j r r tolkien, Signiert (31 Ergebnisse)

Zustand: Fine. Illustrated by John Howe. (illustrator). No Flaws or Blemishes but minimal shelf handling and remainder dot on the bottom edge; Harry Turtledove has signed his story: The Ring and I. Includes writings from Orson Scott Card, Ursula K. Le Guin, Raymond E. Feist, Terry Pratchett, Charles De Lint, George R. R. Martin, and More.

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. First edition. 80pp. Quarto. [31cm] Illustrated paper over boards. Limited signed bookplate laid in. Still in publishers shrink wrap. Hugo and Chesley award-winning Donato Giancola brings his fantastical insight to the famous world of J.R.R. Tolkien's Middle-Earth. Complete with twenty-eight full color illustrations.

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Fine. Alan Lee (illustrator). 1st Edition. Fine condition.HarperCollins,2017.First UK edition-first printing (1). The book is Signed by the Illustrator Alan Lee on the title page with a small inscription. Black hardback (gilt lettering to the spine, small nick on the edges of the cover) with protected Dj(small nick on the edges of the Dj cover), both in fine condition. Illustrated with b/w drawings. Illustrations by Alan Lee. The book is as new with a small nick of the edges of the pages.288pp including List of plates,notes on the Elder Days,appendix,list of names,glossary.Price un-clipped. A collectable signed first edition. This is another paragraph Book Description: The tale of Beren and Lúthien was, or became, an essential element in the evolution of The Silmarillion, the myths and legends of the First Age of the World conceived by J.R.R. Tolkien. Returning from France and the battle of the Somme at the end of 1916, he wrote the tale in the following year. Essential to the story, and never changed, is the fate that shadowed the love of Beren and Lúthien: for Beren was a mortal man, but Lúthien was an immortal Elf. Her father, a great Elvish lord, in deep opposition to Beren, imposed on him an impossible task that he must perform before he might wed Lúthien. This is the kernel of the legend; and it leads to the supremely heroic attempt of Beren and Lúthien together to rob the greatest of all evil beings, Melkor, called Morgoth, the Black Enemy, of a Silmaril. n this book Christopher Tolkien has attempted to extract the story of Beren and Lúthien from the comprehensive work in which it was embedded; but that story was itself changing as it developed new associations within the larger history. To show something of the process whereby this legend of Middle-earth evolved over the years, he has told the story in his father's own words by giving, first, its original form, and then passages in prose and verse from later texts that illustrate the narrative as it changed. Presented together for the first time, they reveal aspects of the story, both in event and in narrative immediacy, that were afterwards lost. Signed by Illustrator(s).

Hard Cover. FIRST EDITION. Octavo, pp. 302, [2] With large folding map in black and red to rear, 8 specially commissioned colour plates and numerous pencil sketches by Alan Lee. Bound in black publishers cloth with gilt titles to spine, grey endpapers. With the unclipped pictorial dust-jacket. A Fine copy in like dust-jacket. Epic tale taken from J. R. R. Tolkien's posthumously published work, The Silmarillion. Drawn together and edited by Christopher Tolkien from his father's original manuscripts. Boldly SIGNED by Alan Lee to the title-page.

Hard Cover. SIGNED LIMITED EDITION. De luxe limited edition of 500 copies only, of which this is no. 377. Octavo, pp., [8], 377, [1]. With a colour frontispiece facsimile of Tolkien's original manuscript. Signed by the author's son and editor Christopher Tolkien to the limitation leaf. Bound in full brown morocco with horse-motif centrepiece stamped in gilt to upper board and Tolkien insignia centrepiece stamped in gilt to lower board, gilt titles to spine, silk ribbon place-marker, all edges gilt. Housed in a matching velveteen-lined brown morocco slipcase with gilt Tolkien insignia. A fine copy in like slipcase. Very scarce and luxuriously bound copy of Tolkien's previously unknown work, The Legend of Sigurd and Gudrun. Presumed to have been written in the 1930s and inspired by the epic stories of Sigurd found in Norse Mythology, the text is illuminated with extracts from J. R. R. Tolkien's lectures and an extensive commentary by Christopher Tolkien considering his father's source material.

One page on his personal embossed letterhead, 5 3/8 x 6 7/8 inches. A letter to Timothy J. Wheeler, founding publisher of "Rally," declining an invitation to write for the magazine. He writes, in part: "I hope you will not think that I am ungrateful for your attention and good wishes if I say that I do not feel able to write anything such as you wish. I do wish you well, but I do not think that it would really do you much good to have special good wishes from me." Signed, "J.R.R. Tolkien." Accompanied by the original transmittal envelope.Wheeler had written to Tolkien in hopes of retaining him to write for the magazine or doing an interview, both of which Tolkien declined. So instead, Wheeler included a profile of Tolkien focusing on The Lord of the Rings. Included with the lot is the original portrait of Tolkien commissioned for the article (charcoal pencil on illustration board measuring 11 x 16 1/4 inches), a copy of "Rally" magazine for the month of August 1966 featuring the article, a retained typed carbon of Wheeler's letter sending Tolkien a copy of the magazine, and a typed letter from Tolkien signed in type and initialed by his secretary acknowledging receipt of the magazine.Tolkien letter has a single horizontal mail fold, and slight toning at the edges. Envelope has been torn open, with loss at top and heavy toning. Drawing has bumped corners and toning, with pencil annotation at bottom right corner. Retained carbon has tearing, paper loss, creasing, and traces of red ink along left. Secretarially initialed letter has a single fold, and its accompanying envelope has been torn open at top.

First edition, first issue of Tolkien's classic tale, "among the very highest achievements of childrenâs authors during the 20th centuryâ (Carpenter & Pritchard, 530), one of only a handful of presentation copies reserved for Tolkien to give to family members, colleagues and close friends. Octavo, original cloth, cartographic endpapers, frontispiece and 9 full-page uncolored illustrations after drawings by Tolkien. Presentation copy, inscribed by Tolkien on the flyleaf, "Mr. & Mrs. Livesley & Edgar with best wishes from J.R.R. Tolkien." The recipients, the Livesleys and their son Edgar, ran the Kennaway House, a Regency town house in the village of Sidmouth, East Devon which Tolkien used as a summer holiday home and the surrounds of which inspired the landscapes, flora, and fauna of The Shire", the region of Middle-earth inhabited hobbits first introduced in The Hobbit. Situated on the rocky coast of the rustic Devon countryside, the village of Sidmouth has featured in a number of famed literary works, as "Stymouth" in Beatrix Potter's children's story The Tale of Little Pig Robinson (1930), "Idmouth" in Thomas Hardy's Wessex, "Baymouth" in William Makepeace Thackeray's Pendennis, and "Spudmouth" in The Merry Adventures of Robin Hood by Howard Pyle. English poet Elizabeth Barrett lived in the town from 1832 until 1835. In the final stages of The Hobbit's revisions, Tolkien notably penned a list of special recipients he wished to present copies of the first printing of the book to upon publication, including C.S. Lewis, R.W. Chambers, R.W. Chambers, Simone dâArdenne, George S. Gordon, Elaine Griffiths, his aunts Mabel Mitton and Florence Hadley, and the Livesleys who hosted him at the Kennaway House. Published on September 21, 1937, the first printing of the Hobbit constituted only 1500 copies and completely sold out by December 15th. In near fine condition. Housed in a custom full morocco clamshell box. An exceptional association of the most highly coveted work in fantasy literature. "In enchanted Middle-earth, a small, comfort-loving Hobbit is awakened from his slumbers by a visitor who tells of lost treasure. Before Bilbo Baggins returns home again, he journeys past wizards and elves, talkative trees and treasure-guarding dragons, all swirling in cosmic battle between good and evil. J.R.R. Tolkien's fully realized fantasy world won over generations of children, and dazzled adults with its deft interweaving of medieval legend and made-up languages, maps, and creatures. Tolkien legitimized the modern fantasy genre, and provided the 1960's counterculture with antiwar, back-to-Eden icons" (NYPL Books of the Century 199). âProfessor Tolkienâs epic of Middle Earth⦠[is] one of [the twentieth] centuryâs lasting contributions to that borderland of literature between youth and age. There are few such booksâ"Gulliverâs Travels, The Pilgrimâs Progress, Robinson Crusoe, Don Quixote, Alice in Wonderland, The Wind in the Willowsâ"what else?⦠[They are] destined to become this centuryâs contribution to that select list of books which continue through the ages to be read by children and adults with almost equal pleasureâ (Eyre, 67, 134-5). "All historians of childrenâs literature⦠agree in placing [The Hobbit] among the very highest achievements of childrenâs authors during the 20th centuryâ (Carpenter & Prichard, 254, 530). Published on September 21, 1937 in a first printing of only 1500 copies, The Hobbit had completely sold out by December 15. âIt may have been a surprise to its publishers that a work as sui generis as The Hobbit should have been a popular success, but once it was a success there can have been no surprise in the clamor for a sequel. Tolkien had opened up a new imaginative continent, and the cry now was to see more of itâ (Shippey, 49).

Second editions of the author's classic trilogy, signed by Tolkien in each volume. Octavo, 3 volumes, original cloth, folding maps. Association copy, inscribed by the author on the half-title page, "Signed for Ethel May with love J. R. R. Tolkien." Volumes two and three are signed by J.R.R. Tolkien on the half-title page. The recipient, Ethel Burchfield was theÂwifeÂof Robert Burchfield, a lexicographer and scholar who was mentored by Tolkien. Burchfield studied at Magdalen College, Oxford, where he was tutored by Tolkien and C.S. Lewis. Burchfield would go on to develop a Tolkien-like fascination with linguistics and would become theÂeditorÂofÂtheÂSupplement toÂthe Oxford English Dictionary. TheÂtwo men remained friends and correspondents for muchÂofÂtheir lives with Burchfield later crediting Tolkien as "the puckish fisherman who drew me into his glittering philological net." Near fine in near fine dust jackets, with "E. M. Burchfield St. Peters. XII 1967." Housed in a custom half morocco clamshell box made by The Harcourt Bindery. An exceptional set, most rare and desirable signed, with noted provenance. The Lord of the Rings began as a sequel to Tolkien's 1937 children's fantasy novel The Hobbit, but eventually developed into a much larger work. It was written in stages between 1937 and 1949, much of it during World War II in letters to his son, "and finally, having polished it to his own satisfaction, published it as a trilogy from 1954 to 1955, a volume at a time, impatiently awaited by a growing audience. It is considered one of this century's lasting contributions to that borderland of literature between youth and age. It seems destined to become this century's contribution to that select list of books which continue through the ages to be read by children and adults with almost equal pleasure." (Eyre, 134-35). It has went on to become the third best selling novel of all-time with 150 million copies sold.

First edition, signed and dated 1949 by the illustrator on the title page. This fantastical fable is set in a medieval version of Tolkien's home county, Oxfordshire. Written in 1937, the year Tolkien published The Hobbit, the story describes the encounters between Farmer Giles and giants, talking dogs, and a dragon. Pauline Baynes (1922-2008) was "Tolkien's illustrator of choice" (Scull & Hammond, p. 112). Tolkien was delighted with the illustrations and wrote "I showed them to my friends whose polite comment was that they reduced my text to a commentary on the drawings" (Scull & Hammond, p. 112). She would later work on The Adventures of Tom Bombadil, Smith of Wootton Major, and a number of Tolkien's posthumous works. This copy is in the library binding and dust jacket (Hammond & Anderson), as often. Hammond & Anderson A4a. Octavo. Two-colour frontispiece, plate, monochrome illustrations throughout, all by Pauline Baynes. Original orange cloth, spine lettered in blue, dragon illustration on front cover in blue, patterned endpapers, top edge blue. With dust jacket. Housed in custom brown leather slipcase with gilt authorial monogram and dragon illustration. Extremities rubbed, spine a little slanted, top edge faded, the rest gently foxed; jacket price-clipped and re-priced at 7s. 6d., as issued, nicks to extremities, a handful of short closed tears along top edge, panels lightly soiled: a very good copy in like jacket.

A remarkable signed set. Each volume signed by J.R.R. Tolkien in black ink: The Lord of the Rings volumes on their respective half titles, The Hobbit on its half title, for a total of four signatures by the famous British fantasy author. Additionally, a typed sheet is laid in, reading, "7th June, 1967. // With Professor Tolkien's compliments." The sheet is blind stamped with Tolkien's home address, "76, Sandfield Road, Headington, Oxford." H. David Wilt, the former owner of the volumes, worked as a children's librarian, and these books were birthday gifts from coworkers. He states, " I was a rather brush young man, and I decided I would send them off to England and ask if I could get them autographed by Professor Tolkien. I looked up an address for him and sent them off, hoping for the best. And the best happened. He signed them and his secretary sent them back and they've been with me for 60 years." Laid in photocopied booklet from Henrico County Library about Tolkien included. Second American edition, 19th printing of The Hobbit, published in 1965. First American edition, 14th printing of The Fellowship of the Rings, published in 1964. First American edition, 11th printings of Two Towers and Return of the King, published in 1965. LOTR housed in the publisher's black slipcase with paper title label. Very Good+ condition overall: light foxing along edges, dulling to spine panels of jackets, and shelf wear. LOTR volumes' dust jackets are price-clipped (unlike The Hobbit), gift inscriptions from Wilt's colleagues on front free endpapers, a little biopredation. All maps present. Slipcase a little worn. A rare full set of The Hobbit and Lord of the Rings Trilogy signed by Tolkien four times, with an additional typed note from his desk.

Zustand: Fine. First Edition. 1954, 1954, 1955. Three volumes. First edition, first printings, signed by J.R.R. Tolkien on the title page of The Two Towers. Finely bound by the Chelsea Bindery in red morocco, spines decorated and titled in gilt, with "Eye of Sauron" to front boards in gilt, dark green endpapers, and edges gilt. Housed in a red leather entry slipcase. Folding maps in red and black at rear of each volume. Fine. Pages lightly tanned. Tolkien's epic trilogy is considered one of the greatest fantasy works ever written and is among the best-selling books of all time. Its contribution to popular culture has been profound to say the least.

Unbound. Zustand: Fine. Two quarto leaves (8" x 10¼"). Typed on one and a half pages and Signed in ink. Dated June 22, 1957 from Merton College, Oxford, with the original mailing envelope postmarked two days later. Addressed to Andrew Schiller, a University of Chicago linguist, living in Western Springs, Illinois, U.S.A. Old folds from mailing else fine. Tolkien responds in detail to a series of queries concerning his translation of *Sir Gawain and the Green Knight* that had been recently performed on the BBC, and revealing the text was "a completely new translation of the whole poem." Despite acknowledging the "broadcast was extremely successful," he admits he was not fond of the performers: "For without claiming any notable skill as a reader of verse, I think I should have done better than the people they employed for the purpose." Tolkien then discusses his distinction between metre and prosody (providing his definition of both), before making an interesting case about trying to analyze ancient metre: "In dealing with a dead metrical practice, that has not left a record or tradition of 'the rules', I think that most enquiries, and notably those dealing with the 'alliterative' tradition, become confused. They seem to me, to make an allegory, like the work of men attempting to analyze the calisthenics and physical rhythms of two tennis-players, including the differences between them, with out bothering to enquire what is the function of the artificial white lines on the grass, or observing the wholly preposterous net. They may, or may not, succeed in saying something interesting about the motions of a man hitting a bouncing object with a racket, or about bodily motions in general, but they will say very little about lawn-tennis, in which human physique and artificial rules are in constant interaction." Toklien goes on to encourage his correspondent: "What do you think were 'the rules' in this case? And how were they learned? There must have been some. Where does alliteration come in? I think this is the first point of enquiry." Finally Tolkien warns Schiller: "Please do not take these very casual remarks too seriously! They are hardly more than a few question marks in reply to yours." A detailed and, despite their characterization of "casual remarks," of prosody and metre.

Rare autograph letter signed by the author of The Lord of the Rings Trilogy, J.R.R. Tolkien regarding a list of 50 questions he has composed examining Old English Literature. The one-page autograph letter signed by TolkienÂreads in full, "1 Alfred Street St. Giles Oxford Mar: 17th 1920. Dear Miss Duncan, I enclose a 'mixed bag' of 50 questions on the OE period - some of them on 'Beowulf' (exclusive of special points of commentary), some more general. A few may be of use to you (many are culled from past papers etc.: those of last year are marked). They are not intended to by models of clear questioning , but to suggest enquiries. The easily available critical writings that might help are all 150 few. I hoped some time to make out something like a select bibliography but I am enormously pressed for time this vacation, and I am ever afraid no such thing will have been done by me in time to be of use to you. I am yours sincerely JRR Tolkien." The three-page typed list of 50 questions with autograph emendations by Tolkien is entitled "Old English Literature Questions." Tolkien has inserted a comedic addition "lumbering about in potbellied equanimity" to the question:Â"A gluttonous race of Jutes and Angles, capable of no grand combinations not dreaming of heroic toll, and silence, and endurance, such as lead to the high places of this universe, and the golden mountain tone where dwell the spirits of the dawn' (Carlyle). How far would your reading of Old English poetry land you to modify this estimate?" Tolkien has also added a 51st question in his hand at the conclusion of the questionnaire, "Give an account of one important ins. of English poetry. Indicate its value for our knowledge of the subject as a whole." In fine condition. Housed in a custom half morocco clamshell box made by the Harcourt Bindery. An extraordinary pairing, offering a unique glimpse into Tolkien's broad literary knowledge and influences. Both Tolkien's academic career and his literary production are inseparable from his love of language and philology. He specialized in English philology at university and in 1915 graduated with Old Norse as his special subject. Parallel to Tolkien's professional work as a philologist, and sometimes overshadowing this work, to the effect that his academic output remained rather thin, was his affection for constructing languages. The most developed of these are Quenya and Sindarin, the etymological connection between which formed the core of much of Tolkien's legendarium. Language and grammar for Tolkien was a matter of esthetics and euphony, and Quenya in particular was designed from "phonaesthetic" considerations; it was intended as an "Elvenlatin", and was phonologically based on Latin, with ingredients from Finnish, Welsh, English, and Greek. J.R.R. Tolkien's fully realized fantasy world won over generations of children, and dazzled adults with its deft interweaving of medieval legend and made-up languages, maps, and creatures. Tolkien legitimized the modern fantasy genre, and provided the 1960's counterculture with antiwar, back-to-Eden icons." (NYPL Books of the Century 199). His Lord of the Rings Trilogy, preceded by The Hobbit which introduced the character of Bilbo Baggins, has has went on to become the third best selling novel of all-time with 150 million copies sold.

Hardcover. First Edition, First Printing. Tall octavo, xiii, 712 pages. In Very Good condition, with a Very Good dust jacket. Bound in black paper boards, with gilt lettering to spine. Mild shelf wear, including bumping to head and tail, and foxing/light age staining to text block. Dust jacket protected by mylar covering. White and yellow lettering to black spine of dust jacket; mild shelf wear to covers. Interior pages clean. Presumed inscribed by Gray to front free endpaper: "All good wishes, Douglas. 22 Oct 2008 / [sentence in French]." Notation in ink to back free endpaper. Shelved Middle Ages. 1383222. Shelved Dupont Bookstore.

Paperback. Zustand: Near Fine. None (illustrator). A proof copy of this previously unpublished historical fiction novel by Kenneth Morris, signed by the editor, Douglas A. Anderson. A proof copy.Signed by the editor, Douglas A. Anderson, inscribed to the half-title.Introductory letter by Anderson loosely inserted, in which he describes his discovery of Morris and working on his manuscript. Photograph showing the cover design for the published book is loosely inserted.'The Chalchiuhite Dragon' is set in a utopia in the Mexican jungle during the pre-Colombian era, an isolated civilisation who find their peace and naivety interrupted with the arrival of the Toltecs.By Kenneth Morris, who Ursula K. Le Guin named as one of the three master fantasy authors of the twentieth century, alongside E. R. Eddison, and J. R. R. Tolkien. In the original publisher's paper wraps. Externally, smart, with very light edge wear. A few minor marks to the wraps. Spine is very lightly sunned. Internally, firmly bound. Pages are bright and clean. Near Fine. signed by author. book.

Hardcover. Zustand: Fine. Zustand des Schutzumschlags: Near Fine. First edition. Fine in near fine unprinted dust jacket with some soiling and small tears. One of 500 numbered copies Signed by the editors. A compilation of the thoughts of writers about their early literary influences. Contributors include Agatha Christie, Jack Kerouac, P. G. Wodehouse, J. R. R. Tolkien, John Updike, Allen Ginsberg, William Saroyan, Tennessee Williams, Anais Nin & Ralph Ellison.

Hardcover. First Edition. Edition limited to 500 copies. Tan cloth with paper labels lettered and decorated in black and red affixed to front cover and spine. A fine copy in near fine plain white dustjacket with a closed tear to upper edge of front panel and a couple of nicks. Signed by Penzler and Byrne on the limitation page. The first 100 copies of this title were for presentation only and not for sale. This is copy no. 7 and is signed and inscribed by Otto Penzler on the flyleaf: "For Walter T. Shirley - On the auspicious occasion of his acquisition of first books by two writers - Raymond Chandler and Otto Penzler." Also comes with a later Christmas card signed by Penzler. A compilation of the thoughts of writers such as Agatha Christie, Jack Kerouac, P. G. Wodehouse, J. R. R. Tolkien, John Updike and many others on their early literary influences. A lovely copy. ; Octavo; Signed by All Authors.

Cloth. Zustand: Fine. J. M. Good; R. S. Hart; Sophie Baker; Ernest Shepard (illustrator). First edition. A lovely first edition, first impression of Carpenter's study of the Golden Age of Children's Literature, inscribed by the author. The first edition, first impression of this work in the publisher's original cloth binding, with the original unclipped dust wrapper. Inscribed by the author to the front free end paper. 12 plates of photographs and reproductions of drawings. Collated complete. Humphrey Carpenter (1946-2005) was an English biographer, writer and radio broadcaster. He is known especially for his biographies of J. R. R. Tolkien and other members of the literary society the Inklings. In this study, he explores the Golden Age of Children's Literature, touching on famous works, such as Alice in Wonderland and Peter Pan, and their authors. In publisher's original cloth binding, with original unclipped dust wrapper. Externally, cloth is in immaculate condition. Internally, firmly bound. Pages are bright and clean except for one small mark to page 136, not affecting the text. Dust wrapper is in excellent condition, with minimal edgewear and a little sunning to the spine. Fine. signed by author. book.

First edition in book form. Inscribed presentation copy. Publisher's original black cloth with gilt titles to the spine, in the Patrick Tilly designed dustwrapper. An excellent fine copy, the binding square and tight, the contents, the with recipient's bookplate to the front pastedown are otherwise clean throughout. Complete with the very lightly rubbed dustwrapper that has some offsetting from the author's ink presentation inscription to the front flap. Not price-clipped (16s net to the front flap). Inscribed by the author in black ink on the front endpaper "To Britta and / Jan Broberg / with best wishes from / Alan Sillitoe / 7th July 1964". The recipient Jan Broberg (1932-2012) was a literary historian and one of Sweden's foremost experts on crime fiction. He interviewed numerous authors including J. R. R. Tolkien, Georges Simenon and Doris Lessing. The Ragman's Daughter is a collection of seven short stories previously published in magazine form. The titular story is the basis for the 1972 Harold Becker directed film starring Simon Rouse and Victoria Tennant. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.

Cloth. Zustand: Near Fine. None (illustrator). A signed limited edition of this collection of essays by a host of popular authors such as Agatha Christie and J. R. R. Tolkien on their early literary influences, with this copy being presented to the celebrated queen of crime, Agatha Christie. A limited edition, with this being number 23 out of 100. The first edition was limited to 500 copies numbered and signed by the editors, with this being the smaller limitation of 100 copies, which were for presentation and not for sale.A brilliant association, with this copy being previously owned by the legendary crime writer, Agatha Christie. This work was presented to Christie, a contributor to this collection of essays, with "Agatha Christie's Copy" inscribed to the edition page to the rear by the editors. Agatha Christie's contribution for this work discusses her enjoyment in Stanley Weyman's historical novels and the Sherlock Holmes stories.Signed by both the editors to the edition page.This limited edition work features a collection of essays from popular literary figures and important individuals, discussing their early literary influences, and was edited by Evelyn Byrne and Otto Penzler. The work features contributions from the likes of J. R. R. Tolkien, Anthony Burgess, Tennessee Williams, Richard Nixon and Agatha Christie.In the publisher's original cloth. Lacking plain dust wrapper. In the publisher's original cloth. Lacking plain dust wrapper. Externally excellent with slight fading to the spine and marks to the boards. Internally firmly bound with clean and bright pages. Near Fine. signed by author. book.

An original painting executed in purple, red and green gouache on board with exceptionally crisp and elegant lines. Design instruction and pencilled notes in the hand of the artist to the margins around the painting. The painted image measures 14.5 x 23 cm, the board 26 x 39 cm. The board has been taped to a folded piece of paper which acts as a window mount with two small strips of gummed tape. The illustration itself is bright and in fine condition, the surrounding board is toned with a few finger marks and some dustiness and bumping to the extremities. Together with a first edition of the book, signed by the author Dorothy Esnor. Original navy cloth with gilt titles to the spine and a gilt illustration to the upper board, in dustwrapper. Illustrated throughout in colour by Pauline Baynes. A very good or better copy, the binding firm, the contents, with faint offsetting at the endpapers and a little light spotting to the closed text block edge and infrequently internally, are otherwise clean. Complete with the lightly rubbed dustwrapper that has a few short closed tears at the edges. Not price-clipped (10/6 on the front flap). Produced for Dorothy Ensor's adaptation for children of Duncan Forbes's translation of the Persian tales of Hatim Tai, Pauline Baynes's illustration shows the hero standing in the garden of an elaborate palace looking up at an ominous bird which is about to put a malevolent enchantment upon him. The painting is reproduced facing page 84 of the printed first edition. Though best known for illustrating the work of J. R. R. Tolkien and C. S. Lewis, Baynes was also prolific outside of these collaborations and brought that same touch of fantasy, precision and fluidity to anything she set her hand to, as is perfectly exemplified here. Baynes spent a happy early childhood in India (the loss of which she never forgot), where the story of Hatim Tai is popular and has been made into countless films. Her personal appreciation for the artistic styles and landscapes of South Asia is apparent in the geometric lines and patterns and swirling botanical motifs in her Hatim Tai illustrations, clearly inspired by Indian miniature paintings, whilst retaining her own distinctive style. The book is inscribed on the flyleaf "From / Dorothy Ensor". Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.

SIGNED by the photographer. From Ian Dickson's 'Collector's Series'; a range of handmade box sets, each title containing seven hand-printed images in signed mounts; offered in Standard, Digital or DeLuxe (best) edition. '20th Century Boy' comprises six silver gelatine prints and one colour digital print of Glam-Rock legend Marc Bolan live on stage; this is the superior De Luxe edition which uses fibre-based prints (instead of resin-coated), in hinged archival mounts (instead of standard mounts). Each print is signed by the photographer on the mount. This is copy no.4 of an unspecified edition number (perhaps fewer than 10 examples), the series now having been discontinued by the publisher due to production costs and time constraints. The mounted photographs are contained in archival quality polyester sleeves with a frame dimension of 11 x 14 inches. Housed in an illustrated clamshell box (charmingly home-made by Dickson himself) with a numbered certificate affixed to the underside of the lid. The highly individual cover art is by famed cartoonist/illustrator Ray Lowry and a short but entertaining biography of the photographer 'Hired Gun' (also with Lowry-designed cover) completes the attractive package. A fine copy. Chameleon songwriter and guitarist Marc Bolan, like his friend and contemporary David Bowie, went through various personas and images, but is best remembered as a pioneer of the Glam-rock era of the early-mid '70s. His music career, like Bowie, began in the mid-sixties, as a troubadour folk singer under the guise 'Toby Tyler'. he then joined the cult proto-punk band 'John's Children' in early '67, who were a notorious live act but sold few records. He and their drummer Steve Peregrin Took created Tyrannosaurus Rex, a psychedelic-folk rock acoustic duo, playing Bolan's deceptively melodic songscomplete with J. R. R. Tolkien-influenced lyrics. This edition of Tyrannosaurus Rex released three albums and four singles, flirting with the charts, and getting airplay from Radio 1 DJ John Peel. A highlight of this era was playing at the first free Hyde Park concert in 1968. Mickey Finn then replaced Took after their first American tour when Bolan wanted to chnge direction- A rock'n'roller at heart (at first he played skiffle and worshipped Gene Vincent and Chuck Berry), Bolan began bringing amplified guitar lines into the duo's music, buying a vintage Gibson Les Paul guitar for an authentic sound (the same guitar later featured the 'T.Rex' LP sleeve, 1970). Suitably equipped, he let the electric influences come forward even further on 'A Beard of Stars', the final album to be credited to Tyrannosaurus Rex. It closed with a song, "Elemental Child", featuring a long electric guitar break influenced by Jimi Hendrix. Next, with producer Tony Visconti, Bolan wrote and recorded "Ride A White Swan", dominated by a rolling, backbeat and fuzzy, spiky electric guitar, the name was edited to 'T.rex' and the single became an overnight success and largely (and, in many ways, unwittingly) invented the style that would become glam rock and helped restore a brash and exciting feel, when rock bands had grown increasingly self-important. With his corkscrew hair and boyish good looks, Bolan's emergence heralded the start of a new era of British music which could be appreciated by both serious rock fans and pop-loving kids. The band grew to a quartet, with added bass and drums, and T.Rextasy took hold, with their simple, catchy, boogie- based rock producing a string of classic singles such as 'Get It On', 'Telegram Sam', 'Metal Guru', 'Children Of The Revolution', '20th Century Boy' and 'The Groover'. Ian Dickson has been photographing rock stars since 1972 and his work has appeared in Disc, Record Mirror, New Musical Express, Sounds, Vox, Mojo, Q, Rolling Stone and elsewhere. His first exhibition was in London in 1992 and several successful European shows followed. In 1994, a selection of his work was shown at the MTV Awards in Berlin, at the Brit Awards at Alexandra Palace, and at the World Music Awards in Monte Carlo and Copenhagen. A feature on his portfolio was published in the March 1995 issue of Q magazine and in August that year, he was recognised by the 'Rock and Roll Hall of Fame and Museum' who included his famous Rod Stewart 'pyjama' portrait; this was followed by an Eric Clapton and a Muddy Waters portrait, added in February 2000.

THOMAS THORILD ALS VORLÄUFER DER NEUZEITLICHEN RELIGIONSWISSENSCHAFT von Ohlmarks, Ake und Lars Akerberg. Veröffentlichungen des Religionswissenschaftlichen Instituts der Ernst Moritz Arndt-Universität Greifswald NR. 1, 77 SS. gebunden (Hardcover 4°, 25,7 x 19,3 cm), leicht gebräunt, ordentlich erhalten - signierte, nummerierte Ausgabe # 9 von nur 15 Exemplaren, Vorsatz mit eigenhändiger Widmung, Empfehlung, Unterschrift signiert "Herrn Professor Dr. L. Magon in Dankbarkeit und Hochschätzung überreicht von AKE OHLMARKS" (Widmungsempfänger = LEOPOLD MAGON (1887-1968, Prof.Dr., deutscher Germanist , Skandinavist und Theaterwissenschaftler - sein EX LIBRIS auf dem inneren, gegenüberliegendem Vorderdeckel).

First edition, first impression, signed by the author beneath the printed facsimile signature on the frontispiece. This collection "cemented his dramatic reputation" (Joshi & Schweitzer, p. 2). It includes four works: The Laughter of the Gods, The Queen's Enemies, The Tents of the Arabs, and A Night at an Inn. Dunsany (1878-1957) was "unquestionably one of the most important writers of heroic fantasy of the century; a writer of great originality and charm" (Bleiler, p.165). He was described by Yeats as a "man in whose genius I believe", and his work influenced authors including J. R. R. Tolkien and Ursula K. Le Guin. Although these plays were published in 1917, Dunsany was keen to point out that he mostly wrote them before the war, during which he served as a captain of the Royal Inniskilling Fusiliers, "lest any idle person might think that I have had time to write plays during the last few years" (preface). They emerged on the back of the transatlantic success of his Five Plays (1914), all of which ran simultaneously on Broadway. Everett F. Bleiler, The Guide to Supernatural Fiction, 1983; S. T. Joshi & Darrell Schweitzer, Lord Dunsany: A Comprehensive Bibliography, 2013. Octavo. Photographic frontispiece of the author. Original quarter buckram, brown boards, spine lettered in gilt and front cover in white, grey endpapers, top edge green. With T. Fisher Unwin dust jacket. Newspaper clipping sometime removed from front pastedown. Spine gently cocked, contents clean; jacket unclipped, spine browned, creasing and nicks to top edge: a near-fine copy in like jacket.

Published within C. S. Lewis's second volume in the Chronicles of Narnia series, Prince Caspian, on page 151. The illustration is from Chapter 12 ("Sorcery and Sudden Vengeance"), in which Edmund, Peter, and Trumpkin arrive as Prince Caspian and Doctor Cornelius are attacked by "a Hag and a Wer-Wolf". "The next minute or so was very confused. There was an animal roaring, a clash of steel; the boys and Trumpkin rushed in; Peter had a glimpse of a horrible, grey, gaunt creature, half man and half wolf, in the very act of leaping upon a boy about his own age, and Edmund saw a badger and a Dwarf rolling on the floor in a sort of cat fight". In 1948, Pauline Baynes (1922-2008) was commissioned by Tolkien's publishers to provide illustrations for the author's Farmer Giles of Ham. Tolkien was delighted with the illustrations and wrote "I showed them to my friends whose polite comment was that they reduced my text to a commentary on the drawings" (Scull & Hammond, p. 112). Baynes became "Tolkien's illustrator of choice" (Scull & Hammond, p. 112), and she would later work on The Adventures of Tom Bombadil, Smith of Wootton Major and a number of Tolkien's posthumous works. It was the collaboration between Tolkien and Baynes that led to her introduction to C. S. Lewis. As described by Scull & Hammond, "her most famous work. is her art for the seven volumes of the Chronicles of Narnia". When later asked how she came to be chosen as the illustrator of Narnia, Baynes responded "Lewis told me that he had actually gone into a bookshop and asked the assistant there if she could recommend someone who could draw children and animals. I don't know whether he was just being kind to me and making me feel that I was more important than I was or whether he'd simply heard about me from his friend Tolkien". Walter Hooper notes that Baynes and Lewis "were to meet several times to discuss the illustrations, and there seems unanimous agreement that the choice of an illustrator for Narnia was perfect" (Hooper, p. 406). When The Last Battle won the Carnegie Medal for the best children's book of 1956, Baynes wrote to congratulate Lewis. He responded asking "is it not rather 'our' Medal? I'm sure the illustrations were taken into consideration as well as the text" (Hooper, p. 408). Walter Hooper, C. S. Lewis: a Companion & Guide, 1996; Christian Scull & Wayne G. Hammond, The J. R. R. Tolkien Companion & Guide, 2017. Original drawing (50 x 98 mm) on card (238 x 185 mm). Drawn in ink, signed in pencil lower right ("Pauline Baynes"), captions and printer's markings below mount. Mounted. Light consistent toning, crease to card not affecting image: fine and unfaded.

A collection of nine leaves taken from the printed books, each signed by the illustrator in black ink. Four of the seven titles in The Chronicles of Narnia series are represented, including The Lion, the Witch and the Wardrobe. The individual leaves are as follows: 1) "He crossed the river on the ice and walked up to the house", from Chapter 9 ("In the Witch's House") of The Lion, the Witch and the Wardrobe, p. 75. 2) "The Witch walked behind the dwarf and kept on saying, 'Faster! Faster'", from Chapter 11 ("Aslan is Nearer") of The Lion, the Witch and the Wardrobe, p. 97. 3) "Pressing their way between the laden branches they reached the wall", from chapter 1 ("The Island") of Prince Caspian, p. 15. 4) "It was not a man's face but a badger's", from chapter 5 ("Caspian's Adventure in the Mountains") of Prince Caspian, p. 62. 5) "Half man and half wolf. leaping upon a boy about his own age", from chapter 12 ("Sorcery and Sudden Vengence") of Prince Caspian, p. 151. 6) "And then they both saw him, sitting with his back to them, fishing.", from chapter 5 ("Puddleglum") of The Silver Chair, p. 66 7) "There were forty or fifty of them, all in a row", from chapter 6 ("The Wild Wastelands of the North") of The Silver Chair, p. 77 8) "But it was still only a foot or two deep", from chapter 14 ("The Bottom of the World") of The Silver Chair, p. 188 9) "At last there was something different - a mass of rock sticking up out of the sand." from chapter 9 ("Across the Desert") of The Horse and His Boy, p. 119. In 1948 Pauline Baynes (1922-2008) was commissioned by Tolkien's publishers to provide illustrations for the author's Farmer Giles of Ham. Tolkien was delighted with the illustrations and wrote "I showed them to my friends whose polite comment was that they reduced my text to a commentary on the drawings" (Scull & Hammond, p. 112). Baynes became "Tolkien's illustrator of choice" (Scull & Hammond, p. 112), and she later worked on The Adventures of Tom Bombadil, Smith of Wootton Major, and also a number of Tolkien's posthumous works. It was the collaboration between Tolkien and Baynes that led to her introduction to C. S. Lewis. As described by Scull & Hammond, "her most famous work. is her art for the seven volumes of the Chronicles of Narnia". When later asked how she came to be chosen as the illustrator of Narnia, Baynes responded "Lewis told me that he had actually gone into a bookshop and asked the assistant there if she could recommend someone who could draw children and animals. I don't know whether he was just being kind to me and making me feel that I was more important than I was or whether he'd simply heard about me from his friend Tolkien". Walter Hooper notes that Baynes and Lewis "were to meet several times to discuss the illustrations, and there seems unanimous agreement that the choice of an illustrator for Narnia was perfect" (p. 406). When The Last Battle won the Carnegie Medal for the best children's book of 1956, Baynes wrote to congratulate Lewis. He responded asking "is it not rather 'our' Medal? I'm sure the illustrations were taken into consideration as well as the text" (ibid., p. 408). Walter Hooper, C. S. Lewis: a Companion & Guide, 1996; Christian Scull & Wayne G. Hammond, The J. R. R. Tolkien Companion & Guide, 2017. Nine loose leaves (208 x 130 and 197 x 135 mm). Occasional light finger soiling, one leaf with short crease to corner not affecting image, some minor toning: near-fine.

No Binding. Zustand: Fine. ORIGINAL FULL COLOUR ARTWORK. The image shows Hansel and Gretel stood in front of the Witch, who is holding her broomstick and has her black cat on her shoulder. In the background is the beautiful house covered in biscuits, cakes, sweets & icing. The painting is signed by Baynes in the bottom left corner. Image size is 9.2 x 7 inches. Mounted to give a total size of 16.1 x 13.5 inches. The reverse of the painting has Baynes' agent's stamp in black ink. Framed and glazed in attractive maple frame. --- A beautiful painting by one of the great twentieth century book illustrators, best known for her work on C. S. Lewis' Narnia series and J. R. R Tolkien's Tom Bombadil, Farmer Giles of Ham and Smith of Wooton Major. --- Through a contact I had who knew Pauline Baynes I sent a copy of this painting to her shortly before she died to see if she could supply any more information. All she could remember was that she had painted it for the publishers Blackie in about 1949 or 1950 as part of a series of watercolours they commissioned for an edition of Grimm's fairy tales that was intended to be issued in the early 1950's. Despite intensive searches for some years I have not been able to find a copy of that 1950's edition either for sale or listed in a library and think it may never have been published in its fully illustrated form. I have seen a copy of a 1960's edition with only one full colour plate, Snow White, as the frontispiece. Other scenes painted by Baynes from Grimm stories illustrate the dustwrapper but not this image and Baynes is not credited as illustrator in the book or dustwrapper. Signed by Illustrator(s).

First edition, first printing, signed by the author on the title page. This work is the fourth instalment in the Chrestomanci series, which documents Chant's "good-humoured attempts to control the abuse of magic throughout the world" (ODNB). Diana Wynne Jones (1934-2011) was a hugely influential fantasy writer and has been cited as a key inspiration by fellow authors such as Philip Pullman, Terry Pratchett, and J. K. Rowling. She read English at St Anne's College, Oxford, where she was taught by both C. S. Lewis and J. R. R. Tolkien. Her "extensive knowledge of myth, legend, and fairy tales sat easily with descriptions of contemporary young people, sometimes quarrelling but fundamentally of good heart" (ODNB). In 1999, she was awarded the Karl Edward Wagner prize for "important contribution to the genre" by the British Fantasy Society. The US edition was published first, in May 1988, followed by Methuen's UK edition in August. Octavo. Original orange quarter cloth, spine lettered in gilt, blue paper sides, publisher's imprint on front cover in blind, dark orange endpapers. With dust jacket, designed by Jos. A. Smith. Foot of spine gently bumped: a near-fine copy in fine, unclipped jacket.

First edition, first impression, signed by the author on the half-title and uncommon thus. This supernatural work draws on themes from Jones's own childhood to produce an unsettling "time-slip" story. Diana Wynne Jones (1934-2011) was a hugely influential fantasy writer and has been cited as a key inspiration by fellow authors such as Philip Pullman, Terry Pratchett, and J. K. Rowling. She herself read English at St Anne's College, Oxford, where she was taught by both C. S. Lewis and J. R. R. Tolkien. Her "extensive knowledge of myth, legend, and fairy tales sat easily with descriptions of contemporary young people, sometimes quarrelling but fundamentally of good heart" (ODNB). In 1999, she was awarded the Karl Edward Wagner prize for "important contribution to the genre" by the British Fantasy Society. This copy is from the library of noted science fiction collector Roger Earnshaw, and was signed at the Write Fantastic Event held at the Forbidden Planet Book Shop in London on 17 March 2007. Octavo. Original blue boards, spine lettered in silver. With illustrated jacket by Maggie Heslop. Top edges of price-clipped jacket rubbed: a fine copy in near-fine jacket.

Vellum. Zustand: Fine. Zustand des Schutzumschlags: near fine. Rackham, Arthur (illustrator). First and Limited Edition. First edition with Rackham illustrations, one of 575 copies, octavo size, 48 pp., signed by Arthur Rackham. A perfect convergence of "one of the earliest English examples of a fantasy written specifically for a child" (which may have had a direct effect upon George MacDonald and, subsequently, C. S. Lewis and J. R. R. Tolkien) written by the truly brilliant writer John Ruskin (1819-1900), author, art critic, and social thinker. Ruskin wrote the story for the then twelve-year old Effie Gray, later to become his wife, who challenged her friend Mr. Ruskin to write a fairy story, as it was "the least likely task for him to fulfill" - he fulfilled it wonderfully, and the story has remained a favourite with children ever since. Wonderfully illustrated by the unparalleled Arthur Rackham (1867-1939), whose "imaginative eye saw all forms with the eyes of childhood and created a world that was half reassuring and half frightening" (n. b., quotes from Carpenter, "The Oxford Companion to Children's Literature", p. 294 and Houfe, "The Dictionary of 19 Century British Book Illustrators", p. 268). With four full-page illustrations in full colour and fifteen drawings in black and white by Arthur Rackham, this copy housed in the original publisher's slipcase (with the limitation number matching that in the volume), and with the original glassine wrapper. ___DESCRIPTION: Full limp vellum, gold lettering on the front, top edge gilt, fore- and bottom edges uncut, green pictorial endpapers, limitation statement on the verso of the half-title page, frontispiece a four-colour illustration, title page in red and black with vignette in the same colours, four full-colour illustrations (including frontispiece) throughout, the black and white drawings scattered through the text; octavo size (9.25" by 6"), pagination: [1-4] 5-47 [48], one of 550 copies, this number 287 (total edition 570, with 20 copies not for sale), signed by Arthur Rackham on the limitation page. In the original glassine jacket, housed in the publisher's plain original slipcase, paper spine label with brown lettering giving the title and illustrator, with the limitation number of 287 handwritten onto the label. ___CONDITION: Volume fine, the vellum binding clean and smooth, the corners straight and unrubbed, the text block strong and the hinges solid, the interior pages clean and bright with light foxing only to the endpapers, several signatures unopened, and entirely free of prior owner markings; some light dustiness to the top fore-edge corner of the text block, else fine. The glassine wrapper near fine with minor overall wear (no rips or tears), sunned around the spine. Slipcase near fine, strong and sturdy, without splits or tears, with light overall soiling and some edgewear to the paper spine label. ___CITATIONS: Riall p. 176; Latimore & Haskell p. 67. ___POSTAGE: International customers please note that additional postage may apply, please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions, we are here to help.