Crafts press (13 Ergebnisse)

Paperback. Zustand: Very Good.

Paperback. Zustand: Brand New. 110 pages. 10.00x8.00x0.25 inches. In Stock.

Paperback. Zustand: Brand New. 110 pages. 10.00x8.00x0.25 inches. In Stock.

Paperback. Zustand: Brand New. 110 pages. 10.00x8.00x0.25 inches. In Stock.

Paperback. Zustand: Brand New. 110 pages. 10.00x8.00x0.25 inches. In Stock.

First Edition. Very good copy in the original pictorial-printed, stiff-card wrappers; edges very slightly dust-dulled and lightly nicked as with age, plus light stain/mark. Internally crisp and fine. Remains particularly and surprisingly well-preserved; tight, bright, clean and especially sharp-cornered. ; 90 pages; A wonderful collection of recipes etc. Subjects: Cookery, American. Home economics 1 Kg.…

Zustand: Good. Card. 14.5 x 21.5 cm., Letterpress on Heavy Laid Paper, Near Fine. Post Card advertising exhibition at Fort Mason, San Francisco.

Clamshell Case. Zustand: Very Good. Ten floral plates in a brown clamshell case. Some sunning to spine of case; light scuffing. Else fine. Plates are near pristine.

Zustand: Sehr gut. Zustand: Sehr gut | Sprache: Englisch | Produktart: Bücher | Keine Beschreibung verfügbar.

Zustand: Good. Broadside. 4to. Very Good.

Each item is on a sheet of laid paper, 39 x 29 cm, and each with the Roycroft watermark. Both items are grubby, with wear and creasing to extremities, but with the design and much of the margin entirely undamaged. Both have an identical block of printed text (roughly 13.5 x 9 cm) at the centre: 'THE truth is that in human service there is no low or high degree: the woman who scrubs is as WORTHY of RESPECT as the man who Preaches | ELBERT HUBBARD'. In both cases this is placed in the green centre of a block of hand-painted illumination roughly 20.5 x 15 cm: one of the two with a brown, yellow and red decorative border, and the other with a blue, green and red border. Both with the Roycroft single-R orb device to the bottom right outside the illumination. No record found on COPAC or WorldCat.…

150 x 117 mm. (5 7/8 x 4 5/8"). 44, [4] pp. VERY PRETTY ROSY BROWN MOROCCO, GILT IN AN ARTS AND CRAFTS DESIGN, covers quartered by gilt tendrils emanating from a central four-pointed star, these blossoming into tulips that frame the cover, raised bands, spine compartments with tulip sprig and gilt lettering, turn-ins framed in gilt with spray of five tulips at each corner, moss green watered silk pastedowns and endleaves, top edge gilt, other edges untrimmed. Paragraphs marked with small leaves, two five-line white-vine initials, and two full woodcut grapevine borders, all designed by Charles Ricketts. Printed in red and black. Ricketts, p. xxvi; Tomkinson, p. 167. Joints showing just minor wear, a small scattering of tiny dark spots on rear cover, otherwise very fine. Offered here in a floral Arts and Crafts binding, this is the very appealing Vale Press edition of Rossetti's Medieval-inspired short story. Originally published in the inaugural January 1850 issue of the Pre-Raphaelite journal "The Germ," "Hand and Soul" follows the fictional 13th-century Italian painter Chiaro dell' Erma through his art and spirituality. One of the founders of the Pre-Raphaelite Brotherhood, our author, the poet and painter Dante Gabriel Rossetti (1828-82), was an early and profound influence on William Morris and Edward Burne-Jones, and through them on the Arts & Crafts Movement that, among other things, revived letterpress printing. The Vale Press was a direct extension of that movement. Founded in 1896 by Charles Ricketts, its goal was to promote beauty and an artistic sentiment in printing. The press released nearly 50 titles issued during its eight-year life, and both its impressive output and considerable artistic success can be attributed to the fact that Ricketts, who was remarkably skilled as a designer, painter, and illustrator, was in control of every facet of the operation. Cave tells us that the Vale Press books were "far truer to the spirit of fifteenth-century printing than Kelmscott work," entirely fitting the Medieval revival sentiments so dear to Rossetti and evident in the text. The binding, while unsigned, is obviously the work of a talented craftsperson; its composition, with effective use of simple gilt fillets combined with a lively floral border, is reminiscent of the designs of Cobden-Sanderson. ONE OF 210 COPIES on paper (and 10 on vellum).…

ONE OF 300 COPIES. 257 x 190 mm. (10 1/8 x 7 1/2"). 2 p.l., 23, [1] pp. LOVELY CONTEMPORARY OLIVE GREEN MOROCCO, upper cover gilt in an Arts & Crafts design of repeating rows of trellised roses, gilt title banner, smooth spine with a runner of five gilt roses, gilt-ruled turn-ins, HAND-PAINTED ENDPAPERS with stylized, attenuated fruit trees and small heart-shaped branch wreaths bearing golden apples. Original blue printed paper wrappers bound in. Printer's device on leaf facing opening of text. One folding leaf of manuscript facsimile printed in collotype at the Clarendon Press. Rear pastedown with the bookseller's ticket of W. & G. Foyle. Madan 54. Minor offsetting to endleaves from binder's glue (as usual), other trivial imperfections, but A FINE COPY, clean and fresh internally, with generous margins, and in a virtually unworn, lustrous binding. This is an intriguing item in every way: it is "a noteworthy experiment in versification" (Madan) by a future poet laureate; it is printed by a pioneering private press; and it is in a binding with unique features. Described by Day as a "poet's poet" who was "one of the most important experimenters and students of English prosody," Robert Bridges (1844-1930) was inspired by his friend William Stone to attempt to write verse in the quantitative hexameters employed by Classical poets such as Virgil, where scansion is determined by the number of long and short syllables rather than by the stresses on syllables (accentual scansion) generally used in English verse. The poem takes the form of an epistle to Bridges' friend "L. M." [hymn writer Lionel Muirhead], extolling the virtues of studying science--an uncommon subject for a poem, perhaps, but one that allowed Bridges, who read Classics at Oxford before attending medical school, to combine two passions. The Reverend Charles Henry O. Daniel (1836-1919) is called by Cave "by far the most important of all [the] . . . Victorian printers for pleasure." With the help of his wife and two daughters, Daniel produced 60-odd pieces, mostly during the last quarter of the 19th century. This corpus of works was responsible for a renewed interest in the Fell types, which had been bequeathed to the Oxford University Press, after having been ignored for many years, and then taken up by Daniel for continuing use at his press. Daniel was a friend of Bridges, and published several of volumes of his poetry. Our binding is a pleasing marriage of Arts & Crafts and Art Nouveau design elements, with gilding in the style of the former, and with very unusual hand-painted endpapers in the curving, attenuated lines characteristic of the latter. The painting is similar in style to that on bindings produced by the Royal School of Art Needlework, and was perhaps executed by someone--likely a woman--who studied there.…