Crafts Movement (13 results)

Condition: Fine. Dust Jacket Condition: Near Fine. 3rd Printing. Pictorial hardcover with gingko leaf design; color illustrated dust jacket with some scuffing and slightly age-toned. An exploration of Gustav Stickley furniture and the American Arts and Crafts Movement. Illustrated with photographs. Size: Large Thick 4to.

Hardcover. Red cloth boards with gold gilt lettering on spine, black and color illustrated dust jacket with white lettering, 232 pp., mostly bw illustrations with some in color. "The Arts and Crafts movement grew out of the reaction against 19th century industrialization and the decline in quality resulting from mass-production. The ideals of the movement's founders, William Morris and John Ruskin, found a practical outlet in the formation of art guilds which, like their medieval counterparts, provided workshops and meetings-places for the fastidious craftsman. The aims and ideals of the Arts and Crafts were not confined to Britain: the parallel movement in America was equally important and influential. Both countries experienced a flowering of small village-based craft communities and a rapid interchange of ideas followed the transatlantic visits of a number of important designers . The history of the Arts and Crafts movement is here traced in detail from its inception to decline in both Britain and America, examing fully its aims, achievements and political relevance . These are profusely illustrated by examples of works in wood, metal, glass, ceramics and fabrics beautifully photographed in both color and black and white, many of which are published for the first time." - dust jacket description. VG- (book shows minor age toning on top third of text block, all pages clear and intact - dust jacket shows minimal wear at edges).

Paperback. Condition: VG. Glossy burnt orange and color-illustrated wraps with blue lettering. 40 pp. Color illustrations. Date of Sale: October 21, 2001. Catalogue contains lots 500-930.

See his entry in the Oxford DNB. On one side of a slightly-irregular 11 x 3.5 cm slip of wove paper, cut from the end of a letter. A good example of Crane's stylized and distinctive signature. Reads: 'Believe me, / Very truly yours, / Walter Crane'. The top part of a cropped 'P S' is present at bottom left. See Image.

12mo, 2 pp. Good, on lightly aged paper with two punch holes to the the outer edge of the first page. He apologises for troubling Rogers: 'I have not heard from yet.' Asks if Rogers would mind 'writing to ask him why he wont pay up.' Hopes Rogers is 'quite well by this time. | My panel is in the frame and finished. I want you to come and have a look at it one Sunday morn.'.

4to. 47, [1] pp. 74 photo plates, decorated initials. Publisher's brown pebbled faux calf cloth, decorative gilt Holly Hocks border & lettering front cover, gilt lettering on spine, rounded corners, NF copy. First edition of this exhibition catalogue for the photographs shot by Julia Hoffman (1856-1934), noted Arts & Crafts painter, sculptor, metal worker, weaver, and photographer whose exhibition and art classes in Portland, OR heavily influenced the Pacific Northwest, as well as the eventual establishment of the Oregon College of Art & Craft, and was the first lifetime member in 1902 for the Portland Art Association, precursor to the Portland Art Museum. Her photos exhibited here capture family life, the interiors of the home on 714 Everett Street, Yellowstone fishing trips, and childhood exuberance. These photos were donated to the San Francisco MOMA by renowned designer decorator Margery Hoffman Smith, who was Assistant Director of the WPA in Oregon in the 1930's and was responsible for the historic interiors of Timberline Lodge at Mount Hood.

Condition: Fine. Number of books: 28 copies.

Hardcover. 20cm, 425p., extensively illustrated with advertisements including 10 colour plates, classifieds, indexes, original quarter green cloth backed paper over boards, paper label on the front cover, very good cops (arts). ~ A who's who of Arts & Craft artists, illustrators and photographers in the eastern United States with over 300 illustrated advertisements. Sections include various types and mediums of illustration. A valuable reference of the mid 20's Arts & Craft Movement in the eastern United States.

Octavo / Quarto / Folio. Hardcover Folder with loosely inserted material like letters and photographs, envelopes, signed and inscribed books and rare pamphlets with designs etc. Very good condition with only minor signs of wear. Fantstic Archive and lots of unpublished material of one of the more eminent Cabinet, Furniture and Chair - Designers which resulted from inspiration by William Morris' Kelmscott - School. Percy A. Wells Chairs are still in regular demand today and sell for stunning prices (3000 £ etc.). Please see here a detailed description of the Archive, which we display with permission of the composer of the Bibliography, Dr.Christian White from Christian White Rare Books and which we have embellished only by listing everything in more detail: Percy A. Wells [with] May Morris; Ambrose Heal etc. The Batsford-published author and arts and crafts designer Percy Wells's retained collection of drawings, a notebook, letters, photographs, and articles. Wells (1867-1956), a cabinet maker and disciple of William Morris, lectured, taught and wrote extensively during the later phase of the Arts and Crafts movement in Britain. His typescript autobiography is included in the archive which follows him through an apprenticeship in London's City Road with early practice as a cabinet maker before working alongside William Lethaby at the Central School and subsequently leading the cabinet department at the Shoreditch Technical Institution in London. His two most significant works, both published by Batsford, were "Modern Cabinet Work" (1909) which brought him to a wider audience and "Furniture for Small Houses" (1924) but as revealed by this archive, his work went much wider. Included in the archive is the following material: I. PHOTOGRAPHS A fantastic collection of gelatin photographs of furniture, many used as illustrations in Wells' books and labelled as such to verso. Contained within an envelope labelled in a later hand: 'Furniture designed by Percy Wells. (Including Shoreditch).' Small sheaf of personal photographs including images of Wells in old age gardening in Dulwich. Two photographs of a house exterior project in New Barnet, with Wells' handwritten explanations overleaf of 'treatment of Wall with trellis and boxes' and additional larger furniture photographs. 60 (sixty) silver gelatine photographs of Furniture designed by Percy A. Wells, many with his signature or monogram and titled verso 1 (one) silver gelatine print of a Livingroom setting with Furniture by Percy A. Wells (Photograph by Monger and Marchant) 1 (one) silver gelatine print of a Bedroom setting with Furniture by Percy A. Wells (Photograph by Monger and Marchant) 2 (two vintage Albumen print photographs showing a courtyard - design by Percy A. Wells: a. Concrete Yard with border of flowers and Trellis of Flowers and Shelter designed by Percy A. Wells (Annotated and signed verso) b. Yard - with Treatment of Wall with trellis and Boxes and Outdoor Shelter designed by Percy A. Wells (Annotated and signed verso) 4 (four) wonderful silver gelatine portrait photographs of Percy A. Wells 3 (three) negatives of vintage photographs showing cupboards and one chair designed by Percy A. Wells 1 (one) fantastic Group Photo of British Furniture Makers, signed by most of those depicted, showing C.C.Beetles and others II. PERCY WELLS' TYPESCRIPT AUTOBIOGRAPHY: Containing 22-page (A4) Typescript Autobiography titled 'Fifty Years in the Furniture Trade' by Percy Wells, 1934 (according to a handwritten note by Wells, it was published on three instalments inside the publication: "The Cabinet Maker" (in the year 1934). The short autobiography describes Wells' poor background, his apprenticeship in the City Road as a cabinet maker; mentored by Stephen Webb and W. R. Lethaby and then teaching-work at Central School and Shoreditch Technical Institute. The Typescript - Autobiography is included in a Folder (Numbered "9") which also includes: a. Typescript Autobiography b. Page from "The Cabinet Maker", June 11th, 1933 in which it is announced that Percy Wells has retired from his position as head of the department of cabinet-making at L.C.C. Shoreditch Technical Institute. A photograph shows a Chair and writing - desk, made and presented to Percy Wells by night students of the Institute (Photo by Bloomsbury Trade School). "The Writing Desk is veneered with Walnut.the whole of the front pigeon-holes in fine Cuba Mahogany.Students responsible under their instructors for various features [of the desk]: Abbott, Beetles, Nash and Starling conytributed the carcase and veneered work; Elder the interior fitment; Hilliard and Wheeler the carving, Marritt the chair frame and Miller the Upholstery.". c. Account in local paper (Shoreditch) of Percy Wells' retirement in December 1932 d. Personal Note with photograph of Wells, mentioning his authorship for Pamphlets for the National Association of Boys Clubs. III. PERCY WELLS' SKETCHBOOK c1900-1920: Small quarto, c. 200 pages, bound in quarter-roan over textured black boards; back strip largely missing; binding remains intact. Inscribed in ink to first blank 'Percy A Wells' with pencil addition '31 Hindmans Rd East Dulwich SE'. Starting with the endpapers Wells has used almost every page for drawings, some vignette sized, many full page. There are for example variations on William Morris titled in handwriting: 'Border Designs - Corners from W. Morris's Books, a series of heraldic shield-fillings, credited to William Morris and a full page attempt at what seems to be a graphic tribute to Morris with the names of 'Dante Rossetti', 'Madox Brown', 'Burne Jones' contained within a column in the right margin and the slogan 'ARTS - CRAFTS - POETRY - BEAUTY - BROTHERHOOD' at the foot of the page. Much of the sketchbook is dedicated to drawings for furniture and other design such as tiles, architectural details, often connected to Wells' emergent book projects, thus 'Fences and Gates. Screens Chapt ?' There are s.

Reprint. Quarto (20 x 26cm). Handsomely bound in contemporary full blue morocco with sinuous gilt borders and gilt foliate decoration incorporating red morocco onlays representing berries to the boards, the spine with five raised bands, ruled in gilt and with titles in gilt. Gilt dentelles incorporating red morocco onlays. Binder's signature in gilt to the bottom turn-in of the lower board: "ML 1930". All edges gilt. Attractive colour woodblock-printed floral endpapers. Binder's inscription in pencil to the front endpaper: "Bournville School of Art 1930, M. Laud[?], Oct / '30". Illustrated with 24 tipped-in colour plates (with captioned tissue-guards), 12 full-page tinted illustrations, and numerous black and white in-text illustrations by Arthur Rackham. 549pp. A very good copy, the binding square and tight with fading to the spine and some minor scuffs to the raised bands. The contents remain clean and crisp throughout. An appealing copy of Arthur Rackham's edition of 'The Ingoldsby Legends', splendidly bound in the Arts and Crafts Movement style by a student or teacher at the Bournville School of Art, Birmingham. The grand hall which housed the Bournville School of Art was the first public building in Bournville, the model village founded by the Cadbury family. In line with typical Arts and Crafts Movement ideals, and with a specific aim to further the ideas and principles of John Ruskin, the school was originally conceived as a social centre for the village, offering a practical and artistic education for the community. It became more formalised as a 'School of Arts and Crafts' in 1911, later becoming an art college in the 1920s. As a city, Birmingham served as an important centre of the Arts and Crafts movement, with the 'Birmingham Group' of artist-craftsmen cultivating their own distinct style. Predominantly based around the Birmingham School of Art and the Birmingham Guild of Handicraft, the leading figures of the group included Joseph Southall, Arthur and Georgie Gaskin, Bernard Sleigh, Maxwell Armfield, and Charles Gere. An uncommon example of a bookbinding emanating from the dynamic atmosphere of Birmingham's Arts and Crafts Movement.

The three items are in good condition, on lightly-aged paper. The letter is 6pp., 4to, with emendations and deletions, and marked by Hodson 'Copy' at the head of the first page. In envelope annotated by Hodson: 'Copy of a letter to Lt. Col. P. Lyttleton Gell, J.P. | The Catholic Revival. In order to make his point of view clear, he begins by stating: 'I may say that I was born in London & my mother took me to such churches as S. Alban's Holborn, S. Michael's Shoreditch, All Saints, Margaret St. So that from early in the 70's I have been familiar with that type of church, & practically with no other. And all that I have learnt of doctrine, liturgy, history, has been taught from that point of view.' He concludes: 'With all its faults, and they are many, the Catholic Church is Christianity - and the nearer we get to the Catholic Church, the nearer we get to God. [.] If the Ch of England is fundamentally Protestant, let it be stated with authority, irrecovably, & we, who are not protestants will find our spiritual home in the Roman Communion.' Pinned to the letter is a long cutting from the Morning Post, 6 October 1923, titled 'The Anglican Position. | Movement for its Defence | Appeal to Churchmen.'Gell's name appears in a list of signatories at the end. A second cutting, from the Saturday Review, 1 September 1923, is attached to a slip from Durrant's press agency. It carries two letters to the editor, under the heading 'The Anglo-Catholic Movement'; the first is from John G. Hall of Malvern Link, and the second from Hodson, beginning 'SIR, - In discussing the present swing of the pendulum in the Church of England, there is a tendency to forget that England never accepted the Reformation wholeheartedly - and the Church of England claims, and holds, a unique position in Christendom by virtue of that fact.' Hodson was a wealthy brewer, collector of Pre-Raphaelite painting and patron of the Arts and Crafts movement and client of William Morris.

Totalling 10pp., 12mo. In good condition, on lightly aged paper. ONE: 14 September 1899. 4pp., 12mo. He was pleased to receive Hodson's letter from Southwold, and reports on the 'Abraham sale', and 'talk of a tram line being made to Mochras' ('all fudge & nonsense'). 'At the Junction, Solomon Andrews has been busy building houses, but as they are sinking into the peat bog he has had to pull part of them down again; or else they fell down, which they seem to have done to judge by the chaotic confusion of the ruin.' He describes a visit to a 'nearly unspoilt bit of county where Progress is unknown' and 'even the name of Dreyfus signified nothing'. He has 'marvelled' at Capel Curig, 'wished for a month there amongst the crags, to do slaylines & bee-lines. Talk about MacLure on Richmond Hill! Your true mountain scenery is in the neighbourhood of the Glyder Fawr. Lord!' TWO: 27 December 1899. 4pp., 12mo. Thanking him for the Christmas present to his family, and praising the 'dainty talent in design' of 'Mrs Easkin', and commenting on one of her compositions. 'Are you girding your loins, buckling on your sword & preparing for the "front"? Of course, I allude to the "outburst of patriotism" & mobilising of volunteers' (in the Second Boer War). He jokes that 'married men with families are ineligible, so you must eat your heart out at Compton'. Expresses a hope that 'our forces will score soon. Lately, I have been afraid of opening the paper, lest "British Reverse", or "Check to Butler" in large type should meet my eye.' He ends by describing Dolgelly, as seen on a recent visit. THREE: 3 May 1906. 2pp., 12mo. He discusses the state of a house: 'The barn door is in a bad state, quite beyond repair. What is left of the ivy will hold up the slates for the present. R. Roberts is putting the new floor in. A built-up fire place, & chimney have come to light (no pun intended).'.

Each item is on a sheet of laid paper, 39 x 29 cm, and each with the Roycroft watermark. Both items are grubby, with wear and creasing to extremities, but with the design and much of the margin entirely undamaged. Both have an identical block of printed text (roughly 13.5 x 9 cm) at the centre: 'THE truth is that in human service there is no low or high degree: the woman who scrubs is as WORTHY of RESPECT as the man who Preaches | ELBERT HUBBARD'. In both cases this is placed in the green centre of a block of hand-painted illumination roughly 20.5 x 15 cm: one of the two with a brown, yellow and red decorative border, and the other with a blue, green and red border. Both with the Roycroft single-R orb device to the bottom right outside the illumination. No record found on COPAC or WorldCat.