Maud, Kelmscott (8 results)

Hard Cover. Condition: Very Good Plus. Samuel Warner (book designer) (illustrator). First Edition. Hard cover, small 8vo (measuring 5 x 7 7/8 inches), in half calf with hand-printed, paper-covered boards, the design rolled and mono-printed. Embossed and stained banding vertically and horizontally on the calf side of the boards; the spine with similar banding. The title, author and floral decoration on the spine done in blind, heightened with flecks of gilt. Hand-made laid paper, with the page edges sponged a dark green. Satanick typeface. Small pencil signature of a prior owner to ffep. **Originally bound in yapp-edged chamois, this item has been rebound (20th century) in a beautifully proportioned, fine binding by "R.A. Smith, Washington D.C." whose undated stamp is on the verso of the ffep.** Letter-press printed in black and red with original, hand carved wood borders and initial capitals of a floral "frittillaria" design used throughout. This item is considered among the best of the early works of Elbert Hubbard's Roycroft Press, an American take on British Craft printing. Hubbard travelled to England and met William Morris in 1892 and came back to New York greatly impressed by the works of the Kelmscott Press. Condition: Very Good Plus. There is very minor wear to the leather of the top board. Inside, there is a re-glue apparent along the gutter of pp. 41-42. A few small spots of glue appear on a few other pages. Some small marks of soiling appear symmetrically at pp. 42-43--probably the remains of a pressed flower. Generally, though, this is a beautiful item, bright and fresh and unique. Tennyson's "Maud" first published in 1850, a chivalric love poem, taking place in a garden. See Susan Otis Thompson, Plate 92, p. 174. in "American Book Design and William Morris," Oak Knoll, (1996). Ransom, R 125: No. 43.

First Essex House Press edition, number 38 of 125 copies only, each printed on vellum and hand-coloured, with a frontispiece by Reginald Savage and Laurence Housman in collaboration, cut by Clarence Housman. Tennyson's poem was first published in Maud, and Other Poems in 1855, his first collection after becoming poet laureate in 1850. The illuminations to this work were carried out by Anastasia Power. Power was a student of Douglas Cockerell and ran the Essex House bindery from the summer of 1902 until 1905. She was "an accomplished artist and calligrapher" and practised illumination with Fred Partridge alongside her role as binder (Dowd, p. 61). She consequently provided the illumination for much of the Press's output at this time. The Essex House Press was founded by Charles Robert Ashbee and Laurence Hodson following the closure of William Morris's Kelmscott Press in 1897 and "came from the heart of the arts and crafts movement" (Franklin, p. 64). Ashbee bought the Kelmscott Press's Albion printing presses after William Morris's death, and employed one of the Kelmscott compositors, Thomas Binning. This copy has the discreet bookplate of the noted London lawyer, golfer, and book collector Frank Robert "Bobby" Furber (1921-2016) loosely inserted, as well as the bookplate of one R. D. Hirschfeld on the front pastedown. Franklin, p. 244; Ransom, Essex House Press 58. Anthony Dowd, "The Binder and the Private Press in Twentieth Century Britain", in Bookbinder: Journal of the Society of Bookbinders and Book Restorers, 1993. Octavo. Original vellum, spine lettered in gilt, rose and "Soul is Form" blind-stamped on front cover. Printed in Caslon type. Hand-coloured wood-engraved frontispiece, hand-coloured and illuminated initials throughout. Bookplate of one R. D. Hirschfeld on front pastedown. A couple of spots of foxing to covers and faintly to occasional leaves; a very good copy.

Paperback. Condition: Very Good. 8 x 5.5", limp vellum, 69pp, covers a bit unevenly discolored, pp a little darkened, silk ties cut at foredge else a nice copy with lovely floral borders to title page and first page, floral initials. Second Issue with pp 15-16. 19-20, 2-26 and 69-70 replaced; missing slipcase. ".finished on the 11th day of August, 1893".

First Kelmscott edition, one of 500 paper copies, bound in contemporary morocco to the house style of collector Sir William Stirling Maxwell, 9th Baronet (1818-1878), with the Stirling clan crest badge gilt-stamped to the covers. Housed at his estates in Glasgow and Perthshire, Stirling's collection included mostly Spanish art (he was the first British collector of El Greco and Goya), works by William Blake, and illustrated books, including "the largest collection of emblem books ever amassed", now held in the Glasgow University Library. "The books were beautifully bound and embossed with Stirling's armorial devices, and he himself designed the ex libris slips which incorporated his mottoes, Gang Forward and Poco a Poco" (ODNB). His family continued to add to his collection in the years after his death, until its eventual dispersal in 1958. This copy is in the second state, with the four cancellan leaves (pp. 15/16, 19/20, 25/26, and 69/70), which were printed after the discovery of several typographical errors two months after publication. Peterson A17. Octavo (210 x 142 mm). Contemporary blue morocco, spine lettered in gilt, interlaced cartouche with Clan Stirling motto ("Gang Forward") to covers in gilt, board edges and turn-ins gilt, pale blue endpapers, top edge gilt, others untrimmed. Engraved title page, initials, and borders. Stanza numbers printed in red. Spine slightly darkened, covers a little marked, outer leaves lightly foxed. A very good copy.

Soft cover. Condition: Near Fine. Special Edition. The First Essex House Press edition printed in 1905. One of 125 copies only, this copy is out of series and unnumbered. The BOOK is in near Fine condition. Each printed on vellum and hand-coloured, with a frontispiece by Reginald Savage and Laurence Housman in collaboration, cut by Clarence Housman. Original vellum, spine lettered in gilt, rose and 'Soul is Form' blind-stamped on the front cover as issued. The vellum is in very bright condition with just some slight curling of the yapped edges. Printed in Caslon type. Hand-coloured wood-engraved frontispiece, with hand-coloured and illuminated initials throughout. The frontis in this copy is highly coloured as opposed to some copies where there is far less colouring. Internally clean. The vellum covers are remarkably clean for their age. Tennyson's poem was first published in 'Maud, and Other Poems' in 1855, his first collection after becoming poet laureate in 1850. The illuminations to this work were carried out by Anastasia Power. Power was a student of Douglas Cockerell and ran the Essex House bindery from the summer of 1902 until 1905. She was an accomplished artist and calligrapher and practised illumination with Fred Partridge alongside her role as binder (Dowd, p. 61). She consequently provided the illumination for much of the Press's output at this time. The Essex House Press was founded by Charles Robert Ashbee and Laurence Hodson following the closure of William Morris's Kelmscott Press in 1897 and 'came from the heart of the arts and crafts movement' (Franklin, p. 64). Ashbee bought the Kelmscott Press's Albion printing presses after William Morris's death, and employed one of the Kelmscott compositors, Thomas Binning. An exceptional copy of this highlight title from the Essex Press. The book is protected in a removable Mylar archival cover. More images available on request. Ashton Rare Books welcomes direct contact.

Softcover. Condition: Sehr gut. One of Morris's loveliest title page. A near fine copy of 500 printed on paper from a total edition of 505 copies (5 on vellum). ¶ Description: Original full limp vellum, with cloth ties, titled horizontally in gilt on spine; housed in original green cardboard slipcase lettered in gilt. Octavo: 21 × 15 cm; pp.: [2], 69, [2]; 3 cancellans leaves replacing pp. 15-16, 19-20, 69-[70]. With double page woodcut title and numerous ornaments and initials. Printed from 'Golden' type in black and red on Batchelor hand-made paper. ¶ Provenance: Bookplate to front pastedown of 'Hall of Otterburn, Northumberland' (i.e. Howard Pease, a wealthy antiquary from the Middleborough area). ¶ Ref.: Sparling 17; Walsdorf 17; Peterson 17 ¶ Condition: Volume is near fine, with clean boards, straight corners without rubbing. All four ties completely preserved. Slipcase with chipping to edges, torn at front and spine. No browning to endpapers. Internally quite fine. ¶ Notes: Sparling calls the title page one of Morris's loveliest (Sparling 1924, 86). The borders were specially designed for this book. 'Maud' was the first of the 8vo books with a woodcut title. ¶.

Hardcover. Condition: Very Good. No Jacket. 1st Edition. Arts and Crafts Movement. Art Nouveau. Golden Age. Rare edition, limited edition, one of 500 copies on paper, two borders, numerous initials, and colophon in woodcut, stanza numbers printed in red. Impressive full leather circa early 20th century, in an attractive dark red color, gilt ruled,with gilt titles on the spine, additional free blanks bound in. Originally published in a vellum binding.Clean internally. Handsome binding difficult to describe. Please inquire, further details via email. Photographs can be arranged.

Druck der Kelmscott Press in 500 Exemplaren auf Bütten. Exeptionelles Exemplar in einem großartigem Einband von Chambolle-Duru. - Tomkinson 112/17.