Caxton william trans (10 Ergebnisse)

Hardcover. Zustand: Good. No Jacket. 1st Edition. Supplementary series no 2. No dj, dented at top of spine, mark on rear board, some foxing stains on sides, otherwise vg. 700 grams.

Hardcover. Zustand: Very Good. No Jacket. 1st Edition. EETS NO 263. No dj, plastic protective cover fitted, light cloth wear, light foxing on sides, otherwise vg+. 600 grams.

Hardcover. Cloth, sl rubbed. Early English Text Soc ES 54.

Hardcover. Zustand: VG(-). No Jacket. 1st thus. f/piece+viii+199+12 (English Text Society details and full list); small gift inscrip. top front endpaper dated Oxford Feb. 1914, p.33 header corrected (from 'Corpus' to 'Corfus'), otherwise internally clean, tight & unmarked bar a few tiny brown flecks to endpapers. Blue cloth covers clean & bright, top spine rubbed and slightly nicked, bottom spine less so, otherwise unworn. Spine title: Caxton's History of Jason. A nice copy.…

Zustand: Gebraucht / Used. 1971, 1st ed. Cloth, dustwrapper id2=1254. Early English Text Society, supplementary series 2 Fine; dustwrapper worn, price-clipped.

Hardcover. Cloth. Early English Text Soc ES 36.

Hardcover. Zustand: Good. Hardcover with decorated cloth covered boards, no dust jacket, page block rough cut, 9 b&w full page illustrations. Boards are edgeworn and rubbed with a few faint marks to front and rear. End papers and page edges are foxed. Spine is tight and text is clean and clear throughout. AD. Used.…

Cloth. Zustand: Near Fine. A superb copy of this limited edition facsimile of William Caxton's edition of Aesop's Fables, complete with chemise and slipcase. A very scarce limited edition facsimile of William Caxton's 1484 edition of Aesop's fables.Limited to 500 copies, of which this is number 317.Reproduced from the copy in the Royal Library, Windsor Castle. With an introduction by Edward Hodnett.In the original rough cloth binding, with leather spine label. This copy is also handsomely presented in uniform chemise (inlaid with decorative marbled paper) and slipcase, both with paper spine labels.Caxton was an English merchant, diplomat, writer and, most importantly, thought to be the first person to introduce the printing press into England in 1476. His was the first translation of these classic fables and is complete with a series of woodcuts throughout.Chemise and slipcase provided by Eric Sweet, a keen collector of private press and fables. He studied at the Brighton College of Art, before moving to London to work as a letteringartist and typographer for advertising agencies, later becoming the head ofBirmingham School of Printing. Sweet's bindings are unique and striking, reflecting the topics of the volumes in distinctivestyle.Loosely inserted are a series of materials, including a postcard informing Eric Sweet of this book, a dated written receipt, and newsletters from The Scolar and Alliance Record. In the original rough cloth binding, with leather spine label. Together with uniform chemise and slipcase, both laid with paper spine labels.Externally, excellent, with only minor pink marks to the front board. Chemise and slipcase are also excellent, with a couple marks to the chemise spine label. Internally, firmly bound with bright and clean pages. Near Fine. Not Stated (illustrator). book.…

First Kelmscott edition, presentation copy, inscribed by Morris on the first blank one month before publication, "To Edward Burne-Jones from William Morris, Oct. 5th 1892". Burne-Jones's book label, printed in Morris's Golden type, is on the front pastedown. This is one of 500 sets printed on paper. Burne-Jones designed books for the Kelmscott Press between 1892 and 1898, including the illustrations in this book. At the end of his life, the artist wrote: "Morris's friendship began everything for me; everything that I afterwards cared for". Morris and Burne-Jones met in 1853 as undergraduates at Exeter College, Oxford. Bonded by a mutual admiration for medieval culture and a desire to resist industrialization's impact on art, they abandoned their divinity studies and, at the suggestion of their friend Dante Gabriel Rossetti, moved together to London. Their collaboration became one of the most defining creative partnerships of the arts and crafts movement, shaping its ideals through their work in painting, design, and book arts. The Golden Legend held great appeal for Morris. It was intended to be the first Kelmscott Press title, but its length and problems with the first delivery of paper delayed the release. The woodcut title is the first designed by Morris, who also worked on the initials and borders. Burne-Jones saw some proofs in October 1891 and reported that he "went crazy with pleasure" (Peterson). The text was edited by Morris's friend Frederick Startridge Ellis (1830-1901) on the basis of Caxton's 1483 edition; Ellis borrowed a copy from Cambridge University library and his daughter Phillis transcribed it so that the Kelmscott press printers would not have to handle the book itself. The original publisher's binding slip, printed in Golden type, reads: "If this book be bound the edges of the leaves should only be TRIMMED, not cut. In no case should the book be pressed, as that would destroy the 'impression' of the type and thus injure the appearance of the printing. W. Morris." Peterson A7. 3 vols, quarto. Elaborate woodcut title page, large decorated initial letter to each paragraph, woodcut borders, illustrations by Sir Edward Burne-Jones. Text in Golden type. Original linen-backed blue boards, paper title label to each spine printed in black, edges untrimmed. Housed in a red cloth flat-back box by the Chelsea Bindery. Publisher's slip loosely inserted. A little fraying to toned spines, paper labels chipped (loss to vol. I label affecting a couple of letters), faint discolouration to upper extremities, a touch of foxing to endpapers, contents crisp and clean: a very good copy. …

First Kelmscott edition, presentation copy, inscribed by Morris on the second blank nine days after publication, "To Georgie from W.M., June 2nd". Georgiana Burne-Jones met Morris decades earlier through her future husband, Edward Burne-Jones, sparking a creative collaboration and close personal friendship that lasted for the rest of Morris's life. Georgiana (1840-1920) "was the woman to whom [Morris] addressed himself most openly and fully on all occasions, with whom he shared his interests and concerns, and not least his political ones. She was the woman, that is, whom he trusted as a friend before all others" (Kelvin, p. xxxix). In the early years of their marriage, Georgiana and Edward Burne-Jones spent summer holidays with William and Jane Morris at Red House. When Jane Morris turned her affections towards Rossetti, William Morris increasingly relied on his friendship with Georgiana and for a time spent every Sunday breakfast in the Burne-Jones household, The Grange in Fulham. Morris frequently sought Georgiana's opinions on his books. "If you only knew what I expect of my friends. Such close attention, such anxiety on their parts such sincerity withal - O the cross-questioning of them after a reading! Only ask Georgie" (Letters, I, p. 150). As an artist, Georgiana was employed in painting tiles at the decorative firm Morris, Marshall, Faulkner & Co. (est. 1861), and she was a trustee of the South London Gallery. Following Morris's death in 1896, Georgiana encouraged her son-in-law, J. W. Mackail, to publish the first biography of Morris in 1899. This history of the First Crusade and the victorious first ruler of the Kingdom of Jerusalem is here based on William Caxton's translation of 1481, its text newly revised by Henry Halliday Sparling. Morris stated of the work, "This book must from a literary point of view be considered one of Caxton's most important works. It is not a 'romance'. but a very serious piece of history, the original of which is William of Tyre's Historia Rerum in partibus transmarinis Gestarum; from the French translation of which Caxton made his English version, bringing it to an end just after the death of Godfrey. The style of Caxton's book is vigourous and agreeable, and often reads like the most dramatic of all historic works, Lord Berner's translation of Froissart, and altogether it is a delightful book to read" (cited in Peterson, p. 43). One of 306 copies, this Kelmscott production used the printer's larger device for the first time. Franklin, p. 202; Peterson A15 (this copy listed as copy "r"); Ransom 15; Tomkinson 15. Norman Kelvin, ed., The Collected Letters of William Morris, 2014. Quarto. Elaborate woodcut border to title page and facing first page of contents, ornamental initials and borders throughout. Chapter titles printed in red, contents in Troy type, table of contents and glossary in Chaucer type. Printed on handmade paper. Original limp vellum with yapp edges, spine lettered in gilt, top edge untrimmed, fore and bottom edges uncut, four of six brown silk ties (a fifth detached and loosely inserted). Housed in a black quarter morocco solander box by the Chelsea Bindery. Ticket of bookseller Maruzen tipped to rear pastedown. Front cover bowed, a couple of spots to vellum, foxing to edges and outer leaves, contents otherwise clean. A near-fine copy.…