London: Victor Gollancz Ltd, 1968. Octavo, printed wrappers. Advance uncorrected proof of the first edition. "Eight threatening, mysterious, subtle stories..." Barron (ed.): Horror Literature 4-8. [Reference: Jones & Newman: Horror: 100 Best Books #64].

London: Victor Gollancz Ltd, 1968. Octavo, boards. First edition. "Eight threatening, mysterious, subtle stories..." Barron (ed.): Horror Literature 4-8. [Reference: Jones & Newman: Horror: 100 Best Books #64].

Garden City: Doubleday & Company, Inc., [1961]. Octavo, cloth. First edition. Signed photograph of Poul Anderson laid in. Sword and sorcery adventure novel set in a magical parallel world of faery where a battle for world domination is being waged by the forces of law and the forces of chaos. [Reference: Barron (ed): Fantasy Literature 3-3 and 4A-6. Bleiler: The Guide to Supernatural Fiction #18. Cawthorn and Moorcock: Fantasy: The 100 Best Books #73. Pringle: Modern Fantasy: The Hundred Best Novels #25].

New York: E. P. Dutton and Company, Inc., [1931]. Octavo, cloth. First edition. Collects the following titles in one volume: Vice Versa, The Tinted Venus, A Fallen Idol, The Talking Horse, Salted Almonds and The Brass Bottle. In these collected volumes, some of which are story collections, there are stories of fantasy and horror, The Tinted Venus concerns a Greek statue that comes to life.

London and New York: Macmillan and Co., 1891. Octavo, pp. [1-2] [i-v] vi-viii [ix-x] [1] 2-244 + 44-page publisher's catalogue dated "September, 1891" on page 1, original green cloth, front panel stamped in gold and blind, spine panel stamped in gold, rear panel stamped in blind. First edition. A collection of local folktales and legends written for young readers by John Christopher Atkinson (1814–1900), a rural Yorkshire priest and antiquary. Includes an interesting preface, pp. [v]-viii, on the historical background for the tales. "Atkinson was an ideal antiquary, endowed with a love of nature as well as a taste for study. His parish was in the rudest part of Yorkshire, and on his arrival he found that clerical duties had been almost neglected. He set himself to learn the history of his parish cure and to gain the friendship of his parishioners, and in both objects he succeeded. By constant intercourse with the people he acquired a unique knowledge of local legends and customs. ... By far his best known work ... was the charming collection of local legends and traditions which he published in 1891, with the title 'Forty Years in a Moorland Parish.' This work ... has been compared to Gilbert White's 'Natural History of Selborne,' and perhaps still more closely resembles Hugh Miller's 'Scenes and Legends of the North of Scotland.' Besides these more serious compilations Atkinson was the author of several delightful books for children" (DNB).

New York: HarperCollins, 1993. Octavo, Hardcover. First edition.

New York: Crown, 1980. Octavo, Hardcover. First edition. First volume in the Earth's Children series.

London: Printed for J. Brotherton and W. Meadows in Cornhill; R. Ware in Amen Corners; T. Astley in St Paul's Church Yard; and J. Hodges on London Bridge, 1737. Small 12mo, three volumes: pp. x 288; 276; 240, eighteenth-century full brown calf, spine panels ruled and lettered in gold, red morocco title pieces. Third edition. A collection of twenty-six literary fairy tales, of which eleven are by d'Aulnoy (eight tales plus three nouvelles used to frame them), four by the Comtesse de Murat; all those in volume three are by the Comtesse d'Auneuil. In 1785 when Clara Reeve looked back seven or eight decades and recalled Mme d'Aulnoy as "a famous composer of Fairy Tales," she was correct in singling Mme d'Aulnoy out for special attention as an author of CONTES DE FÉES, but she did not know that twenty-eight of the tales which came into England under Mme d'Aulnoy's name were by four other French writers ... Furthermore, the 1699 edition of d'Aulnoy's tales listed by Arundel Esdaile is regarded today as a bibliographical ghost. In other words, except for the English collections of Fénelon's and Charles Perrault's fairy tales, the French fairy tale in England is a subject fraught with bibliographical confusion ... The English vogue for French fairy tales in the late seventeenth and early eighteenth centuries ... was in fact initiated by Mme d'Aulnoy in 1691 with the translation of a fairy tale of hers as THE HISTORY OF ADOLPHUS, which appeared, however, without author's or translator's name and which was regarded until recently as a native English work and not a translation at all. After this beginning and excepting the English versions of fairy tales by Fénelon and Perrault, the French conte de fée as a genre came to England in four collections, all of them said to be Mme d'Aulnoy's work. Only two are completely the work of Mme d'Aulnoy; the other two contain tales by other hands as well as tales by Mme d'Aulnoy. These four collections are Tales of the Fairies (1699); Volume IV of The Diverting Works of the Countess D'Anois, this volume bearing as title Tales of the Fairies in Three Parts Compleat (1707); The History of the Tales of the Fairies (1716); and A Collection of Novels and Tales of the Fairies (Volumes I and II, 1721; Volume III, 1728). Mme d'Aulnoy did indeed dominate the English vogue for the French conte de fée, as Clara Reeve suggested. We know now that eighteen of her tales appeared in English before the nineteenth century -- a larger number than those of any other writer. But we also know now that twenty-eight of the tales formerly attributed to her in England are the products of other writers. Except for the fairy tales of Fénelon and Perrault, there were no other French contes de fées published in England in the early eighteenth century, but two of the collections discussed here did continue to delight English readers throughout the century. The History of the Tales of the Fairies (1716) appeared again in 1749, 1758, and 1781. The Collection of Novels and Tales of the Fairies (all three volumes complete) appeared twice in 1737 and again in 1749 and 1766. In 1817 it even made its way into the era of Jane Austen as Fairy Tales and Novels. "Unlike her contemporary, Charles Perrault (a frequent visitor to her salons), who only occasionally used his fairy tales for purposes of satire, she made that her prime motive, with the result that, unlike Perrault's, her tales were composed primarily for adults -- and were thus among the first literary fairy tales ... Although less known now, her stories contain all the basic plot devices of fantasy, and were highly influential in their day ... Her stories are usually much longer narrative constructions than the fairy tales by Perrault or the Grimm Brothers, and this fact has made them less memorable, despite their position among the earliest original fantasies. It was, however, with the translation of a few of her stories into English as TALES OF THE FAIRIES (1699), that the term 'fairy tales' passed into the language." - Clute and Grant (eds), The Encyclopedia of Fantasy (1997), p. 72. [Reference: ESTC N28398 (Edinburgh University Library, National Library of Wales, Harvard University, New York University)].

New York: Avon Book Company, [1947]. Small octavo single issue, pictorial wrappers. Digest size magazine. Authors in this book; David H. Keller, Philip M. Fisher, Jr., Guy Endore, Robert E. Howard, Robert W. Chambers, S. Fowler Wright, and Laurance Manning and Fletcher Pratt. Editor Donald Wolheim and the publisher Joseph Meyers considered these to be books rather than a magazine anthology series and they brought to a mass audience some of the great genre fiction. [Reference: Tymm and Ashley, Science Fiction, Fantasy and Weird Fiction Magazines, pp. 124-132].

New York: Avon Book Company, [1947]. Small octavo single issue, pictorial wrappers. First edition. Digest size magazine. Authors in this book; C. L. Moore, William Fryer Harvey, Robert Bloch, Carl Jacobi, Stephen Vincent Benet, Clare Winger Harris, Robert W. Chambers, Frank Owen and C. M. Kornbluth. Editor Donald Wolheim and the publisher Joseph Meyers considered these to be books rather than a magazine anthology series and they brought to a mass audience some of the great genre fiction. [Reference: Tymm and Ashley, Science Fiction, Fantasy and Weird Fiction Magazines, pp. 124-132].

New York: Avon Novels Inc., 1953. Small octavo two issues, all published, cover illustrations by Leo Manso, pictorial wrappers. Digest size magazine. This was an attempt at a revival of Avon Fantasy Reader and Avon Science Fiction Reader. Publisher Joseph Meyer and new editor Sol Cohen were to produce a quarterly with all new stories. It lasted only two issues. All stories were illustrated. Authors included Alfred J. Coppel, Jr., Arthur C. Clarke, John Christopher, John Jakes, Stephen Marlowe, Jack Vance and others. Tymm and Ashley note in both issues many of the stories had a dystopian tone and the stories were not widely reprinted. [Reference: Tymm and Ashley, Science Fiction, Fantasy and Weird Fiction Magazines, pp. 132-134].