Dun emer press (13 Ergebnisse)

Zustand: New. In English.

Zustand: New. In English.

Taschenbuch. Zustand: Neu. Neuware - Twenty-One Poems by Lionel Pigot Johnson is a collection of emotionally charged and melancholic poems, written under the influence of the Romantic era and the Pre-Raphaelite movement. The poems are a reflection of the author's inner thoughts and feelings, depicting the world through his eyes. Fans of Romantic poetry and melancholic themes will appreciate this book.This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the 'public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. …

Zustand: New.

First edition. 8vo. Original quarter pale linen, with grey paper covered boards, lettered in black to front cover. Dundrum, The Dun Emer Press.   One of only 200 copies printed. The ninth publication of the Dun Emer Press before it evolved into the Cuala Press, founded in 1902 by Elizabeth Yeats, William Butler Yeats and Evelyn Gleeson as part of the Celtic Twilight.  A very good copy, with light wear at the extremities particularly effecting the corners, a little soiling to the boards and age toning to boards and spine. Some offsetting to endpapers, otherwise very bright internally. …

First edition, first impression, one of 200 copies printed. Yeats wrote to Helen Allingham in December 1904 requesting permission to publish his selection: "I have the greatest possible admiration for Mr. Allingham's poetry. I am sometimes inclined to believe that he was my own master in Irish verse, starting me in the way I have gone whether for good or evil" (Miller, p. 44). William Allingham (1824-1889) drew much of his inspiration from traditional folk songs. His poem "The Fairies", included here, has been set to music and is still popularly taught in Irish schools. The Dun Emer Press was named for co-founder Evelyn Gleeson's home in Dundrum, near Dublin. The press, established with Lily and Elizabeth Yeats in late 1902, ran alongside an embroidery and rug making workshop. Eleven titles were released under the Dun Emer imprint, which was renamed the Cuala Press when the Yeats sisters split from Gleeson in 1908. This copy is from the library of Louis Claude Purser (1854-1932), brother of the artist Sarah Purser. A fellow classics student with Oscar Wilde at school, Purser was appointed professor of Latin at Trinity College, Dublin, and later served as president of the Royal Irish Academy. Elizabeth Yeats was his closest female friend. Miller 7. Octavo. Colophon printed in red. Original quarter linen, paper label to spine printed in black, blue paper boards, front cover lettered in black, blue endpapers, edges untrimmed. Minor flakes to spine label, not affecting text, spot of wear to board edges, boards and endpapers lightly browned. A very good copy.…

First edition, first impression, one of 200 copies. John Eglinton was the pen name of William Kirkpatrick Magee (1868-1961), a schoolfriend of Yeats. A note was added at his request, humorously objecting to "the inclusion of the last essay, written over twelve years ago, in which a metaphor is pressed to the point of being recommended as a gospel". The head librarian of the National Library of Ireland, Magee was an active participant in the Irish Literary Revival, vocally opposing the "cultural nationalism" of the Celtic Revival, and, like James Joyce, supporting a more European intellectual focus. He co-founded and served as editor for the literary journal Dana: An Irish Magazine of Independent Thought. The Dun Emer Press was named for co-founder Evelyn Gleeson's home in Dundrum, near Dublin. The press, established with Lily and Elizabeth Yeats in late 1902, ran alongside an embroidery and rug making workshop. Eleven titles were released under the Dun Emer imprint, which was renamed the Cuala Press when the Yeats sisters split from Gleeson in 1908. This copy is from the library of Louis Claude Purser (1854-1932), brother of the artist Sarah Purser. A fellow classics student with Oscar Wilde at school, Purser was appointed professor of Latin at Trinity College, Dublin, and later served as president of the Royal Irish Academy. Elizabeth Yeats was his closest female friend. Miller 6; Ransom 6. Octavo. Printed in red and black. Original quarter linen, paper label to spine printed in red, pale blue paper boards, blue endpapers, edges untrimmed. Chip to spine label, not affecting text, spot to spine, light browning to covers and free endpapers as often, contents fresh, single marginal pen line, flap of original glassine wrapper loosely inserted: a very good copy.…

First edition, first impression, one of 200 copies. W. B. Yeats stepped down from his role as literary advisor to the Dun Emer Press due to disagreements with Elizabeth regarding the contents of this selection. The Dun Emer Press was named for co-founder Evelyn Gleeson's home in Dundrum, near Dublin. The press, established with Lily and Elizabeth Yeats in late 1902, ran alongside an embroidery and rug making workshop. Eleven titles were released under the Dun Emer imprint, which was renamed the Cuala Press when the Yeats sisters split from Gleeson in 1908. This copy is from the library of Louis Claude Purser (1854-1932), brother of the artist Sarah Purser. A fellow classics student with Oscar Wilde at school, Purser was appointed professor of Latin at Trinity College, Dublin, and later served as president of the Royal Irish Academy. Elizabeth Yeats was his closest female friend. Miller 9. Octavo. Sword of Light device by A.E. in red, text printed in red and black. Original quarter linen, grey paper boards, front cover lettered in black, grey endpapers, edges untrimmed. Spine toned, free endpapers browned, contents clean. A near-fine copy.…

First edition, first impression, one of 200 copies. This poetry collection, the second work of the press, established the binding style for all subsequent works. George William Russell, who wrote under the pseudonym AE, was closely connected to the Yeats family, especially to William Butler, and was a leading figure in the artistic and theosophical movements of Dublin. The Dun Emer Press was named for co-founder Evelyn Gleeson's home in Dundrum, near Dublin. The press, established with Lily and Elizabeth Yeats in late 1902, ran alongside an embroidery and rug making workshop. Eleven titles were released under the Dun Emer imprint, which was renamed the Cuala Press when the Yeats sisters split from Gleeson in 1908. This copy is from the library of Louis Claude Purser (1854-1932), brother of the artist Sarah Purser. A fellow classics student with Oscar Wilde at school, Purser was appointed professor of Latin at Trinity College, Dublin, and later served as president of the Royal Irish Academy. Elizabeth Yeats was his closest female friend, and he was on the subscribers list for the press from its inception. Miller 2; Ransom 2. Octavo. Frontispiece of The Sword of Light (An Claidheamh Soluis), reproduced from a line drawing by AE, printed in red. Text printed in red and black. Original quarter linen, grey paper boards, front cover lettered in black, grey endpapers, edges untrimmed. Newspaper clipping loosely inserted. Spine lightly browned, touch of wear to ends, browning to free endpapers: a very good copy.…

First edition, first impression, one of 200 copies printed by Elizabeth Yeats, Esther Ryan, and Beatrice Cassidy in March 1907. The tenth book published by the press, it was the first to include the printer's names in the colophon and the vignette of Lady Emer, designed by Elinor Darwin née Monsell on the title page. The Dun Emer Press was named for co-founder Evelyn Gleeson's home in Dundrum, near Dublin. The press, established with Lily and Elizabeth Yeats in late 1902, ran alongside an embroidery and rug making workshop. Eleven titles were released under the Dun Emer imprint, which was renamed the Cuala Press when the Yeats sisters split from Gleeson in 1908. Katharine Tynan (1859-1931) was a major contributor to the Irish literary revival. Her prolific output includes autobiographical volumes, near 100 novels (primarily written for a female audience and playing with tropes of romance and the gothic), journalistic articles on social, political, and gender issues, and an abundance of poetry. This copy has the bookplate, designed by Jack Yeats in November 1953, of Eleanor and Fred Reid. Eleanor de Bretteville Reid (1909-1993) was an American psychologist and pianist. She purchased her first painting of Jack Yeats, "Lafitte the Pirate", in 1949, and soon began a correspondence with him, requesting information about Cuala Press and Dun Emer books. Much of this correspondence and her related ephemera is now held by the National Gallery of Ireland. Miller 10; Ransom 10. Octavo. Vignette title page. Colophon printed in red. Original quarter linen, pale blue paper boards, front cover lettered in black, blue endpapers, untrimmed edges. With glassine dust jacket. Spine lightly toned, wear to bottom corner of front board, browning to free endpapers, contents clean; nicks to glassine edges: a near-fine copy in like jacket.…

First edition, first impression, one of 200 copies, printed in March 1907. A four-page prospectus for the Press issued in May 1907 is loosely inserted. The tenth book published by the press, it was the first to include the printer's names in the colophon and the vignette of Lady Emer, designed by Elinor Darwin née Monsell on the title page. The Dun Emer Press was named for co-founder Evelyn Gleeson's home in Dundrum, near Dublin. The press, established with Lily and Elizabeth Yeats in late 1902, ran alongside an embroidery and rug making workshop. Eleven titles were released under the Dun Emer imprint, which was renamed the Cuala Press when the Yeats sisters split from Gleeson in 1908. Katharine Tynan (1859-1931) was a major contributor to the Irish literary revival. Her prolific output includes autobiographical volumes, near 100 novels (primarily written for a female audience and playing with tropes of romance and the gothic), journalistic articles on social, political, and gender issues, and an abundance of poetry. This copy is from the library of Louis Claude Purser (1854-1932), brother of the artist Sarah Purser. A fellow classics student with Oscar Wilde at school, Purser was appointed professor of Latin at Trinity College, Dublin, and later served as president of the Royal Irish Academy. Elizabeth Yeats was his closest female friend. Miller 10; Ransom 10. Octavo. Vignette title page. Colophon printed in red. Original quarter linen, pale blue paper boards, front cover lettered in black, blue endpapers, untrimmed edges. Spine, board edges, and endpapers lightly browned, minor bumps to lower corners, contents clean: a very good copy.…

First edition, first impression, one of 500 copies, this copy signed and dated by the author on the first blank prior to publication: "W B Yeats, May 10, 1905". These stories constitute an early attempt at independent mythography in the Celtic vein, introducing the wandering mystic "gleeman" Red Hanrahan, who would return periodically in Yeats's later poetry such as "The Tower". The publication features the first drawing by Robert Gregory used by the press, "showing the four aces of a pack of playing-cards spread over the four provinces of Ireland - the four green fields of Irish folklore" (Genet, p. 62), which feature in the stories as cards that Hanrahan bewitches into a pack of hounds. Stories of Red Hanrahan was published by Yeats's sister, Elizabeth Corbet, at the Dun Emer Press, the precursor to the Cuala Press. The title was finished on Lady Day in August 1904 and published on 16 May 1905. The delay was caused by increasing tensions between Yeats's sisters and their colleague Evelyn Gleeson, and the subsequent split on 1 September 1904 of Dun Emer into Dun Emer Guild Ltd under Gleeson and Dun Emer Industries Ltd under the Yeatses. Wade 59. Jacqueline Genet & others, eds., The Book in Ireland, 2008; for the Dun Emer split, see William Michael Murphy, Family Secrets: William Butler Yeats and His Relatives, 1994. Octavo. Text on first and final pages printed in red, woodcut by Robert Gregory. Original buff cloth-backed blue boards, blue endpapers, title labels printed in black on spine and front cover, fore and lower edges untrimmed. A little wear to spine and lower corner of rear cover, covers and free endpapers toned, faint spots to a few leaves. A very good copy indeed, firm and internally very fresh.…

First edition, first impression, one of 200 copies only. This uncommon Dun Emer title is signed by both Yeats and Lady Gregory and scarce thus. Yeats and Gregory were key co-agitators in keeping Irish folklore at the heart of the Irish Revival. This collection of stories of "Saints and Wonders" characterises the blurred boundaries between Christian and Pagan tales drawn from Ireland's deep past. Lily and Elizabeth Yeats's press was originally named "for Miss [Evelyn] Gleeson's home in Dundrum, near Dublin, where it was established in company with embroidery and rug making" (Ransom, p. 92). They printed 11 titles under this imprint, which was renamed the Cuala Press in 1908, after the Gaelic name of the south Dublin area before the Norman conquest. The press's "clearly legible, slender volumes with their distinctive paper labels may be seen as the sole survivors of the handcrafted ideal established in 1900 by Walker and T. J. Cobden-Sanderson's Doves Press" (ODNB). This copy additionally bears an inscription of love by man of letters and bookseller Maurice Firuski "And having seen, he loved Thee". Octavo. Printed in red and black, a wood-engraved vignette printed in red. Original beige cloth-backed blue boards, paper spine label lettered in red, blue endpapers, unopened. Light toning to spine, the binding otherwise sound and clean, free endpapers toned, else internally crisp; a superb copy. …