London, Rupert Hart-Davis, 1st, 1961, Book: Very Good, Dust Jacket: None, Hardcover, green cloth with gilt lettering on spine, 292 pages. Maps on the endpapers. Black and white illustrations by Timothy Birdsall. A illustrated guide to the major theatres in London along with a brief history of each. No dust jacket. A bright, clean copy.

Hardcover. Boston, David R. Godine, 1st, 2009, Hardcover, 192 pages. The photography of Angus McBean encompasses more than three decades of the history of British theater. His work includes most of the memorable productions of the Old Vic Company and of what is now the Royal Shakespeare Company; opera productions at Glyndebourne and the Royal Opera House, Covent Garden; ballet and operetta at Sadler's Wells; and West End productions of plays and musicals both old and new -- hundreds of productions in all. He was the favorite photographer of Vivien Leigh, Laurence Olivier, and Edith Evans, and he photographed countless plays starring John Gielgud, Ralph Richardson, and Alec Guinness, not to mention younger stars such as Audrey Hepburn, Richard Burton, and Elizabeth Taylor. In fact, McBean photographed virtually every great actor of his era, perhaps the most brilliant years in the annals of British theater.His studio was active and eclectic; among his patrons were not only actors, singers, and dancers, but also playwrights, producers, composers, artists, and writers. In his early career, McBean had been a pioneer of surrealist photography, with a highly popular series of "surrealized" portraits that appeared in The Sketch, and, later, of montage and multiple-exposure photography in a long-running series for The Tatler.In 1969, McBean approached Harvard University to initiate the sale of his collection, and in the following year his archive of glass plate negatives, index prints, and programs, together with the copyrights, became a part of the Harvard Theatre Collection, where it remains the most often-requested collection of visual material. The photographs in this book, selected and captioned by the archive's curator, Fredric Woodbridge Wilson, have been carefully reproduced from the original negatives.

Softcover. NY, Doubleday Anchor Book, 1st US, 1968, Book: Very Good, Dust Jacket: None, Softcover, 298 pages. First published in 1917 and long regarded as a classic of English social history. Preface by Asa Briggs. Clean, bright copy.

Softcover. Los Angeles, The Augustan Reprint Society , reprint, 1988, Book: Very Good, Dust Jacket: None, Softcover, 88 pages. A facsimile reprint of a satirical play written in 1700. Name on front cover, otherwise clean copy.

Hardcover. Edinburgh, William P. Nimmo & Co, reprint, 1881, Book: Very Good, Dust Jacket: None, Hardcover, original gilt-blocked half buckram over sandgrain cloth, 544 pages with index. Top edge gilt. Clean copy.

Hardcover. London, William Hodge & Company, 1st, 1952, Book: Good, Harcover, red cloth with gilt lettering on spine. In 1902 the 'Veronica' set sail on her last voyage. An extraordinary outbreak of mutiny occurred, resulting in the deaths of all but five of the thirteen persons on board. The ship was set on fire and abandoned. The five men arrived on the island of Cajueri Tuoia on the north coast of Brazil. They were destitute and asked to board the S.S. Brunswick. Their stories of the events were doubted and two of the men decided to tell the truth. The other three were brought to trial in Liverpool charged with the murder of Captain Shaw and six other crew members. One of the harder to find editions in the series. 248 pages, b&w illustrations. Light tape marks on cover, rear hinge cracked, otherwise clean.

Hardcover. London, George G. Harrap & Co., 1st, 1963, Book: Very Good, Dust Jacket: Poor, Hardcover in a worn dust jacket, 224 pages, b&w illustrations. ".recreates the tense, exciting battles with rocks and mud, quicksands and "nephitic gasses," fire and water, that made the "great national undertaking" a fiasco" but did eventually become of important use by trains of the East London line.

Hardcover. NY, Viking, 1st US, 2009, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket. 522 pages, b&w illustrations. By the end of World War I, Britain had become a laboratory for modernity. Intellectuals, politicians, scientists, and artists-among them Arnold Toynbee, Aldous Huxley, and H. G. Wells-sought a vision for a rapidly changing world. Coloring their innovative ideas and concepts, from eugenics to Freud's unconscious, was a creeping fear that the West was staring down the end of civilization. In The Twilight Years, award-winning historian Richard Overy examines the paradox of this period and argues that the coming of World War II was almost welcomed by Britain's leading thinkers, who saw it as an extraordinary test for the survival of civilization- and a way of resolving their contradictory fears and hopes about the future. Clean copy.

Hardcover. NY, W W Norton, 1st, 2003, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, unclipped dust jacket, 724 pages. Illustrated in b&w and color. A revisionist panorama of the nineteenth century examines the era's material and spiritual changes in the wake of emerging British capitalism and imperialism, as told through the writings of such figures as Darwin, Marks, George Eliot, and Kipling. Clean copy.

Hardcover. UK, Pi Global Publishing Limited, 1st, 2005, Book: Very Good, Dust Jacket: None, Hardcover, large format pictorial boards, Drawn from Opie''s unrivalled collection, this scrapbook illustrates song sheets, magazine covers, comic postcards, fashion and food, games, propaganda posters and a wealth of British wartime ephemera whose very survival is remarkable. Due to size (10 1/2 X 15"), DOMESTIC SHIPPING ONLY.

Hardcover. NY, Norton, 1st, 1958, Book: Very Good, Dust Jacket: Good, Hardcover in an edgeworn, chipped dust jacket, 271 pages.

Hardcover. London, Sampson, Low, Marston, Searle & Rivington, 1st, 1885, Book: Good, Dust Jacket: None, Hardcover, 300 pages + 32 ads in rear. Original brown endpapers, in the original binding of blue cloth decorated in red, black and gilt, spine titled in gilt. Also published under title: The Society of London. Originally attributed to Mme. Juliette Adam; more recently this and other similar works have been accredited with strong probability to Elie de Cyon." (Trove) Catherine Radziwill was the first to use the pseudonym Count Paul Vasili with a gossipy book called Berlin Society, a pen-name that was then taken up by other anonymous writers. Previous owner's name in ink on title page, otherwise clean, tight copy.

Hardcover. London, Unicorn Publishing Group, 1st, 2019, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket. Starting in 1966, Thea Porter designed clothes for the rich and famous for nearly two decades. Her creations were made from sumptuous fabrics that drew inspiration from the Middle East, combining richly patterned silks with antique fabrics. Her clothes were a must for music and film stars such as Pink Floyd, Crystal Gayle, Elizabeth Taylor, and Barbra Streisand. Porter soon became a key member of an innovative group of British designers that included Ossie Clark, Zandra Rhodes, and Jean Muir, and her place in the history of British fashion was ensured when she was named Designer of the Year in 1972. Thea Porter's Scrapbook is her story in her own words, an unpublished autobiography she put together before her death in 2000. Edited by her daughter Venetia and with an essay by fashion historian Amy de la Haye, it reveals Porter's further talents as a keenly observant and descriptive writer. This book, which includes working drawings, sketches, snapshots, and manuscript notes, serves as a memoir of her early life and career, charting many memorable episodes, including the dramatic surge of American interest in her clothes and the opening of her shop in Paris as she pursued her ambition to create dresses "beyond trend and tat, that thirty years from today will still be beautiful."

Hardcover. London, Dewi Lewis, 1st, 1998, Book: Very Good, Dust Jacket: None, Hardcover, 80 pages. A photo essay depicting the British Army struggling to come to terms with contemporary life. No dj issued.

Hardcover. London, Dewi Lewis, 1st, 1998, Book: Very Good, Dust Jacket: None, Hardcover, 80 pages. A photo essay depicting the British Army struggling to come to terms with contemporary life. No dj issued.

Hardcover. NY, Viking, 1st, 2018, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 728 pages. The long-awaited biography of the genius who masterminded Henry VIII's bloody revolution in the English government, which reveals at last Cromwell's role in the downfall of Anne Boleyn. Since the sixteenth century we have been fascinated by Henry VIII and the man who stood beside him, guiding him, enriching him, and enduring the king's insatiable appetites and violent outbursts until Henry ordered his beheading in July 1540. After a decade of sleuthing in the royal archives, Diarmaid MacCulloch has emerged with a tantalizing new understanding of Henry's mercurial chief minister, the inscrutable and utterly compelling Thomas Cromwell. History has not been kind to the son of a Putney brewer who became the architect of England's split with Rome. Where past biographies portrayed him as a scheming operator with blood on his hands, Hilary Mantel reimagined him as a far more sympathetic figure buffered by the whims of his master. So which was he--the villain of history or the victim of her creation? MacCulloch sifted through letters and court records for answers and found Cromwell's fingerprints on some of the most transformative decisions of Henry's turbulent reign. But he also found Cromwell the man, an administrative genius, rescuing him from myth and slander. Clean copy.

Oxford UK, Bodleian Library, 1st, 2018, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 136 pages. The wife of the distinguished engraver Reynolds Stone, Janet Stone established a kind of literary salon in the idyllic setting of the old Rectory at Litton Cheney in West Dorset, where their wide circle of friends could visit, work, and flourish. Janet's photographs of these occasions feature informal portraits from the mid-twentieth century of many of the leading cultural figures and personalities of the day. Included between these pages are portraits of the composers, actors, novelists, poets, and philosophers in the Stones' milieu--from Benjamin Britten to Siegfried Sassoon and Frances Partridge--as well as members of the Stone family. Although not a trained photographer, Janet instinctively knew to click the shutter when her subjects were off-guard and at their most informal, capturing an array of candid shots--like one of John Bayley trying on a headscarf and a young Daniel Day-Lewis dressed up as a knight. These unique portraits offer beguiling insight into a special set of circumstances: an idyllic place and time and a group of people drawn together by two contrasting but complimentary personalities, the shy genius of Reynolds met by the outgoing style and glamour of Janet Stone. Clean copy.

Softcover. London, Whitechapel Art Gallery, London, 1st, 1992, Book: Very Good, Dust Jacket: None, Softcover, 80 pages, illustrations in color and b&w. Clean, unmarked copy with only minor wear to wrappers. Published on the occasion of the exhibition held from December 11, 1992-February 28, 1993..

Softcover. London, Whitechapel Art Gallery, London, 1st, 1992, Book: Very Good, Dust Jacket: None, Softcover, 80 pages, illustrations in color and b&w. Clean, unmarked copy with only minor wear to wrappers. Published on the occasion of the exhibition held from December 11, 1992-February 28, 1993.

Hardcover. NY, E.P. Dutton , 1st, 1932, Book: Good, Dust Jacket: None, Hardcover, green cloth stamped in red, 235 pages. A masterpiece of humanism, Time Stood Still recounts Paul Cohen-Portheim's years of internment in England as an enemy alien during World War One. An artist and theatre designer, he at first viewed internment as a sort of holiday: 'Should I bring my bathing things and evening dress?' he asked the policeman taking him prisoner. Though confined in a 'gentleman's camp' near Wakefield, as Cohen-Portheim shows with grace, humor, and deep compassion, even under the best conditions, the simple act of being confined and placed in a sort of limbo is a form of torture: 'Where there is no aim, no object, no sense, there is no time.' Time Stood Still is a passionate but balanced argument against internment and its inherently dehumanizing effects. Paul Cohen-Portheim (1880-1932) was an Austrian artist, travel writer and linquist. When WWI broke out, he was painting in Devonshire, England and found himself interned for the length of the war. Flap copy pasted to front fly leaf, stamp to endpapers (Harvard Club of Boston), some light notations as well to endpapers.

Hardcover. Princeton NJ, Princeton University Press, 1st, 1965, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 463 pages with index. This study considers the subtle and frequently confused relationship of armed force and political control in the British Empire before the American Revolution. It also clarifies a number of points of controversy and uncertainty about the causes of the American Revolution. A crisp copy of the 1965 1st edition. Name on front fly leaf, price clipped otherwise clean.

Hardcover. London, Studio Editions, 1st, 1992, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 128 pages. Color plates throughout. This book includes the work of nine leading cartographers spanning the first half of the nineteenth century. Clean copy.

Hardcover. London, The Folio Society, 1st, 2001, Book: Very Good, Dust Jacket: None, Hardcover with decorated boards in decorated slipcase,298 pages, illustrations from photographs. 'With texts by various writers, selected by Roger Hudson'. Sepia-tone archive photographs throughout. Clean, bright copy.

Softcover. London, T. Plummer, Printer, Seething Lane, reprint, 1801, Book: Very Good, Dust Jacket: None, Disbound stab-stitched pamphlet. 4 pages in small typeface. Presumably reduced from the 8 page 1798 printing. Moore, a Scottish cartographer, chart seller and educator with a somewhat controversial reputation, was accused of copying a chart of the coasts of France, Spain and Portugal drawn up by William Heather. The case was heard before Lord Kenyon with the prosecution led by Erskine; the jury quickly found for the defendant despite Kenyon's balanced instruction.