Kelmscott press morris william (31 Ergebnisse)

Zustand: New. In English.

Zustand: New. In English.

Zustand: New.

Zustand: New.

Proofs or Sample Pages from a later reworking [??] of the Philobiblon/LCC School of Arts & Crafts Edition of 1934 ** One large sheet folded to form 16pp each measuring c.25.5 x 16.5 cms, a few light marks, in excellent clean & crisp condition. ** Woodcut portrait of Morris by John Farleigh : & large ten-line dropped calligraphic-style opening letter I. *** Scarce. The original Kelmscott edition was published in 1898 : the Philobiblon / LCC Central School of Arts & Crafts edition of 32pp was originally published in 1934 : see Peterson : Morris in Private Press & Limited Editions, No. 135. **** To order this book, please click the link Ask Bookseller A Question. We can then confirm availability.…

2 vols. in 1. 8vo. (204 x 140 mm). [78 leaves including blanks; pp. (iv),151. Wood-engraved frontispiece after a design by Edward Burne-Jones with full woodcut border, numerous 10-line and smaller decorative initials, printed text in red and black in Chaucer type throughout, concluding leaf of the first work with colophon and large Kelmscott device verso, final leaf of second work with with colophon and large Kelmscott device recto. Original publisher's limp vellum with Yapp edges, maroon silk cloth ties, title gilt to spines. [Armorial bookplate of Harry Manfield to front pastedown with the motto 'esse quam videre']. A fine copy of the Kelmscott edition of Caxton's translation, the first book from the press printed in Chaucer type. From the edition limited to 235 copies, with this one of 225 on paper. 'Saw the sheets of Caxton's Order of Chivalry the printing of which is just complete. It is the prettiest book yet done . '. (Sydney Cockerell writing in his diary quoted by Peterson). Harry Manfield (1855 - 1923) of Moulton Grange was the eldest son of Sir Moses Philip Manfield MP, a Northampton shoe and bootmaker. A Liberal MP himself, Manfield was a Justice of the Peace, a philanthropist, a councillor and, as demonstrated here, a bibliophile. [Peterson A13].…

8vo. (210 x 152 mm). [70 leaves including blanks; pp. (i), (i), 123]. Leaf with half-title, leaf with woodcut frontispiece by Edward Burne-Jones and elaborate woodcut border, following leaf with 10-line initial and elaborate woodcut border, chapter headings and marginal notes in red throughout (including one passage in red), numerous woodcut 10- and 6-line initials throughout, elaborate woodcut border to 'A King's Lesson', final leaf with conclusion of text and colophon with woodcut Kelmscott device recto. Original publisher's cream vellum with Yapp edges, blue silk ties, gilt title to spine. A fine example of the first illustrated book issued by the Kelmscott Press, William Morris' 'A Dream of John Ball'. From the edition limited to 311 copies, with this one of 300 on paper. 'The first five books from the Press had only simple titles set in the Golden type, but the sixth Kelmscott volume, 'A Dream of John Ball' (1892), included a frontispiece by Burne-Jones (the first illustration in the Press's books) across from the opening text page, with large Roman lettering underneath designed by Morris.' (William S. Peterson). [Peterson A6].…

Translated into Dutch by Hugenholtz-Zeeven, with a biographical sketch by Henri Polak. Engraved frontispiece portrait of William Morris, elaborate wood engraved title page and decorations throughout designed by S.H. Roos. 7 plates of hand engraved and printed reproductions of illustrated pages from Kelmscott Press books. Hand-printed in Grasset type in red and black. No. 28 of only around 50 deluxe copies printed on heavy 'Oudhollandsch' paper - only this edition is illustrated with the 7 Kelmscott plates. 23.2 x 17.2 cm. Sm. 4to., original full vellum, elegantly tooled in gilt on both sides and the spine with gilt orbs, semicircles, crosses and dots, upper cover and spine lettered in gilt, printed limitation slip tipped onto the upper pastedown, top edge gilt, others uncut. The fore and lower edges are a little darkened, otherwise very good. Together with the very rare original publisher's prospectus and order form, 6pp., folded in 3. 12mo, each with an engraved border printed in yellow and green. A very fine copy of the Deluxe edition of the first Dutch translation of William Morris's lecture "Art and Society' with a biography of the author, making his ideas accessible to a new audience in an extremely relevant way with beautiful design, typography, letterpress printing and engraving by S.H. de Roos (1877-1962) reflecting Morris's ideals. Sjoerd Hendrik de Roos was a Dutch lithographer, draughtsman and designer of decorative cake tins before this work which was a turning point in his career. After this he was commissioned to design the 1906 edition of the Printers' Annual and worked for the 'Lettergieterij Amsterdam' type foundry for 35 years, producing numerous successful designs for type faces. The book itself has an interesting history. Although 200 copies of this special edition were printed by Soep with the intention of binding them like this in full vellum, in fact less than 50 appeared like this. In 1905 the published Soep went bankrupt and his stock went to the Rotterdam publisher W.L. & J. Brusse including most of the unbound copies of this edition - which Brusse later bound in brown half cloth and printed boards, with the elegant prelims here.…

One of 250 copies on paper, (a further 6 copies printed on vellum). Six woodcut borders, three-quarter and half borders, marginal ornaments and 6 initial words designed by William Morris, except for two initial words 'Whilom' and 'Empty' which were completed from his unfinished designs by Catterson-Smith, nearly 1500 three- and six-line initials, all by William Morris, engraved on wood by W.H. Hooper et al, the initial letters then being electroplated, woodcut press device on colophon, leaf paragraph marks. Printed in two columns in red and black in Chaucer type on hand-made Batchelor Flower paper. Large 4to., original limp vellum with silk ties, spine lettered in gilt in Golden type. A few marks to the vellum and slight darkening to the endpapers and edges but generally a good copy. Ownership inscription of John Copley, probably the artist and lithographer, and booklabel of SCK Smith on front free endpaper. Morris's dramatic Arthurian fantasy Romance which referenced his socialistic beliefs and concerns for contemporary Britain which is portrayed in the book as 'Unsought', an island cursed with boundless production. Unusually the main character is a woman, Birdalone, who is stolen from her mother, a weaver, and raised by a witch in a forest. She escapes by boat and begins a series of adventures and encounters on the 'wondrous Isles'. Rather aptly, at one point she supports herself making sumptuous embroidery and becomes self sufficient. William Morris was working on this book as he was dying. In his diary Cockerell describes him trying, in vain, to finish the design of the initial word 'Empty' which in the end Catterson-Smith had to finish. It was the first Kelmscott to be finished after Morris died and to be published by his trustees.…

leather_bound. 295 pages. 21 x 14.5 cm. Printed in red and black, wood-engraved title and ornaments. Limited edition, one of 250 copies printed on Flower paper (of a total of 258). According to Peterson, this work was very popular, with only four copies unsold two days prior to publication. As Peterson notes, Morris was not particularly enthusiastic over Herrick and only remarked "I like him better than I though I should: I daresay we shall make a pretty book of it". PETERSON. A37. Contemporary tan morocco in the Arts and Crafts style, spine in six compartments, five raised bands, gilt-lettered in one, marbled endpapers. Teg. Fine.…

Hardcover. 256 and 239 pages. 15 x 11 cm, printed in Chaucer type, in black and red, and is uniform in size with the romances from the French. Wood engraved title, borders and initials designed by Morris. Limited edition, one of 600 copies. FORMAN pp. 182-183, and in his introduction notes [this title] "Morris got back to a thoroughly human story racy of British earth in the old days, - the story admirably conceived and laid-out and the characters drawn with the consistency and vigour to be expected from the liberal hand." SCOTT, p102. PETERSON. A35. "When you come to look at it, and see that you get a book like this.it would be impossible to refuse buying them. I love my books, and I love making them, and I think these little octavos quite the most charming things issued from my press. [Morris in "The Ideal Book]. Decorated boards, quarter stitched vellum. Teg. Fine. Two vols.…

Together with a Short Description of the Press by S.C. Cockerell, & an Annotated List of the Books Printed Thereat. [Hammersmith: Kelmscott Press, 1898]. One of 525 paper copies. Octavo (8 1/8 x 5 3/4 inches; 206 x 145 mm. [4], 70, [1, colophon], [1, blank] pp. Printed in red and black in Golden type, with five pages in Troy and Chaucer types. Decorative woodcut borders and initials. Wood-engraved frontispiece, and rejected ornaments for Love Is Enough. Bound with the often missing erratum slip, after title-page. Original holland-backed blue paper boards. Text of title-page printed in black on front cover. All edges uncut. Some very minor sunning to boards. Light foxing to endpapers. Previous owner's book plate to front pastedown. Overall about fine. The last book printed at the Kelmscott Press. The frontispiece, designed by Edward Burne-Jones, was engraved by William Morris for a projected edition of The Earthly Paradise in the 1860s and was "touched up" by Robert Catterson-Smith (see Peterson). Provenance: With bookplate 'From the Library of John Charrington, The Grange, Shenley' inscribed in ink "To Margaret Lenox February 1917" at foot of front pastedown. John Charrington, Honorary Keeper of Prints at the Fitzwilliam Museum, Cambridge from 1909 until his death in 1939. He had a large collection of prints and a significant library including an important collection of private press books. Penciled initials of Tom Handford Parker on front free endpaper and A.L.S. from him dated 1949 on notepaper from a house called Kelmscott presenting the book to Judge Batt and with annotated newspaper cutting loosely inserted. Clark Library, Kelmscott and Doves, pp. 62-63. Peterson A53. Ransom, Private Presses, p. 331, no. 53. Sparling 53. Tomkinson, pp. 121-124, no. 53. HBS 69429. $4,500. KELMSCOTT PRESS (illustrator). Signed.…

First Edition. With Twenty-Three Wood-Engraved Illustrations Designed by Walter Crane KELMSCOTT PRESS. CRANE, Walter, [illustrator]. MORRIS, William. The Story of the Glittering Plain. which has been also called The Land of Living Men or The Acre of the Undying. Hammersmith: Sold by William Morris, at the Kelmscott Press, 1894. Full Description: [KELMSCOTT PRESS]. MORRIS, William. The Story of the Glittering Plain which has been also called The Land of Living Men or The Acre of the Undying. [Hammersmith: Sold by William Morris, at the Kelmscott Press, 1894]. One of 250 paper copies. Large quarto. 177 pp. Printed in red and black in Troy type, with table of contents in Chaucer type. With twenty-three wood-engraved illustrations designed by Walter Crane. Decorative woodcut borders and initials. Full limp vellum with four original green silk ties, two of which are laid in. Spine lettered in gilt. Yapp edges. Some light soiling to edges. Otherwise a fine copy. A lovely copy of a wonderful book. The only title printed twice by the Kelmscott Press. Morris was so eager to get the first edition (published in 1891) into print that he would not wait for Crane's illustrations (Peterson). Clark Library, Kelmscott and Doves, pp. 31-32. Peterson A22. Ransom, Private Presses, p. 327, no. 22. Sparling 22. Tomkinson, p. 113, no. 22. HBS 69291. $12,500. KELMSCOTT PRESS; CRANE, Walter (illustrator). …

Hardcover. 130 pages. 16mo, 15 x 11 cm, printed in Chaucer type, in black and red, and is uniform in size with the romances from the French -- in this instance two tales. Limited edition, one of 525 copies. The first of these stories, which was the source of "The Man Born To Be King" in THE EARTHLY PARADISE was announced as in preparation in the list of March 31, 1894. FORMAN (153) notes "Page 39 is a half-title" for the start to the second title, THE HISTORY OF OVER SEA. SCOTT, p.98. Armorial bookplate George Allison Armour. Text bright and clean, tiny nick at backstrip head. Original holland-backed boards. Near fine.…

leather_bound. 170 pages. 20 x 14.5 cm. Limited edition, one of 300 printed in red and black in Golden type on hand-made paper, and complete with three terminal blanks. Full woodcut page border, numerous 10-line and smaller woodcut initials. The only Kelmscott Press book with a hand lettered title calligraphic title executed by F.S. Ellis, and the first book bound in limp vellum. PETERSON A3 & A5. Our copy in blindstamped brown morocco, decorated endpapers, raised bands, spine labels printed in gilt. Binding signed "HCF 1916." Full brown morocco front and back covers decorated in blind. Teg. Near fine.…

leather_bound. 251 pages. 21 x 14.5 cm. Limited edition, one of 300 copies, printed in red and black in Golden Type. There is a separate title to each of the four parts into which the poems are divided. William Morris border on page one. The only Kelmscott book with initials in red. Gilt spine lettering bright, partly unopened. PETERSON 3. SCOTT pp.83-84. Orig. limp vellum, yapp edges and cloth ties. Fine.…

leather_bound. 287 pages. 20.8 x 14.5 cm. Limited edition, one of 250 printed in red and black in Golden type. Woodcut ornaments and initials designed by William Morris. Transcribed after the autograph manuscript of the author, now in the British Museum. PETERSON A14. Slight fade to gilt of "Life" on spine title. Interior contents very fresh and clean. Orig. limp vellum, yapp edges and cloth ties. Near fine. …

Zustand: Good+. None. 1st. Hammersmith, Kelmscott Press., 1895. 8mo. Upper Mall, Hammersmith Printed by William Morris at the Kelmscott Press. 1895. Limited Edition. Octavo. 98pp. Original quarter linen and blue-gray paper covered boards; a few pencil notations on the front free endpaper, else a fine copy. One of three hundred fifty copies. Printed in black and red from Chaucer types, title-page woodcut border after Burne-Jones, with the first line of text in red.'Overseen by F.S. Ellis. 8 1/2 x 5 1/2 inches, One of 350 copies (of a whole edition of 358). Frontispiece by Edward Burne-Jones. Printed in Chaucer type, with titles and shoulder notes in red, and with numerous borders and initials designed by William Morris. Interior fine. Linen backed boards, very good: spine extremities a bit worn, two bottom corners worn, covers a bit faded, edges damp stained. Printed in red and black, wood engraved frontispiece, ornamental woodcut borders and initials. (Peterson A33). Quarter linen and blue-gray paper cover boards. Edward Coley Burne-Jones (illustrator).…

Printer's Mark, c.6 x 4cm, good condition. See Image.

First Kelmscott edition, the penultimate book printed at the press, finished on 11 December 1896. It was issued on 24 March 1898 simultaneously with the press's last book, A Note by William Morris on His Aims in Founding the Kelmscott Press. It is also one of just two Kelmscott publications printed in three colours. This is one of 250 copies on paper. Inspired by The Mabinogion, Morris's play was first published in 1873. The Kelmscott Press began working on the present edition after Morris's death in October 1896; the result "is an interesting example of how [Sydney Carlyle] Cockerell was compelled to solve book-design difficulties on his own. [After Morris came] a reversion to the simpler style of ornamentation characteristic of the very earliest Kelmscott books" (Peterson, p. 263). For this edition, Edward Burne-Jones redrew the full-page woodcut he originally prepared for the work about 25 years prior. Forman 168; Peterson A52. William S. Peterson, The Kelmscott Press, 1991. Quarto. Woodcut frontispiece by Edward Burne-Jones, elaborate woodcut borders and initials throughout. Text printed in Troy and Chaucer type in black, red, and blue. Original vellum, yapp edges, spine lettered in gilt, edges untrimmed. Housed in a custom brown quarter morocco slipcase and chemise. Ownership stamp of Jules Max Samson. A couple of small tears to front joint, light marks to vellum, trace of bookplate removal to front pastedown, a very good copy.…

First edition of the final Kelmscott Press book, presentation copy, inscribed by Sydney Carlyle Cockerell on the front free endpaper, "To James P. Smart, from S. C. Cockerell, May 5th 1898". Smart is best remembered for collaborating with T. J. Wise on a comprehensive bibliography of John Ruskin, published in 1893; his bookplate, incorporating the Latin motto "the written word endures", is on the front pastedown. This is one of 525 copies on paper. Peterson A53. Octavo. Woodcut frontispiece by Edward Burne-Jones, elaborate woodcut borders and initials throughout. Text printed in Golden type in black and red, specimen pages in Troy and Chaucer types. Original holland-backed boards, front cover lettered in black, edges untrimmed. Ownership stamp of Jules Max Samson. A fine copy. …

First edition of the second Kelmscott Press book, the first printed in two colours and featuring the smaller printer's mark. This is one of 300 copies on paper. Printing began in July 1891 and continued through summer; writing his diary on 7 August, William Scawen Blunt recorded how he "Lunched at Kelmscott House where Mrs Morris took me to see the printing. Morris's own poems were being struck off, most beautiful they are with their rubrics." The book used 59 initial letters, "for the most part suggestive of the ornament in Italian manuscripts of the fifteenth century", many of which were later discarded (Cockerell, p. 15). Morris was "so pleased with his new printer's mark that he used it twice: at the end of the table of contents and on the colophon page" (Peterson, p. 7). Hayward 277; Peterson A2. S. C. Cockerell, "A Short History and Description of the Kelmscott Press", in William Morris, A Note on His Aims in Founding the Kelmscott Press, 1898. Octavo. Elaborate woodcut border, woodcut initials throughout. Text printed in Golden type in black and red. Original vellum, yapp edges, spine lettered in gilt, edges untrimmed, red silk ties. Ownership stamp of Jules Max Samson. Vellum slightly bowed, as often, a couple of minor marks, silks ties intact, contents crisp. A near-fine copy.…

First edition of the final Kelmscott Press book, one of 525 copies on paper. The erratum slip calls for a correction to be made to page 44, and the text has here been duly altered in red ink. Peterson A53. Octavo. Woodcut frontispiece by Edward Burne-Jones, elaborate woodcut borders and initials throughout. Text printed in Golden type in black and red, specimen pages in Troy and Chaucer types. Erratum slip tipped-in to colophon leaf. Original holland-backed boards, front cover lettered in black, edges untrimmed. Some minor repairs to spine, corners very slightly rubbed: a very good copy.…

First edition, first printing. Original limp vellum with green silk ties and titles hand lettered in ink by Herbert Ellis (son of F. S. Ellis, an antiquarian bookseller who was friend and publisher to William Morris) to the spine. Deckled edges. Text printed in black and red. The first page of text features a heavily decorated border and illuminated initial by Morris, with further illuminated initials throughout. An excellent better than very good copy, the binding square and firm, the vellum with a little natural discolouration and a few light marks, the spine faintly toned. The ends of the silk ties have been trimmed or perished. The contents, with a previous owner's bookplate to the front pastedown, slight offsetting to the endpapers and a little faint toning to the margins, are otherwise clean throughout and without stamps or inscriptions. An attractive example of this wonderfully produced volume. William Morris' first book of poetry. The collection had originally been published by Bell and Daldy in 1858 in a plain style, quite contrary to Morris' predilections, which were eventually realised in this richly decorated edition, published and printed by Morris at the Kelmscott Press. The poems conjure dreamlike glimpses of a mysterious medieval world inspired by the legends of King Arthur and his court, and informed by Jean Froissart's Chroniques, a narrative history of medieval European chivalric culture. The collection was first published when Morris was 24, and many of the poems were written while he was still a student at Oxford, a time when he was first exposed to Pre-Raphaelite art. Morris was particularly affected by the work of Dante Gabriel Rossetti, and the poems 'The Blue Closet' and 'The Tune of the Seven Towers' each reference a Rossetti watercolour of the same name. 'The Defence of Guenevere' was the first Kelmscott Press publication to be bound in vellum and the only Kelmscott publication with a hand-lettered title. One of 300 copies on paper, there were also 10 copies printed on vellum. (Peterson A5) Further details and images for any of the items listed are available on request. All items are catalogued by humans. Lucius Books welcomes direct contact with our customers.…

210 x 146 mm. (8 1/4 x 5 3/4"). 2 p.l. (including woodcut map at front), 507, [1] pp. Original blue paper boards, front cover with titling, flat spine with replica cloth backing and new paper label, edges untrimmed (corners restored). Front pastedown with line-block map drawn by H. Cribb, elaborate woodcut border and initial on first page of text, and woodcut borders and initials at the beginning of each chapter, small woodcut initials throughout, Kelmscott device at end. Printed in red and black in Chaucer type. Front free endpaper INSCRIBED "FROM MAY MORRIS / Lond[on]. 1907"; front flyleaf with ink initials "A. C. R." [Arthur Compton-Rickett]. Peterson A-51; Sparling 51; Walsdorf, William Morris 51. Original boards somewhat smudged and vaguely faded, but the sympathetically restored binding solid; q2 with four-inch closed horizontal tear to tail margin (well away from the text), otherwise VERY FINE INTERNALLY, entirely clean and with that exceptionally fresh and bright look that the best-preserved Kelmscott titles have. This special presentation copy of the last romance written by William Morris and the final book but two to be produced at the Kelmscott Press was given to Morris biographer Arthur Compton-Rickett by Morris' daughter May. Compton-Rickett (1869-1937) devoted a section in his 1913 "William Morris: A Study in Personality" to Morris' romances, in which he observed, "The elemental appeal in Morris . . . is a quality that gives not merely an artistic charm to his stories but a wholesome vigour. The romances of Morris are full of the open air, and brace the mind and imagination: they breathe of the springtime, and bring with them all its benison of strength." The present romance is the story of brave Osberne, who rescues his kidnapped lover Elfhild with the help of his magical sword, Broadcleaver; it brings elements of Medieval tales of chivalry into what is considered an early example of the modern fantasy genre, with supernatural elements and created worlds. Because of Morris' failing health, the last few pages of the book were written down from his dictation by Sydney Cockerell, and the work appeared posthumously, being printed from an uncorrected manuscript and seen through the press by our inscriber, May Morris. Like other medium-sized holland-backed Kelmscott volumes (for example, Voragine's "Golden Legend"), it is next to impossible to find a copy with its original fragile binding in fine condition, so almost always it's a choice among unsightly wear, restoration (as here), or a complete makeover. ONE OF 300 COPIES on paper (and 10 on vellum).…

First edition of the author's examination of architecture and its relationship with art, literature, and politics. This is one of 1,500 copies on paper. The entire first edition was printed in public during the Arts and Crafts Exhibition at the New Gallery in London, "under the eyes of an interested and constantly renewed crowd, whose presence imposed a severe strain upon the pressman Collins's Celtic modesty" (Sparling, p. 87). It was also the first Kelmscott Press book printed in sextodecimo. Peterson A18. H. Halliday Sparling, The Kelmscott Press and William Morris, Master-Craftsman, 1924. Sextodecimo. Text printed in Golden type in black and red. Original holland-backed boards, front cover lettered in black, edges untrimmed. 1896 gift inscription to front free endpaper, ownership stamp of Jules Max Samson. Minor wear to spine ends, boards slightly faded, a very good copy.…

210 x 150 mm. (8 1/4 x 5 3/4"). 4 p.l. (including two blanks), 70 pp., [1] leaf (colophon). Original holland-backed blue paper boards. WOODCUT ILLUSTRATION BY EDWARD BURNE-JONES of "Pysche Borne off by Zephyrus" ENGRAVED BY WILLIAM MORRIS, elaborate borders around this and first page of text designed and cut by Morris, large decorative woodcut initials, device on last page of text, and one full-page woodcut of ornaments used in the Kelmscott edition of "Love is Enough." Printed in red and black in Golden, Troy, and Chaucer types. With errata slip laid in at title page. Front pastedown with Arts & Crafts-style bookplate of Edmund Bulkley dated 1893; a list of the Kelmscott books in E. W. Buckley's collection, listed by the number assigned to them in this book, recorded in pencil on a translucent piece of paper laid in here. Morris & Cockerell 53; Peterson A-53; Ransom 53; Tomkinson, p. 121. Some wear to lower corners, just a hint of soil to covers, otherwise a very fine copy--exceptionally fresh, clean, and bright internally. Owned by two collectors with a special interest in Morris, this is a very pleasing copy of one of the key Kelmscott Press books, and the last one to be issued by the press. Morris tells us here about his admiration for 15th century printed books, saying that "they were always beautiful by force of the mere typography, even without the added ornament, with which many of them are so lavishly supplied." And he says that "it was the essence of [his] undertaking to produce books which it would be a pleasure to look upon as pieces of printing and arrangement of type." This is the most important contemporaneous source of comment on the founding, operation, and publications of the Kelmscott Press. Peterson quotes Newdigate, who says that this is "one of the three books that every student of English book-production ought to read." The original owner here was American private press collector Edmund Bulkley, who, according to the list laid in at the rear of this volume, owned 42 Kelmscott books. Evidently prepared after Bulkley's death, the list also marks with a "0" the books sold before 1950, and notes at the end the books (including this volume) that remained in the possession of "M A B B." (this might refer to a relation, possibly art collector M. A. B. Bulkley, who bequeathed a Pre-Raphaelite-style painting to the Fitzwilliam Museum in 1996). Bulkley's distinctive bookplate, perhaps created by one of the private presses, is found in a number of press books, which when listed at auction, are in notably fine condition. In 1883, Morris & Company took out a full-page ad in the Official Catalogue of the Boston Foreign Exhibition announcing the appointment of Elliott & Bulkley of 42 East 14th Street, New York City, as U.S. agents for the sale of Morris & Co. "Decorative Manufactures," including wallpaper, fabrics, and "the celebrated Hammersmith carpets made only by Morris & Company." It is tempting to speculate that Edmund Bulkley was associated with this firm, and became aware of the Kelmscott Press via this connection with Morris & Company. Although without additional signs of ownership, our book was later sold as part of the library of Clive Wilmer (1945-2025), English poet and scholar of John Ruskin and William Morris. He wrote and lectured extensively on both men, and from 2009 to 2019 served as Master of The Guild of St. George, a charity for arts, crafts, and the rural economy founded by Ruskin in 1871. The Ruskin Society of North America presented him with a Lifetime Achievement Award in 2023. Copies of this work appear with some regularity in the marketplace, but specimens in attractive condition are becoming increasingly difficult to find. ONE OF 525 COPIES on paper (and 12 on vellum).…

First edition translated by William Morris, presentation copy, inscribed to his old friend on the first blank, a few weeks after publication, "To A. C. Swinburne from William Morris. Jan. 19th, 1894". Swinburne replied by letter, "Many thanks for your beautiful little book, which I read through last night at a sitting with much interest and enjoyment. There never was such a type as yours - one could read Longfellow or Tupper in such type". Morris and Swinburne first met in Oxford in July 1857, when Morris was working on the murals in the debating chamber of the Oxford Union alongside Edward Burne-Jones and Dante Gabriel Rossetti. It was a vital time for Morris, both creatively and personally. That year, he also met his future wife, Jane Burden, and submitted to Macmillan the manuscript for his first book of poems, The Defence of Guenevere. Swinburne was then a student at Balliol College; he and Morris quickly began reading each other's writings after discovering their shared enthusiasm for Malory and Arthurian legend. Swinburne's juvenile poem "Queen Yseult" clearly shows the influence of Morris's own "La Belle Iseult", and in a letter to John Nichol, Swinburne remembered how he read his version "one evening to Morris and the others. They all praise the poem far more than I (seriously speaking) believe it deserves. Morris says it is much better than his own poem, which opinion I took the liberty to tell him was absurd" (Lang, I, p. 13). Swinburne told his mother, following Morris's death in 1896, that Morris was "one of the best friends we ever had, and one of the best men that ever lived - simple as a child and unselfish as few children are, brave and kind and true and loyal as any one of his own Icelandic heroes or medieval knights. My friendship began with him in '57 - think of that! - and was never broken or ruffled for a moment" (Lang, VI, p. 116). This is one of 350 copies on paper. It was the first publication in a brief series of translations Morris made from Nouvelles françaises en prose du XIIIième siècle (1856). Morris's translations were later collected as Old French Romances, Done into English by William Morris, published by George Allen in 1896. Peterson A21. Cecil Y. Lang, ed., The Swinburne Letters, 1959-62. Sextodecimo. Elaborate woodcut borders on title page and facing first page of contents, 3- and 6-line initials, leaf fleurons, shoulder notes in red. Text printed in Chaucer type. Original blue board sides, holland spine rebacked to style, front cover lettered in black, fore and bottom edges uncut. Housed in a red quarter morocco solander box by the Chelsea Bindery. Small wear to corners, contents clean. A very good copy.…

First edition, inscribed in the first volume on the day of publication, "To F. S. Ellis from William Morris Sept. 25, 1895". Frederick Startridge Ellis was Morris's close friend and an enthusiastic supporter of the Kelmscott Press. In 1874, Ellis took over from Dante Gabriel Rossetti as joint tenant at Kelmscott Manor. Morris was introduced to Ellis (1830-1901) by Swinburne. A bookseller, Ellis advised Morris on his manuscript purchases and worked as the official buyer for the British Museum for several years. Ellis was also a small-scale publisher who brought out works by Morris and Gabriel Rossetti, including Morris's The Earthly Paradise (1868-70). Upon his retirement from bookselling and publishing, Ellis took up editing and worked on many of the Kelmscott Press publications, including proof-reading the Kelmscott Chaucer. He frequently visited Morris during the poet's final illness and Ellis was named as one of his executors. This is one of 600 copies on paper. Morris's re-imagining of the medieval Lay of Havelock the Dane is part of his series of magic-realist prose romances set in imaginary historic landscapes. Peterson A35 (this copy listed as copy "u"). 2 vols, sextodecimo. Woodcut titles and woodcut border to opening text page, 3- and 6-line initials; chapter titles, shoulder notes, explicit of vol. I and first paragraph of colophon in red. With the errata slip in vol. I. Original holland-backed blue paper boards, paper spine labels printed in black, edges untrimmed. Housed in a custom brown cloth chemise and quarter morocco slipcase. Red morocco book label of E. H. Mills. Spines toned, minor wear to paper labels and to corners, vol. 1 spine a little frayed, inner hinges split, remaining firm, light foxing to edges and outer leaves, clean overall. A very good copy.…

First edition translated by William Morris, presentation copy, inscribed by Morris to Georgiana Burne-Jones the day after publication, "To Georgie from Wm, December 29th, 1893". Georgiana 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. On the same day as this presentation, Georgiana Burne-Jones (1840-1920) also received from Morris a copy of Rossetti's Ballads and Narrative Poems. She 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 is one of 350 copies on paper. It was the first publication in a brief series of translations Morris made from Nouvelles françaises en prose du XIIIième siècle (1856). Morris's translations were later collected as Old French Romances, Done into English by William Morris, published by George Allen in 1896. Peterson A21 (this copy listed as copy "p"). Sextodecimo. Elaborate woodcut borders on title page and facing first page of contents, 3- and 6-line initials, leaf fleurons, shoulder notes in red. Text printed in Chaucer type. Original holland-backed blue paper boards, front cover lettered in black, fore and bottom edges uncut, a few leaves unopened. Housed in a red quarter morocco solander box by the Chelsea Bindery. Small wear to one corner, covers very slightly soiled, mild foxing to edges, contents clean. A near-fine copy.…