Antique Collectors’ Club, 2009. 4to., pp.480, blue hardcover, gilt, colour-illustrated; a fresh and near-fine copy, in vg+ unclipped dust-jacket.

Cornwall: Belgrave St Ives Modern & Contemporary Art, 2017. 8vo., unpaginated, printed wrappers, numerous colour plates; very slight shelf-wear to extremities, a near fine copy.

London: Bloomsbury Academic, 2021. Large 8vo., pp.x,252, pictorial glazed hardcover, colour plates and b/w figures; very slight roll to spine, else near-fine. No dust-jacket, as issued.

London: Bloomsbury Academic, 2021. Large 8vo., pp.xii,260, pictorial glazed hardcover, colour plates and b/w figures; light bruising to upper corners of boards, else near-fine. No dust-jacket, as issued.

The Arkwright Arts Trust and Bradford Art Galleries and Museums, 1990. 4to., pp. 128, pictorial wrappers, b/w and colour illustrations, b/w frontispiece; light crease to front lower corner, otherwise a very good, clean copy.

London: T. Cadell and W. Davies; J. Murray. Folio, pp.viii,174, attractive, twentieth-century quarter calf with five raised bands, gilt, marbled boards, new endpapers, 20 engraved plates, including additional pictorial title and one in the text; light foxing to pictorial title, lower corner of rear board a little bumped, otherwise a very good copy indeed.

London: T. Werner Laurie Ltd. First edition, folio, pp.x,226, uncut, original parchment-backed boards, gilt, t.e.g., colour frontispiece, b/w and colour plates; neat ownership bookplates to front paste-down endpaper, toning and foxing to prelims, a very good copy, in pictorial dust-jacket, which is worn to extremities, with all-over adhesive plastic covering, and paper reinforcement to reverse of spine.

London: Whiting & Co, 1887. 8vo., pp.4, comprises title, 3pp. of text, plus 2 b/w plates, bound into green cloth boards, gilt; from the library of Janet and C.R. Ashbee, with their nameplate to head of front paste-down endpaper, and inscribed to C.M. Ashbee on title page, a further heraldic bookplate to front paste-down endpaper, paste-action to free endpapers, foxing throughout, tobacco odour, overall a very good copy, with small spots of rubbing to extremities.

Philadelphia: University of Pennsylvania Press, 2005. 4to.,pp. 255, pictorial wrappers, b/w and colour illustrations; ownership autograph to front wrapper verso underneath front inner fold, light rubbing to extremities, otherwise a near-fine copy.

New Haven/London: Yale University Press, for The Jewish Museum, New York, 2009. 4to., pp.xi,332, black cloth lettered in red, ownership autograph to front free endpaper, else clean and near-fine, in unclipped dust-jacket, which has creasing and 4cm closed tear to spine, else very good.

Milan: Skira, 2007. 4to., pp.302, black hardcover, colour and b/w plates; a slight bruise along upper joint, a fresh and very good+ copy, in a very good+ unclipped dust-jacket.

London: G.G. Harrap & Co, 1937. 4to.,pp. xv, 428, black cloth, gilt, tipped-in colour plates, b/w figures, b/w frontispiece; ex libris Patrick Reyntiens and later Gordon Plumb, with both owners’ bookplates to front paste down endpaper; rubbed to extremities, wear to corners and foot of spine, toning to margins and light foxing to endpapers, overall very good. No dust-jacket. Patrick Reyntiens (1925-2021) was an eminent stained glass artist of the twentieth century, and sometime collaborator of John Piper, with whom he designed the Baptistery window of Coventry Cathedral and windows for the Liverpool Metropolitan Cathedral. His many and varied solo works include the 1996 Angel Window of Southwell Minster, depicting “a great gathering of angels enjoying being with God, just all joy and worship” (Reyntiens).

Munich/London: Prestel/Whitechapel Gallery, 2015. Exhibition catalogue, 4to., pp.287, pictorial hardcover, colour and b/w plates; ownership autograph to front free endpaper, a fine copy.

London: Thames and Hudson, 2000. 8vo., pp.406,(xvi), grey hardcover lettered in black, 16 b/w plates to rear of volume; a fine, fresh copy, in very good+ unclipped dust-jacket.

Derbyshire Museum Service. 4to., pp.68, paperback, colour and b/w illustrations; ownership blindstamp to half title, slightly musty, light shelfwear to wrappers, else very good.

Edinburgh/Brighton/London: Scottish National Gallery of Modern Art/University of Brighton/The Paragon Press, 1997. Exhibition catalogue, 4to., pp.155, paperback, colour plates; ownership autograph to half title, a fresh and near-fine copy.

Farnham: Lund Humphries, 2011. First edition, 4to., pp.192, white paper-covered boards lettered in grey and black, colour and b/w plates; ownership autograph to upper margin of recto frontispiece, small bruise to upper edge of rear board, light bruising to corners, internally fine, overall a very good(+) copy.

London: George Bell and Sons, 1894. Folio, pp.xii,109, rebound in half red morocco, gilt, marbled boards, t.e.g., b/w and duochrome plates, some with caption sheets, further b/w illustrations; foxing to prelims, occasional foxing to margins, slight sunning to spine, else fresh and very good indeed.

University of Michigan, 2006. 8vo., pp.xxii,337, black cloth, bronze gilt, 117 b/w illustrations, 8 colour plates; fine with vg+ dust-jacket that has sunning to spine.

Edgecliff NSW, Focus Publishing Pty Ltd, 1952. First edition, 4to.,pp.204, pictorial paper covered boards, black lettering; illustrations throughout, authors presentation inscription on half-title page, unclipped pictorial dust-jacket, fine.