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Edinburgh: Constable and Co., 1820. 12 volumes bound in 6, 7 inches tall. A delightful set bound in beautiful full diced 'Russia' calf with wide gilt raised bands and superb Regency gilt panels. A floral gilt fillet frames the boards. Portrait. With the armorial bookplate of James Beveridge Duncan of Damside and a neat ink gilt inscription from the period: "the Hon'ble E.G. Lake from her affec. uncle". There are a couple of minor marks to the headcaps and slight foxing but overall a fine set of the first collected edition of Scott's Poetical Works which became hugely popular throughout the Western World.

London: Hatchard, 1857. Full morocco, 7 1/2 inches tall. A very pleasing and remarkable Victorian full calf with raised bands and ornate gilt tooling and triple labels to the spine and calf onlays to the boards. Gilt dentelles and all edges. Portrait. From the Library of the Late Christopher Foyle of Beeleigh Abbey. The English Poet and novelist, Tupper, was one of the most read poets in the United Kingdom and North America for several decades, becoming a great favorite of Queen Victoria. After huge initial success 'Proverbial Philosophy', a volume of verse, he fell out of fashion and he never regained his great popularity. A superb Victorian binding in pristine condition.

Edinburgh & London: William Blackwood and Sons, 1849. Full morocco, 9 1/2 inches tall. A rather magnificent tall heavy Victorian binding, not stinting on the gold leaf with raised bands and dense extra gilt panels. The boards have a complex series of highly ornate gilt and blind tooling. Gilt dentelles and all edges. Double column text. Foxing to the title page, otherwise clean. Hugely popular in her day now mostly remembered for two opening lines: "The boy stood on the burning deck" and "The stately homes of England".

Glasgow: Robert Forrester, 1875. 2 volume set, 7 1/2 inches tall. A superb Victorian full calf with gilt raised bands, twin labels and finely gilt panels. Gilt and blind fillets and corner tools frame the boards. A neat ink inscription on the first blank. A collection of Scottish Verse, 'Wrote by the Ingenious before 1600'. Slightly marked boards but overall a fine copy of this anthology.

London: Macmillan and Co., 1891. Half morocco, 6 inches tall. A very pretty little binding by Zaehnsdorf on this delightful printing from the Golden Treasury Series. With a smooth back and superb intricate gilt floral tooling and the title in a cartouche. All edges gilt. A fine copy of the poems of perhaps the greatest of England's romantic poets.

London: William Pickering, 1825. 5 volume set, 7 3/4 inches tall. A very unusual Victorian full orange straight grain morocco for Sotheran of Piccadilly with gilt raised bands and gilt pallets framing the panels and rolls the boards. Gilt dentelles and top edges. Armorial bookplates. A beautiful set of the Poetical Works of Edmund Spenser, most famous for 'The Faerie Queene', one of the greatest of all English poets.

London: Henry Frowde, 1912. Full morocco, 8 1/2 inches tall. With the stamps of Morrell and also of Truslove and Hanson of Sloane street, luxury booksellers, book binders and acted as London agents for the State Library of New South Wales. Bound with gilt raised bands and very fine and ornate gilt tooling to the panels and boards highlighted with tiny green calf onlays. Gilt dentelles and all edges. Gordon was the first Australian poet to receive overseas recognition, though not before his tragically short life had ended.

London: Oxford University Press, 1912. Full morocco, 7 1/2 inches tall. An elegant, most good looking binding signed by Morrell and by Truslove and Hanson of Sloane Street who were luxury book sellers, book binders and acted as London agents for the State Library of New South Wales. Bound in full crushed morocco with gilt raised bands and very fine and delicate gilt tooling to the panels and boards with tiny green calf onlays. Gilt dentelles and all edges. Portrait. One blank has been neatly removed. Gordon was the first Australian poet to achieve considerable recognition overseas, though his tragically short life ended before he was able to enjoy this.

London: Constable and Company, 1909. Full morocco, 7 3/4 inches tall. A very neat binding by Zaehnsdorf with gilt raised bands, framed gilt panels and ornate gilt tooling to the boards within a series of gilt fillet panels. Gilt dentelles and top edge. Before establishing himself as a very successful novelist Meredith's first emphasis was as a romantic poet, Oscar Wilde described his poetry as "chaos illumined by brilliant flashes of lightning".

Oxford: University Press, 1925. Full calf, 7 3/4 inches tall. A sparkling copy in full calf by Riviere with gilt raised bands and extra gilt tooling to the panels. The boards have fine gilt tooling adorning a large onlayed panel. Gilt dentelles and all edges. Bookplate. A lovely volume of the poetry of the great romantic poet who died tragically at the age of only 25.

Edinburgh: James Nichol, 1853. Full morocco, 8 1/2 inches tall. A truly superb binding in full straight grain morocco by J. Wright, a bookbinder "of the highest order" (Ramsden). With gilt raised bands and glorious gilt tooling to the panels and boards. Gilt dentelles and all edges. Young's 'Night-Thoughts' was one of the most popular poems of the century, influencing Goethe and Edmund Burke, among many others, with its notable illustrations by William Blake.

Portland, Maine: Thomas B. Mosher, 1907. Full morocco, 7 inches tall. A fine binding for Hatchards of Piccadilly with raised bands and neat and simple gilt tooling framing the panels and boards, blind 'strapping' around the bands and onto the boards. Gilt title on the upper board. Handmade paper with gilt top edge and other edges left untrimmed. The bookplate of Gwendolyn Field and neat ink inscription, dated 1918, on the first blank. The spine is faded though still bright. A good looking copy of this fine edition of Shakespeare's sonnets.

London: Thomas McLean, 1819. 2 volume set, 8 1/2 inches tall. A beautifully bound set in full straight grain morocco with wide raised gilt bands and extra gilt panels. Gilt and blind rolls frame the boards. All edges gilt. With the armorial bookplate of Geoffrey Ecroyd. With 12 full page hand coloured aquatints. Foxing, but still a fine and very good looking set of this great 17th century satirical poem.

Paris: Benjamin Duprat, 1839. Quarter morocco with green vellum tips, 10 inches tall. An impressive binding with raised bands and a coronet atop a monogram in the panels and gilt top edge. With the bookplate of the Bibliothèque de Mouchy. Slight rubbing and a stain to the corner of some leaves. A tall copy finely printed on hand made paper.

London: Cadell and Davies, 1801. Full morocco, 7 1/2 inches tall. A very pretty full Georgian straight grain morocco binding with gilt raised bands, gilt pallets, centre tools and gilt fillets and corner tooling to the boards. All edges gilt with delicate gauffering. A tiny, neat ink inscription on the first blank reads: 'From Mary Jane Moody to Charlotte Ann Eamer'. Embellished with charming engravings by Stothard.

London: Vernor and Hood et al., 1800. Half morocco, 7 1/4 inches tall. An elegant volume bound by J. Soulby of Ulverston and with their ticket. With gilt raised bands, unusual orange marbled paper on the boards and gilt sunburst centre tools. With delicate engraved plates some of which are stained. An interesting provincial binding of a neat edition of the poetry of this influential English poet of the 18th century. With a life by Dr. Johnson.

London: Smith, Elder, & Co., 1901. 2 volumes bound in 1, 7 3/4 inches tall. A very fine full crushed morocco binding for Hatchards with two gilt raised band and the panels and boards with beautiful gilt tooled images from 'The Pied Piper of Hamelin'. These incorporate bells and pomegranates, rats and magic pipe. Gilt dentelles and all edges. Portraits. Some rubbing but still a fine and bright copy of these great Victorian poems.

London: Florence Press, 1926. Full morocco, 8 inches tall. A finely printed edition in a simple full crushed morocco by Riviere with raised bands, gilt dentelles and top edge. Light Foxing. Spine slight faded. Edited and arranged by John Sampson. Though considered mad in his own lifetime, William Blake is now considered to be one of the greatest and most influential English poets and artist of the Romantic Age, perhaps of any age.