Pasadena: The Clinker Press, 2007. Hardcover. Number 43 of 60 copies. The Clinker Press was founded by Andre Chaves in 1996. Mr. Chaves prints materials relating to the art of printing and the Arts and Crafts movement at his letterpress studio. In this book the printer says that despite his love of the Middle Ages, Morris was firmly bound to the 19th century and that in John Ball he uses an event in 1381 to link its principles of solidarity with his socialist views. Bound in brown linen with white and red paper label to front cover. Thin quarto. In fine condition. I-II; 6 pages. MOR/022412. Fine.
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Rockville, MD: Crooked Crow Press, 2019. Limited edition of 50 copies. The Kelmscott Bookshop owner Fran Durako worked with master printer Chris Manson to design and print this broadside in honor of the great William Morris and his Kelmscott Press. The work includes two quotations by William Morris. The first is about beautiful houses and books, taken from "A Note by William Morris on his Aims in Founding the Kelmscott Press." The second is from "The Ideal Book" and offers his thoughts on printing books. Illustrated with a handsome copy of C.M. Gere's famous illustration of Kelmscott Manor that was the frontispiece for News from Nowhere. In fine condition. Measures 12 x 21.25 inches. PRI/082319. Fine.
New York: Oriole Editions, 1971. Hardcover. Morris and Burne-Jones struggled to make their Earthly Paradise a reality but gave up in good part because they could not find type that was in harmony with the illustrations. Beige cloth backed light blue paper covered boards with blue title to spine. Pristine with illustrations by Edward Burne-Jones. Tight binding. In a tan dust jacket with dark blue title to spine and front panel. Housed in a tan paper covered slipcase with very minor wear to edges. Size: quarto. 86 pages. MOR/080515. New / New.
2014. A beautiful calligraphic manuscript of William Morris’s poem “Love Fulfilled.” Maryanne Grebenstein is a professional calligrapher who studied under many other notable calligraphers. She teaches calligraphy and manuscript gilding at the Massachusetts College of Art (Boston), the North Bennet Street School (Boston), and the Abbey Studio in Hingham, MA. This lovely lyric was published in Morris’s last book of poetry, Poems by the Way, in 1892. A contemporary critic described this late work as still marked by a pervading intensity of human feeling found in his early poetry. The title and decorated capitals are 23 Karat gold leaf. Thirty-five lines with the calligrapher’s signature in pencil below the border. The text is in Moon Palace sumi ink and the color is in Winsor & Newton gouache on Crane’s 100% cotton stock paper. Archivally matted. Measures 17 x 22 inches including mat. Fine.
Hammersmith: Kelmscott Press, 1893. One of 1500 copies. This copy is in an exquisite binding from master Chicago binder Alfred J. Cox (1835-1909). Cox founded a bindery in Chicago in the 1860s that became the largest commercial bindery west of the Mississippi River. Cox was also a serious book collector who bound many books in his personal collection in sumptuous designer bindings. His philosophy was that "books of the imagination...demand rich morocco, fanciful ornaments, and gilding. This binding exemplifies his philosophy. It is in brown morocco with a beautiful gilt flower design on the front and rear covers, with gilt ruling around the edges. The spine has five raised bands with title, author, and ornaments in the compartments. The dentelles also have a lovely gilt floral design. With marbled endpapers. The book's colophon states that Gothic Architecture, first given as a lecture for the Arts & Crafts Exhibition Society in the year 1889, was printed by the Kelmscott Press during the Society’s exhibition in 1893. It is printed in Golden type on Flower paper, and was the first book printed in 16mo. by the press. According to William Peterson's bibliography of the press (p. 48-51), “there were three impressions of the book, presumably of 500 copies each.” There were two misspellings in the first impression. “Van Eyck “ was misspelled “Van Eyk” (p. 45, l.1.), and “guilds was spelled “gilds” (p. 45, l. 16). This copy has the correct spellings of these two words and is from the second or third impression. Printed with Golden type on Flower paper. There are four and six line initials and red shoulder notes throughout. Light paper aging along fore-edge otherwise near fine. MOR/021720.
Hammersmith: Kelmscott Press, [1896-1897]. Six Leaves from “The Man Who Never Laughed Again” in The Earthly Paradise that offer a wonderful example of the fine printing of the Kelmscott Press and the impressive poetry of Morris. Pages 179-180 are from the text of the previous work, “The Story of Acontius” with a beautiful ten-line initial “I.” Pages 181-190 are from “The Man Who Never Laughed Again.” The first two leaves, pictured here, are double-page with the title and its beautiful decorative borders and a ten-line initial “A.” Golden type on Apple paper. In near fine condition. PRI/042116. Near Fine.
Hammersmith: Kelmscott Press, [1896-1897]. Six Leaves, pages 83-94, from "The Wanderers and March" in The Earthly Paradise that offer a wonderful example of the fine printing of the Kelmscott Press and the impressive poetry of Morris. Pages 83-90 are from "The Wanderers". Pages 91-94 are from "March", with the opening text , border decoration and ten-line decorated initial "S" of March. Other pages with four and six line decorated initials. Printed in black and red Golden type on Apple paper. In near fine condition. PRI/050216. Near Fine.
London: Longmans & Co., 1898. Hardcover. This interesting address offered advice to the students by which Morris himself lived: “...make yourself sure that you have in you the essentials of an artist before you study Art as a handicraft by which to earn your bread. But, again, if you are able to do this, & become a genuine handicraftsman, I congratulate you...for you belong to the only group of people in civilization which is really happy: Persons whose necessary daily work is inseparable from their greatest pleasure.” An exceptionally nice copy bound in blue paper boards with grey linen spine and title printed on cover. Light wear and slight darkening to edges of boards. Interior is bright and clean save for offsetting to the rear endpapers and a few brown spots on fore-edge. Pages are unopened. 25 pages. MOR/081712. Near Fine.
London: Chiswick Press for Longmans, 1898. Hardcover. This is the first of the series, an attack on Gothic Revival style by Morris at a ceremony in Birmingham. Printed using Morris's Golden type on fine mouldmade papers. Bound in original blue paper covered boards with dark blue linen spine. Titled in black on front cover. Minor sunning to spine and edges of boards. A few light spots of foxing to boards. Clean, bright interior with unopened pages. 25 pages. MOR/042413. Very Good.
London: Printed by the Chiswick Press and Published by Longmans & Co., 1898. Hardcover. These two talks given by William Morris and printed by the Chiswick Press are bound together in a splendid leather and gilt tooled binding done by the New York attorney, author, and amateur binder Fletcher W. Battershall (1866-1929). Battershaw was the author of "Book-Binding for Bibliophiles" (1905), a book on gilt tooling. and several articles on bookbinding. He was close friends with and perhaps a pupil of Louis Kinder, head binder at the Roycroft Shop, as Kinder dedicated his own book, "Formulas for Bookbinders," to him. Battershaw's bookplate is affixed to the front pastedown, and the front turn-in has his distinctive bat binder's stamp tooled in gilt. The brown leather binding displays Battershaw's skills and techniques as a binder. The front cover has the titles of the two talks and the name of William Morris stamped in gilt along the edges of the cover within gilt ruling. Both the front and rear covers have an intricate design of interlaced hearts as gilt ornaments in the center of the cover. All edges gilt. A gorgeous binding in fine condition. The interior pages are also fine save for a small closed tear on lower margin of the lecture and light offsetting from the leather turn-ins. The first text is an interesting address in which Morris offered advice to the Birmingham students by which he himself lived: “...make yourself sure that you have in you the essentials of an artist before you study Art as a handicraft by which to earn your bread. But, again, if you are able to do this, & become a genuine handicraftsman, I congratulate you...for you belong to the only group of people in civilization which is really happy: Persons whose necessary daily work is inseparable from their greatest pleasure.” Art and Beauty of the Earth was the second lecture of a series given by Morris at the Burslem Town Hall in 1881. It also exhorts its listeners to appreciate and contribute to the beauties of the earth through their craft. Printed in the Golden type of the Kelmscott Press. Address: 25 pages; Lecture: 31 pages. MORRIS/022420. Fine.
London: Chiswick for Longmans, 1900. Hardcover. Two addresses by Morris about the protection of ancient buildings delivered in 1884 and 1893 (lectures 4 and unnumbered in the series). Bound in blue paper covered boards with dark blue linen spine and black title to front cover. Slight sunning to spine, foxing to boards, and wear / chipping to edges of boards. Previous owner's signature to front endpage, offsetting to endpages, and foxing to foredge of text block. Printed with Morris's Golden Type on fine mouldmade papers. 50 pages. MOR/042513. Very Good.
London: Chiswick for Longmans, 1900. Hardcover. Two addresses by Morris about the protection of ancient buildings delivered in 1884 and 1893 (lectures 4 and unnumbered in the series). Bound in blue paper covered boards with dark blue linen spine and black title to front cover. There are several large chips to the cloth covering the spine. The spine is also sunned and frayed; however, the boards remain securely attached. Wear, browning, and rubbing to boards and edges. Previous owner's bookplate on front pastedown and offsetting to endpage. Printed with Morris's Golden Type on fine mouldmade papers. 50 pages. MOR/042513. Very Good.
London: Chiswick Press for Longmans, 1901. Hardcover. One of the Kelmscott Press follow-ons by the Chiswick Press using Morris's Golden Type and the format of the smaller Kelmscott books. Lecture V from 1888 and Lecture VI from 1889. Printed on fine mouldmade papers. Bound in original grey paper covered boards with blue linen spine. Black title to front cover. Sunning to spine, foxing to foredge of textblock, and light wear to edges of boards. Thin octavo. 47 pages. MOR/042413. Very Good.
London: Chiswick Press for Longmans, 1898. Hardcover. This is lecture two of the series, given by Morris at the Burslem Town Hall in 1881. Bound in original light blue paper covered boards with dark blue linen spine and black title to front cover. Chipping to paper on bottom corners, light foxing to boards, and slight sunning to spine. Slight offsetting to endpages, else clean interior. Printed on fine paper. 31 pages. MOR/042413. Very Good.
London: Alexander Moring Ltd, 1904. Hardcover. From the illustrious Waugh family, with the bookplate of Evelyn and Alec's father, Arthur. The name "Alec Waugh, Xmas 1916" is written in pencil on a free front end page, so it is unclear who owned the book when. Bound in red cloth with the title embossed. Spine has title and author in gilt. In very nice condition except for some light fraying to spine ends and barely bumped boards. Interior pages show some browning from age and darker spots on the fore-edge. Tear to top right margin to pages 201-204, pages 201-202 missing the piece torn. Text not affected. 255 pages. MOR/070710. Near Fine.
New York and Bombay: Longmans, Green, and Co., 1897. Hardcover. 8vo. Very good in black cloth covered boards with beige title label to spine. Minor rubbing to boards and minor bumping to corners and spine ends, Minor browning and rubbing to title label. Light foxing to end pages and light browning to edges of pages. Else is clean and bright. 376 pages + ads. MOR/122910. Very Good.
Boston: Roberts Brothers, 1870. Hardcover. First American Edition. Very good minus in green cloth boards with gilt title to spine and front board. Wear and fraying to spine ends, bumped corners, and rubbing to boards. Title page is chipped along edges and a few other pages have chipped corners. The interior is browned along the edges. Includes frontis with tissue guard. 382 pages plus 36 pages Tribute to William Morris plus 4 pages of ads. MOR/101010. Very Good.
Boston: Roberts Brothers, 1870. Hardcover. First Edition. Scarce. This is an American first edition for which there is no English equivalent. Very good in original green cloth boards with gilt title to spine and front board. There is minor wear and fraying to the spine ends and corners. There is a small black marking to the front board, a small chip to the top edge of the front endpage, minor browning to the margins, and a few light spots of foxing to the interior. Ownership signature of the collector De Witt Miller, West Chester Co. New York in pen to rear endpage. 245 -382 pages (this is one of six short stories comprising the third part of "The Earthly Paradise" and the publisher decided not to change the pagination), 36 page "Tributes to William Morris on the Publication of The Earthly Paradise", and 4 pages of ads. MOR/062910. Very Good.
New York: The Grolier Club, 1996. LIMITED EDITION. Hardcover. A beautiful limited edition of 750 copies published to note the centenary of Morris's death. Printed by the Stinehour Press. Bound in rust colored paper covered boards with a Morris design. Cream linen spine with gold title. An enlarged and corrected version, designed and typeset by William Peterson, who also wrote the book's introduction. In addition to The Note with Morris's thoughts on paper, fonts, and book design, there are two sections reprinting Sydney Cockerell's history of the Kelmscott Press and an annotated list of books published by the press. Includes several illustrations. Pristine. 78 pages. MOR/051306. New.
New York: Charles Scribners' Sons, 1896. Hardcover. 8vo. Maroon cloth boards with gilt title to spine. Minor wear to spine ends and edges. Minor browning to edges of interior, though text remains bright. The page edges are untrimmed and there is chipping to the edges of many pages. Tight binding. 169 pages. MOR/021307. Very Good.
New York: n.p., 1927. Hardcover. One of 245 copies privately printed for George A. Nelson as a Christmas keepsake. This George Nelson may be the American socialist who was the 1936 Socialist candidate for Vice-President of the United States, here reprinting a poem by famed British Socialist William Morris. Bound in blue paper boards with a white paper spine and title label affixed to front cover. In near fine condition. Housed in a white cardboard box with blue paper lid. Book measures 5 x 8 inches. Unpaginated [4 pages]. PRI/112918. Near Fine.
London: Longmans, Green, and Co., 1915. Hardcover. Later printing. This is one volume ONLY of a 10 volume set of Morris's Poetical Works. The complete text of the Defence of Guenevere and Other Poems is included within this volume. Very good in black cloth boards with tan paper title label to spine. Chipping and rubbing to title label. Wear to spine ends and edges of boards. Dampstaining and minor rubbing to boards. Occasional foxing to interior, offsetting to endpages, and signature from previous owner dated 1919.248 pages. MOR/101010. Very Good.
London: William Morris Society, 2004. Paperback. Reprinted from the Co-operative Wholesale Societies Ltd England and Scotland Annual for 1890. This edition presents from the first time since 1890 the argument in the more powerful rhetorical tone that Morris felt appropriate for this original middle-class audience. It also contextualises the lecture by providing an appendix by Lional Young on 'The Nineteenth-Century Growth of Co-operatives.' Fine in white paper wrappers with red title to spine and front cover. Includes frontispiece illustration by Hans Holbein and illustration to front cover by Walter Crane. 83 pages. MOR/080415. Fine.
London: Clover Hill Editions at the Rampart Lions Press, 1974. Burne-Jones, Edward. Unbound. Prints (sold individually) of Burne-Jones’s illustrations, which were originally designed to accompany The Story of Cupid and Psyche in a Kelmscott version of Morris’s The Earthly Paradise. The book was never completed. The original woodblocks, carved mostly by William Morris, were left to the Society of Antiquaries after his death. The blocks were “rediscovered” in the 1960s, and in 1974, the Rampant Lions Press published an edition of the work using them. These engravings were printed from those original wood blocks. The book and prints were in a limited edition of 100. A separate cloth box housed 44 loose prints. Paper size: 13 x 9 inches. Image size: 4.25 x 3.25 inches. PRE/100716. Fine.