Condition Continued: The rear cover is also quite solidly bound. The remainder of both of these two junctures is free of any wear. The pages are nicely, tightly bound. I've turned all of them over. There is only one instance of a space at the juncture between two facing pages. It's at the center of the book where it may have been left lying open. Again the space begins at the top edge. It comes down about 30% of the way. The rest of the juncture is not affected. Both of these facing pages are tightly bound from top to bottom. The pages are exceptionally clean. I've looked at them all. I haven't seen any soiling. Several of the drawings are in color, including the frontispiece. They are all in excellent condition. I haven't found any instances of creasing. There are no markings. There are no attachments. There is a neatly penned inscription on the blank front end paper. There is no other writing anywhere in the book. There is a good deal of tanning on both inside covers and on the blank front end paper, not anywhere else.
The acetate jacket is very rare. I saw only one other. Mine is in pretty nice shape. It has that small loss at the top edge of the spine, and it has a several creases. Note that it was produced a little bit shorter than the length of the book itself. As you can see from the smooth, even edges of the jacket, there is no loss on them, again it is just the way the jacket was produced. The jacket is quite clean. Unfortunately, the camera is picking up reflections of my arm, phone, etc. There's no soiling. There is a thin tear on the spine and continuing a little ways onto the front. The flaps are also clean. I don't see any tears on them. There are a couple of creases. The flaps don't have any print on them with the exception of the price off the bottom edge of the front flap. So the jacket is not price-clipped, not clipped at all. And I have always had it in a fitted protective cover--which is why it's picking up the reflections.

Cassell And Company, London, 1947. Hardcover in Dust Jacket. Drawings by Hanslip Fletcher. Introduction by Professor A. E. Richardson. Stated First Edition 1947. From the title page: 'A collection of thirty-eight drawings of historic buildings damaged during the bombing of London in the Second World War 1939-1945.' The Introduction, titled A Reverie On London, is six pages.
   'Hanslip Fletcher was an etcher, illustrator and painter specializing in architectural studies of London and elsewhere. He was born and lived in London. He was educated at Merchant Taylors' School and was a member of the Art Workers' Guild. His architectural drawings appeared in newspapers including the Daily Telegraph and Sunday Times ('the drawings reproduced in this book were commissioned from the artist by the proprietors of the Sunday Times' and the majority have appeared in its pages'). Mr. Fletcher exhibited  extensively including at the Royal Academy, Goupil Galleries, Dudley Gallery, New English Art Club and other London galleries. His work is held by Dundee University, Manchester City Art Gallery, Royal Albert Memorial Museum, Exeter, as well as the British Museum.'