Woolf, VirginiaBiblio.com
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1932rif. 33829Toronto: 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. 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. 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. As far as we know fewer than three or four copies in dust jackets have surfaced in the last 30 years. McClelland & Stewart hardcover
1927rif. 021356London: 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. The Hogarth Press hardcover
1928rif. 192268New York: Crosby Gaige 1928. The longest love letter in history True first edition number 509 of 800 copies signed by the author from a limited edition of 861 copies. It precedes by nine days the first trade edition issued by the Hogarth Press on 11 October. Inspired by Vita Sackville-West the novel was described by her son Nigel Nicolson as "the longest love letter in history". Octavo. Frontispiece with tissue guard 7 halftone photographic illustrations including 3 of Vita Sackville-West as Orlando. Original black cloth spine lettered and decorated in gilt publisher's device to front cover in gilt cream endpapers top edge gilt others untrimmed. Holliday Bookshop ticket on rear pastedown. Usual minor fading to spine gilt remaining bright couple of spots to cloth pp. 182-3 browned from loosely inserted clipping else clean. A near-fine copy. Kirkpatrick A11a; see Woolmer 185. hardcover
1929rif. 33705New York: Harcourt Brace and Company 1929. First Edition. Hardcover. Dust Jacket Included. First Edition. Hardcover. Woolf Virginia. A ROOM OF ONE'S OWN. New York: Harcourt Brace and Company 1929 8vo. 202pp. Publisher's original dark blue boards titles to spine gilt. A near fine fresh copy in the rarely seen correct slate dustwrapper printed in black & blue of the First American Edition first printing. A lovely example of the very uncommon edition preceded only by the signed limited edition issued in the USA and simultaneously in the United Kingdom. Woolf's major polemic against patriarchy based loosely on two lectures she delivered one at Newnham and the other at Girton. Kirkpatrick and Clarke A12a. Woolmer 215. Woolf observed in her diary "I shall be attacked for a feminist". An increasingly uncommon & important Woolf title & 20th century literary highlight. Rare copy. Kirkpatrick A12c. Harcourt, Brace and Company hardcover
1928rif. 140942795New York: Crosby Gaige 1928. Signed Limited First Edition. About Fine. Limited first edition. Copy 767 of 861 copies signed by Virginia Woolf. Bound in publisher's original black cloth with spine decorated in gilt. About Fine with trivial wear to the cloth. A lovely copy. Crosby Gaige unknown
1928rif. 140942795New York: Crosby Gaige 1928. Signed Limited First Edition. About Fine. Limited first edition. Copy 767 of 861 copies signed by Virginia Woolf. Bound in publisher's original black cloth with spine decorated in gilt. About Fine with trivial wear to the cloth. A lovely copy. Crosby Gaige unknown books
1925rif. 181601London: Hogarth Press 1925. Can't we exchange cages for a lark How horrified all the professors would be! First edition Hugh Walpole's copy with his morocco bookplate and ownership signature dated May 1925 to the front endpapers. The two writers had a long affectionate friendship often reading each other's novels and discussing their writing over tea or in letters. They first met in 1928 when Walpole presented Woolf with the Femina Vie Heureuse Prize for To the Lighthouse a novel Walpole wrote had "liberated" him. After the ceremony she invited him to dinner at Tavistock Square an occasion he recorded in his journal. "Evening enchanting - with the Woolfs and Lydia Lopokova. It had a kind of fairy quality about it. I was diffident but Virginia encouraged me talking about writing as though we were on a level" quoted in Hart-Davis p. 289. Woolf and Walpole came from different literary schools which made for lively conversation and correspondence - Walpole's biographer Rupert Hart-Davis counted 60 letters from Woolf among his papers. In one memorable exchange Woolf contrasts their different styles. "Well - I'm very much interested about unreality and The Waves - we must discuss it. I mean why do you think The Waves unreal and why was that the very word I was using of Judith Paris. You're real to some - I to others. Who's to decide what reality is. Lord - how tired I am of being caged with Aldous Joyce and Lawrence! Can't we exchange cages for a lark How horrified all the professors would be!" Letters vol. 4 p. 402. In another Woolf praises Walpole's autobiographical novel The Apple Trees which took its title from a passage in The Waves. "Of all literature yes I think this is more or less true I love autobiography most. In fact I sometimes think only autobiography is literature - novels are what we peel off and come at last to the core which is only you or me. And I think this little book - why so small - peels off all the things I don't like in fiction and leaves the thing I do like - you" Letters vol. 5 p. 142. The two saw one another for the last time on 30 April 1940. Walpole movingly recorded the meeting in his journal: "Virginia Woolf had tea alone with me yesterday. She looked like a beautiful Victorian lady of fifty years ago. She had been lecturing in Brighton on the novel and had said that I and my contemporaries with our roots in the old pre-1914 world had been like men on a tower firmly placed. I said that I had loved her always. She asked why. I gave my reasons and she seemed pleased" quoted in Hart-Davis p. 422. Following Woolf's death the following year Walpole set down his final thoughts on his friend's writing "I think Mrs. Dalloway her best novel and The Waves her most beautiful poem" and on their friendship: "I told her more than I ever told any other human being more than I shall ever tell any human being again. I discovered that beneath the mocking humour the sometimes stern enquiry the sharp wonder the restless investigation there was a kindness of heart and tenderness of feeling rich with an intense personal charity. I shall miss her all my life" quoted in Stape pp. 187 190. His own death followed just two months later. Octavo. Original dark red cloth spine lettered in gilt. Housed in a custom green cloth folding box. Minimal rubbing to cloth a little foxing to text block edges. A near-fine copy. Kirkpatrick A9a; Woolmer 82. Rupert Hart-Davis Hugh Walpole 1952; J. H. Stape Virginia Woolf: Interviews and Recollections 1994; Virginia Woolf The Letters 1975-80. hardcover
rif. 2566Washington DC: Lunn Gallery/Graphics International Ltd 1977. First edition. Orignial publisher's box. Very Good. A COLLECTION OF THE MOST CELEBRATED COLOUR PHOTOGRAPHS OF TWENTIETH-CENTURY ARTISTS. NUMBER 1 OF 6 COPIES RESERVED FOR ARTIST AND PUBLISHERS OUT OF A TOTAL OF 36. The present portfolio of Freund's photographic portraits assembles the most celebrated of her innovative colour images. The portfolio is comprised of Freund's portraits of: 1. Colette 1873-1954 2. Virginia Woolf 1882-1941 3. André Gide 1869-1951 4. James Joyce 1882-1941 5. Andreinne Monnier 1892-1955 6. Jean Cocteau 1889-1963 7. Simone de Beauvoir 1908 8. Jean-Paul Sartre 1905 9. André Malraux 1901-1976 10. Victoria Sackville-West 1892-1962 It is well documented both Woolf's and Joyce's aversions to sitting for photographs and indeed "Freund was twice refused admission to Tavistock Square but eventually Woolf succumbed" being "acutely self-conscious and disliked sitting for pictures never mind 'seeing herself'"Richard Shone "Portraits of Virginia Woolf: here the true face of the modern writer" The Guardian 20 June 2014. Freund's ability to capture her subjects in states of ease-not to mention in colour-has preserved for posterity valuable likenesses of the most talented creative literary minds of the past century. The authorised release of these portraits each signed by Freund and numbered and embossed by the publisher as Au Pays des Visages coincided with Freund's appointment to the presidency of the French Association of Photographers and represent a definitive curation of her pre-eminent portraiture. Size: Images = 8x11.5 in; matte = 14.5x18.5 in; portfolio = 17x21 in. FREUND GISÈLE. Au Pays des Visages. Washington D.C.: Lunn Gallery/Graphics International Ltd. 1977. First edition number 1 of 6; 'The total edition is of 36 examples of which 30 are for sale and 6 are reserved by the artist and the publishers.' Each print is signed by the artist and stamped blind and numbered "I/VI" by the publisher. Original blue cloth publisher's box each print is mounted as issued. Some wear to box otherwise fine. EXTREMELY RARE SIGNED FREUND PORTRAITS ISSUE 1 OF 6. Lunn Gallery/Graphics International Ltd unknown
rif. 2566Washington DC: Lunn Gallery/Graphics International Ltd 1977. First edition. Orignial publisher's box. Very Good. A COLLECTION OF THE MOST CELEBRATED COLOUR PHOTOGRAPHS OF TWENTIETH-CENTURY ARTISTS. NUMBER 1 OF 6 COPIES RESERVED FOR ARTIST AND PUBLISHERS OUT OF A TOTAL OF 36. The present portfolio of Freund's photographic portraits assembles the most celebrated of her innovative colour images. The portfolio is comprised of Freund's portraits of: 1. Colette 1873-1954 2. Virginia Woolf 1882-1941 3. André Gide 1869-1951 4. James Joyce 1882-1941 5. Andreinne Monnier 1892-1955 6. Jean Cocteau 1889-1963 7. Simone de Beauvoir 1908 8. Jean-Paul Sartre 1905 9. André Malraux 1901-1976 10. Victoria Sackville-West 1892-1962 It is well documented both Woolf's and Joyce's aversions to sitting for photographs and indeed "Freund was twice refused admission to Tavistock Square but eventually Woolf succumbed" being "acutely self-conscious and disliked sitting for pictures never mind 'seeing herself'"Richard Shone "Portraits of Virginia Woolf: here the true face of the modern writer" The Guardian 20 June 2014. Freund's ability to capture her subjects in states of ease-not to mention in colour-has preserved for posterity valuable likenesses of the most talented creative literary minds of the past century. The authorised release of these portraits each signed by Freund and numbered and embossed by the publisher as Au Pays des Visages coincided with Freund's appointment to the presidency of the French Association of Photographers and represent a definitive curation of her pre-eminent portraiture. Size: Images = 8x11.5 in; matte = 14.5x18.5 in; portfolio = 17x21 in. FREUND GISÈLE. Au Pays des Visages. Washington D.C.: Lunn Gallery/Graphics International Ltd. 1977. First edition number 1 of 6; 'The total edition is of 36 examples of which 30 are for sale and 6 are reserved by the artist and the publishers.' Each print is signed by the artist and stamped blind and numbered "I/VI" by the publisher. Original blue cloth publisher's box each print is mounted as issued. Some wear to box otherwise fine. EXTREMELY RARE SIGNED FREUND PORTRAITS ISSUE 1 OF 6. Lunn Gallery/Graphics International Ltd unknown books
1925rif. 32468London: Hogarth Press 1925. First Edition. Hardcover. Dust Jacket Included. First Edition. Hardcover. Signed by Author. Woolf. Virginia. THE COMMON READER. Signed Association Copy From the library of Victoria Strachey & Mark Holloway. London: Hogarth Press 1925. 8vo. 305pp. light grayish blue cloth second edition issued November - the first was issued in April. A short & amusing Als. from Virginia Woolf tipped to the front free endpaper reading: "To / Dr. Rendel / A small dose nightly to / ensure sleep / Virginia Woolf / Christmas 1925". The book is further signed in pencil by F.E. Rendel at the top of the front endpaper. At the corner of the front pastedown is another very lightly written inscription that reads: "For Victoria Strachey with love from . March 21st. 1951" A very good copy lacking the dustwrapper & showing light general use. There is some spotting to some of the front & back pages the spine is slightly yellowed & there is a chip to the paper spine label which is mildly tanned. Provenance: Ex Libris; Dr. Frances Elinor Rendel & Acquired from the library of Victoria Strachey & Mark Holloway. Lytton Strachey was Victoria Strachey's great uncle - Dr. F.E. Rendel to whom this letter is inscribed by Virginia Woolf was Doctor Frances Elinor Rendel 1885 - 1942 the daughter of Lytton Strachey's Eldest sister Eleanor & was known as Ellie Rendel. At some point in 1924 Dr. F.E. Rendel became the London doctor of Virginia Woolf Roger Fry & the Bells Vanessa & Clive. Vanessa Bell writes in a letter to Virginia Woolf of April 23rd. 1927:- "Roger Fry comes tomorrow. He was to have come before but it seems that Ellie Rendel nearly killed him like you with her new brand of inoculations and he couldn't start as he meant to." Dr. F.E. Rendel was the doctor treating Virginia Woolf at the very end of her life. The Uncollected Letters of Virginia Woolf Edited by Stephen Barkway Stuart N. Clarke 281. Hogarth Press hardcover
1920rif. 329866New York: George H. Doran Company 1920. First American edition. 508 pp. 1 vols. 8vo. Green cloth. A fine copy in very good dust jacket. The white printed jacket has a two-inch uneven creased tear at lower corner of front panel at edge of spine with a small chip and few short tears at lower edge of front panel short creased tear and few nicks at tips of spine rear panel has two one-inch tears and a short narrow chip at fold of rear flap else complete and quite bright. Custom cloth clamshell box. First American edition. 508 pp. 1 vols. 8vo. Kirkpatrick A4b "No specimen of dust-jacket available" George H. Doran Company unknown books
1937rif. 33131London: The Hogarth Press 1937. 1st Edition. Near Fine/Near Fine. 1st Edition. Signed by Author. Woolf Virginia. THE YEARS. London: The Hogarth Press 1937 Signed by Virginia Woolf. First Edition. Crown 8vo. 469 pp. Publisher's light jade-green cloth gilt titles to the spine. A lovely near fine or better copy in a superb example of the illustrated original cream dustwrapper designed by Vanessa Bell and printed in black and brown. Quite stunning edition. Kirkpatrick and Clarke A22a. Wolmer 423. The author's penultimate novel bringing together all of her classic themes. The success of The Years now recognized as a feminist novel rather than simply a family saga motivated Time Magazine to devote a 1937 cover to Virginia Woolf. A signed copy of The Years is rare to find. The Hogarth Press unknown
1919rif. 166707Hogarth House Richmond: 27 November 1919. The great battle is between those who think it unreal & those who think it real A long and contemplative letter written in a close hand to her brother-in-law Clive Bell in which Woolf reflects on the early reception of her second novel Night and Day. Bell offered Woolf some of her earliest encouragement as a novelist; she praised him in one letter as "the first person who ever thought I'd write well" 24 July 1917; Woolf p. 167. His letter to Woolf which "arrived on a blue & brilliant morning" was full of praise for Night and Day. Woolf responds appreciatively: "I hope you laid on your colours a little thick. It sounds too good to be true; yet I know you wouldn't deceive your sister in law." The novel published on 20 October had already received a smattering of reviews. "They've praised me highly for the most part & wrongly too; in fact as criticism they're worthless so far." She informs Bell of the latest news and gossip about members of her literary circle name-checking Ottoline Morrell "she has ransacked Ireland & finds nothing big enough to stick in the teeth of her comb" Thomas Hardy "he has just produced his 21st imitation of Tess of the D'Urbervilles" and fondly recalling a recent weekend with Lytton Strachey and Dora Carrington at Tidmarsh. She also outlines some of the reviews she received from friends: "I couldn't grasp what Katherine Mansfield meant but thought she disliked the book & wouldn't say so & so masked her points. John Middleton Murry however tells me that she admires it but thinks my 'aloofness' morally wrong." Woolf was right to be wary of her rival's faint praise: even before reading the novel Mansfield carped to Lady Ottoline that "I expect it will be acclaimed as a masterpiece & she will be drawn round Gordon Square in a chariot designed by Roger Fry after a supper given by Clive" quoted in Hussey p. 166. The divergent opinions of friends and critics proved exasperating. "Every day I get letters & they all pick out different points & no two people seem to agree. some say the first chapters are the best & others say the last & some say its in the tradition & others say its not but the great battle so Murry tells me is between those who think it unreal & those who think it real. What do they mean". In these lines the form of her experimental stream-of-consciousness novel Jacob's Room is tantalisingly evident: she would begin writing just two months later in January 1920. Woolf's reflections on Night and Day take up both sides of her letter and she fills out the last remaining space with details of everyday life in Richmond. "I'm in the midst of domestic crisis - both servants leaving; Nessa however has surmounted hers & I see as at the and of a telescope a glimpse of an enchanted world where I turn a handle & hot mutton chops are shot out on a plate - human agency entirely removed." She closes the letter having run out of paper "Unfortunately what with the sympathy of my correspondent & the gigantic importance of my theme there's no paper left" and ends where she began: "Did I say that a reviewer has just written to express gratitude & admiration. What for Night & Day of course. Yours V.W." The letter remained in the Bell family until 1980. It is published on pages 403-4 of The Letters of Virginia Woolf 1912-1922 1976 edited by Nigel Nicolson and Joanna Trautmann. Single sheet 255 x 202 mm handwritten across both sides. Lightly creased from folding a couple of tiny nicks and splits excellent condition. Mark Hussey Clive Bell and the Making of Modernism: A Biography 2021; Virginia Woolf The Letters 1912-1922 1976. unknown
1928rif. 192836New York: Crosby Gaige 1928. Hilda Vaughan's copy of the signed limited edition True first edition number 208 of 800 copies signed by the author. This copy belonged to the Welsh writer Hilda Vaughan whom the Woolfs invited to dine on at least one occasion. Vaughan's works of realism set mostly in her native Radnorshire were the antithesis of Woolf's experimental style. Woolf particularly loathed the novels of Vaughan's husband Charles Langbridge Morgan accusing him "of wrapping up tame little reputable platitudes in words of twenty five syllables and thus posing and thus undermining the health of English letters. But I explode so easily against fiction that I have hardly any trust in my own vehemence" Letters p. 24. Her experience as organizing secretary of the Women's Land Army inspired Vaughan's depiction of working-class women in her novels. Her service also inspired the romance writer Berta Ruck who portrayed Vaughan in The Land Girl's Love-Story 1919. Vaughan's literary prestige gradually waned following her well-reviewed debut The Battle to the Weak 1925 though her contributions to Anglo-Welsh literature have since been posthumously reassessed. Her ownership inscription is on the front pastedown. This edition comprised 861 copies published nine days before the first trade edition issued by the Hogarth Press on 11 October. Inspired by Vita Sackville-West the novel was described by her son Nigel Nicolson as "the longest love letter in history". Octavo. Frontispiece with tissue guard 7 halftone photographic illustrations including 3 of Vita Sackville-West as Orlando. Original black cloth spine lettered and decorated in gilt publisher's device to front cover in gilt cream endpapers top edge gilt others untrimmed. With original glassine dust jacket. Housed in custom black quarter morocco folding box. Faint sunning to spine gilt mark to rear cover; glassine edges chipped but sound: a near-fine copy. Kirkpatrick A11a; see Woolmer 185. The Letters of Virginia Woolf Volume V 1975. hardcover
1925rif. 196996New York: Harcourt Brace & Company 1925. First Edition; First Printing. Hardcover. Very Good in a Very Good clipped dust jacket. All 4 flap corners clipped price remains. Chipping along spine crown. Small chip on front panel. 1 in by 3 in description of the book pasted to front end page. Harcourt, Brace & Company hardcover
1927rif. 116345London: Leonard & Virginia Woolf at the Hogarth Press 1927. First edition of one of Woolf’s most popular and acclaimed major novels in the extremely rare original dust jacket designed by Vanessa Bell Woolf’s sister. Octavo original cloth. Near fine in the rare original dust jacket with light rubbing and wear to the crown of the spine. Jacket design by Vanessa Bell. From the library of Elizabeth Paepcke with her signature in pencil to the front free endpaper. Paepcke along with her husband Walter were philanthropists best noted for founding the Aspen Institute and the Aspen Skiing Company in the early 1950s both of which helped transform the town of Aspen Colorado into an international resort destination and popularize the sport of skiing in the United States. Housed in a custom half morocco clamshell box made by the Harcourt Bindery. Rare and desirable especially in this condition and with noted provenance. Published two years after Mrs. Dalloway and three years before The Waves To the Lighthouse “displays Woolf’s technique of narrating through stream of consciousness and imagery at its most assured rich and suggestive” Drabble 990. “In its portrayal of life… it gives us an interlude of vision that must stand at the head of all Virginia Woolf’s work” New York Times. To the Lighthouse was “written at the height of her luminous Impressionist vision… It is the sunniest of her books and shows the obsession with rendering the passage of time which dominated her later work. With her prosperous upper middle class academic background of the late Victorian establishment Virginia Woolf is always walking a tight-rope in her desire to get away from it and portray ordinary people as a novelist should hence the mixture of respect and irony with which she surveys its security and solid values” Connolly. It was named by Modern Library as one of the 100 best English-language novels of the 20th century. In 2005 the novel was chosen by TIME magazine as one of the one hundred best English-language novels since 1923. It was adapted to film in 1983 by Hugh Stoddart directed by Colin Gregg and produced by Alan Shallcross. Leonard & Virginia Woolf at the Hogarth Press hardcover
1927rif. 140948216London: The Hogarth Press 1927. First Edition. Near Fine/Very Good. First edition first printing in the original dust jacket designed by Virginia Woolf's sister Vanessa Bell. Bound in publisher's blue cloth with spine lettered in gilt. Near Fine with sunning to spine cloth through dust jacket light spotting to endsheets. Contents tanned. In a Very Good dust jacket a little brittle with partial splits at the flap folds; light edge wear and light soiling toning heaviest at spine panel vertical crease to front and rear panels tape ghosts to flaps. A bright copy of one of the author's most enduring works ranked by the Modern Library as one of the 100 best English-language novels of the 20th century. The Hogarth Press unknown
1927rif. 140948216London: The Hogarth Press 1927. First Edition. Near Fine/Very Good. First edition first printing in the original dust jacket designed by Virginia Woolf's sister Vanessa Bell. Bound in publisher's blue cloth with spine lettered in gilt. Near Fine with sunning to spine cloth through dust jacket light spotting to endsheets. Contents tanned. In a Very Good dust jacket a little brittle with partial splits at the flap folds; light edge wear and light soiling toning heaviest at spine panel vertical crease to front and rear panels tape ghosts to flaps. A bright copy of one of the author's most enduring works ranked by the Modern Library as one of the 100 best English-language novels of the 20th century. The Hogarth Press unknown books
1928rif. 140949372London: The Hogarth Press 1928. First British Edition. Very Good/Good. A fantastic association copy of the first British edition first printing. Signed by Virginia Woolf on the front free endpaper and inscribed "with many thanks" to the American artist E. McKnight Kauffer who designed a new logo for the Hogarth Press the year this book was published. 299 pp. printed on laid paper. Bound in publisher's orange cloth letttered in gilt on spine. Very Good with sunning and slight lean to spine light wear and soiling to covers and light offsetting and scattered foxing to endpapers. In a Good unclipped dust jacket most certainly supplied with moderate wear and soiling and multiple repairs to verso. Housed in a custom orange-red cloth clamshell case lettered in gilt on spine. Kirkpatrick & Clarke A11b. Signed trade editions by Virginia Woolf have become increasing scarce on the market but a copy inscribed by Virginia Woolf to an artist who worked for her is extraordinary. Kauffer lived in England between 1914 and 1940 and his bold graphic designs shaped the aesthetic of the interwar period. Best known for his iconic London Underground posters Kauffer was also in demand as a dust jacket illustrator. He received five commissions from Virginia and Leonard Woolf the first of which was to redesign the logo of their press. Vanessa Bell's wolf's head featured on the title page of Orlando was transformed into something sharper stronger and more menacing. The Hogarth Press unknown
1928rif. 140949372London: The Hogarth Press 1928. First British Edition. Very Good/Good. A fantastic association copy of the first British edition first printing. Signed by Virginia Woolf on the front free endpaper and inscribed "with many thanks" to the American artist E. McKnight Kauffer who designed a new logo for the Hogarth Press the year this book was published. 299 pp. printed on laid paper. Bound in publisher's orange cloth letttered in gilt on spine. Very Good with sunning and slight lean to spine light wear and soiling to covers and light offsetting and scattered foxing to endpapers. In a Good unclipped dust jacket most certainly supplied with moderate wear and soiling and multiple repairs to verso. Housed in a custom orange-red cloth clamshell case lettered in gilt on spine. Kirkpatrick & Clarke A11b. Signed trade editions by Virginia Woolf have become increasing scarce on the market but a copy inscribed by Virginia Woolf to an artist who worked for her is extraordinary. Kauffer lived in England between 1914 and 1940 and his bold graphic designs shaped the aesthetic of the interwar period. Best known for his iconic London Underground posters Kauffer was also in demand as a dust jacket illustrator. He received five commissions from Virginia and Leonard Woolf the first of which was to redesign the logo of their press. Vanessa Bell's wolf's head featured on the title page of Orlando was transformed into something sharper stronger and more menacing. The Hogarth Press unknown books
1933rif. 32506N.p. n.d. London: N.p. n.d. c. 1933 1933. First Edition. First Edition. Signed by Author. Woolf Virginia. Signed Photograph Circa 1933 6" 1/2 x 5" Signed in black ink: "Yours / Virginia Woolf" on the lower right of the image. Good photographic portraits of Virginia Woolf do come onto the market periodically signed ones rarely appear. A near fine image publisher's very minor retouched enhancement under VW's right eye. published in Virginia Woolf And Her World by John Lehmann 1975. p.55. Publisher's notes to production on the verso. Outstanding. N.p. n.d. [c. 1933] unknown
