King Shelley Pierce JohnBiblio.com
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2010Atlantic-9780199218905Oxford UP 2010. Hardcover. New. Oxford UP hardcover
2010Atlantic-9780199218905Oxford UP 2010. Hardcover. New. Oxford UP hardcover
199547498HEYNE WILHELM 1995. 1. softcover. Frankenstein HEYNE, WILHELM paperback
196828011HEYNE WILHELM 1968. 1. softcover. Frankenstein HEYNE, WILHELM paperback
1843000902London: Thomas Rodd 1843. 16pp disbound from a volume at some point t.e.g. Slightly browned one or two spots of foxing but generally clean. Wise notes that "In 1843 when advertising the present pamphlet for sale Rodd asserted that it was a facsimile reprint of an alleged original edition of which the author was said to have printed twenty copies in 1816. No example of this mysterious original has ever been unearthed . My own opinion is that no original ever existed . The motto 'We pity the plumage but forget the dying bird' was taken by Shelley from Paine's 'Rights of Man' 1817 Pt.I p. 24 'He Burke pities the plumage but forgets the dying bird'. This clearly denies any impression of the address dated 1816". The pamphlet decries the difference between the public concern for the death of the Princess and their indifference to the plight of the poorest in society plus ca change and also examines the execution of the leaders of the Pentrich Rising. Wise 'A Shelley Library' page 46. First Edition. Disbound. Good. 8vo. [Thomas Rodd] Paperback
190410370Gay and Bird. London. 1904. LIMITED EDITION. Small 8vo. 5.2 x 3.3 inches. One of 60 copies printed on Japanese vellum numbered and signed by the Publishers. Portrait frontis and a handful of head and tail pieces by Herbert Cole. Finely bound in early full dark brown morocco by Zaehnsdorf. Raised bands on spine each with gilt piping. Compartments ruled lettered and decorated in gilt. Gilt double ruled borders on boards with elaborate floral corner pieces. Board edges ruled in gilt. Burgundy silk endpapers. Decorative gilt tooled borders and floral design to turn-ins. Top edge gilt. A fine and attractive binding. Gay and Bird. London. 1904 hardcover
1880AQ32054London: Macmillan and co 1880. lx 339pp. Bound by J. Larkins in contemporary brown half-morocco lettered in gilt to spine A.E.G. marbled endpapers. Heavily worn upper board detached large piece of head of spine torn away. Around 40 manuscript annotations to margins throughout; accompanied by several pressed flowers. With unidentified photographic portrait of a man sat at a desk loosely inserted. A much-loved Brooke family copy of Shelley's collected poems collected and arranged by Stopford Brooke. In the preface the editor evidently a devotee of Shelley's output notes that 'A book of this kind is not to represent Shelley fully but to present in a brief compass enough of his poetry to induce those who are ignorant of it to read the whole'. Some 40 annotations in Maud Brooke's hand demonstrate how the book was used including labelling verses she read to her father people she visited and places she saw the dates and locations painting a picture of the family's travels - 'Rome' 'Venice' 'Cologne'. . 8vo. Macmillan and co unknown
193412466London; Privately printed for the Curwen Press 1934. 1934. Proof copy. Octavo pp. 159 3; all leaves printed one side only recto or verso only throughout. Frontispiece plate "Sketch by Shelley" and four plates of manuscripts as called for. Ganymede watermark to pages 1 and 7. Full original canary yellow cloth with gilt titles to maroon leather label to spine. Annotated extensively in pencil throughout by editor Roger Eric Ingpen. Includes "Prometheus Unbound" and "Hellas" in Part I Verse and "Journal: Switzerland 1816" and "On the Vegetable System of Diet" in Part II Prose with notes. Many of Ingpen's textual notes in this proof copy were enacted in the first edition. An insight into the editorial practice of one of the most significant Shelley scholars of the twentieth century. Spine lightly sunned and cover cloth surface soiled. Light foxing mainly to endpapers and text-block edge. A very good copy. London; Privately printed [for the Curwen Press], 1934. hardcover
SKU0645500West Academic Publishing 2019-07-24. hardcover. New. 10x7x1. New Textbook Ships with Tracking West Academic Publishing hardcover
1886178527London: Reeves & Turner 1886. Second Edition. Flexible cloth. Both Volumes Very Good in decorative boards. Rubbing along panel edges. Light foxing throughout text. Reeves & Turner unknown
199039272PABEL/MOEWIG VERLAGSUNION 1990. 1. softcover. Frankenstein EDITION GOLDKÄFER PABEL/MOEWIG VERLAGSUNION paperback
199717182JNew York: Nan A. Talese - Doubleday 1997. First Edition First Printing. Actress Shelley Duvall’s copy personally signed and inscribed to her by Mia Farrow. Inscribed on the title page: “To Shelley Duvall I am your devoted fan Mia.†Above the inscription at the top of page Mia Farrow has written her name in full. Laid in is a certificate of authenticity issued by Duvall estate auction of her possessions from her ranch in Blanco Texas. Shelley Duvall was part of the circle of actors known by Farrow and her then companion Woody Allen. Duvall was directed by Allen in his masterwork Annie Hall. Duvall also appeared in such noted films The Shining McCabe & Mrs. Miller Nashville Annie Hall Popeye Time Bandits etc. Memoirs from Farrow’s early childhood her marriages to Frank Sinatra Andre Previn to her thirteen appearances in Woody Allen films. Fine in a fine dust jacket. Nan A. Talese - Doubleday unknown
18876291London Privately Printed 1887. 1887. Square 8vo. Edited by Thomas J. Wise. 64 pages. Later plain vellum paper wrappers. Very good. Rare. One of only 16 copies on large paper on Whatman paper watermarked 1886. Printed by Richard Clay & Sons. Soft cover. London, Privately Printed, 1887. hardcover
1944309503Golden Cockerel 1944. One of 50 copies with the facsimile letters; signed by the editor Walter Sidney Scott. With portraits; and an added gathering of 7 facsimile letters and view of the shop of Monday and Slatter. 1 vols. 4to. Full tan niger morocco t.e.g. by Leighton-Straker. One of 50 copies with the facsimile letters; signed by the editor Walter Sidney Scott. With portraits; and an added gathering of 7 facsimile letters and view of the shop of Monday and Slatter. 1 vols. 4to. Handsome volume recording the correspondence of a key period in Shelley's life. Golden Cockerel unknown
185323913London: Edward Moxon 1853. 8vo xii 715 1 pp. Frontispiece and engraved title somewhat foxed fine bookplate by Stephen Gooden for S.L. Sir Stephen Lewis Courtauld 19th century inscription to front blank. Contemporary maroon full morocco a.e.g. spine slightly sunned with minor rubbing to joints. Under the gilt on the fore edge is a handsome fore edge painting of the Palace of Westminster from across the river with various boats and shipping in the foreground. A unique volume. London: Edward Moxon unknown
20824London: William Benbow. 1827. Third edition. Third edition. Handsomely bound in contemporary full diced calf the boards ruled in gilt the spine with four raised bands compartments decorated in gilt and with red morocco title label lettered in gilt. Ownership inscription and introductory note by the author William St Clair in pencil to the front free endpaper. A very good copy indeed the binding square and firm with a little rubbing to the joints and corners. The contents with a contemporary owner's name in ink to the front free endpaper the occasional light pencil annotation to page margins and very faint spotting to the preliminary pages are otherwise in very good order and clean throughout. An attractive copy. An early pirated edition of Shelley's great verse drama the third edition of the work overall. The first edition consisting of 250 copies was printed in Italy in 1819 with a second edition published in 1821 making it the only work to go into a second edition during the poet's lifetime. Buxton-Foreman writes that the present edition is "a curious and somewhat uncommon little book prettily but roughly printed from the second edition" Buxton-Foreman The Shelley Library p.93. Only three institutional copies of this edition are recorded in Copac Oxford Eton and Univ. Leeds. Provenance: from the library of William St Clair 1937-2021. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers. London: William Benbow. 1827 hardcover
318128Edward Moxon 1840. 2 VOL SET FIRST EDITION ORIGINAL BINDINGS octavo brown textured buckram boards gilt lettering & blind rule to spines blind stamp decoration to boards deckled page edges vol 1- xxxii 319pp vol 2- viii 360pp G heavy chipping to spine extrems with some moderate loss moderate cracking to front hinge of vol 2 moderate chafing & discolouration to boards moderate to heavy tanning & light foxing to page edges heavy cracking to gutters- boards a little shaky ex-libris labels to front pastedowns of both vols prev. owner's name in ink to ffeps of both vols Edward Moxon 1840 hardcover
2021SKU0614367West Academic Publishing 2021-08-02. hardcover. New. 10x1x7. New Textbook Ships with Tracking West Academic Publishing hardcover
190421976London: Essex House Press Edward Arnold 1904. leather_bound. Orig. full limp vellum with yapp edges. Near fine. 96 pages. Folio 29.5 x 21.5 cm. Limited edition copy 67 of 200 of 220 20 printed on vellum. Frontispiece by C.R. Ashbee with text printed in red and black in Endeavour type. Wide text margins bright copy top front tie lacking backstrip lettered in gilt. Essex House Press (Edward Arnold) unknown
2022355490722187London: The Folio Society 2022. Hard Cover. London: The Folio Society 2022. LIMITED EDITION OF 750 COPIES THIS BEING # 344. Illustrated by Angela Barrett and introduced by Richard Holmes. The 1831 text is bound in ice-blue leather and stunningly illustrated by Angela Barrett with 8 intensely-brooding colour plates two elaborate hand-drawn borders 9 intricate black & white vignettes and a pair of striking designs on the ice-blue leather binding and black cloth-covered slipcase. Limited to 750 copes and now fully sold out. Each copy signed by the Artist. As new in slipcase in the publisher's cardboard shipping box with the label indicating that this is Copy # 344. A beautiful production. Photographs/scans available upon request. The Folio Society hardcover
199646180GOLDMANN WILHELM 04/1996. 1. softcover. Frankenstein GOLDMANN, WILHELM paperback
199318806WORDSWORTH EDITIONS 1993. 2. softcover. Frankenstein WORDSWORTH EDITIONS paperback
26009Three of the five from 1900 28 and 31 August and 4 September; and two from 1901 5 and 13 December. All on letterheads of the Shakespeare Memorial Stratford-upon-Avon. These five items are part of a collection of correspondence the rest is offered separately relating to a supposed portrait of a young Percy Bysshe Shelley by George Romney which was in a group of paintings donated to the Shakespeare Memorial Association by the appropriately-named anatomist Evan Marlett Boddy. The Shelley portrait is reproduced in ‘The Magazine of Art’ 1901 with the caption ‘Reputed portrait of Shelley as a boy by Romney. In the Shakespeare memorial Stratford-on-Avon.’ in an article on ‘Portraits of Shelley at the National Portrait Gallery’ p. 494. The Shakespeare Memorial Theatre was founded through the efforts of local brewer Charles Edward Flower 1830-1892 after whose death its management was taken over by his brother Edgar Flower 1833-1903 also Chairman of the Shakespeare Birthplace Trust. On Edgar’s death these duties fell to his son Archibald Flower 1865-1950 several times mayor of Stratford-upon-Avon. Between 1899 and 1901 Boddy donated at least twelve portraits to be hung in the Shakespeare Memorial reading room from the correspondence wood carvings also appear to have been donated. Details of the first seven portraits including the supposed Romney one of Shelley are contained in a letter in the separate collection of correspondence of 11 December 1899 from Boddy to the Shakespeare Memorial librarian the archaeologist William Salt Brassington 1859-1939. The paintings included supposed works by Henry Fuseli ‘The Fuseli Macbeth’ and Sir Peter Lely Nell Gwynne Henry Wyatt Coleridge one of Alexander Pope ‘attributed to Hogarth’ as well as a ‘Garrick portrait’ one of Nell Gwynne and a ‘Spanish Lady’. In 1916 Boddy demanded their return on discovering that the Archibald Flower had broken the condition that Boddy had arranged in 1900 with the then librarian W. S. Brassington: ‘The Portraits were to be hung together and remain so.’ The present five items comprise four in 12mo totaling 8pp; and one the first in 4to 1p the first part of which is typed and the latter part in autograph. All signed ‘W. S. Brassington’. All in good condition lightly aged. In the first letter 28 August 1900 he writes: ‘Dear Dr. Boddy / Following the investigations respecting the portrait of Shelley I find that the description on the frame of the picture is not quite correct. / “Percy Bysshe Shelley aged 13 by G. Romney.†Shelley was born in 1792 and in 1805 he was 13 years old. Romney died in 1802 and did not paint much for some years before his death. From a careful examination of the portrait it appears to me that the subject is a boy of about 8 or 9 years of age and consequently the portrait may have been painted by Romney in or about the year 1800. Next month I hope to meet Dr. Garnett Richard Garnett 1835-1906 at the meeting of the Library Association at Bristol and hear what he has to say on the subject; He is the greatest living authority on Shelley. I am also writing to the author of a new life of Romney and hope to find a record of the sittings in Romney’s notes.’ In the second letter 31 August 1900 he recaps the position adding: ‘The more I see of the picture the more I like it: it is beautiful and to me more interesting than any of the others: it would be a treasure for any gallery.’ In the third letter 4 September 1900 he comments on a photograph of the Shelley portrait presumably for the ‘Magazine of Art’ article which he considers excellent. On 5 December 1901 Brassington writes: ‘Since last I had the pleasure of seeing you Miss Florence May has been hunting up the bust of Shelley which Mrs Leigh Hunt made & gave to Thomas Carlyle. It has now been found in Scotland and the owner has kindly sent me for the Memorial an etching made from the bust by W. Bell-Scott. It appears that the present representatives of the Shelley family do not like the bust though it undoubtedly is a likeness and it has a resemblance to the Romney portrait which renders it all the more interesting to me.’ In the last of the five letters 13 December 1901 he write: ‘It is quite time as you say that misfortunes attend some poor souls even after death but I fancy the poor departed generally score in the end if they deserve to do so. In Shelley’s case this must be so & it is a score that his portrait should be here. I shall do my best to get the Leigh Hunt Bust placed beside the Romney Portrait before next April.’ There is a final reference to his ‘young friend Nupean’. Three of the five from 1900 (28 and 31 August, and 4 September); and two from 1901 (5 and 13 December). All on letterheads of th unknown
1894845A52London: Macmillan and Co. 1894-1902. Leather. Near Fine. 6" by 4". Not Stated . A beautiful group of three volumes from the 'Golden Treasury Series' of verses in exquisite uniform prize bindings. Three volumes from Macmillan's 'Golden Treasury Series'. With half titles vignette illustration to title page of each volume. Comprising the following:1894 edition of Selections from the Poems of Arthur Hugh Clough English poet of the nineteenth century also devoted assistant to Florence Nightingale. Second printing. Early poems miscellaneous and selections from 'Dipsychus' and 'Amours de Voyage.' 1902 edition of Poems of Shelley selected and arranged by Stopford A. Brooke later printing. Percy Bysshe Shelley was one of the major Romantic English poets. Featuring hymns poems on death on time and its changes of love of nature of man of home life and more. 1902 edition of Francis T. Palgrave's The Golden Treasury the second of two series. A later printing. Popular anthology featuring the best songs and lyrical poems in the English language with notes. Rebound in beautiful uniform full calf bindings with gilt tooling to spine gilt blind stamps to front boards titles in gilt to morocco spine labels. Externally lovely. Prize inscription to recto front blank leaf of 'Golden Treasury' dated 1903. Internally firmly bound. Faint minor light spotting to first few leaves only pages otherwise bright and clean. Near Fine Macmillan and Co. hardcover
1836AQ27067Amsterdam: Hendrik Frijlink 1836. viii 312pp. With a lithograph frontispiece by H. J. Backer. Original publisher's green moire cloth-backed cream paper boards contrasting black calf lettering-piece. Lightly rubbed and marked chipping to lettering-piece. Internally clean and crisp. The first edition in Dutch printed in the year after the English original of Mary Wollstonecraft Shelley's 1797-1851 fifth and penultimate novel; a romance that differs from her earlier work in its shift away from the supernatural or historical to a more contemporary setting to critique the limitations of the conventional Victorian class system. The novel's modern editor Lisa Vargo Lodore 1997 Introduction p.18-19 has noted the text's engagement with the education and social role of women suggesting that it dissects a patriarchal culture that pressured women into dependence on men. In the view of critic Betty T. Bennett Mary Wollstonecraft Shelley: An Introduction 1998: 'the novel proposes egalitarian educational paradigms for women and men which would bring social justice as well as the spiritual and intellectual means by which to meet the challenges life invariably brings'. The Literary Gazette No. 949 1835 heaped praise upon the novel dubbing Shelley 'one of the most original of our modern writers'. . First edition in Dutch. 8vo. Hendrik Frijlink hardcover
