ashendene press (37 Ergebnisse)

In-8 - br. Vente publique le 18 nov. 2014. 60 numéros, nomb. ill. en couleurs.

98, (1) Seiten. Mit zahlreichen meist farbigen u. ganzseitigen Abbildungen. Farbig illustrierte Originalbroschur. (Geringe Gebrauchsspuren. etwas wellig). 27x19,5 cm * Die Ashendene Press war eine englische private Buchdruckerei, die 1894 von Charles Harry St. John Hornby (18671946) gegründet wurde und bis 1935 bestand. Hornby nannte seine Druckerei nach seinem Geburtsort Ashendene, Bayford, Hertshire, wo er am 25. Juni 1867 als Sohn von Reverend Charles Edward Hornby und Harriet Catherine Turton geboren war.[1] Anfangs stellte er eine Handpresse im Haus seiner Eltern auf und druckte nur für seine Freunde. Sein erstes Buch war The journal of Joseph Hornby (1895), ein Tagebuch seines Großvaters, das dieser während einer Reise nach Paris 1815 geführt hatte. Er begann unter den einfachsten Bedingungen er benutzte geborgte Typen und nur mit der Hilfe seines Bruders und seiner Schwestern lernte Hornby das Drucker-Handwerk in der Schule der Erfahrung. In Hertfordshire druckte er 10 Bücher. Die Presse blieb dort bis 1899, als er wegen seiner Heirat nach London in das Shelley House im Stadtteil Chelsea umzog. Für den Druck von drei Gedichten von John Milton (1896) und für zwei Aufsätze von Francis Bacon: Of building and gardens (1897), die nur in 16 Exemplaren gedruckt wurden, benutzte Hornby sein eigenes Papier, das von Messrs. Batchelor hergestellt und mit einem besonderen Wasserzeichen versehen wurde. Die Ashendene Press bestand bis 1935 mit Unterbrechungen in den Jahren 1915 bis 1920, die durch den Ersten Weltkrieg bedingt waren. Wie bei den anderen Privatdruckereien in England prägten Hornbys persönlicher literarischer Geschmack und seine künstlerischen Vorlieben das Aussehen und den Inhalt seiner Bücher. Zusammen mit der Kelmscott Press und der Doves Press, leistete die Ashendene Press einen bedeutenden Anteil an der englischen Buchkunstreform, konzentrierte sich auf das traditionelle Druckerhandwerk und produzierte qualitätsvolle Bücher als Protest gegen die maschinelle minderwertige Herstellung. Die im Jahre 1909 erschienene Dante-Ausgabe der Ashendene Press ist in ihrer buchkünstlerischen Leistung und Gestaltung vergleichbar mit der Chaucer-Ausgabe der Kelmscott Press. Ebenso zählen die Ausgaben von Le Morte DArthur (1913), Il Decameron (1920), Don Quixote (1927/28) und Thucydides (1930) zu seinen Meisterwerken. Hornby konnte Emery Walker als Mitarbeiter für die Presse gewinnen, der mit Hilfe von Sydney C. Cockerell, dem früheren Sekretär der Kelmscott Press, die Subiaco-Type entwarf. Für die Entwicklung der Subiaco-Type, einer Antiqua, orientierte sich Walker an einer frühen Type aus dem 15. Jahrhundert, die die Drucker Konrad Sweynheim ( 1477) und Arnold Pannartz in Subiaco bei Rom genutzt hatten. Nach dem Vorbild der 1482 in Ulm erschienenen Ausgabe Cosmographia von Ptolemäus gedruckt von Lienhart Holl, wurde eine zweite Type für die Ashendene Press entwickelt, die Ptolemy-Type. Hornby beschäftigte Mitarbeiter von Rang und Namen, wie z. B. Edward Johnston, Graily Hewitt, Eric Gill, die Buchbinderin Katherine Adams und Sydney Cockerells Bruder, Douglas Cockerell. In den 35 Jahren ihres Bestehens gab die Ashendene Press, in der alle Ausgaben per Hand gesetzt wurden, 40 Bücher heraus.(Quelle Wikipedia) Sprache: Deutsch Gewicht in Gramm: 300.

Mit zahlr. farb. Abbildungen. 98 S., 1 Bl. Farb. illustr. Orig.-Karton. 26,7 : 20 cm. * "Unikales Angebot aller 40 Bücher, die diese Presse zwischen 1895 und 1935 gedruckt hat, dazu Pergament-Abzüge von acht Werken, `Minor Pieces`, Ephemera, Autographen des Druckers, Bibliographie etc." (Titel) - Gut erhalten.

Foreword and description of all 60 lots in English with a short summary in German.

Oktn 4°. Pressendrucke.

Soft cover. Zustand: Fine. Set in Centaur and Arrighi Italic and printed in red and black on specially watermarked hand-made paper. Blue printed wrappers, sewn with silk thread. A fine copy. The marriage service of the C.J. St. John Hornby's second son presents an interesting puzzle. Though not recorded by Franklin, or listed in the bibliography it was produced - and well produced - as an imitation of the Order of Service for his first son's wedding in 1928. There is, however, no known instance of the use of these typefaces at the Ashendene Press and it was certainly printed elsewhere.

Soft cover. Zustand: Fine. 1st Edition. One of about 400 copies printed in red and black in Subiaco type on specially watermarked Batchelor handmade paper. Colophon in red. Blue printed wrappers, sewn with green silk thread. A fine copy. Attractively and representatively printed in the famous `Subiaco' fount designed by Emery Walker and Sydney Cockerell and specially cast for the Press. One literal has been corrected in red ink in Hornby's hand and a few prices lightly added in pencil. (Ashendene Minor Pieces 10).

Folio. (408 x 282 mm). [188 leaves; pp. 363, (i)]. Printed title and 'Book I' to 'Book X' of Thucydides' text in English in red and black in Ptolemy type, chapter summaries in Blado marginal, chapter summaries and opening lines by Graily Hewitt in red, the red initials from the alphabet designed by Eric Gill for the Ashendene Utopia, final leaf with colophon and woodcut Ashendene device verso. Original publisher's full white pigskin by W. H. Smith & Son, Ltd. with their signature gilt to rear turn-in, banded spine with gilt title in six compartments. The Ashendene Thucydides, the final folio from the press. From the edition limited to 280 copies, with this one of 260 on Batchelor 'knight in armour' Ashendene paper; 20 copies on vellum were also issued. The Greek text was translated by Benjamin Jowett, Regius Professor of Greek at Oxford. The book is printed in Ptolemy with Blado marginal chapter summaries - the first time St John Hornby had used a different type for side-notes. This copy includes the original purchaser's invoice, a single leaf (216 x 150 mm) headed 'THE ASHENDENE PRESS / SHELLEY HOUSE, CHELSEA' and made out to Mr. Jacques Steinitz / Warren, Ohio'. Signed by St. John Hornby, with two pence stamp and dated May 27th, 1931, the cost is detailed as 15 Guineas. [Ashendene XXXVII].

Limp Vellum. Zustand: Fine. Limited edition. 4to. 182 pp. Hand-illuminated initial letters in red, blue and green by Graily Hewitt and his assistants, Ida D. Henstock and Helen E. Hinkley. (4to), original orange vellum with orange ties, gilt spine title; printed in black and red; in publisher's marbled paper slipcase. Finely printed at the press of St. John Hornby in 'Subiaco' type. One of 328 copies on paper of which 250 were for sale. This is a fine, bright copy, without the sunning of the spine usually found. Ashendene Bibliography, No. 90. .

First edition. Quarto. pp iv, 163. One of 290 copies. 26 wood engravings by Gwendolen Raverat; initials filled in by hand by Graily Hewitt. Translated into French by J. Amyot. Edited and corrected, with an Introduction, by Paul-Louis Curier. Vellum-backed turquoise boards stamped with gilt vignette. Printed by C.H. St John Hornby in Ptolemy type on Batchelor handmade paper, with title and marginal notes printed in red.Fine in very good indeed sturdy patterned board slipcase with a bit of rubbing to the corners.

One of only 85 copies on Batchelor's 'Bugle' handmade paper, 6 printed on vellum. Printed in black on red in Subiaco type with initials printed in blue and red throughout. 8vo., original linen backed blue paper covered boards, title printed in black on the upper cover. A spine darkened with a little wear to top headcap, boards with some fading and a few small marks, very edges a little darkened but otherwise very good. This was the first time these 11 poems had been published in book form, and here they were only printed in a small number for private circulation. Hornby writes in his bibliography that with his own hand these were "printed during the first few months of the Great War.for private circulation only, 50 copies going to the Poet Laureate & the remainder being distributed by myself.When the book was finished the Press was closed down until the beginning of 1920". With a presentation letter to 'Milford', presumably Bridges's publisher and head of the Oxford University Press Humphrey Milford, from Robert Bridges at Chilswell (the house he built), dated July 1st 1915, so this is one of the 50 copies printed for the poet. He writes "I said I would send you a copy of Hornby's book. Here it is. Pls accept it with my compts.". With the ex libris of Constance Maria Josepha Hugh Smith and Violet Rawson, Lady Leconfield of Petworth House.

Translated into English by Thomas Shelton (first printed in 1612 and 1620). Two parts in two volumes. Each one of 225 copies on Batchelor paper, 20 copies were printed on vellum. Decorative initials and borders designed by Louise Powell and cut on wood by W.M. Quick & Geo. H. Ford. Chapter headings, shoulder notes and some of the text in red. Printed in double columns in the new Ptolemy type. Folio, handsomely bound in original full white pigskin by the W.H. Smith bindery (signed on lower turn-ins, gilt lettering on spine. Bindings with a few marks and eight small circular green marks to lower board of the first volume, spines a little darkened but generally an extremely good, clean and crisp set. The first Ashendene to be printed in Hornby's new Ptolemy type which was adpated from the type used by F. Holle of Ulm for the Geographia of Ptolemaeus in 1482. The Kelmscott-like decorated initials and borders cut on wood are very handsome and suit the work well. Emery call the book 'truly magnificent' adding 'Mrs Powell's initials and ornaments are very harmonious and virile". A very good copy of a statuesque book.

Hardcover. First edition thus. 163 pages. 25.5 x 18.5 cm. Limited edition of 310 copies. Printed in red and black in Ptolemy type. Initials hand-colored in blue by Graily Hewitt, wood-engravings throughout by Gwen Raverat. HORNBY XXXIX. This edition was initially printed in 1931, the ink used was very slow to dry, the sheets packed before the ink dried. When discovered at the binder Hornsby decided to destroy the entire edition. Text in French. Fresh, very bright copy. Orig. vellum-backed green boards, white corner tips, gilt device front cover. Near fine.

8vo, edition limited to 150 copies of which 125 for sale, [2], 48 pp., original vellum gilt, stext slightly wavy else a very good example. A lovely copy of the fine Ashendene Press edition of the first printed book on fishing. Ashendene Bibliography, XVI.

Vellum. Zustand: Very Good. Limited Edition. One of 150 copies on paper, from an overall edition of 175, printed in red and black, initials supplied in blue by Graily Hewitt.Books measures 19.5x13.5.cm.62,[1]pp. Bound in original publishers full vellum, yapped edges, gilt title lettering on spine. Vellum lightly dust marked, very light vain/crease lining, slightly sprung. Generally a very good binding. Internally, pages in very good near fine condition. A nice copy. Size: 8vo.

Hardcover. Zustand: Fine. Chelsea, Ashendene Press, 1932 (first thus). Tall quarto, [ii] (title leaf, verso blank), 182 pages printed in red and black Subiaco type, with woodcut initials printed in green and blue, and a large woodcut printer's device printed in red on the colophon. Original overlapping orange vellum by W.H. Smith & Son, lettered in gilt on the spine, with silk ribbon ties; all edges uncut; vellum slightly rubbed at the edges; essentially a fine copy. A superb example of private press printing. This is one of 328 copies on Batchelor handmade paper, with a further 25 copies printed on vellum. The colophon reads in full: 'Printed by C.H. St J. Hornby at the Ashendene Press, Shelley House, Chelsea, with the help of H. Gage-Cole, Pressman, and A.J. Fisk, Compositor, and finished in July of the year 1932. The initial letters in colour are by the hands of Graily Hewitt & his assistants Ida D. Henstock and Helen E. Hinkley'. Ecclesiasticus, a collection of ethical teachings attributed to Joshua ben Sirach, is one of the biblical apocrypha. The text of this edition was collated by A.D. Power using the Authorised and Revised versions, with reference to versions in Greek, Syriac, Latin and the original Hebrew.

Hardcover. Zustand: Very Good. Set in Subiaco type and printed on Batchelor paper with the Bugle water-mark of the same size and quality as used for the folio Dante. One of 105 copies printed on paper (plus 6 on vellum). With the exception of the 'Tavola' the book is printed in double column. The headings of each 'Gionata' are printed in blue capitals, those of each Novella in red.They were specially designed for this book by Graily Hewitt. A beautiful long-tailed 'Q' begins the 'Introduzione'. Bound in in blue boards, linen back, printed spine label. There is a small waterstain to the head of the upper board. Morocco book label of Richard Montgomery Gilchrist Potter. A very good copy indeed. As will be seen from the colophon the printing of this book was begun in 1913. Before it was half way through the work was interrupted by the world war, which necessitated the closing down of the Press until January. 1920. 'A curiously neglected volume, excelling simply in design and colour and therefore characteristic of the best post-war Ashendene folios.' (Franklin) Yates Thompson; 'It shall be placed on a choice shelf between Jenson's Plutarch and the Florence Homer of 1488.' Dyson Perrins says: 'it is perfect in all respects - press-work & format - there could be no better example of Printing.' (132) Bella Costa Greene from the Morgan Library: 'it is the finest piece of modern bookmaking and printing that I have ever seen.'.

Printed in red and black. "Printed for Private Circulation Only". Folio, 4 leaves, bound in original blue printed wrappers with small wood engraving on the front cover. Chelsea, The Ashendene Press. This is a reprint of pp. 168-177 of the Ashendene Press Bibliography, preceded by a short list of Minor Pieces. Slightly cockled, but a very good copy. Franklin, The Ashendene Press (1986), p.232.

Chelsea, Ashendene Press, 1935 / Nachdruck, San Francisco, 1976. 31 : 22 cm. 224 S. mit 36 Faksimile-Tafeln, wie im Original in Schwarz, Rot, Blau u. Grün gedruckt. . Orig.-Leinen. Faksimile-Ausgabe in nur 375 Exemplaren. - Die Tafelabb. nach speziell für die Presse entworfenen Einbänden, Holzschnitten, Initialen etc. - Eine Gesamtdarstellung über die Arbeit der bedeutenden Presse von der Gründung bis zu ihrem Ende. - Tadelloses Exemplar. - DABEI: "Post-Publication Note" mit Korrekturen und Information + Liste des Antiquariaat De Zilverdistel "The Ashendene Press". 1995/96. 3 Bl., 38 S. Typoskript mit Verkaufspreisen. Sprache: en.

Printed in red and black. "Printed for Private Circulation Only". Folio, 4 leaves, bound in original blue printed wrappers with small wood engraving on the front cover, uncut in a later blue cloth case with gilt lettering. Chelsea, The Ashendene Press. This is a specially produced reprint of pp.168-177 of the Ashendene Press Bibliography, preceded by a short list of Minor Pieces. An excellent copy. Pencil annotations by a former owner noting which books were in his or her collection, listing the Roxburghe Club title as well as altering a limitation.Franklin, The Ashendene Press, p.232.

First edition, first impression. The colophon notes that this handlist was printed in December 1925 "on the thirty-first anniversary of the founding of the Press". The Ashendene Press, described as "the zenith of superb bookmaking", was founded by C. H. St John Hornby in 1895 (Ransom, p. 95). It closed in 1935. C H. St John Hornby, "Minor Pieces", X. Will Ransom, Private Presses and their Books, 1929. Octavo. Printed in Subiaco type in red and black. Original blue paper wrappers, front cover lettered in black. Wrappers a little toned: a near-fine copy.

First Ashendene edition, one of 328 copies printed in red and black Subiaco type on Batchelor handmade paper. This limited edition is celebrated for its initials by Graily Hewitt and his assistants who influenced the revival of calligraphy in England. Hewitt (1864-1952) taught writing and illuminating at the Central School of Arts and Crafts and designed type for several private presses, including the Ashendene Press and the Gregynog Press. Franklin, p. 219. Large octavo. Initials hand-executed in red, blue, and green by Graily Hewitt, Ida D. Henstock, and Helen E. Hinkley. Shoulder notes printed in red. Original orange limp vellum, spine lettered in gilt, edges untrimmed, silk orange ties. Housed in original Cockerell paper-covered slipcase. Spotting to spine and occasionally to covers, else vellum bright. A near-fine copy.

Zustand: Fine. First Ashendene edition. One of 225 copies on Batchelor paper, out of a total edition of 245 copies. A bright, Fine set. Two large folio vols (430 x 308 mm). Beautifully bound in original full white pigskin. Printed in red and black in Ptolemy type; text in double columns; border and initials designed by Louise Powell and cut on wood by W. M. Quick and Geo. H. Ford. Bookplates of Don Cameron Allen to upper pastedowns. A bit of smuging to binding, and small scuffs to leather at head of spine, still an excellent set. ?First appearance of Ptolemy type. Ashendene knight-in-armour paper.taken as a single work Don-Quixote is the largest of the Ashendene books. It has an interesting alternative to Hewitt?s drawn or printed initials, the successful but unrepeatable device of neo-Kelmscott initials, borders and opening words cut on wood from designs by Louise Powell. The new Ashendene type was imitated and adapted from the Geographia of Ptolemaeus, printed by Leonard Holle at Ulm in 1482. In two columns, with red used chiefly for headings and shoulder notes, decorated but not illustrated, this link with the Kelmscott past was an entirely successful venture? (Franklin). ?One of those universal works which are read by all ages at all times? (PMM 111, first edition). Originally published in two volumes a decade apart (in 1605 and 1615), Don Quixote is the most influential work of literature to emerge from the Spanish Golden Age and the entire Spanish literary canon. As a founding work of Western literature, it is often cited as the first modern novel. Ashendene Bibliography XXXVI. Fine.

Hand-drawn initials by Graily Hewitt in gold, red and blue. One of 150 copies on Japanese vellum. Small 4to., original limp vellum lettered in gilt. Chelsea, Ashendene Press. Near fine, slightest of creases to covers and very light spotting to foredge.  A beautiful book, printed in Subiaco type with a red colophon and greatly enhanced by Hewitt's initial.

Hand-drawn initials in blue by Graily Hewitt, titles printed in red, the whole printed in the Subiaco type. One of 150 paper copies, with an additional 25 printed on vellum. 8vo., 19x13cm, 63pp. Original publisher's limp vellum, spine lettered in gilt. Chelsea, the Ashendene Press. Near fine, slight spotting to edges of text block.  An elegant book exemplifying the style of the Ashendene Press, 'a varied and beautiful work' (Colin Franklin) in which large blue initial letters drawn by Graily Hewitt are neatly paired with titles printed in red. .

200 x 140 mm. (7 7/8 x 5 1/2"). 48 pp. Original vellum, gilt spine titling, leaves untrimmed. One nearly full-page reproduction of a 15th century woodcut, one red initial, several small illustrations of fishing implements in text, printer's device on colophon leaf. Printed in Subiaco type. Front flyleaf inscribed "W C Stuart / from C H S J Hornby / Christmas, 1908." Hornby 16, Tomkinson, p. 5. A hint of dust soiling, naturally occurring variations in grain of vellum, but a very fine copy--entirely clean, fresh, and bright internally, in an unworn binding. This is a lovely private press edition of the earliest known book on sport fishing, with text and illustrations taken from the "Boke of St. Albans," as originally published in 1496 by Wynkyn de Worde. "Treatyse" predates Walton's "Compleat Angler" by 150 years, and clearly influenced the later work. The nobly born prioress of a Benedictine nunnery near St. Albans, Dame Juliana Berners (b. 1388, fl. 1460) is described by Britannica as "a woman of keen intellect and an accomplished practitioner and avid devotee of outdoor sports, including angling and hunting"--pursuits likely developed during a youth spent at court. Britannica further notes that, "despite its antiquity, 'Treatyse' remains a remarkable work for its detail and vision. A comprehensive guide for the anglers of its time, the book contains substantial information on fishing destinations, rod and line construction, and selection of natural baits and preferred artificial fly dressings categorized by the season of their optimum utility. Perhaps most remarkable are the essays on the virtues of conservation, respecting the rights of streamside landowners, and angler's etiquette." Founded by Charles Harry St John Hornby (1867-1946), the Ashendene Press issued 40 books, plus additional minor pieces, from 1895-1935. Less elaborate in appearance and design than William Morris' Kelmscott volumes, but more ornamental than the products of Cobden-Sanderson's Doves Press, the Ashendene volumes have long been considered the most satisfying of English private press books. The Berners treatise is the first prose work to appear in the Ashendene Subiaco type, based on the first roman type created by Sweyheym and Pannartz in the 15th century. Our volume was very probably a Christmas gift from the printer, but the identity of the inscribee Stuart remains elusive. Although this work appears in the market place with some regularity, copies as fine as the present one are increasingly difficult to find. ONE OF 150 COPIES ON PAPER, 125 of them for sale (and 20 vellum copies for sale).

53 woodcut illustrations by Charles Gere, cut by J.B. Swain. One of 240 copies printed on Batchelor 'hammer and anvil' paper, a further 12 copies were printed on vellum. Printed in Subiaco type in red and black with initials in red and blue designed by Graily Hewitt. 8vo., original limp vellum with green silk ties. An exceptionally good copy. With a presentation headed post card from Hornby to Professor Linetta de Castelvecchio dated March 1922, the year of publication. Also with an inscription on the front free endpaper in de Castelvecchio's hand noting the gift from Hornby. Linetta de Castelvecchio was the Serena Professor of Italian at the University of Birmingham at the time, which explains the gift of this title, and one of the first female professors in Britain - even though the university treated her rather badly, paying her a part-time rate. An extension of the few Franciscan stories published by the Press in 1904, this complete edition took seven years to produce due to the number of illlustrations which had been paid for before the war. This was the last Ashendene book in Italian and the last to use illustrations by Charles Gere. It is the final demonstration of Hornby's love affair with Italy which had begun when he went travelling after leaving Oxford and before starting work at W.H. Smith. May Morris wrote to Hornby: "I can't tell you how glad I am to be able to read the grave and simple and tender language in these beautiful pages. I am stroking the book now, when the post waits.". With the booklabel of the New York book collector Helmut N. Friedlaender.

Opening lines to each of the 8 books designed by Graily Hewitt and printed in red, Colin Franklin identifies that the accompanying 3-line initials, also printed in red, are taken from Eric Gill's alphabet for the 1906 Ashendene Utopia. Printed in Ptolemy type with marginal chapter summaries in Blado Italic. One of 260 copies printed on paper, with an additional 20 on vellum. Folio, 40 x 27.4cm, viii, 364pp. Original publisher's white pigskin, uncut, with cardboard packing container, possibly as issued from the press. Chelsea, the Ashendene Press. Very good, light rubbing to extremities and some very minor soiling to boards. Ownership signature of Lt. Commander Robert "Robin" White of the Royal Navy (1904-1939). Translated by Benjamin Jowett, formerly Latin master of Balliol college.  One of the final books to be issued from the press. Sydney Cockerell, writing in a letter to St. John Hornby, considered it ?one of the greatest of the many masterpieces of your Press? and C.R. Ashbee announced proudly that he would be ?placing your Thucydides into one of the principal corners of my Library? Although the official bibliography of the press fails to mention it, Colin Franklin points out that the large initial letters were designed by Eric Gill and mark the second appearance of those which he originally created for the Ashendene Utopia. Thucydides' text fits neatly into Franklin?s contention that the ?choice of books at the Ashendene Press was conservative, peaceful, domestic, occasionally amusing? (Colin Franklin, The Ashendene Press, p.103), however its contemporary significance in the fields of politics and historiography cannot be overstated. The 8 books of the History of the Peloponnesian War ?mark the longest and most decisive step that has ever been taken by a single man towards making history what it is today? (J.B. Bury, The Ancient Greek Historians, 1909), and Karl Popper considered Thucydides to be the ?greatest historian, perhaps, who ever lived? (The Open Society and Its Enemies, 1945). The notion of the ?Thucydides trap?, in which a rising political entity (Athens) threatens the established ruling power (Sparta) has become common parlance in discussions of modern international relations, and the work continues to have a profound influence on world leaders today. .

220 x 182 mm. (8 3/4 x 6 3/8"). 2 p.l. (first blank), 20 pp. Original holland-backed blue paper boards. Hand-painted initials in red or blue. Three lines printed in red. Hornby 28; Franklin, p. 239. âBoards a little soiled, tiny chip to head of spine, but an excellent copy, the text clean, fresh, and bright, and the fragile original binding entirely solid. One of 40 memorably beautiful Ashendene Press books issued between 1895 and 1935, this is a collection of poems composed during the year Bridges was named Poet Laureate. Bridges (1844-1930) had written verse since childhood, and he continued to do so while studying and practicing medicine, with his first volume of verse appearing in 1873. Day says he "is probably the master in English of a serene classic style," and notes the poet's lifelong "fervid interest" in "high-quality printing of books," a taste that no doubt drew him to St John Hornby's Ashendene Press. During the period when the present item was in production, Bridges had written to Hornby several times. "I hope that you will not think the little poems unworthy of your press," he said in a letter dated 18-19 November 1914. "One cannot estimate one's own work very surely, but I am willing to be judged by these poems, and am anxious to print them." Hornby set the type for the text with his own hands and issued the work for private circulation only, supplying Bridges with 50 copies and keeping the rest for himself. The last book published before a six-year hiatus at the press because of World War I, this printing constituted the first appearance of these poems in book form, and the present item comprises the only literary first printing of significance done at the Ashendene Press. FIRST EDITION. ONE OF 85 COPIES ON PAPER (and six on vellum), none of them for sale.

2 cols. Printed in red, blue, and black. With initials designed by Graily Hewitt. (5) leaves , 216 pp, (3) leaves. Folio. Orig. half calf over wooden boards and 7 raised bands with gilt lettered spine (spine extremities somewhat rubbed). One of 200 copies printed on Batchelor hand-made paper besides 15 copies on vellum. The last of the Ashendene Folios printed in the Subiaco type. Ashendene Bibliography XXXV. Fine copy.