Edith Cooper Michael Field (26 results)

Paperback. Condition: New.

Hardcover. Condition: Good. 1st Edition. UK hardback first impression. Good- only with extensive sunning to boards and some rubbing to spine. Has an x-mas 1923 gift inscription to ffep. No jacket.

Paperback. Condition: New.

Hardcover. Condition: Good. lxxv pages. Our copy is internally fine, in a worn binding. The Paper-covered boards, designed by Charles Ricketts, are worn and chipped, their corners bumped; a small bookplate at the front pastedown, remnants of a sheet glued to the front free endpaper, else contents fresh and pleasing. 310 grams.

Hardcover. Condition: Very Good. cxvi pages : illustrations. This is a pleasing copy of a reasonably scarce book. The uarter cloth over paper covered boards are sturdy and clean, the corners lightly bumped, the paper spine label mildly dampstained and rubbed but its edges are sharp and its lettering legible; the contents are unmarked and quite attractive. 410 grams.

Hardcover. Backstrip sun-darkened, with title label rubbed; extremities slightly worn; endpapers partially browned; bottom margin of pages wavy and faintly to slightly foxed; otherwise very good condition. . 84p. Three pages printed in black and red. The book does not have a conventional title page. It is said to be limited to 290 (unnumbered) copies. "The decorations are designed and cut on the wood by Charles Ricketts, under whose supervision the book has been printed at the Ballantyne Press" (colophon).

Condition: Fair. Used - acceptable - cover shows extensive use wear with fading to color, soiling, and wear to the cloth at the spine ends - the title panel on the spine shows definite scuffing - a sound useful copy.

hardbound. Condition: Very Good in fair dustwrapper. Numbered limited edition of this selection from the poems of 'Michael Field', published by The Poetry Bookshop, being No. XV of an edition of 50 copies on de Haesbeek watermark paper stock; Michael Field was the pen-name of Katherine Bradley and Edith Cooper (an aunt and a niece); their poems were well received, but eventually fell into obscurity - some suggest this was due to the discovery of the gender of the poet(s); the Poetry Bookshop operated in the Bloomsbury district from 1913-1926 and published living poets as well as selling books; cream cloth boards with gilt titling to front and spine, untrimmed pages; endpapers, prelims and text block foxed, mild tanning to edges of some pages, bookshop label to front pastedown, minor toning to edges of boards, o.w. Very Good throughout; dustwrapper fairly heavily edgeworn to top edge, with some loss, 7 x 1.5 cm loss to rear panel near fold of flap. Dustwrapper. 142pp. 8vo. Very Good in fair dustwrapper.

Hardcover. Condition: Very Good. First Edition. One of 120 copies. [8], 48pp., green cloth, stamped in red. Spine rubbed at head and foot with small hole not affecting lettering, cloth rather dust marked, otherwise very good. Nelson 1893.22. The main text (48pp. including fly-title) appears to consist of sheets of an edition produced by another printer (possibly the Nassau Steam Press), 'roughly printed for our own and the actors' use'. The preliminaries and catalogue at end are in the usual, elegant, Bodley Head style.

First edition. 8vo, vii, [1], 113pp, [1]. Original purple-blue cloth with cover design featuring a stylised altar by Charles Ricketts stamped in blind; gilt lettering to spine. London and Edinburgh, Sands & Co. n.d. Edith Cooper's last work, published the year she died. Katharine Bradley died within 9 months of her. Cloth rather sunned and dulled along spine and along top and fore edges, corners bumped. Gift inscription dated 1929, on front free endpaper. Internally clean.

First edition. 8vo, iv, 312pp. Original parchment covered boards, stamped in red, yellow endpapers. London, George Bell & Sons; Clifton, J. Barker & Son, n.d. Parchment rather marked, red lettering a touch faded, internally in very good condition. .

Hardback. Decorative title-page. Paper-covered boards with black illustration of crown entwined with branch. This play (if you will) is by the aunt and niece, whose extraordinary literary output was well received under the pseudonym Michael Field. But when Robert Browning revealed the authors' identity they found their audience less enthusiastic. VG- (exterior hinges weak; spine darkened. Owner's bookplate on front paste-down. Largely uncut pages). Extra spine labels bound at end.

First separate edition: the play was originally published in 1884 with another play, Callirrhoë. Octavo. pp lxxx. Printed in black and red. Wood-engraved rose border (used twice) and two large ornamental initials all by Charles Ricketts. The only book in which this border design was used. Boards with two different patterned papers; spine label. A play. 210 copies were printed, of which 23 were destroyed in a fire in 1899.Endpapers tanned. Covers rubbed at spine and edges. Spine label darkened. Very good.

First edition. Octavo. pp lxxxv. Prelims printed in black and red. The first page of text has a decorative border by Charles Ricketts. Quarter green paper boards with a decorative leaf design by Ricketts. A play set in ancient Rome.Mottling to spine (possibly from binder's glue?). Spine label rubbed, affecting several letters of the title. Free endpapers lightly tanned. Very good.

First edition. 8vo, vi, [2], 77pp, [1]. Rebound, without the printed wrappers, in 3/4 leather, red cloth, raised spine bands, gilt embellishment, and gilt lettering to spine, marbled endpapers. London, George Bell & Sons; Clifton, J. Baker & Son. n.d. Rubbing along joints, and at head and tail of spine, and at corners. Stains to the upper board; foxing to preliminaries.

Cloth. Condition: Very Good Indeed. Not Stated (illustrator). First edition. The very scarce first edition of this beautiful collection of poetry by the pseudonymous Michael Field. The very scarce first edition of the work.In publisher's original green decorative cloth binding. Includes gilt to top edge.A beautiful collection of poetry by Michael Field, a pseudonym used by Katherine Harris Bradley and her niece Edith Emma Cooper, writing around 40 works together with the intention to keep the pen name a secret, but it became public knowledge after they confided in Robert Browning.The poems are a masterful exploration of love, nature, and beauty. Drawing on a wide variety of sources, from classical mythology to contemporary literature, these poems are both timeless and deeply personal. In publisher's cloth binding. Externally, very smart. Shelf wear to extremities with light fading to spine. Internally, firmly bound. Pages are bright and clean with the odd spot. Very Good Indeed. book.

Hardcover. Condition: Near Fine. First edition. Small octavo. Art Nouveau-designed decorated paper over boards, designed by Selwyn Image. Publisher's file copy with their rubberstamp, and with the bookplate of noted collector Mark Samuels Lasner, both on the front pastedown, tiny split at top joint, a handsome, very good or better copy.

Collected by Emily C. Fortey. The Preface by Fr. Vincent McNabb. First edition. 8vo, xi, [1], 206pp. Original green cloth, gilt lettering to spine. Oxford, Basil Blackwell. Fortey describes the volume as a gathering of ?all that could be called religious poems in the treasured MS. left in my care." Contrary to the claim in the title, Fortey indicates that ?some half-dozen of [the poems in this volume] appeared in Catholic magazines during the life-time of the poets." the Preface is written by McNabb was the poets' confessor. Ink note on verso of half-title explaining the authors' pseudonym; uneven fading to boards. Overall about very good.

First Edition. End-papers just a little darkened and covers very slightly bowed, otherwise a exceptionally nice copy in the original plain tissue wrapper, that is darkened and just a little creased and frayed. Loosely inserted are a number of advertising leaflets, including one for Elkin Mathews and John Lane for other books by Field and another for the "Bohn's Libraries" series Original cream parchment, stamped in red.

on Friday October 27th 1893 by Michael Field, Author of ?Stephania a Trialogue'. First edition, limited to 120 copies. 48pp, [2pp ads for Michael Field], 14pp publisher's ads, dated October 1893), [1].Original green cloth covered boards, red lettering to upper board and spine. London, Elkin Mathews & John Lane. Front cover design of a bullrush and two looped rings, used previously as colophon for Stephania, by Selwyn Image. Nelson, BH, 1893.22/16.  Minor rubbing/damp-staining to lower corners of both boards, otherwise in very good condition.

First edition. Tall 8vo, 85pp. Original grey paper spine, white printed label, with green decorated paper covered boards, repeating leaf design. Woodcuts by Ricketts, printed in black and red; London, The Ballantyne Press. One of 280 copies. Van Capelleveen, A56a. Minute splits at head of spine, rubbing to paper spine label, otherwise near fine.

FIRST EDITION, LIMITED EDITION, unnumbered of 250. Pot 4to (in 8s), pp. [xii], 100, [4], [2 Press Notices for Sight and Song & The Tragic Mary], [2 catalogue], incl. intricate illustrated title page, and colophon, by Selwyn Image. Grey paper boards, paper title label lettered in black (significantly rubbed) to spine, Image's binding ornament in black to upper board. Edges untrimmed. Joints and spine ends professionally repaired, edgewear, heaviest at now rounded corners, spine darkened, boards faintly stained and scored. Edges dust darkened. Offsetting to endpapers, previous bookseller note in pencil to rear endpaper, occasional spots, else, clean and tight. A rather pleasing copy of an attractive edition of Michael Field's trialogue. Fairly well-represented in British research libraries, unusual in the trade. Good+ Michael Field was the pseudonym and creative persona of Katherine Bradley (18461914) and Edith Cooper (18621913), the British aunt and niece, who lived, loved, and collaborated together over nearly four decades: "we are closer married [than the Brownings, the celebrity literary couple of the era]", they wrote in Works and Days, their extensive diary project, and in a letter to Havelock Ellis, observed: "Let no man think he can put asunder what God has joined [.] We cross and interlace like a company of dancing summer flies; if one begins a character, his companion seizes and possesses it; if one conceives a scene or situation, the other corrects, completes, or murderously cuts away." It was a prolific partnership that produced 27 verse dramas, eight poetry collections and one masque, which speak variously to their progressive stances and support for the women's suffrage and antivivisection movements, vegetarianism and paganism, their deep engagement with the Classics, and female same-sex desire. Their poems were "often strikingly erotic, especially those in Long Ago and Underneath the Bough" (Castle, 2003), with the latter taking its title and epigraph from The Rubáiyát of Omar Khayyám. Bradley and Cooper adopted male names Michael and Henry, respectively and male pronouns: in their diary "they almost always speak of each other as 'he'" (Dever, 2022). The couple favoured beautiful books with short print runs and while their works never sold in huge numbers, their early output "attracted an elite set of influential admirers" and made Michael Field "minor celebrities in the fin-de-siècle literary world" (Castle, 2003). Having been outed by their mentor and friend, Robert Browning, from 1892 coinciding with the publication of Stephania, Sight and Song and Underneath the Bough "their work was treated with ever-increasing coldness by the literary world, and there was no doubt that the discovery that Michael Field was no avatar. but two women, was partly responsible." (T. Sturge Moore cited in Castle, 2003).

FIRST EDITION limited to 280 copies on 'VP Leaf' handmade paper; pp.lxxxv + colophon; elaborate decorative border with illustrations & initial, 3 half-borders, text in red & black Vale type; a very good uncut copy in 1984 designer binding of full green morocco with eight inlaid morocco leaves in various colours, paste-paper endpapers with leaf decoration, by Gale Herrick, founder member & first President of the Hand bookbinders of California in 1972; preserved in batik-paper green card clam-shell box by Donald Brown. Watry B31.

First edition, first impression, trade issue, in the scarce glassine jacket. The play, published under the pseudonym "Michael Field" by Edith Emma Cooper and her aunt and sometime lover Katharine Harris Bradley, tells of the reign and fall of Mary, Queen of Scots. There was also a limited issue of 60 copies bound in vellum. Selwyn Image (1849-1930) designed the binding for this title, and his regal blooming thistles are an entirely appropriate example of his fin-de-siècle decorative art. The borders incorporate Mary's motto, "En ma fin est mon commencement" ("In my end is my beginning"). An artist, designer, and poet, Image was published in The Savoy, and was the seventh Slade Professor of Fine Art at Oxford from 1910-16. Oscar Wilde considered The Tragic Mary one of the two most beautiful books of the nineteenth century "in appearance" (quoted in Hadjiafxendi p. 243), the other being Dante Gabriel Rossetti's Poems (1870). Cooper and Bradley acknowledge in their Preface both the necessity and futility of dramatizing Mary's life; "the Queen herself lies sculptured in Westminster Abbey, waiting with the serenity of patience a judgement other than that of men. Yet we are not permitted to withhold our human verdicts, if she is to live as a presence in our midst. [our] beliefs are but conjectures, and the real woman of magical nature must remain undiscovered and triumphant" (Preface). Kyriaki Hadjiafxendi & Patricia Zakreski, Crafting the Woman Professional in the Long Nineteenth Century, 2016. Octavo. Original brown paper-covered boards, spine and covers lettered in black, covers illustrated in black with blossoming thistles and crown motifs designed by Selwyn Image, edges uncut. With original glassine dust jacket and later handmade paper dust jacket. Two previous booksellers' notes loosely inserted. Small mark to spine, a little foxing and offsetting to endpapers. A near-fine copy, unopened, in sharp glassine, spine panel a little toned, trivial chips to head of spine panel and corners, a few marks to panels, flaps a touch creased.

Leather Bound. Condition: New. Language: English. Language: English. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2024, utilizing the invaluable guidance of the original edition published many years ago in 1892. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - English, Pages: : - 134, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. 134 134.

Condition: New. Dieser Artikel ist ein Print on Demand Artikel und wird nach Ihrer Bestellung fuer Sie gedruckt. Klappentextrnrn Poems of Adoration is a 1912 collection of poems by Michael Field. Michael Field served as the joint pen name for Edith Emma Cooper (1862-1913) and her aunt Katharine Harris Bradley (1846-1914). Together, they produced around 40.