Hardcover. One of 300 copies. A lovely fine press book designed by Victor Hammer and printed by Jacob Hammer. It is one volume of a beautifully presented text of the four gospels, based on the Tynsdale translation of 1526, which was the first translation of the Bible into English. According to an article by Burton Milward, “Private Press Tradition in Lexington, Kentucky,” published in 1992 in the Kentucky Review, the Anvil Press was part of the resurgence of fine press printing in Lexington, led by Joseph Graves, who was influenced and taught by Victor Hammer. The Anvil Press was unusual in that it was an association comprised of ten members, inspired and guided by Hammer and his wife, Carolyn. Their books were printed on any one of the several presses owned by members of the group, and were sold at cost. Bound in light beige paper boards with a paper spine label with title S. Luke. Covers are slightly soiled and there is darkening to the top edges of boards. Speckling and light foxing to page edges. Offsetting and light foxing to pastedowns and free endpapers. Some splits to few gutters but text block is firm. The interior is otherwise clean and bright. Pages are unopened. The title page is preceded by a pair of woodcuts from the Holkham Bible depicting Saint Luke and his symbolic representation of a Bull. Very good condition. Measures 5 x 6.5 inches. Paginated on recto only: xciii pages. PRI/120922. Very Good.
Refine search resultsSkip to search results
Chelsea: Ashendene Press, 1932. Hardcover. One of 328 copies on paper. There were also 25 copies printed on vellum. This magnificent book was one of the last issued by the Ashendene Press. The Ashendene Press was founded by St John Hornby (1867–1946). It operated from 1895 to 1915 in Chelsea, London and was revived after the war in 1920. The press closed in 1935. Its peers included the Kelmscott Press and the Doves Press. Hornby became friends with William Morris and Emery Walker, who helped inspire his work. These three presses were part of a "revival of fine printing" that focused on treating bookmaking as fine art. Ashendene books were carefully printed with large margins, and despite their lack of extravagant decoration, they were considered spectacular works of art. [Wikipedia] In the bibliography of the Press, its founder, St John Hornby stated that "in my humble judgment it is one of the most satisfactory of the books of the Press." In his history of the Ashendene Press, Colin Franklin writes on page 187: "qualities which separately had triumphed in many Ashendene volume were assembled as before the final curtain of an opera. Short chapters and sections showed the poetic setting of Subiaco which best suited that type....Red headings and shoulder notes, frequent and varied intervals assist the reading of a miraculous text." Bound in bright orange vellum with four silk ties and gilt titling to spine. Slightest tiny wear to corners with original white vellum showing, otherwise fine. Printed on Batchelor paper in red and black with beautiful hand drawn initials in green and blue done by Graily Hewitt and his assistants Ida D. Henstock and Helen E. Hinkley. The colophon credits them along with H. Gage-Cole, the pressman, and the compositor A.J. Fisk. Top edge is trimmed with the other edges uncut. Missing the original slipcase and nicely housed in a custom brown cloth box with gilt title to spine. A wonderful copy in fine to near fine condition. Measures 7.5 x 11.5 inches. 182 pages. PRI/011823. Fine.
Chelsea: Ashendene Press, 1921. Hardcover. One of 236 copies on paper. There were 10 copies on vellum. This exquisite small volume from the Ashendene Press reprints the text of the original manuscript of the Life of St. Clare, written by Verino in the late 15th century and purchased by St. John Hornby, founder of the Ashendene Press in 1918. The Florentine humanist and poet Ugolino Verino was commissioned in by the sisters of the Convento di Santa Chiara Novella in Florence to write this “Life of St. Clare” in Italian. Although a biography of St. Clare of Assisi (1194–1253) had been available in Latin since the thirteenth century, this Italian version allowed members of the Order to read in the vernacular about their founder’s saintly poverty. Charles Harry St. John Hornby writes in his Ashendene Bibliography: "The original manuscript of this Life of Saint Clare, which is here printed for the first time, was purchased by me at the sale of Lord Vernon’s library at Sotheby’s in 1918. It was written at Florence on 39 leaves of vellum in a beautiful late XVth Century hand. At the sale the MS. attracted the attention of the distinguished Franciscan scholar Walter Seton, of University College, London, who asked permission to study it, as it was apparently a hitherto unknown version of the Life of St. Clare. The results of his study are summarized in the Introduction and Notes which are printed before and after the text of the MS. in this volume.". Seton's Introduction tells the history of the manuscript in Hornby's collection and also documents the life of St. Clare and the influence of Saint Francis of Assisi on her religious conversion and lifelong vow of poverty. A facsimile of the beautiful first four pages of the original manuscript is inserted after the introduction. Bound in limp vellum with gilt titling to spine and original green silk ties. Vellum has somewhat darkened but is otherwise fine. Printed in Subiaco type on hand-made paper. The rubricated portions of the manuscript are printed in red and the initials are printed in blue. Text pages are clean and bright with the slightest darkening to page edges. Small quarto measuring 6 x 8 inches. Housed in a custom green cloth slipcase. Near fine. i-xvi, 96 pages. PRI/112222. Near Fine.
Munich: Bremer Presse, 1926-1929. Hardcover. 365 copies. This is a magnificent production from the famed Bremer Presse of Germany - probably their masterpiece. They published books from 1911 to 1939, interrupted only by World War I. It was founded by Willy Wiegand, and like England's Doves Press, rejected ornament except for splendid initials draw by Anna Simons and relied upon carefully chosen types and painstaking presswork to produce its limited edition hand printed books. The colophon states that this edition was printed to commemorate the 400 year anniversary of the publication of Martin Luther's German bible. The text was based on the editions published in 1545 and 1546. The Bible (German: Lutherbibel) was the first German language Bible translation from Latin sources. The New Testament was first published in September 1522, and the complete Bible, containing the Old and New Testaments with Apocrypha, in 1534. Luther continued to make improvements to the text until 1545. The five volumes are: Die Bucher Mose; Teil des Alten Testaments; Teil des Alten Testaments; Die Propheten; Das Neue Testament. Each volume has a different copy number. They are bound uniformly in blue paper boards with linen spines with the title written in calligraphy. The volumes are housed in gray paper board slipcases. In near fine condition in very good slipcases. Measures 10 x 14 inches. Unpaginated [each volume about 250-300 pages] PRI/011623. Near Fine.
London: The Cresset Press, 1929. Hardcover. Number 347 of 450 copies printed on mould-made paper. An additional 30 copies numbered I-XXX were printed on handmade paper. This sumptuous edition of the biblical apocrypha as they appeared in the King James Bible has fourteen wood engraved illustrations, one for each book, each commissioned by a noted contemporary artist of the time. They are Blair Hughes Stanton, Gertrude Hermes, Leon Underwood, Stephen Gooden, Rene Ben Sussan, M.E. Groom, Eric Jones, Wladislaw Skoczylas, Hester Sainbury, Frank Medworth, Eric Ravilious, John Nash, and D. Galanis. The Cresset Press was a publishing company in London, England, active as an independent press from 1927 for 40 years, and initially specializing in "expensively illustrated limited editions of classical works, like Milton's Paradise Lost" but later going on to produce well-designed trade editions of literary and political works. Among the leading illustrators commissioned by Cresset were Blair Hughes-Stanton and Gertrude Hermes — The Pilgrim's Progress (1928), The Apocrypha (1929), and D. H. Lawrence's Birds, Beasts and Flowers (1930). [Wikipedia] Bound in full cream vellum over thick boards with a leather title label to spine. Spine label is rubbed and slightly nicked. The binding is tight and unbowed. The text pages are bright and fresh. The superb full page wood engravings are sharp and vivid impressions. The book was beautifully printed at the Curwen Press. Housed in a black slipcase. In fine condition in near fine slipcase. Measures 8.5 x 13 inches. 406 pages. PRI/121422. Fine.
Bryn Mawr: Kurios Press, 1974. Hardcover. "Here is a book that is destined to lead millions to feeling the joyful omnipresene of the Lord in their own lives" (jacket). First printing, Number 5 of 100 copies. Signed and inscribed by the author with love and best wishes. This book was conceived of in the author's hospital room after suffering and recovering from back surgery. Yellow cloth boards with blue title to spine and front cover. A few spots of foxing to covers. In yellow illustrated dust jacket with blue title to spine and front cover. Light foxing to jacket and endpapers, else clean and bright. Includes many photographic images, mostly in black and white with a few in full color. Text is Bible verses and religous inspired poetry and thoughts. In yellow paper covered slipcase with minor soiling to top panel and inner edges. REL/030719. Very Good.
London: Essex House Press, 1899. Hardcover. Number 627 of 750 copies. This was the third book published by the Essex House Press. Founded by C.R. Ashbee and Laurence Hodson “in the hope to keep living the tradition of good printing that William Morris had revived, and with the help of T. Binning and J. Tippett, compositors, and S. Mowlem, pressman, who came from the Kelmscott Press to that end” (from the printer’s note). A lovely example of the fine printing of this noted English press. Bound in the original stiff vellum with title printed in black on spine. Vellum has darkened, particularly on the spine, a few slight abrasions to spine, and a bit of bowing to the front board. Light browning to pastedowns. Browning to the gutter of the page preceding the frontispiece and some browning to page edges. Printed in black and with red shoulder notes and colophon in Caslon type on fine handmade paper. Frontispiece illustration by Reginald Savage protected by tissue guard. Interior pages are very clean and bright. With bookplate of Lewis Hotchkiss Brittin, a WWI aviator affixed to front pastedown and ownership signature in ink of Frances Ryder Leonard on front free endpaper. Despite noted condition issues a nice copy in very good condition. 426 pages. PRI/091423. Very Good.
[Raleigh NC]: Jon Kolkin, 2014. Hardcover. Number 37 of 50 copies. Inscribed: "May you experience Inner Harmony as you continue along your life's journey - Jon Kolkin #37/50." Kolkin is a fine arts photographer, Buddhist, and an international speaker on achieving a more enriching and balanced life. This beautiful book has thirty black and white images selected from his photographic series, Inner Harmony. The evocative and mysterious photographs were taken at Buddhist monasteries in China and Bhutan. The text is both in English and traditional Chinese with calligraphy created by Oi Yee Tai. Bound in black Japanese cloth and bound using a traditional Chinese binding technique. In fine condition. 12 x 13 inches. 72 pages. PRI/031215. Fine.
New York: Payson and Clarke Ltd., circa 1930. Hardcover. Printed from the King James version. Letterpress printed in Blado italic type. Arabesque ornaments reproduced from designs credited to Salomon Bernard and printed by Jean de Tournes in 1558 at Lyons. Bound in tan paper covered boards with gilt title to spine and gilt decoration to front board. Heavy wear and rubbing to joints, corners, spine, and edges of boards. Offsetting to endpapers and a few small spots of foxing, else clean. Unpaginated. [20 pages.] PRI/022823. Very Good.
Wellingborough: Charles Skelton at the September Press, 1988. One of 600 copies. This is one of 480 unnumbered copies case bound in buckram by The Fine Bindery Limited. This is a nicely produced facsimile of the Four Gospels from the Golden Cockerel Press, with illustrations by Eric Gill. The publisher writes in his note at the end of the volume: "This book is a reproduction version of The Four Gospels published in 1931. I call it a reproduction version rather than a facsimile because that is what it is, a copy produced by photo-lithography with no attempt to simulate the paper or binding of the original. From the outset, the spirit of the book was what I was aiming at. The original is a marvelous book...and rightly regarded as one of the glories of modern book-making....If a reproduction could demonstrate something of the excitement, simplicity and ingenuity of the original, I would be well pleased." Appearing after the facsimile proper is a six-page account of the making of the original, accompanied by four photographic illustrations. This is followed by a brief article on Gill, written in 1953 for "The Book Collector" by Robert Gibbings, who purchased the Golden Cockerel Press in 1924. Bound in the original black buckram with a tan leather spine label with gilt title. The text pages are bright and immaculate. Housed in the publisher's natural linen slipcase. In fine condition. Measures 9.25 x 13.25 inches. 269 pages + xiv. PRI/121422.