Woolf, VirginiaBiblio.com
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1930151223London: Printed and published by Leonard & Virginia Woolf at The Hogarth Press 1930. Signed limited edition and first edition in book form of this meditation on the literary possibilities of illness. One of 250 numbered copies signed by Virginia Woolf in her characteristic purple ink on the limitation page this is number 104. Octavo original half vellum over green silk boards marbled endpapers. Fine in the rare original dust jacket which is in exceptional condition. Easily the nicest example we have seen. Woolf's essay advances the idea that illness is as worthy a topic of literary attention as more traditional ones like war love and lust: "novels one would have thought would have been devoted to influenza; epic poems to typhoid; odes to pneumonia lyrics to toothache. But no; … literature does its best to maintain that its concern is with the mind; that the body is a sheet of plain glass through which the soul looks straight and clear." Woolf wrote this essay while convalescing in bed following a bout with exhaustion. During its composition she was leading what she called an "amphibious" life: half in half out of bed. She also set the type for this book herself. First published in the Criterion in January 1926; the text has been slightly revised for this edition. Kirkpatrick A14. Woolmer 248. Printed and published by Leonard & Virginia Woolf at The Hogarth Press hardcover
192533291New York: Harcourt Brace 1925 1925. 1st Edition. Hardcover. 1st Edition. Hardcover. by Author. Very scarce First American Edition Neatly Signed by Virginia Woolf on the front free endpaper. The First Series not the more Common Second Series. 8vo. 332 pp. A fine fresh copy in a beautifully crafted black leather and cloth binding with gold stamping on the spine and gold leaf edging on the top pages with dynamic purple marbled patterned endpapers. <br /> A very Rare copy indeed. <br /> An erudite collection proving Woolf at her critical best. Includes her now famous On Not Knowing Greek Modern Fiction Jane Austen & Montaigne with whom both Virginia and Leonard Woolf harboured a special sympathy for culminating in Leonard Woolf"s autobiography The Journey Not The Arrival Matters. Kirkpatrick & Clarke A8b. Harcourt Brace, (1925) hardcover
1927021356London: The Hogarth Press 1927. First Illustrated Edition. Hardcover. Title and limitation pages with moderate foxing light foxing scattered throughout; front board very slightly bowed light rubbing to boards and corners. Very Good. Vanessa Bell. Third Edition and the First Illustrated Edition bound in the original brown and white paper-covered boards with Vanessa Bell's illustrations expertly rebacked with original backstrip laid down; 45 pages with text printed on rectos only and with decorations by Vanessa Bell on every page. Copy #118 of only 500 numbered copies some of which as is this copy were SIGNED by both the author and the illustrator. First published in 1919 with only two illustrations by Woolf's sister Vanessa Bell this is the most desirable edition of this short story. <br/><br/> The Hogarth Press hardcover
19288099New York: Crosby Gaige 1928. First edition. Fine. Preceding the first trade edition. One of 861 copies signed by Virginia Woolf. A Fine copy. Publisher's black cloth titled and decorated in gilt. An extraordinarily bright and attractive example.<br /> <br /> Released at the height of Woolf's literary celebrity Orlando was a thrill to contemporary reviewers: "Those who open Orlando expecting another novel in the vein of Mrs. Dalloway and To the Lighthouse will discover to their joy or sorrow that once more Mrs. Woolf has broken with tradition and convention and has set out to explore still another fourth dimension of writing.In this new work she is largely preoccupied with the time element in character and human relationships and with a statement of the exact complexion of that intangible moment.which we refer to as the present" contemporary New York Times review. <br /> <br /> Blending literary narrative with feminist theory Orlando explores Einstein's theory of relativity through the lens of a single life that evolves over centuries. "At the beginning of the book Orlando is a Elizabethan era boy of sixteen melancholy indolent loving solitude and given to writing poetry.the book ends on the 11th October 1928 and Orlando is a thoroughly modern matron of 36 who has published a successful book of poems and has evolved a hard-earned philosophy of life" Cleveland. The result is an allegory that questions the stability of any human category - individual character gender selfhood - and a novel that considers how time changes both individuals and society. Orlando is a testament to Woolf's innovative mind and to her role as one of the most important early contributors to feminist and queer literature. Fine. Crosby Gaige unknown
192062New York: Doran 1920. First Edition. Hardcover. Near fine/very good. 1st American edition of her second book mining Shakespeare's As You Like It. Near fine edges slightly faded in a very good jacket faint shadow of a number on the spine edgetears and corner chips but no repair and for this jacket more pleasing than doing good in secret and being found out by accident. In answer to Albee's question I'm afraid of Virginia Woolf. There's not enough space here and I'm not smart enough nor enough of a researcher to tell you much about her you don't already know but I'll take my shot at stepping into the shoes of a great lady and externally considering her for a paragraph attentive to outside events that invaded her inner peace and twisted her life all because no one ever told her that detachment is the sure and only road to serenity She was entitled. Her mother was a Pre-Raphaelite model so she got her babeness by gene. Her father was a Sir of letters with a gigantic personal library and as a result her home-schooled education was an erudite exhibition of late Victorian society the way of the mouse symbolic of industry in quiet places. At 13 her mother died and she crumpled into a her first nervous breakdown. She was 18 when the 20th century arrived so she regrouped laced her shoes tight and like most of her generation met it teeming with hope. But in the background fate was already icing the stairs and during the 20th century's first decade the dull were full of themselves and the bright were full of doubt so the wealth of the empires amassed over 5 centuries was trashed in the woodchipper of W. W. I. Virginia reeled but she knew that a part of every process is only discipline so she buffed-up with the competence of stout feminist instincts and the resolve of The Little Engine That Could became an exalted author and publisher surrounded herself with a circle of brilliance and pursued ideas for their own sake. Then the depression flipped her out and W. W. II shook the ground beneath her feet and a German bomb flattened her house and the pressure inside her spirit began to build you can hide the fire but you can't hide the smoke and like the pressure in the atmosphere she didn't sense it but it was still there at 15 pounds per square inch and mistaking feeling for thinking the undiagnosed bipolar she guessed that 59 was old enough and that coping might be the mesh through which real life escapes so she spit the bit channeled her inner Billy Joe McAllister donned an overcoat filled the pockets with stones walked into the River Ouse and never came back. Doran hardcover books
193233829Toronto: McClelland & Stewart 1932. First Edition. Hardcover. Dust Jacket Included. Vanessa Bell. Vanessa Bell. First Edition. Hardcover. Woolf Virginia. A ROOM OF ONE'S OWN. Toronto: McClelland & Stewart 1932 8vo. 172pp. Publisher's original blue boards titles to spine gilt. A near fine fresh copy neat contemporary name on the ffe. in the blue printed dustwrapper of the First Canadian Edition first printing. <br /> <br /> The most elusive of the First Editions having been printed in the US possibly from Harcourt Brace supplied sheets in an unknown but very small edition 250 - 500 copies a speculation. <br /> A very nice example for the completist the DJ has one repaired closed tear but is otherwise very bright & interesting in its yellowish tonal quality. Woolf's major polemic against patriarchy based loosely on two lectures she delivered one at Newnham and the other at Girton. Kirkpatrick and Clarke A12dd. Woolf observed in her diary "I shall be attacked for a feminist". An increasingly uncommon & important Woolf title & 20th century literary highlight. Excellent copy. Noted in Kirkpatrick's latest edition. <br /> As far as we know fewer than three or four copies in dust jackets have surfaced in the last 30 years. McClelland & Stewart hardcover
1929005139New York and London: Fountain press/Hogarth Press 1929. First Edition . Cloth. Near Fine. Tall Octavo. Original red cloth gilt title 9.75 x 6 inches 159 pages plus numbered colophon. Signed limited first edition number 261 of 492 copies signed by Woolf in her characteristic purple ink on the half title page of which only 450 were for sale. Printed in U.S. by Robert Josephy and published on October 21 1929 this edition preceded the English edition both signed and trade by three days Kirkpatrick A12. Woolmer 215A. Exterior is in exceptionally fine condition cloth is clean and bright the corners tight; internally there is a closed tear along edge on page 65 presumely from hastily opening the uncut page binding is tight overall a desirable copy of this classic feminist text. <br/> <br/> Fountain press/Hogarth Press hardcover
1929140946384London: The Hogarth Press 1929. First Edition. Near Fine/Very Good. First edition first printing. Bound in publisher's original salmon cloth lettered in gilt. Near Fine with ownership bookplate of writer Olga Jamison to front pastedown light offsetting to endsheets and evidence of small appendage bookseller ticket removed pastedown. In a Very Good unclipped dust jacket designed by Woolf's sister Vanessa Bell with light toning to spine light chipping minor splitting to joints small tears to top edge of front panel. <p>Virginia Woolf's classic feminist essay presented to students at Newnham College and Girton College and women's college at University of Cambridge. Woolf argues in this influential work that women need educational and financial independence from men in order to thrive as whole beings. A fantastic copy with provenance of writer Olga Jamison who wrote scripts for 30's Western films. The Hogarth Press unknown
1929140949133London: The Hogarth Press 1929. First Edition. Near Fine/Very Good. First edition first printing. 172 pp. Bound in publisher's terra cotta cloth lettered in gilt. Near Fine with lean to spine light wear and soiling to cloth and very slight bumping to lower corners. Typical offsetting from jacket to free endpapers one gathering misaligned. In a Very Good unclipped dust jacket with light wear foxing toning and soiling. Partial split at front spine fold reinforced with archival tape to verso. Kirkpatrick & Clarke A12b.<br /> <br /> <p>The first edition of the classic feminist text in which Woolf argues the need for women's financial independence from men. The book is based on two lectures delivered to students at Newnham and Girton Cambridge's underfunded and second-class colleges for women who could not be awarded full degrees until 1948. Woolf compared her visits to male and female educational institutions:<br /> <br /> <p>"Why did men drink wine and women water Why was one sex so prosperous and the other so poor What effect has poverty on fiction What conditions are necessary for the creation of works of art The Hogarth Press unknown
1930108111London: Hogarth Press 1930. Limited Edition. Hardcover. Fine/Fine. The Hogarth Press London. 1930. First edition. Octavo. 35 pages. Hand-set by the author. Hand-printed by the author and Leonard Woolf. Decoration by Vanessa Bell. Marbled endpapers. Parchment-backed cloth. Number 49 of 250 copies signed by the author. Fine in a fine dust jacket housed in a custom-made quarter-leather folding case. London: Hogarth Press hardcover books
37165a French writer who had written a sympathetic critical analysis of Mrs. Dalloway she starts by saying that she well remembers meeting her last winter and goes on to thank her "for your very generous and what is better highly intelligent study of Mrs. Dalloway. I am very grateful to you for the care and skill which you have spent on my work - it seems to me one of the subtlest & most interesting studies of it that I have read. No doubt you have praised it too highly - of that an author cannot judge -but to be praised for the qualities one had wished to possess is a great pleasure & a rare one. I am particularly interested that a French critic should be so sympathetic; my faults are those I should have said that your race most abominates." 1 side 4to. 52 Tavistock Square 14th July In Mrs. Dallloway which was published in 1925 Woolf experimented with the stream-of-consciousness technique which she later perfected in To the Lighthouse 1927 Orlando 1928 and other novels. unknown
1932132047New York: Harcourt Brace and Company 1932. First edition of the second collection of Woolf's critical essays. Octavo original cloth. Boldly signed by Virginia Woolf on the front free endpaper. Near fine in a very good dust jacket. Rare and desirable signed. Woolf's second collection of critical writings this volume contains twenty-six essays on the most brilliant figures in three centuries of English literature ranging from the magnificent Jack Mytton and Mary the high-handed hot-blooded wife of Shelley to the little whimsical religious Christina Rossetti and the bedeviled George Gissing. Other essays critique the work and character of Defoe Swift Hazlitt Hardy and Meredith. Harcourt, Brace and Company hardcover
19301508125London: Hogarth Press 1930. Limited Edition. Hardcover. Near Fine/Very Good. Limited Edition. Octavo. 35 pages. Hand-set by the author. Hand-printed by the author and Leonard Woolf. Decoration by Vanessa Bell. Marbled endpapers. Partially uncut pages. Parchment-backed cloth. Number 80 of 250 copies signed by the author. Near fine in a very good dust jacket housed in a custom-made slipcase. London: Hogarth Press hardcover books
1925140947609London: The Hogarth Press 1925. First Edition. Near Fine. First edition first printing. Bound in publisher's rust cloth with spine lettered in gilt; lacking the dust jacket. vi 293 2 pp. Near Fine with trace fading to spine and upper edge of rear board light rubbing at spine ends and corners former owner's bookplate at front pastedown and foxing to front and rear signatures. Offsetting to endsheets and bookseller's ticket at rear pastedown. A fantastic copy of Woolf's best-known work that follows the main character Clarissa Dalloway through one day of her life in upper class London society. Kirkpatrick & Clark A9.a. The Hogarth Press unknown
19301508125London: Hogarth Press 1930. Limited Edition. Hardcover. Near Fine/Very Good. Limited Edition. Octavo. 35 pages. Hand-set by the author. Hand-printed by the author and Leonard Woolf. Decoration by Vanessa Bell. Marbled endpapers. Partially uncut pages. Parchment-backed cloth. Number 80 of 250 copies signed by the author. Near fine in a very good dust jacket housed in a custom-made slipcase. London: Hogarth Press hardcover
1928150565New York: Crosby Gaige 1928. First limited edition of Woolf’s immensely popular feminist classic one of only 800 copies signed by her in her characteristic purple ink. Octavo original publisher's cloth decorated in gilt top edge gilt engraved frontispiece portrait of Orlando as a boy illustrated with engravings. One of 800 numbered copies this is number 512. Boldly signed by Woolf on the verso of the half-title page. Typography by Frederic Warde. In fine condition. A very sharp example. Woolf is considered to be one of the greatest twentieth century novelists and one of the pioneers among modernist writers using stream of consciousness as a narrative device. Following her 1912 marriage to Leonard Woolf the couple founded the Hogarth Press in 1917 which published much of her work. Arguably one of Woolf's most popular novels Orlando describes the adventures of a poet who changes sex from man to woman and lives for centuries meeting the key figures of English literary history. Considered a feminist classic the book has been written about extensively by scholars of women's writing and gender and transgender studies and has been adapted a number of times for stage and screen. Crosby Gaige hardcover
19301409465281930. Near Fine. ca 1930s. Original black and white photograph of Virginia Woolf undated circa mid-1930's 5 x 7". Near Fine with traces of mounting and marking at verso. A striking and unusual photograph likely taken by Leonard Woolf at their 16th-century cottage Monk's House. Virginia gazes situated with an open book on a decorative chair with fabric designed by her sister Vanessa Bell. Taken within moments of a very similar photograph of Woolf reproduced on the top half of 93 pp. A Marriage of True Minds by Spater & Parsons 1977. The authors of the book do not date the photograph or identify the photographer but this on identical stock to that of a photograph of Leonard Woolf by Virginia Woolf dated 1937 formerly offered by Serendipity Books with Peter Howard's typed note to that effect. unknown
1914309447Richmond 1914. 1 p. pen and ink on single sheet of "17 The Green Richmond" stationery. 8vo. Fine. Matted and framed. 1 p. pen and ink on single sheet of "17 The Green Richmond" stationery. 8vo. A letter from Woolf to her brother-in-law and integral member of the Bloomsbury Group Clive Bell 1881-1964 dated only three months before the publication of Woolf's first book The Voyage Out 1915 and reading in part: <br/>"My dear Clive You will be bored by these perpetual demands - We rather think of spending a week at Marlborough at Christmas . I seem to remember that you once told me of some in the high street or other pleasant part. If you could put the name one a post card we shd. be grateful . It seemed divine country."<br/>Virginia and Leonard Woolf had just moved to Richmond in October. It was either just before or just after Christmas that they discovered Hogarth House which would become their home and the base of operations for the Hogarth Press for the decades to come. unknown books
1928140941165New York: Crosby Gaige 1928. Signed Limited First Edition. Near Fine. Limited first edition. Copy 114 of 861 copies signed by Virginia Woolf. Bound in publisher's original black cloth with spine decorated in gilt. Near Fine. Light fading to spine cloth and light edge wear. A lovely copy. Crosby Gaige unknown books
1915140940247London: Duckworth & Co 1915. First Edition. Trial Binding. Very Good. First edition first printing. iv 458 6 16 ads pp. The author's first book. Bound in what appears to be a publisher's trial binding: dark blue cloth triple ruled in blind on upper board with spine lettered in gilt and decorated with floral device in blind; lacking the dust jacket. J. Kirkpatrick notes a similar apparition appearing almost three-quarters of a century ago in A Bibliography of Virginia Woolf "a copy in red cloth lettered in gold on the spine and on the upper cover with the floral device and motto in blind on the lower cover was advertised in Raphael King Ltd's catalogue No. 52 1951 and is now in the Robert H. Taylor Collection Princeton University Library. It is probably a trial binding." In contrast the usual binding is green cloth with the spine lettered in gilt and paneled title block in black to upper board. Very Good. Lean to binding. Small faint stain to front cover. Spine lightly rubbed at ends slightly faded and gilt dulled. Top edge dust-soiled. Foxing to textblock edge preliminary terminal pages. Woolf began writing her first novel in 1910 and completed several drafts before its publication in 1915. It was a difficult five years for Woolf in which she suffered from bouts of depression and a suicide attempt but the final work contained seeds of what would later become her trademark: an innovative narrative style a focus on feminine consciousness sexuality and death. Duckworth & Co unknown books
1927304361927. Lady Sackville Vita Sackville-West's mother was then living at the Hotel Metrople in Brighton. Woolf writes "About Vitas new book-- I will certainly do my best to make her choose the title you want . but as far as I know she has not yet begun to write it . I shall remember your wishes and drop them tactfully into her ears". Woolf then suggests that Lady Sackville write her Memoirs for the Hogarth Press "Nothing could be more interesting. We would publish it with lots of pictures". The recipient has annotated the envelope "asking me to write my life and publish it through the Hogarth Press!!! I refused of course". With a 1982 letter from Nigel Nicolson Lady Sackville's grandson presenting the letter to a house-guest he remarks "If the illiterate crazy old lady which Lady S. had become in 1927 had accepted Virginia's offer what would the Press have done with the nonsense she produced" <br/><br/> unknown books
19291062408vo. New York/London: Fountain/Hogarth Press 1929. 8vo 159 pp. Original brick-red cloth with gilt titles. A near fine copy in a folding case. Bookplate of Stuart Schimmel on front paste down signature of Robert Hunter on front free end paper. § First edition large paper issue number 116 of 492 copies signed by Woolf in her customary purple ink on the half title. A classic of feminist literature in which Woolf considers the past and present barriers to women writers in a patriarchal culture and which originated as lectures given by Woolf at two women’s colleges in Cambridge. "A woman must have money and a room of her own if she is to write fiction." Fountain/Hogarth Press hardcover books
1929614806London: Hogarth Press 1929. Hardcover. Near Fine/Very Good. First edition. 12mo. 172pp. Contemporary penciled owner name of the son of a noted American Art collector on the front fly and a tiny Gotham Book Mart ticket on the rear pastedown. A touch of foxing on the topedge toning on inside of both flyleaves and some barely visible discoloration on the boards near fine in very good dust jacket with sunning and light general dust soiling a tiny stain at the bottom of the spine shallow chip at the crown and a few nicks and tears at the corners. An attractive copy of an important title the delicate pink jacket is generally found well-worn. Hogarth Press hardcover
1925140944766London: The Hogarth Press 1925. First Edition. Near Fine. First edition first printing. Bound in publisher's brick red cloth; lacking the dust jacket. Near Fine with light uneven sunning and light wear to cloth corners pushed in foxing to textblock edge and an inscription from a former owner to the front free endpaper. A very sharp and lovely copy of one of Virginia Woolf's best-known works published by Virginia and her husband Leonard at their Hogarth Press. The Hogarth Press unknown
192076049New York:: George H. Doran Company 1920. First American edition with text revised by Woolf. publisher's green cloth in dust jacket. Slight bump to one corner; small old name in ink on front free endpaper; otherwise a sharp unworn copy. The very uncommon jacket has an old ink not on the front panel and some shallow chipping to the extremities of the backstrip not affecting any lettering. 8vo. Kirkpatrick A1b; the bibliographer did not locate an example of this dust jacket. Author's first book. George H. Doran Company, hardcover
