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Folio. Introductory text and colophon leaf, and nineteen monochrome plates, printed on Japan vellum, in thick paper portfolio. Portfolio lacking its two red ribbon ties and one of the six flaps, two edges of rear panel slightly browned, but actually a very nice of a vulnerable production. The first title produced by John Rodker's Ovid Press. 'All the drawings are reproduced by the courtesy of Mr. Ezra Pound with the exception of the dancing figure, which is due to the kindness of Miss Nina Hamnett.' Though the colophon claims a print run of 250 copies, and there are known copies numbered as high as 247, the bibliographer posits an edition of 70, following Rodker's statement elsewhere that all the Ovid Press books were printed in an edition of 250 apart from Roald Kristian's 'A Bestiary', 110 copies, and the Gaudier-Brzeska, 70 copies. What is certainly true is that, as with Wyndham Lewis's 'Fifteen Drawings', it is considerably rarer than a limitation of 250 copies might suggest.
First edition. 4to. Buckram-backed gold foil boards, with a design in red and brown by the author. Bookplate of Jonathan & Phillida Gili, by Reynolds Stone; some inevitable tarnishing to the foil boards but an exceptionally nice copy. Edition limited to 200 signed, numbered copies 'hand-set and hand-printed by ourselves'.
Folio. With twelve original colour prints, each signed in pencil by the artist. Loose signatures laid into original illustrated wrappers. Fine copy in chemise and slightly stained and marked slipcase. From an edition of 135 numbered copies, signed by both author and artist, this is one of 100 'avec une gravure signée et non utilisée'.
First edition. Spine very lightly faded, some offsetting to free endpaper, edges and hinge of free endpaper slightly spotted, else a nice copy in slightly spine-browned and slightly dust-soiled pictorial jacket. Highly regarded as a first world war novel, and praised by Eric Ambler as one of his favourite spy stories, alongside 'The Riddle of the Sands', 'The Secret Agent', 'The Thirty-Nine Steps', and Ashenden. Very scarce in jacket.
First edition. Two volumes. Frontispieces and plates printed by Emery Walker. Publisher's blindstamp, 'Presentation Copy', to both title-pages. Inscribed by Townsend-Warner to Valentine Ackland on the free endpaper of the first volume, 'Valentine, with love that even Christmas cannot dim. Tib. 25 : xii : 1939 :', and simply 'Valentine' in the second volume. With 37 lines of indexed notes by Ackland to rear paste-downs, and further notes by her to free endpapers. Spines slightly faded, cloth slightly soiled, foxing to frontispieces and plates and with offset browning from the tissue guards, one plate loose and lacking tissue guard, else a good, sound set.
4to. Original plain wrappers, with black plastic comb spine. Some spotting to inner edge of upper wrapper, else a very nice copy. 'Recollections of twenty-four people who knew the arist Henry Scott Tuke (1859-1929) or were involved with him.'
BUCK-MORSS, Susan. First edition. Hinges of endpapers slightly browned, else a very good copy in lightly worn dust jacket, with short tear and accompanying crease to tail of upper panel.
ROYAL COLLEGE OF ART. Twenty-five prints, 20 x 24 cms, in original plastic case. Pinhole dent to bottom of the case, else very nice. Works by Robin Bagilhole, Alan Bamford, Kurt Benning, Andre Bicat, Ruth Blench, David Brown, Peter Cunliffe, Alf Dunn, Martin Elliott, Alistair Grant, Phil Griffin, Andrew Hawkins, Steve Hobson, Alyson Hunter, Joan M. Key, Bill Laing, P. Levine, Malcolm Mitton, Ken Oliver, Jhon Owan, Su Puntan, Peter Roach, Mike Robbins, John Stephens, and Stella Timmins.
SUMMERS, Montague. First edition. Printed wrappers. Staples rusty, else a very good copy. "It is interesting to note that Summers's pamphlet is the first separate work to be published in England on the Marquis de Sade." - d'Arch Smith, A10.
FRASER, Ronald. First edition. Strip of browning to inner edge of free endpapers, a little foxing to edges and a handful of leaves, else a very good copy in slightly spine-bronbed and dust-soiled pictorial dust jacket by Eric Ravilious, with short tear and some staining to two edges of rear panel.