Explore our selections of novels by Charles Dickens, such as A Christmas Carol, romantic stories like Jane Eyre by Charlotte Brontë, American classics like Huckleberry Finn by Mark Twain, fan favorites such as Jane Austen’s Pride &amp; Prejudice and stories of James Bond by Ian Fleming.

Novels

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Type=Fine%2520Bindings%2520and%2520Sets" rel="noopener noreferrer" target="_blank">finely bound</a> second edition of <a href="https://www.sothebys.com/en/search?query=Jane%20Austen&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Jane Austen</a>'s debut novel, <a href="https://www.sothebys.com/en/search?query=Sense%20And%20Sensibility&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Sense And Sensibility</a>.<ul><li>Sold as a set of 3 volumes.</li><li>Jane Austen (English).</li><li>London: Printed for the author by T. Egerton, 1813.&nbsp;</li><li>12mo.</li><li>Complete with all the half-titles, bound without final blanks (as often).</li><li>Contemporary sprinkled half-calf with marbled paper sides, spine ruled in compartments gilt, twin red morocco title labels, housed in a leather-entry slipcase.&nbsp;&nbsp;</li></ul> Austen’s debut novel and one of her several masterpieces, was originally issued in this three-volume format with a print run thought to be in the hundreds. It was so well received that Austen paid for this second edition to be printed. It has remained in print ever since.

Sense And Sensibility

Uncommonly complete and exquisitely preserved set of the landmark Nonesuch Press publication, one of the most fully realized and beautifully executed Dickens collections ever produced — this with the original packing material and documents and in rare, likely original dust jackets. 	<ul><li>Sold as a set of 24.</li><li>Charles Dickens (English).</li><li>Designed by Francis Meynell (English).</li><li>Edited by Arthur Waugh and Hugh Walpole</li><li>Bloomsbury: Nonesuch Press, 1937-1938.</li><li>130; 6; 748; 548; 364; 872; 852; 482; 766; 874; 594; 880; 798; 844; 418; 866; 836; 928; 826; 898; 854; 892; 817; 858; 874 pages. </li><li>Illustrated in black-and-white throughout.</li><li>Woodblock and matted print housed in original purple buckram box, also wrapped in blue paper.</li><li>Letter of authenticity and letter on “Australian Book Co.” letterhead, addressed to Leonard George, laid in.</li><li>Woodblock box contained in original Nonesuch Press cardboard shipping carton, addressed to “Australian Book Co.” and “Leonard H. George,” noting that this is set no. 152 with plate no. 346.</li><li>One pamphlet in original pink wrappers, side-stitched.</li><li>Great Expectations with postmarked envelope addressed to “Mr. &amp; Mrs. L. H. George” loosely laid in.</li><li>24 volumes in original buckram bindings in a variety of colors, with black goatskin spine labels and gilt lettering, 22 of which with likely original blue paper dust jackets, one volume in original glassine, top edges gilt, other edges machine deckle.</li></ul> “[I]t will never be possible for a more complete or more perfect edition than the Nonesuch Dickens to be put on the market.” – Prospectus. “[P]ortable and handy enough even for those who like to read their Dickens in bed; imposing enough for those to whom a shelf of fine books is the most pleasant of pictures”: such were Francis Meynell’s goals when he designed the Nonesuch Dickens. Meynell had a hand in all the aesthetic decisions that make this set an achievement, from the choice of paper (which “delights the paper fancier”) to the typeface (”of conscious ‘beauty’ it is happily free”) to the cloth chosen for the bindings (”a brave array of reds and yellows and blues and browns”).&nbsp;The Nonesuch Dickens includes classic titles such as Oliver Twist, Nicholas Nickelby, A Tale of Two Cities, and Bleak House, as well as three volumes of Dickens’s letters and two volumes of his collected papers. This set also includes the “even more difficult to lay hands on” Nonesuch Dickensia, which features an essay on the illustrators of Dickens by Arthur Waugh, and a prospectus for the series (Montagu, 132). The edition was “limited, not artificially but of necessity” by the 877 remaining original Dickens woodblocks and plates that were included with the publication; the present set includes the woodblock numbered 346, for “The Old Man and the Robbers” illustration from The Old Curiosity Shop. A remarkable aspect of this set is its uniform blue paper dust jackets. These are very likely the original packing materials for the books: the same blue paper is used as padding for the woodblock box inside the original Nonesuch shipping carton. A rare copy that retains so many ephemeral assets.

The Complete Nonesuch Dickens 

First edition, first printing of arguably the most influential novel in US history, in the scarce publisher's extra gilt binding.<ul><li>Sold as a set of 2.</li><li>Harriet Beecher Stowe (American).</li><li>Uncle Tom's Cabin; Or, Life Among the Lowly.</li><li>Boston / Cleveland, Ohio:&nbsp;John P. Jewett &amp; Company / Jewett, Proctor &amp; Worthington,&nbsp;1852.</li><li>x, 13-312; IV, 5-322 pages (complete; see BAL 19343).</li><li>Duodecimo.</li><li>Illustrated with six full-page plates (three in each volume).</li><li>Bound in original blue pictorial cloth elaborately stamped in gilt to spine and boards (BAL binding C, no priority), all edges gilt, cream endpapers.</li><li>Housed in custom cloth chemise and slipcase.</li></ul> Well educated in a large, abolitionist family, Stowe was already involved in anti-slavery activities by her early 20s, including participation in the Underground Railroad. With the passage of the Fugitive Slave Act in 1850, the "number of kidnappings and forcible re-enslavements of black people was growing almost daily" (Hedrick, 205), and Stowe chafed at the tepid response of those around her: "You don't know how my heart burns within me at the blindness and obtuseness of good people on so very simple a point of morality as this [...] I feel as if my heart would burn itself out in grief and shame that such things are" (1 Feb 1851 letter to Henry Ward Beecher, quoted in Hedrick, 204-5). Having already written a few well-received anti-slavery pieces for The National Era, Stowe was inspired to compose an anti-slavery novel through the urging of her sister, who had told her "if I could use a pen as you can, I would write something that would make this whole nation feel what an accursed thing slavery is" (quoted in Hedrick, 207). The result turned Stowe into "the little woman who wrote the book that made this great war," as Abraham Lincoln allegedly quipped (alas, apocryphally). Already deeply versed in the literature of fugitive slave narratives and armed with decades of firsthand experience assisting those who self-emancipated, Stowe composed a narrative that owed much to the actual experiences and accounts of formerly enslaved people. In A Key to Uncle Tom's Cabin (1853), published after pro-slavery advocates argued that scenes in the novel didn't happen or were exceptions, Stowe painstakingly documented sources employed in her novel, including The Life of Josiah Henson, Formerly a Slave (1849); and the Narrative of Phebe Ann Jacobs (1850). First serialized in 1851 in The National Era, Uncle Tom's Cabin was published in book form in March 1852. The first edition of 5000 copies immediately sold out, as did a second printing. The publisher remarked that "three power presses are working twenty-four hours per day, in printing it, and more than one hundred book-binders are incessantly plying their trade to bind them, and still it has been impossible, as yet, to supply the demand" (The National Era, 15 April 1852). It appeared in a number of different binding variants (wrappers at $1.00, regular cloth at $1.50, and extra gilt at $2.00). The typical cloth binding features substantially less gilt than this rarer deluxe version. A lovely copy of the most desirable state of this social reform classic. Hedrick, Harriet Beecher Stowe: A Life; "Uncle Tom's Cabin &amp; American Culture" at the University of Virginia; Blanck, Bibliography of American Literature (BAL), 19343; Carter &amp; Muir, Printing and the Mind of Man (1983 ed.), 332.

Uncle Tom's Cabin

First complete English translation of the classic swashbuckling adventure, <a href="https://www.sothebys.com/en/search?query=The%20Three%20Musketeers&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">The Three Musketeers</a> — the most acclaimed and influential of the early translations.<ul><li>Alexandre Dumas (French).</li><li>Translated by William Barrow.</li><li>The Three Musketeers; or, the feats and fortunes of a Gascon adventurer. </li><li>London: Bruce and Wyld, 1846.&nbsp;</li><li>687 pages.</li><li>Translator's preface bound before Preface to The Library of Foreign Romance.&nbsp;</li><li>Without the additional Library of Foreign Romance series title page, matching Munro 80.&nbsp;</li><li>Contemporary half brown calf with marbled boards, rebacked with original spine laid down, gilt-lettered burgundy morocco spine label.</li><li>Housed in elaborate custom inlaid morocco clamshell case, lined in scarlet wool.</li></ul> First published in Paris in 1844, The Three Musketeers appeared in England and America soon thereafter in a variety of shortened and serialized adaptations: first in two US translations, then serialized and abridged in the UK by Vickers. Barrow's version here, published as part of the Library of Foreign Romance series, is traditionally labeled the earliest complete English translation because Vickers omits "the account of the dinner at Maitre Coquenard's" plus "much of the original French version is compressed"; further, "an entirely new chapter which Dumas had not written is gratuitously interpolated before the final one" (Munro, 80-1). But most importantly, Barrow's translation was the most widely read, among the best for more than a century, and handled with verve and a charming touch of literalism. Yet it must be admitted that neither the literalism nor the completeness is altogether absolute: as the Translator's Preface takes care to reassure its readers, a translation from the French that left nothing at all to the imagination would "pander to profligacy," sullied by those traces of objectionable matter so enticing to Continental sensibilities and so morally objectionable to "those of our fair countrywomen who have not lost the delicacy which is the most endearing of their national charms"; those traces have therefore been safely omitted. What remains does very well. The novel has been the subject of three centuries' worth of dramatic adaptations: from the opera produced in Dumas's lifetime, to a Wodehouse-authored Broadway musical, to the 1973 Oliver Reed/Michael York costume extravaganza beloved of middle-school substitute French teachers, to 2009's Barbie and the Three Musketeers. None of these tributes have ever eclipsed the original, which lives and flourishes not by its historical intrigues or even its immortal characters, but by its high spirits, joie de vivre, and dashing style.

The Three Musketeers

The iconic modernist book, signed by Matisse, is one of the great editions of one of the great books.<ul><li>James Joyce (Irish).</li><li>Illustrations by Henri Matisse (French).</li><li>Introduction by Stuart Gilbert (English).</li><li>New York:&nbsp;The Limited Editions Club,&nbsp;1935.</li><li>363, [1] pages.</li><li>Illustrated with six etchings and 20 tipped-in drawings on blue and yellow paper.</li><li>Limited edition of 1,500 numbered copies signed by Matisse, this being number 1,264.</li><li>Bound in original brown Bancroft buckram with gilt globe stamped to front board.</li><li>Housed in a custom quarter leather over black cloth archival clamshell box with gilt title spine.</li></ul> Joyce's masterpiece, in the deluxe edition published after the 1933 landmark ruling in the case of United States v. One Book Called Ulysses. Eleven years after the book's initial publication, a US court affirmed that in the matter of obscenity, One Book Called Ulysses had soundly defeated the United States, and immediately thereafter, Limited Editions Club founder George Macy began to plan what would be a monumental achievement: a landmark among Matisse's livres d'artiste, reproducing his preparatory drawings alongside the final soft-ground etchings; the only illustrated Ulysses with an introduction that Joyce allowed to be published; and the most accurate text of the novel published in the US until 1961. In the early days of the project, believing that the artist "[knew] the French translation very well" and only wanted for an idea of the Irish context, Joyce proposed to send him an illustrated Dublin Weekly of 1904 for visual reference. But Matisse had no interest in the specificities of Ireland, and, though his drawings were organized around the Odyssey itself, barely more interest in the specificities of Greece (the two struggling women of his "Calypso," Hillary Spurling suggests, were "an image that had more to do with the artist's own home life that summer than with either Joyce or Homer"). Seeing the sample drawings, George Macy began to plea for some connection, any connection between image and text: "While we understand, and admire, the idea by which the plates are to be illustrative of Homer's Odyssey, it is essential that the incidents of the Odyssey which are illustrated must also make reference to incidents in Joyce's book." This was no way to speak to a great artist. Matisse responded by matching his drawings to individual chapters without explanation, saying only that they represented "reactions of my mind before Joyce's work" and, by the way, "Mr. James Joyce, who knows about the way I am illustrating his book, quite agrees with me on it." This would perhaps have been news to Mr. James Joyce, whose best-known comment on the finished product was: "If they had been signed L.J. [Lucia Joyce] instead of H.M. people would have had a different tale to tell. I am only too painfully aware that Lucia has no future but that does not prevent me from seeing the difference between what is beautiful and shapely and what is ugly and shapeless. As usual I am in a minority of one." Setting aside Joyce's opinion, Matisse's work may be viewed as conceptually linked to his own: not illustrations in any conventional sense, but a parallel artistic project, a second great modernist manipulation of the Odyssey. Another plausible interpretation of Matisse's drawings understands them as a response not to the text but to "the critical apparatus that developed around the novel during the 1930s" (Brown), and specifically to Stuart Gilbert's perceptive introduction. As for contemporary reception, members of the Limited Editions Club expressed one of three reactions: A vile book, dressed up with great art; a great book, ruined by "crackpot drawings"; or a magnificent work, the expression of "perfect rapport among author, illustrator and designer." The third judgment has held up quite well. Luca Crispi, "A French Homer in America: James Joyce, Henri Matisse, and the Limited Editions Club "Ulysses;" Willard Goodwin, "A Very Pretty Picture M. Matisse But You Must Not Call It Joyce": The Making of the Limited Editions Club "Ulysses"; Kathryn Brown, Matisse's Poets: Critical Performance in the Artist's Book.

Ulysses

Inscribed first printing of the influential literary achievement by a towering feature of the counterculture. 	<ul><li>Ken Kesey (American).</li><li>New York: The Viking Press, 1962.</li><li>[8], 311, [1] pages.</li><li>Kesey’s inscription scrawled in black ink across front paste-down “For Darrel / Kesey 1993” and previous owner’s signature penned to front end paper.</li><li>Bound in original green cloth, spine lettered in yellow with original unclipped color dust jacket designed by Paul Bacon with photographic portrait of Kesey by Hank Kranzler on rear panel.&nbsp;</li></ul> The basis for one of the defining films of 1970s cinema, Kesey’s novel was first published more than a decade earlier, at the dawn of the ‘60s, and is all the more shocking for that original context. The novel is set in a men’s psychiatric hospital among inmates who, afflicted variously by mental illness, minority status, criminal convictions and aggressive nonconformity, are all subject to the indignities and cruelties of nurses and doctors alike. Kesey’s sadistic Nurse Ratched lives on as a quasi-folk myth, like the real Lizzie Borden and the fictional Annie Wilkes; her name is perhaps better known even than Kesey’s own.&nbsp;An enduring attack on the establishment’s power to punish and enforce.

One Flew Over the Cuckoo's Nest

First edition, first state of Faulkner's best-known work, one of only 8,500 copies published in October 1932.<ul><li>William Faulkner (American).</li><li>New York:&nbsp;Harrison Smith &amp; Robert Haas,&nbsp;[1932].</li><li>480 pages.</li><li>Octavo.</li><li>First state, with orange lettering on front cover, blue lettering with orange star on spine and "Jefferson" for "Mottstown" on line 1 of page 340.</li><li>Jacket has first issue points of $2.50 price and list of titles on back panel starting with Boyle, Kay. </li><li>Bound in original coarse tan buckram lettered in orange on the cover and blue on the spine with an orange star, top edge orange, with two closed tears to head of spine, offsetting to endpapers, dust jacket with Japanese tissue reinforcements to folds and top and bottom and in-painting.</li><li>Housed in custom clamshell case.</li></ul>

Light in August

<a href="https://www.sothebys.com/en/buy/the-workman-collection" rel="noopener noreferrer" target="_blank">The Workman Collection</a> First-edition set of Dickens' Our Mutual Friend in the monthly parts.<ul><li>Sold as a set of 19.</li><li>Charles Dickens (English).</li><li>Illustrations by Marcus Stone (English).</li><li>London: Chapman and Hall, 1864-1865.</li><li>Octavo.</li><li>40 wood engravings.</li><li>20 parts in 19.</li><li>Bound in original green printed wrappers.</li><li>Housed in a custom drop-back box.</li></ul>

Our Mutual Friend

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">signed</a> <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition" rel="noopener noreferrer" target="_blank">first edition</a> of <a href="https://www.sothebys.com/en/search?sortBy=bsp_dotcom_prod_en&amp;query=Kingsley%20Amis&amp;tab=objects" rel="noopener noreferrer" target="_blank">Amis</a>' first novel, Lucky Jim.<ul><li>Kingsley Amis (English).</li><li>London: Victor Gollancz Ltd, 1953.&nbsp;</li><li>Octavo.</li><li>Signed by the author and dated February 1954 on upper endpaper.</li><li>Publisher’s boards.</li></ul>&nbsp;An attractive example of Amis' first novel; it features the titular Jim Dixon, an inferior academic in a second-rate university. Lucky Jim is remarkable for its relentless skewering of artifice and pretension; it also contains some of the finest comic set pieces in the language. One of the more brilliant concerns a weekend at the home of a ghastly senior professor. After an afternoon of enforced madrigals, Jim becomes so horribly drunk that he inadvertently destroys his host's spare room.&nbsp;&nbsp;&nbsp;Jim is more appealing than some of Amis's later heroes; his hatreds – expressed viscerally through a vast repertoire of grotesque faces – are infectious, while his increasingly elaborate attempts to dig himself out of trouble rarely have the desired effect. The result is a novel in the grand tradition of English satire.&nbsp;

Lucky Jim

First edition, first printing of Tolkien's best-known work.<ul><li>J.R.R. Tolkien (English).</li><li>The Hobbit or There and Back Again.</li><li>London: George Allen &amp; Unwin Ltd, 1937.</li><li>Frontispiece and 8 black &amp; white plates and one vignette by Tolkien, advertisement leaf at end, top edge of text block tinted green.</li><li>Bound in the publisher's original stamped green cloth, map pastedowns and endpapers.</li></ul> Betty Jean Orton is the daughter of Harold Orton (1898–1975), English dialectologist and lexicographer remembered for his monumental Survey of English Dialects (1962–72).Tolkien began writing The Hobbit, or There and Back Again, as a professor of English language and literature at Oxford University. Tolkien's creative perspective was born from a childhood spent briefly in South Africa and then rural England, a short but wretched tour during World War I, and an avid fascination with German philology. Although it was originally billed as a children's book, The Hobbit attracted a varied audience and has been wildly popular since its initial publication. Tolkien built upon the tradition of fantasy literature developed by George MacDonald, Lewis Carroll and the folk tales of Arabian Nights by inventing a new language—Elvish—and making it accessible for modern-day readers. Such creativity brought rave reviews for The Hobbit. 1,500 copies were published on Sept. 21, 1937 and were sold out by December, less than three months after publication.

The Hobbit (First edition, First Printing)

First edition of the first Tarzan novel.<ul><li>Edgar Rice Burroughs (American).</li><li>Chicago:&nbsp;A.C. McClurg &amp; Co.,&nbsp;1914.</li><li>[viii], 401 pp.</li><li>8vo.</li><li>First state, with printer’s name set in two lines of Old English type.&nbsp;</li><li>Previous owner's name in ink on front free endpaper.</li><li>Publisher's crimson cloth, first state of the binding, without acorn device on spine.</li></ul> The child of Lord and Lady Greystoke who were marooned in West Africa, Tarzan ("White Skin" in ape language) was adopted by the she-ape Kala after his parents pass away. Immediately popular, Rice Burroughs's hero featured in more than two dozen sequels and was further immortalized in film.

Tarzan of the Apes

First edition, first issue of Dickens' Oliver Twist. <ul><li>Sold as a set of 3.</li><li>Charles Dickens (English).</li><li>Oliver Twist, or, the Parish Boy's Progress.</li><li>London: Richard Bentley, 1838.</li><li>Duodecimo.</li><li>24 etched plates (including frontispieces) after George Cruikshank, including "Fireside" plate.</li><li>Bound in recent green crushed half morocco for Sotheran, green cloth, gilt paneled spines with top edge gilt.</li><li>Housed in cloth slipcase.</li></ul>

Oliver Twist

First edition signed presentation copy of Greene's Travels with my Aunt.<ul><li>Graham Greene (English).</li><li>London: The Bodley Head, 1969.</li><li>Inscribed on the title page "With thanks for everything from Graham Greene."</li><li>Bound in publisher's original gilt lettered green cloth with illustrated dust jacket</li></ul>

Travels with my Aunt

A finely bound and illustrated collection of the Thorton Edition of the novels of the Brontë sisters.<ul><li>Sold as a set of 12.</li><li>Charlotte Brontë (English).</li><li>Emily Brontë&nbsp;(English).</li><li>Anne Brontë&nbsp;(English).</li><li>Includes The Life of Charlotte Brontë by E.C. Gaskell.</li><li>Edinburgh: John Grant, 1924.</li><li>Bound in half maroon morocco, ribbed gilt decorated spines, textblock uncut as issued, by Atkinson.</li></ul>

The Novels of The Sisters Brontë

First US edition of the classic WWI adventure story, The African Queen.<ul><li>C. S. Forester (English, 1899-1966).</li><li>Boston: Little, Brown, and Company, 1935.</li><li>Cloth-bound with textural leaf motif surrounding boards and green embossed title with illustrated book jacket.</li></ul>

The African Queen

First edition, first issue of The Razor's Edge signed by Maugham on the limitation page.<ul><li>Somerset Maugham (English).</li><li>New York: Doubleday, Doran &amp; Co., 1944.</li><li>Octavo.</li><li>Bound in publisher's salmon cloth, gilt and black lettering piece to spine, and top edge gilt.</li></ul>

The Razor's Edge

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Type=Fine%2520Bindings%2520and%2520Sets" rel="noopener noreferrer" target="_blank">finely bound</a> edition of <a href="https://www.sothebys.com/en/search?query=Don%20Quixote&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Don Quixote</a> by <a href="https://www.sothebys.com/en/search?query=Cervantes&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Cervantes</a>.<ul><li>Sold as a set of 4 volumes.</li><li>Miguel de Cervantes (Spanish).</li><li>London:&nbsp;T. Cadell &amp; W. Davies,&nbsp;1818.</li><li>Embellished with engravings from pictures painted by Robert Smirke.</li><li>Bound in full red morocco, top edges gilt, gilt-tooling on the covers and raised band spines.</li></ul>

Don Quixote

First edition in book form of Dickens' The Life and Adventures of Nicholas Nickleby.<ul><li>Charles Dickens (English).</li><li>Illustrated by Phiz [H.K. Browne] (English).</li><li>London: Chapman &amp; Hall, 1839.</li><li>Octavo.</li><li>Bound in later full polished tan calf by Morrell, gilt-ruled borders, raised bands, gilt spine compartments, gilt-rolled edges, gilt dentelles with all edges gilt.</li></ul>

The Life and Adventures of Nicholas Nickleby

<a href="https://www.sothebys.com/en/search?query=Gogol&amp;tab=objects" rel="noopener noreferrer" target="_blank">Gogol</a>'s Les Âmes Mortes (Dead Souls), the first major book entirely illustrated by <a href="https://www.sothebys.com/en/search?query=marc%20chagall&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Chagall</a>.<ul><li>Sold as a set of 2 volumes.</li><li>Nicolai Gogol (Russian).</li><li>Illustrated by Marc Chagall (French-Russian).</li><li>Paris: Tériade, 1948.</li><li>Folio.</li><li>Illustrated with 96 etchings, hors-texte, and 11 etched vignettes, en-texte on Japon nacré.</li><li>Signed by Chagall in ink on the justification page.</li><li>Limited edition, one of 50 copies on vélin d’arches filigrané, this being numbered 27, from a total edition of 368.</li><li>Text in French.</li><li>All loose as issued in publisher’s printed cream colored wrappers, with cream colored chemises.</li></ul>&nbsp;Gogol’s masterpiece Dead Souls, the first major book entirely illustrated by Chagall and his first illustrations for Vollard. Written over five years at the end of the long pilgrimage that brought Gogol to Germany, Switzerland, France and Italy, Dead Souls offers a vivid and ruthless portrait of a small swindler in provincial Russia in 1820. Published for the first time in 1842, the novel went on to exert a huge influence over the development of Russian literature. In 1923 the French publisher Ambroise Vollard asked Chagall to produce an illustrated edition. Chagall, who had always felt a strong emotional connection to the country where he spent his youth, agreed with enthusiasm and pursued the project between 1923 and 1927. However, like many other Vollard projects, the production of the work was interrupted and only completed years later. The final plate presents a particularly curious image in which Gogol reads and Chagall paints a portrait of Vollard.

Les Âmes Mortes

First US edition and first printing of Virginia Woolf's novel.<ul><li>Virginia Woolf (English).</li><li>New York:&nbsp;Harcourt, Brace &amp; Company,&nbsp;1927.</li><li>310 pages.</li><li>Octavo.</li><li>First printing indicated by "I" on copyright page.&nbsp;</li><li>Bound in green cloth with blue text on spine and front cover.</li></ul>

To the Lighthouse

First edition copy with original dust jacket and a typewritten letter by the author.<ul><li>Margaret Mitchell (American).</li><li>First edition, with “Published May, 1936” on the copyright page.&nbsp;</li><li>New York:&nbsp;Macmillan,&nbsp;1936.</li><li>1037 pp. 1 vols.</li><li>8vo.</li><li>Original gray cloth lettered in blue.</li><li>Unclipped, with “$3.00” cost and with the “Spring Novels” advertisement on the lower panel, showing this work as the second title in the right-hand column.</li><li>Half green morocco slipcase and cloth chemise.</li></ul> Laid in is a one-page typed letter, signed (“Margaret Mitchell Marsh”), from Mitchell to bookseller Robert Wilson, then a student at Johns Hopkins University, on a sheet of personal stationery headed “Margaret Mitchell,” dated Atlanta, Georgia May 21, 1941 and reading in full, “My dear Mr. Wilson, … I have read the letter which my secretary wrote to you and I find I have little to add to it. As she wrote to you, I am no speaker and have never made any lectures of any type, so I regret that I must refuse your invitation. I do feel so flattered that The Johns Hopkins University wanted me to make this talk, and I thank you so much for asking me. Cordially, [signed in ink] Margaret Mitchell Marsh. Mrs. John R. Marsh.”

Gone With the Wind with Signed Letter by Mitchell

Deluxe facsimile of Arion Press edition of Moby Dick, printed at the Kingsport Press.<ul><li>Herman Melville (American).</li><li>Illustrated by Barry Moser (American).</li><li>Berkeley:&nbsp;University of California Press,&nbsp;[1981].</li><li>Folio.</li><li>100 illustrations.</li><li>Limited edition of 750 copies.</li><li>Bound in publisher's blue cloth with spine stamped in silver.</li><li>Housed in cloth slipcase.</li></ul>

Moby Dick

Finely bound set of the novels, works and letters of Jane Austen.<ul><li>Sold as a set of 12.</li><li>Jane Austen (English).</li><li>Edinburgh: John Grant, 1911-12.</li><li>Engraved frontis portrait plate in volume one.</li><li>The Winchester Edition.</li><li>Bound by Atkinson in full tan morocco, gilt lettered red and green morocco spine labels, top edges gilt with marbled pastedowns and endpapers.</li></ul>

The Novels of Jane Austen

<a href="https://www.sothebys.com/en/buy/the-workman-collection" rel="noopener noreferrer" target="_blank">The Workman Collection</a> First edition book printing of Dickens' Hard Times.<ul><li>Charles Dickens (English).</li><li>London: Bradbury and Evans, 1854.</li><li>Octavo.</li><li>Bound in original green cloth with cover and spine stamped in blind with gilt lettering and cream endpapers.</li><li>Housed in a custom brown morocco backed slipcase and folding chemise.</li></ul>

Hard Times

<a href="https://www.sothebys.com/en/buy/the-workman-collection" rel="noopener noreferrer" target="_blank">The Workman Collection</a> First edition book printing of Dickens' Dombey and Son.<ul><li>Charles Dickens (English).</li><li>Illustrations after Phiz [Hablot K. Browne] (English).</li><li>London: Bradbury and Evans, 1848.</li><li>8-line errata leaf with 12-line errata slip tipped-in and 6 pages of advertisements in rear.</li><li>Octavo.</li><li>38 illustrated plates.</li><li>Bound in original olive green cloth with gilt designs to covers and yellow endpapers.</li><li>Housed in a custom green morocco and marbled paper boards.</li></ul>

Dombey and Son

Limited folio edition of Joyce's&nbsp;Ulysses.<ul><li>James Joyce (Irish).</li><li>Preface by Stephen James Joyce (French).</li><li>Introduction by Jacques Aubert (French).</li><li>Illustrations by Mimmo Paladino (Italian).</li><li>London: Folio Society, 2004.</li><li>735 pages.</li><li>Limited-edition number 149 of 1,750.</li><li>Bound in blue goatskin, top edge gilt with cloth page divider attached to the head of spine.</li><li>Housed in a buckram clamshell solander box.</li></ul>

<a href="https://www.sothebys.com/en/buy/the-workman-collection" rel="noopener noreferrer" target="_blank">The Workman Collection</a> Group of first editions including presentation copies of British literature.<ul><li>Sold as a set of 31.</li></ul> Richard James Barham [Thomas Ingoldsby] (English).The Ingoldsby Legends or Mirth and Marvels by Thomas Ingoldsby, Esquire.London: Richard Bentley, 1840-18473 volumes.Octavo.&nbsp;Black and brown pictorial engraved title pages in all three volumes by C. Cook and I.S. Gwilt, 17 plates byGeorge Cruickshank, John Leech and others, 2 portraits, half titles.Volume I with page 236 blank and slip inserted.Volume II with 4 pages of publisher's advertisements end.&nbsp;Bound in publisher's brown ribbed cloth stamped in blind and lettered in gilt, brown cloth boards with blind pictorial floral ovals, gilt titles on upper boards and blind ruled spines.First edition, first state of all volumes.&nbsp;Housed in chemise, in a brown morocco slipcase with blind ruled boards and gilt ruled titles on the spine. Mary Elizabeth Braddon (English).&nbsp;The Christmas Hirelings.&nbsp;London: Simpkin, Marshall, Hamilton, Kent &amp; Co., 1894.Duodecimo.Includes frontispiece at title and illustrated throughout text by F. H. Townsend.8 pages publisher’s ads at rear and ornamental endpapers.&nbsp;First edition.Bound with gilt decorated titles on the spine of quarter blue morocco backed light yellow linen boards with pictorial titles in red on front. Mary Elizabeth Braddon (English).&nbsp;London Pride Or When the World Was Younger.&nbsp;London: Simpkin, Marshall, Hamilton, Kent &amp; Co., 1896.Octavo.First edition.Bound in black cloth boards with pictorial colored flowers stamped on upper board with gilt titles, and gilt titles on spine, top edge gilt. James White [George Cruikshank] (English).The Adventures of Sir Frizzle Pumpkin; Nights at Mess; and Other Tales.London: William Blackwood and Sons, 1836.Duodecimo.Presentation copy with From the Publisher on half-title.First edition.Bound in publisher's gray-green textured cloth, paper title label to spine.Housed in a custom clamshell case. John Davidson (English).Fleet Street Eclogues.&nbsp;London: Elkin Mathews &amp; John Lane, 1893.&nbsp;Octavo.Half-title, statement of limitation of 300 copies, errata slip tipped in after contents, 2 pages publisher's advertisements at end.Bound in original black cloth boards, gilt-lettered spine. John Galsworthy (English).Swan Song.&nbsp;London: William Heinemann, 1928.Octavo.Inscribed by Galsworthy on front endpaper.&nbsp;First edition.Bound in green cloth boards, stamped and lettered in gilt on upper and spine, in pictorial dust jacket. George Gissing (English).&nbsp;The House of Cobwebs and Other Stories.&nbsp;London: Archibald Constable and Company, Ltd., 1906.&nbsp;Octavo.First edition, first impression.&nbsp;Bound in original navy boards with gilt ruled titles stamped on upper board and gilt titles on spine. Thomas Chandler Haliburton (Canadian).The Clockmaker...London: Richard Bentley, 1838.Octavo.First edition.Bound in original grab boards and paper label to spine. Thomas Chandler Haliburton (Canadian).The Letter Bag of the Great Western...London: Richard Bentley, 1840.First edition.Bound in original brown ribbed cloth, covers stamped in blind, upper cover pictorially gilt and spine gilt-lettered. John Hilton (English).&nbsp;Random Harvest.&nbsp;London: Macmillan &amp; Co., 1941.&nbsp;Octavo.First edition.Bound in original green cloth, spine gilt-lettered, originally pictorially printed jacket. Aldous Huxley (English).&nbsp;Proper Studies.&nbsp;London: Chatto &amp; Windus, 1927.&nbsp;Octavo.First edition.Bound in publisher’s green cloth boards ruled in blind, with gilt titles and ruling on spine, in crisp, cream-colored dust jacket with green ruling and titles on front and spine, and publisher’s advertisements on verso.Housed in a collectors’s green morocco backed, green cloth slipcase with gilt ruling and gilt titles stamped onto a spine with five raised bands.&nbsp; John Hilton (English).Random Harvest.London: Macmillan &amp; Co., 1941.Octavo.First UK edition.Bound in publisher's kelly green buckham boards with titles gilt to spine in pictorial dust jacket. G.P.R. James (English).Forest Days. A Romance of Old Times.&nbsp;London: Saunders and Otley, 1843.&nbsp;Octavo.3 volumes.&nbsp;First edition.&nbsp;Bound in blue cloth backed gray boards with titles pasted on spine.Housed in a navy morocco backed clamshell with gilt ruling and gilt titles with decorative motif on spine.&nbsp; Richard Jeffries (English).Amaryllis at the Fair. A Novel.&nbsp;London: Sampson, Low, Marston, Searle, &amp; Rivington, 1887.&nbsp;Octavo.First edition.&nbsp;Bound with charcoal endpapers, half title, in original pictorial dark green cloth boards with daffodil in black and light green on upper and spine with gilt titles. Jerome K. Jerome (English).Three Men in a Boat (To Say Nothing of the Dog).&nbsp;New York: Henry Holt and Company, 1890.&nbsp;Octavo.Illustrated throughout by Arthur Frederics, with decorated endpapers.&nbsp;Originally published in Bristol in 1889, this is the first American trade edition.&nbsp;Bound with blue pictorial boards with navy illustration, gilt titles stamped on upper and spine.&nbsp;Walter Savage Landor (English). Pericles and Aspasia.&nbsp;London: Saunders and Otley, 1836.&nbsp;2 volumes.Octavo.1 page ad on the back of half title in vol. I, and 4 pages of ads at rear of vol. II.&nbsp;P. 248, final line states “tasking” rather than “taxing” and P. 328, line 5 reads, “talk of” rather than “talk to.”&nbsp;First edition.&nbsp;Bound in original quarter blue morocco backed gray boards with title labels pasted down on spines.&nbsp;Housed in a custom collector’s full red morocco slipcase with individual morocco chemise cases stamped with gilt numbers couched inside, gilt titles stamped on the spine that bears five raised bands.&nbsp; Richard Le Gallienne (English).&nbsp;The Book Bills of Narcissus.&nbsp;London: Privately printed by Frank Murray, 1891.Duodecimo.First edition, limited to 250 copies, of which 240 were sold.&nbsp;Bound in original stiff cream-colored French paper wrappers with black titles on upper, folded over card wrappers. Frederick Marryat (English).Masterman Ready; or, The Wreck of the Pacific. Written for Young People.&nbsp;London: Longman, Orme, Brown, Green, &amp; Longman’s, 1841.&nbsp;Octavo.&nbsp;Presentation copy, gift inscribed by the author on front endpapers of all three volumes.&nbsp;Includes engraved frontispieces and numerous illustrations throughout.&nbsp;Publisher's advertisements in the rear of each volume (dated October 1842 in vols. I and II, and January 1843 in vol. III).&nbsp;First edition.&nbsp;Bound by Westleys and Clark with their label on lower pastedown in vol. I. In original publisher’s black cloth with blind pictorial motif stamped on recto and verso all, gilt titles on spines.&nbsp;Housed in a navy morocco backed cloth clamshell with gilt ruling, gilt titles with compartments, two with teal morocco, on spine with four raised bands.&nbsp; Dinah Maria Mulock [Mrs. G.L. Craik] (English).&nbsp;John Halifax, Gentleman.&nbsp;London: Hurst and Blackett, 1856.&nbsp;3 volumes.Octavo.Includes publisher’s advertisements at the rear of each.&nbsp;First edition.&nbsp;Bound in publisher’s brown cloth boards ruled in blind and blind stamped with decorative floral motif, decorative gilt titles on spine with circular motif in blind.&nbsp;Housed in a brown morocco backed collector’s clamshell case with gilt ruling, git titles on spine with floral motifs and five raised bands.&nbsp; Michael Scott (English).&nbsp;The Cruise of the Midge.&nbsp;London: William Blackwood and Sons, 1836.&nbsp;2 volumes.Duodecimo.Yellow endpapers with early bookplates from the library of noted book collector, E. Hubert Litchfield, with his bookplate in each volume on upper pastedowns.&nbsp;First edition.&nbsp;Bound in publisher’s black boards ruled in decorative blind and pictorial gilt titles on spine.&nbsp;Housed in a collector’s green morocco backed cloth clamshell with gilt ruling, gilt titles on spine with four raised bands.&nbsp; Michael Scott (English).&nbsp;Tom Cringle’s Log.&nbsp;2 volumes.London: William Blackwood, 1833.&nbsp;Duodecimo.Bound in dark green pebbled boards with gilt titles on spine.&nbsp;Housed in a collector’s green morocco backed cloth clamshell with gilt ruling, gilt titles on spine with four raised bands.&nbsp;

Collection Of British Literature including London Pride and Three Men in a Boat

A <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Subject=Fine%2520bindings" rel="noopener noreferrer" target="_blank">finely bound</a> set of <a href="https://www.sothebys.com/en/search?query=Charles%20Dickens&amp;tab=objects&amp;sortBy=bsp_dotcom_prod_en" rel="noopener noreferrer" target="_blank">Charles Dickens</a>' Christmas Books.<ul><li>Sold as a set of 5 volumes.</li><li>Charles Dickens (English).</li><li>London:&nbsp;Chapman &amp; Hall, circa 1850-1859.</li><li>Frontispiece and illustrations throughout by John Leech.&nbsp;</li><li>Bound by Bayntun in full red morocco, ornate gilt-tooling on the covers and raised band spines, all edges gilt, marble endpapers, housed in a slipcase.</li><li>Original covers bound in the rear.&nbsp;</li></ul>

The Christmas Books

First edition, first printing inscribed copy of Jones's Hearts of Gold.<ul><li>James McHenry Jones (American).</li><li>Wheeling [W.V.]:&nbsp;Daily Intelligencer Steam Press,&nbsp;1896.&nbsp;</li><li>299 pages.</li><li>Octavo.</li><li>Inscribed on second free end page “With best wishes, J. McHenry Jones.”</li><li>Bound in decorative green publisher’s cloth with gilt lettering to spine.</li></ul> "Educator, orator, and activist J. McHenry Jones (1859–1909) grew up in eastern Ohio. A descendant of African American tradespeople and farmers, Jones chose a career in education. He became the principal of the Lincoln School in Wheeling, West Virginia, and then later spurred more than a decade of growth at the West Virginia Colored Institute (now West Virginia State University) as the Institute’s president. Overshadowed by a modern fascination with Booker T. Washington, Jones not only remained independent from the Washington machine but also carved out niches in state and national Republican party politics, African American societies like the Grand Order of the Odd Fellows, and interracial religious organizations like the Epworth League. Although the multi-talented Jones reportedly authored a handful of novels, critics have located only his 1896 Hearts of Gold, a rich story of Black life at the turn into the twentieth century." [West Virginia University Press]. Maxwell Whiteman listed Hearts of Gold as the thirteenth novel by an African-American author, and while more modern scholarship has adjusted the list, it can still be considered one of the earliest novels by an African-American author. Hugh Gloster concluded that Hearts of Gold was noteworthy because it was the first American novel with a leading character who was the offspring of a lawful marriage between a white woman and an African-American man. A census in 2010 reported only eight known copies of Hearts of Gold, of which this copy was not included.

Hearts of Gold

First edition of John Steinbeck's tale of post-World War, a beautiful copy in the scarce original dust jacket. 	<ul><li>John Steinbeck (American).</li><li>Illustrated by Ruth Gannett (American).</li><li>New York: Covici Friede Publishers, [1935].</li><li>318 pages.</li><li>Illustrated throughout in black and white.</li><li>Original unclipped ($2.50) pictorial dust jacket in blue and black.</li><li>Bound in original tan cloth binding with blue spine lettering, blue topstain, fore-edge machine deckle.</li><li>Housed in custom blue leather-backed clamshell box.</li></ul> The lighthearted tone of Tortilla Flat lifted the spirits of Americans during the Great Depression, for whom “reading and the movies were escape... escape from grinding poverty, escape from worrying about how to pay the rent, escape from worrying about how to find a job” (San Jose). Danny and his round table of friends are rarely concerned with any of those issues as they meander through life in Monterey, undeniably poor, but not experiencing the tragedy of poverty in the same way as many of Steinbeck’s later characters. Steinbeck even drew joy from writing the work: “it is light and I think amusing... I don’t care whether it amounts to anything. I am enjoying it and I need something to help me over this last ditch” (Steinbeck and Wallsten).Tortilla Flat did, of course, amount to something, earning the California Commonwealth Club’s Gold Medal and a mention in the justification for Steinbeck’s 1962 Nobel Prize. It was also made into a 1942 film starring Spencer Tracy and Hedy Lamarr, and was one of the top box office grossers of the year.This first edition is a crystallization of the beginning of Steinbeck’s career, before his works were required reading in classrooms across America. With Ruth Gannett’s illustrations nestled throughout the text,Tortilla Flat is a refreshingly light title in a broad oeuvre.

Tortilla Flat

Signed first edition of Burroughs' novels Soft Machine, Nova Express and The Wild Boys.<ul><li>William Burroughs (American).</li><li>Epilogue by Allen Ginsberg (American).</li><li>New York:&nbsp;Grove Press Outrider,&nbsp;[1980].</li><li>182, 155, 184, [7], [1, ad] pages.</li><li>Duodecimo.</li><li>Inscribed on title page “For Robert A. Wilson with all best wishes and friendship William S. Burroughs September 15th, 1985.”</li><li>Signed by Allen Ginsberg.</li><li>Bound with pictorial wrappers.</li></ul>

The Soft Machine

Inscribed first edition of Monster Midway.<ul><li>William Lindsay Gresham (American).</li><li>Monster Midway. An Uninhibited Look At the Glittering World of the Carny.</li><li>New York:&nbsp;Rinehart,&nbsp;1953.</li><li>307, [2] pages.</li><li>Octavo.</li><li>Inscribed on the ffep to Fletcher &amp; Inga Pratt by the author Nov. 1953.</li><li>Bound in black cloth in illustrated dust jacket.</li></ul>

Monster Midway

First US edition of the second Doctor Dolittle book, which finds our animal-conversant hero on a number of ship-based adventures—winner of the second Newbery Medal ever presented.<ul><li>Hugh Lofting (English).</li><li>New York:&nbsp;Frederick A. Stokes Company,&nbsp;1922.</li><li>364 pages.</li><li>Illustrated with color frontispiece with captioned tissue guard, one color plate and 18 black-and-white illustrations.</li><li>Bound in original grey boards with color pictorial paste-on, blue and yellow pictorial endpapers of Dr. Dolittle as king of the island.</li></ul> Since his debut in this title, Doctor Dolittle has graced stage, screen, radio and even video games with his particular brand of kindly British bumbling and his fantastic ability to talk to animals. The original Dolittle tales frame the world beyond England's shores as curious, exotic and often dangerous, reflecting the colonialist ideals of contemporary white Britons; key plot points revolve around caricatured Black and Native American populations. They were immensely popular on both sides of the Atlantic, and a new Dolittle book was published every year between 1922 and 1928. The Voyages of Doctor Dolittle is substantially longer than the first Dolittle title, and was written with a slightly more mature audience in mind. It earned the second-ever Newbery Medal in 1923, and is still viewed as a childhood classic.

The Voyages of Doctor Dolittle

<a href="https://www.sothebys.com/en/buy/the-workman-collection" rel="noopener noreferrer" target="_blank">The Workman Collection</a> First book edition bound from the weekly parts of Master Humphrey's Clock.<ul><li>Sold as a set of 3.</li><li>Charles Dickens (English).</li><li>Illustrations by George Cattermole (English) and Phiz [Hablot K. Browne] (English).</li><li>London: Chapman and Hall, 1840-1841.</li><li>Large octavos.</li><li>Bound in original publisher's dark brown bold-ribbed cloth with stamped gold clock, gilt spines, marbled endpapers and marbled edges.</li><li>Housed in a custom slipcase.</li></ul>

Master Humphrey's Clock

<a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book?Book%20Type=Signed%2520and%2520Inscribed" rel="noopener noreferrer" target="_blank">Signed</a> <a href="https://www.sothebys.com/en/buy/luxury/books-&amp;-manuscripts/book/first-edition/modern-first-editions" rel="noopener noreferrer" target="_blank">First New American Fiction Editions</a> of Paul Auster's New York Trilogy.<ul><li>Sold as a set of 3 volumes.</li><li>Paul Auster (American).</li><li>Los Angeles:&nbsp;Sun &amp; Moon Press,&nbsp;1985-1986.&nbsp;</li><li>Octavos.</li><li>All volumes are signed flat by Paul Auster on title pages.</li><li>Aged white spine with black lettering.</li></ul> Paul Auster was born February 3, 1947 in Newark, New Jersey, to two Austrian Jewish parents. After graduating from Columbia University, Auster would work for a time in Paris as a translator, translating for various French poets. Auster would move back to the US in 1974, and would gain acclaim both for his work editing the 1982 Random House Book of Twentieth-Century French Poetry and his memoir The Invention of Solitude. His next releases, City of Glass, Ghosts, and The Locked Room would be released sequentially as The New York Trilogy. Hailed for it's inventive subversion of the detective genre to explore philosophical and existential ideas, the novels comprising The New York Trilogy have seen great commercial and critical success. They have spawned several adaptations including graphic novels, text with illustrations, and two plays.

The New York Trilogy: City Of Glass, Ghosts, The Locked Room

The Canonical Tarzan, complete collection of first edition Tarzan novels.<ul><li>Sold as a set of 27 volumes.</li><li>Edgar Rice Burroughs (American).</li><li>Various publishers, 1914-1965.</li><li>First edition run of all 24 novels in the Tarzan series, including Tarzan Of The Apes in the rare original dust jacket and five inscribed books — along with Burroughs's rare 1917 autobiography and two further Tarzan titles.</li><li>Five inscribed books: Beasts, Son, Golden Lion, Invincible, and Leopard Men</li><li>Additional first editions outside the Tarzan novels: An Auto-Biography (1917); Tarzan And The Tarzan Twins (1963); and Official Guide Of The Tarzan Clans Of America (1939).</li><li>Original cloth bindings, all in original dust jackets except Return, Beasts, and Son.</li><li>Earth's Core in a later Grosset &amp; Dunlap jacket.</li><li>Tarzan Of The Apes in rarest state, per Currey: title page cancel, W.F. Hall imprint in Gothic lettering, binding without acorn.</li><li>A full inventory is available upon request.</li></ul> "I have been astonished to discover how often a leading biochemist or archaeologist or space technician or astronaut when asked: what happened to you when you were ten years old? replied: 'Tarzan.'" — Ray Bradbury Tarzan is one of the most recognizable pop cultural icons of the 20th century. Beginning with the novels, but quickly translating to film and beyond, Tarzan soon had his own merchandise, piracies, and international adaptations (including Bollywood films and Japanese manga). Tarzan's relationship with the movies — beginning in 1918, during the early years of popular film — was especially rich. One producer of Tarzan films, Sol Lesser, described Tarzan's global market saturation with only slight hyperbole that "there is always a Tarzan picture playing within a radius of 50 miles of any given spot in the world — in Arab villages, African bush theatres and in pampas settlements down the Argentine way" (quoted in Abate &amp; Wannamaker, 3). But Tarzan enjoyed many revivals in print as well; in 1963 "one out of every thirty paperbacks sold was a Tarzan novel" (Torgovnick, 42). For over 100 years, Tarzan has remained a vivid figure in our popular imagination. Tarzan's world is not all boyhood innocence: it also "embodies a powerful emblem of past white Western imperialism and, correspondingly, of the present colonialization of the world by American culture" (Abate &amp; Wannamaker, 5). But alongside this, Tarzan has remained internationally beloved as a potent mix of the Rousseauian "noble savage" and the Swiftian "stranger in a strange land," — a mythic figure like Romulus and Remus (one of Burroughs's inspirations) or Robinson Crusoe (also an early literary phenomenon). Above all, the books were fun: as Ray Bradbury recollected, "we may have liked Verne and Wells and Kipling, but we loved, we adored, we went quite mad with Mr. Burroughs" (intro to Porges, xviii). This complete collection of the Tarzan novels features one of the rarest and most sought after books in Modern Firsts collecting: a first edition of Tarzan Of The Apes in the original dust jacket. Of the five books inscribed by Burroughs, two are among the earliest in the series: Beasts Of Tarzan (#3) and Son Of Tarzan (#4). In addition to the novels of the main series, this collection includes the scarce early piece of Burroughsiana, a short memoir commissioned by the Republic Motor Truck Company on one of Burroughs's transcontinental journeys; only a few copies were bound in the deluxe suede binding, apparently for the personal use of the author. The final two included books are Tarzan And The Tarzan Twins, which collects two Tarzan novellas for younger children; and The Official Guide Of The Tarzan Clans Of America, published by Burroughs as a manual for organizing and running a Tarzan fan club. Altogether, these books form an exceptionally comprehensive monument to the Tarzan phenomenon.

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Jane Austen

Charles Dickens

Harriet Beecher Stowe

Alexandre Dumas

Henri Matisse, James Joyce

Ken Kesey

William Faulkner

Charles Dickens

Kingsley Amis

J.R.R. Tolkien

Edgar Rice Burroughs

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Charlotte Brontë, Emily Brontë, Anne Brontë

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Miguel de Cervantès

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Marc Chagall, Nikolai Gogol

Virginia Woolf

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Herman Melville

Jane Austen

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Charles Dickens

James Joyce

Various Authors, Mary Elizabeth Braddon, Aldous Huxley

Charles Dickens

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Allen Ginsberg, William Burroughs

William Lindsay Gresham

Hugh Lofting

Charles Dickens

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Edgar Rice Burroughs