Rossetti, Lucy Madox [Mary Shelley]Biblio.com
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1890133425London: W. H. Allen & Co 1890. First edition of Lucy Madox Rossetti's biography of Mary Shelley; extra-illustrated and with an autograph letter signed by Mary Shelley laid in. Octavo bound in full crushed levant morocco by Bayntun with gilt titles and tooling to the spine in six compartments within raised gilt bands quadruple gilt ruling to the front and rear panels gilt turn-ins and inner dentelles marbled endpapers all edges gilt extra-illustrated with 77 engraved plates of portraits and views 11 of which are hand-colored including a frontispiece portrait of Percy Bysshe Shelley. With a fragment of an autograph letter signed and entirely in the hand of Mary Shelley laid in which reads in full ".to this office the publication being for the benefit of his Widow who at an advanced age & in bad health is left totally unprovided. Many of my father's correspondents have kindly placed in my hands letters of his for the purpose of publication. I looked over the volumes of correspondence with the Revd. Dr. Samuel Parr which you have published & find that you have not. Will you be so good as to. me by an early answer. I am Yours Obediently Mary Shelley 4 Lowes Belgrave St. 23 Sep 1836." After her father's death in April 1836 at the age of 80 Mary began assembling his letters for a memoir for publication as he had requested in his will but after two years of work she abandoned the project. The present letter was likely sent to a publisher before Shelley abandoned the project. From the library of renowned English bibliophile Edward Hailstone with his gilt morocco bookplate to the pastedown. In very good condition. An exceptional example of this rare work; highly desirable with a letter signed by Shelley. English novelist Mary Wollstonecraft Shelley remains best-known for her gothic horror novel Frankenstein which remains widely read and is widely regarded as the first true science-fiction story. The circumstances of its composition are by now well known: 19-year old Mary was in Switzerland with Percy Shelley Byron and Byron's physician John Polidori on that famous evening in 1816 when the discussion turned to one of Shelley's favorite topics the supernatural. Byron proposed that all members of the party write a romance or tale dealing with the subject. The resulting efforts were Polidori's The Vampyre Byron's unfinished narrative about a vampire and Mary Shelley's Frankenstein "the most famous English horror novel… a defining model of the Gothic mode of fiction and… the first genuine science fiction novel the first significant rendering of the relations between mankind and science through an image of mankind's dual nature appropriate to an age of science" Clute and Nicholls Encyclopedia of Science Fiction 1099. W. H. Allen & Co unknown
1829ST17129-039London: Printed for John Brooks 1829. 229 x 152 mm. 9 x 6". xxxii 1 leaf section title 270 2 pp. without the initial blank. <br/> LUXURIOUS OLIVE GREEN MOROCCO VIGOROUSLY AND SPLENDIDLY GILT BY ZAEHNSDORF stamp-signed on front doublure and with the firm's oval exhibition stamp on rear endleaf covers framed by multiple plain and decorative rules and garlands of palm and olive branches large central panel densely tooled with 13 horizontal rows of either four or five elegant floral sprigs of various shapes some within flower-framed ovals others on a stippled background; flat spine gilt in similar fashion gilt titling TAN MOROCCO DOUBLURES with intricate central gilt arabesque on a field semé with gilt dots and daggers tan morocco endleaves with gilt border top edge gilt and beautifully gauffered to match the floral design on the covers. From the collection of Cornelius J. Hauck though apparently with his bookplate removed. Granniss 45. Spine sunned toward brown a ubiquitous problem with green morocco very slight rubbing to joints top inch of rear joint a little more significantly so front flyleaf with small closed tear at fore edge title page with small mended half-inch tear in the same place but a very desirable copy nonetheless the text clean and pleasing and the riotously embellished binding almost flaming with gold.<br/> <br/> With distinguished provenance this is a glittering exhibition binding that makes a memorable display with its fine and dense pointillé ground its exquisitely gauffered top edge and its especially refined floral and leafy ornamentation being particularly notable. A spiritual odyssey of lovers divided and seeking reunion "The Revolt of Islam" is Shelley's longest work despite its title the poem has little if anything to do with Islam though religion is generally addressed. The work was issued late in 1817 as "Laon and Cythna" but certain passages of that piece disturbed the publisher who demanded that they be changed or removed. Shelley reluctantly agreed and his alterations included the substitution of the present title. We have the Brooks edition with a new title page using the text of the first edition second issue with the fly title correctly bound as d1 and the preface ending on p. xxi. As Granniss indicates "the original quires and cancel leaves of the work fell into the hands of John Brooks who issued them in 1829 with a new title." Our volume comes from the illustrious collection of Cincinnati businessman arborist and philanthropist Cornelius J. Hauck 1893-1967 whose fortune was made in the family brewery; the auction of his library at Christie's in 2006 totaled more than $12.4 million this item was lot #593 selling for $3360. Printed for John Brooks unknown
1823117880London: G. and W.B. Whittaker 1823. Rare first edition of Shelley's second novel which has been called "a meditation on political psychological and sexual power" and is considered by many to be her finest work. 12mo. bound in 19th century three quarter calf over marbled boards by Bumpus gilt titles and tooling to the spine morocco spine labels raised bands. In very good condition contemporary name. A very sharp example. Valperga "was a novel surprisingly long in its gestation " and possibly concurrent with Frankenstein . "Although not published until 1823 its inception actually dates from six years earlier. 'I first thought of it in our library in Marlow' Mary Shelley wrote as she was completing it in 1821." See: Curran Stuart. Cambridge Companion to Mary Shelley". The preface details some literary sources for this historical tale of the fourteenth-century despot Castruccio Castracani. In terms of historical fiction it represents a feminine counterpart to the male romanticism of Sir Walter Scott. Ref: Block p 213; Summers A Gothic Bibliography p. 541. G. and W.B. Whittaker hardcover books
1823117880London: G. and W.B. Whittaker 1823. Rare first edition of Shelley's second novel which has been called "a meditation on political psychological and sexual power" and is considered by many to be her finest work. 12mo. bound in 19th century three quarter calf over marbled boards by Bumpus gilt titles and tooling to the spine morocco spine labels raised bands. In very good condition contemporary name. A very sharp example. Valperga "was a novel surprisingly long in its gestation " and possibly concurrent with Frankenstein . "Although not published until 1823 its inception actually dates from six years earlier. 'I first thought of it in our library in Marlow' Mary Shelley wrote as she was completing it in 1821." See: Curran Stuart. Cambridge Companion to Mary Shelley". The preface details some literary sources for this historical tale of the fourteenth-century despot Castruccio Castracani. In terms of historical fiction it represents a feminine counterpart to the male romanticism of Sir Walter Scott. Ref: Block p 213; Summers A Gothic Bibliography p. 541. G. and W.B. Whittaker hardcover
1820140949221London: C. and J. Ollier 1820. First edition. Near Fine. First edition typical second issue with "Miscellaneous" spelled correctly on Table of Contents; leaf is a cancel as noted by Forman. 222 2 pp. Bound in the original drab blue boards issued by the publisher no label; half-title and rear ad leaf present. Near Fine with light edge wear light soiling to boards corners slightly softened with some loss of paper at edges from wear. Foxing throughout contents with a few irregular folds and a small chip to the upper corner of pp 219-220. <p>A lyrical drama adapted from Aeschylus' classical drama trilogy Prometheia. Driven by radical idealism and a future Utopia Shelley alters the ending so that Prometheus does not reconcile with his oppressor Jupiter. Instead Jupiter a representation of tyrannical authority is overthrown. Exceptionally scarce in the original boards and uncommon in the trade. Forman 59. C. and J. Ollier unknown
21690London: T. Hookham Jun. and C. and J. Ollier. 1817. First edition first printing of Mary Shelley's first book. First edition first printing of Mary Shelley's first book. Contemporary half calf over marbled paper covered boards ruled decorated and with titles in gilt to the spine. Marbled endpapers. Bookplate of Charles Dodd to the front pastedown. Bound without half title. Pencil ownership inscription and notes concerning the present copy by the author William St Clair to the blank reverse of the front endpaper. An attractive example the binding square and firm the upper hinge skillfully refurbished. The contents with spotting mostly confined to the prelims but occasionally throughout are otherwise in excellent condition with good margins. Bound with "The Traveller's Guide to France and the Netherlands" by John Sugden published by T. Boosey in 1817. Half title present but without the map. Scarce account of the Shelley's two trips into Europe in 1814 and 1816. Lowndes 2374; R. Ingpen Shelley in England p.444: "From the day that Mary joined the lot with Shelley they kept a joint dairy. From this journal . Mary compiled a little account of this journey and their later visit to the Continent which was later published in 1817". Divided into three sections the text consists of a journal four letters and a poem. Primarily the work of Mary it includes several contributions from Percy including the preface and two letters but most notably the first publication of his celebrated poem Mont Blanc. Despite mostly favourable reviews the book sold poorly and when Charles Ollier the co-publisher went out of business in 1823 his inventory included 92 copies of the work. William St Clair in his penciled note to the present copy writes "The fact that these two books are bound together in Regency style suggests that this was one of the few copies of the "Six Weeks Tour" which was sold at the time of publication as distinct from being remaindered later". Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers. London: T. Hookham, Jun., and C. and J. Ollier. 1817 hardcover
033915London: R. H. Porter / Henry Sotheran & Co. Five volumes in seven published between 1896 and 1912. Later half red Moroccan leather with red cloth over boards. Raised spine band and gilt stamped letters. Association Set having previously belonged to Robin Kemp London 1871- who in 1904 worked with Shelley incorporating his help to classify birds he had gathered in Sierra Leone between 1902 and 1904. Having been sent to Sierra Leone as an accountant with a railway firm Kemp filled his spare time collecting bird specimens and soon identified himself as a "Professional Specimen Collector." In addition to two trips to New Zealand and a later trip to Argentine Kemp was commissioned by C. D. Rudd to collect in East Africa from 1908-1911. The genus Kempiella is named for him and Kemp is associated with the discovery of many mammals birds and Mollusca. Whittell H. M. "The Literature of Australian Birds". This set is heavily annotated by Kemp with Vol. I being interleaved with sheets of notes in the meticulous and detailed hand of Kemp. There is also a good deal of penciled marginalia mostly in the first two volumes. Kemp has neatly made checks and underlined names and titles in both red and black pencil. Although this also is mostly seen in Vol. I and II there are scattered markings through all of the volumes except V Pt. II. " Volume I comprises a check-list of species. The remainder of the work takes up the various groups systematically giving descriptions and biographical notes but citing as synonymy only references to the Catalogue of Birds in the British Museum and publications not mentioned therein with further citation of the best published illustration; the original description is omitted unless it falls into the category mentioned and even the authorities for the nomenclature are not necessarily included. Many new genera and species are described. The Illustrations are most excellent. The work was published in 8 parts divided as collated above except that Vol. II appeared in two parts --the first including pp. 1-160 and the second the remainder. Vol I is reviewed in the Ibis for July 1896; II Pr. I in July 1900; II Pt. II in Jan. 1901 but published in 1900; II in Oct. 1902; IV Pt. I in the Auk for April 1905; IV Pt II in July 1905; V Pt. I in the Ibis for July 1906; and V Pt. II in Jan. 1913 but publ. probably in 1912. The various signatures bear varying dates which are evidently those of printing not of publication. All of the work except Vol. V Pt. II is from the pen of Shelley who died before the work was complete. The final part was prepared by W. L. Sclater from Shelley's manuscript notes and proofs with some addition of his own. There is an index to each volume except the first but no general index." Zimmer "Catalogue of the Edward E. Ayer Ornithological Library Part II" pp 589-590. Beautifully illustrated with 57 colored lithographs after Danish naturalist and artist Henrik Gronvold 1858-1940. There are a few very slight scuffs and small marks on the leather spine covers. A few of the title pages show some darkening along the edges and there is a little very slight foxing affecting the first couple leaves of Vol. I and Vol. V Pt. I. All volumes remain tight and show very well. Aside from Kemps' markings and the slight flaws mentioned this remains a very clean and intact set. All 57 plates have been collated and remain in Fine condition. Due to the size and weight of this set additional fees will apply for International and/or Priority shipping. . First Edition. Half Leather - Hardbound. Very Good/No Jacket. Illus. by Henrik Gronvold. 4to. R. H. Porter / Henry Sotheran & Co. Hardcover
1823001228London: for G. & W. B. Whittaker 1823 1823. FIRST EDITION OF HER SECOND NOVEL. 3 vols. 7-3/16" x 4-7/16" bound in 1/2 tan speckled calf gilt decorated spines gilt lettered black morocco spine labels marbled edges internally clean and bright inner and outer hinges fine head and foot of spines fine a VERY GOOD set. Shelley's second novel a study of sexual politics considered by many to be her finest work. "Her creation of Frankenstein at the age of eighteen is a marvel known to many; but few if any are aware that Valperga her second novel excels the first almost as much as Alastor surpasses Queen Mab. It is indeed her best novel having a richness of imaginative style and a creative force in combination with a thoroughness of scholarship that are exhibited in none of her other works. Shelley and Godwin enthusiastically recognized its advance beyond Frankenstein and rightly expected great things of her in the future." Frederick L. Jones The Letters of Mary W. Shelley London: for G. & W. B. Whittaker, 1823 unknown
1832355490721064London: Henry Colburn 1832. Hard Cover. London: Henry Colburn and Richard Bentley 1832. The first illustrated edition the 3rd edition overall being the revised corrected and illustrated edition with a new introduction by the author. SECOND PRINTING OF THE THIRD EDITION of the first revised edition of Shelley's masterpiece and the first edition to contain an illustration of the monster by Theodor von Holst. First printing of engraved frontispiece and additional engraved title page dated 1831 but with the 1832 printed title page. The frontispiece depicts the monster coming to life. Bound in contemporary 1/2 tan calf marbled boards 5 raised bands to the spine spine tooled in gilt and blind gilt lettered black spine label Inner and outer hinges still firm head and foot of spine very slightly rubbed; none of the usual foxing to the frontispiece and title page; inner text really clean. Overall a very good copy which has the number 1 in gilt to the third compartment of the spine. This comes together with a similarly bound first edition of "The Ghost-Seer!" by Frederick Schiller London: Colburn and Bentley 1831 which has an engraved frontispiece by Theodor von Holst of the "Greek Lady" appearing out of the new coffin with the Ghost Seer pointing. First printing of engraved frontispiece and additional engraved title page dated 1831 this being Vol 2 of two volumes. The first volume being of course bound up with Frankenstein. The frontispiece depicts a "grey-bearded old man kneeling before the monument and praying fervently". Also bound in similar contemporary style to the "Frankenstein" but without the marbled end-papers. Overall a VG copy For the 2 books now smartly covered in removable clear acetate. Photographs/scans available upon request. Henry Colburn hardcover
1823184283London: C. and J. Ollier and W. Simpkin and R. Marshall 1823-24. My name is Ozymandias king of kings First editions second issue of the Poetical Pieces. The two volumes together feature a collection of Shelley's major works some printed here for the first time in book form including "Ozymandias". Poetical Pieces is a posthumous gathering of unsold first editions of Shelley's poetry comprising Rosalind and Helen 1819 Prometheus Unbound 1820 and the second edition of The Cenci 1821. The second collection Posthumous Poems was "gathered by Mrs. Shelley from disordered papers left by her husband" Grannis and is without the errata slip. They contain the first printings of several of her husband's major poems including Mont Blanc Julian and Maddalo and The Triumph of Life as well as shorter lyrics fragments and translations from Homer Euripides Goethe and others. Shelley's long poem Rosalind and Helen a conversational lament for a disappointed poet-reformer set on the shores of Lake Como was begun in Marlow and completed in 1818 at the baths of Lucca in Tuscany. This collection also includes the first book appearances of "Lines Written on the Euganean Hills" and "Hymn to Intellectual Beauty" composed during that "wet ungenial" summer of 1816 which the poet spent on Lake Geneva with Mary Claire Clairmont Byron and Polidori. The trip also resulted in Mary's Frankenstein Byron's Mazeppa and Polidori's The Vampyre. "Ozymandias" is erroneously listed as "Sonnet" on page 98 as issued. The second issue of Poetical Pieces was compiled in the same year as the first but with Hellas omitted. 4 vols bound in 2 octavo 211 x 130 mm. Modern tan calf red morocco labels compartments elaborately decorated in gilt covers ruled with gilt and blind roll Poetical Pieces with marbled edges. Housed in a custom yellow patterned-paper covered slipcase with brown calf edges. Neat pencil annotations to a few pages. Minor scuffs to covers edges of Posthumous Poems toned and with couple of marks sporadic foxing to both vols. A very good well-margined set. Granniss 77 & 78. unknown
1819219217Livorno Italy: Printed for C. and J. Ollier Vere Street Bond Street 1819. First edition one of 250 copies without initial blank. 104 pp. 1 vols. 8vo 9-1/8 x 5-3/4 inches: 232 x 146 mm. Bound in full green morocco gilt spine t.e.g. by Riviere & Sons professionally rebacked in invisible fashion spine gilt very slightly sunned else fine. Bookplate of Robert Hoe and Blairhame. First edition one of 250 copies without initial blank. 104 pp. 1 vols. 8vo 9-1/8 x 5-3/4 inches: 232 x 146 mm. Hoe Copy of Shelley's verse drama. First edition of Shelley's dramatization of this dark tale of parricide child abuse and incest - based on actual events - and arguably the most enduring Romantic verse-play. Only 250 copies were printed according to Shelley himself. According to Granniss "With the exception of Queen Mab The Cenci is the only one of Shelley's works which reached a second edition during his lifetime ." On the other hand the play was never staged until the Shelley Society produced it on the occasion of Robert Browning's birthday on May 7 1886. Granniss 50; Ashley V 69; not in Tinker Printed for C. and J. Ollier Vere Street, Bond Street unknown books
1819219217Livorno Italy: Printed for C. and J. Ollier Vere Street Bond Street 1819. First edition one of 250 copies without initial blank. 104 pp. 1 vols. 8vo 9-1/8 x 5-3/4 inches: 232 x 146 mm. Bound in full green morocco gilt spine t.e.g. by Riviere & Sons professionally rebacked in invisible fashion spine gilt very slightly sunned else fine. Bookplate of Robert Hoe and Blairhame. First edition one of 250 copies without initial blank. 104 pp. 1 vols. 8vo 9-1/8 x 5-3/4 inches: 232 x 146 mm. First edition of Shelley's dramatization of this dark tale of parricide child abuse and incest - based on actual events - and arguably the most enduring Romantic verse-play. Only 250 copies were printed according to Shelley himself. According to Granniss "With the exception of Queen Mab The Cenci is the only one of Shelley's works which reached a second edition during his lifetime ." On the other hand the play was never staged until the Shelley Society produced it on the occasion of Robert Browning's birthday on May 7 1886. Granniss 50; Ashley V 69; not in Tinker Printed for C. and J. Ollier Vere Street, Bond Street unknown
1818372516London: Printed for C. and J. Ollier 1818. First edition first issue with title page dated 1817 of the revised text of "Laon and Cythna" with the cancels and new title leaf d1 bearing the Pindar quote and "Revolt of Islam" title. Pp. ii v-xxxii 2 270 1 errata. Without blank b2 as usual. 1 vols. 8vo. Original boards printed paper spine label. Bookplate of Frederick Locker. Recased. Full morocco slipcase cloth chemise. First edition first issue with title page dated 1817 of the revised text of "Laon and Cythna" with the cancels and new title leaf d1 bearing the Pindar quote and "Revolt of Islam" title. Pp. ii v-xxxii 2 270 1 errata. Without blank b2 as usual. 1 vols. 8vo. "Submitting to the pressure brought to bear upon him by his publisher Charles Ollier Shelley made serious alterations in his text and by doing so severed the relationship of brother and sister which in the original version had existed between the hero and heroine" - Wise<br /> <br /> Locker had a copy of the unrevised Laon and Cythna as well as this volume. Granniss 43-44; Ashley 5:68; Wise A Shelley Library p. 49; Rowfant Library Printed for C. and J. Ollier unknown
1826002230London for Duncombe n.d. 1826 1826. 1 vol. 5-13/16" x 3-9/16" 3-28pp. with the engraved frontis portrait plate with Shelley's name misspelled "Shelly" internally clean and bright closely trimmed first leaf with slight loss to a few letters hardbound in recent brown cloth gilt title and date to front cover. There appear to be three distinct title-page variants. 1. The Man and the Monster or the Fate of Frankenstein. 2. Frankenstein; or The Man and the Monster! With Mary Shelley's name misspelled "Shelly" 3. Frankenstein; or The Man and the Monster! With Mary Shelley's name correctly spelled "Shelley" According to RBH only 1 copy each of all 3 have EVER appeared at auction so it goes without saying that all three versions are extremely scarce. This edition precedes the third London edition by 5 years and provided the narrative for a theatrical production of Frankenstein staged July 3 1826 as performed at the London Theatres. The playbill lists the characters and actors who played them. One Mr. O. Smith features here as The Monster and his portrait in costume is used as the frontispiece. First produced three years after Richard Brinsley Peake's play Presumption Milner's play was the first to show the actual creation scene p.10/11. Milner took major liberties with Mary Shelley's original novel. Like Peake Milner made the Monster a mute but in this case a confused and sympathetic one. Milner also made Frankenstein an egomaniacal cad complete with an abandoned girlfriend and child. These changes would figure prominently in the familiar film adaptations by Universal and Hammer more than a century later. It also has a heck of an ending with the Monster leaping to his death in Mount Etna during an eruption. London, for Duncombe, n.d., [1826] hardcover
1901ST20827London: Printed at the Ballantyne Press for Vale Press 1901-02. ONE OF 300 COPIES on paper and 10 on vellum. 240 x 145 mm. 9 1/2 x 5 3/4". Three volumes. <br/> VERY PRETTY GREEN CRUSHED MOROCCO GILT BY BAYNTUN-RIVIERE stamp-signed on front turn-ins covers framed by long-stemmed pansies raised bands spine compartments with pansy centerpieces densely gilt turn-ins marbled endpapers top edge gilt other edges untrimmed. Fine elaborate woodcut initials and four pages with intricate borders all by Charles Ricketts. Ransom p. 436; Tomkinson p. 170. A breath of shelfwear to tail edges occasional trivial foxing but A BEAUTIFUL SET clean and fresh internally in unworn bindings.<br/> <br/> This is a particularly beautiful English set being printed in London by one of the most important Arts & Crafts private presses and being bound in Bath by an eminent long-lived bindery. The Vale Press was founded--and closely supervised by--Charles Ricketts who was perhaps the most significant figure in the private press movement after William Morris. From 1896-1903 Ricketts ran the Vale Press which produced books that in Cave's words were "far truer to the spirit of fifteenth-century printing than Kelmscott work." The Press issued nearly 50 titles and both its impressive output and considerable artistic success can be attributed to the fact that Ricketts who was remarkably skilled as a designer painter and illustrator was in control of every facet of the operation. Tomkinson observes that "although the actual printing was done on the premises of the Ballantyne Press the Vale books were built entirely on Mr. Ricketts' design under his personal supervision on a press set apart for his sole use; the founts decorations illustrations including the engraving on the wood watermarks and pagination were all the work of Mr. Ricketts and it is doubtful if in the history of printing books have been made which reflect the invention and work of one man more explicitly than do the Vale books." Our bindings are the work of a firm created by the merger of two venerable English binderies. Founded in Bath in 1894 the Bayntun bindery has provided beautiful bindings for bibliophiles for more than 130 years. In 1937 Bayntun acquired the Riviere bindery which had been in business since 1829 and began signing its bindings "Bayntun-Riviere" as here. It is now the last of the great Victorian trade binderies still in family ownership. Although he lived only 30 years Shelly 1792-1822 left an enduring legacy. His remarkable lyricism powerful imagination energetic espousal of political change and vision of the consequential role of the poet he said "poets are the unacknowledged legislators of the world" combined to exert lasting influence on the poets who came after him. The pansy motif used here--for the marginal decoration in the text as well as in the all-over design of the bindings--is especially apt: in his poem "Remembrance " Shelley wrote "Pansies let MY flowers be" emphasis his. [Printed at the Ballantyne Press for] Vale Press unknown
1843146431October 1843. Unpublished autograph letter: "Gentlemen. You would greatly oblige me." An unpublished autograph letter from Mary Shelley to the publishers Longman Brown Green & Longmans. Dated October 1843 White Cottage Putney where she had moved the previous month she requests some specific volumes from Lardner's Cabinet Cyclopædia a project to which she had contributed a few years prior. This letter was recently extracted from a volume and so was not known to the editors of her correspondence. Dionysius Lardner's Cabinet Cyclopaedia was a mammoth 133-volume publication published between 1829 and 1846 to which many eminent figures of the day including Sir Walter Scott and Thomas Moore contributed. The Cyclopaedia was organized into nine "cabinets" or areas rather than the alphabetic organization of the Encyclopaedia Britannica. Bound in cloth and priced at six shillings each the volumes were an affordable authoritative reference work. Shelley who contributed to Italian Lives 1835; Spanish and Portuguese Lives 1837; and French Lives 1839 was the only woman among the 38 acknowledged contributors. In this letter she writes: "Gentlemen you were good enough to let me have when writing for the Cyclopedia several of its historical series but they were not then complete. I have seven volumes of the Hist. of England by Sir James Mackintosh - and 2 of Moore's Hist of Ireland. You would greatly oblige me if you would complete them for me." Thomas Moore contributed four volumes on the History of Ireland and Mackintosh ten on the History of England. Single sheet 179 x 114 mm written on one side and mounted 274 x 202 mm. In excellent condition. hardcover
182912061033 Somerset Street London: 23 December 1829. A very scarce signed letter of one page from Mary Shelley to John George Cochrane the Scottish editor and publisher of the Foreign Quarterly Review describing "M. Beyles' book" Stendhal's Promenades dans Rome as "so trite so unentertaining - so very commonplace that I have found it quite impossible to do anything with it". This letter was likely written in reply to an invitation to review the book and provides a scarce nugget of literary criticism. This letter is one of 21 autograph letters acquired from the Mary Shelley specialist Professor Jean de Palacio of the University of Lille - this small clutch aside autograph letters from Mary Shelley very seldom come to market. Single leaf 182 x 111 mm. Remains of wax seal generally faded and spotted small patch of tape repair to verso fair condition. unknown
1845FRNK2NDUS<p>"Frankenstein: or The Modern Prometheus" by Mary Wollstonecraft Shelley H.G. Daggers 1845. Second American Edition. Quarter leather over marbled boards. Lacking title page and dedication pg 3; contains Preface titled "Preface to the Present American Edition" v-x and full text 114pp. 8vo. Conforms to all physical characteristics of the Daggers edition especially the distinctive double column formatting See OCLC 6720124. All extremities quite rubbed especially leather corners and edges of spine. Internally foxed throughout. Binding secure and no writing apart from one signature on FFEP. Good.</p> H.G. Daggers hardcover
1931002976New York: Grosset & Dunlap 1931. Book. Illus. by Universal Photoplay. Fine. Hardcover. Photoplay Edition. Photoplay edition illustrated with scenes from the Universal Photoplay starring Boris Karloff. Book is as new with no marks of any kind. The unrestored dustjacket is fine and bright with light rubbing to the flap folds. The scarcest of all the Grosset & Dunlap photoplay editions. Extremely rare in this condition. Book is protected in a custom cut clear mylar cover. All books are carefully wrapped and shipped in a box. Grosset & Dunlap Hardcover
1899604London: Macmillan and Co 1899. Very Good. Full leather binding reddish-brown morocco boards decorated with three tall stylized flower stems in blind with darkened floral heads and small gilt dots. Similar tooling repeated on the spine titled "Shelley's Works"; all edges trimmed patterned endpapers in soft yellow pink and gray tones. Executed for the Guild of Women-Binders with the stamp "Guild of Women-Binders" in gilt at the lower turn-in of the marbled pastedown. Engraved portrait frontispiece of Shelley with tissue guard. Leather shows some speckling a few small surface marks and minor wear to extremities. Frontispiece leaf with tidemark in upper margin and some offsetting to the facing page.<br /> <br /> The Poetical Works of Percy Bysshe Shelley first published in 1890 this copy is a later printing some nine years later rebound by the then newly formed Guild of Women-Binders. The Guild operated only from about 1898 to 1904 promoting and training women to enter the field of bookbinding. Case 1. Macmillan and Co unknown
181927381Livorno Italy: printed for C. and J. Ollier London 1819. First edition 8vo in 4s pp. xiv 104; bound without the initial blank leaf in later full blue straight-grain morocco double gilt-ruled borders on covers enclosing a blindstamped roll gilt-decorated spine in 6 compartments gilt-lettered direct in 1 a.e.g.; nice copy. Printed in an edition of only 250 copies. Shelley had been fascinated by the lurid story of Beatrice Cenci and Guido's portrait of her as seen in the Columna palace at Rome and originally intended the latter to be copied as a frontispiece for this book. He worked exceptionally fast on his version of the tragedy starting in May and ending in August of his annus mirabilis the same year he wrote Prometheus Unbound The Masque of Anarchy and the 'Ode to the West Wind.' The book is excellently produced well printed on thick laid paper: "It has a few errors of the press incidental to the Italian compositors' ignorance of English . but on the whole it seems to me a preferable text to the second edition -- a text more like the absolute production of Shelley" Foreman. This is the only book of Shelley's to reach a second edition in his lifetime. It is dedicated to Leigh Hunt. Forman p. 56; Wise p. 51; Ashley Library V p. 69. <br/><br/> printed for C. and J. Ollier, London unknown books
1967162979London: Hammer Film Productions 1967. Draft script for the 1967 film. Working script belonging to an unknown cast or crew member with annotations in manuscript pencil and ink throughout largely noting deletions.<br /> <br /> A gathering of ancient human remains and a mysterious metallic object are discovered buried beneath the site of a planned extension to the London Underground. Renowned scientist Bernard Quatermass is called in to investigate. Based on the successful 1950s British science fiction serial "The Quatermass Experiment" and a follow-up to the films "The Quatermass Xperiment" 1955 and "Quatermass 2" 1957.<br /> <br /> Blue untitled wrappers with a die-cut title window in the British style on the front wrapper. Title page present dated 25th January 1967 with credit for screenwriter Nigel Kneale. 154 leaves with last page of text numbered 131. Roneograph duplication on eye-rest green stock rectos only with undated pink and green revision pages mimeograph laid in throughout. Pages Good moderately worn with foxing on some revision fore-edges wrapper Very Good plus bound internally with two silver brads. Hammer Film Productions unknown
1819005113<p>Livorno Italy: for C. And J. Ollier Vere Street Bond Street London 1819 1819. FIRST EDITION. 1 vol. 8-15/16" x 6-3/8" xiv104pp. bound in full red morocco ribbed gilt decorated spine covers triple ruled in gilt gilt dentelles top edge gilt others entirely uncut as issued by Zaehnsdorf with their exhibition stamp to the lower edge of the rear pastedown. Spine neatly rebacked retaining the original spine engraved bookplate of Edward Huth to front pastedown internally clean and bright a VERY GOOD copy. Edward Huth was born on 8 January 1847 the eldest son of the book collector Henry Huth 1815-1878. First edition of Shelley's dramatization of this dark tale of parricide child abuse and incest based on actual events and arguably the most enduring Romantic verse-play. Only 250 copies were printed according to Shelley himself. According to Granniss "With the exception of Queen Mab The Cenci is the only one of Shelley's works which reached a second edition during his lifetime ." On the other hand the play was never staged until the Shelley Society produced it on the occasion of Robert Browning's birthday on May 7 1886.</p> [Livorno], Italy: for C. And J. Ollier, Vere Street, Bond Street, London, 1819
19006430New York and London: Chiswick Press and Charles Whittingham and Co 1900. Later edition. Near Fine. A nearly Fine copy. Five small octavo volumes 6 1/2 x 4 inches; 165 x 102 mm. iii-lxvi 1-203 1 blank; vi 1-294 1 printers device 1 blank; iii-xii 1-380; iii-x; 1-345 1 printers device; iii-xiv 1-366 1 printers device 1 blank pp. Title-pages printed in black and red. With a memoir at the beginning of volume one. The last volume contains an index of first lines and a general index. Extra-illustrated by the insertion of twenty-six engraved plates including eight hand-colored. Handsomely bound almost certainly by The Harcourt Bindery ca. 1900 in full red morocco covers with double gilt border with fancy corner-pieces enclosing a spray of flowers elaborately stamped in gilt and with green morocco leaf inlays and buff morocco inlaid flowers. Spines with four raised bands decoratively tooled and lettered in gilt in compartments and with three olive green morocco flower inlays. Highly decorative gilt turn-ins surrounding an oval panel of green morocco decorated in gilt with a large central gilt flower with inlaid red morocco flower head green moire silk end-leaves all edges gilt. Minimal rubbing and repairs to the outer joints otherwise fine. Although unsigned the binding is almost certainly by The Harcourt Bindery.<br /> <br /> An exquisitely bound collection that celebrates the talents of Percy Bysshe Shelley 1792-1822 one of the most significant Romantic poets in the English language. Husband to Mary Shelley the author of Frankenstein and friend of Lord Byron Shelley moved in a radical literary circle and died a tragic early death. From sonnet to epics he is celebrated for his moving philosophical verse such as famous poems Queen Maub Ozymandias Mont Blanc Ode to the West Wind or Prometheus Unbound. Since 1900 The Harcourt Bindery of Boston has made fine cloth and leather art bindings by hand and it remains the largest for-profit hand bookbindery in the U.S. When it was founded in 1900 Boston was home to over 47 book binderies and 1452 craftsmen Harcourt Bindery. Since its founding the binder has weathered the Depression WWII and changing hands three times between 1927 and 1931. Not only does the Harcourt Bindery offer professional services but it also offers educational courses to keep the arts of hand binding and book making alive. Near Fine. Chiswick Press and Charles Whittingham and Co unknown
182984109London: J Brooks. A Rare copy certainly in original boards uncut with spine rubbed and repaired at some stage.This issue of the six weeks tour is very rare title with a new title page onlythe original issue was anonymous but this one has Shelley's name on the Title Page.The original label to spine is present but very worn.Outer boards are marked in places with ink stain to the top edge of the upper cover.There is one former owner's bookplate showing to the front pastedown.Contents remain clean for the most parta fragile binding but still holding.Deckled page edges or rough cut.The work is a ravel narrative by the English Romantic Authors Mary Shelley and Percy Bysshe Shelley and describes a couple of trips taken by Mary Percy and Mary's stepsister Claire Clairmont one of which was across Europe in 1814 and one to Lake Geneva in 1816.The work is divided into 3 sections and the text consists of a journal four letters and Percy Shelley's famous poem 'Mont Blanc'.The text was mostly organised by Mary Shelley and in 1840 she revised the journal and the letters publishing them in a collection of Percy Shelley's writings.A wonderful collector's item12mo 183pp 1929 . Good. Hardcover. 1829. J Brooks hardcover
