(Rare Books, Maps, Manuscripts & Photographs, 9th October 2019) Larsson, Stieg [The Millenium Trilogy], 2010, Sangorski & Sutcliffe binding London: Maclehose Press, Quercus, 2010. 8vo, 3 volumes, boxed set edition, maps by Emily Faccini, SPECIALLY BOUND IN A UNIQUE BINDING BY SANGORSKI AND SUTCLIFFE in crushed black morocco, gilt designs on upper covers illustrating the themes in the titles of dragon, hornet's nest and fire, spines with black onlays lettered in silver together forming the author's name, additional onlays in red and white with titles of each volume (the first also with the original title, "Men Who Hate Women"), row of five silver studs on the upper covers, these interlocking with square red grooves on lower covers, all edges gilt, red endpapers, all within binder's black morocco case incorporating an additional folder with a letter of rejection in Swedish from the Institute of Applied Psychology in Stockholm (addressed to the author as "493 S. Larsson" informing him at the request of the Joint Committee of Colleges of Journalism, that [translation] "unfortunately your performance in the written selection test was not up to standard of other applicants. We are therefore unable to offer you a place at any College...in the autumn of 1972..."), WITH AN ORIGINAL PENCIL PORTRAIT BY STEIG LARSSON ON THE REVERSE, some slight wear to case Note: The Girl with the Dragon Tattoo, The Girl who Played with Fire and The Girl who Kicked the Hornets' Nest, known as The Millennium Trilogy, presented in a spectacular and unique binding. Alison Strachan, the binding director at Sangorski & Sutcliffe / Shepherd's, has commented on the special design of the binding: "...There was... a strong impression in my mind of Lisbet's physical appearance, which was echoed in the violence in her character as well as that shown against her by male characters in the book. The studs were a manifestation of this male/female theme and the sado-masochism of some of the male characters. The way the studs each fit into the cover of the next book, was a symbol of how the protagonists work together, their close relationship... the hand-tooled designs of each front cover were designed to echo the images of the titles and the tattoos that cover Lisbet..."
(Rare Books, Maps, Manuscripts & Photographs, 9th October 2019) Larsson, Stieg [The Millenium Trilogy], 2010, Sangorski & Sutcliffe binding London: Maclehose Press, Quercus, 2010. 8vo, 3 volumes, boxed set edition, maps by Emily Faccini, SPECIALLY BOUND IN A UNIQUE BINDING BY SANGORSKI AND SUTCLIFFE in crushed black morocco, gilt designs on upper covers illustrating the themes in the titles of dragon, hornet's nest and fire, spines with black onlays lettered in silver together forming the author's name, additional onlays in red and white with titles of each volume (the first also with the original title, "Men Who Hate Women"), row of five silver studs on the upper covers, these interlocking with square red grooves on lower covers, all edges gilt, red endpapers, all within binder's black morocco case incorporating an additional folder with a letter of rejection in Swedish from the Institute of Applied Psychology in Stockholm (addressed to the author as "493 S. Larsson" informing him at the request of the Joint Committee of Colleges of Journalism, that [translation] "unfortunately your performance in the written selection test was not up to standard of other applicants. We are therefore unable to offer you a place at any College...in the autumn of 1972..."), WITH AN ORIGINAL PENCIL PORTRAIT BY STEIG LARSSON ON THE REVERSE, some slight wear to case Note: The Girl with the Dragon Tattoo, The Girl who Played with Fire and The Girl who Kicked the Hornets' Nest, known as The Millennium Trilogy, presented in a spectacular and unique binding. Alison Strachan, the binding director at Sangorski & Sutcliffe / Shepherd's, has commented on the special design of the binding: "...There was... a strong impression in my mind of Lisbet's physical appearance, which was echoed in the violence in her character as well as that shown against her by male characters in the book. The studs were a manifestation of this male/female theme and the sado-masochism of some of the male characters. The way the studs each fit into the cover of the next book, was a symbol of how the protagonists work together, their close relationship... the hand-tooled designs of each front cover were designed to echo the images of the titles and the tattoos that cover Lisbet..."
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