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Chaucer, Geoffrey, d. 1400,Burne-Jones, Edward Coley, 1833-1898, ill,Lombardi, Celine, binder,Kelmscott Press

Published by ReInk Books (2018)

Softcover
New

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About this Item: ReInk Books, 2018. Softcover. Condition: NEW. Reprinted from 1896 edition. Language: eng. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this reprint is from very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. This paperback book is SEWN, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of paperback binding. It can also be open wide. The pages will not fall out and will be around for a lot longer than normal paperbacks. This print on demand book is printed on high quality acid-free paper. Original Publisher: Upper Mall, Hammersmith, in the county of Middlesex : Printed by me William Morris at the Kelmscott Press 568 pages. Seller Inventory # 453687655

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A LEAF FROM THE WORKS OF GEOFFREY: CHAUCER, Geoffrey. (Kelmscott

CHAUCER, Geoffrey. (Kelmscott Press)

Published by London: Kelmscott (1896)

Used

Quantity Available: 1

From: Barry McKay Rare Books (Appleby-in-Westmorland, CUMBR, United Kingdom)

Seller Rating: 5-star rating

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About this Item: London: Kelmscott, 1896. Folio, (423x289mm). [2]p. Letterpress printed in black in the Chaucer type on handmade laid paper with the shoulder-title printed in red. Slightly creased. Pages 507-8 of Liber III from what is generally regarded as the ultimate achievement of William Morris' Kelmscott Press. Printed with the Chaucer type, which was a recut smaller version of the black-letter influenced Troy type, in a deep-black ink that was specially made for Morris in Germany. An uncommon opportunity to obtain an example of what ranks as one of the most estimable books of any era of printing history. Please note that the advised postage is based on an average book, if possible the postage will be reduced to the correct amount and you will be notified by email. Seller Inventory # 24108

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KELMSCOTT PRESS). Geoffrey CHAUCER

Published by Folio Society, [2008] (2008)

Used
Hardcover

Quantity Available: 1

From: Island Books (Thakeham, West Sussex, United Kingdom)

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About this Item: Folio Society, [2008], 2008. Large folio on laid paper text in red and black throughout with numerous fine illustrations and borders in the text; brown buckram boards and backstrip elaborately blocked and lettered in gilt gilt top brown endpapers broad black silk marker a fine copy i Superb facsimile of the Arts & Crafts classic. Includes a extended essay by William S. Peterson. NOW SCARCE IN ITS OWN RIGHT. Seller Inventory # 27348

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Leaf from the Kelmscott Chaucer: Kelmscott Press] Chaucer,

Kelmscott Press] Chaucer, Geoffrey; John Windle, essay

Published by Kelmscott Press, Hammersmith (1896)

Used

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From: The Kelmscott Bookshop, ABAA (Baltimore, MD, U.S.A.)

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About this Item: Kelmscott Press, Hammersmith, 1896. Condition: Very Good. This is an original leaf from the Kelmscott Press masterpiece, The Works of Geoffrey Chaucer, accompanied by an essay by the bookseller John Windle on its commercial history. The leaf is from a disbound and dispersed damaged copy. Copies were presented by Windle in a paper portfolio in 1994 as a keepsake to members of the Colophon, Roxburghe, and Zamorano Clubs. The folio-sized leaf is from pages 215-216, "The Persouns Tale." There is no illustration, but there are one large and twelve small decorated initials. The leaf is in very good condition except for a bit of rubrication (red ink text) bleed-through on the two shoulder titles and one section heading, and a little rippling along top edge. The first page of the accompanying essay is decorated with a Burne-Jones illustration and woodcut borders reproduced from the Chaucer. The essay includes a chart comparing auction prices of the Chaucer to three other notable books, 1966-1993, on the other pages. MOR/110414. Seller Inventory # 27825

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Works of Geoffrey Chaucer, The: KELMSCOTT PRESS]; CHAUCER,

KELMSCOTT PRESS]; CHAUCER, Geoffrey

Published by London: The Folio Society, 2002 (2002)

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From: David Brass Rare Books, Inc. (Calabasas, CA, U.S.A.)

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About this Item: London: The Folio Society, 2002, 2002. The Magnificent Folio Society Kelmscott ChaucerBound to Match a Copy Bound by T.J. Cobden-Sandersen in 1900[KELMSCOTT PRESS]. CHAUCER, Geoffrey. The Works of Geoffrey Chaucer [London: The Folio Society: 2002].One of one thousand and ten copies, of which one thousand are for sale. Large folio (16 3/8 x 11 1/2 inches; 415 x 292 mm.). [4], ii, [2], 554, [1, limitation], [1, blank] pp. With eighty-seven woodcut illustrations after Sir Edward Burne-Jones, redrawn by Robert Catterson-Smith and cut by W.H. Hooper, woodcut title-page, fourteen variously repeated woodcut borders, eighteen variously repeated woodcut frames around illustrations, twenty-six nineteen-line woodcut initial words, numerous three-line, six-line, and ten-line woodcut initial letters, and woodcut printer's device, all designed by William Morris and cut by C.E. Keates, W.H. Hooper, and W. Spielmeyer. Printed in black and red in Chaucer type, the titles of longer poems printed in Troy type. Text in double columns. Edited by F.S. Ellis.Full Cream Nigerian goatskin, Front cover and spine richly decorated in gilt to a design from a copy of the Kelmscott Chaucer bound by T.J. Cobden-Sanderson at the Doves Bindery in 1900. Top edge gilt, others uncut. Housed in the original blue cloth clamshell case with cream morocco label lettered in gilt on spine. An absolutely mint example. Complete with the original prospectus, color photograph and sample sheet.Complete with An Essay on the Kelmscott Chaucer by William S. Petersen. Small quarto. 16 pp. Original gray printed wrappers. Housed in a pocket in the clamshell case."The facsimile of the Kelmscott Chaucer has been printed for The Folio Society, London, by Cambridge University Press and completed on the 20th day of February, 2002. The paper, Oxenford twin-wire laid, has been specially made at the James Cropper Mill at Burnside in Cumbria and supplied by John Purcell Paper. The binding design has been redrawn by David Eccles from a copy of the Kelmscott Chaucer bound by T.J. Cobden-Sanderson at the Doves Bindery in 1900. The binding of this edition has been executed by Smith Settle at Oxley, Yorkshire, in full Nigerian goatskin, with handmade laid endpapers from the Fabriano Mill, Italy. One thousand and ten copies have been printed of which one thousand are for sale. This copy is No. 368." (Limitation leaf). Seller Inventory # 04291

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The Works.: KELMSCOTT PRESS.) CHAUCER,

KELMSCOTT PRESS.) CHAUCER, Geoffrey.

Published by London: for The Basilisk Press by the John Roberts Press, 31 Dec. 1974 (1974)

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From: Peter Harrington. ABA member (London, United Kingdom)

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About this Item: London: for The Basilisk Press by the John Roberts Press, 31 Dec. 1974, 1974. 2 volumes, folio. Original red and white floral patterned cloth, printed paper labels to spines, duplicate labels laid-in to rear. In the publisher's blue slipcase. The companion volume with a little foxing to edges; an excellent, fresh set. 87 woodcut illustrations after Sir Edward Burne-Jones by John Swain and Son, London, woodcut title-page, 14 variously repeated woodcut borders, 18 variously repeated woodcut frames around illustrations, 26 nineteen-line woodcut initial words, numerous three-, six-, and ten-line woodcut initial letters, and woodcut printer's device. Printed in black and red in Chaucer type, the titles of longer poems printed in Troy type. Double columns. Companion volume with 85 tipped-in plates from pencil drawings by Edward Burne-Jones. Limited edition, one of 515 copies. A superb copy of the Basilisk Press facsimile of the Kelmscott Chaucer. Seller Inventory # 109804

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The Works of Geoffrey Chaucer Now Newly: Chaucer, Geoffrey [Kelmscott

Chaucer, Geoffrey [Kelmscott Press] [William Morris]

Published by London Folio Society / Kelmscott Press 2002 (2002)

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About this Item: London Folio Society / Kelmscott Press 2002, 2002. Condition: fine. edition limited to 1010 copies. [4], iv, 552, [3]pp. Folio. Full cream-coloured goatskin. Front board stamped elaborately with gilt floral designs and text from Chaucer. Spine in 5 compartments, gilt title to first and remaining stamped in gilt. Raised bands. A few spots of rubbing to edges of spine, else a pristine copy. Contained in original blue folding box, lightly rubbed and bumped. Lacking the small booklet with essay. Limited to 1000 numbered copies for sale, this being # 907. Original leaves with some light chipping to edges and a small separation, archivally repaired, at top and bottom of fold. fine INCLUDED with the facsimile is an original bifolium (pages 23-26) from the Knyghtes Tale of the celebrated Kelmscott Chaucer printed at Hammersmith in 1896. Two of the four original pages are fantastic, full page woodcuts with elaborate floral borders emblematic of the Press. The first woodcut features Emeyle praying to Dyane atop a stag. The second woodcut is of Arcite in the Temple of Mars. The remaining two text pages have 14 small and 1 large decorated initials and printing in red and black. The four original pages and the fine Folio Society facsimile together provide and excellent example of one the most magnificent and celebrated printed books of the last 150 years from the visionary Press of William Morris. It would be the last great work of his lifetime. Seller Inventory # 136042

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The Works, now newly imprinted. Edited by: KELMSCOTT PRESS.) CHAUCER,

KELMSCOTT PRESS.) CHAUCER, Geoffrey.

Published by Hammersmith: printed by William Morris at the Kelmscott Press, 1896 (1896)

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From: Peter Harrington. ABA member (London, United Kingdom)

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About this Item: Hammersmith: printed by William Morris at the Kelmscott Press, 1896, 1896. Folio. Original holland-backed blue paper boards, printed spine label, uncut edges. With an autograph letter on on Kelmscott House, Upper Mall, Hammersmith headed paper, dated 13 May 1895. Housed in a custom blindstamped calf solander box. Bookplates of John Charrington and H. L. Doolittle. Spine label slightly chipped, linen backstrip a little browned, touch of wear to tips, a little fraying to front joint, front hinge tender, front free endpaper lightly creased, occasional faint foxing to fore edge, text unaffected. An excellent, crisp copy of a book often met with in a later binding. Printed in black and red in Chaucer type, the titles of longer poems printed in Troy type. Double columns. With 87 woodcut illustrations after Sir Edward Burne-Jones, redrawn by Robert Catterson-Smith and cut by W. H. Hooper, woodcut title-page, 14 variously repeated woodcut borders, 18 variously repeated woodcut frames around illustrations, 27 nineteen-line woodcut initial words, numerous three-, six-, and ten-line woodcut initial letters, and woodcut printer's device, all designed by William Morris, and cut by C. E. Keates, W. H. Hooper, and W. Spielmeyer. First Kelmscott edition, one of 425 copies on paper, from the total edition of 438 copies. The most ambitious and magnificent book of the Press, it was four years in the making. Morris designed the watermark for the paper, which was copied from an Italian incunable in Morris's collection and made entirely of linen by Batchelor. It took several requests before Clarendon Press granted permission to use Skeat's new edition of Chaucer. Burne-Jones called the book "a pocket cathedral it is so full of design", and "the finest book ever printed; if W.M. had done nothing else it would be enough." Burne-Jones devoted all his Sundays for almost three years to the work, and Morris came to talk with him as he drew. As the artist worked he increased the number of proposed illustrations from 48 to 60 to 72 to 87, and Morris accepted each change. The process of adapting the drawings to the woodblock, and engraving them, was entrusted to W. H. Hooper and R. Catterson-Smith, with Burne-Jones closely supervising every detail. Of these lovely pictures, those for the Canterbury Tales, the Romaunt of the Rose, Troilus and Criseyde, and the Legende of Goode Wimmen are better known than those for Chaucer's translation of Boethius, his prayer to the Virgin, the Parlement of Foules, A Treatise on the Astrolabe, and the surrealistic House of Fame. All are equally beautiful, and all contain images which remind one strongly of his paintings. "The Kelmscott Chaucer is not only the most important of the Kelmscott Press's productions; it is also one of the great books of the world. Its splendour can hardly be matched among the books of the time" (Ray, The Illustrator and the Book in England). Laid in to this copy is an autograph letter signed from Morris to Arthur Joseph Gaskin (1862–1928), the wood-engraver, portrait artist, jewellery designer, and book illustrator, arranging a meeting. Gaskin had trained at the Birmingham School of Art, and the two "probably met in October 1891, when Morris gave a talk on the collection of pre-Raphaelite paintings at the Birmingham Museum and Art Gallery. though possibly they had met even earlier since Gaskin had been a member of the Arts and Crafts Exhibition Society since 1890" (Letters, III, p. 474). Morris commissioned him to work on three Kelmscott Press books, including The Well at World's End in 1893. However, he was dissatisfied with Gaskin's drawings, and in early 1895 finally informed him that they would not be used, turning instead to Burne-Jones, a decision Gaskin accepted without demur. He and his wife visited Kelmscott in June that year, a few weeks after this letter was sent. Peterson A40; Sparling 40; see Franklin, Private Presses, p. 192; Robinson, William Morris, Edward Burne-Jones and the Kelmscott Chaucer. Kelvin, ed. The Collected Letters of William Morris, Volume. Seller Inventory # 120853

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WORKS OF GEOFFREY CHAUCER. From the Ellesmere: Kelmscott Press] Chaucer

Kelmscott Press] Chaucer Geoffrey

Published by Hammersmith Kelmscott Press 1896 (1896)

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Hardcover
First Edition

Quantity Available: 1

From: Buddenbrooks, Inc. ABAA (Newburyport, MA, U.S.A.)

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About this Item: Hammersmith Kelmscott Press 1896, 1896. One of 425 copies of a total edition of 438. With FINE PROVENANCE, having been owned by George Abrams, "Master of Typefaces", an artist and type designer whose distinctive logotypes spelled out household names like B. Altman and Godiva Chocolates. With 87 wood-engravings designed by Sir Edward Burne-Jones, cut by W.H. Hooper after drawings by Robert Catterson-Smith, superb wood-engraved title page, fourteen very fine large borders, eighteen different woodcut frames around the illustrations, twenty-six nineteen line woodcut initial letters, and numerous initials, decorative woodcut printer’s device all designed by William Morris and cut by C.E. Keates, Hooper and W. Spelmeyer, with shoulder and side titles. Printed in red and black in Chaucer type, double column, headings to the longer poems in Troy type. Folio (424 x 289 mm), original Holand linen-backed blue paper boards, paper label on the spine, housed in a cloth case. iv, 556pp. A very handsome copy, the text is especially clean, crisp, fresh and bright, the binding with some professional and expert refurbishment. A VERY SPECIAL COPY, WITH PROVENANCE, OF THE FIRST EDITION AND A HANDSOME COPY OF WHAT IS CONSIDERED TO BE THE MOST BEAUTIFUL PRINTED BOOK IN THE ENGLISH LANGUAGE. The Kelmscott Chaucer is "the most famous book of the modern private press movement, and the culmination of William Morris's endeavor" (The Artist and the Book). "[F]rom first appearance, the Chaucer gained a name as the finest book since Gutenberg. It has held its place near the head of the polls ever since. The terms which critics used in the eighteen-nineties to welcome it simply show us what an impression Morris's printing made upon late Victorian bookmen" (Colin Franklin, The Private Presses, p. 43). Evidence of the esteem in which the book has been held lies in the fact that after the Second World War, during the rebuilding of Japan and its libraries, a copy of the Kelmscott Chaucer was the first book presented to the Japanese people by the British Government on behalf of the English nation. The Kelmscott Press produced forty-eight books in its brief life. Morris had toyed with the idea of a Shakespeare in three folio volumes; a suggestion for a King James version of the Bible was in his pending file; and preliminary work had begun on editions of Froissart and Malory, both of which would have formed a triumvirate with the Chaucer. But on October 3, 1896, Morris died, and for all intents and purposes the Kelmscott Press died with him, the Froissart and Malory unfinished. The Chaucer, regretfully, remained the only "titan" among Kelmscott books. Morris dedicated his life to poetry and the decorative arts, but he did not exhibit an active interest in the design and production of books until he was fifty-five years old. He died eight years later, but in that brief fragment of time he established a standard and prestige that still make him one of the most powerful and pervasive influences in book design in the English-speaking, English-reading world. This is George Abrams' copy, with his bookplate on the front pastedown. Mr. Abrams and his company, Alphabets Inc., worked with many of the largest advertising and printing agencies. Among his type designs are three known as Abrams Venetian, Abrams Augereau and Abrams Caslon. He created the cover logos for a number of popular magazines, notably the original one for Sports Illustrated in 1954. Others he designed included those for Newsweek (1968), The Saturday Evening Post (1965) and House Beautiful (1949). He was a bibliophile with a large collection of rare books and manuscripts, ranging from incunabula to the Russian avant-garde. He was active in the Grolier Club and the New York Typophiles, and was a fellow of the Pierpont Morgan Library and an honorary fellow of the London Society of Typographic Design. His brother was Harry N. Abrams, founder of the art books publisher by that name. There is earlier provenance of Robert Heysham Sayre, who was vice pr. Seller Inventory # 27259

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