Search Results: Books from Daniel Vince Rare Books

New York: M. Knoedler & Co., Inc., 1972. First edition. This is a near fine copy. Boldly illustrated (as one would expect), the soft covers present Dalí alongside Nobel Laureate Dr. Dennis Gabor (who contributes a foreword) in 3D. There are some very light surface marks present. Dalí's signature is boldly signed to the front fly leaf in a magenta ink, which incidentally matches that of the font, and front cover design. The signature spans two pages, with Dalí accentuating the first letter 'D', swirling it into a spiral. It is dated seven years after the exhibition (1979). This is a scarce catalogue, more so with the great surrealist signing it so boldly and is, overall, in near fine condition.An exhibition catalogue, which describes and illustrates the artistic processes Dalí experimented with at the time. "All artists have been concerned with three dimensional reality since the time of Velasquez, and in modern times, the analytical cubism of Picasso tried again to capture the three dimensions of… Read More

London: Faber & Faber, 1939. First edition, first printing. This is a very good (or better) copy. The dust wrapper has some light spotting and surface wear throughout, with some abrasion to the spine also present. It has been neatly price clipped. The boards, though so slightly toned, are bright with the red motif to the front panel bright and clean. There is a neat gift inscription to the front fly leaf, dated to the year of publication. The text blocks are clean. Overall, this is a very good (or better) copy, which is in remarkable condition for this title.A collection of whimsical light poems about feline psychology and sociology. It serves as the basis for Andrew Lloyd Webber's 1981 musical Cats. Rest assured Christopher Smart would have been a fan.

London: John Murray, 1872. First edition, first printing, second state. This is a very good copy. In the original publishers green cloth, there are some condition issues which are common with most Darwin firsts. The cloth is raised in several places, most notably at the spine, and has some loss to the head of the spine. The corners are slightly bumped and worn in places. The misprint of "htat" is present on page 208. Complete with the 7 heliotype plates (3 folding). The internals are markedly clean, and the text blocks without any indication of foxing. This copy is free from previous owners ink and is, overall, in very good condition. A great work which is said to have "completed [Darwin's] great cycle of evolutionary writings. Inspired by the author's own 'mysterious physical symptoms', for which he sought medical advice in 1838.

London: Michael Joseph, (1959-1975). First editions, first printings. These are very near fine copies. Billy Liar's wrapper, designed by William Belcher, has some light handling marks to both panels and very light shelf wear. It has not been price clipped (13s 6d net) and is free from inscriptions. The text blocks are immaculate. Billy Liar on the Moon has very little wear to note, aside from some slight shelf wear. It is a touch sunned at the spine and has not been price clipped (£3.00 net). The author's signature is flat signed in black ink to the full title page. It is free from additional inscriptions and the text blocks are bright and white throughout. A very near fine pair. The semi-comical story is about William Fisher, a working-class 19-year-old living with his parents in the fictional town of Stradhoughton in Yorkshire. Bored by his job as a lowly clerk for an undertaker, Billy spends his time indulging in fantasies and dreams of life in the big city as a comedy writer. The sequel is a… Read More

London: Constable and Company Ltd., 1962. First edition, first printing. This is a very near fine copy. The Anthony Matiland dust wrapper has some very light toning at the spine, and one small tear to the front panel. It has not been price clipped (13s 6d net). The boards are clean, with the gilt detailing intact and shining. The text blocks are bright and white. The author's signature is present on the front fly, inscribed to a Betty and Roger with love. Interestingly, Pearce inscribes the dedication in blue ink, but her own first name in black ink. Overall, this is a very near fine copy of a remarkably scarce signed title. About a child's longing for a dog – a friend.

London: Andre Deutsch, 1966. First edition, first printing. This is a near fine copy. The stunning dust wrapper (designed by Eric Thomas), which depicts a young Antoinette Cosway on the front panel, is very presentable. It has not been price clipped (21s net) and has only some very minor shelf wear to note. The boards are free from notable wear and the corners sharp. The text blocks are mildly foxed to the top and foredge. This copy is free from previous owners ink and is, overall, in near fine condition. Despite being published 119 years after Jane Eyre, Wide Sargasso Sea is its prequel, narrating the life of the tragic character Berta Mason. Written in a polyphonic narrative, various characters voices come to prominence in this work, but those which prevail are those of Antoinette (Bertha) herself, and a gentleman only referred to by his pronouns – this gentleman is, of course, Edward Rochester.

London: Faber & Faber, 1964. First edition, first printing. This is a near fine copy. The dust wrapper is slightly rubbed along the back strip and with some light shelf wear at the top and tail edges. It has been neatly price clipped at all four corners, but retains the original price (12s 6d net). The boards are nicely bound in the original publishers cloth and although there is some very light rubbing to the spine tips, it remains attractive and highly presentable. This copy is mostly free from foxing (very faint) and from inscriptions and is, overall, a near fine copy. Currently in its sixtieth year, The Whitsun Weddings launched Larkin into the hall of literary fame. Several poems contained in this volume mark themselves eternal, with notable examples being 'An Arundel Tomb', 'Here', 'The Whitsun Weddings' and 'Reference Back'.

London: Constable, (1953). First edition, first printing. This is a very good copy. The wrapper, though bright and indeed presentable, has atypical markings as common with this title. There is slight loss to the top and tail of the spine, with other slight marks present. It has not been price clipped (12s. 6d. net) and there are no signs of repair. The boards are sharp at the corners, though very lightly bumped at the spine tips. The titling is bright at the spine. The text blocks remain clean and free from foxing, the top stain is also clean. This copy is free from inscriptions and is highly presentable in a notoriously fragile dust wrapper.
The scarce third and final title in the Gorse trilogy.

London: The Stanton Press, 1926. First limited edition (one of 200 copies). This is a near fine copy. Printed on Kelmscott hand-made paper, this is a beautiful production. The paper covered boards, designed for this issue, have some light bumping at the corners with one notable bump to the front panel edge. It is free from foxing and free from additional inscriptions. Binyon has inscribed this copy on the front fly to Lord Aledenham (1846-1936), the former Conservative MP for the City of London. The inscription reads: 'To Lord Aldenham on his eightieth birthday from his friends Cicely and Laurence Binyon 1926'. Also on the fly are remnants of a pasted in letter, and there are traces of script remaining. The binding is tight and overall, this is a near fine copy of a fantastic association.The first limited edition of Binyon's The Sirens.

London: The Hogarth Press, (1959). First edition, first printing. This is a very good (or better) copy. The dust wrapper, carrying the iconic John Ward illustrations, has some closed tears to the corners and spine tips. It has not been price clipped and shows the original 18s price. There is light abrasion to the spine edges and some closed tears to the rear panel. The boards, heavy in the publisher's green cloth, are bright and free from notable marks. The text blocks are absolutely pristine. This copy is free from inscriptions and is in very good (or better) condition. The first title in the author's iconic autobiographical trilogy.

London: Eyre & Spottiswoode, 1957. First edition, second printing. This is a near fine copy. The John Minton dust wrapper has some light shelf wear, with one small closed tear present to the lower panel. Shows the eight 'puffs' on the lower panel', and is stated '2nd impression' to the front flap. It has not been price clipped (15s. net). The boards are without notable wear and the text blocks are free from foxing. Present on the front fly, playwright John Osborne has written: '10. 4. 57. To dear Alan, with many many thanks for "The Entertainer" – John O'. Jagg was credited with the décor in Osborne's famed play The Entertainer. In fact, this inscription was written on the very day of The Enterainer's first showing at the Royal Court Theatre, making this a fantastic association between the playwright and an individual involved in stagecraft. Osborne evidently found Room at the Top a good gift for his colleagues. This is a near fine copy. Published in the same month as the first impression (March).… Read More

London: Jonathan Cape, (1965). First edition, first printing, first state. This is a fine copy. The Richard Chopping dust wrapper is fine and although price clipped at all four corners retains the first state price of 10s 6d net. The boards are equally fine, with the gilt titling at the front panel and spine without any abrasion. Internally, there is no wear to note but some imperceptible rippling to the endpapers. There are no inscriptions. This is a fine copy.

The 14th and final Bond book written by Ian Fleming. Adapted for the screen with Roger Moore starring as 007.

Paris: Trianon Press, (1969). First edition thus. This is a fine copy. The marbled slipcase is present as issued. Of the 526 copies produced, this is no. 420 of 480 numbered copies. Bound in quarter tan Morocco, with a beautiful marbled paper. The internals are pristine and the binding tight. The Arches pure rag paper, produced to match that used by Blake himself, is bright and free from foxing. Each page contains one of seventeen colour illustrations by the author, accompanied by the author's monogram. The text blocks are clean. This is a fine copy of a mighty fine production.A prophetic poem, described by as a "mysterious and incomprehensible rhapsody".

London: The Bodley Head (1952). First UK edition, first printing. This is a very good copy. The dust wrapper, illustrated by Vinten, is bright to both panels though suffers from some wear at the corners. There is some major separation at the head and foot of the spine. It has not been price clipped, showing the original 9s. 6d. net price. There is a mild tear to the front panel, with tape repairs internally. The boards are free from notable wear in the publisher's red cloth. The text blocks are mostly clean, with sparse spotting present. The internals are clean and this is a very good copy overall.An unbearably tense classic thriller about men with nothing to lose in the toughest place on Earth.

London: Collins, 1933. First edition, first printing. This is a very good (or better) copy. Unfortunately lacking the dust wrapper. The original publishers maroon buckram is sharp but with some sunning to the spine and light bumping at the corners. The top and tail of the spine are also slightly bumped. There is some very sparse foxing to the top edge. The internals are mostly clean but with some preliminary toning. The author's signature is inscribed: 'V. S-J. said this might amuse you – with salutations, from Winifred Holtby'. The recipient, her friend Violet Scott-James. When 'Mandoa, Mandoa!' was published, Scott-James was sent a complimentary copy at the author's request for review in the Yorkshire Press. Overall, this is a very good (or better) copy, one which is remarkably scarce signed. The author's fifth novel, written whilst she was at the feminist journal Time and Tide and the Manchester Guardian.

London: Dropmore Press, (1949). First limited edition, first printing. This is a near fine copy. The dust wrapper is markedly clean, with some toning at the edges. There is a slight soiling mark at the bottom of the spine. It has not been price clipped. The heavy boards are very near fine in the publisher's cloth and gilt tooling. Internally, the bookplates of Elizabeth Burton and Allen Freer are present on the front endpapers. Of the 1000 numbered copies, this is no. 535. The text blocks are speckled on the top edge but otherwise clean. The John piper illustrations are all present and wonderfully so. Overall, this is a near fine copy of a fine collaborative work.It was a nervous breakdown that drew Sir George Sitwell to Italy in the 20th century. And it was the incomparable gardens of Tuscany, Rome, and the Italian Lake district that inspired him to write his classic analysis of what he considered the timeless principles of garden design.

London: Elkin Mathews, (1894). First edition, first printing. One of 300 copies printed. This is a very good (or better) copy. The publishers blue cloth-bound boards, with the gilt publishers emblem to the front panel, are slightly bumped at the corners. The spine is slightly sunned and the gilt titling and bordering is marked. The front panel is a touch rubbed. The internals are mostly clean, but with some light foxing to the front and rear endpapers. The rough-cut text blocks are free from foxing. The author has signed to the front fly leaf: "J. N. C. from the author, Feb 1. 1894". The signature is markedly bold for Binyon's hand, and appears to be written using a different fountain pen or ink than is typical. Overall, this is a very good (or better) copy. The author's third notable publication, but the first published in book form.

London: Martin Secker, (1923). First edition, first printing. Published in the UK a year after the first US edition. This is a very good copy. The dust wrapper is nicked at the corners, with a mild loss at the top of the spine. It is an otherwise bright copy, showing Martin Secker's list on the rear panel. There is a small previous owner's signature on the front pastedown, concealed by the front flap. The text blocks are markedly clean, but with some marks. The internals are also generally clean, with slight spotting in places. The cream label, with red lettering, is bright on the deep red publisher's boards. This is a very good copy of an increasingly scarce title. Two profound essays initially intended as a response to psychoanalytic criticism of his novel Sons and Lovers, these works progressed into a counterproposal to the Freudian psychoanalytic theory of the unconscious and the incest motive.

Hull: The University of Hull, 1979. First edition, one of 600 copies. This is a fine copy. The laminate pictorial covers are without notable marks, though slightly toned at the top edge. The text blocks are bright and clean throughout. Without the errata slip. Loosely inserted is an invitation addressed to Professor Eddie Dawes from Richard Heseltine, the former Director of Academic Services and Librarian at the Brynmor Jones Library. The recipient, from whose library this copy comes, was, amongst other things, Chairman of the Library Committee from 1974 to 1987 (ten years of which were spent alongside Larkin); Eddie was also the founding chairman of The Philip Larkin Society. Overall, this is a fine association between text and recipient.Philip Larkin's short history of the University of Hull's Brynmor Jones Library, at which he was University Librarian from 1955 until his death three decades later.

London: William Kimber, 1961. First edition, first printing, This is a very good (or better) copy. The dust wrapper, donning a painted portrait of Moss, is slightly sunned at the spine. The spine tops are bumped and there are a few small closed tears present. It correctly shows the 25s. price. The boards are sharp in the original publisher's black cloth with gilt titling. The text blocks are bright and white throughout, but with some very light marks on the bottom edge. The author has flat signed in blue ink to the full title page. Overall, this is a very good (or better) copy of a fine signed title.