Cockerell S C (10 results)

Softcover. Condition: Very Good. [32] pp., 8vo, stapled self wrapper. A facsimile of the version that was reprinted in 1934 to celebrate the centenary of the birth of William Morris. Very good; minor foxing on a couple of pages and spine fold a bit toned.

Hardcover. Condition: Near Fine. Sir Edward Coley Burne-Jones (illustrator). 1st Edition. Printed by Robert Hogg. Bound in publisher's original quarter light green paper boards, with white linen spine and black titles to cover. Colophon and printer's device. [iv] + 70 + [1, colophon] + [1, blank] pp.  A reproduction of the Kelmscott edition of 1898, this edition was "Reprinted MCMLXIX by photolithography in the Republic of Ireland at the Irish University Press. T M Mac Glinchey Publisher Robert Hogg Printer." printed in black and red in the Golden type designed by Morris for his press, with 5 pages in the Troy and Chaucer types he designed. Head-title and shoulder-notes in red. The frontispiece, "Psyche Borne off by Zephyrus," designed by Sir Edward Coley 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. Rejected ornaments for Love Is Enough. Woodcut borders (4a and 4) to frontispiece and first page of text. One 6-line woodblock initial capital designed by Morris for his press, engraved by William Harcourt Hooper, plus four large, 20-line woodcut initials (designed for the Froissart, but never used).  A few tiny bits of foxing to the cloth spine. Covers most-minimally soiled. Internally pristine. Condition overall: Near Fine.

Bound in the original wraps, with some edgewear and a few light marks to the covers, some fading to the top edge of the rear cover. Some light splitting to the spine ends. Illustrated with woodcut reproductions after William Morris. A bright 1930s work on the history of William Morris's renowned Kelmscott Press.

Hardcover. Condition: New.

Hardcover. Condition: Very Good. Sir Edward Coley Burne-Jones (illustrator). 1st Edition. Printed by William Morris, and sold by the Trustees of the late William Morris at the Kelmscott Press. Bound in publisher's original quarter Holland-backed blue paper boards, with white linen spine and black titles to cover. One of 525 [at ten shillings] paper copies (plus 12 [at two guineas] on vellum). Printed on fine, handmade, Batchelor (with the second version of the Primrose watermark) paper. Uncut, deckled edges. Colophon and the smaller, rectangular printer's device designed by Morris (no. 1). [iv], 70 pp., [1, colophon], [1, blank].  Printed in black and red throughout with the Golden type designed by Morris for his press, with 5 pages in the Troy and Chaucer types he designed. Head-title and shoulder-notes in red.  The frontispiece, "Psyche Borne off by Zephyrus," designed by Sir Edward Coley 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. Rejected ornaments for LOVE IS ENOUGH. Woodcut borders (4a and 4) to frontispiece and first page of text. One 6-line woodblock initial capital designed by Morris for his press, engraved by William Harcourt Hooper, plus four large, 20-line woodcut initials (designed for the Froissart, but never used). This was the last book printed at the Kelmscott Press. It was finished at No. XIV Upper Mall, Hammersmith, in the County of London, on the fourth day of March, MDCCCXCVIII. [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.]  Lacking errata slip.  Light wear and soiling to boards. Corners slightly bumped. Cloth spine in good condition. Mark to letterpress of title (possibly flaw in paper at time of printing). Condition overall: Very Good.

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.

hardcover. Condition: fine. Together with a Short Description of the Press by Cockerell & an Annotated List of the Books Printed Thereat. 70pp., beautifully printed in red and black. Thin square 8vo, cloth-backed printed boards, original mylar wrapper. (Irish University Press, 1969). Fine. Photolithographic reprint of the last book printed at the Kelmscott Press, 1898.

Hardcover. Condition: Very Good. Large Paper Edition Second Printing. Quarto. A very good copy in marbled boards with a leather spine. Some rubbing to spine but lettering clear. A clean copy apart from a small ownership inscription. 32pp. Frontispiece of William Morris by John Farleigh. Attractive woodcuts.

Hardcover. Condition: Good. Quarter cloth and paper covered boards in good condition, slightly rubbed and discoloured in places, a little light browning to the endpapers, corner removed from one of the rear blanks, arranged by J.H. Mason and C.L. Pickering with an engraved portrait of Morris by John Farleigh Size: 8vo - over 7¾" - 9¾" tall.

295 x 216 mm. (11 1/2 x 8 1/2"). xi, [i] pp., 23 leaves (printed on recto only), 24-36 pp. Original holland-backed blue paper boards, untrimmed edges. WITH 35 REPRODUCTIONS OF WOODCUTS printed on 23 leaves, one six-line woodcut initial. Printed in red and black in Golden type. Front pastedown with bookplate of Mary S. Collins and bookplate of the Library of Philadelphia College of Art with typed notation of Gift from Lucinda C. Collins in memory of her mother Dorothea Schmedtgen Collins and ink stamp of the Rare Book Collection; verso of title page with ink stamp of Rare Book Collection. Peterson A-49; Sparling 49; Tomkinson, p. 121; Ransom, p. 331, no. 49. A hint of soiling to covers, and the fragile binding with the usual wear: corners with small losses of paper, spine ends and joints a bit frayed, but everything solid and otherwise as it should be. Remarkably bright, fresh, and clean internally. Issued in large format during the final year of the Kelmscott Press' operation, this compilation contains 35 reproductions of German woodcuts from books that were in the library of William Morris. Edited by the Kelmscott Press secretary, Sir Sydney Cockerell, this publication actually began some years earlier, in October, 1892, when Morris requested that Cockerell catalogue his library of manuscripts and incunabula. According to Peterson, Morris' plan was to produce "a heavily illustrated catalogue of his library, with descriptions by Cockerell and additional notes by himself." Morris died before the project could come to fruition, so Cockerell "decided to combine the illustrations of woodcuts that had already been prepared . . . with portions of an article by Morris, 'On the Artistic Qualities of the Woodcut Books of Ulm and Augsburg in the Fifteenth Century.'" The result, Peterson notes, "sold briskly before publication." Cockerell wrote to Leighton in November 1897, "There has been a great rush on the German woodcuts & they were all sold out last week . . . . A good many people have been left out in the cold, as orders keep coming in! I suppose it is the announcement that the Press is closing that has made people so eager.'" One of the most distinguished persons in the world of books during his lifetime, Cockerell (1867-1962) took it upon himself to become archivist of the Kelmscott Press, and he was Morris' literary executor and supervised the Press after Morris was gone. In 1908 he became the director of the Fitzwilliam Museum at Cambridge, an appointment that lasted 29 years and that transformed the once dreary gallery into one that became world famous. Our copy was once in the library of Mary Schell Collins (1864-1948), who shared the bibliophilic interests of her husband, Philadelphia collector and publisher Philip Collins. Mrs. Collins was the daughter of artist and critic Frederick Schell, and a benefactor of the Philadelphia Museum of Art; she would no doubt have been pleased that her family donated this book to the library at the Philadelphia College of Art. As with other Kelmscott books in holland-backed boards, the binding here is excellent without being fine; the interior of the book, however, could hardly be more beautiful. ONE OF 225 COPIES on paper (and eight on vellum).