kelmscott press (69 Ergebnisse)

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New. In.

Zustand: New. In.

Zustand: New. KlappentextrnrnUnlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketc.

Kartoniert / Broschiert. Zustand: New.

Gebunden. 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.

No. 28 OF 215 COPIES. 252 x 184 mm. (10 x 7 1/4"). vii, [i], 22 pp. Publisher's blue bell-patterned paper backed with blue linen, flat spine with light blue printed paper label, untrimmed edges. With woodcut engraving on title, one full-page woodcut illustration, and one folding facsimile. Printed in red and black. With prospectus for the present work loosely laid in. A pristine copy of an attractive fine press publication that traces the journey of William Morris's Albion Press No. 6551, from its role in printing the Kelmscott Chaucer to its arrival in America. .

(=The Soho Bibliographies XXIV), 2. korr. Aufl., XLIII,220 S., OLwd. Verzeichnet die erschienen Titel von der Gründung 1891 bis zur Schließung 1898, ExLibris.

First edition. Octavo. pp x, 177, [1], [2] adverts. Portrait frontispiece and plates. Linen-backed boards with title-label on spine. Spare label at rear. Includes a bibliography of the press.Small contemporary (1924) gift inscription on front free endpaper. Spine label slightly rubbed. Small patch of abrasion to rear cover. Very good indeed. No dustwrapper.

8vo. (208 x 146 mm). [116 leaves including blanks; pp. (vi), 216, (i)]. Decorative woodcut borders and ten-line decorative woodcut initials to introduce each poem, 6-line decorative woodcut initials throughout, text printed in red and black in Golden type throughout, final leaf with large Kelmscott device and colophon recto. Full red crushed morocco by Hatchards with their signature gilt to rear pastedown, front board with concentric fillets to enclose gilt title 'THE POEMS OF / SHAKESPEARE', decor of pointille tools at corners, sides and head and foot, matching decor to rear board, banded spine with gilt title and gilt decoration in six compartments, turn-ins and board edges with gilt rules, a.e.g. The Kelmscott edition of the poetic work of Shakespeare in a charming binding by Hatchards of Piccadilly. From the edition limited to 510 copies, with this one of 500 on Flower paper. 'After a lapse of about three hundred years Shakespeare's Poems are in this edition printed with the original spelling . The fact of being able to study these poems in the language in which they were written, ought we think, to add materially to the pleasure of the reader.' (From the Foreword). [Peterson A11].

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].

8vo. (210 x 146 mm). [24 leaves; pp. (iv), 41]. Woodcut frontispiece by Edward Burne-Jones, title and frontispiece with decorative woodcut border by William Morris, ten-line initial letter to title and three-line initials throughout, printed in red and black in Chaucer type. Original publisher's blue holland-backed printed boards with title and ornaments to front cover in black. A very good copy, partially unopened, of 'Syr Ysambrace'. From the edition limited to 363 copies, with this one of 350 on Flower paper. printed in red and black in Chaucer type, wood-engraved frontispiece designed by Edward Burne-Jones and borders and initials by William Morris, Edited by Ellis after the printed edition by J. O. Halliwell from a manuscript in Lincoln Cathedral Library. [Peterson A48].

8vo. (212 x 148 mm). [134 leaves including terminal blank; pp. (iv), 261]. Frontispiece by Edward Burne-Jones, borders and half-borders by WIlliam Morris, numerous decorative 10-line, 3-line and other initials, printed text in Chaucer type in red and black throughout, final leaf with colophon and large Kelmscott device recto. Original publisher's limp vellum with Yapp edges, yellow silk cloth ties, title gilt to spines. Robert Hall's copy - with his bookplate depicting his library with this copy displayed to show the frontispiece and opening page of text - of William Morris' fantasy novel 'The Wood Beyond the World'. From the edition limited to 358 copies, with this one of 350 on paper. 'The Wood Beyond the World was written by Morris specifically for the Kelmscott Press. The borders in this book, as well as the ten half-borders, are here used for the first time . '. (Peterson). The bookplate of Robert Hall dated 1902, now detached and inserted loose, depicts a contemporary library with a view of a cathedral through the window. Of pertinence here, a number of volumes - all clearly Kelmscotts - are strewn on the table, while lying on the floor and in the foreground are other books and along the right wall are shelves and multiple volumes. The only readily identifiable volume of all those books depicted is a copy of 'The Wood Beyond the World', recognisable by its frontispiece and facing page of text with its Morris border; closer inspection reveals further Kelmscotts: in the foreground is a volume with 'CHAUCER' and 'KELMSCOTT' to the spine, while another, flat on the table' is titled 'BEOWULF' (i.e. 'The Tale of Beowulf'), a third appears to be 'The Glittering Plain' (which version remains unclear), while a fourth may be 'News from Nowhere'. Although Hall remains unidentified, a cursory search of auction and library records demonstrates that he was undoubtedly a bibliophile - although his bookplate makes this apparent - and that his collection more specifically seemed focussed on the great private presses of his day. Although we have been able to trace other books from Hall's collection, none of them are depicted in his bookplate; it is especially fitting that the present copy is the only example displayed open. Also included is a previous bookseller's compliment slip with a pencil note noting the same connection between Hall, his bookplate and the present volume. [Peterson A27].

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.

3 vols. in 2. Large 4to. (300 x 220 mm). [156 leaves, 214 leaves, with inserted blank; pp. xv, (i), 295; 297 - 718]. Elaborate decorative woodcut borders and initials throughout, text printed in Troy type, with table of characters and glossary in Chaucer type, printed in black and red throughout. Original publisher's limp vellum with Yapp edges, green cloth ties, titles gilt to spines. The Kelmscott Press edition of Caxton's 'The Recuyell of the Historyes of Troye', the first book printed in English. From the edition limited to 305 copies, with this one of 300 on Flower paper. Caxton's edition of the text, using his own translation of Raoul Lefèvre's Burgundian romance, was the first book printed in the English language in Bruges in 1473 or 1474. The book was also a favourite of William Morris. Although Caxton's 'Recuyell' had been reprinted in numerous editions, this Kelmscott Press version was 'the first to go back directly to Caxton's text' (Peterson). The text was edited by H. Halliday Sparling. Morris' ornamental designs are printed here for the first time and his vine border - used twice in the second volume - also appears here for the first time. 'As to the matter of the book, it makes a thoroughly amusing story, instinct with mediaeval thought and manners . It is the last issue of that story of Troy which had such a hold on men's imaginations; the story built up from a rumour of the Cyclic Poets, of the heroic City of Troy, defended by Priam, with his gallant sons, led by Hector the 'preux Chevalier', beset by the violent & brutal Greeks, who were looked on as the necessary machinery for bringing about the undeniable tragedy of the fall of the city.' (Morris' manuscript note for Quaritch's catalogue in Cockerell's presentation copy). [Peterson A8].

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.

KELMSCOTT PRESS (illustrator). 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. Signed.

One of 300 paper copies (a further 8 copies were printed on vellum). Elaborate woodcut title page with border, borders, three-quarter and half borders Border and 176 three-, six- and eight-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 red and black in Troy and Chaucer types on hand-made Batchelor Perch paper. 4to., original limp vellum with blue silk ties, yapp edges, title in gilt in Golden type on the spine. With the errata slip inserted loose: "Note to Reader. In this translation of Beowulf, the final ed, where the e is not elided by the printer, is intended to be pronounced in every case." Vellum with crinkling and marking, mainly to the lower cover, endpapers and edges a little browned but generally a very good copy. Morris began a translation from 'the Old English tongue' of what he considered to be "the first and the best poem of the English race" based on a paraphrase by Alfred Wyatt, the Anglo-Saxon scholar who helped him with the translation. He wrote in his diary after only 4 days at work: 'Finished the first lot of Beo: about 700 lines. Wrote Wyatt". The two then collaborated and this wonderful translation and printing of the first great work of English Literature appeared just 2 years later. The borders used for Beowulf appeared in just one other Kelmscott book, Jason.

3 vols. 4to. (304 x 216 mm). pp. xii, 464; 465 - 864; 865 - 1286. Woodcut title by William Morris and two full-page woodcut plates by Sir Edward Burne-Jones (all in vol. 1), each, together with facing leaves of text with elaborate woodcut borders, several additional woodcut decorative flourishes, numerous ten-line and six-line decorative woodcut initials throughout, colophon with woodcut Kelmscott Press vignette. Printed text in Morris' Golden Type. Original publisher's canvas-backed blue paper boards, printed paper title labels to spines, spines a little darkened, labels and free endpapers with some toning as usual. A very good copy of the first edition of The Golden Legend. From the edition limited to 500 copies on Flower paper (no copies printed on vellum), volumes two and three unopened. Morris' first proposed publication by the Kelmscott Press, 'The Golden Legend of Master William Caxton' was announced in the 'Literary Gossip' column of the Athenaeum as early as September 13th 1890 (this is probably the earliest mention of the press in print). The 'Legenda Aurea', Jacobus de Voragine's 13th-century compilation of Saints' lives, an essential prism for the understanding of the medieval mind in Morris' view, was enormously popular in manuscript and print: ' . no other book was more usually reprinted in various languages between the years 1470 and 1520 . ' (Ellis). A copy of Caxton's first edition (printed c.1483 / 1484) was borrowed from Cambridge University and transcribed by Ellis' daughter; corrections to the text were made by Ellis (in consultation with Morris) while Morris designed the mise en page and occupied himself with the printing. Ellis' proposed glossary and bibliography of English editions of the 'Legenda Aurea', which he intended for an introduction, found no favour with Morris, and in the published book the glossary is printed at the end of the third volume in truncated form. In addition Morris did allow Ellis to print a bibliographical notice, the 'Memoranda, Bibliographical & Explanatory, Concerning the Legenda Aurea of Jacobus de Voragine & Some of the Translation of It', also at the end of the third volume. Also included, loosely inserted, is the slip of paper (70 x 202 mm) with Morris' note to the binder: 'IF this book be bound the edges of the leaves should only be TRIMMED [their capitals], not cut. In no case should the book be pressed, as that would destroy the 'impression' of the type and thus injure the appearance of the printing. Wm. Morris.' 'The Press was created, in part, as an outlet for Morris's antiquarian enthusiasm for England's first printer . The Golden Legend was the first book planned, and it was only its length and minor technical problems that prevented it from being the first book printed at the Kelmscott Press.' (Peterson, pg. 178). ' . the most superbly beautiful book that ever, I should think, came from any press.' (Algernon Charles Swinburne in a letter to the editor Ellis). [Peterson A7].

KELMSCOTT PRESS; CRANE, Walter (illustrator). 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.

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.

Hardcover. Zustand: Very Good. 1st Edition. Set in Golden type and printed on Batchelor s handmade paper watermarked with a primrose between the initials W.M. Woodcut borders, initials and press-marks (twice) cut by William Morris and printed in black. One of only 500 copies on paper. Bound in stiff vellum with yapp edges and green silk ties (all lacking), spine titled in gilt. Gilt stamp of Carrick House Library, Ayr, to front cover. A very good copy. An early Kelmscott. Kelscott ephemera loosely inserted.

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.

Hardcover. Zustand: Sehr gut. The most over-decorated of the Kelmscott books, surpassing in this respect even the 'Chaucer' (Peterson 1991, 141). A very good copy of 300 printed on paper from a total edition of 306 copies. Description: Original full limp vellum, with yapped fore-edges and cloth ties. Titled horizontally in gilt on spine. Quarto: 29 × 21 cm; pp.: xxii, [i], [1], 450, [2]. With double page woodcut title and numerous ornaments and initials. Printed from 'Troy' type, list of chapter headings and glossary in 'Chaucer' type. Printed in black and red on Batchelor handmade paper. Provenance: Small bookplate of Wilfred Merton to upper pastedown. Wilfred Merton (1888-1957) was a passionate collector of books and manuscripts (The Merton Papyri) and publisher of books (Homer's Odyssey, 1932, in translation by T.E. Lawrence, with Bruce Rogers and Emery Walker). Merton was elected a Fellow of the Society of Antiquaries in 1938. Ref.: Sparling 15; Walsdorf 15; Peterson 15 Condition: Front cover shows a few naturally occurring variations in the surface colour of the vellum, slight bow to front board (as often); only two of the six ties are preserved. Internally bright and clean, no browning to endpapers. Notes: This is the fifth and last of the Caxton reprints, and the first book published and sold at the Kelmscott Press. lt also contains a new printer's mark after the colophon, followed by the words "Sold by William Morris, at the Kelmscott Press." (Walsdorf 1983, 29). Reprinted from Caxton's edition of 1481. Edited by H. Halliday Sparling.