Woolf, VirginiaBiblio.com
4.210 Ergebnisse
1937Best.-Nr. 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
1919Best.-Nr. 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
1928Best.-Nr. 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
1925Best.-Nr. 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
1927Best.-Nr. 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
1927Best.-Nr. 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
1927Best.-Nr. 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
1928Best.-Nr. 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
1928Best.-Nr. 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
1933Best.-Nr. 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
