Virginia Woolf (Over 6,300 results)

Vanessa Bell (illustrator). First Edition. N.P.(London): Vanessa Bell, 1926. Vanessa Bell. First Edition. [Virginia Woolf] Bell, Vanessa. 1926 EARTHENWARE TILE. n.p., 1926. 6" x 6" mounted and framed; entire measurement 11 1/4 by 11.

First edition of one of Woolf's best-known novels, one of only 2000 copies. Octavo, original orange cloth. Fine in a near fine dust jacket with some light wear to the extremities. From the library of Virginia bibliophile and historian Christopher Clark Geest with his bookplate to the pastedown. Housed in a custom half morocco clamshell box. An exceptional example, scarce and desirable in the original dust jacket and in this condition. "In Mrs. Dalloway Woolf breaks decisively with the fictional conventions of the realistic novel. The technique is almost orchestral, introducing and then interweaving the strains of the different charactersâ thoughts, and finally engineering, through a subtle sequence of readjustments and realignments, a new and delicate harmony between them at the close of the book. Mrs. Dalloway thus initiated Woolfâ s sequence of radical experiments with literary form, embodying a striking combination of fluid sympathy and secret resistance. Through the novelâ s rapid transitions between apparently disconnected, but secretly related stories, Woolf was able to suggest the hazards of neatly pigeonholing human character according to social situation or gender" (Parker, 110-11). in 2005 it was included on Time's list of the 100 best English-language novels written since 1923. It was adapted to the 1997 film starring Vanessa Redgrave in the title role.

First edition, 8vo., original deep yellow cloth, printed paper label, all edges uncut. London, The Hogarth Press. One of forty copies only, issued to ?A? subscribers of the Hogarth Press, signed by the author ad personam, for Lady Dilke, on a subscriber?s slip tipped on to the front free endpaper. ?A? subscribers had deposited money with the press to receive all publications, as opposed to the ?B? subscribers who simply received notice of all publications. The Dilke family were friends and neighbours of the Stephen family in London and featured in several of the ?Hyde Park Gate? stories, with which Virginia and her siblings used to entertain themselves as youths. Lady Ethel Dilke would later be on the English committee for the Femina Vie Heureuse Prize, a French literary prize open to men and women, but judged only by women. It still thrives in France, and during the inter-war years was extended across the Channel, with a separate committee to choose a novel ?calculated to reveal to French readers the true spirit and character of England? Judging from comments to Vanessa Bell and Vita Sackville-West, Woolf had at best mixed feelings towards Dilke, describing her as ?mincing, powdered, affected, vulgar, effusive, fawning?; Woolf won the prize herself in 1928, and described receiving it ?in a South Kensington drawing room full of elderly fur bearing women, among whom the loveliest and sprightliest was Ethel Dilke.? 14-page publisher?s advertisements. Ownership inscription to front paste-down, ?F [Francis] & E [Ethel] Dilke 53 Sussex Gardens W.2.? Label browning slightly and nicked, otherwise an excellent copy, housed in a protective brown cloth-backed box, lettered in gilt on a black leather label. Kirkpatrick A6a.

First edition. One of some 40 special, 'A Subscribers' copies with the publisher's tipped in printed slip to that effect, inscribed to A.L. Daykyns and signed and dated by Virginia Woolf. Original publisher's yellow cloth with title label to spine. A very good copy with a small split to the head of the spine and minor wear to the title label, but generally clean. Internally bright, with occasional looseness to the sections. A well preserved example of a noted rarity. "in the early days of the Hogarth Press two categories of subscribers were formed, 'A Subscribers' who made a deposit and received all publications of the press, and 'B Subscribers' who were notified of all publications. With the publication of Jacob's Room the decision was taken to establish the Hogarth Press as a business concern and in future to publish all of Mrs Woolf's works. Mr Woolf thought that in order to acknowledge the support given by the 'A Subscribers' to the early publications of the press each subscriber was send a signed copy of Jacob's Room" - Kirkpatrick (A Bibliography of Virginia Woolf). A.L. Dakyns was a political economist and correspondent of J.M. Keynes. Kirkpatrick A6a.

Condition: Very Good+. Dust Jacket Condition: Very Good. First Edition. First edition, first printing, in the original dust jacket designed by Virginia Woolf's sister, Vanessa Bell. Bound in publisher's original blue cloth with spine lettered in gilt. Very Good+ with light fading to spine cloth. Some foxing throughout, though heaviest at textblock edge, early and final pages. Previous owner name to front free endpaper and again on the half title page. The dust jacket is Very Good, with the usual toning to the spine, some soiling and foxing, chips to the corners and spine ends and a tear to the bottom edge of the front panel. A bright copy of one of the author's most enduring works. In 1998, the Modern Library ranked To the Lighthouse as number 15 on its list of the 100 best English-language novels of the 20th century.

First edition of one of Woolfâ s most popular and acclaimed major novels, in the extremely rare original dust jacket designed by Vanessa Bell, Woolfâ 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. 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 â displays Woolfâ s technique of narrating through stream of consciousness and imagery at its most assured, rich, and suggestiveâ (Drabble, 990). â In its portrayal of lifeâ ¦ it gives us an interlude of vision that must stand at the head of all Virginia Woolfâ s workâ (New York Times). To the Lighthouse was â written at the height of her luminous Impressionist visionâ ¦ 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 valuesâ (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.

Soft cover. Second Edition. Richmond: Hogarth Press, 1919. Second Edition. Soft cover. Woolf, Virginia. KEW GARDENS. Richmond: Hogarth Press, 1919. Second Edition. (500 copies printed). 8vo. 16 pp. With two engravings by Vanessa Bell.

A first edition, first printing published by The Hogarth Press in 1927. A very good book with a little light spotting to the page edges. No inscriptions. Some fading to the spine and some wear to the edges. In a very good dust wrapper which has some light restorative repair to the spine, mainly internally. There is a thin amount of chipping to the tail of the spine and a larger chip to the head. The blue lettering on the spine is still vibrant and bright. Some creasing and a little loss to the corners. Upon completing the draft of this, her most autobiographical novel, Woolf described it as 'easily the best of my books' and her husband Leonard thought it a "'masterpiece'. entirely new 'a psychological poem'". They published it together at their Hogarth Press in London in 1927. The first impression comprised 3000 copies. The book outsold all Woolf's previous novels, and the proceeds enabled the Woolfs to buy a car which one would assume they used to drive to a lighthouse.

1st Edition. London: The Hogarth Press, 1937. 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.

Broadside. Two woodcut illustrations by Vanessa Bell. 330 x 170mm. Single leaf, printed. London, Chelsea Book Club Broadside No. 1, printed [bu John Rodker] at 43 Belsize Park Gardens. Rare broadside published by the Chelsea Book Club to celebrate the third edition of The Mark on the Wall, with two original woodcuts by Vanessa Bell, the first made especially for this issue. The text consists of the last paragraph from The Mark on the Wall, consisting of 24 lines. The Club was owned by Arundell del Re - despite its name it seems to have incorporated a small shop that sold fine books and decorative art. Of the broadside itself the excellent essay in Comparing Marks: A Versioning Edition of Virginia Woolf's ?The Mark on the Wall? published in Scholarly Editing, Vol. 35, states that ?It is unclear whether the broadside was meant as an art piece for sale in the Chelsea Book Club, or if it was an advertisement for either the shop or for Woolf?s writing? Kirkpatrick, A Bibliography of Virginia Woolf, A2c.

Vanessa Bell (illustrator). First Edition. London: The Hogarth Press, 1938. Vanessa Bell. First Edition. Signed by Author. Woolf, Virginia. THREE GUINEAS. Signed By Virginia Woolf. London: The Hogarth Press, 1938. First Edition Neatly Signed by.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. The HOGARTH PRESS, London, 1927. Hard Cover. A near fine first illustrated edition in a near fine dust jacket, with the spine completely intact, which is very rare, and most of the original clear wax paper outer jacket present. Vanessa Bell (illustrator). First Illustrated Edition. 4to - over 9¾" - 12" tall. No. 133 of 500 Copies Signed by Virginia Woolf and Vanessa Bell with the characteristic purple ink. Rust, mustard and grey floral design and lettering on front cover. Housed in a custom-made cloth folding case with gilt lettered leather label on spine. Signed by Author and Illustrator.

Hardcover. Condition: Fine. 1st Edition. LIMITED EDITION of 492 numbered copies. This copy is authentically SIGNED by Virginia Woolf. A wonderful copy bound in the ORIGINAL Red cloth from the publisher. The binding is tight and the boards are crisp with light wear to the spine and edges. The pages are exceptionally clean with NO marks or bookplates in the book. Overall, a superb copy SIGNED BY THE AUTHOR with an acetate cover to protect the book. We buy SIGNED Virginia Woolf First Editions. Signed by Author(s).

Hardcover. Dust Jacket Included. Vanessa Bell (illustrator). First Edition. London: Hogarth Press, 1925. Vanessa Bell. First Edition. Hardcover. Signed by Author Virginia Woolf. Vanessa Bell. First Edition. Woolf, Virginia. THE COMMON READER: SECOND SERIES. Signed By Virginia Woolf. London.

Hardcover. Dust Jacket Included. Vanessa Bell (illustrator). First Edition. London: Hogarth Press, 1925. Vanessa Bell. First Edition. Hardcover. 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.

Orignial publisher's box. Condition: Very Good. First edition. 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 Woolfsuccumbed", 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.

First edition, first impression, first issue binding, in an unusually nice copy of the jacket; this is one of Woolf's scarcest books to find in dust jacket, and seldom in such nice condition. It is the first of the two volumes of Woolf's Common Reader, each series being a discrete work in its own right; the second was published in 1932. The Common Reader series comprise critical essays, articles, and book reviews that had previously appeared in various publications. "Woolf was trying to bring imagination and cohesion to a disparate collection, unified only by her approach and personality. The Times itself saw Woolf as 'a novelist deliberately using her creative imagination' and praised her for 'conduct[ing] us not into the classroom but out of it'" (Clarke, introduction). Kirkpatrick A8a; Woolmer 81. Stuart N. Clarke, ed., The Essays of Virginia Woolf, Volume 5: 1929-1932, 2017. Octavo. Original grey cloth-backed pictorial boards, designed by Vanessa Bell, spine lettered in black. With dust jacket. Bottom edge slightly bumped with a touch of wear, boards mildly toned remaining bright, minor foxing to edges, internally crisp and clean. An excellent copy in the scarce jacket, lightly browned, spine ends and tips lightly chipped, couple of closed tears at edges; a very well-preserved example.

First edition of one of Woolfâ s most popular and acclaimed major novels. Octavo, original cloth. Very good in the extremely rare original dust jacket which is in very good condition with rubbing and wear to the extremities. Jacket design by Woolf's sister, Vanessa Bell. Housed in a custom half morocco clamshell box. Published two years after Mrs. Dalloway and three years before The Waves, To the Lighthouse â displays Woolfâ s technique of narrating through stream of consciousness and imagery at its most assured, rich, and suggestiveâ (Drabble, 990). â In its portrayal of lifeâ ¦ it gives us an interlude of vision that must stand at the head of all Virginia Woolfâ s workâ (New York Times). To the Lighthouse was â written at the height of her luminous Impressionist visionâ ¦ 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 valuesâ (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.

Condition: About Fine. Signed Limited First Edition. 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.

Hardcover. Condition: Fine. 1st Edition. SIGNED/LIMITED EDITION of 492 numbered copies. This copy is SIGNED by Virginia Woolf. A beautiful copy with light wear to the edges. The binding is tight with minor wear to the spine and panels. The pages are exceptionally clean with no writing, marks or bookplates in the book. Overall, a lovely copy of this TRUE FIRST EDITION SIGNED BY THE AUTHOR. We buy Virginia Woolf First Editions. Signed by Author(s).

Hardcover. Dust Jacket Included. First Edition. New York: Harcourt, Brace and Company, 1929. 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 & 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. Excellent copy. Kirkpatrick A12c.

Hardcover. Dust Jacket Included. Vanessa Bell (illustrator). First Edition. Toronto: McClelland & Stewart, 1932. 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 dustwrappers have surfaced in the last 30 years.

Hardcover. Condition: Near fine. Dust Jacket Condition: very good. First Edition. 1st American edition of her second book, mining Shakespeare's As You Like It. Near fine (edges slightly faded), in a very good jacket, faint shadow of a number on the spine, edgetears and corner chips, but no repair, and for this jacket, more pleasing than doing good in secret and being found out by accident. In answer to Albee's question, I'm afraid of Virginia Woolf. There's not enough space here, and I'm not smart enough, nor enough of a researcher to tell you much about her you don't already know, but I'll take my shot at stepping into the shoes of a great lady, and externally considering her for a paragraph attentive to outside events that invaded her inner peace and twisted her life, all because no one ever told her that detachment is the sure, and only, road to serenity She was entitled. Her mother was a Pre-Raphaelite model so she got her babeness by gene. Her father was a Sir of letters with a gigantic personal library, and as a result her home-schooled education was an erudite exhibition of late Victorian society (the way of the mouse, symbolic of industry in quiet places). At 13 her mother died and she crumpled into a (her first) nervous breakdown. She was 18 when the 20th century arrived, so she regrouped, laced her shoes tight and, like most of her generation, met it teeming with hope. But in the background, fate was already icing the stairs, and during the 20th century's first decade the dull were full of themselves, and the bright were full of doubt, so the wealth of the empires (amassed over 5 centuries) was trashed in the woodchipper of W. W. I. Virginia reeled, but she knew that a part of every process is only discipline, so she buffed-up with the competence of stout feminist instincts, and the resolve of The Little Engine That Could, became an exalted author and publisher, surrounded herself with a circle of brilliance, and pursued ideas for their own sake. Then the depression flipped her out, and W. W. II shook the ground beneath her feet (and a German bomb flattened her house), and the pressure inside her spirit began to build (you can hide the fire but you can't hide the smoke), and like the pressure in the atmosphere, she didn't sense it, but it was still there, at 15 pounds per square inch, and mistaking feeling for thinking (the undiagnosed bipolar), she guessed that 59 was old enough, and that coping might be the mesh through which real life escapes, so she spit the bit, channeled her inner Billy Joe McAllister, donned an overcoat, filled the pockets with stones, walked into the River Ouse, and never came back.

Cloth. Condition: Near Fine. First Edition. Original red cloth, gilt title, (9.75 x 6 inches), 159 pages, plus numbered colophon. Signed limited first edition, number 261 of 492 copies signed by Woolf in her characteristic purple ink on the half title page, of which only 450 were for sale. Printed in U.S. by Robert Josephy and published on October 21, 1929, this edition preceded the English edition, both signed and trade, by three days (Kirkpatrick A12. Woolmer 215A). Exterior is in exceptionally fine condition, cloth is clean, and bright, the corners tight; internally, there is a closed tear along edge on page 65 (presumely from hastily opening the uncut page), binding is tight, overall a desirable copy of this classic feminist text. Size: Tall Octavo. Signed.

Signed limited first edition of Woolfâ s immensely popular feminist classic, one of only 800 copies signed by her in her characteristic purple ink. Octavo, original publisher's cloth decorated in gilt, top edge gilt, engraved frontispiece portrait of Orlando as a boy, illustrated with engravings. One of 800 copies signed by Woolf on the verso of the half-title page. Typography by Frederic Warde. In fine condition. Easily one of the nicest we have seen. Woolf is considered to be one of the greatest twentieth century novelists and one of the pioneers among modernist writers using stream of consciousness as a narrative device. Following her 1912 marriage to Leonard Woolf, the couple founded the Hogarth Press in 1917, which published much of her work. Arguably one of Woolf's most popular novels, Orlando describes the adventures of a poet who changes sex from man to woman and lives for centuries, meeting the key figures of English literary history. Considered a feminist classic, the book has been written about extensively by scholars of women's writing and gender and transgender studies and has been adapted a number of times for stage and screen.

Condition: Near Fine. First Edition. First edition, large paper issue, copy number 400 of a limited 492 signed by Virginia Woolf in purple ink. Publisher's original red cloth covered boards with titles in gilt on spine. Near Fine with subtle sunning to cloth, trivial wear to corners and spine ends and toning to pages. A lovely copy of Woolf's feminist essay, which proclaims "a woman must have money and a room of her own if she is to write fiction.".

Condition: Near Fine. Dust Jacket Condition: Very Good. Signed Limited First Edition. Signed limited first edition. One of 250 copies signed by Virginia Woolf; with the colophon page in the first state with a rule through "125" and "250" printed above, as the size of the edition increased to 250, after the planned edition of 125 copies was over-subscribed. Bound in publisher's green cloth over vellum spine lettered in gilt. Near Fine with light toning, former owner name to front free endpaper. In a Very Good dust jacket with toning, several edge chips and tears, and a short split at the foot of the front flap fold.

Condition: About Fine. Signed Limited First Edition. Limited first edition. Copy 292 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 and very slight fading to the spine. A lovely copy.

Condition: Fine. A fine copy. Signed Limited Edition, number 275 of 492 copies, Housed in a custom morocco, clam shell case. A very nice copy. No bumped corners to book. No ownership signatures. Issued without a jacket, now in a protective acetate sleeve.

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. Limited Edition. The Hogarth Press, London., 1930. First edition. Octavo. 35 pages. Hand-set by the author. Hand-printed by the author and Leonard Woolf. Decoration by Vanessa Bell. Marbled endpapers. Parchment-backed cloth. Number 49 of 250 copies signed by the author. Fine in a fine dust jacket, housed in a custom-made quarter-leather folding case.