Woolf Virginia

Woolf Virginia — marelibri

THE VOYAGE OUT

1920Best.-Nr. 677New York: George H. Doran Company 1920. First American edition. Very good. Octavo. Moss green cloth boards lettered in black on spine and in blind on the upper cover within an ornamental border all edges trimmed. 380 pp. Published 20 May 1920 no record of the number of copies or impressions printed. The text was revised by Woolf for this the first American edition. A few scattered spots to the upper board some stray pale inkblots on first free end sheet whose corner was previously turned down tiny dot of lavender ink near fore-tip of page 9 else a very good square copy of Woolf's first novel without the dust jacket. First American edition. First appearance of Clarissa Dalloway Mrs. Dalloway. The first UK edition was published by Duckworth & Co. the publishing house headed by her half brother Gerald Duckworth in 1915. Duckworth did very little to support this book or their later publication in 1919 of Night and Day which prompted her and Leonard to purchase the rights to the two books. "George H. Dorn Company of New York published the American editions of both titles in 1920. Apparently Woolf had offers from two American publishers Doran and Macmillan according to her 26 November 1919 letter to Lytton Strachey. She revised the text of her novels for an American audience: 'I have to send the books off on Monday & they say the more alterations the better-because of copyright. I've glanced between the boards and see that the whole thing must be rewritten from the beginning - and only 2 days to do it in!' According to the International Copyright Act passed by Congress in 1891 American issues of British books had to be typeset and printed in the United States; American publishers could not print from British plates. Consequently there are variations between the British and American editions of Virginia Woolf's publications" Cooper 2014. KIRKPATRICK & CLARKE A1b. George H. Doran Company unknown

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Sylvia Duckworth/ Horton-Fawkes of Farnley Hall, Otley [Virginia Woolf]Biblio.com

'A pity he's not the eldest son I'd have no objection "going for him."' A Daughter's Letters to Viola-Davies Duckworth from Fashionable Bloomsbury-adjacent London and Italy in the 1920s

1920Best.-Nr. 9556London; Italy; Somerset: Unpublished 1920 - 1922. An archive of lively and beautifully descriptive letters written by young Sylvia Duckworth b. 1899 daughter of Major Arthur Campbell Duckworth and Viola Davies-Evans of Orchardleigh Frome - a relative of Julia Jackson Duckworth - Stephen - Virginia Woolf's mother who navigates the changing world of 1920s England as she embraces the opportunities offered by a mix of new freedoms alongside more traditional expectations. The last of the letters dates from just before her marriage to Major Le Gendre George William Horton-Fawkes in 1924 who inherited Farnley Hall Otley in Yorkshire where the couple went on to live. Early letters penned to Sylvia's mother are dated 1917 and sent from the family home at Orchardleigh or from the home of the Cairns family at Farleigh House Bath and are full of gossip and fashion. By the early 1920s letters from 64 Holland Rd W14 find Sylvia living in London attending parties at Bloomfield Terrace and involved in animated conversations on socialism social reform capitalists and the working man 'the Arthur Hobhouse's then appeared. They are rather charming people'. There are visits to Holland Park roller skating rink and The Ideal Home Exhibition in Feb 1920 'some of the so called 'labour saving' devices really seem rather absurdly unpractical'. Letters follow from her Aunt Evie's home at 19 Chester St SW1 dated 1922 'I feel it is an honour to be staying in a house that entertains such large numbers of the aristocracy'. 'I can't at all get used to the feeling of being absolutely free no duties whatsoever except to be moderately polite and pleasant to my hostesses'. Descriptions of visits to the opera to see Ruddigore and flirtatious encounters with young men fill her letters to her darling mother ''we wink at each other occasionally; a pity he's not the eldest son I'd have no objection 'going for him' Hush what a shocking way to speak'. By Spring 1922 Sylvia has arrived in Italy in the somewhat limiting company of her companion Millie. Trips to Pisa Siena and San Gimignano reveal an appreciation of the arts 'certainly the 14th century painters knew what colour was even if they were a little vague about form' and also offer an opinion on early mass tourism as our writer describes 600 Americans who arrive for a day in Pisa from a steamer at Leghorn 'isn't it a curious idea to 'do' Italy in a mass like that'. 2 letters dated 1917 from Orchard Leigh Frome to Mrs Duckworth Sylvia's mother. 1 letter dated 1917 sent from Olive Cairns of Farleigh House Bath to Sylvia's mother. 1 letter dated 1917 sent from Sylvia to her mother on Farleigh House headed paper. 2 letters sent from Sylvia's brother Arthur to their father from Cambridge University 'I've got into the Pitt Club it gives me some sort of standing'. 1 letter dated Feb 1920 sent from 64 Holland Pk from Sylvia to her mother. 2 letters dated Feb 1922 sent from 19 Chester Square SW1 to her mother. 3 letters from Italy dated March April 1922 from Hotel Victoria Pisa and Grand Royal Hotel Siena sent to Sylvia's mother. Please contact Christian White Rare Books Ltd for more information or images of this item 1920 Unpublished unknown

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[Woolf, Virginia & Leonard / Hogarth Press] Fry, RogerBiblio.com

Cézanne - A Study of his Development.

1927Best.-Nr. 32156AB1927. First Edition. London Published by Leonard & Virginia Woolf at The Hogarth Press 1927. Quarto 20 cm wide x 25.5 cm high. 88 pages text plus XL plates with art / paintings of Cézanne. Original illustrated Hardcover. Very good condition with only minor signs of wear to the beautifully firm binding. Paul Cézanne Occitan: Pau Cesana; 19 January 1839 22 October 1906 was a French Post-Impressionist painter whose work introduced new modes of representation influenced avant-garde artistic movements of the early 20th century and formed the bridge between late 19th-century Impressionism and early 20th-century Cubism. While his early works were influenced by Romanticismsuch as the murals in the Jas de Bouffan country houseand Realism Cézanne arrived at a new pictorial language through intense examination of Impressionist forms of expression. He altered conventional approaches to perspective and broke established rules of academic art by emphasizing the underlying structure of objects in a composition and the formal qualities of art. Cézanne strived for a renewal of traditional design methods on the basis of the impressionistic colour space and colour modulation principles. Cézanne's often repetitive exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cézanne's intense study of his subjects. His painting initially provoked incomprehension and ridicule in contemporary art criticism. Until the late 1890s it was mainly fellow artists such as Camille Pissarro and the art dealer and gallery owner Ambroise Vollard who discovered Cézanne's work and were among the first to buy his paintings. In 1895 Vollard opened the first solo exhibition in his Paris gallery which led to a broader examination of Cézanne's work. Both Henri Matisse and Pablo Picasso are said to have remarked that Cézanne "is the father of us all". Wikipedia hardcover

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WOOLF, VirginiaBiblio.com

Aurora Leigh" contained in THE YALE REVIEW A NATIONAL QUARTERLY

Best.-Nr. 591New Haven: Yale University Press 1931. Good. Large quarto. Original blue printed wrappers signatures sewn. Vol. XX Summer 1931 No. 4. LXIV649-864LXV-LXXII pp. Wrapper's lap-edges with small nicks short rub at spine edge faint ex-library stamp on upper wrapper unused library card to recto of lower wrap; bookplate of the noted Virginia Woolf Hogarth Press Bloomsbury collector William Beekman affixed to verso of upper wrapper some shelf wear else good. First appearance of this essay "Aurora Leigh" 677-690 pp. In short Woolf writing as a Modernist in criticism of the work of Victorian writers begins by discussing the irony of how the Brownings Robert and Elizabeth Barrett are better known for their personal lives than their literary works. She notes that many people are familiar with their romantic story but have never read their poetry. She then moves on to critique the works of the Brownings. Woolf suggests that Robert Browning's work has lost its vigor and significance and his style is considered verbose. As for Elizabeth Barrett Browning Woolf states that her work is largely unread and unexamined with her style being seen as slipshod and her mind as confused and excessive. Woolf then focuses on "Aurora Leigh" describing it as a masterpiece in embryo. She suggests that the novel-poem's genius is still in a prenatal stage waiting for the final stroke of creative power to bring it into being. She also discusses the character Aurora's struggle with the expectations of her society. "If therefore we take 'Aurora Leigh' from the shelf and open it it is not so much in order to read it as to muse with kindly condescension over this token of bygone fashion: it is not a book but a dusty mantle with fringes and furbelows that our grandmothers actually wore; a cluster of wax fruit that they stood in a glass case on the drawing-room table among albums views of Jerusalem and handsome models of the Taj Mahal carved in alabaster." 678-679 p. KIRKPATRICK & CLARKE C332. Yale University Press unknown

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WOOLF, VirginiaBiblio.com

THE COMMON READER

1930Best.-Nr. 422New York: Harcourt Brace and Company 1930. Very good or better. Octavo. Red cloth boards blind-stamped gilt spine. iii334pp. 8¾ x5¾ in. Cream pictorial dust jacket printed brown and green designed by Vanessa Bell. Boards bright and clean ink ownership signature and date on front free endpaper edges dusty otherwise very good or better in an unclipped dusty dust jacket with a few chips at extremities and a small loss at the at the upper spine and upper fore-tip. From the collection of R. O. Blechman an American animator illustrator children's-book author graphic novelist and editorial cartoonist whose work has been the subject of retrospectives at the Museum of Modern Art and other institutions. Scarce in dust jacket. First American edition third impression. Published 14 May 1925; 2000 copies printed at $3.50. There was a second impression of 535 copies in November 1927 and a third of 500 in December of 1930 of which this edition is a copy. There were additional impressions in 1933 1942 and 1944 of 500 copies each. THE COMMON READER is a collection of essays written by Woolf some of which appeared originally in the Times Literary Supplement and the Dial while others appear here for the first time. It consists of two series of essays where Woolf explores various literary topics and authors. Through her elegant prose she examines the nature of reading the role of literature in society and provides engaging critiques of authors such as William Shakespeare George Eliot Joseph Conrad Charlotte Brontë Jane Austen and Chaucer among others. Her influential essays "On Not Knowing Greek" and "Modern Fiction" are included and an additional essay "Lives of the Obscure III Miss Ormerod" appears in this edition but not in the English editions; it was first published in the Dial New York December 1924. Overall this influential collection offers a rich exploration of literature from a unique and perceptive perspective. . KIRKPATRICK A8b. Harcourt, Brace and Company unknown

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