Queen Mab, First Edition (23 results)

Soft cover. Condition: New. First edition THUS. New, no dust jacket as issued. SIGNED by the author on the title page. Chapbook, 1st PM edition. New, unread copy. Linebaugh is a Marxist historian who specializes in British history, Irish history, labor history, and the history of the colonial Atlantic. Ned Ludd is the mythical leader of the Luddites, an anti-Industrial Revolution group in England in the late 1700's and early 1800's. In English folklore, Queen Mab is the queen of the fairies. Rare signed. Where possible, all books come with dust jacket in a clear protective plastic sleeve, sealed in a ziplock bag, wrapped in bubble wrap, shipped in a box. Signed by Author(s).

Trade Paperback. Condition: Near Fine. No Jacket. First Edition Stated. Inscribed On Ffep "For Richard Bruce Davis". Slightest Of Edgewear/Shelfwear, Else As New. 330 Pp. Inscribed by Author(s).

Softcover. First Edition; First Printing. Wraps, a fine copy, signed and inscribed to Penny (Rosemont) in San Francisco in year of publication.; 8vo 8" - 9" tall; 45 pp.

Hardcover. 15,5 x 11,5 cm. Half-leather volume, rubbed more strongly (title on spine is rubbed off). Remains of green label on spine. IV, 342 pages. Small stamp on the titlepage. First and last pages a little bit brownish. Inside mostly clean, some small brownish spots / Halblederband, stärker berieben, der Rückentitel abgerieben. IV, 342 Seiten. Regulär ausgeschiedenes Exemplar (Stempel, Reste von Etiketten). Die ersten und letzten Seiten etwas gebräunt, nur wenige Seiten leicht braunfleckig -- Bitte Portokosten außerhalb EU erfragen! / Please ask for postage costs outside EU! / S ' il vous plait demander des frais de port en dehors de l ' UE! // Bitte beachten Sie auch unsere Fotos! / Please also note our photos! / Veuillez noter nos photos -- Nehmen Sie sich ein gutes Buch mit auf die Sommerwiese. Bei uns werden Sie fündig! -- Wir kaufen Ihre werthaltigen Bücher! LitFre.

Hardcover. Condition: Good. No Jacket. 1st Edition. A readable, reasonably solid copy. Internals are quite good. Boards are stained, bumped and bottom and top of spine have 1/2" chips missing. Still, not as bad as it sounds. Flaws are cosmetic, book is good.

Hardcover. Condition: Very Good Plus. First American Edition. page 24 marked 4. a very nice copy.rather rare.

Hardcover. Condition: Very Good. No Jacket. 1st Edition. FIRST EDITION. Cloth-bound; hardcover; octavo (20 x 14.5 x 3 cm); pp. xii, 310. English text. Bound in publisher's original decorative covers; all page edges gilt; pictorial endpapers; half-title; colour frontispiece and title-page by Reginald Savage and 67 black and white illustrations, many full page, by H. Cole, A. Garth Jones, H. R. Millar, and Arthur Rackham. Condition: VERY GOOD. Binding tight and secure. Covers and contents very well-preserved. Armorial bookplate and inscription to front endpaper. An excellent copy and scarce thus. Notes: First Edition. A collection of fairy tales by various authors with illustrations by a number of illustrators including H. R. Millar and Arthur Rackham.

Hardcover. Condition: Near Fine. 1st Edition. Illustrated by Arthur Rackham and others. Original cloth. Gilt to page ends. A clean and tight copy without any inscriptions. Lovely bright copy of this scarce work.

Hardcover. Condition: Good. 1st Edition. 8vo. [4], 223pp, [1]. With an engraved title page vignette by Landseer. Front and rear blanks but no covers but with the original blue paper boards spine with paper label. Rear balnk and last page detached, loss at lower right corner of front blank, light foxing and staining.

Hardcover. Condition: Good. First Edition. Hardback. No Dust Jacket. 8vo. pp 293; 285; 266. Original publisher's brown cloth, illustrated and lettered gilt at the spines. Odd and rare pseudonymous novel. Three Decker. Chapters include: Torridgeton, an Aesthetic Walk, the Fatherland, Via Catholica. Endpapers of volume one slightly soiled, covers have slight shelf-wear and some dulling to lettering at spine, but overall a sound, very good set.

Cloth. Condition: Very Good. H. Cole; A. Garth Jones; H. R. Millar; A. Rackham; R. Savage (illustrator). First edition. The first edition of this beautifully designed children's work, with illustrations from artists including Arthur Rackham, H. R. Millar, R. Savage and others. An delightful first edition.Illustrated with a colour frontispiece and title page, with sixty-seven monochrome illustrations, both vignette and full page. Collated, complete.These illustrations are the work of popular book illustrators Arthur Rackham, H. R. Millar, R. Savage, H. Cole, A. Garth Jones and others.With a 'Children's Encyclopedia' stamp to the half title.In a lovely pictorial cloth binding. In the publisher's original pictorial cloth binding. Bumping to back strip head and tail, with head of rear joint strained and firmly held. Front hinge strained, and a touch tender. Internally, binding strained throughout. Pages clean and bright. Stamp pasted to the half title. Very Good. book.

First edition thus. One volume bound as two. 16mo. Smartly bound in contemporary full green morocco with four raised bands and titles in gilt to the spines. Gilt dentelles. All edges gilt. Green silk ribbon page marker to each volume. Engraved portrait frontispiece of Shelley to the first volume. A very good set, the bindings square and tight with a the odd minor mark to the boards, a little rubbing to the joints and spine ends and a touch of bumping to the corners. The contents with the pencil ownership inscription of the author William St Clair to the front pastedown of the first volume and some light spotting to the preliminary pages are otherwise clean throughout. An attractive set. An early pirated pocket-sized edition of Shelley's poetical works, the first to be issued by the publisher Charles Daly. In addition to its diminutive size and early date (issued three years prior to Mary Shelley's official collected edition of 1839), the work is also notable for its engraved frontispiece which presents a version of the Curran portrait of Shelley apparently not found in any other edition of the poet's works. Provenance: from the library of William St Clair (1937-2021). Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.

Hard Cover. Condition: Very Good. No Jacket. H. Cole, A. Garth Jones, H. R. Millar, A. Rackham & R. Savage (illustrator). First Edition. A collection of fairy tales by various authors with illustrations by a number of illustrators including H. R. Millar and Arthur Rackham. Blue cloth with gilt lettering and decorative fairy illustrations on the spine and front board done in gilt lines with green infills. All page edges faced in gilt. Endpapers with decorative fairy illustrations. Double page colour illustration over the frontispiece and title page by Reginald Savage.xii, 310 pages. Full page illustrations, smaller ones on the text pages, decorated chapter head pieces. 6 X 7.8 inches.Three illustrations have been carefully coloured. Previous owner's bookplate on the front pastedown and brief Christmas gift inscription. Cloth a little rubbed, very good copy.

First Edition. QUEEN MAB A PHILOSOPHICAL POEM, J. Baldwin, 1821, first American edition, corner tips worn, small area of front panel effaced (from sticker removal?), some wear to spine, inner front hinge professionally tissue rein-forced as well as next several gutters, else a nice copy with a vg text block. Bound in half leather. Privately published first in 1813 in a very small number. Scarce.

xii, 310 pp. Illustrated by H. Cole, A. Garth Jones, H. R. Millar, A. Rackham & R. Savage. 8vo, publisher's illustrated, gilt-decorated blue cloth; a.e.g. First edition. Old ink signature on pastedown; corner clipped from front free endpaper; some very slight rubbing to cloth at extremities.

London, W. Clark, 1821, first edition. This is the book that launched his career, first published edition, Queen Mab was originally printed at Shelley's expense in 1813, this version was not approved by Shelley, ultimately publisher Clark was jailed for four months, with publisher's ad in back and without the dedication ("To Harriet") at front, includes the preface to the Notes by W. Clark, half bound in rich green leather and marbled boards with gilt lettering and five raised bands on the spine. Front hinge cracked, occasional foxing, slight scuffing to coves, minor wear to edges, owner's 1875 ink name, bookplate of Charles Archibald Stonehill.

Full Leather. Condition: Fine binding. First Edition. 2.25" x 2.5." [18] pp., 3 plates. Limited edition, number 5 of 45 copies. In gray morocco with gilt embellishments on both covers and spine; patterned endpapers. Text printed using heated silver foil on handmade Japanese tissue. Three original wood engravings by Fox. Housed in a silk-moire lined slide-through box. A lovely miniature book designed, illustrated, and printed by one of the foremost American miniature book makers and binders.

Hardcover. Condition: Near Fine. 1st Edition. Shelley, Percy Bysshe (1792-1822). Queen Mab. London: W. Clark, 1821. 8vo. Several leaves watermarked "1820" or "A". (Contents washed.) Fine binding; Late 19th-century half calf gilt, spine in 6 compartments with raised bands, morocco lettering-pieces gilt in 2, others gilt tooled, edges gilt, stamp-signed by Morrell; housed in a beautiful folding case, gilt-stamped. Provenance: Conon Williams (armorial bookplate); Myers & Co. of London (booksellers' ticket). PIRATED FIRST EDITION (the first published), thin paper copy, issued without the dedication to Harriet *****. Queen Mab was first privately printed in 1813 and was relatively unknown until this pirated edition of 1821, printed by R. Clark, was published which precedes the first authorized edition that was composed of the remaining sheets from Clark's edition and issued with a new title-page by Carlile in 1822. When Shelley learned of Clark's unauthorized edition, he protested the piracy; Clark appeared before the Court of King's Bench on 23 June and pleaded not guilty to publishing an "indecent, immoral and scandalous poem." According to George Goodspeed, "His trial did not take place until late in the following year, but the book appears to have been suppressed, nominally at least, very soon after its publication" (See The Colophon, New Graphic Series, No. 1, pp.25-32, 1939). Ashley V., p.150.

8vo, pp. 182; without dedication leaf and terminal advertisement leaf, as is often the case; otherwise a good, clean copy in recent blue morocco-backed boards with drab sides, spine lettered directly in gilt.First published edition, a piracy second only to the privately printed edition of 1813, of Shelley's most provocative poem. The radical bookseller and pirate William Clark came across a copy of the privately printed first edition in 1821 and brought out this unauthorized text, 'studious in adhering to the original copy', printing the notes in French, Latin, and Greek in their original language, but helpfully providing a translation for the general reader (as stated in his notice on p. [92]). There were in fact two versions of Clark's text, one (as here) with some of the more aggressive passages expurgated, the other printing the poem and notes complete. For his pains Clark, described by Shelley as 'one of the low booksellers in the Strand', was prosecuted by the Society for the Prevention of Vice and imprisoned for four months. Unintentionally Shelley had reached a new audience through Clark's and other piracies. Queen Mab became the most widely read of Shelley's poems, and in later years an inspiration for the Chartists. Buxton Forman 22; Granniss 19. Language: English.

First edition, in the 'unmutilated' state, with the title and final leaf intact. Publisher's original drab paper covered boards. A near fine copy, with the joints cracked but holding and wear to the spine, but an extraordinarily well preserved copy. Internally perfect. An exceptional copy of Shelley's key radical text of the early nineteenth century, described in DNB as a "freethinking and socialistic gospel. couched in a rhetoric so exalted as to pass easily for poetry" (DNB). Shelley arranged for a mere 250 copies to be printed for private distribution. Given the contents, Shelley's printer, Thomas Hookham, refused to put his name to the work, so it is Shelley's name and address which are listed on the title page. In order to avoid the possibility of prosecution, Shelley 'mutilated' copies as he distributed them by removing the title page and final leaf bearing his name. Furthermore, as his marriage to Harriet broke down with his elopement with Mary Godwin in 1814, he took to removing the dedication leaf to his estranged wife. Copies which have survived unmutilated offer one of the most inflammatory title pages of the era. Knowing few would see it, Shelley felt able to give vent to his revolutionary fervour. It carries a quote in Latin from Lucretius and Archimedes' aphorism in Greek, "Only give me a place on which to stand, and I shall move the whole world." Bolder still is the statement from Correspondance de Voltaire, "Ecrasez l'Infame!", a phrase which had been adopted by the Illuminati as their motto to refer specifically to Christ. As Harriet Shelley wrote to a friend, about Queen Mab, "Do you [know] any one that would wish for so dangerous a gift?". This unmutilated state has long been highly sought by collectors and considered much more valuable than mutilated copies. Further, whilst unmutilated copies are rare, copies in boards are even more so and the combination of the two is almost unknown: we can discover only one other such copy offered for sale at auction since 1902. Ashley V, p.57; Granniss/Grolier Shelley 15; Hayward 225; Tinker 1886; Wise Shelley, pp.39-40.

Second (unauthorised) edition. The first edition, of which were there were approximately 250 copies, was privately printed by the author in 1813. The first regularly published edition did not appear until 1822, after Shelley's death, under the imprint of the radical publisher, Richard Carlile. Carlile had wanted to publish the poem in the first place, but had been refused permission by Shelley, his reason for doing so being that he did not want to be represented to the wider public by an immature work. Carlile's former employee, William Clark, was rather less scrupulous and both he and another piratical publisher, William Benbow, brought out editions in London and New York respectively. In his haste to take advantage of the poem's notoriety, Clark printed the poem in various states, and always without its secondary title A Philosophical Poem: With Notes; also he dropped the quotations from Voltaire, Lucretius and Archimedes from the title-page. Clark's aim was strictly monetary whereas Carlile was politically motivated. Shelley sought to suppress the 1821 editions but because of a court ruling stating "that books liable to conviction for blasphemy or sedition were not entitled to legal protection" his hands were tied. The government stepped in and indicted Clark who, after a court case, spent four months in prison. Octavo. 183 pages, with the rarely included 2-page dedication poem to Harriet, Shelley's first wife, which in this copy is placed at the rear in lieu of the advertisement leaf found in the majority of copies - in some copies poem appears after the title-page. In most copies it doesn't appear at all. Original grey paper boards. Early ownership signature on front pastedown. Covers worn and defective at head and tail of spine and split at the hinges. Endpapers spotted. Good. Preserved in a slightly rubbed full leather book-form slipcase, with raised bands, gilt rules, and burgundy leather title-label and black leather author label.

Hardcover. Condition: Near Fine. 1st Edition. Finely bound in half morocco with marbled boards and gilt ruling, edges worn, with one or two nics to extremities. T.E.G. Five raised bands to spine; title, author, year, and flower motif to compartments. Marbled endpapers to match boards. Small ex libris of `M.A. Elton` [Mary Augusta Elton, book collector] to upper left corner of front pastedown. Extremely faint foxing to first few and last pages. Includes the rare dedication leaf to `Harriet *****`, Shelley`s first wife, after title page. W. Clark`s imprint on page 182. Also includes the rare page of ads by Clark after p.182. Text and notes in the expurgated version, with words or phrases considered offensive replaced by a series of dashes. This text was published by Clark without Shelley`s permission, for which the publisher spent four months in prison. Extremely rare with the printed dedication to Harriet and the page of advertisements at the back. This exact book appears on p.177 of `A catalogue of a portion of the library of Charles Isaac Elton and Mary Augusta Elton`, published in 1891 by Quaritch in London. 182 p. Text in English. Beautiful copy of the first published edition of the book which launched Shelley`s literary career. Used book.

First Edition. 8vo (200 x 124mm), pp. [6], 240, [2]. Shelley's first major poem. Original boards, joints cracked but holding, the interior is intact (many copies have Shelley's name and the printer's imprint cut out as the book was being hunted by moralists and royalists). A virgin and unmutilated copy, with the title page, dedication and final leaf intact. One of only 250 copies printed for private distribution, rare unrepaired and in anything approaching this condition. Morocco case. The poem is written in the form of a fairy tale that presents a future vision of a utopia on earth, consisting of nine cantos and seventeen notes. Queen Mab, a fairy (the name from one referred to in Shakespeare's play Romeo and Juliet) descends in a chariot to a dwelling where Ianthe is sleeping on a couch. Queen Mab detaches Ianthe's spirit or soul from her sleeping body and transports it on a celestial tour to Queen Mab's palace at the edge of the universe. Queen Mab interprets, analyses, and explains Ianthe's dreams. She shows her visions of the past, present, and the future. The past and present are characterized by oppression, injustice, misery, and suffering caused by monarchies, commerce, and religion. In the future, however, the condition of man will be improved, and a utopia will emerge. Two key points are emphasized: 1) death is not to be feared; and, 2) the future offers the possibility of perfectibility of man by moral means. Humanity and nature can be reconciled and work in unison and harmony, not against each other. While Ianthe is asleep on the couch, Henry waits to kiss her. He never does. Queen Mab returns Ianthe's spirit or soul to her body. Ianthe then awakens with a "gentle start." Of the seventeen notes, six deal with the issues of atheism, vegetarianism, free love, the role of necessity in the physical and spiritual realm, and the relationship of Christ and the precepts of Christianity. From a critical standpoint, in this early poem Shelley forced together his youthful opinions into a scheme of dogmatic materialism. His objective was to show that reform and improvement in the lot of mankind were possible. In her notes to the work, Mary Shelley explained the author's goals: He was animated to greater zeal by compassion for his fellow-creatures. His sympathy was excited by the misery with which the world is bursting. He witnessed the sufferings of the poor, and was aware of the evils of ignorance. He desired to induce every rich man to despoil himself of superfluity, and to create a brotherhood of property and service, and was ready to be the first to lay down the advantages of his birth. He was of too uncompromising a disposition to join any party. He did not in his youth look forward to gradual improvement: nay, in those days of intolerance, now almost forgotten, it seemed as easy to look forward to the sort of millennium of freedom and brotherhood, which he thought the proper state of mankind, as to the present reign of moderation and improvement. Ill health made him believe that his race would soon be run; that a year or two was all he had of life. He desired that these years should be useful and illustrious. He saw, in a fervent call on his fellow-creatures to share alike the blessings of the creation, to love and serve each other, the noblest work that life and time permitted him. In this spirit he composed Queen Mab.