Vathek, Signed (19 results)

Soft cover. Condition: Fine. About the book: Softcover. First Printing. Inscribed by editor, Kenneth W. Graham, on title page. Book is in fine condition. Additional photos available upon request. We're not satisfied unless you are. Inscribed by Author(s).

Condition: Very Good. Signed Copy . Slipcase Acceptable. Limited edition. Copy #1266/1500. Signed by illuminator Valenti Angelo on colophon. Slipcase panels are taped together. (Gothic Fiction, Press Books).

Hardcover. Condition: Near Fine. Valenti Angelo (illustrator). Limited. Translated by Herbert Grimsditch. Red leather boards with gold gilt decorations on front and back, Title on spine in also gilt. Protected by a chemise in fair condition and is in two slipcase which are in fair to poor condition. Title is on one slipcase. Number 147 of 1500, decorated and illuminated and signed by Valenti Angelo. the pages are clean with no makings or writing. 4 1/4" X 6 1/4". Signed by Illustrator(s).

Hardcover. Condition: Very Good+. Dust Jacket Condition: Near Fine. Whitlam, David (illustrator). First Edition Thus. First edition thus, hardcover, signed by Sidney-Fryer and Whitlam on the limitation page and numbered 166/250, the book has a mild lean to the binding, light bumps to the spine ends, and small areas of rubbing to the spine. Overall, this is a solid, clean, Very Good+ copy in a Near Fine dust jacket, which has very mild bumps to the corners and spine ends, and is wrapped in Mylar.

Hardcover. Condition: Near Fine. 1st Edition. London: Printed for J. Johnson, 1786. First edition. vii,[i],334pp. §This is the first edition of Vathek in any language, and is the large paper issue. The bibliophile & book collector Eric Quayle's copy with his neat bookplate, dated 1964, to front pastedown, and a few pencilled notes in his hand to verso of front free endpaper, including: 'This is one of the few (25) large paper copies of the first English edition. The "of" is missing on line 9 of page 17. The catchword at foot of p.208 is incorrect. E.Q. [A]nd page 48 misnumbered '84'.' Chapman & Hodgkin 3(A)(i). A very good copy, finely rebound by Root of London in full twentieth century brown morocco, gilt lettering, raised bands, spine elaborately decorated gilt in compartments, all edges gilt, inner dentelles, ribbon marker. Spine very slightly sunned to a marginally lighter shade of brown. A superb copy. Tipped onto the front free endpaper is a boldly signed MS. promissory note in Beckford's hand to his bankers: 'Messrs. Morland, Anvive[? - this word illegible] & Co. Pay the Bearer Mr. Robt. Thorne[?] one hundred pounds. London 12 June 1820. [Signed] William Beckford'. Note measures 7.2 x 2.8 inches approx., & is in excellent condition. Signed by Author(s).

LEATHER. Condition: Fine. Angelo Valenti (illustrator). Limited Edition. Copy 899 of only 1,500 produced--this copy is in fine condition with no wear and tear or any evidence of previous ownership. Hand illuminated by the illustrator-- decorative gilt front and back boards as well as spine--heavier quality paper--all of the trademarks of the LEC. 135 pp. One of the smallest LEC productions at only 4"x6". This copy comes without any slipcase. A very fine collectioble copy--as new. Signed by Illustrator(s).

Hardcover. Valenti Angelo (illustrator). Duodecimo (4" x 6") bound in full orange morocco gilt-stamped with a design by Valenti Angelo. Each page of text features decorative borders by Angelo, and there are 16 full-page miniatures printed in colors and hand-illuminated in gold by Angelo as well. Copy #845 of 1500 numbered copies SIGNED by the artist on the colophon page. About Fine, lacking the chemise, in a Very Good slipcase with a split at one edge.

Condition: Near Fine. New York: Limited Editions Club, 1945. First Thus, Limited to 1500 copies of which this is no. 1129. 12mo; publisher's full brown gilt-tooled morocco in paper-covered chemise and slipcase; xi,[1],135pp.; color illuminations throughout, text printed within elaborate border printed in blue, orange and yellow. Light soil to leather boards, remnants only of chemise, loss at top edge of fragile slipcase and bottom edges splitting; overall a Near Fine copy in a Good only example of the original slipcase. Signed by the illustrator on colophon in rear.

Condition: Sehr gut. Contemporary half-calf and marbled-paper boards, viii, 334 pages, rubbed at extremities, split along lower edge of spine (but hinge holding). A fragile but complete and unsophisticated copy. Second English edition of Beckford`s highly-influential Gothic novel. Dora Carrington`s copy. Inscribed on the front free endpaper: "for D[ora] C[arrington] from Lytton". Shelf-mark of Ham Spray House library, i.e. Lytton Strachey, and initialled "R[alph].P[artridge]." to front pastedown endpaper. Ultimately in the library of Ralph`s second wife, Frances Partridge - a phantastic Bloomsbury association copy, hard to get any better. Sprache: Englisch Gewicht in Gramm: 1050.

8°. 345(1) S., 3 Bl. Opbd mit Buntpapierbezug, Pergamentkapitalen und -ecken sowie Lederrückenschildchen. Schwarzgrauer Kopfschnitt. In Schmuckschuber mit Buntpapierbezug. Drei winzige, kaum erwähnenswerte Pünktchen von Bereibung, eines am Rücken (ca. 2 mm) und zwei an der Einschubkante des Schubers (je 1 mm), sonst absolut tadelloses Exemplar. Erste Auflage dieser Ausgabe. Eins von 500 numerierten Exemplaren der Vorzugsausgabe, im Druckvermerk vom Künstler signiert. Handeinband von Willy Pingel, Heidelberg. Sarkowski 117 VA. Tiessen 5. Nachwort von Reinhold Grimm. Sprache: de.

First edition. Interesting copy of this work by the author of the classic Gothic novel,Vathek,William Beckford (1760-1844). The book tells of Beckford's travels and explorations, mainly in Portugal in 1794. This copy bearing the ownership signature of British colonial official, Sir Alexander Johnston (1775-1849), who served as the third Chief Justice of Sri Lanka. 8vo, xi, 228pp. Engraved, portrait frontis. Original publisher's boards rebacked with cloth, original spine paper and label laid down. Ownership signature of Sir Alexander Johnston to half title. Boards typically worn and frayed at corners, light foxing throughout else well preserved and complete.

Full-Leather. Condition: Fine. No Jacket. 1st Edition. A superb copy of a small little book with large artistic characteristics-- produced by the famed Limited Editions Club. A beautifully produced edition of Beckford's famed Arabian tale--With gold gilt lettering and design on front and rear leather panels as well as spine. This is copy 899 of only 1500 produced with 16 color plates by Valenti Angelo and signed by him on the rear verso colophon page. Angelo is described accurately as the "Illuminator" because his beautiful artistic renditions are highlighted in gold leaf which has been hand painted by the artist on every single book. An exquisitely fashioned book. Signed by Illustrator(s).

Hardcover. Condition: Near Fine. Dust Jacket Condition: Fine. Valenti Angelo (illustrator). Limited Edition. Beautiful little book in a lovely slipcase. In unread condition, some wear on top and bottom of spine. #1251 of 1500 signed by "Illuminator" Valenti Angelo: A small little book with large artistic characteristics.Gold gilt lettering and design on front and rear leather panels as well as spine. Angelo is described accurately as the "Illuminator" because his beautiful artistic renditions are highlighted in gold leaf which has been hand painted by the artist on every single book. Signed by Illustrator(s).

Hardcover. Condition: Good+. First Edition thus. #138 or 220 signed by L'Editeur on the limitation page. Publisher's vellum, lightly soiled as typical. Offsetting from old newspaper clippings at the front.

First edition with Mallarmé's preface. Original gilt-lettered vellum, yapped edge, red silk ribbon page-marker. Inscribed by Mallarmé, 'A Théophile Marzials, très-cordialement, Stéphane Mallarmé', and with four autograph corrections to the preface. Rear board slightly soiled, stubs of two ribbon ties remain, the other two lacking, ribbon marker present but detached, a section of endpaper has been neatly excised from the front pastedown, causing some offsetting to the free endpaper, else a good copy. In August 1875, while working on his edition of 'Vathek', Mallarmé arrived at the British Museum Reading Room armed with letters of introduction from Edmund Gosse, including one for Théophile-Jules-Henri Marzials, generally known as 'Theo'. Marzials, Gosse explained to Mallarmé, was 'himself a great sympathiser with your contemporary Parnassians', and would 'put you in the way of obtaining all the help you need'. In 'Ancient Lights', Ford Madox Ford recalled Marzials as, 'in his young days the handsomest, the wittiest, the most brilliant and the most charming of poets'. He was popular among his colleagues at the British Museum and formed an intimate friendship with Edmund Gosse. Max Beerbohm told the story of how Marzials once disturbed the hush of the Reading Room by demanding, in a high-pitched voice: "Am I or am I not the darling of the the Reading Room?". After resigning from the British Museum in 1882, he retired first to Florence and then to Venice, where he stayed with John Addington Symons, who commented: 'He appears and disappears like a sprite, always eloquent and always bizarre'. In 1890 he was in Paris, carousing with Arthur Symons, who noticed that Marzials 'had a peculiar drug for which he had more than an abstract passion', further observing that he would 'surreptitiously take a small box out of his pocket, produce his drug unseen and deposit it in his wine'. Like Rossetti before him, Marzials had become addicted to Chloral. Three years later, back in London, he was 'rediscovered' by Henry Harland, editor of 'The Yellow Book', and attended the celebratory dinner to mark the publication of the first issue. In the spring of 1900, against prevalent rumours that Marzials had suffered a breakdown, Gosse wrote to Harland that he had seen their mutual friend recently and had found him in good health: 'Of course, when he has had an overdose of his poison, he does become incoherent : But he only took an overdose once during the ten days we were there'. Writing in 1911, Ford declared that Marzials' career had been tragic in the extreme and that he was now, he believed, dead. In fact, he was alive and living in Devon. A friend and frequent visitor, F.B. Skinner, recorded that Marzials' room continually smelt of chloral and the pickled beetroot that he kept by his bed. 'In another corner of the room,' Skinner writes, 'he kept a huge stock-pot on a stove, into which he threw all sorts of odds and ends so that he had a kind of perpetual stew. What he did with it I do not know, but we thought he gave it to some of the poorer farm-hands elsewhere.' Marzials had by now lost the habit of wearing socks, and of tying his boots with laces, and could be observed in the small hours singing softly as he walked barefoot in the garden, stopping now and then to 'take a flower between his fingers, bend down and kiss it, and murmur 'O my pretty!' Edition limited to 220 numbered copies, signed by the publisher. Signed by Author(s).

29,5 x 20,5 cm. 193 Seiten. Mit 1 Vignette und 10 Orig.-Farbradierungen von Gottfried Helnwein. Blauer Orig.-Halblederband mit Rückentitel und reicher Rückenvergoldung. In Orig.-Schuber. - 6. Druck der Bear Press. Eines von 170 nummerierten Exemplaren auf Zerkall-Bütten, gedruckt in der Baskerville-Antiqua. Der Maroquinband wurde von Helmuth Halbach meisterlich gebunden. Das Impressum zusätzlich vom Künstler signiert. Tadelloses Exemplar.

345(3) S., handgebundener OPbd im OSchuber, Leder-Kapitale und Ecken mit Pergamentverstärkung, Einbandgestaltung durch Willy Pingel, Textdruck in der Offizin Chr. Scheufele. Druck der Original-Lithographien bei der Cantz'schen Druckerei, Stuttgart. Leder-Rückenschildchen mit vergoldetem Titeldruck, Farb-Kopfschnitt. Limitierte Auflage von 500 nummerierten Exemplaren, die alle von Blecher im Kolophon signiert wurden. Sarkowski 117 VA. Neuwertiges Exemplar. Fine copy. Limited Edition. Handsigned by Blecher. Actually it is not possible, sending books to the USA. Aktuell können keine Bücher in die USA versandt werden. Sprache: Deutsch Gewicht in Gramm: 500.

2 Bll, 193 S., 3 Bll., 4°, von Helmuth Halbach handgebundener Original Halbledereinband auf 5 Bünden, vergoldeter Rückentext und -verzierung, Lederkanten, Kopfgoldschnitt, marmorierter Schuber, Handsatz auf der Baskerville-Antiqua von Kurt Mosebach, Druck auf Zerkall Bütten von Rudolf Ritscher. Mit zehn farbigen ganzseitigen Original-Radierungen von Gottfried Helnwein. Im Impressum vom Künstler handschriftlich signiert. Die Gesamtauflage beträgt 200 Exemplare, hier eines der sogenannten Normalausgabe, daß jedoch nicht nummeriert, sondern mit "E.A." (Edition de Tete) gekennzeichnet ist. Spindler 73.6; Sechster Druck der Bear Press Bayreuth. Gutes Exemplar. Rücken minimal verblichen. Fine copy. Limited Edition. Handsigned by Helnwein. Actually it is not possible, sending books to the USA. Aktuell können keine Bücher in die USA versandt werden. Sprache: Deutsch Gewicht in Gramm: 1000.

Paris, Adolphe Labitte, 1876. In-8 (145 X 209 mm) vélin ivoire à rabats, rubans pourpres et noirs (reliure de l'éditeur) ; (1) f. blanc, XL pages, (1) f. blanc, (1) f. d'approbation et privilège, 190 pages, (4) ff. dont un blanc. Les rubans noirs d'attache du plat inférieur sont manquants, rousseurs claires très éparses, plus marquées aux trois premiers feuillets et aux pages 1 à 15 et 186-187. ÉDITION ORIGINALE de l'importante préface de Stéphane Mallarmé et des variantes ou corrections du poète de ce roman néo-gothique de William BECKFORD (1760-1844), l'un des rares écrivains anglais d'expression française. Tirage limité à 220 EXEMPLAIRES sur beau vergé numérotés et paraphés par l'éditeur (n°188). EXEMPLAIRE DE LÉON CLADEL, comportant un ENVOI AUTOGRAPHE signé à l'encre rouge du préfacier : «A Léon Cladel / Son ami et son admirateur / Stéphane Mallarmé ». CORRECTIONS AUTOGRAPHES à l'encre noire de Stéphane Mallarmé, pages XXV (deux biffures), XXXVII et XXXVIII. Léon CLADEL (1835-1892), aujourd'hui injustement oublié, fut admiré par Baudelaire, Flaubert, Huysmans, Mallarmé, Vallès et Zola. Baudelaire préfaça son premier livre "Les Martyrs ridicules" (1862), Tourgueneff le fit traduire en russe et Barbey le qualifia de « rural écarlate ». Romantique de la dernière heure, d'un lyrisme ardent et exalté, il se rattache aussi à l'École Naturaliste et même au Symbolisme. C'est chez l'éditeur Alphonse Lemerre, qui publia nombre des poètes du Parnasse contemporain, que Léon Cladel rencontre Stéphane Mallarmé, à qui le lia une amitié qui ne fit que s'affermir au fil du temps. Cette amitié fut nourrie par l'échange de nombreux exemplaires dédicacés de leurs ?uvres respectives, ainsi que par une abondante correspondance dans laquelle Mallarmé adressait ses lettres à Cladel en commençant par « Mon cher ami », avant que l'amicale expression n'évolue en un affectueux « Vieux Cladel ». En 1876, c'est à Léon Cladel, Léon Dierx et Catulle Mendès que Mallarmé dédicace la première édition de "L'après-midi d'un faune", illustré par Édouard Manet : « Offrir à trois amis, ayant pour nomCladel, Dierx&Mendès,ce peu de vers (qui leur plut) y ajoute du relief ». Il s'agissait pour Mallarmé de remercier les trois personnes qui seules avaient pris sa défense devant les atermoiements du jury du comité de rédaction où siégeaient François Coppée, Théodore de Banville et Anatole France, lorsqu'il proposa de publier son "Improvisation du faune" dans le recueil du "Troisième parnasse contemporain". C'est donc dans ce contexte de vive admiration et de profonde reconnaissance que Mallarmé dédicace cet exemplaire du "Vathek" de Beckford à Léon Cladel, quelques mois seulement après la publication de "L'après-midi d'un faune". SÉDUISANT EXEMPLAIRE de cette publication raffinée, conservée dans sa reliure d'origine, d'une MAGNIFIQUE PROVENANCE. (Galantaris, 256 - Monda & Montel, pp. 16-18 - Oberlé, "Poulet-Malassis", p. 144). NICE COPY. PICTURES AND MORE DETAILS ON REQUEST.