eliot george pseudonym (10 Ergebnisse)

Hard Cover. Zustand: Very Good. Zustand des Schutzumschlags: No Dust Jacket. First Edition Thus.

3/4 Morocco, Gilt. Zustand: Near Fine. 1st Edition. 25 Volumes, Complete. #191 Of 750 Copies Of The Large Paper Edition. Original Publisher's Three Quarter Red-Brown Crushed Morocco, Five Bands, Gilt Lettering With Decorations On Spine, Gilt Rules On Covers, Over Rose/White Marbled Paper With Matching Endpapers. Top Edges Gilt; Red Silk Book Mark Ribbons Bound Into Each Volume. With A Two Page Handwritten Letter By George Henry Lewes On His "The Priory" Letterhead, Undated; "My Dear (M---), If The Editor Does Not Print Both Your Articles It Will Assuredly Not Be Because They Dont (Sic) Deserve It- They Are Admirable-But He Saves His Space For (----?). On The First Topic He Has A Note From Me, (---------) In Answer To Bain, + As We Take The Same Line He May Think Yours Superfluous Carrying Of Coal To The (-----) Depot. In A Letter From Ritter Rec'd The Other Day He Plaintively Remarks That You Haven't Written Since May Last. Now The Book Is Appearing I Dare Say You Will Feel The Impulse As (---?) Or It To Him. Yes, What You Say About Mrs. Lewes's Happiness In Her Work Is True- The Pain Is There But Tis Delicious Pain After All, And The Deep Feelings She Creates In Others Reacts Upon Herself To Make Her Prize Her Power. Tomorrow You Will Have The Spoiled Child. Ever Yours, Ghl." The Set Exceptionally Well Preserved, Near Fine, Just A Few Points Of Rubbing At Corners, All Spines Uniformly And Evenly Browned. [Note: Books Not Signed, But With Signed Letter From George Lewes). Signed by Author(s).

First edition with these illustrations. Deluxe issue. Publisher's original vellum, elaborately decorated and with titles in gilt to the upper board and spine. Top edge gilt. Red ribbon page marker, present but loosely laid in. With a tissue guarded frontispiece, illustrated title page and a further 22 full page colour plates after watercolours by C. E. Brock. A near fine copy, the binding firm with a little bowing at the board ends, the vellum and gilt bright and fresh. The contents, with a neat ownership inscription (dated 1912) to the blank front free endpaper, and a touch of spotting to the closed text block edge, are otherwise clean throughout. A beautifully illustrated edition of Eliot's classic of English literature, in the publisher's deluxe binding. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers.

[Literary Works] FINELY BOUND COMPLETE WORKS. Complete in 25 volumes. Number 98 of 750 sets thus, hand numbered to the limitation page. Each volume illustrated with several black and white photogravure plates, and a colour frontispiece. Contemporary maroon three-quarter morocco, with raised bands, gilt titles and decoration to spines, and 'morris' marbled paper over boards. Top edges gilt; others untrimmed, and 'morris' marbled endpapers. Gently toned throughout, otherwise internally crisp and clean. Very slight sunning to spines, and a hint of minor wear, otherwise a stunning, crisp, near fine set.

[Classic Literature] FINELY BOUND SET. Complete in 21 volumes. Octavo (19 x 13 x 59cm). Contemporary brown half morocco for Blackwell's, with gilt titles and decoration to spines, and marbled paper over boards. Top edges gilt; marbled endpapers. Gently toned throughout, with some spotting to edges. Occasional moderate spotting throughout. Light to moderate wear to bindings, with a few minor points of re-colouring. Very good.

[Classic Literature] FINELY BOUND SET, mixed printings from a New Edition. Complete in eight volumes, bound as seven. Octavo (19 x 14 x 22cm), pp.[2] viii; 466 [2]; pp.[2] xii; 486 [2]; pp.[2] vi; 158; viii; 330 [2]; pp.[2] vi; 430 [2]; pp.[2] x; 504 [2]; pp.[2] viii; 621 [3]; pp.[2] vi; 612 [2]. Each volume with seven engraved plates, including a vignette title page, except Romola, Middlemarch, and Daniel Deronda, which only have a vignette title page. Contemporary brown half morocco, with raised bands, gilt titles to spines, and marbled paper over boards. Top edges gilt. Ink ownership to first blank of each volume, with a large pencil inscription below it in 'Adam Bede'. Toning and spotting to edges, otherwise internally crisp and clean. Some light wear to bindings, otherwise an attractive very good set.

8vo. 4 pp. Printed letterhead The Priory, 21. North Bank, Regents Park". To Fanny Lewald, who had asked her to assist with the translation of her husband Adolf Stahr's biography of Tiberius into English. At first, about family matters. [] We are beginning to shrink from the fatigues of seeking change in foreign travel, & are inclined rather to spend the finer months of the year in an English coun- try place a villeggiatura which will not demand a long railway journey as a preliminary. We neither of us, I think, shall be fit for comparison with you, even long before we reach our 62nd birthday. For I imagine you looking still, not only handsome, but strong & animated, making life more cheerful to others by the mere sight of you.Now about the Tiberius! [] I fear that there is hardly a chance of its finding its way into an English translation. The truth is, our public is stupidly indifferent to certain forms of literature, & publishers here are especially disinclined to historical works which cannnot secure the sale of school books. I shall take care to mention the work to studious & accomplished men, who might possibly be able to review the work in one of the higher periodicals []".

Includes first "De Luxe Edition", number 971 of 1000 numbered copies: the first book edition with complete Leighton illustrations. First letter: 6 pages, comprised of a bifolio and a single sheet, handwritten in black ink on 5 pages, printed header "16 Blandford Square, N.W." struck through, "Beach Hotel, Little Hampton, Sussex, Sep. 10. 62" added by hand. Second letter: bifolio, handwritten in black ink on 4 pages, printed header "16 Blandford Square, N.W.", dated "Tuesday", pencil annotation by later hand to verso of final leaf dating "?10 June 1862" Two detailed letters from Eliot to her illustrator, Frederic Leighton, demonstrating her extensive research into Italian history for her novel Romola, her anxiety over its factual minutiae, and her satisfaction with Leighton's interpretation of her work. Romola was first published in Cornhill Magazine from July 1862 to August 1863, and each of the fourteen parts included two illustrations by Leighton. The story takes place in fifteenth-century Florence, and Eliot was anxious to be as accurate as possible in her depiction of historical characters and events. She visited Florence with her partner George Lewes on multiple occasions from 1860, where she spent days in libraries researching the fine points of Renaissance Italy, "grubbing through collections of Tuscan proverbs to cull archaic colloquial phrases and to discover precisely what kind of cloth 'the sajo, or tunic' was made of, how 'the purse, or scarcella' was worn" (Haight, p. 353). Leighton, who had lived in Florence as a child and knew Italy well, was chosen to draw the illustrations at £20 each. On meeting Eliot, Leighton wrote to his father, describing her with an artist's eye. She had "a very striking countenance. Her face is large, her eyes deep set, her nose aquiline, her mouth large, the under jaw projecting, rather like Charles Quint; her voice and manner are grave, simple, and gentle . her I shall like much" (quoted in ibid., p. 356). Eliot, in turn, was pleased with Leighton and delighted by his designs. "He is an invaluable man to have", she wrote elsewhere, "because he knows Florence by heart" (ibid., p. 360). The first letter, dated 10 June 1862 in pencil by a later hand, is concerned with the dress of Florentine women. Leighton was shortly to visit Florence, and Eliot entreats him to research: "If you are going to see Ghirlandajo's frescoes. I wish you would especially notice if the women in his groups have not that plain piece of opaque drapery over the head which haunts my memory. We were only allowed to see those frescoes once, because of repairs going on". She compares the dress of the "peasant" and the "city woman", wrestles with the difference between a gamurra and gamurrina, and expresses "anxiety" at her potential inaccuracies: "Approximative truth is the only truth attainable, but at least one must strive for that, and not wade off into arbitrary falsehood". In the second, dated 10 September 1862, Eliot discusses the difficulties of finding good models for Piero di Cosimo and Niccolo Caparra and reflects on Leighton changing his model for Romola, noting that "If you feel any doubt about the new Romola, I think it will be better for you to keep the original representation. which some accomplished people told me they thought very charming. It will be much better to continue what is intrinsically pretty than to fail in an effort after something indistinctly seen". She expresses further apprehension about the accuracy of her work, noting "I have a tremulous sense of my liability to error in such things" and expressing gratitude for Leighton's honest opinions: "I am really comforted by the thought that you will mention doubts to me when they occur to you. My misery is the certainty that I must be often in error". These letters were published in Emilie Barrington's The Life, Letters, and Work of Frederic Leighton, 1906. [WITH]: Eliot, George. Romola. London: Smith, Elder, and Co., 1880. Large 8vo, 2 vols. Cream colored cloth with paper spine labels. Some sunning to spines, general soiling; interior quite bright and clean, with some tape residue to endpapers. Although Leighton created the art for the serial edition of Romola, they did not appear complete in book form until this edition. Gordon Sherman Haight, George Eliot: A Biography, 1968; Baker & Ross, A7.4 Horizontal creases where previously folded for mailing, pinholes to corners, mounted a little tightly, faint toning to edges: well-preserved First letter: 6 pages, comprised of a bifolio and a single sheet, handwritten in black ink on 5 pages, printed header "16 Blandford Square, N.W." struck through, "Beach Hotel, Little Hampton, Sussex, Sep. 10. 62" added by hand. Second letter: bifolio, handwritten in black ink on 4 pages, printed header "16 Blandford Square, N.W.", dated "Tuesday", pencil annotation by later hand to verso of final leaf dating "?10 June 1862" Includes first "De Luxe Edition", number 971 of 1000 numbered copies: the first book edition with complete Leighton illustrations.

FIRST EDITION. 220 x 148 mm. (8 5/8 x 5 3/4"). 3 p.l., 358 pp. (bound without the 8 pp. of ads at rear). Very attractive late 19th century polished calf by Riviere & Son (stamp-signed on verso of front free endpaper, covers with triple gilt fillet border, rosettes at corners, raised bands, spine gilt in compartments with vase of flowers at center surrounded by small tools, leafy sprays at corners, one red and one green morocco label, turn-ins with floral gilt roll, marbled endpapers, top edge gilt. Front pastedown with morocco bookplate of Robert Hoe. Baker & Ross A9.1.a. âSpine very lightly and evenly sunned, a little wear to top half-inch of front joint, other trivial imperfections, but still quite a fine copy--clean, fresh, and bright internally in a binding with few signs of use. Though known for her novels, George Eliot also wrote poetry that was much praised by her contemporaries. This blank verse play set during the Spanish Inquisition tells the story of a gypsy girl separated from her family and raised by Catholic Spanish nobility, but who then forsakes her privileged life and aristocratic fiancé to succeed her father as leader of the gypsies. In a contemporary review, fellow novelist Henry James described it as "marvellously crafted, beautiful and imaginative," while Eliot's biographer Gordon Haight proclaimed it "undoubtedly much the greatest poem of any wide scope and on a plan of any magnitude, which has ever proceeded from a woman." The beautiful bindings by the leading English workshop Riviere and the sparkling condition here are characteristic of books from the collection of our earlier owner Robert Hoe (1839-1911), founding member and first president of the Grolier Club. According to Beverly Chew, Hoe's library was "the finest [America] has ever contained." Hoe acquired illuminated manuscripts, early printing, French and English literature, and very fine bindings; when his library was sold in 1911-12, it fetched nearly $2 million, a record that held until the Streeter sale more than 50 years later. If a book has the Hoe bookplate, one can be assured that it was chosen with discrimination and will almost certainly be in as fine a state of preservation as could be hoped for.

FIRST EDITION. 197 x 123 mm. (7 3/4 x 5 7/8"). Three volumes. Very attractive late 19th century polished calf by Riviere & Son (stamp-signed on verso of front free endpaper), covers with triple gilt fillet border, rosettes at corners, raised bands, spines gilt in compartments with vase of flowers at center surrounded by small tools, leafy sprays at corners, one red and one green morocco label, turn-ins with floral gilt roll, marbled endpapers, top edges gilt. Front pastedowns with morocco bookplate of Robert Hoe. Baker & Ross A8.1. âA hint of sunning to spines and to half-inch at head of rear cover of volume I, but AN ESPECIALLY FINE SET--the text clean, fresh, and bright, and the bindings unworn. This is the handsomely bound Robert Hoe copy of a celebrated three-decker centering on a political election during the Reform Bill controversies of the 1830s. It is atypical as the author's only political novel, but typical in that it presents an engrossing sociological analysis through a close scrutiny of the provincial middle class. Characterized by Lord David Cecil as the first modern novelist, George Eliot (born Mary Ann Evans, 1819-80) brought to her work an impressive intellect that left a profound mark on the evolution of British fiction. After her, "the English novel would be not only the product of a sensitive observer and natural artist, but also the vehicle for ideas based upon a conscious rational philosophy." (Day) The beautiful bindings by the leading English workshop Riviere and the sparkling condition here are characteristic of books from the collection of our earlier owner Robert Hoe (1839-1911), founding member and first president of the Grolier Club. According to Beverly Chew, Hoe's library was "the finest [America] has ever contained." Hoe acquired illuminated manuscripts, early printing, French and English literature, and very fine bindings; when his library was sold in 1911-12, it fetched nearly $2 million, a record that held until the Streeter sale more than 50 years later. If a book has the Hoe bookplate, one can be assured that it was chosen with discrimination and will almost certainly be in as fine a state of preservation as could be hoped for.