour and John Chadwick, the Mycenaeans and the decipherment of Linear B . . . A separate issue of the first volume of The Mycenaeans and the Minoans. Details as volume [1] of item 1188, but in a dark brown single-volume slip case. ¶ Second printing: 2004. 1190 J. Lesley Fitton, the Minoans, with essays by J. Lesley Fitton, Phyllis Young Forsyth and Sinclair Hood. A separate issue of the second volume of The Mycenaeans and the Minoans. Details as volume [2] of item 1188, but in a dark brown single-volume slip case.

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¶ Second printing: 2004. 1191 An embassy to China, being the journal kept by Lord Macartney during his embassy to the Emperor Ch’ien-lung, 1793–1794, illustrated with watercolour sketches made during the embassy by William Alexander, introduced by Jonathan Spence, edited by J.L. Cranmer-Byng. 262 × 193 × 32 mm. Pp. [i–vii] viii–xviii, [1–2] 3–314 [315–318]. Type: Bell. Printed and bound by Cambridge University Press. Quarter dark green buckram, pale blue paper boards with a wood-engraved pattern by Simon Brett in blue-green; pale blue endleaves with a map by Reginald Piggott in dark green. Dark green slip case bearing a colour reproduction of a watercolour. There are 111 colour reproductions of Alexander’s watercolours and sketches printed with the text, including the title-spread and slip-case illustration. 1192 Graham Greene, travels with my aunt, a novel, introduced by John Mortimer, illustrated by John Holder. 229 × 150 × 28 mm. Pp. [1–4] 5–267 [268–272]: [9] leaves of colour plates (facing pp. [3], 48, 81, 113, 128, 160, 177, 209 and 224). Type: Garamond with Gill Sans for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full grey-green cloth with a design in cream, black and red by Holder; cream endleaves. Green slip case. In addition to the plates, there are 11 pen-and-ink tail-pieces by Holder. ¶ Second printing: 2005. ¶ Third printing: 2006 (not seen). 1193 An eyewitness history of the crusades. Maps by Reginald Piggott. 252 × 164 × 35–38 mm. 4 vols (see below). Type: Minion. Printed and bound by Cambridge University Press. Full cream paper with a frieze design in dark brown and gold by Neil Packer; dark red endleaves. Cream four-volume slip case titled (as above) in gold and repeating the binding design. The plates reproduce medieval illuminations and miniatures. The bindings are designed in such a way that, when placed correctly in the slip case, the frieze is continuous around the case and across the four spines. The four volumes are as follows: [1] An eyewitness history of the crusades, the first crusade 1096–1099, edited and introduced by Christopher Tyerman. Pp. [i–vii] viii–xliii [xliv–l], [1] 2–398: [18] pages of colour plates. [2] . . . The second crusade 1099–1187, edited and introduced by Christopher Tyerman. Pp. [i–v] vi–xxiv [xxv–xxx], [1–3] 4–496 [497–498]: [18] pages of colour plates. [3] . . . The third crusade 1188–1192, edited and introduced by Christopher Tyerman. Pp. [i–vii] viii–xxix [xxx– xxxvi], [1] 2–444: [18] pages of colour plates. [4] . . . The fourth crusade 1192–1291, edited and introduced by Christopher Tyerman. Pp. [i–v] vi–xxx [xxxi–xxxvi], [1–3] 4–499 [500]: [18] pages of colour plates. 1194 The Folio diary 2005. 199 × 148 × 13 mm. Pp. [1–128]. Type: Dante. Printed and bound by Grafos. Full plasticised paper with a colour reproduction of a painting by Beryl Cook; endleaves (pages [1–4] and [125– 128]) printed in brown with a repeat pattern of running rats by John Lawrence. Not issued in a slip case. Issued free to members in July 2004. Each recto represents a week, with a reproduction of an illustration from a Folio book on the facing verso. 1195 Legends of the ring, selected and edited by Elizabeth Magee, illustrated by Simon Brett. 253 × 181 × 52 mm. Pp. [i–vi] vii–xxxvi, [1–3] 4–694 [695–698]: [1] leaf, [17] leaves of ‘plates’. Type: Ehrhardt with Herculanum for display. Printed and bound by the Bath Press. Quarter dark brown series binding (see item 724), dark red plastic boards with a design in black and gold by Brett; red endleaves. Black slip case. The text is a selection

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of Norse and Germanic legends, translated by a variety of hands (including the editor). Brett’s illustrations consist of 16 full-page wood-engravings, inserted (with an additional unnumbered leaf ) between pages 360 and [361], one being repeated as the frontispiece. ¶ Second printing: 2004. 1196 Rudyard Kipling, selected poems, edited and introduced by Andrew Lycett, [wood-] engravings by George Tute. 280 × 191 × 45 mm. Pp. [i–iv] v–xviii, [1–2] 3–405 [406]. Type: Baskerville. Printed and bound by the Bath Press. Quarter dark red series binding (see item 1051), pale orange cloth boards; dark red endleaves. Dark red slip case. In ‘The Folio Poets’ series (see item 1051). There is a total of 72 wood-engravings, often printed as head- and tail-pieces to the poems. They include four that are repeated once, and five small portraits of Kipling which are used three or four times each. For earlier collections of Kipling’s verse see items 692 and 834. ¶ Second printing: 2005. 1197 Charles Dickens, the posthumous papers of the Pickwick Club, containing a faithful record of the perambulations, perils, travels, adventures and sporting transactions of the corresponding members, with the original illustrations by R. Seymour, R.W. Buss and “Phiz” [Hablot K. Browne], introduction by A.N. Wilson. 262 × 169 × 52 mm. Pp. [i–iv] v–xxxvi [xxxvii–xxxviii], 1–798 [799–802]: [44] leaves of ‘plates’. Type: Bulmer with Verdi for display. Typeset by R. and R. Clark for the Nonesuch Press in 1937 (the preliminaries by Folio), printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in quarter dark red morocco, dark red buckram boards, black leather spine-label; dark red endleaves. Dark red slip case. With the present volume a new edition of the complete novels of Dickens was launched. This time, rather than typeset each book and commission new illustrations, Folio chose to reproduce in facsimile the Nonesuch Press edition, designed by Francis Meynell and published in 1937 and 1938 under the editorial direction of Walter Dexter, Thomas Hatton, Hugh Walpole and Arthur Waugh. In the original Nonesuch edition, the illustrations were reprinted from the same etched plates and wood-engraved blocks used for the first, or early, editions of the novelist’s works. The edition was set in a newly designed type, ‘based upon the vivid but wholly unaffected letter-design originally cut by William Martin for use by that eminent printer William Bulmer shortly before 1790’ (quote from the 1937 prospectus for the edition), which was later released by the Monotype Corporation as ‘Bulmer’. The original cursive shoulder-notes were removed from the present reprint, and the series was issued in a uniform binding (see above), with gilt top edges and a dark red silk marker in each volume. Each was also expanded with a new introduction, typeset to harmonise with the original Nonesuch typography. Regrettably, the Verdi type (often mistaken for Figgins Shaded) used for display in both the original and Folio settings has not always reproduced well by offset lithography. ¶ Second printing: 2005. This reprint coincides with the selection of this title as the ‘Castaway’s Choice’ of Robert Robinson and Barry Norman (see item 270). ¶ Third printing: 2011, the dimensions now 246 × 159 × 56 mm. Printed by Memminger MedienCentrum. Bound with a new design in quarter brown buckram with paper boards. Front board decorated in gold with quotation from book. This reissue includes no silk marker and the edges are plain. Pale brown endleaves. Brown slip case. 1198 Charles Dickens, great expectations, with the original illustrations by Marcus Stone, introduction by D.J. Taylor. 262 × 170 × 45 mm. Pp. [i–iv] v–xv [xvi–xviii], 1–478. Type: Bulmer with Verdi for display. Typeset by R. and R. Clark for the Nonesuch Press in 1937 (the preliminaries by Folio), printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in series binding (see item 1197). The illustrations consist of eight full-page wood-engravings (on pages [iii], [81], [145], [179], [239], [359], [415] and [475]). This title was the ‘Castaway’s Choice’ of several celebrities (see item 270).

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¶ Second printing: 2004. ¶ Third printing: 2011, the dimensions now 246 × 157 × 44 mm. Printed by Memminger MedienCentrum. Bound in quarter green buckram with a new series binding (see item 1197). Green slip case. 1199 Charles Dickens, the personal history, adventures, experiences, and observation [sic] of David Copperfield the younger of Blunderstone Rookery (which he never meant to be published on any account), with the original illustrations by “Phiz” [Hablot K. Browne], introduction by Kathryn Hughes. 262 × 169 × 56 mm. Pp. [i–iv] v–xxi [xxii–xxiv], 1–871 [872–874]: [39] leaves of ‘plates’. Type: Bulmer with Verdi for display. Typeset by R. and R. Clark for the Nonesuch Press in 1937 (the preliminaries by Folio), printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in series binding (see item 1197). This title was the ‘Castaway’s Choice’ of several celebrities (see item 270). ¶ Second printing: 2004. ¶ Third printing: 2011, the dimensions now 246 × 159 × 58 mm. Printed by Memminger MedienCentrum. Bound in quarter blue buckram with a new series binding (see item 1197). Blue slip case. 1200 Charles Dickens, Bleak House, with the original illustrations by “Phiz” [Hablot K. Browne], introduction by Peter Ackroyd. 262 × 170 × 56 mm. Pp. [i–iv] v–xix [xx–xxii], 1–874 [875–876]: [39] leaves of ‘plates’. Type: Bulmer with Verdi for display. Typeset by R. and R. Clark for the Nonesuch Press in 1938 (the preliminaries by Folio), printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in series binding (see item 1197). This title was the ‘Castaway’s Choice’ of Colin Dexter (see item 270). ¶ Second printing: 2005 (not seen). ¶ Third printing: 2008. ¶ Fourth printing: 2011, the dimensions now 246 × 158 × 57 mm. Printed by Memminger MedienCentrum. Bound in quarter blue buckram with a new series binding (see item 1197). Blue textured slip case. 1201 H.G. Wells, classics of science fiction. 240 × 178 × 38 mm. 3 vols (see below). Type: Caslon. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full buckram (a different colour for each volume) with a design by Grahame Baker in gold, cream and black. Black three-volume slip case titled (as above) in gold. The illustrator became known, for Folio purposes, as Grahame Baker-Smith from 2011. The three volumes are as follows: [1] The time machine and the island of Doctor Moreau, H.G. Wells, introduced by Michael Moorcock, illustrated by Grahame Baker. Pp. [1–2], [i–iv] v–xix [xx], [1–2] 3–262 [263–266]: [8] leaves of colour plates (facing pp. [iii], 10, 27, 29, 75, 90, 98 and 111). Binding colour: blue; pale blue endleaves. [2] The invisible man, a grotesque romance, H.G. Wells, introduced by Bryan Appleyard, illustrated by Grahame Baker [quotation]. Pp. [1–2], [i–iv] v–xvii [xviii], 1–175 [176–180]: [7] leaves of colour plates (facing pp. [iii], 13, 28, 92, 109, 157 and 172). Binding colour: green; green endleaves. [3] The war of the worlds, H.G. Wells, introduced by Iain Sinclair, illustrated by Grahame Baker. Pp. [1–2], [i–iv] v–xx [xxi–xxii], [1–2] 3–212 [213–216]: [7] leaves of colour plates (facing pp. [iii], 9, 41, 104, 121, 168 and 185). Binding colour: orange-brown; pale orange-brown endleaves. 1202 Shakespeare’s life and world, compiled and introduced by Katherine Duncan-Jones. 262 × 193 × 26 mm. Pp. [1–6] 7–308 [309–312]. Type: Baskerville with Helvetica for display. Printed and bound by Cambridge University Press. Quarter dark red linen, cream paper boards with a colour collage by Chris Wadden; pale yellow endleaves with a map of London in dark red. Mottled cream slip case, title in brown. The Presentation

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Volume for 2005. The text is illustrated with a total of 154 photographs and reproductions of documents, 99 in colour. The typography is a not entirely happy solution to the tricky problem of combining old texts with modern commentary, using two unrelated typefaces to reflect the mixture of material. 1203 P.G. Wodehouse, best of Blandings. 222 × 145 × 23–28 mm. 6 vols (see below). Type: Goudy Old Style with Gill Sans Ultrabold Condensed for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full white cloth with illustrations in colour by Paul Cox; pale orange endleaves with an aerial view of Blandings Castle by Cox in green. Cream six-volume slip case decorated and titled (as above) in dark green and gold. Uniform with items 861 and 1047. The six volumes are as follows: [1] P.G. Wodehouse, summer lightning, introduced by Alan Titchmarsh, illustrated by Paul Cox. Pp. [1–4] 5–275 [276–280]. Originally published in 1929. There is a total of 64 pen-and-wash drawings by Cox, including nine full-page (one being the frontispiece), one spread across two pages, 21 head-pieces and seven tail-pieces. [2] P.G. Wodehouse, heavy weather, illustrated by Paul Cox. Pp. [1–6] 7–278 [279–280]. Originally published in 1933. There is a total of 66 pen-and-wash drawings by Cox, including eight full-page (one being the frontispiece), three spread across two pages, 17 head-pieces and 11 tail-pieces. [3] P.G. Wodehouse, Uncle Fred in the springtime, illustrated by Paul Cox. Pp. [1–6] 7–235 [236–240]. Originally published in 1939. There is a total of 58 pen-and-wash drawings by Cox, including seven full-page (one being the frontispiece), four spread across two pages, 20 head-pieces and six tail-pieces. [4] P.G. Wodehouse, full moon, illustrated by Paul Cox. Pp. [1–6] 7–229 [230–232]. Originally published in 1947. There is a total of 51 pen-and-wash drawings by Cox, including 11 full-page (one being the frontispiece), two spread across two pages, ten head-pieces and five tail-pieces. [5] P.G. Wodehouse, pigs have wings, illustrated by Paul Cox. Pp. [1–6] 7–222 [223–224]. Originally published in 1952. There is a total of 53 pen-and-wash drawings by Cox, including nine full-page, three spread across two pages (one being the frontispiece), 11 head-pieces and four tail-pieces. [6] P.G. Wodehouse, service with a smile, illustrated by Paul Cox. Pp. [1–6] 7–214 [215–216]. Originally published in 1962. There is a total of 56 pen-and-wash drawings by Cox, including six full-page, three spread across two pages (one being the frontispiece), 12 head-pieces and eight tail-pieces. 1204 The Zimmermann telegram [Maltese cross] Barbara Tuchman, introduced by Margaret MacMillan. 240 × 160 × 28 mm. Pp. [i–vi] vii–xxi [xxii], [1–2] 3–225 [226]: [18] pages of photographic plates. Type: Sabon with Kabel Heavy for display. Printed and bound by Grafos. Quarter brown linen, white paper boards with a collage of sepia photographs; orange-brown endleaves. Dark brown slip case. The plates reproduce contemporary photographs, paintings and prints. ¶ Second printing: 2005. ¶ Third printing: 2006 (not seen). 1205 John Betjeman, selected poems, edited by Alan Powers, drawings by Peter Bailey. 228 × 161 × 27 mm. Pp. [i–iv] v–xiv, [1–2] 3–222 [223–226]. Type: Walbaum with Open Sans-Surryphs and Latin Condensed on the title-page. Printed and bound by Cambridge University Press. Full white cloth with a design in yellow, blue, pink and black by Bailey; blue endleaves with wood-engraved vignettes. Dark red slip case. Bailey’s illustrations are printed in colour, and are supplemented with reproductions of photographs, prints and ephemera

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reflecting the provincial themes and settings, and the period, of the verses. Pages 140–141 are printed on a pale green ground. ¶ Second printing: 2005. ¶ Second [i.e. third] printing: 2007. 1206 Relativity, the special and the general theory, Albert Einstein, authorised translation by Robert W. Lawson, introduced by Roger Penrose. 241 × 131 × 20 mm. Pp. [i–iv] v–xxii, [1–4] 5–201 [202]: photographic frontispiece. Type: Palatino with Helvetica for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full grey paper with a design in black and iridescent silver by Jonathan Hitchen; metallic red-brown endleaves. Black slip case. The plates reproduce contemporary photographs, paintings and prints. An unusual book, which nonetheless proved popular with members. ¶ Second printing: 2005. ¶ Third printing: 2006 (not seen). ¶ Fourth printing: 2007; silver endleaves. ¶ Fifth printing: 2008. ¶ Sixth printing: 2009, printed by the Amadeus Press. ¶ Seventh printing: 2009. ¶ Eighth printing (not seen). ¶ Ninth printing: 2011. ¶ Tenth printing: 2014, bound by Charles Letts & Co. 1207 The complete Winnie the Pooh, by A.A. Milne, with decorations by E.H. Shepard. 241 × 176 × 29–30 mm. 3 vols (see below). Type: Caslon. Printed and bound by L.E.G.O. Full buckram (a different colour for each volume) with a design in black, white and gold by David Eccles (incorporating motifs by Shepard). Dark green three-volume slip case decorated and titled (as above) in gold to a design by Eccles (after Shepard). The illustrations are printed in colour from versions prepared by Shepard in 1970. The three volumes are as follows: [1] Winnie-the-Pooh, by A.A. Milne, with decorations by E.H. Shepard. Pp. [1–4] 5–193 [194–224]. Dark pink buckram; pale yellow endleaves with a map in colour. The text concludes with brief biographies of Milne, Shepard and Pooh, and pages [195–224] bear reproductions of Shepard’s pencil sketches for the illustrations. [2] The house at Pooh Corner, by A.A. Milne, with decorations by E.H. Shepard. Pp. [1–4] 5–200 [201–224]. Blue buckram; pale yellow endleaves with a map in colour. Pages [203–224] bear reproductions of Shepard’s pencil sketches for the illustrations. [3] The complete poems for Christopher Robin, by A.A. Milne, with decorations by E.H. Shepard. Pp. [1–10] 11–223 [224]. Green buckram; white endleaves with vignettes in colour. A composite volume containing When we were very young and Now we are six. ¶ Second printing: 2011. 1208 John Steinbeck, travels with Charley in search of America, introduction by Jay Parini, illustrations by John Holder. 240 × 164 × 26 mm. Pp. [i–vi] vii–xxv [xxvi–xxviii], [1–2] 3–240 [241–244]: [12] leaves of ‘plates’. Type: Goudy Old Style with Futura Extra Bold Oblique for display. Printed and bound by the Bath Press. Full pale blue-grey cloth with a design in black and silver by Holder; blue-grey endleaves (the front endleaves with a drawing by Holder). Dark blue slip case. In addition to the ‘plates’ there are 17 tail-piece vignette drawings by Holder, two repeated. ¶ Second printing: 2005. ¶ Third printing: 2006. ¶ Fourth printing: 2006. ¶ Fifth printing: 2008, the dimensions now 240 × 161 × 25 mm. Printed and bound by T.J. International. ¶ Sixth printing: 2009. ¶ Seventh printing: 2010.

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1209 [head-piece] The Book of Common Prayer, ornamented with wood cuts from designs of Albert Durer, Hans Holbein, and others. In imitation of Queen Elizabeth’s book of Christian prayers. [acorn ornament] With a foreword by Sir Patrick Cormack. 240 × 177 × 50 mm. Pp. [i–v] vi–x, [1] 2–718. Type: Caslon. Typeset by Charles Whittingham in 1853 and by Folio, printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in quarter dark green leather decorated in gold, Ann Muir marbled paper boards; dark green endleaves. Dark green slip case decorated in gold. This is a facsimile of the edition of the Book of Common Prayer originally printed by Charles Whittingham for William Pickering in 1853. Each page is set within a complex wood-engraved border, and the text is set in antiquated style, using the ‘long s’. ¶ Second printing: 2005. ¶ Third printing: 2006 (not seen). ¶ Fourth printing: 2007. ¶ Fifth printing (not seen). ¶ Sixth printing: 2008, printed by Memminger MedienCentrum. ¶ Seventh printing: 2010. Paper boards now by Jemma Lewis Marbling. ¶ Eighth printing: 2013. 1210 Charles Dickens, the adventures of Oliver Twist, or The parish boy’s progress, with the original illustrations by George Cruikshank, introduction by Peter Ackroyd. [Second edition]. 261 × 170 × 46 mm. Pp. [i–iv] v–xxvii [xxviii–xxx], 1–418 [419–422]: [24] leaves of ‘plates’. Type: Bulmer with Verdi for display. Typeset by R. and R. Clark for the Nonesuch Press in 1937 (the preliminaries by Folio), printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in series binding (see item 1197). This title was the ‘Castaway’s Choice’ of Michael Crawford (see item 270). ¶ Second printing: 2012, the dimensions now 246 × 158 × 45 mm. Printed by Memminger MedienCentrum. Bound in quarter blue-grey buckram with a new series binding (see item 1197). Blue slip case. 1211 Peter Pan in Kensington Gardens, from the · little · white · bird, by J · M· Barrie, illustrated · by Arthur · Rackham, preface · by · David · Wootton. 332 × 251 × 33 mm. Pp. [i–viii] ix–xviii [xix–xxii], 1–148 [149–154]. Type: Caslon with hand-drawn lettering (by Rackham and Frances Button) for the title. Printed (with the title-page in black and green) by the Saint Edmundsbury Press. Bound by Cambridge University Press in full green buckram with a design in red and gold by Rackham, redrawn by Button; pale green endleaves with a design in dark green by Rackham. Green slip case. This edition is illustrated with 12 delightful colour plates, each tipped to a captioned and bordered text page, plus 24 monochrome drawings and decorations, including the title-page design. The plates and text are reprinted from the second edition of 1912, but this is not quite like the other ‘facsimile’ children’s books published by Folio in that it has been completely re designed, in a slightly larger format. See also items 734 and 1337. ¶ Second printing: 2005. ¶ Third printing: 2006, bound by Hunter and Foulis. 1212 The civilisation of the Renaissance in Italy, an essay, Jacob Burckhardt, translated by S.G.C. Middlemore, introduced by Anthony Grafton. 253 × 190 × 50 mm. Pp. [i–iv] v–xxvii [xxviii], [1–2] 3–451 [452]: [34] pages of colour plates. Type: Centaur and Arrighi. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full green-grey buckram with a design in black and gold by David Eccles (after Vincenzo Scamozzi); green-grey endleaves. Dark green slip case. The text was originally published in German in 1860, and the present edition follows the English translation of the third edition, published in 1878. The plates reproduce contemporary paintings and documents. ¶ Second printing: 2005. ¶ Third printing: 2005 (not seen). 1213 The woman in white. As volume [1] of item 733, but printed by the Saint Edmundsbury Press. Bound by Cambridge University Press. Plain black slip case.

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¶ Third printing: 2005 (not seen). 1214 The Folio book of Christmas crime stories, illustrated by Michael Foreman. 240 × 160 × 38 mm. Pp. [i–x], 1–282 [283–286]: [15] leaves of colour plates. Type: Bell with Kabel for some display. Printed and bound by Cambridge University Press. Blue artificial cloth, with white paper on the front board printed and blocked in silver; pale blue endleaves. Dark blue slip case. There are 15 stories, by writers from Conan Doyle to Sara Paretsky. In addition to the plates there are three pen-and-ink vignettes by Foreman. 1215 Lost city of the Incas, the story of Machu Picchu and its builders, Hiram Bingham, introduction by John Hemming. Photographs by the author and others. Maps by Reginald Piggott. 253 × 177 × 32 mm. Pp. [i–iv] v–xiv [xv–xviii], [1–2] 3–266 [267–268]: [30] pages of photographic plates. Type: Goudy Old Style with Motter Corpus for display. Printed and bound by the Bath Press. Full dark blue-grey artificial cloth with a design in pale blue-grey by Frances Button; endleaves with photographs. Dark blue slip case with a photograph. The text was originally published in 1951. The monochrome photographs, mostly taken by the author, are here reproduced by a duotone process, to achieve the depth and texture of original prints. ¶ Second printing: 2005 (not seen). 1216 Joseph Heller, catch-22, introduction by Malcolm Bradbury, illustrations by Neil Packer. 252 × 168 × 43 mm. Pp. [i–vi] vii–xxix [xxx–xxxii], 1–438 [439–440]: [9] leaves of colour plates (facing pp. [iii], 32, 129, 144, 233, 248, 328, 345 and 433). Type: Plantin with Stencil for display. Printed and bound by the Bath Press. Full pale green-brown artificial cloth with a design in white, yellow, red and dark blue by Packer; cream endleaves with a design of military aircraft in dark green-grey by Packer. Blue slip case. The plates reproduce Packer’s remarkable paintings, which capture well the surreal violence of the novel. This title was the ‘Castaway’s Choice’ of Terry Gilliam (see item 270). ¶ Second printing: 2005 (not seen). ¶ Third printing: 2013, the dimensions now 252 × 163 × 43 mm. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier. ¶ Fourth printing: 2019, the width now 43 mm. Printed and bound by C & C Offset. 1217 The eagle of the ninth, Rosemary Sutcliff, introduced by Kevin Crossley-Holland, illustrated by Roman Pisarev. Map by ‘Mann’ (reprinted from the first edition). 237 × 172 × 27 mm. Pp. [i–iv] v–xvii [xviii], 1–231 [232]: [11] leaves of ‘plates’. Type: Palatino with Latin Condensed for display. Printed and bound by the Bath Press. Full dark green-grey artificial cloth with a design in black, white and copper by Pisarev; green-grey endleaves. Black slip case. The title-page is dated 2005, but the first copies appeared in late 2004. ¶ Second printing: 2006. ¶ Third printing (not seen). ¶ Fourth printing: 2009, printed and bound by T.J. International. ¶ Fifth printing: 2010. ¶ Sixth printing: 2011. ¶ Seventh printing: 2013. 1218 Montaillou, Cathars and Catholics in a French village 1294–1324, Emmanuel Le Roy Ladurie, translated by Barbara Bray. Maps by Reginald Piggott. 240 × 163 × 38 mm. Pp. [i–iv] v–xxiii [xxiv–xxviii], [1–2] 3–414 [415–420]: [18] pages of colour plates. Type: Minion with hand-drawn lettering (by Francis Mosley) for the title. Printed and bound by Cambridge University Press. Full red artificial cloth with a design in black, cream and gold by Francis Mosley; dark red endleaves. Black slip case. The plates reproduce medieval miniatures and illuminations. The title-page is dated 2005, but the first copies appeared in late 2004. 1219 Address book. 199 × 147 × 17 mm. Pp. [1–192]. Type: Frutiger with Bell for display. Printed and bound by Grafos. Full laminated purple paper with a reproduction of a painting in colour. Cream endleaves. Not

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issued in a slip case. With an alphabetical thumb-index at the fore-edge. There is no title-page, the title above being taken from the cover. The spine-title is The Folio address book.

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2005 1220 Richard III, Paul Murray Kendall, introduction by Roy Strong. Maps, plans and genealogical table by Reginald Piggott. 252 × 162 × 45 mm. Pp. [i–v] vi–xvi [xvii–xx], [1] 2–574 [575–580]: [18] pages of colour plates. Type: Ehrhardt. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full dark green artificial cloth with a coin design in gold; dark red endleaves. Dark red slip case. In series with item 1172. The plates reproduce contemporary paintings, illuminations and documents. For an earlier study of Richard see item 204 above. 1221 The lifted veil, women’s 19th-century stories, introduced by Kathryn Hughes, illustrated by Peter Suart. 251 × 176 × 54 mm. Pp. [i–iv] v–xvii [xviii], [1–2] 3–498 [499–502]: [12] leaves of colour plates. Type: Bulmer. Printed and bound by Cambridge University Press. Full red artificial cloth with a design in dark blue, cream and gold by Suart; dark blue endleaves. Dark blue slip case. ¶ Second printing: 2006. 1222 Lawrence James, the rise and fall of the British Empire. Typographical design by Bernard Roberts. Maps by Reginald Piggott after Neil Hyslop. 252 × 175 × 50 mm. Pp. [i–v] vi–xx [xxi–xxii], [1–3] 4–745 [746]: [20] pages of colour, [14] pages of monochrome plates. Type: Plantin. Printed and bound by Cambridge University Press. Full blue cloth with a design in black, red and gold by David Eccles; pale blue endleaves with a map in dark blue. Black slip case. Issued in the series of travel and exploration books (see item 766). The plates reproduce paintings, prints and photographs from the inglorious history of the British Empire. ¶ Second printing: 2006. ¶ Third printing: 2007. 1223 Anne Frank, the diary of a young girl, the definitive edition, edited by Otto H. Frank and Mirjam Pressler, translated by Susan Massotty, introduction by Eva Hoffman, preface by Elie Wiesel, translated by Euan Cameron. 213 × 180 × 17 mm. Pp. [i–vi] vii–xxiv [xxv–xxvi], 1–294: [14] pages of photographic plates. Type: Walbaum. Printed and bound by Cambridge University Press. Quarter red cloth, cloth boards with a red-and-brown check pattern reproduced from one of the original diaries; endleaves printed with photographs and extracts from the diaries. Dark blue slip case with a monochrome photograph of Frank on the front panel. The plates reproduce photographs of Frank and her family, and people and places mentioned in the diary. In addition there is a plan of the house where she hid on page [20]. This title was the ‘Castaway’s Choice’ of Michael Grade (see item 270). ¶ Second printing: 2006 (not seen). ¶ [Third impression]: 2006, with the imprint of ‘Viking, an imprint of Penguin Books, in association with the Folio Society’. Printed on a smoother, whiter paper. With the spine redesigned to bear the Penguin/Viking imprint. ¶ Fourth printing: 2006, returning to the imprint and design of the first impression. ¶ Fifth printing (not seen). ¶ Sixth printing: 2007, the dimensions now 213 × 180 × 27 mm. ¶ Seventh printing: 2010. Printed and bound by L.E.G.O. Plain dark blue slip case. ¶ Eighth printing: 2018. Printed and bound by C & C Offset. Not for sale in the USA. 1224 Elizabeth Gaskell, Sylvia’s lovers, introduced by Jenny Uglow, illustrated by Alexy Pendle. Edited with endnotes by Shirley Foster. 240 × 161 × 41 mm. Pp. [i–iv] v–xviii, [1–4] 5–481 [482–484]: colour frontispiece, [9] leaves of ‘plates’ (facing pp. 68, 111, 133, 198, 259, 293, 339, 376 and 430). Type: Ehrhardt. Printed by the

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Saint Edmundsbury Press. Bound by Cambridge University Press in full brown series binding (see item 1091), patterned in brown and lilac; dark red endleaves. Red slip case. 1225 Joseph Conrad, the arrow of gold, a story between two notes, illustrations by Francis Mosley, introduction by Giles Foden. 228 × 163 × 34 mm. Pp. [1–8] 9–314: [11] leaves of ‘plates’. Type: Garamond with Romana for display. Printed and bound by the Bath Press. Series binding (see item 852). The frontispiece is included in the pagination. 1226 Joseph Conrad, the mirror of the sea, and a personal record, illustrations by Francis Mosley, introduction by Giles Foden. 228 × 162 × 34 mm. Pp. [1–5] 6–311 [312–314]: [11] leaves of ‘plates’. Type: Garamond with Romana for display. Printed and bound by the Bath Press. Series binding (see item 852). The frontispiece is included in the pagination. 1227 Thesiger in Arabia. Maps by Reginald Piggott. 239 × 161 × 28–30 mm. 2 vols (see below). Type: Bembo with Carolina for display. Printed and bound by L.E.G.O. Quarter brown cloth, white paper boards with photographs in sepia; pale brown endleaves. Brown two-volume slip case with a sepia photograph on the front panel titled (as above) in gold. The plates reproduce photographs, all but two taken by Thesiger on his travels. The two volumes are as follows: [1] Wilfred Thesiger, Arabian sands, introduction by Tim Mackintosh-Smith. Pp. [i–iv] v–xxix [xxx], 1–327 [328– 330]: [18] pages of photographic plates + [1] folded colour map of ‘The Empty Quarter’ (inserted in a pocket on the back pastedown). Originally published in 1959. [2] Wilfred Thesiger, the Marsh Arabs. Pp. [i–iv] v–xv [xvi–xviii], 1–213 [214]: [36] pages of photographic plates. Originally published in 1964. 1228 What are the seven wonders of the world? And 60 other great cultural questions, Peter d’Epiro and Mary Desmond Pinkowish, decorations by Richard Beards. 216 × 164 × 30 mm. Pp. [i–vi] vii–xvi, 1–304. Type: Joanna. Printed and bound by Cambridge University Press. Quarter black buckram, white paper boards with a design by Beards in colour; orange-brown endleaves. Dark brown slip case. There are 45 largely symmetrical (sometimes geometrical) drawings by Beards, one repeated as the frontispiece. ¶ Second printing: 2005, with a black slip case. ¶ Third printing: 2006. ¶ Fourth printing: 2006. ¶ Fifth printing: 2008. ¶ Sixth printing: 2008. ¶ Seventh printing: 2009. Printed and bound by Grafos. ¶ Eighth printing: 2011. ¶ Ninth printing: 2011. ¶ Tenth printing: 2013. 1229 The wings of the dove, Henry James, introduction by Frances Wilson, illustrations by Philip Bannister. 240 × 161 × 43 mm. Pp. [i–iv] v–xxviii, [1–2] 3–441 [442–444]: [11] leaves of colour plates. Type: Galliard with Medici for display. Printed and bound by the Bath Press. Full green cloth with a design in black, white and gold by Bannister; green endleaves. Dark green slip case. This is the first volume in a new series of James’s novels (see also item 1292). 1230 Glenn E. Markoe, the Phoenicians. Maps, plans etc. by Reginald Piggott. Decorations by Frances Button. 252 × 175 × 39 mm. Pp. [i–iv] v–xxv [xxvi–xxx], 1–314: [32] pages of colour plates. Type: Imprint. Printed (with the title-page in dark blue and black) and bound by Cambridge University Press. Dark purple series binding designed by Button (see item 910); lilac endleaves with a map. Dark purple slip case. The plates reproduce photographs of Phoenician antiquities. Piggott has supplied a series of maps on pages [xxvi–xxix] as well as various other plans and sketches.

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¶ Second printing: 2005, with the endleaf map printed in dark purple rather than black. ¶ Third printing: 2006. ¶ Fourth printing (not seen). ¶ Fifth printing: 2011. Printed by Martins of Berwick. Bound by Hunter and Foulis. 1231 A book of Mediterranean food, and other writings, Elizabeth David, preface by Julian Barnes, decorations by John Minton, watercolours by Sophie MacCarthy. 253 × 186 × 30 mm. Pp. [i–ix] x–xxii, [1–5] 6–265 [266]: [9] leaves of colour plates (facing pp. [iii], 27, 42, 75, 90, 122, 139, [154] and 171). Type: Bembo. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in quarter dark green buckram, white paper boards with a design in shades of green, yellow and black by MacCarthy; dark green endleaves. Dark green slip case. The main text is reprinted from the second edition of 1958, with Minton’s original sketches and pictorial divisional-titles. The additional text comes from David’s An omelette and a glass of wine (1984). Italian food (item 1317) was published as a companion volume in 2006. This title was the ‘Castaway’s Choice’ of Terence Conran (see item 270), who went on to provide a foreword for item 1317. ¶ Second printing: 2006 (not seen). ¶ Third printing: 2006. ¶ Fourth printing: 2007. ¶ Fifth printing: 2008, the dimensions now 252 × 185 × 27 mm. Printed by Martins of Berwick. ¶ Sixth printing: 2010. ¶ Seventh printing: 2011. 1232 Tender is the night, a romance, F. Scott Fitzgerald, illustrated by Christopher Brown [quotation from Keats]. 228 × 176 × 28 mm. Pp. [i–vi], [1–2] 3–299 [300]: [7] leaves of ‘plates’ (facing pp. 19, 50, 71, 106, 180, 199 and 279). Type: Caslon with Gill Sans and Futura Bold Condensed for display. Printed and bound by Cambridge University Press. Full pale blue artificial cloth with a pattern in black and silver by Brown; silver endleaves. Pale blue slip case. This was the first in a new series of Fitzgerald’s works (see also items 1233–1235). The novel had previously been published in a quite different form in 1987 (item 590). In addition to the ‘plates’ there is a frontispiece on page [ii]. ¶ Second printing: 2005 (not seen). 1233 The beautiful and the damned, F. Scott Fitzgerald, illustrated by Christopher Brown [quotation from Anthony Patch]. 228 × 176 × 30 mm. Pp. [i–x], [1–2] 3–324 [325–326]: [8] leaves of ‘plates’ (facing pp. 13, 45, 124, 146, 204, 232, 316 and 323). Type: Caslon with Gill Sans and Futura Bold Condensed for display. Printed and bound by Cambridge University Press. Full series binding (see item 1232). In addition to the ‘plates’ there is a frontispiece on page [ii]. ¶ Second printing: 2005 (not seen), printed and bound by the Bath Press. 1234 The great Gatsby and the last tycoon, an unfinished novel, F. Scott Fitzgerald, illustrated by Christopher Brown. 228 × 177 × 29 mm. Pp. [i–viii], [1–2] 3–300 [301–306]: [11] leaves of ‘plates’. Type: Caslon with Gill Sans and Futura Bold Condensed for display. Printed and bound by Cambridge University Press. Full series binding (see item 1232). The great Gatsby had previously been published in a quite different form in 1968 (item 244). In addition to the ‘plates’ there is a frontispiece on page [ii]. This title was the ‘Castaway’s Choice’ of Peter Blake (see item 270). ¶ Second printing: 2005 (not seen), printed and bound by the Bath Press. 1235 This side of paradise, F. Scott Fitzgerald, illustrated by Christopher Brown [quotations from Rupert Brooke and Oscar Wilde]. 228 × 176 × 29 mm. Pp. [i–x], [1–2] 3–246: [8] leaves of ‘plates’ (facing pp. 9, 59, 83, 96, 140, 204, 221 and 245). Type: Caslon with Gill Sans and Futura Bold Condensed for display. Printed and

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bound by Cambridge University Press. Full series binding (see item 1232). In addition to the ‘plates’ there is a frontispiece on page [ii]. ¶ Second printing: 2005 (not seen), printed and bound by the Bath Press. 1236 · Lives of the · later Caesars, translated by David Magie, introduction by A.R. Birley, [wood-] engravings by Sue Scullard. 253 × 165 × 50 mm. Pp. [i–iv] v–xxxvii [xxxviii–xl], 1–583 [584–588]: [14] leaves of ‘plates’. Type: Poliphilus and Blado. Printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in full dark grey leather with a design in silver and copper; pale grey flecked endleaves with a map by Reginald Piggott. Black slip case. Most of the lives are translated by Magie from the writings of the Romans who used the pseudonyms Julius Capitolinus, Vulcacius Gallicanus, Aelius Lampridius, Trebellius Pollio, Aelius Spartianus and Flavius Vopiscus. The lives of Nerva and Trajan were compiled by Birley. In addition to the wood-engraved ‘plates’ by Scullard, there is a full-page image on page [xl] and head-pieces by her at the opening of each life. 1237 Lives of the Mongol warlords. Maps by Reginald Piggott. 240 × 172 × 30–33 mm. 3 vols (see below). Type: Garamond. Printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in full metallic buckram (a different colour for each volume) with a design in silver and black by Neil Packer; pale grey endleaves with a map. Dark silver three-volume slip case titled (as above) in silver. The plates reproduce contemporary and near-contemporary miniatures and paintings. The three volumes are as follows: [1] Genghis Khan, conqueror of the world, Leo de Hartog, introduction by David Morgan. Pp. [i–v] vi–x [xi–xv] xvi–xxiii [xxiv–xxvi], [1] 2–276 [277–278]: [14] pages of colour plates. Binding colour: green-grey. This text was first published in English in 1989. This volume proved popular and was reprinted alone (see item 1279.7). Another Folio book on the Khan was published in 1993 (item 758). [2] Khubilai Khan, his life and times, Morris Rossabi. Pp. [i–v] vi–xix [xx–xxii], [1] 2–339 [340–346]: [14] pages of colour plates. Binding colour: purple-grey. Originally published in 1988. [3] Tamerlane, his rise and rule, Beatrice Forbes Manz. Pp. [i–v] vi–xx [xxi–xxii], [1] 2–324 [325–330]: [13] leaves of colour plates. Binding colour: grey-blue. Originally published in 1989. ¶ Second printing [of volume [1]]: 2005 item 1279.7. 1238 John Buchan, the thirty-nine steps and the power-house . . . Third printing. A separate impression of the first volume of The adventures of Richard Hannay. Details as volume [1] of item 1138, but issued in a dark green single-volume slip case. This title was selected as John Keegan’s ‘Castaway’s Choice’ (see item 270). ¶ Fourth printing: 2006. ¶ Fifth printing: 2007. 1239 The making of the English landscape, W.G. Hoskins, introduction by Keith Thomas. Some maps redrawn by Reginald Piggott. 261 × 192 × 25 mm. Pp. [i–v] vi–xxix [xxx], [1–2] 3–280 [281–282]. Type: Bembo with a redrawn Arrighi for display. Printed and bound by the Bath Press. White artificial cloth with a photograph in shades of pale green and brown, with brown cloth on the back board; mottled grey-brown endleaves. Dark brown slip case. There are 82 numbered monochrome photographs printed in the text, along with 17 reproductions of maps etc. This volume has some similarities to items 911 and 982, although the binding is in a quite different style.

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¶ Second printing: 2006, printed by CPI. ¶ Third printing: 2006. 1240 In trouble again, a journey between the Orinoco and the Amazon, Redmond O’Hanlon, foreword by Bill Bryson. Drawings by Jane Cope. 241 × 163 × 33 mm. Pp. [i–vi] vii–xi [xii–xiv], 1–306: [18] pages of photographic plates. Type: Sabon with Clarendon for display. Printed and bound by Grafos. Full green buckram with a design in black and gold by Neil Gower; green-grey endleaves with a map (by Neil Gower) in dark green. Dark green slip case. In addition to the plates (which reproduce photographs taken by the author) there are 22 pen-and-ink drawings of plants, birds and animals by Jane Cope, used as head-pieces. This title was published as Bryson’s ‘Castaway’s Choice’ (see item 270). ¶ Second printing: 2006, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. ¶ Third printing: 2007. 1241 The towers of Trebizond, Rose Macaulay, introduced by Joanna Trollope, illustrated by Natacha Ledwidge. 228 × 150 × 25 mm. Pp. [i–vi] vii–xiii [xiv], [1–4] 5–234 [235–238]: [10] leaves of ‘plates’ (facing pp. [iii], 5, 44, 80, 88, 103, 138, 161, 203 and 226). Type: Fournier. Printed and bound by the Bath Press. Full blue-green linen with a design in black and gold by Ledwidge; pale blue endleaves. Dark blue-grey slip case. This title was published as Trollope’s ‘Castaway’s Choice’ (see item 270). ¶ Second printing: 2006 (not seen). 1242 Charles Dickens, our mutual friend, with the original illustrations by Marcus Stone, introduction by Iain Sinclair. 261 × 170 × 58 mm. Pp. [1–2], [i–iv] v–xix [xx–xxii], [1–2] 3–927 [928]. Type: Bulmer with Verdi for display. Typeset by R. and R. Clark for the Nonesuch Press in 1938 (the preliminaries by Folio), printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in series binding (see item 1197). The 41 plates in this edition (with the exception of the frontispiece) are correctly included in the pagination. This title was the ‘Castaway’s Choice’ of Shirley Hughes and Simon Jenkins (see item 270). ¶ Second printing: 2005 (not seen). 1243 Charles Dickens, little Dorrit, with the original illustrations by “Phiz” [Hablot K. Browne], introduction by Stephen Wall. 261 × 170 × 57 mm. Pp. [i–iv] v–xxiv [xxv–xxvi], [1–2] 3–852 [853–856]: [39] leaves of ‘plates’. Type: Bulmer with Verdi for display. Typeset by R. and R. Clark for the Nonesuch Press in 1937 (the preliminaries by Folio), printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in series binding (see item 1197). This title was the ‘Castaway’s Choice’ of Miriam Margolyes (see item 270). ¶ Second printing: 2006 (not seen). 1244 Charles Dickens, the old curiosity shop, with the original illustrations by “Phiz” [Hablot K. Browne], George Cattermole, S. Williams and Daniel Maclise, introduction by John Mullan. 261 × 171 × 47 mm. Pp. [1–2], [i–iv] v–xvii [xviii–xx], 1–593 [594]. Type: Bulmer with Verdi for display. Typeset by R. and R. Clark for the Nonesuch Press in 1937 (the preliminaries by Folio), printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in series binding (see item 1197). The illustrations consist of 76 charming wood-engravings after drawings by the artists named on the title-page, plus a number of similar historiated initials. The wood-engravers who reproduced the artists’ drawings were Ebenezer Landells and Charles Gray. ¶ Second printing: 2006.

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1245 The complete tales of Hans Christian Andersen, translated by Jean Hersholt, preface by Brian Alderson, with illustrations by numerous artists, volume one [two]. 273 × 205 × 45 mm. 2 vols (pp. [1–2], [i–iv] v–xxix [xxx], [1–2] 3–448; [i–iv] v–vii [viii], 449–947 [948]). Type: Ehrhardt with Bickley Script on the title-pages. Printed (with the title-pages in red and black) and bound by Cambridge University Press. Full pale blue-green artificial cloth with a design in dark blue, cream and gold by Peter Suart; dark blue endleaves. Blue two-volume slip case decorated in gold. Published in conjunction with the British Library. A remarkable achievement, bringing together artwork from two centuries by the following 45 artists: Honor Appleton, Maxwell Armfield, Mabel Lucie Attwell, Peter Bailey, Angela Barrett, Alfred Walter Bayes, Ian Beck, Quentin Blake, Cyril Bouda, Eleanor Vere Boyle, Gordon Frederick Browne, Emma Chichester Clark, Harry Clarke, Alfred W. Cooper, ‘Rie Cramer’ (Marie Verkade-Cramer), Edmund Dulac, Sara Fanelli, Michael Foreman, Lorenz Frølich, Phillida Gili, Gustav Hjortlund, Herluf Jensenius, Oskar Klever, Fritz Kredel, John Lawrence, John Vernon Lord, Debra McFarlane, Louis Moe, Kay Nielsen, Monro Scott Orr, Neil Packer, Vilhelm Pedersen, Arthur Rackham, Jane Ray, Paula Rego, Louis Rhead, Chris Riddell, William Heath Robinson, Charles van Sandwyk, Peter Suart (who designed the title-page border), Hans Tegner, Jiri Trnka, Arne Ungermann, Dugald Stuart Walker and Rex Whistler. ¶ Second printing: 2005 (not seen). ¶ Third printing: 2006 (not seen), printed and bound by Grafos. 1245.5 The Queen Mary atlas. 2 vols (see below). Red two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] [Facsimile]. 529 × 413 × 28 mm. Pp. [1–48]. Photographed digitally by Laurence Pordes. Printed by Cambridge University Press. Bound by Smith Settle in full red calf with an armorial design in black and gold by David Eccles; red endleaves. The 12 double-page maps of the atlas (British Library, Cotton Mss Add. 5415A) are reproduced here both recto and verso (the latter to show the discoloration and age-marks of the vellum). A printed colophon leaf is attached to the front free endleaf, and reads in part ‘This facsimile . . . consists of 1000 numbered copies for sale to members of the Folio Society and 20 lettered copies which are not for sale . . .’ A printed slip bearing notes on the care of leather is loosely inserted. [2] The Queen Mary atlas, commentary by Peter Barber. 306 × 194 × 18 mm. Pp. [i–iv] v–vii [viii], [1–3] 4–87 [88]: [8] pages of colour plates (between pp. 40–41). Type: Caslon. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in full dark red buckram, cover-label. This volume is inserted in a recess in the box, beneath the facsimile. 1246 The anatomy of melancholy, Robert Burton. Typographical design by Bernard Roberts. 241 × 162 × 36–44 mm. 3 vols (see below). Type: Caslon. Printed and bound by the Bath Press. Quarter black buckram, Ann Muir marbled paper boards; pink-brown endleaves. Black three-volume slip case titled (as above) in gold. In series with item 1315. This text, with notes by Holbrook Jackson, was originally published by Dent in 1932. It was published by Folio as Philip Pullman’s ‘Castaway’s Choice’ (see item 270). The three volumes are as follows: [1] The anatomy of melancholy, the first partition, Robert Burton, edited by Holbrook Jackson, introduction by Philip Pullman. Pp. [i–vii] viii–xxvii [xxviii], [1–5] 6–548. Page [10] bears a reproduction of the etched title-page of the edition of 1628, necessary to make sense of Burton’s ‘The argument of the frontispiece’ on pages [11]–13. [2] The anatomy of melancholy, the second partition, Robert Burton, edited by Holbrook Jackson. Pp. [i–vi], [1–7] 8–325 [326–330]. [3] The anatomy of melancholy, the third partition . . . Pp. [i–vi], [1–5] 6–586.

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¶ Second printing: 2010, the dimensions now 240 × 163 × 35–39 mm. Printed by Memminger Medien Centrum. Bound by Real Lachenmaier; dark orange endleaves. 1247 Eric Hobsbawm, the making of the modern world. Maps by Reginald Piggott. 252 × 161 × 43–50 mm. 4 vols (see below). Type: Photina with Gill Bold Condensed for display. Printed and bound by Cambridge University Press. Full metallic dark blue buckram with a design in silver and black (different for each volume) by Richard Beards; dark blue endleaves. Metallic dark blue four-volume slip case titled (as above) in silver and black. The plates reproduce historical paintings, drawings, prints, documents and photographs. The four volumes are as follows: [1] The age of revolution 1789–1848, Eric Hobsbawm. Pp. [i–vi] vii–xviii, 1–412 [413–414]: [26] pages of colour plates. Pages 346–352 bear maps. The text was originally published in 1962. [2] The age of capital 1848–1875, Eric Hobsbawm. Pp. [i–vi] vii–xvi, 1–392: [26] pages of colour plates. Pages 346–351 bear maps. The text was originally published in 1975. [3] The age of empire 1875–1914, Eric Hobsbawm. Pp. [i–vi] vii–xiv, 1–450: [26] pages of colour plates. Pages 380–385 bear maps. The text was originally published in 1987. [4] The age of extremes 1914–1991, Eric Hobsbawm. Pp. [i–vi] vii–xviii, 1–412 [413–414]: [10] pages of colour, [16] pages of monochrome plates. This volume includes no maps. The text was originally published in 1994. 1248 Aleksandr Solzhenitsyn, the Gulag archipelago 1918–1956, an experiment in literary investigation, translated from the Russian by Thomas P. Whitney (parts I–IV) and Harry Willetts (parts V–VII), edited from the original three-volume edition by Edward E. Ericson, Jr, introduced by Brian Aldiss. 240 × 162 × 41 mm. Pp. [i–v] vi–xxx [xxxi–xxxii], [1] 2–483 [484–486]: [10] leaves of photographic plates (facing p. [iii] and between pp. 286– 287). Type: Plantin with Helvetica for display. Printed and bound by Cambridge University Press. Full pale blue cloth with a design in cream, grey and black by David Rooney; pale grey endleaves with maps by Neil Gower. Black slip case. The plates reproduce grim photographs of the author, his friends, family, prison-life and oppressors. This title was published as Aldiss’s ‘Castaway’s Choice’ (see item 270). ¶ Second printing: 2006, with pale blue endleaves. 1249 Richard Hughes, a high wind in Jamaica, introduced by Michael Holroyd, illustrated by Mary Kuper. 229 × 163 × 21 mm. Pp. [i–vi] vii–xiii [xiv], 1–178: [7] leaves of colour plates (facing pp. [iii], 2, 19, 51, 66, 114 and 131). Type: Garamond. Printed and bound by Cambridge University Press. Brown buckram, the front board covered with white paper printed and blocked in gold with a design by Kuper; mottled orange-brown endleaves. Dark blue slip case. Kuper’s plates reproduce coloured scraperboard designs. This title was published as Holroyd’s ‘Castaway’s Choice’ (see item 270). 1250 The Folio book of humorous anecdotes, [edited with an] introduction by Edward Leeson, drawings by Nick Hardcastle. 223 × 145 × 28 mm. Pp. [i–iv] v–xiv [xv–xvi], 1–272. Type: Bembo with Triumvirate Condensed for the title. Printed and bound by the Bath Press. Full pale green-yellow cloth with a design in dark red, pink and silver by Hardcastle; pale green endleaves. Dark red slip case. The illustrations consist of 58 pen-and-ink cartoons, and a mock-up of a ridiculous playbill (on page [6]). Pages [217]–218 were cancelled before publication, to correct an inadvertent error (which was corrected in the press for the second printing).

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¶ Second printing: 2006 (not seen). ¶ Third printing: 2006. ¶ Fourth printing: 2007. ¶ Fifth printing: 2007, printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. ¶ Sixth printing: 2008, printed by Martins of Berwick. ¶ Seventh printing: 2009. ¶ Eighth printing (not seen). ¶ Ninth printing: 2011. ¶ Tenth printing: 2013. Bound by Charles Letts & Co. 1251 The spice route, John Keay. Maps by Reginald Piggott. 263 × 193 × 26 mm. Pp. [i–vi] vii–xi [xii–xviii], 1–302. Type: Garamond. Printed and bound by Cambridge University Press. Full orange artificial silk with a design in gold by Neil Packer; orange-brown endleaves with a map in dark brown. Brown slip case with a colour photograph. In series with item 1098. The first edition of this book, which is illustrated throughout, largely in colour, with a total of 130 photographs, including the title-spread. ¶ Second printing: 2005. 1251.5 Trafalgar, an eyewitness history, edited and introduced by Tom Pocock. Map and plans by Reginald Piggott. 252 × 150 × 30 mm. Pp. [i–iv] v–xxii [xxiii–xxiv], 1–238 [239–240]: [26] pages of colour and monochrome plates. Type: Imprint with Caslon Antique for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full white artificial cloth with a reproduction of a painting in colour; pale grey endleaves with a map in dark grey. Dark green slip case. The plates reproduce contemporary paintings, drawings, prints and documents. 1252 Epics of the middle ages, edited and introduced by Richard Barber, illustrations by John Vernon Lord. 252 × 180 × 52 mm. Pp. [i–ix] x–xxx, [1] 2–665 [666–674]: [16] leaves of colour plates. Type: Ehrhardt with Charlemagne for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter dark brown series binding (see item 724), dark brown cloth boards with a design in red, cream and gold by Lord; brown endleaves. Dark brown slip case. ¶ Second printing: 2005 (not seen). 1253 Johann Wolfgang von Goethe, Faust, parts one and two, translation and notes by David Luke, introduction by Nicholas Boyle, illustrations by Eugène Delacroix and other artists. 328 × 250 × 43 mm. Pp. [i–vii] viii–xxi [xxii], [1–2] 3–380 [381–386]: [8] leaves of colour plates (facing pp. [iii], 171, 186, 219, 234, 250, 267 and 291). Type: Bulmer. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in quarter red-brown morocco, pale brown artificial silk boards; red endleaves. Red slip case with a colour reproduction of the frontispiece (by Delacroix) on the front panel. In series with item 1135. Part I is illustrated with reproductions of 17 monochrome lithographs by Delacroix, printed in the text. Part II has seven colour plates reproducing paintings by Andrea Appiani, Jean-Baptiste-Camille Corot, Jean-Baptiste Regnault, Gavin Hamilton, Fran cesco Podesti, Jacques-Louis David and Francesco Vieira. ¶ Second printing: 2006. 1254 John Donne, the complete English poems, edited by A.J. Smith, introduction by Andrew Motion, [wood-] engravings by Jane Lydbury. 280 × 192 × 48 mm. Pp. [i–iv] v–xxxviii, [1–2] 3–438 [439–442]. Type: Baskerville. Printed and bound by the Bath Press. Quarter red series binding (see item 1051); red endleaves. Red slip case. In ‘The Folio Poets’ series (see item 1051). There is a total of 105 wood-engravings, mostly small, usually printed as head- and tail-pieces to the poems, although at least 34 represent repeats of the same blocks. For an earlier Folio selection of Donne’s love poems see items 123, 189.7 and 450. ¶ Second printing: 2006.

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1255 Lost cities of the ancient world. Maps by Reginald Piggott. 252 × 177 × 23–29 mm. 5 vols (see below). Type: Janson with Giovanni for display. Printed and bound by Cambridge University Press. Full brown cloth with a design in black and gold (different for each volume) by Nick Hardcastle; pale brown endleaves with a map. Black five-volume slip case titled (as above) in gold. The plates reproduce photographs of ancient sites, excavations and artefacts; each volume is also illustrated with line-drawings of artefacts, and maps and plans by Piggott. The five volumes are as follows: [1] Troy and the Trojans, Carl W. Blegen, introduction by David Easton. Pp. [i–iv] v–xxxvi, 1–164: [18] pages of colour plates. The text was originally published in 1963. [2] Knossos, Colin F. Macdonald. Pp. [i–iv] v–xxxiii [xxxiv], 1–254: [24] pages of colour plates + [1] folded plan of ‘The Palace of Knossos’ by Theodore Fyfe (inserted in a pocket on the back paste-down). This is the first edition of this text. [3] Babylon, Joan Oates. Pp. [i–iv] v–xxii, 1–294 [295–298]: [14] pages of colour plates. The text was originally published in 1979. [4] Pompeii & Herculaneum, cities of Vesuvius, Michael Grant, introduction by Andrew Wallace-Hadrill. Pp. [i–iv] v–xxxiv [xxxv–xxxvi], 1–196: [34] pages of colour plates. The text was originally published in 1971. [5] Petra and the lost kingdom of the Nabataeans, Jane Taylor. Pp. [i–iv] v–xxiv, 1–280: [26] pages of colour plates. The text was originally published in 2002. ¶ Second printing: 2005. Part of this impression was issued as items 1279.1–1279.5. ¶ Third printing [of volume [4]]: 2006 item 1279.4. 1256 The Folio book of comic short stories, selected and introduced by David Hughes, illustrated by Paul Cox. 240 × 160 × 33 mm. Pp. [i–iv] v–xiv, 1–290 [291–292]: [23] leaves of colour ‘plates’. Type: Plantin Light with Cerigo Book for display. Printed and bound by Cambridge University Press. Quarter dark red cloth, yellow paper boards with a design in pink and gold by Cox; pale orange endleaves. Red slip case. This lavishly illustrated volume contains 22 short stories, by authors from Dickens to Spark. The margin between the cloth and paper on each board is (unusually) scalloped. ¶ Second printing: 2006. 1257 The Folio diary 2006. 200 × 147 × 14 mm. Pp. [1–128]. Type: Minion. Printed and bound by Grafos. Full plasticised paper with a colour reproduction of a sixteenth-century Italian painting; endleaves (pages [1–4] and [125–128]) printed in colour with a reproduction of pages from the Koran. Not issued in a slip case. Issued free to members in August 2005. Each recto represents a week, with a colour reproduction of a painting or photograph on an Asian theme, from a Folio book, on the facing verso. ¶ Second printing: 2005. ¶ Third printing: 2006 (not seen). 1258 The wind in the willows, Kenneth Grahame, illustrated by Charles van Sandwyk. 252 × 175 × 33 mm. Pp. [i– viii], [1–2] 3–251 [252–256]. Type: Caslon with hand-drawn lettering (by van Sandwyk) for the title. Printed and bound by Cambridge University Press. Full green-grey linen with a design by van Sandwyk in black and gold, cover-label printed with a drawing in brown; brown endleaves with a drawing in dark brown. Green-grey slip case with a pattern in gold by van Sandwyk. This is a delightful new edition, with charming

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illustrations in colour and monochrome (including 32 full-page images) by van Sandwyk. It is only marred by being printed on hard, artificially textured paper which is unpleasant to the touch. ¶ Second printing: 2006, on a smoother white paper. This paper is rather more pleasant to the touch, but the colour illustrations have lost something of their depth in this impression. This reprint coincides with the selection of this title as the ‘Castaway’s Choice’ of Brian Sewell and Alan Titchmarsh (see item 270). ¶ Third printing (not seen). ¶ Fourth printing (not seen). ¶ Fifth printing: 2008. Part of A Children’s Treasury series. ¶ Sixth printing: 2009. ¶ Seventh printing: 2010, printed and bound by L.E.G.O. ¶ Eighth printing: 2011. ¶ Ninth printing: 2013. ¶ Tenth printing: 2013. ¶ Eleventh printing: 2014. ¶ Twelfth printing: 2016. ¶ Thirteenth printing: 2016. ¶ Fourteenth printing: 2021, now with green cloth. 1259 Don Quixote. 2 vols (see below). Red two-volume clamshell box titled (as above) in gold. A specially bound reprint of item 817, issued with a separate pamphlet. The two volumes are as follows: [1] The history and adventures of the renowned Don Quixote . . . Fourth printing. As item 817, but measuring 263 × 167 × 55 mm. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full orange-brown morocco with a design in black, red and gold by Quentin Blake; dark red endleaves. An additional leaf bearing a colophon has been tipped in before the frontispiece. It reads in part ‘This edition . . . has been published . . . to mark the 400th anniversary of Cervantes’s masterpiece. It is limited to 1250 copies . . .’ [2] Reading Don Quixote, comprising ‘the windmills of his mind’ – an essay by Miranda France, and a selection of comments by other writers . . . 247 × 152 × 2 mm. Pp. [1–4] 5–15 [16]. Type: Ehrhardt with Caslon for display. Sewn into red card wrappers, cover-label. 1260 Rudyard Kipling, collected short stories. 240 × 165 × 42–53 mm. 5 vols (see below). Type: Ehrhardt. Printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in full red cloth with a design in black and gold (different for each volume) by Philip Bannister; yellow endleaves. Red five-volume slip case titled (as above) in black and gold. For earlier Folio collections of Kipling’s stories see items 316, 705 and 840. The five volumes are as follows: I Rudyard Kipling, collected short stories, volume I, plain tales from the hills, and soldiers three and other stories, introduction by Andrew Lycett, illustrated by Philip Bannister. Pp. [i–v] vi–xvii [xviii], [1–7] 8–218 [219–223] 224–446 [447– 448]: colour frontispiece, [11] leaves of ‘plates’. II Rudyard Kipling . . . volume II, Wee Willie Winkie and other stories, and life’s handicap, illustrated by Philip Bannister. Pp. [i–v] vi [vii–viii], [1–5] 6–238 [239–243] 244–503 [504–506]: colour frontispiece, [11] leaves of ‘plates’. III Rudyard Kipling . . . volume III, many inventions, and the day’s work, illustrated by Philip Bannister. Pp. [i–viii], [1–3] 4–507 [508–514]: colour frontispiece, [11] leaves of ‘plates’. IV Rudyard Kipling . . . volume IV, traffics and discoveries, actions and reactions, and a diversity of creatures, illustrated by Philip Bannister. Pp. [i–v] vi [vii–viii], [1–3] 4–422 [423–430] 431–576 [577–578]: colour frontispiece, [11] leaves of ‘plates’.

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V Rudyard Kipling . . . volume V, a diversity of creatures (continued), debits and credits, and limits and renewals, illustrated by Philip Bannister. Pp. [i–v] vi–vii [viii–x], [1–3] 4–130 [131–135] 136–362 [363–367] 368–590 [591–592]: colour frontispiece, [11] leaves of ‘plates’. 1261 Kenneth Clark, Leonardo da Vinci, introduced by Martin Kemp. 294 × 232 × 27 mm. Pp. [1–5] 6–264. Type: Centaur and Arrighi. Printed and bound by Cambridge University Press. Dark brown cloth, the front board covered with artificial cloth printed with a colour reproduction of one of Leonardo’s paintings; grey-brown endleaves with a reproduction of a sketch in dark brown. Dark brown slip case. The Presentation Volume for 2006. There is a total of 173 illustrations, mostly in colour, reproducing Leonardo’s paintings, drawings, manuscripts and related artworks. 1262 Night thoughts by Edward Young, with watercolour illustrations by William Blake. 3 vols (see below). Dark green three-volume clamshell box, leather spine-label titled (as above) in gold. Volumes [1] and [2] consist of a colour reproduction of a copy of the 1743–1745 edition of Young’s work (now in the British Museum), which was window-mounted on larger sheets on to which Blake drew and painted his illustrations to the poem. The three volumes are as follows: [1] The complaint: or, Night thoughts on life, death, & immortality . . . London: printed by R. Dodsley . . . and sold by M. Cooper . . . 1743 [facsimile]. 428 × 341 × 44 mm. Pp. [1–4], i–ii, [1–3] 4–30; [3–4] 5–44; [3–4] 5–34; [1–3] 4–47 [48]; [3–7] 8–60; [i–iii] iv–v [vi], [1] 2–42 [43–44]. Printed by the Bath Press. Bound by Smith Settle in quarter dark blue morocco, pale blue cloth boards with a design in silver and black by David Eccles (after Blake), leather cover-label; silver endleaves. This volume contains nights 1 to 7 (part 1). The final leaf bears a colophon which reads in part ‘This facsimile . . . consists of 1000 numbered copies for sale to members of the Folio Society and 20 lettered copies which are not for sale . . .’ [2] The complaint. Or, Night thoughts on life, death, & immortality. London: printed by G. Hawkins . . . and sold by M. Cooper . . . MDCC XLIV [facsimile]. 428 × 341 × 47 mm. Pp. [1–2], [i–v] vi–vii [viii], [1], 2–72; [i–ii], [1] 2–70; [i–ii], [1] 2–119 [120–122]. Printed and bound as volume [1]. This volume contains nights 7 (part 2) to 9. The final leaf bears a colophon as in volume [1]. [3] Night thoughts, the poem by Edward Young, illustrated with watercolours by William Blake, commentary by Robin Hamlyn. 252 × 162 × 40 mm. Pp. [i–vi] vii–xx, [1–2] 3–362 [363–364]. Type: Ehrhardt. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in full dark green artificial cloth, metallic silver cover-label; metallic silver endleaves. This volume was designed to be inserted in a recess in the box, beneath the facsimile. However, it was not published until the dying days of 2005, so copies bought before this time had nothing in the recess, the commentary-volume being supplied and inserted later. 1263 Elizabeth I, J.E. Neale, introduction by Roy Strong. Maps and genealogical table by Reginald Piggott. 252 × 163 × 42 mm. Pp. [i–vii] viii–xvii [xviii–xxviii], [1] 2–418 [419–422]: [22] pages of colour plates. Type: Ehrhardt. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full pale blue artificial cloth with a coin design in gold; dark red endleaves. Dark red slip case. In series with item 1172. The plates reproduce contemporary paintings and documents. Was it mere chance that Folio published this book at just the period when Channel 4 was screening a lavish dramatisation of Elizabeth’s life, with Helen Mirren as the Virgin Queen? 1264 Memoirs of a fighting Captain, Admiral Lord Cochrane, Admiral of the Red, Rear Admiral of the Fleet, introduced by Brian Vale. Maps by Reginald Piggott. 240 × 162 × 31 mm. Pp. [i–vi] vii–xxii [xxiii–xxviii], 1–311 [312– 316]: [18] pages of colour plates. Type: Bulmer. Printed by the Saint Edmundsbury Press. Bound by Hunter

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and Foulis in full dark blue artificial cloth with a design in gold by Neil Gower; pale blue endleaves. Dark blue slip case with a colour reproduction of a print. The plates reproduce paintings, prints and photographs. The text is edited from two collections of memoirs published by Cochrane during 1859 and 1860. ¶ Second printing: 2006. ¶ Third printing: 2007. 1265 Excellent women, Barbara Pym, introduced by A.N. Wilson, illustrations by Debra McFarlane. 252 × 151 × 23 mm. Pp. [i–vi] vii–xiv [xv–xvi], 1–206 [207–208]: [7] leaves of colour plates (facing pp. [iii], 48, 65, 96, 113, 160 and 201). Type: Bembo with University Roman for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full pale pink cloth with a design in shades of red, brown and silver by McFarlane; pink-brown endleaves. Dark brown slip case. ¶ Second printing: 2006. 1266 Enigma, the battle for the code, Hugh Sebag-Montefiore. 240 × 161 × 41 mm. Pp. [i–v] vi–xxvii [xxviii], [1] 2–455 [456–460]: [21] pages of plates. Type: Plantin with display rendered using an imitation of typewriter keys. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full grey cloth with a design in black, silver and red; silver endleaves. Black slip case. The binding design repeats the device of the title-page, in which the word ‘ENIGMA’ is picked out in letters as if on the keyboard of a typewriter (or enigma machine). ¶ Second printing: 2006. ¶ Third printing: 2007. ¶ Fourth printing: 2008. ¶ Fifth printing: 2008, printed by the Amadeus Press. ¶ Sixth printing: 2010. ¶ Seventh printing: 2011. ¶ Eighth printing: 2012. ¶ Ninth printing: 2015. Printed and bound by Kösel. 1267 The assassins, a radical sect in Islam, Bernard Lewis. 239 × 152 × 26 mm. Pp. [i–vii] viii–xii [xiii–xiv], [1] 2–242: [14] pages of colour plates. Type: Imprint with Braganza for display. Printed and bound by the Bath Press. Full red buckram with a design in black, green, cream and gold interpreting the frontispiece; pale brown endleaves with a map in dark brown by Reginald Piggott. Red slip case. The plates reproduce Islamic miniatures, artefacts and photographs of locations. ¶ Second printing: 2006. ¶ Third printing: 2006. ¶ Fourth printing: 2008, printed and bound by Grafos. 1268 The siege and fall of Troy, by Robert Graves, introduced by Lawrence Norfolk, illustrated by Grahame Baker. 236 × 171 × 20 mm. Pp. [i–viii] ix–xx, 1–108: [8] leaves of colour plates (facing pp. [iii], 4, 12, 29, 44, 61, 76 and 93). Type: Palatino. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in dark green cloth, the front board covered with paper printed in colour with a design by Baker; pale green endleaves with a map by Neil Gower in dark green. Dark green slip case. The illustrator became known, for Folio purposes, as Grahame Baker-Smith from 2011. ¶ Second printing: 2006. ¶ Third printing: 2008. 1269 The cathedrals of England, the north and East Anglia, by Nikolaus Pevsner and Priscilla Metcalf, with contributions by various hands, preface by Gavin Stamp. Map and plan by Reginald Piggott. 264 × 192 × 38 mm. Pp. [i–iv] v–liii [liv], [1–2] 3–377 [378]. Type: Ehrhardt. Printed and bound by Cambridge University Press. Quarter purple cloth, grey cloth boards; purple endleaves. Pale grey slip case with a monochrome photograph on the front panel. In addition to Piggott’s map of England (with the cathedral cities marked) the volume is illustrated with 103 numbered figures, almost all being splendid monochrome photographs of cathedrals and

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their interior details. This was the first in a series of three volumes of Pevsner’s Cathedrals of England (see items 1270 and 1271); each volume includes the same preface, foreword and introduction. 1270 The cathedrals of England, the west and midlands, by Nikolaus Pevsner and Priscilla Metcalf, with contributions by various hands [Alexandra Wedgwood and David Verey], preface by Gavin Stamp. Map by Reginald Piggott. 264 × 194 × 37 mm. Pp. [i–iv] v–liii [liv], [1–2] 3–371 [372–378]. Type: Ehrhardt. Printed and bound by Cambridge University Press. Series binding (see item 1269). In addition to the map there are 117 numbered figures. 1271 The cathedrals of England, the south-east, by Nikolaus Pevsner and Priscilla Metcalf, with contributions by various hands [Ian Nairn, John Newman, Bridget Cherry and David Lloyd], preface by Gavin Stamp. Map by Reginald Piggott. 264 × 193 × 39 mm. Pp. [i–iv] v–liii [liv], [1–2] 3–392 [393–394]. Type: Ehrhardt. Printed and bound by Cambridge University Press. Series binding (see item 1269). In addition to the map there are 106 numbered figures. 1272 M.F.K. Fisher, an alphabet for gourmets, introduction by Paul Levy, illustrations by Ian Beck. 217 × 166 × 26 mm. Pp. [i–iv] v–xx, 1–239 [240–244]. Type: Bell. Printed and bound by Cambridge University Press. Quarter dark green buckram, white paper boards printed in colour; dark green endleaves. Dark green slip case. The illustrations consist of 36 delightful watercolour drawings by Beck, printed in a range of subtle colours. ¶ Second printing: 2007. 1273 The adventures of Tom Sawyer, Mark Twain, introduction by E.L. Doctorow, wood engravings by Harry Brockway. 229 × 149 × 24 mm. Pp. [i–iv] v–xix [xx], 1–231 [232–236]. Type: Bulmer with Victoria Condensed for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in quarter dark red cloth, white paper boards with a repeat pattern in dark red by Brockway; dark red endleaves. Dark red slip case. There are 16 wood-engravings printed in the text, one being used on the title-page (as well as a reproduction of Tom’s handwriting on page 73). Folio had published The adventures of Huckleberry Finn in a similar style in 1993 (see item 757). ¶ Second printing: 2007. 1274 Charles Dickens, a tale of two cities, with the original illustrations by “Phiz” [Hablot K. Browne], introduction by Hilary Mantel. 262 × 171 × 42 mm. Pp. [i–iv] v–xix [xx–xxii], [1–2] 3–363 [364]: [15] leaves of ‘plates’. Type: Bulmer with Verdi for display. Typeset by R. and R. Clark for the Nonesuch Press in 1937 (the preliminaries by Folio), printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in series binding (see item 1197). ¶ Second printing: 2012, the dimensions now 246 × 156 × 42 mm. Printed by Memminger MedienCentrum. Bound in quarter dark red buckram with a new series binding (see item 1197). Dark red slip case. 1275 Charles Dickens, Nicholas Nickleby, with the original illustrations by “Phiz” [Hablot K. Browne], introduction by Simon Callow. 262 × 172 × 57 mm. Pp. [i–iv] v–xxxix [xl–xlii], 1–835 [836–838]: [40] leaves of ‘plates’. Type: Bulmer with Verdi for display. Typeset by R. and R. Clark for the Nonesuch Press in 1938 (the preliminaries by Folio), printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in series binding (see item 1197). The frontispiece is not by Browne, but is a reproduction of an engraving by ‘Finden’ (signifying either Richard or Edward Finden, or the firm they founded together) after a painting by Daniel Maclise.

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1276 A book of travellers’ tales, assembled by Eric Newby. Maps by Neil Gower. 252 × 182 × 45 mm. Pp. [i–vi] vii–xiii [xiv], 1–558: frontispiece, [26] pages of colour plates, [20] pages of ‘plates’. Type: Garamond. Printed and bound by Cambridge University Press. Full green cloth with a design in black and gold by Gower; dark green endleaves. Dark green slip case. The text consists of some 350 short extracts by travellers and explorers of all eras, illustrated with reproductions of art and artefacts, buildings, people and landscapes from around the world. ¶ Second printing: 2007. Black slip case. 1277 The Rosetta Stone, the decipherment of the hieroglyphs, Robert Solé, Dominique Valbelle and W.V. Davies, preface by Neil MacGregor. Translated in part by Steven Rendall. Map by Neil Gower. 240 × 179 × 28 mm. Pp. [i–vi] vii–xii [xiii–xiv], [1–2] 3–274: [12] pages of colour plates. Type: Imprint with Cerigo Book for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full vegetable parchment (‘Parchemarque’) printed in colour with a reproduction of part of the Stone; vegetable parchment endleaves. Brown slip case. The plates reproduce portraits and prints and show artefacts and excavations; in addition there are numerous reproductions of hieroglyphs in the text. The main text, by Solé and Valbelle (translated by Rendall) describes the history of the Rosetta Stone and its decipherment; the second section, by Davies, is an explication of Egyptian hieroglyphs. 1278 The Folio book of Christmas ghost stories, illustrations by Peter Suart. 240 × 162 × 32 mm. Pp. [i–viii], [1–2] 3–288: [15] leaves of colour plates. Type: Bulmer with Victorian for display. Printed and bound by Cambridge University Press. Grey cloth, with white paper on the front board printed in colour; pale blue endleaves. Dark grey slip case. In informal series with item 1214. There are twenty stories. 1279 Alfred H. Burne, the Hundred Years War, a military history, introduction by Jonathan Sumption. Maps by Reginald Piggott. 252 × 163 × 46 mm. Pp. [i–iv] v–xxviii, [1–2] 3–588: [26] pages of colour plates. Type: Janson. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark blue artificial cloth with a design in red, cream, brown and gold by Francis Mosley (inspired by a medieval miniature); cream endleaves with a map in dark blue. Red slip case. Issued in the series of military history books (see item 967). The plates mostly reproduce contemporary miniatures, portraits and documents. There are also twenty-five maps and plans by Piggott. ¶ Second printing: 2006. 1279.1 Troy and the Trojans, Carl W. Blegen, introduction by David Easton. Second printing. A separate issue of the first volume of Lost cities of the ancient world. Details as volume [1] of item 1255, but in a black single-volume slip case. 1279.2 Knossos, Colin F. Macdonald. Second printing. A separate issue of the second volume of Lost cities of the ancient world. Details as volume [2] of item 1255, but in a black single volume slip case. 1279.3 Babylon, Joan Oates. Second printing. A separate issue of the third volume of Lost cities of the ancient world. Details as volume [3] of item 1255, but in a black single-volume slip case. 1279.4 Pompeii & Herculaneum, cities of Vesuvius, Michael Grant, introduction by Andrew Wallace-Hadrill. Second printing. A separate issue of the fourth volume of Lost cities of the ancient world. Details as volume [4] of item 1255, but in a black single-volume slip case.

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¶ Third printing: 2006. This volume alone was reprinted at this time, to meet popular demand. ¶ Fourth printing (not seen). ¶ Fifth printing: 2007. 1279.5 Petra and the lost kingdom of the Nabataeans, Jane Taylor. Second printing. A separate issue of the fifth volume of Lost cities of the ancient world. Details as volume [5] of item 1255, but in a black single-volume slip case. 1279.7 Genghis Khan, conqueror of the world, Leo de Hartog, introduction by David Morgan. Second printing. A separate printing of a volume from Lives of the Mongol warlords. Details as volume [1] of item 1237, but issued in a single-volume slip case.

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2006 1280 The history of Scotland from the earliest times to the present day, R.A. Houston and W.W.J. Knox, volume I [–II]. Maps by Reginald Piggott. 252 × 176 × 40–41 mm. 2 vols (pp. [i–vii] viii–xi [xii–xviii], [1] 2–403 [404], [1–2]: [24] pages of colour plates; [i–vii] viii–x [xi–xii], [405] 406–835 [836–840]: [24] pages of colour and monochrome plates). Type: Utopia. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full blue artificial cloth decorated in red and gold; red endleaves. Dark blue two-volume slip case with a colour reproduction of a painting on the front panel. Originally published in 2001. The plates reproduce historical documents, paintings, prints, photographs and artefacts. ¶ Second printing: 2007. 1281 The Brontës, a life in letters, Juliet Barker. 240 × 151 × 45 mm. Pp. [i–vi] vii–xxxii, 1–442 [443–448]: colour frontispiece, [16] pages of plates. Type: Minion with Bulmer for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full artificial silk with a fabric design by A.W.N. Pugin in colour; green-grey endleaves. Green-grey slip case. The letters are dated between 1821 and 1855 (the year in which Charlotte died). The monochrome plates reproduce photographs of locations and people, documents, drawings, paintings and prints, while the frontispiece shows Branwell Brontë’s famous portrait of his sisters. 1282 Daniel Defoe, a tour through the whole island of Great Britain, edited by P.N. Furbank, W.R. Owens and A.J. Coulson. 262 × 192 × 47 mm. Pp. [i–vi] vii–xix [xx], [1–2] 3–524. Type: Caslon. Printed and bound by Cambridge University Press. Quarter dark green buckram, green buckram boards with a map in gold on the front board; green-grey endleaves. Dark green slip case with a reproduction of a painting in colour. It is lavishly illustrated with a total of 178 reproductions of paintings, maps, prints and documents, 49 in colour (most of the illustrations are numbered, but the sequence does not include 14 unnumbered reproductions of maps and the colour title-spread). ¶ Second printing: 2006. ¶ Third printing: 2007, printed and bound by Grafos. ¶ Fourth printing: 2009. 1283 Elizabeth Gaskell, Ruth, introduced by Jenny Uglow, illustrated by Alexy Pendle. Edited with endnotes by Angus Easson. 241 × 165 × 35 mm. Pp. [i–iv] v–xviii, [1–2] 3–373 [374–380]: colour frontispiece, [9] leaves of ‘plates’ (facing pp. 19, 103, 119, 140, 159, 206, 267, 314 and 340). Type: Ehrhardt. Printed and bound by the Bath Press. Full white series binding (see item 1091), patterned in pale brown and blue; blue-grey endleaves. Blue-grey slip case. 1284 A nervous splendour, Vienna 1888–1889, Frederic Morton. Map by Reginald Piggott. 252 × 163 × 30 mm. Pp. [i–iv] v–xiv, 1–236 [237–244]: [26] pages of colour or sepia plates. Type: Walbaum with Poetica Chancery for display. Printed and bound by the Bath Press. Full red artificial moiré silk; white endleaves with a reproduction of a painting in colour. Dark red slip case with monochrome and sepia photographs. The plates reproduce contemporary photographs and paintings, some of which are repeated on the slip case (the mono chrome and sepia images are printed by the duotone process). The design of this book was somewhat inspired by item 874.

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1285 Gabriel García Márquez, one hundred years of solitude, translated from the Spanish by Gregory Rabassa, illustrated by Neil Packer. 251 × 163 × 42 mm. Pp. [i–x], 1–401 [402–406]: [9] leaves of colour plates (facing pp. [iii], 86, 198, 215, 230, 247, 294, 342 and 359). Type: Centaur and Arrighi. Printed by Memminger Medien Centrum. Bound by Real Lachenmaier in full dark green buckram with a design in white and gold by Packer; pale gold endleaves with a repeat pattern by Packer in dark brown. Dark green slip case with a colour reproduction of a painting by Packer on the front panel. The leaf bearing the list of illustrations is a cancel, perhaps because the illustration originally intended for the slip case was not in the end used. This title was the ‘Castaway’s Choice’ of Jeremy Hardie (see item 270). ¶ Second printing: 2007. ¶ Third printing: 2007. 1286 Christopher Hibbert, redcoats and rebels, the war for America, 1770–1781. Maps by Reginald Piggott. 252 × 161 × 40 mm. Pp. [i–v] vi–xviii [xix–xx], [1] 2–388: [26] pages of colour plates. Type: Van Dijck. Printed and bound by L.E.G.O. Full red buckram with a design in gold; dark red endleaves. Black slip case with a reproduction of a painting in colour. The plates show contemporary paintings, prints and drawings. ¶ Second printing: 2007. ¶ Third printing: 2007. ¶ Fourth printing: 2010. ¶ Fifth printing: 2013. 1287 Charles Darwin, on the origin of species by means of natural selection, or The preservation of favoured races in the struggle for life, introduced by Richard Keynes. 252 × 176 × 47 mm. Pp. [i–v] vi–xxxi [xxxii], [1–3] 4–415 [416]: [26] pages of colour plates. Type: Baskerville. Printed and bound by Cambridge University Press. Full yellow-brown cloth with a design in black and gold by David Eccles; brown endleaves. Black slip case. Issued – somewhat incongruously – in the series of Victorian travel and exploration books (see item 766). The plates mostly reproduce hand-coloured prints and paintings of contemporary natural history subjects. ¶ Second printing: 2006 (not seen). ¶ Third printing: 2007. ¶ Fourth printing: 2007. ¶ Fifth printing: 2008. ¶ Sixth printing: 2009. ¶ Seventh printing: 2009, printed by Memminger MedienCentrum. Bound by Real Lachenmaier. ¶ Eighth printing: 2010. ¶ Ninth printing: 2012. ¶ Tenth printing: 2013. ¶ Eleventh printing: 2015. ¶ Twelfth printing: 2017. ¶ Thirteenth printing: 2019. Bound by Josef Spinner. 1288 Charles Dickens, Martin Chuzzlewit, with the original illustrations by “Phiz” [Hablot K. Browne], introduction by John Ezard. 261 × 169 × 56 mm. Pp. [i–iv] v–xxviii [xxix–xxx], 1–844: [39] leaves of ‘plates’. Type: Bulmer with Verdi for display. Typeset by R. and R. Clark for the Nonesuch Press in 1937 (the preliminaries by Folio), printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in series binding (see item 1197). 1289 Charles Dickens, the mystery of Edwin Drood, with the original illustrations by Luke Fildes, introduction by Peter Ackroyd. Edited in part by John Forster. 262 × 170 × 39 mm. Pp. [i–iv] v–xxi [xxii–xxiv], 1–272: [2] leaves of ‘plates’ (facing pp. [iii] and 128). Type: Bulmer with Verdi for display. Typeset by R. and R. Clark for the Nonesuch Press in 1937 (the preliminaries by Folio), printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in series binding (see item 1197). There are 13 full-page illustrations in the book, all but two being included in the pagination. 1290 Charles Dickens, Barnaby Rudge, with the original illustrations by George Cattermole and “Phiz” [Hablot K. Browne], introduction by Patrick McGrath. 261 × 170 × 49 mm. Pp. [1–2], [i–iv] v–xxiv [xxv–xxvi], 1–685 [686–692]. Type: Bulmer with Verdi for display. Typeset by R. and R. Clark for the Nonesuch Press in 1937 (the preliminaries by Folio), printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in series

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binding (see item 1197). In this volume all the illustrations are included in the pagination (except the frontispiece, which should have been). 1291 The third policeman, Flann O’Brien, introduction by Richard Fortey, illustrations by David Eccles. 229 × 150 × 24 mm. Pp. [i–viii] ix–xvi, [1–2] 3–219 [220–224]: [8] leaves of ‘plates’ (facing pp. 14, 48, 76, 92, 124, 151, 185 and 208). Type: Garamond. Printed and bound by L.E.G.O. Full green artificial cloth with a design in black and gold by Eccles; green-grey endleaves. Dark green slip case. In addition to Eccles’s beautifully surreal full-page drawings and other decorations, there is a head-piece by him showing one (or part of one) of the story’s machines, with a dial whose gnomon rotates to indicate the chapter number. This title was published as Fortey’s ‘Castaway’s Choice’ (see item 270). 1292 The ambassadors, Henry James, introduction by Frances Wilson, illustrations by Philip Bannister. 240 × 165 × 43 mm. Pp. [i–vi] vii–xxxi [xxxii], [1–2] 3–381 [382–384]: [11] leaves of colour plates. Type: Galliard with Medici for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full yellow cloth with a design in black, cream and gold by Bannister; black endleaves. Black slip case. A charming volume, issued in the Henry James series (see item 1229). This title was the ‘Castaway’s Choice’ of John Sessions and Loyd Grossman (see item 270). 1293 Thucydides, the history of the Peloponnesian War, translation by Rex Warner, introduction, appendices, notes and bibliography by M. I. Finley, preface by Theodore K. Rabb. Maps by Reginald Piggott. 251 × 177 × 47 mm. Pp. [i– iv] v–l, [1–2] 3–602 [603–606]: [18] pages of colour plates. Type: Poliphilus and Blado. Printed and bound by Cambridge University Press. Full dark brown buckram with a design in gold by Neil Packer; pale brown endleaves with a map in dark brown. Dark brown slip case. The plates show ancient Greek carvings and artefacts. This is the first in a series of classical histories (see also items 1294 and 1333–1335). ¶ Second printing: 2007, the pagination running [i–iv] v–l, 1–602 [603–606]. ¶ Third printing: 2007. 1294 Herodotus, the histories, translation by Aubrey de Sélincourt, revised with an introduction and notes by John Marincola, preface by Theodore K. Rabb. 252 × 178 × 51 mm. Pp. [i–vi] vii–li [lii], 1–666 [667–668]: [18] pages of colour plates. Type: Poliphilus and Blado. Printed and bound by Cambridge University Press. Series binding (see item 1293); pale brown endleaves with a map by Reginald Piggott in dark brown. Dark brown slip case. Issued in the series of classical histories (see item 1293). The plates show ancient Greek carvings, vases and artefacts. ¶ Second printing: 2007. ¶ Third printing: 2007. 1295 W.H. Auden, collected shorter poems 1927–1957, introduced by Alexander McCall Smith, illustrated by Brian Grimwood. 228 × 161 × 30 mm. Pp. [1–2], [i–iv] v–xvi [xvii–xviii], [1–2] 3–396. Type: Fournier. Printed and bound by Cambridge University Press. Full green cloth with a design in brown and grey by Grimwood; pale brown endleaves with a pattern by Grimwood in shades of brown. Dark blue slip case. There are 46 curious (and occasionally brilliant) colour drawings by Grimwood, printed on the text pages. This title was published as the ‘Castaway’s Choice’ of McCall Smith (see item 270). 1296 Slaughterhouse-five, or The children’s crusade, a duty-dance with death, by Kurt Vonnegut, Jr, a fourth-generation German-American now living in easy circumstances on Cape Cod (and smoking too much), who, as an American infantry scout hors de combat, as a prisoner of war, witnessed the fire-bombing of Dresden, Germany, ‘the Florence of the Elbe,’ a long time ago, and survived to tell the tale. This is a novel somewhat in the telegraphic schizophrenic manner of tales of the planet Tralfamadore, where the flying saucers come from. Peace. Introduction by John Sutherland, illustrations by John

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Holder. 240 × 161 × 25 mm. Pp. [i–iv] v–xx [xxi–xxii], 1–170: [7] leaves of colour plates (facing pp. [iii], 58, 75, 106, 123, 139 and 154). Type: Utopia with Futura italic for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full grey artificial buckram with a design in dark grey and red by Holder; red endleaves. Red slip case. In addition to the plates, there are line drawings by Holder on pages [97], 100 and [165]. Vonnegut’s remarkable novel was originally published in 1969. This title was the ‘Castaway’s Choice’ of Richard Curtis (see item 270). ¶ Second printing. ¶ Third printing: 2014. Printed by Martins of Berwick and bound by Charles Letts & Co. 1297 The master of Ballantrae, a winter’s tale, Robert Louis Stevenson, illustrated by Grahame Baker Smith. Notes by Emma Letley. 235 × 185 × 27 mm. Pp. [1–11] 12–252 [253–256]: [9] leaves of colour plates (facing pp. [3], 33, 48, 64, 81, 112, 129, 224 and 241). Type: New Caledonia. Printed and bound by Cambridge University Press. Full dark red buckram with a design in gold by David Eccles; cream endleaves. Dark brown slip case. This and the three following items represent a new series of Stevenson’s novels, following in design the 1994 edition of Treasure island (item 797). The illustrator became known, for Folio purposes, as Grahame Baker-Smith from 2011. 1298 Kidnapped, being the adventures of David Balfour, how he was kidnapped and cast away; his sufferings in a desert isle; his journey in the west highlands; his acquaintance with Alan Breck Stewart and other notorious Highland Jacobites; with all that he suffered at the hands of his uncle, Ebenezer Balfour of Shaws, falsely so-called: written by himself and now set forth by Robert Louis Stevenson, illustrated by Philip Bannister. Glossary and notes by Emma Letley. Map by Reginald Piggott. 235 × 184 × 29 mm. Pp. [1–5] 6–240: [10] leaves of colour plates (facing pp. [3], 40, 80, 97, 113, 128, 161, 176, 193 and 208). Type: New Caledonia. Printed and bound by Cambridge University Press. Full dark brown series binding (see item 1297). Kidnapped had previously been published in 1987. ¶ Second printing: 2007. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. 1299 Catriona, being memoirs of the further adventures of David Balfour at home and abroad; in which are set forth his misfortunes anent the Appin murder; his troubles with Lord Advocate Grant; captivity on the Bass Rock; journey into Holland and France; and singular relations with James More Drummond or Macgregor, a son of the notorious Rob Roy, and his daughter Catriona. Written by himself, and now set forth by Robert Louis Stevenson, illustrated by Philip Bannister. Glossary and notes by Emma Letley. Map by Reginald Piggott. 235 × 185 × 32 mm. Pp. [1–5] 6 [7–13] 14–301 [302–304]: [9] leaves of colour plates (facing pp. [3], 48, 65, 112, 129, 160, 177, 273 and 288). Type: New Caledonia. Printed and bound by Cambridge University Press. Full brown series binding (see item 1297). Catriona was previously published by Folio in 1988. 1300 The strange case of Dr Jekyll and Mr Hyde, and weir of Hermiston, Robert Louis Stevenson, illustrated by Grahame Baker Smith. Glossary and notes by Emma Letley. 235 × 184 × 28 mm. Pp. [1–5] 6 [7–11] 12–221 [222–224]: [11] leaves of colour plates. Type: New Caledonia. Printed and bound by Cambridge University Press. Full dark red series binding (see item 1297). Dr Jekyll and Mr Hyde had previously been published by Folio in 1948, 1974 and 1994. The illustrator became known, for Folio purposes, as Grahame Baker-Smith from 2011. 1301 Between the woods and the water, Patrick Leigh Fermor, illustrated by Mary Kuper. Map by Reginald Piggott. 240 × 162 × 28 mm. Pp. [i–xii], 1–281 [282–286]: [11] leaves of ‘plates’. Type: Dante with Kabel for some display. Printed and bound by the Bath Press. Full pale blue cloth with a design in dark green, silver and gold by Malcolm Harvey Young; pale blue-grey endleaves with a map in dark blue. Green slip case. In addition

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to the ‘plates’ the title-spread bears a drawing by Kuper. Uniform with item 973. This title and item 973 were the ‘Castaway’s Choice’ of Kevin Crossley-Holland (see item 270). 1302 [James] Boswell’s London journal 1762–1763, edited and introduced by Frederick A. Pottle, foreword by Stella Tillyard. Second [i.e. fourth?] printing (with new binding, illustrations and foreword). 253 × 161 × 32 mm. Pp. [i–iv] v–xiv, 1–365 [366–370]: [18] pages of colour plates. Type: Walbaum. Typeset by Gloucester Typesetting and Folio, printed by the Saint Edmundsbury Press. Dark red buckram, with cream paper on the front board printed with a reproduction of a print; dark red endleaves. Dark red slip case. This new impression (unfortunately misnumbered) has been improved with a new series of colour plates reproducing contemporary paintings and prints. There is also a new foreword and binding design. The main text is in the same setting used for the earlier impressions (see item 546). This reprint was published as the ‘Castaway’s Choice’ of Tillyard (see item 270). 1303 War and peace. A separate impression of the edition originally published in 1971 (item 298), in a single volume with an accompanying pamphlet. 2 vols (see below). Printed by Memminger MedienCentrum. Bound by Real Lachenmaier. Black two-volume clamshell box titled (as above) in gold on the spine. The two volumes are as follows: [1] Leo Tolstoy, war and peace . . . Reprinted (in a limited edition bound in leather) [i.e. fifth? impression]. As item 298, but the dimensions now 241 × 165 × 69 mm. Pp. [i–ii], [1–6] 7–1430 [1431–1438]. Full dark red leather with a design in black, white and gold by Jeff Clements; gold endleaves. There is a colophon on page [i] recording that the impression was limited to 1750 copies. The text has been reprinted from the setting made originally in 1971. This impression resembles item 432 in that it is in a single volume; however, it was not reprinted from that small-format impression but from the revised and slightly reduced two-volume impression printed in 1997, with new pagination and other minor adjustments. [2] John Bayley, what is war and peace? 234 × 156 × 2 mm. Pp. [i–iv], 1–12. Type: Poliphilus and Blado. Sewn into gold card wrappers, cover-label. 1304 The Klemperer diaries 1933–1945. Maps by Reginald Piggott. 240 × 162 × 40–43 mm. 2 vols (see below). Type: Ehrhardt with Skia for display. Printed and bound by the Bath Press. Full dark red buckram with a design in black, red and gold by Malcolm Harvey Young; cream endleaves with a map in dark red. Black slip case decorated in red and titled (as above) in gold. Each volume is illustrated with monochrome photographs and reproductions of contemporary documents. The two volumes are as follows: [1] I shall bear witness: the diaries of Victor Klemperer 1933–1941, abridged and translated from the German edition by Martin Chalmers, preface by Martin Gilbert. Pp. [i–vii] viii–xxxi [xxxii–xxxiv], [1] 2–604 [605–606]. [2] To the bitter end: the diaries of Victor Klemperer 1942–1945, abridged and translated from the German edition by Martin Chalmers. Pp. [i–vii] viii–xix [xx–xxiv], [1] 2–664. 1305 The Folio Society book of the 100 greatest photographs, general editor Mark Haworth-Booth. 288 × 262 × 23 mm. Pp. [1–4] 5–220 [221–224]. Type: Dante. Printed by Grammlich. Bound by Real Lachenmaier in full black buckram with a sepia photograph (by Lewis Carroll) inset into the front board; silver endleaves. Black slip case with reproductions of monochrome photographs on the front panel. There are (as one would expect from the title) 100 reproductions of photographs in the text, printed in monochrome, sepia or full colour. ¶ Second printing: 2006 (not seen).

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1306 Raymond Chandler, trouble is my business and other stories, introduced by Gavin Young, illustrated by Geoff Grandfield. 252 × 177 × 50 mm. Pp. [i–ix] x–xiv, [1] 2–508 [509–512]: [13] leaves of ‘plates’. Type: Sabon with Helvetica Neue for display. Typeset by Gloucester Typesetting and Folio, printed and bound by the Bath Press. Full pale grey buckram with a design in black and silver by Grandfield; silver endleaves. Black slip case. ¶ Second printing: 2007, the dimensions now 252 × 177 × 45 mm. Typeset by Folio. Printed and bound by T.J. International. 1307 The rise and fall of the medieval monastery, Christopher Burke. Maps redrawn by Neil Gower. 262 × 191 × 32 mm. Pp. [i–v] vi–xxii, [1–2] 3–318 [319–322]. Type: Dante with Corvallis for display. Printed and bound by Cambridge University Press. Full dark red buckram with a design in gold by Neil Packer; pale pink endleaves with a map in dark red. Dark red slip case. The text is illustrated with 122 numbered illustrations (53 in colour), plus 23 maps and plans, and colour illustrations on the half-title and title-spread. ¶ Second printing: 2007, the dimensions now 262 × 195 × 32 mm. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier. 1308 Celtic myths and legends, compiled and introduced by Caitlín Matthews & John Matthews, illustrations by Jane Ray. 252 × 180 × 54 mm. Pp. [i–v] vi–xx, [1–3] 4–536 [537–540]: [16] leaves of colour plates. Type: Ehrhardt with Frances Uncial for display. Printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in quarter red-brown series binding (see item 724), green cloth boards with a design in red-brown and gold by Ray; red-brown endleaves. Dark brown slip case. The text is a selection of Irish and Scottish legends, translated by a variety of hands, including the editors. 1309 A history of Rome, from the foundation of the city to the sole rule of Julius Caesar [wreath device] Theodor Mommsen [wreath device] translated by W.P. Dickson, introduced by Anthony Grafton, edited by C.J. Shepherd. Maps by Reginald Piggott. 253 × 180 × 60 mm. Pp. [i–iv] v–xxvi, [1–2] 3–771 [772–774]: [26] pages of plates. Type: Ehrhardt with Trajan for display. Printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in quarter brown leather, blue buckram boards with a design in gold (after a wood-engraving) by Simon Brett; pale blue endleaves with a map in dark blue. Dark brown slip case. The plates reproduce photographs of statues and reliefs. This abridged text was specially prepared, following the translation by Dickson first published in 1868. ¶ Second printing: 2007. ¶ Third printing: 2007, the dimensions now 253 × 180 × 65 mm. 1310 The Somme, an eyewitness history, edited and introduced by Robert T. Foley and Helen McCartney. Map by Neil Gower. 240 × 162 × 32 mm. Pp. [i–vii] viii–xvii [xviii–xx], [1] 2–295 [296–300]: [18] pages of plates. Type: Plantin with Richmond for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full white artificial cloth with a photograph in green and brown; dark brown endleaves. Dark brown slip case. The text has been compiled from a wide range of contemporary sources, both published and unpublished. The plates reproduce Great War photographs. ¶ Second printing: 2006, with a brown slip case. ¶ Third printing: 2007. ¶ Fourth printing: 2009. Printed by Martins of Berwick. ¶ Fifth printing: 2009. 1311 Anton Chekhov, the shooting party, translated and edited by Ronald Wilks, introduction by John Sutherland, illustrations by Francis Mosley. 228 × 169 × 27 mm. Pp. [1–2], [i–vi] vii–xxxiv, 1–215 [216–220]: [9] leaves of

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colour plates (facing pp. [iii], 28, 45, 53, 68, 77, 92, 124 and 173). Type: Fournier with Corvallis for display. Printed and bound by Cambridge University Press. Full green cloth with a design in black, red and gold by Mosley; dark green endleaves. Dark brown slip case. ¶ Second printing: 2006, printed at the Saint Edmundsbury Press. Bound by Hunter and Foulis. ¶ Third printing: 2008. 1312 The daughter of time, Josephine Tey, introduction by Alison Weir, illustrations by Lucy Weller. 229 × 160 × 24 mm. Pp. [i–vi] vii–xvi [xvii–xviii], 1–187 [188–190]: [8] leaves of colour plates (facing pp. [iii], 15, 30, 46, 63, 94, 111 and 142). Type: Bembo with Corvallis for display. Printed and bound by Hunter and Foulis. Dark red artificial cloth, the front board covered with paper printed in colour with a collage by Weller; cream endleaves with a genealogical table in dark red. Dark red slip case. Weller’s illustrations are surreal collages, set within curious frames. ¶ Second printing: 2007, printed by the Saint Edmundsbury Press. 1313 The Luttrell psalter. 2 vols (see below). Dark blue two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] [Facsimile]. 360 × 253 × 75 mm. Ff. [i], 1–309 [310–311]. Photographed digitally by Laurence Pordes. Printed by Cambridge University Press. Bound by Smith Settle in full blue goatskin with an armorial design in black, red, silver and gold by David Eccles; blue endleaves. The illuminated manuscript (British Library, Additional MS 42130) is reproduced on a paper resembling in weight and texture the vellum on which it is written. A colophon appears on leaf [311] and reads in part ‘This facsimile . . . consists of 1480 numbered copies for sale to members of the Folio Society and 20 lettered copies which are not for sale . . .’ [2] The Luttrell psalter, commentary, Michelle P. Brown. 252 × 160 × 18 mm. Pp. [i–vi], [1] 2–206 [207]. Type: Ehrhardt. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in quarter dark blue buckram, blue-grey paper boards, cover-label; blue-grey endleaves. This volume is inserted in a recess in the box, beneath the facsimile. 1314 A dictionary of the English language: in which the words are deduced from their originals, and illustrated in their different significations by examples from the best writers . . . by Samuel Johnson, A.M., in two volumes. 3 vols (see below). Dark brown two-volume slip case, cover-label printed (as above) in red and black. Volumes I and II consist of a facsimile of the first folio edition of Johnson’s great dictionary published in 1755. The three volumes are as follows: I–II A dictionary of the English language . . . vol. I [–II] [quotation from Horace] London, printed by W. Strahan, for J. and P. Knapton; T. and T. Longman; C. Hitch and L. Hawes; A. Millar; and R. and J. Dodsley. MDCCLV. [facsimile]. 415 × 285 × 80–82 mm. 2 vols (pp. [1–1160; 1161–2650]). Printed in black and red by the Saint Edmundsbury Press. Bound by Smith Settle in half speckled calf with six raised bands, Ann Muir marbled paper boards, marbled edges; cream endleaves. Volume I contains A–K, plus Johnson’s history of the language and English grammar, and volume II contains L–Z. The final leaf of each volume bears a colophon which reads in part ‘The Folio Society . . . edition is limited to one thousand numbered copies . . .’ [III] Johnson’s dictionary, the making of the great book of English, by John Mullan, with extracts from the dictionary. 245 × 150 × 1 mm. Pp. [1–2] 3–11 [12]. Type: Caslon. Printed by the Saint Edmundsbury Press. Stapled. This pamphlet is loosely inserted into the slip case with the two volumes of the facsimile.

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1315 Montaigne’s essays, translated by John Florio. 240 × 163 × 40–41 mm. 3 vols (see below). Type: Caslon. Printed and bound by the Bath Press. Quarter dark blue buckram, Ann Muir marbled paper boards; pale brown endleaves. Blue three-volume slip case titled (as above) in gold. In series with item 1246. This text follows the 1897 edition of A.R. Waller, which is based on the third edition of Florio’s translation, published in 1632. The work had first appeared in English in 1603. This title was published as the ‘Castaway’s Choice’ of Graham Swift (see item 270). The three volumes are as follows: 1 [Michel Eyquem de] Montaigne’s essays, book one, translated by John Florio, introduced by Graham Swift. Pp. [i–v] vi–xiv, [1–4] 5–356 [357–362]: frontispiece. The frontispiece reproduces the etched and engraved title-plate to the edition of 1632. 2 [Michel Eyquem de] Montaigne’s essays, book two, translated by John Florio. Pp. [i–v] vi, [1–2] 3–519 [520–522]. 3 [Michel Eyquem de] Montaigne’s essays, book three, translated by John Florio. Pp. [i–vi], [1–2] 3–377 [378]. 1316 The secret garden, by Frances Hodgson Burnett, illustrated by Charles Robinson. 228 × 164 × 35 mm. Pp. [i– xii], [1] 2–273 [274–276]: [8] leaves of colour plates (facing pp. [v], 37, 52, 100, 117, 197, [212] and 269). Type: Scotch Roman with Richmond Bold and hand-drawn lettering (reproduced from the first edition) for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full green cloth with a design in black and gold by Robinson (redrawn by David Eccles); green endleaves. Green slip case. Robinson’s delightful plates were originally published in the first edition of 1911, on which this edition is based. ¶ Second printing: 2007. ¶ Third printing: 2007, printed and bound by T.J. International. ¶ Fourth printing: 2008. Part of A Children’s Treasury series. ¶ Fifth printing: 2008. ¶ Sixth printing: 2009. ¶ Seventh printing: 2010. ¶ Eighth printing: 2011. ¶ Ninth printing: 2012. ¶ Tenth printing: 2013. 1317 Italian food, Elizabeth David, illustrations by Sophie MacCarthy, with a foreword by Terence Conran. 252 × 187 × 32 mm. Pp. [i–v] vi–xxx, [1] 2–298: [9] leaves of colour plates (facing pp. [iii], 18, 35, 66, 83, 146, 163, 211 and [226]). Type: Bembo. Printed and bound by Cambridge University Press. Quarter dark red buckram, white paper boards with a design in shades of green and purple by MacCarthy; green endleaves. Green slip case. ¶ Second printing: 2007. ¶ Third printing: 2007. ¶ Fourth printing: 2008. ¶ Fifth printing: 2010. Printed by Martins of Berwick. Bound by Hunter and Foulis, of ‘Edingburgh’ p. [iv]. Pale green slip case. ¶ Sixth printing: 2011. ‘Edingburgh’ uncorrected. 1318 The Folio diary 2007. 200 × 149 × 13 mm. Pp. [1–128]. Type: Minion. Printed and bound by Grafos. Full dark blue plasticised paper with a colour reproduction of William Blake’s ‘The ancient of days’ on the front board; endleaves (pages [1–4] and [125–128]) printed in colour with a reproduction of a painting. Not issued in a slip case. Issued free to members in August 2006. Each recto represents a week, with a colour reproduction of a painting or photograph from a Folio book on the facing verso. 1319 A is for ox, a short history of the alphabet, Lyn Davies. Designed and illustrated by Davies. Edited by Julian Flanders. ‘Consultative editor’ Dr Steven Roger Fischer. 197 × 134 × 13 mm. Pp. [1–7] 8–127 [128]. Type: Baskerville. Typeset, printed in orange-black and brown and bound by Butler and Tanner. Full dark red cloth with a design in orange-brown and gold by Davies; orange-brown endleaves. Orange-brown slip case. The text is decorated and illustrated with examples of letter-forms and specimens of handwriting, typog raphy and carved inscriptions. This edition is based on that published by Ottaker’s in 2004.

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1320 Charlemagne, father of a continent, Alessandro Barbero, translated by Allan Cameron. 253 × 152 × 42 mm. Pp. [i–vii] viii–xx, [1] 2–428: [26] pages of colour plates. Type: Imprint with Charlemagne (not unnaturally) for display. Printed and bound by Cambridge University Press. Full green-grey cloth with a design in dark red and gold by Neil Packer; pale green-brown endleaves with a map by Reginald Piggott in dark brown. Dark brown slip case. The plates reproduce photographs of buildings, artefacts, manuscripts and miniatures from the time of Charlemagne. ¶ Second printing: 2007. ¶ Third printing: 2008. ¶ Fourth printing: 2009. 1321 The English language, Robert Burchfield, introduction by Robert McCrum, afterword by John Simpson. Map by Neil Gower. 228 × 150 × 30 mm. Pp. [i–vi] vii–xxiii [xxiv–xxvi], 1–230: [14] pages of colour and mono chrome plates. Type: Imprint. Printed and bound by Cambridge University Press. Quarter dark red buckram, pale gold paper boards with a repeat pattern in dark green; dark red endleaves. Dark red slip case. The text was originally published in 1985, and the present edition follows the corrected reprint of 2002. The plates reproduce prints, paintings, photographs and documents. ¶ Second printing: 2007. ¶ Third printing (not seen). ¶ Fourth printing: 2008. ¶ Fifth printing: 2009, the dimensions now 228 × 148 × 26 mm. Printed by Martins of Berwick and bound by Hunter and Foulis. ¶ Sixth printing: 2010. ¶ Seventh printing: 2011. 1322 The spy’s bedside book, an anthology edited by Graham Greene & Hugh Greene, introduced by Stella Rimington, illustrated by Nick Hardcastle [quotation from William Le Queux]. 204 × 150 × 32 mm. Pp. [i–iv] v–xxi [xxii– xxiv], [1–2] 3–261 [262–264]. Type: Goudy Old Style. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full blue buckram with a design in brown, black and cream by Hardcastle; brown endleaves. Brown slip case. The text is illustrated with 44 drawings by Hardcastle, often printed as head- and tail-pieces to the extracts. The work was originally published by Rupert Hart-Davis in 1957. Page [263] bears an application form for bona fide spies to order copies of the book at a trade discount, to be used ‘only for the proper purposes of our Secret Services’. ¶ Second printing: 2007. ¶ Third printing: 2008. ¶ Fourth printing: 2009, printed by Martins of Berwick. ¶ Fifth printing: 2009. 1323 St Augustine, Bishop of Hippo, confessions, based on a translation by J.G. Pilkington, with a foreword by Dr Rowan Williams, Archbishop of Canterbury, and wood engravings by Simon Brett. Edited by Justin Lovill. [Third? impression]. 252 × 162 × 30 mm. Pp. [1–8] 9–294 [295–296]: colour frontispiece. Type: Palatino. Typeset by Speedspools (new matter by the Folio Society), printed and bound by the Bath Press. Full brown cloth with a crozier design in gold; dark brown endleaves. Dark brown slip case. This is a revised reprint of the 1993 edition (item 746). The original introduction by Enoch Powell has been replaced by one by the Archbishop of Canterbury. The title-page is dated ‘MMVI’. ¶ Fourth [i.e. second] printing: 2008, printed and bound by Grafos. 1324 Ten days that shook the world, John Reed, preface by John Simpson, introduction by A.J.P. Taylor, foreword by V.I. Lenin. Maps by Neil Gower. 240 × 162 × 30 mm. Pp. [i–vii] viii–xxv [xxvi–xxviii], [1] 2–369 [370–372]: [18] pages of plates. Type: Utopia with Antique Olive for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full red artificial cloth with a design in black and gold by Frances Button (based on a Russian poster of 1917); cream endleaves with a map. Black slip case. The plates reproduce photographs, mostly taken in late 1917 and early 1918.

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¶ Second printing: 2007. ¶ Third printing: 2008. 1325 Life on the Mississippi, Mark Twain, introduced by Ron Powers. 240 × 162 × 31 mm. Pp. [i–iv] v–xxviii, [1] 2–384 [385–388]: [18] pages of colour and monochrome plates. Type: Bulmer. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram with a map design in gold by Neil Gower; pale blue endleaves. Blue slip case with a colour reproduction of a painting on the front panel. The plates reproduce prints, paintings, photographs, drawings and documents relating to the Mississippi. ¶ Second printing: 2007. ¶ Third printing: 2008. ¶ Fourth printing: 2008. 1326 Niccolò Machiavelli, the prince, translated and with an introduction by George Bull, preface by Tim Parks. Capitals by David Kindersley. 234 × 140 × 16 mm. Pp. [1–6] 7–144: colour frontispiece. Type: Centaur and Arrighi. Printed in dark red and black by Montgomery Litho. Bound by Hunter and Foulis in full red cloth with a pattern by Frances Button in gold; gold endleaves. Red slip case. Unlike the ‘second edition’ of 1975, this is genuinely a new edition. Or is it? The text was generated by scanning the previous edition, checking and where necessary revising the text, and setting the resulting data in the same typeface used for the earlier Folio edition (1970 item 281). Since the bulk of this book has, in effect, been printed substantially from the same setting of type first used in 1970, albeit through a complex digital procedure, one could argue that it is, strictly speaking, another impression and not a new edition at all. This is just one of the bibliographical conundrums thrown up by the technology of typesetting in the digital age. Nevertheless, for the purposes of this bibliography it has been treated as a new edition, if only because its physical form has changed and the original foreword by Mussolini has been replaced by one written by a slightly less Machiavellian figure. The frontispiece is also new, showing a painting of the author (with a tiny head, but looking rather benign) by Santi di Tito. Although ‘reset’ the main text follows the layout of the earlier Folio edition fairly closely and uses the same capitals by David Kindersley. ¶ Second printing (not seen). ¶ Third printing (not seen). ¶ Fourth printing: 2007. ¶ Fifth printing: 2009. Printed by Martins of Berwick. ¶ Sixth printing: 2009. 1327 Wonders of the world, Simon Goldhill, Richard Barber, Theodore K. Rabb and Jonathan Glancey. 296 × 231 × 30 mm. Pp. [1–4] 5–308 [309–312]. Type: Janson. Printed by CPI Bath. Bound by the Bath Press in full pale brown buckram with a design in silver and dark red by Neil Gower; silver endleaves with photographs in red-brown. Pale brown slip case with a colour photograph of the Great Pyramid and Sphinx on the front panel. The Presentation Volume for 2007. The text was specially commissioned for Folio, and contains four sections, each by one of the authors (describing the ancient, medieval, Renaissance and modern worlds respectively). The text is illustrated with a total of 192 images, most being in colour, including the title-spread (the slip case and endleaf photographs are repeated from the text). Many of the monochrome images are, in fact, printed in colour, to help reproduce the original tone and depth. The colour images were prepared by Dot Gradations Ltd for reproduction by CPI Bath. In addition there is a line-drawing on page 125. 1328 Alfred, Lord Tennyson, selected poems, selection, introduction and notes by Ruth Padel, [wood-] engravings by Ian Stephens. 280 × 189 × 47 mm. Pp. [i–iv] v–xvi, 1–429 [430–432]. Type: Baskerville. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in quarter dark green series binding (see item 1051); dark green endleaves. Dark green slip case. In ‘The Folio Poets’ series (see item 1051). There is a total of 36 wood-engravings, usually printed as head- and tail-pieces to the poems. 1329 A traveller’s Christmas, introduced [and edited] by Sue Bradbury, illustrated by Paul Slater. 241 × 162 × 33 mm. Pp. [i–v] vi–xvi, [1–2] 3–287 [288]: [15] leaves of colour plates. Type: Bulmer. Printed by Memminger

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MedienCentrum. Bound by Real Lachenmaier in red artificial cloth, the front board covered with white paper with a colour design by Slater; silver endleaves. Blue slip case. 1330 A booklover’s companion, selected and edited by Matthew Reisz. 200 × 142 × 14 mm. Pp. [1–8] 9–160. Type: Bell. Printed and bound by Grafos. Full purple plasticised paper with a colour reproduction of a painting by Jonathan Wolstenholme on the front board; metallic red-gold endleaves. Not issued in a slip case. The volume is illustrated in colour with reproductions of paintings depicting the act of reading. 1331 Lives of the engineers, Samuel Smiles, introduced by Asa Briggs, edited by C.J. Shepherd. Maps by Reginald Piggott. 262 × 195 × 40 mm. Pp. [i–v] vi–xviii [xix–xx], [1–3] 4–380. Type: Bulmer. Printed and bound by Cambridge University Press. Full red-brown buckram with a design in black and gold by Neil Gower; white endleaves with a colour reproduction of a drawing. Black slip case. The text is illustrated throughout with reproductions of paintings, prints, photographs, documents and so forth, many in colour. This is a specially abridged edition of Smiles’s work, which was originally published in 1861–1862 (with an enlarged edition appearing in 1874). The lives of George and Robert Stephenson had been published separately in 1975. ¶ Second printing: 2007. ¶ Third printing: 2007. ¶ Fourth printing: 2008. ¶ Fifth printing: 2009. ¶ Sixth printing: 2010. Printed and bound by Firmengruppe APPL. 1332 The lady in the van, and three stories, by Alan Bennett, illustrated by Helen Smithson. 222 × 143 × 25 mm. Pp. [i–vi], [1–2] 3–244 [245–250]. Type: Joanna with Scala for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full green cloth with a design in black, white and red by Smithson; dark green endleaves. Dark green slip case. There are four full-page drawings by Smithson, each serving as a frontispiece to one of the stories. 1333 Livy, the early history of Rome, books I–V of the history of Rome from its foundations, translated by Aubrey de Sélincourt, introduction by R.M. Ogilvie, appendix and bibliography by S.P. Oakley, preface by Theodore K. Rabb. Index by Gerard M.-F. Hill. Maps by Reginald Piggott. 252 × 176 × 42 mm. Pp. [i–vi] vii–xl, [1–2] 3–419 [420–424]: [18] pages of colour plates. Type: Poliphilus and Blado. Printed and bound by Cambridge University Press. Series binding (see item 1293); pale brown endleaves with a map in dark brown. Dark brown slip case. Issued in the series of classical histories (see item 1293). 1334 Julius Caesar, the Gallic and Civil Wars, translated by S.A. Handford and Jane F. Gardner, edited and introduced by Jane F. Gardner, preface by Theodore K. Rabb. Index by Gerard M.-F. Hill. Maps by Reginald Piggott. 251 × 175 × 44 mm. Pp. [i–v] vi–xlvii [xlviii], [1–2] 3–542 [543–544]: [18] pages of colour plates. Type: Poliphilus and Blado. Printed and bound by Cambridge University Press. Series binding (see item 1293); pale brown endleaves with a map in dark brown. Dark brown slip case. Issued in the series of classical histories (see item 1293). 1335 Tacitus, the annals of Imperial Rome, translation, introduction, notes and bibliography by Michael Grant, preface by Theodore K. Rabb. Index by Gerard M.-F. Hill. Maps by Reginald Piggott. 251 × 175 × 42 mm. Pp. [1–2], [i–v] vi–xxxviii, [1–2] 3–420 [421–424]: [18] pages of colour plates. Type: Poliphilus and Blado. Printed and bound by Cambridge University Press. Series binding (see item 1293); pale brown endleaves with a map in dark brown. Dark brown slip case. Issued in the series of classical histories (see item 1293). 1336 How to cook a hippopotamus, the Folio book of quaint and curious advice . . . all very proper to be read and kept in every family, selected by Ian Pindar and illustrated by John Holder [Latin quotation]. 200 × 134 × 12 mm. Pp. [i–v] vi–xi [xii], [1] 2–116. Type: New Century Schoolbook. Printed by Bath Press Colourbooks. Bound by the

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Bath Press in full dark purple plasticised paper with a colour design by Holder on the front board; dark blue endleaves. Not issued in a slip case. The text is illustrated throughout with Holder’s colourful sketches, and includes useful advice for anyone interested in self-medication, etiquette, curious cuisine, breast-enlargement, the supernatural, the problems of war (including self-abuse and the best method of bombing a post office), the science of hanging, how to tell an imbecile from an idiot, and the general improvement of the self. 1337 Peter Pan and Wendy, by J.M. Barrie, illustrated by Debra McFarlane. 332 × 251 × 32 mm. Pp. [i–iv] v–vii [viii–xii], 1–178 [179–182]: [11] leaves of ‘plates’. Type: Caslon with hand-drawn lettering (by McFarlane) on the title-page. Printed (with the title-page in black and blue) by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full blue buckram with a design in silver and red by McFarlane; pale blue endleaves with a design in dark blue by McFarlane. Dark blue slip case. This is a new work, created in the tradition of the facsimile children’s books published by Folio, using the text of Barrie’s 1911 version of his story, originally published as Peter and Wendy. Two other versions of the story had already been published by Folio (items 734 and 1211), and the present edition is designed to be uniform with the latter. In addition to the 12 colour plates, which are tipped to captioned (and largely unnumbered) text pages, there are vignette drawings by McFarlane throughout the text. ¶ Second printing: 2007, printed by Memminger MedienCentrum. Bound by Real Lachenmaier. ¶ Third printing: 2013. Reissued in a new, smaller format. Dimensions now 299 × 225 × 25 mm. Printed by Himmer and bound by Real Lachenmaier. The 12 colour plates are no longer tipped in. ¶ Fourth printing: 2018. Printed and bound by Neografia. Described as ‘second printing’. ¶ Fifth printing: 2021. Described as ‘third printing’. 1338 Dorothy L. Sayers, strong poison, introduction by P.D. James, illustrations by Natacha Ledwidge. Third printing. A separate issue of this volume from The Dorothy L. Sayers crime collection. Details as volume [1] of item 952, but issued in a plain single-volume slip case. ¶ Fourth printing: 2007, printed and bound by T.J. International. 1339 The Apocrypha, translated out of the Greek and Latin tongues, being the version set forth a d 1611, compared with the most ancient authorities and revised a d 1894, introduced by David Daniell. 298 × 227 × 37 mm. Pp. [i–ix] x–xvi, [1–3] 4–351 [352]: [13] leaves of colour plates. Type: Caslon. Printed and bound by Cambridge University Press. Quarter dark brown leather, yellow artificial moiré silk boards; dark brown endleaves. Dark brown slip case with a colour reproduction of a painting by Rembrandt on the front panel. The plates reproduce ‘old master’ paintings, mostly of the sixteenth and seventeenth centuries. 1340 Anthony Powell, a dance to the music of time [ornament] spring, a question of upbringing, a buyer’s market, the acceptance world, introduction by William Trevor. 240 × 176 × 38 mm. Pp. [i–vi] vii–xiv, [1–4] 5–496 [497–498]: [32] pages of colour plates. Type: Ehrhardt. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in dark red buckram, the front board covered with cream paper with a reproduction of a print by Georges Barbier in colour; dark purple endleaves. Dark purple slip case. This is the first in a series of four volumes, reprinting Powell’s original 12-book sequence. ¶ Second printing: 2007. 1341 Gãmini Salgãdo, the Elizabethan underworld, introduction by Michael Wood. 241 × 163 × 28 mm. Pp. [i–vi] vii–xviii [xix–xxiv], 1–248 [249–252]: [8] pages of colour plates, [12] pages of ‘plates’. Type: Minion with San Marco for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full black

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cloth with a design in red and gold by Francis Mosley; red-brown endleaves with a map in black. Black slip case. In the series begun with item 876. ¶ Second printing: 2015. Red endleaves. 1342 The gentleman’s daughter [ornament] women’s lives in Georgian England, Amanda Vickery. Map by Neil Gower. 240 × 163 × 40 mm. Pp. [i–iv] v–xxiii [xxiv], 1–462: [18] pages of colour plates. Type: Baskerville. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full metallic orange-brown cloth with a design in gold by Frances Button (based on a Georgian tea-caddy); brown endleaves. Dark brown slip case with a colour reproduction of a painting by Robert Dighton on the front panel. The plates reproduce eighteenth- and early nineteenth-century art. Gower’s map appears on page [xxiv]. ¶ Second printing: 2008. 1343 History of western science 1543–2001, John Gribbin. 241 × 164 × 60 mm. Pp. [i–v] vi–xvii [xviii–xxi] xxii–xxix [xxx], [1–3] 4–706: [18] pages of colour plates. Type: Ehrhardt with Joanna for some display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in quarter dark blue leather, pale blue-grey cloth boards with a design in black and gold by Neil Gower; dark blue endleaves. Dark blue slip case. The plates reproduce paintings, drawings and prints representative of the progress of science. In addition there are 41 numbered monochrome figures printed in the text. ¶ Second printing: 2007. ¶ Third printing: 2007, bound by Real Lachenmaier. ¶ Fourth printing: 2008. 1344 My family and other animals, Gerald Durrell [quotation from Shakespeare], introduced by Michael Morpurgo, illustrations by Paul Cox. 252 × 176 × 24 mm. Pp. [i–iv] v–xiv, [1–2] 3–264 [265–266]. Type: Bembo with Nueva for display. Printed and bound by Cambridge University Press. Full cream cloth with a design in red-brown and gold by Cox; cream endleaves with a pattern in brown and dark brown by Cox. Dark red slip case. There are 43 illustrations by Cox printed in colour in the text. ¶ Second printing: 2008. ¶ Third printing: 2017. Michael Morpurgo and Paul Cox have been removed from the title-page. Printed and bound by C & C Offset now in yellow cloth with the design in blue and copper. Yellow slip case. 1345 Pride and prejudice by Jane Austen, introduction by Deirdre Le Faye, illustrations by Niroot Puttapipat. Reset, with new illustrations. 228 × 161 × 35 mm. Pp. [1–2], [i–iv] v–xv [xvi], [1–2] 3–364 [365–366]: [7] leaves of colour plates (facing pp. [iii], 15, 30, 70, 110, 238 and 334). Type: Bell. Printed and bound by Cambridge University Press. Quarter brown buckram, cream paper boards with a ‘Regency’ stripe pattern in red and a colour vignette by Puttapipat; dark red endleaves. Blue slip case. This is the first in a new series of Austen’s novels. 1346 Graham Greene, the power and the glory, illustrated by Geoff Grandfield. Second printing. A separate impression of this volume from The great novels. Details as volume [2] of item 900, but the spine of the binding has been redesigned and the binding material is buckram. Plain dark green single-volume slip case. ¶ Third printing (not seen). ¶ Fourth printing: 2008. 1347 The hound of the Baskervilles, Arthur Conan Doyle, illustrated by Francis Mosley. [Second edition], third printing. A separate impression of this volume from the Complete stories. Details as volume [3] of item 778,

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but printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full red cloth with a design in black by David Eccles and Doyle’s signature in gold; dark red endleaves. Black single-volume slip case. This new impression is similar in binding design to the fourth printing of item 750. ¶ Fourth [i.e. second] printing: 2008. 1348 Maria Sibylla Merian, the Surinam album. 2 vols (see below). Dark green two-volume clamshell box, black leather spine-label titled (as above) in gold. This is a facsimile of a group of natural history paintings made on vellum by Merian between around 1701 and 1715, based on sketches and observations made in Surinam between 1699 and 1701. The original album is now in the British Museum. Each copy was offered with three loose prints, repeating images in the album, intended to be framed by the purchaser. The two volumes are as follows: [1] Maria Sibylla Merian, the Surinam album [facsimile]. 540 × 370 × 70 mm. Ff. [1–92]. Type: Caslon for the colophon. Printed by Cambridge University Press. Bound by Smith Settle in quarter dark green leather with a black leather spine-label titled (as above) in gold; brown cloth boards with a design in silver, black and gold by David Eccles; dark green endleaves. The album consists of 94 leaves of pale brown paper. The first and last are attached to the free endleaves, and the remaining 92 have facsimiles tipped to their rectos, all save the final leaf which bears a tipped-in colophon recording that the edition is limited to 1000 copies. [2] Maria Sibylla Merian, the Surinam album, commentary by Julie Harvey, Collections Development Manager, Entomology Library, Natural History Museum, London. 253 × 163 × 11 mm. Pp. [1–10] 11–87 [88]. Type: Caslon. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in full dark green buckram, cover-label; green endleaves with a map. This volume is inserted in a recess in the box, beneath the facsimile. There is a frontispiece reproducing an allegorical engraving of Merian, originally published in 1719.

2007

2007 1349 Great short stories, Russian, Japanese, American, Irish, French, English. Illustrated by Roman Pisarev, Yukki Yaura, Paul Gulla, David Rooney, Véronique Bour, and Rod Waters. 240 × 163 × 50 mm. Pp. [i–v] vi–x, [1–3] 4–572 [573–574]: [28] leaves of plates. Type: Ehrhardt with Fritz Quadrata for display. Printed and bound by T.J. International. Full black cloth with a design in dark red and gold by Malcolm Harvey Young; dark red endleaves. Black slip case. ¶ Second printing: 2007. ¶ Third printing: 2008. ¶ Fourth printing: 2008. 1350 Charles Dickens, hard times for these times, with the original illustrations by Fred Walker, introduction by D.J. Taylor. 261 × 170 × 37 mm. Pp. [1–2], [i–iv] v–xv [xvi–xx], 1–277 [278–282]. Type: Bulmer with Verdi for display. Typeset by R. and R. Clark for the Nonesuch Press in 1937 (the preliminaries by Folio), printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in series binding (item 1197). 1351 Charles Dickens, dealings with the firm of Dombey and Son: wholesale, retail and for exportation, with the original illustrations by “Phiz” [Hablot K. Browne], introduction by Andrew Davies. 261 × 170 × 57 mm. Pp. [1–2], [i–iv] v–xxi [xxii–xxiv], 1–880 [881–882]: [38] leaves of ‘plates’. Type: Bulmer with Verdi for display. Typeset by R. and R. Clark for the Nonesuch Press in 1937 (the preliminaries by Folio), printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in series binding (see item 1197). 1352 84, Charing Cross Road, Helene Hanff, introduced by Sue MacGregor, illustrated by Natacha Ledwidge. 228 × 150 × 22 mm. Pp. [i–iv] v–xiii [xiv], [1–2] 3–209 [210]. Type: Goudy Old Style. Printed and bound by Cambridge University Press. Full red-brown cloth blocked in silver and printed in black with a design by Ledwidge; silver endleaves. Black slip case. Ledwidge’s illustrations consist of four full-page line drawings, and approximately 50 small vignettes, all printed in black. 1353 Queen Victoria, Elizabeth Longford, introduction by Roy Strong. 251 × 163 × 50 mm. Pp. [i–v] vi–xxiii [xxiv–xxvi], [1–3] 4–626 [627–630]: [11] leaves of colour plates and [1] folded genealogical table (by Reginald Piggott). Type: Ehrhardt. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full black buckram with a relief of Queen Victoria from a coin blocked in gold; purple endleaves. Dark purple slip case. The plates reproduce contemporary photographs, paintings and printed material. 1354 Rights of man, Thomas Paine, introduced by M.R.D. Foot. 252 × 162 × 28 mm. Pp. [i–iv] v–xvii [xviii], [1–4] 5–252 [253–254]: [7] leaves of colour plates. Type: Baskerville. Printed and bound by T.J. International. Quarter bound in green buckram, paper boards printed with a repeat pattern of painted French Revolution symbols; dark green endleaves. Dark green slip case. The plates reproduce paintings, prints and other printed material. ¶ Second printing: 2008. 1355 The body-snatcher and other stories, Robert Louis Stevenson, introduced by Claire Harman, illustrated by Michael Foreman. 235 × 184 × 42 mm. Pp. [i–vi] vii–xvii [xviii], 1–430: [14] leaves of colour plates. Type: Plantin. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full black cloth blocked with design in green and gold by Foreman; dark green endleaves. Dark green slip case.

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1356 A history of Venice, John Julius Norwich. 265 × 170 × 55 mm. Pp. [i–iv] v–xxx [xxxi–xxxii], [1–2] 3–621 [622–624]: 17 leaves of colour plates. Type: Ehrhardt with BauerBodoni for display. Printed and bound by Cambridge University Press. Full cloth printed with a map of Venice; dark blue endleaves. Dark blue slip case. The plates reproduce paintings, manuscripts, antiquities and photographs of the city. ¶ Second printing: 2007, the dimensions now 265 × 170 × 60 mm. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier. ¶ Third printing: 2008. 1357 Henry Hobhouse, seeds of change, six plants that transformed mankind. Maps by Neil Gower. 257 × 175 × 37 mm. Pp. [i–iv] v–xxiv, [1–2] 3–372 [373–376]: [12] leaves of colour plates. Type: Garamond with Bulmer for display. Printed and bound by Cambridge University Press. Quarter brown cloth with boards printed with design by Neil Packer; pale green endleaves with a map by Gower in brown. Green slip case. The plates reproduce a wide range of illustrative material. In addition, there are maps on pages [50], 54 and [161]. ¶ Second printing: 2014, the dimensions now 252 × 177 × 39 mm. Printed and bound by L.E.G.O. 1358 The letterpress Shakespeare, Hamlet. Dark red two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, Hamlet, edited by G.R. Hibbard. 355 × 255 × 23 mm. Pp. [i–ii], [1–11] 12–129 [130–134]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed letterpress by Hand and Eye on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark red Nigerian goatskin leather with marbled paper boards by Ann Muir and top edge gilding; dark red endleaves. Leaf following the title-page reads in part ‘The edition is limited to 3750 numbered copies for sale to members of the Folio Society, and 25 lettered copies which are not for sale’. A small number of members opted to have a slip case for this volume rather than the large clamshell box, an option that continued to be offered throughout the series. The text is based on the edition originally published by the Clarendon Press in 1987. [2] William Shakespeare, Hamlet, edited by G.R. Hibbard. 222 × 142 × 30 mm. Pp. [i–iv] v–ix [x], 1–406. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2007 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by the Saint Edmundsbury Press. Bound in full dark red buckram with paper label on front board; dark red endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark red. Available to purchase separately in 2016. 1359 Robertson Davies, the Deptford trilogy, fifth business, the manticore, world of wonders, illustrated by Peter Suart. 251 × 175 × 55 mm. Pp. [1–4] 5–701 [702–704]: [13] leaves of colour plates. Type: Ehrhardt. Printed and bound by Cambridge University Press. Full red cloth blocked in silver, gold and black with design by Neil Packer; silver endleaves with a design in black by Suart. Black slip case. 1360 Labyrinths, selected stories and other writings, Jorge Luis Borges, edited by Donald A. Yates and James E. Irby, introduction by Adam Feinstein, foreword by André Maurois, illustrated by Neil Packer. 278 × 154 × 26 mm. Pp. [i–iv] v–xxiv, [1–2] 3–229 [230–232]: [8] leaves of colour plates (facing pp. [iii], 24, 41, 56, 73, 144, 176 and 200). Type: Centaur. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter dark brown cloth with boards printed with design by Packer; dark brown endleaves. Dark brown slip case. A transparent plastic coated paper guard leaf is inserted between the frontispiece and title-page.

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1361 Leo Tolstoy, the collected stories. 240 × 164 × 41–47 mm. 3 vols (see below). Type: Poliphilus. Printed and bound by T.J. International. Full dark green buckram blocked in gold, cream and black with design by Roman Pisarev, each volume depicting Tolstoy at a different stage of life: youth, middle-age and as an old man; green endleaves. Green three-volume slip case decorated and titled (as above). 55 stories are included. The three volumes are as follows: I Leo Tolstoy, the collected stories, volume I, translated from the Russian by Aylmer and Louise Maude, introduced by John Sutherland, illustrated by Roman Pisarev. Pp. [i–iv] v–xviii, [1–2] 3–497 [498]: [14] leaves of plates. II . . . volume II. Pp. [i–iv] v–vii [viii], [1–2] 3–487 [488–492]: [14] leaves of plates. III . . . volume III. Pp. [i–iv] v–vii [viii], [1–2] 3–440 [441–446]: [13] leaves of plates. ¶ Second printing: 2007. 1362 Raymond Chandler, the big sleep, introduced by Frank MacShane, illustrated by Geoff Grandfield. 222 × 145 × 22 mm. Pp. [i–vi] vii–xvii [xviii], 1–183 [184]: [7] leaves of plates (facing pp. 6, 26, 113, 139, 150, 157 and 174). Printed and bound by the Bath Press. A separate issue of the first volume from The complete novels, Raymond Chandler, item 640, third printing. Described as ‘fourth impression’. Issued in a black slip case. ¶ Fifth impression [i.e. second printing]: 2007, printed and bound by T.J. International. 1363 E.M. Forster, a room with a view, lithographs by Glynn Boyd Harte. 240 × 160 × 27 mm. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in full purple cloth with printed paper front board; purple endleaves. Purple slip case. A separate issue of the third volume from item 842. ¶ Third [i.e. second] printing: 2007, bound by Hunter and Foulis. 1364 Anthony Powell, a dance to the music of time [ornament] summer, at Lady Molly’s, Casanova’s Chinese restaurant, the kindly ones. 240 × 176 × 40 mm. Pp. [i–iv] v–x, [1–4] 5–501 [502]: [14] leaves of colour plates. Type: Ehrhardt. Printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in series binding (see item 1340), the front board covered with a reproduction of an advertisement. ¶ Second printing: 2008. ¶ Third printing: 2010, the dimensions now 240 × 178 × 38 mm. Printed by Memminger MedienCentrum. 1365 Anthony Powell, a dance to the music of time [ornament] autumn, the valley of bones, the soldier’s art, the military philosophers. 240 × 178 × 38 mm. Pp. [i–iv] v–ix [x], [1–4] 5–500 [501–502]: [12] leaves of colour plates. Type: Ehrhardt. Printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in series binding (see item 1340), the front board covered with a reproduction of a painting. ¶ Second printing: 2008. 1366 Anthony Powell, a dance to the music of time [ornament] winter, books do furnish a room, temporary kings, hearing secret harmonies. 240 × 176 × 45 mm. Pp. [i–iv] v–x, [1–4] 5–564 [565–566]: [14] leaves of colour plates. Type: Ehrhardt. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in series binding (see item 1340), the front board covered with a reproduction of a photograph.

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¶ Second printing: 2008, the dimensions now 240 × 178 × 43 mm. 1367 David Thomson, Woodbrook, introduction by Fergal Keane. 240 × 164 × 30 mm. Pp. [i–iv] v–xi [xii–xiv], [1–2] 3–288 [289–290]: [5] leaves of plates (facing pp. [iii], 90, 91, 234 and 235). Type: Bembo. Printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in full dark green buckram blocked in cream and pale green with a design by David Rooney; pale green endleaves. Pale green slip case. 1368 The Folio treasury of shorter crime fiction. 228 × 160 × 41–47 mm. 4 vols (see below). Type: Garamond with Albertus for display. Printed and bound by Cambridge University Press. Quarter dark brown cloth with boards printed with designs by Nick Hardcastle. Dark brown four-volume slip case titled (as above). 20 stories are included. The four volumes are as follows: I The Folio treasury of shorter crime fiction, volume I, early escapades, selected by Tim Heald and Sue Bradbury, illustrated by Nick Hardcastle. Pp. [i–iv] v–vii [viii], [1–2] 3–391 [392–396]: [11] leaves of plates. Dark brown endleaves. Contains stories by Mary E. Braddon, Wilkie Collins, Arthur Conan Doyle, Anna Katharine Green and Maurice Leblanc. II . . . volume II, superior sleuths, . . . Pp. [i–iv] v–vii [viii], [1–2] 3–453 [454–460]: [11] leaves of plates. Dark green endleaves. Contains stories by Agatha Christie, Rex Stout, John le Carré, Antonia Fraser and Sara Paretsky. III . . . volume III, police procedures, . . . Pp. [i–iv] v–vii [viii], [1–2] 3–411 [412]: [11] leaves of plates. Dark blue endleaves. Contains stories by Georges Simenon, Caryl Brahms & S.J. Simon, Edgar Wallace, Ian Rankin and Henning Menkell. IV . . . volume IV, murderous minds, . . . Pp. [i–iv] v–vii [viii], [1–2] 3–407 [408–412]: [11] leaves of plates. Red endleaves. Contains stories by James Cain, Margery Allingham, Cornell Woolrich, Ruth Rendell and Minette Walters. 1369 Dante Alighieri, purgatorio, translated by Henry Francis Cary, with introductory essays by George Melly and Michael Prodger, illustrations by Salvador Dalí. 326 × 227 × 28 mm. Pp. [i–vi] vii–xvi, [1–2] 3–154 [155–156]: [34] leaves of colour plates. Type: Walbaum. Printed by Les Heures Claires. Bound by Hunter and Foulis. Quarter dark blue-green leather, pale blue artificial silk boards; dark blue endleaves printed with black lettering. Dark blue-green slip case with a colour reproduction of one of Dalí’s illustrations on the front. Through a collaboration with the copyright holders, this edition is the first to reproduce Dalí’s original watercolours. 1370 The campaigns of Wellington. Edited and introduced by Ian Fletcher. 252 × 164 × 37 mm. 3 vols (see below). Type: Imprint with Caslon Antique for display. Printed and bound by T.J. International. Printed full cloth, each volume reproducing in aquatint a different William Heath battle scene; cream endleaves. Black three-volume slip case titled (as above). Throughout are maps reproduced from an earlier work by Charles Walker Robinson. The three volumes are as follows: [I] The Peninsular War, 1808–1811, an eyewitness history, edited and introduced by Ian Fletcher. Pp. [i–iv] v–xxxi [xxxii], 1–344: [13] leaves of colour plates. Aquatint used for binding design by J.C. Stadler. Endleaves with map in black by Reginald Piggott.

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[II] The Peninsular War, 1812–1814, an eyewitness history, edited and introduced by Ian Fletcher. Pp. [i–iv] v–xxi [xxii], 1–358 [359–362]: [13] leaves of colour plates. Aquatint used for binding design by Thomas Sutherland. Endleaves with same map as volume I. [III] The Waterloo Campaign, 1815, an eyewitness history, edited and introduced by Ian Fletcher. Pp. [i–iv] v–xxiv, 1–359 [360]: [13] leaves of colour plates. Aquatint used for binding design by Thomas Sutherland. Endleaves with maps in black from Robinson. ¶ Second printing: 2007. 1371 Mass-observation, Britain in the Second World War, edited and introduced by Sandra Koa Wing, foreword by Philip Ziegler. 252 × 175 × 30 mm. Pp. [i–vi] vii–xix [xx], 1–327 [328–232]. Type: Bembo with Gill Sans for display. Printed and bound by T.J. International. Three-quarter red buckram with front board covered by a printed collage design of wartime photographs; red endleaves. Grey slip case. Photographs are reproduced liberally throughout. ¶ Second printing: 2007. 1372 Live and let die, Ian Fleming, introduction by Ken Follett, illustrations by Lyndon Hayes. 222 × 143 × 27 mm. Pp. [i–viii] ix–xvi, 1–252 [253–256]: [7] leaves of colour plates (facing pp. [iii], 24, 81, 96, 152, 208 and 225). Type: Sabon with Black Tulip for display. Printed and bound by T.J. International. Full dark orange cloth blocked in black, silver, gold and brown with a design by Hayes; dark brown endleaves. Dark brown slip case. ¶ Second printing: 2007. 1373 Winston S. Churchill, the world crisis. 240 × 174 × 36–52 mm. 5 vols (see below). Type: Ehrhardt. Printed and bound by Cambridge University Press. Three-quarter grey-brown cloth with front boards of each volume covered with a reproduction of a different photograph; mottled brown endleaves. Red five-volume slip case titled in gold (as above). Illustrated throughout with monochrome photographs. The five volumes are as follows: 1 Winston S. Churchill, the world crisis, volume 1, 1911–1914, introduction by Martin Gilbert. Pp. [i–vii] viii–xvii [xviii–xx], [1] 2–464 [465–468]: [9] leaves of plates. Includes six maps. 2 . . . volume 2, 1915. Pp. [i–vii] viii–xiii [xiv–xvi], [1] 2–453 [454–456]: [9] leaves of plates. Includes six maps. 3 . . . volume 3, 1916–1918. Pp. [i–vii] viii–xiii [xiv–xvi], [1] 2–474 [475–480]: [9] leaves of plates. Maps and diagrams throughout. 4 . . . volume 4, the aftermath. Pp. [i–vii] viii–xii [xiii–xiv], [1] 2–383 [384–386]: [9] leaves of plates. Includes eight maps. 5 . . . volume 5, the Eastern front. Pp. [i–vii] viii–xii [xiii–xiv], [1] 2–311 [312–314]: [9] leaves of plates. Maps and diagrams throughout. ¶ Second printing: 2008.

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1374 G.K. Chesterton, poems, selected and introduced by Kenneth Baker, illustrated by John Lawrence. 228 × 162 × 28 mm. Pp. [i–iv] v–xxi [xxii], [1–3] 4–234. Type: Dante. Printed and bound by T.J. Inter national. Full pale orange cloth printed with a design by Lawrence; grey endleaves. Grey slip case. Illustrated throughout with line drawings, all printed in black. 1375 Legends of the Grail, edited by Richard Barber, illustrated by Simon Brett. 252 × 175 × 50 mm. Pp. [i–ix] x–xxv [xxvi–xxviii], [1–3] 4–512 [513–518]: [15] leaves of plates (facing pp. [53], [271] and [423], and between pp. 94–95, 150–151, 194–195, 350–351, 376–377 and 506–507). Type: Ehrhardt with Charlemagne for display. Printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in quarter black leather with cloth boards printed and blocked with a design in green, black and gold by Brett; green endleaves. Black slip case. Brett’s illustrations consist of full-page engravings, 12 of which are printed as double-page spreads. 1376 W.B. Yeats, collected poems, introduction by Roy Foster, engravings by Harry Brockway. 280 × 188 × 45 mm. Pp. [i–iv] v–xxiii [xxiv], [1–6] 7–536. Type: Baskerville. Printed by Grammlich. Bound by Real Lachenmaier in quarter brown leather series binding (see item 1051). Brown cloth boards with a repeat pattern in cream by Brockway; cream endleaves. Brown slip case. There is a total of 71 wood-engravings, often printed as head- and tail-pieces to the poems. In ‘The Folio Poets’ series. 1377 The letterpress Shakespeare, King Lear. Dark red two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, King Lear, edited by Stanley Wells on the basis of a text prepared by Gary Taylor. 355 × 255 × 21 mm. Pp. [i–ii], [1–11] 12–115 [116–118]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed letterpress by Hand and Eye on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark red Nigerian goatskin leather with marbled paper boards by Ann Muir and top edge gilding; dark red endleaves. Leaf following the title-page reads in part ‘The edition is limited to 3750 numbered copies for sale to members of the Folio Society, and 25 lettered copies which are not for sale’. The text is based on the edition originally published by the Clarendon Press in 2000. [2] William Shakespeare, the history of King Lear, edited by Stanley Wells on the basis of a text prepared by Gary Taylor. 222 × 143 × 31 mm. Pp. [i–iv] v–x, 1–321 [322–326]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2007 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by the Saint Edmundsbury Press. Bound in full dark red buckram with paper label on front board; dark red endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark red. Available to purchase separately in 2016. 1378 Les liaisons dangereuses, Choderlos de Laclos, translated by P.W.K. Stone, illustrations by Lucy Weller. 240 × 160 × 39 mm. Pp. [i–vi] vii [viii], [1–2] 3–363 [364–368]: [9] leaves of colour plates (facing pp. [iii], 40, 57, 136, 153, 232, 297, 312 and 344). Type: Fournier. Printed and bound by Cambridge University Press. Full artificial purple silk with a design in gold; gold endleaves. Gold slip case. Weller’s illustrations consist of nine striking collages. 1379 The Folio book of historic speeches, edited and introduced by Ian Pindar. 240 × 162 × 29 mm. Pp. [i–iv] v–xxiii [xxiv], [1–2] 3–324 [325–328]: [9] leaves of plates. Type: Dante and Gill Sans. Printed and bound by the Bath Press. Full black buckram blocked with a design in silver; silver endleaves. Black slip case covered with reproduction of photograph showing a crowd listening to Douglas Fairbanks. The plates reproduce paintings, cartoons and photographs. This was the last title printed for Folio by the Bath Press, who had produced more Folio books than any other supplier up to this point.

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¶ Second printing (not seen). ¶ Third printing: 2008, printed and bound by T.J. International. ¶ Fourth printing: 2008, with the title-page extended to The Folio book of historic speeches, edited and introduced by Ian Pindar, with a preface by Andrew Roberts. ¶ Fifth printing: 2009. 1380 Life of Herod, Josephus, translated from the Greek by John Gregory, introduction by Martin Goodman. Maps by Reginald Piggott. 228 × 150 × 29 mm. Pp. [i–iv] v–xxxi [xxxii–xxxvi], [1–2] 3–259 [260]: [7] leaves of colour plates (facing p. [iii] and between pp. 28–29, 76–77 and 156–157). Type: Centaur. Printed and bound by T.J. International. Full black cloth blocked with a design in gold; endleaves with a photograph of an inscription in stone. Red slip case. The plates reproduce photographs of antiquities and sites. Piggott has supplied maps and plans on pages [xxxiv–xxxvi], [73] and [90]. ¶ Second printing: 2008. ¶ Third printing: 2008. 1381 The voyce of the world [ornament] selected writings of Sir Thomas Browne, edited by Geoffrey Keynes, preface by Tim Mackintosh-Smith. 240 × 160 × 40 mm. Pp. [i–ix] x–xxiv [xxv–xxvi], [1–3] 4–546 [547–550]: [9] leaves of ‘plates’ (facing pp. [iii], 35, 74, 144, 194, 293, 342, 451 and 514). Type: Caslon. Printed and bound by Cambridge University Press. Quarter brown buckram with paper boards printed with a marbled design by Ann Muir; pale brown endleaves. Brown slip case. 1382 An illustrated journey round the world by Thomas, William & Samuel Daniell, edited and introduced by Katherine Prior. Maps by Reginald Piggott. 227 × 296 × 42 mm. Pp. [i–xi] xii–xix [xx], [1] 2–329 [330–332]. Type: Bulmer. Printed and bound by L.E.G.O. in three-quarter red buckram with vegetable parchment printed and blocked on front board; cream endleaves with maps by Piggott in brown. Black slip case with reproduction on front of an aquatint by the uncle, Thomas Daniell, of an Indian scene. The 170 illustrations reproduce paintings, watercolours, aquatints and drawings. Piggott’s maps are also on pages [vii–ix]. ¶ Second printing: 2007. 1383 The quest for the Northwest Passage, edited and introduced by Glyn Williams, [quotation from William Baffin]. Maps by Reginald Piggott. 252 × 176 × 47 mm. Pp. [i–v] vi–xx [xxi–xxii], [1–4] 5–614 [615–618]: [19] leaves of plates. Type: Imprint. Printed and bound by Cambridge University Press. Full pale blue cloth with a design in black and silver by David Eccles; pale blue endleaves with map by Piggott in blue. Black slip case. The plates reproduce paintings, drawings, engravings, documents and photographs. There are also eight maps in the text. ¶ Second printing: 2007, the dimensions now 252 × 176 × 54 mm. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis. ¶ Third printing: 2014. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier. 1384 The Holkham Bible. Two-volume clamshell box bound in blue buckram with diaperwork pattern and leather spine-label titled (as above) in gold and red. The two volumes are as follows: [1] [Facsimile]. 292 × 216 × 20 mm. Pp. [1–88]. Photographed digitally by Laurence Pordes. Printed by Cambridge University Press. Bound by Smith Settle with a design by David Eccles. Quarter dark blue Niger ian goatskin leather blocked in gold. Printed blue buckram boards with inset leather title label blocked in gold, blue and red. Gilded edges; dark blue endleaves. The complete manuscript of this celebrated medieval picture-book (British Library, Add. MS 47682) is reproduced here. The final leaf reads in part ‘The edition

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consists of 1750 numbered copies for sale to members of the Folio Society and 25 lettered copies which are not for sale’. A printed slip bearing notes on the care of leather is loosely inserted. [2] The Holkham Bible picture book, commentary, Michelle P. Brown. 252 × 175 × 20 mm. Pp. [1–9] 10–162 [163–168]: [4] leaves of colour plates (between pp. 80–81). Type: Ehrhardt. Printed by the Saint Edmundsbury Press. Bound by Cambridge University Press in quarter blue-grey buckram with dark blue paper boards; dark blue-green endleaves. This volume is inserted in a recess in the box, beneath the facsimile and a loose board papered in dark blue. The manuscript tells the biblical story in Norman French so this volume includes a useful English translation. 1385 The letterpress Shakespeare, Macbeth. Dark red two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, Macbeth, edited by Nicholas Brooke. 355 × 255 × 19 mm. Pp. [i–ii], [1–11] 12–92 [93–94]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed by Offizin Haag-Drugulin on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark red Nigerian goatskin leather with marbled paper boards by Ann Muir and top edge gilding; dark red endleaves. Leaf following the title-page reads in part ‘The edition is limited to 3750 numbered copies for sale to members of the Folio Society, and 25 lettered copies which are not for sale’. The text is based on the edition originally published by the Clarendon Press in 1990. [2] William Shakespeare, the tragedy of Macbeth, edited by Nicholas Brooke. 222 × 143 × 26 mm. Pp. [i–vi] vii–xii, 1–249 [250–252]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2007 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by the Saint Edmundsbury Press. Bound in full dark red buckram with paper label on front board; dark red endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark red. Available to purchase separately in 2016. 1386 Jane Austen, Emma, introduction by Deirdre Le Faye, illustrations by Niroot Puttapipat. 228 × 162 × 37 mm. Pp. [i–iv] v–xv [xvi], [1–4] 5–431 [432]: [7] leaves of colour plates (facing pp. [iii], 88, 120, 296, 336, 400 and 417). Type: Bell. Printed and bound by Cambridge University Press. Quarter brown buckram, cream paper boards with a ‘Regency’ stripe pattern in blue and a colour vignette by Puttapipat; dark blue endleaves. Blue slip case. Reset, with new illustrations. 1387 Travels in West Africa, Mary Kingsley, edited by Elspeth Huxley, introduced by Sara Wheeler. 240 × 161 × 28 mm. Pp. [i–vi] vii–xxv [xxvi], 1–259 [260–262]: [7] leaves of plates (facing p. [iii] and between pp. 54–55, 118–119 and 214–215). Type: Bulmer. Printed and bound by T.J. International in full cream cloth with a design in green and dark orange by Neil Gower; dark orange endleaves with maps by Gower in black. Dark orange slip case. The plates reproduce contemporary photographs. Reissued with a new introduction, a new binding and new illustrations. 1388 Howard Hibbard, Michelangelo, introduced by Michael Levey. 295 × 230 × 30 mm. Pp. [i–iv] v–x, [1–2] 3–278. Type: Plantin. Printed and bound by Firmengruppe APPL in three-quarter brown cloth with photograph of marble statue of David printed on front board; endleaves printed with reproduction of a work in red chalk. Brown slip case with name of artist in gold on front. Contains over 200 illustrations. 1389 The isle of voices and other stories, Robert Louis Stevenson, illustrated by Michael Foreman. 235 × 184 × 41 mm. Pp. [i–vi] vii [viii], 1–384: [14] leaves of colour plates. Type: Plantin. Printed by the Saint Edmundsbury

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Press. Bound by Hunter and Foulis in full black cloth blocked with design in blue and silver by Foreman; dark blue endleaves. Dark blue slip case. 1390 The decameron of Giovanni Boccaccio . . . 2 vols (see below). Printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier. Dark green cloth-covered clamshell box. The two volumes are as follows: [1] The decameron of Giovanni Boccaccio. 254 × 165 × 58 mm. Pp. [1–6] 7–709 [710–712]. Type: Poliphilus. The leaf before the title-page (dated MCMLIV): ‘This edition of The Decameron is limited to 1750 numbered copies printed by St Edmundsbury Press, Bury St Edmunds, and bound by Real Lachenmaier, Germany, in full Wassa goatskin leather blocked with a design by Jeff Clements’. The special binding is in red leather with a design in gold and black. Black leather spine-label; green endleaves. [2] The happy art of narration, readings of Boccaccio and the decameron. 245 × 156 × 2 mm. Pp. [1–8]. Type: Poliphilus and Blado. Sewn into green paper wrappers with pasted label titled (as above). This new pamphlet includes short excerpts from John Dryden, Samuel Taylor Coleridge, William Hazlitt, Percy Bysshe Shelley and James Leigh Hunt. 1391 The remains of the day, Kazuo Ishiguro, illustrated by Finn Campbell-Notman. 227 × 160 × 24 mm. Pp. [i–x], [1–2] 3–226 [227–230]: [7] leaves of colour plates (facing pp. [v], 23, 71, 86, 150, 182 and 223). Type: Bembo. Printed and bound by Cambridge University Press in full pale brown cloth blocked and printed with design in dark brown, gold, black and white by Campbell-Notman; brown endleaves. Brown slip case. ¶ Second printing: 2008. ¶ Third printing: 2009. 1392 Inventions of the Middle Ages, Chiara Frugoni, translated by William McCuaig, with a foreword by Adam Hart-Davis. 217 × 164 × 21 mm. Pp. [i–vi] vii–xii [xiii–xiv], 1–186. Type: Photina with Colmcille for display. Printed and bound by L.E.G.O. in three-quarter black buckram with front board papered with design by Neil Gower; red endleaves. Red slip case. Contains 93 illustrations. ¶ Second printing: 2008, the dimensions now 217 × 161 × 24 mm. ¶ Third printing: 2009. ¶ Fourth printing (not seen). ¶ Fifth printing: 2012. 1393 The double-cross system in the war of 1939 to 1945, J.C. Masterman, introduced by M.R.D. Foot, foreword by Norman Holmes Pearson. 240 × 162 × 25 mm. Pp. [i–iv] v–xxxii, 1–215 [216]: [7] leaves of black and white plates (facing p. [iii] and between pp. 48–49, 96–97 and 160–161). Type: Sabon. Printed and bound by T.J. International in three-quarter blue buckram with front board papered with design of photographs; dark grey endleaves. Blue slip case. ¶ Second printing: 2008. ¶ Third printing: 2009. ¶ Fourth printing: 2010. 1394 The Folio diary 2008. 200 × 148 × 13 mm. Pp. [1–120]. Type: Centaur. Printed and bound by Grafos in plasticised paper with a colour illustration by Peter Suart; endleaves printed with illustrations by Sue Scullard from Lives of the later Caesars (item 1236). Not issued in a slip case. Free to members. A reproduction of an illustration from a Folio book faces each week of the year. ¶ Second printing: 2007.

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1395 Daphne du Maurier, don’t look now and other stories, introduction by Patrick McGrath, illustrations by Helen Smithson. 240 × 162 × 37 mm. Pp. [i–iv] v–xvi, 1–331 [332–236]: [9] leaves of colour plates (facing pp. [iii], 97, 129, 160, 177, 209, 240, 289 and 304). Type: Fournier. Printed and bound by Grafos in full black buckram blocked with design in red and two shades of grey by Smithson; red endleaves. Black slip case. 1396 Winston S. Churchill, my early life, a roving commission, introduction by Max Hastings. Maps by Reginald Piggott. 240 × 162 × 37 mm. Pp. [i–vii] viii–xxiv [xxv–xxvi], [1] 2–388 [389–390]: [9] leaves of black and white plates (facing p. [iii] and between pp. 38–39, 150–151, 262–263 and 358–[359]). Type: Plantin. Printed and bound by Cambridge University Press in full dark cream buckram blocked with a design in blue and white by Neil Gower; dark blue endleaves. Blue slip case. Piggott has supplied 11 maps. ¶ Second printing: 2008. 1397 A short history of time, Leofranc Holford-Strevens. 197 × 127 × 17 mm. Pp. [i–iv] v–xiii [xiv], 1–137 [138]. Type: Ehrhardt with Optima for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue cloth blocked with design in gold and black by Neil Gower; dark blue endleaves. Dark blue slip case. 26 illustrations are in the text. 1398 Irish fairy and folk tales, selected and edited, with an introduction, by W.B. Yeats, foreword by Paul Muldoon, illustrations by Linda Farquharson. 227 × 150 × 32 mm. Pp. [1–2], [i–v] vi–xxvi, [1–4], 5–336 [337–340]. Type: Fournier with Colmcille for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full red cloth blocked and printed with design in black, silver and metallic green by Farquharson; silver endleaves. Black slip case. The text includes over 30 black and white illustrations. ¶ Second printing: 2009, issued December 2008. Pagination now [i–v] vi–xxvi, [1–4], 5–336 [337–342]. Printed by Martins of Berwick. 1399 Raymond Chandler, blackmailers don’t shoot and other stories, illustrated by Geoff Grandfield. 252 × 177 × 47 mm. Pp. [i–viii], [1] 2–487 [488–92]: [14] leaves of ‘plates’. Type: Sabon with Helvetica Neue for display. Printed and bound by T.J. International in full grey cloth with a design in black and silver by Grandfield; silver endleaves. Black slip case. 1400 M.R. James, the collected ghost stories, introduction by Penelope Fitzgerald, illustrated by Francis Mosley. 240 × 160 × 44 mm. Pp. [i–iv] v–xix [xx], 1–460: [13] leaves of colour plates. Type: Walbaum. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full cloth printed with a design by Mosley; blue endleaves. Black slip case. Contains 30 stories and the essay ‘Stories I have tried to write’. ¶ Second printing: 2008. 1401 The lost continent, travels in small-town America, Bill Bryson. 240 × 160 × 25 mm. Pp. [i–iv] v–ix [x–xii], [1–2] 3–239 [240–244]: [8] leaves of colour plates (between pp. 36–37 and 196–197). Type: Scala with American Typewriter for display. Printed and bound by T.J. International in full plasticised cloth with a design in colour; endleaves printed with a colour illustration by Hand Made Maps. Brown slip case. ¶ Second printing: 2008. 1402 John Sutherland, the Folio book of literary puzzles. 200 × 135 × 23 mm. Pp. [i–v] vi–xv [xvi], [1] 2–192. Type: Galliard. Printed and bound by Grafos. Full plasticised paper binding with a colour illustration by

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Peter Suart on front cover; green-blue endleaves. Not issued in a slip case. Illustrations taken from Folio publications. 1403 Bingo boys and poodle-fakers, a curious compendium of historical slang, collected from the best authorities, with decorations by Clare Mackie. 200 × 135 × 17 mm. Pp. [i–v] vi–x, 1–117 [118]. Type: Bell. Printed and bound by Grafos. Full plasticised paper binding with a colour illustration by Mackie on front cover; blue endleaves printed with an illustration in black by the artist. Not issued in a slip case. The book is considerably livened up by the colour illustrations that accompany every letter of the alphabet. 1404 The Folio book of carols, introduction by Percy Dearmer. 262 × 191 × 22 mm. Pp. [i–iv] v–xx, [1–2] 3–138 [139–140]: [7] leaves of colour plates (facing p. [iii] and between pp. 12–13, 60–61 and 108–109). Type: Caslon. Printed and bound by T.J. International in full green-yellow cloth blocked with a design in red and gold by Neil Gower; gold endleaves. Red slip case with reproduction on front of a detail from a Sandro Botticelli oil painting. 1405 Culpeper’s herbal, the English physician enlarged, Nicholas Culpeper, introduced by Richard Mabey. 263 × 195 × 38 mm. Pp. [i–iv] v–xvii [xviii], [1–2] 3–361 [362–366]. Type: Poliphilus. Printed and bound by L.E.G.O. in full pale green cloth blocked with a design in red and gold by Neil Gower; dark red endleaves. Dark red slip case. The beautiful 60 full-page colour illustrations used to accompany Culpeper’s text come from the copy of Elizabeth Blackwell’s later Curious Herbal once owned by Sir Joseph Banks. 1406 Charles Dickens, Christmas books, with the original illustrations by John Leech, Daniel Maclise, Richard Doyle, Clarkson Stanfield, Edwin Landseer, John Tenniel, Frank Stone, introduction by Robert Douglas-Fairhurst. 262 × 170 × 46 mm. Pp. [i–iv] v–xxi [xxii–xxiv], [1–2] 3–482 [483–484]: 5 leaves of colour plates (facing pp. 14, 30, 38, 70 and [380]) and 2 black and white plates (facing pp. [iii] and [82]). Type: Bulmer with Verdi for display. Typeset by R. and R. Clark for the Nonesuch Press in 1937 (the preliminaries by Folio), printed by the Saint Edmundsbury Press. Bound by Real Lachenmaier in series binding (see item 1197). ¶ Second printing: 2011, the dimensions now 246 × 157 × 45 mm. Printed by Memminger MedienCentrum. Bound in quarter dark red buckram with a new series binding (see item 1197). Dark red slip case. 1407 A little princess, being the whole story of Sara Crewe now told for the first time by Frances Hodgson Burnett, with illustrations in colour by Harold Piffard and an introduction by Jane Gardam. 228 × 160 × 32 mm. Pp. [i–ix] x–xviii, [1–3] 4–237 [238]: 8 leaves of colour plates (facing pp. [iii], 14, 47, 86, [126], 151, 174 and 215). Type: Scotch Roman. Printed and bound by L.E.G.O. in full green cloth blocked with a design by Frances Button based on binding of the 1905 edition published by Frederick Warne and Co. Inset label on front board repainted by Danuta Mayer from the original illustration by Piffard; dark green endleaves. Dark green slip case. Part of A Children’s Treasury series. 1408 Bury my heart at Wounded Knee, an Indian history of the American West, Dee Brown, introduced by Hampton Sides. 253 × 175 × 48 mm. Pp. [i–iv] v–xxiii [xxiv–xxx], 1–496 [497–498]: [12] leaves of plates. Type: Palatino with Kabel Heavy for display. Printed and bound by Grafos. Full orange-brown buckram with photograph of two Cheyenne warriors printed on front board blocked with gold frame; dark brown endleaves. Dark brown slip case. The illustrations reproduce photographs and drawings. ¶ Second printing: 2008. Orange-brown slip case. ¶ Third printing: 2009. ¶ Fourth printing: 2009. ¶ Fifth printing: 2010. ¶ Sixth printing: 2013.

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1409 Jane Austen, persuasion, introduction by Deirdre Le Faye, illustrations by Niroot Puttapipat. 228 × 161 × 32 mm. Pp. [i–iv] v–xvi, [1–2] 3–252 [253–256]: [7] leaves of colour plates (facing pp. [iii], 8, 39, 96, 111, 183 and 239). Type: Bell. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in quarter brown buckram, cream paper boards with a ‘Regency’ stripe pattern in green and a colour vignette by Puttapipat; dark green endleaves. Blue slip case. Reset, with new illustrations. 1410 Food in history, by Reay Tannahill. 261 × 192 × 33 mm. Pp. [i–vi] vii–xvi, [1–2] 3–416. Type: Garamond with Centaur for display. Printed and bound by Firmengruppe APPL in full cloth with still life printed on front board and spine; dark green-grey endleaves. Dark green-grey slip case. Liberally illustrated throughout by drawings and reproductions of paintings, manuscripts, books, antiquities and ephemera. Maps by Hand Made Maps. ¶ Second printing: 2008. 1411 Finn family Moomintroll, by Tove Jansson [illustration], translated by Elizabeth Portch. 203 × 137 × 22 mm. Pp. [i–viii] ix–xi [xii], [1] 2–158 [159–164]. Type: Walbaum. Printed and bound by T.J. International in full blue cloth blocked with a design based on a drawing by Jansson; pale blue endleaves. Pale blue slip case. Black and white illustrations by Jansson accompany text throughout. Part of A Children’s Treasury series. 1412 The letterpress Shakespeare, Othello. Dark red two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, Othello, edited by Michael Neill. 355 × 258 × 21 mm. Pp. [i–ii], [1–11] 12–125 [126]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services and Offizin Haag-Drugulin. Printed by Offizin Haag-Drugulin on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark red Nigerian goatskin leather with marbled paper boards by Ann Muir and top edge gilding; dark red endleaves. Leaf following the title-page reads in part ‘The edition is limited to 3750 numbered copies for sale to members of the Folio Society, and 25 lettered copies which are not for sale’. The text is based on the edition originally published by Oxford University Press in 2006. [2] William Shakespeare, Othello, the Moor of Venice, edited by Michael Neill. 222 × 142 × 31 mm. Pp. [i–iv] v–x, 1–491 [492–494]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2007 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by the Saint Edmundsbury Press. Bound in full dark red buckram with paper label on front board; dark red endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark red. Available to purchase separately in 2016. 1413 The pink fairy book, edited by Andrew Lang, with an introduction by A.S. Byatt, etchings and decorations by Debra McFarlane. 252 × 193 × 53 mm. Pp. [1–2], [i–iv] v–xix [xx], [1–2], 3–334 [335–340]: [16] leaves of plates. Type: Caslon with hand-drawn lettering for the title. Printed (the title-page in pink and black) by Memminger MedienCentrum. Bound by Real Lachenmaier in series binding (see item 1124). Pink cloth with a design by McFarlane in purple, white, black and silver; pink endleaves with a design in silver. Pink slip case. First published in 1897. The 41 stories are punctuated by additional pen-and-ink drawings by McFarlane. ¶ Second printing: 2008. ¶ Third printing: 2011. ¶ Fourth printing: 2014. 1414 Adventures of Casanova, episodes from the history of my life, Giacomo Casanova Chevalier de Seingalt, translated and annotated by Willard R. Trask, edited and introduced by Frances Wilson. 240 × 175 × 34 mm. Pp. [i–vi] vii–xviii,

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[1–2] 3–330 [331–334]: [13] leaves of colour plates. Type: Palatino with Snell Roundhand for display. Printed and bound by T.J. International in full printed cloth; gold endleaves. Dark red slip case. 1415 The age of Constantine the Great, Jacob Burckhardt, translated by Moses Hadas, introduction by Noel Lenski. Maps by Reginald Piggott. 252 × 160 × 37 mm. Pp. [i–iv] v–xxv [xxvi], 1–390: [11] leaves of colour plates (facing p. [iii] and between pp. 86–87, 214–215 and 294–295). Type: Garamond. Printed and bound by Cambridge University Press. Full dark cream cloth printed with a design in brown; pale brown endleaves with a map by Piggott in dark brown. Brown slip case. The plates reproduce photographs of antiquities and sites. Piggott has supplied maps on pages [32], [115], [337] and [341]. 1416 William Blake, Jerusalem, the emanation of the giant Albion, edited with an introduction and notes by Morton D. Paley, Blake’s illuminated books, volume 1, general editor David Bindman. The Folio Society in association with the William Blake Trust. 302 × 214 × 35 mm. Pp. [1–5] 6–16 [125] 126–303 [304]: [54] leaves of colour plates (between pp. 16 and [125]). Type: Bulmer. Typeset by Gloucester Typesetting. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter dark red leather with blue artificial silk boards; dark red endleaves. Blue slip case with reproduction on front of Blake’s illustrated title-page. The plates reproduce a unique coloured copy of Jerusalem. Published in the 250th anniversary year of Blake’s birth. 1417 Aristocrats, Caroline, Emily, Louisa and Sarah Lennox, 1740-1832 [ornament] by Stella Tillyard. 240 × 164 × 40 mm. Pp. [i–iv] v–xvi [xvii–xxii], 1–425 [426]. Type: Ehrhardt with Bulmer for display. Printed and bound by Firmengruppe APPL in full cloth with printed detail of a portrait of Emily on front board; blue endleaves. Blue slip case. Illustrated throughout by colour reproductions of paintings, drawings and cartoons. 1418 Barbara W. Tuchman, the march of folly, from Troy to Vietnam. 252 × 161 × 39 mm. A separate issue of the second volume of The mirror of the past. Details as volume [2] of item 885, but now with mottled pale brown endleaves and a gold single-volume slip case decorated with image of Trojan war on one side. ¶ Second printing: 2008. 1419 The best of the Marx Brothers, Groucho, Chico, Harpo et al. 241 × 162 × 29 mm. Pp. [i–vi] vii–xii, [1–2] 3–315 [316]: [7] leaves of plates (facing p. [iii] and between pp. 20–[21], 100–[101] and 228–229). Type: Goudy with Adore for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full silver cloth blocked with a design in white and black by David Pearson and Vicky Sawdon; silver endleaves. Silver slip case. The plates reproduce photographs, colour film posters and a cartoon. 1420 The best of Saki (H.H. Munro), introduced by A.N. Wilson, illustrated by Roger Fereday. 223 × 143 × 27 mm. Pp. [i–iv] v–xiii [xiv], 1–258. Type: Galliard. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full dark cream cloth with a design by Fereday; dark red endleaves. Dark red slip case. Contains 49 stories plus 20 black and white illustrations. 1421 Sun-Tzu, the art of war, translated, with an introduction and commentary, by Roger T. Ames, preface by Rupert Smith. 279 × 150 × 30 mm. Pp. [i–iv] v–xvi, [1–2] 3–252: [6] leaves of colour plates (between pp. [140–141]). Type: Perpetua. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in quarter black cloth with dark gold crushed artificial silk boards blocked with a design in gold by Xiaoming Sun; gold endleaves. Black slip case. Each chapter-title is repeated in Chinese calligraphy drawn by Xiaoming Sun. The plates show Chinese antiquities.

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¶ Second printing: 2008, printed by Scotprint. ¶ Third printing: 2009, the pagination now [i–iv] v–xvi, [1–2] 3–252 [253–256]: [6] leaves of colour plates (between pp. [140–141]). Printed by Martins of Berwick. ¶ Fourth printing: 2010. ¶ Fifth printing: 2011. ¶ Sixth printing: 2013, bound by Charles Letts & Co. ¶ Seventh printing: 2015. Printed and bound by Grafos with dark green-grey crushed artificial silk boards. ¶ Eighth printing: 2020. Printed and bound by Kösel with dark grey crushed artificial silk boards and a re designed spine. ¶ Ninth printing: 2022. Printed and bound by Gomer Press. 1422 The four Gospels, Eric Gill. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier. Black buckram two-volume clamshell box, spine titled (as above) in gold. Facsimile of the Golden Cockerel Press edition (1931). The two volumes are as follows: [1] The four Gospels of the Lord Jesus Christ, according to The Authorized Version of King James I, with decorations by Eric Gill. [facsimile]. 339 × 240 × 44 mm. Pp. [i–ii], [1–5] 6–268 [269–278]. Bound in full black goatskin leather blocked in gold with a design featuring Gill’s symbols for Matthew, Mark, Luke and John. Gilded edges; grey endleaves. The edition statement reads in part ‘limited to 2750 numbered copies for sale to members of The Folio Society, and 25 lettered copies which are not for sale’. [2] The four Gospels, Eric Gill and the Golden Cockerel type, John Dreyfus, preceded by a personal reminiscence by Robert Gibbings, proprietor of the Golden Cockerel Press 1924–1933. 338 × 233 × 8 mm. Pp. [1–6] 7–27 [28–30]: [1] plate (facing p. [iii]). Type: Perpetua. Bound in quarter black buckram. Dark grey paper boards with printed paper label on front; grey endleaves. The main essay was originally published in 1990 by the Book Club of California as a chapter in Dreyfus’s A typographical masterpiece. The book collector journal published the shorter companion piece in 1953. 1423 Folio 60, a bibliography of the Folio Society 1947–2006, compiled by Paul W. Nash, with essays by Sue Bradbury, Joseph Connolly and David McKitterick. 286 × 187 × 40 mm. Pp. [1–7] 8–472. Type: Postcript Bembo. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full grey cloth lettered in dark green and gold with Folio device on the front board; dark green endleaves. Dark green slip case with a drawing by Quentin Blake pasted on one side. A wide variety of bindings, page openings and illustrations from Folio books are included throughout. The frontispiece reproduces one of Paul Cox’s illustrations from The Folio book of comic short stories (item 1256), entitled ‘A good read’. 1424 The compleet Molesworth, Geoffrey Willans and Ronald Searle, introduced by Wendy Cope. 222 × 143 × 42 mm. Pp. [1–2], [i–v] vi–xx, [1–5] 6–397 [398–402]. Type: Fournier. Printed and bound by T.J. International in full brown kraft paper with drawings by Searle printed in black. Yellow ink accents on spine; white endleaves printed with two sets of doodles by ‘Molesworth’. Black slip case with a colour illustration by Searle pasted on one side. Illustrated throughout by Searle’s drawings. ¶ Second printing: 2008. ¶ Third printing: 2014. 1425 Richard Dawkins, the blind watchmaker. 240 × 160 × 33 mm. Pp. [i–vii] viii–xxiii [xxiv], [1] 2–358 [359–360]: [12] leaves of colour plates (between pp. 72–73, 168–169 and 312–313). Type: Sabon with Optima for display. Printed and bound by T.J. International in full black cloth printed with a striking image of DNA; gold endleaves. Gold slip case. Photographs of the natural world are reproduced in the plates while diagrams are included in the text. ¶ Second printing: 2008. ¶ Third printing: (not seen). ¶ Fourth printing: 2009. ¶ Fifth printing: 2011.

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2008 1426 The letterpress Shakespeare, the tempest. Dark green two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, the tempest, edited by Stephen Orgel. 355 × 255 × 17 mm. Pp. [i–ii], [1–11] 12–80 [81–86]. Type: Baskerville with Caslon for display. Typeset and printed by Offizin Haag-Drugulin on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark green Nigerian goatskin leather with marbled paper boards by Ann Muir and top edge gilding; dark green endleaves. Leaf following the title-page reads in part ‘The edition is limited to 3750 numbered copies for sale to members of the Folio Society, and 25 lettered copies which are not for sale’. The text is based on the edition originally published by the Clarendon Press in 1987. [2] William Shakespeare, the tempest, edited by Stephen Orgel. 222 × 143 × 27 mm. Pp. [i–iv] v–x, 1–248 [249–254]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2007 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by the Saint Edmundsbury Press. Bound in full dark green buckram with paper label on front board; dark green endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark green. Available to purchase separately in 2016. 1427 The yellow fairy book, edited by Andrew Lang, with an introduction by Maria Tatar, paintings & decorations by Danuta Mayer. 252 × 193 × 52 mm. Pp. [i–iv] v–xxiii [xxiv–xxvi], 1–358: [13] leaves of plates. Type: Caslon with hand-drawn lettering for the title. Printed (the title-page in dark yellow and black) by Memminger MedienCentrum. Bound by Real Lachenmaier in series binding (see item 1124). Full dark yellow cloth with design by Mayer in green, black, gold and silver; green endleaves with a design in silver. Green slip case. First published in 1894. The 48 stories are punctuated by additional pen-and-ink drawings by Mayer. ¶ Second printing: 2010. ¶ Third printing: 2012. 1428 A history of Africa, J.D. Fage, with William Tordoff. Maps by John Gilkes. 252 × 175 × 34–37 mm. 2 vols (see below). Type: Utopia. Printed and bound by Grafos in full red cloth blocked in gold; black endleaves. Black two-volume slip case with photograph of ivory mask on one side. Plates reproduce photographs of antiquities, sites, printed material, drawings and people. The two volumes are as follows: I . . . Volume I. Pp. [i–v] vi–xv [xvi], [1–3] 4–324, [1–4]: [12] leaves of colour plates. Includes eight maps and four tables. II . . . Volume II. Pp. [i–vii] viii–xi [xii–xiv], [325–327] 328–702: [12] leaves of colour plates. Includes four maps and five tables. 1429 French provincial cooking, Elizabeth David, preface by Simon Hopkinson, decorations by Juliet Renny, watercolours by Sophie MacCarthy. 252 × 186 × 42 mm. Pp. [i–v] vi–xxv [xxvi–xxviii], [1] 2–500: [9] leaves of colour plates (facing pp. [iii], 100, 117, 148, 212, 229, 277, 292 and 420). Type: Bembo. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter dark brown buckram, white paper boards with a design by MacCarthy; dark green endleaves. Dark green slip case.

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¶ Second printing: 2008. ¶ Third printing: 2009. ¶ Fourth printing: 2010. 1430 French country cooking, Elizabeth David, preface by Artemis Cooper, decorations by John Minton, watercolours by Sophie MacCarthy. 252 × 186 × 26 mm. Pp. [i–ix] x–xv [xvi], [1–7] 8–222 [223–224]: [9] leaves of colour plates (facing pp. [iii], 48, 80, 97, 112, 144, 161, 176 and 193). Type: Bembo. Printed by Memminger Medien Centrum. Bound by Real Lachenmaier in quarter green buckram, white paper boards with a design by MacCarthy; green endleaves. Dark green-grey slip case. 1431 Charles Darwin, the descent of man and selection in relation to sex, introduced by Richard Dawkins. 253 × 178 × 51 mm. Pp. [i–v] vi–xlvii [xlviii], [1–3] 4–727 [728]: [17] leaves of colour plates. Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full green cloth with a design in black and gold by David Eccles; pale green endleaves. Black slip case. The plates reproduce paintings, drawings and engravings. ¶ Second printing: 2021, the dimensions now 252 × 180 × 63 mm. Printed and bound by C & C Offset; dark green endleaves. 1432 Patrick Süskind, perfume, the story of a murderer, translated by John E. Woods. 228 × 148 × 27 mm. Pp. [1–6] 7–235 [236–240]. Type: Bell. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full cream cloth blocked with a design by Neil Packer in gold and white, spine lettering in dark red; pale gold endleaves printed with detail from historic street map of Paris. Dark red slip case. 1433 Emil and the detectives, Erich Kästner, original introduction by Walter de la Mare, original illustrations by Walter Trier, with a new preface by Michael Rosen. 204 × 135 × 22 mm. Pp. [i–viii] ix–xxi [xxii], [1–2] 3–176 [177–178]. Type: Galliard. Printed and bound by L.E.G.O. in full brown striped cloth blocked in gold with a colour illustration by Trier inset; yellow endleaves. Red slip case. Contains 17 line drawings by Trier. Part of A Children’s Treasury series. ¶ Second printing: 2013. 1434 Philippa Pearce, Tom’s midnight garden, illustrated by Susan Einzig. 228 × 161 × 23 mm. Pp. [i–iv] v–vi, 1–209 [210]. Type: Bembo. Printed and bound by T.J. International. Full blue cloth printed and blocked in silver, green and purple with design based on an illustration by Einzig; blue endleaves. Blue slip case. Each of the 27 chapters are headed with a black and white drawing by the artist. Part of A Children’s Treasury series. 1435 Chronicles of the Dark Ages. Selected by Richard Barber. 252 × 162 × 35–40 mm. 3 vols (see below). Type: Minion with Charlemagne for display. Printed and bound by Grafos in full green buckram with a different brooch design in copper and black for each volume; endleaves printed with enlargements from differing manuscripts. Green three-volume slip case titled (as above) in copper. Plates reproduce photographs of manuscripts and antiquities. The three volumes are as follows: [I] . . . The coming of the Anglo-Saxons, selected by Richard Barber. Pp. [i–v] vi–xviii, [1] 2–320 [321–326]: [9] leaves of colour plates. [II] . . . Anglo-Saxon lore and learning, selected by Richard Barber. Pp. [i–v] vi–xvi, [1] 2–317 [318–320]: [9] leaves of colour plates.

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[III] . . . The fall of the Anglo-Saxon kingdoms, selected by Richard Barber. Pp. [i–v] vi–xvi, [1] 2–275 [276–380]: [9] leaves of colour plates. ¶ Second printing: 2008. 1436 The red fairy book, edited by Andrew Lang, with an introduction by Marina Warner, paintings and decoration by Niroot Puttapipat. 252 × 193 × 56 mm. Pp. [i–iv] v–xix [xx–xxii], 1–380: [16] leaves of plates. Type: Caslon with hand-drawn lettering for the title. Printed (the title-page in red and black) by Memminger MedienCentrum. Bound by Real Lachenmaier in series binding (see item 1124). Red cloth with design by Puttapipat in green, black, gold and white; green endleaves with a design in gold. Red slip case. First published in 1890. Contains 37 stories. ¶ Second printing: 2010. ¶ Third printing: 2012. ¶ Fourth printing: 2015. 1437 The letterpress Shakespeare, a midsummer night’s dream. Dark green two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, a midsummer night’s dream, edited by Peter Holland. 360 × 255 × 19 mm. Pp. [i–ii], [1–11] 12–82 [83–86]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed letterpress by Hand and Eye on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark green Nigerian goatskin leather with marbled paper boards by Ann Muir and top edge gilding; dark green endleaves. Leaf following the title-page reads in part ‘The edition is limited to 3750 numbered copies for sale to members of the Folio Society, and 25 lettered copies which are not for sale’. The text is based on the edition originally published by the Clarendon Press in 1994. [2] William Shakespeare, a midsummer night’s dream, edited by Peter Holland. 222 × 144 × 29 mm. Pp. [i–iv] v–ix [x], 1–275 [276–278]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2008 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by the Saint Edmundsbury Press. Bound in full dark green buckram with paper label on front board; dark green endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark green. Available to purchase separately in 2016. 1438 A gardener’s year, edited and introduced by Tim Richardson. 262 × 193 × 27 mm. Pp. [i–iv] v–xi [xii], [1–2] 3–250 [251–252]. Type: Minion with Castellar for display. Printed and bound by Firmengruppe APPL in full cloth printed with a design from a nineteenth-century lithograph of a Swiss garden; red endleaves. Green slip case. An anthology of garden writing, illustrated throughout. Part of the Gardener’s Collection series. 1439 King Arthur, history & legend [cross] John and Caitlín Matthews. 240 × 160 × 28 mm. Pp. [i–iv] v–xxii [xxiii–xxiv], [1–2] 3–296: [12] leaves of colour plates (between pp. 72–73, 168–169 and 232–233). Type: Minion with Clairvaux for display. Printed and bound by Grafos. Full blue buckram blocked in gold with photograph of tapestry pasted on cover; dark orange endleaves. Dark orange slip case. Illustrated by photographs primarily of antiquities, sites, manuscripts and drawings. ¶ Second printing: 2009. 1440 William Daniell, a voyage round the coast of Great Britain, edited and introduced by C.J. Shepherd, preface by Robert MacFarlane. Maps by Reginald Piggott. 262 × 195 × 35 mm. Pp. [i–iv] v–xx, [1–2] [1–2] 3–294 [295– 298]. Type: Bell. Printed and bound by Firmengruppe APPL in full dark blue buckram blocked with a design

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by David Eccles; dark blue endleaves. Blue slip case pasted with reproduction of a Daniell aquatint. Over 100 Daniell illustrations are reproduced in colour. Piggott supplied maps on pages [2], [48], [142] and [182]. 1441 Down the garden path, by Beverley Nichols. Illustrated by Rex Whistler. 229 × 163 × 26 mm. Pp. [i–vi] vii–xviii [xix–xx], [1–2] 3–230 [231–236]. Type: Baskerville with hand-drawn lettering for the title. Printed and bound by L.E.G.O. in full green cloth blocked in red with a design by the artist; cream endleaves with Whistler’s illustration of house and grounds printed in browns. Dark red slip case with section from endleaf illustration reproduced in colour on front. Part of the Gardener’s Collection series. 1442 The little grey men, a story for the young in heart, by ‘BB’, preface by Michael Morpurgo, illustrated by Denys Watkins-Pitchford. 230 × 162 × 22 mm. Pp. [i–vii] viii–xxii, [1] 2–198 [199–202]: [7] leaves of colour plates (facing pp. [iii], 3, [27], 43, 50, 178 and 192). Type: Scotch Roman with Arts and Crafts for display. Printed and bound by L.E.G.O. in full grey cloth blocked in red with a design by the artist; red endleaves. Red slip case. ‘BB’ was the pseudonym of Denys Watkins-Pitchford. In addition to the plates, copious black and white illustrations are in the text. Part of A Children’s Treasury series. 1443 The well-tempered garden, Christopher Lloyd. 262 × 193 × 39 mm. Pp. [i–vi] vii–ix [x], 1–426 [427–430]. Type: Ehrhardt. Printed and bound by Firmengruppe APPL in full cream cloth blocked with striking design in grey, purple and orange by Petra Börner; pale brown endleaves. Purple slip case. Illustrated with photographs taken in Lloyd’s garden at Great Dixter, Surrey, and by photographs of engravings, drawings and lithographs. Part of the Gardener’s Collection series. 1444 The Gnostic Gospels, the sacred writings of the Nag Hammadi Library, the Berlin Gnostic Codex and Codex Tchacos, edited by Marvin Meyer, introduction by Marvin Meyer and Elaine H. Pagels. 240 × 178 × 50 mm. Pp. [i–v] vi–xxviii, [1–3] 4–724: [7] leaves of colour plates (facing p. [iii] and between pp. 164–165, 180–181, 260–261, 276–277, [516]–[517] and 532–533). Type: Garamond and Pragma ND. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter brown leather, printed cloth boards; spine lettering by David Eccles. Mottled-brown endleaves. Dark brown slip case. Illustrated by photographs of antiquities from Egypt. ¶ Second printing: 2008. ¶ Third printing: 2014, now bound in quarter orange-brown buckram. 1445 The prince and the pauper, a tale for young people of all ages, by Mark Twain, with coloured plates by W. Hatherell. 229 × 162 × 32 mm. Pp. [i–v] vi [vii–viii], [1–7] 8–284 [285–288]: [8] leaves of colour plates (facing pp. [iii], 24, 72, 112, 152, 193, 249 and 264). Type: Scotch Roman. Printed and bound by Grafos in full blue-green cloth blocked in blue and gold with design redrawn by Frances Button. Dark blue endleaves. Dark blue slip case. Part of A Children’s Treasury series. ¶ Second printing: 2013. 1446 The letterpress Shakespeare, as you like it. Dark green two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, as you like it, edited by Alan Brissenden. 355 × 256 × 18 mm. Pp. [i–ii], [1–11] 12–94 [95–98]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed letterpress by Hand and Eye on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark green Nigerian goatskin leather with marbled paper boards by Ann Muir and top edge gilding; dark green endleaves. Leaf following the title-page reads in part ‘The edition is limited to 3750 numbered copies

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for sale to members of the Folio Society, and 25 lettered copies which are not for sale’. The text is based on the edition originally published by the Clarendon Press in 1993. [2] William Shakespeare, as you like it, edited by Alan Brissenden. 222 × 143 × 28 mm. Pp. [i–iv] v–x, 1–245 [246]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2008 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by the Saint Edmundsbury Press. Bound in full dark green buckram with paper label on front board; dark green endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark green. Available to purchase separately in 2016. 1447 E.B. White, Charlotte’s web, illustrations by Garth Williams, coloured by Rosemary Wells. 205 × 135 × 20 mm. Pp. [i–iv] v [vi], [1–2] 3–186. Type: Bell with hand-drawn lettering for the title. Printed and bound by L.E.G.O. in full cloth printed with illustration by the artists. Red endleaves. Green slip case. Colour illustrations throughout. Part of A Children’s Treasury series. ¶ Second printing: 2009. ¶ Third printing: 2009. ¶ Fourth printing: 2010. ¶ Fifth printing: 2011. ¶ Sixth printing: 2013. ¶ Seventh printing: 2015. 1448 The varieties of religious experience, a study in human nature, William James, introduced by Charles Taylor. 240 × 164 × 39 mm. Pp. [i–v] vi–xxviii, [1–3] 4–457 [458–460]: [9] leaves of colour plates (facing p. [iii] and between pp. 52–53, 68–69, 116–117, 132–133, 276–277, 292–293, 372–373 and 388–[389]). Type: Walbaum. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in three-quarter blue cloth with a reproduction of an El Greco oil painting pasted on front board. Brown endleaves. Dark blue slip case. The plates reproduce paintings by a variety of artists. 1449 The New York trilogy, city of glass, ghosts, the locked room, Paul Auster, illustrated by Tom Burns. 280 × 170 × 29 mm. Pp. [i–viii], [1–2] 3–251 [252–256]: [13] leaves of colour plates (facing pp. [iii], 24, 56, 72, 88, 104, 120, 137, 152, 168, 185, 232 and 241). Type: Fournier MT with Helvetica for display. Printed and bound by Grafos in full grey cloth printed with a design by Burns. Dark yellow endleaves. Black slip case. Winner of the Book and Book Cover Illustration category at the 2009 V&A Illustration Awards. ¶ Second printing: 2014. Now with an introduction by Benjamin Markovits. The pagination and position of the plates have also been altered. Pp. [i–viii] ix–xii, [1–2] 3–251 [252]: [13] leaves of colour plates (facing pp. [iii], 20, 53, 68, 85, 100, 116, 133, 148, 164, 181, 228 and 245). 1450 The Qur’ân, an interpretation by Marmaduke Pickthall. 261 × 193 × 53 mm. Pp. [i–iv] v–xxvii [xxviii], [1–2] 3–515 [516]: [12] leaves of colour plates (between pp. 4–5, 20–21, 116–117, 228–229, 372–373 and 388–389). Type: Garamond. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full white cloth blocked with a design by Frances Button. Blue endleaves. Blue slip case. The plates reproduce openings from a Qur’ân commissioned by Sultan Baybars in 1304, now held by the British Library. ¶ Second printing: 2009, issued December 2008. ¶ Third printing: 2010. ¶ Fourth printing: 2010. ¶ Fifth printing: 2012. 1451 The Bible, with the Apocrypha, King James version. Edited by David Norton. 280 × 188 × 73 mm. Pp. [i–vi] vii–xxxvi, [1–2] 3–1868. Type: Swift. Printed by Druckerei C.H. Beck with red ink for chapter and page numbers plus running titles and chapter headings. Bound by Real Lachenmaier in quarter dark red buckram with red cloth boards blocked in gold. Gold endleaves. Dark red slip case.

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¶ Second printing: 2011, the dimensions now 280 × 192 × 70 mm. Printed in black ink only. 1452 George Orwell, homage to Catalonia, [quotation from the Bible]. 222 × 144 × 27 mm. A separate issue of the third volume of George Orwell, reportage. Details as volume [3] of item 947. 1453 Things fall apart, Chinua Achebe, [W.B. Yeats quotation], illustrated by Kareem Ilya. 229 × 150 × 21 mm. Pp. [i–iv] v [vi], [1–2] 3–175 [176–178]: [7] leaves of colour plates (facing pp. [iii], 26, 58, 75, 122, 154 and 171). Type: Perpetua and Clifford for display. Printed and bound by Grafos in full orange cloth printed and blocked in black with a design by Ilya. Black endleaves. Orange-brown slip case. 1454 Charles Darwin, the expression of the emotions in man and animals, and the autobiography, introduced by Steven Pinker. 252 × 178 × 41 mm. Pp. [i–v] vi–xxii [xxiii–xxiv], [1–3] 4–372 [373–376]: [13] leaves of colour plates. Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full brown-green cloth with a design in black and gold by David Eccles; dark cream endleaves. Black slip case. The plates reproduce photographs, paintings, drawings and engravings. 1455 [Principia Mathematica by Isaac Newton]. 252 × 175 × 34–47 mm. 2 vols (see below). Type: Minion. Typeset by IDSUK (DataConnection) Ltd. Printed and bound by T.J. International in full black cloth blocked with a design by Matt Broughton; black endleaves. Black two-volume slip case. The two volumes are as follows: [I] Principia mathematica, mathematical principles of natural philosophy, Isaac Newton, translated by I. Bernard Cohen and Anne Whitman assisted by Julia Buzenz. Pp. [i–iv] v–xxx, [1–2] 3–494 [495–498]: [8] leaves of colour plates. [II] A guide to Newton’s principia mathematica, I. Bernard Cohen, with contributions by Michael Nauenberg and George E. Smith, introduction by Stephen Hawking. Pp. [i–iv] v–xxvii [xxviii], 1–385 [386–388]. ¶ Second printing: 2008. 1456 The mandarins, Simone de Beauvoir, translated by Leonard M. Friedman, introduced by Doris Lessing, illustrated by Christopher Corr. 240 × 163 × 44 mm. Pp. [i–vi] vii–ix [x–xii], 1–642 [643–644]: [15] leaves of colour plates. Type: Ehrhardt with Optima for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full cloth printed with a design by Corr; purple-pink endleaves. Brown slip case. 1457 The siege of Krishnapur, by J.G. Farrell, introduction by Hilary Mantel, illustrations by Francis Mosley. 229 × 162 × 33 mm. Pp. [i–iv] v–xiv [xv–xvi], [1–2] 3–331 [332–336]: [9] leaves of colour plates (facing pp. [iii], 33, 48, 65, 80, 129, 144, 193 and 304). Type: Perpetua. Printed and bound by Grafos in full pale orange cloth blocked in black and red with a design by Mosley; red endleaves. Red slip case. ¶ Second printing: 2009. 1458 Liber bestiarum, Bodley 764. Two-volume clamshell box bound in dark blue buckram with red leather spine-label titled (as above) in gold and black. The two volumes are as follows: [1] [Facsimile]. 304 × 198 × 39 mm. Pp. [1–284]. Photographed by Dot Gradations. Printed and gold foiled by Windles. Bound by Brian Settle with a design by David Eccles. Full red-orange Nigerian goatskin leather blocked in gold, green, blue and black. Gilded edges. Green-grey and pale brown endleaves. The complete

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manuscript of this Bodleian Library Bestiary (Bodley 764) is reproduced here. The final leaf reads in part ‘The edition is limited to 1980 numbered copies and 20 lettered copies which are not for sale’. [2] Liber bestiarum, MS Bodley 764, commentary by Christopher de Hamel, followed by a translation by Richard Barber. 301 × 193 × 24 mm. Pp. [1–4] 5–173 [174–176]. Type: Centaur. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full dark blue cloth blocked in gold and pale green; green-grey endleaves. 1459 The letterpress Shakespeare, twelfth night. Dark green two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, twelfth night, or what you will, edited by Roger Warren and Stanley Wells. 354 × 255 × 19 mm. Pp. [i–ii], [1–11] 12–87 [88–90]. Type: Baskerville with Caslon for display. Typeset by Typostudio SchumacherGebler. Printed by Offizin Haag-Drugulin on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark green Nigerian goatskin leather with marbled paper boards by Ann Muir and top edge gilding; dark green endleaves. Leaf following the title-page reads in part ‘The edition is limited to 3750 numbered copies for sale to members of the Folio Society, and 25 lettered copies which are not for sale’. The text is based on the edition originally published by the Clarendon Press in 1994. [2] William Shakespeare, twelfth night, or what you will, edited by Roger Warren and Stanley Wells. 222 × 143 × 27 mm. Pp. [i–iv] v–viii, 1–247 [248]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2008 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by the Saint Edmundsbury Press. Bound in full dark green buckram with paper label on front board; dark green endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark green. Available to purchase separately in 2016. 1460 Just so stories for little children, by Rudyard Kipling, illustrated by the author. 240 × 160 × 21 mm. A separate issue of the second volume detailed under item 1119. Red slip case. Part of A Children’s Treasury series. ¶ Second printing (not seen). ¶ Third printing: 2009. Printed by Martins of Berwick. Bound by Hunter and Foulis. ¶ Fourth printing: 2010. ¶ Fifth printing: 2011. ¶ Sixth printing: 2012. ¶ Seventh printing: 2012. ¶ Eighth printing: 2014. Bound by Charles Letts & Co. ¶ Ninth printing: 2015. Printed and bound by Grafos. ¶ Tenth printing: 2017. Printed and bound by L.E.G.O.; pale brown endleaves. ¶ Eleventh printing: 2021. 1461 The good soldier, a tale of passion, Ford Madox Ford, introduction by Julian Barnes, illustrations by Philip Bannister. 228 × 150 × 25 mm. Pp. [i–iv] v–xviii, [1–4] 5–221 [222]: [7] leaves of colour plates (facing pp. [iii], 30, 47, 78, 95, 110 and 190). Type: Perpetua with Corinthian for display. Printed and bound by Grafos in full grey cloth blocked in black and gold with a design by Bannister; grey endleaves. Black slip case. ¶ Second printing: 2013. 1462 A vindication of the rights of woman, with strictures on political and moral subjects, Mary Wollstonecraft, introduction by Claire Tomalin. Illustrated by Stephen Raw and Sheri Gee. 228 × 162 × 31 mm. Pp. [i–iv] v–xxx, [1–2] 3–298. Type: Centaur. Printed and bound by Grafos in full white cloth blocked in black and red with a design by Raw and Gee; black endleaves. Red slip case. Seven full-page black and white illustrations are included, with Raw providing hand-lettering and Gee the accompanying images. 1463 On liberty & considerations on representative government, John Stuart Mill, with an introductory essay by Isaiah Berlin. Illustrated by Martin O’Neill. 228 × 150 × 35 mm. Pp. [i–vi] vii–xxv [xxvi], [1–4] 5–357 [358]: [9]

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leaves of colour plates (facing pp. [iii], 54, 71, 118, 135, 166, 231, 326 and 343). Type: Baskerville. Printed and bound by L.E.G.O. in full cloth printed with a design by O’Neill; grey endleaves. Grey slip case. 1464 The Victorians, A.N. Wilson. 253 × 176 × 47 mm. Pp. [i–v] vi–xxiv [xxv–xxvi], [1–2] 3–676 [677–678]: [16] leaves of colour plates (between pp. 86–87, 262–263, 438–439 and 550–551). Type: Ehrhardt. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full buckram blocked with a design by David Pearson. Green endleaves. Pale green slip case with photographic image pasted on one side. The plates reproduce paintings, photographs, cartoons and ephemera. ¶ Second printing: 2014. 1465 The golden bowl, Henry James, introduction by Colm Tóibín, illustrations by Philip Bannister. 240 × 160 × 42 mm. Pp. [i–vi] vii–xxx, [1–2] 3–477 [478–482]: [11] leaves of colour plates. Type: Galliard with Medici for display. Printed and bound by T.J. International. Full pale blue cloth blocked in gold, white and black with a design by Bannister; dark blue endleaves. Black slip case. 1466 Onward and upward in the garden, by Katherine S. White, edited and with an introduction by E.B. White, afterword by Jamaica Kincaid. 228 × 162 × 32 mm. Pp. [i–iv] v–xix [xx], [1–2] 3–300: [7] leaves of colour plates (facing p. [iii] and between pp. 60–61, 156–157 and 220–221). Type: Sabon with University Roman for display. Printed and bound by Grafos. Full dark green cloth blocked in gold, cream and red with a design by Matt Broughton; cream endleaves. Dark green slip case. The plate images are primarily sourced from seed catalogues. Over 20 black and white illustrations are also in the text. Part of the Gardener’s Collection series. 1467 John Buchan, stories, introduced and selected by Giles Foden. Illustrated by Nick Hardcastle. 203 × 135 × 37 mm. Pp. [i–vi] vii–xxi [xxii], 1–358 [359–362]: [13] leaves of plates. Type: Goudy. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full grey cloth blocked in black, white and dark red with a design by Hardcastle; dark red endleaves. Dark red slip case. ¶ Second printing: 2009, printed by Martins of Berwick. ¶ Third printing: 2009. 1468 The Folio book of historical mysteries, selected, edited and introduced by Ian Pindar. 240 × 160 × 34 mm. Pp. [i– iv] v–xv [xvi–xviii], 1–377 [378–382]: [13] leaves of colour plates. Type: Dante. Printed and bound by T.J. International. Full black cloth blocked with a design in silver by James Alexander; silver endleaves. Black slip case with collage of five images pasted on one side. Twenty essays cover topics ranging from the fall of the Roman Empire to the assassination of John F. Kennedy. ¶ Second printing: 2009. ¶ Third printing: 2009. ¶ Fourth printing: 2010. ¶ Fifth printing: 2011. 1469 Myths and legends of ancient Rome, edited and introduced by Lawrence Norfolk, illustrated by Grahame Baker. 253 × 175 × 36 mm. Pp. [i–v] vi–xviii, [1–3] 4–301 [302]: [13] leaves of colour plates. Type: Ehrhardt with Herculaneum for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in quarter brown leather with cloth boards printed with a design by Baker; spine lettering by John Andrew. Pale brown endleaves. Black slip case. The illustrator became known, for Folio purposes, as Grahame Baker-Smith from 2011. 1470 A.R. Burn, the Persian wars, the Greeks and the defence of the west, c. 546–478 b c , introduced by Simon Hornblower, postscript by D.M. Lewis. 253 × 177 × 41 mm. A separate issue of the second volume detailed under item 1097.

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1471 Derek A. Welsby and David W. Phillipson, empires of the Nile, preface by Michael Wood. Ornaments by Frances Button. Maps by Reginald Piggott. 253 × 176 × 46 mm. Pp. [i–iv] v–xxi [xxii], [1–2] 3–694 [695– 698]: [16] leaves of colour plates (between pp. 154–155, 346–347 and 538–539). Type: Imprint. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full black cloth blocked in gold with a design by Button; pale gold endleaves with maps by Piggott in black. Dark gold slip case. The plates reproduce photographs of antiquities and sites. Piggott also supplied maps on pages [15], 125, [221]–223, 524, 560 and 588. ¶ Second printing: 2009. 1472 Lives of the founding fathers. 241 × 167 × 35–49 mm. 5 vols (see below). Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier. Brown five-volume slip case with pasted paper side titled (as above). The five volumes are as follows: [I] Benjamin Franklin, an American life, Walter Isaacson. Pp. [i–vii] viii–ix [x–xii], [1] 2–500: [9] leaves of colour plates (facing p. [iii] and between pp. 68–69, 148–149, 228–229 and 324–325). Three-quarter red cloth with paper front board printed with subject’s portrait. Dark purple endleaves. [II] George Washington, His Excellency, Joseph J. Ellis. Pp. [i–vii] viii–xviii, [1] 2–322 [323–326]: [9] leaves of colour plates (facing p. [iii] and between pp. 46–47, 110–111, 174–175 and 238–239). Three-quarter green cloth with paper front board printed with subject’s portrait. Green endleaves. [III] Alexander Hamilton, Ron Chernow. Pp. [i–v] vi–xx [xxi–xxii], [1] 2–808 [809–810]: [9] leaves of colour plates (facing p. [iii] and between pp. 170–171, 330–[331], 474–475 and 602–603). Three-quarter dark orange cloth with paper front board printed with subject’s portrait. Dark orange endleaves. [IV] Thomas Jefferson, R.B. Bernstein. Pp. [i–vii] viii–xxiii [xxiv], [1] 2–264: [9] leaves of colour plates (facing p. [iii] and between pp. 40–41, 88–89, 136–137 and 184–185). Three-quarter blue cloth with paper front board printed with subject’s portrait. Blue endleaves. [V] John Adams, party of one, James Grant. Pp. [i–v] vi–xxii, [1] 2–469 [470–474]: [9] leaves of colour plates (facing p. [iii] and between pp. 74–75, 154–155, 250–251 and 314–315). Three-quarter brown cloth with paper front board printed with subject’s portrait. Brown endleaves. 1473 Leo Tolstoy, Anna Karenina, translated by Louise and Aylmer Maude, introduced by Helen Dunmore, illustrated by Angela Barrett. 241 × 165 × 48 mm. Pp. [i–iv] v–xxii, [1–2] 3–745 [746]: [15] leaves of colour plates. Type: Ehrhardt with Bulmer for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter brown buckram with cloth boards blocked in gold and printed with design by Barrett; dark green-grey endleaves. Dark green-grey slip case. ¶ Second printing: 2012. ¶ Third printing: 2013. Now with dark green endleaves. ¶ Fourth printing: 2022, with binding redesigned. The dimensions now 240 × 165 × 55 mm. Bound by Josef Spinner with new spine, green buckram and top edge gilding. Barrett’s design has been retained but differently blocked. 1474 Percy Bysshe Shelley, collected poems, edited by Neville Rogers, introduction by Richard Holmes, engravings by Simon Brett. 280 × 189 × 49 mm. Pp. [i–iv] v–xix [xx], [1–2] 3–552 [553–556]. Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter dark red leather series binding (see item 1051). Dark cream cloth boards with a repeat pattern in brown by Brett; dark brown endleaves. Dark red slip case. In ‘The Folio Poets’ series.

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1475 Daphne du Maurier, my cousin Rachel, illustrations by Emma Chichester Clark. 228 × 148 × 34 mm. A separate issue of the fourth volume detailed under item 696. Printed and bound by T.J. International. Blue cloth with the design unchanged. Pale grey endleaves. Brown slip case. ¶ Second printing (not seen). ¶ Third printing: 2008. 1476 Daphne du Maurier, Frenchman’s Creek, illustrations by Emma Chichester Clark. 228 × 148 × 29 mm. A separate issue of the third volume detailed under item 696. Printed and bound by T.J. International. Blue cloth reverting to the My cousin Rachel design. Pale grey endleaves. Brown slip case. ¶ Second printing (not seen). ¶ Third printing: 2008. 1477 Daphne du Maurier, Jamaica Inn, illustrations by Emma Chichester Clark, introduction by Raleigh Trevelyan. 228 × 148 × 32 mm. A separate issue of the first volume detailed under item 696. Printed and bound by T.J. International. Blue cloth reverting to the My cousin Rachel design. Pale grey endleaves. Brown slip case. ¶ Second printing (not seen). ¶ Third printing: 2008. 1478 E.M. Forster, a passage to India, lithographs by Glynn Boyd Harte. 240 × 162 × 28 mm. A separate issue of the fifth volume detailed under item 842. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full purple cloth with printed paper front board; purple endleaves. Purple slip case. 1479 Alain-Fournier, le grand Meaulnes, translated by Frank Davison, illustrated by Laura Carlin. 228 × 149 × 27 mm. Pp. [i–vi] vii [viii], [1–6] 7–252 [253–256]: [7] leaves of colour plates (facing pp. [iii], 73, 105, 120, 136, 201 and 216). Type: Granjon. Printed and bound by T.J. International in full white cloth printed and blocked with a design by Carlin; green endleaves. Green slip case. 1480 Fyodor Dostoyevsky, the Brothers Karamazov, translated from the Russian by David Magarshack, [wood-] engravings by Harry Brockway. 240 × 166 × 57 mm. Pp. [i–iv] v–xii [xiii–xiv], [1–2] 3–752 [753–756]: [13] leaves of plates. Type: Ehrhardt with Latin Condensed for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter dark red buckram and cloth boards printed with illustrations by Brockway; flecked pale grey endleaves. Dark green slip case. The Brothers Karamazov had previously been published, with illustrations by Nigel Lambourne, in 1964. 1481 Death comes for the Archbishop, Willa Cather, introduction by A.S. Byatt, illustrations by Finn Campbell-Notman. 229 × 164 × 26 mm. Pp. [i–iv] v–xvi, [1–2] 3–224: [7] leaves of colour plates (facing pp. [iii], 49, 64, 128, 160, 169 and 208). Type: Baskerville. Printed and bound by L.E.G.O. in full pale brown cloth blocked in black, grey and brown with a design by Campbell-Notman; brown-orange endleaves. Brown-orange slip case. 1482 Master & commander, Patrick O’Brian, introduction by Max Hastings. 229 × 161 × 39 mm. Pp. [i–iv] v–xx, [1–2] 3–356: [6] leaves of colour plates (between pp. 60–61, 140–141 and 284–285). Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in gold, black, white and pale blue with a design by Neil Gower. Pale blue endleaves printed with map by Gower. Blue slip case. Gower also supplied an illustrated battle plan on page [329]. Primarily illustrated by photographs of paintings, etchings, drawings, engravings and printed material. The first of the Aubrey-Maturin series issued by Folio. At the time of O’Brian’s death in 2000 he was working on the twenty-first instalment. ¶ Second printing: 2009. ¶ Third printing: 2009. ¶ Fourth printing: 2010. ¶ Fifth printing: 2013.

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1483 [An inquiry into the nature and causes of ] the wealth of nations [by Adam Smith]. Maps by Reginald Piggott. 280 × 185 × 32–34 mm. 3 vols (see below). Type: Garamond. Printed and bound by Grafos in full grey-brown buckram blocked in gold and brown with a design by Neil Gower; gold endleaves. Pale brown three-volume slip case titled (as above). Oil paintings are the primary source for the coloured plates. The three volumes are as follows: I . . . Volume I, with an introduction by John Kenneth Galbraith. Pp. [i–v] vi–xxxi [xxxii], [1–3] 4–294 [295–296]: [17] leaves of colour plates. Piggott supplied maps on pages [18], [136] and [137]. II . . . Volume II. Pp. [i–v] vi–xi [xii–xiv], [1–3] 4–319 [320–322]: [17] leaves of colour plates. Piggott supplied maps on pages [42], [111], [224] and [235]. III . . . Volume III. Pp. [i–v] vi–xi [xii], [1–3] 4–308: [17] leaves of colour plates. Piggott supplied maps on pages [68], [86], and [272]. 1484 The letterpress Shakespeare, Anthony and Cleopatra. Dark red two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, Anthony and Cleopatra, edited by Michael Neill. 355 × 256 × 22 mm. Pp. [i–ii], [1–11] 12–126 [127–130]. Type: Baskerville with Caslon for display. Typeset by Typostudio SchumacherGebler. Printed by Offizin Haag-Drugulin on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark red Nigerian goatskin leather with marbled paper boards by Ann Muir and top edge gilding; dark red endleaves. Leaf following the title-page reads in part ‘The edition is limited to 3750 numbered copies for sale to members of the Folio Society, and 25 lettered copies which are not for sale’. The text is based on the edition originally published by the Clarendon Press in 1994. [2] William Shakespeare, the tragedy of Anthony and Cleopatra, edited by Michael Neill. 222 × 143 × 29 mm. Pp. [i–iv] v–xi [xii], 1–388. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2008 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by the Saint Edmundsbury Press. Bound in full dark red buckram with paper label on front board; dark red endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark red. Available to purchase separately in 2016. 1485 The letterpress Shakespeare, Julius Caesar. Dark red two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, Julius Caesar, edited by Arthur Humphreys. 355 × 255 × 19 mm. Pp. [i–ii], [1–11] 12–98 [99–102]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed letterpress by Hand and Eye on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark red Nigerian goatskin leather with marbled paper boards by Ann Muir and top edge gilding; dark red endleaves. Leaf following the title-page reads in part ‘The edition is limited to 3750 numbered copies for sale to members of the Folio Society, and 25 lettered copies which are not for sale’. The text is based on the edition originally published by the Clarendon Press in 1984. [2] William Shakespeare, Julius Caesar, edited by Arthur Humphreys. 222 × 143 × 28 mm. Pp. [i–iv] v–ix [x], 1–253 [254]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2008 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by the Saint Edmundsbury Press. Bound in full dark red buckram with paper label on front board; dark red

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endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark red. Available to purchase separately in 2016. 1486 Joe Simpson, touching the void, foreword by Chris Bonington, illustrated by Geoff Grandfield. 229 × 149 × 23 mm. Pp. [i–vi] vii–xii [xiii–xvi], 1–192: [8] leaves of plates (facing pp. [iii], 13, 36, 56, 85, 92, 126 and 164). Type: Scala with Univers for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue cloth printed in white and black with a design by Grandfield; silver endleaves. Black slip case. An illustrative map on pages [xiv–xv] was redrawn by Neil Gower. 1487 A wonder book for girls & boys, by Nathaniel Hawthorne: with 60 designs by Walter Crane. 253 × 191 × 28 mm. Pp. [i–v] vi–xii, [1] 2–228. Type: Garamond with hand-drawn lettering for the title. Printed and bound by Firmengruppe APPL in full cream cloth printed with a design in dark red and green based on the original by Crane; cream endleaves with repeat pattern in green. Dark red slip case. This edition is based closely on the 1892 edition published in London by Osgoode & McIlvane. Crane provided full colour illustrations alongside head- and tail-pieces. 1488 Blake, Peter Ackroyd. 241 × 164 × 43 mm. Pp. [i–vii] viii–xii [xiii–xvi], [1–3] 4–455 [456]: [13] leaves of colour plates (facing p. [iii] and between pp. 64–65, 192–193 and 352–353). Type: Bell. Printed by Die Keure. Bound by Brepols in full pale brown buckram printed in black and blocked in gold with William Blake detail and hand-lettering by Stephen Raw; endleaves printed with coloured prints by Blake. Black slip case. 1489 Fifty days that changed the world, Hywel Williams. 215 × 164 × 35 mm. Pp. [i–iv] v–xiii [xiv], 1–306. Type: Joanna. Printed and bound by L.E.G.O. in quarter black cloth with paper boards printed with a design by Richard Beards; blue endleaves. Blue slip case. Illustrated throughout with images of ancient artefacts, paintings and photographs. ¶ Second printing: 2009. ¶ Third printing: 2009. 1490 Easy & not-so-easy pieces, Richard P. Feynman, introduced by Roger Penrose. 228 × 150 × 28 mm. Pp. [i–iv] v–xxvi, [1–2] 3–254: [6] leaves of colour plates (facing pp. 38, 54, 102, 150, 166 and 182). Type: Times. Printed and bound by Grafos. Full red buckram blocked in white and gold with design by Matt Broughton; gold endleaves. Gold slip case. Diagrams, tables and photographs throughout the text assist in explaining the fundamentals of physics. ¶ Second printing: 2009. ¶ Third printing: 2009. ¶ Fourth printing: 2011. 1491 The Folio diary 2009. 200 × 148 × 14 mm. Pp. [1–120]. Type: Caslon. Printed and bound by Grafos in full plasticised paper with a colour illustration by Dorry Spikes; endleaves printed with drawing by Ronald Searle from The compleet Molesworth (item 1424). Not issued in a slip case. Free to members. A colour reproduction of an illustration from a Folio book faces each week of the year. 1492 First folio, a little book of Folio forewords, introduced by Catherine Taylor. 200 × 135 × 17 mm. Pp. [i–iv] v–xii, [1–2] 3–132. Type: Galliard. Printed by Grammlich. Bound by Real Lachenmaier in quarter black cloth with paper boards printed with a design by Jonny Hannah; blue endleaves. Blue slip case. The fifteen forewords are accompanied by an illustration from the Folio edition they were written for.

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1493 Life, an unauthorised biography, a natural history of the first four thousand million years of life on earth, Richard Fortey. 262 × 192 × 32 mm. Pp. [i–iv] v–x [xi–xii], 1–379 [380]. Type: Sabon. Typeset by Andrew Barker. Printed and bound by Firmengruppe APPL in full green cloth blocked in gold, black and orange with design by Neil Gower; endleaves printed with photograph of fossil. Orange slip case with reproduction of drawing by Ernst Haeckel pasted on one side. Illustrated throughout with colour photographs of the natural world. 1494 The language instinct, the new science of language and mind, Steven Pinker. Illustrated by Andy Martin. 253 × 175 × 35 mm. Pp. [i–xi] xii–xiii [xiv], [1] 2–447 [448–450]: [7] leaves of colour plates (facing pp. [iii], 51, 66, 146, 242, 306 and 370). Type: Granjon. Printed by Scotprint. Bound by Hunter and Foulis in quarter green cloth with paper boards printed with a design by Martin; green endleaves. Green slip case. Martin’s work was shortlisted in the 2009 V&A Illustration Awards. ¶ Second printing: 2009, the dimensions now 253 × 175 × 42 mm. Printed by Martins of Berwick. 1495 Richard Dawkins, climbing mount improbable, original drawings by Lalla Ward. 240 × 162 × 33 mm. Pp. [i– vii] viii–xvi [xvii–xviii], [1] 2–313 [314–318]: [12] leaves of colour plates (between pp. 62–63, 174–175 and 270–271). Type: Sabon with Optima for display. Printed and bound by T.J. International in full black buckram blocked with a sea lily design by Neil Gower. Gold endleaves. Gold slip case. Photographs of the natural world are reproduced in the plates while diagrams are included in the text. ¶ Second printing: 2009. 1496 Graham Greene, the human factor, illustrated by Bill Bragg. 229 × 149 × 26 mm. Pp. [i–iv] v–vi [vii–xii], 1–259 [260]: [12] leaves of plates. Type: Garamond with Gill Sans for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full grey cloth blocked with a design in black and yellow by Bragg; orange endleaves. Black slip case. 1497 Volume one of the Alexandria quartet, Lawrence Durrell, Justine, a novel, introduced by Peter Porter. 241 × 160 × 27 mm. Pp. [i–iv] v–xix [xx], [1–2] 3–203 [204]: [10] leaves of plates. Type: Fournier. Printed and bound by L.E.G.O. in three-quarter orange cloth with paper front board printed with a photomontage; brown endleaves. Brown slip case. The illustrations ‘have been created to reflect the mood of the novel and some may not depict actual places in Alexandria’, p. [viii]. ¶ Second printing: 2010. 1498 Eyewitness to history. Edited and introduced by Robert Fox. 253 × 178 × 47–48 mm. 4 vols (see below). [12] leaves of colour plates in each volume. Type: Plantin. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier. Black endleaves. Black four-volume slip case with pasted paper side titled (as above). The four volumes are as follows: [I] . . . the first reporters, edited and introduced by Robert Fox. Pp. [i–iv] v–xxix [xxx], 1–481 [482]. Full black buckram blocked in gold and brown. [II] . . . discovering new worlds . . . Pp. [i–iv] v–xxiii [xxiv], 1–481 [482–488]. Full black buckram blocked in gold and grey. [III] . . . Empire and after . . . Pp. [i–iv] v–xxiii [xxiv], 1–472. Full black buckram blocked in gold and yellow.

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[IV] . . . in our time . . . Pp. [i–iv] v–xxi [xxii], 1–489 [490]. Full black buckram blocked in gold and red. 1499 The letterpress Shakespeare, Coriolanus. Dark red two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, Coriolanus, edited by R. B. Parker. 355 × 256 × 21 mm. Pp. [i–ii], [1–11] 12–127 [128– 130]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed letterpress by Hand and Eye on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark red Nigerian goatskin leather with marbled paper boards by Ann Muir and top edge gilding; dark red endleaves. Leaf following the title-page reads in part ‘The edition is limited to 3750 numbered copies for sale to members of the Folio Society, and 25 lettered copies which are not for sale’. The text is based on the edition originally published by the Clarendon Press in 1994. [2] William Shakespeare, the tragedy of Coriolanus, edited by R. B. Parker. 222 × 143 × 29 mm. Pp. [i–iv] v–ix [x], 1–388 [389–390]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2008 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by the Saint Edmundsbury Press. Bound in full dark red buckram with paper label on front board; dark red endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark red. Available to purchase separately in 2016. 1500 Les miserables. Dark blue two-volume clamshell box, spine titled in capitals (as above), without the accent, in gold. The two volumes are as follows: [1] Victor Hugo, les misérables, translated and with an introduction by Norman Denny, with illustrations from designs by de Neuville, Bayard, Morin, Valnay, and other eminent French artists. 253 × 166 × 64 mm. Pp. [i–vi] vii–xvii [xviii], [1–2] 3–1101 [1102–1104]: [25] leaves of black and white plates. Type: Garamond. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark blue Wassa goatskin leather blocked in gold, red and white with a design by Jeff Clements; red endleaves printed with repeat design. The edition statement reads in part ‘limited to 1750 numbered copies’. This translation was specially commissioned by Folio in 1976 (item 401). The illustrations have been selected from engravings used in nineteenth-century editions of the work, with the most recognisable being the plate by Émile Bayard facing page 297. This image of Cosette was used as promotional art for the musical of the same name. [2] Mario Vargas Llosa, the divine stenographer, truth and narration in les misérables. 246 × 157 × 1 mm. Pp. [1–2] 3–17 [18–20]. Sewn with red thread into red paper wrappers with printed paper label. This essay is an edited extract from the Peruvian writer’s The temptation of the impossible which had been published the year before by Princeton University Press. Vargas Llosa went on to be awarded the 2010 Nobel Prize in Literature. 1501 Robert Thornton, the temple of flora. Dark green buckram two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] The temple of flora, or garden of the botanist, poet, painter, and philosopher, being picturesque botanical plates of the choicest flowers of Europe, Asia, Africa and America, by Robert John Thornton MD. [facsimile]. 572 × 472 × 38 mm. [116] leaves of plates. Reproduced and printed by Beacon Press. Bound by Smith Settle in quarter dark green Nigerian goatskin leather with green buckram boards printed and blocked in gold with a design by David Eccles. Dark green top edge; pale green endleaves. Second to last leaf reads in part ‘The edition is limited to 1980 numbered copies for sale to members of The Folio Society, and 25 lettered copies which are not for sale’. Reproduced from a copy owned by Folio, with the exception of eight plates reproduced courtesy of

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The Linnean Society of London and another from The Royal Botanic Garden Edinburgh. A printed slip bearing notes on the care of the leather is loosely inserted. Due to insufficient demand, the limitation was later reduced to 600 and the remaining sheets issued in a portfolio (see item 1730). [2] The temple of flora, commentary by Stephen Harris. 304 × 215 × 17 mm. Pp. [1–4] 5–117 [118–120]. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full dark green buckram with paper label on front board; pale green endleaves. This volume is inserted in a recess in the box, beneath the first volume, a loose board papered in pale green, two prints in a paper wallet and a printed A4 letter. The separate prints reproduce the plates of the blue Egyptian water-lily and a group of tulips. The Production Director Joe Whitlock Blundell thought it wise to introduce ‘The book’s curious character’ largely caused by being produced over many years by a range of printers. His letter brings attention to the spelling mistakes, unattributed quotations, inconsistently styled titles, erratic type measure and varying page depth of the original – all faithfully reproduced. 1502 Great tales from English history, Robert Lacey. 253 × 177 × 35 mm. Pp. [i–iv] v–xix [xx], [1–2] 3–361 [362–364]. Type: Minion with Charlemagne for display. Printed and bound by Firmengruppe APPL in full blue cloth printed and blocked with a design by Neil Gower; pale blue endleaves. Black slip case. Illustrated throughout with photographs of manuscripts, paintings and other artefacts. ¶ Second printing: 2009. 1503 Venice, Jan Morris. 261 × 194 × 40 mm. Pp. [i–v] vi–xv [xvi–xx], [1–3] 4–346 [347–348]. Type: Granjon. Printed and bound by Firmengruppe APPL in full printed cloth; endleaves printed with map of Venice. Dark grey slip case. Illustrated throughout with photographs of the city. ¶ Second printing: 2009. 1504 The secret life of trees, how they live and why they matter, Colin Tudge. 263 × 195 × 43 mm. Pp. [i–iv] v–xviii [xix–xx], [1–2] 3–390 [391–396]. Type: Garamond. Printed and bound by Grafos. Full black buckram blocked in gold and green with a design by Neil Packer; printed endleaves of tree trunk cross-section. Green slip case. Illustrated throughout with photographs. 1505 Sebastian Faulks, birdsong, introduction by Sebastian Faulks, illustrations by Swava Harasymowicz. 240 × 163 × 39 mm. Pp. [i–iv] v–xiv [xv–xviii], [1–2] 3–394 [395–398]: [9] leaves of colour plates (facing pp. [iii], 63, 78, 150, 182, 214, 262, 327 and 342). Type: Ehrhardt. Printed and bound by L.E.G.O. in full grey-green cloth blocked in cream and black with a design by Harasymowicz; green endleaves. Black slip case. 1506 The letterpress Shakespeare, Titus Andronicus. Dark red two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, Titus Andronicus, edited by Eugene M. Waith. 355 × 256 × 20 mm. Pp. [i–ii], [1–11] 12–97 [98–102]. Type: Baskerville with Caslon for display. Typeset and printed by Offizin Haag-Drugulin on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark red Nigerian goatskin leather with marbled paper boards by Ann Muir and top edge gilding; dark red endleaves. Leaf following the title-page reads in part ‘The edition is limited to 3750 numbered copies for sale to members of the Folio Society, and 25 lettered copies which are not for sale’. The text is based on the edition originally published by the Clarendon Press in 1984.

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[2] William Shakespeare, Titus Andronicus, edited by Eugene M. Waith. 221 × 142 × 25 mm. Pp. [i–iv] v–ix [x], 1–226 [227–230]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2007 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark red buckram with paper label on front board; dark red endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark red. Available to purchase separately in 2016. 1507 The complete prose of Woody Allen, without feathers, getting even, side effects. 240 × 160 × 28 mm. Pp. [i–iv] v–viii, [1–4] 5–245 [246–248]: [7] leaves of plates (facing p. [iii] and between pp. 56–57, 136–137 and 200– 201). Type: Goudy with Paltime for display. Printed by Die Keure. Bound by Jansenbinders in full silver cloth blocked in white and black; black endleaves. Silver slip case. The plates reproduce black and white photographs of this American writer, comedian and director. 1508 The screwtape letters, with screwtape proposes a toast, C. S. Lewis, illustrated by Papas. 252 × 174 × 20 mm. Pp. [i–x] xi–xx, [1–2] 3–143 [144–148]. Type: Joanna. Printed and bound by Cambridge University Press. Full cream cloth blocked in red and black with a design by Papas; red endleaves. Red slip case. Cartoonist Bill Papas provided nearly a hundred drawings to accompany this darkly comic text. ¶ Second printing: 2009. ¶ Third printing: 2010, printed and bound by T.J. International. ¶ Fourth printing: 2009. 1509 At the back of the north wind, by George MacDonald, introduced by Carol Ann Duffy, illustrated by Maria L. Kirk. 229 × 162 × 35 mm. Pp. [i–iv] v–xv [xvi], [1–2] 3–269 [270–272]: [12] leaves of colour plates. Type: Bell. Printed and bound by Grafos. Full silver cloth printed and blocked with a design by Debra McFarlane based on an illustration by Kirk; metallic blue endleaves. Metallic blue slip case. Based on the 1871 edition published by Strahan & Co. ¶ Second printing: 2009. 1510 The country child, Alison Uttley, introduced by Diana Athill, illustrated by C. F. Tunnicliffe. 228 × 162 × 25 mm. Pp. [i–vi] vii–xii, [1–2] 3–235 [236]. Type: Caslon. Printed and bound by L.E.G.O. in full purple cloth blocked in gold with a design by Neil Gower based on an illustration by Tunnicliffe; cream endleaves printed with two of the artist’s illustrations. Brown slip case. Based on the 1945 edition published by Faber & Faber. ¶ Second printing: 2009. 1511 Thomas à Kempis, the imitation of Christ. 229 × 175 × 34 mm. Pp. [i–v] vi–xxiii [xxiv], [1–3] 4–250 [251–256]: [7] leaves of colour plates (facing p. [iii] and between pp. [24]–25, 40–41, 88–89, 104–105, 184–185 and 200–201). Type: Bulmer. Printed and bound by T.J. International. Full black cloth blocked in gold and grey; grey endleaves. Grey slip case. The plates reproduce oil paintings from the fifteenth century. ¶ Second printing: 2009. 1511.5 The works of Geoffrey Chaucer, now newly imprinted. [facsimile]. 424 × 304 × 80 mm. Pp. [i–viii], [1] 2–559 [560]. Bound by Sigloch Buchbinderei in full brown buckram blocked in gold with a design by David Pearson. Gilded top edge. Pale brown endleaves. Brown slip case titled The Kelmscott Chaucer in gold. The essay by William S. Peterson included as a separate volume to the 2002 limited edition is at the back of the volume, with an expanded last sentence to record this ‘reprint’.

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1512 Dracula, Bram Stoker, introduction by John Banville, illustrations by Abigail Rorer. 240 × 163 × 34 mm. Pp. [i–iv] v–xv [xvi–xviii], [1–2] 3–355 [356–358]: [9] leaves of plates (facing pp. [iii], 36, 86, 138, 197, 231, 265, 310 and 353). Type: Bulmer. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full black cloth blocked in red and silver with a design by Rorer; blood red endleaves. Black slip case. Rorer’s wood-engravings were shortlisted in the 2009 V&A Illustration Awards. ¶ Second printing: 2009. ¶ Third printing: 2009. ¶ Fourth printing: 2013. 1513 Sir Gawain and the green knight, translated by Simon Armitage, illustrations by Diana Sudyka. 332 × 250 × 20 mm. Pp. [i–vi] vii–xiii [xiv], [1–4] 5–114. Type: Wilke. Printed and bound by Firmengruppe APPL in full red cloth blocked in green, black and gold with design by Sudyka; pale gold endleaves. Red slip case. 1514 Francis Parkman, the Oregon trail, [ornament], introduced by Frank McLynn. 253 × 177 × 32 mm. Pp. [i–vi] vii–xxi [xxii], 1–326: [17] leaves of colour plates. Type: New Caledonia. Printed and bound by L.E.G.O. in full green cloth blocked in gold and printed in black with a design by Chris Costello; cream endleaves printed with a map by Neil Gower. Green slip case. The plates reproduce paintings and watercolours. ¶ Second printing: 2009. ¶ Third printing: 2010. ¶ Fourth printing: 2012. ¶ Fifth printing: 2013. 1515 History of western music, J. Peter Burkholder, Donald Jay Grout, Claude V. Palisca. 240 × 164 × 54 mm. Pp. [i–v] vi–xx, [1–5] 6–924: [13] leaves of colour plates. Type: Ehrhardt. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter dark red leather with cream cloth boards blocked with a design in black and gold by Neil Gower; dark red endleaves. Dark red slip case. Based on the edition published by W. W. Norton and Company in 2006: ‘some of the seventh edition’s more technical content and pedagogical apparatus has been removed, and the typographical presentation of the text simplified, with the aim of enhancing the reading experience for a lay audience’, p. [xv]. 1516 Philip Pullman, his dark materials. Illustrated by Peter Bailey and Philip Pullman. 241 × 162 × 33–40 mm. 3 vols (see below). Type: Caslon. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full cloth printed and blocked with designs by Bailey; dark gold endleaves. Black three-volume slip case titled (as above). Bailey provided the full-page colour illustrations and Pullman the small black and white drawings that accompany the text. The three volumes are as follows: [I] Northern lights, Philip Pullman, illustrated by Peter Bailey, with a new preface by the author. Pp. [i–viii] ix–xiv, [1–4] 5–362: [11] leaves of colour plates. Titled The golden compass in the U.S. sets. [II] The subtle knife, Philip Pullman, illustrated by Peter Bailey. Pp. [i–viii] ix–x, [1–2] 3–299 [300–302]: [11] leaves of colour plates. [III] The amber spyglass, Philip Pullman, illustrated by Peter Bailey. Pp. [i–viii] ix–x, [1–2] 3–466 [467–470]: [11] leaves of colour plates. ¶ Second printing: 2013. ¶ Third printing: 2018. Bound by Josef Spinner. ¶ Fourth printing: 2019. ¶ Fifth printing: 2021. Printed and bound by C & C Offset.

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1517 Alice’s adventures under ground. By Lewis Carroll (Charles Lutwidge Dodgson). Printed by Memminger MedienCentrum. Dark green two-volume box decorated with a design by Neil Gower in gold, inset with a reproduction of a photograph of Alice Liddell taken by the author. The two volumes are as follows: [1] Alice’s adventures under ground. [facsimile]. 193 × 130 × 16 mm. Pp. [i–iv], [1] 2–90 [91–92]. Bound by Real Lachenmaier in full dark green Nigerian goatskin leather blocked in gold. Gilded edges. Cream endleaves. The edition statement reads in part ‘limited to 3750 copies’. Reproduced from the manuscript written and decorated by Carroll held by the British Library (Add. MS 46700) presented to Alice Liddell for Christmas in 1864. Alice’s adventures in wonderland, illustrated by John Tenniel, was published the following year. The volume rests in a recess of the box. [2] The original Alice, Sally Brown. 252 × 172 × 4 mm. Pp. [1–4] 5–32. Type: Bembo. Sewn with green thread into cream printed paper wrappers. 17 illustrations are in the text. 1518 The face of battle, John Keegan. Maps redrawn by Reginald Piggott. 252 × 175 × 34 mm. Pp. [i–iv] v–xiv [xv–xvi], 1–336: [13] leaves of plates. Type: Plantin. Printed by Martins of Berwick. Bound by Hunter and Foulis in full cloth printed with an image of troops at the Somme during 1916; blue endleaves. Blue slip case. Piggott supplied maps on pages 62, [68], [108–109] and [209]. The illustrations reproduce manuscripts, paintings and photographs recording military operations through the ages. 1519 The physiology of taste, Jean Anthelme Brillat-Savarin, translated by Anne Drayton, introduced by Tom Jaine. 252 × 177 × 39 mm. Pp. [i–iv] v–xii, [1–2] 3–362 [363–364]. Type: Garamond. Illustrations captioned in dark pink. Printed and bound by Firmengruppe APPL in full pale green-grey cloth printed with montage of engravings; dark red endleaves. Dark red slip case. Over 50 illustrations accompany the text which was first published as La physiologie du goût in 1825 and became a classic of food literature. 1520 Zuleika Dobson or an Oxford love story, Max Beerbohm, illustrated by Michael Kirkham. 228 × 149 × 25 mm. Pp. [i–iv] v [vi], 1–208 [209–210]: [9] leaves colour plates (facing pp. [iii], 11, 26, 59, 74, 106, 138, 186 and 203). Type: Baskerville with Berolina for display. Printed by the Amadeus Press. Bound by Hunter and Foulis in full pale green-grey cloth printed and blocked with a design by Kirkham; cream endleaves. Cream slip case. Beerbohm’s only novel is matched by Kirkham’s striking illustrations. 1521 Cover her face, by P.D. James, illustrations by Jonathan Burton. 229 × 147 × 25 mm. Pp. [i–iv] v [vi], [1–2] 3–216 [217–218]: [7] leaves of colour plates (facing pp. [iii], 43, 58, 90, 123, 138 and 202). Type: Bembo. Printed and bound by L.E.G.O. in full red cloth blocked in white, black and blue with a splendid design by Burton; blue endleaves. Blue slip case. P.D. James’s debut novel, originally published in 1962. ¶ Second printing: 2009, issued January 2010. 1522 The wind in the willows, Kenneth Grahame, illustrated by Charles van Sandwyk. 330 × 250 × 43 mm. Pp. [1–10] 11–265 [266–272]. Type: Caslon. Printed by T.J. International. Bound by The Fine Book Bindery in quarter vellum with hand-lettered spine blocked in gold; dark green paper boards blocked in gold and copper with a design by van Sandwyk. Gilded top edge. Pale brown-green endleaves printed in brown letterpress by The Logan Press. Clamshell box bound in black cloth with brown paper spine-label titled in gold. A limitation spread containing an etching printed by New Leaf Editions is included at the front. Sixteen tipped-in coloured illustrations printed by Beacon Press have also been supplied by van Sandwyk. Leaf following end of text reads in part ‘limited to 1000 copies, signed and numbered by the artist on the etching, and thirty copies numbered in roman numerals, which are hors commerce’. Produced to coincide with the

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book’s centenary. Although van Sandwyk was also the illustrator for the last edition, some of the pictures are unique to this edition. He also supplied decorative pages, both recto and verso, for the tip-ins. 1523 Ovid, metamorphoses, translated by Arthur Golding, edited by Madeleine Forey, essay on Titian and Ovid by Michael Prodger, illustrated with the poesie and other works inspired by the metamorphoses by Titian. 335 × 253 × 55 mm. Pp. [i–vi] vii–xxxviii, [1–2] 3–378: [16] leaves of colour plates. Type: Centaur. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark brown Nigerian goatskin leather blocked in gold with a design by Simon Brett. Gilded top edge. Pale brown-green endleaves with repeat design in browns. Dark brown clamshell box with spine titled in gold. The edition statement reads in part ‘limited to 2750 numbered copies for members of The Folio Society and 20 lettered copies hors commerce’. The reproductions of Titian’s oil paintings are tipped in, including two with gate-folds. 1524 SOE, an outline history of the Special Operations Executive 1940–1946, M. R. D. Foot. 240 × 160 × 39 mm. Pp. [i–vii] viii–xix [xx], [1] 2–360 [361–364]: [9] leaves of plates (facing p. [iii] and between pp. 36–37, 116–117 and 180–181 and 260–261). Type: Plantin. Printed and bound by Cambridge University Press in full grey cloth with a design in black, silver and red; silver endleaves printed with map by Reginald Piggott. Black slip case. ¶ Second printing: 2009, printed by Memminger MedienCentrum. Bound by Real Lachenmaier. 1525 The deceivers, Allied military deception in the Second World War, Thaddeus Holt. 240 × 160 × 43–44 mm. 2 vols (see below). Type: Plantin. Printed and bound by Cambridge University Press in full grey cloth with a design in black, silver and red; silver endleaves. Black two-volume slip case. The two volumes are as follows: 1 . . . volume one. Pp. [i–vii] viii–xxiv, [1] 2–501 [502], [1–2]: [13] leaves of plates (facing p. [iii] and between pp. 56–57, 216–217 and 376–377). 2 . . . volume two. Pp. [i–vii] viii, [503] 504–1030: [5] leaves of plates (facing p. [iii] and between pp. 606–607). 1526 A.J.P. Taylor, the origins of the Second World War. 252 × 162 × 32 mm. Pp. [i–vii] viii–ix [x], [1] 2–315 [316–318]: [26] pages of plates. Type: Photina with Octavian for display. Printed by the Saint Edmundsbury Press. Bound by Hunter and Foulis in full black cloth with a design in red and gold by Malcolm Harvey Young; red endleaves with maps in black by Reginald Piggott. Red slip case. A separate issue of the fourth volume of A.J.P. Taylor, a century of conflict 1848–1948 (item 955). ¶ Second printing (not seen). ¶ Third printing: 2009. Printed by Martins of Berwick. ¶ Fourth printing: 2009. ¶ Fifth printing: 2010. 1527 A.J.P. Taylor, the Second World War and its aftermath, introduction by Chris Wrigley. Maps by Reginald Piggott. 252 × 161 × 34 mm. Pp. [i–v] vi–xv [xvi], [1–3] 4–363 [364–368]: [13] leaves of plates. Type: Photina with Octavian for display. Printed by Martins of Berwick. Bound by Hunter and Foulis in full black cloth with a design in red and gold by Malcolm Harvey Young; red endleaves with maps. Red slip case. A separate issue of the fifth volume of A.J.P. Taylor, a century of conflict 1848–1948 (item 955). Description based on third printing. ¶ Second printing (not seen). ¶ Third printing: 2009. ¶ Fourth printing: 2010.

2009

2009 1528 Volume two of the Alexandria quartet, Lawrence Durrell, Balthazar, a novel. 241 × 162 × 24 mm. Pp. [i–iv] v–vii [viii], [1–6] 7–198 [199–200]: [10] leaves of plates. Type: Fournier. Printed and bound by L.E.G.O. in three-quarter orange cloth with paper front board printed with a photomontage; brown endleaves. Brown slip case. ¶ Second printing: 2010. 1529 Volume three of the Alexandria quartet, Lawrence Durrell, Mountolive, a novel. 241 × 162 × 27 mm. Pp. [i–iv] v–vi, [1–3] 4–263 [264–266]: [10] leaves of plates. Type: Fournier. Printed and bound by L.E.G.O. in three-quarter orange cloth with paper front board printed with a photomontage; brown endleaves. Brown slip case. ¶ Second printing: 2010. 1530 Volume four of the Alexandria quartet, Lawrence Durrell, Clea, a novel. 241 × 162 × 26 mm. Pp. [i–iv] v–viii, [1–6] 7–241 [242–248]: [10] leaves of plates. Type: Fournier. Printed and bound by L.E.G.O. in three-quarter orange cloth with paper front board printed with a photomontage; brown endleaves. Brown slip case. ¶ Second printing: 2010. 1531 Post Captain, Patrick O’Brian. 228 × 161 × 40 mm. Pp. [i–iv] v–vii [viii–x], [1–2] 3–421 [422]: [6] leaves of colour plates (between pp. 86–87, 198–199 and 310–311). Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in gold, black, white and green with a design by Neil Gower. Pale blue endleaves printed with map by Gower. Blue slip case. Gower also supplied a battle plan on page [420]. Second in Folio’s Aubrey-Maturin series. ¶ Second printing: 2009. ¶ Third printing: 2010. 1532 H.M.S. Surprise, Patrick O’Brian. 228 × 161 × 35 mm. Pp. [i–iv] v–vii [viii–x], [1–2] 3–325 [326]: [6] leaves of colour plates (between pp. 70–71, 150–151 and 230–231). Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in gold, black, white and pale blue with a design by Neil Gower. Pale blue endleaves printed with map by Gower. Blue slip case. Gower also supplied the battle plans on pages [253] and [281]. Third in Folio’s Aubrey-Maturin series. ¶ Second printing: 2009. ¶ Third printing: 2010. 1533 The Mauritius command, Patrick O’Brian. 228 × 161 × 33 mm. Pp. [i–iv] v–ix [x–xii], [1–2] 3–299 [300]: [6] leaves of colour plates (between pp. 68–69, 116–117 and 212–213). Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in gold, black, white and orange with a design by Neil Gower. Pale blue endleaves printed with map by Gower. Blue slip case. Gower also supplied battle plans on pages [230] and [242]. Fourth in Folio’s Aubrey-Maturin series. ¶ Second printing: 2009. ¶ Third printing: 2010.

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1534 Desolation Island, Patrick O’Brian. 228 × 161 × 32 mm. Pp. [i–iv] v–vii [viii–x], [1–2] 3–285 [286]: [6] leaves of colour plates (between pp. 38–39, [150]–151 and 214–215). Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in gold, black, white and grey with a design by Neil Gower. Pale blue endleaves printed with map by Gower. Blue slip case. Gower also supplied the battle plans on pages [206] and [207]. Fifth in Folio’s Aubrey-Maturin series. ¶ Second printing: 2009. ¶ Third printing: 2010. 1535 Dante Alighieri, paradiso, translated by Henry Francis Cary, introduced by Michael Prodger, with illustrations by Giovanni di Paolo. 326 × 227 × 27 mm. Pp. [i–vi] vii–xi [xii], 1–203 [204]. Type: Walbaum. Printed by Martins of Berwick. Bound by Hunter and Foulis in quarter dark blue leather with grey artificial silk boards; dark blue endleaves with letters reading GRATEFULLYDIRECTTHYMINDTOGOD printed in darker blue. Blue slip case with image of the Last Judgement by di Paolo on front. Sixty-two illuminations by the artist follow Dante along his journey through the nine spheres of heaven. 1536 Possession, a romance, by A.S. Byatt, illustrations by Rowena Dugdale. 228 × 162 × 41 mm. Pp. [i–iv] v [vi–viii], [1–4] 5–513 [514–520]: [9] leaves of colour plates (facing pp. [iii], 88, 105, 168, 281, 296, 376, 393 and 504). Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full cloth printed with a collage design by Dugdale; green endleaves. Blue-green slip case. 1537 King Henry’s prayer book. Two-volume clamshell box bound in black buckram, with two inner sides papered in gold, decorated and titled (as above) in gold. The two volumes are as follows: [1] [Facsimile]. 216 × 149 × 44 mm. Pp. [1–354], [1–2]. Printed by Grafiche Damiani. Bound in full red pure silk velvet with metal clasps and corners. Gilded edges. Cream endleaves. BL Royal MS 2A XVI is reproduced here in its entirety. The final leaf reads in part ‘The edition consists of 980 numbered copies for sale to members of The Folio Society and 20 lettered copies which are not for sale’. In partnership with the British Library, Folio published three limited edition facsimiles of treasures from King Henry VIII’s library to mark the quincentenary of his accession to the throne. See also items 1549 and 1550. [2] King Henry’s prayer book, BL Royal MS 2A XVI, commentary by James P. Carley. 216 × 151 × 15 mm. Pp. [1–4] 5–96: [1] colour plate (facing p. [iii]). Type: Centaur. Printed and bound by Grafiche Damiani in full black buckram blocked in gold. Gold endleaves. 1538 The right stuff, Tom Wolfe. 228 × 163 × 37 mm. Pp. [i–iv] v–xiv [xv–xviii], 1–315 [316–318]: [13] leaves of plates (facing p. [iii] and between pp. 62–63, 174–175 and 286–287). Type: Scala with Serpentine for display. Printed and bound by T.J. International. Full blue buckram blocked in silver and orange with design by Matt Broughton; orange endleaves. Silver slip case. 1539 Confucius, the analects, Lun yü, translated with an introduction by D. C. Lau, preface by A. C. Grayling. 279 × 185 × 28 mm. Pp. [i–vi] vii–xii, 1–248 [249–252]: [5] leaves of colour plates (facing pp. [iii], 100, 116, 132 and 148). Type: Centaur. Printed by Martins of Berwick. Bound by Hunter and Foulis in full printed cloth; dark brown endleaves. Dark brown slip case. Although dated ‘2008’ on title-page it was not ready until February 2009. ¶ Second printing: 2009. Now dated ‘2009’ on title-page. ¶ Third printing: 2010. ¶ Fourth printing: 2011.

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1540 Robert Graves and Alan Hodge, the long weekend, a social history of Great Britain 1918-1939, introduced by Juliet Gardner. 252 × 176 × 40 mm. Pp. [i–iv] v–xviii [xix–xx], 1–412: [17] leaves of plates. Type: Utopia with Gill for display. Printed and bound by L.E.G.O. in full cloth printed with photograph of Armistice Day, 11 November 1918. Grey endleaves. Dark red slip case. 1541 Lark Rise to Candleford, Flora Thompson, introduced by Kathryn Hughes, illustrated by Sue Scullard. 239 × 176 × 40 mm. Pp. [i–iv] v–xiv, [1–2] 3–511 [512–514]. Type: Poliphilus with Bell for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter green cloth with paper boards printed with design by Scullard; cream endleaves. Dark green slip case. Wood-engravings throughout. Ori ginally published by Oxford University Press in three separate volumes. ¶ Second printing: 2009. ¶ Third printing: 2010. ¶ Fourth printing: 2010. ¶ Fifth printing: 2012. 1542 The notebooks of Leonardo da Vinci . . . arranged and translated by Edward MacCurdy, with additional translations by Ladislao Reti. 240 × 165 × 42–44 mm. 3 vols (see below). Type: Bembo. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter green leather with printed cloth boards (a different da Vinci sketch for each volume); dark green endleaves. Dark green three-volume slip case with reproduction of portrait pasted on one side. Plates reproduce drawings by da Vinci. The three volumes are as follows: I . . . volume I . . . introduced by Charles Nicholl. Pp. [i–vii] viii–lxi [lxii], [1–5] 6–376 [377–378]: [17] leaves of colour plates. II . . . volume II . . . Pp. [i–vi], [1] 2–519 [520–522]: [17] leaves of colour plates. III . . . volume III . . . Pp. [i–vi], [1] 2–458: [17] leaves of colour plates. ¶ Second printing: 2009. ¶ Third printing: 2019, the dimensions now 240 × 165 × 37–44 mm. Now bound by Josef Spinner with dark blue leather with a redesigned spine; dark blue endleaves. Redesigned slip case in dark blue cloth with portrait inset on front board and gold titling. ¶ Fourth printing: 2021. 1543 Midnight’s children, Salman Rushdie, introduction by Salman Rushdie, illustrations by Anna Bhushan. 228 × 163 × 44 mm. Pp. [i–iv] v–xvi [xvii–xviii], [1–4] 5–538 [539–542]: [9] leaves of colour plates (facing pp. [iii], 31, 94, 159, 286, 303, 367, 431 and 446). Type: Photina with Pekin for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark blue buckram blocked in red and yellow with design by Bhushan; orange-yellow endleaves. Red slip case. ¶ Second printing: 2009. ¶ Third printing: 2013. 1544 Oscar & Lucinda, Peter Carey, preface by Peter Kemp, illustrations by Katherine Streeter. 228 × 162 × 40 mm. Pp. [i–iv] v–xvii [xviii], [1–2] 3–414: [9] leaves of colour plates (facing pp. [iii], 14, 94, 111, 175, 286, 303, 399 and 414). Type: Centaur. Printed and bound by Cambridge University Press. Full dark pink cloth blocked in white, black and red with a design by Streeter; red endleaves. Black slip case. 1545 Schindler’s ark, by Thomas Keneally, introduction by Thomas Keneally, illustrations by Tim Laing. 228 × 162 × 33 mm. Pp. [i–iv] v–xv [xvi–xviii], [1–2] 3–363 [364]: [9] leaves of plates (facing pp. [iii], 72, 94, 124, 147, 181, 227, 261 and 326). Type: Imprint with Kabel Black for display. Printed and bound by T.J. International. Full grey cloth blocked in gold and black with design by Laing; grey endleaves printed with

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maps of Cracow and Plaszów drawn by Reginald Piggott. Dark grey slip case. Laing’s black and white drawings are sensitively done and were shortlisted in the 2010 V&A Illustration Awards. ¶ Second printing: 2009. 1546 P.G. Wodehouse, summer lightning, introduced by Alan Titchmarsh, illustrated by Paul Cox. 221 × 145 × 27 mm. A separate issue of the first volume of Best of Blandings. Details as volume [1] of item 1203. No slip case. 1547 P.G. Wodehouse, heavy weather, illustrated by Paul Cox. 221 × 145 × 28 mm. A separate issue of the second volume of Best of Blandings. Details as volume [2] of item 1203. No slip case. 1548 The sea, the sea, by Iris Murdoch, introduction by John Sutherland, illustrations by Tatsuro Kiuchi. 230 × 160 × 41 mm. Pp. [i–vi] vii–xvii [xviii–xx], [1–4] 5–489 [490–492]: [9] leaves of colour plates (facing pp. [iii], 28, 108, 125, 189, 269, 284, 412 and 429). Type: Ehrhardt. Printed and bound by Grafos. Full dark blue cloth blocked in dark yellow and white with design by Kiuchi; dark blue endleaves. Dark blue slip case. Winner in editorial design category of 2010 Design Week Awards. ¶ Second printing: 2010. 1549

[King Henry’s map of the British Isles]. The two items are as follows:

[1] [Facsimile]. 630 × 460 × 1 mm. 1 map. Printed by Beacon Press on Neobond. A reproduction of the British Library’s Cotton MS Augustus I. i. 9. Tied with a red ribbon. Blue buckram box decorated in gold and lined in red with a metal clasp. Printed paper label in lining reads in part ‘limited to 2750 copies’. Probably drawn in 1536, Angliae Figura is regarded as one of the earliest accurately drawn maps of the British Isles. [2] King Henry’s map of the British Isles, BL Cotton MS Augustus I i 9, commentary by Peter Barber. 252 × 195 × 23 mm. Pp. [1–6] 7–158 [159–160]. Type: Centaur. Printed by Memminger MedienCentrum and bound by Real Lachenmaier in three-quarter blue buckram with paper front board printed with portrait of Henry VIII; dark blue endleaves. Blue slip case decorated in gold. Opens with an overview of mapping Britain up to a d 1540. Photographs of items in the British Library are primarily used to illustrate the text. 1550

[The royal choirbook]. The three items are as follows:

[1] [Facsimile]. 503 × 353 × 18 mm. Pp. [1–36]. Printed by Beacon Press. Bound by Smith Settle in quarter red buckram with vegetable parchment boards blocked in gold, red and blue; red endleaves. Red slip case with a monogram decoration in gold. A reproduction of the British Library’s Royal MS II E XI. The final leaf reads in part ‘The edition consists of 500 numbered copies for sale to members of The Folio Society and 20 lettered copies which are not for sale’. [2] Music for King Henry, BL Royal MS II E XI, commentary by Nicolas Bell, performing edition by David Skinner. 302 × 215 × 17 mm. Pp. [1–4] 5–117 [118–120]. Type: Centaur. Printed by Memminger MedienCentrum and bound by Real Lachenmaier in three-quarter red buckram with paper front board printed with portrait of Henry VIII; red endleaves. Red slip case decorated in gold to match facsimile case. Photographs of items in the British Library are primarily used to illustrate the text.

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[3] Henry’s music, motets from a royal choirbook, songs by Henry VIII. Performed by Alamire, Quintessential and Andrew Lawrence-King. 125 × 138 × 8 mm. This CD, released by Obsidian Records without limitation, was included as a free gift. 1551 Moby-Dick [by Herman Melville]. Type: Fournier. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. Black two-volume clamshell box titled (as above) in silver. The two volumes are as follows: [1] Moby-Dick or the whale, Herman Melville, illustrations by Rockwell Kent. 240 × 178 × 57 mm. Pp. [i–vi] vii– xxxii, [1–2] 3–730 [731–736]. Full black leather blocked in silver and grey with a design based on an illustration by Kent; silver endleaves. Leaf preceding the title-page reads in part ‘limited to 1750 numbered copies’. Kent’s plentiful illustrations were first used in the 1930 Lakeside Press edition. [2] Moby-Dick, a commentary by Harold Beaver. 241 × 176 × 27 mm. Pp. [i–ii], [1–6] 7–306 [307–310]. Black buckram blocked in silver; silver endleaves. 1552 The letterpress Shakespeare, sonnets & poems. Dark blue two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, sonnets & poems, edited by Colin Burrow. 355 × 256 × 31 mm. Pp. [i–ii], [1–13] 14–222 [223–226]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed letterpress by Hand and Eye on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark blue Nigerian goatskin leather with marbled paper boards by Ann Muir and top edge gilding; dark blue endleaves. Leaf following the title-page reads in part ‘The edition is limited to 1980 numbered copies for sale to members of the Folio Society, and 20 lettered copies which are not for sale’. The text is based on the edition originally published by the Oxford University Press in 2002. [2] William Shakespeare, the complete sonnets and poems, edited by Colin Burrow. 222 × 144 × 45 mm. Pp. [i–v] vi–ix [x], [1] 2–750. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2009 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark blue buckram with paper label on front board; dark blue endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark blue. Available to purchase separately in 2016. 1553 The Raj quartet, Paul Scott. Illustrations by Finn Campbell-Notman. 240 × 162 × 35–40 mm. 4 vols (see below). Type: Sabon. Printed and bound by Grafos in full cloth printed and blocked with a design (different for each volume) by Finn Campbell-Norton; dark yellow endleaves. Orange-brown four-volume slip case titled (as above) in gold. The four volumes are as follows: [1] The jewel in the crown . . . introduction by Paul Scott. Pp. [i–iv] v–xiv [xv–xvi], [1–2] 3–462 [463–464]: [7] leaves of colour plates (facing pp. [iii], 112, 129, 193, 257, 353 and 368). Bound in dark mottled blue cloth. [2] The day of the scorpion . . . Pp. [i–iv] v–vii [viii–x], 1–466 [467–470]: [7] leaves of colour plates (facing pp. [iii], 166, 183, 230, 326, 343 and 463). Bound in mottled dark grey cloth. [3] The towers of silence . . . Pp. [i–iv] v–vii [viii–x], [1–2] 3–384 [385–490]: [7] leaves of colour plates (facing pp. [iii], 70, 135, 215, 230, 295 and 375). Bound in mottled dark red cloth.

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[4] A division of the spoils . . . Pp. [i–iv] v–vii [viii–x], [1–4] 5–580 [581–582]: [7] leaves of colour plates (facing pp. [iii], 38, 150, 311, 326, 406 and 502). Bound in mottled dark green cloth. 1554 Summer cooking, Elizabeth David, preface by Rose Prince, decorations by Adrian Daintrey, watercolours by Sophie MacCarthy. 252 × 186 × 28 mm. Pp. [i–ix] x–xiv, [1–3] 4–258: [9] leaves of colour plates (facing pp. [iii], 83, 98, 146, 163, 179, 194, 210 and 227). Type: Bembo. Printed by Martins of Berwick. Bound by Hunter and Foulis in quarter red buckram, white paper boards with a design by MacCarthy; red endleaves. Dark green slip case. ¶ Second printing: 2010. 1555 The collected stories of Nikolai Gogol, translated by Constance Garnett, introduced by Philip Hensher, illustrated by Peter Suart. 240 × 160 × 39 mm. Pp. [i–iv] v–xiv, 1–432 [433–434]: [11] leaves of colour plates (facing pp. [iii], 19, 82, 131, 178, 259, 274, 323, 338, 386 and 403). Type: Bell. Printed by Martins of Berwick. Bound by Hunter and Foulis in full black buckram blocked in red and gold with a design by Suart; red endleaves. Red slip case. Contains 13 short stories. ¶ Second printing: 2010. 1556 Walden, or life in the woods, by Henry D. Thoreau, introduced by John Updike, with photographs by Herbert W. Gleason. 317 × 211 × 36 mm. Pp. [i–iv] v–xxii, [1–2] 3–282: [17] leaves of plates. Type: Caslon. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter grey leather with dark cream artificial silk boards; pale grey endleaves printed with a map compiled by Gleason. Grey slip case with photo graphic image pasted round sides. In 1899 Gleason started to retrace and photograph Thoreau’s footsteps. Two of the plates are double-page spreads. 1557 The natural history of Selborne, Gilbert White, introduction by Keith Thomas. 333 × 252 × 44 mm. Pp. [i–vi] vii–xvi, [1–10] 11–379 [380–384]. Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in three-quarter brown cloth with green paper board printed in black and blocked in gold with design by Neil Gower; dark brown endleaves. Dark brown slip case with title and author in gold. Gower also supplied map of Selborne on pages [xii–xiii]. Illustrated with watercolours by Samuel Hieronymous Grimm painted in 1776 and engravings by Peter Mazell published in the same year. White’s much observed tortoise, Timothy, weighed less than this monumental edition. 1558 Saints & sinners, a history of the Popes, Eamon Duffy. 240 × 162 × 44 mm. Pp. [i–iv] v–xx [xxi–xxii], 1–522: [13] leaves of plates (facing p. [iii] and between pp. 58–59, 186–187 and 362–363). Type: Bembo. Printed and bound by Grafos. Full red buckram blocked in gold and black with design by Neil Gower; endleaves printed with detail from fifteenth-century fresco. Black slip case. Maps are included on pages [47], [96], [181], 219 and [411]. ¶ Second printing: 2011. 1559 Myths and legends of Russia, collected by Aleksandr Afanas’ev, translated by Norbert Guterman, introduced by Maria Tatar, illustrated by Niroot Puttapipat. 253 × 176 × 47 mm. Pp. [i–v] vi–xix [xx], [1–3] 4–480 [481–484]: [16] leaves of plates. Type: Erhrhardt with Saltzburg for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter red leather with spine lettering by John Andrew. Pale brown cloth boards printed with design in red, black and gold by Puttapipat; red endleaves. Black slip case. Contains over

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150 tales. The binding design was used to create notebooks, with ruled paper, for marketing campaigns and events. With the spine reading ‘A Folio Notebook’ in gold, the dimensions were reduced to 215 × 130 × 17 mm. 1560 Honoré de Balzac, lost illusions, translated by Herbert J. Hunt, introduced by Graham Robb, illustrated by Francis Mosley. 240 × 163 × 47 mm. Pp. [i–iv] v–xvi, [1–4] 5–584 [585–588]: [11] leaves of plates (facing pp. [iii], 11, 69, 91, 101, 126, 168, 240, 406, 443 and 546). Type: Galliard. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter brown cloth with dark orange silk boards blocked in gold with design by Frances Button; brown endleaves. Brown slip case. 1561 A history of the Arab peoples, Albert Hourani, introduction and afterword by Malise Ruthven. 252 × 177 × 55 mm. Pp. [i–v] vi–xxxii [xxxiii–xxxiv], [1–3] 4–659 [660–662]: [17] leaves of plates. Type: Caslon. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in black and gold with Islamic script design; pale blue endleaves printed with map by Reginald Piggott. Black slip case. Piggott also supplied maps on pages 553–558. Plates reproduce photographs of sites, antiquities, manuscripts, paintings and contemporary images. ¶ Second printing: 2010. 1562 John Buchan, Greenmantle, illustrated by Nick Hardcastle. 204 × 135 × 33 mm. A separate issue of the second volume of John Buchan, the adventures of Richard Hannay. Details as volume [2] of item 1138 but now printed by Martins of Berwick. Grey endleaves. Blue slip case. 1563 Ideas: a history, from fire to Freud . . . Peter Watson. 252 × 175 × 44–47 mm. 2 vols (see below). Type: Minion. Printed by Martins of Berwick. Bound by Hunter and Foulis in full pale blue cloth printed in dark blue and blocked in copper; dark blue endleaves. Dark blue two-volume slip case. Plates include photographs of sites, antiquities, manuscripts and paintings. The two volumes are as follows: I . . . volume I . . . Pp. [i–viii] ix–lv [lvi], [1–2] 3–545 [546–552]: [9] leaves of colour plates (facing p. [iii] and between pp. 56–57, 168–169, 296–297 and 424–425). II . . . volume II . . . Pp. [i–iv] v–xiii [xiv], [1–2] 3–528 [529–530]: [9] leaves of colour plates (facing p. [iii] and between pp. 82–83, 162–163, 274–275 and 386–387). ¶ Second printing: 2010. 1564 Ideas: a history, from Wittgenstein to the World Wide Web . . . Peter Watson. 252 × 175 × 43–45 mm. 2 vols (see below). Type: Minion. Printed by Martins of Berwick. Bound by Hunter and Foulis in full pale blue cloth printed in dark blue and blocked in copper; dark blue endleaves. Dark blue two-volume slip case. Plates primarily reproduce photographs. The two volumes are as follows: I . . . volume I . . . Pp. [i–viii] ix–xli [xlii], [1–2] 3–500 [501–502]: [9] leaves of colour plates (facing p. [iii] and between pp. 86–87, 198–199, 294–295 and 422–423). II . . . volume II . . . Pp. [i–iv] v–xiii [xiv], [1–2] 3–558 [559–562]: [9] leaves of colour plates (facing p. [iii] and between pp. 66–67, 130–131, 258–259 and 370–371). 1565 The letterpress Shakespeare, Henry IV, part one. Dark blue two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows:

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[1] William Shakespeare, Henry IV, part one, edited by David Bevington. 355 × 257 × 21 mm. Pp. [i–ii], [1–7] 8–101 [102–106]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed letterpress by Hand and Eye on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark blue Nigerian goatskin leather with marbled paper boards by Ann Muir and top edge gilding; dark blue endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by the Clarendon Press in 1987. [2] William Shakespeare, Henry IV, part I, edited by David Bevington. 222 × 144 × 31 mm. Pp. [i–iv] v–ix [x], 1–315 [316–318]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2009 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark blue buckram with paper label on front board; dark blue endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark blue. Available to purchase separately in 2016. 1566 The silver branch, Rosemary Sutcliff, introduced by Julia Eccleshare, illustrated by Roman Pisarev. 235 × 170 × 25 mm. Pp. [i–iv] v–xvii [xviii], 1–193 [194]: [10] leaves of plates (facing pp. [iii], 5, 24, 37, 50, 78, 94, 120, 132 and 154). Type: Palatino. Printed and bound by T.J. International. Full dark grey cloth blocked in gold, cream and black with design by Pisarev; grey endleaves. Black slip case. ¶ Second printing: 2009. ¶ Third printing: 2011. 1567 The Folio diary 2010. 200 × 147 × 14 mm. Pp. [1–120]. Type: Bell. Printed and bound by Grafos in full plasticised paper printed with seventeenth-century landscape by Roelant Savery; endleaves printed with illustration of tulips by Jakob Marell. Not issued in a slip case. Free to members. An illustration from the natural world, from tortoises to mushrooms, faces each week of the year. 1568 The Folio book of card games, a compendium of rare and remarkable games of skill and chance, selected from Hoyle’s rules, with decorations by Clare Mackie. 200 × 135 × 16 mm. Pp. [1–6] 7–125 [126–128]. Type: Bell. Printed by Himmer. Bound by Real Lachenmaier in full plasticised paper printed with a design by Mackie; endleaves printed in red and white with illustration by Mackie. Not issued in a slip case. Mackie’s playful illustrations are used throughout. 1569 The letterpress Shakespeare, Henry IV, part two. Dark blue two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, Henry IV, part two, edited by René Weis. 355 × 257 × 21 mm. Pp. [i–ii], [1–11] 12–111 [112–114]. Type: Baskerville with Caslon for display. Typeset by Typostudio SchumacherGebler. Printed by Offizin Haag-Drugulin on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark blue Nigerian goatskin leather with marbled paper boards by Ann Muir and top edge gilding; dark blue endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by the Clarendon Press in 1997. [2] William Shakespeare, Henry IV, part 2, edited by René Weis. 222 × 144 × 29 mm. Pp. [i–iv] v–ix [x], 1–287 [288–294]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2009 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark blue buckram with paper label on

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front board; dark blue endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark blue. Available to purchase separately in 2016. 1570 Impossible journeys, Mathew Lyons. 217 × 165 × 25 mm. Pp. [i–iv] v–xxiii [xxiv], 1–222 [223–224]. Type: Jenson with hand-drawn lettering for the title. Typeset by Andrew Barker. Printed and bound by L.E.G.O. in quarter blue cloth with paper boards printed and blocked with design by Will Spring; dark blue endleaves. Dark blue slip case. Contains 26 black and white illustrations. ¶ Second printing: 2011. ¶ Third printing: 2012. 1571 Tinker tailor soldier spy, John le Carré, illustrations by Tim Laing. 240 × 161 × 35 mm. Pp. [i–iv] v [vi–viii], [1–2] 3–339 [340–344]: [8] leaves of black and white plates (facing pp. 51, 84, 108, 135, 201, 220, 267 and 319). Type: Imprint with Transport for display. Typeset by Andrew Barker. Printed by Memminger Medien Centrum. Bound by Real Lachenmaier in full dark grey buckram blocked in dark brown and dark orange with a design by Laing. Dark grey endleaves. Dark grey slip case. Laing’s pencil drawings complement the novel’s shadowy themes. The first of the Karla trilogy. ¶ Second printing: 2010. ¶ Third printing: 2012. ¶ Fourth printing: 2013. 1572 Good things, Jane Grigson, illustrated by Alice Tait. 262 × 193 × 33 mm. Pp. [i–iv] v–vii [viii], [1–2] 3–333 [334–336]: [9] leaves of colour plates (facing pp. [iii], 24, 73, 88, 169, 184, 224, 232 and 296). Type: Goudy. Printed by Martins of Berwick. Bound by Hunter and Foulis in full brown cloth blocked in white, black and dark cream with design by Tait; brown endleaves. Brown slip case. In addition to the plates, each chapter opens with a full-page black and white illustration by Tait and further embellishments have been occasionally inserted. Tait’s work was shortlisted in the 2010 V&A Illustration Awards. The binding design was used to create notebooks, with ruled paper, for marketing campaigns and events. With the spine reading ‘A Folio Notebook’ in gold, the dimensions were reduced to 215 × 130 × 17 mm. ¶ Second printing: 2013. Bound by Charles Letts & Co. 1573 Colour, travels through the paintbox, Victoria Finlay. 262 × 195 × 42 mm. Pp. [i–vi] vii–xiv, 1–424 [425– 426]. Type: Sabon. Typeset by Andrew Barker. Printed and bound by Firmengruppe APPL in full cloth printed with a design by Jörn Kaspuhl; endleaves printed with map by Yoco. Black slip case with illustration by Kaspuhl pasted on one side. Colour illustrated throughout. 1574 The Roman revolution, Ronald Syme, introduction by G. W. Bowersock. 252 × 176 × 48 mm. Pp. [i–v] vi–xxv [xxvi], [1] 2–579 [580–582]: [11] leaves of black and white plates. Type: Dante. Printed and bound by Grafos. Full dark cream buckram blocked in red and dark brown with design by Matt Broughton; dark purple endleaves. Dark purple slip case. The plates reproduce photographs of 21 busts and statues of the key individuals. 1575 The authentic gospel of Jesus, Geza Vermes, with a new prologue by the author. 252 × 165 × 41 mm. Pp. [i–vii] viii–xxvi [xxvii–xxviii], [1] 2–468: [7] leaves of colour plates (facing pp. [iii], 84, 100, 212, 228, 324 and 340). Type: Miller. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in three-quarter red buckram with seventh-century image of Jesus pasted on front. Red endleaves. Dark brown slip case. The plates reproduce frescoes from catacombs in Rome. A map of Palestine is on page [xxvii]. ¶ Second printing: 2010. ¶ Third printing: 2011. ¶ Fourth printing: 2013.

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1576 Ballet shoes, a story of three children on the stage, by Noel Streatfeild, introduced by Jacqueline Wilson, illustrated by Inga Moore. 228 × 147 × 23 mm. Pp. [i–iv] v–xiv, [1–2] 3–205 [206–210]: [7] leaves of colour plates (facing pp. [iii], 50, 67, 114, 130, 147 and 202). Type: Sabon with Medici Display. Printed by Martins of Berwick. Bound by Hunter and Foulis in three-quarter purple cloth blocked in gold with paper front board printed with illustration by Moore; purple endleaves. Purple slip case. In addition to the plates Moore supplied tail-pieces in black and white. ¶ Second printing: 2010. ¶ Third printing: 2011. ¶ Fourth printing: 2013. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. 1577 The letterpress Shakespeare, Henry V. Dark blue two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, Henry V, edited by Gary Taylor. 355 × 257 × 20 mm. Pp. [i–ii], [1–11] 12–109 [110–114]. Type: Baskerville with Caslon for display. Typeset by Typostudio SchumacherGebler. Printed by Offizin Haag-Drugulin on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark blue Nigerian goatskin leather with marbled paper boards by Ann Muir and top edge gilding; dark blue endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by the Clarendon Press in 1982. [2] William Shakespeare, Henry V, edited by Gary Taylor. 222 × 144 × 34 mm. Pp. [i–iv] v–ix [x], 1–330 [331–334]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2009 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark blue buckram with paper label on front board; dark blue endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark blue. Available to purchase separately in 2016. 1578 The picture of Dorian Gray, Oscar Wilde, introduction by Simon Callow, illustrations by Emma Chichester Clark. 228 × 160 × 25 mm. Pp. [i–iv] v–xiii [xiv], 1–214 [215–218]: [7] leaves of colour plates (facing pp. [iii], 67, 82, 115, 162, 194 and 211). Type: Walbaum. Printed and bound by Grafos. Full black cloth blocked in green and gold with design by Will Spring; green endleaves printed with repeat tiling design. Black slip case. ¶ Second printing: 2010. ¶ Third printing: 2011. 1579 Notes from a small island, Bill Bryson. 239 × 160 × 26 mm. Pp. [i–iv] v–vii [viii–xii], 1–235 [236]: [9] leaves of colour plates (facing p. [iii] and between pp. 36–37, 84–85, 148–149 and 212–213). Type: Scala with Octavian for display. Printed and bound by T.J. International in full cotton cambric printed with collage of photographs from the British Isles; orange-brown endleaves. Orange-brown slip case. A map by Neil Gower is on page [xii]. ¶ Second printing: 2010. Orange-brown slip case now flecked. ¶ Third printing: 2011. Slip case plain again. ¶ Fourth printing: 2013. 1580 Richard Dawkins, unweaving the rainbow, science, delusion and the appetite for wonder. 240 × 162 × 31 mm. Pp. [i–vii] viii–xx, [1] 2–299 [300]: [12] leaves of colour plates (between pp. 44–45, 140–141 and 236–237). Type: Sabon with Optima for display. Printed and bound by T.J. International in full black cloth blocked

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with a cochlea design by Neil Gower. Gold endleaves. Gold slip case. Photographs of the natural world are reproduced in the plates. ¶ Second printing: 2010. 1581 Scott’s last expedition, the journals of Captain R. F. Scott, illustrated with photographs by Herbert Ponting. 252 × 177 × 50 mm. Pp. [i–iv] v–xxiv [xxv–xxvi], 1–496 [497–498]: [26] leaves of black and white plates. Type: Plantin. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full cloth printed with a photomontage. Metallic snow white endleaves. Dark grey slip case. ¶ Second printing: 2012. ¶ Third printing: 2015. 1582 The Cretan runner, his story of the German occupation, George Psychoundakis, translation and introduction by Patrick Leigh Fermor, annotated by the translator and Xan Fielding. 228 × 149 × 30 mm. Pp. [i–v] vi–xxxv [xxxvi– xlvi], [1–3] 4–221 [222–226]: [9] leaves of black and white plates (facing p. [iii] and between pp. 66–67 and146–147). Type: Janson with Blackcat Display. Printed by Martins of Berwick. Bound by Hunter and Foulis in full cream cloth printed in green, black and blue with design by Neil Gower; pale green endleaves printed with map of Western Crete drawn by Reginald Piggott. Dark green slip case. Illustrated with sketches and photographs from Leigh Fermor’s private collection. ¶ Second printing: 2010. 1583 Children’s Bible stories, the Old Testament and the New Testament, illustrated by Peter Malone. 253 × 193 × 39 mm. Pp. [i–iv] v–xii, [1–4] 5–404: [13] leaves of colour plates. Type: Caslon. Printed by Martins of Berwick. Bound by Hunter and Foulis in full pale brown buckram blocked in brown, blue, gold and white with design by Malone; dark blue endleaves. Dark blue slip case. 1584 The letterpress Shakespeare, Richard III. Dark blue two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, Richard III, edited by John Jowett. 355 × 257 × 25 mm. Pp. [i–ii], [1–7] 8–133 [134–138]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed letterpress by Hand and Eye on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark blue Nigerian goatskin leather with marbled paper boards by Ann Muir and top edge gilding; dark blue endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by the Oxford University Press in 2000. [2] William Shakespeare, the tragedy of King Richard III, edited by John Jowett. 222 × 144 × 30 mm. Pp. [i–iv] v–ix [x], 1–414. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2009 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark blue buckram with paper label on front board; dark blue endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark blue. Available to purchase separately in 2016. 1585 The green fairy book, edited by Andrew Lang, with an introduction by Jack Zipes, paintings and decorations by Julian de Narvaez. 252 × 192 × 52 mm. Pp. [i–iv] v–xxv [xxvi–xxviii], 1–354: [14] leaves of plates. Type: Caslon with hand-drawn lettering for the title. Printed (the title-page in green and black) by Memminger

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MedienCentrum. Bound by Real Lachenmaier in series binding (see item 1124). Full green buckram blocked with a design by de Narvaez in pale green, black, gold and cream; green endleaves with a design in gold. Green slip case. First published in 1892. The 42 stories are punctuated by additional drawings by de Narvaez. ¶ Second printing: 2010. ¶ Third printing: 2012. 1586 The moon’s a balloon, reminiscences, David Niven, introduced by Philip French. 242 × 163 × 32 mm. Pp. [i–iv] v–xix [xx], 1–306 [307–308]: [7] leaves of plates (facing p. [iii] and between pp. 76–77, 204–205 and 284–285). Type: Sabon with Clarendon for display. Printed and bound by L.E.G.O. in three-quarter blue cloth with paper front board designed by Sheri Gee; blue endleaves. Red slip case. Contains 26 black and white illustrations. The plates reproduce photographs capturing Niven’s life and work, some of which are published for the first time. ¶ Second printing: 2010. 1587 The freaks of Mayfair, E.F. Benson, with illustrations by George Plank. 229 × 150 × 25 mm. Pp. [i–iv] v–vii [viii–x], 1–148 [149–150]: [8] leaves of black and white plates (facing pp. [iii], 17, 27, 43, 57, 83, 96 and 102). Type: Baskerville with Berolina for display. Printed by Martins of Berwick. Bound by Hunter and Foulis in full dark yellow cloth blocked in black with illustration by Plank; dark yellow endleaves. Black slip case. 1588 The realm of the unreal and other stories, by Ambrose Bierce, introduction by Will Self, illustrations by Nathan Sissons. 241 × 163 × 46 mm. Pp. [i–iv] v–xvii [xviii], [1–4] 5–534 [535–536]: [11] leaves of black and white plates (facing pp. [iii], 20, 64, 102, 146, 200, 249, 381, 443, 490 and 521). Type: Caslon. Typeset by Andrew Barker. Printed and bound by L.E.G.O. in full pale brown buckram printed and blocked with design by Sissons; dark copper endleaves. Dark copper slip case. Sissons’s etchings are a fitting accompaniment to Bierce’s darkly comic fantasies. 1589 N.A.M. Rodger, the wooden world, an anatomy of the Georgian navy. 252 × 178 × 39 mm. Pp. [i–v] vi–xxv [xxvi], 1–422: [13] leaves of colour plates (facing p. [iii] and between pp. 54–55, 150–151 and 278–279). Type: Minion Pro. Printed and bound by Grafos. Full pale brown cloth printed and blocked with design by Mark Myers; dark brown endleaves. Dark brown slip case. ¶ Second printing: 2010. ¶ Third printing: 2011. 1590 Leaves of grass, by Walt Whitman, introduced by Andrew Motion, illustrated by Abigail Rorer. 253 × 196 × 27 mm. Pp. [i–vi] vii–xiii [xxiv], [1–2] 3–184 [185–186]. Type: Caslon. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter green leather with buckram boards blocked with design by Frances Button based on the original edition of 1855; pale green endleaves. Green slip case. Rorer produced wood-engravings and tail-pieces throughout. 1591 Arthur, the seeing stone, Kevin Crossley-Holland, illustrated by John Lawrence. 228 × 163 × 32 mm. Pp. [i–iv] v–xiii [xiv], [1–2] 3–279 [280–282]. Type: Bembo with Gjallarhorn for display. Printed and bound by Firmengruppe APPL in quarter blue cloth with paper boards printed with a tile design by Lawrence; pale blue endleaves printed with maps by Hemesh Alles. Blue slip case. The story’s medieval setting is complemented by Lawrence’s splendid engravings. Winner of the 2001 Guardian Children’s Fiction Award. The first in the Arthur trilogy.

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1592 Alistair Cooke, letter from America, 1946–2004, introduction by James Naughtie. 240 × 163 × 33 mm. Pp. [i–iv] v–xx, [1–2] 3–295 [296–300]: [9] leaves of plates (facing p. [iii] and between pp. 92–93 and 236–237). Type: Ehrhardt with Victoria Titling for display. Printed and bound by Grafos in full cloth printed with black and white photograph of New York skyline; silver endleaves. Black slip case. ¶ Second printing: 2010. ¶ Third printing: 2013. 1593 George Catlin, letters and notes on the manners, customs, and condition of the North American Indians, written during eight years’ travel amongst the wildest tribes of Indians in North America, introduced by Peter Matthiessen, edited and abridged by C.J. Shepherd. 280 × 187 × 44 mm. Pp. [i–v] vi–xxxix [xl–xlii], [1–3] 4–470. Type: Miller Display. Printed by Himmer. Bound by Real Lachenmaier in full printed and blocked dark cream cloth; endleaves printed with nineteenth-century map. Brown slip case. Reginald Piggott supplied maps on pages [xl–xli]. Catlin’s prose is combined with colour reproductions of 80 of his paintings. 1594 Georges Lefebvre, Napoleon, book one, from 18 Brumaire to Tilsit 1799–1807, translated by Henry F. Stockhold, book two, from Tilsit to Waterloo 1807–1815, translated by J. E. Anderson, introduction and further reading by Andrew Roberts. 253 × 178 × 46 mm. Pp. [i–v] vi–xxviii [xxix–xxx], [1–5] 6–640 [641–642]: [17] leaves of colour plates (facing p. [iii] and between pp. 178–179, 274–275, 370–371 and 498–499). Type: Ehrhardt with Bulmer for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full red cloth blocked in gold and black with design by Neil Gower; pale green endleaves printed with map of Napoleonic Europe. Dark green slip case. The illustrations reproduce oil paintings, engravings, cartoons, etchings, watercolours and sketches. ¶ Second printing: 2010. ¶ Third printing: 2011. 1595 The Fitzwilliam book of hours. Two-volume clamshell box bound in dark blue cloth with spine titled (as above) in gold. The two volumes are as follows: [1] [Facsimile]. 201 × 141 × 35 mm. Pp. [1–376]. Photographed by Andrew Morris. Printed by Beacon Press. Bound by Smith Settle in full silk brocade woven in blue and gold by Stephen Walters and Sons. Gilded edges. Dark grey-blue endleaves. One of Cambridge’s Fitzwilliam Museum’s later book of hours, dating from around 1510, is reproduced here (MS 1058-1975). The final leaf reads in part ‘The edition is limited to 1180 numbered copies for sale to members of The Folio Society, and 20 lettered copies which are not for sale’. [2] The Fitzwilliam book of hours, MS 1058-1975, commentary by Stella Panayotova. 202 × 138 × 18 mm. Pp. [1–5] 6–144: [1] colour plate (facing p. 112). Type: Dante. Printed by Martins of Berwick. Bound by Hunter and Foulis in quarter dark blue buckram. Dark grey-blue paper boards with printed paper label inset on front board. Printed endleaves reproduce images, contemporary to the manuscript, of two female saints from the Fitzwilliam Museum’s collection of Flemish oil paintings. 1596 Rubaiyat of Omar Khayyam, the astronomer-poet of Persia, translated into English verse by Edward Fitzgerald, introduced by A.S. Byatt, illustrated by Niroot Puttapipat. 330 × 251 × 40 mm. Pp. [1–8] 9–216 [217–224]. Type: Caslon. Printed by Martins of Berwick. Bound by The Fine Book Bindery in quarter vellum with hand-lettered spine by Stephen Raw blocked in gold; dark blue paper boards blocked in golds and copper with a design by Puttapipat. Gilded top edge. Blue endleaves printed in blue letterpress by The Logan Press. Clamshell box bound in dark blue cloth with blue paper spine-label titled by Raw in gold. A limitation spread containing an etching printed by the Pauper’s Press is included at the front. Sixteen tipped-in coloured illustrations printed by the Beacon Press have also been supplied by Puttapipat. Leaf following end of text

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reads in part ‘limited to one thousand copies, signed and numbered by the artist on the etching, and thirty copies numbered in Roman numerals, which are hors commerce’. Produced to coincide with the book’s 150th anniversary. 1597 The age of innocence, Edith Wharton, introduction by Rachel Cusk, illustrations by Matthew Woodson. 241 × 162 × 33 mm. Pp. [1–8] 9–216 [217–224]: [9] leaves of colour plates (facing pp. [iii], 69, 84, 132, 149, 197, 228, 277 and 292). Type: Bembo. Printed and bound by Grafos. Full pale blue cloth blocked in silver and printed in dark blue with design by Woodson; dark blue endleaves printed with repeat pattern in silver. Dark blue slip case. 1598 Lord of the flies, William Golding, preface by Ian McEwan, illustrations by Sam Weber. 228 × 148 × 27 mm. Pp. [i–iv] v–xiii [xiv–xvi], [1–2] 3–225 [226–232]: [6] leaves of colour plates (facing pp. [iii], 49, 64, 112, 160 and 208). Type: Minion. Printed by Martins of Berwick. Bound by Hunter and Foulis in full red cloth printed in black and blocked in silver with a design by Weber; red endleaves. Black slip case. Weber’s work was shortlisted in the 2010 V&A Illustration Awards. ¶ Second printing: 2010. ¶ Third printing: 2011. ¶ Fourth printing: 2013, bound by Charles Letts & Co. ¶ Fifth printing: 2018, printed and bound by Neografia. ¶ Sixth printing: 2022. 1599 A Folio anthology of poetry, introduced by Carol Ann Duffy, illustrated by Eri Griffin. 252 × 176 × 43 mm. Pp. [i–iv] v–xix [xx], [1–2] 3–457 [458–460]. Type: Baskerville. Printed by Martins of Berwick. Bound by Hunter and Foulis in full blue cloth blocked in gold with a design by Griffin; pale blue endleaves. Blue slip case. Griffin’s ink drawings accompany over 200 poems. ¶ Second printing: 2010. ¶ Third printing: 2011. ¶ Fourth printing: 2013, now bound by Charles Letts & Co. after Hunter and Foulis closed in December 2012. ¶ Fifth printing: 2015, now printed by Memminger MedienCentrum and bound by Real Lachenmaier. ¶ Sixth printing: 2017, with a revised binding. The dimensions now 252 × 180 × 44 mm. Printed and bound by C & C Offset with expanded blocking on purple and grey-brown cloths; grey-brown endleaves. Grey-brown slip case. ¶ Seventh printing: 2018. 1600 Xenophon, the Persian expedition, translation by Rex Warner, introduction by George Cawkwell, preface by Theodore K. Rabb, illustrations by Bob Venables. 241 × 164 × 32 mm. Pp. [i–v] vi–l [li–lii], [1–3] 4–285 [286–288]: [8] leaves of colour plates (facing pp. [iii], 44, 61, 77, 125, 156, 173 and 253). Type: Poliphilus with Lithos for display. Printed and bound by L.E.G.O. in full pale brown cloth blocked in black with design by Venables; pale brown endleaves printed with map in black by Reginald Piggott. Dark brown slip case. The plates reproduce decorative detail from Greek pottery. 1601 The history of England from the accession of James II . . . by Thomas Babington Macaulay, introduction by Peter Rowland. 251 × 164 × 32–47 mm. 5 vols (see below). Type: Baskerville. Printed by Memminger Medien Centrum. Bound by Real Lachenmaier in full dark brown cloth blocked with golden coin (different for each volume); flecked pale brown endleaves. Dark brown five-volume slip case. Five hundred copies were issued bound in full dark red goatskin leather blocked in gold to a traditional design with a gilded top edge, dark red endleaves and dark red slip case. Includes an additional foreword. The five volumes are as follows: I . . . volume I . . . foreword by Richard J. Evans . . . Pp. [i–v] vi–xxxiii [xxxiv], [1] 2–526: [9] leaves of colour plates (facing p. [iii] and between pp. 110–111 and 350–351).

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II . . . volume II . . . Pp. [i–v] vi–xviii, [1] 2–542: [9] leaves of colour plates (facing p. [iii] and between pp. 110–111 and 350–351). III . . . volume III . . . Pp. [i–v] vi–xxvi, [1] 2–582: [9] leaves of colour plates (facing p. [iii] and between pp. 102–103 and 406–407). IV . . . volume IV . . . Pp. [i–v] vi–xxxiv, [1] 2–661 [662]: [9] leaves of colour plates (facing p. [iii] and between pp. 110–111 and 430–431). V . . . volume V . . . Pp. [i–v] vi–xxiii [xxiv], [1] 2–244 [245–248]: [5] leaves of plates (facing p. [iii] and between pp. 120–121). 1602 The Folio Society calendar 2010. 310 × 220 × 4 mm. Pp. [1–28]. Type: Bell. Printed by Napier Jones in black and red. Spiral bound. ‘Design concept by courtesy of Oblong Creative Ltd’. Illustrated by wood-engravings from Folio books published between 1988 and 2009. Free to members.

2010

2010 1603 As I walked out one midsummer morning, Laurie Lee, introduction by Jason Webster, illustrations by Daniel Haskett. 252 × 145 × 26 mm. Pp. [i–vi] vii–xiv [xv–xviii], 1–198: [7] leaves of colour plates (facing pp. [iii], 30, 62, 79, 126, 158 and 175). Type: Walbaum. Printed and bound by L.E.G.O. in full dark orange cloth printed and blocked with design by Haskett; dark brown endleaves. Dark brown slip case. ¶ Second printing: 2011. 1604 J.W. Goethe, Italian journey 1786-1788, translated and introduced by W.H. Auden and Elizabeth Mayer. 278 × 190 × 49 mm. Pp. [i–iv] v–xxiii [xxiv], [1–4] 5–512: [17] leaves of plates. Type: Bembo. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter black buckram with paper boards printed with a view of the Colosseum; gold endleaves. Black slip case. The plates reproduce sketches by Goethe and works by artists such as Johann Heinrich Wilhelm Tischbein, Jacob Philipp Hackert, Giovanni Battista Piranesi and Richard Parkes Bonington. 1605 The fortune of war, Patrick O’Brian. 228 × 163 × 32 mm. Pp. [i–iv] v–x [xi–xii], [1–2] 3–281 [282–284]: [6] leaves of colour plates (between pp. 84–85, 164–165 and 228–229). Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in gold, black, white and red with a design by Neil Gower. Pale blue endleaves printed with map by Gower. Blue slip case. Gower also supplied the battle plans on pages [101] and [277]. Sixth in Folio’s Aubrey-Maturin series. ¶ Second printing (not seen). ¶ Third printing: 2014. 1606 The surgeon’s mate, Patrick O’Brian. 228 × 163 × 35 mm. Pp. [i–iv] v–ix [x–xii], [1–2] 3–323 [324]: [6] leaves of colour plates (between pp. 68–69, 148–149 and 244–245). Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in gold, black, white and grey with a design by Neil Gower. Pale blue endleaves printed with map by Gower. Blue slip case. Gower also supplied the battle plans on pages [74–75] and [216–217]. Seventh in Folio’s Aubrey-Maturin series. ¶ Second printing: 2010. 1607 Geoffrey Chaucer, the Canterbury tales, Eric Gill. Black buckram two-volume clamshell box, spine titled (as above) in gold. Facsimile of the Golden Cockerel Press edition (1929–1931). The two volumes are as follows: [1] The Canterbury tales, by Geoffrey Chaucer, with wood engravings by Eric Gill. [facsimile]. 317 × 200 × 74 mm. Pp. [1–7] 8–764 [765–768]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full black goatskin leather blocked in gold with imagery by Gill. Gilded edges. Dark grey endleaves. The edition statement reads in part ‘limited to 1980 numbered copies for sale to members of The Folio Society, and 25 lettered copies which are not for sale’. The original edition was bound in four volumes corresponding to the four days of the pilgrimage. [2] The Golden Cockerel Press, the Canterbury tales and Eric Gill, decoration and the mise en page, Peter Holliday. 317 × 208 × 8 mm. Pp. [1–4] 5–47 [48]. Type: Perpetua. Printed by Memminger MedienCentrum and bound

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by Real Lachenmaier in quarter black buckram. Dark grey paper boards with printed paper label on front. This illustrated essay was originally published in a collection of 2003. 1608 John Julius Norwich, the middle sea, a history of the Mediterranean. Maps by Reginald Piggott. 253 × 175 × 34–37 mm. 2 vols (see below). Type: Plantin. Printed by Martins of Berwick. Bound by Hunter and Foulis in full blue cloth blocked in gold with design by Neil Gower; pale blue endleaves printed with maps in blue. Blue two-volume slip case with reproduction of fresco pasted on sides. The two volumes are as follows: [I] . . . volume one . . . Pp. [i–iv] v–xxviii, 1–376, [1–4]: [13] leaves of plates. Maps are included on pages [xiv–xix]. [II] . . . volume two . . . Pp. [i–iv] v–xi [xii], 377–720 [721–724]: [13] leaves of plates. 1609 Empires of the word, a language history of the world, Nicholas Ostler, introduced by David Crystal. 252 × 178 × 49 mm. Pp. [i–iv] v–xxix [xxx], 1–614: [13] leaves of plates. Type: Times. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full black cloth blocked in gold with hand-lettering by Stephen Raw based on a design by Gavin Morris; black endleaves. Gold slip case. 1610 James D. Watson, the double helix, a personal account of the discovery of the structure of DNA, introduced by Steve Jones. 228 × 150 × 22 mm. Pp. [i–iv] v–xxiv, [1–2] 3–147 [148–152]: [7] leaves of plates (facing p. [iii] and between pp. 16–17, 48–49 and 96–97). Type: Bembo. Printed and bound by L.E.G.O. in quarter black cloth with paper boards blocked with an illustration in metallic green and black by Alice Stevenson based on a design by Gavin Morris. Black endleaves. Black slip case. ¶ Second printing: 2011. 1611 On the road, by Jack Kerouac. 242 × 163 × 28 mm. Pp. [i–iv] v–vi [vii–viii], [1–2] 3–275 [276–280]: [7] leaves of plates (facing p. [iii] and between pp. 80–81, 176–177 and 240–241). Type: New Caledonia with Tooting Sans for display. Printed and bound by L.E.G.O. in full grey-cream cloth printed and blocked in black and green. Pale grey endleaves with green stripe. Green slip case. ¶ Second printing: 2011. Plain leaf originally at end of preliminaries now moved to front. ¶ Third printing: 2013, now with dark grey slip case. 1612 Beyond the pale & other stories, by William Trevor, selected and introduced by William Trevor, illustrations by Lyndon Hayes. 240 × 161 × 34 mm. Pp. [i–ix] x–xiii [xiv], [1–3] 4–336 [337–338]: [9] leaves of colour plates (facing pp. [iii], 51, 66, 98, 194, 243, [258], [306] and 323). Type: Ehrhardt. Printed by Martins of Berwick. Bound by Hunter and Foulis in full cloth printed with design by Hayes; green endleaves. Dark blue slip case. Contains 18 stories. ¶ Second printing: 2011. 1613 Hons and rebels, Jessica Mitford, introduced by A.N. Wilson. 228 × 150 × 28 mm. Pp. [i–iv] v–xvii [xviii], [1–4] 5–267 [268–270]: [7] leaves of plates (facing p. [iii] and between pp. 54–55, 118–119 and 214–215). Type: Arno Pro. Printed and bound by T.J. International. Full cloth printed with an illustration by Yann le Bec based on a Gavin Morris design; Brown endleaves. Brown slip case. The plates reproduce photographs from the Mitford family archives.

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¶ Second printing: 2011. 1614 Vita Sackville-West, in your garden and in your garden again, introduced by Victoria Glendinning. 228 × 162 × 34 mm. Pp. [i–iv] v–xiv, [1–2] 3–287 [288–290]: [7] leaves of plates (facing p. [iii] and between pp. 82–83, 162–163 and 258–259). Type: Baskerville. Printed by Martins of Berwick. Bound by Hunter and Foulis in full pale blue cloth printed in dark blue and blocked in gold; endleaves printed with plan of Sis singhurst Castle grounds by Neil Gower. Dark green slip case. ¶ Second printing: 2011. 1615 Anton Chekhov, the collected stories . . . translated from the Russian by Ronald Hingley, . . . illustrated by Laura Carlin. 240 × 160 × 34–35 mm. 4 vols (see below). Type: Clifford. Printed by Martins of Berwick. Bound by Hunter and Foulis in full blue-green cloth printed in black and blocked in gold with design (different for each volume) by Carlin; dark blue-green endleaves. Dark blue-green four-volume slip case with paper sides. Published to mark the 150th anniversary of Chekhov’s birth. The four volumes are as follows: I . . . volume I . . . introduced by James Lasdun . . . Pp. [i–ix] x–xvi, [1] 2–333 [334–336]: [8] leaves of colour plates (facing pp. [iii], 112, 176, [208], 225, 272, 305 and [320]). Contains 13 stories. II . . . volume II . . . Pp. [i–viii], [1] 2–347 [348–352]: [8] leaves of colour plates (facing pp. [iii], 25, 136, [169], 184, 248, 265 and 336). Contains 13 stories. III . . . volume III . . . Pp. [i–viii], [1] 2–303 [304]: [8] leaves of colour plates (facing pp. [iii], 24, 72, 89, 152, 217, 232 and 280). Contains 15 stories. IV . . . volume IV . . . Pp. [i–viii], [1] 2–364 [365–368]: [8] leaves of colour plates (facing pp. [iii], 121, 153, 217, 224, 272, 337 and 352). Contains 19 stories. 1616 The honourable schoolboy, John le Carré, illustrations by Tim Laing. 240 × 161 × 38 mm. Pp. [i–iv] v–x [xi–xiv], [1–2] 3–500 [501–502]: [10] leaves of plates (facing pp. 54, 113, 153, 216, 260, 298, 344, 404, 435 and 492). Type: Transport Display. Typeset by Andrew Barker. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark grey buckram blocked in dark orange and dark brown with design by Laing; dark grey endleaves. Dark grey slip case. The second of the Karla trilogy. 1617 Smiley’s people, John le Carré, illustrations by Tim Laing. 241 × 161 × 35 mm. Pp. [i–iv] v [vi–viii], 1–366 [367–368]: [8] leaves of plates (facing pp. 24, 92, 107, 150, 173, 238, 312 and 365). Type: Transport Display. Typeset by Andrew Barker. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark grey buckram blocked in dark orange and dark brown with design by Laing; dark grey endleaves. Dark grey slip case. Concluding volume of the Karla trilogy. 1618 The desert war trilogy, Alan Moorehead. Maps by Reginald Piggott. 241 × 160 × 26–28 mm. 3 vols (see below). Type: Plantin. Printed by Martins of Berwick. Bound by Hunter and Foulis in full dark orange buckram screen printed in black, pale blue and white with design (different for each volume) by Gavin Morris and illustrated by Neil Webb; pale grey endleaves printed with maps drawn by Reginald Piggott. Black three-volume slip case titled (as above). The plates reproduce black and white photographs primarily from the Imperial War Museum, London. The three volumes are as follows:

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1 Mediterranean front, the year of Wavell, 1940–1941, Alan Moorehead, introduced by Max Hastings. Pp. [i–iv] v–xxiv, [1–2] 3–229 [230–232]: [9] leaves of plates (facing p. [iii] and between pp. 56–57 and 168–169). Map by Piggott on page 172. 2 A year of battle, the year of Auchinleck, 1941–1942, Alan Moorehead. Pp. [i–vi] vii–x, [1–2] 3–290 [291–294]: [9] leaves of plates (facing p. [iii] and between pp. 54–55 and 182–183). Map by Piggott on page [57]. According to list of illustrations on page vii the first gathering of plates was intended for between pages 70–71. 3 The end in Africa, the year of Eisenhower, Alexander and Montgomery, 1942–1943, Alan Moorehead. Pp. [i–iv] v–x, [1–4] 5–265 [266–270]: [9] leaves of plates (facing p. [iii] and between pp. 70–71 and 182–183). Maps by Piggott on pages [154] and [203]. 1619 P.G. Wodehouse, Jeeves & Wooster [third series]. 221 × 143 × 26–27 mm. 3 vols (see below). Type: Goudy. Printed by Himmer and bound by Real Lachenmaier. Full cream cloth with illustrations in colour by Paul Cox; white endleaves. White three-volume slip case decorated and titled (as above) in dark green and gold. Drawings by Cox throughout. The three volumes are as follows: [1] P.G. Wodehouse, the inimitable Jeeves, introduced by Robert McCrum, illustrated by Paul Cox. Pp. [1–2], [i–iv] v–xiv, [1–2] 3–228 [229–232]. Originally published in 1923. [2] P.G. Wodehouse, carry on, Jeeves, illustrated by Paul Cox. Pp. [i–iv] v [vi], [1–2] 3–241 [242]. Originally published in 1925. [3] P.G. Wodehouse, very good, Jeeves, illustrated by Paul Cox. Pp. [i–iv] v [vi], [1–2] 3–270 [271–274]. Originally published in 1930. ¶ Second printing: 2011. ¶ Third printing: 2016, with new binding and slip case. Printed by Memminger MedienCentrum. Bound in quarter cloth with paper boards printed with a diamond pattern design inspired by golfing jumpers. The first volume’s cloth is red with front blocked in dark blue, the second has dark blue cloth and red blocking, and the third orange cloth and pale blue blocking. The colours of the endleaves match that of the cloth. Silver three-volume slip case decorated and titled Jeeves and Wooster, P.G. Wodehouse in dark blue. 1620 Plutarch, lives. Edited by Arthur Hugh Clough. Illustrated by David Rooney. 252 × 177 × 42–44 mm. 4 vols (see below). Type: Dante. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark red buckram blocked in gold with design by Rooney. Each volume has a different centrepiece portrait. Dark red endleaves. Dark red four-volume slip case titled (as above) in gold. Based on the 1859 edition of the ‘Dryden translation’ revised by Clough. The four volumes are as follows: I Plutarch, lives, vol. I, the rise of classical Greece, the Dryden translation, edited by Arthur Hugh Clough, introduction by Tom Holland, illustrations by David Rooney. Pp. [i–ix] x–xvii [xviii–xx], [1–3] 4–513 [514–516]: [8] leaves of plates (facing pp. [iii], [3], [37], [76], [107], [198], [285] and [331]). Contains 12 biographies. Portrait of Pericles in centre of front board. II . . . vol. II, the age of empire-builders, the Dryden translation, edited by Arthur Hugh Clough, illustrations by David Rooney. Pp. [i–x], [1–3] 4–585 [586]: [8] leaves of plates (facing pp. [iii], [130], [167], [197], [282], [304], [357] and [400]). Contains 13 biographies. Portrait of Alexander in centre of front board.

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III . . . vol. III, from kings to consuls, . . . Pp. [i–x], [1–3] 4–546 [547–548]: [9] leaves of plates (facing pp. [iii], [3], [38], [176], [240], [266], [305], [380] and [430]). Contains 14 biographies. Portrait of Romulus in centre of front board. IV . . . vol. IV, the age of Caesar, . . . Pp. [i–x], [1–3] 4–635 [636–638]: [8] leaves of plates (facing pp. [iii], [85], [125], [218], [284], [352], [400] and [453]). Contains 11 biographies. Portrait of Caesar in centre of front board. ¶ Second printing: 2011. 1621 The letterpress Shakespeare, Romeo and Juliet. Dark red two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, Romeo and Juliet, edited by Jill L. Levenson. 357 × 257 × 21 mm. Pp. [i–ii], [1–11] 12–113 [114–118]. Type: Baskerville with Caslon for display. Typeset by Typostudio SchumacherGebler. Printed by Offizin Haag-Drugulin on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark red Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark red endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by the Clarendon Press in 2000. [2] William Shakespeare, Romeo and Juliet, edited by Jill L. Levenson. 222 × 144 × 29 mm. Pp. [i–iv] v–ix [x], 1–450 [451–454]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2010 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark red buckram with paper label on front board; dark red endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark red. Available to purchase separately in 2016. 1622 A history of British birds, by Thomas Bewick. 229 × 144 × 41 mm. 2 vols (see below). Type: Bulmer. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter blue-grey leather with paper boards marbled by Jemma Lewis; blue-grey endleaves. Blue two-volume slip case titled (as above) with the Great-Crested Grebe illustration from second volume pasted onto centre of side. Based on the 1826 edition. Each volume contains over 200 wood-engravings, printed in duotone, of the birds themselves and images of rural life. The two volumes are as follows: I A history of British birds, by Thomas Bewick, vol. I, containing the history and description of land birds, introduced by Jenny Uglow. Pp. [i–iv] v–lxv [lxvi], 1–381 [382]. II A history of British birds, by Thomas Bewick, vol. II, containing the history and description of water birds. Pp. [i–iv] v–xxviii, 1–431 [432–436]. 1623 Beowulf, a verse translation, Seamus Heaney, illustrated by Becca Thorne. 279 × 189 × 34 mm. Pp. [i–iv] v–xxviii, [1] 2–218 [219–220]. Type: Imprint. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter red-brown leather with red cloth boards blocked in gold with design by Thorne; dark red endleaves. Gold slip case printed with single Thorne illustration in dark brown. The poem is framed on every page with decorative borders, printed in dark brown ink. ¶ Second printing: 2010. ¶ Third printing: 2011. ¶ Fourth printing: 2013.

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1624 Arthur, at the crossing-places, Kevin Crossley-Holland, illustrated by John Lawrence. 228 × 163 × 37 mm. Pp. [i–iv] v–xv [xvi], [1–2] 3–321 [322–328]. Type: Bembo with Gjallarhorn for display. Printed and bound by Firmengruppe APPL in quarter blue cloth with paper boards printed with a tile design by Lawrence; pale blue endleaves printed with maps by Hemesh Alles. Blue slip case. The second in the Arthur trilogy. 1624.5 Arthur, king of the middle march, Kevin Crossley-Holland, illustrated by John Lawrence. 228 × 165 × 38 mm. Pp. [i–iv] v–xiii [xiv], [1–2] 3–336 [337–338]. Type: Bembo with Gjallarhorn for display. Printed and bound by Firmengruppe APPL in quarter blue cloth with paper boards printed with a tile design by Lawrence; pale blue endleaves printed with maps by Hemesh Alles. Blue slip case. Completes the Arthur trilogy. 1625 The epic of Gilgamesh, the Babylonian epic poem and other texts in Akkadian and Sumerian, translated with an introduction by Andrew George, illustrated by Francis Mosley. 240 × 160 × 29 mm. Pp. [i–iv] v–xxxiii [xxxiv– xxxvi], [1] 2–212: [8] leaves of colour plates (facing pp. [iii], 13, 28, 60, 77, 124, 141 and 172). Type: Poliphilus. Printed by Martins of Berwick. Bound by Hunter and Foulis in full dark orange buckram blocked in gold and black with design by Mosley; dark orange endleaves printed with repeat design in brown. Black slip case. ¶ Second printing: 2011. ¶ Third printing: 2013, bound by T.J. International. 1626 The lost world, being an account of the recent amazing adventures of Professor George E. Challenger, Lord John Roxton, Professor Summerlee, and Mr E.D. Malone of the Daily Gazette, Arthur Conan Doyle, introduced by Andrew Lycett. 228 × 150 × 27 mm. Pp. [i–ix] x–xiv, [1–7] 8–206 [207–210]: [7] leaves of plates (facing p. [iii] and between pp. [42]–43, 90–91 and 138–139). Type: Perpetua. Printed and bound by L.E.G.O. in full red cloth blocked with illustration in gold, black and green by Jörn Kaspuhl based on a design by Gavin Morris. Green endleaves. Red slip case. Illustrated by charts, photographs and drawings of dinosaurs. 1627 The great game, on secret service in High Asia, Peter Hopkirk, [quotation from Rudyard Kipling]. Maps by Reginald Piggott. 253 × 177 × 42 mm. Pp. [i–v] vi–xxvi, [1–3] 4–510: [13] leaves of plates. Type: Janson with Diavlo for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full grey buckram blocked with illustration in black and gold by Neil Gower based on a design by Gavin Morris; grey endleaves with map by Piggott in black. Black slip case. The plates reproduce paintings, drawings, engravings and photographs. There are also five maps on pages [xiv–xix]. ¶ Second printing: 2011. 1628 Roxana, the fortunate mistress, or, a history of the life and vast variety of fortunes of Mademoiselle de Beleau, afterwards call’d the Countess de Wintselsheim, in Germany. Being the person known by the name of the Lady Roxana, in the time of King Charles II, by Daniel Defoe, introduction by Frances Wilson, illustrations by Clare Melinsky. 242 × 164 × 29 mm. Pp. [i–iv] v–xiii [xiv], [1–2] 3–316: [8] leaves of plates (facing pp. [iii], 17, 70, 120, 172, 234, 246 and 299). Type: Caslon. Printed and bound by L.E.G.O. in full purple cloth blocked with design in gold, red and white by Melinsky. Purple endleaves. Red slip case. Traditional woodcut designs are echoed in Melinsky’s linocuts. 1629 J.C. Holt, Robin Hood. 228 × 162 × 28 mm. Pp. [i–vii] viii–xiv, [1–3] 4–265 [266]: [7] leaves of plates (facing p. [iii] and between pp. 42–43, 122–123 and 170–171). Type: Photina with Blackmoor for display. Printed and bound by L.E.G.O. in full green cloth blocked with illustration in gold, black and dark orange by Neil Gower based on a design by Gavin Morris. Green endleaves. Orange-pink slip case. The plates reproduce details from manuscripts, books, engravings and objects. Maps are on pages [38], [87], [89] and 96.

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¶ Second printing: 2011. 1630 Chivalry, Maurice Keen. 252 × 176 × 43 mm. Pp. [i–iv] v–xx, 1–400 [401–404]: [13] leaves of colour plates. Type: Poliphilus. Printed by Martins of Berwick. Bound by Hunter and Foulis in full brown-green cloth blocked in gold, black, red and blue with an illustration by Neil Gower based on a design by Gavin Morris; black endleaves. Blue slip case. The plates primarily reproduce details from medieval manuscripts. 1631 The songlines, Bruce Chatwin, introduction by Nicholas Shakespeare, illustrations by Simon Pemberton. 229 × 163 × 32 mm. Pp. [i–iv] v–xvi [xvii–xviii], [1–2] 3–297 [298–302]: [7] leaves of colour plates (facing pp. [iii], 14, 79, 94, 190, 270 and 287). Type: Spectrum. Printed by Martins of Berwick. Bound by Hunter and Foulis in full yellow buckram blocked with design by Pemberton; yellow endleaves. Black slip case. 1632 Émile Zola, Germinal, translated by Peter Collier, introduced by Ruth Scurr, illustrated by Philip Bannister. 241 × 162 × 41 mm. Pp. [i–iv] v–xi [xii], [1–2] 3–483 [484–488]: [10] leaves of plates (facing pp. [iii], 83, 131, 171, 199, 260, 304, 331, 379 and 422). Type: Sabon. Printed by Martins of Berwick. Bound by Hunter and Foulis in full green-blue cloth blocked in white, grey and black with design by Bannister; flecked grey endleaves. Black slip case. 1633 The hunting of the Snark, an agony, in eight fits, Lewis Carroll, introduced by Michael Rosen, illustrated by Jeffrey Fisher. 252 × 191 × 18 mm. Pp. [i–vi] vii–xii, [1–4] 5–78 [79–92]. Type: Centaur. Printed and bound by Firmengruppe APPL in quarter blue cloth with paper boards printed with design by Fisher; printed endleaves. Blue slip case. Fisher’s copious illustrations are an exuberant joy. 1634 Bede, history of the English Church and people, translated by Leo Sherley-Price, revised by R.E. Latham, introduced by Melvyn Bragg. 240 × 160 × 34 mm. Pp. [i–iv] v–xxix [xxx], [1–2] 3–328 [329–330]: [7] leaves of colour plates (facing p. [iii] and between pp. 74–75, 170–171 and 250–251). Type: Dante. Printed by Martins of Berwick. Bound by Hunter and Foulis in full brown-red cloth blocked in gold and black with design by Neil Packer; mottled cream endleaves. Black slip case. Details from illuminated manuscripts are used for illustration. ¶ Second printing: 2010. ¶ Third printing: 2011. ¶ Fourth printing: 2012. 1635 The letterpress Shakespeare, the merchant of Venice. Dark green two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, the merchant of Venice, edited by Jay L. Halio. 355 × 257 × 20 mm. Pp. [i–ii], [1–11] 12–97 [98–102]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed letterpress by Hand and Eye on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark green Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark green endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by the Clarendon Press in 1993. [2] William Shakespeare, the merchant of Venice, edited by Jay L. Halio. 222 × 142 × 27 mm. Pp. [i–vi] vii–xi [xii], 1–241 [242–244]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2010 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark green buckram with paper label

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on front board; dark green endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark green. Available to purchase separately in 2016. 1636 The Pharaohs . . . George Hart. Maps by Reginald Piggott. 251 × 173 × 31 mm. 2 vols (see below). Type: Quadraat. Printed by Martins of Berwick. Bound by Hunter and Foulis in full blue cloth blocked in gold with illustration (different for each volume) by Christian Montenegro, based on designs by Gavin Morris. Black two-volume slip case with illustration on one side in gold. The two volumes are as follows: I . . . volume I, kingdom to empire. Pp. [i–iv] v–xxiv [xxv–xxx], [1–2] 3–281 [282]: [13] leaves of colour plates. Endleaves printed with photograph of hieroglyphs carved in stone. Maps are included on pages [xxvi–xxx], [45], [158–159], [164] and [244]. II . . . volume II, dominion to conquest. Pp. [i–iv] v–ix [x], 283–559 [560]: [13] leaves of plates. Endleaves printed with a photograph of a wall painting from the tomb of Ramesses VI. 1637 [The Holy Land, Egypt and Nubia, by David Roberts]. 500 × 352 × 54–56 mm. Printed and bound by Bortolazzi in full dark red canvas printed in gold and black with a design by Neil Gower. Gilded top edge. Dark red endleaves. Slip cases decorated in gold. The edition statement reads in part ‘limited to 1000 numbered copies for sale to members of the Folio Society and 20 lettered copies which are not for sale’. Reproduced, in a slightly reduced format, from copies held at The John Rylands Library, University of Manchester. Page numbers have been added and the lists of subjects reset to aid navigation around these very weighty volumes. Both were first published in 20 parts by F.G. Moon, and designed to be bound in three volumes, each with its own title-page. The two volumes are as follows: [1]The Holy Land, Syria, Idumea, Arabia, Egypt, & Nubia, from drawings made on the spot by David Roberts, R.A., with historical descriptions by the Revd George Croly, L.L.D., lithographed by Louis Haghe. Pp. [i–viii], [1] 2–284 [285–288]. First published between 1842 and 1844. [2] Egypt & Nubia, from drawings made on the spot by David Roberts, R.A., with historical descriptions by William Brockedon F.R.S., lithographed by Louis Haghe. Pp. [i–viii], [1] 2–258 [259–264]. First published between 1847 and 1849. ¶ First printing reissued [i.e. second impression]: 2014. Now measuring 377 × 277 × 34–36 mm with pagin ation [i–vi], [1] 2–284 [285–290] for the first volume and [i–vi], [1] 2–258 [259–266] for the second. Printed and bound by PiginiGroup. Red slip cases. Printed without limitation in a further reduced format. 1638

[Mappa mundi, the Hereford world map]. The three items are as follows:

[1] [Facsimile]. 1486 × 1247 × 19 mm. 1 map. Photographed by Michael Pollard and reprographics by Dot Gradations on Neobond. Printed by Firmengruppe APPL. A reproduction of Hereford Cathedral’s medieval treasure. Mounted on dark blue canvas with two oak battens and a ring for hanging. Red cloth box by the London Fancy Box Company titled in gold (as above) with design by Stephen Raw and lined in red fabric with two metal clasps. Printed paper label in map lining records copy number. Accompanied by a certificate which states ‘limited to 1000 numbered copies for sale to members of The Folio Society and 20 lettered copies hors de commerce’. The map has been digitally restored to give an impression of its original state. Winner of an 18th Annual FiberMark Specifier Award under the map category.

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[2] The Hereford world map, introduction, P.D.A. Harvey. 276 × 216 × 17 mm. Pp. [1–8] 9–108 [109–112]. Type: Centaur. Printed by Martins of Berwick. Bound by Hunter and Foulis in full blue buckram blocked in gold; dark blue endleaves. Dark blue slip case. The four chapters are heavily illustrated. [3] The Hereford world map, a transcription and translation of the legends with commentary, Scott D. Westrem. 276 × 217 × 45 mm. Pp. [i–ix] x–lvii [lviii], [1] 2–476 [477–480]: [8] leaves of plates between pp. [lviii–1]). Printed by Martins of Berwick. Bound by Hunter and Foulis in full blue buckram blocked in gold with a design by Frances Button redrawn from the map; dark blue endleaves. Dark blue slip case. 1639 Josephine Tey, Brat Farrar, introduced by Ruth Rendell, illustrated by A. Richard Allen. 227 × 150 × 26 mm. Pp. [i–vi] vii–xi [xii], 1–231 [232–236]: [8] leaves of colour plates (facing pp. [iii], 20, 52, 101, 116, 165, 180 and 228). Type: Bulmer. Printed by Stämpfli Publikationen and bound by Schumacher in full purple cloth printed in black and blocked in gold with design by Allen. Purple endleaves. Black slip case. Allen’s work was shortlisted in the 2011 V&A Illustration Awards. ¶ Second printing: 2012. Printed by Martins of Berwick. Bound by Hunter and Foulis. 1640 Metamorphosis and other stories, by Franz Kafka, translated by Michael Hofmann, introduced by Will Self, illustrated by Bill Bragg. 229 × 160 × 27 mm. Pp. [i–iv] v–xvi, [1–2] 3–232: [9] leaves of colour plates (facing pp. [iii], 48, 65, 96, 136, 153, 184, 217 and 232). Type: Elysium. Printed by Martins of Berwick. Bound by Hunter and Foulis in full paper printed with design by Bragg; dark pink endleaves. Black slip case. Contains 42 short stories. The tale of Gregor Samsa inspires the giant cockroach silhouette creeping over the binding. 1641 Moonfleet, J. Meade Falkner, [quotation from The winter’s tale], introduced by Michael Morpurgo, illustrated by Michael Manomivibul. 229 × 160 × 25 mm. Pp. [i–iv] v–xiv, [1–4] 5–214 [215–218]: [10] leaves of colour plates (facing pp. [iii], 51, 66, 83, 98, 147, 162, 178, 194 and 211). Type: Bembo. Printed by Martins of Berwick. Bound by Hunter and Foulis in full grey cloth blocked in silver and black with design by Manomivibul; black endleaves. Black slip case. ¶ Second printing: 2011. 1642 Crusader castles, T.E. Lawrence, introduced by Mark Bostridge. 216 × 164 × 25 mm. Pp. [i–iv] v–xiii [xiv], [1–2] 3–226. Type: Spectrum. Printed and bound by T.J. International. Full blue-green buckram printed in silver and black with a design by Gavin Morris, illustrated by Joe McLaren; Dark blue endleaves. Dark blue slip case. Based on Lawrence’s 1910 thesis for his Bachelor of Arts degree in Modern History at Oxford. Illustrated throughout with sketches, maps and photographs. ¶ Second printing: 2012. ¶ Third printing: 2013. 1643 Stalingrad, Antony Beevor. 252 × 175 × 48 mm. Pp. [i–iv] v–xx, [1–2] 3–467 [468]: [17] leaves of plates. Type: Garamond Pro with Futura Condensed for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark grey buckram blocked in black and white; endleaves printed with photographs of Soviet reinforcements entering Stalingrad in September 1942 (front) and German prisoners after their surrender in February 1943 (back). Black slip case with reproduction of photograph on one side of a Stalingrad ruin. Maps are on pages [21], [64], [114], [218–219], [264–265] and [319]. The plates reproduce photographs from the battle.

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1644 Kenneth Clark, the nude, a study in ideal form, introduction by Charles Saumarez Smith. 291 × 205 × 32 mm. Pp. [i–vi] vii–xvi, [1–2] 3–336. Type: Plantin Light. Printed and bound by Firmengruppe APPL in quarter dark green cloth with paper boards printed with reproduction of painting by Ingres; green-grey endleaves. Dark green slip case. Illustrated by nearly two hundred works of art. 1645 William Cobbett, rural rides in the counties of Surrey, Kent, Sussex, Hampshire, Wiltshire, Gloucestershire, Herefordshire, Worcestershire, Somersetshire, Oxfordshire, Berkshire, Essex, Suffolk, Norfolk, and Hertfordshire: with economical and political observations relative to matters applicable to, and illustrated by, the state of those counties respectively, edited by Ian Dyck, introduced by Richard Ingrams, illustrated by Joe McLaren. 240 × 162 × 45 mm. Pp. [i–iv] v–xiii [xiv], [1–2] 3–502 [503–506]: [21] leaves of plates. Type: Caslon. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter brown-green cloth with dark cream rough cloth boards blocked in black and gold with design by McLaren; dark cream endleaves with map drawn by Reginald Piggott printed in black. Pale brown slip case. 1646 The Folio diary 2011. 200 × 147 × 13 mm. Pp. [1–120]. Type: Garamond. Printed and bound by Grafos in full plasticised paper printed with photograph of New York c.1905; endleaves printed with aerial view of New York street. Not issued in a slip case. Free to members. Photographs, from c.1843 to 1969, face each week of the year. 1647 Pagans and Christians, Robin Lane Fox. Maps by Reginald Piggott. 252 × 175 × 31–32 mm. 3 vols (see below). Type: Minion. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full black buckram printed in gold with a different illustration by Adam McCauley, based on designs by Gavin Morris, for each volume; dark cream endleaves. Black three-volume slip case with decoration in gold. Plates reproduce photographs of antiquities and sites. The three volumes are as follows: I . . . vol I. Pp. [i–vi] vii–xiii [xiv], 1–261 [262], [1–4]: [9] leaves of colour plates facing p. [iii] and between pp. 114–115 and 194–195). Maps are included on pages [34–35] and [172]. II . . . vol II. Pp. [i–vi] vii–ix [x], [263–264] 265–552, [1–4]: [9] leaves of colour plates facing p. [iii] and between pp. 348–349 and 444–445). Maps are included on pages [274–275] and [535]. III . . . vol III. Pp. [i–vi] vii–ix [x], [553–554] 555–877 [878]: [9] leaves of colour plates facing p. [iii] and between pp. 622–623 and 686–687). A map is included on page [569]. 1648 The history of the kings of Britain, Geoffrey of Monmouth, translated and with an introduction by Lewis Thorpe, preface by Richard Barber. 240 × 162 × 31 mm. Pp. [i–iv] v–xxxvii [xxxviii], [1–2] 3–229 [230–234]: [7] leaves of colour plates (facing pp. [iii], 42, 58, 106, 122, 154 and 170). Type: Poliphilus. Printed and bound by L.E.G.O. in full red cloth blocked in gold and black with design by Neil Gower. Gold endleaves. Black slip case. Illustrated by photographs from illuminated manuscripts. ¶ Second printing: 2011. ¶ Third printing: 2012. 1649 Virgil, the Aeneid, translated by Robert Fagles, introduction and notes by Bernard Knox. 254 × 182 × 58 mm. Pp. [1–4], [i–vii] viii–li [lii–liv], [1–3] 4–448 [449–454]: [17] leaves of colour plates. Type: Centaur. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full brown-orange Wassa goatskin leather blocked in gold and black with a design by Jeff Clements; pale brown endleaves with map in dark brown. Dark brown clamshell box with spine titled in gold. The edition statement reads in part ‘limited to 1750 numbered copies’. Photographs of frescoes primarily from Pompeii have been used for the illustrations.

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1650 The letterpress Shakespeare, much ado about nothing. Dark green two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, much ado about nothing, edited by Sheldon P. Zitner. 356 × 255 × 21 mm. Pp. [i–ii], [1–11] 12–93 [94–98]. Type: Baskerville with Caslon for display. Typeset by Typostudio SchumacherGebler. Printed by Offizin Haag-Drugulin on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark green Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark green endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by the Clarendon Press in 1993. [2] William Shakespeare, much ado about nothing, edited by Sheldon P. Zitner. 222 × 143 × 29 mm. Pp. [i–iv] v–ix [x], 1–214. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2010 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark green buckram with paper label on front board; dark green endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark green. Available to purchase separately in 2016. 1651 The letterpress Shakespeare, the taming of the shrew. Dark green two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, the taming of the shrew, edited by H.J. Oliver. 355 × 257 × 21 mm. Pp. [i–ii], [1–11] 12–101 [102–106]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed letterpress by Hand and Eye on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark green Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark green endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by the Clarendon Press in 1982. [2] William Shakespeare, the taming of the shrew, edited by H.J. Oliver. 222 × 142 × 28 mm. Pp. [i–vi], 1–248 [249–250]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2010 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark green buckram with paper label on front board; dark green endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark green. Available to purchase separately in 2016. 1652 The Ionian mission, Patrick O’Brian. 228 × 163 × 36 mm. Pp. [i–iv] v–ix [x–xii], [1–2] 3–316: [6] leaves of colour plates (between pp. 68–69, 164–165 and 260–261). Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in gold, black, white and dark orange with a design by Neil Gower. Pale blue endleaves printed with map by Gower. Blue slip case. Gower also supplied a battle plan on page [55]. Eighth in Folio’s Aubrey-Maturin series. ¶ Second printing: 2012. 1653 Treason’s harbour, Patrick O’Brian. 228 × 163 × 34 mm. Pp. [i–iv] v–vii [viii–x], [1–2] 3–282 [283–286]: [6] leaves of colour plates (between pp. 70–71, 150–151 and 230–231). Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in gold, black, white

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and pale blue with a design by Neil Gower. Pale blue endleaves printed with map by Gower. Blue slip case. Gower also supplied battle plans on pages [278] and [279]. Ninth in Folio’s Aubrey-Maturin series. ¶ Second printing: 2013. 1654 The Golem, by Gustav Meyrink, translated by Mike Mitchell, introduced by Iain Sinclair, illustrated by Vladimir Zimakov. 228 × 150 × 31 mm. Pp. [i–iv] v–xvi, [1–2] 3–237 [238]: [9] leaves of black and white plates (facing pp. 42, 70, 90, 108, 127, 150, 179, 208 and 227). Type: Figural with Tallys for display. Printed and bound by L.E.G.O. in three-quarter black buckram with paper front board printed with a striking linocut design by Zimakov. Red endleaves. Black slip case. ¶ Second printing: 2011. 1655 The song of Roland, done into English, in the original measure by C.K. Scott Moncrieff, introduced by John Burnside, illustrated by Anna and Elena Balbusso. 279 × 184 × 23 mm. Pp. [i–iv] v–xvii [xviii–xx], [1–2] 3–154 [155–156]: [9] leaves of colour plates (facing pp. [iii], 13, 28, 61, 76, 92, 109, 124 and 141). Type: Centaur. Printed by Martins of Berwick. Bound by Hunter and Foulis in full cloth blocked in gold with design by the artist sisters; gold endleaves. Dark purple slip case. 1656 Edmund Burke, reflections on the revolution in France and on the proceedings in certain societies in London relative to that event, edited with notes by Conor Cruise O’Brien, introduced by A.C. Grayling. 253 × 160 × 30 mm. Pp. [i–vii] viii–xv [xvi–xx], [1–3] 4–234 [235–236]: [9] leaves of colour plates (facing p.[iii] and between pp. 44–45, 60–61, 92–93, 108–109, 140–141, 156–157, 188–189 and 204–205). Type: Bulmer. Printed and bound by L.E.G.O. in full black cloth blocked in gold and dark red with guillotine design by Gavin Morris, illustrated by Neil Gower. Dark red endleaves. Black slip case. Burke’s text was first published in 1790. The plates reproduce a range of images from late eighteenth-century material. 1657 Unreliable memoirs, by Clive James, with a new introduction by the author, illustrated by Yann le Bec. 240 × 161 × 24 mm. Pp. [i–iv] v–xiii [xiv–xvi], 1–166 [167–168]: [5] leaves of black and white plates (facing p. [iii] and between pp. 56–57 and 136–137). Type: Sabon. Printed by Engelhardt und Bauer and bound by Schumacher in full yellow buckram blocked in black and red with design by le Bec. Yellow endleaves. Red slip case. The plates reproduce photographs largely from James’s private collection. Eleven portraits by le Bec are also included. 1658 The wonderful wizard of Oz, by L. Frank Baum, introduced by Maria Tatar, illustrated by Sara Ogilvie. 252 × 190 × 28 mm. Pp. [i–iv] v–xvi, [1–2] 3–182 [183–184]. Type: Electra with Letterpress Text Italic for display. Printed and bound by Firmengruppe APPL in quarter yellow buckram with paper boards printed with a design by Ogilvie; yellow endleaves. Blue-green slip case wrapped with Ogilvie image. Over 20 of Ogilvie’s vibrant and inventive illustrations, including seven double-page spreads, are in the text. ¶ Second printing: 2011. ¶ Third printing: 2018. Printed and bound by Neografia. Folio logo now on spine. 1659 The violet fairy book, edited by Andrew Lang, with an introduction by Alison Lurie, paintings and decorations by Robert Venables. 252 × 192 × 52 mm. Pp. [i–iv] v–xviii [xix–xx], 1–306 [307–312]: [15] leaves of plates. Type: Caslon with hand-drawn lettering for the title. Printed (the title-page in purple and black) by Memminger MedienCentrum. Bound by Real Lachenmaier in series binding (item 1124). Full purple buckram blocked with a design by Venables in dark yellow, black, silver and cream; purple endleaves with a design in

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silver. Dark purple slip case. First published in 1901. The 35 stories are punctuated by additional drawings by Venables. ¶ Second printing: 2014. 1660 The brown fairy book, edited by Andrew Lang, with an introduction by Adam Phillips, paintings and decoration by Omar Rayyan. 252 × 192 × 48 mm. Pp. [i–iv] v–xviii [xix–xx], 1–282 [283–284]: [13] leaves of plates. Type: Caslon with hand-drawn lettering for the title. Printed (the title-page in brown and black) by Memminger MedienCentrum. Bound by Real Lachenmaier in series binding (item 1124). Full brown buckram blocked with a design by Rayyan in blue, black, gold and cream; brown endleaves with a design in gold. Brown slip case. First published in 1904. The 32 stories are punctuated by additional drawings by Rayyan. ¶ Second printing: 2014. 1661 M.K. Gandhi, an autobiography, or the story of my experiments with truth, translated from the original Gujarati by Mahadev Desai, introduction and glossary by William Radice. 240 × 161 × 40 mm. Pp. [i–iv] v–xxvii [xxviii], 1–444: [13] leaves of black and white plates. Type: Ehrhardt. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark cream cloth blocked in black and brown with design by Nick Morley; brown endleaves. Brown slip case. The plates reproduce photographs taken between 1850 and 1925. 1662 John Wyndham, the day of the triffids, the Midwich cuckoos, the chrysalids. Introduced by Adam Roberts. Illustrations by Patrick Leger. 229 × 148 × 23–25 mm. 3 vols (see below). Type: Ehrhardt. Printed by Martins of Berwick. Bound by Hunter and Foulis in quarter blue cloth with paper boards printed with a different design by Leger for each volume. Pale grey three-volume slip case (titled as above). The three volumes are as follows: [1] The day of the triffids. Pp. [i–iv] v–xiii [xiv], [1–2] 3–252 [253–258]: [7] leaves of colour plates facing pp. [iii], 18, 51, 66, 114, 131 and 194). Green endleaves. [2] The Midwich cuckoos. Pp. [i–iv] v–xiii [xiv], [1–4] 5–203 [204–210]: [7] leaves of colour plates facing pp. [iii], 18, 66, 114, 131, 163 and 178). Orange endleaves. [3] The chrysalids. Pp. [i–iv] v–xii, [1–2] 3–196: [7] leaves of colour plates facing pp. [iii], 36, 68, 85, 117, 132 and 180). Pink endleaves. ¶ Second printing: 2011. ¶ Third printing: 2022. Printed and bound by L.E.G.O. with green-blue cloth. Cream three-volume slip case. 1663 The master and Margarita, Mikhail Bulgakov, translated by Richard Pevear and Larissa Volokhonsky, introduced by Orlando Figes, illustrated by Peter Suart. 240 × 160 × 38 mm. Pp. [i–ix] x–xv [xvi–xx], [1–5] 6–375 [376–380]: [13] leaves of colour plates. Type: Joanna with Tooting Sans for display. Printed by WDW Druck GmbH and bound by Schumacher in full black buckram blocked in gold, silver and red with design by Suart. Red endleaves. Red slip case. ¶ Second printing: 2021. Printed and bound in cloth by Gomer Press. ¶ Third printing: 2021. 1664 Robert Frost, selected poems, introduced by Paul Muldoon, foreword by C Day Lewis, illustrated by Jonathan Gibbs. 229 × 161 × 38 mm. Pp. [i–iv] v–xxix [xxx], [1–4] 5–272 [273–274]. Type: Iowan Old Style. Printed

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in dark green by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter dark green buckram with paper boards printed with design by Gibbs; dark green endleaves. Dark green slip case. Twenty-one wood-engravings by Gibbs accompany the text. One of Gibbs’s images was used for the cover of the Christmas 2010 edition of The Times Literary Supplement. ¶ Second printing: 2011. ¶ Third printing: 2013. 1665 The rime of the ancient mariner, and three other poems, by Samuel Taylor Coleridge, illustrated by Harry Brockway. 331 × 250 × 40 mm. Pp. [1–6] 7–203 [204–208]. Type: Caslon. Printed by Martins of Berwick. Bound by The Fine Book Bindery in quarter vellum with hand-lettered spine by Stephen Raw blocked in gold; dark red paper boards blocked in gold, silver and copper and printed in black. Gilded top edge. Endleaves printed with repeat design by Brockway in letterpress by The Logan Press. Clamshell box bound in black-green cloth with red paper spine-label titled by Raw in gold. A limitation spread containing an engraving printed by I. M. Imprimit is included at the front. Brockway has also supplied tail-pieces and 16 tipped-in coloured illustrations printed by Napier Jones. Leaf following end of text reads in part ‘limited to one thousand copies, signed and numbered by the artist on the engraving, and thirty copies numbered in Roman numerals, which are hors commerce’. 1666 Robert Graves, Count Belisarius, introduced by Lindsey Davis, illustrated by David Hughes. Maps redrawn by Neil Gower. 252 × 162 × 39 mm. Pp. [i–iv] v–xviii [xix–xx], 1–445 [446–452]: [13] leaves of colour plates. Type: Palatino. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter black buckram with paper boards printed with design by Hughes; black endleaves. Black slip case. Reginald Piggott supplied three maps on pages [448–451]. 1667 Dream days, Kenneth Grahame, introduced by Julia Eccleshare, illustrated by Debra McFarlane. 203 × 136 × 27 mm. Pp. [i–vi] vii–xxii, [1–2] 3–172 [173–178]: [6] leaves of colour plates (facing pp. [iii], 42, 59, [90], 107 and 122). Type: Bell. Printed by Engelhardt und Bauer and bound by Schumacher in full pale blue buckram blocked in silver and black with design by McFarlane. Silver endleaves. Silver slip case. In addition to the plates, nine black and white line illustrations by McFarlane accompany the text. ¶ Second printing: 2013. Printed and bound by L.E.G.O. 1668 Ideas and opinions, Albert Einstein, introduced by David Bodanis. 240 × 161 × 33 mm. Pp. [i–v] vi–xviii [xix–xx], [1–3] 4–370 [371–372]: [7] leaves of black and white plates (facing p. [iii] and between pp. 68–[69], 180–181 and 292–293). Type: Palatino. Printed by Martins of Berwick. Bound by Hunter and Foulis in full paper blocked in silver and black with striking design by Gavin Morris, drawn by Chrissie Abbott; dark silver endleaves. Dark silver slip case. This collection of Einstein’s articles, speeches and letters is illustrated by a range of contemporary photographs. The binding design was used to create notebooks, with ruled paper, for marketing campaigns and events. With the spine reading ‘A Folio Notebook’ in silver, the dimensions were reduced to 215 × 130 × 17 mm. 1669 The hitchhiker’s guide to the galaxy, by Douglas Adams, introduced by Terry Jones, illustrated by Jonathan Burton. 228 × 150 × 22 mm. Pp. [i–iv] v–xiv, [1–2] 3–174 [175–178]: [8] leaves of colour plates (facing pp. [iii], 35, 50, 83, 98, 115, 130 and 162). Type: Sabon. Printed and bound by L.E.G.O. in full dark blue cloth flecked with metallic greens, blocked with design in silver by Burton; metallic blue endleaves. Metallic blue slip case. The binding design was used to create notebooks, with ruled paper, for marketing campaigns and events. With the spine reading ‘A Folio Notebook’ in silver, the dimensions were reduced to 215 × 130 × 17 mm.

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¶ Second printing: 2012. ¶ Third printing: 2013. ¶ Fourth printing: 2016. ¶ Fifth printing: 2019. ¶ Sixth printing: 2021. ¶ Seventh printing: 2022. 1670 Lao Tzŭ, Tao Tê Ching, the way and its power and its place in Chinese thought, by Arthur Waley, with an introductory essay by Frances Wood. 280 × 154 × 31 mm. Pp. [i–iv] v–xxiii [xxiv], 1–235 [236–240]: [5] leaves of colour plates (facing pp. [iii], 8, 24, 40 and 56) and [2] fold-outs (between pp. 160–161 and 208–209). Type: Minion Pro. Printed by Martins of Berwick. Bound by Hunter and Foulis in three-quarter brown cloth with printed front board; printed endleaves. Dark red slip case. Illustrated largely by images from Chinese scroll paintings. ¶ Second printing: 2012. 1671 J.R.R. Tolkien, the fellowship of the ring, being the first part of the lord of the rings, illustrations by Ingahild Grathmer, drawn by Eric Fraser. 228 × 152 × 36 mm. A separate issue of the first volume of The lord of the ring set, item 417, 1997 reprint. Details as volume [1] but pagination now [1–7] 8–459 [460–462]. Printed and bound by Grafos. Endleaves flecked cream with map in brown. Black slip case. Described as ‘fourteenth printing’. 1672 [The Adventures of the Three Musketeers]. 253 × 178 × 47–57 mm. 3 vols (see below). Printed and bound by L.E.G.O. Brown three-volume slip case. Titles individually issued in 2001. Description based on second printing. The three volumes are as follows: [1] Alexandre Dumas, the three musketeers, introduced by George MacDonald Fraser, illustrated by Roman Pisarev. Details as item 1067 but now 253 × 178 × 47 mm. [2] Alexandre Dumas, twenty years after, illustrated by Roman Pisarev. Details as item 1068 but now 253 × 178 × 57 mm. [3] Alexandre Dumas, the man in the iron mask, illustrated by Roman Pisarev. Details as item 1069 but now 253 × 178 × 50 mm. ¶ Second printing: 2010. 1673 All quiet on the Western Front, by Erich Maria Remarque, translated by Brian Murdoch, introduction by Geoff Dyer. 229 × 150 × 26 mm. Pp. [i–iv] v–xvi, [1–4] 5–203 [204–208]: [9] leaves of plates (facing pp. [iii], 16, 33, 81, 96, 112. 160, 177 and 192). Type: Palatino with Divina for display. Printed and bound by L.E.G.O. in full dark brown cloth blocked in pale green-grey; endleaves printed with photograph of German infantry. Mottled pale brown slip case. The plates reproduce photographs of German soldiers during the First World War. ¶ Second printing: 2011. The plate originally facing page 112 now facing page 113, as originally intended. ¶ Third printing: 2012. ¶ Fourth printing: 2013. 1674 Talleyrand, Duff Cooper, introduced by John Julius Norwich. 240 × 162 × 37 mm. Pp. [i–iv] v–xviii, [1–2] 3–326: [13] leaves of colour plates. Type: Plantin. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter black buckram with paper boards printed with design by Gavin Morris and illustrated by Neil Gower; green-grey endleaves. Black slip case.

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2011 1675 Katharine M. Briggs, folk tales of Britain, narratives. 240 × 163 × 40–44 mm. 3 vols (see below). Type: Miller. Printed by Himmer. Bound by Real Lachenmaier in full green buckram blocked in gold and black with a different design by Hannah Firmin for each volume; green endleaves. Green three-volume slip case (titled as above). Each volume is illustrated by a different artist, with the first being the daughter of the second. In addition to the plates, black and white illustrations accompany the text. The three volumes are as follows: I Folk tales of Britain, narratives, volume I, collected and edited by Katharine M. Briggs, with a preface by Philip Pullman, illustrated by Hannah Firmin. Pp. [i–iv] v–xiii [xiv], [1–2] 3–410: [1] colour plate (facing p. [iii]). II . . . volume II, collected and edited by Katharine M. Briggs, illustrated by Peter Firmin. Pp. [i–iv], [411–412] 413–958: [1] colour plate (facing p. [iii]). III . . . volume III, collected and edited by Katharine M. Briggs, illustrated by Clare Melinsky. Pp. [i–iv], [959–960] 961–1396 [1397–1402]: [1] colour plate (facing p. [iii]). ¶ Second printing: 2011. 1676 Amerika (the man who disappeared), by Franz Kafka, translated by Michael Hofmann, introduced by James Lasdun, illustrated by Bill Bragg. 228 × 160 × 28 mm. Pp. [i–iv] v–xvi, [1–2] 3–249 [250–256]: [7] leaves of colour plates (facing pp. [iii], 16, 81, 96, 144, 193 and 240). Type: Elysium. Printed by Martins of Berwick. Bound by Hunter and Foulis in full paper printed with design by Bragg; green endleaves. Black slip case. 1677 The castle, by Franz Kafka, translated by Mark Harman, introduced by John Sutherland, illustrated by Bill Bragg. 228 × 160 × 29 mm. Pp. [i–iv] v–xvi, [1–2] 3–314 [315–320]: [7] leaves of colour plates (facing pp. [iii], 48, 112, 129, 208, 225 and 257). Type: Elysium. Printed by Martins of Berwick. Bound by Hunter and Foulis in full paper printed with design by Bragg; dark blue endleaves. Black slip case. 1678 Spenser’s faerie queene, a poem in six books, with the fragment mutabilitie, edited by Thomas J. Wise, pictured by Walter Crane [facsimile]. 282 × 224 × 56–62 mm. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full white Nigerian goatskin leather blocked in gold based on a design by Walter Crane. Gilded top edge. Pale pink-purple endleaves. Three-volume wooden slip case covered in dark red artificial silk, with a tray loosely inserted at the bottom to aid the sliding in and out of volumes. Facsimile of the edition printed at The Chiswick Press for George Allen, originally issued in fasicules between 1894 and 1897. Crane produced over two hundred illustrations, from fully illustrated title-pages to head- and tail-pieces. Reproduced by Dot Gradations. The three volumes are as follows: [1] [The first [and second] book of the faerie queene]. Pp. [i–viii] [1–2] [ix–xii] xiii–lxxxvii [lxxxviii–xlvi], 1–527, [528], [1–6]. The leaf inserted after the title reads in part ‘The edition consists of one thousand numbered copies for sale to members of the Folio Society and twenty-five lettered copies which are not for sale’. Labelled on spine in part ‘Books I [cross symbol] II’. [2] [The thirde [and fourth] book of the faerie queene]. Pp. [1–2], [i–vi] vii–viii, 529–1044, [1–4]. Labelled on spine in part ‘Books III [cross symbol] IV’.

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[3] [The fifth [and sixth] book of the faerie queene]. Pp. [1–2], [i–vi] vii–viii, 1045–1546 [1547–1554], [1–4]. Labelled on spine in part ‘Books V [cross symbol] VI’. 1679 The letterpress Shakespeare, Troilus and Cressida. Dark red two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, Troilus and Cressida, edited by Kenneth Muir. 355 × 257 × 22 mm. Pp. [i–ii], [1–11] 12–120 [121–122]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed by The Logan Press on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark red Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark red endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by the Clarendon Press in 1982. [2] William Shakespeare, Troilus and Cressida, edited by Kenneth Muir. 222 × 142 × 25 mm. Pp. [i–vi] vii [viii], 1–205 [206–216]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2010 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark red buckram with paper label on front board; dark red endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark red. Available to purchase separately in 2016. 1680 The letterpress Shakespeare, the winter’s tale. Dark green two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, the winter’s tale, edited by Stephen Orgel. 355 × 257 × 20 mm. Pp. [i–ii], [1–11] 12–110 [111–114]. Type: Baskerville with Caslon for display. Typeset by Typostudio SchumacherGebler. Printed by Offizin Haag-Drugulin on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark green Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark green endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by the Clarendon Press in 1996. [2] William Shakespeare, the winter’s tale, edited by Stephen Orgel. 222 × 143 × 31 mm. Pp. [i–iv] v–viii, 1–295 [296]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2011 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark green buckram with paper label on front board; dark green endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark green. Available to purchase separately in 2016. 1681 The far side of the world, Patrick O’Brian. 228 × 163 × 36 mm. Pp. [i–iv] v–x [xi–xii], [1–2] 3–323 [324]: [6] leaves of colour plates (between pp. 84–85, 164–165 and 260–261). Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in gold, black, orange, orange-brown and white with a design by Neil Gower. Pale blue endleaves printed with map by Gower. Blue slip case. Gower also supplied route maps on pages [175] and [291]. Tenth in Folio’s Aubrey-Maturin series. ¶ Second printing: 2014.

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1682 The reverse of the medal, Patrick O’Brian. 228 × 163 × 30 mm. Pp. [i–iv] v–ix [x–xii], [1–2] 3–242 [243–244]: [6] leaves of colour plates (between pp. 68–69, 132–133 and 212–213). Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in gold, black, white and brown with a design by Neil Gower. Pale blue endleaves printed with map by Gower. Blue slip case. Eleventh in Folio’s Aubrey-Maturin series. 1683 Five days in London, May 1940, John Lukacs, introduction by Philip Ziegler. 229 × 160 × 24 mm. Pp. [i–v] vi–xxii [xiii–xiv], [1] 2–190 [191–192]: [9] leaves of plates (facing p. [iii] and between pp. 56–57 and 120–121). Type: Scala with Gill Sans for display. Printed by Martins of Berwick. Bound by Hunter and Foulis in full pale green cloth printed with image of Winston Churchill in black; flecked dark grey endleaves. Flecked dark grey slip case. The plates primarily reproduce photographs taken in the month focused on. ¶ Second printing: 2011. The plates now facing p. [iii] and between pp. 40–41, 88–89, 120–121 and 152–153, as originally intended. ¶ Third printing: 2012. 1684 Medieval civilisation, 400-1500, Jacques Le Goff, translated by Julia Barrow, introduced by Umberto Eco. Maps by Reginald Piggott. 254 × 176 × 43 mm. Pp. [i–iv] v–xxiv [xxv–xxxvi], [1–2] 3–409 [410–412]: [17] leaves of colour plates. Type: Plantin. Printed by Martins of Berwick. Quarter bound by Hunter and Foulis in black leather with paper boards printed and blocked with design by Gavin Morris, illustrated by Joe McLaren; pale brown endleaves. Dark green slip case. Plates reproduce photographs of buildings, paintings, manuscripts and other antiquities. Piggott has supplied maps on pages [xxvi–xxxvi], [8–9], [22], [42], [48], [61], [71], [74], [86], [88], [102–103] and [112]. 1685 Richard Dawkins, the selfish gene. 240 × 160 × 39 mm. Pp. [i–vii] viii–xxxi [xxxii], [1] 2–367 [368]: [12] leaves of colour plates (between pp. 80–81, 160–161 and 240–241). Type: Sabon with Optima for display. Printed and bound by T.J. International in full black cloth blocked with design by Neil Gower. Gold endleaves. Gold slip case. Photographs of the natural world are reproduced in the plates. The text follows that of the 2006 30th anniversary edition by Oxford University Press. ¶ Second printing: 2012. 1686 Virginia Woolf, Mrs Dalloway, introduction by Michael Cunningham, illustrations by Lizzy Stewart. 240 × 160 × 24 mm. Pp. [i–iv] v–xvii [xviii–xx], [1–2] 3–185 [186–188]: [9] leaves of colour plates (facing pp. [iii], 29, 44, 93, 108, 125, 140, 157 and 172). Type: Bell. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full cloth printed with design by Stewart. Pale brown endleaves. Brown slip case. A map of mid-1920s central London is included on pages [xviii–xix]. 1687 What Katy did, by Susan Coolidge, introduced by Amanda Craig, illustrated by Deanna Staffo. 228 × 147 × 23 mm. Pp. [i–ix] x–xvi, [1–5] 6–153 [154–160]: [8] leaves of colour plates (facing pp. [iii], 49, 64, 80, 97, 112, 129 and 144). Type: Goudy with Goudy Ornate for display. Printed by Martins of Berwick. Bound by Hunter and Foulis in full pink buckram blocked in gold and dark blue with design by Staffo; dark pink endleaves. Dark blue slip case. 1688 James Fenimore Cooper, the last of the Mohicans, a narrative of 1757, [quotation from The merchant of Venice], introduced by Sarah Churchwell, illustrated by Robert Hunt. 240 × 175 × 38 mm. Pp. [i–vi] vii–xiv [xv–xviii], [1–2] 3–389 [390]: [11] leaves of colour plates (facing pp. [iii], 46, 110, 127, 175, 190, 238, 270, 318, 335 and [390]). Type: Miller. Printed by Martins of Berwick. Bound by Hunter and Foulis in full dark orange cloth blocked

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in black and gold with design by Hunt; flecked dark brown endleaves. Black slip case. Illustrated by oil paintings. 1689 Walter Scott, Waverley; or, ’Tis sixty years since, [quotation from Henry IV, part II], introduced by Alasdair Gray, illustrated by Ben Cain. 228 × 163 × 43 mm. Pp. [i–v] vi–xxxiv [xxxv–xxxvi], [1–3] 4–491 [492]: [12] leaves of colour plates. Type: New Caledonia. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full black buckram blocked in gold and green with design by Cain; green-grey endleaves. Green-grey slip case. 1690 The black tulip, by Alexandre Dumas [ornament] translated by Robin Buss, introduced by Peter Conrad, illustrated by Portia Rosenberg. 229 × 149 × 28 mm. Pp. [i–iv] v–xv [xvi], [1–2] 3–252 [253–254]: [9] leaves of plates (facing pp. 38, 62, 80, 101, 151, 157, 185, 213 and 249). Type: Janson. Printed and bound by T.J. International in quarter blue buckram with paper boards printed with a Dutch tile design by Rosenberg. Pale blue endleaves. Black slip case. ¶ Second printing: 2012. 1691 The complete Greek tragedies. 252 × 176 × 38–42 mm. 5 vols (see below). Type: Centaur. Printed by Engelhardt und Bauer. Bound by Schumacher in full orange-brown buckram blocked in black and gold with design (different for each volume) by Francis Mosley; black endleaves. Orange-brown five-volume slip case decorated and titled (as above). The plates reproduce photographs of oil paintings and marble statues. The five volumes are as follows: I . . . Aeschylus, the Oresteia, translated by Richmond Lattimore, Agamemnon, the libation bearers, the Eumenindes, the suppliant maidens, translated by Seth G. Benardete, the Persians, translated by Seth G. Benardete, seven against Thebes, translated by David Grene, Prometheus bound, translated by David Grene, edited by David Grene and Richmond Lattimore, preface by Ruth Padel. Pp. [i–iv] v–xv [xvi], [1–2] 3–381 [382–384]: [8] leaves of colour plates (facing pp. [iii], [39], [101], [145], [187], [233], [279] and [329]). II . . . Sophocles, the Theban plays, translated by David Grene, Oedipus the king, Oedipus at Colonus, Antigone, Ajax, translated by John Moore, the women of Trachis, translated by Michael Jameson, Electra, translated by David Grene, Philoctetes, translated by David Grene, edited by David Grene and Richmond Lattimore, preface by Simon Goldhill. Pp. [i–iv] v–xv [xvi], [1–2] 3–491 [492–496]: [8] leaves of colour plates (facing pp. [iii], [13], [85], [167], [223], [289], [351] and [423]). III . . . Euripides I, Rhesus, translated by Richmond Lattimore, the Trojan women, translated by Richmond Lattimore, Hecuba, translated by William Arrowsmith, Andromache, translated by John Frederick Nims, Helen, translated by Richmond Lattimore, the Cyclops, translated by William Arrowsmith, edited by David Grene and Richmond Lattimore, preface by Lawrence Norfolk. Pp. [i–iv] v–xv [xvi], [1–2] 3–358 [359–360]: [7] leaves of colour plates (facing pp. [iii], [1], [49], [107], [181], [237] and [315]). IV . . . Euripides II, Iphigenia in Aulis, translated by Charles R. Walker, Electra, translated by Emily Townsend Vermeule, Orestes, translated by William Arrowsmith, Iphigenia in Tauris, translated by Witter Bynner, introduced by Richmond Lattimore, Medea, translated by Rex Warner, Hippolytus, translated by David Grene, edited by David Grene and Richmond Lattimore, preface by Germaine Greer. Pp. [i–iv] v–xv [xvi], [1–2] 3–462 [463–464]: [7] leaves of colour plates (facing pp. [iii], [1], [99], [161], [265], [337] and [395]).

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V . . . Euripides III, Alcestis, translated by Richmond Lattimore, Ion, translated by Ronald Frederick Willetts, Heracles, translated by William Arrowsmith, the Heracleidae, translated by Ralph Gladstone, the Phoenician women, translated by Elizabeth Wyckoff, the suppliant women, translated by Frank Jones, the Bacchae, translated by William Arrowsmith, edited by David Grene and Richmond Lattimore, preface by Peter Stothard. Pp. [i–iv] v–xv [xvi], [1–2] 3–471 [472]: [8] leaves of colour plates (facing pp. [iii], [1], [57], [141], [217], [265], [337] and [389]). 1692 The trial, by Franz Kafka, translated by Idris Parry, introduced by John Banville, illustrated by Bill Bragg. 228 × 160 × 26 mm. Pp. [i–iv] v–xv [xvi–xviii], [1–2] 3–197 [198]: [7] leaves of colour plates (facing pp. [iii], 14, 63, 78, 95, 127 and 182). Type: Elysium. Printed by Martins of Berwick. Bound by Hunter and Foulis in full paper printed with design by Bragg; brown endleaves. Black slip case. 1693 Geoffrey Chaucer, Troilus & Criseyde, Eric Gill. Black buckram two-volume clamshell box, spine titled (as above) in gold. Facsimile of the Golden Cockerel Press edition (1927). The two volumes are as follows: [1] Troilus and Criseyde, by Geoffrey Chaucer, edited by Arundell del Re, with wood engravings by Eric Gill. [facsimile]. 318 × 198 × 51 mm. Pp. [1–2], [i–iv] v–xi [xii], [1] 2–309 [310–314]. Printed in red, blue and black by Memminger MedienCentrum. Bound by Real Lachenmaier in full black goatskin leather blocked in gold with a design by Neil Gower derived from the Gill engraving on page [112]. Gilded edges. Dark blue endleaves. The edition statement reads in part ‘limited to 1250 numbered copies for sale to members of The Folio Society, and 25 lettered copies which are not for sale’. Initials are printed in colour, alongside the five section breaks and a portion of text on page 296. [2] The Golden Cockerel Press Troilus and Criseyde, essays by Roderick Cave and Barry Windeatt. 317 × 205 × 9 mm. Pp. [1–6] 7–48. Type: Perpetua. Printed by Memminger MedienCentrum and bound by Real Lachenmaier in quarter black buckram. Dark blue paper boards with printed paper label on front. Cave’s is a new article while Windeatt’s essay was first published as an introduction to his Clarendon Press translation of the poem from 1992. 1694 Eric Ambler, the mask of Dimitrios, introduced by Simon Winder, illustrated by Paul Blow. 229 × 160 × 26 mm. Pp. [i–vi] vii–xiv [xv–xvi], 1–232: [8] leaves of colour plates (facing pp. [iii], 32, 49, 80, 112, 160, 193 and 208). Type: Photina. Printed by Martins of Berwick. Bound by Hunter and Foulis in full red buckram blocked in black and cream with design by Blow; red endleaves. Black slip case. ¶ Second printing: 2013, bound by T.J. International. 1695 Ivan Turgenev, first love, translated by Isaiah Berlin, introduced by Robert Dessaix, illustrated by Anna and Elena Balbusso. 279 × 185 × 17 mm. Pp. [1–2], [i–iv] v–xiv [xv–xvi], [1–2] 3–74 [75–78]: [6] leaves of colour plates (facing pp. [iii], 7, 18, 43, 54 and 66). Type: Goudy. Printed and bound by Grafos in full dark red cloth blocked in gold and dark orange with a design by twin sisters Anna and Elena Balbusso; gold endleaves. Gold slip case. The illustrators combined acrylics with digital techniques to create the full-page images. The binding design was used to create notebooks, with ruled paper, for marketing campaigns and events. With the spine reading ‘A Folio Notebook’ in gold, the dimensions were reduced to 215 × 130 × 17 mm. 1696 The Bible, with the Apocrypha, King James version. 280 × 192 × 63–68 mm. Type: Swift. Typeset by Cambridge University Press with red ink for chapter and page numbers plus running titles and chapter headings. Bound by Real Lachenmaier in full blue-grey goatskin leather blocked in gold with a design by Stephen Raw. Gilded edges. Blue-grey endleaves. Two-volume wooden slip case covered in dark blue-grey buckram titled (as above), and lined with cream artificial silk with a tray loosely inserted at the bottom to aid

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the sliding in and out of the volumes. Leaf preceding the title-pages reads in part ‘limited to one thousand copies for sale to members of The Folio Society, and twenty lettered copies which are not for sale’. As item 1451 but now in two volumes which are as follows: [1] . . . From Genesis to Solomon. Pp. [1–2], [i–v] vi–xxxv [xxxvi], [1–2] 3–884, [1–6]. [2] . . . From Isaiah to Revelation. Pp. [1–2], [i–v] vi, 885–1868. 1697 Blaise Pascal, pensées, translated with an introduction by A.J. Krailsheimer, introduced by T.S. Eliot. 228 × 161 × 39 mm. Pp. [i–v] vi–xlvii [xlviii–lii], [1–3] 4–368 [369–372]: [9] leaves of colour plates (facing pp. [iii], 44, 60, 140, 156, 220, 236, 316 and 332. Type: Janson. Printed by Martins of Berwick. Bound by Hunter and Foulis in full black buckram blocked in gold with a design by Gavin Morris and drawn by Neil Gower; gold endleaves. Black slip case. The illustrations reproduce seventeenth-century oil paintings. 1698 Letters to Vicky, the correspondence between Queen Victoria and her daughter Victoria, Empress of Germany, 1858–1901, selected and introduced by Andrew Roberts. 252 × 162 × 50 mm. Pp. [i–vii] viii–xxxiv, [1–3] 4–749 [750]: [13] leaves of plates and [1] folded leaf. Type: Walbaum. Printed by Himmer. Bound by Real Lachenmaier in full blue buckram blocked in red and gold with design by Neil Gower; red endleaves. Dark blue slip case. The leaf at the back runs to over a metre in length when fully extended and contains genealogical tables for Queen Victoria’s family and the one her eldest daughter married into. 1699 The lantern bearers, Rosemary Sutcliff, introduced by Penelope Lively, illustrated by Roman Pisarev. 235 × 170 × 26 mm. Pp. [i–iv] v–xv [xvi], 1–240: [12] leaves of plates. Type: Palatino. Printed and bound by T.J. International. Full brown cloth blocked in silver, cream and black with design by Pisarev; brown endleaves. Black slip case. A map by Neil Gower is on page [xvi]. ¶ Second printing: 2012. 1700 The Dorothy L. Sayers mysteries collection. 229 × 152 × 23–32 mm. 4 vols (see below). Type: Ehrhardt with Odessa for display. Printed and bound by L.E.G.O. in full green-blue cloth printed in black and blocked in gold with a design by Natacha Ledwidge; blue-green endleaves. Pale blue four-volume slip case decorated and titled (as above). The binding illustration is different for each volume. In addition to the plates, Ledwidge has supplied occasional tail-pieces drawn in pen and ink. The four volumes are as follows: [1] Dorothy L. Sayers, whose body?, introduced by P.D. James, illustrated by Natacha Ledwidge. Pp. [i–vi] vii–xx [xxi–xxii], [1–2] 3–168 [169–172]: [7] leaves of plates (facing pp. [iii], [28], [56], [78], [113], [133] and [150]). First published 1923. [2] Dorothy L. Sayers, unnatural death, illustrated by Natacha Ledwidge. Pp. [i–iv] v [vi], [1–4] 5–242 [243–244]: [7] leaves of plates (facing pp. [iii], [43], [68], [127], [152], [192] and [226]). First published 1927. [3] Dorothy L. Sayers, five red herrings, illustrated by Natacha Ledwidge. Pp. [i–iv] v–vi [vii–x], [1–2] 3–319 [320]: [7] leaves of plates (facing pp. [iii], [59], [101], [148], [181], [231] and [281]). A map of Galloway on pages [viii–ix] was redrawn by Neil Gower. First published 1931. [4] Dorothy L. Sayers, busman’s honeymoon, [quotation from A midsummer night’s dream], illustrated by Natacha Ledwidge. Pp. [i–iv] v [vi–viii], [1–4] 5–367 [368–370]: [7] leaves of plates (facing pp. [iii], [88], [131], [169], [210], [270] and [326]). First published 1937.

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1701 The letterpress Shakespeare, all’s well that ends well. Dark green two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, all’s well that ends well, edited by Susan Snyder. 355 × 256 × 20 mm. Pp. [i–ii], [1–11] 12–103 [104–106]. Type: Baskerville with Caslon for display. Typeset and printed by Gloucester Typesetting Services on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark green Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark green endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by the Clarendon Press in 1993. [2] William Shakespeare, all’s well that ends well, edited by Susan Snyder. 222 × 142 × 28 mm. Pp. [i–iv] v–ix [x], 1–245 [246]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2011 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark green buckram with paper label on front board; dark green endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark green. Available to purchase separately in 2016. 1702 The letterpress Shakespeare, measure for measure. Dark green two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, measure for measure, edited by N.W. Bawcutt. 355 × 256 × 20 mm. Pp. [i–ii], [1–11] 12–100 [101–102]. Type: Baskerville with Caslon for display. Typeset by Typostudio SchumacherGebler. Printed by Offizin Haag-Drugulin on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark green Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark green endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by the Clarendon Press in 1991. [2] William Shakespeare, measure for measure, edited by N.W. Bawcutt. 222 × 142 × 30 mm. Pp. [i–iv] v–ix [x], 1–255 [256–262]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2011 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark green buckram with paper label on front board; dark green endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark green. Available to purchase separately in 2016. 1703 A history of Europe. By H.A.L. Fisher. Maps by Reginald Piggott. 239 × 162 × 42 mm. 3 vols (see below). Type: Fournier. Printed by Nomos. Bound by Schumacher in dark blue buckram blocked in gold; dark blue endleaves. Dark blue three-volume slip case pasted with a reproduction of an oil painting by van Kessel. The three volumes are as follows: I A history of Europe, I, ancient and medieval, H.A.L. Fisher. Pp. [i–iv] v–xxv [xxvi–xxviii], 1–430 [431–436]: [13] leaves of colour plates. Maps by Piggott are included on pages [18–19], [46–47], [70–71], [154–155] and [310–311]. II A history of Europe, II, Renaissance, Reformation, reason, H.A.L. Fisher. Pp. [i–iv] v–x [xi–xiv], 1–377 [378]: [13] leaves of colour plates. Maps by Piggott are included on pages [102–103], [140–141], [190–191], [300–301] and [322–323].

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III A history of Europe, III, the liberal experiment, H.A.L. Fisher. Pp. [i–iv] v–xii [xiii–xviii], 1–484 [485–486]: [13] leaves of colour plates. Maps by Piggott are included on pages [4–5], [70–71], [194–195], [330–331] and [406–407]. 1704 Primo Levi, the periodic table, translated from the Italian by Raymond Rosenthal, introduced by Ian Thomson. Illustrated by Mark Smith. 228 × 174 × 25 mm. Pp. [i–ix] x–xv [xvi], [1–5] 6–193 [194–200]: [8] leaves of colour plates (facing pp. [iii], 32, 49, 81, 129, 144, 160 and 177). Type: Minion with Gill Sans Display. Printed and bound by T.J. International in pale grey cloth blocked in blue, green and grey with design by Smith; green endleaves. Green slip case. 1705 The man who mistook his wife for a hat, Oliver Sacks, illustrated by Martin O’Neill. 240 × 161 × 25 mm. Pp. [i–v] vi–xiv [xv–xvi], [1–3] 4–221 [222–224]: [9] leaves of colour plates (facing pp. [iii], 32, 65, 80, 96, 113, 129, [144] and 176). Type: Sabon. Printed and bound by T.J. International. Full cloth printed with collage design by O’Neill; blue-grey endleaves. Dark blue slip case. 1706 Livy, the war with Hannibal, translation by J.C. Yardley, introduction and notes by Dexter Hoyos, preface by Alessandro Barbero. 252 × 177 × 53 mm. Pp. [i–vi] vii–lii [liii–liv], 1–762: [11] leaves of colour plates. Type: Poliphilus. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. Series binding (item 1293); pale brown endleaves with map by Reginald Piggott in dark brown. Dark brown slip case. 1707 Irish myths and legends, Lady Gregory, with a preface by W.B. Yeats, introduced by Colm Tóibín, illustrated by Jillian Tamaki. 252 × 176 × 39 mm. Pp. [i–iv] v–xxix [xxx], [1–2] 3–351 [352–354]: [13] leaves of plates. Type: Garamond. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter green-brown leather. Pale brown paper boards blocked with design in black, white and gold by Tamaki; brown endleaves. Brown slip case. 1708 Disgrace, J.M. Coetzee, introduction by Christopher Hope, illustrations by Andrew Gibson. 228 × 162 × 26 mm. Pp. [i–iv] v–xiv, [1–2] 3–205 [206–210]: [8] leaves of colour plates (facing pp. [iii], 51, 66, 98, 131, 146, 179 and 194). Type: Dante. Printed and bound by L.E.G.O. in full pale brown cloth printed with a design in black and brown by Gibson; pale brown endleaves. Black slip case. This is the first book illustrated by Gibson for Folio and he responds brilliantly to this disturbing novel. 1709 The Sun King, Nancy Mitford, introduction by Roy Strong. 280 × 188 × 28 mm. Pp. [i–vi] vii–xxi [xxii– xxvi], 1–246. Type: Fournier. Printed and bound by Firmengruppe APPL in full blue buckram blocked in white and gold with a design by Neil Gower; gold endleaves. Gold slip case. Liberally illustrated throughout. A map of France is on page [xxiv]. 1710 The First World War. 252 × 177 × 36–37 mm. 2 vols (see below). Type: Utopia. Printed by Martins of Berwick. Bound by Hunter and Foulis in full green cloth blocked in silver and black with a different design for each volume by Gavin Morris and illustrated by Joe McLaren; dark grey endleaves. Mottled grey two-volume slip case blocked in silver and black with a third image. Contemporary photographs are reproduced in all but one of the plates and copious maps are included, drawn by Tim Aspden from Martin Gilbert’s drafts. The two volumes are as follows: [1] The First World War, from the origins of the war to Verdun and the Somme, 1914–1916, Martin Gilbert, with a new introduction by the author. Pp. [i–v] vi–xxviii [xxix–xxxviii], [1] 2–345 [346]: [13] leaves of plates.

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[2] The First World War, the widening war to remembrance and aftermath, 1917–1919, Martin Gilbert. Pp. [i–vii] viii–ix [x–xx], [347] 348–708 [709–710]: [9] leaves of plates. ¶ Second printing: 2012. ¶ Third printing: 2014. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. 1711 The Second World War. 252 × 177 × 41–44 mm. 2 vols (see below). Type: Utopia. Printed by Martins of Berwick. Bound by Hunter and Foulis in full blue cloth blocked in silver and dark blue with a different design for each volume by Gavin Morris and illustrated by Joe McLaren; dark blue endleaves. Mottled grey two-volume slip case blocked in silver and dark blue with a third image. Contemporary photographs are reproduced in all but one of the plates and copious maps are included. The two volumes are as follows: [1] The Second World War, from the coming of war to Alamein and Stalingrad, 1939–1942, Martin Gilbert, with a new introduction by the author. Pp. [i–v] vi–xxi [xxii–xliv], [1] 2–453 [454], [1–6]: [21] leaves of plates. [2] The Second World War, from Casablanca to post-war repercussions, 1943–1945, Martin Gilbert. Pp. [i–vii] viii–xi [xii–xxxiv], [455] 456–972: [13] leaves of plates. ¶ Second printing: 2012. ¶ Third printing: 2014. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. 1712 Mark Twain, collected stories. 228 × 150 × 29–30 mm. 3 vols (see below). Type: Deepdene. Printed and bound by L.E.G.O. in full cream buckram printed with designs by Roger Fereday; dark red endleaves. Dark red three-volume slip case decorated and titled (as above). The binding illustration is different for each volume. The three volumes are as follows: I Collected stories, volume I, by Mark Twain, introduced by Robert McCrum, illustrated by Roger Fereday. Pp. [i–iv] v–xiv, [1–2] 3–288: [9] leaves of plates (facing pp. [iii], 30, 47, 87, 96, 138, 182, 221 and 266). Contains 28 tales, dating from 1865 to 1891. II Collected stories, volume II, by Mark Twain, illustrated by Roger Fereday. Pp. [i–iv] v [vi], [1–2] 3–269 [270–272]: [9] leaves of plates (facing pp. [iii], 12, 58, 70, 75, 124, 163, 185 and 204). Contains 11 tales, dating from 1893 to 1902. III Collected stories, volume III, by Mark Twain, illustrated by Roger Fereday. Pp. [i–iv] v [vi], [1–2] 3–288: [9] leaves of plates (facing pp. [iii], 31, 59, 84, 130, 145, 179, 182 and 188). Contains eight tales, dating from 1902 to 1916. ¶ Second printing: 2012. 1713 The letter of marque, Patrick O’Brian. 228 × 162 × 30 mm. Pp. [i–iv] v–vii [viii–x], [1–2] 3–261 [262]: [6] leaves of colour plates (between pp. 54–55, 134–135 and 230–231). Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in gold, black, white and grey with a design by Neil Gower. Pale blue endleaves printed with map by Gower. Blue slip case. Gower also supplied a battle plan on pages [180–181]. Twelfth in Folio’s Aubrey-Maturin series. 1714 The thirteen-gun salute, Patrick O’Brian. 228 × 162 × 32 mm. Pp. [i–iv] v–vii [viii–x], [1–2] 3–293 [294]: [6] leaves of colour plates (between pp. 86–87, 182–183 and 246–247). Type: Baskerville. Printed by

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Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in gold, black, white and pale blue with a design by Neil Gower. Pale blue endleaves printed with map by Gower. Blue slip case. Gower also supplied a plan on page [273]. Thirteenth in Folio’s Aubrey-Maturin series. 1715 Eric Newby, a short walk in the Hindu Kush, introduced by Richard E. Grant, afterword by Hugh Carless. 241 × 163 × 27 mm. Pp. [i–vi] vii–ix [x–xvi], 1–232: [9] leaves of plates. Type: Sabon. Printed and bound by L.E.G.O. in full pale brown cloth blocked in cream, pale blue and black with a striking illustration by Neil Gower based on a design by Gavin Morris; pale brown endleaves. Dark brown slip case. The plates reproduce photographs from Newby’s collection. 1716 On the best state of a commonwealth and on the new island of Utopia, a truly golden handbook, no less beneficial than entertaining, by the most distinguished and eloquent author Thomas More, citizen and undersheriff of the famous City of London, translated and edited by George M. Logan and Robert M. Adams, introduced by Peter Ackroyd, illustrated by Adam Simpson. 228 × 148 × 24 mm. Pp. [i–ix] x–xv [xvi], [1] 2–159 [160]: [8] leaves of colour plates (facing pp. [iii], 16, 33, 40, 49, 64, 81 and 96). Type: Scala. Printed and bound by L.E.G.O. in quarter green buckram with paper boards printed with design by Simpson; green-grey endleaves. Green-grey slip case. Adam Simpson’s witty illustrations, incorporating words from the text, are an inspired choice. 1717 The darling buds of May, H.E. Bates, introduced by Ian Jack, illustrated by Alice Tait. 228 × 150 × 21 mm. Pp. [i–iv] v–xv [xvi], 1–139 [140–144]: [7] leaves of colour plates (facing pp. [iii], 17, 33, 48, 65, 80 and 128). Type: Bembo. Printed and bound by Beltz. Full white cloth printed with design by Tait; orange endleaves. Purple-blue slip case. 1718 Candide or optimism, by Voltaire, translated by Tobias Smollett, introduced by Julian Barnes, illustrated by Quentin Blake. 266 × 222 × 27 mm. Pp. [1–6] 7–204 [205–208]. Type: Garamond. Printed by Grammlich and bound by Beltz in full dark purple Nigerian goatskin leather blocked in gold with a design based on Blake’s distinctive handwriting; dark grey endleaves. Dark grey slip case blocked in gold with enlargement of Blake’s titling. The edition statement reads in part ‘limited to 1000 copies for sale to members of the Folio Society, and 25 lettered copies which are not for sale’. Blake has signed each one. The book contains 18 full-page colour illustrations and over 20 pen-and-ink drawings. ¶ First printing reissued [i.e. second impression]: 2016. Now measuring 253 × 190 × 22 mm with pagination [1–4] 5–202 [203–208]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full grey cloth blocked in silver, blue and black with a design by Blake; black endleaves. Grey slip case. Printed without limitation in a reduced format with a new binding. 1719

Sharpe’s birds of paradise. 2 vols. The volumes are as follows:

[1] Monograph of the paradiseidæ, or birds of paradise, and ptilonorhynchidæ, or bower-birds, by R. Bowdler Sharpe . . . the plates, with a foreword by David Attenborough. 549 × 378 × 36 mm. [86] leaves. Photographed by James Robinson and reprographics by Dot Gradations. Printed by Firmengruppe APPL. Bound by Beltz in quarter dark green Nigerian goatskin leather. Dark green canvas boards blocked in red and gold with design by Neil Gower. Gilded top edge. Pale green endleaves. This edition has been reproduced from a copy held at The John Rylands Library, University of Manchester. Leaf preceding title-page reads in part ‘The edition is limited to one thousand numbered copies for sale to members of The Folio Society, and twenty lettered copies which are not for sale’. Dark green canvas slip case blocked in gold with titling decoration. First published by Henry Sotheran & Co. between 1891 and 1898.

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[2] Birds of paradise, monograph of the paradiseidae, or birds of paradise, and ptilonorhynchidae, or bower-birds, by Richard Bowdler-Sharpe, the text, introduced by Errol Fuller. 239 × 162 × 30 mm. Pp. [1–4] 5–288. Type: Bodoni. Printed and bound by Beltz in full dark green canvas with paper label on front board; green endleaves. Green slip case. Includes an appendix that was printed in 1898. 1720 Truman Capote, in cold blood, a true account of a multiple murder and its consequences, introduced by Rupert Thomson. 241 × 162 × 31 mm. Pp. [i–vii] viii–xiv [xv–xx], [1–5] 6–284: [13] leaves of plates. Type: Caslon. Printed and bound by L.E.G.O. in three-quarter black buckram with printed front board; black endleaves. Black slip case. The plates reproduce contemporary photographs. 1721 The Wars of the Roses, Desmond Seward, with a new preface by the author. 252 × 174 × 37 mm. Pp. [i–iv] v–xix [xx–xxii], 1–372 [373–378]: [13] leaves of colour plates (facing p. [iii] and between pp. 58–59, 170–171 and 250–251). Type: Janson. Printed and bound by L.E.G.O. in full black buckram blocked in green, red and white with a design by Gavin Morris, illustrated by Frances Button. Dark green endleaves. Dark green slip case. The plates primarily reproduce images from manuscripts and paintings. ¶ Second printing: 2012. ¶ Third printing: 2013. 1722 Eusebius, the history of the Church, from Christ to Constantine, translated by G.A. Williamson, revised, edited and with an introduction by Andrew Louth, preface by Rowan Williams, Archbishop of Canterbury. 252 × 162 × 42 mm. Pp. [i–iv] v–xliv, [1–2] 3–398 [399–404]: [13] leaves of colour plates (facing p. [iii] and between pp. 68–69, 180–181 and 292–293). Type: Baskerville. Printed by Martins of Berwick. Bound by Hunter and Foulis in full dark cream cloth blocked in gold, cream and black with design by Joe McLaren; dark cream endleaves printed with map by Reginald Piggott. Brown slip case. ¶ Second printing: 2012. 1723 Neal Ascherson, Black Sea, the birthplace of civilisation and barbarism, with a revised and updated foreword by the author. 240 × 161 × 30 mm. Pp. [i–vii] viii–xviii, [1–3] 4–283 [284–286]: [9] leaves of colour plates (facing p. [iii] and between pp. 78–79 and 190–191). Type: Minion. Printed and bound by Grafos in three-quarter black buckram blocked with front board papered with printed view of Istanbul; pale brown endleaves printed with map by Reginald Piggott. Brown slip case. ¶ Second printing: 2012. 1724 The ten most beautiful experiments, George Johnson, introduced by Michael Brooks. 227 × 150 × 23 mm. Pp. [i–vi] vii–xxxii, [1–2] 3–148 [149–152]: [8] leaves of plates (between pp. 16–17, 48–49, 64–65 and [96]– 97). Type: Iowan Oldstyle. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter dark yellow buckram with printed paper boards; endleaves printed with a collage design taken from a Galileo manuscript. Blue slip case. ¶ Second printing: 2014. 1725 Year round things to do, illustrated by Shirley Hughes, diagrams by W.E. Bland. 199 × 135 × 21 mm. Pp. [i–vi], [1–2] 3–213 [214–218]. Type: Caslon. Printed by Himmer. Bound by Real Lachenmaier in full plasticised paper printed with a design by Hughes; blue endleaves. Not issued in a slip case. Includes over a hundred black and white drawings by Hughes.

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1726 The Folio diary 2012. 200 × 147 × 14 mm. Pp. [1–120]. Type: Sabon. Printed and bound by Grafos in full plasticised paper printed with Paul Cézanne still life; endleaves printed with repeat broccoli design by Ian Beck. Not issued in a slip case. Free to members. Food themed illustrations face each week of the year. 1727 Albert Camus, the outsider, L’Étranger has also been published as The Stranger, with an afterword by Albert Camus, translated by Joseph Laredo, introduced by Damon Galgut, illustrated by Matthew Richardson. 241 × 162 × 17 mm. Pp. [i–iv] v–xiv, [1–4] 5–102 [103–106]: [7] leaves of colour plates (facing pp. [iii], 19, 34, 50, 67, 75 and 90). Type: Garamond. Printed and bound by L.E.G.O. in full paper printed with design by Richardson. Brown endleaves. Pale brown slip case. Richardson was commissioned through winning the inaugural Book Illustration Competition, which seeks to identify and promote new talent in illustration. Winner of the Book Cover category at the 2012 V&A Illustration Awards. 1728 The earth, an intimate history, Richard Fortey, with a new introduction by the author. 262 × 194 × 33 mm. Pp. [i–vii] viii–xiv [xv–xvi], [1–4] 5–416. Type: Minion. Printed and bound by Firmengruppe APPL in quarter dark grey buckram with paper boards; grey-green endleaves. Dark orange slip case. Illustrated throughout with colour photographs of the natural world and images from historical sources. 1729 The Getty apocalypse. Two-volume clamshell box bound in dark red buckram with spine titled (as above) in gold and black. The two volumes are as follows: [1] [Facsimile]. 327 × 229 × 21 mm. Pp. [1–84]. Photographed digitally by Dot Gradations. Printed and metallic foiled by Windles. Bound by Smith Settle in quarter dark red Nigerian goatskin leather with vegetable parchment boards blocked with a design by David Eccles. Endleaves partly reproduce the medieval manuscript’s original ones. The complete 82 pages of the J. Paul Getty Museum’s MS Ludwig III I are reproduced here. The final leaf reads in part ‘The edition is limited to 1000 numbered copies for sale to members of the Folio Society and 20 lettered copies which are not for sale’. A printed slip bearing notes on the care of leather is loosely inserted. [2] The Getty apocalypse, commentary, Nigel J. Morgan. 326 × 229 × 17 mm. Pp. [1–10] 11–136: [12] leaves of black and white plates (between pp. 32–33 and 112–113). Type: Centaur. Printed by Martins of Berwick. Bound by Hunter and Foulis in full red buckram blocked in gold. The Getty manuscript is missing a few leaves and the plates include scenes from a related Apocalypse (British Library, Add. MS 35166 ). 1730 The temple of flora, the flower plates. By Robert John Thornton. 29 unbound leaves of flower illustrations taken from the earlier limited edition. Their gathered dimensions being 565 × 445 × 7 mm. As item 1501 but issued in a dark green buckram portfolio titled (as above) in gold and secured with dark green ribbon. Accompanied by a loosely inserted sheet that reads in part ‘The flower plates from Robert Thornton’s The Temple of Flora are taken from the edition of 1980 copies published by The Folio Society in 2008.’ 1731 The restaurant at the end of the universe, by Douglas Adams, introduced by Adam Roberts, illustrated by Jonathan Burton. 228 × 149 × 23 mm. Pp. [i–iv] v–xvi, [1–8] 9–208: [8] leaves of colour plates (facing pp. [iii], 33, 48, 80, 112, 129, 176 and 193). Type: Sabon. Printed and bound by L.E.G.O. in full dark blue cloth flecked with metallic greens, blocked with design in gold and silver by Burton; metallic blue endleaves. Metallic blue slip case. ¶ Second printing: 2013. ¶ Third printing: 2017. ¶ Fourth printing: 2021. ¶ Fifth printing: 2022.

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1732 The midnight folk, John Masefield, introduction by Alison Lurie, illustrations by Sara Ogilvie. 228 × 161 × 26 mm. Pp. [i–iv] v–xii, [1–2] 3–198 [199–204]: [8] leaves of colour plates (facing pp. [iii], 21, 36, 84, 116, 133, 181 and 196). Type: Wilke. Printed and bound by L.E.G.O. in full dark purple buckram blocked in white and orange with design by Ogilvie; dark orange endleaves. Dark purple slip case. ¶ Second printing: 2012. ¶ Third printing: 2013. 1733 The call of the wild, Jack London, introduced by David Vann, illustrated by Abigail Rorer. 229 × 160 × 15 mm. Pp. [i–iv] v–xiv, [1–2] 3–91 [92]: [7] leaves of black and white plates (facing pp. 9, 18, 35, 41, 58, 72 and 89). Type: Perpetua. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue cloth blocked in silver and black with design by Rorer; dark blue endleaves. Blue slip case. ¶ Second printing: 2012. ¶ Third printing: 2013. ¶ Fourth printing: 2022. Bound by Josef Spinner. 1734 Simon Singh, Fermat’s last theorem, the story of a riddle that confounded the world’s greatest minds for 358 years, introduced by Ian Stewart. 240 × 161 × 27 mm. Pp. [i–vii] viii–xix [xx], [1–3] 4–239 [240–244]: [9] leaves of plates (facing p. [iii] and between pp. 52–53, 92–93, 132–133 and 172–173). Type: Baskerville. Printed and bound by T.J. International. Quarter blue cloth with paper boards printed with tiling design inspired by physicist Roger Penrose; dark blue endleaves. Red slip case. 1735 In a glass darkly, by Sheridan Le Fanu, introduction by Patrick McGrath, illustrations by Finn Campbell-Notman. 240 × 162 × 34 mm. Pp. [i–vi] vii–xv [xvi–xviii], [1–2] 3–314 [315–318]: [10] leaves of colour plates. Type: Bulmer. Printed and bound by Grafos. Three-quarter brown cloth with paper front board printed with design by Campbell-Notman; dark brown endleaves. Black slip case. The illustrations accompanying the five ghost stories are hand-drawn with pencil, scanned and digitally coloured. 1736 ‘Goblin market’ and selected poems, Christina Rossetti, introduced by Kathryn Hughes, illustrations by Jillian Tamaki. 262 × 192 × 18 mm. Pp. [i–iv] v–xix [xx], [1–2] 3–130 [131–134]: [11] leaves of colour plates (facing pp. [iii], 13, 18, 40, 48, 59, 75, 88, 96, 103 and 119). Type: Perpetua. Printed and bound by Firmengruppe APPL in three-quarter dark pink cloth with paper front board printed with design by Tamaki; dark pink endleaves. Purple slip case. Tamaki has also supplied vignettes of an apple, a lock of hair, a leaf, a bird and a planetary design. 1737 The Bhagavad Gita, translation by Juan Mascaró, introduction by Amit Chaudhuri, illustrations by Anna Bhushan. 279 × 185 × 19 mm. Pp. [i–iv] v–xix [xx–xii], [1–2] 3–96 [97–98]. Type: Perpetua. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter blue cloth with paper boards printed with design by Bhushan; dark blue endleaves printed with intricate design of small gold strokes. Dark blue slip case. Over 20 illustrations by Bhushan are in the text. ¶ Second printing: 2012. 1738 The crimson fairy book, edited by Andrew Lang, with an introduction by Carol Ann Duffy, paintings & decor ations by Tim Stevens. 253 × 192 × 50 mm. Pp. [i–iv] v–xviii, [1–2], 3–292 [293–296]: [16] leaves of plates. Type: Caslon with hand-drawn lettering for the title. Printed (the title-page in dark pink and black) by Memminger MedienCentrum. Bound by Real Lachenmaier in series binding (item 1124). Full dark pink cloth with a design by Stevens in blue, cream, black and gold; dark purple endleaves with a design in gold. Dark purple slip case. First published in 1903. The 36 stories are punctuated by additional pen-and-ink drawings by Stevens.

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¶ Second printing: 2012. 1739 Carlo Collodi, Pinocchio, the story of a puppet, translated from the Italian by Mary Alice Murray, introduced by David Almond, illustrated by Grahame Baker-Smith. 252 × 190 × 29 mm. Pp. [i–iv] v–xvii [xviii], [1–2] 3–196 [197–198]. Type: Centaur with Honduras display. Printed and bound by Firmengruppe APPL in three-quarter dark blue buckram with a paper front board printed with a design by Baker-Smith; wood-effect endleaves. Slip case papered with illustration of Pinocchio’s face in close-up. Baker-Smith’s striking, and occasionally discomforting, illustrations are found throughout. 1740 Thomas Pakenham, the scramble for Africa. 253 × 176 × 42–43 mm. 2 vols (see below). Type: Bulmer. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in three-quarter brown buckram with printed paper boards; flecked orange-brown endleaves. Black two-volume slip case titled (as above). The plates primarily reproduce contemporary photographs. The two volumes are as follows: [1] Thomas Pakenham, the scramble for Africa 1876–1912, [symbol to indicate first volume], introduced by Saul David. Pp. [i–iv] v–xlvii [xlviii], [1–2] 3–459 [460], [1–4]: [13] leaves of plates (facing p. [iii] and between pp. 96–97, 240–241 and 368–369). [2] Thomas Pakenham, the scramble for Africa 1876–1912, [symbol to indicate second volume]. Pp. [i–iv] v–xxv [xxvi], 461–951 [952–954: [13] leaves of plates (facing p. [iii] and between pp. 546–547, 690–691 and 802–803). 1741 Ripley, Patricia Highsmith. 228 × 162 × 29–30 mm. 3 vols (see below). Type: Aldus with Mahlau for display. Printed and bound by L.E.G.O. in full paper printed with designs by Tom Burns. Metallic grey three-volume slip case titled (as above). The binding illustration is different for each volume, with the ink matching the colour of the endleaves. The three volumes are as follows: [1] Patricia Highsmith, the talented Mr Ripley, introduction by John Banville, illustrated by Tom Burns. Pp. [i–v] vi–xi [xxii], [1–3] 4–269 [270–272]: [7] leaves of colour plates (facing pp. [iii], 52, 69, 84, 117, 132 and 228). Blue endleaves. [2] Patricia Highsmith, Ripley under ground, illustrated by Tom Burns. Pp. [i–vi], [1–5] 6–279 [280–282]: [7] leaves of colour plates (facing pp. [iii], 74, 91, 123, 170, 187 and 250). Dark green-grey endleaves. [3] Patricia Highsmith, Ripley’s game, illustrated by Tom Burns. Pp. [i–iv], [1–3] 4–269 [270–272]: [7] leaves of colour plates (facing pp. [iii], 77, 124, 141, 156, 204 and 221). Dark purple endleaves. 1742 Sebastian Haffner, the meaning of Hitler, translated by Ewald Osers, introduced by Mark Roseman. 228 × 160 × 23 mm. Pp. [i–vi] vii–xv [xvi], [1–2] 3–160: [7] leaves of plates (facing p. [iii] and between pp. 32–33, 80–81 and 128–129). Type: Palatino with Futura for display. Printed and bound by Grafos in full black buckram blocked in white and grey with an illustration of Adolf Hitler drawn by Gavin Morris; dark grey flecked endleaves. Black slip case. The plates reproduce black and white photographs, plus a watercolour painted by Hitler. ¶ Second printing: 2013. 1743 Over sea, under stone, Susan Cooper, with a new preface by the author, illustrated by Laura Carlin. 229 × 162 × 27 mm. Pp. [i–iv] v–ix [x], [1–4] 5–206: [8] leaves of colour plates (facing pp. [iii], 38, 70, 86, 103, 150, 183 and 198). Type: Elysium with Clairvaux for display. Printed and bound by Grafos in quarter

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green-blue buckram with paper boards printed with design by Carlin; dark grey endleaves. Dark grey slip case. First in The dark is rising series. 1744 V.S. Pritchett, the Camberwell beauty and other stories, selected and introduced by William Trevor, illustrated by Clifford Harper. 240 × 160 × 34 mm. Pp. [1–2], [i–vi] vii–xiii [xiv], [1–2] 3–387 [388–392]: [11] leaves of colour plates (facing pp. [iii], 17, 96, 144, 161, 209, 240, 257, 305, 320 and 352). Type: Goudy. Printed by Martins of Berwick. Bound by Hunter and Foulis in full green cloth printed in black and blocked in gold with design by Harper; dark green endleaves. Dark green slip case. Contains 25 short stories. 1745 Katharine M. Briggs, folk tales of Britain, legends. 240 × 163 × 45–46 mm. 3 vols (see below). Type: Miller. Printed by Himmer. Bound by Real Lachenmaier in full dark red buckram blocked in gold and black with a different design by Hannah Firmin for each volume; dark red endleaves. Dark red three-volume slip case (titled as above). Each volume is illustrated by a different artist. In addition to the plates, black and white illustrations accompany the text. The three volumes are as follows: I Folk tales of Britain, legends, volume I, collected and edited by Katharine M. Briggs, with a preface by Kevin Crossley-Holland, illustrated by Hannah Firmin. Pp. [i–iv] v–xiii [xiv], [1–2] 3–571 [572], [1–6]: [1] colour plate (facing p. [iii]). II . . . volume II, collected and edited by Katharine M. Briggs, illustrated by Peter Firmin. Pp. [i–iv] v [vi], [573–574] 575–1156, [1–2]: [1] colour plate (facing p. [iii]). III . . . volume III, collected and edited by Katharine M. Briggs, illustrated by Clare Melinsky. Pp. [i–iv] v [vi], [1157–1158] 1159–1751 [1752–1758]: [1] colour plate (facing p. [iii]). 1746 As I lay dying, by William Faulkner, introduced by William Gay, illustrations by Katherine Hardy. 228 × 150 × 25 mm. Pp. [i–vii] viii–xiii [xiv], [1–2] 3–194: [8] leaves of colour plates (facing pp. [iii], 19, 51, 98, 115, 131, 147 and 162). Type: Deepdene. Printed and bound by L.E.G.O. in three-quarter brown cloth with paper front board printed with design by Hardy; brown endleaves. Brown slip case. 1747 W. Somerset Maugham, of human bondage, introduced by Selina Hastings, illustrated by Michael Kirkham. 240 × 163 × 48 mm. Pp. [i–iv] v–xv [xvi], [1–2] 3–579 [580–584]: [12] leaves of colour plates. Type: Miller. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full grey buckram blocked in dark red, black and cream with a design by Kirkham. Dark red endleaves. Black slip case. 1748 René Descartes, meditations and other writings, translated and edited by Desmond M. Clarke, introduced by Nicholas Humphrey, illustrated by Shout. 240 × 160 × 32 mm. Pp. [i–vii] viii–xvi [xvii–xviii], [1–3] 4–282 [283–286]: [11] leaves of colour plates. Type: Garamond. Printed and bound by L.E.G.O. in quarter black buckram with paper boards printed with a design by Shout; dark red endleaves. Black slip case. Alessandro Gottardo is the person behind the imaginative illustrations. 1749 Travels into several remote nations of the world. In four parts, viz. I. A voyage to Lilliput. II. A voyage to Brobdingnag. III. A voyage to Laputa, Balnibarbi, Luggnagg, Glubbdubrib and Japan. IV. A voyage to the country of the Houynhnms. By Lemuel Gulliver, first a surgeon, and then a captain of several ships. _ _ retroq; vulgus abhorret ab his. Newly illustrated by Peter Suart. 331 × 250 × 45 mm. Pp. [i–iv], [1–6] 7–281 [282–286]. Type: Caslon. Printed by Martins of Berwick. Bound by The Fine Book Bindery in quarter vellum with hand-lettered spine by Stephen Raw blocked in gold. Brown-green paper boards blocked in gold and printed in red, cream and dark brown. Gilded top edge. Endleaves printed with repeat design in letterpress by The Logan Press. Brown

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clamshell box with red paper spine-label titled by Raw in gold. A limitation spread containing an etching printed by the Pauper’s Press is included at the front. Suart has also supplied tail-pieces and 17 tipped-in coloured illustrations printed by Dot Gradations. Leaf following end of text reads in part ‘limited to one thousand copies, signed and numbered by the artist on the etching, and thirty copies numbered in Roman numerals, which are hors commerce’. Winner in limited edition and fine binding category of the 2012 British Book Design and Production Awards. 1750 Cicero orations, translated with introductions and notes by D.H. Berry, preface by Peter Stothard, illustrations by Tom Phillips. 280 × 175 × 39 mm. Pp. [i–xxxviii], [1–4] 5–397 [398–402]: [9] leaves of colour plates (facing pp. [iii], 43, 58, 155, 170, 203, 218, 258 and 282). Type: Ehrhardt. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full purple cloth with two inset labels with a design by Phillips. Dark purple endleaves. Gold slip case. 1751 Austen Henry Layard, discoveries in the ruins of Nineveh and Babylon, with travels in Armenia, Kurdistan and the desert: being the result of a second expedition undertaken for the trustees of the British Museum, introduction by Andrew George. Maps and plans by Neil Gower. 252 × 178 × 50 mm. Pp. [i–iv] v–xxiii [xxiv], [1–2] 3–633 [634–640]: [17] leaves of colour plates. Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in cream, red and black with design by Neil Gower. Endleaves printed with images from Layard’s The monuments of Nineveh, second series (1849–1853). Red slip case. The plates reproduce a selection of Layard’s drawings and photographs of items from the British Museum’s Assyrian collection. In addition, black and white illustrations accompany the text throughout. Two maps and three plans redrawn by Gower are between pages [610–619]. 1752 Benjamin Cowburn, no cloak, no dagger, allied spycraft in occupied France, introduction by Giles Foden, illustrations by Geoff Grandfield. 240 × 161 × 24 mm. Pp. [i–iv] v–xvii [xviii–xx], [1–2] 3–187 [188]: [8] leaves of colour plates (facing pp. [iii], 13, 44, 76, 109, 124, 141 and 156). Type: Plantin. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full black buckram blocked in blue and silver with design by Grandfield; blue endleaves. Silver slip case. A map of France is on page [xix]. ¶ Second printing: 2012. 1753 Giles Milton, Big Chief Elizabeth, how England’s adventurers gambled and won the New World, with a new preface by the author. Maps by Reginald Piggott. 241 × 162 × 31 mm. Pp. [i–iv] v–xx [xxi–xxii], [1–2] 3–295 [296–298]: [9] leaves of plates (facing p. [iii] and between pp. 90–91 and 202–203). Type: Granjon with Gryphius for display. Printed and bound by L.E.G.O. in full pale blue cloth blocked in gold and dark blue with design by Gavin Morris, illustrated by Joe McLaren. Pale blue endleaves printed with map by Reginald Piggott. Dark blue slip case. Piggott has also supplied maps on pages [81] and [213]. 1754 Ivan Turgenev, on the eve, translated by Gilbert Gardiner, introduction by Hisham Matar, illustrations by Lauren Nassef. 279 × 185 × 24 mm. Pp. [1–2], [i–iv] v–xiii [xiv], [1–2] 3–172 [173–176]: [8] leaves of colour plates (facing pp. [iii], 8, 33, 68, 81, 128, 152 and 165). Type: Goudy. Printed and bound by Grafos in full pale blue cloth printed in black and blocked in gold with design by Nassef; gold endleaves. Gold slip case. 1755 On war, Carl von Clausewitz, edited and translated by Michael Howard and Peter Paret, foreword by Joanna Bourke, introductory essays by Peter Paret, Michael Howard, and Bernard Brodie, with a commentary by Bernard Brodie. 252 × 178 × 50 mm. Pp. [i–iv] v–lxxxv [lxxxvi], [1–2] 3–759 [760–762]: [17] leaves of colour plates. Type: Palatino. Printed and bound by Beltz in full black buckram with striking repeat design in silver and two

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shades of grey by Gavin Morris, illustrated by Joe McLaren; dark silver endleaves. Black slip case. The plates reproduce photographs of nineteenth-century oil paintings and lithographs. 1756 Ray Bradbury, fahrenheit 451, fahrenheit 451–the temperature at which book paper catches fire, and burns, introduced by Michael Moorcock, illustrated by Sam Weber. 240 × 148 × 22 mm. Pp. [i–iv] v–xix [xx–xxiv], [1–2] 3–152: [6] leaves of colour plates (facing pp. [iii], 24, 41, 88, 120 and 137). Type: Caslon with Railroad Gothic for display. Printed by Martins of Berwick. Bound by Hunter and Foulis in full grey buckram printed and blocked with design by Weber; red endleaves. Black slip case. Winner in literature category of the 2012 British Book Design and Production Awards. ¶ Second printing: 2012. ¶ Third printing: 2018. Printed and bound by L.E.G.O.

2012

2012 1757 In search of Schrödinger’s cat, John Gribbin, with a new afterword by the author, illustrated by Raymond Biesinger. 240 × 162 × 29 mm. Pp. [i–v] vi–xiii [xiv], [1] 2–272 [273–274]: [11] leaves of colour plates. Type: Photina with Bank Gothic for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in pale blue and dark blue with design by Biesinger; dark blue endleaves. Dark blue slip case printed with echo of binding design. In addition to the inventive plates, black and white diagrams accompany the text. 1758 Leon Garfield, Smith, introduced by Jamila Gavin, illustrated by Peter Bailey. 202 × 135 × 25 mm. Pp. [i–iv] v–xv [xvi], [1–4] 5–190 [191–192]: [8] leaves of colour plates (facing pp. [iii], 32, 48, 65, 81, 112, 129 and 177). Type: Baskerville. Printed and bound by Beltz. Three-quarter black buckram with paper front board printed and blocked with design by Bailey; pale brown endleaves printed with map in black. Pale brown slip case. 1759 Kingsley Amis, Lucky Jim, introduced by John Sutherland, illustrated by A. Richard Allen. 229 × 150 × 28 mm. Pp. [i–iv] v–xiii [xiv–xviii], 1–254: [7] leaves of colour plates (facing pp. [iii], 14, 31, 78, 95, 159 and 223). Type: Bembo. Printed by Martins of Berwick. Bound by Hunter and Foulis in full brown-orange cloth blocked in black and pale blue with design by Allen; brown endleaves. Dark brown slip case. ¶ Second printing: 2012. Printed and bound by Grafos. 1760 G.E.R. Lloyd, Greek science, introduced by Lewis Wolpert, illustrated by Adam Simpson. 252 × 174 × 37 mm. Pp. [i–v] vi–xxvi [xxvii–xxx], [1–3] 4–337 [338]: [13] leaves of colour plates. Type: Poliphilus. Printed by Martins of Berwick. Bound by Hunter and Foulis in three-quarter black buckram with paper front board printed with a striking design by Simpson; brown endleaves. Brown slip case. In addition to the plates, Reginald Piggott supplied one map on pages [xxviii–xxix] and a total of 43 diagrams illustrate the text. 1761 Margaret Atwood, the handmaid’s tale, with a new introduction by the author, illustrations by Anna and Elena Balbusso. 240 × 163 × 32 mm. Pp. [i–iv] v–xiv [xv–xviii], [1–2] 3–318: [7] leaves of colour plates (facing pp. [iii], 30, 62, 142, 174, 223 and 238). Type: Scala with PAG Revolucion for display. Printed and bound by Beltz in full pale grey cloth blocked in red, black and white with design by the artist sisters; pale red endleaves. Black slip case. ¶ Second printing: 2017. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. Pale red slip case. ¶ Third printing: 2017. ¶ Fourth printing: 2020. Bound by Josef Spinner. ¶ Fifth printing: 2022. 1762 Ryszard Kapuściński, travels with Herodotus, translated by Klara Glowczewska, photographs by Ryszard Kapuściński, preface by Margaret Atwood. 252 × 175 × 28 mm. Pp. [i–v] vi–xiii [xiv–xvi], [1], 2–231 [232]: [9] leaves of plates (facing p. [iii] and between pp. 32–33, 56–57, [144]–145 and [200]–201). Type: Arno Pro. Printed and bound by Grafos in three-quarter pale blue buckram with paper front board printed with photograph taken by Kapuściński; dark blue endleaves. Dark blue slip case. 1763 Serge Lancel, Carthage, a history, translated by Antonia Nevill, introduction by Richard Miles. 253 × 177 × 42 mm. Pp. [i–v] vi–xxxiv, [1–3] 4–397 [398]: [17] leaves of plates. Type: Dante. Printed by Memminger

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MedienCentrum. Bound by Real Lachenmaier in full dark grey buckram blocked with design in gold, black and brown by Neil Gower; brown endleaves. Brown slip case. Copious maps, plans and figures redrawn by Reginald Piggott are in the text alongside the plates of photographs. 1764 Mario Vargas Llosa, the war of the end of the world, with a foreword by the author, translated by Helen R. Lane, illustrated by Ben Cain. 253 × 163 × 46 mm. Pp. [i–iv] v–ix [x–xiv], [1–2] 3–682: [12] leaves of colour plates (facing pp. [iii], 66, 115, 130, 227, 242, 339, 354, 451, 466, 579 and 594). Type: Janson. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full pale brown buckram blocked with design in gold and brown by Cain; brown endleaves printed with maps of Brazil. Dark brown slip case. 1765 Chronicles, Raphael Holinshed, selections from the chronicles of England, Scotland and Ireland, first collected and published by Raphael Holinshed, William Harrison and others; augmented and continued to the year 1586 by John Hooker, Alias Vowell, gentleman and others, introduction and commentary by Michael Wood. 253 × 163 × 36 mm. Pp. [i–vi] vii–xii [xiii–xiv], 1–435 [436–442]. Type: Caslon. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full green buckram blocked in gold and printed in black; black endleaves. Black slip case. Illustrations from sixteenth-century woodcuts are in the text. 1766 Gerard Manley Hopkins, selected poems and prose, introduced by Ruth Padel, illustrated by Elizabeth Magill. 223 × 198 × 27 mm. Pp. [i–iv] v–xvii [xiii], [1–4] 5–253 [254]: [8] leaves of colour plates (facing pp. 6, 27, 36, 45, 66, 77, 87 and 92). Type: Bulmer. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full grey buckram with inset label of additional painting by Magill; dark grey endleaves. Dark grey slip case. Magill’s paintings are used to illustrate the section of poems. 1767 Ernst Jünger, storm of steel, translated by Michael Hofmann, introduced by Richard Vinen, illustrated by Neil Gower. 229 × 150 × 30 mm. Pp. [i–ix] x–xxviii, [1–5], 6–264 [265–268]: [8] leaves of colour plates (facing pp. [iii], 68, 85, 133, 148, 197, 212 and 244). Type: Sabon. Printed and bound by Grafos in full pale grey buckram blocked with design in black by Gower; pale grey endleaves. Black slip case. 1768 Molly Keane, good behaviour, introduced by Jane Gardam, illustrated by Debra McFarlane. 228 × 162 × 27 mm. Pp. [i–iv] v–xiii [xiv], [1–2] 3–226: [8] leaves of colour plates (facing p. [iii], 18, 35, 99, 114, 162, 179 and 211). Type: Perpetua. Printed and bound by T.J. International in full cambric grained paper with a design by McFarlane; blue endleaves. Blue slip case. 1769 Nathaniel Hawthorne, the house of the seven gables, introduced by Brenda Wineapple, illustrated by Francis Mosley. 228 × 161 × 29 mm. Pp. [i–vi] vii–xix [xx], [1–2] 3–278 [279–284]: [9] leaves of colour plates (facing pp. [iii], 45, 60, 93, 108, 141, 156, 204 and 236). Type: Garamond. Printed and bound by T.J. International in full cambric grained paper with a design by Mosley; cream endleaves. Black slip case. 1770 South Polar times. 13 vols (see below). Printed and bound by Grafos. The thirteen volumes are as follows: [1–12] South Polar times. [facsimiles]. 275 × 208 × 8–15 mm. Photographed by Dot Gradations. Bound in five shades of decorated card, the first eight issues in white, the next two in pale greys and the final two in brown-greys. Grey cloth box with magnetic clasp, dark green spine-label titled (as above) in cream and paper label with brief publication details. Limited to 1000 copies. Reproduced from the sole copies of the magazine held by the Royal Geographical Society (issues for April 1902, May 1902, June 1902, July 1902, August 1902, April 1903, June 1903 and August 1903), British Library (issues June 1911, September 1911 and October 1911) and Scott Polar Research Institute (issue June 1912). Page sizes have been made uniform and the covers

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restored where possible but the text and illustrations are reproduced as originally intended. Issued in the centenary of the death of Captain Robert Falcon Scott and his companions. [13] The South Polar times, commentary, Ann Savours. 282 × 214 × 25 mm. Pp. [i–v] vi–xx, [1–3] 4–220. Type: Walbaum. Full dark green cloth blocked with monogram design in cream; mottled grey endleaves. Dark green slip case. Illustrated with over 50 items in the text. 1771 The nutmeg of consolation, Patrick O’Brian. 229 × 162 × 34 mm. Pp. [i–iv] v–x [xi–xii], [1–2] 3–299 [300]: [6] leaves of colour plates (between pp. 84–85, 164–165 and 244–245). Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in gold, black, white and green with a design by Neil Gower. Pale blue endleaves printed with map by Gower. Blue slip case. Gower also supplied a plan on page [155]. Fourteenth in Folio’s Aubrey-Maturin series. 1772 Clarissa Oakes, Patrick O’Brian. 228 × 162 × 30 mm. Pp. [i–iv] v–vii [viii–x], [1–2] 3–242 [243–246]: [6] leaves of colour plates (between pp. 86–87, 150–151 and 214–215). Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in gold, black, white and grey with a design by Neil Gower. Pale blue endleaves printed with map by Gower. Blue slip case. Fifteenth in Folio’s Aubrey-Maturin series. 1773 Friedrich Nietzsche, thus spoke Zarathustra, a book for everyone and nobody, translated and edited by Graham Parkes, introduced by Jonathan Rée, illustrated by Peter Suart. 240 × 161 × 34 mm. Pp. [i–iv] v–xx, [1–2] 3–321 [322–324]: [8] leaves of colour plates (facing pp. [iii], 28, 45, 93, 108, 140, 188 and 205) and [1] folded leaf (facing p. [268]. Type: Warnock. Printed by Martins of Berwick. Bound by Hunter and Foulis in full black buckram blocked in gold, red and cream with design by Suart; red endleaves. Red slip case. The finale to Suart’s illustrations is a spectacular fold-out plate picturing Zarathustra’s ‘Ass Festival’. 1774 Natural history, Pliny the Elder. 253 × 163 × 40–43 mm. 5 vols (see below). Type: Bembo. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in three-quarter blue buckram with paper front board blocked in gold and printed with a different illuminated page design by Randy Apslund for each volume. Blue endleaves. Blue five-volume slip case titled (as above) in gold. The plates reproduce details of manuscripts created between the tenth and fifteenth centuries. The five volumes are as follows: I Pliny, natural history, preface and books 1–7, Vol. I, translated by H. Rackham, introduction by Anthony T. Grafton. Pp. [i–iv] v–xviii, [1–2] 3–379 [380–382]: [9] leaves of colour plates. II . . . books 8–16, Vol. II, translated by H. Rackham. Pp. [i–iv] v–x, 1–429 [430]: [13] leaves of colour plates. III . . . books 17–23, Vol. III, translated by H. Rackham and W.H.S. Jones. Pp. [i–iv] v–x, 1–384 [385–390]: [13] leaves of colour plates. IV . . . books 24–32, Vol. IV, translated by W.H.S. Jones. Pp. [i–iv] v–xi [xii], 1–354 [355–356]: [13] leaves of colour plates. V . . . books 33–37, Vol. V, translated by H. Rackham and D.E. Eichholz. Pp. [i–iv] v–ix [x], 1–421 [422]: [9] leaves of colour plates. 1775 The letterpress Shakespeare, King Henry VIII. Dark blue two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows:

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[1] William Shakespeare, King Henry VIII, or all is true, edited by Jay L. Halio. 355 × 257 × 22 mm. Pp. [i–ii], [1–7] 8–115 [116–118]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed by Stonehouse Fine Press on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark blue Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark blue endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by Oxford University Press in 2000. [2] William Shakespeare, King Henry VIII, or all is true, edited by Jay L. Halio. 222 × 143 × 27 mm. Pp. [i–iv] v–ix [x], 1–230. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2012 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark blue buckram with paper label on front board; dark blue endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark blue. Available to purchase separately in 2016. 1776 The letterpress Shakespeare, King John. Dark blue two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, King John, edited by A.R. Braunmuller. 355 × 256 × 21 mm. Pp. [i–ii], [1–11] 12–100 [101–102]. Type: Baskerville with Caslon for display. Typeset by Typostudio SchumacherGebler. Printed by Offizin Haag-Drugulin on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark blue Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark blue endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by the Clarendon Press in 1989. [2] William Shakespeare, the life and death of King John, edited by A.R. Braunmuller. 222 × 143 × 31 mm. Pp. [i–iv] v–ix [x], 1–303 [304–310]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2012 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark blue buckram with paper label on front board; dark blue endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark blue. Available to purchase separately in 2016. 1777 The letterpress Shakespeare, Timon of Athens. Dark red two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, Timon of Athens, edited by John Jowett. 355 × 257 × 19 mm. Pp. [i–ii], [1–7] 8–87 [88–90]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed by The Logan Press on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark red Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark red endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by Oxford World’s Classics in 2004. [2] William Shakespeare and Thomas Middleton, the life of Timon of Athens, edited by John Jowett. 222 × 142 × 38 mm. Pp. [i–iv] v–ix [x], 1–370 [371–374]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2012 to accompany the Letterpress

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Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark red buckram with paper label on front board; dark red endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark red. Available to purchase separately in 2016. 1778 Japan, described & illustrated by the Japanese. 410 × 318 × 45–46 mm. 2 vols (see below). Photographed by Dot Gradations. Printed (with the title-pages in dark red and black) by Butler and Tanner. Bound by Beltz with designs by Neil Gower. Gilded edges. Chiyogami endleaves. First published by J.B. Millet Company in a range of editions between 1897 and 1898, Folio followed the text of the ten-volume de luxe edition, limited to 750 sets, from originals held by The John Rylands Library, University of Manchester, and a set acquired at auction. Neil Gower based his binding designs on those of the Emperor edition. The two volumes are as follows: 1 Japan, described and illustrated by the Japanese, written by eminent Japanese authorities and scholars, edited by Captain F. Brinkley of Tokyo, Japan, with essays on Japanese art by Kakuzo Okakura, Director of the Imperial School at Tokyo, Japan, and a new essay for the Folio Society edition by David Perkins. Pp. [1–2], [i–xiv] xv–xvii [xviii], 1–190, [1–6]: [40] leaves of colour plates. Bound in full red cloth blocked in black, gold and cream. Black cloth slip case titled in gold. Leaf following title-page reads in part ‘limited to 980 numbered copies for sale and 20 lettered copies hors commerce’. 2 Japan, described and illustrated by the Japanese, written by eminent Japanese authorities and scholars, edited by Captain F. Brinkley of Tokyo, Japan, with essays on Japanese art by Kakuzo Okakura, Director of the Imperial School at Tokyo, Japan, and a new essay for the Folio Society edition by David Perkins. Pp. [i–xii], 191–398 [399–400]: [40] leaves of colour plates. Bound in full black cloth blocked in red, gold and cream. Red cloth slip case titled in gold. 1779 The letterpress Shakespeare, Richard II. Dark blue two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, Richard II, edited by Anthony B. Dawson and Paul Yachnin. 355 × 256 × 21 mm. Pp. [i–ii], [1–7] 8–106 [107–110]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed by Stonehouse Fine Press on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark blue Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark blue endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by Oxford University Press in 2011. [2] William Shakespeare, Richard II, edited by Anthony B. Dawson and Paul Yachnin. 222 × 143 × 33 mm. Pp. [i–iv] v–x [xi–xii], 1–297 [298–308]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2012 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark blue buckram with paper label on front board; dark blue endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark blue. Available to purchase separately in 2016. 1780 Martin Gilbert, the Holocaust. 253 × 175 × 31–32 mm. 3 vols (see below). Type: Ehrhardt. Printed by Martins of Berwick. Bound by Hunter and Foulis in full dark purple cloth blocked in gold with a design based on the deportation memorial at Berlin’s Grunewald train station; flecked dark grey endleaves. Dark purple three-volume slip case with one paper side reproducing a watercolour by Alfred Kantor. Plates reproduce photographs and artworks by Jewish artists. The three volumes are as follows:

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[I] Martin Gilbert, the Holocaust, the Jewish tragedy, with a new introduction by the author. Pp. [i–v] vi–xxv [xxvi– xxviii], [1–3] 4–289 [290], [1–2]: [13] leaves of black and white plates (facing p. [iii] and between pp. 84–85, 164–165 and 228–229). Twelve maps are also included. [II] Martin Gilbert, the Holocaust, the Jewish tragedy. Pp. [i–vii] viii–x [xi–xii], [291] 292–596, [1–2]: [13] leaves of black and white plates (facing p. [iii] and between pp. 390–391, 470–471 and 534–535). Nine maps are also included. [III] Martin Gilbert, the Holocaust, the Jewish tragedy. Pp. [i–vii] viii–x [xi–xii], [597] 598–895 [896]: [13] leaves of black and white plates (facing p. [iii] and between pp. 632–633, 680–681 and 728–729). Four maps are also included. 1781 Religion and the decline of magic. 253 × 162 × 43–44 mm. 2 vols (see below). Type: Minion. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark blue buckram blocked in gold with design by Grady McFerrin; gold endleaves. Gold two-volume slip case titled (as above). The plates reproduce images from manuscripts, printed works and other artefacts. The two volumes are as follows: [I] Keith Thomas, religion and the decline of magic, studies in popular beliefs in sixteenth- and seventeenth-century England, introduced by Hilary Mantel. Pp. [i–iv] v–xxvi [xxvii–xxviii], [1–2] 3–413 [414], [1–6]: [13] leaves of plates (facing p. [iii] and between pp. 84–85, 212–213 and 356–357). [II] Keith Thomas, religion and the decline of magic, studies in popular beliefs in sixteenth- and seventeenth-century England. Pp. [i–vi] vii–ix [x], [415–416] 417–946 [947–948]: [9] leaves of plates (facing p. [iii] and between pp. 516–517 and 612–613). 1782 The Wannsee Conference and the Final Solution, a reconsideration, with a new foreword by the author, Mark Roseman. 240 × 150 × 21 mm. Pp. [i–iv] v–xiv [xv–xviii], [1–2] 3–153 [154–158]: [5] leaves of plates (facing p. [iii] and between pp. 46–47). Type: Palatino. Printed and bound by L.E.G.O. in three-quarter brown-grey buckram with printed paper front board; brown endleaves. Pale brown slip case. The plates reproduce contemporary photographs and documents. 1783 Frederic Manning, the middle parts of fortune, Somme & Ancre, 1916, introduced by David Malouf, illustrated by Eri Griffin. 240 × 162 × 28 mm. Pp. [i–iv] v–xv [xvi], [1–2] 3–288: [9] leaves of plates (facing pp. [iii], 48, 65, 81, 144, 176, 193, 241 and 256). Type: Arno Pro. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full flecked dark grey paper printed in black and grey, and blocked in silver and metallic green, with design by Griffin; flecked dark grey endleaves. Black slip case. Griffin’s ink illustrations are a fine accompaniment to the novel. 1784 Richard P. Feynman, ‘surely you’re joking, Mr Feynman!’, adventures of a curious character as told to Ralph Leighton, introduction by Brian Cox, illustrations by Aude van Ryn. 240 × 160 × 36 mm. Pp. [i–iv] v–xv [xvi–xviii], [1–4] 5–356 [357–358]: [7] leaves of plates (facing p. [iii] and between pp. 174–175). Type: Scala with Octavian for display. Printed by Martins of Berwick. Bound by Hunter and Foulis in full silver buckram blocked in white, red and black with design by van Ryn; dark silver endleaves. Black slip case. Van Ryn’s illustrations are in the text. The California Institute of Technology and the author’s daughter are the sources of many of the photographs reproduced in the plates. 1785 Medieval comic tales, edited by Derek Brewer, preface by Peter Ackroyd, illustrated by Becca Thorne. 229 × 161 × 26 mm. Pp. [i–iv] v–xlvii [xlviii], [1–5] 6–255 [256]. Type: Poliphilus. Printed and bound by

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T.J. International. Full green buckram blocked in gold and black with design by Thorne; green endleaves printed with repeat design in gold. Gold slip case. Illustrated by linocuts modelled on illuminations from psalters and bestiaries. 1786 Apsley Cherry-Garrard, the worst journey in the world, Antarctic 1910–1913, introduced by Francis Spufford. Maps by Kevin Freeborn. 252 × 176 × 45 mm. Pp. [i–iv] v–lxiv, 1–591 [592]: [17] leaves of plates. Type: Plantin. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full cambric grain material printed with a watercolour by Edward Wilson; endleaves printed with illustrations from 1913 newspaper. Black slip case. The plates primarily reproduce photographs taken by the expedition members. In addition to the maps on pages [98], [218] and [534–535], Freeborn supplied the pen-and-ink drawing of Emperor penguins on page [557]. 1787 The wine-dark sea, Patrick O’Brian. 229 × 162 × 32 mm. Pp. [i–iv] v–vii [viii–x], [1–2] 3–273 [274–278]: [6] leaves of colour plates (between pp. 86–87, 150–151 and 214–215). Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in gold, black, white and red with a design by Neil Gower. Pale blue endleaves printed with map by Gower. Blue slip case. Gower also supplied a battle plan on page [259]. Sixteenth in Folio’s Aubrey-Maturin series. 1788 The commodore, Patrick O’Brian. 228 × 163 × 33 mm. Pp. [i–iv] v–vii [viii–x], [1–2] 3–283 [284–286]: [6] leaves of colour plates (between pp. 70–71, 150–151 and 214–215). Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in gold, black, white and grey with a design by Neil Gower. Pale blue endleaves printed with map by Gower. Blue slip case. Gower also supplied a battle plan on pages [278–279]. Seventeenth in Folio’s Aubrey-Maturin series. 1789 Angela Carter, the bloody chamber and other stories, introduced by Marina Warner, illustrated by Igor Karash. 240 × 162 × 22 mm. Pp. [i–iv] v–xvi, [1–2] 3–146 [147–152]: [7] leaves of colour plates (facing pp. [iii], 32, 65, 80, 97, 112 and 136). Type: Sabon. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter black buckram with paper boards printed with design by Karash; dark red endleaves. Dark red slip case. Karash was commissioned through winning the second Book Illustration Competition. 1790 Kazuo Ishiguro, never let me go, introduced by Claire Messud, illustrated by Kate Miller. 229 × 161 × 30 mm. Pp. [i–iv] v–xiv [xv–xvi], [1–6] 7–272: [9] leaves of colour plates (facing pp. [iii], 48, 65, 128, 160, 193, 208, 224 and 241). Type: Figural. Printed by Martins of Berwick. Bound by Hunter and Foulis in full blue cloth blocked in yellow, grey and black with design by Miller; dark blue endleaves. Dark blue slip case. 1791 The Folio diary 2013. 200 × 146 × 13 mm. Pp. [1–120]. Type: Minion. Printed and bound by L.E.G.O. in full plasticised paper printed with Edward McKnight Kauffer lithographs commissioned by London Transport in 1938; endleaves printed with photograph capturing St Neot, Cornwall in 1893. Not issued in a slip case. Free to members. Countryside themed illustrations face each week of the year. 1792 A.L. Rowse, the Elizabethan age. 241 × 163 × 40–50 mm. 4 vols (see below). Type: Centaur. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full buckram blocked in gold with a different design by Neil Gower for each volume; different printed endleaf for each volume. Blue four-volume slip case decorated and titled in gold (as above). The four volumes are as follows: [I] The England of Elizabeth, A.L. Rowse, introduced by Alan Stewart. Pp. [i–iv] v–xxv [xxvi], [1–2] 3–672 [673–678]: [13] leaves of plates (facing p. [iii] and between pp. 118–119, 294–295 and 454–455). Green buckram.

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[II] The expansion of Elizabethan England, A.L. Rowse, [quotation from the Bible]. Pp. [i–iv] v–xvii [xviii], [1–2] 3–518: [13] leaves of plates (facing p. [iii] and between pp. 110–111, 270–271 and 398–399). Blue buckram. [III] The Elizabethan Renaissance: the life of the society, A.L. Rowse, [quotation from William Blake]. Pp. [i–iv] v–xiv, [1–2] 3–359 [360–362]: [13] leaves of plates (facing p. [iii] and between pp. 82–83, 162–163 and 258–259). Dark red buckram. [IV] The Elizabethan Renaissance: the cultural achievement, A.L. Rowse, [quotation from Gilbert Murray]. Pp. [i– iv] v–xvii [xviii], [1–2] 3–469 [470]: [13] leaves of plates (facing p. [iii] and between pp. 110–111, 206–207 and 302–303). Purple buckram. 1793 The Bible, with the Apocrypha, King James version. [The Jubilee Bible]. 280 × 190 × 65–70 mm. As item 1696 but with a special binding based on the one used at Elizabeth II’s coronation in 1953. Bound in full red and cream Nigerian goatskin leather blocked in gold leaf. White silk endleaves. Red, white and blue ribbon markers. Individual slip cases in dark red canvas with dark red leather; crushed red velvet lining. Leaf preceding the title-pages reads in part ‘This Bible has been bound by Shepherds Sangorski & Sutcliffe to commemorate the Diamond Jubilee of Her Majesty Queen Elizabeth II in an edition limited to sixty copies.’ Some of the tools used for the original binding had survived at the firm and were used here again. The two volumes are now as follows: [1] . . . From Genesis to Solomon. Pp. [1–6], [i–v] vi–xxxv [xxxvi], [1–2] 3–884, [1–10]. [2] . . . From Isaiah to Revelation. Pp. [1–6], [i–v] vi, 885–1868 [1869–1872]. 1794 William Faulkner, the sound and the fury. 264 × 176 × 28–36 mm. 2 vols (see below). Type: Miller Display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier. Grey cloth two-volume slip case with inset red leather label (titled as above) blocked in gold. Originally published in 1929, this is the first edition printed in coloured inks to differentiate the complex strands of the novel’s narrative. The two volumes are as follows: [1] William Faulkner, the sound and the fury. Pp. [i–vi], [1–2] 3–313 [314]. Printed in 14 different colours of ink. Bound in quarter red Nigerian goatskin leather. Paper boards printed letterpress by The Logan Press with ornaments designed by Russell Maret. The boards have been split front and back so that the paper boards are wrapped around more edges than normal. Gilded top edge. Grey endleaves. Leaf preceding the title-page reads in part ‘limited to 1480 numbered copies for sale to members of The Folio Society and 20 lettered copies, hors commerce’. The edition sold out quickly. A printed bookmark, with a colour key and line numbers to assist cross-referencing between novel and commentary volume, is loosely inserted. [2] The sound and the fury, glossary & commentary, by Stephen M. Ross and Noel Polk. Pp. [i–vi] vii–xvii [xviii], [1–2] 3–213 [214]. Bound in full grey cloth. Printed endleaves reproduce the original typescript of the novel’s first pages and a letter from 1929 in which Faulkner wishes ‘publishing was advanced enough to use colored ink’. It was Ross and Polk who undertook the painstaking task of identifying each different time-level to be coloured. 1795 Amin Maalouf, the crusades through Arab eyes, translated by Jon Rothschild, introduced by Malise Ruthven. 241 × 161 × 37 mm. Pp. [i–v] vi–xxvii [xxviii–xxx], [1–3] 4–305 [306]: [13] leaves of colour plates. Type: Arno Pro. Printed by Martins of Berwick. Bound by Hunter and Foulis in full dark red buckram blocked in gold, black and white with design by Joe McLaren; dark red endleaves. Black slip case. The illustrations

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reproduce manuscript illuminations, metal work and other contemporary objects. In addition, there are maps on pages [xxviii] and [xxix]. 1796 The dark is rising, Susan Cooper, with a new preface by the author, illustrated by Laura Carlin. 229 × 161 × 27 mm. Pp. [i–iv] v–xi [xii], [1–6] 7–223 [224–228]: [8] leaves of colour plates (facing pp. [iii], 36, 84, 101, 132, 181, 196 and 213). Type: Elysium with Clairvaux for display. Printed and bound by Grafos in quarter blue buckram with paper boards printed with design by Carlin; dark grey endleaves. Dark grey slip case. Second in eponymous series. 1797 The box of delights, or When the wolves were running, John Masefield, introduction by Adèle Geras, illustrations by Sara Ogilvie. 228 × 161 × 29 mm. Pp. [i–iv] v–xiv, [1–2] 3–257 [258]: [9] leaves of colour plates (facing pp. [iii], 18, 50, 67, 114, 147, 194, 211 and 243). Type: Wilke. Printed and bound by L.E.G.O. in full dark green buckram blocked in white and reds with design by Ogilvie; red endleaves. Dark green slip case. 1798 Alexander Pushkin, Eugene Onegin, translated and introduced by James E. Falen, with a preface by Elaine Feinstein, illustrated by Anna and Elena Balbusso. 280 × 187 × 29 mm. Pp. [i–iv] v–xxxv [xxxvi], [1–4] 5–243 [244]: [7] leaves of colour plates (facing pp. [iii], 44, 92, 109, 140, 157 and 204). Type: Miller. Printed and bound by L.E.G.O. in full blue-grey cloth blocked in white and black with design by the artist sisters; blue-grey endleaves. Dark blue slip case. Winner of the Book Illustration category at the 2013 V&A Illustration Awards. 1799 Jacob Bronowski, the ascent of man, with a new foreword by Melvyn Bragg. 262 × 193 × 25 mm. Pp. [i–iv] v–xvii [xviii], [1–2] 3–302. Type: Dante. Printed and bound by Firmengruppe APPL in quarter dark blue buckram with paper boards blocked in gold and silver with design by Neil Gower; grey endleaves. Dark blue slip case. Contains over 100 illustrations. 1800 Folktales of the Native American, retold by Dee Brown, introduced by Joy Porter, illustrated by Caroline Smith. 240 × 150 × 23 mm. Pp. [i–iv] v–xix [xx], [1–2] 3–156: [7] leaves of colour plates (facing pp. [iii], 28, 45, 85, 109, 124 and 148). Type: Bulmer. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark green-blue cloth blocked in gold and with paper label printed with a design by Smith; green-grey endleaves. Dark green slip case. Smith’s work was shortlisted in the 2013 V&A Illustration Awards. ¶ Second printing: 2013. 1801 Mary Shelley, the last man, introduced by Sarah Hall, with paintings by Caspar David Friedrich. 240 × 160 × 37 mm. Pp. [i–iv] v–xii, [1–6] 7–426 [427–428]: [13] leaves of colour plates. Type: Ehrhardt with Albertina for display. Printed by Martins of Berwick. Bound by Hunter and Foulis in full brown cloth blocked in gold, grey and dark brown with design by Neil Gower based on a painting by Friedrich; brown endleaves. Brown slip case. ¶ Second printing: 2013. 1802

Leaves from a psalter, by William de Brailes. 2 vols (see below):

[1] [facsimile of 7 leaves]. 325 × 250 × 24 mm. Printed by Grafiche Damiani on vellum. Each leaf is loosely window mounted. Limited to 480 copies. Black clamshell box with printed paper spine-label. Reproduces the rectos of six leaves owned by the Fitzwilliam Museum, Cambridge (MS 330), and a single leaf held by

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the Morgan Library (MS M.913), all originally from the same magnificent thirteenth-century illuminated manuscript. [2] Leaves from a psalter, by William de Brailes, commentary, Nigel J. Morgan. 242 × 160 × 18 mm. Pp. [1–6] 7–128]: [4] leaves of colour plates (between pp. 48–49). Type: Miller. Printed by Martins of Berwick. Bound by Hunter and Foulis in black buckram blocked in gold with lettering by David Eccles; gold endleaves. Black slip case. 1803 The vampyre and other macabre tales, introduced by Lucasta Miller, illustrated by Anne Yvonne Gilbert. 229 × 150 × 27 mm. Pp. [i–iv] v–xv [xvi], [1–2] 3–207 [208]: [7] leaves of colour plates (facing pp. [iii], 33, 48, 97, 112, 144 and 177). Type: Poliphilus. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full grey buckram printed in dark brown with a design by Gilbert; purple endleaves. Black slip case. Contains 12 short stories originally published in the nineteenth century. The title is taken from the opening story, written by John Polidori. 1804 A traveller in time, Alison Uttley, introduced by Joanna Briscoe, illustrated by Omar Rayyan. 229 × 160 × 25 mm. Pp. [i–iv] v–xv [xvi–xviii], [1–2] 3–214: [8] leaves of colour plates (facing pp. [iii], 14, 47, 94, 119, 134, 167 and 182). Type: Garamond Pro. Printed by Martins of Berwick. Bound by Hunter and Foulis in full green cloth blocked in silver and black with design by Rayyan; dark green endleaves. Dark green slip case. 1805 Liza Picard, Restoration London, everyday life in London, 1660–1670, introduced by Jenny Uglow. 240 × 162 × 34 mm. Pp. [i–iv] v–xxii, 1–320 [321–322]: [13] leaves of plates. Type: Janson. Printed by Martins of Berwick. Bound by Hunter and Foulis in full dark red cloth blocked in gold and copper with a design by Neil Gower; endleaves printed with a seventeenth-century view of London painted in oils. Gold slip case. ¶ Second printing: 2013. 1806 Elizabeth David’s Christmas, edited by Jill Norman, foreword by Lisa Chaney, illustrated by Sophie MacCarthy. 252 × 184 × 28 mm. Pp. [i–v] vi–xviii, [1–3] 4–200 [201–206]: [7] leaves of colour plates (facing pp. [iii], 31, 46, 78, 110, 127 and 174). Type: Bembo. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter dark green buckram, paper boards with a design by MacCarthy; dark green endleaves. Dark green slip case. 1807 The foundation trilogy, Isaac Asimov. 228 × 150 × 27–29 mm. 3 vols (see below). Type: Garamond Pro. Printed and bound by L.E.G.O. in three-quarter silver buckram with paper boards printed with a different design by Alex Wells for each volume; silver endleaves. Different shades of buckram and endleaves, lightening as the trilogy progresses. Black three-volume slip case decorated and titled (as above) in silvers and copper. The three volumes are as follows: [1] Foundation, Isaac Asimov, introduction by Paul Krugman, illustrations by Alex Wells. Pp. [i–iv] v–xvi [xvii– xviii], [1–4] 5–253 [254]: [7] leaves of colour plates (facing pp. [iii], 46, 95, 110, 142, 159 and 238). [2] Foundation and empire, Isaac Asimov, illustrations by Alex Wells. Pp. [i–iv] v–vii [viii–x], [1–2] 3–254: [7] leaves of colour plates (facing pp. [iii], 23, 38, 86, 118, 231 and 246). [3] Second foundation, Isaac Asimov, illustrations by Alex Wells. Pp. [i–iv] v–vii [viii], [1–2] 3–248: [7] leaves of colour plates (facing pp. [iii], 24, 73, 168, 185, 217 and 232).

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¶ Second printing: 2016. ¶ Third printing: 2021. ¶ Fourth printing: 2021. ¶ Fifth printing: 2022. 1808 The jungle book by Rudyard Kipling, illustrated by Maurice and Edward Detmold. 240 × 162 × 23 mm. A separate issue of the first volume detailed under item 1119. Printed and bound by Grafos. Red slip case. ¶ Second printing (not seen). ¶ Third printing: 2013. ¶ Fourth printing: 2015. ¶ Fifth printing: 2018. Printed and bound by L.E.G.O. with dark cream endleaves. ¶ Sixth printing: 2021. 1809 Rubáiyát of Omar Khayyám, the astronomer-poet of Persia, translated into English verse by Edward Fitzgerald, introduced by A.S. Byatt, illustrated by Niroot Puttapipat. 300 × 225 × 14 mm. Pp. [1–6] 7–69 [70–72]. Type: Van Dijck. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter blue Nigerian goatskin leather with hand-lettered spine by Ged Palmer blocked in gold; purple artificial silk boards. Gold endleaves. Slip case with a Puttapipat illustration pasted on one side. Puttapipat’s illustrations were originally commissioned for the 2009 limited edition. 1810 Greenwitch, Susan Cooper, with a new preface by the author, illustrated by Laura Carlin. 229 × 162 × 20 mm. Pp. [i–iv] v–ix [x], [1–6] 7–123 [124–126]: [8] leaves of colour plates (facing pp. [iii], 22, 39, 54, 71, 86, 102 and 119). Type: Elysium with Clairvaux for display. Printed and bound by Grafos in quarter green buckram with paper boards printed with design by Carlin; dark grey endleaves. Dark grey slip case. Third in The dark is rising series. 1811 The grey king, Susan Cooper, with a new preface by the author, illustrated by Laura Carlin. 229 × 161 × 23 mm. Pp. [i–iv] v–xi [xii], [1–8] 9–157 [158–164]: [8] leaves of colour plates (facing pp. [iii], 20, 53, 68, 84, 116, 133 and 149). Type: Elysium with Clairvaux for display. Printed and bound by Grafos in quarter dark grey buckram with paper boards printed with design by Carlin; dark grey endleaves. Dark grey slip case. Penultimate in The dark is rising series. 1812 Silver on the tree, Susan Cooper, with a new preface by the author, illustrated by Laura Carlin. 229 × 162 × 28 mm. Pp. [i–iv] v–xi [xii], [1–8] 9–251 [252]: [8] leaves of colour plates (facing pp. [iii], 21, 68, 85, 165, 180, 228 and 245). Type: Elysium with Clairvaux for display. Printed and bound by Grafos in quarter purple buckram with paper boards printed with design by Carlin; dark grey endleaves. Dark grey slip case. Conclusion of The dark is rising series. 1813 The olive fairy book, edited by Andrew Lang, with an introduction by Jane Yolen, paintings and decorations by Kate Baylay. 253 × 191 × 47 mm. Pp. [i–iv] v–xviii, [1–2] 3–272 [273–276]: [14] leaves of plates. Type: Caslon. Printed (the title-page in green and black) by Memminger MedienCentrum. Bound by Real Lachenmaier in series binding (item 1124). Full green buckram blocked with a design by Baylay in red, black, gold and cream; green endleaves with a design in gold. Dark red slip case. First published in 1907. The 29 stories are punctuated by additional drawings by Baylay. ¶ Second printing: 2014. 1814 The lilac fairy book, edited by Andrew Lang, with an introduction by Geraldine McCaughrean, paintings and decorations by Caitlin Hackett. 252 × 193 × 47 mm. Pp. [i–iv] v–xx, [1–2] 3–296 [297–298]: [13] leaves of plates. Type: Caslon. Printed (the title-page in purple and black) by Memminger MedienCentrum. Bound by Real Lachenmaier in series binding (item 1124). Full pale purple buckram blocked with a design by Hackett in blue, black, silver and cream; blue endleaves with a design in silver. Blue slip case. First published in 1910. The 33 stories are punctuated by additional drawings by Hackett.

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¶ Second printing: 2014. 1815 Saul Bellow, Herzog, introduction by Malcolm Bradbury. 240 × 163 × 36 mm. Pp. [1–2], [i–iv] v–xii [xiii– xiv], [1–2] 3–364 [365–368]: [9] leaves of plates (facing pp. [iii], 48, 113, 128, 144, 161, 225, 272 and 353). Type: Haarlemmer. Printed and bound by L.E.G.O. in quarter dark blue-green buckram blocked in silver with paper boards printed with drawing by Jesse Reichek; dark grey endleaves. Dark grey slip case. The plates reproduce photographs taken from the 1930s to 1970s. 1816 Feudal society, Marc Bloch, translated from the French by L.A. Manyon, preface by Jacques Le Goff. 253 × 177 × 44 mm. Pp. [i–iv] v–xxiv, [1–2] 3–624: [17] leaves of colour plates. Type: Dante. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full black cloth blocked in gold with design by Adam McCaulay; red endleaves. Red slip case. The plates reproduce photographs of medieval buildings, manuscripts and other antiquities. 1817 Paris after the Liberation, 1944–1949, Antony Beevor and Artemis Cooper, with a new introduction by the authors. 253 × 178 × 40 mm. Pp. [i–iv] v–xxvi, [1–2] 3–416 [417–422]: [17] leaves of plates. Type: Garamond Pro. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in three-quarter blue buckram with front board printed with photographic image; endleaves printed with maps of Paris from 1944. Red slip case. The plates primarily reproduce photographs taken between 1940 and 1968. 1818 Saint Augustine, city of God. 253 × 162 × 45–51 mm. 2 vols (see below). Type: Palatino. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full brown cloth blocked in gold and black with two different designs by Joe McLaren; metallic pale brown endleaves. Metallic pale brown two-volume slip case with pasted paper side printed with detail from an illuminated manuscript. The plates reproduce details from manuscript versions of the work. The two volumes are as follows: [I] Saint Augustine, city of God, part I – the refutation, translated by Reverend Marcus Dods, introductions by Archbishop Vincent Nicols and Right Reverend Richard Chartres. Pp. [i–v] vi–lxii, [1–5] 6–432 [433–434]: [13] leaves of colour plates. [II] Saint Augustine, city of God, part II – the cities, translated by Reverend Marcus Dods. Pp. [i–vii] viii–xxi [xxii– xxiv], [435] 436–1103 [1104–1106]: [17] leaves of colour plates. 1819 Ian Stewart, taming the infinite, the story of mathematics, introduced by Matt Parker. 241 × 162 × 34 mm. Pp. [i–vii] viii–xxii, [1–3] 4–325 [326–330]: [13] leaves of colour plates. Type: Scala. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full grey cloth blocked with design in metallic blue and copper by Stuart Daly; silver endleaves with repeat design in blue by Daly. Dark silver slip case. Diagrams accompany photographs of items from antiquity to the present day via the natural and scientific worlds. 1820 Herman Melville, the complete shorter fiction, introduced by Jay Parini, illustrated by Bill Bragg. 252 × 162 × 44 mm. Pp. [i–iv] v–xviii, [1–4] 5–504 [505–510]: [16] leaves of colour plates. Type: Bembo with Victoria Titling for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full red buckram blocked with design in black and silver by Bragg; black endleaves. Silver slip case. Contains 22 tales. 1821 Just so stories for little children, by Rudyard Kipling, introduced by Michael Morpurgo, illustrated by Niroot Puttapipat. 331 × 250 × 40 mm. Pp. [i–iv], [1–6] 7–195 [196–200]. Type: Caslon. Printed by Martins of Berwick. Bound by The Fine Book Bindery in quarter vellum with hand-lettered spine by Stephen Raw blocked in

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gold; brown paper boards blocked in gold, silver, copper and black. Gilded top edge. Brown endleaves printed in black with design by Puttapipat. Clamshell box bound in black-brown cloth with brown paper spine-label titled by Raw in gold. A limitation spread containing an etching printed by Bacon & Bacon is included at the front. Puttapipat has also supplied tail-pieces and 14 tipped-in coloured illustrations printed by Dot Gradations. Leaf following end of text reads in part ‘limited to one thousand copies, signed and numbered by the artist on the etching, and thirty copies numbered in Roman numerals, which are hors commerce’. 1822 James M. Cain, the postman always rings twice, introduced by Steve Erickson, illustrated by Patrick Leger. 228 × 150 × 19 mm. Pp. [i–iv] v–xi [xii–xiv], [1–2] 3–119 [120–122]: [7] leaves of colour plates (facing pp. [iii], 18, 35, 50, 82, 99 and 114). Type: Photina. Printed and bound by T.J. International in full dark grey cloth with a design in cream and black by Leger; dark grey endleaves. Black slip case. ¶ Second printing: 2022. 1823 Ian Serraillier, the silver sword, introduced by Anne Fine, illustrated by Raul Allen, afterword by Jane Serraillier. 228 × 161 × 21 mm. Pp. [i–v] vi–xv [xvi–xx], [1–3] 4–139 [140]: [7] leaves of colour plates (facing pp. [iii], 28, 60, 77, 92, 109 and 124). Type: Sabon. Printed and bound by T.J. International in full blue-grey cloth blocked in silver and black with design by Allen; blue-grey endleaves printed with map, based on the author’s sketches, by Neil Gower. Grey slip case. 1824 Thomas Hobbes, leviathan, edited by J.C.A. Gaskin, introduced by Alan Ryan, illustrated by Mike Wilks. 251 × 162 × 44 mm. Pp. [i–vi] vii–xxviii, [1–2] 3–539 [540]: [12] leaves of plates. Type: Arno Pro. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full brown-grey buckram blocked with design in black and gold by Neil Gower; brown flecked endleaves. Black slip case. Wilks’s intricate pen-andink-style drawings are a commanding presence. 1825 Arrian, the campaigns of Alexander, translated by Aubrey de Sélincourt, introduction and notes by J.R. Hamilton, preface by Annabel Lyon. 241 × 162 × 35 mm. Pp. [i–vi] vii–xxxix [xl], [1–2] 3–308 [309–312]: [13] leaves of colour plates. Type: Haarlemmer. Printed and bound by L.E.G.O. in full dark orange buckram blocked in black and gold with a design by Joe McLaren; pale brown endleaves with maps by Reginald Piggott. Dark brown slip case. The plates reproduce photographs of bronzes, mosaics, marbles and coins. 1826 The travels of Ibn Battutah, abridged, annotated and with a foreword by Tim Mackintosh-Smith, introduction by Tahir Shah. 252 × 176 × 37 mm. Pp. [i–iv] v–xxviii, [1–2] 3–353 [354–356]: [13] leaves of colour plates. Type: Aldus. Printed and bound by L.E.G.O. in full brown buckram blocked in gold and blue; pale brown endleaves with map in dark brown by Julie Snook. Dark brown slip case. The plates primarily reproduce photographs of illuminated manuscripts. 1827 Illustrations of birds, drawn for John Gould by Edward Lear, collected and introduced by David Attenborough. 562 × 390 × 43 mm. Pp. [1–6] 7–9 [10–176]. Type: Bodoni. Reprographics by Dot Gradations. Printed by Firmengruppe APPL. Bound by Smith Settle in full dark green Nigerian goatskin leather blocked in gold by Blocking Services. Marbled endleaves by Jemma Lewis. Shuffled pages with gilded top edge. Dark blue-green clamshell blocked in gold with titling design and a leather spine-label. The edition statement, printed letterpress by Gloucester Typesetting, reads in part ‘limited to 780 signed and numbered copies and 20 lettered copies which are not for sale’. A printed slip bearing notes on the care of the leather is loosely inserted. Issued with a separate print of the eighteenth plate which depicts the Eagle Owl. The illustrations were reproduced from a collection built up by David Attenborough, gathered from four publications published between 1832 and 1838 plus a preparatory drawing by Lear.

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2013 1828 Orlando, a biography, Virginia Woolf, introduction by Jeanette Winterson. 241 × 162 × 27 mm. Pp. [i–iv] v–xviii, [1–2] 3–222]: [8] leaves of plates (facing pp. [iii], 30, 63, 78, 102, 159, 174 and 214). Type: Caslon. Printed and bound by L.E.G.O. in full dark red buckram blocked in gold with design by Neil Gower; metallic red endleaves. Dark red slip case. The plates follow those included in the first edition from 1928, including three portraits in oils freshly photographed by Folio. 1829 J.E. Gordon, structures: or why things don’t fall down, introduced by Jonathan Glancey. 241 × 162 × 39 mm. Pp. [i–v] vi–xvi [xvii–xxii], [1] 2–384 [385–386]: [13] leaves of plates. Type: Sabon. Printed and bound by L.E.G.O. in full dark blue buckram blocked in metallic green and white with design by Adam McCauley inspired by the Empire State Building; metallic blue endleaves. Dark blue slip case. The plates primarily reproduce photographs of engineering landmarks and images from the natural world. 1830 Loving, Henry Green, introduced by Lorin Stein, illustrated by Christopher Corr. 228 × 161 × 27 mm. Pp. [i– iv] v–xii [xiii–xiv], 1–220 [221–222]: [8] leaves of colour plates (facing pp. [iii], 34, 67, 82, 131, 146, 178 and 195). Type: Clifford. Printed and bound by T.J. International in full green cloth with a design in blue and black by Corr; blue endleaves. Blue slip case. 1831 Leo Marks, between silk and cyanide, the story of SOE’s code war, introduced by Simon Mawer. 253 × 162 × 46 mm. Pp. [i–v] vi–xviii, [1–5] 6–579 [580–582]: [12] leaves of plates. Type: Garamond. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full brown cloth with cream silk panel on front board blocked in gold; endleaves printed with coding. Dark brown slip case. The plates rely heavily on images sourced from the National Archives and Imperial War Museums. 1832 How the mind works, Steven Pinker, illustrations by Andy Martin. 252 × 176 × 47 mm. Pp. [i–ix] x–xix [xx–xxii], [1–3] 4–594: [9] leaves of colour plates (facing pp. [iii], [3], [53], [135], [191], [273], [329], [385] and [469]). Type: Granjon. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter red buckram blocked in gold with paper boards printed with a design by Martin; red endleaves. Dark brown slip case. 1833 Elizabeth Goudge, the little white horse, introduced by Jane Shilling, illustrated by Debra McFarlane. 228 × 161 × 28 mm. Pp. [i–iv] v–xiv, [1–6] 7–221 [222–226]: [7] leaves of colour plates (facing pp. [iii], 19, 82, 115, 130, 194 and 211). Type: Walbaum. Printed and bound by L.E.G.O. in full dark purple buckram blocked in white and silver with design by McFarlane; silver endleaves with maps in dark purple by the artist. Silver slip case. ¶ Second printing: 2014. ¶ Third printing: 2017. 1834 Mark Twain, a Connecticut Yankee in King Arthur’s court, introduced by Frank Kaplan, illustrated by David Hughes. 240 × 162 × 37 mm. Pp. [i–iv] v–xvii [xviii], [1–2] 3–330 [331–334]: [10] leaves of colour plates (facing pp. [iii], 39, 46, 63, 95, 110, 191, 206, 278 and 287). Type: Bulmer. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full pale grey cloth printed and blocked with design by Hughes; red endleaves printed with repeat design by the artist in black. Red slip case.

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1835 Steven Runciman, the fall of Constantinople 1453, introduction by Judith Herrin. 240 × 163 × 29 mm. Pp. [i– vii] viii–xxiv, [1–3] 4–232: [9] leaves of colour plates (facing p. [iii] and between pp. 72–73 and 152–153). Type: Minion. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full red buckram blocked in white and blue with design by Josh Berer; pale blue endleaves printed with map in dark blue. Dark blue slip case. In addition to the endleaves, Neil Gower also supplied the maps and plans on pages [82], [84] and 86. This is the first illustrated edition of a work originally published by Cambridge University Press in 1965. The plates reproduce images from illuminated manuscripts and other artefacts. 1836 Luo Guanzhong, three kingdoms. 280 × 187 × 36–39 mm. 4 vols (see below). Type: Swift. Printed by Himmer. Bound by Real Lachenmaier in full blue-green artificial silk blocked in black and gold with design (different for each volume) by Neil Gower and hand-drawn lettering by Stephen Raw; dark grey endleaves. Dark grey four-volume slip case titled (as above), decorated in gold and black by Gower and Raw. Nearly 300 woodcuts from an 1883 edition held by the British Library are in the text. The four volumes are as follows: [1] Luo Guanzhong, three kingdoms, a historical novel, [symbol to indicate first volume], translation and introductory essay by Moss Roberts, introduction by Ma Jian. Pp. [i–iv] v–lxxxii [lxxxiii–civ], [1–4] 5–331 [332], [1–4]. Neil Gower supplied 11 redrawn maps on pages [lxxxiii–xci]. [2] Luo Guanzhong, three kingdoms, a historical novel, [symbol to indicate second volume], translation by Moss Roberts. Pp. [i–iv] v–vii [viii], 333–728, [1–4]. [3] Luo Guanzhong, three kingdoms, a historical novel, [symbol to indicate third volume], translation by Moss Roberts. Pp. [i–iv] v–vii [viii], 729–1124, [1–4]. [4] Luo Guanzhong, three kingdoms, a historical novel, [symbol to indicate fourth volume], translation by Moss Roberts. Pp. [i–iv] v–vi, 1125–1525 [1526]. 1837 Muriel Spark, the girls of slender means, introduced by A.L. Kennedy, illustrated by Lyndon Hayes. 228 × 150 × 17 mm. Pp. [i–iv] v–xiv, [1–2] 3–113 [114]: [7] leaves of colour plates (facing pp. [iii], 18, 35, 50, 67, 83 and 98). Type: Joanna. Printed and bound by Grafos in full blue-grey buckram blocked with design in black and white by Hayes; blue endleaves. Dark blue slip case. 1838 Rogue male, by Geoffrey Household, introduction by John Banville, illustrations by David Rooney. 227 × 157 × 22 mm. Pp. [i–vi] vii–x [xi–xii], [1–4] 5–147 [148]: [6] leaves of black and white plates (facing pp. 38, [45], [64], 83, [128] and [144]). Type: Utopia. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full paper printed with design by Rooney. Brown endleaves. Dark cream slip case printed with design in brown. Each plate is neatly extended into an opposite page through additional illustrations by Rooney. 1839 The yellow admiral, Patrick O’Brian. 228 × 162 × 32 mm. Pp. [i–iv] v–vii [viii–x], [1–2] 3–245 [246]: [6] leaves of colour plates (between pp. 54–55, 134–135 and 214–215). Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in gold, black, white and brown with a design by Neil Gower. Pale blue endleaves printed with map by Gower. Blue slip case. Gower also supplied a battle plan on page [208]. Eighteenth in Folio’s Aubrey-Maturin series. 1840 The hundred days, Patrick O’Brian. 229 × 163 × 32 mm. Pp. [i–iv] v–vii [viii–x], [1–2] 3–252 [253–254]: [6] leaves of colour plates (between pp. 54–55, 118–119 and 214–215). Type: Baskerville. Printed by

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Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in gold, black, white and grey with a design by Neil Gower. Pale blue endleaves printed with map by Gower. Blue slip case. Gower also supplied a battle plan on page [245]. Nineteenth in Folio’s Aubrey-Maturin series. 1841 Blue at the mizzen, Patrick O’Brian. 229 × 162 × 31 mm. Pp. [i–iv] v–vii [viii–x], [1–2] 3–233 [234–238]: [6] leaves of colour plates (between pp. 54–55, 134–135 and 198–199). Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue buckram blocked in gold, black, white and pale blue with a design by Neil Gower. Pale blue endleaves printed with map by Gower. Blue slip case. Gower also supplied a battle plan on page [216]. Twentieth, and final, book in Folio’s Aubrey-Maturin series. 1842 Orlando Figes, a people’s tragedy. Index by Gerard M.-F. Hill. 253 × 178 × 47–48 mm. 2 vols (see below). Type: Minion with Albertina for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full red buckram blocked in white and dark blue with a different design for each volume by Neil Gower; dark blue endleaves. Dark blue two-volume slip case combining the two images repeated on the front boards. Contemporary photographs, some from the author’s own collection, are primarily reproduced in the plates. The first book to use Folio’s redesigned logo from Ged Palmer. Reynolds Stone’s original colophon was commissioned at the company’s foundation in 1947. The two volumes are as follows: [1] Orlando Figes, a people’s tragedy, the Russian Revolution 1891–1924, [symbol to indicate first volume], with a new introduction by the author. Pp. [i–iv] v–xxviii [xxix–xxxviii], [1–2] 3–533 [534], [1–4]: [21] leaves of plates. [2] Orlando Figes, a people’s tragedy, the Russian Revolution 1891–1924, [symbol to indicate second volume]. Pp. [i–iv] v–xvi [xvii–xxii], [535–536] 537–1032: [21] leaves of plates. 1843 Dashiell Hammett, the Maltese falcon, introduction by Steve Erickson, illustrations by David Eccles. 221 × 142 × 26 mm. Pp. [i–viii] ix–xvi [xvii–xviii], [1–2] 3–217 [218]: [10] leaves of plates (facing pp. 15, 35, 69, 91, 109, 131, 158, 170, 195 and 212). Printed by Memminger MedienCentrum. Bound by Real Lachenmaier. As the 2000 edition (item 1013) but repaginated throughout and with new introduction. Second edition but identified as ‘sixth printing’. 1844 Conrad Totman, a history of Japan. 252 × 176 × 47–48 mm. 2 vols (see below). Type: Bembo. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue cloth blocked in gold and black with a different design for each volume; spine lettering hand-drawn by Stephen Raw. Blue two-volume slip case with printed detail from decorative screen on one side. The plates reproduce antiquities, images of sites and photographs. The two volumes are as follows: [I] Conrad Totman, a history of Japan, volume I, with a foreword by Hugo Dobson. Pp. [i–iv] v–xlviii, [1–2] 3–426, [1–6]: [17] leaves of plates. Endleaves printed with image of coloured woodblock by Katsushika Hokusai. [II] Conrad Totman, a history of Japan, volume II. Pp. [i–iv] v–xxxi [xxxii], [427–428] 429–890: [17] leaves of plates. Endleaves printed with photographic view of Tokyo. 1845 Agatha Christie, Miss Marple novels. 228 × 150 × 23–25 mm. 4 vols (see below). Type: Bell. Printed and bound by L.E.G.O. Dark grey four-volume slip case titled (as above) and decorated in black and gold. The four volumes are as follows: [1] Agatha Christie, the murder at the vicarage, introduced by Laura Thompson, illustrated by Andrew Davidson. Pp. [i– iv] v–xii [xiii–xiv], [1–2] 3–226: [7] leaves of colour plates (facing pp. [iii], 66, 115, 130, 162, 195 and 210).

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Full dark blue buckram blocked with a design in green, white, blue and black by Davidson; dark blue endleaves. First published in 1930, the first full-length Jane Marple mystery. [2] Agatha Christie, the body in the library, illustrated by Andrew Davidson. Pp. [i–iv] v [vi–viii], [1–2] 3–160: [7] leaves of colour plates (facing pp. [iii], 8, 25, 56, 73, 120 and 152). Full brown buckram blocked with a design in cream and black by Davidson; brown endleaves. First published in 1942. [3] Agatha Christie, a pocket full of rye, illustrated by Andrew Davidson. Pp. [i–iv] v [vi–viii], [1–2] 3–189 [190– 192]: [7] leaves of colour plates (facing pp. [iii], 25, 40, 64, 81, 112 and 160). Full purple buckram blocked with a design in white, green and grey by Davidson; purple endleaves. First published in 1953. [4] Agatha Christie, sleeping murder, Miss Marple’s last case, illustrated by Andrew Davidson. Pp. [i–iv] v–vii [viii], [1–2] 3–189 [190–192]: [7] leaves of colour plates (facing pp. [iii], 24, 56, 73, 89, 136 and 153). Full blue buckram blocked with a design in blue, black and cream by Davidson; blue endleaves. First published shortly after the author’s death in 1976 but written during the Second World War. 1846 Poems of Thomas Gray, with watercolour illustrations by William Blake. 2 vols (see below). Brown two-volume clamshell box, brown leather spine-label titled (as above) in gold. The two volumes are as follows: [1] Poems. By Mr. Gray. [facsimile]. 427 × 330 × 26 mm. Pp. [1–116], [1–4]. Photographed by Dot Gradations. Printed by Firmengruppe APPL. Bound by Zanardi in quarter dark brown Nigerian goatskin leather. Grey cloth boards printed and blocked with design by David Eccles based on a drawing by Blake. Inset dark brown leather title label blocked in gold. Gold endleaves. The original watercolours are held by the Yale Center for British Art, New Haven, USA. The penultimate leaf reads in part ‘The edition consists of 1000 numbered copies for sale to members of The Folio Society and 20 lettered copies which are not for sale’. [2] Irene Tayler, Blake’s illustrations to the poems of Gray, edited with a new foreword by Martin Butlin. 252 × 161 × 27 mm. Pp. [i–vi] vii–xiv, [1–4] 5–210: [1] plate (facing p. [iii]). Type: Miller Display. Printed and bound by Zanardi in full grey cloth with paper label on front board; gold endleaves. This volume is inserted in a recess in the box, beneath the first volume. 1847 The letterpress Shakespeare, love’s labour’s lost. Dark green two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, love’s labour’s lost, edited by G.R. Hibbard. 355 × 257 × 20 mm. Pp. [i–ii], [1–11] 12–101 [102]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed by Stonehouse Fine Press on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark green Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark green endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by Oxford University Press in 1990. [2] William Shakespeare, love’s labour’s lost, edited by G.R. Hibbard. 221 × 142 × 32 mm. Pp. [i–iv] v–viii, 1–263 [264]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2013 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark green buckram with paper label on front board; dark green endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark green. Available to purchase separately in 2016.

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1848 The letterpress Shakespeare, the two gentlemen of Verona. Dark green two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, the two gentlemen of Verona, edited by Roger Warren. 355 × 256 × 18 mm. Pp. [i–ii], [1–11] 12–88 [89–90]. Type: Baskerville with Caslon for display. Typeset by Typostudio SchumacherGebler. Printed by Offizin Haag-Drugulin on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark green Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark green endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by Oxford World’s Classics in 2008. [2] William Shakespeare, the two gentlemen of Verona, edited by Roger Warren. 221 × 142 × 24 mm. Pp. [i–iv] v–ix [x], 1–190. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2013 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark green buckram with paper label on front board; dark green endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark green. Available to purchase separately in 2016. 1849 Vincent van Gogh, the sketchbooks, a facsimile of the artist’s sketchbooks in the collection of the Van Gogh Museum. Reprographics by Dot Gradations. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. Clamshell box by G. Ryder and Co. bound in brown canvas lined with marbled paper by Jemma Lewis with paper label titled (as above) and spine blocked in gold. Limited to 1000 copies. The six volumes are as follows: [1–4] [Facsimiles]. [Sketchbook 1: Nuenen, November 1884–September 1885]. 137 × 89 × 12 mm, pp. [1–84]; [Sketchbook 2: Nuenen, Antwerp and Paris, June 1885–June 1886]. 104 × 139 × 8 mm, pp. [1–38]; [Sketchbook 3: Paris, February–June 1886]. 111 × 199 × 9 mm, pp. [1–60], [Sketchbook 4: Paris and Auvers-sur-Oise, May–July 1890]. 126 × 77 × 11 mm, pp. [1–92]. Bound to reproduce the sketchbooks, in all their wonderful variety, as new. Aside from reinserting detached leaves, the insides are faithfully reproduced. Additional features such as a pencil holder and half-decayed elastic band have been omitted due to the difficulty of reproducing them. A guard leaf of grey paper is loosely inserted on top of the four volumes. [5] Vincent van Gogh, the sketchbooks, loose leaves in the collection of the Van Gogh Museum. 112–215 × 81–131 × 0.1 mm. Fourteen facsimile leaves from sketchbooks the artist used in Antwerp and Paris, 1885–1887, plus a printed slip bearing the edition statement. All are loosely inserted in a pale brown paper wallet with title label. A pocket for it is pasted in the box’s lining. [6] Vincent van Gogh, the sketchbooks, commentary by Marije Vellekoop and Renske Suijver. Translated by David McKay. 228 × 135 × 7 mm. Pp. [1–9] 10–79 [80]. Type: Spectrum. Bound in paper with title label. A second pocket is pasted in the box’s lining for this final volume of this impressive production. 1850 Walter Pater, the Renaissance, studies in art and poetry, introduced by Michael Prodger. 241 × 162 × 24 mm. Pp. [i–vii] viii–xxviii [xxix–xxx], [1] 2–167 [168–170]: [9] leaves of colour plates (facing p. [iii] and between pp. 18–19, 50–[51], 82–83 and 114–115). Type: Bembo with Golden Cockerel initials and ornaments. Printed and bound by L.E.G.O. in full blue-green cloth blocked in gold with design by Frances Button; gold endleaves. Gold slip case. Illustrations of oil paintings and sculptures predominate. The leaf before the introduction includes brief biographies of the two individuals named on the title-page, a practice Folio continued.

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1851 Colin Renfrew, prehistory, the making of the human mind, introduced by Alice Roberts. 240 × 160 × 30 mm. Pp. [i–iv] v–xxiii [xxiv], [1–2] 3–240]: [13] leaves of colour plates. Type: Sabon. Printed and bound by T.J. International. Full brown cloth blocked in dark blue with design based on a Richard Long artwork; dark blue endleaves. Dark blue slip case. The plates reproduce photographs of antiquities and sites. 1852 Mary Beard, Pompeii, the life of a Roman town, preface by Ferdinand Mount. 252 × 177 × 39 mm. Pp. [i–vi] vii–xxx, [1–2] 3–378: [17] leaves of colour plates. Type: Plantin. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in three-quarter brown cloth with paper front board printed with an image from a fresco; pale brown endleaves printed in black with maps of Pompeii and the town’s locale redrawn by Neil Gower. Green slip case. The plates reproduce photographs of antiquities and sites plus plaster casts of some of those killed by the eruption of Vesuvius in a d 79. Small plans are also in the text alongside an illustration of a wall decoration. ¶ Second printing: 2014. ¶ Third printing: 2016. 1853 Ian Mortimer, the time traveller’s guide to medieval England, a handbook for visitors to the fourteenth century, foreword by Christopher Dyer, illustrated by Robert Venables. 240 × 163 × 33 mm. Pp. [i–iv] v–xix [xx–xxii], [1–2] 3–361 [362]: [10] leaves of colour plates (facing pp. [iii], 59, 74, 91, 138, 155, 171, 203, 218 and 250). Type: Caslon with Blackmoor for display. Printed and bound by L.E.G.O. in full blue buckram blocked in gold and black with design by Venables; blue endleaves with repeat design in gold. Blue slip case. Neil Gower supplied a map on page [xxii]. 1854 John Steinbeck, once there was a war, preface by Janine di Giovanni. 228 × 161 × 26 mm. Pp. [i–vii] viii– xxviii, [1–2] 3–196: [13] leaves of plates. Type: Haarlemmer with Scotch Roman for display. Printed and bound by L.E.G.O. in full buckram printed with an image from a 1944 photograph; dark blue endleaves. Dark blue slip case. The plates reproduce photographs from the Second World War. Contains articles ori ginally published in newspapers between June and December 1943. 1855 The tiger in the smoke, Margery Allingham, introduced by Alexander McCall Smith, illustrated by Finn Campbell-Notman. 228 × 149 × 24 mm. Pp. [i–x] xi–xiv [xv–xvi], [1–2] 3–254 [255–256]: [9] leaves of colour plates (facing pp. [iii], 32, 49, 80, 129, 144, 225 and 240). Type: Utopia with Victoria Titling for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full paper printed with a design by Campbell-Notman; dark yellow-brown endleaves. Pale brown slip case. One of the plates is double-page. Folio chose to start with one of the later Albert Campion detective stories but it is considered one of Allingham’s best works. 1856 Flannery O’Connor, a circle in the fire and other stories, introduced by C.E. Morgan, illustrations by Deanna Staffo. 240 × 163 × 33 mm. Pp. [i–iv] v–xvi, [1–2] 3–331 [332]: [10] leaves of plates (facing pp. 50, 61, 70, 104, 121, 156, 216, 249, 265 and 296). Type: Bulmer. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full cream cloth blocked in orange and dark blue with design by Staffo; orange endleaves. Orange-brown slip case. Contains 17 short tales from a collection originally published in 1971. 1857 Lord Byron, selected poems, edited by Susan J. Wolfson and Peter J. Manning, introduction by Jonathan Bate, engravings by Simon Brett. 279 × 189 × 39 mm. Pp. [i–iv] v–xv [xvi], 1–400. Type: Baskerville. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter dark orange leather series binding (see item 1051). Dark cream cloth boards with a repeat pattern in dark blue by Brett; dark blue endleaves. Dark blue slip case. In ‘The Folio Poets’ series.

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1858 The Baburnama, Zahiruddin Muhammad Babur, translated, edited and annotated by Wheeler M. Thackston, preface to the illustrations by J.P. Losty, introduction by Salman Rushdie. 280 × 193 × 52 mm. Pp. [i–iv] v–lviii [lix– lxviii], [1–4] 5–540: [25] leaves of colour plates. Type: Granjon. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter dark blue leather with paper boards printed and blocked with a design by Neil Gower. Gilded top edge. Blue endleaves. Blue slip case. In addition to the binding design, Neil Gower has redrawn the eight maps on pages [lx–lxvii]. The plates reproduce paintings by different hands from British Library MS Or. 3714. 1859 Eric Ambler, epitaph for a spy, introduced by Stella Rimington, illustrated by Paul Blow. 228 × 160 × 24 mm. Pp. [i–iv] v–xviii [xix–xx], 1–220: [8] leaves of colour plates (facing pp. [iii], 28, 60, 92, 109, 157, 189 and 204). Type: Photina. Printed and bound by T.J. International. Full blue cloth blocked in black and cream with design by Blow. Blue endleaves. Black slip case. 1860 D.H. Lawrence, sons and lovers, introduced by Colm Tóibín, illustrated by Anne-Marie Jones. 241 × 165 × 40 mm. Pp. [i–iv] v–xvi [xvii–xviii], [1–4] 5–476 [477–478]: [10] leaves of colour plates (facing pp. iii, 62, 94, 159, 174, 254, 334, 351, 431 and 446). Type: Dante. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in three-quarter dark grey cloth with paper front board printed with an additional illustration by Jones; grey endleaves. Dark grey slip case. Winner of the Book Cover Illustration category at the V&A Illustration Awards 2014. 1861 The letterpress Shakespeare, the comedy of errors. Dark green two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, the comedy of errors, edited by Charles Whitworth. 356 × 256 × 19 mm. Pp. [i–ii], [1–11] 12–75 [76–78]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed letterpress by Stonehouse Fine Press on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark green Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark green endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by Oxford University Press in 2002. [2] William Shakespeare, the comedy of errors, edited by Charles Whitworth. 222 × 143 × 31 mm. Pp. [i–iv] v–viii, 1–232. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2013 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark green buckram with paper label on front board; dark green endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark green. Available to purchase separately in 2016. 1862 The letterpress Shakespeare, the merry wives of Windsor. Dark green two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, the merry wives of Windsor, edited by T.W. Craik. 355 × 256 × 19 mm. Pp. [i–ii], [1–11] 12–92 [93–94]. Type: Baskerville with Caslon for display. Typeset by Typostudio SchumacherGebler. Printed by Offizin Haag-Drugulin on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark green Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark green endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been

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printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by Oxford University Press in 1990. [2] William Shakespeare, the merry wives of Windsor, edited by T.W. Craik. 222 × 143 × 32 mm. Pp. [i–iv] v–ix [x], 1–242 [243–246]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2013 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark green buckram with paper label on front board; dark green endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark green. Available to purchase separately in 2016. 1863 J.G. Ballard, the drowned world, introduced by Will Self, illustrated by James Boswell. 229 × 150 × 24 mm. Pp. [i–iv] v–xviii, [1–2] 3–169 [170–174]: [7] leaves of colour plates (facing pp. [iii], 30, 78, 95, 111, 126 and 158). Type: Utopia. Printed and bound by L.E.G.O. in full dark blue buckram blocked in gold and copper with design by Boswell; copper endleaves. Black slip case. 1864 Truman Capote, breakfast at Tiffany’s, introduced by Jay McInerney, illustrated by Karen Klassen. 229 × 150 × 19 mm. Pp. [i–viii] ix–xviii [xix–xx], [1–2] 3–107 [108]: [7] leaves of colour plates (facing pp. [iii], 13, 28, 45, 60, 77 and 92). Type: Bodoni. Printed and bound by L.E.G.O. in full dark grey buckram blocked in silver and blue with design by Klassen; silver endleaves. Dark silver slip case. The binding design was used to create notebooks, with ruled paper, for marketing campaigns and events. With the spine reading ‘A Folio Notebook’ in silver, the dimensions were reduced to 216 × 129 × 19 mm. ¶ Second printing: 2015. ¶ Third printing (not seen). ¶ Fourth printing: 2021. 1865 Aldous Huxley, brave new world, introduced by Ursula K. Le Guin, illustrated by Finn Dean. 241 × 162 × 24 mm. Pp. [i–viii] ix–xxiii [xxiv–xxvi], [1–2] 3–197 [198]: [8] leaves of colour plates (facing pp. [iii], 22, 70, 87, 118, 151, 166 and 191). Type: Utopia with Univers Condensed for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full cambric grained material printed with design by Dean; green-blue endleaves. Dark pink slip case. Dean was commissioned through winning the third Book Illustration Competition. ¶ Second printing: 2018. Printed and bound by Neografia in full plasticised paper. 1866 The Folio diary 2014. 199 × 146 × 14 mm. Pp. [1–120]. Type: Haarlemmer. Printed and bound by L.E.G.O. in full plasticised paper printed with photograph of Margate beach taken by John Cimon Warburg around 1910; endleaves printed with oil painting by J.M.W. Turner of surging waves. Not issued in a slip case. Free to members. Sea themed illustrations face each week of the year. 1867 Galileo Galilei, dialogue concerning the two chief world systems: Ptolemaic and Copernican, translated and with notes by Stillman Drake, foreword by Albert Einstein, introduction by Dava Sobel. 253 × 164 × 49 mm. Pp. [i–vi] vii–xxxii, [1–2] 3–565 [566–568]: [17] leaves of colour plates. Type: Garamond Pro. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full green buckram blocked in gold and printed in black with a design by Neil Gower; green endleaves. Black slip case. The plates reproduce details from manuscripts and books alongside photographs of paintings, engravings and scientific instruments. 1868 The rise of Rome, Polybius, translated by Robin Waterfield, preface by Michael Scott, introduction and notes by Brian McGing. Maps by Kevin Freeborn. Index by Gerard M.-F. Hill. 253 × 164 × 50 mm. Pp. [i–vii] viii–lvi [lvii–lxvi], [1–3] 4–549 [550]: [17] leaves of plates. Type: Albertina with Garamond Titling for display.

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Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in three-quarter red buckram with paper front board printed with image of eagle; red endleaves. Black slip case. The plates reproduce items from the Coins and Medals Department of the British Museum. Freeborn’s four maps are on pages [lviii–lxv]. 1869 God’s Englishman, Oliver Cromwell and the English Revolution, Christopher Hill, introduction by Tristram Hunt. 241 × 164 × 34 mm. Pp. [i–iv] v–xxiv [xxv–xxvi], [1–4] 5–278: [13] leaves of plates. Type: Baskerville. Printed and bound by L.E.G.O. in full black cloth blocked in yellow with a title-page design by Raquel Leis Allion; endleaves printed with image of the Battle of Dunbar. Black slip case. The plates primarily reproduce seventeenth-century oil paintings and engravings. ¶ Second printing: 2016. 1870 Kenneth Clark, landscape into art, introduction by Will Gompertz. 237 × 277 × 21 mm. Pp. [i–iv] v–xiv [xv–xvi], [1–2] 3–188 [189–192]. Type: Perpetua. Printed and bound by Firmengruppe APPL in quarter dark blue buckram with paper boards printed with image of oil painting by Paul Cézanne; pale brown endleaves. Dark blue slip case. Nearly 150 artworks are reproduced in colour. 1871 C.M. Doughty, travels in Arabia deserta. 280 × 182 × 14–54 mm. 3 vols (see below). Type: Miller Text. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in half brown leather with marbled boards by Jemma Lewis; pale brown endleaves. Brown three-volume slip case bound in brown buckram with leather label titled (as above) in gold. Reproduces photographs taken between 1860 and 1895 sourced from the Fine Arts Library at Harvard University and drawings from the first edition of 1888. Two portraits of Doughty are used for frontispieces. The three volumes are as follows: I Travels in Arabia deserta, volume I, Charles M. Doughty, preface by Rory Stewart, introduction by T.E. Lawrence, photographs by Félix Bonfils and others. Pp. [i–iv] v–li [lii], [1–2] 3–610 [611–612]: [15] leaves of plates. II Travels in Arabia deserta, volume II, Charles M. Doughty, photographs by Félix Bonfils and others. Pp. [i–iv] v–xvi, [1–2] 3–644 [645–648]: [11] leaves of plates. [III] A sketch map itinerarium of part of North Western Arabia and Negd, by Charles M. Doughty. Facsimile of that printed by Chiswick Press Ltd presented to the Royal Geographical Society in 1883. Mounted in panels on cloth and bound in brown buckram. A pasted paper label reads in part ‘limited to 780 numbered copies for sale to members of the Folio Society, and 20 lettered copies which are not for sale’. 1872 An expression of the American mind, selected writings of Thomas Jefferson, introduction and commentary by R.B. Bernstein. 252 × 166 × 50 mm. Pp. [i–v] vi–xxxiv, [1–5] 6–582: [17] leaves of colour plates. Type: Palatino. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in three-quarter dark cream cloth with paper boards blocked in brown and printed with design by Sheri Gee; dark brown endleaves. Dark brown slip case. Pamphlets, speeches, constitutional drafts and correspondence written by this Founding Father are presented in chronological order. The plates primarily reproduce oil paintings, engravings, watercolours and etchings. 1873 The tomb of Tutankhamun. 253 × 178 × 15–42 mm. 2 vols (see below). Type: Minion. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full black buckram blocked with a design by Peter Suart; printed endleaves. Black two-volume slip case pasted with image of shrine. The two volumes are as follows:

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[1] The tomb of Tutankhamun, Howard Carter, introduced by David P. Silverman. Pp. [i–vi] vii–xviii [xix–xx], [1–2] 3–427 [428]: [17] leaves of black and white plates. Buckram blocked in gold, blue and red. Endleaves printed with close-up photograph of the second shrine’s doors. The plates predominantly reproduce photographs taken by Harry Burton who worked with Carter on the site. Includes references to the colour photographs contained in the second volume. Kevin Freeborn provided a redrawn plan of the tomb on page [2]. [2] The tomb of Tutankhamun, the treasures. Photographs by Sandro Vannini. Pp. [i–vi], [1–2] 3–121 [122]. Buckram blocked solely in gold. Endleaves printed with images of figurines. Volume contains Vannini’s modern colour photographs of the tomb’s artefacts, now preserved in Cairo’s Egyptian Museum. ¶ Second printing: 2014. ¶ Third printing: 2021. Bound by Josef Spinner. Black slip case now blocked in gold with hieroglyphs design. 1874 Tim Winton, Cloudstreet, introduced by Alex Miller, illustrated by Sam Pash. 241 × 164 × 37 mm. Pp. [1–2], [i–viii] ix–xvi [xvii–xviii], [1–4] 5–397 [398–404]: [10] leaves of colour plates (facing pp. [iii], 21, 36, 117, 132, 181, 196, 228, 292 and 340). Type: Garamond. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark blue-green buckram blocked in dark brown and cream with a design by Pash; blue-green endleaves. Dark red slip case. 1875 F. Scott Fitzgerald, the great Gatsby, introduced by Michael Dirda, with a personal note by Francis Ford Coppola, illustrated by Sam Wolfe Connelly. 229 × 150 × 22 mm. Pp. [i–iv] v–xx [xxi–xxii], [1–2] 3–158 [159–162]: [7] leaves of colour plates (facing pp. [iii], 27, 42, 58, 75, 115 and 146). Type: Goudy with Anna for display. Printed and bound by L.E.G.O. in full dark purple buckram blocked with a design in black and pink by the artist; metallic pale pink endleaves printed with repeat pattern in dark purple. Metallic dark pink slip case printed in unison with endleaves. ¶ Second printing: 2015. ¶ Third printing (not seen). ¶ Fourth printing: 2021. ¶ Fifth printing: 2022. 1876 Mohammed and Charlemagne, Henri Pirenne, translated by Bernard Miall, introduction and further reading by Averil Cameron. 240 × 162 × 32 mm. Pp. [i–v] vi–xxvi [xxvii–xxviii], [1–5] 6–260: [9] leaves of colour plates (facing p. [iii] and between pp. 100–101 and 196–197). Type: Dante with Charlemagne for display. Printed and bound by T.J. International. Full brown cloth blocked in gold and copper with design drawn by Neil Gower with calligraphy by Josh Berer. Pale brown endleaves with a map by Alison Davies in dark brown. Dark brown slip case. The plates reproduce photographs of artefacts and sites. 1877 The classical world, an epic history of Greece and Rome, Robin Lane Fox, with a new introduction by the author. 252 × 179 × 52 mm. Pp. [i–v] vi–xxxii, [1–5] 6–671 [672]: [25] leaves of colour plates. Type: Spectrum. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark blue buckram decorated in gold with label, showing a marble relief from Hadrian’s Villa, pasted on front board; endleaves printed with detail of marble frieze. Black slip case. The plates reproduce photographs of a wide range of artefacts contemporary to the period. Thirteen maps are also included. 1878 Conrad’s Congo, Joseph Conrad’s expedition to the Congo Free State, 1890, edited and introduced by J.H. Stape, preface by Adam Hochschild. 229 × 161 × 24 mm. Pp. [i–v] vi–xxxiv, [1–3] 4–217 [218–222]: [9] leaves of plates (facing p. [iii] and between pp. 22–23, 54–55, 86–87 and 118–[119]). Type: Minion. Printed and bound by T.J. International. Full green cloth blocked in black and yellow with design by Neil Gower; grey endleaves with a map by Gower in black. Black slip case. The plates primarily reproduce contemporary photographs

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from the Royal Museum for Central Africa, Belgium, and the collection of London-based dealer Arnaud Delas. Images from Conrad’s travel notes are in the text. 1879 Oscar Wilde, the selfish giant and other stories, introduced by Jeanette Winterson, illustrated by Grahame Baker-Smith. 253 × 190 × 25 mm. Pp. [i–iv] v–xix [xx], [1–2] 3–172: [7] leaves of colour plates (facing pp. [iii], 12, 60, 76, 93, 140 and 157). Type: Goudy with Windsor for display. Printed and bound by T.J. International. Three-quarter dark blue-green buckram with paper front board printed with a design by Baker-Smith; dark blue endleaves printed in silver with handsome snowflake design. Silver slip case. ¶ Second printing: 2017. Printed and bound by L.E.G.O. 1880 Alan Garner, the owl service, preface by Susan Cooper, illustrations by Darren Hopes. 228 × 162 × 23 mm. Pp. [i–iv] v–xix [xx–xxii], [1–2] 3–153 [154]: [8] leaves of colour plates (facing pp. [iii], 11, 26, 43, 58, 91, 106 and 139). Type: Elysium with Ambicase Modern for display. Printed and bound by T.J. International in full green cloth blocked in black and cream with design by Hopes; pale green endleaves printed with illustration of a china plate drawn by Garner’s wife, Griselda Greaves. The significance of this plate is made clearer in Hopes’s second full-page illustration. Green slip case. 1881 The princess bride, S. Morgenstern’s classic tale of true love and high adventure, the ‘good parts’ version, abridged by William Goldman, illustrated by Mark Thomas. 240 × 163 × 31 mm. Pp. [i–iv] v–xxxii, [1–2] 3–291 [292–296]: [10] leaves of colour plates (facing pp. [iii], 48, 65, 97, 112, 153, 168, 200, 217 and 224). Type: Warnock with Xylo for display. Printed and bound by L.E.G.O. in full green cloth blocked in black and gold with design by Thomas; endleaves printed with colourful map of the novel’s locale by Thomas. Dark orange slip case. ¶ Second printing: 2017. ¶ Third printing: 2020. ¶ Fourth printing: 2021. 1882 Diarmaid MacCulloch, Reformation, Europe’s house divided, 1490–1700. 253 × 178 × 41–46 mm. 2 vols (see below). Type: Sabon. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full grey-blue cloth blocked in gold and dark purple with calligraphy by Ged Palmer; dark purple endleaves. Dark purple two-volume slip case with image of seventeenth-century oil painting pasted round sides. The plates primarily reproduce oil paintings and engravings from the period. The two volumes are as follows: I Diarmaid MacCulloch, Reformation, Europe’s house divided, 1490–1700, [symbol to indicate first volume], preface by Christopher Brooke. Pp. [i–v] vi–xxxvi [xxxvii–xxxviii], [1–3] 4–338: [17] leaves of plates (facing p. [iii] and between pp. 74–75, 154–155, 234–235 and 298–299). Includes two maps, on pages [30–31] and [150]. II Diarmaid MacCulloch, Reformation, Europe’s house divided, 1490–1700, [symbol to indicate second volume]. Pp. [i–v] vi–xiv, [339–341] 342–860: [17] leaves of plates (facing p. [iii] and between pp. 420–421, 532–533, 660–661 and 740–741). Includes five maps, on pages [380], [448–449], [476], [521] and [568]. 1883 Jane Austen, pride and prejudice, introduced by Sebastian Faulks, illustrated by Anna & Elena Balbusso. 239 × 162 × 32 mm. Pp. [i–viii] ix–xv [xvi], [1–4] 5–335 [336]: [8] leaves of colour plates (facing pp. [iii], 32, 81, 160, 177, 224, 241 and 305). Type: Baskerville with Trajan for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full gold buckram blocked in black and cream with a design by the artists; cream endleaves. Metallic dark red slip case blocked with the novel’s famous opening line in gold. ¶ Second printing: 2016. ¶ Third printing: 2017. ¶ Fourth printing: 2019. Bound by Josef Spinner. ¶ Fifth printing: 2021.

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1884 The princess and the goblin, George MacDonald, introduced by Maria Tatar, illustrated by Madalina Andronic. 229 × 162 × 24 mm. Pp. [i–iv] v–xix [xx], [1–2] 3–168 [169–172]: [7] leaves of colour plates (facing pp. [iii], 12, 28, 45, 77, 141 and 156). Type: Bell with Medici Script for display. Printed by Martins of Berwick. Bound by Charles Letts & Co. in full dark purple cloth blocked in dark orange and silver with a design by Andronic; dark orange endleaves. Dark orange slip case. 1885 Seven gothic tales, by Isak Dinesen, introduced by Margaret Atwood, illustrations by Kate Baylay. 240 × 164 × 35 mm. Pp. [1–2], [i–xi] xii–xvi, [1–3] 4–370 [371–374]: [10] leaves of colour plates (facing pp. [iii], 47, 62, 94, 111, 159, 222, [239], 286 and 334). Type: Albertina with Gambit Nouveau for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark blue buckram blocked in gold and silver with design by Baylay; dark blue endleaves printed with design in silver. Dark blue slip case with decoration in silver. 1886 Fifty fables of La Fontaine, translated by Norman R. Shapiro, introduced by Sarah Bakewell, illustrated by Quentin Blake. 288 × 220 × 24 mm. Pp. [i–vi] vii–xvi, [1–2] 3–97 [98–104]. Type: Garamond. Printed and bound by Zanardi. Full dark green Indian goatskin leather blocked in gold. The design, following the 2011 edition of Candide, is based on Blake’s distinctive handwriting; pale brown endleaves. Pale brown slip case blocked in gold with enlargement of Blake’s titling. The edition statement reads in part ‘limited to 1000 copies for sale to members of The Folio Society, and 25 lettered copies which are not for sale’. Blake has signed each one. From the 239 fables La Fontaine published, 50 stories have been selected and illustrated. 1887 Paul Theroux, the great railway bazaar, by train through Asia, with a new introduction by the author. 241 × 178 × 36 mm. Pp. [i–v] vi–xxvii [xxviii–xxx], [1–3] 4–352 [353–354]: [13] leaves of plates. Type: Arno Pro with Station No. 5 and Compacta Bold for display. Printed and bound by L.E.G.O. in quarter black cloth with printed paper boards; dark yellow endleaves with map in black. Dark red slip case. The plates reproduce photographs taken between 1965 and 2011, from Switzerland to Japan. 1888 The grey fairy book, edited by Andrew Lang, with an introduction by Kate Bernheimer, paintings & decorations by Lauren Nassef. 253 × 192 × 52 mm. Pp. [i–iv] v–xvii [xviii], [1–2] 3–298 [299–302]: [13] leaves of plates. Type: Caslon. Printed (the title-page in grey and black) by Memminger MedienCentrum. Bound by Real Lachenmaier in series binding (see item 1124). Full grey buckram blocked with a design by Nassef in dark orange, black, silver and cream; dark grey endleaves with a design in silver. Dark grey slip case. First published in 1900. The 35 stories are punctuated by additional drawings by Nassef. 1889 The orange fairy book, edited by Andrew Lang, with an introduction by Sara Maitland, paintings and decorations by Tomislav Tomić. 253 × 194 × 51 mm. Pp. [1–2], [i–iv] v–xxi [xxii], [1–2] 3–295 [296–298]: [16] leaves of plates. Type: Caslon. Printed (the title-page in orange and black) by Memminger MedienCentrum. Bound by Real Lachenmaier in series binding (see item 1124). Full dark orange buckram blocked with a design by Tomić in grey, black, gold and cream; brown endleaves with a design in gold. Black slip case. First published in 1906. The 33 stories are punctuated by additional drawings by Tomić. 1890 Mary Renault, the Alexander trilogy. 241 × 164 × 34–40 mm. 3 vols (see below). Type: Haarlemmer. Printed and bound by Grafos. Quarter black buckram with paper boards printed with a different design by Geoff Grandfield for each volume; mottled pale brown endleaves with a map redrawn by Kevin Freeborn for each. Black three-volume slip case titled (as above) in white and orange. The three volumes are as follows:

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[1] Mary Renault, fire from heaven, introduced by Daniel Mendelsohn, illustrations by Geoff Grandfield. Pp. [i–iv] v–xxvi, [1–2] 3–387 [388–390]: [9] leaves of colour plates (facing pp. [iii], 22, 39, 134, 151, 246, 294, 311 and 375). [2] Mary Renault, the Persian boy, illustrations by Geoff Grandfield. Pp. [i–iv] v–vii [viii], [1–2] 3–426 [427–432]: [9] leaves of colour plates (facing pp. [iii], 57, 129, 144, 224, 320, 337, 401 and 416). [3] Mary Renault, funeral games, illustrations by Geoff Grandfield. Pp. [i–iv] v–ix [x], [1–2] 3–285 [286]: [6] leaves of colour plates (facing pp. [iii], 38, 102, 119, 247 and 262). 1891 The letterpress Shakespeare, Pericles. Dark green two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare and George Wilkins, a reconstructed text of Pericles, Prince of Tyre, edited by Roger Warren, on the basis of a text prepared by Gary Taylor and Macd. P. Jackson. 354 × 257 × 19 mm. Pp. [i–ii], [1–7] 8–90 [91–94]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed by Stonehouse Fine Press on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark green Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark green endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by Oxford World’s Classics in 2003. [2] William Shakespeare and George Wilkins, a reconstructed text of Pericles, Prince of Tyre, edited by Roger Warren, on the basis of a text prepared by Gary Taylor and Macd. P. Jackson. 222 × 143 × 34 mm. Pp. [i–iv] v–ix [x], 1–306 [307–310]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2013 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark green buckram with paper label on front board; dark green endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark green. Available to purchase separately in 2016. 1892 The letterpress Shakespeare, Cymbeline. Dark red two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, Cymbeline, edited by Roger Warren. 354 × 257 × 22 mm. Pp. [i–ii], [1–11] 12–122 [123–126]. Type: Baskerville with Caslon for display. Typeset by Typostudio SchumacherGebler. Printed by Offizin Haag-Drugulin on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark red Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark red endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by the Clarendon Press in 1998. [2] William Shakespeare, Cymbeline, edited by Roger Warren. 222 × 144 × 33 mm. Pp. [i–iv] v–ix [x], 1–287 [288–294]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2013 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark red buckram with paper label on front board; dark red endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark red. Available to purchase separately in 2016.

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2014 1893 Jan Morris, the Venetian Empire, a sea voyage, introduced by Stella Tillyard. 252 × 176 × 25 mm. Pp. [i–vi] vii–xviii, [1–2] 3–188 [189–190]: [13] leaves of colour plates and [1] fold-out photograph of mural painting (between pp. 158–159). Type: Bembo with Granjon for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter blue cloth with printed paper boards; pale brown endleaves with map by Kevin Freeborn in blue. Blue slip case with carved Lion of St Mark blocked in silver on one side. 1894 The Great War and modern memory, Paul Fussell, introduction by Lyn Macdonald. 253 × 163 × 48 mm. Pp. [i–iv] v–xxiii [xxiv–xxviii], [1–2] 3–436: [17] leaves of plates. Type: Janson. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark red cloth blocked with design drawn by Frances Button in yellow and grey; endleaves printed with collage of extracts from a facsimile edition of a trench newspaper. Grey slip case. A map of the Western Front of 1914–1918 is on pages [xxiv–xv]. The plates reproduce contemporary images from the conflict alongside modern-day views. 1895 Bamber Gascoigne, the dynasties of China, with a new preface by the author. 229 × 162 × 25 mm. Pp. [i–ix] x–xxx [xxxi–xxxii], [1–3] 4–208: [13] leaves of plates. Type: Warnock Pro with Elli for display. Printed and bound by Grafos in full dark cream cloth blocked in red and dark green with design by Charlotte Orr; dark cream endleaves printed with calligraphy in green. Red slip case. The plates reproduce photographs of objects and sites from the Shang to Qing dynasties. Neil Gower has redrawn a map of China’s main historic sites, on page [xxxi]. 1896 Giorgio Bassani, the gardens of the Finzi-Continis, translated by Jamie McKendrick, introduced by Simon Mawer, illustrated by Laura Carlin. 240 × 162 × 29 mm. Pp. [i–iv] v–xv [xvi], [1–4] 5–250 [251–256]: [8] leaves of colour plates (facing pp. [iii], 33, 48, 80, 97, 145, 160 and 208). Type: Fournier with Bodoni for display. Printed and bound by Grafos in full paper printed with design by Carlin; pale green endleaves. Green slip case. 1897 Charlotte Brontë, Jane Eyre, introduced by Emma Donoghue, illustrations by Santiago Caruso. 241 × 163 × 43 mm. Pp. [1–2], [i–iv] v–xv [xvi], [1–4] 5–490 [491–494]: [11] leaves of colour plates (facing pp. [iii], 30, 94, 286, 303, 350, 431, 463, 478 and between 126–127). Type: Caslon Pro. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full grey buckram printed in black with a design by Caruso; dark grey endleaves. Black slip case. The fourth plate, of Jane’s dramatic first meeting with Mr Rochester, is a double-page spread. ¶ Second printing: 2016. ¶ Third printing: 2019. Bound by Josef Spinner. ¶ Fourth printing: 2021. 1898 Finnegans wake, James Joyce, edited by Danis Rose and John O’Hanlon, illustrated by John Vernon Lord. 289 × 205 × 48 mm. Pp. [i–iv] v–xxxv [xxxvi], [1–2] 3–492 [493–500]: [12] leaves of plates (facing pp. [iii], 13, 28, 92, 124, 140, 157, 268, 301, 316, 412 and 476). Type: Dante. Preliminaries typeset by Folio. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full black buckram blocked in silver and printed in blue with design by Lord plus leather label on spine; black endleaves. Black slip case blocked in silver with lightning flash design. Follows Houyhnhnm Press edition of 2010. In a welcome departure from the norm, between pages xxvii–xxxv Lord describes the features behind his designs for the slip case, binding and plates.

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1899 Life, the universe and everything, by Douglas Adams, introduced by Jon Canter, illustrated by Jonathan Burton. 228 × 151 × 24 mm. Pp. [i–iv] v–xiii [xiv], [1–4] 5–194: [8] leaves of colour plates (facing pp. [iii], 50, 67, 82, 115, 130, 146 and 179). Type: Sabon. Printed and bound by L.E.G.O. in full dark blue cloth flecked with metallic greens, blocked with design in silver and metallic green by Burton; metallic blue endleaves. Metallic blue slip case. Burton’s work was shortlisted in the 2015 V&A Illustration Awards. ¶ Second printing: 2015. ¶ Third printing: 2016. ¶ Fourth printing: 2021. ¶ Fifth printing: 2022. 1900 Apollonius of Rhodes, the voyage of Argo, the Argonautica, translated by E.V. Rieu, introduced by Lawrence Norfolk, illustrated by Daniel Egnéus. 253 × 175 × 24 mm. Pp. [i–iv] v–xix [xx–xxii], [1–2] 3–168 [169–172]: [14] leaves of colour plates (between pp. 25–26, 57–58, 67–68, 81–82, 107–108, 115–116 and 145–146). Type: Centaur. Printed and bound by L.E.G.O. in full pale blue cloth printed with design by Egnéus; endleaves printed with colourful map drawn by Martin Sanders showing the Argonauts’ route. Slip case printed with another striking illustration by Egnéus. The plates are impressive double-page spreads. 1901 E.B. White, Stuart Little, introduced by Tony DiTerlizzi, illustrations by Garth Williams, colored by Rosemary Wells. 204 × 136 × 18 mm. Pp. [i–iv] v–xviii, [1–3] 4–135 [136–142]. Type: Bell. Printed and bound by L.E.G.O. in full cloth printed with illustration by the artists. Dark green endleaves printed with further drawings in pale green. Green slip case. Colour illustrations throughout. The text follows that of the first U.S. edition of 1945, including the non-UK spelling of colour on the title-page. 1902 Frederick Forsyth, the day of the jackal, introduced by Ken Follett, illustrated by Tatsuro Kiuchi. 241 × 162 × 33 mm. Pp. [i–iv] v–xv [xvi–xviii], [1–4] 5–388 [389–390]. Type: Haarlemmer and Verkehr for display. Printed and bound by L.E.G.O. in full paper printed with a design by Kiuchi. Dark blue endleaves. Clever decorated red slip case with section removed to work with binding design. Kiuchi’s striking black and white illustrations are in the text. This is the first illustrated edition of the novel and was shortlisted in the 2015 V&A Illustration Awards. 1903 Søren Kierkegaard, fear and trembling, translated and with notes by Alastair Hannay, introduced by Jonathan Rée, illustrated by Paul Scheruebel. 228 × 151 × 22 mm. Pp. [i–vi] vii–xvi, [1–2] 3–143 [144]: [7] leaves of colour plates (facing pp. [iii], 17, 32, 49, 64, 80 and 112). Type: Van Dijck with Trajan Pro for display. Printed by Martins of Berwick. Bound by Charles Letts & Co. in full red cloth blocked in silver and black with design by Scheruebel; red endleaves. Brown slip case. 1904 Jules Verne, twenty thousand leagues under the seas, translated by William Butcher, introduced by Margaret Drabble, illustrated by Jillian Tamaki. 240 × 162 × 33 mm. Pp. [i–iv] v–xxiv, [1–4] 5–360: [9] leaves of colour plates (facing pp. [iii], 40, 57, 136, 153, 185, 200, 296 and 328). Type: Bulmer. Printed by Memminger Medien Centrum. Bound by Real Lachenmaier in full black cloth printed and blocked with an imaginative design by Tamaki; cream endleaves printed with sea creatures design in black. Blue-grey slip case. 1905 The Spanish Civil War, Hugh Thomas. Maps by Kevin Freeborn. 253 × 177 × 50–51 mm. 2 vols (see below). Type: Mentor with Neutraface for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier with designs by Raquel Leis Allion; black endleaves. Red two-volume slip case titled in black and yellow. The plates primarily reproduce photographs taken during the conflict. The two volumes are as follows:

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I . . . I, with a foreword by Michael Alpert. Pp. [i–vii] viii–xxxv [xxxvi–xl], [1–5] 6–423 [424]: [17] leaves of plates. Bound in full red cloth blocked in grey, black and yellow with design centred on soldiers. Includes 15 maps. II . . . II. Pp. [i–vii] viii–xii [xiii–xvi], [425–427] 428–1018 [1019–1024]: [17] leaves of plates. Bound in full yellow cloth blocked in grey, black and red with design centred on civilian combatants. Includes 20 maps. 1906 Ford Madox Ford, parade’s end. Illustrated by James Albon. 240 × 165 × 43–46 mm. 2 vols (see below). Type: Photina with Helvetica Compressed for display. Printed by Memminger MedienCentrum. Quarter bound by Real Lachenmaier in blue cloth with paper boards printed with designs by Albon; brown endleaves. Brown two-volume slip case titled (as above) in black and decorated in silver. The two volumes, which contain two novels each, are as follows: I . . . I, introduced by Philip Hensher. Pp. [i–iv] v–xvii [xviii], [1–4] 5–522, [1–4]: [11] leaves of colour plates (facing pp. [iii], 46, 63, 174, 222, 286, 319, 326, 423, 430 and 478). Contains Some do not . . . and No more parades, first published in Britain in 1924 and 1925 respectively. II . . . II. Pp. [i–iv] v–vii [viii], [523–524] 525–1098: [11] leaves of colour plates (facing pp. [iii], 530, 579, 594, 675, 690, 739, 755, 770, 867 and 882). Contains A man could stand up– and Last post, first published in Britain in 1926 and 1928 respectively. 1907 William Langland, the vision of Piers the Plowman, Middle English text with the Donaldson translation, edited by Elizabeth Robertson and Stephen H.A. Shepherd, introduced by Bernard O’Donoghue, illustrated by Harry Brockway. 280 × 188 × 45 mm. Pp. [i–iv] v–xxii [xxiii–xxiv], [1] 2–482 [483–486]: [1] plate (facing pp. [iii]). Type: Miller. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter dark green goatskin leather with orange-brown buckram boards blocked in gold and printed in black with design by Brockway; dark green endleaves. Dark green slip case. Each of the poem’s 20 passages is accompanied by a wood-engraving by Brockway. 1908 Agatha Christie, Hercule Poirot novels. Illustrated by Andrew Davidson. 228 × 150 × 24–26 mm. 4 vols (see below). Type: Bell with Kabel Heavy for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full buckram blocked with a design (different for each volume) by Davidson. Dark grey four-volume slip case titled (as above) in gold with silhouette of the Belgian detective printed in black. The four volumes (which were also issued separately) are as follows: [1] Agatha Christie, the mysterious affair at Styles, introduced by Anthony Horowitz, illustrated by Andrew Davidson. Pp. [i–iv] v–xvii [xviii–xx], [1–2] 3–179 [180]: [7] leaves of colour plates (facing pp. [iii], 28, 69, 100, 117, 148 and 165). Orange-brown buckram blocked in cream, black and gold; orange-brown endleaves. First published in 1920. [2] Agatha Christie, murder on the Orient Express, illustrated by Andrew Davidson. Pp. [i–iv] v–vii [viii–x], [1–4] 5–214: [7] leaves of colour plates (facing pp. [iii], 38, 55, 102, 166, 182 and 199). Blue buckram blocked in cream, black and pale blue; blue endleaves. First published in 1934. [3] Agatha Christie, the ABC murders, illustrated by Andrew Davidson. Pp. [i–iv] v–vii [viii–x], [1–2] 3–198: [7] leaves of colour plates (facing pp. [iii], 39, 54, 87, 102, 150 and 182). Dark grey buckram blocked in white and two shades of grey; dark grey endleaves. First published in 1936.

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[4] Agatha Christie, death on the Nile, illustrated by Andrew Davidson. Pp. [i–iv] v–vii [viii–x], [1–4] 5–267 [268–270]: [7] leaves of colour plates (facing pp. [iii], 38, 102, 119, 166, 183 and 214). Dark red buckram blocked in cream and brown; dark red endleaves. First published in 1937. 1909 Agatha Christie, the mysterious affair at Styles, illustrated by Andrew Davidson. A separate issue of one of Christie’s Poirot mysteries. Details as volume 1 of item 1908, but without the introduction and with an orange-brown single-volume slip case. Preliminaries now Pp. [1–2], [i–iv] v–vii [viii–x]. 1910 Agatha Christie, murder on the Orient Express . . . A separate issue of one of Christie’s Poirot mysteries. Details as volume 2 of item 1908, but with a blue single-volume slip case. ¶ Second printing: 2016. ¶ Third printing: 2022. Bound by Josef Spinner. 1911 Agatha Christie, the ABC murders . . . A separate issue of one of Christie’s Poirot mysteries. Details as volume 3 of item 1908, but with a dark grey single-volume slip case. 1912 Agatha Christie, death on the Nile . . . A separate issue of one of Christie’s Poirot mysteries. Details as volume 4 of item 1908, but with a dark red single-volume slip case. 1913 Richard III, England’s black legend, Desmond Seward, foreword by Thomas Penn. 241 × 162 × 28 mm. Pp. [i–vi] vii–xxi [xxii–xxviii], [1–2] 3–284: [7] leaves of colour plates (facing p. [iii] and between pp. 84–85, 148–149 and 212–213). Type: Poliphilus. Printed and bound by L.E.G.O. in full red buckram blocked in gold and white with design by Joe McLaren; red endleaves with repeat crown design in gold. Black slip case. The plates include a photograph of the king’s newly discovered skeleton. Kevin Freeborn provided a map of England on page [xxvi]. ¶ Second printing: 2014. 1914 Peter Brown, the world of Late Antiquity, a d 150–750, introduced by Christopher Kelly. 253 × 176 × 26 mm. Pp. [1–2], [i–iv] v–xxiii [xxiv], [1–4] 5–179 [180–182]: [17] leaves of colour plates and [1] folded chronology. Type: Centaur. Printed and bound by Grafos in quarter gold buckram with paper boards printed with image of sectile panel; endleaves printed with map drawn by Kevin Freeborn. Dark grey slip case. The plates reproduce photographs of a wide range of antiquities. 1915 James Joyce, Dubliners, preface by Kevin Barry, contemporary photographs by Dr J.J. Clarke. 240 × 160 × 25 mm. Pp. [i–vi] vii–xii, 1–213 [214–216]: [11] leaves of sepia photographic plates. Type: Goudy. Printed and bound by Gutenberg Press. Full brown cloth lettered in cream and gold; grey-brown endleaves. Brown slip case with a sepia photograph. This is a reissue of the 2003 edition with the note at the end of the original removed and a preface inserted. 1916 Alexander Pushkin, the queen of spades and other stories, translated by Alan Myers, notes by Andrew Kahn, introduced by Rachel Polonsky, illustrated by Anna & Elena Balbusso. 240 × 163 × 28 mm. Pp. [i–iv] v–xvii [xviii], [1–4] 5–300 [301–302]: [7] leaves of colour plates (facing pp. [iii], 30, 39, 103, 151, 166 and 246). Type: Bembo. Printed and bound by Grafos in full pink cloth blocked in black and silver with a design by the artist sisters; red endleaves printed with repeat heart design in black. Silver slip case. The ‘other’ stories are Tales of the late Ivan Petrovich Belkin, The captain’s daughter and Peter the Great’s blackamoor. The binding design was used to create notebooks, with ruled paper, for marketing campaigns and events. With the spine reading ‘A Folio Notebook’ in gold, the dimensions were reduced to 216 × 129 × 19 mm.

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1917 Simone Roux, Paris in the Middle Ages, translated by Jo Ann McNamara, preface by Andrew Hussey. 241 × 163 × 30 mm. Pp. [i–iv] v–xli [xlii], [1–4] 5–298 [299–302]: [13] leaves of colour plates (facing p. [iii] and between pp. 38–39, 102–103 and 182–183). Type: Fournier. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark blue buckram with paper panel printed with a design by Neil Gower on front board; endleaves printed with details of fifteenth-century plan. Red slip case. Neil Gower provided a map on page [xlii]. The plates primarily reproduce details from a fine body of manuscripts. 1918 The letterpress Shakespeare, the two noble kinsmen. Dark green two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare and John Fletcher, the two noble kinsmen, edited by Eugene M. Waith. 354 × 257 × 21 mm. Pp. [i–ii], [1–13] 14–112 [113–114]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed by Stonehouse Fine Press on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark green Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark green endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by the Clarendon Press in 1989. [2] William Shakespeare and John Fletcher, the two noble kinsmen, edited by Eugene M. Waith. 222 × 144 × 32 mm. Pp. [i–iv] v–ix [x], 1–233 [234–238]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2014 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark green buckram with paper label on front board; dark green endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark green. Available to purchase separately in 2016. 1919 The letterpress Shakespeare, Henry VI, part one. Dark blue two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, Henry VI, part one, edited by Michael Taylor. 354 × 257 × 21 mm. Pp. [i–ii], [1–7] 8–109 [110 ]. Type: Baskerville with Caslon for display. Typeset by Gloucester Typesetting Services. Printed by The Logan Press on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark blue Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark blue endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by Oxford World’s Classics in 2003. [2] William Shakespeare, Henry VI, part one, edited by Michael Taylor. 222 × 144 × 26 mm. Pp. [i–iv] v–ix [x], 1–256 [257–262]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2014 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark blue buckram with paper label on front board; dark blue endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark blue. Available to purchase separately in 2016. 1920 The letterpress Shakespeare, Henry VI, part two. Dark blue two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows:

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[1] William Shakespeare, Henry VI, part two, edited by Roger Warren. 354 × 258 × 22 mm. Pp. [i–ii], [1–13] 14–123 [124–126]. Type: Baskerville with Caslon for display. Typeset by Typostudio SchumacherGebler. Printed by Offizin Haag-Drugulin on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark blue Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark blue endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by Oxford World’s Classics in 2003. [2] William Shakespeare, Henry VI, part two, edited by Roger Warren. 222 × 144 × 35 mm. Pp. [i–iv] v–x, 1–319 [320–326]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2014 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark blue buckram with paper label on front board; dark blue endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark blue. Available to purchase separately in 2016. 1921 The letterpress Shakespeare, Henry VI, part three. Dark blue two-volume clamshell box, leather spine-label titled (as above) in gold. The two volumes are as follows: [1] William Shakespeare, Henry VI, part three, edited by Randall Martin. 354 × 258 × 21 mm. Pp. [1–13] 14–121 [122–124]. Type: Baskerville with Caslon for display. Typeset by Typostudio SchumacherGebler. Printed by Offizin Haag-Drugulin on Zerkall mould-made paper. Bound by hand at Real Lachenmaier in quarter dark blue Nigerian goatskin leather with marbled paper boards by Jemma Lewis and top edge gilding; dark blue endleaves. Leaf following the title-page reads in part ‘Only 1000 copies of this edition have been printed, but they are numbered in harmony with earlier volumes in the series, and therefore may bear a higher number’. The text is based on the edition originally published by Oxford World’s Classics in 2001. [2] William Shakespeare, Henry VI, part three, edited by Randall Martin. 222 × 146 × 34 mm. Pp. [i–iv] v–x, 1–392 [393–398]. Published ‘By arrangement with Oxford University Press this edition in a special binding has been produced by The Folio Society in 2014 to accompany the Letterpress Shakespeare’, p. [iv]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark blue buckram with paper label on front board; dark blue endleaves. This volume is inserted in a recess in the box, beneath the first volume and a loose board papered in dark blue. Available to purchase separately in 2016. 1922 Victor Hugo, the toilers of the sea, translation and notes by James Hogarth, introduction by Graham Robb, foreword by Andrew Graham-Dixon. 239 × 190 × 48 mm. Pp. [i–vi] vii–xxv [xxvi–xxviii], [1–4] 5–446 [447–450]: [25] leaves of colour plates. Type: Bembo. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter dark brown Indian goatskin leather with printed cloth slides. Gilded top edge. Pale brown endleaves. Dark brown clamshell box with printed cloth illustration inset on front and spine titled in gold. The edition statement reads in part ‘limited to 1250 numbered copies for sale to members of The Folio Society, and 25 lettered copies which are not for sale’. Reproduces all of Hugo’s 36 original illustrations, which are now held by the Bibliothèque nationale de France. 1923 Anthony Trollope, the warden, introduced by Jane Smiley, illustrated by Bill Bragg. 247 × 156 × 26 mm. Pp. [i–vi] vii–xvii [xviii], [1–2] 3–205 [206]: [7] leaves of colour plates (facing pp. [iii], 31, 63, 94, 111, 158 and 175). Type: Garamond. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full pale brown cloth blocked in white, black and blue with design by Bragg; pale brown endleaves printed with map of Barsetshire in black. Brown slip case. The map on the endleaves of the second edition has been used again.

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1924 In parenthesis, seinnyessit e gledyf ym penn mameu, David Jones, introduction by T.S. Eliot, foreword by Harold Bloom, calligraphy by Ewan Clayton. 263 × 177 × 32 mm. Pp. [1–2], [i–vi] vii–xxi [xxii–xxvi], [1–2] 3–221 [222–228]. Type: Centaur. Printed and bound by Grafos in full green cloth blocked in green and cream with a design by Clayton; green endleaves. Dark brown slip case. The frontispiece by David Jones reproduces that used in the first edition of 1937. Each of the seven parts of the poem is accompanied by a full-page illustration from Clayton. The dedication page inspires one more page of calligraphy. Clayton’s work was shortlisted in the 2015 V&A Illustration Awards. 1925 War & peace, Leo Tolstoy, translated, annotated and introduced by Richard Pevear and Larissa Volokhonsky, preface by James Wood, illustrations by Igor Karash. 253 × 166 × 50–54 mm. 2 vols (pp. [i–iv] v–xxxiii [xxxiv], [1–4] 5–697 [698], [1–4]; [i–iv] v–viii, [699–700] 701–1498). Type: Albertina with Modern Extended for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in three-quarter black buckram with cloth front boards printed with designs by Karash. First volume has red endleaves and uses gold cloth, with colours reversed for its companion. Black two-volume slip case blocked in gold with simple swinging chandelier design. Each volume contains 15 colour plates by Karash, two of which are double-page spreads. 1926 Josephine Tey, the singing sands, introduced by Val McDermid, illustrated by Mark Smith. 228 × 149 × 27 mm. Pp. [i–vi] vii–xv [xvi–xviii], 1–235 [236–238]: [7] leaves of colour plates (facing pp. [iii], 30, 78, 95, 158, 175 and 207). Type: Dante with Station No. 5 for display. Printed and bound by L.E.G.O. in full red buckram blocked in black and cream with design by Smith. Red endleaves. Black slip case. The binding design was used to create notebooks, with ruled paper, for marketing campaigns and events. With the spine reading ‘A Folio Notebook’ in black, the dimensions were reduced to 216 × 129 × 19 mm. ¶ Second printing: 2014. 1927 Juvenal, the sixteen satires, translated with notes by Peter Green, introduced by Simon Callow, illustrated by David Hughes. 229 × 162 × 30 mm. Pp. [i–vi] vii–xxviii, [1–2] 3–268: [9] leaves of colour plates (facing pp. [iii], 5, 20, 28, 45, 76, 93, 117 and 124). Type: Van Dijck. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter black buckram with paper boards printed with design by Hughes; black endleaves. Black slip case. 1928 Disasters of war, etchings by Francisco de Goya y Lucientes, from the unique album of proofs printed by the artist in the collection of the British Museum. Two-volume clamshell box bound in black cloth with paper label titled as above and spine blocked in gold. The two volumes are as follows: [1] [Facsimile]. 215 × 305 × 25 mm. Pp. [i–ii], [1–170], [1–4]. Printed and bound by Grafos. Full brown calfskin leather with spine blocked in gold and leather title label. Marbled endleaves by Jemma Lewis. Reproduced from the album of proof impressions assembled by Goya for his close friend Juan Agustín Ceán Bermúdez. The edition statement reads in part ‘limited to 980 numbered copies for sale to members of The Folio Society, and 20 lettered copies which are not for sale’. The artist’s signature is reproduced on the bottom edge. [2] Disasters of war, commentary by Mark McDonald. 216 × 304 × 13 mm. Pp. [1–6] 7–68 [69–72]. Type: Bell. Printed and bound by Grafos in full black cloth with label printed letterpress by The Logan Press on front board and spine blocked in gold; dark red endleaves. Includes 23 illustrations. 1929 Simon Winchester, the surgeon of Crowthorne, a tale of murder, madness and the making of the Oxford English Dictionary, introduction by Will Self. 240 × 163 × 27 mm. Pp. [i–vi] vii–xxv [xxvi–xxviii], [1–2] 3–199

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[200–204]: [7] leaves of plates (facing p. [iii] and between pp. 52–53, 100–101 and 164–165). Type: Sabon. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue cloth blocked in cream and grey with a design by Tim Laing; endleaves printed with images of Dr William Chester Minor’s word indexes compiled from two seventeenth-century books. Dark blue slip case. 1930 Dylan Thomas, selected poems, introduced by Owen Sheers, edited by Walford Davies and Ralph Maud. 240 × 162 × 20 mm. Pp. [1–2], [i–iv] v–xix [xx], [1–2] 3–137 [138]: [7] leaves of plates (facing pp. [iii], 10, 19, 35, 50, 59 and 74). Type: Garamond. Printed and bound by L.E.G.O. in three-quarter black cloth with paper front board printed with image of Thomas taken in 1937. Endleaves printed with images of notes made by the poet. Dark grey slip case. The plates reproduce photographs of Thomas, his family and the Welsh landscape, neatly captioned on the verso of each leaf. 1931 Xan Fielding, hide and seek, the story of a wartime agent, introduced by Clare Mulley. 241 × 163 × 28 mm. Pp. [i–vi] vii–xxiii [xxiv–xxvi], [1–2] 3–204 [205–206]: [7] leaves of plates (facing p. [iii] and between pp. 54–55, 102–103 and 150–151). Type: Photina. Printed and bound by L.E.G.O. in full pale green-brown cloth printed in red and green with design by Neil Gower. Endleaves printed with images of typescript glossary of code-names annotated by Patrick Leigh Fermor. Pale green slip case. The plates largely reproduce photographs taken in Crete between circa 1941 and 1945. Correspondence and the author’s DSO award commendation are reproduced in appendices placed between pages [193–197]. A plastic sleeve inside the back cover contains a colour facsimile of a War Office map of west and central Crete printed on both sides and annotated by Fermor. The map, when unfolded, is 56 × 70 mm. Kevin Freeborn provided a map on page [xxii]. 1932 The deeds of the English kings, William of Malmesbury, gesta regum anglorum, edited and translated by R.A.B. Mynors, completed by R.M. Thomson and M. Winterbottom, introduced by Peter Ackroyd. 252 × 178 × 47 mm. Pp. [i–vii] viii–xxxix [xl, [1–3] 4–568: [13] leaves of colour plates. Type: Minion with Givry and Clairvaux for display. Hand-lettering by Charlotte Orr. Printed by Memminger MedienCentrum in black and red ink. Bound by Real Lachenmaier in full brown cloth blocked in gold and blue with a design by Orr; dark blue endleaves. Dark blue slip case. The plates are full-page images taken from medieval manuscripts. ¶ Second printing: 2014. 1933 George Orwell, nineteen eighty-four, introduced by Alan Rusbridger, illustrated by Jonathan Burton. 240 × 162 × 31 mm. Pp. [i–iv] v–xvi, [1–4] 5–287 [288]: [10] leaves of colour plates (facing pp. [iii], 25, 104, 121, 137, 152, 201, 216, 257 and 272). Type: Haarlemmer with Stencil for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full blue cloth printed with design by Burton; dark blue endleaves. Black slip case. ¶ Second printing: 2016. ¶ Third printing: 2018. Printed and bound by Kösel. Blue slip case, printed in black with title and signature design. ¶ Fourth printing: 2020. ¶ Fifth printing: 2021. 1934 A clockwork orange, Anthony Burgess, introduced by Irvine Welsh, illustrated by Ben Jones. 241 × 162 × 26 mm. Pp. [i–vi] vii–xxii, [1–6] 7–214 [215–218]: [7] leaves of colour plates (facing pp. [iii], 42, 59, 123, 130, 162 and 194). Type: Bembo with Shelton Slab for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full black paper, textured like alligator skin, blocked in copper with design by Jones; black endleaves. Black slip case. Jones’s illustrations consist of seven suitably sinister collages. The text follows that of the restored edition of 2012. The binding design was used to create notebooks, with ruled paper, for marketing campaigns and events. With the spine reading ‘A Folio Notebook’ in copper, the dimensions were reduced to 216 × 128 × 18 mm.

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¶ Second printing: 2017. ¶ Third printing: 2023. Bound by Josef Spinner in smooth black paper. 1935 Freya Stark, the southern gates of Arabia, a journey in the Hadhramaut, introduction by Sara Wheeler. 216 × 166 × 34 mm. Pp. [i–viii] ix–xv [xvi–xviii], [1–2] 3–318. Type: Minion Pro. Printed and bound by L.E.G.O. in full blue cloth blocked in silver with inset paper label printed with photograph of valley townscape. Silver endleaves printed with repeat lattice-work design in blue. Blue slip case. Kevin Freeborn provided maps of routes on pages [xviii] and [274]. Over 50 photographs taken by Stark during her 1935 trip to southern Arabia are reproduced in the text. 1936 The William Morris manuscript of the odes of Horace. Dark green two-volume clamshell box designed by David Eccles. Spine titled (as above) in gold and front board blocked in silver and gold. The two volumes are as follows: [1] [Facsimile]. 175 × 127 × 26 mm. Pp. [1–183] 184, [1–2]. Printed by Castelli Bolis and bound by Smith Settle. Full black Indian goatskin leather following the manuscript’s original binding design by T.J. Cobden-Sanderson with spine blocked in gold; white endleaves. Reproduced from the manuscript held by the Bodleian Library. The edition statement reads in part ‘limited to 980 numbered copies for sale to members of The Folio Society, and 20 lettered copies which are not for sale’. This volume is inserted in a cloth-lined recess in the box, below the commentary. [2] The William Morris manuscript of the odes of Horace, commentary by Clive Wilmer, translation by W.E. Gladstone. 290 × 227 × 10 mm. Pp. [1–4] 5–63 [64]. Type: Poliphilus. Printed by Martins of Berwick. Bound by Charles Letts & Co. in full grey paper blocked in gold; grey endleaves. 1937 A Shropshire lad, A.E. Housman, with wood engravings by Agnes Miller Parker. 222 × 145 × 13 mm. Pp. [i– iv], [1–2] 3–90 [91–92]. Type: Baskerville. Printed and bound by L.E.G.O. in quarter grey cloth with cream paper boards printed in black and green with design by Parker; cream endleaves printed with repeat bird design in green. Green slip case. Parker’s engravings were first used in George C. Harrap’s edition of 1940. 1938 Anthony Trollope, Barchester Towers, introduced by Kathryn Hughes, illustrated by Bill Bragg. 246 × 156 × 44 mm. Pp. [i–iv] v–xvii [xviii], [1–4] 5–524 [525–526]: [10] leaves of colour plates (facing pp. [iii], 30, 47, 94, 174, 239, 254, 351, 366 and 383). Type: Garamond. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full pale brown cloth blocked in white, black and brown with design by Bragg; pale brown endleaves printed with map of Barsetshire in black. Brown slip case. 1939 Emily Brontë, Wuthering Heights, introduced by Patti Smith, illustrations by Rovina Cai. 241 × 161 × 36 mm. Pp. [i–iv] v–xxix [xxx], [1–2] 3–317 [318–322]: [9] leaves of colour plates (facing pp. [iii], 3, 82, 99, 163, 178, 259, 274 and 306). Type: Caslon Pro. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full grey buckram printed in black and blocked in gold with a design by Cai; dark grey endleaves. Black slip case. ¶ Second printing: 2016. ¶ Third printing: 2019. Bound by Josef Spinner. ¶ Fourth printing: 2021. 1940 Louisa May Alcott, little women, or Meg, Jo, Beth, and Amy, with a preface by Jane Gardam, illustrated by Rebecca Green. 229 × 162 × 43 mm. Pp. [1–2], [i–v] vi–xiv, [1–7] 8–510 [511–512]: [10] leaves of colour plates (facing pp. [iii], 96, 113, 144, 161, 288, 384, 433, 448 and 496). Type: Perpetua with Mahogany Script for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full pale blue buckram

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blocked in dark red and gold with a design by Green; pale grey endleaves with repeat design printed in dark red. Dark red slip case. ¶ Second printing: 2021. Printed and bound by C & C Offset. Dark pink slip case. ¶ Third printing: 2022. Printed by Memminger MedienCentrum. Bound by Josef Spinner. Dark red slip case. 1941 The ghost of Thomas Kempe, Penelope Lively, with a new preface by the author, illustrations by Pam Smy. 228 × 150 × 21 mm. Pp. [i–iv] v–xi [xii], [1–4] 5–152 [153–156]. Type: Caslon Pro with Blackadder for display. Printed and bound by L.E.G.O. in full dark blue-green buckram blocked in pale blue and white with a design by Smy; white endleaves with repeat design printed in pale blue. Dark blue-green slip case. Smy’s black and white illustrations are in the text. 1942 Edmund Crispin, the moving toyshop, introduced by P.D. James, illustrated by A. Richard Allen. 229 × 153 × 25 mm. Pp. [1–2], [i–iv] v–xiii [xiv–xvi], [1–4] 5–186 [187–190]: [7] leaves of colour plates (facing pp. [iii], 30, 47, 62, 127, 142 and 182). Type: Photina with Pink Martini for display. Printed and bound by Grafos. Quarter bound in yellow buckram with paper boards printed and blocked with a design by Allen; pale purple endleaves with plan of Oxford printed in black. Dark purple slip case. ¶ Second printing: 2015. 1943 Chinese fairy tales & fantasies, translated and edited by Moss Roberts, with the assistance of C.N. Tay, preface by Yiyun Li, illustrated by Victo Ngai. 240 × 151 × 30 mm. Pp. [i–iv] v–xxv [xxvi–xxviii], [1–4] 5–256 [257–260]: [8] leaves of colour plates (facing pp. [iii], 37, 52, 101, 116, 132, 164 and 228). Type: Elysium Book. Printed and bound by L.E.G.O. in full black buckram blocked in red, white and gold with a design by Victo Ngai; black endleaves printed in gold. Gold slip case. Contains 95 stories, from the fifth-century b c to the eighteenth century. In addition to the striking full-page colour illustrations, the artist has supplied drawings of plants in black and white. 1944 Joseph Conrad, heart of darkness, introduced by Sebastian Barry, illustrated by Sean McSorley. 228 × 149 × 21 mm. Pp. [i–iv] v–xix [xx], [1–4] 5–140: [7] leaves of colour plates (facing pp. [iii], 13, 28, 60, 93, 108 and 124). Type: Miller. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in three-quarter black cloth with paper front board printed with design by McSorley; pale grey endleaves with rubber stamp design printed in dark grey. Black slip case blocked in silver on one side. McSorley was commissioned through winning the fourth Book Illustration Competition. Previously published by Folio in 1952 and 1997. ¶ Second printing: 2018. Printed and bound by L.E.G.O. 1945 Robert Louis Stevenson, treasure island, introduced by Michael Morpurgo, illustrations by Sterling Hundley. 252 × 191 × 28 mm. Pp. [1–2], [i–iv] v–xvi [xvii–xx], [1–4] 5–230 [231–234]: [13] leaves of colour plates (facing pp. [iii], 10, 27, 42, 59, 74, 91, 106, 138, 155, 171, 186 and 219). Type: Bulmer. Printed and bound by L.E.G.O. in full brown buckram blocked in black, white and silver with a design by Hundley; printed endleaves. Black slip case blocked in red and silver on one side. One of the plates is a map drawn by Stevenson reproduced from the 1885 edition published by Cassell & Co. Hundley used a combination of pencil drawing, painting and digital techniques to create the impressive illustrations. This is the third Folio edition. Overall Winner and winner of the Book Illustration category at the 2015 V&A Illustration Awards. ¶ Second printing: 2017.

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1946 Longitude, the true story of a lone genius who solved the greatest scientific problem of his time, Dava Sobel, with a new preface by the author. 228 × 162 × 21 mm. Pp. [i–iv] v–xvi, [1–2] 3–148 [149–152]: [9] leaves of colour plates (facing pp. [iii], 72, 88, 104, 120 and between pp. 32–33 and 64–65). Type: Baskerville with Bodoni for display. Printed and bound by L.E.G.O. in full paper printed and blocked in copper; endleaves printed with drawing of the sea by Caspar David Friedrich. Brown slip case. The plates primarily reproduce a selection of John Harrison’s original drawings alongside photographs of the inventor’s chronometers. A detail from another of Harrison’s drawings is printed onto the binding. ¶ Second printing: 2015. 1947 The Folio diary 2015. 183 × 132 × 16 mm. Pp. [1–120]. Type: Avenir. Printed and bound by L.E.G.O. in full dark grey paper with design in dark yellow by Millie Marotta; dark yellow endleaves. Not issued in a slip case. Bird themed illustrations face each week of the year. 1948 Karen Armstrong, a history of God, from Abraham to the present: the 4,000-year quest for God, with a foreword by Tariq Ramadan. Maps by Kevin Freeborn. 252 × 175 × 43 mm. Pp. [i–vii] viii–xxii [xxiii–xxxiv], [1–3] 4–500 [501–502]: [16] leaves of plates. Type: Garamond with Perpetua Titling. Printed and bound by Grafos in full blue artificial silk blocked in gold with design by Michael Gills; dark blue endleaves. Dark blue slip case blocked in gold with star design inspired by Genesis 15:5. The plates reproduce images of objects from c.25,000 bce to a d 2009. Freeborn’s nine maps are on pages [xxv–xxxiii]. 1949 Desiderius Erasmus, in praise of folly, and, letter to Maarten van Dorp, 1515, translated by Betty Radice, introduced by Eamon Duffy, notes by A.H.T. Levi, illustrated by Matthew Richardson. 228 × 148 × 24 mm. Pp. [1–2], [i–iv] v–xxv [xxvi], [1–2] 3–168 [169–172]: [9] leaves of colour plates (facing pp. [iii], 5, 20, 37, 52, 69, 84, 101 and 116). Type: Aldus with Blackmoor for display. Printed and bound by Grafos in full paper printed with design by Richardson; blue endleaves. Blue slip case. This is the second Folio edition, the first having appeared in 1974 without the letter. Radice’s translation, updated in 1993, is used again. 1950 The Herefordshire pomona. Two-volume clamshell box bound in dark green canvas and blocked in gold with leather spine-label titled (as above) in gold. Printed by PiginiGroup. Bound by Zanardi with blocking designs in gold by Neil Packer; dark green endleaves. The two volumes are as follows: [1] The Herefordshire pomona, containing coloured figures and descriptions of the most esteemed kinds of apples and pears, with illustrations drawn and coloured from nature by Alice Ellis and Edith Bull, technical editor Robert Hogg, general editor Henry Graves Bull, volume 1, colour plates. 384 × 304 × 33 mm. Pp. [i–x], [1–166]. Reprographics by Dot Gradations. Bound in quarter dark green Indian goatskin leather with dark green canvas boards and top edge gilding. Leaf preceding the title-page reads in part ‘limited to 980 copies for sale to members of the Folio Society and 20 lettered copies which are not for sale’. The book was originally published between 1876 and 1885 for Woolhope Naturalists’ Field Club, alternating the plates and descriptions. In this edition they are printed in separate volumes. [2] The Herefordshire pomona, containing coloured figures and descriptions of the most esteemed kinds of apples and pears, technical editor Robert Hogg, general editor Henry Graves Bull, new essays by Jill Arbury and Michael Twyman, volume 2, text. 384 × 302 × 28 mm. Pp. [i–vi] vii–xvi, [1–2] 3–157 [158–160]. Type: Bulmer. Bound in full dark green canvas. This volume is inserted beneath the first volume and four prints in a dark green paper wallet. The text is based on that of the first edition, omitting much of the preliminary and end matter. Winner in scholarly, academic and reference books category of the 2015 British Book Design and Production Awards.

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2015 1951 Napoleon & Wellington, Andrew Roberts, introduction by Alistair Horne. Maps by Kevin Freeborn. Index by Douglas Matthews. 252 × 163 × 34 mm. Pp. [i–vii] viii–xlv [xlvi–xlviii], [1–5] 6–351 [352]: [13] leaves of colour plates and [1] fold-out. Type: Garamond with Bodoni for display. Printed and bound by L.E.G.O. in full silver buckram blocked in white and black with design by Raquel Leis Allion. Black slip case. The plates primarily reproduce oil paintings of key individuals and battles, notably the four-page fold-out of William Allan’s 1843 work The Battle of Waterloo. Freeborn’s three maps are on pages [48–49], [145] and [164–165]. 1952 [Magna Carta]. [Facsimile manuscript with replica seal]. 498 × 426 × 10 mm. Printed by Westerham on sheepskin parchment. Mounted on white board and red fabric. Framed in oak and glass with metal plaque on front and printed label with limitation number on back. A reproduction of the British Library’s Cotton MS Augustus ii.106. The parchment has been hand cut to replicate the shape of of the manuscript while the seal, now missing from this copy, is based on surviving examples found elsewhere. Accompanied by an envelope containing a certificate of authentication, both printed letterpress, signed in blue pen by the British Library’s David Way. The certificate states ‘The edition is limited to 480 numbered copies for sale and 20 lettered copies hors de commerce’. Published to mark the charter’s 800th anniversary. A copy of the book Magna carta, the foundation of freedom, 1215–2015 by Nicholas Vincent and others from Third Millennium Publishing serves as a guide to what is claimed in some quarters to be history’s most important document. 1953 Major P.R. Reid MBE, MC, Colditz, the full story, introduction by James Holland. Maps by Kevin Freeborn. 240 × 163 × 35 mm. Pp. [i–v] vi–xxiv [xxv–xxx], [1–3] 4–373 [374–378]: [13] leaves of plates. Type: Joanna with Photina for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full green cloth blocked in copper and black with design by Raquel Leis Allion; cream endleaves printed with images from photographs of the castle’s prisoners. Dark green-brown slip case. The majority of the plates reproduce photographs, with a particular focus on those contained in the Durham Light Infantry archive. Freeborn provided maps on pages [xxv] and [xxvi–xxvii]. 1954 Edgar Allan Poe, the narrative of Arthur Gordon Pym, introduced by Marilynne Robinson, illustrations by David Lupton. 175 × 117 × 36 mm. Pp. [i–iv] v–xxii, [1–2] 3–346: [7] leaves of colour plates (facing pp. [iii], 43, 138, 155, 250, 282 and 299). Type: Bell. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full pale blue buckram blocked in dark blue and cream with design by Lupton; blue endleaves. Dark blue slip case blocked with subtitle design in cream on one side. Winner in literature category of the 2015 British Book Design and Production Awards. 1955 Jacques Barzun, from dawn to decadence, 1500 to the present, 500 years of Western cultural life. 253 × 178 × 46–47 mm. 2 vols (see below). Type: Garamond with Trajan for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark silver buckram blocked in orange and black; dark silver endleaves. Black two-volume slip case wrapped with design by Holly Frean. The material used for the plates ranges from woodcuts and oil paintings to posters and photographs. The two volumes are as follows: [I] . . . [symbol to indicate first volume], introduced by Peter Conrad. Pp. [i–vii] viii–xxxiii [xxxiv], [1–3] 4–523 [524], [1–2]: [17] leaves of plates. The cross-references were found to be incorrectly numbered and the volume was reprinted.

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[II] . . . [symbol to indicate second volume]. Pp. [i–vii] viii–x, [525–527] 528–978: [17] leaves of plates. 1956 F.A. Worsley, Shackleton’s boat journey, introduced by Ranulph Fiennes. 228 × 162 × 21 mm. Pp. [i–vi] vii–xix [xx–xxiv], [1–2] 3–142 [143–144]: [7] leaves of plates (facing pp. [xvi], 8, 24, 56, 72, 104 and 120). Type: Bodoni with Sackers Gothic for display. Printed and bound by Grafos in full paper printed with design by Simon Pemberton; blue-green endleaves. Blue-green slip case. Pemberton also supplied three illustrations for marking the different narrative sections. The plates, with two exceptions, reproduce photographs taken by Frank Hurley during the Imperial Trans-Antarctic Expedition. Two maps are included on pages [xx–xxi] and [xxii–xxiii]. ¶ Second printing: 2021. Following the removal of page introducing Worsley and Fiennes, pagination now [i–vi] vii–xvii [xviii–xxii], [1–2] 3–141 [142–146]: [7] leaves of plates (facing pp. [xvi], 10, 26, 58, 74, 106 and 122). The maps are now on pages [xviii–xix] and [xx–xxi]. Printed and bound by Gomer Press with slightly redesigned spine. 1957 Jane Austen, Emma, introduced by Fay Weldon, illustrated by Sam Wolfe Connelly. 240 × 162 × 37 mm. Pp. [i–iv] v–xiii [xiv–xvi], [1–4] 5–428 [429–432]: [10] leaves of colour plates (facing pp. [iii], 48, 97, 112, 177, 192, 289, 337, 352 and 384). Type: Baskerville with Trajan for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full gold buckram blocked in black and cream with a design by the artist; cream endleaves. Metallic blue slip case blocked with an edited version of the novel’s opening line in gold. ¶ Second printing: 2018. Bound by Josef Spinner. ¶ Third printing: 2021. 1958 Plato, symposium, translated with an introduction and notes by Robin Waterfield, foreword by A.C. Grayling, illustrated by Linda Baker-Smith. 280 × 177 × 21 mm. Pp. [i–iv] v–li [lii], [1–2] 3–111 [112–116]: [8] leaves of colour plates (facing pp. [iii], 4, 13, 21, 28, 44, 53 and 68). Type: Centaur. Printed and bound by Grafos. Quarter bound in purple-blue cloth with paper boards printed with a design by Baker-Smith; printed endleaves. Dark purple slip case. 1959 Troy and its remains, a narrative of researches and discoveries made on the site of Ilium and in the Trojan Plain, Heinrich Schliemann, introduced by Caroline Moorehead. 252 × 176 × 34 mm. Pp. [i–vii] viii–lxxii [lxxiii–lxxvi], [1–3] 4–249 [250]: [21] leaves of plates. Type: Arno Pro. Printed and bound by L.E.G.O. in full orange cloth blocked in gold and black with design by Raquel Leis Allion; endleaves printed with details of engravings by Joseph Whymper. Black slip case. The plates reproduce those photographs from the original German edition of 1874, Atlas Trojanische Alterthümer. 1960 Ernest Hemingway, a farewell to arms, introduced by Colm Tóibín, illustrated by Anne-Marie Jones. 228 × 163 × 32 mm. Pp. [i–iv] v–xv [xvi], [1–4] 5–304: [9] leaves of colour plates (facing pp. [iii], 32, 80, 96, 113, 176, 193, 256 and 273). Type: Guardi with Gill Sans display. Printed and bound by L.E.G.O. in three-quarter red buckram with paper front board printed with a design by Jones; red endleaves. Black slip case. 1961 Ray Bradbury, the Martian chronicles, introduced by Chris Hadfield, illustrated by Mick Brownfield. 240 × 150 × 27 mm. Pp. [i–iv] v–xviii [xix–xx], [1–4] 5–232 [233–236]: [9] leaves of colour plates (facing pp. [iii], 12, 60, 77, 108, 125, 172, 189 and 204). Type: Caslon with Railroad Gothic for display. Printed and bound by Gutenberg Press. Full dark purple buckram blocked in silver and metallic red; metallic pink

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endleaves. Dark purple slip case. The introduction is provided by a veteran of three space missions. Brownfield’s colourful illustrations are inspired by 1950s sci-fi. ¶ Second printing: 2016. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. 1962 A new birth of freedom, selected writings of Abraham Lincoln, introduction, editorial matter and selection by Fred Kaplan. 250 × 175 × 44 mm. Pp. [i–v] vi–lvi [lvii–lx], [1–3] 4–489 [490–492]: [17] leaves of plates. Type: Dante. Printed by Memminger MedienCentrum. Quarter bound by Josef Spinner in metallic brown buckram with paper boards printed with photographic images of Lincoln on front and draft of the Gettysburg Address; metallic brown endleaves. Brown slip case. A map of the United States in 1861 by Kevin Freeborn is on pages [lviii–lix]. 1963 William Dalrymple, in Xanadu, a quest, with a new introduction by the author. 240 × 164 × 28 mm. Pp. [i–iv] v–xv [xvi], [1–4] 5–301 [302–304]: [17] leaves of plates. Type: Elysium. Printed and bound by L.E.G.O. in full paper printed with a design by Sarah Hanson; dark cream endleaves printed with map in brown. Pale brown slip case. The plates reproduce photographs from the author’s own collection. Includes maps redrawn by the author’s wife, the artist Olivia Fraser. 1964 Madeleine L’Engle, a wrinkle in time, introduced by Meg Rosoff, illustrated by Sam Richwood. 228 × 150 × 23 mm. Pp. [i–vi] vii–xviii [xix–xx], [1–2] 3–172: [7] leaves of colour plates (facing pp. [iii], 13, 28, 60, 108, 124 and 141). Type: Scala Pro with Albertus for display. Printed and bound by L.E.G.O. in full blue cloth blocked in green and cream with a design by Richwood; metallic pale blue-green endleaves. Blue slip case. 1965 Strange defeat, a statement of evidence written in 1940, by Marc Bloch, translated from the French by Gerard Hopkins, preface by Robert O. Paxton, introduction by Frederick Maurice Powicke, foreword by Georges Altman. 228 × 149 × 24 mm. Pp. [i–vii] viii–xxxvii [xxxviii–xl], [1–3] 4–164 [165–168]: [9] leaves of plates (facing p. [iii] and between pp. 56–57 and 120–121). Type: Bulmer. Printed and bound by Grafos in full paper printed on front board; pale brown endleaves. Pale brown slip case blocked in cream with a Maginot Line design. A map of France and Belgium by Alison Davies is on page [xxxix]. This is the first illustrated edition, principally using photographs taken in 1940. 1966 The age of illusion, England in the twenties and thirties, 1919–1940, Ronald Blythe, introduced by Dominic Sandbrook. 240 × 161 × 31 mm. Pp. [i–vi] vii–xx [xxi–xxii], 1–341 [342–346]: [9] leaves of plates (facing p. [iii] and between pp. 74–75, 154–155, 218–219 and 298–299). Type: Perpetua with Perpetua Titling. Printed and bound by Kösel in full metallic pale green buckram blocked in black and metallic red with design by Raquel Leis Allion; endleaves printed with photographs taken in 1918 and 1939 of newspaper sellers, declaring peace and war respectively. Dark green slip case. 1967 Toni Morrison, beloved, introduced by Russell Banks, illustrated by Joe Morse. 227 × 163 × 30 mm. Pp. [i–vi] vii–xxii [xxiii–xxiv], [1–4] 5–279 [280]: [9] leaves of colour plates (facing pp. [iii], 8, 40, 104, 121, 153, 168, 248 and 265). Type: New Caledonia with Priori Serif for display. Printed and bound by Kösel in full dark grey cloth blocked in silver, grey and red with design by Morse; silver endleaves. Black slip case. This is the first illustrated edition. ¶ Second printing: 2023, with new binding and slip case. Printed by Neografia. Bound by them in quarter dark red cloth with printed paper boards with design by Morse; dark red endleaves. Dark red slip case with verse from Romans 9:25 in silver.

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1968 Frank Herbert, Dune, illustrated by Sam Weber, introduced by Michael Dirda, afterword by Brian Herbert. 252 × 176 × 47 mm. Pp. [i–x] xi–xvi [xvii–xviii], [1–4] 5–553 [554–558]: [15] leaves of colour plates. Type: Dante with Helvetica Neue and Black Tulip for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full silver buckram printed and blocked in silver and blue; printed endleaves. Black slip case blocked with design in silver. The endleaves are printed with a map by Martin Sanders with cartographic notes. Weber has also provided occasional ink and charcoal section headings. Accompanied by a limited edition poster based on the front board design. ¶ Second printing: 2015. ¶ Third printing: 2015. ¶ Fourth printing: 2016. ¶ Fifth printing: 2019. Bound by Josef Spinner. ¶ Sixth printing: 2020. ¶ Seventh printing: 2020. ¶ Eighth printing: 2021. ¶ Ninth printing: 2022. 1969 Gavin Maxwell, ring of bright water, introduced by Robert Macfarlane. 228 × 162 × 27 mm. Pp. [i–vi] vii– xviii [xix–xxii], [1–2] 3–229 [230–234]: [9] leaves of plates. Type: Goudy Old Style with Castellar for disply. Printed and bound by L.E.G.O. in quarter pale blue buckram with cream printed with drawings by Michael Ayrton; pale blue endleaves printed with otter footprints in dark blue. Blue slip case. In addition to the plates of photographs, small black and white drawings head each chapter, plus the two section breaks and closing poem. All but the one drawn by the author were illustrated by Peter Scott. 1970 The man in the high castle, Philip K. Dick, introduced by Ursula K. Le Guin, illustrated by Shotopop. 228 × 162 × 28 mm. Pp. [i–iv] v–xvii [xviii–xx], [1–2] 3–250 [251–252]: [8] leaves of colour plates (facing pp. [iii], 5, 20, 37, 52, 69, 197 and 212). Type: Utopia with Market Street Neon. Printed and bound by L.E.G.O. in three-quarter blue-grey cloth with paper front board printed and blocked with a design by the artist; dark blue endleaves. Dark blue slip case blocked in silver on one side. Shotopop are a London design studio and the man behind the book’s manga and comic book influenced illustrations is Shan Jiang. ¶ Second printing: 2015. ¶ Third printing: 2017. ¶ Fourth printing: 2022. 1971 Graham Greene, the comedians, introduced by Francis Wheen, illustrations by Sara Ogilvie. 228 × 150 × 27 mm. Pp. [i–iv] v–xviii [xix–xx], [1–2] 3–281 [282–286]: [11] leaves of black and white plates. Type: Garamond with Gill Sans for display. Printed and bound by Grafos in full red cloth with a design in green and black by Ogilvie; black endleaves. Black slip case. Three of the illustrations are double-page spreads. 1972 [Paradise lost, by John Milton]. 2 vols (see below). Printed and bound by Kösel. Quarter black buckram with cloth boards blocked in black. Black two-volume slip case wrapped with detail from John Martin oil painting. The two volumes are as follows: [1] John Milton, Paradise lost, edited by Alastair Fowler, introduced by Michael Prodger, with mezzotints by John Martin. 325 × 248 × 42 mm. Pp. [1–2], [i–vii] viii–xxii [xxiii–xxvi], [1–3] 4–311 [312–316]: [24] leaves of plates. Type: Miller Text. Illustrations printed by Taylor Bloxham. Red cloth; red endleaves. The illustrations are reproduced from a version published in 1846. [2] Paradise lost, a commentary by Alastair Fowler. 325 × 248 × 39 mm. Pp. [i–vii] viii–xxiii [xxiv], [1–3] 4–335 [336 ]. Type: Miller. Blue cloth; blue endleaves. 1973 Anthony Trollope, the Duke’s children. Type: Miller. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. Dark green silk marker in each volume. Green two-volume slip case. The two volumes are as follows:

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[1] Anthony Trollope, the Duke’s children, the complete text, reconstructed and edited by Steven Amarnick, assisted by Robert F. Wiseman with Susan Lowell Humphreys, introduced by Joanna Trollope. 241 × 166 × 56 mm. Pp. [i–vi] vii–xiv, [1–2] 3–702 [703–706]. Half bound in green Indian goatskin leather blocked in gold with green cloth boards. Top edge gilding; marbled endleaves by Jemma Lewis. Leaf preceding the title-page reads in part ‘limited to 1980 numbered copies, and 20 lettered copies hors de commerce’. A printed line counter is loosely inserted to aid reading the commentary volume alongside. This is the first time the novel has been published in the form Trollope intended, using the original manuscript now held by the Beinecke Rare Book and Manuscript Library. Members were also offered, at just over twice the price, the set specially bound in full green Indian goatskin leather with edges marbled by Jemma Lewis. These copies came in a green cloth two-volume clamshell box, lined on two sides with dark red paper. Marbling the edges of the whole edition risked missing the bicentenary of Trollope’s birth so a pragmatic solution was found. [2] Commentary to the first complete edition of the Duke’s children, by Anthony Trollope, contributors: Steven Amarnick, Robert F. Wiseman, Susan Lowell Humphreys, Michael G. Williamson. 240 × 161 × 18 mm. Pp. [i–vi], 1–150 [151–154]: [1] plate (facing p. [iii]). Full green canvas blocked in gold; printed endleaves reproduce the opening and closing pages from Trollope’s original manuscript. A photograph of Trollope by Julia Margaret Cameron is used for the frontispiece. 1974 Rupert Brooke, selected poems, introduced by Jon Stallworthy, lithographs by Ed Kluz. 250 × 180 × 17 mm. Pp. [1–2], [i–vi] vii–xxi [xxii], [1–2] 3–60 [61–64]: [15] leaves of plates (facing pp. [v], 3, 60 and between pp. 12–13, 20–21, 28–29, 36–37, 52–53 and 56–57). Type: Walbaum. Typeset by Gloucester Typesetting Services. Printed letterpress by Stonehouse Fine Press on Zerkall mould-made paper with the lithographs by Curwen Studio. Bound by L.E.G.O. in quarter blue leather with hand-patterned paper boards by Victoria Hall; dark blue-grey endleaves. Dark blue slip case blocked on one side with lithograph panel. The edition statement reads in part ‘limited to 1750 numbered copies, for sale to members of The Folio Society, and 20 lettered copies hors de commerce’. Kluz’s illustrations consist of three full-page lithographs, six colour double-page spreads and six vignettes. Containing 37 poems, the book was issued in the centenary of Brooke’s death. 1975 The Winchester psalter, miniature cycle. Two-volume clamshell box bound in dark green buckram and lined with dark green paper. Front titled (as above) in gold with inset label, and spine blocked in gold. Printed and bound by Gorenjski Tisk Storitve, Slovenia. The two volumes are as follows: [1] [Facsimile]. 327 × 233 × 20 mm. Pp. [1–80]. Reprographics by Dot Gradations. Bound with a design by Joe McLaren. Full red Indian goatskin leather blocked in dark green and gold; top edge gilding. Dark green endleaves. Folios 1–39 of the British Library’s Cotton MS Nero C.IV are reproduced here. The final leaf reads in part ‘The edition is limited to 980 numbered copies for sale to members of The Folio Society and 20 lettered copies hors de commerce’. [2] The Winchester psalter miniature cycle, commentary Kristine Edmondson Haney. 241 × 160 × 16 mm. Pp. [1–8], 1–91 [92]. Type: Centaur. Full dark green buckram; dark green endleaves. This volume is inserted in a recess in the box, beneath the facsimile and a loose board papered in dark green. 1976 Vita nuova, Dante Alighieri, translation and notes by Mark Musa, introduced by A.N. Wilson, illustrated by Daniel Egnéus. 229 × 150 × 23 mm. Pp. [i–vi] vii–xviii, [1–3] 4–190. Type: Dante with Bembo Titling for display. Printed in red and black by Memminger MedienCentrum. Bound by Real Lachenmaier in full red cloth blocked in gold and cream with design by Egnéus; gold endleaves. Red slip case. In addition to seven

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illustrations in the text, three ornamental spreads are included. One is repeated seven times in red, one thrice in red and the remainder twice in black. The Italian text is printed alongside a facing-page English translation. 1977 Joseph Roth, the Radetzky march, translated by Michael Hofmann, introduced by William Boyd, illustrated by Tim Laing. 227 × 164 × 31 mm. Pp. [i–iv] v–xiii [xiv], [1–4] 5–334 [335–338]: [9] leaves of colour plates (facing pp. [iii], 34, 51, 99, 114, 155, 170, 187 and 298). Type: Janson. Printed and bound by Kösel in full red buckram blocked in black and gold with design by Laing; red endleaves. Black slip case. 1978 Aubrey de Sélincourt, the world of Herodotus, introduced by Paul Cartledge. 238 × 163 × 36 mm. Pp. [1–2], [i–vii] viii–xxv [xxvi–xxxvi], [1–7] 8–405 [406–410]: [13] leaves of colour plates. Type: Garamond. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full black cloth blocked in copper with a design by Neil Gower; dark orange endleaves printed with maps in black redrawn by Kevin Freeborn. Black slip case. The plates reproduce photographs of antiquities ranging from a marble bust to a papyrus fragment. 1979 Penelope Fitzgerald, the blue flower, introduced by Neel Mukherjee, illustrations by James Albon. 226 × 150 × 24 mm. Pp. [i–iv] v–xvii [xviii–xx], [1–2] 3–203 [204]: [7] leaves of colour plates (facing pp. [iii], 13, 76, 93, 124, 156 and 173). Type: Caslon. Printed by Memminger MedienCentrum. Quarter bound by Josef Spinner in dark blue buckram with paper boards printed with a design by Albon; dark blue endleaves. Dark blue slip case. 1980 John Keats, selected poems, edited by John Barnard, introduction by Andrew Motion, engravings by Simon Brett. 240 × 162 × 25 mm. Pp. [i–iv] v–xvii [xviii], 1–260 [261–262]. Type: Baskerville. Printed by Memminger MedienCentrum. Quarter bound by Real Lachenmaier in dark green buckram with paper boards printed with a design by Brett; dark green endleaves. Dark green slip case. This edition is adapted from ‘The Folio Poets’ volume of 2001, making a selection of Keats’s poems and Brett’s engravings to make a considerably lighter book. The introduction and note on the text remain the same, but the acknowledgements have been trimmed. 1981 Traitor’s purse, Margery Allingham, introduced by A.S. Byatt, illustrated by James Boswell. 228 × 149 × 24 mm. Pp. [i–iv] v–xiii [xiv–xvi], [1–2] 3–205 [206–208]: [7] leaves of colour plates (facing pp. [iii], 49, 97, 112, 145, 176 and 193). Type: Utopia with Victoria Titling for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full paper printed with design by Boswell; brown endleaves. Dark brown slip case. 1982 Cecil Woodham-Smith, the reason why, introduced by Allan Mallinson. 240 × 161 × 31 mm. Pp. [i–iv] v–xxi [xii–xxvi], [1–2] 3–291 [292–294]: [9] leaves of colour plates (facing p. [iii] and between pp. 38–39, 102–103, 182–183 and 230–231). Type: Laurentian. Printed and bound by Kösel in full red buckram blocked in black and gold with design by Neil Gower; red endleaves. Black slip case. Maps of the Crimean campaign and the route taken by the British Army are on pages [137] and [173]. A plan of the Battle of Balaclava is on page [207]. The plates primarily reproduce oil paintings and photographs. 1983 Evelyn Waugh, vile bodies, introduced by David Lodge, illustrations by Kate Baylay. 240 × 162 × 22 mm. Pp. [i–iv] v–xvi [xvii–xviii], [1–4] 5–203 [204]: [6] leaves of plates (facing pp. [iii], 45, 84, 110, 164 and 184). Type: Perpetua with Anna for display. Printed and bound by L.E.G.O. in quarter black cloth with paper boards printed with design by Baylay; copper endleaves. Black slip case. In addition to Baylay’s Beardsley-esque plates, two half-page illustrations have been added. Folio included the novel in a six-volume set of Waugh’s comedies in 1999.

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1984 One flew over the cuckoo’s nest, Ken Kesey, introduction by John Sutherland, illustrations by David Hughes. 230 × 164 × 33 mm. Pp. [i–iv] v–xv [xvi–xviii], [1–4] 5–310: [7] leaves of colour plates (facing pp. [iii], 134, 183, 198, 214, 279 and 294). Type: Haarlemmer. Printed and bound by Grafos in full grey cloth blocked in blue with lettering design by Hughes; dark yellow endleaves. Dark yellow slip case. In addition to the plates, seven black and white drawings by Hughes are in the text. 1985 Apuleius, the golden ass, or metamorphoses, translated with notes by E.J. Kenney, introduced by James Wood, illustrations by Quentin Blake. 282 × 220 × 33 mm. Pp. [i–8] 9–250 [251–254]: [1] plate (facing p. [vii]). Type: Poliphilus and Blado. Printed and bound by Kösel. Full dark brown Indian goatskin leather blocked in gold with a distinctive Blake rabbit; dark red endleaves. Dark red slip case blocked in gold with titling designed in Blake’s hand. The edition statement reads in part ‘limited to 1000 copies signed and numbered by the artist for sale to members of The Folio Society, and 25 lettered copies which are not for sale’. Blake has signed each one. In addition to 12 full-page colour illustrations, Blake has provided 34 smaller drawings. 1986 Barbara W. Tuchman, a distant mirror, the calamitous fourteenth century. 251 × 165 × 40 mm. A separate issue of the first volume of The mirror of the past. Details as volume [1] of item 885, but now printed by Memminger MedienCentrum and bound by Josef Spinner. Black single-volume slip case. 1987 A writer at war, Vasily Grossman with the Red Army, 1941–1945, edited and translated by Antony Beevor and Lyuba Vinogradova. 240 × 163 × 38 mm. Pp. [i–v] vi–xxx [xxxi–xxxiv], [1–5] 6–428 [429–430]. Type: Abril with Grotesque for display. Printed by Memminger MedienCentrum. Quarter bound by Real Lachenmaier in black cloth with printed paper boards with a design by Raquel Leis Allion; red endleaves. Black slip case. Over 50 photographs are reproduced in the text. Maps on pages [xxxii–xxxiii], [13], [77], [149] and [255] were redrawn by Kevin Freeborn. 1988 Chaos, making a new science, James Gleick. 241 × 162 × 32 mm. Pp. [i–v] vi–ix [x–xvi], [1] 2–347 [348–352]: [13] leaves of colour plates. Type: Haarlemmer with Century Gothic for display. Printed and bound by L.E.G.O. in quarter yellow cloth with printed paper boards with a design by Raquel Leis Allion; black endleaves. Black slip case. The plates reproduce photographs from science and nature. In the text are black and white images. The first in the Modern Science Collection. 1989 Sigmund Freud, interpreting dreams, translated by J.A. Underwood, introduced by John Forrester, illustrated by Gabriella Boyd. 253 × 162 × 41 mm. Pp. [i–v] vi–liii [liv], [1–3] 4–546: [10] leaves of colour plates (facing pp. [iii], 106, 123, 202, 219, 251, 282, 354, 386 and 403). Type: Sabon with Minion for display. Printed by Memminger MedienCentrum and bound by Real Lachenmaier in full blue cloth with an eleventh illustration inset on paper, the design by Boyd; dark blue endleaves. Dark blue slip case. 1990 The age of wonder, how the Romantic generation discovered the beauty & terror of science, Richard Holmes, with an introduction by Jenny Uglow. 252 × 176 × 45 mm. Pp. [i–vii] viii–xxxi [xxxii], [1] 2–576: [17] leaves of colour plates. Type: Iowan Old Style with Bulmer for display. Printed by Memminger MedienCentrum and bound by Real Lachenmaier in full dark grey silver flecked cloth blocked in silver with a design by Raquel Leis Allion with typography by Marcus Leis Allion; dark silver endleaves. Black slip case. The plates primarily reproduce oil paintings, watercolours and engravings. In the text are black and white images. 1991 Alison Weir, Eleanor of Aquitaine, by the wrath of God, Queen of England, introduction by Richard Barber. 251 × 180 × 44 mm. Pp. [i–iv] v–xxvii [xxviii–xxxiv], [1–2] 3–505 [506–510]: [13] leaves of colour plates. Type: Garamond with DucDeBerry for display. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full gold buckram blocked in red and black; red endleaves. Black slip case. Kevin Freeborn has

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provided three maps on pages [xxix–xxxii] and eight genealogical tables on pages [462–475]. The plates primarily reproduce twelfth- and thirteenth-century antiquities. 1992 Ursula K. Le Guin, a wizard of Earthsea, introduced by David Mitchell, illustrated by David Lupton. 228 × 151 × 25 mm. Pp. [1–2], [i–iv] v–xix [xx–xxii], [1–4] 5–205 [206–208]: [7] leaves of colour plates (facing pp. [iii], 16, 81, 96, 145, 160 and 192). Type: Garamond with Dulcinea Serif for display. Printed and bound by L.E.G.O. in full pale brown buckram printed in browns and blocked in copper with a design by Lupton; printed endleaves of map redrawn by Martin Sanders based on an original by the author. Dark brown slip case. ¶ Second printing: 2018. ¶ Third printing: 2022. 1993 Shakespeare, Anthony Burgess, introduced by Stanley Wells. 229 × 164 × 30 mm. Pp. [i–iv] v–xxii [xxiii– xxiv], [1–2] 3–259 [260–264]: [9] leaves of colour plates (facing p. [iii] and between pp. 40–41, 104–105, 152–153 and 200–201). Type: Caslon. Printed and bound by L.E.G.O. in full purple cloth printed in grey and blocked in orange with striking design by Joe McLaren; purple endleaves. Orange slip case. The plates primarily reproduce portraits and details from manuscripts. 1994 The Folio diary 2016. 183 × 131 × 16 mm. Pp. [1–120]. Type: Gill Sans. Printed and bound by L.E.G.O. in full paper with design by Lesley Barnes; blue-green endleaves. Not issued in a slip case. Images of mythological, often fierce-looking, creatures face each week of the year. 1995 Autumn, a Folio anthology, introduced by Kathleen Jamie, illustrated by Petra Börner. 222 × 144 × 13 mm. Pp. [i–vi] vii–x, [1–2] 3–83 [84–86]. Type: Caslon. Printed in black and pale brown by L.E.G.O. and bound by them in quarter purple cloth with paper boards printed with design by Börner; purple endleaves. Not issued in a slip case. Börner’s bold colour illustrations span one full-page, four double-page spreads and tail-pieces. The pale brown ink is used on the titles. Free to members. ¶ Second printing: 2018. 1996 Jane Austen, sense and sensibility, introduced by Elena Ferrante, illustrated by Philip Bannister. 240 × 162 × 30 mm. Pp. [i–vi] vii–xiii [xiv], [1–4] 5–327 [328–330]: [8] leaves of colour plates (facing pp. [iii], 51, 66, 130, 162, 194, 211 and 274). Type: Baskerville with Trajan for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full gold buckram blocked in black and cream with a design by Bannister; cream endleaves. Dark copper slip case blocked with an edited version of a line from chapter one in gold. ¶ Second printing: 2018. Bound by Josef Spinner. ¶ Third printing: 2021. 1997 Paul Brickhill, the dam busters, introduced by Mary Stopes-Roe. 240 × 162 × 29 mm. Pp. [i–iv] v–xxiv, [1–2] 3–256: [9] leaves of plates (facing p. [iii] and between pp. 56–57, 104–105, 168–169 and 216–217). Type: Joanna with Gill Sans for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in three-quarter black cloth with red cloth front board blocked in cream and black. Binding design by Raquel Leis Allion from an illustration by Richard Sweeney of Vent Graphics. Red endleaves printed with torpedo and bomb sketches by Barnes Wallis in black. Red slip case. The plates reproduce photographs taken between 1941 and 1945, principally from the collections of Imperial War Museums. ¶ Second printing: 2016.

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1998 Robert Bringhurst, a story as sharp as a knife, the classical Haida mythtellers and their world, introduced by Margaret Atwood, illustrated by Don Yeomans. Index by Gerard M.-F. Hill. 252 × 163 × 46 mm. Pp. [i–iv] v–xxi [xxii–xxiv], [1–2] 3–534 [535–536]. Type: Arno Pro with Cronos Pro for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full pale brown cloth blocked in red and black with design by Yeomans; endleaves printed with details from anthropologist John Swanton’s archive. Black slip case with titling design in red. Canadian North Coast artist Yeomans provided six striking colour illustrations. These, plus images of artefacts, sites and photographs, are included in the text of this substantial book. 1999 Robert Burns, selected poems and songs, selected and introduced by John Burnside, illustrated by Kit Russell. 221 × 144 × 23 mm. Pp. [i–iv] v–xix [xx, [1–2] 3–180 [181–184]. Type: Bembo Book. Printed in black and purple by Kösel. Bound by them in quarter purple cloth with paper boards printed with design by Russell; purple endleaves. Purple-red slip case. Thirteen illustrations by Russell are in the text, three of which are full-page. Sixty-five works by Burns have been included. 2000 Vladimir Nabokov, Lolita, introduced by Michael Dirda, illustrations by Federico Infante. 229 × 150 × 33 mm. Pp. [i–iv] v–xviii, [1–2] 3–366: [8] leaves of colour plates (facing pp. [iii], 47, 63, 78, 110, 159, 174 and 286). Type: Perpetua with Trajan Pro for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full black buckram blocked with two pink leather panels; printed endleaves. Black slip case with section, framed in silver, removed to expose front panel. 2001 The Folio book of ghost stories, introduced by Kathryn Hughes, illustrated by David McConochie. 240 × 163 × 30 mm. Pp. [i–viii] ix–xx, [1–2] 3–273 [274–276]: [9] leaves of colour plates (facing pp. [iii], 61, 76, 108, 125, 156, 173, 213 and 260). Type: Columbus with Baker Signet for display. Printed and bound by L.E.G.O. in full printed paper with design by McConochie; metallic green endleaves. Pale green slip case. Includes 19 stories, from Charles Dickens to A.S. Byatt. McConochie was commissioned through winning the fifth Book Illustration Competition. He went on to win with this the Book Cover Design and the Moira Gemmill Illustrator of the Year Prize categories at the 2016 V&A Illustration Awards. 2002 Slightly foxed – but still desirable, Ronald Searle’s wicked world of book collecting. 229 × 161 × 16 mm. Pp. [1–4] 5–128. Type: Albertina with hand-drawn lettering for the title. Printed and bound by Grafos in full white cloth printed and blocked in copper with a design by Searle; red-orange endleaves. Not issued in a slip case. Descriptive terms used by rare book dealers inspire 60 wickedly funny full-page colour illustrations. 2003 Agincourt, the king, the campaign, the battle, Juliet Barker, introduction by Bernard Cornwell. 252 × 175 × 40 mm. Pp. [i–iv] v–xxxv [xxxvi–xxxviii], [1–6] 7–438 [439–442]: [17] leaves of colour plates (facing p. [iii] and between pp. 58–59, 122–123, 202–203 and 298–299). Type: Bulmer. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier with design by Raquel Leis Allion in three-quarter blue cloth with printed paper front board. Red endleaves. Dark blue slip case. The plates primarily reproduce illuminations from the fifteenth century. Kevin Freeborn drew the map of Aquitaine on page [5] and the route of the Agincourt march on pages [126–127]. 2004 Winston S. Churchill, great contemporaries, introduced by Celia Sandys. 240 × 162 × 37 mm. Pp. [i–v] vi– xxii, [1–3] 4–345 [346]. Type: Garamond with Gill Sans for display. Printed and bound by L.E.G.O. in quarter red cloth with paper boards, printed and blocked with design by Raquel Leis Allion; pale green endleaves. Red slip case. Contains essays on 25 men, from the Earl of Rosebery to Franklin D. Roosevelt. 29 black and white images are in the text.

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2005 Into the unknown, tales from the great explorers, with an introduction by Alexander Maitland. 253 × 163 × 37 mm. Pp. [i–v] vi–xvi, [1–3] 4–424. Type: Bulmer. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full cloth blocked in brown and printed with image from 1922 British Mount Everest Expedition. Grey endleaves. Grey slip case. Contains accounts of 14 expeditions, based on lectures and articles printed in the journal of the Royal Geographical Society. Over 50 black and white images are in the text. 2006 The wolves of Willoughby Chase, Joan Aiken, introduced by Katherine Rundell, illustrated by Bill Bragg. 229 × 150 × 24 mm. Pp. [1–2], [i–iv] v–xiv [xv–xvi], [1–4] 5–184 [185–190]. Type: Perpetua. Printed and bound by Grafos in full silver buckram blocked in black and blue with a design by Bragg; grey endleaves printed with stalking wolves design. Black slip case. Bragg’s black and white drawings are in the text. 2007 Ian Fleming, Casino Royale, introduced by John Banville, illustrated by Fay Dalton. 228 × 162 × 22 mm. Pp. [i–iv] v–xvii [xviii], [1–2] 3–172 [173–174]: [7] leaves of colour plates (facing pp. [iii], 30, 79, 94, 110, 150 and 167). Type: Miller Text with Folio Bold Condensed for display. Printed and bound by L.E.G.O. in full dark silver cloth blocked in copper and silver with design by Sheri Gee; dark silver endleaves. Black slip case with another Dalton illustration on front and logos of Folio and Ian Fleming blocked in silver on back. ¶ Second printing (not seen). ¶ Third printing: 2018. ¶ Fourth printing: 2020. ¶ Fifth printing: 2021. 2008 The age of gold, the California Gold Rush and the new American dream, H.W. Brands, introduced by Kevin Starr. 239 × 163 × 41 mm. Pp. [i–iv] v–xxii, [1–2] 3–562: [13] leaves of plates. Type: Miller. Printed and bound by Kösel in full black cloth blocked in gold with design by Raquel Leis Allion; black endleaves printed with maps in gold. Black slip case. Kevin Freeborn redrew the map of California in the 1850s on page [305] and those on the endleaves. 2009 News from nowhere: or, an epoch of rest, being some chapters from a utopian romance, by William Morris. [Facsimile]. 214 × 150 × 33 mm. Pp. [1–4], [i–vi], [1] 2–305 [306], [1–4]. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full black leather blocked in gold with a design by Neil Gower. Gilded edges. Blue-grey endleaves. Black slip case. The Kelmscott Press edition, dated 1892 in the colophon, was limited to 300 copies printed on paper. The copy photographed for this edition is held by the William Morris Gallery, Walthamstow, London. 2010 The pearl manuscript, British Library MS Cotton Nero A.x. Printed and bound by Gorenjski Tisk Storitve, Slovenia. Two-volume clamshell box bound in dark blue buckram titled (as above) in gold. The two volumes are as follows: [1] [Facsimile]. 176 × 132 × 24 mm. Pp. [1–184]. Reprographics by Tag. Full dark blue Indian goatskin leather blocked in gold with a design by Stephen Raw; dark red endleaves. The final leaf reads in part ‘The edition is limited to 980 numbered copies for sale to members of The Folio Society, and 20 lettered copies hors de commerce’. A lift-out tray, bound in dark blue velvet blocked in gold, snugly houses the volume. The reproduced manuscript is considered to be one of the most important texts in medieval English literature. [2] The poems of the pearl manuscript, pearl, cleanness, patience, Sir Gawain and the green knight, edited by Malcolm Andrew and Ronald Waldron. 241 × 178 × 40 mm. Pp. [1–4] 5–536. Type: Minion Pro. Full dark blue buckram; dark blue endleaves. This volume sits beneath the facsimile and its tray. Folio commissioned a foreword by poet Bernard O’Donoghue.

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2011 Arthur Conan Doyle, the hound of the Baskervilles, lino-cuts by Edward Bawden. 226 × 149 × 21 mm. Pp. [i– viii], [1–2] 3–230 [231–236]: [6] leaves of black and white plates (facing pp. [iii], 40, 80, 116, 178 and 206). Type: Garamond with Shifty Chica for display. Printed (the opening page and title in blue) by Kösel. Bound by them in full blue cloth blocked in silver, black and yellow with a design by Sheri Gee. Blue top edge; yellow endleaves. Black ribbon marker. Not issued in a slip case. The hound of the Baskervilles has appeared in two previous Folio editions, in 1987 and 1994. This edition has used the illustrations from the former. The first in the Folio Collectables range. 2012 Charles Dickens, a Christmas carol in prose, being a ghost story of Christmas, illustrated by Michael Foreman. 226 × 149 × 17 mm. Pp. [i–x], [1–4] 5–176 [177–182]. Type: Centaur with Message of the Birds for display. Printed (the opening page and title in red) by Kösel. Bound by them in full red cloth blocked in gold, black and green with a design by Sheri Gee. Red top edge; green endleaves. Black ribbon marker. Not issued in a slip case. Foreman’s black and white illustrations are in the text. A Christmas carol has appeared in three previous Folio editions, in 1970, 1988 and 2003. This edition has used black and white illustrations from the last. A Folio Collectable. ¶ Second printing (not seen). ¶ Third printing: 2019. ¶ Fourth printing: 2020. ¶ Fifth printing: 2022. Now 229 × 149 × 18 mm. Pp. [i–viii], [1–4] 5–176. Printed and bound by Gomer Press. The binding has been redesigned, with the ribbon marker removed and a black slip case added. 2013 Anita Loos, gentlemen prefer blondes, the illuminating diary of a professional lady, illustrations by ffolkes. 226 × 149 × 17 mm. Pp. [i–x], [1–4] 5–176 [177–182]. Type: Bodoni with Tea Biscuit for display. Printed (the opening page and title in pink) by Kösel. Bound by them in full pink cloth blocked in gold and black with a design by Sheri Gee. Pink top edge; pink endleaves. Black ribbon marker. Not issued in a slip case. Ffolkes’s black and white illustrations are in the text. This is the second Folio edition, the first having appeared in 1985, with ffolkes’s illustrations used for both. A Folio Collectable. 2014 Mary Shelley, Frankenstein, or The modern Prometheus, illustrations by Harry Brockway. 226 × 149 × 23 mm. Pp. [i–vi] vii–xvii [xviii], [1–2] 3–227 [228–234]: [10] leaves of black and white plates (facing pp. [iii], 14, 44, 50, 70, 96, 126, 140, 166 and 198). Type: Minion with Aquus for display. Printed (the opening page and title in purple) by Kösel. Bound by them in full purple cloth blocked in silver, yellow and black with a design by Sheri Gee. Purple top edge; yellow endleaves. Black ribbon marker. Not issued in a slip case. This is the second Folio edition, the first having appeared in 2004, with Brockway’s illustrations used for both. A Folio Collectable. 2015 P.G. Wodehouse, thank you, Jeeves, introduced by Hugh Laurie, illustrated by Paul Cox. 223 × 142 × 26 mm. A separate issue of the opening volume of the Jeeves & Wooster first series set. Details as volume [1] of item 861, but now printed and bound by Grafos with a new design. Quarter blue cloth with paper boards printed with diamond pattern design seen earlier in the year for third printing of item 1619; pale blue endleaves. Not issued in a slip case. 2016 Graham Greene, Brighton rock, introduced by John Sutherland, illustrations by Geoff Grandfield. Pp. [i–iv] v–xvi [xvii–xviii], 1–283 [284–288]: [7] leaves of ‘plates’ (facing pp. 16, 61, 78, 118, 142, 197 and 275). Printed and bound by Grafos. As item 1123.7 but repaginated throughout and with new introduction. Identified as ‘fourth printing’.

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2016 2017 Dorothy Wordsworth, the Grasmere journal 1800–1803, introduced by Lucy Newlyn, illustrated by Georgie Bennett. 202 × 135 × 28 mm. Pp. [i–iv] v–xvii [xviii], 1–237 [238]. Type: Centaur. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full pale green cloth printed in black and blocked in gold with design by Bennett; pale green endleaves printed in black with labelled view across Lake Grasmere. Semi-transparent dust-jacket printed in gold. Not issued in a slip case. Bennett’s illustrations, including a map of Grasmere on page [xviii] and a colour title-page spread, are in the text. 2018 The floating admiral, by certain members of The Detection Club, G.K. Chesterton, Canon Victor L. Whitechurch, G.D.H. and M. Cole, Henry Wade, Agatha Christie, John Rhode, Milward Kennedy, Dorothy L. Sayers, Ronald A. Knox, Freeman Wills Crofts, Edgar Jepson, Clemence Dane, Anthony Berkeley, foreword by Simon Brett, illustrated by Mark Thomas. 228 × 164 × 28 mm. Pp. [i–iv] v–xxiv, [1–2] 3–247 [248]: [7] leaves of colour plates (facing pp. [iii], 40, 57, 88, 105, 168 and 201). Type: Joanna with Gill Sans for display. Printed and bound by L.E.G.O. in full pale blue cloth blocked in dark blue and cream with design by Thomas; dark blue endleaves. Dark blue slip case. Each author contributed one chapter. 2019 George Orwell, down and out in Paris and London, [quotation from Chaucer]. 226 × 149 × 23 mm. Pp. [i– vi], [1–2] 3–250 [251–252]: [7] leaves of black and white plates (facing pp. [iii], 74, 100, 104, 118, 148 and 182). Type: Dante with Jacob Riley for display. Printed (the opening page and title in grey-blue) by Kösel. Bound by them in full grey cloth blocked in silver, blue and black with a design by Sheri Gee. Grey top edge; grey-blue endleaves. Black ribbon marker. Not issued in a slip case. This is the second Folio edition, the first having appeared in 1998, with a new selection of photographs. A Folio Collectable. 2020 Laurie Lee, cider with Rosie, illustrations by John Ward. 226 × 149 × 21 mm. Pp. [i–x], [1–2] 3–242 [243–246]. Type: Albertina with Panhandler for display. Printed (the opening page and title in pale green) by Kösel. Bound by them in full pale green cloth blocked in red, black and gold. Pale green top edge; orange endleaves. Black ribbon marker. Not issued in a slip case. This is the second Folio edition. Ward’s illustrations come from the first edition, published in 1959 by the Hogarth Press. A Folio Collectable. 2021 Arthur C. Clarke, 2001, a space odyssey, based on the screenplay by Arthur C. Clarke and Stanley Kubrick, introduced by Michael Moorcock, illustrations by Joe Wilson. 241 × 163 × 26 mm. Pp. [i–iv] v–xxix [xxx], [1–4] 5–209 [210]: [8] leaves of colour plates (facing pp. [iii], 18, 51, 66, 130 and 194, and between pp. 98–99). Type: Cartier Book with Univers for display. Printed and bound by L.E.G.O. in full printed paper blocked in holographic foil with design by Wilson; silver endleaves. Silver slip case. The fifth plate is a double-page spread. This is the first illustrated edition of a work originally published by Hutchinson in 1968. ¶ Second printing: 2022. 2022 The mapmakers, John Noble Wilford, the story of the great pioneer in cartography – from antiquity to the space age, introduced by Simon Garfield. 251 × 164 × 41 mm. Pp. [i–v] vi–xxvi [xxvii–xxx], [1–5] 6–482: [17] leaves of colour plates. Type: Haarlemmer with Avenir Book for display. Printed and bound by Kösel in quarter pale green cloth with printed paper boards; printed endleaves. Blue slip case.

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2023 Alice’s adventures in wonderland, by Lewis Carroll, illustrations by Charles van Sandwyk. 332 × 250 × 34 mm. Pp. [i–iv], [1–4] 5–160 [161–168]. Type: Caslon with hand-drawn lettering. Printed in black and gold by Smith Settle. Bound by them in quarter vellum with red paper boards blocked in gold, silver, metallic red and black. Gilded top edge. Grey endleaves printed letterpress by The Logan Press in dark red with illustrations by van Sandwyk. Clamshell box bound in red cloth with grey paper spine-label titled in gold. A limitation spread containing a copperplate etching printed by New Leaf Editions and signed by van Sandwyk in December 2015 is included at the front. Napier Jones printed the tipped-in 11 colour plates and nine ‘scraps’. Leaf following end of text reads in part ‘limited to 1000 copies, signed and numbered by the artist on the etching, and thirty copies numbered in roman numerals, which are hors commerce’. Van Sandwyk has supplied copious splendid illustrations beyond the plates and etching, including decorative initials and borders. Book of the year in the 2016 British Book Design and Production Awards. 2024 Love and war in the Apennines, Eric Newby, introduction by Edward Stourton, illustrations by Robin Heighway-Bury. 240 × 162 × 28 mm. Pp. [i–iv] v–xx [xxi–xxiv], [1–2] 3–245 [246–248]: [8] leaves of plates (facing pp. 57, 72, 121, 136, 184, 216 and between pp. 152–153). Type: Janson. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full orange-brown cloth blocked in cream and dark blue with a design by Heighway-Bury; blue endleaves. Blue slip case. As well as six colour illustrations, HeighwayBury contributed a title-page spread. Four photographs from Newby’s personal collection are also reproduced and maps are on page [xxi]. 2025 William Faulkner, the sound and the fury, with glossary and commentary. 253 × 163 × 46 mm. Pp. [i–iv] v–xii, [1–2] 3–533 [534–540]. Type: Miller Display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in grey cloth blocked in dark blue, greys and white; dark grey endleaves. Dark grey slip case with printed label. A printed bookmark is loosely inserted. Based on the 2012 limited edition, including its colour inks. 2026 Beryl Bainbridge, every man for himself, with illustrations by the author, preface by Psiche Hughes. 228 × 162 × 22 mm. Pp. [i–iv] v–xii [xiii–xiv], [1–4] 5–188 [189–194]: [6] leaves of colour plates (facing pp. [iii], 18, 146, 163, 178 and 187). Type: Minion. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full black cloth blocked in gold and blue with a design by Sheri Gee; blue endleaves. Blue slip case. This is the first edition using illustrations by Bainbridge. 2027 Tommy. 251 × 176 × 35 mm. 2 vols (see below). Type: Fournier with Akzidenz Grotesk for display. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full printed cloth; printed endleaves. Pale green-brown two-volume slip case blocked with badge design in silver. Plates primarily reproduce photographs from the period and each chapter is heralded by a double-page spread reproducing further images. The two volumes are as follows: [1] Richard Holmes, Tommy, the British soldier on the Western Front 1914–1918, introduced by Max Hastings. Pp. [i–iv] v–xxxv [xxxvi], [1–2] 3–362 [363–364]: [13] leaves of plates (facing p. [iii] and between pp. 76–77, 172–173 and 268–269). The endleaves are printed with an image of notes made by Siegfried Sassoon about gas attacks, and the binding with a detail of uniforms. Includes three maps on pages [xx–xxii]. [2] Richard Holmes, Tommy, the British soldier on the Western Front 1914–1918. Pp. [i–iv] v–ix [x], [365–366] 367–738: [13] leaves of plates (facing p. [iii] and between pp. 402–403, 482–483 and 578–579). The endleaves are printed with an image of a field service postcard parody, and the binding with a detail of boots.

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2028 Anna Akhmatova, selected poems, translated by D.M. Thomas, introduced by Eimear McBride. 241 × 162 × 21 mm. Pp. [i–iv] v–xxii, [1–2] 3–161 [162]: [6] leaves of plates (facing pp. 26, 43, 58, 91, 123 and 138). Type: Abril Display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in three-quarter black cloth with a printed paper front board. Blue endleaves. Blue slip case. The plates reproduce three photographs of Akhmatova and scenes from Petrograd, Leningrad and Siberia. A pencil portrait of the poet by Modigliani from 1911 inspires the title-page spread. 2029 The tale of Genji, Murasaki Shikibu. Translated and introduced by Royall Tyler. Illustrations by Tosa Mitsunobu and Minoru Sugai. 252 × 177 × 47–48 mm. 2 vols (see below). Type: Warnock Pro with Elli for display. Printed and bound by Kösel in full red and gold cloth blocked in gold, black and orange; gold endleaves. Dark brown two-volume slip case blocked in dark orange on one side. Originally written in the eleventh century, the colour illustrations come from the earliest complete depiction of what is widely regarded as the world’s first novel. The album, now held by Harvard Art Museums, dates from the early sixteenth century. In addition to the plates, copious black and white illustrations by Minoru Sugai from the original Japanese edition are in the text. The two volumes are as follows: [1] . . . [ornament] translated and introduced by Royall Tyler, with an introduction to The tale of Genji album by Anne Rose Kitagawa. Pp. [i–v] vi–xl [xli–xlii], [1–5] 6–605 [606]: [33] leaves of colour plates. [2] . . . [ornament] translated by Royall Tyler. Pp. [i–v] vi–viii [ix–x], [607–611] 612–1250 [1251–1252]: [21] leaves of colour plates. Includes 1 map and 4 diagrams redrawn by Neil Gower on pages [1179–1182]. 2030 John Aubrey’s brief lives, edited from the original manuscripts by Oliver Lawson Dick, introduced by Peter Conrad, illustrated by Joe Ciardiello. 242 × 162 × 38 mm. Pp. [i–iv] v–xxii, 1–433 [434]: [4] leaves of colour plates (facing pp. 114, 235, 266 and 362). Type: Columbus. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter black cloth with printed paper boards with a design by Ciardiello; brown endleaves. Brown slip case. The four honoured with colour plates are Francis Bacon, William Harvey, Thomas Hobbes and Walter Raleigh while the author gets the front board. Ciardiello also contributed 13 black and white illustrations in the text and a title-page spread. 2031 The world turned upside down, radical ideas during the English Revolution, Christopher Hill, foreword by Bernard Capp. 240 × 164 × 39 mm. Pp. [i–iv] v–xxiv [xxv–xxvi], [1–2] 3–438: [13] leaves of plates. Type: Baskerville. Printed and bound by Kösel in full black cloth blocked in red with a title-page design by Raquel Leis Allion; red endleaves. Black slip case. The plates primarily reproduce seventeenth-century oil paintings, engravings and images from printed works. 2032 Jacquin, plants of the Americas, Bauer et al. Two-volume clamshell box bound in dark purple cloth and blocked in gold with spine titled (as above) in gold and lettering from title-page on front. Printed and bound by Castelli Bolis with blocking designs in gold by Neil Gower; blue endleaves. The two volumes are as follows: [1] Nicolai Josephi Jacquin, selectarum stirpium Americanarum historia, in qua ad linnæanum systema determinatæ descriptæque sistuntur plantæ illæ, quas in insulis Martinica, Jamaica, Domingo, aliisque, et in vicinæ continentis parte observavit rariores; adjectis iconibus ad autoris archetypa pictis. 471 × 328 × 45 mm. Pp. [i–iv], [1–268]. Reprographics by Tag. Bound in quarter dark purple Indian goatskin leather with pale blue cloth boards blocked in gold, silver and black; top edge gilding. Leaf preceding the title-page reads in part ‘limited to 750 copies for sale to members of the Folio Society, and 20 lettered copies which are hors de commerce’. Two of the plates are tipped-in fold-outs. The book has been reproduced from a copy held by the Royal Botanic Gardens, Kew.

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[2] Plants of the Americas, the second edition of Nikolaus von Jacquin’s Selectarum stirpium Americanarum historia, commentary by Christopher Mills, with a foreword by Richard Deverell. 302 × 215 × 17 mm. Pp. [1–2], [i–iv] v–vii [viii], 1–42 [43–46]. Type: Miller Display. Bound in full pale blue cloth blocked in gold and black. This volume is inserted beneath the first volume and three prints in a dark blue paper wallet. The prints are those of the star apple, horse-eye bean and giant grandilla. 2033 Josephine Tey, a shilling for candles, introduced by Laurie R. King, illustrated by Mark Smith. 229 × 150 × 28 mm. Pp. [i–vi] vii–xvi, [1–2], 3–240: [7] leaves of colour plates (facing pp. [iii], 32, 49, 96, 129, 208 and 225). Type: Dante with Station No. 5 for display. Printed and bound by L.E.G.O. in full green buckram blocked in black and cream with design by Smith. Green endleaves. Black slip case. 2034 On the psychology of military incompetence, Norman F. Dixon, introduced by General Sir Rupert Smith. 240 × 163 × 39 mm. Pp. [i–v] vi–xxvi [xxvii–xxx], [1–3] 4–446 [447–450]: [9] leaves of plates (facing p. [iii] and between pp. 66–67, 162–163, 242–243 and 338–339). Type: Mentor. Printed and bound by Kösel in three-quarter grey cloth with printed paper front board. Red endleaves. Grey slip case. Aside from two lithographs, the plates reproduce photographs taken from 1899 to 1969. 2035 Bruce Chatwin, in Patagonia, [quotation from Blaise Cendrars], introduced by William Dalrymple. 221 × 144 × 27 mm. Pp. [i–iv] v–xx, [1–2] 3–235 [236]: [9] leaves of black and white plates (facing p. [iii] and between pp. 44–45, 92–93, 140–141 and 188–189). Type: Iowan Old Style. Printed and bound by Kösel in quarter orange-brown cloth with silver paper boards blocked in blue and orange-brown. Orange-brown endleaves. Orange-brown slip case. The plates reproduce photographs taken by Chatwin. 2036 The door in the wall, by H.G. Wells & Alvin Langdon Coburn. Bound by Real Lachenmaier. Dark brown cloth two-volume clamshell box with a reproduction of a photograph by Coburn inset and titled (as above) in gold. Facsimile of the Grant Richards edition (1915). The two volumes are as follows: [1] The door in the wall, and other stories, by H.G. Wells, illustrated with photogravures from photographs by Alvin Langdon Coburn. [facsimile]. 377 × 287 × 21 mm. Pp. [i–iv], [1–5] 6–153 [154–156]. Reproduced by Grafos. Printed by Grammlich. Bound in quarter brown cloth with pale brown paper boards blocked in gold. Cream endleaves. The ten illustrations are tipped in. Limited to 1000 copies. Reproduced from one of the 60 copies of this edition, with a few errors corrected. [2] The door in the wall, commentary, essays by George Hendrick and David Lodge, and the letters of Alvin Langdon Coburn to H.G. Wells. 234 × 155 × 5 mm. Pp. [i–vi], 1–32 [33–34]. Type: Kennerley. Printed by Memminger MedienCentrum and bound in brown paper wrappers blocked in gold. A pocket for it is pasted in the box’s lining. 2037 George and Weedon Grossmith, the diary of a nobody, illustrations by Weedon Grossmith. 226 × 150 × 19 mm. Pp. [i–x], [1–2] 3–212 [213–214]. Type: Bulmer and Bromwich for display. Printed (the opening page and title in brown) by Kösel. Bound by them in full pale brown cloth blocked in gold and black with a design by Sheri Gee. Pale brown top edge; brown endleaves. Black ribbon marker. Not issued in a slip case. A Folio Collectable. 2038 Evelyn Waugh, black mischief, illustrations by Quentin Blake. 227 × 150 × 21 mm. Pp. [i–viii], [1–2] 3–245 [246–248]. Type: Van Dijck with PAG Auto for display. Printed (the opening page and title in blue-green) by Kösel. Bound by them in full blue-green cloth blocked in yellow and black with a design by Sheri Gee. Blue-green top edge; dark yellow endleaves. Black ribbon marker. Not issued in a slip case. Black mischief has

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appeared in two previous Folio editions, in 1981 and 1999. This edition has used the illustrations from the former. A Folio Collectable. 2039 Stephen King, the shining, illustrated by Edward Kinsella. 251 × 176 × 44 mm. Pp. [i–iv] v–xi [xii–xiv], [1–4] 5–521 [522]: [11] leaves of colour plates (facing pp. 18, 35, 98, 146, 195, 243, 291, 354, 402, 466 and 514). Type: Miller with Kingthings Trypewriter for display. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full black cloth blocked in silver and red with design by Kinsella; black endleaves printed with And the Red Death held sway over all repeatedly in silver. Black slip case. Kinsella has also provided a title-page spread. ¶ Second printing: 2016. 2040 Foucault’s pendulum, Umberto Eco, translated by William Weaver, illustrated by Neil Packer. 251 × 162 × 50 mm. Pp. [1–2], [i–iv] v–xii [xiii–xiv], [1–2] 3–609 [610–616]: [11] leaves of colour plates (facing pp. [i], 16, 33, 81, 176, 320, 417, 544, 561, 593 and 608). Type: Garamond. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full grey cloth blocked in dark blue and white with design by Packer; blue endleaves printed in silver. Dark blue slip case. 2041 John Keay, sowing the wind, the seeds of conflict in the Middle East, foreword by Robert Fisk. 252 × 178 × 43 mm. Pp. [i–iv] v–xxiii [xxiv–xxxii], [1–2] 3–503 [504]: [17] leaves of plates (facing p. [iii] and between pp. 64–65, 176–177, 304–305 and 400–401). Type: Guardi. Printed and bound by Kösel in full printed cloth blocked in gold. Blue endleaves. Blue slip case. The plates primarily reproduce photographs taken between 1908 and 1981. Four maps are on pages [xxiv–xxix]. 2042 Terry Pratchett, Mort, introduced by A.S. Byatt, illustrations by Omar Rayyan. 241 × 162 × 27 mm. Pp. [i–iv] v–xv [xvi–xviii], [1–2] 3–221 [222]: [7] leaves of colour plates (facing pp. 15, 46, 78, 95, 111, 142 and 198). Type: Caslon. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full black ‘velveteen’ cloth with printed paper label; black endleaves with a design in silver. Black slip case printed with design in silver on one side. As well as the seven colour illustrations, Rayyan contributed a title-page spread, endleaves decoration plus images for the paper label image and slip case. The protagonist’s name is hand-drawn on the title-page, with the ‘o’ replaced by a skull. Five hundred numbered and 25 lettered copies were also issued, bound in full black leather simply decorated with raised bands and the title on spine in gold leaf. This limited edition sold out on the day of release. Gilded edges. Endleaves and slip case printed in gold. Loosely inserted is the paper label image from the standard edition, signed by Rayyan, tipped inside a protective paper card. A leaf containing the edition statement means the preliminary matter is paginated pp. [i–vi] vii–xvii [xviii]. ¶ Second printing: 2016. 2043 Edmund Crispin, love lies bleeding, illustrated by A. Richard Allen. 229 × 151 × 26 mm. Pp. [i–iv] v–ix [x–xii], [1–2] 3–204: [7] leaves of colour plates (facing pp. [iii], 28, 45, 60, 92, 156 and 173). Type: Photina with Pink Martini for display. Printed and bound by L.E.G.O. in quarter yellow buckram with paper boards printed and blocked in yellow with a design by Allen; blue endleaves printed with plan by Allen in black. Blue slip case. 2044 Mary Renault, the king must die, introduced by Robin Lane Fox, illustrations by Geoff Grandfield. 240 × 163 × 37 mm. Pp. [i–iv] v–xix [xx], [1–4] 5–364: [8] leaves of colour plates (facing pp. [iii], 60, 108, 140, 204, 268, 332 and 349). Type: Haarlemmer. Printed and bound by Kösel in quarter black buckram with

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paper boards printed with a design by Grandfield; red endleaves. Black slip case blocked in white and dark orange. 2045 The nursery rhyme book, edited by Andrew Lang, illustrated by L. Leslie Brooke and Debra McFarlane, introduced by Michael Rosen. 253 × 191 × 46 mm. Pp. [i–iv] v–xxv [xxvi], [1–2] 3–252 [253–254]: [6] leaves of colour plates (facing pp. 38, 55, 70, 87, 143 and 158). Type: Caslon. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in series binding (see item 1124). Full pale gold buckram blocked with a design by McFarlane in copper, green, black and white; pale gold endleaves with a design in copper. Green slip case. First published in 1897. The illustrations are divided between McFarlane’s plates and over a hundred of L. Leslie Brooke’s drawings from the original edition. ¶ Second printing (not seen). ¶ Third printing: 2021. Bound by Josef Spinner. 2045.5 Winnie-the-Pooh, by A.A. Milne, with decorations by E.H. Shepard. 241 × 177 × 26 mm. A separate issue of the first volume of The complete Winnie the Pooh. Details as volume [1] of item 1207. Dark green slip case with adapted decoration in gold. Described as ‘Fourth printing’. ¶ Second printing: 2022. Described as ‘fifth printing’. Title now reads Winnie-the-Pooh, A.A. Milne, with decorations by E.H. Shepard and pagination runs Pp. [1–8] 9–190 [191–224]. The biographies of Milne and Shepard have been reduced to a paragraph apiece. 2046 Tales from the one thousand and one nights. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier. Dark blue two-volume clamshell box, titled (as above) and blocked in gold and cream with design by Ged Palmer. The two volumes are as follows: [1] Tales from the one thousand and one nights, fifty illustrations by Salvador Dalí. 460 × 350 × 35 mm. Pp. [1–2], [i–vi] vii [viii], [1–102]. Type: Abril. Bound in quarter dark brown cowhide with dark gold crushed artificial silk boards blocked in gold and top edge gilding; dark blue endleaves. Leaf preceding the title-page reads in part ‘limited to 750 numbered copies for sale to members of The Folio Society and 20 lettered copies hors de commerce’. Transparent plastic coated paper guard leaves are inserted between the 50 illustrations, marked in black with the night which inspired each watercolour. Although contracted to provide 500 illustrations, Dalí only seems to have delivered a fifth. The 50 which survive in good condition, from the collection of Giuseppe and Mara Albaretto, are reproduced here. [2] Tales from the one thousand and one nights, abridged, translated by Malcolm C. Lyons with Ursula Lyons, introduced by Robert Irwin. 239 × 161 × 49 mm. Pp. [i–v] vi–xvi, [1–3] 4–512. Type: Fournier. Published ‘by arrangement with Penguin Books Ltd’, p. [iv]. Bound in full dark blue buckram with paper label on front board; dark blue endleaves. This volume is inserted in a recess in the box, beneath the first volume. 2047 Joseph Banks, a life, Patrick O’Brian, introduced by Peter Campbell. 230 × 164 × 37 mm. Pp. [i–vii] viii–xxvi [xxvii–xxviii], [1–3] 4–409 [410–412]: [13] leaves of colour plates (facing p. [iii] and between pp. 52–53, 164–165 and 308–309). Type: Caslon. Printed and bound by L.E.G.O. in three-quarter orange-brown cloth with paper front board blocked and printed with a design by Chris Wormell. Green endleaves. Orange-brown slip case. The plates primarily reproduce watercolours, oil paintings and engravings. 2048 Winter, a Folio anthology, edited by Sue Bradbury, introduced by Susan Cooper, illustrated by Petra Börner. 222 × 143 × 14 mm. Pp. [i–vi] vii–x, [1–2] 3–85 [86]. Type: Caslon. Printed in black and blue by L.E.G.O. in quarter blue-purple cloth with paper boards printed with design by Börner; dark blue endleaves. Not

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issued in a slip case. Börner’s bold colour illustrations span one full-page, four double-page spreads, head- and tail-pieces. The blue ink is used on the title-page and section titles. Available to buy or free when two or more books were ordered during a limited time. 2049 Manhattan ’45, Jan Morris. 228 × 151 × 23 mm. Pp. [i–iv] v–xxiv, 1–183 [184]: [7] leaves of plates (facing p. [iii] and between pp. 40–41, 88–89 and 136–137). Type: Deepdene. Printed and bound by L.E.G.O. in printed and blocked paper with a design by Neil Gower; silver endleaves. Grey slip case. The plates reproduce photographs from 1940 to 1950. 2050 The last white rose, the secret wars of the Tudors [ornament] Desmond Seward, with a new foreword by the author. 253 × 176 × 32 mm. Pp. [i–iv] v–xxii, [1–2] 3–295 [296–298]: [7] leaves of colour plates (facing p. [iii] and between pp. 42–43, 106–107 and 202–203). Type: Janson. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark red buckram blocked in green, red and white; red endleaves. Red slip case. 2051 Rubicon, the triumph and tragedy of the Roman Republic, Tom Holland. 251 × 176 × 35 mm. Pp. [i–xi] xii– xxxiv[xxxv–xxxviii], [1] 2–357 [358–362]: [17] leaves of colour plates. Type: Spectrum with Castellar for display. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full red buckram printed in black and blocked in gold with a Caesar portrait design by Kent Barton; red endleaves. Red slip case. The plates primarily illustrate statues, frescoes, mosaics and artefacts. Eight maps are also included. ¶ Second printing: 2023. 2052 The greatest benefit to mankind. 251 × 178 × 35–37 mm. 2 vols (see below). Type: Arno Pro. Printed and bound by Kösel in quarter blue-grey cloth with paper boards printed with images by Cath Riley; blue-grey endleaves. Blue-grey two-volume slip case decorated with two syringes printed in black. In addition to the plates, each of the 22 chapters is headed with a black and white illustration and three diagrams are also included. The two volumes are as follows: [1] Roy Porter, the greatest benefit to mankind, a medical history of humanity from antiquity to the present, introduced by Jeremy Farrar. Pp. [i–iv] v–xxiii [xxiv–xxviii], [1–2] 3–382, [1–6]: [13] leaves of plates. [2] Roy Porter, the greatest benefit to mankind, a medical history of humanity from antiquity to the present. Pp. [i–iv] v–xii, 383–826: [13] leaves of plates. 2053 James Joyce, a portrait of the artist as a young man, illustrations by Dodie Masterman. 227 × 150 × 25 mm. Pp. [i–viii], [1–2] 3–291 [292–296]. Type: Caslon with Gauguin for display. Printed (the opening page and title in grey-green) by Kösel. Bound by them in full dark green cloth blocked in pale orange and black. Dark green top edge; orange endleaves. Black ribbon marker. Not issued in a slip case. This is the second Folio edition, the first having appeared in 1965, with Masterman’s illustrations used for both. A Folio Collectable. 2054 Memoirs from beyond the tomb, François-René de Chateaubriand, selected and translated by Robert Baldick, introduced by Philip Mansel. 251 × 163 × 34 mm. Pp. [i–iv] v–xxiii [xxiv], [1–4] 5–391 [392]: [7] leaves of colour plates (facing p. [iii] and between pp. 104–105, 232–233 and 344–345). Type: Van Dijck. Printed and bound by Kösel in full red cloth blocked in gold and brown. Pale brown endleaves printed with Chateaubriand’s handwriting. Red slip case. Aside from a pastel and lithograph, the plates reproduce oil paintings. Eight black and white drawings illustrating Chateaubriand’s life by an unknown French artist are in the text.

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2055 Emily Dickinson, selected poems, introduced by Lavinia Greenlaw. Wood-engravings by Jane Lydbury. 223 × 143 × 17 mm. Pp. [i–iv] v–xxii [xxiii–xxiv], [1–2] 3–136. Type: Bembo Book. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full white cloth printed in black with design by Lydbury; blue endleaves printed in black with repeat design. Semi-transparent dust-jacket printed in blue. Not issued in a slip case. Lydbury has supplied 12 engravings in the text. ¶ Second printing: 2018. Bound by Josef Spinner. ¶ Third printing: 2021. 2056 A brief history of time, from the big bang to black holes, Stephen Hawking, introduced by Martin Rees. 240 × 163 × 23 mm. Pp. [i–vii] viii–xxii [xxiii–xxiv], [1–3] 4–183 [184]: [9] leaves of colour plates (facing p. [iii] and between pp. 40–41, 56–[57], [72]–73, 104–105, 120–121 and 136–137). Type: Utopia. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter blue cloth with printed paper boards; black endleaves. Black slip case. Diagrams are included throughout the text. The second in the Modern Science Collection. ¶ Second printing: 2021. Bound by Josef Spinner. 2057 Ian Fleming, from Russia with love, illustrated by Fay Dalton. 228 × 162 × 25 mm. Pp. [i–iv] v–xi [xii], [1–4] 5–259 [260]: [7] leaves of colour plates (facing pp. [iii], 20, 52, 69, 164, 181 and 244). Type: Miller Text with Folio Bold Condensed for display. Printed and bound by L.E.G.O. in series binding (see item 2007). ¶ Second printing: 2019. ¶ Third printing: 2021. 2058 The Folio science fiction anthology, edited and introduced by Brian W. Aldiss, illustrated by Florian Schommer. 242 × 164 × 29 mm. Pp. [1–2], [i–iv] v–x, [1–4] 5–260: [7] leaves of colour plates (facing pp. [iii], 20, 36, 116, 180, 212 and 244). Type: Scala with Bebas Neue for display. Printed and bound by L.E.G.O. in full dark grey cloth blocked in gold, silver and black; red endleaves. Silver slip case. The 12 authors range from Voltaire and H.G. Wells to James Tiptree, Jr and Alice B. Wilson. 2059 Jane Austen, persuasion, introduced by Siri Hustvedt, illustrated by Deanna Staffo. 241 × 162 × 29 mm. Pp. [i– iv] v–xv [xvi], [1–4] 5–228 [229–232]: [7] leaves of colour plates (facing pp. [iii], 33, 80, 97, 161, 208 and 216). Type: Baskerville with Trajan for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full gold buckram blocked in black and cream with a design by Staffo; cream endleaves. Metallic purple slip case blocked with an edited version of a line from chapter four in gold. ¶ Second printing: 2020. Bound by Josef Spinner. 2060 Mark Twain, the adventures of Huckleberry Finn, illustrations by Harry Brockway. 226 × 151 × 27 mm. Pp. [i–x], [1–2] 3–338 [339–342]. Type: Goudy Old Style with Gothic Tuscan for display. Printed (the opening page and title in brown-orange) by Kösel. Bound by them in full brown-orange cloth blocked in pale blue and black. Brown top edge; brown-orange endleaves. Black ribbon marker. Not issued in a slip case. This is the second Folio edition, the first having appeared in 1993, with Brockway’s illustrations used for both. A Folio Collectable. 2061 Stacy Schiff, Cleopatra, a life, introduction by Lucy Hughes-Hallett. 252 × 178 × 33 mm. Pp. [i–iv] v–xix [xx–xxiv], 1–359 [360]: [13] leaves of colour plates (facing p. [iii] and between pp. 24–25, 152–153 and 248–249). Type: Minion. Printed and bound by Kösel in full gold cloth blocked in black, metallic red and

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metallic blue. Red endleaves. Red slip case. The plates primarily reproduce marbles, coins, mosaics and other antiquities. Two maps are on pages [xxii–xxiv]. 2062 Stasiland, stories from behind the Berlin Wall, Anna Funder. 241 × 163 × 30 mm. Pp. [i–iv] v–xvii [xviii– xxiv], 1–264: [13] leaves of colour plates. Type: Magna with Cst Berlin East for display. Printed and bound by L.E.G.O. in three-quarter yellow cloth with printed paper front board. Black endleaves. Yellow slip case. The plates reproduce photographs from Funder’s collection. Two maps are on pages [xx–xxi]. 2063 Terry Pratchett, small gods, illustrations by Omar Rayyan. 241 × 163 × 32 mm. Pp. [i–iv] v–vii [viii], [1–2] 3–290 [291–296]: [7] leaves of colour plates (facing pp. 25, 88, 136, 169, 184, 224 and 264). Type: Caslon. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full dark purple ‘velveteen’ cloth with printed paper label; cream endleaves with a repeat design in dark purple. Black slip case printed with design in gold on one side. As well as the seven colour illustrations, Rayyan contributed a title-page spread, endleaves decoration plus images for the paper label image and slip case. The title is hand-drawn on the title-page, with the ‘o’ replaced by a tortoise. 2064 So long, and thanks for all the fish, by Douglas Adams, illustrated by Jonathan Burton. 228 × 150 × 20 mm. Pp. [i–iv] v [vi], [1–4] 5–158 [159–162]: [7] leaves of colour plates (facing pp. [iii], 26, 58, 75, 115, 130 and 146). Type: Sabon. Printed and bound by L.E.G.O. in full dark blue cloth flecked with metallic greens, blocked with design in silver and metallic blue by Burton; metallic blue endleaves. Metallic blue slip case. ¶ Second printing: 2018. ¶ Third printing: 2021. ¶ Fourth printing: 2022. 2065 Mostly harmless, by Douglas Adams, illustrated by Jonathan Burton. 228 × 150 × 26 mm. Pp. [i–iv] v [vi], [1–12] 13–221 [222–226]: [8] leaves of colour plates (facing pp. [iii], 42, 91, 106, 139, 154, 186 and 203). Type: Sabon. Printed and bound by L.E.G.O. in full dark blue cloth flecked with metallic greens, blocked with design in silver and metallic red by Burton; metallic blue endleaves. Metallic blue slip case. The final volume of Adams’s universe-spanning odyssey. ¶ Second printing: 2018. ¶ Third printing: 2021. ¶ Fourth printing: 2022. 2066 Rudyard Kipling, Kim, introduced by Jan Morris, illustrations by Oliver Hurst. 239 × 163 × 28 mm. Pp. [i–iv] v–xiv [xv–xvi], [1–2] 3–302 [303–304]: [9] leaves of colour plates (facing pp. [iii], 32, 49, 80, 113, 160, 208, 257 and 272). Type: Pastonchi. Printed and bound by Kösel in full green-yellow cloth blocked in gold, brown and white with a design by Hurst; orange endleaves. Green slip case blocked with a head of a bull in red. 2067 African folktales, selected and retold by Roger D. Abrahams, foreword by Wole Soyinka, illustrated by Keith Hau. 239 × 163 × 30 mm. Pp. [i–iv] v–xxviii, [1–2] 3–308: [8] leaves of colour plates (facing pp. [iii], 20, 37, 101, 116, 165, 180 and 292). Type: Fairfield with Gill Sans for display. Printed and bound by Kösel in full red paper blocked in blue, yellow and black with a design by Hau; yellow endleaves printed in orange. Dark pink slip case. Includes 90 tales from across Africa, each one headed by stylish blocking designs in black. 2068 L.M. Montgomery, Anne of Avonlea, illustrations by Anna C. Leplar. 230 × 163 × 23 mm. Pp. [i–iv] v–vii [viii–x], 1–229 [230]: [9] leaves of colour plates (facing pp. [iii], 14, 47, 79, 127, 143, 158, 174 and 223). Type: Fournier. Printed and bound by L.E.G.O. in full green-grey cloth with a design in yellow, orange, black and white by Leplar; yellow endleaves. Dark green slip case. In addition to the plates, there are seven pen-and-ink vignettes printed in the text (including one on the title-page).

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2069 Michael Morpurgo, war horse, with a new foreword by the author, illustrated by Alan Marks. 205 × 145 × 22 mm. Pp. [i–iv] v–xvii [xviii], 1–173 [174]: [8] leaves of colour plates (facing pp. 7, 39, 71, 86, 119, 134, and between pp. 54–55). Type: Centaur. Printed and bound by L.E.G.O. in full black cloth printed in red and blue with a design by Marks; blue-grey endleaves printed in black. New style of lightweight slip case printed with images used for front and back boards. The third plate is a double-page spread. In addition to the plates, Marks contributed a title-page spread and vignettes in the text. He was commissioned through winning the sixth Book Illustration Competition. Accompanied by a bookmark cut into the shape of a horse, printed with a colour image of Joey by Marks and text commemorating his win on the verso. 2070 The Folio diary 2017. 184 × 130 × 16 mm. Pp. [1–120]. Type: Gill Sans. Printed and bound by L.E.G.O. in full paper with design by Adam McCauley; pale grey endleaves. Not issued in a slip case. Images of familiar, spectacular or comic inventions from a huge variety of sources face each week of the year. 2071 I, robot, Isaac Asimov, prefaced by Daniel H. Wilson, illustrations by Alex Wells. 229 × 149 × 28 mm. Pp. [i– iv] v–xvi, [1–4] 5–235 [236–240]: [7] leaves of colour plates (facing pp. [iii], 16, 48, 120, 152, 192 and 224). Type: Garamond Pro. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full orange-red cloth blocked in black, white and grey with a design by Wells; black endleaves. Orange-red slip case. 2072 Paul Brickhill, the great escape, preface by George Harsh. 241 × 163 × 27 mm. Pp. [i–iv] v–xx [xxi–xxii], [1–2] 3–223 [224–226]: [9] leaves of plates (facing p. [iii] and between pp. 42–43, 90–91, 138–139 and 170– 171). Type: Joanna with Gill Sans for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in three-quarter black cloth with green cloth front board blocked in cream and black with a design by Richard Sweeney of Vent Graphics. Green endleaves printed with plans of prison camp and escape tunnel in black from sketches by fellow Stalag Luft III prisoner Ley Kenyon. Green slip case. The plates reproduce photographs taken between 1942 and 1949, primarily from those preserved by Imperial War Museums and Royal Air Force Museum Collection. Five further sketches by Kenyon are in the text. 2073 Colin Thubron, behind the wall, a journey through China, introduced by Frank Dikötter. 239 × 178 × 37 mm. Pp. [i–vii] viii–xvii [xviii–xxiv], [1] 2–352: [13] leaves of colour plates (facing p. [iii] and between pp. 72–73, 168–169 and 264–265). Type: Garamond. Printed by Nomos and bound by Josef Spinner in quarter red buckram with printed paper boards; red endleaves. Printed slip case. A map is on pages [xxii–xxiii]. 2074 The Bayeux tapestry, the life story of a masterpiece, by Carola Hicks, scene-by-scene commentary by Sylvette Lemagnen. 253 × 179 × 44 mm. Pp. [i–iv] v–xiii [xiv], [1–4] 5–400 [401–402]: [7] leaves of colour plates (facing p. [iii] and between pp. 114–115 and 258–259). Type: Poliphilus. Printed and bound by Gorenjski Tisk Storitve in full brown buckram blocked in gold with design by Neil Packer; brown endleaves. Brown slip case blocked with Folio’s logo in gold. Sixty-four pages of the commentary are headed by the corresponding scene from the tapestry. Twelve black and white illustrations are also in the text. 2075 An omelette and a glass of wine, Elizabeth David, edited by Jill Norman, preface by Johnny Grey, decorations by Marie Alix, watercolours by Sophie MacCarthy. 253 × 186 × 32 mm. Pp. [i–v] vi–xxv [xxvi–xxviii], [1–3] 4–346 [347–348]: [8] leaves of colour plates (facing pp. [iii], [36], [68], 101, 181, 229, 292 and 309). Type: Bembo. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in quarter blue buckram, paper boards with a design by MacCarthy; blue endleaves. Blue slip case. A collection of David’s articles originally published in newspapers and magazines.

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2076 A.A. Milne, the red house mystery, introduced by Ann Thwaite, illustrated by Mark Thomas. 229 × 162 × 24 mm. Pp. [i–iv] v–xxiv [xxv–xxvi], 1–197 [198]: [5] leaves of colour plates (facing pp. 22, 86, 134, 150 and 183). Type: Goudy Old Style with Aphasia for display. Printed and bound by L.E.G.O. in full pale blue cloth blocked in red and black with a design by Thomas; pale blue endleaves printed with decorative plan in black. Lightweight slip case printed with front board image. In addition to the plates, Thomas contributed nine black and white images in the text plus the endleaves plan. 2077 William Shakespeare, twelfth night, or what you will, edited by Roger Warren and Stanley Wells, illustrations by Anna & Elena Balbusso. 345 × 236 × 17 mm. Pp. [1–2], [1–11] 12–87 [88–90]: [1] colour plate (facing p. 3). As item 1459 but with the addition of an illustration and a new binding. Full green-blue buckram with a label printed with a design by the artists; green-blue endleaves. Silver slip case blocked in dark grey with titling design. Printed without limitation but composed from the unsold sheets of the 2008 limited edition. 2078 The poetic edda, with a translation by Carolyne Larrington, illustrated by Simon Noyes. 306 × 221 × 47 mm. Pp. [i–vii] viii–xxxi [xxxii–xxxvi], [1–3] 4–419 [420]: [20] leaves of colour plates. Type: Minion Pro. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full dark red leather; pale brown endleaves. Slip case bound in brown cloth. The edition statement reads in part ‘limited to 980 numbered copies for sale, and 20 lettered copies, which are hors de commerce’. Noyes’s illustrations, inspired by runic carvings, are tipped in. Norse and English is printed side by side. 2079 Hansel and Gretel, and other stories, illustrated by Kay Nielsen. 2 vols (see below). Type: Caslon. Printed by Memminger MedienCentrum and bound by Real Lachenmaier. Blue-green buckram-covered clamshell box (titled as above) with gold paper lining. The two volumes are as follows: [1] Hansel and Gretel, and other stories, by the brothers Grimm, illustrated by Kay Nielsen. 314 × 250 × 52 mm. Pp. [i–x], [1–2] 3–275 [276–278]: [12] leaves of colour plates (facing pp. [v], 8, 23, 47, 72, 94, 111, 135, 158, 179, 224 and 254). Title-page and decorative initials in red and black. The edition statement reads in part ‘limited to 980 numbered copies with 20 lettered copies hors de commerce’. Bound in full white buckram blocked in gold and printed in blue-green; white endleaves printed in gold and orange. The plates have been reproduced, from a copy of the first edition published in 1925, by Tag. Ten full-page black and white illustrations by Nielsen are also in the text. Contains 22 stories. [2] Dreams of enchantment, Kay Nielsen’s illustrations to Hansel and Gretel, and other stories, Marina Warner. 222 × 145 × 2 mm. Pp. [1–2] 3–15 [16]. Sewn into paper wrappers, decorated with same design as the book’s endleaves, pasted label titled (as above). A pocket for the booklet is pasted in the box’s lining.

2017

2017 2080 Peter Ackroyd, the life of Thomas More, introduction by Diarmaid MacCulloch. 251 × 177 × 40 mm. Pp. [i–v] vi–xvii [xviii–xxii], [1–3] 4–456 [457–458]: [17] leaves of colour plates. Type: Albertina with Aquinas for display. Printed and bound by Kösel in three-quarter black cloth with paper front printed and blocked with a design by Neil Packer; cream endleaves printed with details from panorama of mid-sixteenth-century London. Dark yellow slip case. The plates primarily reproduce portraits and images from books. 2081 Ian McEwan, atonement, introduced by Adam Begley, illustrated by Tina Berning. 241 × 163 × 33 mm. Pp. [i–vi] vii–xv [xvi–xviii], [1–6] 7–355 [356–358]: [9] leaves of colour plates (facing pp. [iii], 31, 94, 142, 174, 191, 238, 302 and 327). Type: Perpetua. Printed and bound by Neografia in quarter dark pink cloth with paper boards with a design by Berning; dark pink endleaves printed with dark red threads echoing the lines linking all the plates. Red slip case. 2082 M.F.K. Fisher, the gastronomical me, introduced by Ruth Reichl. 228 × 150 × 30 mm. Pp. [i–vi] vii–xix [xx–xxiv], [1–2] 3–245 [246–248]: [7] leaves of black and white plates (facing p. [iii] and between pp. 24–25, 104–105 and 152–153). Type: Garamond. Printed and bound by L.E.G.O. in full orange cloth blocked in silver and black; red endleaves. Lightweight slip case printed with detail from a photograph of the author. The plates primarily reproduce photographs of Mary Frances Kennedy Fisher. Contains 26 short essays, dating from 1912 to 1941. 2083 Mary Renault, the bull from the sea, illustrations by Geoff Grandfield. 240 × 163 × 30 mm. Pp. [i–iv] v–ix [x], [1–4] 5–253 [254]: [8] leaves of colour plates (facing pp. [iii], 23, 86, 103, 134, 167, 215 and 230). Type: Haarlemmer. Printed and bound by Kösel in quarter black buckram with paper boards printed with a design by Grandfield; red endleaves. Black slip case blocked in white and dark orange. 2084 The prince in splendour, court festivals of medieval Europe, Richard Barber. 228 × 163 × 30 mm. Pp. [i–iv] v–xix [xx], [1–2] 3–258 [259–260]: [13] leaves of colour plates. Type: Poliphilus. Printed and bound by Kösel in three-quarter orange cloth with printed paper front board; red endleaves. Blue slip case blocked with title design in cream on one side. The plates primarily reproduce images from medieval manuscripts, and of metalwork and textiles. 2085 The war of the worlds, H.G. Wells, introduced by Iain Sinclair, illustrated by Grahame Baker-Smith. 241 × 176 × 26 mm. A separate issue of the third volume from H.G. Wells, classics of science fiction, item 1201, with a redesigned spine. Now in full green-blue buckram; green-blue slip case. 2086 Ulysses, James Joyce, edited by Danis Rose and John O’Hanlon, illustrated and introduced by John Vernon Lord. 288 × 204 × 55 mm. Pp. [i–iv] v–xl, [1–4] 5–712: [19] leaves of plates. Type: Dante. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full black buckram blocked in green with design by Lord plus leather label on spine; green endleaves printed with map of Dublin in silver. Black slip case blocked in green with wave design. Winner of the Book Illustration and the Moira Gemmill Illustrator of the Year Prize categories at the 2018 V&A Illustration Awards. 2087 Revelations of divine love, Julian of Norwich, translated by Barry Windeatt, introduced by Graham James, calligraphy by Gemma Black. 230 × 151 × 26 mm. Pp. [i–vi] vii–xxiii [xxiv], [1–2] 3–255 [256]. Type: English

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Engravers. Printed (in black and brown) and bound by L.E.G.O. in full pale green cloth blocked in cream with lettering design by Black; pale green endleaves. Pale green slip case. Black has also provided decorative initials throughout. Graham James is otherwise known as the Bishop of Norwich. 2088 Dorothy L. Sayers, Lord Peter views the body, introduced by Jill Paton Walsh, illustrations by Paul Cox. 228 × 152 × 31 mm. Pp. [i–iv] v–xiv, [1–2] 3–302 [303–306]. Type: Ehrhardt with Odessa for display. Printed and bound by Neografia in full pale blue cloth blocked in silver and black with design by Cox; pale blue endleaves. Pale blue slip case. Cox provided nearly 50 black and white illustrations in the text. Contains 13 Lord Peter Wimsey short stories. The solution to the crossword puzzle in The fascinating problem of Uncle Meleager’s will is at the back of the book. 2089 The Malay Archipelago, the land of the orang-utan and the bird of paradise, a narrative of travel, with studies of man and nature, Alfred Russel Wallace. 239 × 162 × 31–34 mm. 2 vols (see below). Type: Dante. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full pale blue cloth printed in green and blocked in pale brown and dark blue with two different designs; green endleaves. Blue two-volume slip case blocked in green and pale brown. The text follows that of the first edition published by Macmillan and Co. in 1869, with minor emendations and the ommission of the appendix. Wallace’s 1858 article ‘On the tendency of varieties to depart indefinitely from the original type’ is included at the end. In addition to the plates, over 50 black and white engraved illustrations are in the text. The two volumes are as follows: [1] . . . preface by Steve Jones, introduction by George Beccaloni, volume one. Pp. [i–v] vi–lii [liii–lviii], [1–5] 6–329 [330], [1–4]: [17] leaves of colour plates. [2] . . . volume two. Pp. [i–v] vi–xi [xii–xvi], [331] 332–665 [666]: [17] leaves of colour plates. 2090 Neil Gaiman, American gods, the author’s preferred text, illustrated by Dave McKean. 253 × 177 × 46 mm. Pp. [i–iv] v–xv [xvi–xviii], [1–6] 7–537 [538–542]: [15] leaves of colour plates. Type: Maxime with Wicked Grit for display. Printed and bound by Gorenjski Tisk Storitve in full blue cloth blocked in gold with design by McKean; metallic blue endleaves. Printed slip case. Three of the plates are double-page spreads. ¶ Second printing: 2017. ¶ Third printing: 2020. Printed and bound by Kösel. 2091 The Pre-Raphaelite tragedy, William Gaunt. 228 × 164 × 30 mm. Pp. [i–iv] v–xiii [xiv], [1–2] 3–280 [281–282]: [9] leaves of colour plates (facing p. [iii] and between pp. 98–99 and 178–179). Type: Horley Old Style with Goudy Forum for display. Printed and bound by Neografia in full printed cloth; green endleaves. Pale blue slip case blocked in gold on one side. In addition to the plates, there are 20 black and white illustrations in the text. 2092 J.G. Ballard, empire of the sun, introduced by William Boyd, illustrations by Tim Laing. 241 × 162 × 28 mm. Pp. [i–ix] x–xiv [xv–xviii], [1–3] 4–278: [4] leaves of black and white plates (facing pp. 114, 148, 220 and 268). Type: Minion with Roos Initials for display. Printed and bound by L.E.G.O. in three-quarter brown cloth with paper front board printed with a design by Laing; red endleaves. Red slip case. In addition to the plates, Laing contributed a title-page spread and four illustrations in the text. A map is on page [xv]. 2093 Ian Fleming, Dr No, illustrated by Fay Dalton. 228 × 162 × 24 mm. Pp. [i–iv] v–ix [x], [1–2] 3–239 [240–246]: [7] leaves of colour plates (facing pp. [iii], 39, 86, 151, 166, 199 and 214). Type: Miller Text with Folio Bold Condensed for display. Printed and bound by L.E.G.O. in series binding (see item 2007).

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¶ Second printing: 2018. ¶ Third printing: 2021. 2094 Daphne du Maurier, Rebecca, introduced by Helen Dunmore, illustrated by D.G. Smith. 240 × 164 × 35 mm. Pp. [i–iv] v–xv [xvi], [1–2] 3–412 [413–416]: [6] leaves of colour plates (facing pp. 32, 121, 184, 233, 304 and 353). Type: Jenson. Printed and bound by Neografia in full dark blue cloth blocked in red and gold with a design by Smith of a rhododendron-framed monogram; red endleaves. Red slip case blocked in dark blue on one side. In addition to the plates, Smith contributed a title-page spread and six illustrations in the text. ¶ Second printing: 2020. ¶ Third printing: 2021. ¶ Fourth printing: 2021. 2095 Edward Thomas, selected poems, introduced by Andrew Motion, lithographs by David Gentleman. 250 × 180 × 17 mm. Pp. [1–2], [i–vi] vii–xvi, [1–2] 3–66 [67–70]: [15] leaves of colour plates (facing pp. [v], 3, 66, and between pp. 10–11, 18–19, 26–27, 34–35, 42–43 and 58–59). Type: Bembo. Typeset by Gloucester Typesetting Services. Printed letterpress by Stonehouse Fine Press on Zerkall mould-made paper with the lithographs by Curwen Studio. Bound by L.E.G.O. in quarter dark green leather with paper boards by Victoria Hall; dark green-brown endleaves. Dark green-brown slip case blocked in gold. The edition statement, each signed by Gentleman, reads in part ‘limited to 1250 numbered copies for sale to members of The Folio Society, and 20 lettered copies hors de commerce’. Gentleman’s illustrations consist of three full-page lithographs, six colour double-page spreads and nine vignettes. Containing 50 poems, the book was issued in the centenary of Thomas’s death. 2096 Barry Hines, a kestrel for a knave, introduction by Frank Cottrell-Boyce, illustrations by David Howe. 203 × 136 × 25 mm. Pp. [i–iv] v–xiii [xiv–xvi], [1–4] 5–212 [213–216]. Type: Swift with Hebden for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full grey cloth printed in black with a design by Howe. Green-grey endleaves printed in black with silhouette design. Semi-transparent dust-jacket printed in black and grey. Not issued in a slip case. Eleven illustrations by Howe are in the text, including a colour title-page spread. 2097 H.P. Lovecraft, the call of Cthulhu & other weird stories, edited by S.T. Joshi, prefaced by Alan Moore, illustrated by Dan Hillier. 253 × 178 × 38 mm. Pp. [i–vi] vii–liii [liv], [1–2] 3–417 [418]: [8] leaves of plates (facing pp. 10, 42, 202, 394, and between pp. 170–171 and 234–235). Type: Italian Old Style with Goudy Forum for display. Printed and bound by L.E.G.O. in full green-purple cloth blocked in gold with design by Hillier; black endleaves with radiating design in spot varnish. Purple slip case printed in gold. In addition to two of the plates that are double-page spreads, Hillier has provided a title-page spread. 750 numbered and 25 lettered copies were also issued, bound in full black simulated leather, blind stamped and blocked in gold with an expanded design. Black edges. Marbled paper endleaves by Jemma Lewis, protected by two loosely inserted purple leaves. Green-purple cloth clamshell box blocked in gold and lined with metallic green paper. The volume rests in a recess blocked in gold. Loosely inserted is a print from ThePrintSpace with an additional illustration, signed by Hillier, wrapped in protective paper secured by a round sticker printed in black and gold. The edition statement has been printed on page [iii]. On the reverse of each plate is printed a different design inspired by symbols. Contains 18 stories which, as the bindings make clear, are not for the faint of heart. ¶ Second printing: 2022. 2098 The house of Borgia, Christopher Hibbert. Maps by Kevin Freeborn. 228 × 177 × 31 mm. Pp. [i–iv] v–xvii [xviii–xxii], [1–2] 3–258: [12] leaves of colour plates. Type: Centaur with Arabesque ornaments. Printed and bound by L.E.G.O. in full red cloth blocked with a papal arms and bull pattern; printed endleaves. Gold

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slip case. The plates primarily reproduce oil paintings and frescoes. Details from frescoes by Pinturicchio for the Vatican’s Borgia apartments (painted 1502–1508) are used for the endleaves. A genealogical table is on pages xvi–xvii and maps by Freeborn are on pages [xx] and [xxi]. 2099 Patrick Leigh Fermor, Mani, Roumeli. 238 × 176 × 26–27 mm. 2 vols (see below). Type: Columbus. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full paper printed with illustrations by Katyuli Lloyd; brown endleaves. Blue-grey two-volume slip case (titled as above). Photographs (taken by Fermor’s wife) are reproduced in the plates, with Lloyd providing black and white illustrations plus two maps in the text. The two volumes are as follows: [1] Patrick Leigh Fermor, Mani, travels in the southern Peloponnese, introduction by Artemis Cooper, photographs by Joan Eyres Monsell, illustrations by Katyuli Lloyd. Pp. [i–vi] vii–xvii [xviii–xx], [1–2] 3–300: [13] leaves of plates. A map by Lloyd is on page [2]. [2] Patrick Leigh Fermor, Roumeli, travels in northern Greece, photographs by Joan Eyres Monsell, illustrations by Katyuli Lloyd. Pp. [i–iv] v–viii [ix–xii], [1–2] 3–220: [10] leaves of plates. A map by Lloyd is on pages [x–xi]. 2100 Riddley Walker, Russell Hoban, illustrated by Quentin Blake, with a postscript by Rowan Williams. 354 × 257 × 32 mm. Pp. [i–viii], 1–279 [280]. Type: Poliphilus and Blado with hand-drawn lettering for the title and chapter numbers. Illustrations reproduced by Tag. Printed and bound by Kösel in full cloth printed with a design by Blake. Printed edges. Pale brown endleaves. Cloth covered slip case. Edition statement reads in part ‘limited to 1000 copies, signed and numbered by the artist, and 20 lettered copies which are not for sale’. In addition to 39 colour illustrations in the text, Blake contributed an essay ‘Draw is a intersting word’. It is followed by Williams’s piece ‘Myth and “knowledging” in Riddley Walker’. A map of Walker’s post-apocalyptic world is on page [viii]. 2101 [The Bayeux Tapestry]. [facsimile]. 43 metres. Reprographics by Tag. Printed by Surface Print using photographs from Bayeux Museum. Mounted in a hardwood scroll box topped with lead-free glass by Promo International. The first continuously printed reproduction of the famous embroidered cloth, at 60% of its actual size. It is operated by two handles set in the box front. Overall dimensions, including handles and legs, are 744 × 870 × 520 mm, and a weight of around 27 kg. Numbers printed below the tapestry reflect the scene numbers given on the backing cloth not reproduced here. The Bayeux tapestry, the life story of a masterpiece (item 2074) includes a scene-by-scene commentary. Accompanied by an envelope containing a limitation certificate which reads in part ‘an edition of 480 numbered copies for sale and 20 lettered copies hors de commerce. For purposes of authentication, the number below also appears on a label on the underside of the scroll box.’ 2102 Agatha Christie, and then there were none, illustrations by David Lupton. 227 × 150 × 23 mm. Pp. [i–iv] v–ix [x], [1–2] 3–235 [236–238]. Type: Bell with Kabel for display. Printed by Nomos and bound by Josef Spinner in three-quarter black cloth with printed and blocked paper front board; black endleaves. Red slip case. Lupton contributed a title-page spread and 15 black and white illustrations in the text. 2103 Jane Austen, Northanger Abbey, introduced by Val McDermid, illustrated by Jonathan Burton. 240 × 162 × 28 mm. Pp. [i–iv] v–xv [xvi], [1–4] 5–212 [213–216]: [6] leaves of colour plates (facing pp. [iii], 65, 112, 144, 161 and 193). Type: Baskerville with Trajan for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full gold buckram blocked in black and cream with a design by Burton; cream endleaves. Dark silver slip case blocked with the novel’s opening line in gold. ¶ Second printing: 2020. Bound by Josef Spinner. ¶ Third printing: 2021.

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2104 Defeat into victory, Field Marshal Viscount Slim, introduction by Max Hastings. 251 × 178 × 44 mm. Pp. [i–v] vi–xxiii [xxiv–xxviii], [1–5] 6–588: [21] leaves of plates. Type: Garamond with Corinthian for display. Printed by Nomos. Bound by Josef Spinner in full green-brown cloth blocked in gold; green endleaves. Printed slip case. The plates reproduce photographs primarily taken between 1942–1945 in Burma from the collections of the Imperial War Museum, London. Twenty-one maps are included in the text. 2105 Adam Hochschild, King Leopold’s ghost, a story of greed, terror and heroism in colonial Africa. 241 × 163 × 36 mm. Pp. [i–vii] viii–xi [xii–xvi], [1–3] 4–400: [13] leaves of plates. Type: Bulmer. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in three-quarter pale brown cloth with printed front board; dark red endleaves. Printed slip case. In addition to the plates, there are 12 illustrations in the text. A map of the Congo is on page [2]. 2106 Micrographia, or some physiological descriptions of minute bodies made by magnifying glasses, with observations and enquiries thereupon, by R. Hooke, Fellow of the Royal Society, [quotation from Horace], introduced by Ruth Scurr, and with a brief life by John Aubrey. 340 × 227 × 43 mm. Pp. [i–vii] viii–xvii [xviii–xx], [1–9] 10–303 [304]: [38] leaves of plates. Type: Caslon. Reprographics by Tag. Printed by Memminger MedienCentrum. Bound by Richard Mayer in quarter black leather with black cloth boards blocked in silver with design by Neil Gower. Silver top edge; dark grey endleaves. Black cloth-covered slip case. Edition statement reads in part ‘limited to 750 numbered copies, and 20 lettered copies which are not for sale’. First published in 1655, the text follows that of the first edition, with modernised spelling and minor emendations. The illustrations are reproduced from copies of the first and second editions held at the Bodleian Library and the Museum of the History of Science, Oxford. Five of the plates are fold-outs, including that of the celebrated flea. Dedicated to the memory of the historian Lisa Jardine, who died in 2015. Winner in the scholarly, academic and reference book category of the 2017 British Book Design and Production Awards. 2107 Saki, short stories, drawings by Osbert Lancaster. 228 × 153 × 36 mm. Pp. [i–iv] v–x, [1–2] 3–340 [341– 342]. Type: Guardi with Edwardian for display. Printed and bound by Kösel. Quarter green cloth with cream paper boards printed in black; green endleaves. Green slip case. As item 394 but reset. Lancaster’s ten illustrations have moved to within the text and the introduction has been removed. The binding has been revised. 2108 The little prince. 223 × 161 × 11–14 mm. 2 vols (see below). Type: Bembo Infant. Printed and bound by L.E.G.O. Blue two-volume slip case (titled as above). Winner in the literature category of the 2018 British Book Design and Production Awards. The two volumes are as follows: [1] Antoine de Saint-Exupéry, the little prince, illustrated by the author, introduced by Stacy Schiff. Pp. [i–iv] v–xviii [xix–xx], [1–2] 3–89 [90–92]. Blue endleaves printed with repeat pattern in gold. Bound in dark yellow cloth blocked in metallic blue and black. Saint-Exupéry’s charming drawings include a title-page spread and 12 full-page illustrations (captioned in French) plus vignettes. [2] The little prince, commentary volume, by Christine Nelson. Pp. [1–6] 7–77 [78–80]. Dark yellow endleaves. Bound in blue paper blocked in gold, yellow and white with a design by Paul Bonet produced for an edition in 1951. Images from Saint-Exupéry’s working copy of the manuscript, now held by the Morgan Library, are reproduced alongside a selection from the main volume. A tiny moon and moving star animate the bottom right of the rectos. ¶ Second printing: 2019. ¶ Third printing: 2020. ¶ Fourth printing: 2021.

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2109 Famous trials, edited by Harry and James H. Hodge, introduced by Geoffrey Robertson QC. 229 × 152 × 28 mm. Pp. [i–iv] v–xviii, [1–4] 5–378 [379–382]. Type: Janson. Printed and bound by Neografia in full cream paper printed in black with design by Jamie Keenan; printed endleaves. Cream slip case blocked in black with the surnames of the nine accused: Crippen, Maybrick, Slater, Armstrong, Laurie, Wood, Smith, Rattenbury and Stoner. The cases date from 1889 to 1935 and are all illustrated in the text. 2110 The exorcist, William Peter Blatty, illustrated by Jeremy Caniglia. 240 × 162 × 31 mm. Pp. [i–iv] v–xi [xii–xviii], [1–2] 3–320 [321–324]: [13] leaves of colour plates. Type: Warnock with Mason for display. Printed and bound by L.E.G.O. in full dark red cloth blocked in gold; dark red endleaves. Black slip case titled in spot varnish. Crucifixes stand in for the letter t in the title. In addition to the plates, Caniglia contributed a title-page spread, an illustration for the four section breaks and 13 chapter headings. The text follows that of the fortieth anniversary edition from 2011 and the illustrations were originally published in a limited edition by Lonely Road Books in 2013. 2111 The spy who came in from the cold, John le Carré, introduction by the author, illustrations by Matt Taylor. 242 × 163 × 26 mm. Pp. [i–vi] vii–xvi, [1–2] 3–216: [8] leaves of colour plates (facing pp. [iii], 32, 64, 97, 145, 160, 201 and 216). Type: Imprint with Clarendon for display. Printed and bound by L.E.G.O. in quarter green-grey cloth and boards left raw blocked in silver and blue; dark blue endleaves. Dark blue slip case. This is the first illustrated edition of a work originally published by Victor Gollancz in 1963. 2112 The mark of the Horse Lord, Rosemary Sutcliff, introduced by Philip Reeve, illustrated by Felix Miall. 236 × 170 × 26 mm. Pp. [i–iv] v–xviii [xix–xx], [1–2] 3–266 [267–268]. Type: Minion. Printed and bound by L.E.G.O. in full blue-green buckram blocked in gold, cream and black with design by Miall; green-blue endleaves. Blue-green slip case. Miall has provided nine brush-and-ink drawings in the text, including two double-page spreads. A map of Scotland is on page [xix]. 2113 Paul Brickhill, reach for the sky, afterword by Group Captain Sir Douglas Bader. 241 × 162 × 32 mm. Pp. [i–iv] v–vii [viii–xii], [1–2] 3–362 [363–364]: [9] leaves of plates (facing p. [iii] and between pp. 84–85, 164–165, 228–229 and 308–309). Type: Joanna with Gill Sans for display. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in three-quarter black cloth with blue cloth front board blocked in cream and black with a design by Richard Sweeney of Vent Graphics. Blue endleaves printed with technical drawings of a Vickers Supermarine Spitfire Va personalised for double amputee Bader and a Hawker Hurricane Mk 1. Blue slip case. The plates reproduce photographs taken between 1920 and 1955, primarily from those preserved in the Royal Air Force Museum Collection. A map is on page [196]. 2114 Charles Dickens, great expectations, with the original illustrations by Marcus Stone, introduction by D.J. Taylor. 241 × 163 × 41 mm. Pp. [i–iv] v–xvi [xvii–xviii], [1–2] 3–482 [483–492]: [1] plate (facing p. [iii]). Type: Arno. Printed and bound by C & C Offset in cloth with boards decorated with wallpaper pattern; blue endleaves. Green-blue cloth slip case. As the second edition (see item 1198) but reset; the illustrations now on pages [83], [159], [184], [243], [364], [421] and [483]. 2115 The elegant universe, superstrings, hidden dimensions, and the quest for the ultimate theory, Brian Greene, with a new introduction by the author. 241 × 165 × 39 mm. Pp. [i–v] vi–xxiv [xxv–xxvi], [1–5] 6–447 [448–454]: [9] leaves of colour plates (facing pp. [iii], 38, 86, 118, 166, 214, 262, 326 and 358). Type: Bembo with Museo for display. Printed and bound by Neografia in quarter red cloth with paper boards; black endleaves. Black slip case. Diagrams are included throughout the text. The third in the Modern Science Collection.

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2116 Spring, a Folio anthology, edited by Sue Bradbury, preface by Paul Evans, illustrated by Petra Börner. 223 × 145 × 14 mm. Pp. [i–vi] vii–x, [1–2] 3–85 [86]. Type: Caslon. Printed in black and green by L.E.G.O. and bound by them in quarter green cloth with paper boards printed with design by Börner; green endleaves. Not issued in a slip case. Börner’s colour illustrations span one full-page, four double-page spreads and tail-pieces. The green ink is used on the titles. Available to buy or free when two or more books were ordered during a limited time. 2117 Virginia Woolf, a room of one’s own, woodcuts by Vanessa Bell. 221 × 144 × 23 mm. Pp. [i–iv] v–vi, [1–2] 3–182 [183–186]. Type: Baskerville. Printed by Nomos and bound by Josef Spinner in full cream cloth printed in blue with artwork taken from the Hogarth Press first edition; blue endleaves printed with repeat design in cream. Cream slip case printed in blue. Bell’s work is found in six full-page woodcuts (on pages [ii], [33], [61], [85], [121] and [147]), the binding and the slip case. Folio first published the essay with others by Woolf in 2000 (see item 1022). 2118 George Orwell, a life in letters and diaries, selected and edited by Peter Davison. 241 × 178 × 41 mm. Pp. [i–iv] v–xv [xvi], [1–4] 5–487 [488]: [9] leaves of plates (facing p. [iii] and between pp. 112–113 and 336–337). Type: Dante. Printed and bound by Neografia in three-quarter grey cloth with cloth front board printed with image of Orwell; endleaves printed with collage design. Grey slip case blocked in copper with lettering design. The illustrations are primarily from the Orwell Archive at University College London. In addition to the plates, further images are in the text. 2119 Gwen Raverat, period piece, a Cambridge childhood. 217 × 163 × 32 mm. Pp. [i–iv] v–vii [viii–xii], 1–290 [291–292]. Type: Caslon. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full pale green cloth blocked in gold and printed in blue with an illustration by Raverat; dark blue endleaves. Dark blue slip case. Over 50 illustrations by Raverat are in the text. A short story, Georgette, has been included at the end. 2120 Alexandre Dumas, the Count of Monte Cristo, introduced by John Mortimer, illustrated by Roman Pisarev. 252 × 180 × 72 mm. Pp. [1–2], [i–iv] v–xvi, 1–1016 [1017–1022]: [24] leaves of plates. Based on Folio’s first edition (item 974). Now printed by Memminger MedienCentrum and bound by Real Lachenmaier in full dark red leather with a new design blocked in gold and black. Gilded top edge; dark grey endleaves. Dark red slip case. A limitation spread containing a tipped-in etching signed and numbered by Pisarev is sewn into the front. Edition statement reads in part ‘limited to five hundred copies with twenty lettered copies hors de commerce’. 2121 Do androids dream of electric sheep? Philip K. Dick, illustrated by Chris Skinner. A scanner darkly, Philip K. Dick, illustrated by Andrew Archer. 254 × 177 × 40 mm. Pp. [i–xii], 1–189 [190]: [5] leaves of plates (facing pp. 36, 71, 129, 160 and 170). Pp. [i–vi] vii–ix [x], 1–255 [256]: [5] leaves of plates (facing pp. 60, 106, 139, 174 and 219). Type: Mentor with Neptune for display. Printed and bound by L.E.G.O. in quarter green cloth and paper boards printed with designs by Skinner and Archer; red and green endleaves. Red slip case. The two novels are printed ‘tête-bêche’, upside down and back-to-back from each other. The artists meet near the middle, in a shared double-page spread. ¶ Second printing: 2020. ¶ Third printing: 2021. 2122 Clive King, Stig of the dump, with the original illustrations by Edward Ardizzone, introduced by David Almond. 203 × 134 × 23 mm. Pp. [i–iv] v–xvii [xviii], [1–2] 3–170 [171–174]. Type: Plantin. Printed by Memminger MedienCentrum. Bound by Real Lachenmaier in full grey cloth printed with a design by Ardizzone;

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brown-green endleaves. Dark orange slip case. Over 20 of Ardizzone’s illustrations, from the first edition of 1963, are in the text. 2123 The book of psalms, from the Authorised King James Version of the Bible, introduced by Valentine Cunningham, lettering by Jessica Hische. 160 × 113 × 26 mm. Pp. [i–iv] v–xvii [xviii], [1–2] 3–278. Type: Arno. Printed in red and black by Kösel. Bound by them in full dark blue cloth blocked in copper with a design by Hische and top edge copper gilding; dark blue endleaves. Dark orange slip case blocked in blue to mirror binding. 2124 The locked-room mysteries. 223 × 144 × 19–22 mm. 3 vols (see below). Type: Berling with Trajan Pro for display. Printed and bound by C & C Offset in textured paper blocked with a slightly different key design by Mark Thomas for each volume. Grey three-volume slip case (titled as above). Thomas contributed black and white frontispieces for each novel, and over 20 tail-pieces. The three volumes are as follows: [1] Edgar Wallace, the four just men, introduced by Martin Edwards, illustrations by Mark Thomas. Pp. [i–iv] v–xvii [xviii], [1–2] 3–129 [130–134]. Bound in green paper blocked in silver and dark green. Dark green endleaves. First published in 1905. [2] Gaston Leroux, the mystery of the yellow room, illustrations by Mark Thomas. Pp. [i–iv] v–vii [viii], [1–2] 3–235 [236–240]. Bound in dark pink paper blocked in silver and red. Dark red endleaves. First published, in English, in 1908. [3] John Dickson Carr, the hollow man, illustrations by Mark Thomas. Pp. [i–iv] v–vii [viii], [1–4] 5–254 [255–256]. Bound in dark grey paper blocked in silver and black. Grey endleaves. First published in 1935. 2125 The house at Pooh Corner, by A.A. Milne, with decorations by E.H. Shepard. 242 × 178 × 28 mm. A separate issue of the second volume of The complete Winnie the Pooh. Details as volume [2] of item 1207. Blue slip case with adapted decoration in gold. Described as ‘Third printing’. ¶ Fourth printing [i.e. second printing]: 2018. 2126 She-wolves, the women who ruled England before Elizabeth, Helen Castor, with a new foreword by the author. 251 × 177 × 39 mm. Pp. [i–iv] v–xxiii [xxiv–xxviii], [1–4] 5–459 [460]: [13] leaves of colour plates. Type: Centaur. Printed and bound by Kösel in full red cloth blocked in blue with a design by Neil Gower; dark blue endleaves printed with repeat design in gold. Dark blue slip case blocked in silver with titling decoration. The plates primarily reproduce photographs of illuminations, oil paintings and stained-glass windows. Includes six family trees and five maps. The four women focused on are Matilda, Eleanor of Aquitaine, Isabella of France and Margaret of Anjou. 2127 The illustrated man, Ray Bradbury, introduced by Margaret Atwood, illustrations by Marc Burckhardt. 242 × 164 × 23 mm. Pp. [i–iv] v–xviii [xix–xx], [1–2] 3–195 [196]: [6] leaves of colour plates (facing pp. [iii], 12, 76, 100, 156 and 173). Type: Berling. Printed and bound by L.E.G.O. in full pale gold cloth printed in black and red with a design by Burckhardt; red endleaves. Pale brown slip case blocked in blue. Follows the first UK edition of 1952, which contained 16 stories, two fewer than the edition published in the USA the previous year. 2128 Jane Austen, Mansfield Park, introduced by Lucy Worsley, illustrated by Darya Shnykina. 241 × 161 × 37 mm. Pp. [i–iv] v–xiii [xiv], [1–4] 5–417 [418]: [8] leaves of colour plates (facing pp. [iii], 19, 146, 210, 227, 282, 331 and 394). Type: Baskerville with Trajan for display. Printed by Memminger MedienCentrum. Bound

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by Real Lachenmaier in full gold buckram blocked in black and cream with a design by Shnykina; cream endleaves. Metallic green slip case blocked with a sentence from chapter eleven, volume three, in gold. Shnykina was commissioned through winning the seventh Book Illustration Competition. ¶ Second printing: 2020. Bound by Josef Spinner. ¶ Third printing: 2022. 2129 M.R. James, ghost stories, illustrations by James McBryde. 221 × 143 × 27 mm. Pp. [i–iv] v–ix [x], 1–273 [274–278]. Type: Albertina. Printed by Nomos. Bound by Josef Spinner in full dark grey cloth blocked in metallic blue with a design by Neil Gower; green-blue endleaves. Metallic blue slip case. Contains 16 stories, all included in the collected works of 2007. McBryde’s illustrations were used for James’s debut collection, Ghost stories of an antiquary, in 1904. They total just four pen-and-ink drawings, and a sketch, after the artist prematurely died before the project was complete. 2130 Berlin, the downfall, 1945, Antony Beevor. 251 × 177 × 44 mm. Pp. [i–iv] v–xxi [xxii], [1–2] 3–510 [511–514]: [17] leaves of plates. Type: Garamond Pro with Futura Condensed for display. Printed by Nomos. Bound by Josef Spinner in full black cloth blocked in red and grey; endleaves printed with two photographs from 1 May 1945. Black slip case with reproduction of photograph on one side of Red Army soldiers raising the Soviet flag. Includes 16 maps by Raymond Turvey. The plates primarily reproduce photographs from the first six months of 1945. 2131 The hundred and one dalmatians, or the great dog robbery, Dodie Smith, introduced by Jacqueline Wilson, illustrated by Sara Ogilvie. 253 × 193 × 27 mm. Pp. [i–iv] v–xvii [xviii], [1–2] 3–188 [189–190]. Type: New Caledonia. Printed and bound by L.E.G.O. in quarter pale red cloth with paper boards printed with a design by Ogilvie; printed endleaves. White slip case printed with dalmatian spots in black. Ogilvie’s many colour illustrations in the text include a title-page spread, four double-page spreads and ten full-page images. ¶ Second printing: 2020. 2132 Moby-Dick, or the whale, Herman Melville, illustrations by Rockwell Kent. As item 1551 but with a new binding and without limitation. Printed and bound by C & C Offset in full dark gold buckram blocked in black and white with a new design; black endleaves decorated with gold strands. Black cloth slip case blocked in dark gold. 2133 Ian Fleming, moonraker, illustrated by Fay Dalton. 229 × 163 × 23 mm. Pp. [i–iv] v–ix [x], [1–4] 5–243 [244–246]: [7] leaves of colour plates (facing pp. [iii], 102, 119, 150, 182, 199 and 231). Type: Miller Text with Folio Bold Condensed for display. Printed and bound by L.E.G.O. in series binding (see item 2007). ¶ Second printing: 2020. 2134 E. Nesbit, five children and it, with illustrations by H.R. Millar. A separate issue of the first volume detailed under item 794, second printing, with a redesigned title-page and revised binding with a different illustration. Printed and bound by C & C Offset. Three-quarter blue buckram with printed paper front board; pale blue endleaves. Red slip case. 2135 The Folio diary 2018. 183 × 129 × 16 mm. Pp. [1–120]. Type: Gill Sans. Printed and bound by L.E.G.O. in full printed paper blocked in gold; dark orange-pink endleaves. Not issued in a slip case. Images from the medieval period face each week of the year.

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2136 The Folio book of food and drink, introduced by Jojo Tulloh. 239 × 162 × 30 mm. Pp. [i–iv] v–xv [xvi], [1–2] 3–334 [335–336]. Type: Bembo with Butler for display. Printed and bound by Kösel in quarter green cloth with paper boards printed with design by Alice Pattullo; yellow endleaves. Pale blue slip case. Primarily illustrated in the text by cartoons and images from French cookery books. 2137 Rumi, selected poems, translated by Coleman Barks, introduced by Michael Schmidt, illustrated by Marian Bantjes. 223 × 200 × 32 mm. Pp. [i–iv] v–xxvii [xxviii–xxx], [1–2] 3–334 [335–338]. Type: Arno Pro. Printed and bound by Neografia in full grey-blue cloth blocked in gold, copper and metallic blue with a design by Bantjes; metallic pink endleaves. Blue slip case. Every page is framed by Bantjes’s Islamic-inspired geometric patterns. 2138 Guns, germs and steel, a short history of everybody for the last 13,000 years, with a new afterword by the author Jared Diamond. 250 × 180 × 44 mm. Pp. [i–iv] v–xlii, [1–2] 3–479 [480–486]: [26] leaves of plates. Type: Centaur. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full silver paper blocked in black and green with a design by Christian Montenegro; pale green endleaves. Silver slip case. Ten of the plates are in colour and were especially chosen for this edition. Maps, tables and figures are included in the text. 2139 The rime of the ancient mariner, and three other poems by Samuel Taylor Coleridge, illustrated by Harry Brockway. 297 × 222 × 18 mm. Pp. [1–2], [i–vi] vii–viii, 1–104 [105–110]. Type: Albertina. As item 1665 but reset and entirely in black and white, with a new binding and without limitation. Printed and bound by Kösel in full pale blue-grey cloth printed in black and blocked in white with a new design; blue-grey endleaves. Blue-grey slip case. The illustrations on pages [2] and [8] have been transposed, and the one on page [29] recaptioned. 2140 John Steinbeck, east of Eden, introduced by Michael Dirda, illustrated by Edward Kinsella. 252 × 178 × 46 mm. Pp. [i–iv] v–xv [xvi], [1–6] 7–630 [631–632]: [11] leaves of colour plates (facing pp. [iii], 144, 192, 209, 273, 304, 352, 417, 481, 560 and 577). Type: Dante. Printed and bound by Neografia in full green cloth blocked in silver with a design by Kinsella and with top edge silver gilding; green endleaves. Green slip case printed with snake design in silver. 2141 Genesis, Paul Nash. Type: Caslon. Printed by Memminger MedienCentrum. Brown two-volume clamshell box with a reproduction of Nash woodcut inset and titled (as above) in gold. Facsimile of the 1924 Nonesuch Press edition. The first in the Fine Press Classics series. The two items are as follows: [1] Genesis, twelve woodcuts by Paul Nash with the first chapter of Genesis in the Authorised Version. [facsimile]. 261 × 194 × 12 mm. Pp. [1–28]. Bound by Real Lachenmaier in full black cloth blocked in gold following original design. Dark orange dust-jacket printed in black echoing binding. Cream endleaves. The pages are doubled over, as they were in the first edition. Limited to 750 numbered copies. Reproduced from one of the 375 copies of the original. [2] Genesis, an essay by Sebastian Carter, written to accompany a facsimile of the 1924 Nonesuch Press edition illustrated by Paul Nash. 249 × 188 × 0.5 mm. Pp. [1–4]. 2142 The song of songs, Eric Gill. Type: Caslon. Printed by Memminger MedienCentrum. Dark green two-volume clamshell box with a reproduction of Gill engraving inset and titled (as above) in gold. Facsimile of the 1925 Golden Cockerel Press edition. The second in the Fine Press Classics series. The two items are as follows:

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[1] The song of songs, called by many the canticle of canticles. [facsimile]. 261 × 193 × 12 mm. Pp. [1–4] 9–42 [43–48]. Printed in black and red. Bound by Real Lachenmaier in cream cloth blocked in gold on spine. Pale brown dust-jacket printed in black repeating title-page. Cream endleaves. Limited to 750 numbered copies. Reproduced from the first edition which came in an edition of 750. [2] The song of songs, an essay by Sebastian Carter, written to accompany a facsimile of the 1925 Golden Cockerel Press edition illustrated by Eric Gill. 249 × 188 × 0.5 mm. Pp. [1–4]. 2143 The book of Jonah, David Jones. Type: Caslon. Printed by Memminger MedienCentrum. Green-blue two-volume clamshell box with a reproduction of Jones engraving inset and titled (as above) in gold. Facsimile of the 1926 Golden Cockerel Press edition. The third in the Fine Press Classics series. The two items are as follows: [1] The book of Jonah, taken from the Authorized Version of King James I., with engravings on wood by David Jones. [facsimile]. 261 × 193 × 9 mm. Pp. [i–ii], [1–2] 3–15 [16–18]. Bound by Real Lachenmaier in cream cloth blocked in gold on spine. Pale brown dust-jacket printed in black repeating title-page. Cream endleaves. Limited to 750 numbered copies. Reproduced from the first edition which came in an edition of 175. [2] The book of Jonah, an essay by Sebastian Carter, written to accompany a facsimile of the 1926 Golden Cockerel Press edition illustrated by David Jones. 249 × 188 × 0.5 mm. Pp. [1–4].

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2018 2144 Patricia Highsmith, strangers on a train, illustrations by Geoff Grandfield. 227 × 162 × 28 mm. Pp. [i–iv] v–vii [viii–x], [1–2] 3–269 [270]: [7] leaves of colour plates (facing pp. [iii], 70, 87, 143, 206, 223 and 254). Type: Sabon with Adrianna Extended for display. Printed by Nomos and bound by Josef Spinner in full grey cloth blocked in white, grey and red with a design by Grandfield; red endleaves. Red slip case. 2145 Empire, how Britain made the modern world, Niall Ferguson, with a new preface by the author. 252 × 177 × 36 mm. Pp. [i–vi] vii–xxxvii [xxxviii], 1–401 [402]: [16] leaves of plates. Type: Nocturne Serif. Printed (the title in red) and bound by Kösel in full red cloth blocked in black and white with inset label on front board printed letterpress at The Logan Press using artwork by Peter Chasseaud; printed endleaves. Black slip case. The plates primarily reproduce photographs and archival material. Graphs and maps are also included in the text. 2146 Under fire, Henri Barbusse, translated by Robin Buss, introduced by Hew Strachan. 241 × 164 × 30 mm. Pp. [i–vii] viii–xx, [1–5] 6–356. Type: Galliard with Folio for display. Printed and bound by C & C Offset in full dark grey and white cloth blocked in dark yellow; endleaves printed with two photographs from 1916. Dark yellow slip case. Eighteen photographs, taken from 1915 to 1918, are reproduced in the text. 2147 Hide my eyes, Margery Allingham, illustrated by Alexandru Savescu. 229 × 150 × 24 mm. Pp. [i–iv] v–ix [x–xiv], [1–2] 3–207 [208–210]: [7] leaves of colour plates (facing pp. [iii], 35, 42, 98, 146, 163 and 178). Type: Utopia with Victoria Titling for display. Printed and bound by Neografia in full paper printed with design by Savescu; orange-brown endleaves. Orange-brown slip case. 2148 Ian Fleming, Goldfinger, illustrated by Fay Dalton. 228 × 164 × 25 mm. Pp. [i–iv] v–ix [x–xii], [1–4] 5–274 [275–276]: [7] leaves of colour plates (facing pp. [iii], 100, 132, 180, 205, 245 and 260). Type: Miller Text with Folio Bold Condensed for display. Printed and bound by L.E.G.O. in series binding (see item 2007). ¶ Second printing: 2021. 2149 The expedition of Humphry Clinker, by Tobias Smollett, introduced by John Sutherland, wood engravings by Derrick Harris. 229 × 154 × 37 mm. Pp. [i–vi] vii–xv [xvi–xviii], [1–2] 3–384 [385–386]: [10] leaves of two-colour plates. Type: Columbus. Printed and bound by C & C Offset in full blue cloth printed in black and blocked in gold with a design by Harris; pale blue endleaves. Blue and white slip case with repeat design. This is the second Folio edition, the first having appeared in 1955, with Harris’s illustrations used for both but with a new introduction. The binding design was used for the dust-jacket of the first, with the slip case design here originally used for the binding. Captions for the engravings have been dropped and a map showing the travels of Bramble’s party, from Gloucester to Buxton, has been added on page [xvii]. 2150 C.S. Forester, the Hornblower saga, Mr Hornblower. 229 × 152 × 27–35 mm. 3 vols (see below). Type: Bulmer. Printed and bound by Neografia in three-quarter blue cloth with a cloth front board printed and blocked with a different design by Joe McLaren for each volume. Aside from plates, McLaren has also contributed chapter headings, frontispieces and illustrations for the titles. Blue three-volume slip case printed with repeat wave design and blocked in gold (titled as above). The first set in the series. The three volumes are as follows:

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[1] C.S. Forester, Mr Midshipman Hornblower, introduced by Bernard Cornwell, illustrated by Joe McLaren. Pp. [i–iv] v–xiv [xv–xxiv], [1–2] 3–260 [261–264]: [4] leaves of black and white plates (facing pp. 26, 65, 100 and 188). Endleaves printed with wave design in two shades of blue. Seven maps are on pages [xvii–xxiii]. Concludes with the short stories ‘Hornblower and the hand of destiny’ and ‘Hornblower and the big decision’. [2] C.S. Forester, Lieutenant Hornblower . . . Pp. [i–iv] v–ix [x–xvi], [1–2] 3–255 [256]: [4] leaves of black and white plates (facing pp. 79, 129, 174 and 229). Endleaves printed with wave design in yellow and blue. Three maps are on pages [xiii–xv]. [3] C.S. Forester, Hornblower and the Hotspur . . . Pp. [i–iv] v–xii [xiii–xviii], [1–2] 3–414: [4] leaves of black and white plates (facing pp. 121, 194, 262 and 358). Endleaves printed with wave design in orange and blue. Three maps are on pages [xv–xvii]. 2151 Cyrano de Bergerac, voyages to the moon and the sun, translation and notes by John [sic] Aldington, introduction by John Wells, illustrations by Quentin Blake. 304 × 217 × 30 mm. Pp. [i–vi] vii–xi [xii–xiv], [1–2] 3–212 [213– 218]. Type: Fournier. Printed and bound by Neografia in orange cloth blocked in gold with a design by Blake; blue endleaves. Dark blue slip case with a design in silver based on Blake’s handwriting. This is the second Folio edition, the first having appeared in 1991 in a smaller format and typeset elsewhere, with Blake’s illustrations used for both. Some drawings have been redrawn by Blake; others moved or removed, making way for new illustrations. The title-page error in Richard Aldington’s first name remains uncorrected. 2152 Letters of Vincent Van Gogh, edited by Mark Roskill, introduced by Martin Gayford. 229 × 164 × 31 mm. Pp. [i–iv] v–xvi, [1–4] 5–335 [336]. Type: Van Dijck. Printed and bound by Neografia in quarter cream cloth with paper boards printed with a detail from a Van Gogh painting; blue endleaves. Blue slip case printed with a couple of pages from the correspondence in black. Over 40 colour images are in the text, reproducing details from the letters alongside some of the artist’s paintings and drawings. 2153 We, Yevgeny Zamyatin, translated by Clarence Brown, introduced by Ursula K. Le Guin, illustrations by Kit Russell. 242 × 163 × 22 mm. Pp. [i–iv] v–xxii, [1–2] 3–201 [202–210]: [4] leaves of black and white plates (facing pp. 41, 81, 129 and 154). Type: PT Serif with Wells Grotesque for display. Printed and bound by L.E.G.O. in full paper printed with a design by Russell; black endleaves. Printed silver slip case with central section removed and replaced with printed lenticular panel. The image cleverly transforms by moving the book to and from the case. 2154 The golden bough. 251 × 177 × 39–42 mm. 2 vols (see below). Type: Miller Text. Printed and bound by Kösel in full dark brown cloth printed in white and blocked in gold with design by Romy Blümel; pale gold endleaves. Pale gold two-volume slip case blocked in brown and white with oak and mistletoe motifs. Plates primarily reproduce images of antiquities and photographs. The two volumes are as follows: [1] Sir James George Frazer, the golden bough, a study in magic and religion, edited with an introduction and notes by Robert Fraser. Pp. [i–iv] v–lvi, [1–8] 9–407 [408]: [19] leaves of plates. [2] Sir James George Frazer, the golden bough, a study in magic and religion. Pp. [i–iv] v–xi [xii], 409–914 [915–916]: [18] leaves of plates. 2155 Love is enough, or, the freeing of Pharamond, a morality. By William Morris. [facsimile]. 241 × 157 × 20 mm. Pp. [i–vi], [1] 2–134 [135–138]. Printed by Memminger MedienCentrum. Bound by Richard Mayer in full brown cowhide blocked in gold following a design by T.J. Cobden-Sanderson; pale cream endleaves. Slip

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case bound in green-blue cloth blocked in gold. The edition statement reads in part ‘limited to 750 numbered copies, and 20 lettered copies which are not for sale’. A copy of the 1873 edition published by Ellis and White uniquely decorated in watercolours attributed to a Beatrice Pagden. The binding was commissioned by F.S. Ellis in 1887, as commemorated in the initials on the front board, the year on the back and the combination of both on the doublure. It is held by the Morgan Library (PML 77075). Loosely inserted is a four page introductory note by John Bidwell. Unlike the well-documented binder, he raises the point that the identity of the illustrator is far from certain. 2156 Summer, a Folio anthology, edited by Sue Bradbury, preface by Storm Dunlop, illustrated by Petra Börner. 223 × 145 × 14 mm. Pp. [i–vi] vii–x, [1–2] 3–86. Type: Caslon. Printed in black and purple by L.E.G.O. and bound by them in quarter orange cloth with paper boards printed with design by Börner; dark yellow endleaves. Not issued in a slip case. Börner’s colour illustrations span one full-page, four double-page spreads and tail-pieces. The purple ink is used on the titles. Free when two or more books were ordered during a limited time. 2157 Japanese tales, edited and translated by Royall Tyler, illustrated by Yuko Shimizu. 279 × 187 × 33 mm. Pp. [i– iv] v–lxi [lxii–lxiv], [1–2] 3–303 [304]: [12] leaves of colour plates (facing pp. [iii], 120, 168, 216, and between pp. 32–33, 88–89, 248–249 and 272–273). Type: Fournier. Printed and bound by L.E.G.O. in full blue cloth blocked in red, silver and black with a design by Shimizu; blue endleaves printed with wave design in silver. Blue slip case blocked with silver moth flying towards a section removed to expose front board moon. Contains 170 tales grouped by theme. In addition to the plates, which include four double-page spreads, the artist has supplied black and white drawings for the headings. ¶ Second printing: 2023. 2158 Charles Dickens, the adventures of Oliver Twist or, The parish boy’s progress, with the original illustrations by George Cruikshank, introduction by Peter Ackroyd. 240 × 164 × 38 mm. Pp. [i–iv] v–xxxii, [1–2] 3–465 [466–470]: [1] plate (facing p. [iii]). Type: Arno. Printed and bound by C & C Offset in cloth with boards decorated with wallpaper pattern; black endleaves. Grey-blue cloth slip case. As the second edition (see item 1210) but reset. 2159 Charles Dickens, a tale of two cities, with the original illustrations by “Phiz” [Hablot K. Browne], introduction by Hilary Mantel. 240 × 164 × 38 mm. Pp. [i–iv] v–xxi [xxii]: [1–4] 5–402 [403–408]: [1] plate (facing p. [iii]). Type: Arno. Printed and bound by C & C Offset in cloth with boards decorated with wallpaper pattern; dark cream endleaves. Dark orange cloth slip case. As the second edition (see item 1274) but reset. 2160 Maigret, Georges Simenon. 222 × 144 × 18–19 mm. 3 vols (see below). Type: Garamond with Trajan for display. Printed and bound by C & C Offset in full cloth printed in black and blocked in silver with a design by Harry Brockway; white flecked endleaves. Dark grey cloth three-volume slip case (titled as above) in silver. Each volume includes five of Brockway’s black and white illustrations (one full-page and four half-page). The three volumes are as follows: [1] Georges Simenon, Maigret and the Calame report, translated by Moura Budberg, introduced by Julian Barnes, wood engravings by Harry Brockway. Pp. [i–iv] v–xv [xvi], [1–2] 3–160. Bound in green-blue cloth. First published in France in 1954 and Great Britain 1969.

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[2] Georges Simenon, Maigret and the Saturday caller, translated by Tony White, wood engravings by Harry Brockway. Pp. [i–iv], [1–2] 3–150 [151–156]. Bound in green cloth. First published in France in 1962 and Great Britain 1964. [3] Georges Simenon, Maigret and the wine merchant, translated by Eileen Ellenbogen, wood engravings by Harry Brockway. Pp. [i–iv], [1–2] 3–162 [163–164]. Bound in pale brown cloth. First published in France in 1970 and Great Britain 1971. 2161 Three men on the bummel, Jerome K. Jerome, illustrated by Paul Cox. 260 × 196 × 23 mm. Pp. [i–vi] vii–x, [1–2] 3–179 [180–182]. Type: Bembo with Sackers Open Antique for display and hand-drawn lettering for the title. Printed and bound by C & C Offset in full green cloth with a design printed in black and blocked in gold by Cox; endleaves printed with a decorative map of Germany and the Black Forest. Blue slip case. Some of the illustrations were first published in a Reader’s digest edition but the majority are new and all are in colour. They include the title-page, a double-page spread, six full-pages, 14 chapter headings and endleaves. Cox has also provided an introduction. 2162 Hermann Hesse, Steppenwolf, translated by David Horrocks, illustrations by Dan Hillier. 227 × 150 × 23 mm. Pp. [i–xii], [1–3] 4–194 [195–198]. Type: Sabon. Printed and bound by Kösel in full pale brown paper printed in black and blocked in brown with a design by the artist; pale brown endleaves with rooftop view printed in black with stars in spot varnish. Cream slip case. Bound in between pp. 38–39 is a 28-page pamphlet with decorative wrappers titled On Steppenwolf, a tract. The title-page spread and pamphlet cover are by Hillier. 2163 A general history of the robberies and murders of the most notorious pirates, by Captain Charles Johnson, introduction by Margarette Lincoln. 226 × 150 × 32 mm. Pp. [i–iv] v–xxiii [xxiv], [1–2] 3–439 [440]. Type: Caslon. Printed by Nomos. Bound by Josef Spinner in full black cloth blocked in white and red; black endleaves with repeat skull and cutlass design in spot varnish. Black slip case. The text follows the edition of 1728, with modernised spelling, punctuation and capitalisation. Twenty-one pirates are profiled. In the text are 36 black and white illustrations, taken primarily from four early editions of Johnson’s work. ¶ Second printing: 2023. Printed by Memminger MedienCentrum and bound by Josef Spinner. 2164 The Italian Renaissance, culture and society in Italy, Peter Burke. 228 × 177 × 33 mm. Pp. [i–iv] v–xxviii, [1–6] 7–333 [334–338]: [16] leaves of colour plates and [10] leaves of black and white plates. Type: Jenson. Printed and bound by Kösel in full cloth printed with detail from a Raphael painting and blocked in gold. Yellow slip case blocked in black. Artworks from the period are primarily reproduced in the plates. 2165 The Anglo-Saxons. 253 × 177 × 15–38 mm. 2 vols (see below). Type: Minion Pro with Anglo-Saxon Caps for display. Printed and bound by L.E.G.O. in full green cloth blocked in gold with designs by Yann Legendre (without the title hyphen on the spines); red-brown endleaves. Dark orange cloth two-volume slip case blocked in gold. The two volumes are as follows: [1] The Anglo-Saxons, James Campbell, Eric John, Patrick Wormald, introduced by Gareth Williams. Pp. [i–iv] v–xv [xvi], [1] 2–410 [411–416]. Illustrated in black and white throughout. Alongside illustrations of a wide range of artefacts and sites, maps and plans are also included in the text. [2] The Anglo-Saxons, James Campbell, Eric John, Patrick Wormald. Pp. [1–3] 4–104. A volume of full-page and double-page colour photographs of a wide range of artefacts contemporary to the period.

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¶ Second printing: 2022. 2166 The Yangtze Valley and beyond, an account of journeys in China, chiefly in the province of Sze Chuan and among the Man-tze of the Somo territory, by Mrs J.F. Bishop (Isabella L. Bird), FRGS, Honorary Fellow of the Royal Scottish Geographical Society, Honorary Member of the Oriental Society of Peking, etc. etc., with map and illustrations, introduced by Dervla Murphy. 279 × 188 × 38 mm. Pp. [i–iv] v–xxvi, [1–2] 3–420 [421–422]. Type: Dante. Printed and bound by L.E.G.O. in full blue cloth printed in black and blocked in gold; red endleaves. Red slip case blocked with gold Chinese characters reading Yangtze river. Contains over 100 photographs in the text, the majority of which were taken by Bird and now held by the Royal Geographical Society. A folded map of her route, from the first edition of 1899, is loosely inserted in a corner pocket pasted onto the back endleaf. 2167 The snow leopard, Peter Matthiessen, introduction by Alex Matthiessen, photographs by George Schaller. 253 × 178 × 29 mm. Pp. [1–2], [i–iv] v–xiv [xv–xvi], [1–4] 5–298 [299–302]: [10] leaves of colour plates (between pp. [30–31], [46–47], [78–79], [94–95], [126–127], [142–143], [174–175], [190–191], [238–239] and [254–255]). Type: Laurentian. Printed and bound by Neografia in full printed and blocked cloth with a design by Kai and Sunny (who also designed the title); pale brown endleaves printed with maps in brown. Blue-green slip case. Schaller was the field biologist who invited Matthiessen to join him on the 1973 expedition to the Dolpo region of the Himalayas. 2168 South Polar times, introduced by Ann Savours. 282 × 216 × 58 mm. Pp. [i–vii] viii–xxvi [xxvii–xxviii], [1–653] 654–659 [660]. Type: Walbaum. Printed and bound by Neografia in full printed and blocked cloth; pale blue endleaves. Pale blue slip case printed with detail of an Antarctic map in silver. Reproduces in facsimile the 12 issues of the magazine that were produced during the Discovery and Terra Nova expeditions. Based on the 2012 limited edition. 2169 Richard Matheson, I am legend, introduced by Joe Hill, illustrations by Dave McKean. 253 × 140 × 25 mm. Pp. [1–4], [i–iv] v–xiv [xv–xvi], [1–4] 5–185 [186–188]: [10] leaves of colour plates (facing pp. [iii], 20, 116 and 133, and between pp. 12–13, 84–85 and 172–173). Type: Aldus. Printed and bound by L.E.G.O. in full printed and blocked cloth with a design by McKean; green endleaves. Dark purple slip case with three sections removed to expose front panel. As well as the seven colour illustrations, McKean contributed four black and white double-page section breaks. 250 numbered and 20 lettered copies were also issued, bound in full black leather blocked in red with another design by McKean. Red edges; black endleaves blocked in metallic red. Cloth slip case printed with binding design of standard edition. Loosely inserted is a colour print with a further illustration, signed by McKean, contained in a protective paper wallet. ¶ Second printing: 2021. 2170 The wanderer and other Old-English poems, translated and edited by Michael Alexander, foreword by Bernard O’Donoghue, illustrated by Alan Lee. 342 × 246 × 43 mm. Pp. [1–2], [i–vi] vii–xix [xx], 1–220 [221–222]. Type: Arcadian Bembo. Printed in black and grey-blue by Memminger MedienCentrum. Quarter bound by Josef Spinner in quarter dark grey blocked goatskin leather with paper boards printed and blocked by Napier Jones. Silver top edge. Dark grey endleaves printed in gold. Dark blue cloth slip case blocked in silver with Folio logo. A limitation certificate printed letterpress by The Logan Press has been tipped in on page [iii] and reads in part ‘limited to 750 copies signed and numbered by the artist and twenty lettered copies hors de commerce’. Eight colour plates by Lee have been tipped in on pages [iv], [23], [43], [55], [73], [95], [119] and [145]. He has also provided a great quantity of other material, ranging from numerous drawings and copious borders to the imagery used for the binding and endleaves.

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2171 The kama sutra of Vatsyayana, translated from the Sanscrit by Sir Richard Burton and F.F. Arbuthnot. Type: Aria. Printed and bound by Kösel. Dark blue two-volume clamshell box lined on two sides with printed and blocked cloth. Front titled (as above) in gold. The two volumes that make up this handsome production are as follows: [1] The kama sutra of Vatsyayana, translated from the Sanscrit by Sir Richard Burton and F.F. Arbuthnot, in seven parts, with preface, introduction, and concluding remarks, illustrated by Victo Ngai. 331 × 252 × 37 mm. Pp. [1–2], [i–iv] v–xxi [xxii], [1–4] 5–237 [238–240]. The title printed in red. Bound in dark blue cloth with a printed inset cloth label blocked in gold; dark yellow endleaves printed with designs in blue. The edition statement reads in part ‘limited to 750 copies and 20 lettered copies hors de commerce’. Ngai has provided eight colour illustrations tipped into decorative borders and further drawings in the text. The inconsistent use of spelling, grammar and punctuation is that of the translators. Loosely inserted is a print with an additional colour illustration, signed by Ngai, wrapped in protective paper secured by a sticker. [2] The kama sutra of Vatsyayana, essays by W.G. Archer, Hanif Kureishi, John Key. 331 × 249 × 11 mm. Pp. [1–6] 7–63 [64]. Bound in quarter dark blue cloth with dark yellow paper boards titled (as above) in blue; dark blue endleaves. 2172 The four Gospels, preceded by a personal reminiscence by Robert Gibbings, proprietor of the Golden Cockerel Press 1924–1933. Engravings by Eric Gill. 298 × 226 × 32 mm. Pp. [i–xiv], [1–5] 6–268 [269–274]. Type: Perpetua for the preliminaries. Printed and bound by Kösel in full dark red cloth blocked in gold; grey endleaves. Grey slip case blocked with single star in silver. Based on the limited edition of 2007 which reproduced the Golden Cockerel Press edition. Gibbings’s introductory piece has been used again and is followed by facsimile pages of the 1931 edition. 2173 Evelyn Waugh, Brideshead revisited, the sacred and profane memories of Captain Charles Ryder, introduced by A.N. Wilson, illustrated by Harry Brockway. 239 × 163 × 30 mm. Pp. [i–iv] v–xxiv, 1–305 [306–310]: [5] leaves of colour plates (facing pp. 70, 115, 147, 226 and 295). Type: Dante. Printed in black and brown by Memminger MedienCentrum. Quarter bound by Josef Spinner in brown cloth with paper boards printed with a design by Brockway; brown endleaves. Green slip case. 2174 Josephine Tey, the daughter of time, introduced by Alison Weir, illustrated by Mark Smith. 228 × 151 × 26 mm. Pp. [i–iv] v–xviii [xix–xx], [1–2] 3–203 [204]: [7] leaves of colour plates (facing pp. [iii], 28, 45, 124, 141, 172 and 189). Type: Dante with Station No. 5 for display. Printed and bound by L.E.G.O. in full blue-green buckram blocked in cream and black with design by Smith; blue endleaves with genealogical tables in black. Black slip case. This is the second Folio edition, the first having appeared in 2006 with a different illustrator. 2175 Ian Mortimer, the time traveller’s guide to Elizabethan England, illustrated by Robert Venables. 241 × 163 × 39 mm. Pp. [i–iv] v–xii [xiii–xiv], [1–2] 3–471 [472–474]: [10] leaves of colour plates (facing pp. [iii], 18, 35, 66, 195, 210, 219, 267, 299 and 362). Type: Caslon with Blackmoor for display. Printed and bound by C & C Offset in full pale green buckram blocked in gold and printed in black with design by Venables; green endleaves with repeat design in gold. Green slip case. 2175.5 Persian fire, the first world empire and the battle for the west, Tom Holland. 254 × 179 × 36 mm. Pp. [i–ix] x–xxxiv, [1–7] 8–404 [405–406]: [13] leaves of colour plates. Type: Spectrum with Castellar for display. Printed and bound by C & C Offset in full pale blue cloth printed in black and blocked in gold with a design by Kent Barton; dark grey endleaves. Dark grey slip case. The plates primarily reproduce photographs of sculpture and metalwork. Fourteen maps are also included.

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2176 Max Hastings, bomber command, with a new introduction by the author. 251 × 178 × 41 mm. Pp. [i–v] vi– xxviii [xxix–xxx], [1–3] 4–460 [461–466]: [17] leaves of plates. Type: Photina. Printed by Memminger MedienCentrum. Bound by Josef Spinner in three-quarter black cloth with printed paper front board; dark yellow endleaves printed in black with map. Black slip case blocked in white and yellow with titling decor ation. All but one of the plates reproduce contemporary photographs. Maps and diagrams are also in the text. 2177 Homage to Catalonia by George Orwell, [quotation from the Bible]. 227 × 163 × 31 mm. Pp. [i–iv] v–xvi, [1–4] 5–277 [278–280]. Type: Plantin with PAG Revolucion for display. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full red cloth printed and blocked in black; grey endleaves. Red slip case blocked in black with titling decoration. Over 30 photographs and documents are nicely integrated with the text. 2178 The Folio book of horror stories, edited and introduced by Ramsey Campbell, illustrated by Corey Brickley. 240 × 162 × 29 mm. Pp. [i–iv] v–xvi, [1–2] 3–256: [7] leaves of colour plates (facing pp. [iii], 33, 48, 81, 177, 225 and 240). Type: Poliphilus. Printed and bound by Kösel. Three-quarter dark purple cloth with paper front board printed with another illustration by Brickley and spot varnished; dark green-blue endleaves. Red slip case. Includes 15 short stories, ranging from Edgar Allan Poe’s ‘The fall of the house of Usher’ from 1839 to the 2015 ‘Hippocampus’ by Adam Nevill. ¶ Second printing: 2021. 2178.5 Rubáiyát of Omar Khayyám. [facsimile]. 165 × 121 × 8 mm. Pp. [i–ii], [1] 2–21 [22–24], [i–vi]. Printed and bound by Syl L’art Gràfic in full dark red cloth blocked in gold based on the original design. Dark red endleaves. Dark orange cloth slip case blocked with title in gold. Reproduces a manuscript created by William Morris, Edward Burne-Jones and Charles Fairfax Murray in 1872 using Edward Fitzgerald’s translation of 1859. The calligraphy and decoration are by Morris, with Burne-Jones and Fairfax Murray collaborating with him on the border figures. The manuscript is held by the British Library (Add. MS 37832). 2179 How to see fairies, and other tales, written & illustrated by Charles van Sandwyk. 253 × 175 × 16 mm. Pp. [1–4] 5–123 [124–128]. Type: Caslon with hand-drawn lettering. Printed and bound by L.E.G.O. in full brown cloth blocked in red, gold and black with a printed inset illustration; printed endleaves. Red slip case printed with repeat design in gold. A fold-out is tipped in on page [93] and extends to three colour pages. This is the first complete collection of van Sandwyk’s seven fairy tales, accompanied by further illustrations and tail-pieces plus a new preface by the writer and illustrator. ¶ Second printing: 2018. ¶ Third printing: 2019. ¶ Fourth printing: 2020. 2180 Far from the madding crowd, by Thomas Hardy, wood engravings by Peter Reddick. 228 × 152 × 33 mm. Pp. [i–iv] v–x, 1–413 [414]. Type: Baskerville. Printed and bound by C & C Offset in full pale blue-grey cloth with single corn dolly blocked in blue; cream endleaves with map of Wessex printed in blue. Grey-blue slip case printed with repeat corn dolly design in gold. Largely unchanged from the edition, and the numerous reprintings, described under item 545, but without the introduction by Bel Mooney. The title-page is dated MMXVIII. 2181 The life and death of the Mayor of Casterbridge, the story of a man of character, by Thomas Hardy, wood engravings by Peter Reddick. 228 × 152 × 31 mm. Pp. i–vi, 1–324 [325–330]. Type: Baskerville. Printed and bound by C & C Offset in full dark red cloth with single corn dolly blocked in brown; cream endleaves with map of Wessex printed in dark red. Red slip case printed with repeat corn dolly design in gold. Largely unchanged

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from the edition, and the numerous reprintings, described under item 248, but without the introduction by ‘R.M.’. The title-page is dated MMXVIII. 2182 Tess of the d’Urbervilles, a pure woman, faithfully presented by Thomas Hardy [quotation from Shakespeare], wood engravings by Peter Reddick. 228 × 152 × 34 mm. Pp. [i–iv] v–xiii [xiv], 1–418. Type: Baskerville. Printed and bound by C & C Offset in full purple cloth with single corn dolly blocked in dark purple; cream endleaves with map of Wessex printed in purple. Pale purple slip case printed with repeat corn dolly design in gold. Largely unchanged from the edition, and the numerous reprintings, described under item 607, but without the introduction by Elspeth Sandys. The title-page is dated MMXVIII. 2183 Jude the obscure, by Thomas Hardy [quotation], wood engravings by Peter Reddick. 228 × 152 × 33 mm. Pp. [i–vi] vii–xi [xii], [1–2] 3–402 [403–404]. Type: Baskerville. Printed and bound by C & C Offset in full dark green cloth with single corn dolly blocked in pale green; cream endleaves with map of Wessex printed in green. Grey-green slip case printed with repeat corn dolly design in gold. Largely unchanged from the edition described under item 709, but without the introduction by Samuel Hynes. The title-page is dated MMXVIII. 2184 Captain James Cook, the journals, 1768–1779. 240 × 164 × 26 mm. 3 vols (see below). Type: Garamond. Printed and bound by L.E.G.O. in full pale green cloth printed and blocked with a different design for each volume by Tomislav Tomić; green-blue endleaves. Green-blue slip case titled (as above) in cream. Plates primarily reproduce oil paintings, watercolours, engravings and drawings dating from 1759 to 1791. Loosely inserted is a reproduction of a printed chart of the voyages from 1794, folded and bound in cloth. Published to mark the first voyage’s 250th anniversary. The three volumes are as follows: [1] Captain James Cook, the journals, 1768–1779, selected and edited by Philip Edwards. Pp. [i–vii] viii–xx [xxi–xxvi], [1–3] 4–217 [218], [1–4]: [12] leaves of plates (between pp. 54–55, 102–103 and 150–151). Maps are on pages [xxiii–xxvi]. Titled on spine The first voyage, 1768–1771. [2] Captain James Cook, the journals, 1768–1779. Pp. [i–vii] viii–x [xi–xx], [219–221] 222–433 [434], [1–4]: [12] leaves of plates (between pp. 278–279, 326–327 and 374–375). Maps are on pages [xiii–xix]. Titled on spine The second voyage, 1772–1775. [3] Captain James Cook, the journals, 1768–1779. Pp. [i–vii] viii–x [xi–xviii], [435–437] 438–659 [660–664]: [12] leaves of plates (between pp. 480–481, 544–545 and 608–609). Maps are on pages [xiii–xvii]. Titled on spine The third voyage, 1776–1779. ¶ Second printing: 2022. 2185 Elie Wiesel, night, translated from the French by Marion Wiesel, foreword by François Mauriac. 202 × 135 × 21 mm. Pp. [i–iv] v–xxvii [xxviii], [1–2] 3–139 [140]: [11] leaves of plates (facing pp. [iii], 4, 21, 28, 45, 52, 69, 76, 93, 108 and 125). Type: Janson. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full blue cloth blocked in black; dark blue endleaves. Dark blue slip case blind stamped with title. Wiesel was honoured with the Nobel Peace Prize in 1986 and his acceptance speech is included. The plates reproduce artwork by nine Holocaust survivors, with Thomas Geve and Yahuda Bacon being doubly represented. 2186 Ursula K. Le Guin, the left hand of darkness, introduction by Becky Chambers, illustrations by David Lupton. 241 × 162 × 25 mm. Pp. [i–vii] viii–xvi [xvii–xviii], [1–3] 4–267 [268–270]. Type: Poliphilus. Printed and bound by L.E.G.O. in full white cloth printed in blues and greys, and blocked in silver, with a design by

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Lupton; printed endleaves. Pale blue slip case with silver flecks. This is the first illustrated edition of a work originally published in 1969. Lupton has provided a double-page spread for the title, and illustrations in the text and on the endleaves. ¶ Second printing: 2021. 2187 The seasons. 4 vols (see below). Four-volume pale green slip case decorated in greens. This is a separate collected issue of the Autumn, Winter, Spring and Summer anthologies illustrated by Petra Börner. The four volumes are as follows: [1] Autumn, a Folio anthology, introduced by Kathleen Jamie . . . (item 1995, second printing). [2] Winter, a Folio anthology, edited by Sue Bradbury, introduced by Susan Cooper . . . (item 2048). [3] Spring, a Folio anthology, edited by Sue Bradbury, preface by Paul Evans . . . (item 2116). [4] Summer, a Folio anthology, edited by Sue Bradbury, preface by Storm Dunlop . . . (item 2156). 2188 Ayn Rand, Atlas shrugged. 240 × 164 × 36–42 mm. 3 vols (see below). Type: Warnock with Birch for display. Printed and bound by Neografia in full silver paper blocked in red, white and black with a different design for each volume by Anna and Elena Balbusso; grey endleaves. Silver slip case titled (as above) in white and black. The three volumes are as follows: [1] Ayn Rand, Atlas shrugged, introduced by Michael Dirda, illustrated by Anna and Elena Balbusso. Pp. [i–iv] v–xix [xx–xxii], [1–4] 5–442: [5] leaves of colour plates (facing pp. [iii], 107, 218, 314 and 378). Contains Part I, non-contradiction. [2] Ayn Rand, Atlas shrugged, illustrated by Anna and Elena Balbusso. Pp. [i–iv] v–vii [viii], [443–444] 445–914: [5] leaves of colour plates (facing pp. [iii], 595, 739, 787 and 834). Contains Part II, either-or. [3] Ayn Rand, Atlas shrugged, illustrated by Anna and Elena Balbusso. Pp. [i–iv] v–vii [viii], [915–916] 917–1536 [1537–1538]: [5] leaves of colour plates (facing pp. [iii], 955, 1194, 1298 and 1426). Contains Part III, a is a. 2189 The selected adventures and memoirs of Sherlock Holmes, Arthur Conan Doyle, introduced by Michael Dirda, illustrated by Max Löffler. 241 × 162 × 25 mm. Pp. [i–iv] v–xvii [xviii], [1–2] 3–244 [245–246]: [8] leaves of black and white plates (facing pp. 4, 38, 64, 102, 150, 180, 214 and 240). Type: Laurentian with Clarendon for display. Printed and bound by L.E.G.O. in full red and black cloth blocked in cream, black and red with a design by Löffler; black endleaves. Black slip case blocked in red and cream with tobacco pipe design on one side. Only three of the ten stories were included in the previous single volume collection from 1997 (item 879). Löffler was commissioned through winning the eighth Book Illustration Competition. 2189.5 The complete poems for Christopher Robin, by A.A. Milne, with decorations by E.H. Shepard. 241 × 178 × 26 mm. A separate issue of the third volume of The complete Winnie the Pooh. Details as volume [3] of item 1207. Dark green slip case with adapted decoration in gold. Described as ‘Third printing’. 2190 Ian Fleming, diamonds are forever, illustrated by Fay Dalton. 229 × 162 × 22 mm. Pp. [i–iv] v–ix [x], [1–2] 3–229 [230]: [7] leaves of colour plates (facing pp. [iii], 38, 87, 102, 142, 166 and 198). Type: Miller Text with Folio Bold Condensed for display. Printed and bound by L.E.G.O. in series binding (see item 2007).

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¶ Second printing: 2021. 2191 [Folio diary 2019]. 183 × 133 × 17 mm. Pp. [1–136]. Type: Gill Sans. Printed and bound by L.E.G.O. in full paper printed with a design by Joe McLaren; grey endleaves. Not issued in a slip case. Title on binding. Twelve 2018 books are featured. Each month begins with a full-page illustration from one of the books followed by details heading the subsequent pages. 2192 Dorothy L. Sayers, hangman’s holiday, illustrations by Paul Cox. 229 × 151 × 25 mm. Pp. [i–iv] v–ix [x], [1–2] 3–230. Type: Ehrhardt with Odessa for display. Printed and bound by Neografia in full pale blue cloth blocked in silver and black with design by Cox; pale blue endleaves. Pale blue slip case. Cox provided nearly 50 black and white illustrations in the text. Contains 12 Lord Peter Wimsey short stories. 2193 Outlaws of the marsh (the water margin), Shi Nai’an. 280 × 188 × 35–36 mm. 2 vols (see below). Type: Dante. Printed and bound by Neografia in three-quarter green-blue cloth blocked in gold and cream artificial silk front board printed in black with a different design for each volume; green-blue endleaves. Two-volume cream cloth slip case printed in black. Spread over the 70 chapters are nearly 150 woodblock illustrations. The two volumes are as follows: [1] Outlaws of the marsh (the water margin), Shi Nai’an, translated by J.H. Jackson, introduced by Frances Wood, with illustrations from the Rong Yu Tang edition. Pp. [i–iv] v–xx, [1–2] 3–425 [426], [1–2]. [2] Outlaws of the marsh (the water margin), Shi Nai’an, translated by J.H. Jackson, with illustrations from the Rong Yu Tang edition. Pp. [i–iv] v–vi, 427–845 [846–852]. 2194 John Steinbeck, of mice and men, illustrations by James Albon. 227 × 151 × 22 mm. Pp. [i–iv] v [vi], [1–2] 3–105 [106]: [6] leaves of colour plates (facing pp. [iii], 62, and between pp. 42–43 and 90–91). Type: Miller Text with Shelton Slab for display. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full dark cream paper printed in brown with a design by Albon; pale brown endleaves. Printed slip case. As well as linocuts used for the plates (two of which are double-page spreads), Albon has provided a further six black and white illustrations in the text, and the colour slip case. 2195 Robert A. Heinlein, starship troopers, introduced by Joe Haldeman, illustrations by Stephen Hickman. 252 × 176 × 28 mm. Pp. [i–iv] v–xvii [xviii–xx], [1–2] 3–251 [252]: [9] leaves of colour plates (facing pp. [iii], 84, 101, 228, 237, and between pp. 20–21 and 132–133). Type: Meridien with Stencil for display. Printed and bound by Kösel. Quarter black cloth with dark green-blue paper boards blocked in metallic green with a design by Hickman. Green-blue endleaves. Black slip case with a further illustration inset. This is the first illustrated edition. Two of the illustrations are double-page spreads. 2196 Cinderella, the sleeping beauty, illustrated by Arthur Rackham. 289 × 230 × 17 mm. Pp. [1–2], [1–11] 12–112 [113–118]. Printed by Memminger MedienCentrum. Bound by Josef Spinner in quarter cream cloth with paper boards blocked in gold. Green endleaves printed in cream. The edition statements read in part ‘limited to seven hundred and fifty numbered copies, and twenty lettered copies hors de commerce’. Numerous silhouettes, some coloured, by Rackham run through the text. Dark green two-volume clamshell box blocked in black and titled (as above) in gold. The two items are as follows: [1] Cinderella, retold by C.S. Evans and illustrated by Arthur Rackham. [facsimile]. A colour illustration is tipped in on page [6]. Reproduced from number 54 of the edition de luxe published by William Heinemann in 1919.

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[2] The sleeping beauty, told by C.S. Evans and illustrated by Arthur Rackham. [facsimile]. A colour illustration is tipped in on page [10]. Reproduced from number 618 of the edition de luxe published by William Heinemann in 1920. 2197 The amazing adventures of Kavalier & Clay, Michael Chabon, introduced by Michael Moorcock, illustrations by Chris Samnee, with colours by Matthew Wilson. 252 × 179 × 45 mm. Pp. [i–iv] v–xvii [xviii–xx], [1–4] 5–611 [612]: [16] leaves of colour plates. Type: Utopia with Scriptorama Markdown. Printed and bound by Kösel in full blue paper blocked in silver, white and black with a design by Samnee; grey endleaves. Black slip case blocked with silver key design with section removed to expose front board. The comic-book-style plates include six double-page spreads. 2198 Mary Beard, S.P.Q.R., a history of ancient Rome. 252 × 180 × 45 mm. Pp. [i–x], [1] 2–502: [23] leaves of colour plates. Type: Bembo Book with Cenotaph for display. Printed and bound by Kösel. Full dark red cloth printed in black and blocked in gold. Red endleaves printed with repeat laurel wreath design in gold. Black slip case blocked with single wreath in gold. Maps are on pp. [61], [87], [191], [331] and [390–391]. The plates primarily reproduce photographs of antiquities and sites. Further black and white illustrations are in the text. ¶ Second printing: 2022. Printed and bound by L.E.G.O. 2199 Roger Lancelyn Green, tales of the Greek heroes, retold from the ancient authors, introduced by Stephen Fry, illustrated by Romy Blümel. 251 × 192 × 29 mm. Pp. [i–iv] v–xvii [xviii–xxii], [1–4] 5–250 [251–258]: [10] leaves of colour plates (facing pp. [iii], 34, 90, 122, 195, 242, and between pp. 162–163 and 250–[251]). Type: Haarlemer. Printed and bound by Kösel in full dark orange cloth blocked in black with a design by Blümel. Black endleaves printed in gold. Black slip case blocked in metallic red. The second double-page spread is a full-colour map showing the route of the Argonauts. Contains 19 stories, each headed with one of four designs by Blümel in grey. 2200 The Folio book of science, selected and introduced by Alice Roberts. 241 × 163 × 36 mm. Pp. [i–v] vi–xiv, [1–3] 4–419 [420–426]. Type: Sirba. Printed and bound by L.E.G.O. in full green cloth blocked in silver and black with a design by Neil Gower; blue endleaves printed in silver with diagram of the external form and skeleton of a bat. Dark green slip case blocked in silver with microscope design on one side. Contains writing by 12 men and 12 women, from Aristotle and Pliny to Sarah Blaffer Hrdy and Carolyn Porco. Black and white illustrations are in the text. 2201 The alchemist, a fable about following your dream, Paulo Coelho, illustrations by Jesús Cisneros. 278 × 186 × 19 mm. Pp. [i–iv] v–ix [x], [1–2] 3–123 [124]: [21] leaves of colour plates. Type: Adriane Text. Printed and bound by Kösel in full pale green cloth blocked in red and white with a design by Cisneros. Printed endleaves. Dark orange slip case blocked in gold. Cisneros also provided the illustrations for the endleaves, and black and white drawings in the text. 2202 The Folio book of children’s poetry, introduced by Penelope Lively, illustrated by Lesley Barnes. 252 × 191 × 26 mm. Pp. [i–iv] v–xviii, [1–2] 3–173 [174]. Type: Bembo Book with Latin for display. Printed (in oranges, blues, green and black) and bound by L.E.G.O. in full blue cloth blocked in glow-in-the-dark white and gold with a design by Barnes; dark orange endleaves printed in blue. Metallic blue slip case blocked in glow-in-the-dark white on one side. Barnes’s delightful colour illustrations run through the text. Contains 88 poems, from A.E. Housman to Sir Walter Scott. Winner in literature category of the 2019 British Book Design and Production Awards.

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2203 Black beauty, his grooms and companions, the autobiography of a horse, translated from the original equine by Anna Sewell, introduced by Michael Morpurgo, illustrated by Annette Hamley-Jenkins. 228 × 163 × 23 mm. Pp. [i–iv] v–xiii [xiv–xviii], [1–4] 5–201 [202–206]: [6] leaves of colour plates (facing pp. [iii], 46, 63, 94, 158 and 175). Type: Dante with Rumble Brave for display. Printed and bound by L.E.G.O. in full black cloth blocked in blue and cream with a design by Hamley-Jenkins; blue endleaves. Galloping horse silhouettes placed at the bottom right of the rectos animate the book. Blue slip case printed with repeats of the silhouettes in black. 2204 Wilfred Owen, selected poems, introduced by Owen Sheers, engravings by Neil Bousfield. 251 × 180 × 16 mm. Pp. [i–viii] ix–xvii [xviii], [1–2] 3–58 [59–62]: [14] leaves of colour plates (facing pp. 3, 58, and between pp. 10–[11], 18–19, 26–27, 34–35, 42–43 and 50–51). Type: Plantin. Printed letterpress by The Logan Press on Zerkall mould-made paper with engravings by L.E.G.O. on Natural Evolution Ivory. Bound by L.E.G.O. in quarter brown goatskin leather with paper boards by Victoria Hall; grey endleaves. Pale brown slip case blocked in gold with printed paper label of a detail from one of the engravings. The edition statement, each signed by Bousfield, reads in part ‘limited to 1250 numbered copies for sale and 20 lettered copies hors de commerce’. Bousfield’s illustrations consist of two full-page and six double-page spreads plus eight vignettes. Containing 42 poems, the book was issued in the centenary of Owen’s death. 2205 Josephine Tey, Miss Pym disposes, illustrated by Mark Smith. 229 × 151 × 27 mm. Pp. [i–vi] vii [viii], [1–2] 3–253 [254–256]: [7] leaves of colour plates (facing pp. [iii], 40, 64, 81, 128, 208 and 225). Type: Dante with Station No. 5 for display. Printed and bound by L.E.G.O. in full brown buckram blocked in cream and black with design by Smith; brown endleaves. Black slip case. 2206 George Eliot, Middlemarch, a study of provincial life. 280 × 188 × 54 mm. Pp. [i–iv] v–xv [xvi], [1–2] 3–752: [15] leaves of colour plates. Type: Caslon. Printed and bound by L.E.G.O. in full green cloth blocked in brown, silver and gold with design by Mornet; blue endleaves printed with silver stripes. Green slip case blocked in brown and gold.

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2019 2207 Something wicked this way comes, Ray Bradbury, introduced by Frank Skinner, illustrations by Tim McDonagh. 240 × 163 × 28 mm. Pp. [i–iv] v–xiv [xv–xviii], [1–2] 3–251 [252–254]: [8] leaves of colour plates (facing pp. [iii], 46, 63, 142, 206, 238, and between pp. 182–183). Type: Columbus. Printed and bound by L.E.G.O. in full yellow cloth blocked in red and black with a design by McDonagh; black endleaves. Printed yellow slip case. ¶ Second printing: 2020. ¶ Third printing: 2021. 2208 Neil Gaiman, Anansi boys, introduced by Nalo Hopkinson, illustrated by Francis Vallejo. 251 × 177 × 33 mm. Pp. [i–vi] vii–xvii [xviii], [1–4] 5–356 [357–358]: [8] leaves of colour plates (facing pp. [iii], 14, 150, 262, and between pp. 118–119 and 342–343). Type: Octavian with Volume for display. Printed and bound by Kösel in full printed black cloth blocked in silver with design by Vallejo. Printed with spider web edges. Green endleaves. Printed and spot varnished slip case. Two of the plates are double-page spreads. Vallejo has also provided plentiful black and white spreads in the text and for chapter openings. Winner of the Gold Award in the book category at Spectrum 26, an annual showcase of the best in contemporary fantastic art. 2209 The time machine and the island of Doctor Moreau, H.G. Wells, introduced by Michael Moorcock, illustrated by Grahame Baker-Smith. 240 × 176 × 28 mm. Bound by Josef Spinner in dark red buckram; green-blue endleaves. Dark red slip case. As the first volume of item 1201 but with a refreshed binding and plates now facing pp. [iii], 10, 27, 34, 75, 90, 98 and 114. The frontispiece has been swapped for the plate that originally faced page 29. Identified as ‘second printing’. 2210 François Rabelais, Gargantua and Pantagruel, illustrations by Gustave Doré. 361 × 266 × 47–49 mm. 2 vols (see below). Type: Bulmer. Printed and bound by Graphicom. Quarter dark red goatskin leather and dark red cloth boards blocked in gold. Gilded top edges. Dark red endleaves. Two-volume dark red cloth slip case blocked in gold (titled as above). The edition statement reads in part ‘limited to five hundred numbered copies and twenty lettered copies hors de commerce’. The stories are based on a 2006 translation and the design on an edition of 1873. Doré provided Garnier Frères with over 50 full-page illustrations, alongside hundreds of smaller pieces and many ornamental initials. David Eccles drew three additional letters required for the English text. The two volumes are as follows: 1 Gargantua and Pantagruel, by Rabelais, translated by M.A. Screech, illustrations by Gustave Doré, with an introduction by Stephen Greenblatt and an essay by Milan Kundera, tome one. Pp. [i–vi] vii–xxvii [xxviii], [1–4] 5–453 [454], [1–6]. 2 Gargantua and Pantagruel, by Rabelais, translated by M.A. Screech, illustrations by Gustave Doré, tome two. Pp. [i– iv] v–xii, [455–456] 457–948 [949–954]. 2211 Nathaniel Philbrick, Mayflower, introduced by Paul Theroux. 239 × 163 × 37 mm. Pp. [i–iv] v–xxv [xxvi], [1–2] 3–436 [437–438]: [13] leaves of colour plates. Type: Garamond Premier Pro. Printed and bound by C & C Offset in full pale blue cloth with paper label on front board of ship by Phoebe Roze; endleaves printed with detail from 1675 map of New England. Green slip case. Seven maps by Jeffrey L. Ward are on pages

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[74], [204], and between pp. [20–21], [36–37], [58–59], [152–153] and [236–237]. The plates primarily reproduce paintings, engravings and maps. 2212 Ian Fleming, thunderball, illustrated by Fay Dalton. 228 × 162 × 25 mm. Pp. [i–iv] v–ix [x–xii], [1–2] 3–259 [260]: [7] leaves of colour plates (facing pp. [iii], 68, 100, 165, 180, 204 and 236). Type: Miller Text with Folio Bold Condensed for display. Printed and bound by L.E.G.O. in series binding (see item 2007). ¶ Second printing: 2022. 2213 Joseph Conrad, the secret agent, a simple tale, illustrations by Ben Jones, introduction by Will Self. 228 × 151 × 30 mm. Pp. [i–iv] v–xxiv [xxv–xxvi], [1–2] 3–270: [7] leaves of colour plates (facing pp. [iii], 31, 110, 166, 183, 231 and 246). Type: Sabon with Clarendon for display. Printed and bound by Neografia in full red cloth blocked in orange and black with a design by Jones; red endleaves. Black spot varnished slip case. 2214 Life in the English country house, a social and architectural history, Mark Girouard, introduced by Simon Jenkins. 288 × 205 × 36 mm. Pp. [i–ix] x–xiv [xv–xvi], [1–3] 4–357 [358–360]: [12] leaves of colour plates (between pp. 96–97, 192–[193] and 272–[273]). Type: Arno Pro. Printed and bound by L.E.G.O. in full printed cloth with a design by John Pumfrey; pale grey endleaves printed with illustration by Pumfrey. Green slip case titled in gold and printed in black with detail from binding. The plates largely reproduce images from oil paintings, illuminated manuscripts and watercolours. In addition, copious plans, interiors and exteriors of houses are reproduced in the text. The photographs are primarily sourced from the archives of Country Life magazine and the Royal Institute of British Architects. 2215 If not, winter, fragments of Sappho, translated by Anne Carson, images by Jenny Holzer. 254 × 182 × 37 mm. Pp. [1–2], [i–vi] vii–xvi [xvii–xviii], [1] 2–392 [393–396]: [1] colour plate (facing p. [iii]). Type: Aria Text. Printed letterpress by Social Enterprise Printing. Bound by Josef Spinner in full blue cloth with inset letterpress title label; dark blue endleaves. Dark blue slip case with image by Holzer on one side. The two images are products of a 2013 collaboration between the translator and artist where lines from the poetry were engraved into rock. 2216 C.S. Forester, the Hornblower saga, Captain Hornblower. 228 × 150 × 24–29 mm. 4 vols (see below). Type: Bulmer. Printed and bound by Neografia in three-quarter blue cloth with a cloth front board printed and blocked with a different design by Joe McLaren for each volume. Aside from plates, McLaren has also contributed chapter headings, frontispieces and illustrations for the titles. Blue four-volume slip case printed with repeat wave design and blocked in gold (titled as above). The second set in the series. The four volumes are as follows: [1] C.S. Forester, Hornblower and the Atropos, introduced by Bernard Cornwell, illustrated by Joe McLaren. Pp. [i–iv] v–xii [xiii–xx], [1–2] 3–270 [271–276]: [4] leaves of black and white plates (facing pp. 56, 128, 196 and 239). Endleaves printed with wave design in orange and blue. Five maps are on pages [xv–xx]. [2] C.S. Forester, the happy return . . . Pp. [i–iv] v–x [xi–xvi], [1–2] 3–219 [220–224]: [4] leaves of black and white plates (facing pp. 85, 125, 160 and 206). Endleaves printed with wave design in green and blue. Four maps are on pages [xii–xvi]. [3] C.S. Forester, a ship of the line . . . Pp. [i–iv] v–xi [xii–xvi], [1–2] 3–250 [251–256]: [4] leaves of black and white plates (facing pp. 103, 127, 169 and 229). Endleaves printed with wave design in dark yellow and blue. Two maps are on pages [xv–xvi]. Concludes with the short story ‘Hornblower’s charitable offering’.

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[4] C.S. Forester, flying colours . . . Pp. [i–iv] v–xi [xii–xvi], [1–2] 3–215 [216]: [4] leaves of black and white plates (facing pp. 65, 96, 135 and 185). Endleaves printed with wave design in two shades of blue. A map is on page [xv]. Concludes with the short story ‘Hornblower and His Majesty’. 2217 Richard Dawkins, the selfish gene. 240 × 164 × 34 mm. Pp. [i–vii] viii–xxxi [xxxii], [1] 2–377 [378–384]: [12] leaves of colour plates (between pp. 80–81, 160–161 and 240–241). Printed and bound by C & C Offset. Largely unchanged from the first Folio edition (see item 1685) but for epilogue and redesigned spine. Described as ‘third printing’. 2218 London. New York. By Alvin Langdon Coburn. 415 × 305 × 17–18 mm. 2 vols (see below). Printed by Smith Settle, with photographs by Pureprint, and bound by them in quarter dark brown goatskin leather with paper boards blocked in gold; pale grey endleaves. Grey-brown two-volume slip case titled (as above) in metallic blue. The edition statement reads in part ‘limited to five hundred numbered copies, and twenty lettered copies hors de commerce’. Coburn’s photographs are tipped in. The two volumes are as follows: [1] London, by Alvin Langdon Coburn, with an introduction by Hilaire Belloc. Pp. [i–iv], [1–8] 9–21 [22–24]: [20] leaves of plates. Facsimile of the first edition published by Duckworth & Co. in 1909. Loosely inserted is an eight-page leaflet (380 × 280 × 1 mm) sewn with blue thread. It contains an introduction by Geoff Dyer and essay by Rut Blees Luxemburg. [2] New York, by Alvin Langdon Coburn, with a foreword by H.G. Wells. Pp. [i–iv], [1–8] 9–10 [11–12]: [20] leaves of plates. Facsimile of the first edition published by Duckworth & Co. in 1910. 2219 The prophet, Kahlil Gibran, with original paintings by the author. 261 × 191 × 16 mm. Pp. [i–iv] v–vii [viii], [1–4] 5–99 [100–104]. Type: Poetica. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full purple cloth blocked with metallic purple typography by Undt; purple endleaves. Dark blue ribbon marker. Dark blue slip case blocked with decorative roundel in metallic blue based on the design for 1923 first edition. Twelve full-page illustrations by Gibran are in the text. Copies were also available in full purple leather, blocked in silver, with purple edges and two dark grey ribbon markers. 2220 Get shorty, Elmore Leonard, introduced by Dennis Lehane, illustrations by Gary Kelley. 240 × 163 × 30 mm. Pp. [i–iv] v–xv [xvi–xviii], [1–2] 3–276 [277–278]: [7] leaves of colour plates (facing pp. [iii], 47, 94, 126, 166, 222 and 246). Type: Freight Text with Neutraface for display. Printed and bound by L.E.G.O. in three-quarter orange cloth with printed and blocked paper front board; blue endleaves. Blue slip case. 2221 Agatha Christie, the murder of Roger Ackroyd, introduced by Sophie Hannah, illustrated by Andrew Davidson. 229 × 152 × 25 mm. Pp. [i–iv] v–xiv [xv–xvi], [1–2] 3–222 [223–224]: [7] leaves of colour plates (facing pp. [iii], 17, 48, 80, 128, 160 and 193). Type: Bell with Kabel Heavy for display. Printed and bound by L.E.G.O. in full black buckram blocked in blue and cream with design by Davidson; dark grey endleaves. Blue slip case. ¶ Second printing: 2022. 2222 Sophie’s world, a novel about the history of philosophy, Jostein Gaarder, translated by Paulette Møller, with a new preface by Jostein Gaarder, illustrated by Sandra Rilova. 240 × 177 × 44 mm. Pp. [i–v] vi–xviii [xix–xxii], [1–3] 4–488: [12] leaves of colour plates (facing pp. 138, 174, 230, 378, and between pp. 20–[21], 98–[99], 362–[363] and 454–[455]). Type: Freight Text and Freight Sans with Omnes for display. Printed in red and black by L.E.G.O. Bound by them in full yellow cloth blocked in red and two shades of blue with design by Rilova;

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printed endleaves. Blue slip case. In addition to the plates, Rilova has provided a double-page spread for the title, nine illustrations in the text and designs for the endleaves. Rilova’s work was shortlisted in the 2020 V&A Illustration Awards. 2223 Philip K. Dick, Ubik, introduced by Kim Stanley Robinson, illustrations by La Boca. 229 × 162 × 24 mm. Pp. [i–iv] v–xv [xvi], [1–2] 3–208: [8] leaves of colour plates (facing pp. [iii], 32, 64, 96, 128, 161, 176 and 193). Type: Utopia with Helvetica Neua for display. Printed and bound by L.E.G.O. in full green paper blocked in silver with a design by La Boca; printed endleaves. Pink slip case with sections removed to suggest the title, and printed discreetly inside are three sentences from chapter nine. La Boca are an independent design studio who work between London and Amsterdam. Winner in cover design category of the 2019 British Book Design and Production Awards. ¶ Second printing: 2021. 2224 The travels, Marco Polo, translated and introduced by Nigel Cliff. 279 × 188 × 34 mm. Pp. [i–vi] vii–xlii, [1–2] 3–354 [355–358]. Type: Centaur with Poetica for display. Printed and bound by C & C Offset. Quarter bound in black buckram with paper boards printed with marbled design by Jemma Lewis; orange-brown endleaves. Gold slip case. Miniatures from an illuminated manuscript (MS Fr. 2810) housed at the Bibliothèque nationale de France are reproduced in colour throughout. A note on the illustrations, by N. Rowena Anketell, is included on pages [xxxvii–xxxviii]. 2225 The longest day, the D-Day story, June 6, 1944, Cornelius Ryan, introduced by Michael Shapiro, with an afterword by the author. 251 × 177 × 31 mm. Pp. [i–vii] viii–xxiii [xxiv–xxxiv], [1–5] 6–334. Type: Dante with Univers for display. Printed by Memminger MedienCentrum. Bound by Josef Spinner in cloths with printed front board; endleaves printed with details of plans for Operation Neptune. Red slip case. Forty-two contemporary photographs are nicely incorporated into the text, 14 of which are double-page spreads. Maps are on pages [xxx–xxxiii]. 2226 Italo Calvino, Italian folktales. 252 × 178 × 43–44 mm. 2 vols (see below). Type: Jenson. Printed and bound by Kösel in full cloth blocked in gold, yellow and black with a different design for each volume; printed cream endleaves with a map at the back. Two-volume blue imitation snakeskin slip case. Contains 200 tales. Illustrated by 16 plates (two double-page), plus black and white tail-pieces. The two volumes are as follows: [1] Italian folktales, volume 1, selected and retold, and with an introduction and notes by Italo Calvino, translated by George Martin, preface by Guillermo del Toro, illustrations by Gerard Dubois. Pp. [i–iv] v–xliv, [1–2] 3–502 [503–504], [1–4]: [9] leaves of colour plates (facing pp. [iii], 53, [109], 252, 364, [428], [493], and between pp. [188]–189). Bound in blue cloth. [2] Italian folktales, volume 2, selected and retold, and with an introduction and notes by Italo Calvino, translated by George Martin, illustrations by Gerard Dubois. Pp. [i–iv] v–ix [x], [505–506] 507–1048 [1049–1054]: [9] leaves of colour plates (facing pp. [iii], 543, [591], [718], 790, 863, 943, and between pp. 622–623). Bound in green cloth. 2227 Gene Wolfe, the book of the new sun. 253 × 177 × 32–33 mm. 4 vols (see below). Type: Jenson with Priori Serif for display. Printed in red and black by L.E.G.O. Bound by them in three-quarter black buckram blocked in metallic red with printed cloth front boards (a different design for each volume). Black edges. Black endleaves. Four-volume black cloth slip case titled (as above) and decorated with a rose and sword in pale gold, and lined with silver paper. Limitation page signed by Gene Wolfe, followed by Sam Weber and

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Neil Gaiman, is pasted in. Edition statement reads in part ‘limited to 750 numbered copies and 25 lettered copies hors de commerce’. Wolfe died a month before release and the edition quickly sold out. The four volumes are as follows: [1] Gene Wolfe, the shadow of the torturer, introduced by Neil Gaiman, illustrations by Sam Weber. Pp. [i–vi] vii–xv [xvi], [1–4] 5–287 [288–292]: [6] leaves of plates (facing pp. [v], 44, 116, 176, and between pp. 236–237). [2] Gene Wolfe, the claw of the conciliator, illustrations by Sam Weber. Pp. [1–2], [i–iv] v–vii [viii], [1–4] 5–280 [281–286]: [6] leaves of plates (facing pp. [iii], 38, 158, 242, and between pp. 98–99). [3] Gene Wolfe, the sword of the lictor, illustrations by Sam Weber. Pp. [1–2], [i–iv] v–vii [viii], [1–4] 5–282 [283– 286]: [6] leaves of plates (facing pp. [iii], [74], 182, 254, and between pp. 134–135). [4] Gene Wolfe, the citadel of the autarch, illustrations by Sam Weber. Pp. [1–2], [i–iv] v–vii [viii], [1–4] 5–281 [282–286]: [6] leaves of plates (facing pp. [iii], 86, 206, 250, and between pp. 134–135). 2228 Kitagawa Utamaro, studies from nature. 270 × 209 × 10–18 mm. 6 vols (see below). Printed by Pureprint. Bound by Smith Settle. Five volumes of Japanese art and poetry in facsimile, bound in paper printed with designs by Neil Gower and paper title labels in English and with Japanese calligraphy by Kashuu, accompanied by a commentary volume. Clamshell box by G. Ryder and Co. in pale orange cloth lined with dark blue paper printed with repeat design in gold. Secured by two gold ribbons, with printed paper label titled (as above). Accompanied by a certificate, wrapped in white Japanese paper, which states ‘limited to five hundred hand-numbered copies and twenty lettered copies hors de commerce’. The three woodblock-printed books reproduced here were designed by Utamaro around 1788–1791 and published by Tsutaya Jūzaburō. The six volumes are as follows: [1–2] [The book of crawling creatures]. Pp. [1–20] & [1–18]. Facsimile of British Museum item 1915,0823,0.68. Japanese style binding, sewn with gold thread. [3] [Gifts of the ebb tide]. Pp. [1–18]. Facsimile of Cambridge’s Fitzwilliam Museum item P.39-2000. Concertina style binding. [4–5] [The book of myriad birds]. Pp. [1–18] & [1–16]. Facsimile of British Museum item 1915,0823,0.67.1-2. Concertina style binding. [6] Kitagawa Utamaro, studies from nature, translations and commentary by John T. Carpenter, essays by John T. Carpenter, Alfred Haft, Alex Kerr. Pp. [1–14] 15–150 [151–152]. Type: Arno Pro. Bound in full blue paper blocked with title in gold; pale grey endleaves. 2229 George R.R. Martin, a game of thrones. 253 × 177 × 36–39 mm. 2 vols (see below). Type: Vendetta with Esmeralda for display. Printed in golden brown and black by L.E.G.O. Bound by them in three-quarter purple-blue cloth blocked in gold. Pale blue cloth front boards printed in black and blocked in silver or gold (a different design for each volume); pale blue endleaves printed with repeat sigils design. Dark blue printed and blocked decorative slip case lined with printed paper. Jonathan Burton has provided illustrations for plates, alongside chapter headings, bindings, endleaves, slip case (inside and out) plus a map of The Known World. The map is loosely inserted, folded and bound in cloth. The two volumes are as follows:

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[1] George R.R. Martin, a game of thrones, book one of a song of ice and fire, introduced by Joe Abercrombie, illustrations by Jonathan Burton. Pp. [i–iv] v–xiv [xv–xvi], [1–2] 3–373 [374], [1–2]: [10] leaves of colour plates (facing pp. [iii], 96, 153, 184, 280, 328, and between pp. 40–41 and 248–249). [2] George R.R. Martin, a game of thrones, book one of a song of ice and fire, illustrations by Jonathan Burton. Pp. [i–iv] v–vi, [375–376] 377–799 [800]: [10] leaves of colour plates (facing pp. [iii], 464, 537, 592, 681, 760, and between pp. 400–401 and 648–649). An appendix introduces the saga’s nine dynastic houses, accompanied by family trees. ¶ Second printing: 2019. 2230 Josephine Tey, to love and be wise, illustrations by Mark Smith. 229 × 150 × 28 mm. Pp. [i–vi] vii [viii], [1–2] 3–236 [237–240]: [7] leaves of colour plates (facing pp. [iii], 8, 104, 137, 168, 177 and 208). Type: Dante with Station No. 5 for display. Printed and bound by L.E.G.O. in full blue buckram blocked in cream and black with design by Smith; blue endleaves. Black slip case. 2231 P.G. Wodehouse, the clicking of Cuthbert, introduced by Lawrence Donegan, illustrated by Paul Cox. 223 × 145 × 22 mm. Pp. [i–iv] v–xii, [1–4] 5–195 [196]. Type: Goudy. Printed and bound by C & C Offset. Three-quarter green buckram with printed paper front board; printed endleaves. Green slip case. Cox has supplied black and white illustrations in the text, plus two colour images for the binding and endleaves. Contains ten golf-themed short stories. 2232 Joan of Arc, a history, Helen Castor, with a new foreword by the author. 251 × 177 × 29 mm. Pp. [i–iv] v– xxviii [xxix–xl], 1–292 [293–296]: [9] leaves of colour plates (facing pp. [iii] and between pp. 24–25, 56–57, 120–121 and 184–185). Type: Centaur. Printed and bound by Kösel in full grey cloth blocked in silver with a design by Neil Gower; grey endleaves printed with repeat fleur-de-lys design in silver. Grey slip case blocked in silver with titling decoration. The plates primarily reproduce details from illuminated manuscripts. Includes four family trees and a map by Kevin Freeborn on page [xxxv]. 2233 The mask of command, a study of generalship, John Keegan, introduced by Lawrence Freedman. Maps by Kevin Freeborn. 253 × 178 × 37 mm. Pp. [i–iv] v–xx [xxi–xxii], 1–400 [401–402]: [17] leaves of plates. Type: Plantin. Printed and bound by Neografia in full dark blue cloth blocked in silver and red; red endleaves. Silver slip case. Freeborn’s seven maps are on pages [16–17], [102–103], 116, 119, [226–227], [242–243] and [298–299]. An appraisal of Alexander the Great, the Duke of Wellington, Ulysses S. Grant and Adolf Hitler. 2234 John Berendt, midnight in the garden of good and evil, a Savannah story, introduced by the author. 240 × 165 × 34 mm. Pp. [i–iv] v–xv [xvi–xviii], [1–4] 5–339 [340]: [9] leaves of plates (facing pp. 8, 48, 70, 118, 140, 170, 216, 276 and 330). Type: Albertina. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full pale green paper with inset printed paper label; dark green endleaves. Green slip case. The plates reproduce photographs taken by Robert Wojtowicz, Joseph Shields and Jack Leigh. 2235 Octavia E. Butler, kindred, introduced by Tananarive Due, illustrations by James E. Ransome. 239 × 164 × 27 mm. Pp. [i–iv] v–xiv, [1–4] 5–281 [282]: [8] leaves of colour plates (facing pp. [iii], 19, 34, 155, 235, 266 and between pp. 98–99). Type: Columbus. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full dark blue paper blocked in silver and metallic blue with a design by Ransome; blue endleaves. Blue slip case printed with double image of a face. Ransome’s work was shortlisted in the 2020 V&A Illustration Awards.

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2236 Margaret Atwood, Oryx and Crake, introduction by Margaret Atwood, illustrations by Harriet Lee-Merrion. 241 × 162 × 31 mm. Pp. [i–iv] v–xviii, [1–8] 9–338 [339–342]: [7] leaves of colour plates (facing pp. [iii], 39, 151, 206, 270, 279 and 294). Type: Dante with Neutraface for display. Printed and bound by L.E.G.O. in full pale green paper blocked in glow-in-the-dark white with molecular titling design; endleaves printed with photographed marbling by Igor Vitkovskiy. Blue slip case with sections removed to expose front board. 2237 The velveteen rabbit, or how toys became real, by Margery Williams, with illustrations by William Nicholson, introduced by Shirley Hughes and with an afterword by Marilynn Strasser Olson. 252 × 191 × 11 mm. Pp. [i–iv] v–vii [viii–x], 1–28 [29–34]: [10] leaves of colour plates (facing pp. 1, 6, 12, 16, and between pp. 2–3, 8–9 and 18–19). Type: Caslon. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full grey cloth blocked in gold, silver and black with design based on Nicholson’s original; printed endleaves. Dark green slip case blocked in gold on one side echoing endleaves. Based on the first British edition using a copy presented by Nicholson to his daughter. ¶ Second printing (not seen). ¶ Third printing: 2023. 2238 The Folio book of great short stories, introduced by Yiyun Li, illustrated by Paul Blow. 241 × 162 × 25 mm. Pp. [i–iv] v–xv [xvi], [1–2] 3–227 [228–232]: [9] leaves of colour plates (facing pp. [iii], 17, 64, 128, 137, 168, 209, and between pp. 192–193). Type: Bembo with Baker Signet for display. Printed and bound by L.E.G.O. in full dark gold paper blocked in silver and iridescent blue; dark yellow-green endleaves. Blue slip case with section removed to expose front board. Contains 17 stories, arranged chronologically from 1836 to 2014. Those by Edgar Allan Poe, Mark Twain, Guy de Maupassant, Anton Chekhov, James Joyce, Katherine Mansfield, Franz Kafka, Ernest Hemingway, F. Scott Fitzgerald and Jorge Luis Borges were selected by Folio, with the remainder voted through from a Readers’ Choice shortlist. 2239 The Aztecs. 253 × 176 × 13–29 mm. 2 vols (see below). Type: Minion Pro with Arequipa for display. Printed and bound by L.E.G.O. in full pale blue cloth blocked in gold with designs by Yann Legendre; red endleaves. Red cloth two-volume slip case blocked in gold. Despite sharing the same title and photographs of some of the same objects, this is a completely different work from the book issued in 2000 (see item 1045.7). The two volumes are as follows: [1] The Aztecs, Richard F. Townsend. Pp. [i–iv] v–xxiii [xxiv], [1–2] 3–284 [285–288]. Illustrated in black and white throughout. Alongside illustrations of a wide range of artefacts and sites, maps and plans are also included in the text. [2] The Aztecs, Richard F. Townsend. Pp. [1–3] 4–103 [104]. A volume of full-page and double-page colour photographs of a wide range of artefacts contemporary to the period. 2240 Marvel, the golden age, 1939–1949. Printed in colour by Graphicom and bound by them. Striking clamshell box with gold paper printed with comic strip design by Marco D’Alfonso. Spine titled (as above). Reproduces five classic comics, and their original grainy print, but with much improved paper. First in Folio’s Marvel trilogy. The two volumes are as follows: [1] Marvel, the golden age, 1939–1949, selected and introduced by Roy Thomas, with a facsimile of Marvel comics #1. 336 × 242 × 33 mm. Pp. [i–iv] v–xiii [xiv], [1–258]. Bound in full blue cloth blocked in metallic blue and printed in red, yellow and black with design by Ian Jepson; yellow endleaves printed with sketched detail from box in pale brown. Reproduces, in an enlarged format, The sub-mariner (No. 1, spring 1941), The human

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torch (No. 5, Fall 1941), Captain America comics (No. 10, January 1942) and All winners comics (No. 19, Fall 1946). Marvel comics #1 was issued separately (see below). [2] Marvel comics. [facsimile]. 259 × 182 × 7 mm. Pp. [1–64]. Bound in stapled paper wrappers reproducing the original design, including two pages of advertisements. Loosely inserted is a print by D’Alfonso. Wrapped together in red protective paper secured by a pale brown round sticker. A reproduction of the first issue, dated October 1939 and priced at 10¢. Includes debuts for The human torch by Carl Burgos and The sub-mariner by Bill Everett. 2241 Bram Stoker, Dracula, introduction by John Banville, illustrations by Angela Barrett. 253 × 181 × 39 mm. Pp. [i–vi] vii–xvii [xviii–xx], [1–4] 5–377 [378–380]: [15] leaves of colour plates. Type: Clifford with Bernard MT Condensed for display. Printed by Kösel. Bound by Richard Mayer in full blood red leather blocked in gold and black with design by Barrett. Gilded edges. Dark red endleaves. Black artificial silk-covered slip case blocked with design in gold and cream on one side. Edition statement reads in part ‘limited to 750 copies signed by the artist and 25 lettered copies hors de commerce’. Barrett has also provided decorative borders for the plates and tail-pieces. The text follows that of the first edition of 1897, with minor emendations. 2242 Ian Fleming, live and let die, illustrated by Fay Dalton. 228 × 162 × 23 mm. Pp. [i–iv] v–ix [x], [1–2] 3–225 [226–230]: [7] leaves of colour plates (facing pp. [iii], 7, 30, 110, 150, 199 and 214). Type: Miller Text with Folio Bold Condensed for display. Printed and bound by L.E.G.O. in series binding (see item 2007). ¶ Second printing: 2020. 2243 Diana Wynne Jones, Howl’s moving castle, introduction by Marcus Sedgwick, illustrations by Marie-Alice Harel. 228 × 163 × 28 mm. Pp. [i–iv] v–xx, [1–4] 5–267 [268]: [6] leaves of colour plates (facing pp. 13, 61, 109, 141, 189 and 260). Type: Agfa Wile. Printed and bound by Kösel in full printed and blocked paper with design by Harel; dark blue endleaves printed with designs in silver. Dark blue slip case printed in grey. In addition to the plates, Harel contributed chapter headings and illustrations for the title-pages. She was commissioned through winning the ninth Book Illustration Competition. The binding design was adapted into a handheld fan by organisers of the Diana Wynne Jones In 2019 conference. ¶ Second printing: 2020. ¶ Third printing: 2020. ¶ Fourth printing: 2020. ¶ Fifth printing: 2021. 2244 Jin Yong, a hero born, legends of the Condor heroes, translated by Anna Holmwood, introduced by Ken Liu, illustrations by Ye Luying. 252 × 177 × 32 mm. Pp. [i–xi] xii–xxxii, [1–3] 4–352: [9] leaves of colour plates (facing pp. [iii], 192, 257, 296, 337, and between pp. 64–65 and 144–145). Type: Albertina. Printed and bound by L.E.G.O. in full dark green paper printed with design by Ye; green endleaves with illustrations in black. Red slip case blocked with design in gold. 2245 Alice’s adventures in wonderland, by Lewis Carroll, illustrations by Charles van Sandwyk. 253 × 176 × 21 mm. Pp. [i–xii], [1–3] 4–148 [149–156]. Type: Caslon with hand-drawn lettering. As item 2023 but reset and in a reduced format, without limitation. Printed and bound by L.E.G.O. in full red cloth blocked in gold, metallic red and black with a printed paper label inset on front board; cream endleaves printed with design in dark green. Dark green slip case printed with repeat design in gold. Alongside one new decoration, van Sandwyk has provided new designs for the endleaves and binding. Colour has also been added to some of the illustrations, including the title and chapter-opening initials. ¶ Second printing: 2020. ¶ Third printing: 2022.

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2246 Roger Lancelyn Green, tales of ancient Egypt, introduced by Geraldine McCaughrean, illustrations by Romy Blümel. 252 × 192 × 28 mm. Pp. [i–iv] v–xxx, [1–4] 5–206 [207–210]: [10] leaves of colour plates (facing pp. [iii], 35, 75, [138], 170, 202, and between pp. [2–3] and [122]–123). Type: Haarlemmer. Printed and bound by Kösel in full pale orange cloth blocked in blue with a design by Blümel; dark blue endleaves printed with design in pale blue. Dark blue slip case printed with repeat design in metallic blue. The first double-page spread is a full-colour map of ancient Egypt. Contains 20 stories, arranged under three themes: the gods, magic and adventure. In series with Tales of the Greek Heroes (item 2199). 2247 Working, people talk about what they do all day and how they feel about what they do, Studs Terkel, introduced by Scott Simon. 237 × 214 × 56 mm. Pp. [i–iv] v–lxiii [lxiv], [1–2] 3–679 [680]: [20] leaves of colour plates. Type: Garamond with Benguiat for display. Printed and bound by C & C Offset in full printed cloth with a design by Jamie Keenan; dark orange endleaves. Dark orange slip case. The first illustrated edition of a work originally published by The New Press in 1972. The plates reproduce photographs taken for the 1970s Documerica project. Further images are used for section breaks. 2248 Maigret, Georges Simenon [second series]. 222 × 144 × 17–18 mm. 3 vols (see below). Type: Garamond with Trajan for display. Printed and bound by C & C Offset in full cloth printed in black and blocked in silver or gold with a design by Harry Brockway; white flecked endleaves. Dark grey cloth three-volume slip case (titled as above) in silver. Each volume includes five of Brockway’s black and white illustrations (one full-page and four half-page). The three volumes are as follows: [1] Georges Simenon, Maigret in society, translated by Robert Eglesfield, wood engravings by Harry Brockway. Pp. [i–iv] v [vi] , [1–2] 3–142 [143–146]. Bound in red cloth. First published in France in 1960 and Great Britain 1962. [2] Georges Simenon, Maigret’s mistake, translated by Alan Hodge, wood engravings by Harry Brockway. Pp. [i–iv], [1–2] 3–155 [156]. Bound in grey cloth. First published in France in 1953 and Great Britain 1958. [3] Georges Simenon, Maigret sets a trap, translated by Daphne Woodward, wood engravings by Harry Brockway. Pp. [i– iv], [1–2] 3–154 [155–156]. Bound in pale brown cloth. First published in France in 1955 and Great Britain 1965. 2249 Ursula K. Le Guin, the dispossessed, introduced by Brian Attebery, illustrations by David Lupton. 241 × 162 × 31 mm. Pp. [i–vii] viii–xv [xvi], [1–3] 4–358 [359–360]. Type: Poliphilus. Printed (in blue and black) by L.E.G.O. and bound by them in full white cloth printed in blues, greys and black, and blocked in silver, with a design by Lupton; blue endleaves printed in silver. Blue slip case with silver flecks. Lupton has provided a double-page spread for the title and illustrations in the text. The endleaves are printed with maps of the planets Anarres and Urras, redrawn by Andreas Skyman from originals by Le Guin. 2250 John Kennedy Toole, a confederacy of dunces, foreword by Walker Percy, preface by Bill Bailey, illustrated by Jonny Hannah. 240 × 163 × 30 mm. Pp. [i–iv] v–xvii [xviii–xx], [1–2] 3–331 [332]: [8] leaves of colour plates (facing pp. [iii], 45, 60, 109, 124, 253, 268 and 317). Type: Maxime Standard. Printed and bound by Neografia in full yellow paper printed in red and black with design by Hannah; dark brown endleaves printed with design in red. Red slip case printed with repeat design in black. In addition to the plates, Hannah has provided tail-pieces and decorative chapter numbers. This is the first illustrated edition of a work originally published by Louisiana State University Press in 1980. 2251 The phantom of the opera, Gaston Leroux, translated by David Coward, introduced by Simon Callow, illustrated by Taylor Dolan. 252 × 177 × 31 mm. Pp. [1–2], [i–iv] v–xx, [1–4] 5–333 [334–338]: [9] leaves of colour plates

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(facing pp. [iii], 26, 146, 163, [194], and between pp. [290]–291 and 330–331). Type: Poliphilus with Amarante for display. Printed and bound by Kösel in full orange cloth printed in black and metallic pale green with design by Dolan. Edges printed with design in black and orange. Orange endleaves printed with designs in black. Orange slip case. Two of the plates are double-page spreads. Dolan has also provided 27 black and white chapter openings. ¶ Second printing: 2021. 2252 Charles Portis, true grit, introduced by Donna Tartt, illustrations by Juan Esteban Rodriguez. 228 × 150 × 21 mm. Pp. [i–iv] v–xvi [xvii–xviii], [1–2] 3–159 [160–166]: [8] leaves of colour plates (facing pp. 30, 102, 126, 150, and between pp. 78–79 and 94–95). Type: Kennerley. Printed and bound by Kösel in full cloth printed with design by Rodriguez; black endleaves. Black slip case with title in gold on one side. Two of the plates are double-page spreads. In his next book for Folio, the artist is named Juan Esteban Rodríguez. 2253 [Folio diary 2020]. 181 × 131 × 16 mm. Pp. [1–136]. Type: Gill Sans. Printed and bound by C & C Offset in full paper printed with a design by Sandra Rilova; green endleaves. Not issued in a slip case. Title on binding. Twelve books from 2018 and 2019 are featured. Each month begins with a full-page illustration from one of the books followed by details heading the subsequent pages. 2254 Edward O. Wilson, the diversity of life, foreword by Bill McKibben. 241 × 163 × 35 mm. Pp. [i–iv] v–xx [xxi–xxii], [1–4] 5–421 [422–426]: [12] leaves of colour plates. Type: FreightText. Printed and bound by C & C Offset in full printed and blocked paper with insect design by Jamie Keenan; green flecked endleaves. Green flecked slip case. In addition to the plates reproducing photographs of wildlife and the plant world, further illustrations in black and white are in the text. Line drawings are by Amy Bartlett Wright and George Ward supplied maps, charts and graphs. ¶ Second printing: 2021. 2255 Essays, Michel de Montaigne, translated by M.A. Screech, selected and introduced by Sarah Bakewell. 229 × 179 × 39 mm. Pp. [i–v] vi–xiii [xiv–xviii], [1–3] 4–420 [421–422]. Type: Arno Pro with Dawnora Initials. Printed (in red and black) by Kösel and bound by them in quarter blue leather blocked in gold with pale blue cloth boards blocked with repeat design in gold; dark blue endleaves printed with binding decoration in gold. Red cloth slip case. Bakewell has selected 36 of Montaigne’s essays. 2256 Ryszard Kapuściński, shah of shahs, with an introduction by Maziar Bahari, translated from the Polish by William R. Brand and Katarzyna Mroczkowska-Brand. 229 × 162 × 20 mm. Pp. [i–iv] v–xx, [1–2] 3–131 [132]: [7] leaves of plates (facing pp. [iii], and between pp. 28–29, 76–77 and 108–109). Type: Arno Pro. Printed and bound by Neografia in three-quarter black cloth with white paper front board blocked in gold and printed in black with design by David Foldvari; dark yellow endleaves. Dark yellow slip case. The plates reproduce photographs taken from 1896 to 1980. 2257 Boris Pasternak, Doctor Zhivago, a new translation by Nicolas Pasternak Slater, illustrations by Leonid Pasternak, editor and picture editor Maya Slater, with an introduction by Ann Pasternak Slater. 288 × 208 × 62 mm. Pp. [i–vi] vii–xxxiii [xxxiv], [1–6] 7–669 [670]. Type: Albertina with Corvallis for display. Printed by Kösel. Bound by Richard Mayer in quarter dark blue leather blocked in gold with marbled paper boards by Jemma Lewis. Gilded edges. Pale blue endleaves. Dark blue slip case blocked with design in gold on one side. Edition statement, signed by Nicolas Pasternak Slater, reads in part ‘limited to 750 copies signed by the translator and 25 lettered copies hors de commerce’. The author’s nephew provided this new translation, the author’s niece

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the introduction and the author’s father the illustrations. To complete this family production, the editor is married to the translator. Over 60 colour illustrations by Leonid Pasternak are in the text. The book concludes with a list of characters, a family tree, notes, a bibliography and a record of illustrations.

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2020 2258 Anne Brontë, the tenant of Wildfell Hall, introduced by Tracy Chevalier, illustrations by Valentina Catto. 241 × 163 × 40 mm. Pp. [i–iv] v–xxi [xxii], [1–4] 5–463 [464–466]: [8] leaves of colour plates (facing pp. [iii], 74, 138, 219, 331, 426, 443 and 458). Type: Caslon Pro. Printed and bound by C & C Offset in full grey buckram printed in black and grey, and blocked in gold, with a design by Catto; dark grey endleaves. Black slip case. For the plates Catto combines collage, drawing and painting. ¶ Second printing: 2020. 2259 The pilgrim’s progress from this world, to that which is to come: delivered under the similitude of a dream, wherein is discovered, the manner of his setting out, his dangerous journey; and safe arrival at the desired countrey, [quotation from Hosea], by John Bunyan. Introduced by Nathalie Collé with watercolours by William Blake. Edited by Roger Pooley. 326 × 247 × 41 mm. Pp. [1–2], [i–viii] ix–xxiv, [1–2] 3–355 [356–358]. Type: Poliphilus with Blado for display. Printed and bound by L.E.G.O. in quarter dark red leather with pale blue cloth boards; front printed in black and blocked in gold with inset leather title label in gold designed by Anne Yvonne Gilbert. Gilded top edge. Dark red endleaves. Dark blue-green slip case with a printed inset illustration of Christian directed by Worldly Wiseman. The edition statement reads in part ‘limited to 750 numbered copies for sale and 25 lettered copies hors de commerce’. Twenty-eight illustrations by Blake, from the collection of Sir Alan Parker, are included in the text. 2260 Ian Fleming, the spy who loved me, illustrated by Fay Dalton. 228 × 162 × 21 mm. Pp. [i–iv] v–xi [xii], [1–4] 5–154 [155–156]: [7] leaves of colour plates (facing pp. [iii], 45, 60, 76, 108, 132 and 140). Type: Miller Text with Folio Bold Condensed for display. Printed and bound by L.E.G.O. in series binding (see item 2007). ¶ Second printing: 2022. 2261 1776, David McCullough. 240 × 164 × 36 mm. Pp. [i–vii] viii–ix [x–xviii], [1–3] 4–410 [411–414]: [12] leaves of colour plates. Type: Ehrhardt. Printed and bound by C & C Offset in full grey buckram blocked in blue; pale grey flecked endleaves. Printed slip case. Primarily illustrated by photographs of oil paintings and engravings. In addition to the plates, sketches from the year in question by British engineer Captain Archibald Robertson are reproduced in the text. Maps are on pages [27], [139] and [280]. Focuses on the second year of the American War of Independence. 2262 William Wordsworth, selected poems, selected and introduced by Seamus Heaney. Wood-engravings by Peter Reddick. 222 × 143 × 18 mm. Pp. [i–iv] v–xvi, [1–2] 3–159 [160]. Type: Bembo Book. Printed and bound by Kösel in full white cloth printed in blue and black with design by Reddick; blue endleaves printed in black with repeat design. Semi-transparent dust-jacket printed in blue. Not issued in a slip case. Reddick’s illustrations are taken from the 2002 selection of Wordsworth’s poetry which was part of the far grander ‘The Folio Poets’ series (see item 1108). In series with the similarly modest selected poems of Emily Dickinson (item 2055). 2263 Josephine Tey, the Franchise affair, introduction by Antonia Fraser, illustrations by Mark Smith. 229 × 150 × 29 mm. Pp. [i–iv] v–xvii [xviii], [1–2] 3–307 [308–310]: [7] leaves of colour plates (facing pp. [iii], 31, 142, 151, 198, 222 and 270). Type: Dante with Station No. 5 for display. Printed and bound by L.E.G.O.

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in full pale grey buckram blocked in cream and black with design by Smith; dark grey endleaves. Black slip case. 2264 Pierre Boulle, planet of the apes, translated by Xan Fielding, introduced by Frans de Waal, illustrations by David de las Heras. 239 × 163 × 23 mm. Pp. [i–iv] v–xiv, [1–4] 5–172 [173–178] ]: [9] leaves of colour plates (facing pp. 34, 51, 66, 114 and 163, and between pp. 98–99 and 130–131). Type: Sabon with Avant Garde Gothic for display. Printed and bound by Kösel in quarter red cloth with paper boards printed with a design by the artist; dark blue-green endleaves. Red slip case. ¶ Second printing: 2021. 2265 Europe, a history, Norman Davies. 252 × 178 × 37–46 mm. 3 vols (see below). Type: Garamond and Frutiger with Trajan for display. Printed and bound by Kösel in three-quarter grey cloth with cloth front boards printed with a reproduction of a Roman fresco on the first volume, a Titian oil on the second and an Ern Brooks acrylic on the third; grey endleaves. Grey slip case titled (as above) in gold and printed in black. Plate images range from a prehistoric wall carving and medieval manuscripts to early modern oil paintings and late twentieth-century photography. Their listing is by N. Rowena Anketell. The three volumes are as follows: [1] Norman Davies, Europe, a history, prehistory–1270. Pp. [i–iv] v–xc, 1–366: [14] leaves of colour plates. Includes 26 maps and 22 figures. Opens with a new introduction and chronology. [2] Norman Davies, Europe, a history, c.1250–1815. Pp. [i–iv] v–xvi, 367–774: [14] leaves of colour plates. Includes 30 maps and 14 figures. [3] Norman Davies, Europe, a history, 1815–1991. Pp. [i–iv] v–xvi, 775–1306 [1307–1310]: [16] leaves of colour plates. Includes 28 maps and 18 figures. 2266 The story of Babar. 366 × 268 × 11–20 mm. 3 vols (see below). Reproduces Jean de Brunhoff ’s first picture book and a wealth of surviving preparatory material, accompanied by a commentary volume. Clamshell box bound by Smith Settle in quarter green cloth blocked in gold with printed paper boards titled (as above). Secured by two green ribbons. The three volumes are as follows: [1] Jean de Brunhoff, histoire de Babar, le petit éléphant. [facsimile]. Pp. [1–2] 3–47 [48]. Printed and bound by L.E.G.O. in quarter dark blue cloth with printed paper boards; printed endleaves. Reproduction of the first edition published by Jardin des Modes in 1931. [2] Sketches and maquette. Printed by Pureprint. Portfolio bound by Smith Settle in quarter red cloth with printed paper boards. Contains facsimiles of 61 sketches by de Brunhoff, along with his prototype book, now held by the Morgan Library (MA 6304). The maquette’s dimensions are 210 × 157 × 4 mm and a pocket for it is pasted onto the portfolio’s lining. Each sketch is numbered on the verso with its story order. A limitation certificate on green card which reads in part ‘limited to 750 numbered copies for sale and 20 lettered copies hors de commerce’ fits neatly into the maquette’s pocket. [3] Histoire de Babar, le petit éléphant, commentary. Pp. [1–4] 5–119 [120]. Type: Garamond Light with Lazurski for display. Printed and bound by L.E.G.O. in quarter orange cloth with printed paper boards; orange endleaves. Contains three essays, by Faïza Guène, Adam Gopnik and Christine Nelson, followed by transcriptions

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and English translations, by Christine Nelson and Sophie Lewis, of de Brunhoff ’s drafts and the final published work. 2267 Greil Marcus, mystery train, images of America in rock ’n’ roll music. 240 × 164 × 45 mm. Pp. [i–xi] xii–xxxix [xl], [1–5] 6–516 [517–518]: [4] leaves of colour plates (between pp. 358–359). Type: Benton Modern with Bureau Grot Condensed for display. Printed and bound by Neografia in full grey paper printed in red and black; red endleaves. Red slip case blocked in black with record design on one side. In addition to the plates of album artwork, further illustrations in black and white are in the text. Focuses on six musical pioneers: Harmonica Frank, Robert Johnson, The Band, Sly Stone, Randy Newman and Elvis Presley. The second half consists of an updated notes and discographies section. 2268 C.S. Forester, the Hornblower saga, Admiral Hornblower. 229 × 152 × 27–30 mm. 3 vols (see below). Type: Bulmer. Printed and bound by Neografia in three-quarter blue cloth with a cloth front board printed and blocked with a different design by Joe McLaren for each volume. Aside from plates, McLaren has also contributed chapter headings, frontispieces and illustrations for the titles. Blue three-volume slip case printed with repeat wave design and blocked in gold (titled as above). The concluding set in the series. The three volumes are as follows: [1] C.S. Forester, the commodore, introduced by Bernard Cornwell, illustrated by Joe McLaren. Pp. [i–iv] v–xi [xii– xviii], [1–2] 3–274 [275–278]: [4] leaves of black and white plates (facing pp. 96, 131, 202 and 253). Endleaves printed with wave design in orange and blue. Four maps are on pages [xv–xviii]. [2] C.S. Forester, Lord Hornblower . . . Pp. [i–iv] v–ix [x–xiv], [1–2] 3–229 [230–234]: [4] leaves of black and white plates (facing pp. 69, 96, 135 and 217). Endleaves printed with wave design in green and blue. A map is on page [xiii]. [3] C.S. Forester, Hornblower in the West Indies . . . Pp. [i–iv] v–xi [xii–xvi], [1–2] 3–279 [280]: [4] leaves of black and white plates (facing pp. 93, 139, 165 and 244). Endleaves printed with wave design in two shades of blue. A map is on pages [xiv–xv]. Concludes with the short story ‘The last encounter’. 2269 Marvel, the silver age, 1960–1970. Printed in colour by Graphicom and bound by them. Clamshell box with silver paper printed with comic strip design by Paolo Rivera and inked by his father Joe Rivera. Spine titled (as above). Reproduces 15 classic comics, and their original grainy print, but with much improved paper. Second in Folio’s Marvel trilogy. The two volumes are as follows: [1] Marvel, the silver age, 1960–1970, selected and introduced by Roy Thomas, preface by Michael Moorcock, with a facsimile of the fantastic four #1. 336 × 244 × 42 mm. Pp. [i–iv] v–xx, [1–348]. Bound in full red cloth blocked in metallic red and printed in yellow, blue, white and black with design by Ian Jepson; blue endleaves printed with sketched detail from box in black. Reproduces, in an enlarged format, 14 comics starting with The fantastic four (No. 5, July 1962) and concluding with The silver surfer (No. 3, December 1968). The fantastic four comic #1 was issued separately (see below). [2] The fantastic four. [facsimile]. 258 × 182 × 4 mm. Pp. [1–32]. Bound in stapled paper wrappers reproducing the original design, including two pages of advertisements. Loosely inserted is a print by Paolo Rivera. Wrapped together in blue protective paper secured by a silver round sticker. A reproduction of the first issue, from 1 November 1961, and priced at 10¢.

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2270 Rendezvous with Rama, Arthur C. Clarke, introduction by John Clute, illustrations by Matt Griffin. 241 × 163 × 27 mm. Pp. [i–iv] v–xv [xvi–xviii], [1–2] 3–227 [228–230]: [5] leaves of colour plates (facing pp. 46, 87, 134, 142 and 207). Type: Cartier with Great Lakes for display. Printed and bound by L.E.G.O. in full printed cloth blocked in metallic blue with design by Griffin; dark silver endleaves. Dark silver slip case with section removed to expose front board image of the alien spacecraft at the centre of the novel. In add ition to the plates, Griffin has supplied a black and white title-page spread. ¶ Second printing: 2021. 2271 Lee Child, killing floor, introduced by Malcolm Gladwell, illustrations by Oliver Barrett. 252 × 178 × 34 mm. Pp. [i–iv] v–xiv [xv–xvi], [1–2] 3–378 [379–384]: [7] leaves of colour plates (facing pp. 80, 97, 145, 200, 264, 296 and 369). Type: Sabon with Trade Gothic for display. Printed and bound by Neografia in full red cloth printed in grey and black with design by Barrett; dark silver endleaves. Dark silver slip case. In addition to the plates, Barrett has supplied a black and white title-page spread. This is the first illustrated edition of Child’s debut novel. 2272 Wagner’s ring of the Nibelung, a companion, the full German text with the acclaimed English translation by Stewart Spencer, and commentaries by Barry Millington, Elizabeth Magee, Roger Hollinrake and Warren Darcy, edited by Stewart Spencer and Barry Millington, illustrations by John Vernon Lord. 289 × 205 × 41 mm. Pp. [1–4] 5–411 [412–414]: [17] leaves of plates. Type: Bembo. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full black printed cloth blocked in gold and white with golden ring design by Lord; gold endleaves printed with an expanded illustration of the rainbow bridge in black. Black slip case with a further illustration combining Wotan’s spear, Siegfried’s sword, the golden ring and the Norns’ rope. In addition to the plates, pictures of manuscripts, sketches and photographs illustrating the libretto in performance are reproduced on pages [9–16]. Between pages 59–66 is a note on the illustrations by Lord. 2273 The structure of scientific revolutions, Thomas S. Kuhn, foreword by Marcus du Sautoy, introduction by Ian Hacking. 241 × 162 × 23 mm. Pp. [i–vii] viii–xlvi, [1–3] 4–199 [200–202]: [12] leaves of colour plates (between pp. 18–19, 66–67 and 98–99). Type: Haarlemmer with Century Gothic for display. Printed and bound by C & C Offset in quarter green-blue cloth with printed paper boards; black endleaves. Black slip case. Two of the plates are double-page. Nine black and white illustrations are in the text. 2274 George R.R. Martin, a clash of kings. 253 × 177 × 39–40 mm. 2 vols (see below). Type: Vendetta with Esmeralda for display. Printed in golden brown and black by L.E.G.O. Bound by them in three-quarter purple-blue cloth blocked in gold. Pale blue cloth front boards printed in black and blocked in bronze or metallic blue (a different design for each volume); pale blue endleaves printed with repeat sigils design. Dark blue printed and blocked decorative slip case lined with printed paper. Jonathan Burton has provided illustrations for plates, alongside chapter headings, bindings, endleaves and slip case (inside and out). The second title in the series. The two volumes are as follows: [1] George R.R. Martin, a clash of kings, book two of a song of ice and fire, illustrations by Jonathan Burton. Pp. [i–iv] v–ix [x–xii], [1–2] 3–417 [418], [1–2]: [10] leaves of colour plates (facing pp. [iii], 69, 132, 237, 252, 413, and between pp. 164–165 and 364–365). [2] George R.R. Martin, a clash of kings, book two of a song of ice and fire, illustrations by Jonathan Burton. Pp. [i–iv] v–vii [viii], [419–420] 421–863 [864–866]: [10] leaves of colour plates (facing pp. [iii], 586, 634, 651, 754, 786, and between pp. 490–491 and 714–715). An appendix introduces the saga’s kings and their courts, accom panied by updated family trees.

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¶ Second printing: 2021. 2275 Philip Larkin, collected poems, with photographs by Larkin, selected by Andrew Motion, foreword by Andrew Motion, edited and with an introduction by Anthony Thwaite. 241 × 177 × 28 mm. Pp. [i–iv] v–xxxi [xxxii], [1–2] 3–223 [224–226]: [12] leaves of plates. Type: Berling. Printed and bound by C & C Offset in three-quarter green cloth with paper front board printed with an abstract design by Richard Peacock; green endleaves. Green slip case. The plates reproduce photographs held by Hull University Archives. A further photograph is on page [80]. 2276 Mr rabbit’s symphony of nature, and other tails, translated for humans by Charles van Sandwyk. 253 × 175 × 17 mm. Pp. [1–6] 7–109 [110–112]. Type: William Morris’s Golden with hand-drawn lettering. Typeset by Blundell Studios. Printed and bound by L.E.G.O. in full dark green cloth blocked in gold and black with a printed inset illustration; pale brown endleaves printed in black and green. Green slip case printed with repeat design in gold. A fold-out is tipped in on page [41] and extends to three leaves. Contains two animal tales and three poems, originally produced in small editions and here accompanied by further illustrations and tail-pieces. The typesetter is Joe Whitlock Blundell, the now retired Folio Production Director. 2277 Eagle against the sun, the American war with Japan, Ronald H. Spector, foreword by Paul Kennedy. 252 × 178 × 50 mm. Pp. [i–iv] v–xxiv, [1–2] 3–663 [664]: [17] leaves of black and white plates. Type: Quadraat Pro. Printed and bound by Kösel. Printed and blocked cloth with design by Neil Gower; red endleaves printed with map in black. Slip case printed with photograph taken from the deck of USS Bunker Hill in 1943. In addition to the endleaves, Kevin Freeborn has provided maps on pages 6, 162 and [412]. The plates primarily reproduce photographs taken in the Pacific and Far East between 1941 and 1945. 2278 Oscar Wilde, de profundis, introduced by Patti Smith. 202 × 135 × 21 mm. Pp. [i–iv] v–xiv, [1–2] 3–161 [162]: [6] leaves of plates (facing pp. [iii], 18, 34, 66, 99 and 131). Type: Lazurski with ChiQuel for display. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full green-blue paper blocked in black; dark pink endleaves printed with samples of Wilde’s words from the first and last pages of the original manu script. Black slip case. The plates reproduce photographs from the Merlin Holland Collection. 2279 Agatha Christie, five little pigs, illustrated by Andrew Davidson. 229 × 151 × 24 mm. Pp. [1–2], [i–iv] v–ix [x–xii], [1–2] 3–205 [206–210]: [7] leaves of colour plates (facing pp. [iii], 34, 51, 82, 98, 115 and 186). Type: Bell with Kabel Heavy for display. Printed and bound by C & C Offset in full dark green-blue buckram blocked in yellow with design by Davidson; pale orange endleaves. Dark green slip case. 2280 Tristram Shandy. Typeset by Blundell Studios. Printed and bound by L.E.G.O. Dark red-brown cloth slip case blocked in metallic red and titled (as above). The two volumes are as follows: [1] The life and opinions of Tristram Shandy, gentleman, Laurence Sterne, edited by Melvyn New and Joan New, illustrated by Tom Phillips. 263 × 195 × 45 mm. Pp. [1–2], [i–x], [1–5] 6–504 [505–508]: [10] leaves of colour plates (facing pp. [v], [5], [63], [119], [187], [265], [317], [369], [419] and [467]). Type: Caslon. Bound in full white cloth printed in red and blocked in gold with a titling design by Phillips. Gilded top edge. Dark purple endleaves. The tipped-in edition statement, printed letterpress by Hand and Eye, reads in part ‘limited to 750 copies, signed and numbered by the artist, and 25 lettered copies hors de commerce’. Tipped-in pieces of marbled paper for page 173 have been provided by Jemma Lewis. Phillips has produced collages for the frontispiece and each chapter.

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[2] A commentary to accompany the life and opinions of Tristram Shandy, gentleman, by Laurence Sterne. Edited by Melvyn New. 263 × 195 × 20 mm. Pp. [i–vi], [1] 2–173 [174]. Type: Dante. Bound in full dark red cloth blocked in gold and blind stamped, reflecting the main volume and slip case design; dark purple endleaves. Opens with a preface by Patrick Wildgust. 2281 Gustave Flaubert, Madame Bovary, provincial morals, translated by Adam Thorpe, introduced by Karl Ove Knausgård, paintings by Nushka. 280 × 187 × 39 mm. Pp. [1–2], [i–iv] v–xxiii [xxiv–xxvi], [1–4] 5–306 [307– 308]: [10] leaves of colour plates (facing pp. [iii], 52, 85, 116, 148, 196, 213, 229, 252 and 277). Type: Galliard with Garamond for display and Carré Noir for dropped capitals. Printed and bound by Graphicom in full silk blocked in gold and printed with an illustration by Nushka. Gilded top edge. Pale blue endleaves. Pale blue slip case. The tipped-in edition statement reads in part ‘limited to 750 copies, signed by the translator, the introducer and the artist and 25 lettered copies hors de commerce’. Loosely inserted is a colour print with a further illustration contained in a protective pale gold paper wallet. 2282 The Farseer trilogy. 253 × 179 × 33–61 mm. 3 vols (see below). Type: Legacy with Litania for display. Printed in red and black by C & C Offset. Bound by them in full dark red cloth blocked in dark orange and brown, with gold or silvers (a different design for each volume); dark grey endleaves. Red slip case titled (as above) in gold. David Palumbo has provided illustrations for plates and a double-page decorative map of the six duchies has been redrawn by Neil Gower. Two hundred and fifty copies were issued with a tipped-in printed slip in the first volume signed by both the author and illustrator. The three volumes are as follows: [1] Robin Hobb, assassin’s apprentice, book one of the Farseer trilogy, with a new introduction by the author, illustrated by David Palumbo. Pp. [i–iv] v–xiv [xv–xvi], [1–4] 5–376: [5] leaves of colour plates (facing pp. 40, 120, 216, 264 and 281). [2] Robin Hobb, royal assassin, book two of the Farseer trilogy, illustrated by David Palumbo. Pp. [i–iv] v [vi–viii], [1–4] 5–622 [623–624]: [5] leaves of colour plates (facing pp. 89, 233, 312, 472 and 568). [3] Robin Hobb, assassin’s quest, book three of the Farseer trilogy, illustrated by David Palumbo. Pp. [i–iv] v [vi–viii], [1–4] 5–794 [795–780]: [5] leaves of colour plates (facing pp. 201, 265, 368, 576 and 761). ¶ Second printing: 2021. 2283 The complete flower fairies, Cicely Mary Barker. 147 × 110 × 10–11 mm. 8 vols (see below). Type: Golden. Printed by C & C Offset. Bound by them in full cloth blocked and printed with a different design for each volume. Gilded edges. Blue endleaves with one design printed in silver. Blue slip case titled (as above) in gold, decorated in silver and lined with blue paper printed with repeat falling leaves design in silver. Nearly every one of Barker’s poems is accompanied by a watercolour. Black and white line drawings are used for each subtitle and frontispiece. The eight volumes are as follows: [1] Flower fairies of the spring, poems, paintings and drawings by Cicely Mary Barker. Foreword by Roy Vickery. Pp. [i–vi] vii [viii], 1–44 [45–48]. Purple cloth, blocked in silver and yellow. Silver edges. First published 1923. An additional drawing faces the contents. As President of the South London Botanical Institute, Vickery has provided a two-page foreword. [2] Flower fairies of the summer, poems, paintings and drawings by Cicely Mary Barker. Pp. [i–vi], 1–48 [49–50]. Dark pink cloth, blocked in gold and dark red. Gold edges. First published 1925.

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[3] Flower fairies of the autumn, with the nuts and berries they bring, poems, paintings and drawings by Cicely Mary Barker. Pp. [i–vi], 1–40 [41–42]. Brown cloth, blocked in gold and green. Gold edges. First published 1926. [4] Flower fairies of the winter, poems, paintings and drawings by Cicely Mary Barker. Pp. [i–vi], 1–38 [39–42]. Grey-green cloth, blocked in silver and dark red. Silver edges. First published 1985, 12 years after Barker’s death. [5] Flower fairies of the garden, poems, paintings and drawings by Cicely Mary Barker. Pp. [i–vi], 1–40 [41–42]. Dark green cloth, blocked in silver and purple. Silver edges. First published 1944. [6] Flower fairies of the trees, poems, paintings and drawings by Cicely Mary Barker. Pp. [i–vi], 1–39 [40–42]. Pale green cloth, blocked in gold and green. Gold edges. First published 1940. An additional drawing faces the contents. [7] Flower fairies of the wayside, poems, paintings and drawings by Cicely Mary Barker. Pp. [i–vi] vii [viii], 1–39 [40]. Pale blue cloth, blocked in gold and pink. Gold edges. First published 1948. An additional drawing faces Barker’s foreword. [8] A flower fairy alphabet, poems, paintings and drawings by Cicely Mary Barker. Pp. [i–vi], 1–46 [47–50]. Pale purple cloth, blocked in silver and blue. Silver edges. First published 1934. 2284 Alan Forrest, Waterloo, foreword by Hew Strachan. 228 × 152 × 23 mm. Pp. [i–iv] v–xiv [xv–xx], [1–2] 3–202 [203–204]: [8] leaves of colour plates (between pp. 60–61 and 124–125). Type: Garamond. Printed by Memminger MedienCentrum. Bound by Josef Spinner in three-quarter red cloth blocked in gold with narrow printed paper on boards designed by Geoff Grandfield; black endleaves. Black slip case. Maps redrawn by Kevin Freeborn are on pages [xvii] and [xix]. The plates primarily reproduce oil paintings and etchings. First in a great battles series. 2285 Mario Puzo, the godfather, introduction by Jonathan Freedland, illustrations by Robert Carter. 253 × 176 × 40 mm. Pp. [i–iv] v–xvii [xviii], [1–6] 7–458 [459–462]: [14] leaves of colour plates. Type: Bembo Book with Trajan Pro for display. Printed in red and black by L.E.G.O. Bound by them in full black cloth printed in red with a design by Carter; red endleaves. Red slip case printed with a horse’s head design. This is the first illustrated edition of a work originally published in 1969. Carter was an excellent choice. Two of the plates are double-page spreads. A bleeding New York skyline is used in the binding, slip case and chapter opening designs. 2286 Frank Herbert, Dune. 289 × 204 × 13–52 mm. 2 vols (see below). Type: Dante with Helvetica Neue and Black Tulip for display. Printed and bound by Graphicom. Clamshell box bound in pale grey cloth blocked in gold and printed in black. Loosely inserted is a colour print by Sam Weber in a protective paper wallet. Based on the 2015 edition. Two plates have been added, one of which is based on the earlier binding, alongside new designs for the bindings, endleaves and print. The two volumes are as follows: [1] Frank Herbert, Dune, illustrated by Sam Weber. Pp. [1–2], [i–iv] v–viii [ix–x], [1–4] 5–499 [500]: [17] leaves of colour plates. Printed in gold and black. Bound in full orange-brown cloth printed in black and blocked in red. Red top edge; grey endleaves printed in gold with same repeat used for basis of box design. The edition statement reads in part ‘limited to 500 numbered copies and 20 lettered copies hors de commerce’. Weber has added his signature below each copy number.

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[2] Dune, commentary, with essays by Michael Dirda and Brian Herbert. Pp. [i–iv] v [vi], [1–2] 3–59 [60–66]. Bound in full brown paper blocked in red; dark grey-brown endleaves. Reproduces the appendices, introduction and afterword from the earlier edition. A folded double-sided map of Arrakis, first used for the endleaves and here redrawn by Weber to include an image of the protagonist Paul Atreides, is loosely inserted in a corner pocket pasted onto the front endleaf. 2287 Marvel, the bronze age, 1970–1980. Printed in colour by Graphicom and bound by them. Clamshell box with bronze paper printed with comic strip design by Julian Totino Tedesco. Spine titled (as above). Reproduces 12 classic comics, and their original grainy print, but with much improved paper. Conclusion of Folio’s Marvel trilogy. The two volumes are as follows: [1] Marvel, the bronze age, 1970–1980, selected and introduced by Roy Thomas, preface by Chris Claremont, with a facsimile of giant-size x-men #1. 336 × 241 × 35 mm. Pp. [i–iv] v–xxi [xxii], [1–282]. Bound in full yellow cloth blocked in bronze and printed in red, blue, white and black with design by Ian Jepson; red endleaves printed with sketched detail from box in black. Reproduces, in an enlarged format, 11 comics starting with The amazing spider-man (No. 96, May 1971) and concluding with The x-men (No. 137, September 1980). Giant-size x-men #1 was issued separately (see below). [2] Giant-size x-men. [facsimile]. 260 × 164 × 5 mm. Pp. [1] 2–63 [64]. Bound in stapled paper wrappers reproducing the original design, including two pages of advertisements. Loosely inserted is a print by Tedesco. Wrapped together in yellow protective paper secured by a bronze round sticker. A reproduction of the first issue, from 1975, and priced at 50¢. 2288 [Folio diary 2021]. 182 × 132 × 18 mm. Pp. [1–136]. Type: Gill Sans. Printed and bound by Gomer Press in full paper printed with a design by Jonny Hannah; pale orange endleaves. Not issued in a slip case. Title on binding. Twelve books from 2019 and 2020 are featured. Each month begins with a full-page illustration from one of the books followed by details heading the subsequent pages. 2289 Bernard Cornwell, Sharpe’s tiger, Richard Sharpe and the siege of Seringapatam, 1799, in which Richard Sharpe avoids Sergeant Obadiah Hakeswill and endeavours to rescue a British officer from under the nose of the Tippoo of Mysore, introduced by the author, illustrated by Douglas Smith. 229 × 152 × 32 mm. Pp. [i–iv] v–x [xi–xviii], [1–2] 3–363 [364–368]: [4] leaves of plates (facing pp. [iii], 96, 260 and 307). Type: Janson with Gainsborough Serif for display. Printed and bound by C & C Offset in full red cloth blocked in gold and black with design by Smith; dark grey endleaves. Dark grey slip case blocked in gold with buglehorn and crown emblem. Two maps are on pages [xiv–xv] and [xvi–xvii]. The illustrations are in scratchboard, with colour for the frontispiece. Two hundred and fifty copies were issued with a tipped-in printed slip signed by the author and with two add itional illustrations. The plates, all in colour, face pp. [iii], 60, 93, 204, 260 and 308. A page listing them has been added, with the preliminaries adjusted to pp. [i–iv] v–xii [xiii–xx]. The first of Folio’s Sharpe series, to be released in chronological order of the hero’s career. 2290 The book of proverbs, from the Authorised King James Version of the Bible, introduced by Bishop Nick Baines, lettering by Jessica Hische. 160 × 110 × 18 mm. Pp. [i–iv] v–xix [xx], [1–2] 3–111 [112–116]. Type: Arno. Printed in brown and black by Kösel. Bound by them in full dark orange cloth blocked in metallic blue with a design by Hische and top edge blue gilding; dark orange endleaves. Blue slip case blocked in orange to mirror binding. 2291 Robert A. Heinlein, stranger in a strange land, introduced by Michael Dirda, illustrations by Donato Giancola. 253 × 178 × 48 mm. Pp. [i–vi] vii–xix [xx], [1–8] 9–593 [594–596]: [9] leaves of colour plates (facing pp. [iii],

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84, 164, 212, 284, 333, 365, 396 and 565). Type: Meridien with Altrincham for display. Printed and bound by L.E.G.O. in full grey cloth blocked in metallic blue, red and white with a design by Giancola; printed endleaves with halftone design in blue and black. Blue slip case with inset printed label with further illustration. 2292 The stories of English, David Crystal, with a new afterword by the author. 252 × 174 × 50 mm. Pp. [i–iv] v–xi [xii], 1–722 [723–724]. Type: Athelas. Printed and bound by Kösel in full blue cloth printed and blocked with a design by Alan Kitching; pale red endleaves. Pale red slip case. A printed bookmark is loosely inserted. Maps and illustrations are in the text. 2293 Ian Fleming, on Her Majesty’s secret service, illustrated by Fay Dalton. 228 × 162 × 25 mm. Pp. [i–iv] v–ix [x–xii], [1–2] 3–256 [257–260]: [7] leaves of colour plates (facing pp. [iii], 13, 28, 93, 108, 173 and 236). Type: Miller Text with Folio Bold Condensed for display. Printed and bound by L.E.G.O. in series binding (see item 2007). ¶ Second printing: 2021. 2294 Ian Fleming, chitty chitty bang bang, the magical car, with the original illustrations by John Burningham. 252 × 192 × 26 mm. Pp. [i–vi], [1–4] 5–178. Type: Albertina with Sunbeat for display. Printed and bound by Kösel in full grey cloth printed and blocked with a design based on Burningham’s for the first editions; printed endleaves. Green slip case. Contains the three stories that make up the car’s adventures, originally published in 1964 and 1965, plus an afterword by the author’s nephew Fergus Fleming. Aside from Burningham’s wonderful designs that run through the text, the afterword’s illustrations include two images of the prototype car produced by automotive engineer Amherst Villiers. 2295 The Folio book of humour. 240 × 163 × 23 mm. Pp. [i–iv] v [vi], [1–4] 5–242. Type: Maxime with Amasis for display. Printed and bound by Kösel in full yellow cloth blocked in red and black with a design by Jamie Keenan; pale red endleaves. Pale red slip case decorated with frontispiece design in yellow. A collection of over a hundred excerpts from the classic to the contemporary. In addition to the binding, Keenan has provided designs for the title-page, frontispiece and chapter openers. 2296 Michael Crichton, Jurassic Park, illustrated by Vector That Fox. 241 × 163 × 37 mm. Pp. [i–viii], [1–7] 8–438 [439–440]: [6] leaves of colour plates (facing pp. 40, 128, 161, 209, 320 and 368). Type: Dante with Manito for display. Printed and bound by L.E.G.O. in full printed paper with a design by the artist; green endleaves printed with design in black. Textured brown slip case. In addition to the plates, Vector That Fox provided a title-page spread. Further tables and graphics are in the text. Vector That Fox is the creative identity of Jo Breese. ¶ Second printing: 2020. ¶ Third printing: 2021. ¶ Fourth printing: 2022. 2297 Mr Campion and others, Margery Allingham, illustrated by Darya Shnykina. 229 × 151 × 25 mm. Pp. [i–iv] v–ix [x–xiv], [1–2] 3–264 [265–266]: [7] leaves of colour plates (facing pp. [iii], 18, 83, 155, 186, 218 and 235). Type: Utopia with Victoria Titling for display. Printed and bound by Neografia in full paper printed with design by Shnykina; orange-brown endleaves. Orange-brown slip case. Contains 13 short mysteries. 2298 Winston Churchill, greatest war speeches, 1939–1945, with a foreword by Nicholas Soames. 240 × 164 × 31 mm. Pp. [i–v] vi–xvi, [1–3] 4–361 [362–368]: [1] plate (facing p. [iii]). Type: Dante with Gill Sans for display. Printed and bound by Kösel in full printed and blocked paper with a design by Peter Strain; brown endleaves.

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Brown slip case. Reproduces 50 speeches under six chapters. A chronology of principal events opens each chapter. 2299 Diarmaid MacCulloch, a history of Christianity. 252 × 178 × 36–48 mm. 3 vols (see below). Type: Minion. Printed and bound by Kösel in full blue cloth blocked in blue, silver and golds with cross designs by Jamie Clarke; pale blue endleaves. Blue slip case titled (as above) in gold and blue. Plate images range from mosaics, frescoes and manuscripts to sculpture, oil paintings and photographs. Their listing is by N. Rowena Anketell. The three volumes are as follows: [1] Diarmaid MacCulloch, a history of Christianity, the first three thousand years, introduction by Neil MacGregor. Pp. [i–v] vi–lv [lvi], [1–5] 6–352: [16] leaves of colour plates. Includes eight maps. [2] Diarmaid MacCulloch, a history of Christianity, the first three thousand years. Pp. [i–v] vi–xxi [xxii–xxiv], [353–355] 356–861 [862], [1–2]: [16] leaves of colour plates. Includes 11 maps. [3] Diarmaid MacCulloch, a history of Christianity, the first three thousand years. Pp. [i–v] vi–xxi [xxii–xxiv], [863–865] 866–1410 [1411–1414]: [16] leaves of colour plates. Includes six maps. 2300 Boris Pasternak, Doctor Zhivago. 253 × 178 × 31–35 mm. 2 vols (see below). Type: Albertina. Printed and bound by C & C Offset in full blue cloth blocked with repeat design in gold; dark blue endleaves. Printed slip case. As item 2257 but in two volumes, with a new binding and without limitation. Now concludes with the notes and bibliography, with the list of characters, family tree and record of illustrations relocated to the front. The two volumes are as follows: [1] Boris Pasternak, Doctor Zhivago, a new translation by Nicolas Pasternak Slater, illustrations by Leonid Pasternak, editor and picture editor Maya Slater, with an introduction by Ann Pasternak Slater. Pp. [i–iv] v–xl [xli–xlii], [1–6] 7–267 [268], [1–2]. [2] Boris Pasternak, Doctor Zhivago, a new translation by Nicolas Pasternak Slater, illustrations by Leonid Pasternak, editor and picture editor Maya Slater. Pp. [i–iv], [269–272] 273–613 [614–616]. ¶ Second printing: 2021. 2301 Maya Angelou, I know why the caged bird sings, introduced by Tayari Jones, illustrated by Shabazz Larkin. 221 × 145 × 27 mm. Pp. [i–iv] v–xv [xvi–xviii], [1–2] 3–234 [235–238]: [7] leaves of colour plates (facing pp. [iii], 39, 70, 167 and 215, and between pp. 198–199). Type: Minon. Printed and bound by Kösel. Quarter dark pink cloth with paper boards printed and blocked in metallic blue with design by Larkin; dark orange endleaves. Dark pink slip case. Folio’s first illustrated edition (see also item 1034). ¶ Second printing: 2021. 2302 The rise and downfall of Prussia, 1600–1947. 253 × 179 × 34–37 mm. 2 vols (see below). Type: Walbaum. Printed and bound by C & C Offset in full blue-purple cloth blocked in silver and red with designs by Neil Gower; red endleaves. Red slip case titled (as above) and decorated with Prussian coat of arms in blue. The plates primarily reproduce oil paintings, engravings, etchings, lithographs and photographs. The two volumes are as follows:

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[1] Christopher Clark, iron kingdom, the rise and downfall of Prussia, 1600–1947. Pp. [i–iv] v–xxvii [xxviii–xxxii], [1–2] 3–356, [1–4]: [16] leaves of colour plates. Includes 11 maps. [2] Christopher Clark, iron kingdom, the rise and downfall of Prussia, 1600–1947. Pp. [i–iv] v–xi [xii], 357–783 [784]: [16] leaves of colour plates. Includes three maps. 2303 Letters from fairyland, written and illustrated by Charles van Sandwyk. 235 × 160 × 12 mm. Pp. [1–24]. Hand-drawn lettering. Typeset by Blundell Studios. Printed and bound by Graphicom in full dark red paper blocked in gold with a printed inset illustration; printed endleaves. Gold slip case printed with illustration in bronze on one side. Originally privately published in 2016, this edition contains additional text and drawings to make it twice the length. Includes five pasted-in printed pockets, containing loosely inserted three small letters, three pieces of fairy money and a concertina of portraits. A tipped-in letter that opens up into the shape of a leaf polishes off this charming book. 250 numbered and 20 lettered copies were also issued, bound in full gold cloth blocked in copper, metallic green and metallic blue; silver endleaves blocked in gold with spider web design. Green box blocked in gold with another printed inset illustration and lined with paper printed with a repeated whimsical swallow. A copperplate etching printed and signed by van Sandwyk is tipped in at the front. An extra four pages have been added to allow for the etching and gold edition statement. 2304 George R.R. Martin, a storm of swords. 253 × 175 × 45–48 mm. 2 vols (see below). Type: Vendetta with Esmeralda for display. Printed in golden brown and black by L.E.G.O. Bound by them in three-quarter purple-blue cloth blocked in gold. Pale blue cloth front boards printed in black and blocked in silver or metallic red (a different design for each volume); pale blue endleaves printed with repeat sigils design. Dark blue printed and blocked decorative slip case lined with printed paper. Jonathan Burton has provided illustrations for plates, alongside chapter headings, bindings, endleaves and slip case (inside and out). The third title in the series. The two volumes are as follows: [1] George R.R. Martin, a storm of swords, volume one, steel and snow, book three of a song of ice and fire, illustrations by Jonathan Burton. Pp. [i–iv] v–xi [xii–xiv], [1–2] 3–526 [527–528], [1–2]: [10] leaves of colour plates (facing pp. [iii], 98, 259, 314, 434, 515, and between pp. 194–195 and 386–387). [2] George R.R. Martin, a storm of swords, volume two, blood and gold, book three of a song of ice and fire, illustrations by Jonathan Burton. Pp. [i–iv] v–vii [viii], [529–530] 531–1032 [1033–1102]: [10] leaves of colour plates (facing pp. [iii], 664, 856, 889, 952, 1017, and between pp. 600–601 and 776–777). An appendix updates the saga’s kings and their courts, accompanied by updated family trees. ¶ Second printing: 2021. 2305 Herodotus, the histories, translated by Robin Waterfield, introduced by Peter Frankopan and Carolyn Dewald, illustrated by Nick Hayes. 292 × 207 × 75 mm. Pp. [1–2], [i–vi] vii–lviii [lix–lxiv], [1–6] 7–753 [754–758]. Type: Haarlemmer. Printed in green-grey and black by Northend and bound by Smith Settle in full dark green leather blocked in gold and black with design by Hayes. Gilded top edge. Green endleaves printed with repeat design in gold. Dark green cloth slip case blocked in gold and black, lined with same printed paper as endleaves. The tipped-in edition statement, printed in gold, reads in part ‘limited to seven hundred and fifty numbered copies and twenty lettered copies hors de commerce’. It is signed by Waterfield, Hayes and Frank opan. A printed slip bearing notes on the care of the leather is loosely inserted. Ten illustrations by Hayes are in the text, with nine being striking double-page chapter openings. Double-page maps by Kevin Freeborn are on pages [lx–lxiii]. A timeline by Peter O’Neill is on pages liii–lviii.

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2021 2306 Alexandre Dumas, the three musketeers, introduced by George MacDonald Fraser, illustrated by Roman Pisarev. 252 × 180 × 51 mm. Pp. [1–2], [i–iv] v–xviii, 1–568 [569–574]: [11] leaves of plates. Based on Folio’s first edition (item 1067). Now printed by Memminger MedienCentrum and bound by Josef Spinner in full dark red leather with a new design blocked in gold and black. Gilded top edge; dark grey endleaves. Dark red slip case. A limitation spread containing a tipped-in etching signed and numbered by Pisarev is sewn into the front. Edition statement reads in part ‘limited to seven hundred and fifty copies with twenty lettered copies hors de commerce’. 2307 Gene Wolfe, the book of the new sun. 253 × 179 × 46 mm. 2 vols (see below). Type: Jenson with Priori Serif for display. Printed in red and black by C & C Offset. Bound by them in quarter black cloth blocked in metallic red with printed paper boards (a different design for each volume). Black top edge; black endleaves. Two-volume black slip case titled (as above) and decorated in silver. As item 2227 but reset for two volumes and without limitation. The illustrations have all been retained. The two volumes are as follows: [1] Gene Wolfe, shadow & claw, the shadow of the torturer, the claw of the conciliator, introduced by Neil Gaiman, illustrations by Sam Weber. Pp. [i–iv] v–xv [xvi], [1–4] 5–568: [12] leaves of plates (facing pp. 17, 33, 112, 176, 321, 448, 529, 560, and between pp. 240–241 and 384–385). [2] Gene Wolfe, sword & citadel, the sword of the lictor, the citadel of the autarch, illustrations by Sam Weber. Pp. [i–iv] v–x, [1–4] 5–563 [564–566]: [12] leaves of plates (facing pp. 7, 71, 182, 246, 311, 374, 486, 534, and between pp. 134–135 and 422–423). ¶ Second printing: 2021. 2308 Malorie Blackman, noughts and crosses, introduced by Benjamin Zephaniah, illustrations by Kingsley Nebechi. 241 × 162 × 32 mm. Pp. [i–iv] v–xvii [xviii], [1–6] 7–358: [7] leaves of colour plates (facing pp. [iii], 46, 119, 215, 262, [286] and [318]). Type: Galliard with Moonshot for display. Printed and bound by Neografia in full paper printed and blocked in white with design by Nebechi; orange-brown endleaves printed with design in black. Black slip case blocked in white echoing endleaves and part-titles. 2309 Ian Fleming, you only live twice, illustrated by Fay Dalton. 228 × 162 × 23 mm. Pp. [i–iv] v–ix [x–xiv], [1–4] 5–212 [213–218]: [7] leaves of colour plates (facing pp. [iii], 19, 59, 90, 122, 139 and 202). Type: Miller Text with Folio Bold Condensed for display. Printed and bound by L.E.G.O. in series binding (see item 2007). 2310 Robin Waterfield, creators, conquerors & citizens, a history of ancient Greece. 252 × 179 × 45 mm. Pp. [i–v] vi–xxii [xxiii–xxx], [1–2] 3–534 [535–538]: [16] leaves of colour plates. Type: Bembo Book with Stockholm for display. Printed and bound by C & C Offset in full cream cloth blocked in green and red; red endleaves. Green flecked slip case blocked with title design in red. The plates reproduce marbles, metalwork and other antiquities. Further illustrations and maps are in the text. 2311 Marvel: Captain America, selected and introduced by Roy Thomas, with a facsimile of Captain America comics #1. 265 × 179 × 30 mm. Pp. [i–iv] v–xvi, [1–272]. Type: Miller with Benton Sans for display. Printed and bound by Kösel in three-quarter printed paper with narrow blue cloth on boards blocked in red and black

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with design by Michael Cho; red endleaves printed with sketches by Cho in blue. Blue cloth slip case blocked with the superhero’s shield emblem. Reproduces from the Captain America series Skull’s deadly revenge! #16 ( July 1942), The hour of doom #78 (September 1954), No longer alone! #110 (February 1969), Two into one won’t go! #156 (December 1972), Screamer in the brain! #193 ( January 1976), The living legend #255 (March 1981), The choice #332 (August 1987) and Red, white and blue-blood #601 (September 2009). Two more are Captain America joins . . . The Avengers! from The Avengers #4 (March 1964) and The cosmic cube from Tales of suspense #79–81 ( July–September 1966). The 64-page facsimile of the first Captain America issue, from March 1941, measures 240 × 175 × 6 mm and is bound in stapled paper wrappers reproducing the original design, including two pages of advertisements. It is protected in a red printed paper wallet and loosely inserted. 2312 Cormac McCarthy, the road, illustrated by Gérard DuBois, with an afterword by Michael Chabon. 228 × 151 × 22 mm. Pp. [i–iv] v–vii [viii], [1–2] 3–183 [184]: [6] leaves of colour plates (facing pp. 24, 41, 72, 89, 120 and 152). Type: Maxime. Printed and bound by L.E.G.O. in full printed cloth with a design by the artist; red endleaves. Grey slip case. In addition to the plates, DuBois provided a title-page spread. Winner of the Book Illustration and the Moira Gemmill Illustrator of the Year Prize categories at the 2022 V&A Illustration Awards. ¶ Second printing: 2021. ¶ Third printing: 2023. 2313 Angela Carter, nights at the circus, introduced by Sarah Waters, illustrations by Eileen Cooper. 240 × 163 × 34 mm. Pp. [i–viii] ix–xvii [xviii], [1–4] 5–352 [353–358]: [9] leaves of colour plates (facing pp. 15, 79, 118, 182, 215, 239, 246, 310 and 342). Type: Laurentian. Printed and bound by Kösel in full blue cloth printed in black and blocked in gold with design by Cooper; blue-green endleaves. Gold slip case. In addition to the colour lino-cut collage plates, Cooper has supplied black and white chapter headings and a title-page spread. 2314 Andrew Chaikin, a man on the moon. 236 × 211 × 37–42 mm. 2 vols (see below). Type: Apollo with Futura for display. Printed and bound by L.E.G.O. in three-quarter black cloth with printed paper front boards; black endleaves. Printed slip case. In addition to plates, including four with gate-folds, there are copious illustrations in the text. The photographs are primarily sourced from NASA. The two volumes are as follows: 1 Andrew Chaikin, a man on the moon, the voyages of the Apollo astronauts, volume one, with a new preface by the author and a foreword by Tom Hanks. Pp. [i–ix] x–xxviii, [1–6] 7–394, [1–2]: [20] leaves of plates. 2 Andrew Chaikin, a man on the moon, the voyages of the Apollo astronauts, volume two. Pp. [i–vi], [395–397] 398–763 [764]: [16] leaves of colour plates. ¶ Second printing (not seen). ¶ Third printing: 2022. 2315 A journal of the plague year, Daniel Defoe, introduced by Richard Horton, illustrated by Chris Wormell. 240 × 162 × 27 mm. Pp. [i–v] vi–xi [xii–xiv], [1–3] 4–244 [245–250]. Type: Caslon. Printed in red and black by Neografia. Bound by them in three-quarter black cloth with paper front board designed by Wormell; gold endleaves. Black slip case with the novel’s original subtitle blocked in gold. In addition to an illustrated title-page, Wormell has supplied woodcut motifs in the text, from a rat to a skull and crossbones. As the opening to Horton’s introduction states, ‘Until 2020, readers of Defoe’s account of the Great Plague of London in 1665 may well have approached his imaginative retelling as an historical curiosity.’ A second printing quickly followed.

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¶ Second printing: 2021. 2316 Around the world in eighty days, Jules Verne, translated by P. Desages, illustrated by Kristjana S. Williams. 239 × 162 × 25 mm. Pp. [i–iv] v–vi, [1–2] 3–199 [200–202]. Type: Bulmer with Latin for display. Printed and bound by Kösel in full cloth printed and blocked with fantastical design by Williams; green endleaves. Dark pink slip case blocked with title design in white. A large richly illustrated map by Williams is loosely inserted in a corner pocket pasted onto the back endleaf. The artist also provided chapter headings and tail-pieces. ¶ Second printing: 2021. 2317 Philip K. Dick, the complete short stories. 252 × 178 × 52–55 mm. 4 vols (see below). Type: Mentor with Futura for display. Printed and bound by L.E.G.O. in full cloth with designs printed in fluorescent inks by the La Boca studio. Printed edges. Endleaves printed in silver (a different design for each volume). Fourvolume two-part paper-lined box (titled as above) designed by La Boca. The edition statement reads in part ‘limited to 750 numbered copies and 20 lettered copies hors de commerce’. Twenty-four artists contributed one illustration each. Includes 118 of Dick’s short fiction. The symbols used in the bindings were combined in a design for plain paper notebooks bound by Kösel, with dimensions 212 × 129 × 15 mm, used for marketing purposes. The four volumes are as follows: 1 Philip K. Dick, the complete short stories, volume 1, introduced by Jonathan Lethem, illustrations by Chris Malbon, Georgia Hill, Anna Millais, Jeremy Wilson, Raisa Álava, Chris Thornley. Pp. [1–2], [i–iv] v–xxii, [1–2] 3–615 [616]: [6] leaves of colour plates (facing pp. 104, 168, 312, 376, 457 and 536). Limitation, title pages and contents printed in pink and black. Yellow cloth printed in pink and blue; edges printed in green. Blue endleaves. Pink ribbon marker. Includes 29 stories. 2 Philip K. Dick, the complete short stories, volume 2, illustrations by Hilary Clarcq, Viktor Hachmang, Simon Prades, George Wylesol, Gerrel A.K. Saunders, Tavis Coburn. Pp. [i–iv] v–vii [viii], [1–2] 3–610 [611–616]: [6] leaves of colour plates (facing pp. 72, 248, 280, 424, 457 and 600). Title-pages and contents printed in green and black. Green cloth printed in pink and yellow; edges printed in blue. Pink endleaves. Yellow ribbon marker. Includes 35 stories. 3 Philip K. Dick, the complete short stories, volume 3, illustrations by Charles Chaisson, Alice Tye, Damien Jeon, Dave McKean, Anna Mill, Audrey Benjaminsen. Pp. [i–iv] v–vii [viii], [1–2] 3–658 [659–664]: [6] leaves of colour plates (facing pp. 24, 89, 280, 392, 456 and 489). Title pages and contents printed in pink and black. Pink cloth printed in green and blue; edges printed in yellow. Green endleaves. Blue ribbon marker. Includes 24 stories. 4 Philip K. Dick, the complete short stories, volume 4, illustrations by Kristian Hammerstad, Ashley Mackenzie, Katherine Lam, Yehrin Tong, Greg Ruth, Corey Brickley. Pp. [i–iv] v–vii [viii], [1–2] 3–615 [616]: [6] leaves of colour plates (facing pp. 104, 169, 320, 353, 416 and 544). Title-pages and contents printed in green and black. Blue cloth printed in green and yellow; edges printed in pink. Orange endleaves. Green ribbon marker. Includes 30 stories. 2318 Chris Carey, Thermopylae. 227 × 150 × 24 mm. Pp. [i–iv] v–xiii [xiv–xvi], [1–2] 3–213 [214–216]: [8] leaves of colour plates (between pp. 64–65 and 128–129). Type: Garamond. Printed by Memminger Medien Centrum. Bound by Josef Spinner in three-quarter green cloth blocked in gold with narrow printed paper on boards designed by Geoff Grandfield; black endleaves. Black slip case. Maps redrawn by Kevin Freeborn are on pages [2], 22, 28, [34], [82], 96 and 183. The plates primarily reproduce monuments and artefacts. Further illustrations are in the text. Second in a great battles series.

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2319 Everest, from reconnaissance to summit, 1921 to 1953. 236 × 277 × 25–52 mm. 2 vols (see below). Type: Walbaum with Mallory for display. Printed and bound by L.E.G.O. in full printed and blocked cloth. Silver top edge; pale blue endleaves. Pale blue slip case with photograph inset. All but one photograph is sourced from the Royal Geographical Society. Marks the 100th anniversary of the earliest British reconnaissance, and four other key expeditions. The two volumes are as follows: 1 Everest, from reconnaissance to summit, 1921 to 1953, a photographic history, edited by Peter Gillman. Pp. [i–viii], [1] 2–522 [523–528]. Nearly every photograph, that total over 250, is awarded its own page, accompanied by a short narrative opposite. Includes [2] fold-outs (between pp. 94–[95] and 414–[415]). 2 Everest, from reconnaissance to summit, 1921 to 1953, an eyewitness history, edited by Peter Gillman, introduced by Jan Morris and Wade Davis. Pp. [i–iv] v–xxi [xxii–xxiv], [1–4] 5–183 [184]. Maps by Kevin Freeborn are on pages [xxii–xxiii]. ¶ Second printing: 2021. 2320 Stephen King, misery, illustrations by Edward Kinsella. 250 × 176 × 32 mm. Pp. [i–iv] v [vi–viii], [1–6] 7–347 [348–352]: [8] leaves of colour plates (facing pp. 24, 56, 129, 177, 240, 272, 328 and 337). Type: Maxime with Typeka for display. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full black cloth blocked in silver and red with design by Kinsella; black endleaves printed with a detail from the opening lines of Paul Sheldon’s typescript in silver. Black slip case. Kinsella has also provided a title-page spread. One hundred copies were issued with a tipped-in printed slip signed by both the author and illustrator. ¶ Second printing: 2021. 2321 Long walk to freedom, the autobiography of Nelson Mandela. 251 × 180 × 61 mm. Pp. [i–vii] viii–xvi, [1–4] 5–748 [749–752]: [21] leaves of plates. Type: Legacy Serif. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full printed and blocked pale orange cloth; dark green endleaves printed with map in gold redrawn by Kevin Freeborn. Pale orange slip case blocked with title design. The plates reproduce photographs dating from c.1937 to 1994, the year the autobiography was first published. 2322 Agatha Christie, crooked house, illustrations by Sally Dunne. 226 × 151 × 25 mm. Pp. [i–viii], [1–2] 3–203 [204–208]: [7] leaves of colour plates (facing pp. [iii], 24, 88, 105, 120, 152 and 184). Type: Bell with Kabel for display. Printed by Memminger MedienCentrum. Bound by Josef Spinner in three-quarter black cloth with printed and blocked paper front board with design by Dunne; dark green endleaves. Dark green slip case. Dunne was shortlisted in the Book Cover Illustration category at the V&A Illustration Awards 2022. ¶ Second printing: 2022. 2323 Thomas Hardy, selected poems, selected and introduced by Robert Macfarlane, illustrated by Stanley Donwood. 257 × 186 × 28 mm. Pp. [1–2], [i–vi] vii–xviii, [1–4] 5–167 [168–170]: [17] leaves of colour plates. Type: Walbaum. Printed by Pureprint. Bound by Smith Settle in red goatskin leather with printed cloth boards; green endleaves. Dark green ribbon marker. Green slip case blind stamped to echo Donwood’s illustration for the boards. The tipped-in limitation page, printed letterpress by Hand and Eye, reads in part ‘limited to 750 numbered copies for sale and 20 lettered copies hors de commerce’. Both Macfarlane and Donwood have added their signatures below each copy number. As well as the plates, Donwood has provided further pencil sketches to accompany the 109 poems.

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2324 Mythical beasts, edited by John Cherry. 253 × 177 × 24 mm. Pp. [i–iv] v–xvii [xviii], [1–4] 5–193 [194– 198]: [12] leaves of colour plates. Type: Centaur. Printed in green and black by C & C Offset. Bound by them in full printed and blocked cloth with design by Neil Packer; blue endleaves printed with repeat design in silver. Blue slip case with another repeat design in silver. As well as being general editor, Cherry also wrote the opening chapter on unicorns. The chapter on dragons was by Sheila R. Canby, griffins by Peter Armour, sphinxes by Henrietta McCall and half-human creatures by Helen King. In addition to the binding and slip case designs, Packer has provided a beast to introduce each of the five chapters and a title-page design. The plates reproduce photographs of items ranging from a classical Greek marble relief and a fifteenth-century panel painting to an Arthur Rackham illustration and a twentieth-century travel poster. ¶ Second printing: 2022. Printed (in blue-green and black) and bound by L.E.G.O. 2325 Diana Wynne Jones, castle in the air, illustrations by Marie-Alice Harel. 228 × 162 × 26 mm. Pp. [i–iv] v–xii, [1–4] 5–240 [241–244]: [6] leaves of colour plates (facing pp. 13, 52, 85, 141, 181 and 213). Type: Agfa Wile. Printed and bound by Kösel in full printed and blocked paper with design by Harel; dark blue endleaves printed with designs in silver. Dark blue slip case printed in grey. In addition to the plates, Harel contributed chapter headings and illustrations for the title-pages. Sequel to Howl’s moving castle (item 2243). ¶ Second printing: 2022. 2326 Bernard Cornwell, Sharpe’s triumph, Richard Sharpe and the battle of Assaye, September 1803, in which Sergeant Richard Sharpe witnesses a murderous act of treachery and with Sir Arthur Wellesley faces the Mahratta horde, illustrated by Douglas Smith. 229 × 150 × 32 mm. Pp. [i–x], [1–2] 3–354 [355–360]: [4] leaves of plates (facing pp. [iii], 107, 250 and 321). Type: Janson with Gainsborough Serif for display. Printed and bound by C & C Offset in full red cloth blocked in gold and black with design by Smith; dark grey endleaves. Dark grey slip case blocked in gold. A map is on pages [vi–vii] and a battle plan on pages [viii–ix]. The illustrations are in scratchboard, with colour for the frontispiece. Second in Folio’s Sharpe series. 2327 Dynasty, the rise and fall of the house of Caesar, Tom Holland. 252 × 179 × 39 mm. Pp. [i–vii] viii–xxix [xxx–xxxiv], [1–3] 4–446: [13] leaves of colour plates. Type: Spectrum with Castellar for display. Printed and bound by C & C Offset in full green cloth printed in black and blocked in gold with a design by Kent Barton; green endleaves. Green slip case. The plates primarily reproduce photographs of sculpture and frescoes. Eleven maps are also included. 2328 Sir Walter Scott, Rob Roy, foreword by Diana Gabaldon, illustrated by June Carey. 279 × 188 × 49 mm. Pp. [i–viii] ix–lxxxiv, [1–2] 3–435 [436]: [11] leaves of colour plates (facing pp. [v], 44, 92, 124, 172, 308, 340, 372 and 412, and between pp. 260–261). Type: Fournier with Arno Pro Display for dropped capitals. Printed and bound by Graphicom in full grey goatskin leather blocked in gold and dark blue with design by Carey. Gilded top edge. Dark blue-green endleaves. Dark blue ribbon marker. Dark blue cloth slip case with inset printed label with further illustration. The tipped-in edition statement reads in part ‘limited to 750 numbered copies and 25 lettered copies hors de commerce’. Both Gabaldon and Carey have added their signatures below each copy number. One of the plates is a double-page spread. Published in the 250th anniversary year of Scott’s birth. 2329 Diana Wynne Jones, house of many ways, illustrations by Marie-Alice Harel. 227 × 162 × 28 mm. Pp. [i–iv] v–xi [xii], [1–4] 5–249 [250–252]: [6] leaves of colour plates (facing pp. 13, 44, 84, 157, 172 and 236). Type: Agfa Wile. Printed and bound by Kösel in full printed and blocked paper with design by Harel; dark blue endleaves printed with designs in silver. Dark blue slip case printed in grey. In addition to the plates, Harel

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contributed chapter headings and illustrations for the title-pages. Concluding volume in the trilogy (see items 2243 and 2325). ¶ Second printing: 2022. 2330 The Folio book of war poetry, edited by Andrew Motion, illustrated by Neil Gower & Jonathan Lloyd. 241 × 176 × 35 mm. Pp. [i–iv] v–xxii, [1–2] 3–347 [348–354]. Type: Plantin. Printed and bound by C & C Offset in full printed cloth; green endleaves. Green slip case blocked with abstract design in silver. Lloyd provided the binding design (available elsewhere in a limited edition print titled The Hurly Burly) and colour title-page spread; Gower ten motifs printed in green. Motion has selected the work of over a hundred poets, ranging from Homer and Simonides to Geoffrey Hill and Peter Porter. 2331 John Keay, China, a history. 252 × 177 × 32 mm. 2 vols (see below). Type: Warnock with Quadraat for display. Printed and bound by L.E.G.O. in printed and blocked blue and red cloths; gold endleaves printed with repeat dragon design in black. Gold slip case decorated with single dragon blocked in black. Florian Schommer designed the binding, endleaves and slip case. Plates primarily reproduce paintings, bronzes, ceramics and photographs. Maps and diagrams are also in the text. The two volumes are as follows: [1] John Keay, China, a history, with a new introduction by the author. Pp. [i–v] vi–lii, [1–3] 4–291 [292]: [22] leaves of colour plates. [2] John Keay, China, a history. Pp. [i–v] vi–x [xi–xii], [293–295] 296–621 [622–624]: [24] leaves of colour plates. 2332 Ian Fleming, the man with the golden gun, illustrated by Fay Dalton. 228 × 162 × 22 mm. Pp. [i–iv] v–ix [x], [1–2] 3–159 [160–166]: [7] leaves of colour plates (facing pp. [iii], 22, 39, 54, 94, 127 and 142). Type: Miller Text with Folio Bold Condensed for display. Printed and bound by L.E.G.O. in series binding (see item 2007). 2333 Haruki Murakami, Kafka on the shore, translated from the Japanese by Philip Gabriel, introduced by the author, illustrations by Daniel Liévano. 253 × 179 × 42 mm. Pp. [i–iv] v–vii [viii], [1–2] 3–516 [517–520]: [9] leaves of colour plates (facing pp. [iii], 208 and 384, and between pp. 152–[153], 336–337 and [504]–505). Type: Arno with Futura for display. Printed in blue and black by L.E.G.O. Bound by them in full dark blue cloth blocked in red and metallic blue with design by Liévano; dark red endleaves printed with design in gold. Dark blue slip case blocked in metallic blue with small section removed to expose front panel. In addition to the plates, three of which are double-page spreads, Liévano has supplied motifs aplenty. The binding design was used for plain paper notebooks produced for marketing purposes. With dimensions 214 × 130 × 15 mm, they were bound by Kösel in red cloth blocked in orange and metallic blue. ¶ Second printing: 2022. 2334 George R.R. Martin, a feast for crows. 253 × 176 × 39 mm. 2 vols (see below). Type: Vendetta with Esmeralda for display. Printed in golden brown and black by L.E.G.O. Bound by them in three-quarter purple-blue cloth blocked in gold. Pale blue cloth front boards printed in black and blocked in silver or metallic blue (a different design for each volume); pale blue endleaves printed with repeat sigils design. Dark blue printed and blocked decorative slip case lined with printed paper. Jonathan Burton has provided illustrations for plates, alongside chapter headings, bindings, endleaves and slip case (inside and out). The fourth title in the series. The two volumes are as follows:

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[1] George R.R. Martin, a feast for crows, book four of a song of ice and fire, [diamond symbol to indicate first volume], illustrations by Jonathan Burton. Pp. [i–iv] v–ix [x–xii], [1–2] 3–409 [410], [1–2]: [10] leaves of colour plates (facing pp. [iii], 77, 164, 212, 260, 309, and between pp. 108–109 and 340–341). [2] George R.R. Martin, a feast for crows, book four of a song of ice and fire, [diamond symbols to indicate second volume], illustrations by Jonathan Burton. Pp. [i–iv] v–vii [viii], [411–412] 413–811 [812–818]: [10] leaves of colour plates (facing pp. [iii], 450, 546, 595, 610, 706, and between pp. 578–579 and 658–659). An appendix updates the saga’s kings and their courts, accompanied by updated family trees. ¶ Second printing: 2022. 2335 [Folio diary 2022]. 182 × 130 × 18 mm. Pp. [1–136]. Type: Gill Sans. Printed and bound by Gomer Press in full paper blocked in copper and silver with a design by Jamie Clarke; pale orange endleaves. Not issued in a slip case. Title on binding. Twelve books from 2020 and 2021 are featured. Each month begins with a full-page illustration from one of the books followed by details heading the subsequent pages. 2336 Michael Crichton, the lost world, illustrated by Vector That Fox. 241 × 162 × 36 mm. Pp. [i–viii], [1–7] 8–419 [420–424]: [8] leaves of colour plates (facing pp. [56], 136, 184, 264, [337] and [384], and between pp. 88–[89]). Type: Dante with Manito for display. Printed and bound by L.E.G.O. in full printed paper with a design by the artist; yellow endleaves printed with design in black. Textured green slip case. In addition to the plates, Vector That Fox provided a title-page spread and graphics. ¶ Second printing: 2022. 2337 Murray Pittock, Culloden (Cùil Lodair). 227 × 150 × 22 mm. Pp. [i–iv] v–xii [xiii–xiv], [1–2] 3–184 [185–186]: [8] leaves of colour plates (between pp. 50–51 and 114–115). Type: Garamond. Printed by Memminger MedienCentrum. Bound by Josef Spinner in three-quarter blue cloth blocked in gold with narrow printed paper on boards designed by Geoff Grandfield; black endleaves. Black slip case. Maps redrawn by Kevin Freeborn are on pages [23], 67 and 86. The plates primarily reproduce oil paintings, engravings, etchings and artefacts. Nine further illustrations are in the text, all but one of which are photographs of sites taken by the author. Third in a great battles series. 2338 [The Roald Dahl collection, set 1]. 230 × 152 × 15–21 mm. 3 vols (see below). Type: Baskerville. Printed and bound by C & C Offset in full cloth printed with a different design for each volume; endleaves printed with repeat design in silver. Black and white illustrations by Quentin Blake are in the texts. Dark blue cloth three-volume slip case printed with same Blake design as endleaves. The three volumes are as follows: [1] Roald Dahl, James and the giant peach, with an introduction by Donald Sturrock, illustrated by Quentin Blake. Pp. [i–iv] v–xiii [xiv], [1–2] 3–150 [151–154]. Pale blue cloth printed in orange, green and black; orange endleaves. Green ribbon marker. [2] Roald Dahl, Charlie and the chocolate factory, illustrated by Quentin Blake. Pp. [i–iv] v–vi [vii–viii], 1–177 [178–184]. Pale brown cloth printed in pinks and black; pink endleaves. Pink ribbon marker. [3] Roald Dahl, the Twits, illustrated by Quentin Blake. Pp. [i–iv] v [vi], 1–86 [87–90]. Purple cloth printed in purple, yellow and black; purple endleaves. Dark yellow ribbon marker.

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¶ Second printing: 2022. 2339 Marvel: Spider-man, selected and introduced by Roy Thomas, with a facsimile of The amazing Spider-man #1. 265 × 179 × 32 mm. Pp. [i–iv] v–xvi, [1–288]. Type: Miller with Benton Sans for display. Printed and bound by Kösel in three-quarter printed paper with narrow red cloth on boards blocked in yellow and blue with design by Marcos Martín; blue endleaves printed with sketches by Martín in white. Red cloth slip-case blocked in blue with spider emblem. Reproduces from The amazing Spider-man series Spider-man versus Doctor Octopus #3 ( July 1963), Spider-man tackles the torch! #8 ( January 1964), The birth of a super-hero! #42 (November 1966), And death shall come! #90 (November 1970), The night Gwen Stacy died #121 ( June 1973), The Goblin’s last stand! #122 ( July 1973), The kid who collects Spider-man! #248 ( January 1984), Venom #300 (May 1988) and There for you #801 (August 2018). Three more are Spider-man! from Amazing fantasy #15 (August 1962), The conversation from The amazing Spider-man volume 2, #38 (February 2002) and Spider-men from Spider-men #2 (August 2012). The 32-page facsimile of the first The amazing Spider-man issue, from March 1963, measures 260 × 175 × 3 mm and is bound in stapled paper wrappers reproducing the original design, including two pages of advertisements. It is protected in a blue printed paper wallet and loosely inserted. ¶ Second printing: 2022. 2340 Bernard Cornwell, Sharpe’s fortress, Richard Sharpe and the siege of Gawilghur, December 1803, in which Ensign Richard Sharpe wishes he had stayed a sergeant after he is put in terrible danger by Sergeant Obadiah Hakeswill at the impregnable Gawilghur’s ravine, illustrated by Douglas Smith. 229 × 152 × 30 mm. Pp. [i–viii], [1–2] 3–349 [350– 354]: [4] leaves of plates (facing pp. [iii], 84, 187 and 287). Type: Janson with Gainsborough Serif for display. Printed and bound by C & C Offset in full red cloth blocked in gold and black with design by Smith; dark grey endleaves. Dark grey slip case blocked in gold. Two maps are on pages [vi–vii] and [viii]. The illustrations are in scratchboard, with colour for the frontispiece. Third in Folio’s Sharpe series. 2341 Rachel Carson, silent spring, with an introduction by Margaret Atwood and an afterword by Edward O. Wilson, illustrations by Teagan White. 241 × 162 × 28 mm. Pp. [i–ix] x–xx [xxi–xxii], [1–3] 4–295 [296]: [9] leaves of colour plates (facing pp. 36, 58, 104, 156 and 204, and between pp. xvi–[xvii] and 280–281). Type: Legitima. Printed in brown and black by C & C Offset. Bound by them in full buckram blocked in gold, green and cream with a design by White; brown woodgrain-effect endleaves. Brown slip case. The plates at the beginning and end reproduce eight photographs of nature taken for the 1970s Documerica project. White provided the remaining two-colour images, including an illustrated title-page, using ink and gouache. 2342 The best short stories of Fyodor Dostoyevsky, translated by David Magarshack, with an introduction by Joyce Carol Oates, engravings by Harry Brockway. 240 × 165 × 25 mm. Pp. [i–vi] vii–xxiv, [1–2] 3–232 [233–236]. Type: Ehrhardt with Latin Condensed for display. Printed by Memminger MedienCentrum. Bound by Josef Spinner in blocked quarter dark red buckram and printed cloth boards with design by Brockway; dark red endleaves. Black slip case. Published to mark the 200th anniversary of Dostoyevsky’s birth, seven stories are included. Each is accompanied by a full-page wood-engraving by Brockway in the text. 2343 Neil Sheehan, a bright shining lie. 253 × 175 × 39–47 mm. 2 vols (see below). Type: Miller. Printed and bound by Graphicom in printed and blocked pale brown cloth; brown endleaves. Pale brown slip case printed with illustration by Mark Smith. Plates primarily reproduce photographs taken in Vietnam and America, dating from 1945 to 1972. The two volumes are as follows: [1] Neil Sheehan, a bright shining lie, John Paul Vann and America in Vietnam, introduced by George Packer. Pp. [i–vi] vii–xvi [xvii–xxvi], [1–2] 3–437 [438]: [17] leaves of plates. Maps are on pp. [xxii–xxv].

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[2] Neil Sheehan, a bright shining lie, John Paul Vann and America in Vietnam. Pp. [i–vi] vii–x [xi–xvi], [439–440] 441–988: [17] leaves of plates. Maps are on pp. [xii–xv]. 2344 Bram Stoker, Dracula, introduction by John Banville, illustrations by Angela Barrett. 252 × 176 × 36 mm. Pp. [i–iv] v–xv [xvi–xviii], [1–4] 5–377 [378–382]: [15] leaves of colour plates. Type: Bernard with Clifford for display. Printed and bound by Graphicom in full black cloth blocked in metallic red and gold with design by Barrett. Dark red top edge; dark red endleaves. Slip case printed with marbled paper design by Jemma Lewis. As item 2241 but with a new binding (based on the original slip case design), without limitation and first two plates swapped round. ¶ Second printing: 2022. 2345 Samuel Beckett, waiting for Godot, a tragicomedy in two acts, with illustrations by Quentin Blake. 280 × 187 × 19 mm. Pp. [1–8] 9–128 [129–136]. Type: Fournier with Gill Sans for display. Printed and bound by C & C Offset in cloth printed with a design by Blake; pale brown flecked endleaves. Dark blue slip case blocked in gold with a design based on Blake’s handwriting. Blake has provided 24 purple ink drawings, 11 of which are double-page spreads. 2346 Nan Shepherd, the living mountain, introduced by Robert Macfarlane, illustrated by Rose Strang. 220 × 162 × 19 mm. Pp. [i–iv] v–xxix [xxx], [1–2] 3–100 [101–104]: [9] leaves of plates (facing pp. [iii], [xxx], 17, 25, 32, 41, 56, 73 and [88]). Type: Columbus with Baker Signet for display. Printed and bound by Kösel in full printed cloth with design by Strang; dark blue endleaves. Dark blue slip case. The first plate reproduces a photograph of Shepherd in her mid-twenties. Strang provided seven colour landscapes and a map of the Cairngorm plateau. Two hundred copies were issued with a tipped-in printed slip signed by both the introducer and illustrator. 2347 Michael Wood, in search of the dark ages. 252 × 177 × 31 mm. Pp. [i–iv] v–xxiv [xxv–xxviii], [1–2] 3–305 [306]: [17] leaves of plates. Type: Stone Serif with Phalanx for display. Printed and bound by Graphicom in full blue paper printed and blocked with a design by Florian Schommer; pale blue endleaves. Pale blue slip case. Two maps by Kevin Freeborn are on pages [xxvi–xxvii]. The plates, 12 of which are in colour, primarily reproduce photographs of archaeological sites and artefacts. First published in 1981, Wood has revised the text, and provided two new chapters, plus an introduction, epilogue and bibliography. 2348 Alice Walker, the color purple, illustrated by Lela Harris. 227 × 151 × 28 mm. Pp. [i–iv] v–x, [1–4] 5–259 [260–262]: [7] leaves of colour plates (facing pp. [iii], 54, 71, 87, 102, 135 and 230). Type: Berkeley. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full printed and blocked cloth with design by Harris; purple endleaves. Printed slip case. Each of Harris’s charcoal drawings include a flash of purple. Runner-up of the Book Cover Illustration category at the V&A Illustration Awards 2022. 2349 The book of dust, vol. I, La Belle Sauvage, Philip Pullman, illustrated by Peter Bailey, with a new preface by the author. 241 × 163 × 36 mm. Pp. [i–iv] v–xii [xiii–xvi], [1–4] 5–405 [406–408]: [11] leaves of colour plates (facing pp. [iii], 56, 88, 136, 169, 216, 241, 288, 313, 361 and 376). Type: Caslon. Printed and bound by Neografia in full cloth printed and blocked with design by Bailey; silver endleaves. Black slip case decorated on one side with titling design printed in silver. 2350 Georgette Heyer, Venetia, introduced by Stephen Fry, illustrations by Sally Dunne. 240 × 164 × 32 mm. Pp. [i–iv] v–xvi, [1–2] 3–359 [360]: [6] leaves of colour plates (facing pp. [iii], 81, 128, 169, 264 and 344).

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Type: Aria Text. Printed and bound by L.E.G.O. in purple-blue cloth blocked with a design by Jessica ische; orange endleaves. Dark purple slip case printed with portrait of Miss Venetia Lanyon by Dunne. H 2351 Dante, the divine comedy. 223 × 149 × 26–35 mm. 3 vols (see below). Type: Dante. Printed by L.E.G.O. Bound by them in blocked full black goatskin leather; printed edges with lettering designs. Printed endleaves (a different repeat design for each volume). Black ribbon marker. Clamshell box in dark blue cloth lined in black paper with printed paper label titled (as above). Contains an ingenious drawer construction, printed with designs in red, grey and blue. Neil Gower has provided illustrations for each of the cantos, alongside frontispieces, lettering, prints, bindings, endleaves and slip case (inside and out). Loosely inserted are three colour prints contained in a protective paper wallet printed with a marbled design by Jemma Lewis. The three volumes are as follows: [1] Dante Alighieri, the divine comedy, volume one, inferno, translated by Robin Kirkpatrick, with an essay by Jhumpa Lahiri and essays by George Holmes, illustrations by Neil Packer. Pp. [1–2], [i–iv] v–cxxxvii [cxxxviii], [1–2] 3–199 [200–202]: [1] plate (facing p. [iii]). Printed in red and black. Blocked in copper; edges printed in red. Endleaves printed in red. The edition statement, printed letterpress by Hand and Eye, has been tipped in on page [i] and reads in part ‘limited to 700 numbered copies signed by the artist and 20 lettered copies hors de commerce’. [2] Dante Alighieri, the divine comedy, volume two, purgatorio, translated by Robin Kirkpatrick, with an introduction by George Holmes, illustrations by Neil Packer. Pp. [i–iv] v–xxii, [1–2] 3–200: [1] plate (facing p. [iii]). Printed in grey and black. Blocked in silver; edges printed in grey. Endleaves printed in grey. [3] Dante Alighieri, the divine comedy, volume three, paradiso, translated by Robin Kirkpatrick, with an introduction by George Holmes, illustrations by Neil Packer. Pp. [i–iv] v–xxxiii [xxxiv], [1–2] 3–201 [202–204]: [1] plate (facing p. [iii]). Printed in blue and black. Blocked in metallic blue; edges printed in blue. Endleaves printed in blue. 2352 The meaning of mice, translated for humans by Charles van Sandwyk. 143 × 112 × 11 mm. Pp. [1–20]. Hand-drawn lettering. Printed in colour and bound by C & C Offset in full dark green paper blocked in gold with a printed inset illustration; printed endleaves. Not issued in a slip case. Concertina style binding. ‘Befitting my stature, this is a short tale, quietly told’ with six pages of illustrated text, 12 full-page illustrations and an illustrated title-page. Charming. 2353 Aurora Australis. 2 vols (see below). Bound by Ludlow Bookbinders. Cream cloth two-volume clamshell box, with spine titled (as above) in dark red and inset calfskin label blind blocked. Published to commemorate the centenary of Ernest Shackleton’s death. The two volumes are as follows: [1] Aurora Australis. [Facsimile]. 274 × 210 × 40 mm. Pp. [1–194]. Printed by Pureprint. Quarter bound in blind blocked brown calfskin with beechwood boards sewn with green twine. The original publishing statement records ‘Published at the winter quarters of the British Antarctic expedition, 1907, during the winter months of April, May, June, July, 1908. Illustrated with lithographs and etchings; by George Marston.’ The edition statement has been added to a back leaf and reads in part ‘limited to 500 numbered copies and 20 lettered copies hors de commerce’. The copy used, both inside and out, was presented to Rudyard Kipling and is now held by the library of Dulwich College, London. The first book produced in Antarctica, printed in red and black ink by Ernest Joyce and Frank Wild, and bound by Bernard Day using packing cases for the boards. They made an estimated 60 to 100 copies.

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[2] Printed at the sign of the penguins, Aurora Australis (1908), a commentary by Jan Piggott. 255 × 190 × 3 mm. Pp. [1–2] 3–16. Type: Caslon. Printed letterpress by Hand and Eye. Sewn with brown thread into green paper wrappers blocked in dark red with title.

2022

2022 2354 Love poems, selected and introduced by Imtiaz Dharker, illustrated by Mikki Lee. 253 × 178 × 33 mm. Pp. [i–iv] v–xv [xvi], [1–2] 3–230 [231–234]: [7] leaves of colour plates (facing pp. 57, 75, 91, 110, 136, 181 and 199). Type: Minion. Printed and bound by C & C Offset in dark blue cloth blocked in gold and red; red flecked endleaves. Red slip case blocked with a single heart in gold. Lee has also provided a coloured frontispiece. Includes 155 diverse poems. Two hundred copies were issued with a tipped-in printed slip signed by both Dharker and Lee. 2355 Ulysses, James Joyce, edited by Danis Rose and John O’Hanlon, illustrated and introduced by John Vernon Lord. 291 × 207 × 73 mm. Pp. [1–2], [i–vi] vii–xlviii, [1–4] 5–712 [713–718]: [19] leaves of plates. Type: Dante. Printed in dark red and black by Northend and bound by Smith Settle in full dark green leather blocked in gold with design by Lord. Gilded top edge; dark green endleaves printed with map in brown. Green ribbon markers. Clamshell box bound in dark orange cloth with inset paper label printed with portrait of Joyce. Loosely inserted is a colour print with a further illustration contained in a protective green paper printed wallet. The edition statement reads in part ‘signed by the artist and limited to five hundred numbered copies and twenty lettered copies hors de commerce’. A limited edition of item 2086 from 2017. The introduction to the illustrations has been updated to reflect the additional print and the wallet design originally used for the slip case. 2356 Shirley Jackson, the haunting of Hill House, introduced by Joyce Carol Oates, illustrated by Angie Hoffmeister. 222 × 144 × 26 mm. Pp. [i–vi] vii–xvi [xvii–xviii], [1–2] 3–206 [207–214]: [11] leaves of colour plates (facing pp. [v], 79 and 135, and between pp. 54–55, 110–111, [190]–191 and 206–[207]). Type: Arno with Zachar for display. Printed and bound by Graphicom in full printed and blocked paper with design by Hoffmeister; blue endleaves. Printed slip case. In addition to the plates, Hoffmeister contributed tail-pieces for the nine chapters. Four of the plates are double-page spreads. Two hundred and fifty copies were issued with a tippedin limitation signed by Oates and Hoffmeister. Bound in full dark blue cloth printed in cream and blocked in copper adapted from original design; dark blue endleaves with a spiral staircase design in metallic blue. Loosely inserted is a colour print with a further illustration contained in a protective blue paper wallet. Clamshell box bound in printed paper. ¶ Second printing: 2022. 2357 [The Roald Dahl collection, set 2]. 229 × 152 × 22–23 mm. 3 vols (see below). Type: Baskerville. Printed and bound by C & C Offset in series binding (see item 2338). The three volumes are as follows: [1] Roald Dahl, the BFG, with an introduction by Donald Sturrock, illustrated by Quentin Blake. Pp. [i–iv] v–xiv, [1–3] 4–200 [201–202]. Pale green-blue cloth printed in pale blue, pink and black; pale blue endleaves. Pink ribbon marker. [2] Roald Dahl, the Witches, illustrated by Quentin Blake. Pp. [i–iv] v [vi], 1–199 [200–202]. Pale green cloth printed in purple and pale green; purple endleaves. Pale green ribbon marker. [3] Roald Dahl, Matilda, illustrated by Quentin Blake. Pp. [i–iv] v [vi], 1–232 [233–234]. Pale grey cloth printed in blue, red and black; red endleaves. Blue ribbon marker.

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2358 Kurt Vonnegut, cat’s cradle, with an introduction by Michael Dirda, illustrated by Joonho Ko. 241 × 162 × 26 mm. Pp. [i–iv] v–xxi [xxii], [1–6] 7–208 [209–210]: [7] leaves of colour plates (facing pp. [iii], 11, 58, 90, 122, 154 and 187). Type: Minion. Printed and bound by Gomer Press in full printed and blocked paper with a design by the artist; dark blue endleaves. Dark blue slip case blocked with a cat’s cradle design in metallic blue. This is the first illustrated edition of the novel. 2359 Marvel: Hulk, selected and introduced by Roy Thomas, with a facsimile of The incredible Hulk #1. 265 × 179 × 32 mm. Pp. [i–iv] v–xv [xvi], [1–288]. Type: Miller with Benton Sans for display. Printed and bound by Kösel in three-quarter printed paper with narrow green cloth on boards blocked in cream and black with design by Jim Cheung; green endleaves printed with sketches by Cheung in black. Green cloth slip case blocked in paler green with fist design. Opens with two reproductions from the Tales to astonish series A titan rides the train! #63 ( January 1965) and Let there be battle! #100 (February 1968). Then reproduces from The incredible Hulk series Heaven is a very small place! #147 ( January 1972), Spawn of the flesh-eater! #162 (April 1973), Revenge! #171 ( January 1974), Between Hammer and Anvil! #182 (December 1974), Monster #312 (October 1985), Honey, I shrunk the Hulk #377 ( January 1991) and Lest darkness come #420 (August 1994). Two more are from The incredible Hulk volume 2, Dear Betty . . . #24 (March 2001) and Planet Hulk – exile: part one #92 (April 2006). The final story is The walking ghost from The immortal Hulk #2 (September 2018). The 32-page facsimile of the first The incredible Hulk issue, from May 1962, measures 260 × 175 × 3 mm and is bound in stapled paper wrappers reproducing the original design, including two pages of advertisements. It is protected in a purple printed paper wallet and loosely inserted. 2360 The Tudor age, 1485–1603, Susan Brigden. 252 × 178 × 42 mm. Pp. [i–iv] v–xvii [xviii–xxiv], [1–2] 3–471 [472]: [20] leaves of colour plates. Type: Poliphilus with Goudy for initial drop capitals. Printed and bound by L.E.G.O. in full printed and blocked cloth; gold endleaves. Blue slip case blocked with rose in darker blue. A map by Kevin Freeborn is on page [xxi] and a House of Tudor family tree is on pages [xviii– xix]. The plates focus on portraits, from Henry VII and Sir Thomas More to Sir Walter Ralegh and Elizabeth I. First published in 2000 by Allen Lane under the title New worlds, lost worlds. 2361 Sylvia Plath, the bell jar, introduced by Heather Clark, illustrations by Alexandra Levasseur. 223 × 145 × 27 mm. Pp. [i–iv] v–xiii [xiv–xvi], 1–225 [226–232]: [8] leaves of colour plates (facing pp. [iii], 49, 80, 145, 176 and 200, and between pp. 112–113). Type: Verdigris. Printed and bound by Neografia in full red cloth blocked in white and black with design by Levasseur; red endleaves. Red slip case with rectangles design in black. One of the plates is a double-page spread. 2362 Agatha Christie, sparkling cyanide, illustrations by Michael Philip Dunbabin. 226 × 151 × 26 mm. Pp. [i–iv] v–vii [viii], [1–4] 5–234 [235–240]: [7] leaves of colour plates (facing pp. [iii], 32, 96, 120, 152, 209 and 224). Type: Bell with Kabel for display. Printed by Memminger MedienCentrum. Bound by Josef Spinner in three-quarter black cloth with printed and blocked paper front board with design by Dunbabin; dark pink endleaves. Dark pink slip case. 2363 Steve Brusatte, the rise and fall of the dinosaurs, the untold story of a lost world, with a new foreword by the author and illustrations by Davide Bonadonna. 253 × 175 × 34 mm. Pp. [i–vii] viii–xiii [xiv–xvi], [1] 2–274 [275–280]: [20] leaves of colour plates. Type: Nocturne Serif. Printed and bound by Gomer Press in full printed and blocked cloth with a design by Bonadonna; green endleaves. Printed slip case. The plates primarily reproduce photographs of fossils. Bonadonna also contributed a gate-fold illustration and a title-page spread. A folded double-sided poster of maps, a timeline and dinosaur family tree is loosely inserted in a corner pocket pasted onto the back endleaf.

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¶ Second printing: 2023. 2364 Hannah Arendt, the origins of totalitarianism. 253 × 176 × 37–38 mm. 2 vols (see below). Type: Dante with Kabel for display. Printed and bound by L.E.G.O. Quarter bound in blocked cloth with paper boards printed with designs by Jamie Keenan. Printed slip case. Plates primarily reproduce photographs and posters. This is the first illustrated edition of a history first published in 1951. The two volumes are as follows: [1] Hannah Arendt, the origins of totalitarianism, with an introduction by Anne Applebaum. Pp. [i–vii] viii–xv [xvi], [1–5] 6–338, [N1] N2–N67 [N68]: [21] leaves of plates. Quarter bound in red cloth blocked in black and white; black endleaves. [2] Hannah Arendt, the origins of totalitarianism. Pp. [i–vii] viii–x, [339] 340–591 [592], [N69] N70–N207 [N208], [1–6]: [19] leaves of plates. Quarter bound in black cloth blocked in red and white; red endleaves. 2365 Shackleton’s Antarctica. 253 × 174 × 42–49 mm. 3 vols (see below). Type: Century. Printed and bound by Graphicom in full dark blue speckled silver cloth, printed and blocked in silver. Silver top edges; pale blue endleaves. Pale blue-white cloth slip case with label blocked in silver (titled as above) and lined with printed paper. Colour plates primarily reproducing watercolours by George Marston are accompanied by plentiful photographs from the Nimrod and Endurance expeditions in black and white plates plus further images in the text. Loosely inserted are three folded maps and two panoramas on one folded sheet contained in a protective dark blue paper wallet titled in silver. Although dated ‘2021’ on the title-pages it was not ready until the following year. The three volumes are as follows: [1] Sir Ernest Shackleton, the heart of the Antarctic, being the story of the British Antarctic expedition 1907–1909, volume I, with an introduction by Alexandra Shackleton. Pp. [i–iv] v–lviii, [1–2] 3–298 [299–300], [1–6]: [7] leaves of colour plates (facing pp. [iii], 42, 66, 76, 100, 166 and 194). [2] Sir Ernest Shackleton, the heart of the Antarctic, being the story of the British Antarctic expedition 1907–1909, volume II. Pp. [i–iv] v–xvi, 301–690 [691–694]: [7] leaves of colour plates (facing pp. [iii], 320, 344, 360, 418, 492 and 498). [3] Sir Ernest Shackleton, south, the story of Shackleton’s last expedition 1914–1917, illustrated with photographs by Frank Hurley. Pp. [i–iv] v–xxi [xxii], [1–2] 3–370. A folded map of the voyage taken by the Endurance and the subsequent relief attempts is loosely inserted in a corner pocket pasted onto the back endleaf. 2366 The lord of the rings, J.R.R. Tolkien. 305 × 204 × 42–53 mm. 3 vols (see below). Type: Dante with Testament for display. Printed in dark red and black by L.E.G.O. Bound by them in quarter dark red leather and dark blue cloth boards blocked in silver with an inset label (a different illustration for each volume). Silver top edges; printed endleaves. Dark red ribbon markers. Three-volume dark blue cloth slip case lined with printed paper and blocked in silver and gold (titled as above). The edition statement, printed letterpress by Hand and Eye, reads in part ‘limited to 1,000 copies, signed and numbered by Alan Lee, with 25 lettered copies hors de commerce’. Colour plates have been tipped within decorative borders. In addition to the plates, binding, endleaves, slip case and borders, Lee has provided chapter headings and roundels. Accompanied by two maps by Christopher Tolkien cased in full dark red cloth blocked with title design in silver and a colour print contained in a protective silver paper wallet with a roundel printed in dark red. The three volumes are as follows:

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[1] J.R.R. Tolkien, the fellowship of the ring, being the first part of the lord of the rings, illustrated by Alan Lee. Pp. [1–2], [i–vi] vii–lii, [1–6] 7–443 [444]: [19] leaves of colour plates. Includes a note on the text by Douglas A. Anderson followed by a note on the revised text by Wayne G. Hammond and Christina Scull. [2] J.R.R. Tolkien, the two towers, being the second part of the lord of the rings, illustrated by Alan Lee. Pp. [1–2], [i–iv] v–x, [1–6] 7–377 [378]: [17] leaves of colour plates. [3] J.R.R. Tolkien, the return of the king, being the third part of the lord of the rings, illustrated by Alan Lee. Pp. [1–2], [i–iv] v–xii, [1–6] 7–489 [490–496]: [17] leaves of colour plates. Concludes with six appendices plus an index compiled by Christina Scull and Wayne G. Hammond. 2367 John Keay, India, a history. 253 × 178 × 36–37 mm. 2 vols (see below). Type: Warnock with Quadraat for display. Printed and bound by L.E.G.O. in printed and blocked green and orange cloths; pale green-brown endleaves printed with repeat elephant design in grey. Pale green-brown slip case decorated with a single elephant blocked in black. Florian Schommer designed the binding, endleaves and slip case. Plates primarily reproduce oil paintings, watercolours, sculpture and photographs. Maps, charts and tables are also in the text. The two volumes are as follows: [1] John Keay, India, a history. Pp. [i–v] vi–xxxvi, [1–3] 4–360, [1–4]: [24] leaves of colour plates. [2] John Keay, India, a history. Pp. [i–vii] viii–xi [xii–xvi], [361–363] 364–754 [755–760]: [24] leaves of colour plates. 2368 Bill Bryson, a walk in the woods, illustrated by James Weston Lewis. 241 × 161 × 28 mm. Pp. [i–vi], 1–285 [286–290]: [4] leaves of colour plates (facing pp. 42 and 194, and between pp. 98–99). Type: Kennerley with Source Sans for display. Printed and bound by Gomer Press in full blue-green cloth blocked in brown and cream with a design by Lewis; dark green endleaves. Dark green slip case blocked with a pair of walking boots in brown. In addition to the plates, Lewis has also supplied ten vignettes, a title-page spread and a redrawn map of the Appalachian trail on page [vi]. One of the plates is a double-page spread. 2369 Simon Ball, Alamein. 228 × 149 × 25 mm. Pp. [i–iv] v–xii [xiii–xviii], [1–2] 3–227 [228–230]: [8] leaves of plates (between pp. 46–47 and 126–127). Type: Garamond. Printed by Memminger MedienCentrum. Bound by Josef Spinner in three-quarter brown cloth blocked in gold with narrow printed paper on boards designed by Geoff Grandfield; black endleaves. Black slip case. Maps redrawn by Kevin Freeborn are on pages [xvii–xviii]. The plates primarily reproduce photographs, watercolours and posters. Fourth in a great battles series. 2370 Gertrude Bell, Syria, the desert and the sown, introduced by Dawn Chatty, with photographs by the author and an accompanying map detailing the author’s route. 252 × 178 × 31 mm. Pp. [i–vii] viii–xxvi, [1–3] 4–308 [309–310]: [1] colour plate (facing p. [iii]). Type: Garamond with Scrivano for display. Printed by Memminger Medien Centrum. Bound by Josef Spinner in full green cloth blocked in copper and brown with a design by Yehrin Tong; pale green endleaves. Green slip case. More than 150 photographs from the Gertrude Bell archive held by Newcastle University are reproduced in the text. The plate reproduces a watercolour by John Singer Sargent of two Bedouins. Accompanied by a folded map, reproduced from the first edition of 1907, cased in full green cloth blocked in copper with dimensions of 252 × 173 × 9 mm. 2371 A perfect spy, John le Carré, illustrations by Sam Green. 240 × 162 × 48 mm. Pp. [i–iv] v [vi–xii], [1–2] 3–589 [590–596]: [8] leaves of colour plates (facing pp. 84, 148, 220, 252, 316, 364, 444 and 557). Type: Imprint

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with Laima for display. Printed and bound by Graphicom in full black cloth printed in green and blocked in silver with design by Green. Black top edge; green endleaves. Printed and blocked slip case. This is the first illustrated edition of a work originally published by Hodder & Stoughton in 1986. 2372 Ursula K. Le Guin, the tombs of Atuan, illustrated by David Lupton. 228 × 151 × 22 mm. Pp. [i–iv] v–vii [viii–xii], [1–2] 3–166 [167–172]: [7] leaves of colour plates (facing pp. [iii], 36, 53, 68, 93, 108 and 132). Type: Garamond with Dulcinea Serif for display. Printed by L.E.G.O. and bound by them in full printed and blocked cloth with design by Lupton; endleaves printed with map. Brown slip case. The second in the Earthsea series. 2373 Half of a yellow sun, Chimamanda Ngozi Adichie. Illustrated by Unyime Edet. 240 × 163 × 43 mm. Pp. [i–iv] v–vii [viii], [1–8] 9–518 [519–520]: [7] leaves of colour plates (facing pp. [iii], 9, 73, 120, 184, 424 and 504). Type: Freight Text with P22 Typewriter for display. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full grey cloth printed in black and blocked in yellow with design by Edet; yellow endleaves. Black slip case blocked with sun design in yellow. Edet’s watercolours make for the first illustrated edition of a work originally published in Britain by 4th Estate in 2006. 2374 Hunter S. Thompson, fear and loathing in Las Vegas, a savage journey to the heart of the American dream, illustrated by Ralph Steadman, introduced by David Mamet. 241 × 161 × 31 mm. Pp. [i–iv] v–xii [xiii–xiv], [1–6] 7–211 [212–218]. Type: Electra with hand-drawn lettering for the title and Alternate Gothic for display. Printed and bound by Gomer Press in full orange cloth printed in black and blocked in silver and metallic green with a design based on first U.S. book edition; dark silver endleaves. Printed slip case with title design. Adopting the pseudonym Raoul Duke, Thompson’s story (and Steadman’s illustrations) was originally published in two parts by Rolling stone magazine in 1971. Neil Gower coloured the illustrations for this edition. ¶ Second printing: 2022. ¶ Third printing: 2023. 2375 Philip K. Dick, selected short stories, introduced by Jonathan Lethem. 253 × 177 × 48 mm. Pp. [i–iv] v–xviii, [1–2] 3–625 [626–630]: [24] leaves of colour plates. Type: Mentor with Futura for display. Printed by L.E.G.O. and bound by them in full blue cloth blocked in red and green with design by La Boca; edges printed in greens. Endleaves printed with repeat design in red and pink. Red and pink ribbon markers. Black slip case lined with printed paper and blocked in silver with section removed to expose front board. Inspired by the limited edition The complete short stories (item 2317) but in one volume and limited to the 24 illustrated stories. 2376 Mervyn Peake, the Gormenghast trilogy. 248 × 172 × 36–51 mm. 3 vols (see below). Type: Albertina. Printed in colour by Graphicom. Bound by them, with an exposed printed spine, in printed cloth (a different design for each volume); black printed edges. Clamshell box in pale grey cloth printed in black and blocked in metallic red with design by Dave McKean; lined in black paper printed in silver. Loosely inserted is a colour print of Steerpike contained in a protective black paper wallet printed with same design as box lining. Illustrated throughout by McKean, including three title-page spreads. The three volumes are as follows: [1] Titus Groan, Mervyn Peake, introduced by Neil Gaiman, illustrated by Dave McKean. Pp. [i–viii] ix–xvii [xviii–xx], 1–505 [506–508]. An edition statement, signed by McKean and Gaiman, has been tipped in on page [iii] and reads in part ‘limited to 750 numbered copies and 25 lettered copies hors de commerce’. [2] Gormenghast, Mervyn Peake, illustrated by Dave McKean. Pp. [i–viii], 1–534 [535–536].

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[3] Titus alone, Mervyn Peake, illustrated by Dave McKean. Pp. [i–vi] vii–viii [ix–x], [1] 1–289 [290–294]. 2377 The tale of Peter Rabbit, the Warne archive collection. 6 vols (see below). Reprographics by Pureprint. Clamshell box by Tiny Box Maker in pale blue cloth titled (as above) blocked in silver and decorated in blue, lined with dark blue paper printed with repeat design in silver. The six volumes are as follows: [1] The tale of Peter Rabbit, by Beatrix Potter. [Facsimile]. 149 × 109 × 12 mm. Pp. [1–88]. Printed and bound by Pureprint in full pale brown paper decorated in black; white endleaves. A reproduction of the privately printed edition of 1901. Rests in its own recess of the box. [2] The tale of Peter Rabbit, by Beatrix Potter. [Facsimile]. 130 × 95 × 11 mm. Pp. [1–88]. Printed and bound by Pureprint in clear paper. A reproduction of the maquette produced by Potter for Frederick Warne in 1902. Protected in a dark blue paper folder decorated in silver. Rests in its own recess of the box. [3] The tale of Peter Rabbit, by Beatrix Potter. [Facsimile]. 143 × 107 × 13 mm. Pp. [i–ii], [1–7] 8–97 [98–102]. Printed and bound by Pureprint in full orange cloth decorated in brown with inset printed paper label; printed endleaves. A reproduction of the first commercial de luxe edition of 1902. Rests in its own recess of the box. [4–5] [Letters]. [Facsimiles]. [My dear Noel]. 203 × 123 × 1 mm. Pp. [i–viii]; [Five Christmas letters]. 82 × 42 × 1 mm. Printed and bound by Pureprint. Peter’s adventures first appeared in an illustrated letter Potter wrote in 1893 to amuse Noel Moore, the son of the author’s last governess. The five miniature illustrated notes, that fold out to the above dimensions, are addressed to Flopsy, Cotton-tail, Peter and Miss Rabbit, plus Tom Kitten. They are loosely inserted into a blue card with flaps to secure them. Accompanied by an edition statement, printed letterpress by Hand and Eye, which states in part ‘limited to one thousand hand-numbered copies and twenty lettered copies hors de commerce’, and a colour print of Peter. All are loosely inserted in a dark blue paper wallet decorated in silver for which there is a pocket pasted in the box’s lining. [6] The tale of Peter Rabbit, a commentary, with a foreword by Emma Thompson, and an essay by Sara Glenn. 240 × 170 × 8 mm. Pp. [1–4] 5–73 [74–80]. Type: Caslon. Printed and bound by Kingsbury Press in full paper blocked with design in silver. The volume lies in the pocket of the box lining. 2378 Neverwhere, Neil Gaiman, introduced by Susanna Clarke. Illustrated by Chris Malbon. 253 × 176 × 36 mm. Pp. [1–4], [i–iv] v–xiv [xv–xviii], [1–2] 3–347 [348–352]: [9] leaves of colour plates (facing pp. 44, 84, 119, 166, 193, 264, 346, and between pp. 228–229). Type: Mentor with Tommaso for display. Printed and bound by L.E.G.O. in full cloth printed and blocked with design by Malbon. Dark grey-blue endleaves. Printed and blocked slip case. One of the plates is a double-page spread. In addition to the plates, binding and slip case, Malbon has provided a title-page spread, chapter headings plus a double-page spread of a City of London roofscape which opens and closes the book. Concludes with Gaiman’s short story How the Marquis got his coat back. 2379 Haruki Murakami, Norwegian Wood, translated from the Japanese by Jay Rubin, illustrations by Daniel Liévano. 253 × 177 × 33 mm. Pp. [i–iv] v [vi–viii], [1–2] 3–332 [333–336]: [13] leaves of colour plates (facing pp. [iii], and between pp. 32–33, 48–49, 80–81, 128–129, 160–161 and 296–297). Type: Arno with Futura for display. Printed in green and black by L.E.G.O. Bound by them in full red cloth blocked in copper and black with design by Liévano; orange endleaves printed with line drawings in dark green. Red slip case blocked in copper

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with small section removed to expose front board. Six of the plates are double-page spreads, with drawings by Liévano on their versos and in the text. 2380 All hell let loose, Max Hastings. 250 × 178 × 35–36 mm. 2 vols (see below). Type: Galliard with Helvetica for display. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full green cloth printed in black and blocked in silver (a different design by Mark Smith for each volume); black endleaves. Grey cloth two-volume slip case titled (as above) in pale green and illustration in black by Smith. Plates reproduce photographs from the period and ten maps by John Gilkes are in each volume. The two volumes are as follows: [1] Max Hastings, all hell let loose, the world at war 1939–45, with a new preface by the author. Pp. [i–v] vi–xxiv [xxv–xxvi], [1–3] 4–372, [1–2]: [17] leaves of plates (facing p. [iii] and between pp. 54–55, 134–135, 230–231 and 310–311). [2] Max Hastings, all hell let loose, the world at war 1939–45. Pp. [i–v] vi–ix [x–xii], [373–375] 376–782 [783–784]: [17] leaves of plates (facing p. [iii] and between pp. 424–425, 504–505, 568–569 and 648–649). 2381 Micrographia, or some physiological descriptions of minute bodies made by magnifying glasses, with observations and enquiries thereupon, by R. Hooke, Fellow of the Royal Society, [quotation from Horace], introduced by Ruth Scurr, and with a brief life by John Aubrey. 278 × 191 × 38 mm. Pp. [i–v] viii–xvii [xviii–xx], [1–9] 10–303 [304–308]: [38] leaves of plates. Type: Caslon. Printed by Memminger MedienCentrum. Bound by Josef Spinner in quarter black cloth blocked in silver with blue paper boards printed with flea in black; silver endleaves printed in black. Black slip case with section removed to expose front board. As item 2106 but with a new binding, endleaves (based on the original slip case design) and without limitation. The absent limitation leaf was overlooked when reviewing the numbering of the preliminaries. 2382 On photography, Susan Sontag, introduced by Mia Fineman. 240 × 175 × 30 mm. Pp. [i–iv] v–xvi [xvii–xx], [1–4] 5–204: [21] leaves of plates. Type: Walbaum with Akzidenz Grotesk for display. Printed and bound by Kingsbury Press in full grey cloth blocked in silver with inset paper label printed with a photograph taken by Walker Evans in 1938. Silver top edge; pale green endleaves. Pale green slip case. 2383 Zora Neale Hurston, their eyes were watching god, introduced by Zadie Smith, illustrations by Diana Ejaita. 223 × 146 × 25 mm. Pp. [i–iv] v–xxi [xxii–xxiv], 1–203 [204–208]: [7] leaves of colour plates (facing pp. [iii], 16, 48, 64, 128, 144 and 176). Type: Garamond with Nidex for display. Printed and bound by Neografia in full printed and blocked green paper with design by Ejaita; red endleaves. Printed slip case. 2384 Henry James, the turn of the screw, introduced by Colm Tóibín, illustrated by Audrey Benjaminsen. 223 × 145 × 20 mm. Pp. [i–iv] v–xiv, [1–2] 3–153 [154]: [6] leaves of colour plates (facing pp. [iii], 18, 35, 98, 115 and 138). Type: Columbus. Printed and bound by Gomer Press in full printed and blocked paper; green endleaves printed with repeat design in gold. Slip case with same design as endleaves. In addition to the plates, there are decorative chapter headings and further motifs. Two hundred and fifty copies (plus ten lettered copies hors de commerce) were issued with a tipped-in limitation signed by Tóibín and Benjaminsen. Bound in full black goatskin leather blocked in copper, gold and silver adapted from original design; gilded top edge. Cloth slip case. 2385 Mary Shelley, Frankenstein, or the modern Prometheus, introduced by Richard Holmes, illustrations by Angela Barrett. 253 × 178 × 30 mm. Pp. [i–vi] vii–xxx, [1–2] 3–200 [201–202]: [8] leaves of colour plates (facing pp. [v], 35, 50, 74, 91, 122, 154 and 178). Type: Clifford with Operetta for display. Printed by Memminger MedienCentrum. Bound by Richard Mayer in full blue leather blocked in silver and black with design by

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Barrett. Silver edges. Pale blue endleaves. Black artificial silk-covered slip case blocked with design in silver on one side. Edition statement reads in part ‘limited to 750 copies signed by the artist and 25 lettered copies hors de commerce’. Barrett has also provided decorative borders for the plates and tail-pieces. The text follows that of the 1831 edition, with minor emendations. 2386 Michael Ende, the neverending story, translated by Ralph Manheim, illustrated by Marie-Alice Harel. 252 × 192 × 39 mm. Pp. [1–2] [i–iv] v–vii [viii], [1–2] 3–415 [416–422]: [9] leaves of colour plates (facing pp. 39, 70, 126, [174], 254, 302, 382, and between pp. 206–207). Type: Poppl-Pontifex with Duc De Berry for display. Printed in blue and brown by Memminger MedienCentrum. Bound by Josef Spinner in full orange-brown artificial silk blocked in silver, metallic blue and black with design by Harel. Printed edges; printed endleaves. Printed slip case. In addition to the plates, endleaves, binding and slip case, Harel has provided a title-page spread, decorative initials for each chapter opening and further drawings in the text. One hundred and fifty copies were issued with a tipped-in limitation signed by Harel. The slip reads in part ‘published in 2022 in celebration of 75 years of the Folio Society. The edition, signed by the artist, is limited to 75 numbered copies, with a further 75 copies in Roman numerals hors de commerce.’ ¶ Second printing: 2023. ¶ Third printing: 2023. 2387 Georgette Heyer, Arabella, illustrations by Sally Dunne. 241 × 164 × 29 mm. Pp. [i–iv] v [vi], [1–2] 3–299 [300–306]: [6] leaves of colour plates (facing pp. [iii], 59, 146, 210, 258 and 290). Type: Aria Text. Printed and bound by L.E.G.O. in orange cloth blocked with a design by Jessica Hische; purple endleaves. Orange slip case printed with portrait of Miss Arabella Tallant by Dunne. 2388 Cormac McCarthy, blood meridian, illustrated by Gérard DuBois. 228 × 151 × 29 mm. Pp. [i–iv] v [vi–x], 1–303 [304–310]: [6] leaves of colour plates (facing pp. 14, 63, 103, 150, 198 and 247). Type: Maxime. Printed and bound by L.E.G.O. in full printed and blocked paper with a design by DuBois; black endleaves. Black slip case. In addition to the plates, DuBois provided a title-page spread. ¶ Second printing: 2023. 2389 Judith Herrin, Byzantium, the surprising life of a medieval empire, with a new preface by the author. 253 × 177 × 43 mm. Pp. [i–v] vi–xxv [xxvi], [1–3] 4–428 [429–430]: [14] leaves of colour plates. Type: Bembo Book with Baker Signet for display. Printed and bound by Neografia in full cloth printed with detail from mosaic and blocked in gold; dark blue-green endleaves. Dark blue-green slip case blocked with cross in silver and gold. The plates reproduce photographs ranging from mosaics and frescoes to manuscripts and metalwork. Six maps are on pages [389–399] and further black and white illustrations are in the text. 2390 George R.R. Martin, a dance with dragons. 252 × 176 × 46–49 mm. 2 vols (see below). Type: Vendetta with Esmeralda for display. Printed in golden brown and black by L.E.G.O. Bound by them in three-quarter purple-blue cloth blocked in gold. Pale blue cloth front boards printed in black and blocked in metallic pink or gold (a different design for each volume); pale blue endleaves printed with repeat sigils design. Dark blue printed and blocked decorative slip case lined with printed paper. Jonathan Burton has provided illustrations for plates, alongside chapter headings, bindings, endleaves and slip case (inside and out). The fifth title in the series. The two volumes are as follows: [1] George R.R. Martin, a dance with dragons, volume one, dreams and dust, book five of a song of ice and fire, [diamond symbol to indicate first volume], illustrations by Jonathan Burton. Pp. [i–iv] v–xi [xii–xiv], [1–2] 3–569 [570]: [10] leaves of colour plates (facing pp. [iii], 146, 186, 371, 434, 498, and between pp. 82–83 and 250–251).

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[2] George R.R. Martin, a dance with dragons, volume two, after the feast, book five of a song of ice and fire, [diamond symbols to indicate second volume], illustrations by Jonathan Burton. Pp. [i–iv] v–vii [viii], [571–572] 573–1109 [1110–1114]: [10] leaves of colour plates (facing pp. [iii], 626, 675, 738, 946, 978, and between pp. 770–771 and 882–883). An appendix updates the saga’s kings and their courts, accompanied by updated family trees, and details other houses, great and small, and those of Essos beyond the narrow sea. 2391 [Folio diary 2023]. 183 × 132 × 19 mm. Pp. [1–136]. Type: Gill Sans. Printed and bound by Gomer Press in full printed paper blocked in silver with a design by Lela Harris; pale blue endleaves. Not issued in a slip case. Title on binding. Twelve books from 2021 are featured. Each month begins with a full-page illustration from one of the books followed by details heading the subsequent pages. 2392 Ursula K. Le Guin, the farthest shore, illustrated by David Lupton. 228 × 150 × 26 mm. Pp. [i–iv] v–vii [viii], [1–2] 3–229 [230–232]: [8] leaves of colour plates (facing pp. [iii], 56, 73, 121, 136, 216, and between pp. 184–185). Type: Garamond with Dulcinea Serif for display. Printed by L.E.G.O. and bound by them in full printed and blocked cloth with design by Lupton; endleaves printed with map. Brown slip case. The third in the Earthsea series. 2393 Ian Fleming, for your eyes only, illustrated by Fay Dalton. 228 × 162 × 23 mm. Pp. [i–iv] v–ix [x], [1–4] 5–223 [224–230]: [7] leaves of colour plates (facing pp. [iii], 38, 55, 102, 158, 174 and 222). Type: Miller Text with Folio Bold Condensed for display. Printed and bound by L.E.G.O. in series binding (see item 2007). 2394 Introduced by Wendy Benchley, illustrated by Hokyoung Kim, Jaws, Peter Benchley. 229 × 161 × 28 mm. Pp. [i–iv] v–xv [xvi], [1–6] 7–303 [304]: [7] leaves of colour plates (facing pp. 9, 72, 128, 160, 201, 248 and 281). Type: Cardo with Clearface Gothic for display. Printed and bound by Graphicom in full printed and blocked paper with design by Hokyoung Kim; dark green-blue endleaves. Red slip case with shark head design in pale blue. Hokyoung Kim has also provided a title-page spread. ¶ Second printing: 2023. 2395 Marvel: Thor, selected and introduced by Roy Thomas, with a facsimile of Journey into mystery #83. 268 × 181 × 30 mm. Pp. [i–iv] v–xv [xvi], [1–272]. Type: Miller with Benton Sans for display. Printed and bound by Graphicom in three-quarter printed paper with narrow blue cloth on boards blocked in yellow and red with a design by John Romita Jr which was inked by Scott Hanna and coloured by Peter Steigerwald; yellow endleaves printed with sketches by Romita Jr in red. Blue cloth slip case blocked in grey and brown with hammer design. Opens with two reproductions from the Journey into mystery series Trapped by Loki, the god of mischief! #85 (October 1962) and The mighty Thor battles the incredible Hulk! #112 ( January 1965). Then reproduces from the Thor series Whom the gods would destroy! #126 (March 1966), Behind him . . . ragnarok! #157 (October 1968), Doom! #337 (November 1983), Like a bat out of hel! #362 (December 1985), Thor croaks! #364 (February 1986), Mjolnir’s song #380 ( June 1987), Diner #2 (October 2007) and If he be worthy #1 (December 2014). One more came from the Thor, god of thunder series The god butcher: a world without gods #1 ( January 2013). Superhero Thor made his debut in the Journey into mystery #83 issue (August 1962). The facsimile measures 260 × 175 × 3 mm and is bound in stapled paper wrappers reproducing the original design, including three pages of advertisements. It is protected in a yellow printed paper wallet and loosely inserted. 2396 Narrative of the life of Frederick Douglass, an American slave, written by himself, including “what to the slave is the fourth of July?”, introduced by Kwame Dawes. 204 × 136 × 23 mm. Pp. [i–iv] v–xlii, [1–2] 3–156 [157–158]: [7] leaves of colour plates (facing pp. [iii], 14, 31, 62, 79, 111 and 126). Type: Bell. Printed and bound by Gomer Press in full gold cloth printed in black with portrait and text blocked in black; dark red endleaves.

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Dark red slip case blocked with the line ‘You have seen how a man was made a slave; you shall see how a slave was made a man.’ The plates reproduce six framed daguerreotypes and an ambrotype of Douglass taken between approximately 1841 and 1856. 2397 Michio Kaku, parallel worlds, the science of alternative universes and our future in the cosmos, with a new introduction by the author. 240 × 162 × 38 mm. Pp. [i–vii] viii–xix [xx–xxii], [1–3] 4–439 [440–442]: [9] leaves of colour plates (facing pp. [iii], 42, 58, 122, 138, 186, 202, 298 and 314). Type: Garamond with Futura for display. Printed by Memminger MedienCentrum. Bound by Josef Spinner in quarter green cloth with printed paper boards; black endleaves. Black slip case. The plates largely reproduce images from NASA’s Hubble space telescope. 2398 Michael Palin, Pole to Pole, with a new introduction by the author. 240 × 162 × 29 mm. Pp. [i–iv] v–xiii [xiv], 1–305 [306]: [12] leaves of colour plates (between pp. 82–83, 178–179 and 258–259). Type: Meridien with Freight Sans for display. Printed by L.E.G.O. and bound by them in full printed cloth with design by Sara Mulvanny; blue endleaves. Blue slip case printed in silvers with hot air balloon design. Maps redrawn by Mulvanny are on pages [xiv], [48], [108], [193] and [275]. The plates primarily reproduce expedition photographs by Basil Pao. Mulvanny has also provided drawings of the methods of transport Palin used. 2399 The book of dust, vol. II, the secret commonwealth, Philip Pullman, illustrated by Peter Bailey. 241 × 166 × 46 mm. Pp. [i–iv] v–vii [viii–xiv], [1–2] 3–557 [558–562]: [11] leaves of colour plates (facing pp. [iii], 18, 58, 130, 186, 218, 290, 338, 387, 467 and 530). Type: Caslon. Printed and bound by Neografia in full cloth printed and blocked with design by Bailey; silver endleaves. Black slip case decorated on one side with titling design printed in silver. 2400 Hilary Mantel, Wolf Hall, illustrated by Igor & Marina. 253 × 175 × 45 mm. Pp. [i–iv] v–xiii [xiv–xxii], [1–2] 3–575 [576–578]: [13] leaves of plates (facing pp. [iii], 91, 130, 155, 202, 234, 274, 347, 410, 459, 571, and between pp. 58–59). Type: Caslon. Printed and bound by L.E.G.O. in full printed and blocked cloth with design by the artists. Gilded edges; blue endleaves. Gold slip case. The artists are husband and wife team Igor Kozlovsky and Marina Sharapova. Two hundred and fifty copies were issued with a tipped-in blue slip printed in gold signed by Mantel. 2401 T.S. Eliot, the waste land, with giclée prints by Tom Phillips. 357 × 262 × 18 mm. Pp. [i–xvi], [1–2] 3–43 [44–46]: [11] leaves of plates (facing pp. [vii], 2, 4, 6, 12, 16, 20, 22, 26, 28 and 32). Type: Walbaum. Typeset by Blundell Studios. Printed letterpress by Hand and Eye with prints by Pureprint. Bound by Ludlow Bookbinders in quarter vellum with linen boards printed with a design by Phillips and spine blocked in gold. Gilded top edge; purple endleaves. Clamshell box bound in brown cloth blocked blind and in brown with title design. The limitation reads in part ‘limited to 350 numbered copies and twenty lettered copies hors commerce, signed by the artist’. Concludes with first Eliot’s and then Phillips’s notes. Offered for sale in the USA only. 2402 Black Panther, a nation under our feet, writer Ta-Nehisi Coates, introducer Walter Mosley. 268 × 181 × 29 mm. Pp. [1–4] 5–9 [10–296]. Type: Miller with Benton Sans for display. Printed and bound by Graphicom in full black paper blocked blind, white and red; black endleaves. Black slip case blocked in metallic purple. Marvel first published the 12 comics reproduced here between June 2016 and May 2017. The principal artists are Brian Stelfreeze, Laura Martin, Chris Sprouse, Karl Story, Goran Sudžuka, Walden Wong, Roberto Poggi, Scott Hanna and Matt Milla.

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2023 2403 Marvel: Doctor Strange, selected and introduced by Roy Thomas, with a facsimile of Strange tales #115. 267 × 181 × 34 mm. Pp. [i–iv] v–xiv, [1–322]. Type: Miller with Benton Sans for display. Printed and bound by Graphicom in three-quarter printed paper with narrow yellow cloth on boards blocked in red and white; printed endleaves. Yellow cloth slip case blocked in blue with logo design. Marcos Martin has provided the designs for the binding, endleaves and slip case. Reproduces thirteen comics in the text, from Dr. Strange, master of black magic! from Strange tales (No. 110, July 1963) and If eternity should fail! from Strange tales (No. 138, November 1965) to The oath – chapter one from Doctor Strange: the oath (No. 1, December 2006) and The new face of magic from Doctor Strange (No. 11, November 2016). Doctor Strange’s origin story appears in the Strange tales #115 issue (December 1963). The 32-page facsimile measures 260 × 175 × 3 mm and is bound in stapled paper wrappers reproducing the original design, including three pages of advertisements. It is protected in a blue printed paper wallet and loosely inserted. 2404 Thucydides, the Peloponnesian war, translated by Martin Hammond, introduced by Katherine Harloe and P.J. Rhodes, illustrated by Nick Hayes. 291 × 208 × 65 mm. Pp. [1–2], [i–vi] vii–lxxvii [lxxviii–lxxxvi], [1–6] 7–655 [656]. Type: Haarlemmer. Printed in brown and black by Northend and bound by Smith Settle in full pale brown-orange leather blocked in gold and black with design by Hayes. Gilded top edge. Brown-red endleaves printed with repeat design in gold. Dark red cloth slip case blocked in gold and black, lined with same printed paper as endleaves. The tipped-in edition statement, printed in gold, reads in part ‘limited to seven hundred and fifty numbered copies and twenty lettered copies hors de commerce’. It is signed by Hayes and Harloe. Nine illustrations by Hayes are in the text, with eight being striking double-page chapter openings. He has also provided chapter decorations. Five maps by Reginald Piggott are on pages [lxxx–lxxxv]. 2405 Roadside picnic, Arkady and Boris Strugatsky, translated by Olena Bormashenko, with a foreword by Ursula K. Le Guin, and an afterword by Boris Strugatsky, illustrated and introduced by Dave McKean. 253 × 163 × 28 mm. Pp. [i–ix] x–xvii [xviii–xx], [1–2] 3–216 [217–220]: [12] leaves of colour plates. Type: PT Serif with Filth of Icarus for display. Printed in green ink. Bound by L.E.G.O. in full green paper blocked with design by McKean. Printed edges; printed endleaves. Blocked green slip case. All the plates are double-page spreads, one of which is a double-sided fold-out. Further illustrations, including chapter openings, are in the text. Six hundred numbered copies were also issued with a different binding and endleaves design. Bound in full green cloth blocked in gold and printed in blue. A printed limitation leaf signed by McKean, a further illustration and four prints of the images used in the standard binding are loosely inserted in a printed paper wallet. Green cloth slip case blocked in gold with a clear plastic section printed with radiating green lines. 2406 Paul Theroux, the old Patagonian express, by train through the Americas, with a new introduction by the author. 241 × 176 × 41 mm. Pp. [i–v] vi–xvi [xvii–xviii], [1–7] 8–456 [457–462]: [13] leaves of colour plates. Type: Arno Pro with Station No. 5 and Compacta Bold for display. Printed and bound by L.E.G.O. in quarter black cloth with printed paper boards; dark yellow endleaves. Dark yellow slip case. Two maps by Kevin Freeborn are on pages [2–3]. The plates reproduce photographs taken between 1967 and 2018, from the United States of America to Argentina. 2407 The right stuff, Tom Wolfe, introduced by Andrew Chaikin, illustrated by Tavis Coburn. 240 × 178 × 38 mm. Pp. [i–vi] vii–xxi [xxii–xxiv], 1–422 [423–424]: [13] leaves of colour plates (facing pp. [iii], 8, 408, and between pp. 56–57, 168–169, 184–185, 216–217 and 312–313). Type: Cartier Book with Helvetica for display.

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Printed and bound by L.E.G.O. in full printed and blocked cloth with design by Coburn. Printed edges; printed endleaves. Printed slip case. Five of the plates are double-page spreads. 2408 Ben Macintyre, operation mincemeat, the true spy story that changed the course of World War II. 241 × 166 × 39 mm. Pp. [i–iv] v–xv [xvi–xx], [1–2] 3–425 [426–428]: [12] leaves of plates (between pp. 92–93, 188–189 and 284–285). Type: Dante with Gill Sans for display. Printed and bound by Neografia in quarter black cloth with printed paper boards; printed endleaves. Dark cream slip case printed with enlarged typescript detail. Two maps by Duncan Stewart are on pages [35] and [242]. In addition to the plates, further black and white illustrations, primarily sourced from The National Archives, are in the text. 2409 Iain M. Banks, consider Phlebas, illustrations by Dániel Taylor. 241 × 164 × 45 mm. Pp. [i–iv] v–vii [viii], [1–6] 7–552: [7] leaves of colour plates (facing pp. [iii], 96, 113, 304, 336, 368 and 416). Type: Garamond with Scene for display. Printed and bound by L.E.G.O. in full blue cloth blocked in blue and copper with design by Taylor; orange endleaves. Blue slip case blocked in copper following binding background and lined with printed paper of further illustration. 2410 Wu Ch’êng-ên, Monkey, translated by Arthur Waley, with an introduction by Frances Wood, illustrations by Mu Pan. 279 × 154 × 30 mm. Pp. [i–iv] v–xvi, [1–2] 3–323 [324–328]: [8] leaves of colour plates (facing pp. [iii], 68, 81, 129, 256 and 316, and between pp. 176–177) and [1] fold-out (between pp. [xii] and [xiii]). Type: Garamond. Printed and bound by Gomer Press in full blue cloth blocked in gold, red and white with a design by Mu Pan; red endleaves. Red slip case blocked in gold with detail of monkey from binding. One of the plates is a double-page spread. The fold-out is a richly decorated map by Mu Pan. 2411 Agatha Christie, the pale horse, illustrations by Olivia Daw. 226 × 150 × 24 mm. Pp. [i–iv] v [vi], [1–2] 3–223 [224–226]: [7] leaves of colour plates (facing pp. [iii], 26, 66, 115, 163, 178 and 194). Type: Bell with Kabel for display. Printed by Memminger MedienCentrum. Bound by Josef Spinner in three-quarter black cloth with printed and blocked paper front board with design by Daw; blue endleaves. Blue slip case. 2412 Arthur C. Clarke, childhood’s end, illustrated by Grace Aldrich. 240 × 163 × 26 mm. Pp. [i–iv] v–xii, [1–4] 5–230 [231–236]: [5] leaves of colour plates (facing pp. 68, 100, 140, 196 and 228). Type: Berling with Helvetica for display. Printed and bound by Gomer Press in full cloth printed with portrait of Jan Rodricks; metallic pink endleaves. Printed slip case. As well as the plates and binding, Aldrich illustrated the title-page spread and slip case. 2413 Ian Fleming, Casino Royale, introduced by Kim Sherwood, illustrated by Fay Dalton. 282 × 190 × 31 mm. Pp. [i–viii] ix–xviii, [1–2] 3–193 [194]: [10] leaves of colour plates (facing pp. 38, 88, 106, 120, 163 and 188, and between pp. 56–57 and 154–155). Type: Abril Text with Span for display. Printed in red and black by L.E.G.O. Bound by them in full dark grey leather blocked in red and silver with design by Jamie Clarke. Silver edges. Grey endleaves blocked in red and printed in dark grey with design by Clarke. Dark silver cloth clamshell box blocked in red and silver, and lining printed with Dalton illustration. The book is wrapped in a protective sleeve secured by a round silver sticker printed with 007 in black. An edition statement, signed by Dalton, has been tipped in on page [iii] and reads in part ‘limited to 750 numbered copies, and 20 lettered copies hors de commerce’. The box lining illustration is an expanded version of the one used for the slip case of the 2015 standard edition. Here Dalton has also provided seven black and white illustrations in the text plus two double-page spreads. 2414 Ursula K. Le Guin, Tehanu, illustrated by David Lupton, afterword by Ursula K. Le Guin. 228 × 151 × 28 mm. Pp. [i–iv] v–vii [viii], [1–4] 5–244 [245–248]: [8] leaves of colour plates (facing pp. [iii], 80, 112, 128, 136,

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233, and between pp. 184–185). Type: Garamond with Dulcinea Serif for display. Printed by L.E.G.O. and bound by them in full printed and blocked cloth with design by Lupton; printed endleaves of map redrawn by Martin Sanders based on an original by the author. Brown slip case. The fourth in the Earthsea series. 2415 Simon Sebag Montefiore, Stalin. 241 × 163 × 39–44 mm. 2 vols (see below). Type: Sirba with PAG Revolucion for display. Printed and bound by Graphicom in pale cream printed cloth; black endleaves. Slip case printed with portrait of Stalin. In addition to plates primarily reproducing photographs and posters, further illustrations are in the text. The two volumes are as follows: [1] Simon Sebag Montefiore, Stalin, the court of the red Tsar. Pp. [i–v] vi–xxiv [xxv–xxxii], [1] 2–432 [433–434], [1–4]: [12] leaves of plates. Maps are on pp. [xxvii] and [xxix]. [2] Simon Sebag Montefiore, Stalin, the court of the red Tsar. Pp. [i–v] vi–xi [xii], [435–437] 438–833 [834–840]: [14] leaves of plates. 2416 Mark Twain, the innocents abroad, introduced by Paul Theroux, illustrated by James Albon. 253 × 175 × 47 mm. Pp. [i–iv] v–xxvii [xxviii], [1–4] 5–561 [562–564]: [7] leaves of colour plates (facing pp. 60, 108, 180, 260, 365, 476 and 532). Type: Abril Text with Victoriana for display. Printed and bound by Gomer Press in full blue cloth printed in black and blocked in gold with a design by Albon; blue-green endleaves printed with decorative map in gold and black. Blue-green slip case. In addition to the plates, Albon has contributed a title-page spread and further linocuts in the text. 2417 Dodie Smith, I capture the castle, illustrations by Sarah Dyer. 240 × 163 × 33 mm. Pp. [i–iv] v–vii [viii], [1–4] 5–383 [384]: [6] leaves of colour plates (facing pp. 24, 56, 136, 200, 232 and 289). Type: Perpetua with Relation for display. Printed and bound by Graphicom in full printed cloth with design by Dyer; blue endleaves printed with repeat stars in gold. Dark purple slip case. Dyer has also provided a title-page spread. 2418 Stephen King, pet sematary, illustrated by Edward Kinsella. 250 × 177 × 40 mm. Pp. [i–iv] v–xiii [xiv–xvi], [1–4] 5–457 [458–464]: [10] leaves of colour plates (facing pp. 40, 88, 144, 176, 241, 273, 320, 368, 417 and 432). Type: Miller with Kingthings Trypewriter for display. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full black cloth blocked in silver and red with a Church the cat design by Kinsella; black endleaves printed with some of the tombstone inscriptions in silver. Black slip case. Kinsella has also provided a title-page spread. 2419 Jhumpa Lahiri, interpreter of maladies, with a preface by Domenico Starnone, illustrated by Shreya Gupta. 220 × 143 × 25 mm. Pp. [i–iv] v–xii [xiii–xvi], [1–2] 3–209 [210–216]: [7] leaves of colour plates (facing pp. [iii], 32, 64, 112, 128, 160 and 200). Type: Warnock with Owbeirak Serif for display. Printed by Memminger MedienCentrum. Quarter bound by Josef Spinner in blue cloth with printed paper boards; orange endleaves. Orange slip case blocked in blue. In addition to the plates that accompany the nine short stories, Gupta provided the binding and slip case designs. 2420 Henning Mankell, faceless killers, translated by Steven T. Murray, with an introduction by Patti Smith, illustrations by Morgan Schweitzer. 228 × 148 × 29 mm. Pp. [i–iv] v–x, [1–2] 3–299 [300–302]: [6] leaves of colour plates (facing pp. [iii], 38, 190 and 278, and between pp. 110–111). Type: Garamond with Avenir for display. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full printed paper blocked in yellow with a design by Schweitzer; blue endleaves. Blue slip case with section removed to expose front board. A map by Neil Gower is on page [2]. The first in the Kurt Wallander series.

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2421 The order of time, Carlo Rovelli, translated by Erica Segre and Simon Carnell, with an introduction by Philip Pullman. 240 × 136 × 23 mm. Pp. [i–ix] x–xi [xii–xvi], [1–2] 3–195 [196–200]. Type: Portrait Text with Euclid for display. Typeset and designed by Daniel Streat. Printed in red, blue and black by Gomer Press. Bound by them in full blue cloth blocked in gold with a design by Streat; blue endleaves. Blue cloth slip case blocked in gold with design echoing binding. Diagrams and illustrations are in the text of this striking production. 2422 The hitchhiker’s guide to the galaxy, Douglas Adams. 240 × 162 × 28–35 mm. 5 vols (see below). Type: Freight Text with Kavo for display. Printed and bound by Kingsbury Press in full blocked blue cloth. Metallic top edges; printed endleaves. Five-volume box (titled as above) lined with printed paper by Screaming Colour. The box is in two parts, with the lower half in dark metallic blue paper blocked in silver and red. The upper half is in full dark blue cloth flecked with metallic greens, blocked in silver and metallic blue, with a yellow plastic section printed with DON’T PANIC in white. The edition statement, signed by the artist, reads in part ‘limited to 750 numbered copies and 20 lettered copies hors de commerce’. For this edition, Burton has provided five double-page spreads plus black and white drawings in the text. The binding designs are new too. Loosely inserted is a colour print with a further illustration contained in a paper wallet printed with the same design as the endleaves. The five volumes are as follows: [1] Douglas Adams, the hitchhiker’s guide to the galaxy, preface by Carlo Rovelli, introduced by Terry Jones, illustrated and introduced by Jonathan Burton. Pp. [i–vi] vii–xxii, [1–4] 5–197 [198]: [10] leaves of colour plates (facing pp. [v], 40, 62, 76, 98, 122, 146 and 184, and between pp. 72–73). Printed in dark pink and black. Blocked in silver, metallic dark pink and metallic green. Dark pink top edge. The edition statement has been tipped in on page [iii]. [2] Douglas Adams, the restaurant at the end of the universe, introduced by Adam Roberts, illustrated by Jonathan Burton. Pp. [i–iv] v–xiv, [1–8] 9–224 [225–230]: [10] leaves of colour plates (facing pp. [iii], 36, 52, 82, 108, 146, 187 and 213, and between pp. 40–41). Printed in blue and black. Blocked in silver, metallic blue and metallic green. Blue top edge. [3] Douglas Adams, life, the universe and everything, introduced by Jon Canter, illustrated by Jonathan Burton. Pp. [i–iv] v–xi [xii], [1–4] 5–209 [210–216]: [10] leaves of colour plates (facing pp. [iii], 54, 78, 85, 118, 140, 156 and 196, and between pp. 112–113). Printed in green and black. Blocked in silver and metallic greens. Green top edge. [4] Douglas Adams, so long, and thanks for all the fish, illustrated by Jonathan Burton. Pp. [i–iv], [1–2] 3–184 [185– 186]: [9] leaves of colour plates (facing pp. [iii], 18, 63, 88, 130, 146 and 162, and between pp. 170–171). Printed in red and black. Blocked in silver, metallic red and metallic green. Red top edge. [5] Douglas Adams, mostly harmless, and young Zaphod plays it safe, illustrated by Jonathan Burton. Pp. [i–iv], [1–10] 11–256: [10] leaves of colour plates (facing pp. [iii], 44, 88, 112, 146, 160, 201 and 218, and between pp. 94–95). Printed in orange and black. Blocked in silver, metallic orange and metallic green. Orange top edge. 2423 Beowulf, a verse translation by Seamus Heaney, introduced by Janina Ramirez, illustrated by Clive Hicks-Jenkins. 359 × 259 × 37 mm. Pp. [1–4], [i–iv] v–xlvii [xlviii], [1] 2–244 [245–252]. Type: Bembo Arcadian. Printed in blues and black by Northend and bound by Smith Settle in full yellow goatskin blocked in blue and gold. Gilded top edge; blue endleaves printed with designs in white. Blue ribbon marker. Clamshell box bound in blue cloth, blocked in blues and lined with printed paper. Loosely inserted is a colour print with a further illustration contained in a protective blue paper printed wallet. The tipped-in edition statement, printed

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letterpress by Hand and Eye, reads in part ‘limited to 750 numbered copies, and 20 lettered copies hors de commerce’. In addition to the binding, endleaves, print and box illustrations, Hicks-Jenkins has supplied borders for the limitation and title pages, eight double-page spreads and three half-page illustrations in the text. 2424 Irvine Welsh, trainspotting, introduction by John Sutherland, illustrations by Nicole Rifkin. 241 × 163 × 36 mm. Pp. [i–iv] v–xvi [xvii–xviii], [1–4] 5–381 [382]: [6] leaves of colour plates (facing pp. [iii], 86, 134, 167, 326 and 375). Type: Maxime with Futura for display. Printed and bound by L.E.G.O. in full yellow cloth printed and blocked with a design by Rifkin; yellow endleaves. Green-blue slip case with two vertical sections removed to expose front board. 2425 Shirley Jackson, we have always lived in the castle, afterword by Donna Tartt, illustrated by Angie Hoffmeister. 223 × 143 × 23 mm. Pp. [i–vi] vii [viii–x], [1–2] 3–185 [186–190]: [9] leaves of colour plates (facing pp. [v], 6, 54, 142 and 166, and between pp. 78–79 and 126–127). Type: Arno with Zachar for display. Printed and bound by Graphicom in full printed and blocked paper with a design by Hoffmeister; dark orange endleaves. Printed slip case. In addition to the plates, Hoffmeister contributed tail-pieces for the ten chapters. Two of the plates are double-page spreads. Five hundred numbered and twenty lettered copies were issued with a tipped-in limitation signed by Tartt and Hoffmeister. Bound in full pale blue-grey cloth printed in black and grey with a different design by the artist; pale blue-grey endleaves printed in black. Loosely inserted is a colour print with a further illustration contained in a protective pale blue-grey paper wallet. Clamshell box bound in printed paper. 2426 Carlos Ruiz Zafón, the shadow of the wind, translated and with a preface by Lucia Graves, illustrated by Jorge González. 256 × 181 × 45 mm. Pp. [i–vi] vii–xii [xiii–xiv], [1–2] 3–475 [476–482]: [14] leaves of colour plates (between pp. [2]–3, 82–83, 178–179, 274–275, 338–339, 418–419 and 450–451). Type: Sabon. Printed by Memminger MedienCentrum. Bound by Josef Spinner in full dark red-brown leather blocked in gold with title design. Gilded top edge; dark red endleaves. Red ribbon marker. Printed cloth slip case with printed paper lining. The tipped-in limitation statement reads in part ‘limited to 500 numbered copies and 20 lettered copies hors de commerce’. González has added his signature below each copy number. In addition to the slip case and plates, which are all double-page spreads, González has provided a black and white title-page spread and an illustration for a loosely inserted print contained in a protective dark red paper wallet. 2427 [The Roald Dahl collection, set 3]. 229 × 150 × 15–23 mm. 3 vols (see below). Type: Baskerville. Printed and bound by C & C Offset in series binding (see item 2338). The three volumes are as follows: [1] Roald Dahl, Fantastic Mr Fox, with an introduction by Donald Sturrock, illustrated by Quentin Blake. Pp. [i–iv] v–xvii [xviii], [1–3] 4–83 [84–86]. Pale brown cloth printed in purple, pale orange and black; dark purple endleaves. Yellow ribbon marker. [2] Roald Dahl, Danny the champion of the world, illustrated by Quentin Blake. Pp. [i–iv] v [vi], 1–213 [214–218]. Pale orange cloth printed in dark orange and green; dark green endleaves. Orange ribbon marker. [3] Roald Dahl, George’s marvellous medicine, illustrated by Quentin Blake. Pp. [i–iv] v [vi], 1–98 [99–106]. Pale green cloth printed in green, cream and black; pale green endleaves. Pink ribbon marker. 2428 Peter Frankopan, the silk roads, a new history of the world. 242 × 176 × 32–33 mm. 2 vols (see below). Type: Cardo with Hello Paris Serif for display. Printed and bound by Gomer Press in printed and blocked white cloth with designs by Amy MacCready; blue endleaves. Orange slip case blocked in metallic blue with title

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design. The plates primarily reproduce images of antiquities, sites and photographs. Two hundred copies were issued with a tipped-in printed slip signed by Frankopan. The two volumes are as follows: [1] Peter Frankopan, the silk roads, a new history of the world, with a new introduction by the author. Pp. [i–v] vi–xxiv [xxv–xxvi], [1–3] 4–355 [356], [1–2]: [16] leaves of colour plates. Maps are on pp. [42–43], [122], [186–187], [199] and [240–241]. [2] Peter Frankopan, the silk roads, a new history of the world. Pp. [1–4], [357–359] 360–730 [731–736]: [16] leaves of colour plates. Maps are on pp. [395], [438], [473] and [628]. 2429 DC comics, the golden age, 1938–1956. Printed in colour by Graphicom and bound by them. Printed paper clamshell box. Spine titled (as above). Reproduces eighteen classic comics. The two volumes are as follows: [1] DC comics, the golden age (1938–1956), selected and introduced by Jenette Kahn, with a facsimile of Action comics #1. 337 × 243 × 34 mm. Pp. [i–iv] v–xii, [1–316]. Bound in blocked and printed gold cloth and paper. Gold edges; cream endleaves printed with characters such as Batman and Robin, Superman and Wonder Woman. Reproduces, in an enlarged format, seventeen comics from Detective comics (No. 27, May 1939) and Superman (No. 3, December 1939) to Superman (No. 53, August 1948) and Sensation comics (No. 81, September 1948). Action comics #1 was issued separately (see below). [2] Action comics. [facsimile]. 261 × 189 × 7 mm. Pp. [1–64]. Bound in stapled paper wrappers reproducing the original design, including two pages of advertisements. Loosely inserted is a print by Yanick Paquette coloured by Dave McCaig. Presented together in a protective printed paper wallet. A reproduction of the first issue, dated June 1938 and priced at 10¢. 2430 Georgette Heyer, Frederica, illustrations by Sally Dunne. 240 × 163 × 35 mm. Pp. [i–iv] v [vi], [1–2] 3–406 [407–410]: [6] leaves of colour plates (facing pp. [iii], 90, 154, 282, 330 and 378). Type: Aria Text. Printed and bound by L.E.G.O. in pale blue cloth blocked with a design by Jessica Hische; dark blue endleaves. Pale blue slip case printed with portrait of Miss Frederica Merriville by Dunne. 2431 Haruki Murakami, the wind-up bird chronicle, translated from the Japanese by Jay Rubin, introduced by the author, illustrations by Daniel Liévano. 252 × 179 × 48 mm. Pp. [i–iv] v–xiv, [1–4] 5–671 [672–674]: [10] leaves of colour plates (facing pp. [iii], 90, 283 and 362, and between pp. 186–[187], 250–251 and 434–435). Type: Arno with Futura for display. Printed in blue and black by L.E.G.O. Bound by them in full black cloth blocked in gold and blue with design by Liévano; dark blue endleaves printed with design in gold. Black slip case blocked in gold and small section removed to expose front panel. In addition to the plates, three of which are double-page spreads, motifs by Liévano run through the work. 2432 Anne Applebaum, iron curtain, the crushing of Eastern Europe, 1944–56, with a new introduction by the author. 253 × 176 × 59 mm. Pp. [i–v] vi–xlii [xliii–xliv], [1–5] 6–648 [649–650]. Type: Brygada 1918 with Futura for display. Printed and bound by L.E.G.O. in full printed and blocked paper with a design by Jamie Keenan; red endleaves. Printed slip case. Three maps are on pages [xviii–xxi] and illustrations, primarily reproducing contemporary photographs, run through the text. 2433 William Shakespeare, the complete plays. 291 × 205 × 45–59 mm. 3 vols (see below). Type: Caslon with a version adapted for display by Neil Packer. Printed in red and black by Northend. Bound by Smith Settle in full cloth woven by Stephen Walters with designs by Packer (a different one for each volume) inspired by

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blackwork embroidery. Silver edges; red endleaves. Dark grey ribbon markers. Three-volume black cloth slip case decorated in silver (titled as above) and lined with printed paper. The edition statement, printed letterpress by Gloucester Typesetting, reads in part ‘limited to 1,000 numbered copies and 25 lettered copies hors de commerce, each is signed by the artist’. Uses text from the Arden Shakespeare third series complete works published in 2021. Each play is preceded by a full-page illustration by Packer. He also created one based on the preface to the 1623 First Folio and one more of a theatre scene to make a total of 40 glorious illustrations. The three volumes are as follows: [1] William Shakespeare, the comedies, with a foreword by Dame Judi Dench and introduced by Gregory Doran, illustrated by Neil Packer. Pp. [i–x] xi–xxii, [1–2] 3–428 [429–434]. Includes a preface by the Arden General Editors Richard Proudfoot, Ann Thompson, David Scott Kastan and H.R. Woudhuysen. [2] William Shakespeare, the histories, illustrated by Neil Packer. Pp. [i–viii] ix [x], [1–2] 3–405 [406]. [3] William Shakespeare, the tragedies and romances, illustrated by Neil Packer. Pp. [i–viii] ix [x], [1–2] 3–581 [582]. 2434 Ursula K. Le Guin, tales from Earthsea, illustrated by David Lupton. 230 × 154 × 33 mm. Pp. [i–iv] v–xiii [xiv], [1–2] 3–327 [328–330]: [7] leaves of colour plates (facing pp. [iii], 50, 66, 131, 178, 195 and 226). Type: Garamond with Dulcinea Serif for display. Printed by L.E.G.O. and bound by them in full printed and blocked cloth with design by Lupton; printed endleaves of map redrawn by Martin Sanders based on an original by the author. Brown slip case. 2435 Marvel: the avengers, selected and introduced by Roy Thomas, with a facsimile of the avengers #1. 267 × 181 × 33 mm. Pp. [i–iv] v–xv [xvi], [1–312]. Type: Miller with Benton Sans for display. Printed and bound by Neografia in three-quarter printed paper with narrow red cloth on boards blocked in black and white; green endleaves printed with design in dark red. Red cloth slip case blocked in white with logo design. Leinil Francis Yu, with colour by Sunny Gho, has provided the designs for the binding, endleaves and slip case. Reproduces eleven comics in the text, from Captain America joins . . . the avengers! from The avengers (No. 4, March 1964) and The old order changeth! from The avengers (No. 16, May 1965) to Breakout! from The new avengers (No. 1, January 2005) and The avengers: avengers world from Avengers (No. 1, February 2013). The avengers #1 issue is dated September 1963. The 32-page facsimile measures 260 × 175 × 3 mm and is bound in stapled paper wrappers reproducing the original design, including three pages of advertisements. It is protected in a green printed paper wallet and loosely inserted. 2436 The night before Christmas, Clement C. Moore, illustrated by Ella Beech. 263 × 191 × 13 mm. Pp. [1–50]. Type: Mrs Eaves. Printed and bound by Graphicom. Full printed paper blocked in glow-in-the-dark white with design by Beech; printed endleaves. Blue slip case blocked in glow-in-the-dark white. Every page is fully illustrated in colour by Beech. One of the illustrations, of St Nicholas on his sleigh flying through the air with his eight reindeer, is revealed in two fold-outs. 2437 Hilary Mantel, bring up the bodies, illustrated by Igor & Marina. 253 × 177 × 34 mm. Pp. [i–iv] v–xii [xiii–xx], [1–2] 3–357 [358–364]: [13] leaves of plates (facing pp. [iii], 28, 77, 108, 140, 196, 228, 260, 269, 317, 348, and between pp. 156–157). Type: Caslon. Printed and bound by L.E.G.O. in full printed and blocked cloth with design by the artists. Gilded edges; dark brown-orange endleaves. Gold slip case. 2438 [Folio diary 2024]. 182 × 132 × 18 mm. Pp. [1–136]. Type: Gill Sans. Printed and bound by Gomer Press in full orange-brown paper blocked in gold with a design by Daniel Streat; green endleaves. Not issued

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in a slip case. Title on binding. Twelve books from 2022 are featured. Each month begins with a full-page illustration from one of them followed by details heading the subsequent pages. 2439 Mary Shelley, Frankenstein, or the modern Prometheus, introduced by Richard Holmes, illustrations by Angela Barrett. 253 × 175 × 26 mm. Pp. [i–iv] v–xxviii, [1–2] 3–200 [201–204]: [8] leaves of colour plates (facing pp. [iii], 36, [45], 76, 93, 124, 149 and 180). Type: Clifford with Operetta for display. Printed and bound by Graphicom in full blue buckram blocked in silver and black with design by Barrett. Blue top edge; grey endleaves. Slip case printed with marbled paper design by Jemma Lewis. As item 2385 but with a new binding (based on the original slip case design) and without limitation. 2440 Cormac McCarthy, no country for old men, illustrated by Gérard DuBois. 229 × 151 × 24 mm. Pp. [i–iv] v [vi–viii], [1–2] 3–214 [215–216]: [6] leaves of colour plates (facing pp. 16, 48, 73, 121, 145 and 193). Type: Maxime. Printed and bound by L.E.G.O. in full pale brown cloth printed with a design by DuBois; black endleaves. Red slip case. In addition to the plates, DuBois provided a title-page spread. 2441 Frank Herbert, Dune: Messiah, illustrated by Hilary Clarcq. 253 × 176 × 27 mm. Pp. [i–iv] v–x, [1–2] 3–235 [236–238]: [9] leaves of plates (facing pp. [iii], 15, 62, 118, 142, 174, 206, and between pp. 102–103). Type: Dante with Helvetica Neue and Black Tulip for display. Printed and bound by L.E.G.O. in full pale gold cloth printed and blocked in gold and green; printed endleaves. Black slip case blocked with design in gold. The endleaves are printed with a map by Martin Sanders with cartographic notes. Clarcq has also provided occasional section headings. 2442 Dante Alighieri, the divine comedy, translated by Robin Kirkpatrick, with an essay by Jhumpa Lahiri, illustrations by Neil Packer. 253 × 175 × 52 mm. Pp. [1–2], [i–iv] v–xlii, [1–4] 5–601 [602–604]. Type: Dante. Printed and bound by L.E.G.O. in full printed and blocked cream paper with a design by Packer; cream endleaves printed with repeat design in gold. Blue ribbon marker. Printed and blocked slip case. As item 2351 but in one volume, omitting George Holmes’s essays and introductions, with a new binding and without limitation. The illustrations used for the three prints are now in the text. 2443 Italo Calvino, invisible cities, translated by William Weaver, with an introduction by Jeanette Winterson, illustrated by Dave McKean. 203 × 135 × 23 mm. Pp. [i–iv] v–xvii [xviii], [1–4] 5–164 [165–166]. Type: Italian Old Style. Printed and bound by L.E.G.O. in printed and blocked paper with design by McKean; printed endleaves. Textured brown slip case blocked with design in gold. In addition to the binding, McKean has provided colour illustrations throughout the text. 2444 Kazuo Ishiguro, the buried giant, introduction by Daniel Kehlmann, illustrations by Jana Heidersdorf. 229 × 163 × 31 mm. Pp. [i–iv] v–x [xi–xii], [1–4] 5–304 [305–308]: [8] leaves of colour plates (facing pp. [iii], 36, 101, 148, 284, 300, and between pp. 172–173). Type: Arno with Sabbath Black for display. Printed and bound by Gomer Press in full dark orange printed cloth blocked in orange with design by Heidersdorf; green endleaves printed with design in gold. Printed green slip case. In addition to the plates, one of which is a double-page spread, Heidersdorf has provided four black and white illustrations used for section breaks. 2445 The enchanted wood, Enid Blyton, preface by Michael Morpurgo, illustrated by Jonathan Burton. 228 × 162 × 27 mm. Pp. [i–iv] v–vii [viii], [1–2] 3–181 [182–184]: [4] leaves of colour plates (facing pp. 11, 58, 90 and 135). Type: Maiola with Childs for display. Printed in green, red-brown and black by Neografia. Bound by them in quarter orange cloth with printed paper boards; brown textured endleaves. Dark green-blue slip case. In addition to the plates, Burton has provided a colour title-spread and chapter motifs. The first in The magic faraway tree series.

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2446 Agatha Christie, ordeal by innocence, illustrations by Laura Hope. 227 × 151 × 26 mm. Pp. [i–iv] v [vi–viii], [1–2] 3–234 [235–240]: [7] leaves of colour plates (facing pp. [iii], 9, 24, 80, 136, 176 and 216). Type: Bell with Kabel for display. Printed by Memminger MedienCentrum. Bound by Josef Spinner in three-quarter black cloth with printed and blocked paper front board with design by Hope; brown endleaves. Brown slip case. 2447 Diana Wynne Jones, charmed life, with a preface by the author and a foreword by Neil Gaiman, introduced by Katherine Rundell, illustrated by Alison Bryant. 229 × 162 × 27 mm. Pp. [i–iv] v–xvi [xvii–xviii], [1–2] 3–253 [254]: [6] leaves of colour plates (facing pp. [iii], 70, 86, 135, 174 and 238). Type: Legacy Serif with Wonder Night for display. Printed and bound by Gomer Press in full printed and blocked paper with design by Bryant; dark blue endleaves printed with designs in silver. Dark blue slip case printed in silver. In addition to the plates, Bryant has contributed chapter headings and an illustrated title-page. Concludes with two short stories from the world of Chrestomanci Castle. 2448 Antonia Fraser, the six wives of Henry VIII, with a new introduction by the author. 253 × 178 × 51 mm. Pp. [i–iv] v–xxvii [xxviii], [1–2] 3–600 [601–604]: [17] leaves of colour plates. Type: Vendetta. Printed and bound by Neografia in full green cloth blocked in gold and metallic green with design by Jessica Hische and Cat Caudillo; dark gold endleaves. Gold ribbon marker. Dark gold slip case blocked in pale gold with design naming the six wives. Two family trees are on pages [xiv–xvii]. Hische and Caudillo also provided decorative chapter and part headings. The illustrations used in the plates are primarily sourced from the Royal Collection Trust and National Portrait Gallery. 2449 The planets, Andrew Cohen with Professor Brian Cox, with a note on the images by David A. Rothery. 237 × 211 × 34 mm. Pp. [i–vi] vii–viii [ix–x], [1–4] 5–271 [272]: [34] leaves of colour plates. Type: Kepler with Soleil for display. Printed and bound by L.E.G.O. in full printed and blocked paper. Coloured edges (different for each one); printed endleaves. Printed slip case. Coloured diagrams are in the text. Nearly all the plates are sourced from NASA. 2450 Songs of innocence and of experience, shewing the two contrary states of the human soul, William Blake, introduction by Patti Smith. 290 × 225 × 22 mm. Pp. [i–ii], [1–140]. Type: Caslon. Printed in blue and black by Graphicom. Bound by them in full green cloth blocked in gold with lettering design. Gilded edges; orange-pink endleaves. Green clamshell box blocked in gold with a reproduction of Blake’s title-page inset and lined with printed paper. Reproduces the 52-page Copy W manuscript held by King’s College, Cambridge. A transcription follows. 2451 The moonstone, a romance, Wilkie Collins, introduced by Val McDermid, illustrated by Juan Esteban Rodríguez. 253 × 180 × 46 mm. Pp. [1–4], [i–iv] v–xviii, [1–6] 7–509 [510–514]: [12] leaves of colour plates (facing pp. [iii], 34, 162, 227, 291, 331, 402, 475, and between pp. 74–75 and 450–451). Type: Portrait Text. Printed by Memminger MedienCentrum. Bound by Josef Spinner in quarter dark blue leather blocked in gold with cloth boards printed with illustrations by Rodríguez. Gilded top edge; dark blue endleaves printed in gold. Gold ribbon marker. Dark blue cloth slip case blocked in gold and silver. The tipped-in limitation statement, printed letterpress by Hand and Eye, reads in part ‘limited to 750 numbered copies and 20 lettered copies hors de commerce’. Both McDermid and Rodríguez have added their signatures below each copy number. Two of the plates are double-page spreads.