9 302 résultats
19106404London: Robt. Riviere & Son 1910. A fine example. Square sixteenmo 5 1/16 x 3 15/16 inches; 129 x 100 mm. 46 2 blank pp. Title-page and initial letters printed in red and black. Handsomely bound ca. 1910 by Rivière & Son stamp-signed in gilt on lower turn-in. Full dark blue crushed levant morocco covers bordered in gilt surrounding an ornate floral design stamped in gilt each with twelve inlaid red morocco flowers spine with five raised bands decoratively tooled and lettered in gilt in compartments gilt board edges and turn-ins cream paper liners and end-leaves top edge gilt. Neat ink inscription on front free end-paper and a small gold bookplate. <br /> <br /> Shelley's poem The Sensitive Plant is a beautiful and tragic poem commemorating the brevity of life and immortality of cyclical nature. Written after death of his son while Percy and Mary Shelley struggled with their grief in Pisa the poem consists of four stanzas with three sections charting the change of seasons. It is set in a garden bursting with blooms but highlights the sensitive plant-a mimosa-with its humble leafy foliage. Human will is nothing in the face of the impartial power of nature and time. First published in Prometheus Unbound and Other Poems 1820 here it has been reproduced with a delicate binding to match its subject. <br /> <br /> "For the Sensitive Plant has no bright flower;<br /> Radiance and odour are not its dower;<br /> It loves even like Love its deep heart is full<br /> It desires what it has not the Beautiful!"<br /> <br /> "The Riviere Bindery was one of the most notable and prolific shops in London's West End from about 1840 through 1939" Princeton. Bath-based Bayntun Bindery acquired the firm in 1939 transforming into the "Bayntun-Riviere bindery" which is still in existence and family owned. Robt. Riviere & Son unknown
181965557London:: Printed for C. and J. Ollier 1819 i.e. 1876. Facsimile edition. original blue boards with hand-lettered paper label on spine. Bookplates; endsheets and boards tanned; light use at extremities. 8vo. Edited with notes by H. Buxton Forman and printed for private distribution. Printed for C. and J. Ollier, hardcover
198011849JNew York: Morrow 1980. Later printing. From the library of the great New Orleans jazz clarinetist Pete Fountain signed by him in black ink and with his personal library circular gold bookplate. Fine in a near fine dust jacket. Morrow unknown
1944130700London: The Golden Cockerel Press 1944. First Edition. Hardcover. Very Good. London The Golden Cockerel Press 1944. Quarto 79 pages printed on Arnold's mould-made paper with 4 collotype illustrations. Quarter morocco and buckram lettered in gilt on the spine; top edge gilt others uncut; covers very slightly marked and lightly sunned on the spine; bottom edges slightly cockled but presumably as issued; an excellent copy. Number 338 of 500 copies the first 50 being a deluxe issue in full morocco. <p>Cockalorum 163. The Golden Cockerel Press hardcover
15484Bernard Quartich 11 Grafton Street New Bond Street London. Printed by Taylor and Francis Red Lion Court London 1911. 3pp. 8vo. Bifolium. On aged card with wear to extremities. The text attributed to Wallis by the British Library catalogue is on the verso of the first leaf; and facing this behind a tissue guard is the print. Wallis discusses the 'feeble' nature of the 'various engaged portraits of Shelley' and explains Peacock's reservations in endorsing Lasinio's engraving of Leisman's painting. Uncommon: five copies on COPAC the British Library entry attributing the publication to Henry Wallis. Image on application. Bernard Quartich, 11 Grafton Street, New Bond Street, London. Printed by Taylor and Francis, Red Lion Court, London, 1911. unknown
140949220Hoboken NJ: Sonic Youth Fanclub 1995. Fine. A scarce complete run of postpunk/indie band Sonic Youth's fanzine edited and distributed by the band members themselves as a means of keeping their growing fan base up to date on record/merch releases upcoming tour dates drawings by the band members as well as non-music related pursuits.<p>Seven issues staple bound and printed on newsprint. Fine. Excellent shape overall. Issue #1 has a Sonic Death Membership green slip laid in numbered 0086. <p>Includes write-ups on Pavement Bikini Kill John Zorn Royal Trux Sebadoh. Blowfly and more; record reviews by frontman Thurston Moore a two page spread devoted to hate mail received by the band tour info about the Raincoats and a lengthy contribution about Yoshimi Yokota of Free Kitten and Boredoms. OCLC locates just two incomplete institutional holdings. Sonic Youth Fanclub unknown
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
1830880P38London: Alfred Miller 1830. Paperback. Good Only. 6" by 4". Robert Cruikshank. The first illustrated edition of this anonymously penned poem thought to be written by a young Mary Shelley. The scarce first illustrated edition.Illustrated with an engraved title and six plates by Robert Cruikshank. Four pages of adverts to the rear.Collated complete.'Monsieur Nongtongpaw' is thought to be a juvenile poem by Mary Shelley written when she was a child. It was first publishing by her father William Godwin's publishing firm in 1807. Some modern scholars believe it to have been penned by John Taylor.A charming poem based on Charles Dibdin's 1796 song of the same name mocking English and French stereotypes. In the original publisher's paper wraps. Externally worn front wrap is held by two cords only rear wrap is working loose. Lacking most of the back strip. Wraps are a little discoloured with some light marks. Edge wear to the wraps with a few small chips. Prior owner's ink inscription to the recto of the front endpaper. Internally generally firmly bound. Pages are lightly age-toned with scattered spots and handling marks. Prior owner's ink inscription to the title page. Good Only Alfred Miller paperback
8931Cornwall CT 1975. 10 original watercolors ranging from 5x3.5" to 11.5x8" nine of which are signed by Parker. Printer's notes and tape to versos and margins. Few smudges and wrinkles but generally near fine. Included is a copy of the book published by Clarkson N. Potter 1976. <br /> <br /> Tremendous set of illustrations by Robert Andrew Parker painter and watercolorist known for his work in magazines book and album covers and children's books in a career that spanned over 70 years. In 1962 Parker illustrated Marianne Moore's Eight Poems published by MoMA NY. Moore described Parker's work as "combining the mystical and actual working both in an abstract and a realistic way" which is certainly on display in these brilliant pieces for Shelley's classic text. unknown
182832206London: Published for the Proprietor by Hurst Chance and Co. / R. Jennings 1828. Very Good. London: Published for the Proprietor by Hurst Chance and Co. 65 St. Paul's Churchyard and R. Jennings 2 Poultry 1828. First Edition. Octavo 19cm.; publisher's magenta moire silk gilt-lettered spine all edges gilt binder's ticket of F. Westley to rear pastedown; vii1360pp.; engraved presentation plate with initials "S.W." frontispiece and added title page sixteen 16 leaves of plates throughout collated complete. Some scuffing at corners and spine ends with brief exposure front hinge just starting else a Very Good internally clean and sound copy housed in modern linen clamshell box. Rather pretty orange contemporary bookseller ticket to front pastedown of George Gregory "Bookseller to H.M. Queen Alexandra."<br /> <br /> Magnificent example of this scarce keepsake volume with contributions by Sir Walter Scott Wordsworth Coleridge Percy Bysshe Shelley and Mary Shelley listed here simply as "the author of Frankenstein." The short story appears on p. 80 under the title "The Sisters of Albano" adorned with an accompanying engraving. As with her masterpiece "Frankenstein" Shelley returns to the nesting story within a story which opens with a pleasure party on the banks of Lake Albano observing a young couple a young worker with a rifle and his female companion. Thus sets off this tragic examination of "the mingling of love with crime" the story of sisters Maria and Anina the elder a devout nun the younger an adolescent who commits a crime for love that lands her before the executioner. In an act of desperation the sisters exchange garbs when Maria comes to visit Anina in order to save her but tragedy comes for all the characters in the end.<br /> <br /> Lyles D1c. Published for the Proprietor by Hurst, Chance, and Co. / R. Jennings unknown
201315613Paris, Opta , 1975 ; in-8, 273 pp., br. Trace de scotch sur la page de titre.
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
181320<p>In-8. 2 leaves. title dedication to Harriet 240 pp. Copy with full margins.</p><p>Original publisher's cardboard brown paper small rubbing on the spine and hinges.</p><p>Contemporary bottle green silk undershirt with silk ribbon. Case spine titled in long-grain red morocco.</p><p><strong>Extremely scarce original and private edition with an estimated print run of 250 copies.</strong></p><p><strong>Complete copy with the dedication page and printing notices.</strong></p><p>In the copies that he distributed around him Shelley deleted the page dedicating to Harriet name of a young cousin for whom he felt a romantic feeling but also of his first wife married in 1811 from whom he had separated and who committed suicide in 1816. He also cut out from these copies the printing instructions bearing his name on the title page and on the last leaf. In 1816 he revised and reprinted some extracts from his poem under the title <em>The Daemon of the World</em>.</p><p>The few remaining complete copies of the 1813 edition were recovered by the London bookseller William Clark who ensured its distribution despite prosecution by the Society for the Suppression of Vice. In 1821 another publisher Richard Carlile produced a pirate edition in London which Shelley tried in vain to ban.</p><p>Composed between June 1812 and February 1813 the poem <em>Queen Mab</em> named after a well-known figure in Irish legends and popularized by Shakespeare reflects all the utopian passion of a young eighteen-year-old poet having faith in a world full of love and castigating religion and all tyrannical institutions.</p><p>Extremely rare first printing edition in strictly period cardboard of one of the very first works of the great English poet who died at the age of 31.</p> Printed by P. B. Shelley hardcover
1868997Y10Not Stated : Not Stated 1868-9. Paperback. Very Good. 8.5" by 6". None. A curious very scarce private printing of Shelley's 'Declaration of Rights' supported with letters by Francis Freeling and Chichester Parkinson-Fortescue. Accompanying this copy of Shelley's manifesto are letters obtained through the sale of Sir Francis Freeling's effects communicated by Mr. Fortescue and intended to give illustrate the fear and vigilance of the government of the day. In the original blue wraps. Several leaves uncut. Undated dated from a copy held at the British Library. Declaration of Rights first printed in 1812 serves as Percy Bysshe Shelley's 31-point radical pamphlet advocating for political reform and promoting liberty and free expression. His 15-year-old Irish servant was arrested for distributing copies of the work after which Shelley and his companions fled and settled in Tremadog Wales. In the original blue wraps. Externally with handling marks to the wraps and mild edge wear. Internally firmly bound. Pages are generally bright and clean with a few scattered spots heaviest to the endpapers. Very Good Not Stated paperback
1868997Y9Not Stated : Not Stated 1868-9. Paperback. Good. 8.5" by 6". None. A curious and very scarce private printing of Shelley's 'Declaration of Rights' supported with letters by Francis Freeling and Chichester Parkinson-Fortescue. Accompanying this copy of Shelley's manifesto are letters obtained through the sale of Sir Francis Freeling's effects communicated by Mr. Fortescue and intended to give illustrate the fear and vigilance of the government of the day. In the original blue wraps. Several leaves uncut. Undated dated from a copy held at the British Library. Declaration of Rights first printed in 1812 serves as Percy Bysshe Shelley's 31-point radical pamphlet advocating for political reform and promoting liberty and free expression. His 15-year-old Irish servant was arrested for distributing copies of the work after which Shelley and his companions fled and settled in Tremadog Wales. In the original blue wraps. Externally with spotting and marks to the wraps. Slight edge wear. Internally firmly bound. Pages are generally bright and clean with spotting to the endpapers. Good Not Stated paperback
GF14217Lithographie couleurs 38 x 25 cm environ marges comprises - planche originale extraite de la revue Vanity Fair du 13 décembre 1879 - An original "Vanity Fair" lithograph - (Vincent Brooks Day and Son lith.) -
200432469AB2004. Limited Edition No.140 of only 200 printed. Dallas MADI Museum and Gallery 2004. Quarto 24.2 cm wide x 30 cm high. 405 pages. Illustrated throughout. Hardcover / Original Hardcover with illustrated dustjacket. Very good condition with only minor signs of wear to the dustjacket only. Signed and inscribed by the author Shelley Goodman on the titlepage. hardcover
5277PSSST ! N° 7. Londres, Never Limited, 1982. In-4, agrafé.
8755N° 79. Décembre 1884. Léon Cladel, Shelley, Paul Bourget, Auguste Dietrich, Frédéric Baille, Arsène Houssaye, Tola Dorjan, Armand Renaud, Henri Beauclair, Paul Demeny Bon état.
19906263Roland Manitoba Canada: Roland Ladies Curling Club 1990. First Edition First Printing. Spiral Bound. pp. vi 330. 8vo. measuring 6" x 9". Illustrated stiff card covers held with red plastic spiral binding. Comprises a rich selection of recipes as compiled by the Roland Ladies Curling Club Cookbook Committee upon the 100th anniversary of their founding. Includes a brief history of the founding of the club a list of "Honorary Life Members" a list of active members associates spares and a list of additional sports religious and women's organizations within the vicinity who contributed to the present publication. Sections include: Beverages Appetizers & Snacks; Breads and Buns & Quick Breads Loaves; Muffins; Pies Pastries & Tarts; Desserts; Squares Slices & Dainties; Cakes & Cookies; Salads & Salad Dressings; Vegetables; Meat & Casseroles; Microwave; Preserves et al.; with all recipes accompanied with the name of their corresponding contributors. Bright clean and unmarkerd showing no detectable flaws to the extremities contents equally without blemish with bright clean and unmarked leaves; near fine. Unrecorded in OCLC. Not found in commerce at time of cataloguing. <br/><br/> Roland Ladies Curling Club unknown
198925582Fayard, 1989. In-8 broché, couverture illustrée. Illustré de hors-textes en noir. Dos gauchi et un peu plissé.
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
18181078London: Sold by J. Porter Successor to the late T. Becket in Pall Mall 1818. Near fine. THE MONTHLY REVIEW volume 85 containing an anonymous review that argues the newly published FRANKENSTEIN is unworthy of meaningful notice. When FRANKENSTEIN was first published anonymously it received little fanfare and mixed reviews. The negative reviews often attacked its unseemly premise and apparent moral ambiguity. This review on page 439 of the April 1818 issue of the journal remarks on the book's philosophical novelty but ultimately finds it too outlandish to take seriously. A terrific copy uncut in boards offering a glimpse of the contemporary reactions to the revolutionary novel by the then-anonymous author. Octavo. 8.75'' x 5.25''. Contemporary or nearly so paper boards. All edges uncut largely unopened. Index at rear. viii 544 8 pages. University of St. Andrews device and "85" stamped on spine "1818" written in later ink on spine. Sold by J. Porter, Successor to the late T. Becket, in Pall Mall unknown
187621970London: privately printed 1876. Privately printed limited edition 75 copies reproduction of the London: C & G Ollier 1821 first edition. Hardcover. Rubbing to joints spine darkened else very good. Vellum and boards octavo 6 x 9 inches 33 pp. Pages 27 - 33 contain "Studies for Epipsychidion and Cancelled Passages." Half-title title-page and "Advertisement" are letterpress reproductions of the original 1821 London edition. <br/><br/>Handsome letterpress reprint on Whatman's handmade paper of Shelley's late poem with added footnotes and the 7 pages of "Studies" gleaned from Mary Shelley's 1839 edition of the poet's works and from Richard Garnett's 1862 "Relics of Shelley." Prefatory note on verso of half-title signed H.B.F. Harry Buxton Forman. In his "The Shelley Library: An Essay in Bibliography" London 1886 Forman describes this edition at entry No. 64 as ". . . a private octavo reprint of Epipsychidion of which there are two varieties. Of these No. 64 has no distinctive title-page though executed the same year as No. 65 1876 but begins with the fly-title EPIPSYCHIDION/ 2s. with bibliographical note at the back; the original title-page is reproduced with the stanza from Dante at back . . . " The limitations for the "two varieties" are described together in entry No. 65: "The issue of No. 64 was 50 on plain paper 25 on Whatman's hand-made paper; and 1 on vellum." No. 65 added a new title page dated 1876 and named Forman as editor limitation was 10 on plain paper 5 on Whatman's 5 on vellum. OCLC/Worldcat lists only 2 copies of "No. 64" - 1 at Harvard University Houghton Library 1 at Yale University Library. privately printed hardcover
1849140949148London: Richard Bentley 1849. First Illustrated Edition. Near Fine. The fourth reissue of the first illustrated edition of Frankenstein with the long introduction by the Author. There were only three editions of Frankenstein authorized by the author: the first three-volume edition published anonymously in 1818 with a preface by Percy Bysshe Shelley; the second two-volume edition 1823 which included her name and was overseen and slightly edited by her father William Godwin; and this third edition in one volume with a preface by Shelley herself. This is the final Bentley edition which was first published in 1831 and reissued in 1832 1836 1839 and 1849. <p>Bound in publisher's brown cloth with decorative stamping in blind on boards and in gilt on spine printed advertisement endpapers. In one volume as issued with the English translation of another Gothic classic Schiller’s The Ghost-Seer. xii 202 2 163 1 pp. illustrated with engraved frontispiece by Theodor von Holst. Near Fine with light rubbing to extremities and minor bumping to corners. Light foxing to textblock edges and contents heavier at title and frontis. "Wrigglesworth's Library" written in old hand to first page of each novel "Mary Shelley" written in pencil to Frankenstein title page for the benefit of those living under a rock. Lyles B10a.<br /> <br /> <p>A crisp unrestored copy of the fourth reissue of Bentley's 1831 revised Frankenstein the basis for most of the future printings of the novel and the first to depict the Monster. Richard Bentley unknown
