Greater and Lesser Keys Of Solomon GOETIA Demon Leather Bound Grimoire Rare Book

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This is Clavicula Salomonis (The Key Of Solomon), Lemegeton (The Lesser Key Of Solomon), and Liber Sigillorum Magicorum (Book Of Magical Seals) all-in-one book.
This is an extremely limited, hand-numbered edition of which only 9 will be produced.
This is book number 2 of 9.
I will offer no other editions of this work.

WHAT THIS BOOK IS:
CLAVICULA SALOMONIS, THE (GREATER) KEY OF SOLOMON THE KING dates back to around mid 14th Century.
LEMEGETON CLAVICULA SALOMONIS, THE LESSER KEY OF SOLOMON THE KING dates back to around mid 17th Century.
S.L. MacGregor Mathers first published his English translation in 1888 (Key Of Solomon) and 1903 (Lesser Key Of Solomon).
Mathers drew from several manuscripts (notably Lansdowne MSS. 1202, 1203 as well as Sloane 1307, 3091).
My edition contains his published translated works in full, plus explanatory and corrected text as well as missing and omitted text, all set apart in an Inferno Red font.
I have located and included the original Chapter XIII which Mathers omitted; plus I have added the completely different variations of Chapters XI, XII, XIII and XIV at the end of The Greater Key, Book I.
My work also includes extremely careful content restoration regarding the original seals, sigils and engravings.

WHAT THAT MEANS:
My edition of THE (GREATER) KEY contains significantly more pages of text vs. Mathers', with 22 chapters vs. his 18 in Book I.
My edition contains much higher quality of the original seals and sigils, plus additional explanatory text in an Inferno Red font throughout the entire book: "BOOK I", "THE HOLY PENTACLES", "BOOK II" and "LEMEGETON".
All in all, this may be the most comprehensive printed edition currently available on the market.

This publication includes "The Book Of Evil Spirits" with Solomon's 72 Demons of the Goetia, their description and their seals.
The third, small book (16 additional pages) entitled Liber Sigillorum Magicorum (Book Of Magical Seals) completes this tome and includes several other seals attributed to Solomon.
This book is an authentic, all-inclusive and fully-functional Grimoire.
All beautifully illustrated, printed upon high quality parchment, hand-sewn and hand-bound in a premium full leather binding.

Illustrations: Includes over 250.
Binding: Traditional, 15th Century Venetian-Style Binding, Hand-Sewn and Bound in 1.2mm Premium Full Grain Goatskin Aniline Italian Leather (not the thin .1mm to .4mm traditional book binding "bonded" leather)
Dimensions: 9 1/2" Tall X 7" Wide X 2" Thick
Page Count: 308
Paper: Mohawk Fine 67# Cream
End Pages: Spanish Gold Silk Moiré
End Bands: Black and Spanish Gold Sewn
Font Colors: Black and Inferno Red
Country/Region of Manufacture: United States
Topic: Occult
Subject: Religion and Spirituality
Publication Year: 2026
Year Printed: 2026
Publisher: Kingdom Of Shadow
Special Attributes: 1st Edition, Deluxe, Limited, Numbered, Signed, Illustrated, Collector's, Full Grain Goatskin Aniline Italian Leather Binding
Format: Hardcover
Language: English / Hebrew / Latin
Cover Sigil: Blind-Embossed Custom Seal
Clasp: Paired Leather and Solid U.S. Brass Double-Clasp
Spine Trim: Blind-Embossed

* * *
NOTE: Mathers' Edition vs. Lansdowne 1203 MSS.
The S.L. MacGregor Mathers 1888(9) edition of The Greater Key of Solomon is a synthesized translation primarily based on several British Library Lansdowne manuscripts.
Mathers curated these to create a "complete" text, often rearranging, editing, or omitting material to improve flow, whereas specific Lansdowne manuscripts contain earlier, sometimes fragmented, French or Latin variations.

Key Variations and Differences
Compilation Method: Mathers edited the texts for consistency, while the original Lansdowne manuscripts (like Lansdowne 1203) are distinct copies that may include different spellings, missing passages, or alternative phrasing in the conjurations.
Pentacles/Illustrations: Mathers' edition includes 15 plates of figures, seals, and talismans, which he sometimes altered or refined from the originals for clarity. Some Lansdowne versions have different, sometimes less refined, illustrations of the planetary pentacles compared to the polished plates in the 1889 publication.
Completeness: The Landsdowne manuscripts sometimes lack specific instructions or keys present in other versions, which Mathers tried to fill in by comparing with other manuscripts (e.g., in the British Museum).
Structure: While Mathers organized the text into a strict two-book structure (Book 1: Conjurations; Book 2: Preparations), the source Lansdowne manuscripts may have different ordering or inclusion of additional, shorter experiments not included in the final Mathers print.

Essentially, Mathers created a functional, curated version (a synthesis), while the Lansdowne manuscripts represent the raw, varied source material from which parts of his translation were derived.
* * *

This book was professionally designed, printed, hand-sewn and hand-bound by myself.
Only 9 books were ever printed and crafted. Each book was hand-numbered.
No more will ever be produced or available by me.
This book may be signed and personalized upon request.

This book will be heavily packaged for shipment and will ship priority mail with full insurance.

I thank you for your time and consideration.
Best regards, Michael

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.

Regarding Leather Quality:
All of the leather I use during the construction of my books is manufactured here in the U.S.A.
1) 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.
2) 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.
3) Genuine 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.
4) 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.S.A.

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. When I am finished, the clasp is in as near the condition as possible that it was when new in the 1800s.
Any nails or screws I use are of solid brass and made in the U.S.A.
The brass tacks I use for my spines are made in the U.S.A. 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.S. (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.

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