SHELLEY, MaryBiblio.com
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1834AQ26142Philadelphia: Carey Lea & Blanchard 1834. In two volumes. 261 13; 239pp 1. With five terminal leaves of advertisement ads to Vol. I. Uncut in original publisher's cloth- backed paper boards printed lettering-pieces. Rubbed worn to extremities and some surfaces loss to lettering-pieces especially that of Vol. I. Internally browned as with most American novels of this era with some creasing and water-marking especially to the end of Vol. I. From the library of William St. Clair with his pencilled inscription noting acquisition in Washington D.C. in 1990 to FFEP of Vol. I earlier pencilled inscription to the sprung pastedown of Vol. II. The first American edition - in original state - of Mary Wollstonecraft Shelley's 1797-1851 fifth published novel; published just a year after first American edition of her Frankenstein also issued by Carey Lea and Blanchard had appeared in the wake of the success of the Bentley's Standard Novels edition of 1831. Influenced by the success of Scott's historical Waverley Novels The Fortunes of Perkin Warbeck 1830 is set in fifteenth century England and presents a retelling of the events surrounding the struggles of the titular Royal pretender - who claimed to be Richard Duke of York - to wrest the English throne from Henry VII. It includes quotes from her late husband Percy Shelley's 'The Sensitive Plant' and Shakespeare's Sonnets amongst the chapter headings. Although it portrays Henry as ruthless and manipulative and Richard as seemingly idealistic and caring the novel enunciates Shelley's philosophy that in the end there is little difference between men who destroy nations in the interest of their own power. Carey and Lea's cost book notes that just 1000 copies of this first American edition were printed; it also suggests that the work was printed by Chauncey Goodrich despite the imprint of Edward Smith of Burlington appearing in the text itself. The extensive list of the publisher's other offerings included at the end of Vol. I feature inter alia early Carey and Lea editions of the six novels of 'Miss Austen' including the retitled first edition of Elizabeth Bennet; or Pride and Prejudice Philadelphia 1832. William St. Clair 1937-2021 British scholar and senior civil servant notable as the author of The Godwins and the Shelleys The Biography of a Family 1989 and The Reading Nation in the Romantic Period 2004. . First American edition. 12mo in 6s. Carey, Lea & Blanchard hardcover
1819174006London: printed for C. and J. Collier 1819. Look on my works ye Mighty and despair First edition a handsome copy bound with the half-title and publisher's advertisements. The collection also includes the first appearance in book form of Shelley's most famous single poem "Ozymandias" as well as "Lines Written on the Euganean Hills" and "Hymn to Intellectual Beauty". 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. Many of the lyrics were composed during that "wet ungenial" summer of 1816 which the poet spent on Lake Geneva with Mary Claire Clairmont Byron and Polidori and from which issued Mary's Frankenstein Byron's Mazeppa and Polidori's The Vampyre. Octavo 211 x 134 mm. Finely bound by C. J. Sawyer in early 20th-century red crushed morocco spine gilt in compartments with raised bands and titles direct sides gilt-bordered edges and turn-ins gilt marbled endpapers all edges gilt. Mild sunning to spine a little light foxing within very good indeed. Granniss 49; Ashley Library V 68; Tinker 1897; Wise p. 50. hardcover
1904122526Oxford: Clarendon Press 1904. Octavo bound in full crushed morocco Cosway-style binding by Bayntun-Riviere. Front and rear panels with single gilt filler border upper cover set with an oval miniature painting of Percy Bysshe Shelley spine in six compartments with five raised bands a decorative panel in the rest gilt tooling to the front and rear panels board edges gilt dotted turn-ins gilt doublures and free endpages of watered silk all edges gilt. Edited by Thomas Hutchinson. In fine condition. Percy Bysshe Shelley was one of the major English Romantic poets and is regarded as among the finest lyric poets in the English language and one of the most influential. A radical in his poetry as well as in his political and social views Shelley did not see fame during his lifetime but recognition for his poetry grew steadily following his death. Shelley was a key member of a close circle of visionary poets and writers that included Lord Byron Leigh Hunt Thomas Love Peacock and his own second wife Mary Shelley the author of Frankenstein. Cosway bindings named for renowned 19th-century English miniaturist Richard Cosway were popularized if not invented in the early 1900s by the renowned London bookselling firm of Henry Sotheran. The earliest Cosway bindings were created by Miss C.B. Currie who faithfully imitated Cosway's detailed watercolor style of portraiture from designs by J.H. Stonehouse Sotheran's manager. These delicate miniature paintings often on ivory were set into the covers or doublures of richly-tooled bindings and protected by a thin pane of glass. Clarendon Press hardcover books
1880002339Reeves and Turner 1880 8 volumes. Frontispiece portrait in each volume six facsimiles and vignettes in the text. 8vo 22x14 cm 9x5½" period maroon half morocco and marbled boards gilt decorated spines with raised bands marbled endpapers top edges gilt others untrimmed. First edition of the Poetical Works together with the Prose Works. Finely bound set of this standard definitive edition of Shelley's works. Slight rubbing to a few edges; fine. 1st Edition. Hardcover. Fine/No Jacket. Reeves and Turner hardcover
1852951865London: Edward Moxon Dover Street 1852. leather_bound. Sehr gut. vi 1 1 blank 165 2 1 blank pp. - 8 pp. List of Books. Ganzleder Handeinband mit reicher Vergoldung. Octavo ca. 197 x 124 mm. Einband minimalst berieben erste und letzte Blätter braunfleckig sehr schönes Exemplar. Contemporary olive morocco 203 x 133 x 175 mm spine with five raised bands panelled and lettered in gilt richly gilt with gilt fleural tools and lines boards with gilt line panels. Top edge gilt burgundy endleaves. Bound by Riviere & Son and signed on upper turn-in. This is the first edition of the Browning Essay. Edward Moxon bought twenty three letters at a Sotheby & Wilkinson sale 12 May 1851. The vendor of these letters was the bookseller William White who had obtained them with other items including Byron forgeries from 'Major George Gordon de Luna Byron' also known as DeBibler who claimed to be the illegitimate son of the poet Byron by a Spanish lady. The son of Sir Francis Palgrave realised that Letter XXI to William Godwin from Florence was cribbed from a letter to his father. "An ingenious forgery perpetrated by an impostor claiming to be the natural son of Lord Byron. Two genuine letters which happened to be in Moxon's hands were included. The fraud was discovered to the chagrin of Browning and Moxon who at once destroyed all obtainable copies of the book" Granniss. The two genuine letters in the present volume are No. V to Sir James Henry Lawrence August 17 1812 = Ingpen #186; de Ricci 186 and No. XXIII to Keats Pisa July 27 1820 = Ingpen #484; de Ricci 484. "One of the most ingenious literary forgeries of modern times is recalled by a rare work which a London bookdealer now is offering for sale for $375. It is an octavo volume published in 1852 by Moxon and entitled 'Letters of P. B. Shelley with an introductory essay by Robert Browning. Browning really wrote the introduction but not one of the twenty-five letters in it is by Shelley. These letters purported to have been sent by Percy Bysshe Shelley the eminent English poet to various of his friends. They were clever imitations of his hand-writing and bore the postmarks of cities in which it was known that Shelley had resided. The book made a sensation. Browning's preface is one of his most admired pieces of prose writing. Moxon sent copies of the work to a number of distinguished literary men among others Lord Alfred Tennyson. Francis Turner Palgrove son of Sir Francis Palgrove the historian was at the time a guest of Lord Tennyson. He picked up the book one day and opened it at a letter from Shelley to Godwin his father-in-law which seemed strangely familiar to him. He read on and found that the letter was a plagiarism of an article which his father had contributed to the Quarterly Review in 1840. Moxon when informed of this discovery said that he had bought the letters at a public sale and that they seemed authentic. The handwriting appeared genuine the seal was Shelley's and the addresses bore the stamp of the Post Offices of the italian towns where Shelley had lived. It happened that at the same sale the poet's son Sir Percy Florence Shelley had bought other letters of his father which were of a private and personal character. These letters were found to be at utter variance with well-known facts. Moxon at once suppressed the book the auctionneer said that the letters had come to him from a bookseller named W. White. White in turn said that he had bought them from an unknown woman who claimed to have received them from Fletcher Lord Byron's servant. Further search revealed that behind this unknown woman was the forger George Gordon Byron alias De Gibler. This adventurer bore a striking resemblance to Lord Byron had assumed his name and had passed himself off as Byron's natural son. He almost succeeded in palming off on a publisher some unedited remains of Lord Byron. As soon as the facts about the letters became known he disappeared ." New York Times February 26 1911: "Shelley's forged letters. Rare copy for sale in London the work of G. G. Byron". Erste Ausgabe. Handgefertigter olivbrauner Maroquinband mit fünf erhabenen Bünden auf dem Rücken auf zweitem und drittem Feld Verfasser und Titel am Fuß das Jahr die anderen mit reicher fleuraler Vergoldung und Randlinien. Die Deckel mit dreifachen Randrahmen aus Linienvergoldung; reiche Innenkantenvergoldung dreifarbige handgestochene Kapitale. Goldkopfschnitt vorn und unten unbeschnitten; Vorsätze aus burgunderrotem Papier. Signiert auf dem vorderen Ledereinschlag unten: Riviere & Son. - Vorsätze braunfleckig sonst sehr schönes dekoratives Exemplar dieser seltenen Ausgabe. Mit dem Exlibris aus Leder von Robert Hoe III 1839 - 1909 Bibliophiler Besitzer von Schnellpressenfabriken und Erfinder von Druckpressen lebte in New York wo er Eigentümer einer der größten amerikanischen privaten Bibliotheken war die 1911-1914 von den Anderson Galeries auktioniert wurde. Zusammen mit anderen Bibliophilen gründete er den Grolier Club dessen erster Präsident er wurde. Mit einem weiteren Exlibris von John Whipple Frothingham 1818 - 1894. - Some foxing to endleaves else fine. From the libraries of John Whipple Frothingham and Robert Hoe: "olive brown levant morocco gilt gilt top uncut by Rivière. Printed from forgeries and suppressed" Anderson Auction Company 1912 Part IV #2935. Leather bookplate of Robert Hoe. Robert Hoe III 1839 - 1909 was an American businessman and producer of printing press equipment. He was one of the organizers and first president of the Grolier Club 1884-1888 cf. Asaf/Wornom p. 149 and an extensive collector of rare books and manuscripts. His books were auctioneered by the Anderson Galleries 1911-1914. "Only a man of taste with a profound knowledge of books could have assembled a collection of such quality" Lee Edmonds Grove in "Grolier 75" p. 25. Printed on wove paper without watermark. - First edition. Granniss 127 - Wise 74 - Wise Browning 33 - Hoe/Anderson IV2935 this copy!. - RFM. Weitere Bilder auf Anfrage oder auf unserer Homepage. Wegen Urlaub kann Ihre Bestellung / Anfrage erst nach dem 21.06.2026 bearbeitet werden. - Because of holidays your order / question can be handled only after 06/21/2026. Edward Moxon, Dover Street hardcover
18923393Cambridge: Riverside Press 1892. Large Paper Edition Limited Edition. Leather Bound. Very Good. Large Paper Edition Limited Edition. Leather Bound. 8 vol. Percy Bysshe Shelley The Complete Poetical Works of Percy Blysshe Shelley. The text newly collated and revised and edited with a memoir and notes by George Edward Woodberry. Large Paper Edition. Limited Edition limited to 250 numbered copies of which this is No. 162. Top edges gilt. Raised bands. Bound in full midnight blue Morocco leather with gilt geometric borders on covers and spine panels. Leather and silk doublures on inner covers with gilt geometric patterns. Published: Cambridge; Riverside Press; 1892. <br /> H: 8 3/4" W: 6 1/8" D: 1 5/8". Riverside Press unknown
1824140941633London: Printed for John and Henry L. Hunt 1824. First Edition. Near Fine. First edition. xi iii 415 1 pp. bound with the errata leaf. Later green calf gilt smooth spine gilt brown decorative morocco lettering-pieces gilt all edges gilt blue marbled endpapers stamp-signed by Zaehnsdorf for A. C. McClurg. Near Fine with slightly sunned spine some minor rubbing to extremities. From the collection of Louis V. Ledoux 1880-1948 poet and Japanese print collector with his bookplate. An attractive copy. One of only 500 copies. Printed for John and Henry L. Hunt unknown books
1832002493London: Edward Moxon 1832 1832. FIRST EDITION. 1 vol. 12mo 6-3/4" x 4-3/8" with the half-title and 2 page publisher's ad complete bound full red morocco ribbed gilt decorated spine covers triple ruled in gilt gilt dentelles by Zaehnsdorf and with their exhibition gilt stamp on the rear pastedown. Housed in a 1/4 red morocco backed clamshell slipcase gilt lettered spine Hinges rubbed but covers firm internally clean and bright A VERY GOOD COPY. Engraved bookplate of "Edward Huth Wykehurst Park" descendant of the great bibliophile Henry Huth. He was the last Huth to live at Wykehurst Park. Written to denounce the state of things that occasioned the notorious 'Peterloo Massacre' at Manchester in 1819 for publication in The Examiner but turned down by the editor Leigh Hunt ".because he thought that the public at large had not become sufficiently discerning to do justice to the sincerity and kind-heartedness of the spirit that walked in this flaming robe of verse." London: Edward Moxon, 1832 unknown
1883SCX3119-1<p>Original Complete Edition stated. Sixteen pages. Dick's Standard Plays Number 431. Also called Frankenstein. Orange paper wrappers with engraved pictorial scene on cover.</p><p>1883 date from ISFDB. Title listed as Presumption or the Fate of Frankenstein as that is the well-known title. Listed as Frankenstein by Worldcat with date 1883. Peake wrote Presumption or the Fate of Frankenstein with additional elements to Shelley's story--first performed in 1823. Trinity College Dick's Standard Plays Collection: "By the mid-1860s Dicks' cheap reprints of Shakespeare led to another expansion of the flourishing business. Around the same time he began publishing 'Dicks' standard plays'. Over 1000 titles were published over a twenty-year period –averaging more than one a week! "</p> John Dicks paperback
18391297641839. First Edition. SHELLEY Percy Bysshe. The Poetical Works of Percy Bysshe Shelley. Edited by Mrs. Shelley. London: Edward Moxon 1839. Four volumes. 12mo later full dark green calf raised bands tan and rust morocco spine labels elaborately gilt-decorated spines marbled endpapers and edges. $4000.First edition of Mary Shelleys important edition of her husbands poetical works with engraved frontispiece portrait of the poet by Finden finely bound.After Percy Shelley's death in 1822 Mary Shelley devoted herself to writing his biography and publishing his manuscripts. She first attempted to publish Shelley's poems in 1824 but his father Sir Timothy Shelley prevented further publication of Shelley's writings for 15 years. ""In 1839 the obstacles to an authentic edition having been removed Mrs. Shelley published what was then supposed to be a definitive edition in four volumes enriched with biographical notes and some very beautiful lyrics which had remained in manuscript"" DNB. Lowndes 2374. A beautifully bound set in excellent condition. hardcover
1822146161822. in original boards London: Printed and Published by R. Carlile 1822. Original drab paper-covered boards. First Published Edition second issue -- which is to say the sheets of William Clark's 1821 pirated edition with the 1822 cancel title leaf of radical publisher Richard Carlile. "Queen Mab a Philosophical Poem in Nine Cantos with Seventeen Notes" -- Shelley's first major poetic work -- was first privately-printed in 1813. Since it was a radical and revolutionary vision of a utopian world from an atheistic viewpoint Shelley never intended it to go beyond his friends. But in 1821 a stash of the undistributed sheets was discovered by London bookseller William Clark and the result was an 1821 pirated edition with the help of the infamous book pirate Thomas Moses whose monogram also appears here on the final page of text. Shelley tried to suppress this Clark/Moses edition but was unsuccessful because the courts ruled that "books liable to conviction for blasphemy or sedition are not entitled to legal protection." Clark spent four months in prison courtesy of the Society for the Prevention of Vice; Clark's sheets ultimately fell into the hands of his former employer Richard Carlile who issued this edition with his own title leaf in 1822 -- Shelley having just drowned off the coast of Italy in July 1822. This copy includes at the rear Shelley's dedicatory poem "To Harriet which had appeared in his 1813 copies but which Shelley had ever since tried to suppress -- and for good reason. In 1811 19-year-old Shelley had eloped with 16-year-old Harriet Westbrook under her threat that she would otherwise take her own life; in July 1814 -- after the 1813 QUEEN MAB was printed with its dedication -- Shelley fled pregnant Harriet for the Continent with Mary Godwin and after Harriet did in fact take her own life married Mary at the end of 1816. In 1818 Mary's FRANKENSTEIN was published. This copy is still remarkably in the original drab paper-covered boards albeit without spine label; the leaves are uncut and the original endpapers are intact. There is minor edge-wear and one small patch of the spine has chipped away but this is certainly near-fine condition. Housed in a cloth clamshell case with leather label. Incidentally in the legendary eight-day Jerome Kern sale of January 1929 the highest price achieved today just over $1 million was by a copy of QUEEN MAB annotated by Shelley -- thanks to Lee Biondi for this tidbit. unknown books
199612562Oxford Univ Pr 1996 4x22x17cm. 1996. Reliure Editeur avec jaquette. Ce roman de Mark Twain publié en 1894 entrelace les destins de deux nourrissons échangés dans le Sud d'avant-guerre : l'un né esclave avec un lointain ascendant noir l'autre blanc destiné à être maître. L'œuvre initialement conçue comme une farce sur des jumeaux siamois évolue en une satire cinglante du racisme et de la responsabilité morale mêlant humour noir et réflexion profonde sur la société américaine
12562Oxford Univ Pr 1996. Très bon état. 4x22x17cm. 1996. Reliure Editeur avec jaquette. Ce roman de Mark Twain publié en 1894 entrelace les destins de deux nourrissons échangés dans le Sud d'avant-guerre : l'un né esclave avec un lointain ascendant noir l'autre blanc destiné à être maître. L'oeuvre initialement conçue comme une farce sur des jumeaux siamois évolue en une satire cinglante du racisme et de la responsabilité morale mêlant humour noir et réflexion profonde sur la société américaine Pudd'nhead Wilson Those Extraordinary Twins Mark Twain Shelley Fisher Fishkin Oxford Mark Twain race in America slavery American literature classic fiction tragicomedy identity and mistaken identity dark comedy and tragedy Mark Twain's later works Oxford Univ Pr unknown
1903ST17129-027Edinburgh: Printed by Turnbull and Spears for Otto Schulze & Co September 1903. No. 25 OF 40 COPIES printed on Japanese Vellum. 208 x 176 mm. 8 3/4 x 7". v 289 1 pp. 1 leaf colophon. <br/> MOST ATTRACTIVE DARK BROWN CRUSHED MOROCCO GILT BY OTTO SCHULZE & CO. stamp-signed on front turn-in covers with complex strapwork frame raised bands spine compartments with lobed centerpiece gilt lettering gilt-ruled turn-ins top edge gilt other edges untrimmed. With woodcut white-vine border on title page and on the first page of three poems large white-vine initial printed in red on title page numerous six-line white-vine initials throughout. Printed in red and black. Nearly invisible short scratch near head of front board a couple of corners gently bumped trivial internal imperfections but A VERY FINE COPY with virtually no signs of use inside or out.<br/> <br/> This collection of poems by the great Romantic rebel is a strictly limited deluxe production from Edinburgh publisher Otto Schulze clearly intended to capitalize on the allure of books produced by the great English private presses. Operating during the first 10 or 15 years of the 20th century Schulze usually had his books printed by George Robb or as here Turnbull and Spears with some copies then finely bound under his firm's name. Such bindings often were done for rather than by the publisher or bookseller whose name is stamp-signed on the volume but since our volume says that the binding is by--and not for--Schulze we can only assume that our publisher had an in-house binder. Whether in-house or outsourced bindings signed by Schulze are consistently attractive but are not common: since 1975 ABPC has listed six such morocco bindings two of them described as "elaborate" or "extra.". Printed by Turnbull and Spears for Otto Schulze & Co unknown
22394London: John Dicks. c.1872. First editon the first appearance in print of the very first dramatic adaptation of Frankenstein. Illustrated title vignette. 16pp. Sewn without wrappers. An excellent better than very good copy the pages with a little toning to the extremities are otherwise clean throughout and without inscriptions or stamps. The dramatizations of Frankenstein have always played a vital role in the popular dissemination of the story. The play was first performed in 1823 to an enthusiastic audience with Mary Shelley herself in attendance the immediate success of which brought about a second edition of the novel. Within three years of this first production came fourteen further dramatizations some more derived than others but the present adaptation the first of only four that can be found in print. The play was the first to introduce several popular Frankenstein tropes which has significantly influenced the public's perception of the Frankenstein myth. For instance: the introduction of the laboratory assistant here named Fritz now commonly known as Igor who is deployed as a comic foil; the monster never speaks; and finally the inclusion of the phrase "It lives!" which Frankenstein exclaims after the monster begins to rise. The publisher of the present small pamphlet John Dicks issued one play a week from 1864 until 1882 increasing to two a week thereafter amounting to a total of one thousand printed in the series. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers. London: John Dicks. [c.1872] unknown
1899008114South Africa 1899. This is a compellingly interesting archive belonging to war correspondent Henry C. Shelley detailing events of the Boer War between 1899-1900 and in which Shelleys fellow war correspondent Winston S. Churchill features in a photograph in print and in correspondence. Henry "Harry" Charles Shelley - 1936 was a British author and journalist who in the words of The New York Times "for some years served as literary and dramatic critic on American newspapers." <br /> <br />The archive includes 8 photographs annotated on versos one of which depicts a young Winston Churchill slouching insouciantly in a deck chair with his hands and feet crossed along with other war correspondents aboard the Royal Mail Ship R.M.S. Dunottar Castle one of General Sir Redvers Buller then Commander-in-Chief of British forces in South Africa and two of Edgar Wallace one of which is inscribed in pencil on verso Mr Edgar Wallace Reuters Author of a Kimberley poem published in the Cape Argus. The Editor sent 1000 copies for distribution among the troops. Also included are: five letters written by Shelley one on Dunottar Castle stationery; a unique programme for athletic sports which lists curious games such as chalking the pigs eye; a copy of The Weekly Mail edited by Harry C. Shelley; a Prospectus of Lectures which Shelley gave about the war; a printed passenger manifest for the R.M.S. Dunottar Castle which lists Mr. Winston Churchill and valet. Also included are four cartoons - a political cartoon drawn on the blank verso of a bill of lading depicting the emigration of the Boers to South Africa during the Great Trek of 1836-37 as well as a series of three thumbnail cartoon drawings each numbered and mounted on card of a goat bucking a camera man off a cliff. <br /> <br />Harry C. Shelley was a war correspondent photographer and lecturer who spent 8 months with the British Army covering the Boer War in 1899-1900 writing for The King and Westminster Gazette and editing for The Weekly Mail. As his Prospectus of Lectures states "his experiences embrace actual knowledge and personal eyesight of all the chief events of the War on the Western side" going on to say "he was the only Correspondent who was allowed to make an ascent in the War Balloon and during the halt at Bloemfontein he was accorded special privileges by Lord Roberts to enable him to secure the only pictures in existence of many historic incidents transpiring in that town". <br /> <br />In October 1899 the second Boer War erupted between the descendants of Dutch settlers in South Africa and the British. The Boer War was the most widely reported war up to the twentieth century with as many as 300 correspondents spending time in the field and was the longest and bloodiest conflict fought by British forces between 1815 and World War I Encyclopedia of War Journalism. Among this crowd of correspondents was a young Winston S. Churchill an adventure-seeking young cavalry officer and war correspondent who swiftly found himself in South Africa with the 21st Lancers and an assignment as press correspondent to The Morning Post. <br /> <br />What made the war particularly brutal to the public was the preponderance of photographs taken by correspondents in the field and published for public consumption in British newspapers. Also present were the first cameramen to record moving pictures . The Boer War demarcates the shift in how the public sees conflicts the mediums in which they are exposed to it and unsurprisingly in turn how a nation frames the narrative of that conflict toward its own interests. All of which makes Shelley stand out among correspondents as he both wrote about and photographed the events it was rare to do both and some of the photographs he took of events during the war were the only pictures in existence <br /> <br />Shelleys letters describe battle scenes soldier movements and preparation and the harsh conditions of South Africa. There are also beautiful touches of light-hearted description; in a letter to his wife Shelley humorously addresses the issue of the largest nuisance to war correspondents soldiers and Boers alike the flies: I really believe that if I stay here much longer I shall get so in the habit of waving my hands in front of my face that when I get back I shall be mistaken for a harmless lunatic. <br /> <br />Particularly delicious is Shelleys distaste for one of the other war correspondents with whom Shelley travelled aboard the R.M.S. Dunottar Castle a young and then little-known Winston Churchill. Writing to his wife Carrie on Dunottar Castle stationery Shelley said of the men who are in my cabin that one Campbell was "a perfect gentleman & a right good fellow but the other Churchill is nothing but a cad" adding "when we get up to the front with the other press men it is likely he will have a rough time". By contrast Shelley found Rudyard Kipling whom he also met and who was similarly covering the war "exceedingly pleasant .full of high spirits". <br /> <br />Churchill indeed had a rough time but one that proved his mettle and made his name. On 15 November 1899 only a month after he sailed for South Africa Churchill was captured during a Boer ambush of an armored train. His daring escape less than a month later rendered him a celebrity and helped launch his political career. <br /> <br />Perhaps Shelleys description of Churchill as a cad is more of a slight against Churchills palpable ambitions which often polarized his acquaintances. Certainly an air of privilege and presumption accompanied Churchills manifest capability and courage; Shelley may have known that in addition to a valet Churchill took with him to South Africa sixty bottles of spirits twelve bottles of Roses Lime Juice and a supply of claret. <br /> <br />Shelley was a successful and lauded war correspondent and very much Churchills senior but by the end of Churchills youthful twenty-fifth year not long after Shelley made his acquaintance Churchill had become one of the worlds highest paid war correspondents published his first five books made his first lecture tour of North America braved and breasted both battlefields and the hustings and shortly thereafter was elected to Parliament where he would take his first seat only weeks after the end of Queen Victorias reign. This archive provides a unique window on the context conflict and early career that forged Churchill. <br/><br/> unknown
1931018054Grosset & Dunlap 1931. Book. Fine. Hardcover. 1st Edition. 12mo - over 6¾ - 7¾" tall. Fine Copy In Like Jacket.The Original Jacket. Restoration to Inside.Rare In This Condition.The Great Photo Play Classic Of the 1931.Beautiful Copy. Grosset & Dunlap Hardcover
182254896London: Charles and James Ollier 1822. First edition 8vo pp. 7 viii-xi 1 60; ca. 1970s full red goatskin triple gilt rules on covers gilt-decorated spine in 6 compartments gilt-lettered direct in 3; the binding is signed on the turn-in "Ex Libris Brent Gration-Maxfield 1972." With the final leaf containing "Written on Hearing the News of the Death of Napoleon." A fine copy. Hellas was the last work Shelley published since three months later on 8 July 1822 he drowned in the Bay of Spezia. Ashley Library V pp. 84-85; Tinker 1902. <br/><br/> Charles and James Ollier unknown books
1887143591London: Published for the Shelley Society by Reeves and Turner October 1887. True love in this differs from gold or clay / that to divide is not to take away First facsimile edition this one of only three copies printed on vellum and signed by the printers Richard Clay & Sons this from the library of the edition's publisher and editor H. Buxton-Forman President of the Shelley Society with his illustrated bookplate. Epipsychidion the title means "to/for a little soul/Psyche" was Shelley's intense lyrical love poem addressed to the "poor captive bird" Teresa "Emilia" Viviani a beautiful Italian countess of 19 years who was "imprisoned" in St Anna convent while her father sought her a suitable husband. The poem includes his notorious couplet in defence of free love: "True love in this differs from gold or clay / that to divide is not to take away". Octavo. Original blue boards printed paper label to spine. Very light wear at head of spine. A near-fine copy. Granniss 62; Wise p. 59. hardcover
1824AQ27586London: Printed for John and Henry L. Hunt 1824. xi 1 415pp. 1. Finely bound in nineteenth-century gilt-tooled red morocco by Maclehose of Glasgow marbled endpapers T.E.G others uncut. Extremities a trifle rubbed slightly marked corners a little bumped. Internally a little spotting to preliminaries else a fine generously margined unpressed copy. 'No man was ever more devoted than he to the endeavour of making those around him happy; no man ever possessed friends more unfeignedly attached to him. The ungrateful world did not feel his loss and the gap it made seemed to close as quickly over his memory as the murderous sea above his living frame. Hereafter men will lament that his transcendent powers of intellect were extinguished before they had bestowed on them their choicest treasures'. A finely bound example of the first edition of a collection of Shelley's verse assembled by his widow - Mary Wollstonecraft Shelley - after his death in Italy aged just 29 and lovingly prefaced by a biographical tribute which reveals much of the poet's nature the context of the composition of many of his works details of the couple's final years whilst Shelley was plagued by 'ill health and continual pain' and the circumstances of his death and burial: 'Rome received his ashes; they are deposited beneath its weed-grown wall and "the world's sole monument" is enriched by his remains'. The contents includes unpublished work gleaned from 'among his manuscript books' such as 'Julian and Maddalo' and 'The Witch of Atlas' translations - including 'The Cyclops from Eurypides' and 'Hymn to Mercury from Homer' - and other pieces either 'scattered in periodical works' or like 'Alastor or the Spirit of Solitude' already difficult to obtain in the 1820s. As William St. Clair notes in The Reading Nation in the Romantic Period 2004 the work was published 'by the help of a guarantee given by three friends of Mary Shelley' Bedddoes Proctor and Kelsall; just 500 copies were printed. Of these 309 copies - priced at 15s - were sold in two months 'but after the intervention of Shelley's father 160 copies in sheets and thirty one in boards were withdrawn and consigned to Sir. T. Shelley for destruction'. Mary Shelley's devotion to her husband's memory and determination to disseminate and republish his works - as demonstrated by this initial volume of Posthumous poems - continued throughout the 1820s and 1830s albeit frequently tempered by the continually disruptive actions of her father-in-law who was almost equally as determined to tie her hands in that regard - with stipulations on allowances for the upbringing of their son Percy Florence. Jackson p. 507. First edition. 8vo. Printed for John and Henry L. Hunt hardcover
18321751London: Edward Moxon. 1832. First edition. Small octavo. Publisher's original drab paper-covered boards. Page edges untrimmed. Complete with the half-title page and publisher's advertisement leaf at the rear. pp. i-v xxx 47 3. Near-contemporary gift inscription in ink to the front free endpaper "Henry Wright / 1839 / From J. Ellis". A very good copy the binding firm with essentially cosmetic cracking to the joints loss to the paper covering the spine marking to the boards and a little wear to the corners. The contents with light scattered foxing to the endpapers are otherwise wonderfully clean and crisp throughout. An appealing unsophisticated copy. The first edition of one of the greatest poems of political protest in the English language often regarded as the first modern statement of the principle of non-violent resistance. </p><p>Written in response to the Peterloo Massacre in 1819 Shelley had first sent the manuscript for publication in the radical journal The Examiner. Its editor Leigh Hunt however withheld it from publication as he "thought that the public at large had not become sufficiently discerning to do justice to the sincerity and kind-heartedness of the spirit that walked in this flaming robe of verse" with the work ultimately not published until ten years after Shelley's untimely death.</p><p>A powerful condemnation of tyranny the poem serves as an exhortation for the people to throw off the yoke of their oppressors through peaceful collective action: "Let a great assembly be / Of the fearless of the free". A work which has been read aloud to assembled crowds during many of the great struggles for political freedom and social change around the world from the nineteenth to the twenty-first century the oft-quoted final verse has remained the most stirring: "Rise like lions after slumber / In unvanquishable NUMBER! / Shake your chains to earth like dew / Which in sleep had fall'n on you: / YE ARE MANY - THEY ARE FEW." London: Edward Moxon. hardcover
365535New York: Dodd Mead & Company 1983. First Edition. Hardcover. Fine/Fine. A wonderful limited edition illustrated edition of Frankenstein illustrated by Berni Wrightson with an introduction by Stephen King. This is one of 500 numbered copies signed by King and Wrightson. This edition has 44 dramatic full-page illustrations including two double-page spreads. <br /> <br /> Wrightson to the uninitiated was probably the great horror comic illustrator of the 1970s.<br /> <br /> 8-1/2 by 11-1/4 inches. 3–194 pages plus an inserted limitation page. A fine copy in a near fine slipcase. The book has the original publisher's glassine jacket in fine condition. This copy is no. 393 of 500 signed by King and Wrightson. <br /> <br /> Provenance: James Strand; stolen in 2023; recovered by the FBI from a storage unit in Oregon City. With the original evidence tag laid in. Dodd, Mead & Company hardcover
18242408424London: John and Henry L. Hunt 1824. An attractive and fresh copy with a few bumps and scuffs. Octavo 415 pp. bound without the errata; contemporary polished green calf <p><p>An attractive copy of this important collection with a short but poignant biographical notice by Mary Shelley.</p> <p>Shelley died in July 1822 drowned in the sea off Livorno. Mary spent the ensuing year in Genoa with Leigh Hunt and his family but returned to London in 1823 where she was granted a small allowance by Percy's disapproving father Sir Timothy and busied herself with literary work including editing many of his poems and manuscripts for this edition. It includes Julian and Maddalo The Witch of Atlas Letter to Maria Gisborne The Triumph of Life Prince Athanase Ode to Naples Mont Blanc as well as fifty-nine 'Miscellaneous Poems' nine 'Fragments' five translations and Alastor included because the original volume published in 1816 was now so scarce that even Mary had found it difficult to track down a copy.</p> </p> . John and Henry L. Hunt unknown
003235Mornay, 1932
1839187817London: Edward Moxon 1839. Giving the productions of a sublime genius to the world First collected edition attractively bound by Peacock & Mansfield. Mary Shelley's collected edition of her husband's poetical works established him finally and irreversibly amongst the great poets of the English language. Pirated editions of Shelley's works had persuaded his father Sir Timothy that all hope of obscurity had passed and Mary was allowed to prepare a proper edition provided she included only a minimal amount of biographical information. "Mary Shelley brought Shelley into the mainstream of the national culture. He was no longer the author of a notorious banned poem Queen Mab only obtainable from shops specializing in blasphemy sedition and advice on birth control. He was the prophet of Prometheus Unbound one of the most ambitious attempts ever made to uplift life by literature and of other works such as the "Ode to the West Wind". The notes that Mary added are masterpieces of editing adding so immeasurably to the reader's understanding that nobody would now consider printing Shelley's poems without them" St Clair p. 492. 4 vols octavo 161 x 100 mm. Bound without the half-titles. Engraved portrait frontispiece in vol. I. Early 20th-century brown morocco by Peacock & Mansfield spines lettered in gilt compartments and covers ruled and decorated in gilt floral gilt board edges and turn-ins pale yellow endpapers edges gilt green silk bookmarker. Bookplate and ownership inscription of Henry Lloyd Gibbs c.1861-1907 to each vol one dated 1886. Minor soiling and rubbing to leather light foxing to outer leaves. A very good set. Dunbar Shelley Studies 345; Granniss 88; Wise p. 87. William St Clair The Godwins and the Shelleys: The Biography of a Family 1989. hardcover
