Oliver Goldsmith's hugely successful novel of 1766 remained for generations one of the most highly regarded and beloved works of eighteenth-century fiction. It depicts the fall and rise of the Primrose family, presided over by the benevolent vicar, the narrator of a fairy-tale plot of impersonation and deception, the abduction of a beautiful heroine and the machinations of an aristocratic villain. By turns comic and sentimental, the novel's popularity owes much to its recognizable depiction of domestic life and loving family relationships.

The Vicar of Wakefield, subtitled, ‘A Tale Supposed to be written by Himself’ – is a novel by Irish writer Oliver Goldsmith (1728 – 1774). It was one of the most popular and widely read eighteenth century novels, displaying the author’s belief in the innate goodness of human beings. ‘The Vicar of Wakefield’ can also be read however, as a satire on the sentimental novel and its values, as the vicar’s values are apparently not compatible with the real ‘sinful’ world. Whichever interpretation the reader takes, it is a story to be appreciated by both young and old alike – loved and cited by writers as talented and diverse as Charles Dickens, Mary Shelley, Charlotte Brontë and Goethe. The book further contains a series of dazzling colour and black-and-white illustrations – by a master of the craft; Arthur Rackham (1867 – 1939). One of the most celebrated painters of the British Golden Age of Illustration (which encompassed the years from 1850 until the start of the First World War), Rackham’s artistry is quite simply, unparalleled. Throughout his career, he developed a unique style, combining haunting humour with dream-like romance. Presented alongside the text, his illustrations further refine and elucidate Oliver Goldsmith’s enthralling storytelling.

The classical version of the most famous and beloved of all fairy tales is the one C.S. Evans adapted and then expanded in order to give his brilliant illustrator, Arthur Rackham, maximum opportunity to exercise his gifts. The product of their collaboration is one of the most wonderful editions we have of this, or any other, fairy tale.

A modern edition of a book first published in 1913.

No. 171 of an edition limited to 1030 copies signed by the author.

The " Dolly Dialogues " serve much the same purpose that the ballet does in an opera—they are a divertissement pure and simple. The winsome, irresponsible "Dolly" picks her steps amid the conversational pitfalls which the adroit " Mr. Carter" spreads for her, with as much dainty sureness as a premiere danseuse, and we cannot but admire and applaud her grace and vivacity. There is no hidden meaning to the "Dialogues " any more than there is to "Dolly." They but reveal the polished inanity of the modern ball-room, the fashionable frivolity of the five o'clock tea-table, and the harmless flirtations of the lawn-tennis court. As "trifles light as air," Mr. Hope offered them to us; as trifles we accept them, and who but the most nobly serious could refuse to smile over their gracefulness, their immaculate innuendo! As a hand-book on "Polite Conversations; or, The Art of Saying Nothing Gracefully," these " Dolly Dialogues " might almost take rank as a serious classic.