This is the earliest edition of the most famous and influential vampire tale of all. Stoker (1847-1912) was inspired by the folklore of his native Ireland and by the Gothic novels of his countryman Sheridan Le Fanu. As DNB observes, the "complex and highly symbolic" plot here "illustrated [the author's] fears about a world approaching a new century, about the unspeakable things which could happen to ordinary people, and about

This is the earliest edition of the most famous and influential vampire tale of all. Stoker (1847-1912) was inspired by the folklore of his native Ireland and by the Gothic novels of his countryman Sheridan Le Fanu. As DNB observes, the "complex and highly symbolic" plot here "illustrated [the author's] fears about a world approaching a new century, about the unspeakable things which could happen to ordinary people, and about male insecurity and the dangers of subservience to another person. . . . Favourably compared with Mary Shelley's Frankenstein, Emily Brontë's Wuthering Heights, and Edgar Allan Poe's The Fall of the House of Usher, it was considered weird and powerful, one of the best in the supernatural line." Received with enthusiasm by critics and the public alike, it went through 11 editions in Stoker's lifetime, and it continues to resonate with readers and to inspire other artists. This is not an especially rare book, but it is not common to find a well-preserved copy, and our appealing morocco binding provides a welcome alternative to the publisher's yellow cloth, which invariably shows up very soiled. (ST13178)

Revised and recommended by Mr. Henry Howard Pleasing recent retrospective chestnut-colored calf, covers with central frame formed by multiple blind and decorative rules, fleuron cornerpieces, raised bands, maroon morocco label. Printer's woodcut rose device on title page. Bitting, p. 324; Oxford, p. 64; Vicaire, col. 598; Maclean, p. 101. Title page a little soiled, very faint dampstain to tail margin of first half of text, occasional min

Revised and recommended by Mr. Henry Howard Pleasing recent retrospective chestnut-colored calf, covers with central frame formed by multiple blind and decorative rules, fleuron cornerpieces, raised bands, maroon morocco label. Printer's woodcut rose device on title page. Bitting, p. 324; Oxford, p. 64; Vicaire, col. 598; Maclean, p. 101. Title page a little soiled, very faint dampstain to tail margin of first half of text, occasional min Revised and recommended by Mr. Henry Howard Pleasing recent retrospective chestnut-colored calf, covers with central frame formed by multiple blind and decorative rules, fleuron cornerpieces, raised bands, maroon morocco label. Printer's woodcut rose device on title page. Bitting, p. 324; Oxford, p. 64; Vicaire, col. 598; Maclean, p. 101. Title page a little soiled, very faint dampstain to tail margin of first half of text, occasional minor marginal stains, smudges, or corner creases, other trivial imperfections, but AN EXCELLENT COPY of a book difficult to find in pleasing condition, the text generally clean and fresh with especially ample margins, and in an unworn sympathetic binding.

Basane de l'époque, dos lisse orné, roulette en encadrement sur les plats, [14] - 264 pp.

La Retraite à temps ou une année au Bengale avant les Mutineries des Cipayes par deux soeurs Broché, 375 pp.

LE MOYEN DE PARVENIR, Oeuvre contenant la raison de tout ce qui a esté, est, & sera : Avec démonstrations certaines & nécessaires, selon la rencontre des effects de vertu. Et adviendra que ceux qui auront nez à porter lunettes s'en serviront, ainsi qu'il est escrit au Dictionnaire à dormir en toutes langues. S. Recensuit Sapiens ab A ad Z. Maroquin rouge avec encadrements sur les plats du type "à la du Seuil" (pastic

LE MOYEN DE PARVENIR, Oeuvre contenant la raison de tout ce qui a esté, est, & sera : Avec démonstrations certaines & nécessaires, selon la rencontre des effects de vertu. Et adviendra que ceux qui auront nez à porter lunettes s'en serviront, ainsi qu'il est escrit au Dictionnaire à dormir en toutes langues. S. Recensuit Sapiens ab A ad Z. Maroquin rouge avec encadrements sur les plats du type "à la du Seuil" (pastiche du XIXe siècle), [4] - 617 pp.

In later tan calf binding with attractive floriate borders and panel decoration blind-stamped on boards. More recently rebacked with four raised bands on spine and blind-stamped decoration in the compartments; burgundy lettering-piece with author and title gilt. All edges washed red. [20], 345, [12] leaves; signatures *-2*8, 3*4, a-z8, A-Y5 (LACKS the three final blanks). Includes index. Printed in black letter with attractive woodcut

In later tan calf binding with attractive floriate borders and panel decoration blind-stamped on boards. More recently rebacked with four raised bands on spine and blind-stamped decoration in the compartments; burgundy lettering-piece with author and title gilt. All edges washed red. [20], 345, [12] leaves; signatures *-2*8, 3*4, a-z8, A-Y5 (LACKS the three final blanks). Includes index. Printed in black letter with attractive woodcut initials. Occasional manuscript marginalia. Leaves *1-5; *7; 3*4; h1-5; m1; v1; v8, z6, A-C2, C8, U7, X-Y5 supplied in sympathetic facsimile. Paper fault at foredge of t4 affecting one or two letters in the marginal note. Repair to top foredge corner of v7. Brown marks in foredge margin of x3-4. A few leaves close-trimmed at foredge, touching marginal notes in places. Minor light damp-marking and some marks of use. Crisp, clean and tight. A very good example of this rare book, the text of which is now complete. STC (2nd ed.), 10443; ESTC S105498.

Bound in vellum. Approx 5" x 3.5" x 1.5". Title spine reads: 'Herodoto Alicarnaseo Tradot', with '1533' at the bottom.

paperback, signed by Heaney on the title page

signed by Heaney on the title page.

translated by Samuel Beckett, published by the Dolmen Press, in an edition numbered and signed by Samuel Beckett, with a short haiku by Alan Ginsberg written on the front endpaper, and signed by Ginsberg; in navy blue boards in a blue slipcase, about 10 inches high

2 small volumes of printed correspondence, in plain red covers, between designer Bruce Rogers and T. E. Lawrence, concerning Rogers's design and typesetting of Lawrence's translation of the Odyssey, privately printed by Rogers.

Contemporary half calf with marbled covers, spine with 5 raised bands and gilt-lettered red morocco label. Illustrated with 5 folding engraved plates. Extremely rare first edition from 1765 of one of the earliest English works dealing with recreational fireworks

Contemporary full calf. gilt-tooled spine with 5 raised bands, 5 gilt fleurons and a gilt-lettered red morocco label. Marbled endpapers and edges. Gilt-decorated board edges. Illustrated with 7 folding copper-engraved plates and 1 folding table. Rare early French work on a wide range of recreational fireworks.

First English Edition. 354pp., original dark yellow ochre net grain cloth. Spine a little sunned and gilt lettering dull, otherwise flawless: an exceptional copy.

FIRST EDITION. Folio. Recently respined and recornered, possibly in panelled calf.

Suite de 14 aquarelles répresentant la culture et le travail du thé en Chine, disposés deux à deux sur 7 feuilles de papier montées sous marie-louise et numérotées à l'encre, protégés dans une boîte moderne gr. in-4, oblong, en toile verte, plats en altuglas, titre doré au dos

- "Comitatus Hollandia", Blaeu, 1608 (ref. Schilder VI, 70) - "Comitatus Hollandia" Pieter vanden Keere, 1610 (ref. Schilder VI, 71) - "Novus XVII Inferioris Germaniae Provinciarum Typus" Blaeu, 1608, 2nd state (ref. Schilder VI, 52) - Cornelis van Dalen, Portret van Maurits von Siegen, engraved portrait (Hollstein 137) - Lambert Visscher, Portret van Johan de Wit, engraved portrait (Hollstein 31, 2nd state,

- "Comitatus Hollandia", Blaeu, 1608 (ref. Schilder VI, 70) - "Comitatus Hollandia" Pieter vanden Keere, 1610 (ref. Schilder VI, 71) - "Novus XVII Inferioris Germaniae Provinciarum Typus" Blaeu, 1608, 2nd state (ref. Schilder VI, 52) - Cornelis van Dalen, Portret van Maurits von Siegen, engraved portrait (Hollstein 137) - Lambert Visscher, Portret van Johan de Wit, engraved portrait (Hollstein 31, 2nd state, before the addition of Cornelis de Witt) - F.B. van Berkenrode, "Huys te Honsholredyk", engraved view (Hollstein 16)

(PAINE, Thomas). Common Sense; Addressed to the Inhabitants of America, on the following interesting Subjects. (1776). [Bound with]: Lettre de Thomas Paine au Peuple Français sur la Journée du 18 Fructidor. (1797). (Two works in one volume). $16,000. Philadelphia, printed; London, re-printed [and] Paris: J. Almon, opposite Burlington-House in Piccadilly [and] Imprimerie-Libraire du Cercle-Social, rue du Théâtre-Français, no. 4. An VI de la Ré

(PAINE, Thomas). Common Sense; Addressed to the Inhabitants of America, on the following interesting Subjects. (1776). [Bound with]: Lettre de Thomas Paine au Peuple Français sur la Journée du 18 Fructidor. (1797). (Two works in one volume). $16,000. Philadelphia, printed; London, re-printed [and] Paris: J. Almon, opposite Burlington-House in Piccadilly [and] Imprimerie-Libraire du Cercle-Social, rue du Théâtre-Français, no. 4. An VI de la République, 1776 and 1797. First editions (see below for details). Two works bound in one volume. Octavo. Quarter bound in early 20th Century parchment and cloth over boards, lettered on the spine in gilt. Modest soiling to the parchment, internally crisp and near fine. The first work, Paine's monumentally important pamphlet *Common Sense*, is the first British edition, third issue: [4], 54pp., with the blank spaces where offending passages (hiatuses) are left blank on the first page of the introduction. The second work is the first French language edition of Paine's *Letter to the People of France and the French Armies, on the event of the 18th Fructidor*. 39, [1]pp. *OCLC* indicates that the English language issue was published in New York in 1797 (and lists 15 holdings); this considerably scarcer French translation (*OCLC* locates only 5 copies) was published the same year as the "Coup of 18 Fructidor" by members of the French Directory on September 4th, 1797. Of Thomas Paine, John Adams wrote: "Without the pen of the author of Common Sense, the sword of Washington would have been raised in vain." Paine lived in France for most of the 1790s, becoming deeply involved in the French Revolution. A plaque in the street where he lived in Paris notes that Paine was an "Englishman by birth, American by adoption, and French by decree." Both pamphlets are well-preserved in a handsome binding. For *Common Sense*: *Gimbel* CS 24-27; for *Lettre de Thomas Paine*: *Martin & Walter* 3, 26322.

viii-237pp-[3], relié, couverture illustrée par Daniel Vierge imprimée en couleurs. Édition originale tirée à 100 exemplaires en tirage de luxe sur divers papiers (parchemin, Japon, Chine, Renage, Whatman). Celui-ci, l'un des 15 sur Chine, est l'exemplaire personnel de l'auteur. Sous la justification, les mots autographes : « exemplaire sur chine de l'auteur » sont écrits au crayon par Octave Uzanne qui signe. Il contient le

viii-237pp-[3], relié, couverture illustrée par Daniel Vierge imprimée en couleurs. Édition originale tirée à 100 exemplaires en tirage de luxe sur divers papiers (parchemin, Japon, Chine, Renage, Whatman). Celui-ci, l'un des 15 sur Chine, est l'exemplaire personnel de l'auteur. Sous la justification, les mots autographes : « exemplaire sur chine de l'auteur » sont écrits au crayon par Octave Uzanne qui signe. Il contient les particularités suivantes : l'illustration du premier plat de couverture est en deux états supplémentaires sur Chine, un état en noir avant la lettre, un état en bistre avec la lettre ; une encre originale signé de A.(lbert) Lynch ; le frontispice décliné sur 10 tirages différents – deux clichés d'impression retouchés à l'encre dont un en inversion, un tirage avant la lettre sur papier rose, le même en sanguine sur Chine, un troisième en sépia sur Chine, un quatrième en noir sur Chine, trois tirages en noir sur vergé avant la lettre, le tirage définitif sur Chine – ; un portrait de l'auteur rehaussé aux crayons de couleurs contresigné en bleu par Octave Uzanne ; un portrait gravé par Paul Avril de l'auteur, probablement réalisé spécialement pour cette édition. L'exemplaire est en outre enrichi d'une eau-forte originale de F. Courboin d'après Félicien Rops sous forme de compliment adressé par Octave Uzanne pour 1892 et du bulletin d'abonnement pour sa revue Le Livre Moderne. Octave Uzanne, grand amateur de reliures, a fait paré son exemplaire d'une demi-reliure à coins en maroquin lavallière, plats de papier caillouté 'œil de chat'. Dos à cinq nerfs ornés d'une roulette dorée, caissons ornés de filets, fleurons et fleurs mosaïqués dorés, pièce de titre en maroquin bleu, lieu et millésime dorés en queue. Rares doublures et gardes volantes réalisées en estampes japonaises (Zeshin et Kyosaï notamment), doubles gardes de papiers peignés. Tête dorée, non rogné, couv. conservée. [V.Champs]. Exempt de rousseurs, ce qui est rare sur un tel papier. Provenance : Octave Uzanne (ex-libris multiples et vente), Isidoro Fernandez (ex-libris)

Pair of lithographs of Geysers in Iceland made from drawings by Sir Thomas Stanley.