London: Kegan Paul, Trench, Trubner & Co. Ltd. Later issue, but pre-1912 (when the publisher’s name changed), same format as the first edtion with full page colour advert (for Perrier water) to rear of volume, but without adverts to versos of plates, oblong folio, cloth-backed pictorial boards, 12 full colour plates; toning to endpapers and title, light evidence of carefully removed newspaper article to front paste-down endpaper, very light surface soil to boards and rubbing to corners, the plates are all very clean, a very good, bright copy.

London: J.M. Dent & Sons, 1928. First edition thus, with Edward Bawden illustrations, 4to.,pp. xxvii,338, blue cloth with decorative gilt to front board and gilt lettering to spine, colour and b/w illustrations, colour frontispiece, pictorial front and rear paste down endpapers; toned to margins with light creasing to upper corners, light rubbing to extremities, a very good copy. No dust-jacket.

London: The Folio Society, 2004. Limited edition, no. 431 of 1010 copies, two volumes, 8vo., Facsimile volume: pp.119r,119v, bound in publisher’s cream morocco binding with three raised bands and inlaid red morocco panel to front board, stamped in blue, black, and gilt, a.e.g., ribbon bookmark, gilt detailing within, accompanying Commentary volume: pp. xxii,119r,119v, green cloth, gilt. A fine set, in near-fine green cloth solander case, with inlaid red leather title panel to spine.

London: D. Bogue, 1847. 12mo., pp.112, pictorial paper wrappers, b/w frontispiece and pictorial title, b/w illustrations; partial loss to paper covering of spine (light loss at head of spine, and 3cms loss at tail), surface soil to wrappers, with light creasing/curling to lower corners, a good copy, which is internally very good.

London: Arthur Barker. 8vo.,pp. 77, purple cloth, white title label to front board and spine, purple lettering, b/w illustrations; foxing to margins throughout, ownership bookplate to front paste down endpaper, lightly rubbed to boards, otherwise very good, in a good unclipped pictorial dust-jacket, which is rubbed and toned with slight loss to head and foot of spine and corners, with light chipping along edges.

London: Macmillan And Co, 1929. Limited edition of 1500 copies, signed by the artist, 8vo.,pp. x,484,patterned paper covered boards, cream vellum spine with gilt lettering, b/w illustrations, b/w frontispiece, from woodcuts by Claire Leighton; Claire Leighton’s signature to publication page, with two ownership autographs to front free endpaper, endpapers lightly toned and soiled, light toning to edges of text block, spine lightly discoloured and runckled, small chip to head of spine, light rubbing to extremities of boards and light wear to corners, a very good copy. No dust-jacket.

London: Weidenfeld and Nicolson, 1970. First edition, oblong 4to., pp.50, red hardcover, gilt, b/w illustrations throughout; light foxing to endpapers, else very good, in good price-clipped pictorial dust-jacket, which has multiple tears to edges (rear of jacket has 3 fairly extensive closed tears), some with light loss, and whole jacket is now mounted onto a paper backing.

London/Edinburgh: T.N. Foulis, 1916. First edition, small 8vo., pp.(ii),152,(iv) adverts, bound in decoratively blindstamped reverse calf wrappers, gilt, t.e.g., untrimmed paper, 6 tipped-in colour illustrations by Jessie M. King (frontispiece, decorative title, one double-page plate and 3 single-page plates, all with tissue-guards); neat ink ownership gift inscription, dated 1916, to foot of front free endpaper, toning to half title and final page of adverts, toning at inner hinges, spine lightly sunned, a very good copy indeed.

London: A & C Black Ltd, 1934. First edition thus, 8vo., pp.140, yellow cloth, black lettering, eleven b/w wood engravings by John Farleigh; neat ownership nameplate to front paste-down endpaper, foxing to top edges, some foxing within, largely to early leaves, slight toning to endpapers, a very good copy, in a very good price-clipped pictorial dust-jacket, rubbed with very slight chipping to extremities, and now in protective covering.

Paris: Alcools. Limited edition of 145 copies, 4to.,pp. 153, leaves unbound and uncut, resting in green card boards with green cloth covered spine, in a plain green card slip-case, monochrome plates throughout and to frontispiece, pictorial half title page; very lightly toned and foxed to edges, extremities of boards lightly rubbed, otherwsie near-fine, in a very good rubbed slip-case.

London: Duckworth And Co, 1921. First edition thus, 8vo.,pp. 275, green cloth, gilt lettering, pictorial emblem to front board, b/w and colour illustrations, colour frontispiece, pictorial endpapers; light toning and foxing to edges of text block and occasionally to margins, webbing visible to inner hinge at rear, all contents firm, rubbing to extremities, a very good copy. No dust-jacket.

High Wycombe: Limited Editions Club, 1933. Limited edition, no.551 of 1500 copies, printed on Barcham Green paper and signed by the artist, small 8vo, pp.ix,149, publisher’s full pictorial pigskin, pictorial title, engraved plates; neat pictorial ownership bookplate to front paste-down endpaper, slight foxing to paste-down endpapers, light chipping to head and foot of spine, slight rubbing to spine, a fresh and near-fine copy.

London: Frederick Muller Ltd. Signed, limited edition, no.39 of 250 copies signed by author and illustrator, small 4to., pp.50, quarter cream cloth, gilt, marbled paper-covered boards, wood-engraved plates and in-text illustrations; slight evidence of tape-marks to paste-down endpapers, light wear to paper at corners of boards, overall very good indeed.

London: The Dropmore Press, 1947. Limited edition, no.390 of 550 copies, 4to., pp.59, blue cloth, lettered in gilt and with pictorial emblem in gilt to front board, decorative gilt inner dentelles, handmade paper, with wood engravings by John O’Connor, including dedication page, pictorial title, 6 full-page plates, plus illuminated letter and decorative tailpiece; foxing to edges, else very good indeed, in vg unclipped dust-jacket, which has foxing to pale paper.

Upper Denby: Simon Lawrence, The Fleece Press, 2014. One of a limited edition of 250 copies, square octavo, a concertina of 25 colour plates after original watercolours by Emily Sutton, showcasing favourite transferware designs from the artist’s private collection, cased in pictorial boards, and housed in a matching green cloth slipcase by Smith Settle, with inlaid pictorial title plate; a fine copy of this collectable work by York-based artist Emily Sutton. Signed to colophon.

London: Cassell and Company, Limited, 1897. First edition, 8vo., pp.190,(xviii)publisher’s adverts, pictorial blue cloth, gilt, with blindstamped decoration to rear board, t.e.g., colour frontispiece with tissue guard, 3 further colour plates and 19 b/w plates, decorative endpapers; light blindstamp to front free endpaper, finger mark to title verso, light foxing to fore-edges, slight rubbing to extremities, a near-fine copy. The first book to include colour plates by Rackham.

London: William Heinemann, 1906. Signed, limited edition, no. 48 of 100 copies, 4to., pp.viii,305, uncut, full vellum, gilt, t.e.g., tipped-in colour frontispiece and plates with caption sheets; loss to corner of mounted plate at p.163, paper-cracking to front inner hinge, with webbing visible (board firm), surface soil and light wear to edges of endpapers, a very good copy.

London: Ward, Lock & Co, 1923. 4to.,pp.263, pictorial hardcover, red cloth, black lettering, monochrome illustrations, colour plates, pictorial endpapers; toning and foxing to edges of text blocks, rubbing to extremities, a very good copy, in a very good unclipped pictorial dust-jacket, which is rubbed to extremities, with some repair and strengthening tape to wrapper verso and to head and foot of spine.