Elinor Glyn Books & Ephemera collection 168 items

GLYN, Elinor (née Sutherland) (1864-1943)

Elinor Glyn Books & Ephemera collection [168 items]

Date Published: 1902 to 2009
Binding: Hard & Soft cover

THE QUEEN OF ROMANCE FICTION, A HOLLYWOOD ICON OF THE 1920s

Elinor Glyn was an English author, journalist and screen writer and best known for Three Weeks (1907) a steamy romance novel which was shocking for its time. She specialised in romantic fiction which was considered scandalous for its time, although her works are relatively tame by modern standards. Her vibrant romances dealt with aristocracy and issues of morality in society. She popularized the concept of the It-girl and had tremendous influence on early 20th-century popular culture and, possibly, on the careers of notable Hollywood stars such as Rudolph Valentino, Gloria Swanson and, especially, Clara Bow.

This large collection contains 168 items dating from 1902 to 2009, specifically, 60 Ephemera and archives, 103 Books and 5 Books about Elinor Glyn and related material.

60 Ephemera and archives:

• Autograph page from a guest book signed by Glyn, Margot Glyn (her daughter), and others, 1-3 August 1912.

• “The Awakening of Lady Ardayre” in Hearst's 34, no. 6 (December 1918): 435-7, 489-91. Iconic illustration on the front cover of an eagle and a woman in stars and stripes carrying a rifle.

• ANS, 11 December 1920, printed card and small envelope addressed to Helen Hull Monnette in Los Angeles.

• Card signed in an envelope post-marked 16 October 1923, addressed to Warner E. Colville,

• ANS, 17 March 1925. “In memory of a perfectly divine party! Copenhagen”.

• ALS to Mr. Marriott, 9 January 1932, inviting him and a friend to visit, but telling him that she has injured her knee a month previously and is unable to walk.

• ALS thanking the correspondent (Chère Madame), 28 April 1935, for her condolences on the death of her sister. “My sister was a great artist & a delightful companion but thank God she went before the pain which we feared would manifest itself inevitably became bad… Yes the service was beautiful & I felt she was happy & at peace.”

• ALS to Madame Novello Davies, 1 May 1935, in which she responds to a telegram sent in commiseration over the death of her sister (“She just went to sleep in perfect peace.”)

• ALS to the Editor of Prediction, 18 September 1940. Apologizes for the delay in her reply, that the Daily Sketch’s paragraph quoted a private conversation, and that she won’t write anything about it.

• Calling card of Miss Gladys Greeley, signed “Good wishes from | Elinor Glyn”.

• Lobby card for silent movie, His Hour, Elinor Glyn’s production of her own story, Metro Goldwyn picture, starring Aileen Pringle and John Gilbert, with line: “Permit one, who is but your slave, to toast you”. Portions of corners missing several pin holes, 11" × 14".

• Post card of Cecil De Mille’s production of The Affairs of Anatol (1921) in which Glyn played the part of a bridge player.

• 2 colourized lobby cards (28 x 37 mm.) of Three Weeks, the 1924 American drama film (Goldwyn-Cosmopolitan) directed by Alan Crosland of Glyn's novel

• Movie flyer for Glyn’s production of The Only Thing, Metro-Goldwyn-Mayer Picture, starring Eleanor Boardman, Conrad Nagel, and Edward Connelly, directed by Jack Conway, [1925].

• Colour postcard of Rudolph Valentino, Gloria Swanson, and Glyn, Paramount Studios, Hollywood, California, [192?]. 2 copies.

• “Elinor Glyn’s Letters from Hollywood”, Picture Show, 10, nos. 236-7 (3 and 10 November 1923), 4-5; 5 respectively; 2 issues. Re Gloria Swanson, Charlie Chaplin, and Rudolf Valentino.

• “What Elinor Glyn Thinks of Pola Negri”, Picture Show, 11, nos. 261 (26 April 1924).

• Loew’s Weekly, 8, no. 5 (18 October 1926), advertising Love’s Blindness.

• Cross Roads, sheet music, lyric by Raymond Klages, melody by William Axt and David • Mendoza, theme song of Metro-Goldwyn-Mayer Production of Show People (1928), in which Glyn appears at the High Art Studios.

• “The Mad Hour of Love”, Girls’ Cinema, 16, no. 400 (16 June 1928): 9, 23.

• B&w photo of Billie Dove and Gwen Lee (?), from The Man and the Moment (1929), First National Pictures. Copyright Culver Services.

• 2 large b&w photos, Brown Brothers, 1920s.

• “Glorious Flames”, Hearst’s International-Cosmopolitan 90, no. 5 9 (May 1931): 32-6, 146, 148-50, 152, 155.

• 2 b&w cabinet photos of Glyn, portraits of her wearing jewelry, Elliott & Fry, London, circa 1905.

• B&w photo, 8 October 1907, Gilliams Press Syndicate, verso says that Glyn is in this country (USA) looking for a new hero and that American women have been exploited in recent novels.

• B&w photo of Glyn in evening dress and tiara seated on a chair, n.d.

• B&w facsimile photo of Glyn in evening dress and tiara seated on a chair, 1908.

• B&w signed photo of Glyn wearing a hat, n.d.

• B&W photo (torn at the sides) of Glyn smiling and wearing fur hat, n.d.

• B&w photo of Glyn (head and shoulders), 15 January 1924, after the making of Three Weeks into a film. “It took six months of my hardest work to make `Three Weeks’ for the screen aided by the most devoted, admirable artists….”

• 4 b&w photos: Glyn at her writing desk (“Mrs. Eleanor [sic] Glyn Enjoys Hollywood Visit”), 24 April 1922, Central News Photo Service; 2 photos of Glyn wearing pearls, 17 June 1927 and 4 February 1929; Glyn walking in the grounds of her home near Kingston with her grandchildren, Glyn and Susan, 23 September 1943, with obit.

• B&w photo of Gly standing on a ship and carrying a piece of luggage (Majestic, White Star Line), 13 July 1927.

• Oval b&w portrait of Glyn wearing a hat (10 on the right side), 23 June 1927.

• B&w photo, Glyn standing in coat and matching hat, 11 November 1927, “specially posed”.

• B&w photo of Glyn with her mother, Elinor Kennedy, 1930, on her mother’s 89th birthday.

• B&w photo of Glyn, her mother, Elinor Kennedy, her daughter Lady Davson, and her grandson Geoffrey Davson, 12 September 1930, “Four Generations of a Famous Novelist’s Family”, World Wide Photos.

• 3 b&w photos from her film, Such Men Are Dangerous (1930).

• B&w photo of Glyn with Rudolph Valentino, 16 April 1937, copyright Underwood & Underwood, NY, Minneapolis Star Library.

• B&w photo of a drawing of Glyn in a dramatic pose, Gilliams Press Syndicate, 8 September 1938.

• B&w photo of Glyn, 20 April 1941.

• B&w photo from Soul Mates (Aileen Pringle, Ed Lowe, and other actors), 1925 silent drama film directed by Jack Conway, based on Glyn’s 1911 novel The Reason Why.

• Elinor Glyn’s production The Only Thing, the thrilling successor to Three Weeks.

• 4 b&w photos of Glyn and the cast (Conrad Nagel, Vera Lewis, Eleanor Boardman, and possibly Joan Crawford) of Glyn's silent film, The Only Thing (1925)

• 1 B&w photo of Glyn with Gordon Selfridge at Lady Wavertree's annual tennis party, 14 July 1931, ACME Newspictures Inc.

• B&w photo of Glyn wearing a hat, circa, 1924, with reference on verso to her silent drama film, His Hour, with Aileen Pringle and John Gilbert, directed by King Vidor.

• Lobby card. The Only Thing is a silent 1925 costume drama, starring Eleanor Boardman. This film marked the beginning of director’s Jack Conway long career at MGM. The film is also notable for featuring, in her second film role, a young Joan Crawford, playing a minor part as a lady in waiting.

• Colour card of Glyn, her signature in facsimile, Wills’ Cigarettes, no. 12 of a series of 40.

• A. Femenía, colour pastel drawing of Glyn in white fur coat, wearing pearls and a yellow scarf, glass framed, leafy-designed frame with some rubbing, n.d., Spanish origin, 44 × 34 cm.

• Myióza (Greek literature magazine Athens 1947. issue no. 5).

• “Fragments”, Occident, 97, no. 1 (January 1922): 9-10, 58, 60. Front cover of this issue has Glyn’s name and the title of her contribution.

103 Books:

• Beyond the Rocks, a Love Story. New York: The Macaulay Company, 1922. Red cloth in chipped jacket. 2 photo prints loosely inserted. Another copy not in jacket (photo print facing the title page of Glyn with Rudolph Valentino).

• Vít zství Kate iny Bushové. Praha: Jos. R. Vilímek, 1926. Czech trans. by Luisa Baštecká of The Career of Katherine Bush. Paperback (pictorial cover) bound blackish marbled paper boards, quarter-bound in black cloth (1 stamped on spine). Slightly cocked.

• The Damsel and the Sage: A Woman’s Whimsies. New York: Harper & Brothers, 1903. Cream paper boards, quarter-bound in green cloth. In jacket with minor chips. With a card bearing Glyn’s signature.

• The Damsel and the Sage: A Woman’s Whimsies. London: Duckworth & Co. 1903. Cream paper boards, quarter-bound in green cloth. Boards stained and edgeworn. Endpapers stained. Internally clean. Presentation copy inscribed by Glyn on the front endpaper to the French philosopher Georges Rodier. Loosely laid in is an ALS to Rodier in which Glyn sends the book and describes the critics' reception of it: “When I tell you that the critics and the general public do not understand one word of it - you will know what sort it is!!” She adds further: “I have seen a charming little flat in the Champs Elysees which I hope to take and stay there for six months...I hope you will come and see me and we can have a nice talk or talks!”

• The Elinor Glyn System of Writing. Auburn,New York: The Authors’ Press Publishers, 1922. Books I-IV. Purple flexible cloth. Red cloth bookmark in each volume.

Elizabeth Visits America. New York: Duffield , 1909. Green buckram stamped in white. Yellowing to page edges, else a fine, bright copy, no flaking to the delicate cover stamping. In the rare pictorial dust jacket, gilt on white with a colour picture on the front panel. Price $1.50 on spine. Small chips, creases at head of spine, creased tear on rear panel, internal repairs, corner chip on front panel, front flap fold rubbed, bit of overall dust-soiling, spine lightly darkened. Glyn’s signature on paper label affixed to the front free endpaper; advertisement for H.G. Wells’s Tono-Bungay (Duffield) laid into the front flap of the jacket.

Another copy without the jacket.

•Elizabeth Visits America. Leipzig: Bernhard Tauchnitz, 1909. Marbled paper boards, quarter bound in red morocco, marbled paper endpapers. Collection of British Authors, vol. 4124. Bookplates of Grace Whitney Hoff, an American philanthropist, and Charles de Labouchere.

• Elizabeth Visits America. [London?]: Dodo Press, 15 October 2009. Paperback.

Family. New York: Grosset & Dunlap, 1919. Orange cloth. Spine chipped at the top.

Glorious Flames. London: Ernest Benn, Limited, 1932. New Ninepenny Novels 19. Light blue grey paper wrapper with ad for Hughes hovis cheese savouries on the back of the wrapper.

• Glorious Flames. New York: Macaulay, 1933. Light blue cloth lettered in red. Pictorial dust jacket has a thumbnail-size chip at upper inner corner of rear panel and head of spine, smaller chips, tears, at foot of darkend spine; two inch creased tear and smaller tears to rear panel.

• The Great Moment. New York: A.L. Burt Company, 1923? Brown cloth in pictorial jacket.

• The Great Moment. Sydney: Australiasian Publishing Company, n.d. Red cloth in slightly chipped jacket.

• The Great Moment. NewYork: Bantam Books, 1978. Barbara Cartland’s Library of Love, new series 14. Condensed by Cartland. Paperback.

• Guinevere’s Lover. New York, Macaulay, 1913. Red cloth in pictorial jacket.

• Guinevere’s Lover. Auburn, New York: The Authors’ Press Publishers, [192?]. Verso of title leaf: copyright the Star Company, 1912-3; D. Appleton & Company, 1913, and noting that Guinevere’s Lover is called The Sequence in England. Navy blue cloth in blue jacket. 10 titles by Glyn on back panel of jacket.

Also a copy in greenish paper boards with logo of The Author’s Press on the upper board. Another copy of the latter with damaged spine.

• Halcyone. New York: D. Appleton and Company, 1902. Red cloth.

• Halcyone. New York: A.L. Burt Company, [192?]. Copyright 1912 but obviously later. Owner signature 24 April 1922. Lime green with embossed cameo design and white lettering. In jacket (young women wearing a flowery, broad-rim hat).

• Genom bränningarna. Stockholm: B. Wahlströms Bokförlag, 1928. Trans of Halcyone by Ernst • Grafström. Brown marbled paper boards, half bound in leather.

• Halcyone. [London?]: Dodo Press, 15 October 2009. Paperback.

• Hans Timme. Stockholm: B. Wahlström, 1928. Övers. från engelskan av Kerstin Wenström. Full gilt-embossed half-bound calf-backed red marbled cloth.

• Hendes Naades Sekretær. København & Kristiania: Martins Forlag, 1919. 23de tusinde. Autoriseret oversættelse for Danmark og Norge af Jesper Ewald. Half brown leather, marbled boards. Trans of The Career of Katherine Bush.

• High Noon. New York: The Macaulay Company, 1912. Blue cloth in dust jacket, missing pieces at spine and front panels. Photographic dust jacket probably taken from a theatrical production of the work. Described as “a new sequel to Three Weeks Anonymous.” Glyn anonymously wrote two follow-ups to her best seller, Three Weeks: One Day; and High Noon.

• High Noon. [London?]: Dodo Press, 15 October 2009. Paperback.

• His Hour. Leipzig: Bernhard Tauchnitz, 1910 (reprinted 1919). Vol. 4230 of the Collection of British Authors. Bookplate of Robert Whitehead. Yellow cloth.

• His Hour. New York: Macaulay, [1910 but issued much later]. In slightly chipped jacket.

• His Hour. New York: The Authors’ Press Publishers, [192?]. Verso of title leaf: D. Appleton & Company, 1910. Greenish paper boards with logo of The Author’s Press on the upper board.

•His Hour. New York: Grosset & Dunlap, [1910 but issued much later]. Red cloth in chipped jacket. Another copy without a jacket.

• His Hour. New York: Bantam Books, 1977. Barbara Cartland’s Library of Love, new series 2. Condensed by Cartland. Paperback.

• It. New York: Macaulay Company, 1927. Pink cloth, damaged spine.

• It. NewYork: Bantam Books, 1978. Barbara Cartland’s Library of Love, new series 25. Condensed by Cartland. Paperback.

• Love Itself. Auburn, New York: The Authors’ Press Publishers, [192?]. Verso of title leaf: D. Appleton & Company, 1912. Navy blue cloth in blue jacket. 10 titles by Glyn on back panel of jacket.

Also a copy in greenish paper boards with logo of The Author’s Press on the upper board, tear at the spine panel.

• Love What I Think of It. London: The Readers Library Publishing Company Ltd., [1928?]. Pictorial jacket over mauve boards. Fine condition. Same text as The Philosophy of Love.

• Love’s Blindness. Auburn, New York: The Authors’ Press Publishers, 1926. Grey cloth.

• Love’s Blindness. London: Readers Library, 1928. Chipped pictorial jacket over mauve boards.

• Man and Maid. A.L. Burt Company, [1922?]. Green cloth in chipped pictorial jacket.

• Man and Maid. NewYork: Bantam Books, 1977. Barbara Cartland’s Library of Love, new series 10. Condensed by Cartland. Paperback.

• The Man and the Moment. Auburn, New York: The Authors’ Press Publishers, [192?]. Verso of title leaf: D. Appleton & Company, 1912, published under the title Halcyone. Navy blue cloth in red jacket. 10 titles by Glyn on back panel of jacket. •

Also a copy in grey cloth, cloth a bit frayed at the spine and corners.

• The Man and the Moment. London: Duckworth & Co., 1921 reprint. Blue cloth in slightly chipped pictorial dust jacket.

• La Conquista de la esposa. Barcelona: Ediciones Edita, 1951. 4th ed. Trans. of The Man and the Moment. Stiff paper in a pictorial wrapper.

• The Man and the Moment. [London?]: Dodo Press, 15 October 2009. Paperback.

One Day. A Sequel to Three Weeks. By Anonymous. New York: The Macaulay Company, 1912. Turquoise cloth in jacket, missing piece at the spine panel.

• One Day. [London?]: Dodo Press, 15 October 2009. Paperback.

• The Philosophy of Love. Auburn, New York: The Authors’ Press Publishers, 1923. Grey cloth in pictorial jacket. Another copy not in jacket

• The Philosophy of Love. London: George Newnes., n.d. [193?]. Camel brown cloth in illustrated jacket.

• The Philosophy of Love. New York: Macaulay, 1923. Red jacket in pictorial jacket.

• The Point of View. New York: D. Appleton & Company, 1913. Red cloth in chipped pictorial jacket. Slightly cocked.

• The Point of View. Auburn, New York: The Authors’ Press Publishers, [192?]. Verso of title leaf: copyright, 1913, Ainslee Magazine Company and D. Appleton & Company. Navy blue cloth in green jacket. 10 titles by Glyn on back panel of jacket. Also a copy in greenish paper boards with logo of The Author’s Press on the upper board.

• The Point of View. [London?]: Dodo Press, 15 October 2009. Paperback.

• The Price of Things. Auburn, New York: The Authors’ Press Publishers, 1919. Purple cloth in jacket (price on spine panel, $1.97). Reference on copyright page to the International Magazine Co., 1918-9, published under the title of The Awakening of Lady Ardayre; D. Appleton & Company, 1919, published under the title of Family.

• The Price of Things. Auburn, New York: The Authors’ Press Publishers, [192?]. Verso of title leaf: copyright the International Magazine Co., 1918-9, published under the title of The Awakening of Lady Ardayre; D. Appleton & Company, 1919, published under the title of Family. Navy blue cloth in green jacket. 10 titles by Glyn on back panel of jacket. Also a copy in greenish paper boards with logo of The Author’s Press on the upper board.

• El Precio de las cosas. Barcelona: Ediciones Edita, 1930. 6th ed. Trans of The Price of Things.

• The Price of Things. NewYork: Bantam Books, 1978. Barbara Cartland’s Library of Love, new series 20. Condensed by Cartland. Paperback.

• The Reason Why. Auburn, New York: The Authors’ Press Publishers, [192?]. Verso of title leaf: D. Appleton & Company, 1911. Navy blue cloth in yellow jacket. 10 titles by Glyn on back panel of jacket. •

Also a copy in greenish paper boards with logo of The Author’s Press on the upper board.

• The Reason Why. New York: A.L. Burt Company, [1922?]. Verso of title leaf: D. Appleton & Company, 1911. Red cloth in pictorial jacket (pieces missing on spine etc.). Another copy not in jacket.

• ¿Por qué? Buenos Aires: Editorial Juventud Argentina, S.A., 1943. Biblioteca Primor 74. Trans of The Reason Why. Paperback with jacket.

• The Reason Why. NewYork: Bantam Books, 1977. Barbara Cartland’s Library of Love, new series 6. Condensed by Cartland. Paperback.

• Red Hair. Auburn, New York: The Authors’ Press Publishers, [192?]. Verso of title leaf: Copyright 1905, noting that the book was first published under the title The Vicissitudes of Evangeline. Navy blue cloth in red jacket. 10 titles by Glyn on back panel of jacket. Also a copy in greenish paper boards with logo of The Author’s Press on the upper board.

Bryan, Alfred, and Francis Wheeler, Ted Snyder. Red Hair. New York: Waterson, Berlin & Snyder Co., 1928. Arranged by Henry Tiedman. Sheet music for the Paramount movie. Dedicated to Clara Bow by Elinor Glyn.

• Red Hair. [London?]: Dodo Press, 15 October 2009. Paperback.

Ritzi. Barcelona: Ediciones Edita, 1932. 2nd ed. Pictorial paperback.

• Romantic Adventure: Being the Autobiography of Elinor Glyn. New York: E.P. Dutton, 1937. Greenish grey cloth in jacket with gilt lettering in yellow and orange illustrated jacket, yellow top edge.

• The Sequence. NewYork: Bantam Books, 1978. Barbara Cartland’s Library of Love, new series 17. Condensed by Cartland. Paperback.

• The Reflections of Ambrosine. New York and London: Harper & Brothers, 1902. Light blue cloth. Former owner’s name in pencil on front free endpaper.

• Ambrosines Tagebuch. Stuttgart: Verlag von J. Engelhorn, 1904. Engelhorn’s allgemeine Roman-BIbliothek. Trans KäSchirmacher. Red cloth, almost fine.

• The Seventh Commandment. Auburn, New York: The Authors’ Press Publishers, [192?]. Verso of title leaf has copyright date 1902, noting that the book was originally published under the title, • The Reflections of Ambrosine. Navy blue cloth in red jacket. 10 titles by Glyn on back panel of jacket. 2 copies.

Also a copy in greenish paper boards with logo of The Author’s Press on the upper board (separation of the inner spine panel and text block).

• The Reflections of Ambrosine. [London?]: Dodo Press, 15 October 2009. Paperback.

• The Seventh Commandment. Auburn, New York: The Authors’ Press Publishers, [192?]. Verso of title leaf has copyright date 1902. Grey cloth in pictorial cloth.

• Las Reflexiones de Ambrosina. Barcelona: Ediciones Edita, 1953. 3rd ed. Trans. of The Reflections of Ambrosine. Stiff paper in a pictorial wrapper.

• Six Days. Philadelphia: J.B. Lippincott Company, 1924. Green cloth in jacket, front free endpaper lacking. With an envelope in Glyn’s hand addressed to Miss Gladys Greeley. Another copy with spine warped and frayed.

• Six Days. NewYork: Bantam Books, 1978. Barbara Cartland’s Library of Love, new series 12. Condensed by Cartland. Paperback.

• Sooner or Later. York: Macaulay Company, 1934. Dark rose cloth in slightly chipped pictorial jacket.

• Such Men Are Dangerous. New York: Macaulay Company, 1933. Turquoise cloth in almost fine pictorial jacket.

Another copy in green cloth with remnants of the jacket on the endpapers.

• This Passion Called Love. Auburn, New York: The Authors’ Press Publishers, 1925. Navy blue cloth in yellow jacket. 10 titles by Glyn on back panel of jacket.

Also a copy in greenish paper boards with logo of The Author’s Press on the upper board.

• This Passion Called Love. Auburn, New York: The Authors’ Press Publishers, 1925. Grey cloth with pictorial jacket (Just Published!) and price on spine panel ($1.98).

• This Passion Called Love. New York: The Macaulay Company, 1925. Red cloth.

• Three Things. London: Duckworth, 1915. Peach coloured cloth in tan jacket and on the front panel a photo of Glyn wearing a coat and a feather hat. Another copy in blue cloth with white jacket and oval photo of Glyn on front panel.

• Three Things. New York: Hearst’s International Library Co., 1915. Dark brown pictorial cloth in jacket.

• Three Things. [London?]: Dodo Press, 15 October 2009. Paperback.

• Three Weeks. New York: Macaulay Company, 1907. Red cloth in jacket (piece missing from bottom of spine panel).

• Three Weeks. New York: Macaulay Company, 1907. Red cloth in jacket (“Elinor Glyn’s Immortal Romance”, Glyn on a tiger skin). Illustrations from the Photoplay Goldwyn Picture.

• Three Weeks. Leipzig: Bernhard Tauchnitz, 1907. Marbled boards, quarter-bound in brown cloth. Marbled endpapers.

• Three Weeks. London: C.A. Ransom & Co., n.d. [193?]. Pictorial paper covers. Some loss to rear cover.

• Drei Wochen: Roman. Berlin, Germany: J. Ladyschnikow Verlag, n.d. Hardbound. good; front flyleaf removed; binding spotted.

• The Vicissitudes of Evangeline. Leipzig, Germany: Bernhard Tauchnitz. 1905. Paper covers. good; spine extremities slightly frayed. Tauchnitz British authors, no. 3805.

• The Vicissitudes of Evangeline. London: Duckworthm, 1925. Green cloth. Spine almost detached. Poor condition.

• The Vicissitudes of Evangeline. London: Duckworth, reprint of February 1926. Red paper boars. Spine detached and cracked badly in partial jacket.

• The Vicissitudes of Evangeline. New York: Bantam Books, 1977. Barbara Cartland’s Library of Love, new series 8. Condensed by Cartland. Paperback.

• The Visits of Elizabeth. London: John Lane, The Bodley Head, 1901. 25th edition [i.e. printing]; signed by the artist Walter Buckingham Swan and dated August 1901 on front free endpaper. Turquoise cloth. Greyish dust jacket with oval portrait of Elizabeth on the front panel. Spine panel repaired with clear tape. Glyn’s signature on a piece of paper (signature of actress, Alice Terry, on verso) inserted into the front flap.

• The Visits of Elizabeth. New York: John Lane; London: Duckworth & Co., 1901. 4th ed. Light blue cloth. Top edge gilt. Frayed at both of spine, stamping on spine and upper board faint.

• The Visits of Elizabeth. New York: John Lane; London: Duckworth & Co., 1901. First American issue. Turquoise cloth. Loosely inserted is a card with Glyn's signature.

• The Visits of Elizabeth Leipzig: Bernhard Tauchnitz, 1901. Collection of British Authors vol. 3504. Paperback.

• The Visits of Elizabeth. Philadelphia: Henry Altemus Co., [1901?]. 2 copies: green pictorial cloth; blue pictorial cloth.

• The Visits of Elizabeth. [London?]: Dodo Press, 15 October 2009. Paperback.

Amor triumfante. Barcelona: Ediciones Edita, 1951. 5th ed. Trans. Alfonso Nadal of Beyond the Rocks. Stiff paper in a pictorial wrapper.

• El Gran momento. Barcelona: Ediciones Edita, 1955. New ed. Trans. of The Great Moment. Prologue by María Kuz Morales. Stiff paper in a pictorial wrapper.

• The Visits of Elizabeth. London: Duckworth & Co., 1900. First ed. of her first book. Inscribed on the front free endpaper: “To the | Deus ex Macchina | with all | thanks & | Good wishes | Elinor Glyn | December 1900”. Bound in half green and half white leather, glit tooling with a floral design on the spine (faded somewhat), top edge gilt, corners rubbed, top edge gilt, ribbon marker, marbled endpapers

5 Books about Elinor Glyn and related material:

• Etherinton-Smith, Meredith and Jeremy Picher. The “It” Girls: Lucy, Lady Duff Gordon, the Couturière “Lucile,” and Elinor Glyn, Romantic Novelist. Dan Diego: Harcourt Brace Jovanovich, Publishers, 1986. Cream paper boards, one third bound in blue cloth, in jacket.

Glyn, Anthony.

• Elinor Glyn: A Biography. New York: Doubleday & Co., 1955. Uncorrected oblong proof. Advanced Readers Copy to All Reviewers. Release Date: June 30, 1955. Nancy $4.50. Publicity Department. These galleys are the property of Doubleday and are not to be sold. Set.No.2.

Glyn, Anthony.

• Elinor Glyn: A Biography. London: Hutchinson, 1968. Rev. ed. Dark camel paper boards in jacket.

• Glyn, Anthony. Romanza. London: Hutchinson, 1953. Blue cloth in jacket. Half title states that this is first novel and that he has inherited his grandmother’s literary talent. With a card signed by him.

• Hardwick, Joan. Addicted to Romance: The Life and Adventures of Elinor Glyn. London: Trafalgar Square Publishing, 1995. Black cloth in jacket.

Collection on consignment with LDRB.
Item #7893

$2,250.00 USD
$3,094.46 CAD

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