London, Hurst & Blackett, [1933].

First UK edition, first impression. 8vo. Original cloth.

The second Maigret title in English, and very rare. Hurst & Blackett (a former imprint of Hutchinson) published only three Maigret books (the third being The Triumph of Inspector Maigret) before Routledge took over just before the war.

London, Hurst & Blackett, [1933].

First UK edition, first impression. 8vo. Original cloth.

Containing 'The Crime of Inspector Maigret' and 'The Death of Monsieur Gallet', this work marks the first appearance in English of Maigret, and is notoriously rare. Hurst & Blackett (a former imprint of Hutchinson) published only three Maigret books (the third being The Triumph of Inspector Maigret) before Routledge took over shortly before the war.

London, Gerald G. Swan, 1960.

First edition, first impression. 8vo. Original blue cloth. Dust-jacket, priced 12/6.

A great first edition of this weird tale, an exploration into the power & peril of telepathy… The author was a prolific writer, with works ranging from children's fantasy to weird sci-fi and spy fiction.

London, John Murray, 1926.

First UK edition, first impression. 8vo. Original cloth. Dust-jacket, priced 7/6.

A highly collectable title and edition from the author of Unleavened Bread (1900), featuring attractive jacket artwork by noted interwar illustrator Helen McKie.

London, T.V. Boardman, 1946.

First UK edition, first impression. 8vo. Original cloth. Dust-jacket.

The author's third novel, distinctly uncommon in the jacket, albeit supplied (but excellent) in this case.

New York & Toronto, Farrar & Rinehart, 1937.

First US edition, first printing. 8vo. Original red cloth. Dust-jacket.

The fourth Pym novel and the title chosen by Farrar & Rinehart to launch Morland in America, with publisher's ballyhoo claiming that Edgar Wallace had "trained a young man to follow in his footsteps" and given him the germ of the Pym character, unsubstantiated but effective PR. The supplied jacket is in excellent condition.

London, Macdonald, 1951.

First edition, first impression. 8vo. Original cloth. Dust-jacket.

"The Hungry Spider is in the best tradition of Man Running and The Golden Dart, and it re-introduces many old friends including Detective-Inspector "Ordinary" Smith, Billy Bull, that tough but ingenuous young gentleman known as the Boy, and of course Eve herself presiding." (jacket blurb)

or, the Modern Prometheus London, John Dicks, 1884.In Dicks' English Library of Standard Works, vol.III. 4to. Contemporary half straight-grain morocco lettered and ruled in gilt to spine.An uncommon serialised edition of Shelley's classic of sci-fi horror; the volume also contains Percy Bysshe's Zastrozzi, both illustrated by the well-known illustrator Frederick Gilbert.

or, The Modern Prometheus
New York, Grosset & Dunlap, [c.1931].

Universal film tie-in edition. 8vo. Original red cloth. Dust-jacket.

The first 'Photoplay' edition, issued to tie-in with the James Whale 1931 film. With the jacket artwork featuring Boris Karloff in one of his most famous roles.

or the Modern Prometheus
New York, Brentanos, n.d..

8vo. Title-page printed in red & black within decorative border. Original blind-tooled brown cloth, lettering in gilt to spine.

Attractive New York edition of Shelley's sci-fi horror classic.

or the Modern Prometheus
Chicago, Donohue, Henneberry, [?1895].

8vo. Original brown cloth, decorative border and lettering in silver.

Attractive 1890s edition of Shelley's sci-fi horror classic.

London, Edward Arnold, 1904.

First edition, first impression, issue with 'art museum' to p.55. Large 8vo. 4 plates, 16pp. advertisements dated 'November, 1904'. Original oatmeal cloth ruled in red & lettered in black, with yapp fore-edges. Presented in custom cloth drop-back box.

One of the most famous compilations of ghost stories of all time, "generally taken to mark the beginning of the modern era of supernatural fiction. In the opinion of many the foremost modern writer of supernatural fiction" (Bleiler, The Guide to Supernatural Fiction).

James McBryde had originally intended to supply more illustrations for the work, but unfortunately died prematurely before he could complete them. The publishers did suggest to M.R. James that they could employ an alternative illustrator, but the author wanted the book to stand as testament to his friend's work, so they kept it to the four.