533 résultats
194510185Cambridge: University Press 1945. First Edition. 8vo pp. 150. VG. University Press unknown books
197753577New York: Harcourt Brace Jovanovich 1977-1984. First American Edition. First Printings. Five octavo volumes 24cm; all bound in black cloth with gilt decoration on front cover and titled same on spine; dustjackets; vol. 1- 356pp. with green endpapers; vol. 2- 371pp. with lavendar endpapers; vol. 3- 384pp. with pink endpspers; vol. 4- 402pp. with white endpapers; vol. 5- 402pp. with map endpapers. All volumes are Near Fine or better with a light scuff to the rear board of volume one. The dustjackets are all unclipped priced $12.95- $19.95 in Near Fine or better condition with a small closed tear to the lower edge of volume three. Harcourt Brace Jovanovich unknown books
1965JC9520London: Hogarth Press 1965. First Edition. Hardcover. Fine/Very Good. Cloth; dust jacket; 8vo; pp. 160. Book is fine in lightly rubbed and soiled dust jacket. <br/><br/> Hogarth Press hardcover books
198129937New York: Harcourt Brace Jovanovich. 1981. Reprnt. Hardcover. Fine but for slight sunning to spine in fine lavender slipcase. Issued without dust jacket. ; 8vo 8" - 9" tall; 114 pp . Harcourt Brace Jovanovich hardcover books
19392425London: np 1939. First edition. Framed. Fine. THE MOST CELEBRATED PHOTOGRAPH FROM VIRGINIA WOOLF'S LAST SITTING WITH A PROFESSIONAL PHOTOGRAPHER; GISÈLE FREUND'S PHOTOGRAPHS FROM THIS SITTING ARE THE ONLY COLOR PHOTOGRAPHS EVER TAKEN OF WOOLF. "Woolf was acutely self-conscious and disliked sitting for pictures never mind 'seeing herself'. But a few rare portraits often by her family or friends capture her inner spirit. Freund's images taken just before the outbreak of war in 1939 are extremely valuable for not only are they unique in showing Woolf in her London home but they are in colour. Freund pioneered colour photography and made portraits of James Joyce Samuel Beckett Aldous Huxley and many other writers.<br /> <br /> "Freund was twice refused admission to Tavistock Square but eventually Woolf succumbed. She agreed to change her clothes to see which best suited the colour harmony. In some of the prints Woolf is pale and lined in others smiling a little and more youthful. The background of fabrics and mural panels by Bell and Grant adds to the value of the images; this was the inner sanctum of the queen of Bloomsbury where parties were given and friends came to tea. Just over a year later the house was destroyed in the blitz but for some time mural panels were left hanging on the wall open to the weather as recorded later by the Woolfs' friends Stephen Spender and William Plomer as the last vestiges of a disappearing world." Richard Shone "Portraits of Virginia Woolf: here the true face of the modern writer" The Guardian 20 June 2014.<br /> <br /> "Freund who was closely associated in Paris with Sylvia Beach her bookshop Shakespeare & Company and its visiting authors including James Joyce specialised in photographs of writers. Indeed it was Joyce who suggested that she should add to her collection by going to London. He assured her that if English writers knew she had photographed him and that he was pleased with the results they would readily agree to sit for her. This proved correct and she successfully photographed T.S. Eliot Elizabeth Bowen George Bernard Shaw Vita Sackville-West who also provided her with a letter of introduction Herbert Read and Peggy Guggenheim Victoria Ocampo and Hugh Walpole.<br /> <br /> "Virginia Woolf however initially turned her down. That is until Victoria Ocampo the wealthy Argentinian founder and publisher of the literary review Sur whom Woolf admired turned up at Tavistock Square with Freund in tow in order to show Woolf contact sheets of the literary men and women Freund had photographed.<br /> <br /> "Under pressure Woolf gave in and a sitting was arranged for later that same day. Woolf 's diary written before the afternoon session commenced reveals much irritation: 'No getting out of it with Okampo sic on the sofa & Freund there in the flesh. So my afternoon is gone in the way to me most detestable and upsetting of all.' Freund had recently begun working with colour film which had just come on to the market and Woolf dreaded becoming a 'life-sized life coloured animated photograph' yet it pleased her that at her request Leonard would also be photographed.<br /> <br /> "She left no account of this sitting but we can deduce from details supplied by Freund and from other clues that it was an unexpected success. Perhaps Woolf 's dread was removed by Joyce's message or Vita Sackville-West's introductory letter for the photographs show that she willingly collaborated: in fact she offered to show Freund her wardrobe so that she could help choose the most suitable clothes and three times changed her blouse and once the jacket she was wearing.<br /> <br /> "At one point she proudly informed Freund that there had been a celebrated photographer in her own family and she brought out a copy of the book that the Hogarth Press had published of Julia Margaret Cameron's photographs with essays by herself and Roger Fry and this she inscribed to Freund.<br /> <br /> "Out of this session came some of the most eloquent photo-portraits of Woolf ever produced. They vary in mood as outward composure gives way to melancholy introspection. They are also the only colour photographs of Woolf ever taken. For technical reasons it was not possible to publish them in colour at the time and for many years they were known only in black-and-white format.<br /> <br /> "After a bomb had sliced open the house in October 1940 and destroyed the better part of this room the decorations on the fireplace wall could be seen from the street below a fragile reminder of a different age a different way of life." Frances Spalding "The last photograph of Virginia Woolf" The Telegraph July 9 2014. <br /> <br /> Size: 8x12 in. 21x30 cm. Framed: 17x21 in. 43x53 cm.<br /> <br /> Chromogenic print. Taken June 1939; printed later likely c.1970s. Signed by Freund on back beneath Freund's stamped address and credit. Freund's blindstamp at bottom right of image. Elegantly framed with archival matting and UV-protecting museum glass. <br /> <br /> A stunning image in fine condition. np unknown books
2002193757Cleis Press 2002-06-13. Hardcover. Very Good/Very Good. Dust jacket and book are clean has a very good binding no marks or notations. Cleis Press hardcover books
1921140940088London: The Hogarth Press 1921. First Edition. Very Good. First edition first printing. Bound in publisher's cloth-backed paper-covered boards with Vanessa Bell illustration on front cover; all four full-page woodcuts by Vanessa Bell present. Very Good with light rubbing soiling and toning to covers. Pages toned with offsetting from woodcuts to adjacent pages. An uncommon title with an original print run of just 1000 copies. The Hogarth Press unknown books
1977128015New York: Harcourt Brace Jovanovich 1977. Hardcover. VG/ VG. black cloth boards with gilt decoration and lettering dark green dj with white lettering; xxvii 356 pp.; unillustrated. Harcourt Brace Jovanovich hardcover books
1988WRCLIT46901New York: Norton 1988. Gilt cloth and boards. Illustrations by Leonard McDermid. First U.S. edition. Lower fore-tips slightly bruised edges dust marked but very good in fine dust jacket. Norton hardcover books
1979WRCLIT75520University Park and London: Penn State Univ. Press 1979. Cloth. First edition. Publisher's review slip laid in. Dusty and foxed at edges else very good in dust jacket. Penn State Univ. Press hardcover books
2000WRCLIT81598New York: Lipper / Viking 2000. Pictorial boards. Black & white photographs and facsimiles. Former owner's details in pencil on verso of front free endsheet else about fine in a fine dust jacket. First US edition from the "Penguin Lives" series. Author Nicolson engages in revisionist history with regard to his subject's earliest life experiences otherwise an informative biography of a woman he knew yet his mother Vita Sackville-West knew better. Lipper / Viking hardcover books
1980WRCLIT46148Oxford: Clarendon Press 1980. Gilt red cloth. Plates. Third edition. Ninth in the series of The Soho Bibliographies. Very shallow dent in the upper board else about fine in price-clipped dust jacket. Clarendon Press hardcover books
1957WRCLIT54526London: Rupert Hart-Davis 1957. xii180pp. Gilt red cloth. Frontis. Black & white photographs. Facsimiles. Index. Some pencil marginalia see below otherwise a near fine copy internally in a well-rubbed printed dust jacket with some soiling and small nicks. First edition. Number IX in the Soho Bibliographies series. The Seven Gables Bookshop reference copy indexed in pencil and colored pencil in 1967 and 1968 for the holdings of several of their customers. Rupert Hart-Davis hardcover books
1995WRCLIT79697New York: Norton 1995. Gilt cloth and boards. Thick octavo. First US edition. Black & white photographs. Publisher's review slip and promo photo of author and subject laid in. Top edge bust speckled otherwise fine in near fine dust jacket with a faint diagonal abrasion to upper panel. Norton hardcover books
1984WRCLIT74982New York: Norton 1984. Gilt cloth and boards. Illustrations. First U.S. edition. Near fine in dust jacket. Norton hardcover books
1984WRCLIT74953New York: Norton 1984. Cloth and boards. First edition. About fine in dust jacket. Norton hardcover books
1945WRCLIT80630London: PL Editions Poetry 1945. Blue cloth. Portrait by Man Ray. Dust speckled on top and fore edge else very good in fragile war-time dust jacket with small internally mended tears and small chips at head and toe of spine. First UK edition a publisher's file copy sent to its US publisher New Directions with a label on the front free endsheet indicating it is "Not for Sale Sample Complete Copy." PL Editions Poetry hardcover books
1949WRCLIT31225New York: Harcourt 1949. Cloth. First edition. Very good in spine- tanned price-clipped dust jacket with light chipping to spine ends. Harcourt hardcover books
1945WRCLIT29899New York: Harcourt 1945. Cloth. First American edition. Fine in very good or better lightly edgeworn dust jacket. Harcourt hardcover books
1945WRCLIT48585New York: Harcourt 1945. Cloth. Second printing of the U.S. edition. Very good in lightly edgeworn dust jacket. Harcourt hardcover books
199951868Palo Alto: Society for the Promotion of Science and Scholarship 1999. First edition. xvi 290 pp w/index. Fine in fine dust jacket. Palo Alto: Society for the Promotion of Science and Scholarship unknown books
197208122San Diego CA: San Diego State University 1972. LIMITED EDITION. Hard Cover. Fine/No Dust Jacket. Octavo. LIMITED EDITION OF 2000 COPIES. THIS COPY IS NOT NUMBERED. Published as a gift for subscribers of the "Virginia Woolf Quarterly." A fine copy bound in original blue buckram with gilt lettering front cover. 11 pp. <br/><br/> San Diego State University hardcover books
197272335London: Hogarth Press 1972. Second and third impressions respectively. xiii 230 pp & ix 300 pp. Inked ownership name in each volume else very good plus in like dust jackets each of which have a few edgetears. Volume 2 also has a tear with loss to the bottom edge of the front panel. For the pair: London: Hogarth Press, unknown books
1993205835Paris: Actes Sud-Papiers 1993. Paperback. 39p. Text in French. Very good. Lightly soiled porous paper covers. One of his first professional works. A theatre text a play developed in collaboration with director Robert Wilson. Originally produced in 1989 this is the French edition released in 1993. Actes Sud-Papiers paperback books
197256339San Diego: San Diego State University Press 1972. First edition. viii 11 pp. Fine in full gilt-stamped blue buckram. No dust jacket as issued. Suzanne Henig provides an introduction to the title piece along with “The Experiences of a Pater-familias.†The colophon calls for 2000 numbered copies; this copy is not numbered. San Diego: San Diego State University Press, hardcover books