Limited Edition Book

This is Thee Grand Grimoire; the most complete, inclusive and accurately translated edition you will find. Only 99 books ever crafted of which this number 8. Hand-sewn and Bound in 1.2mm Full Top Grain Black Leather not the thin. 4mm traditional book binding “bonded” leather. 9 3/8″ Tall X 6 3/8″ Wide X 1 1/4 Thick. Mohawk Fine 67# Cream. 3 Solid Brass Custom Engraved. 1st Edition, Deluxe, Limited, Numbered, Signed, Illustrated, Collector’s, Full Black Leather Binding. This is the complete English translation made available to the students of the occult, translated from the 1612 Italian edition with reference to the 1521 French edition under the title “The Red Dragon”, magnificently hand bound in a full, black leather binding with raised bands with the cover sigil and title engraved in solid brass. In keeping with the Italian edition, also incorporated is an early version of the Grimoire known as “Le Poule Noire” (or “The Black Hen”). The Grand Grimoire is a black magick grimoire, also known as’Le Dragon Rouge or The Red Dragon'; a practical manual of diabolic evocation and black magic containing within its pages the Grand Clavicule of Solomon, along with the black magick of the infernal arts of the great Agrippa. Different editions date the book as far back as 1421, but a more common and widely distributed version was written in the early 18th century. Owen Davies suggests 1702 is when the first “commercial” edition may have been created and a Bibliotheque blue version of the text may have been published in 1750. Much of the material in this grimoire derives from the Key of Solomon and the Lesser Key of Solomon. The Grand Grimoire explains a system for entering into a pact with three Infernal Spirits, Lucifer, Astaroth and Belzebuth, through the authority of the Prime Minister of Hell, Lucifuge Rofocale. In this, the demonology of the Grand Grimoire is unique; while some of the chief spirits are identical to those in “Grimoirium Verum”, and others to “Lemegeton Clavicula Salomonis vel Regis”, the Grand Grimoire stands alone in the literature of demonology with its central figure, Lucifuge Rofocale. The name “Rofocale” appears to be an anagram for “Focalor” of the “Lemegeton”, according to Elizabeth Butler in her “Ritual Magic” (1949) who goes on to tell us that by introducing the name of Lucifuge the author has done a service to demonology for which it should be grateful. In his “Book of Black Magic and of Pacts” (1898), Arthur E. Waite states that the Grand Grimoire “must be regarded as the veritable Magnum Opus”. He goes on to say that Éliphas Lévi later adopted the personage of Lucifuge in his works. This book contains instructions, various seals, prayers, orations and offerings purported to summon Lucifuge Rofocale, for the purpose of forming a pact with the Devil, as well as the required magical preparations and the manner of making the Blasting Wand. The work is divided into two books. The second book is further divided into two parts: the Sanctum Regnum and Secrets, of the magic art of the Grand Grimoire. The Sanctum Regnum contain instructions for making a pact with the demon, allowing one to command the spirit without the tools required in book one, but at greater risk. Secrets contains simpler spells and rituals one can employ after having performed the ritual in the first book, including spells to win the lottery, speak with spirits, raise the dead, to be loved, to become invisible, etc. This is no doubt one of the most popular and oldest of all the grimoires. Also present throughout this tome is a gallery of illustrations from the classic editions of this rare work. A chapter entitled “Seals and Sigils of Solomon” is also included. The magical seals and sigils have all been carefully and properly restored. A chapter entitled “Musings” completes the book with a small number of artistically lined pages for the owner to use at their own discretion. This book was professionally written, designed, printed, hand-sewn and bound by myself. Only 99 books ever crafted. No more will ever be produced or available by me. I can sign and personalize the book upon request. I thank you for your time and consideration. Some useful information to consider.. Regarding the paper I use. I use 70 pound text as well as 67 and 80 pound cover Mohawk Cream Superfine paper (unless stated otherwise in the book’s specific ad). Mohawk Superfine is the finest printing paper made today and is manufactured by a fourth-generation, family-owned and operated business right here in Cohoes, NY. No other paper has the same reputation for quality, consistency and uniformity. Superfine inspires great design with its superb formation, lush tactility, archival quality and timeless appeal. Regarding the woods I use. I construct my cover boards and spine board from 3/16 Mahogany LuAnn (floor underlayment). This provides extreme durability and the highest resistance to warping. Any trim work is done in solid Maple or Mahogany. I do not use cardboard in the construction of my books, nor will I ever. All of the leather I use during the construction of my books in manufactured here in the U. Full Grain Leather (Which is the leather I typically use for my one-of-a-kind “Hell-Fire” editions). For only the most high-end products. Full grain leather only uses the very highest (closest to the air) layer of skin, which is the toughest, most durable, and most beloved. It is left unfinished, meaning it has completely unique characteristics, creases, and coloring. Because of the smaller amount of leather on the surface of each animal and the difficulty of working with full grain toughness, the price is understandably high. Top Grain Leather (Which is the leather I use for my works). To get high-quality goods at a much more reasonable price. The most common “luxury” leather is top grain, which takes the layer of skin just below full grain and works it lightly to remove imperfections. It is smoother and more consistent than full grain, but easier to work as well, keeping the price down. While not as durable as full grain, it is still a strong, well-crafted leather. Usually has a suede side or feeling to it. Genuine leather is made by stripping off the harder, more expensive grains from the top, then using the softer, easier to work leather underneath. It is not as durable as full or top grain, but it is much cheaper since it can be manufactured into a variety of goods with ease. Remember – genuine leather is a specific grade, not the phrase for real leather. If you request genuine leather in a leather shop, they will have a specific type of product in mind. Bonded Leather (Which is the Leather used for traditional book binding). Is made from ground up and glued leather shavings. While bonded leather is still leather, it isn’t an unbroken or regular piece of animal skin. Instead, the shavings from all the other leather grades are collected, ground up, and mixed with an adhesive liquid to make a piece of leather. Though cheap, the quality is severely lacking. Because the quality is less impressive, bonded leather is often used for book covers and other smaller, less worn items. Regarding the glues I use. I use 6 different glues throughout the process, all of which are produced here in the U. Regarding the brass I use. This is where a great challenge for me really comes into play. The brass clasps which I salvage from antique 19th century books are of solid brass, not plated tin which is so commonly found today. I spend a great deal of time restoring the finish on the brass, as well as re-work the hinges and pins. Any nails or screws I use are of solid brass and made in the U. The brass tacks I use for my spines are made in the U. And come from a local supplier. Some are solid brass, while some are plated zinc. The pentagram/seals which I adorn the covers of my books with are of solid brass. Unfortunately, I went through many an engraver within the U. (seven to be exact) and was not satisfied with the end results of which I was receiving. Many engravers within the United States for some reason absolutely love their laser engravers. While they may work for some individuals, I was looking to obtain the best outcome possible for my finished works. I discovered Andy of Engraving Studios, based in the UK. (engravingstudios. Co. Uk) After communicating and working with him, I discovered the machinery he uses, his impeccable skills, his longevity in perfecting this craft, the extent he is willing to go to get the job done right, and maybe most importantly, his passion for what he does. May his work and his ethics set the example for others. Thank you Andy for your patience and your craft. Delomelanicon, witch, warlock, witchcraft, occult, pagan, paganism, wicca, wiccan, devil, satan, lucifer, goetia, demon, demons, demonology, magic, magick, spells, tarot, art, craft, handcrafted, handmade, hand, made, handbound, antique, journal, book of shadows, grimoire, pentacle, pentagram, book, books, tome, Ninth, 9th, Gate, Dante, Inferno, Infernal, Solomon, Necronomicon, leather, rare, brass.