doves press (34 Ergebnisse)

Mit 7 Abbildungen. 29 S., 1 Bl. Orig.-Kartoniert. 21 : 15 cm. * 1 von 850 Exemplaren. Detaillierte Beschreibung des Probedruckes (1 Blatt) von Thomas James Cobden-Sanderson "Bookbinding, then, as other crafts, I would recommend, for the worke`s sake and for the man`s sake, the union of the mind and of the hand ." - Sehr gut erhalten.

4to, 196pp., coloured frontis., numerous plates, orig. decorated wrappers, 417 lots.

Unbound. Zustand: Fine. Broadside. Measuring 11" x 17". Fine. Broadside reads: "i work / you work / he works / she works / we work / you work / THEY $PROFIT$." Nicely printed from hand-set type as a gift for friends of the press, commemorating the Paris May 68 protests.

Number '50' of an edition limited to 70 copies designed by Christopher Wakeling who printed it on a Korrex Hannover test press, using Arches and Hahnemühle paper and Hermann Zapf's Palatino and Optima type. Green paper wrappers, sewn in green thread, printed and decorated paper label to the upper cover. Oblong, 165 x 250 mm, pp. [12]. A book in Fine condition. The text includes a letter addressed to the editor of 'The Times', October 26, 1911, together with 'An Announcement | Shakespeare's Plays and Poems | The Doves Press - MDCCCCXII | No. 15 Upper Mall, Hammersmith, London W 1.' There is a Foreword by Christopher Wakeling.

Number '36' of an edition limited to 70 copies designed by Christopher Wakeling who printed it on a Korrex Hannover test press, using Arches and Hahnemühle paper and Hermann Zapf's Palatino and Optima type. Green paper wrappers, sewn in green thread, printed and decorated paper label to the upper cover. Oblong, 165 x 250 mm, pp. [12]. A booklet in Fine condition, now in a clear, archival quality, protective display pocket. The text includes a letter addressed to the editor of 'The Times', October 26, 1911, together with 'An Announcement | Shakespeare's Plays and Poems | The Doves Press - MDCCCCXII | No. 15 Upper Mall, Hammersmith, London W 1.' There is a Foreword by Christopher Wakeling.

Number '49' of an edition limited to 70 copies designed by Christopher Wakeling who printed it on a Korrex Hannover test press, using Arches and Hahnemühle paper and Hermann Zapf's Palatino and Optima type. Green paper wrappers, sewn in green thread, printed and decorated paper label to the upper cover. Oblong, 165 x 250 mm, pp. [12]. A book in Fine condition. The text includes a letter addressed to the editor of 'The Times', October 26, 1911, together with 'An Announcement | Shakespeare's Plays and Poems | The Doves Press - MDCCCCXII | No. 15 Upper Mall, Hammersmith, London W 1.' There is a Foreword by Christopher Wakeling.

1p., 12mo. In good condition, lightly-aged. He has 'given consideration to the following MSS.': 'THE WEB OF FATE by M. Garahan | ANTONY IN LOVE [by] C. E. Rose | THE NIGHT MOTH [by] Amy Miller'. As he cannot make any offer for their publication he is returning the manuscripts forthwith.

4pp. 1 vols. 8vo. About 300 printed. About 300 printed. 4pp. 1 vols. 8vo. Ransom 33. Ransom 33 Single folded sheet, unbound. Without the printed brown wrappers.

Hardcover. Zustand: Gut bis sehr gut. 1. Auflage. First edition of Doves Press's second Catalogue Raisonné. Description: Linen spine and blue paper-covered boards. Titled on the upper cover THE DOVES PRESS. Octavo: 24 × 17 cm; pp. [1], 12. Printed from 'Doves' type on 'Doves' paper. Paragraph marks, section headings, etc., in red. Ref.: Cowan 96; Tidcombe 27 Condition: Boards showing some soiling and foxing, internally, clean, bright and free of marks. Generally a very good copy. Notes:The second Catalogue Raisonné (the first Catalogue Raisonné was published in 1908) includes books published to June 1911 and an introduction and additional comments by T. J. Cobden-Sanderson. 250 copies on paper. The final Catalogue Raisonné (1916) states the number of copies is 350, in error (Tidcombe).

First edition. Small quarto. pp xiv, 120, [2]. Publishers' binding of full limp vellum. 300 copies were printed. The essays were originally published in the Cornhill Magazine. In his Preface the author asserts, ''I believe them to be the best, that is to say, the truest, rightest-worded, & most serviceable things I have ever written''.Signed on the one of the front blanks by the book's printer T.J. Cobden-Sanderson.Fine.

First Edition. 4to, pp.[2], 7, [1 (blank)], with preliminary and final blanks; printed in red and black in Doves type on laid paper watermarked 'CS EW 1902' and 'TJCS 1910'; small mark at foot of colophon, nonetheless a very good copy; bound in vellum by the Doves Bindery (stamp to lower pastedown), spine lettered directly in gilt, sewn with green thread on 4 tapes; vellum bowing slightly with a few scattered spots.One of 150 copies on paper of the elusive Pervigilium Veneris, a celebration of the spring festival of Venus Genetrix, here in the original Doves Bindery vellum, 'a triumph of simplicity and restraint' (Tidcombe). T.J.Cobden-Sanderson (18401922) established the Doves Bindery in 1893 and the Doves Press in 1900, the latter forming the 'triple crown' of private printing along with Morris's Kelmscott Press and Hornby's Ashendene Press. The distinctive Doves type, commissioned in 1899, had been promised by Cobden-Sanderson to his partner Emery Walker for use after his death; following the bitter dissolution of their partnership in 1909, however, he gradually and 'irretrievably committed [the type] to "the bed of the River Thames"' between August 1916 and early 1917, in the wish that the type should 'never be subjected to a machine other than the human hand'. The enigmatic origins of the Pervigilium Veneris have traditionally been dated to the reign of Hadrian and at times attributed to Florus, although its innovative style has led some to place it as late as the fourth century; Walter Pater rather fancifully imagined its composition by a young scholar under Marcus Aurelius. It is 'remarkable not only for its exquisite melody and romantic evocation of spring-time and its associations, but also as an experiment in a new form of poetry, making large use of assonance, recurrence of words and phrases, and even occasionally of rhyme, in anticipation of the accentual Latin poetry of a later age' (Oxford Companion to Classical Literature). The opening line and repeated refrain, 'Cras amet qui nunquam amavit, / Quique amavit cras amet' ('Let those love now who never loved before, / Let those who always lov'd, now love the more', trans. Thomas Parnell), is here accentuated in red ink, recurring after every four lines of the poem. An additional twelve copies were printed on vellum. See Tidcombe, p.64 ff. Language: Latin.

Large 8vo. (234 x 168 mm). [102 leaves; pp. 203]. Title, leaf with explanation, verso and following leaves with contents, leaf with title in red and sonnet 'Bright star!' verso and Keats' verse, two leaves with 'Table of Years', final leaf with colophon recto. Printed text in red and black throughout, sheet size: 230 x 162 mm. Full scarlet crushed morocco by Frieda Thiersch with her signature gilt, boards with double gilt rules, banded spine with elaborate tooled decoration with title 'KEATS / 1815 - 1820' and dated 'MCMXIV' in six compartments, large turn-ins with gilt tools and rules to surround vellum doublures, board edges ruled in gilt, morocco-edged wool-lined marbled board slipcase. [PROVENANCE: From the collection of scholar and bibliophile Dr. Ernst Kyriss (1881 - 1974), with his discreet oval stamp to front free endpaper; Achilles Foundation, the collection of Edith and Barbara Achilles]. A very scarce copy of the vellum issue of the Doves Press' Keats in a highly accomplished binding of red morocco by Frieda Thiersch. From the edition limited to 212 copies, with this one of 12 examples printed on vellum. Apprenticed to the binder Charles McLeish who described her as the 'most skillful pupil we ever had . equal to any professional', Frieda Thiersch (1889 - 1947) was a prodigy: a highly talented, innovative and controversial binder. The daughter of a distinguished Munich-based architect, Frieda had a privileged upbringing before her seduction by her music master Ludwig Hess for a bet; the ensuing pregnancy caused her banishment to France for the birth of her child to avoid scandal. After the birth she was sent to London where she undertook an apprenticeship at McLeish & Sons that led to their endorsement and laid the foundations for her future as a binder. Thiersch clearly absorbed, along with the binding skills and knowledge of the McLeishs, the influence of the Doves Bindery: Charles McLeish Sr. had worked with Cobden-Sanderson from 1893 until the establishment of his own bindery in 1909. The austere but beautiful work with the emphasis on simple clarity with a highly restrained decor became a feature of Thiersch's own work and the signature of the many bindings designed by her and issued by the Bremer Press - she worked as the principal designer and her atelier was the principal bindery for the press - before the worsening economic situation in the late 1920s / early 1930s caused the press to close. Throughout the time she worked with the Bremer Press, Thiersch took commissions in her own right as the present binding, signed with her full name as opposed to her initials (when produced by an assistant) and likely produced in the late 1920s, attests. Thiersch exhibited her work internationally and showed books at the First Edition Club in London in 1929 (it is tempting to think that this binding was shown there), the World Exhibition in Barcelona in the same year, the Milan Triennale in 1930, 1933 and 1936 where she was awarded a gold medal and the Paris World Exhibition in 1937 where she was awarded another gold medal. Later in the 1930s Thiersch became associated with the German political establishment and undertook government contracts for the Nazis. Although she did execute personal commissions for, among others, Hitler, her own political views have never been established. The destruction of her archive and personal collection in a bombing raid in 1944, her death from lung cancer in 1947 and the confusion of the Second World War itself have ensured that both an aura of mystery has surrounded her work while adhering a considerable bibliophile cachet to it. Although Thiersch's bindings for the Bremer Presse are prized, even more so are the bindings that she undertook on commission. We can trace few of these, but notable examples are the luxusausgabe of 'Das Graphische Werk Max Pechsteins' (1921), Johanne Auerbach's 'Summa de Auditione Confessionis et de Sacramentis' (the second or third book printed in Augsburg probably in 1469 or 1470), Georg Martin Richter's unique copy of Thomas Mann's 'Walsengenblut' (1921) and Franz Liszt's copy of the first edition of Baudelaire's 'Les Paradis Artificiels' with a presentation from the author among others. [Tidcombe DP36; Tomkinson 58, 45].

Softcover. Zustand: Sehr gut. From the 1899 Weimar Text. A near fine copy of 200 printed on paper from a total edition of 232 copies (32 on vellum). Description: Original full limp vellum with title in gilt on spine. Octavo: 24 × 17 cm; pp. 110, [1]. Printed in black and red on Doves handmade paper, top edge cut, fore and lower edges trimmed. Inner pastedown stamped 'The Doves Bindery'. Provenance: Neat ownership inscription (Sutterlin script) to 2nd blank flyleaf: Ernst Bertram, Bonn 1924. Ref.: Cobden-Sanderson 1922, 141; Tidcombe DP28 Condition: Covers slightly soiled. Internally bright and clean, no browning to endpapers. Notes: Interest in Doves Press editions was very high in Germany. Therefore, after Shakespeare's plays, Cobden-Sanderson decided to print three plays by Goethe in the original German text: 'Die Leiden des Jungen Werther' (1911), 'Iphigenie auf Tauris' (1912) and 'Torquato Tasso' (1913). In addition, Cobden-Sanderson received requests from German dealers to increase both the number of copies on vellum and the number of special vellum copies with gold initials. The appetite in Germany for the finest editions seemed undimmed by the prices Cobden-Sanderson was forced to charge (Tidcombe 2002, 66). This led to the unusually high edition of 32 copies on vellum for 'Iphigenia on Tauris' (5 of them with gold initials) in addition to the rather moderate edition of 200 copies on paper.

One of 200 copies on paper; small 4to (240 x 170 mm); printed in red & black, near-fine; original limp vellum by the Doves Bindery (stamp to rear endpaper), spine titled in gilt, uncut, mild spotting to fore-edges, vellum toned and warped (as usual), otherwise a very good copy of this rare edition. After establishing the Doves Bindery in 1893, Thomas James Cobden-Sanderson partnered with Emery Walker to found the Doves Press in 1901. Alongside the Kelmscott, Ashendene and Vale presses it is considered one of the cornerstones of the Golden Age of Private Press, drawing heavily on the spirit of the Arts & Crafts Movement that flowered at the turn of the century. The two partners, along with Sydney Cockerell, created type based on Nicolas Jenson's Roman type (1470s), named the 'Doves Type.' Unfortunately, the relationship between the two partners deteriorated, resulting in said type being famously dumped in the Thames, where it languished until 2014, when it was rescued and subsequently digitalised. Tidcombe DP5 & DP7.

Softcover. Zustand: Sehr gut. "Cleanly printed from first to last" as Cobden-Sanderson remarked on 'Shelley'. A very good copy of 200 printed on paper from a total edition of 212 copies (12 on vellum). Description: Original full limp vellum with title in gilt on spine. Octavo: 24 × 17 cm; pp. 181. Printed in black and red on Doves handmade paper, top edge cut, fore and lower edges trimmed. Inner pastedown stamped 'The Doves Bindery'. Ref.: Cobden-Sanderson 1922, 142; Tidcombe DP35 Condition: Volume is near fine, with clean boards, straight corners without rubbing. Pages tightly bound throughout, pages 102-103 and 106-[107] show some yellow discolourations (verso of gathering g1, obviously an incident during printing), edges slightly spotted. But otherwise, a very good, clean copy. Notes: The 'Shelley' print was a tough nut to crack. By May 1914, when Shelley was printed, Cobden-Sanderson had recovered from his long illness, but he had become over-sensitive about the quality of the presswork. He blamed his age for the imperfections he thought were there, and for his 'growing inability to energize the Press to its fingertips'. In the end, however, he found the prints were 'on the whole quite "all right" - cleanly printed from first to last' (Tidcombe, 2002). It is all the more surprising, given Cobden-Sanderson's pedantry, that a copy with such a paper defect should have come into circulation at all.

3 pp. 1 vols. 12mo. Zustand: Fine. 3 pp. 1 vols. 12mo. ?I was so sorry to ---away without coming to wish you 'good-bye' & hear how you were feeling.

First edition. Two leaves. No wrapper, although Tidcombe mentions copies ''in an unprinted brown wrapper, or in a folded leaf of Doves paper''. In this instance the brown wrapper (splitting at the fold) is printed with the titles for ''Wordsworth's Cosmic Poetry).Fine. Scarce.

8pp. 1 vols. 8vo. About 300 printed. About 300 printed. 8pp. 1 vols. 8vo. Ransom 40 Laid in printed brown wrappers. Fine.

About 300 printed. About 300 printed. 6 pp. with conjugate blank. 1 vols. 8vo. Ransom 42 Single folded sheet, unbound and laid into printed brown wrappers. Fine 6 pp. with conjugate blank. 1 vols. 8vo.

ONE OF 250 COPIES. 9 1/2 x 6 3/4" 1 p.l., 12 pp. Original holland-backed blue-gray boards (stamp-signed The Doves Bindery to the rear pastedown), printed title. Printed in red and black. Page four with one correction in red ink, initialed "C. S." Front pastedown with Henry Young & Sons, Liverpool stamp. Rear flyleaf with Newbegins, San Francisco bookseller's ticket. Tidcombe DP-27; Tomkinson, p. 57. Edges of boards somewhat browned, spine with a few areas of discoloration, corners a bit rubbed, but the fragile binding with no appreciable wear; fine internally. This is the second full-length catalogue put out by the Doves Press, recording their publications through 1911. As in the 1908 catalogue raisonné, this work includes remarks by Cobden-Sanderson about his approach, emphasis, and motivation. He begins by saying that his press was founded in 1900 "to attack the problem of pure typography, . . . keeping always in view the principle laid down in 'The Book Beautiful' that 'the whole duty of typography is to communicate to the imagination, without loss by the way, the thought or image intended to be conveyed by the author.'" Tidcombe notes that the British Library copy has the same correction as ours, initialled by Cobden-Sanderson. The lovely Doves typeface stands out on the bright, clean paper here, and the binding is well preserved, with none of the fraying that so often affects the cloth spine.

The Doves Bible, the finest output of the press and among the finest achievements of typography, one of 500 sets on handmade paper. "All copies of the Bible were sold before printing was finished, and the fourth Doves Press List published in June 1905 states that the Bible, like all other Doves Press books, was now out of print" (Tidcombe). "The Doves Bible and the Kelmscott Chaucer stand side by side upon the highest peak of typographical accomplishment, utterly dissimilar yet with the same element of greatness incontestable. The great red initial 'I' that dominates and yet fits exactly the opening page of Genesis in the Doves Bible is a pattern for all time of complexity reduced to the minimum of simplicity. When it is said that they approach dangerously near to absolute perfection, everything has been said" (Ransom). Tidcombe notes that foxing appears on the sheets of early volumes of the Bible, "although fortunately not the opening page". Cobden-Sanderson was asked about this condition issue in 1920 and noted that it was "due to a misadventure in the drying of the sheets long ago, when the Bible was being printed" (cited in Tidcombe, p. 45). In this copy the foxing is very limited. On the head of each pastedown is the thin bookplate of Benjamin Fairfax Hall (1904-82), founder of the Stourton Press in 1930. The press was known for its appealing productions, many of which used the Aries font designed specially for Fairfax Hall by Eric Gill. Ransom, p. 56; Tidcombe DP6. 5 vols, large quarto. Doves type printed in black with red initial letters by Edward Johnston, on handmade paper. Original limp vellum by the Doves Bindery with their stamp on rear pastedowns, spines lettered in gilt. Spines a little creased, natural colour variance, remarkably little foxing. A near-fine set.

235 x 167 mm. (9 1/4 x 6 1/8"). 203 pp. VERY PRETTY GREEN MOROCCO, GILT, BY SANGORSKI & SUTCLIFFE (stamp-signed on front turn-in), covers with delicate frame featuring sprays of flowers at the corners, raised bands, spine compartments with floral sprig centerpiece, gilt lettering, gilt-ruled turn-ins, marbled endpapers, all edges gilt. Printed in red and black. Front pastedown with engraved armorial bookplate of Helen & Michael Oppenheimer. Tidcombe DP-36; Tomkinson, p. 58. Spine sunned to a light tan (as often with green morocco) and with three tiny brown spots, otherwise in pristine condition inside and out. Full of lovely poetry, this refined volume from the always elegantly austere Doves Press comes in a binding that can trace its "descent" from Doves Press and Bindery founder T. J. Cobden Sanderson. Ever the perfectionist, Cobden-Sanderson personally selected and arranged the poems in the present anthology only after much considered effort. He noted in his journal on 31 July 1913, "I have put 'Bright Star' first, for I wish the feeling of the last sonnet to accompany the reader throughout; and at the end revert to Keats' first sonnet, and so leave the poet as it were on the peak in Darien." The Arts & Crafts-style binding from Sangorski & Sutcliffe has more than passing similarities to Doves bindings--perhaps because its binders were trained by a man who apprenticed with and later designed for Cobden-Sanderson's workshop. Francis Sangorski (1875-1912) and George Sutcliffe (18781943) met in 1896 while attending Douglas Cockerell's bookbinding classes at the London County Council Central School of Arts & Crafts. Generally considered to be the leading binder of his day, Cockerell (1870-1945) became an apprentice for Cobden-Sanderson in 1893, when the latter was setting up his Doves Bindery, then established his own workshop in 1897. Impressed with his pupils Sangorski and Sutcliffe, Cockerell hired the latter as a finisher and former as a forwarder in 1898. In 1901, Francis and George went into business for themselves, and before long, they had become two of the most renowned English binders of the 20th century. In the manner of their teacher and of his teacher, they combined high-quality materials with faultless technique and beautiful designs to create some of the most outstanding bindings of the Edwardian era. Our volume was formerly in the collection of fine private press books owned by the distinguished scholars Sir Michael Oppenheimer (1924-2020) and his wife Lady Helen Oppenheimer (1926-2022); he was an Oxford lecturer in politics and history, she an Anglican theologian whose groundbreaking work on ethics helped reform the church's position on remarriage of divorced persons. ONE OF 200 COPIES ON PAPER (and 12 on vellum).

235 x 165 mm. (9 1/4 x 6 1/2"). 341 [1] pp. VERY ATTRACTIVE DARK BLUE CRUSHED MOROCCO IN THE STYLE OF THE DOVES BINDERY (counterfeit signature stamped and dated 1907 to the rear turn-in), covers simply framed by two plain gilt rules, raised bands, spine compartments with rose window designs formed by six open ovals accented with dots, encircled by two gilt rules, with low platforms and dots above and below, gilt titling, turn-ins gilt-ruled and with cornerpieces of open ovals, dots, and gouge work, all edges gilt and gauffered with two rows of tiny dots. Initials designed by Edward Johnston. Printed in red and black. Pastedown with the bookplate of Helen and Michael Oppenheimer. Tidcombe DP-13. For the binding: Tidcombe, p. 464. Spine a little sunned, just a trace of soiling to leather, the usual offsetting from the facing turn-ins on the front and rear free endpaper, a hint of yellowing to quire b, but still fine, the text otherwise pristine, and the binding unworn and lustrous. This is one of the 26 intriguing (and obviously uncommon) examples Tidcombe has identified as forged or imitation Doves bindings, a group of handsomely executed volumes that continue to be mysterious. Tidcombe differentiates between forgeries (those books that are stamp-signed with "C - S" and a date, as here) on the one hand and unsigned "copies of Doves bindings or bindings in the Doves style" on the other. But she treats them as one group "because they have several features in common." For example, signed or unsigned, all of the suspect bindings cover Doves Press books, all are bound in dark blue morocco, and all have a signature pallet with the letters "E" and "S" close together. Although Tidcombe suggests that the person responsible for the forged Doves bindings could possibly have been the former Doves Bindery finisher Charles McLeish, she does not settle on him or any other likely candidate. Whoever was behind them, the volumes in this puzzling group of bindings--like other forgeries and imitations of historically important cultural artifacts--are actively collected for their value as counterfeits. And as with other counterfeits, the present binding is a kind of implicit homage, in this case to the outstanding work done by Cobden-Sanderson at the Doves Bindery--our spurious binding would not have been worth undertaking, were the objects it mirrored not so universally recognized as worthy of imitation. The text here is an uncategorizable work reminiscent of satires by Swift and Sterne in its fictitious biography of Teufelsdroeckh (i.e., "devil's dung"), Professor of Things in General at the University of Weissnichtwo ("Know-not-where"). Day calls it "an intellectual and spiritual autobiography and a diatribe against current conditions in England" that advocates a reorganization of society and its institutions, so that "Brotherhood and the duty to work usefully will grip mankind's true leaders and assure a theocracy, a reborn humanity ruled by the divine spirit within." Our volume was formerly in the collection of fine private press books owned by the distinguished scholars Sir Michael Oppenheimer (1924-2020) and his wife Lady Helen Oppenheimer (1926-2022); he was an Oxford lecturer in politics and history, she an Anglican theologian whose groundbreaking work on ethics helped reform the church's position on remarriage of divorced persons. ONE OF 300 COPIES printed on paper (and 15 on vellum).

Second Printing, updated. 237 x 170 mm. (9 3/8 x 6 3/4"). 7, [1] pp. Unbound, as issued. Sold-out titles marked with an asterisk. Tidcombe DPE22. Crease down the center, otherwise fine. This pamphlet represents an update of the 1908 list, which was the first significant Doves catalogue to appear, our later version indicating with asterisks which books included in the original have been sold out. The contents are otherwise identical: in addition to listing the first 13 books issued by the press, this work includes remarks by Cobden-Sanderson about his approach, emphasis, and motivation. He begins by saying that his press was founded in 1900 "to attack the problem of pure typography, . . . keeping always in view the principle laid down in 'The Book Beautiful' that 'the whole duty of typography is to communicate to the imagination, without loss by the way, the thought or image intended to be conveyed by the author.'" The lovely Doves typeface stands out on the bright, clean paper here, and the unbound pamphlet has happily survived in fine condition. This item is seldom found in the present unbound state.

236 x 165 mm. (9 1/4 x 6 1/2"). 203 pp. LOVELY DOVES BINDERY-STYLE DARK BLUE CRUSHED MOROCCO, VERY INTRICATELY GILT AND INLAID, BY WESLEY D. BAKER (verso of front free endpaper stamped in ink: "Baker Bindery for James Cummins, Bookseller"; rear turn-in stamp-signed in gilt: "20*WDB*08") covers with wide frame of inlaid pink morocco Tudor roses (a total of 88 inlays on the covers), the blossoms linked with sinuous gilt stems with delicate leaves, all on a background stippled with tiny stars, raised bands, spine compartments similarly adorned, with inlaid rose at center, a trio of leaves at each corner, and a background of stars, gilt lettering, gilt-framed turn-ins with cornerpieces featuring an inlaid rose, gilt branches, and stars, white watered silk pastedowns and endleaves, all edges gilt. Printed in red and black. Tidcombe DP-36; Tomkinson, p. 58. A PRISTINE COPY. This is a refined book full of lovely love poetry, offered as an object so gorgeous that its Doves Press imprint has to take an uncharacteristic second place in importance; this is especially true because the binding, which clearly derives from Doves Bindery models, is a convincing perpetuation of that firm's superb achievements. Ever the perfectionist, Cobden-Sanderson personally selected and arranged the poems in the present anthology only after much considered effort. He noted in his journal on 31 July 1913: "I have put 'Bright Star' first, for I wish the feeling of the last sonnet to accompany the reader throughout; and at the end revert to Keats' first sonnet, and so leave the poet as it were on the peak in Darien." Our binding was done by Wesley Baker in 2008, using tools created by Roy Petit (responsible for the roses) and Stewart Fields (who cut the leaf tools). Baker became interested in bookbinding while in college, and attended workshops in the Northeast U.S., but is largely self-taught. From Alabama, he has adapted the traditional techniques used in England to the climate of the Deep South, where high temperatures and humidity require a different method of gold tooling than would be used in London. The present binding represents the latest attempt we know of to carry on in any thoroughgoing and convincing way the great tradition created by Cobden-Sanderson at the Doves Bindery at the center of the Arts & Crafts Movement. ONE OF 200 COPIES ON PAPER (and 12 on vellum).

First Doves Press edition, one of 200 copies. Publication of Coriolanus was announced for the autumn of 1913 in the press's Catalogue Raisonné that April. Cobden-Sanderson, however, fell ill during its production, delaying its release. He continued to revise the text and compile the errata while convalescing at a nursing home in October 1913, and the work appeared in March 1914. The Doves Press was run by T. J. Cobden-Sanderson alongside his wife Anne. Cobden-Sanderson left his career as a lawyer in 1884 in order to open the Doves Bindery, establishing the Doves Press in 1900. He was interested in all aspects of book design, writing in his diary in 1898 that "I must, before I die, create the type for today of 'The Book Beautiful', and actualize it - paper, ink, writing, printing, ornament, and binding". The text of this edition is based on the First Folio, published in 1623. Franklin, p. 278; Ransom 41. Marianne Tidcombe, The Doves Press, 2002, DP34. Quarto. Text printed in red and black. Original limp vellum by the Doves Bindery, their stamp to the rear pastedown, spine lettered in gilt, fore and bottom edges untrimmed. Housed in an orange card slipcase. Vellum clean and notably unbowed, contents bright: a fine copy.

[ONE OF 325 COPIES] (from an edition of 350 copies) printed in black and red on handmade paper, first four leaves with light spotting to fore-margin, pp. 56, 8vo, original limp vellum, backstrip lettered in gilt, edges lightly toned and spotted, very good. The two translations are from 'The Iliad', the original poems mostly around Greek themes. (Tidcombe DP4).

235 x 164 mm. (9 1/4 x 6 1/2"). 84 pp., [1] leaf. ELEGANT CONTEMPORARY DARK BLUE MOROCCO, EXTRAVAGANTLY GILT, IN THE STYLE OF THE DOVES BINDERY, gilt, covers with strapwork frame, daisy cornerpieces, two medallions at center in an intricate Celtic knot design, raised bands, spine compartments with guilloche tooling, gilt lettering, turn-ins ruled in gilt with strapwork loops at corners, all edges gilt and gauffered with rows of dots. Three fine capitals engraved by Noel Rooke and Eric Gill after Edward Johnston. Printed in red and black. Tidcombe DP-18; Tomkinson, p.56; Gill 307. For the binding: Tidcombe, "The Doves Bindery," Appendix III, pp. 458-65. Mild offsetting from turn-ins (as uaual), one opening with barely perceptible horizontal darkening along tail margin, but A BRIGHT AND BEAUTIFUL COPY INSIDE AND OUT. This Doves Press version of Shakespeare's Sonnets is based on the text of the first edition of 1609 and is printed in celebration of the 300th anniverary of their first appearance. The volume is a very pleasing example of the "Book Beautiful" as envisioned by press founders T. J. Cobden-Sanderson and Emery Walker: a desirable text rendered with reserved elegance and exquisite taste in Walker's stately Doves type. Cobden-Sanderson was a perfectionist, and finding that he had inadvertently printed an extraneous comma in the first sonnet, he covered over by hand every extra comma in every copy, using an early form of correction fluid. The correction is just visible in our volume (after the word "aboundance"). The engraving Gill did on the initials here is among the very earliest of his recorded work. Our binding is not signed, but was clearly inspired by Doves Bindery examples. The navy crushed morocco, the elaborate but tasteful design, and the precise tooling are all characteristic of Doves work. While the tools and pattern do not match any of those in Tidcombe's comprehensive study of the bindery, the open petals in the cornerpieces are similar to Doves tools, just as the use of strapwork is common in Cobden-Sanderson bindings. Tidcombe documents counterfeit Doves bindings in her book, and notes several common features. Like ours, all of the fake bindings are on Doves Press books and all are bound in dark blue morocco. But they differ from our binding in that they all use a stamp-signed Doves Bindery signature. She considers unsigned bindings in the Doves style copies, rather than forgeries. All that being said, it seems possible that our binding was created by an artisan who had studied with Cobden-Sanderson and who was much influenced by his bindings. ONE OF 250 COPIES ON PAPER (and 15 copies on vellum).

234 x 165 mm. (9 1/4 x 6 1/2"). 311, [1] pp.Preface by Thomas Carlyle. EXTREMELY ATTRACTIVE DARK BLUE CRUSHED MOROCCO, GILT, IN THE STYLE OF THE DOVES BINDERY (stamp-signed and dated 1907 on rear turn-in), covers with large strapwork arabesque accented with floral sprays and small tools, raised bands, spine compartments with mirrored floral design, gilt rule turn-ins with floral cornerpieces, all edges gilt and gauffered with two rows of dots. Housed in a fleece-lined blue buckram slipcase. Initials in red, two pages partly printed in red. Tidcombe DP8; Tomkinson, p. 55. For the binding: Tidcombe, p. 464. âLight offsetting to free endpapers from turn-ins (as usual), A VERY FINE COPY, the text fresh and bright, and the binding sparkling and unworn. This is one of the 26 intriguing (and obviously uncommon) examples Tidcombe has identified as imitation Doves bindings, a group of handsomely executed volumes that continue to be mysterious. Tidcombe differentiates between (a) forgeries (those books that are stamp-signed with "C - S" and a date) and (b) unsigned "copies of Doves bindings or bindings in the Doves style." But she treats them as one group because of their common features. For example, signed or unsigned, all of the suspect bindings cover Doves Press books, are bound in dark blue morocco, have green silk double headbands, have the letters "E" and "S" close together on the signature pallet, and so on. Although Tidcombe suggests that the person responsible for the forged Doves bindings could possibly have been the former Doves Bindery finisher Charles McLeish, she does not settle on him or any other likely candidate. Whoever was behind them, the volumes in this puzzling group of bindings are actively collected for their value as counterfeits. The Doves Press was founded in 1900 by Cobden-Sanderson and Emery Walker to produce their ideal of the "Book Beautiful." Over the next 16 years, they produced 51 titles in which they demonstrated that printing with plain type (designed by Walker) that is well set and with good margins could produce notable work. As Cave says, the Doves Press books, "completely without ornament or illustration, . . . depended for their beauty almost entirely on the clarity of the type, the excellence of the layout, and the perfection of the presswork." The text here is by the American Transcendentalist poet and philosopher that, Tidcombe tells us, Cobden-Sanderson considered "a pinnacle of a man." Cobden-Sanderson met Emerson when the latter visited London in the 1860s; Tidcombe notes that the future binding and private press pioneer was drawn to Emerson's "idealism, and to the hint of mysticism that coloured his view of nature." The essays here are from a collection first published in 1841, and include "Love," "Friendship," "Self-Reliance," "Intellect," and "Art.". ONE OF 300 COPIES ON PAPER (and 25 on vellum).

238 x 172 mm. (9 3/8 x 6 3/4"). 3 p.l., 7-140 pp., [2] leaves (colophon and errata). Original flexible vellum by the Doves Bindery, gilt spine titling, edges untrimmed. Printed in red and black. Tidcombe DP-29; Tomkinson, p. 57. A little natural variation (as always) in the grain of the vellum and covers tending to splay slightly, but in virtually pristine condition inside and out. This is a splendid copy of one of the series of Shakespeare works issued by Cobden-Sanderson's Doves Press. Although he printed 16 items before turning to something written by Shakespeare, seven of the last 35 Doves Press productions were authored by the Stratford bard. Probably first performed in 1607, "Anthony and Cleopatra," the tragic, classic story of lust and politics in ancient Rome and Egypt, is the third of those seven ("Hamlet" and the "Sonnets" were printed previously, in 1909). The text here is based on the First Folio, with errata added at the end. The Doves Press was founded in 1900 by Thomas James Cobden-Sanderson and Emery Walker to produce their ideal of the "Book Beautiful." Over the next 16 years, they produced 51 titles in which they demonstrated that printing with plain type (designed by Walker) that is well set and with good margins could produce notable work. As Cave says, the Doves Press books, "completely without ornament or illustration, . . . depended for their beauty almost entirely on the clarity of the type, the excellence of the layout, and the perfection of the presswork." After the partnership ended acrimoniously, Cobden-Sanderson threw Walker's beautiful type into the Thames, so it could never be used by anyone else. Doves Press items appear regularly in the marketplace, but "Anthony and Cleopatra" shows up less frequently than expected. ONE OF 200 COPIES on paper (and 15 copies on vellum).