Chaucer, Kelmscott (243 results)

One of 425 copies of a total edition of 438. 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 (425 x 289 mm), printer's original Holand linen-backed blue paper boards, original paper label on the spine lettered in black. iv, 554 pp. An especially fine and handsome copy, the text is pristine, crisp, fresh and bright, the binding in full original state and in excellent condition, the linen on these bindings is typically heavily mellowed but this copy is virtually free of that mellowing, the original blue paper covered boards with just a little rubbing or wear at the corners only, a splendid copy indeed. A VERY FINE AND 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.

Hardcover. Gil, Eric (illustrator). Small Folio, 309 (1) pages. 32 x 20 cm. Limited editions, copy 107 of 225, (six copies on vellum), Compositors: F. Young and A.H. Gibbs, Pressman: A.C. Cooper. Bound by Sangorski & Sutcliffe in same pattern style covers as The Canterbury Tales. Five full-page plates, sixty decorative borders and four tail pieces by Eric Gill. Printed in blue, red and black in Caslon Old Face type on Kelmscott hand-made paper. It is the first and considered the scarcest and the first of the three books produced by Gill and Gibbings at the Golden Cockerel Press, having a relatively small limitation as the Canterbury Tales and The Four Gospels (Edition of 500 copies). CHANTICLEER 50. GILL. 279. CAVE & MANSON. pp. 50 ff. RANSOM, p. 297. Raised bands, spine lettered in gilt, slight wear at corners, interior contents very bright, clean and fresh. Orig. quarter morocco spine and patterned boards. Teg. Very good.

KELMSCOTT BIFOLIUM circa 1893 (i.e. pair of conjugate leaves). Proof sheet of the opening page from the KELMSCOTT CHAUCER. This proof page was typeset in 1893 in a very small number and distributed to William Morris's friends. It contains a variant type setting of the text, eventually rejected by Morris. Bifolium pages approximately 415 x 285 mm, 16¼ x 11¼ inches, [1]-2 and [15]-[16] comprising 2 illustrated pages and 2 text pages, printed in Chaucer type with side-notes in red, 2 wood-engraved illustrations designed by Edward Burne-Jones, wood-engraved borders and one very large initial plus 5 large and 7 smaller initials by William Morris, folio Proof of one of the most famous pages in printing history, with variations in the typesetting from the final version. A shallow crease due to folding the sheets to house in a another Kelmscott book, a little pale foxing, mostly to margins, edges slightly dusty, otherwise very good condition (see attached images). See: William S. Peterson, A Bibliography of The Kelmscott Press, A40, pages 101-115. One of only a few copies printed which were subsequently given to Morris's friends. The first column of text contains 7 lines; in the published version the seventh line appears at the head of the second column and the final line "The chambres and the stables weren wyde" has been moved to the following page. The first illustration depicts Chaucer in a garden holding a book and pen, Morris himself drew the plants in the garden. The second illustration is from 'The Knight's Tale'. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE, FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

FROM A COPY OF AN EDITION OF 425. 425 x 289 mm. (16 3/4 x 11 3/8"). pp. 439-42. Untrimmed, unsewn leaves that were never permanently bound, attractively matted. WITH WOODCUT INITIAL AND BORDERS DESIGNED BY WILLIAM MORRIS, THE WOOD-ENGRAVED ILLUSTRATIONS BY EDWARD BURNE-JONES. â IN VERY FINE CONDITION, with only trivial imperfections. This beautiful publisher's work of art comes from the Kelmscott Chaucer, one of the great achievements in the history of printing. It comes from an incomplete copy that was apparently put to (gentle) use in the Press workshop, and that was purchased at auction having been laid into the publisher's boards but never having been bound (there are stab holes on some leaves, as here, but nothing was ever glued). William Morris had fallen in love with Chaucer's works when he and Burne-Jones were students at Oxford, and with the founding of the Kelmscott Press in 1891, Morris began plans, first announced to the public in 1892, for the Chaucer. Praise for this work--compared as a printing masterpiece to the Gutenberg Bible and Caxton's first printing of Chaucer in 1478--has never stopped coming. "Artist & the Book" says that it is "perhaps the most famous book of the modern private press movement, and the culmination of William Morris' endeavor." Ray says that the book "is not only the most important of the Kelmscott Press' productions; it is also one of the great books of the world." Yeats called the Kelmscott Chaucer "the most beautiful of all printed books." Copies in the regular publisher's boards now sell for upwards of $100,000 (and for much more in special bindings). Being a book commanding treatment as a precious object, the Kelmscott Chaucer is almost never found incomplete, and because taking apart a complete copy would constitute wanton destruction of a major cultural artifact, leaves like this--especially a bifolium (not to mention a continuous bifolium)--are quite uncommon in the marketplace.

Text: 244 x 154 mm. (9 1/8 x 6 1/8"); Case: 502 x 372 mm. (19 3/4 x 14 5/8"). ii, 75 pp. Bound in flexible vellum with ties (inspired by Kelmscott Press bindings) by Amy Borezo, who also constructed the case holding the volume and leaves. The book printed letterpress on Zerkall Book Laid Vellum paper by Arthur Larson at Horton Tank Graphics. Book layout by Jill Mann. EACH COPY WITH FIVE LEAVES: ONE FROM THE KELMSCOTT CHAUCER WITH woodcut borders, woodcut beginning word, and A WOODCUT SCENE DESIGNED BY EDWARD BURNE-JONES, AND ONE EACH FROM THE PRESSES OF FOUR GERMAN PRINTERS FROM THE 1470s--PETER SCHOEFFER, JOHANN MENTELIN, GÜNTHER ZAINER, AND ANTON KOBERGER, the Zainer leaf featuring at least one woodcut initial. â The incunabular leaves consistently excellent, with only minor defects, and the Kelmscott leaves (which were never part of a bound volume) in entirely fine condition. This is a unique leaf book in the way that it combines three elements: a significant private press production involving people at the top of their craft, a scholarly commentary that contributes to a further understanding of the history of printing, and--most important--five leaves: one from the Kelmscott Press "Works" of Geoffrey Chaucer and four from books issued by German printers at work in the 1470s. The book has been printed and bound by hand by gifted professionals; the essay addresses a topic of significance to typophiles in a considerably more thoroughgoing way than has been done before; and the assemblage of leaves represents a powerful visual reinforcement of the text, as well as an opportunity to share in the ownership of four important incunabula, along with the extraordinary Kelmscott Chaucer. The story of the production is heavy on serendipity: in the winter of 2012, after purchasing a very incomplete copy of the Kelmscott Chaucer at auction, we considered the possibility of producing a leaf book, but because the Chaucer--universally considered to be one of the most beautiful books ever printed--had been written about by so many different people in so many different ways, we didn't know what aspect was left for us to explore. The one topic we fastened on as thus far inadequately examined is the origin of the work's typeface. We soon learned that Morris, who is known to have owned more than 500 incunables, most admired--and was, consequently, most likely to have been influenced in his typographic design by--Peter Schoeffer of Mainz, Johann Mentelin of Strassburg, Günther Zainer of Augsburg, and Anton Koberger of Nuremberg. Over the course of the years succeeding the purchase of the defective Chaucer, we were fortunate beyond all expectation to acquire incomplete books from each of these four eminent printers. As a result, the present leaf book will allow the reader not only to read in the accompanying essay about the influence on Morris of his typographic forebears, but also to compare with his or her own eyes the resemblances between the Kelmscott leaf and the leaves from four centuries earlier. ONE OF 47 COPIES (numbered I-XLVII) bound in flexible vellum from a total edition of 165 COPIES.

Text: 244 x 154 mm. (9 1/8 x 6 1/8"); Case: 502 x 372 mm. (19 3/4 x 14 5/8"). ii, 75 pp. Bound in flexible vellum with ties (inspired by Kelmscott Press bindings) by Amy Borezo, who also constructed the case holding the volume and leaves. The book printed letterpress on Zerkall Book Laid Vellum paper by Arthur Larson at Horton Tank Graphics. Book layout by Jill Mann. EACH COPY WITH FIVE LEAVES: ONE FROM THE KELMSCOTT CHAUCER WITH woodcut borders and initials and A WOODCUT SCENE DESIGNED BY EDWARD BURNE-JONES AND ONE EACH FROM THE PRESSES OF FOUR GERMAN PRINTERS FROM THE 1470s--PETER SCHOEFFER, JOHANN MENTELIN, GÜNTHER ZAINER, AND ANTON KOBERGER. â The incunabular leaves consistently excellent, with only minor defects, and the Kelmscott leaves (which were never part of a bound volume) in entirely fine condition. This is a unique leaf book in the way that it combines three elements: a significant private press production involving people at the top of their craft, a scholarly commentary that contributes to a further understanding of the history of printing, and--most important--five leaves: one from the Kelmscott Press "Works" of Geoffrey Chaucer and four from books issued by German printers at work in the 1470s. The book has been printed and bound by hand by gifted professionals; the essay addresses a topic of significance to typophiles in a considerably more thoroughgoing way than has been done before; and the assemblage of leaves represents a powerful visual reinforcement of the text, as well as an opportunity to share in the ownership of four important incunabula, along with the extraordinary Kelmscott Chaucer. The story of the production is heavy on serendipity: in the winter of 2012, after purchasing a very incomplete copy of the Kelmscott Chaucer at auction, we considered the possibility of producing a leaf book, but because the Chaucer--universally considered to be one of the most beautiful books ever printed--had been written about by so many different people in so many different ways, we didn't know what aspect was left for us to explore. The one topic we fastened on as thus far inadequately examined is the origin of the work's typeface. We soon learned that Morris, who is known to have owned more than 500 incunables, most admired--and was, consequently, most likely to have been influenced in his typographic design by--Peter Schoeffer of Mainz, Johann Mentelin of Strassburg, Günther Zainer of Augsburg, and Anton Koberger of Nuremberg. Over the course of the years succeeding the purchase of the defective Chaucer, we were fortunate beyond all expectation to acquire incomplete books from each of these four eminent printers. As a result, the present leaf book will allow the reader not only to read in the accompanying essay about the influence on Morris of his typographic forebears, but also to compare with his or her own eyes the resemblances between the Kelmscott leaf and the leaves from four centuries earlier. We have additional copies of this binding available at different price points. Please contact us directly for more details. ONE OF 47 COPIES (numbered I-XLVII) bound in flexible vellum from a total edition of 165 COPIES.

San Francisco: John Windle Antiquarian Bookseller, 1994. Single leaf contained in a cloth-backed boards portfolio with an inserted 4-page essay printed at the Arion Press. The leaf is loose so it can be removed for framing or display. Portfolio boards a little soiled, leaf with some minor soiling in the outer margins and the red ink has bled lightly as usual. § Copy number 8 from a total edition of 100 copies, of which this is one of 28 copies with a full-page illustrated leaf. This copy has a superb woodcut by Burne-Jones titled: "The Prologe of the Tale of the Manne of Lawe", showing a woman castaway alone in a boat on a raging sea. Windle's essay studies the commercial value of the Kelmscott Chaucer from publication in 1896 up to 1994 and compares auction prices from 1966 to 1994 with the Nuremberg Chronicle, the Hypnerotomachia Poliphili, Shakespeare's first folio, and the King James Bible. The edition sold out on publication and copies rarely appear for sale any more.

No Binding. Condition: Near Fine. 1st Edition. Single Page Proof Of One Of The Most Attractive And Well-Known Page Images, The First Page Of The 1893 Version Of The Kelmscott Chaucer, Which Was Slightly Revised When Published In 1896. Printed On Laid Paper With Lines 1 ½? Apart, No Watermark, And The Sheet Is 12 3/4" Wide, Rough Edges, By 16 5/8" Tall, Straight Cut With Lower Margin Slightly At An Angle; This Is About 1 ½? Wider And 1/4? Shorter, But Otherwise Exactly Like The First Page Of The Bifolium Which Was Distributed To A Few Booksellers Circa 1893. Undamaged, But Two Horizontal Partial Folds, Not Creased, From Storage When Rolled.

Basilisk Press facsimile edition. One of 515 copies, this unnumbered. 1 Volume, folio, 30 x 42.5cm, 554pp. 87 Woodcut illustrations after designs by Edward Burne-Jones and recut for this edition, printed in black and red in Chaucer and Troy types. Original quarter brown calf over tan cloth boards, spine lettered and ruled in blind with 6 compartments. Basilisk Press, London. Very good, spine soiled but boards clean and internally fine. Loose bifolia inserted with pages 545 and 546 printed, the other two pages blank. This copy was presented by Charlene Garry, the founder of the Basilisk Press, to the printer of the edition, Bernard Roberts of the John Roberts Press. Roberts held something of an aversion to the Morris patterned cloth used to bind the regular edition and desired something decidedly more modest; instead, he requested his copy bound in plain brown quarter calf with tan cloth boards, an austere style which owed more to the Kelmscott bindings of cloth and paper than the luxurious pigskin copies of the Chaucer. It was this same copy which the Folio Society used to create their facsimile in 2002.

Hardcover. Condition: Near Fine. First Thus. 44cm x 29cm. iv, 555; 146 pages. Original decorative cloth, slipcase. A magnificently produced facsimile of the Kelmscott Chaucer, one of the world's most beautifully printed books crafted at the Kelmscott Press by William Morris and Edward Burne-Jones. This Basilisk facsimile bound in "Larkspur" William Morris pattern designed cloth and limited to 515 copies. The companion volume by Duncan Robinson providing valuable commentary into its creation. Books in Fine Condition. Slipcase with some discolouration. Shipped Weight: 11.35 kilos.

Text: 244 x 154 mm. (9 1/8 x 6 1/8"); Case: 502 x 372 mm. (19 3/4 x 14 5/8"). ii, 75 pp. Bound in floral-patterned cloth after a Morris design by Amy Borezo, who also constructed the case holding the volume and leaves. The book printed letterpress on Zerkall Book Laid Vellum paper by Arthur Larson at Horton Tank Graphics. Book layout by Jill Mann. EACH COPY WITH FIVE LEAVES: ONE FROM THE KELMSCOTT CHAUCER with one or more 10-line initials, multiple six- and/or three-line initials, AND ONE EACH FROM THE PRESSES OF FOUR GERMAN PRINTERS FROM THE 1470s--PETER SCHOEFFER, JOHANN MENTELIN, GÜNTHER ZAINER, AND ANTON KOBERGER. â The incunabular leaves consistently excellent, with only minor defects, and the Kelmscott leaves (which were never part of a bound volume) in entirely fine condition. This is a unique leaf book in the way that it combines three elements: a significant private press production involving people at the top of their craft, a scholarly commentary that contributes to a further understanding of the history of printing, and--most important--five leaves: one from the Kelmscott Press "Works" of Geoffrey Chaucer and four from books issued by German printers at work in the 1470s. The book has been printed and bound by hand by gifted professionals; the essay addresses a topic of significance to typophiles in a considerably more thoroughgoing way than has been done before; and the assemblage of leaves represents a powerful visual reinforcement of the text, as well as an opportunity to share in the ownership of four important incunabula, along with the extraordinary Kelmscott Chaucer. The story of the production is heavy on serendipity: in the winter of 2012, after purchasing a very incomplete copy of the Kelmscott Chaucer at auction, we considered the possibility of producing a leaf book, but because the Chaucer--universally considered to be one of the most beautiful books ever printed--had been written about by so many different people in so many different ways, we didn't know what aspect was left for us to explore. The one topic we fastened on as thus far inadequately examined is the origin of the work's typeface. We soon learned that Morris, who is known to have owned more than 500 incunables, most admired--and was, consequently, most likely to have been influenced in his typographic design by--Peter Schoeffer of Mainz, Johann Mentelin of Strassburg, Günther Zainer of Augsburg, and Anton Koberger of Nuremberg. Over the course of the years succeeding the purchase of the defective Chaucer, we were fortunate beyond all expectation to acquire incomplete books from each of these four eminent printers. As a result, the present leaf book will allow the reader not only to read in the accompanying essay about the influence on Morris of his typographic forebears, but also to compare with his or her own eyes the resemblances between the Kelmscott leaf and the leaves from four centuries earlier. We have additional copies of this binding available at different price points. Please contact us directly for more details. ONE OF 84 COPIES in floral-patterned cloth from a total edition of 165 COPIES.

Cloth. Condition: Very Good. Limited Edition. [Shakespeare Head Press]. Original Holland-backed blue boards, flat cloth spine with printed paper labels. Eight volumes complete; Number 228 of 375 copies, 350 for sale. Quarto: (7 7/8" x 11 1/2"). Edited by by Alfred W. Polland, with headings and intitials drawn in color by Jocelyn V. Gaskin and with hand-colored woodcuts in the text by Hugh Chesterman, all based on those in the Ellesmere manuscript. Printed in Caslon Old Face type on Batchelor's Kelmscott handmade paper by Bernard Newdigate. The set includes The Canterbury Tales (three volumes), Earlier Minor Poems, Boece de Consolacione Philosophie, Troilus and Criseyde, The House of Fame, The Legende of Good Women, Later Minor Poems, Doubtful Minor Poems, A Treatise on the Astroblabe, abnd the Romaunt of the Rose. The Shakespeare Head Press Chaucer stands with the Kelmscott and Golden Cockerel editions as extraordinary examples of fine press printing. Showing just minimal spine toning and light wear, corners tight, internally clean and bright. Size: Quarto Size: Quarto. Private Press.

Limited edition of 165 copies, this No. 85. With a leaf from the Kelmscott Chaucer and 4 other individual printed leaves. Text: 244 x 154 mm. (9 1/8 x 6 1/8"); Case: 502 x 372 mm. (19 3/4 x 14 5/8"). ii, 75 pp. Bound in linen-backed blue paper boards (inspired by Kelmscott Press bindings) by Amy Borezo, who also constructed the case holding the volume and leaves. The book printed letterpress on Zerkall Book Laid Vellum paper by Arthur Larson at Horton Tank Graphics. Book layout by Jill Mann. Each copy with five leaves: One from the Kelmscott Chaucer with text only or with small initials and one each from the presses of four German printers from the 1470s--Peter Schoeffer Johann Mentelin, Gunter Zainer, and Anton Koberger. The incunabular leaves consistently excellent, with only minor defects, and the Kelmscott leaves (which were never part of a bound volume) in entirely fine condition. The Schoeffer leaf in this set with ink marginalia. Scheduled for early summer publication [2019], this is a unique leaf book in the way that it combines three elements: a significant private press production involving people at the top of their craft, a scholarly commentary that contributes to a further understanding of the history of printing, and--most important--five leaves: one from the Kelmscott Press "Works" of Geoffrey Chaucer and four from books issued by German printers at work in the 1470s. The physical object has been set and bound by hand and printed letterpress, all by gifted professionals; the essay addresses a topic of significance to typophiles in a considerably more thoroughgoing way than has been done before; and the assemblage of leaves represents a powerful visual reinforcement of the text, as well as an opportunity to share in the ownership of four important incunabula, along with the extraordinary Kelmscott Chaucer. The story of the production is heavy on serendipity: in the winter of 2012, after purchasing a very incomplete copy of the Kelmscott Chaucer at auction, we considered the possibility of producing a leaf book, but because the Chaucer--universally considered to be one of the most beautiful books ever printed--had been written about by so many different people in so many different ways, we didn't know what aspect was left for us to explore. The one topic we fastened on as thus far inadequately examined is the origin of the work's typeface. We soon learned that Morris, who is known to have owned more than 500 incunables, most admired--and was, consequently, most likely to have been influenced in his typographic design by--Peter Schoeffer of Mainz, Johann Mentelin of Strassburg, Günther Zainer of Augsburg, and Anton Koberger of Nuremberg. Over the course of the years succeeding the purchase of the defective Chaucer, we were fortunate beyond all expectation to acquire incomplete books from each of these four eminent printers. As a result, the present leaf book will allow the reader not only to read in the accompanying essay about the influence on Morris of his typographic forebears, but also to compare with his or her own eyes the resemblances between the Kelmscott leaf and the leaves from four centuries earlier.

Hardcover. Number 846 of a limited edition of 1010 copies. A facsimile of the Kelmscott Chaucer of 1900, printed for The Folio Society by Cambridge University Press. Size: 11.5"x17", bound in full Nigerian goatskin with extensive gilt decorations, raised bands, and top edge gilt, housed in a blue cloth clamshell box with a booklet "The Kelmscott Chaucer" by William S. Peterson stored in an interior pocket. Two tiny little pale stains to the goatskin on the spine near the front joint, one corner just barely rubbed, else this copy is in fine condition in a fine box with the booklet laid in. Photographs upon request.

Text: 244 x 154 mm. (9 1/8 x 6 1/8"); Case: 502 x 372 mm. (19 3/4 x 14 5/8"). ii, 75 pp. Bound in floral-patterned cloth after a Morris design by Amy Borezo, who also constructed the case holding the volume and leaves. The book printed letterpress on Zerkall Book Laid Vellum paper by Arthur Larson at Horton Tank Graphics. Book layout by Jill Mann. EACH COPY WITH FIVE LEAVES: ONE FROM THE KELMSCOTT CHAUCER with multiple six-line initials AND ONE EACH FROM THE PRESSES OF FOUR GERMAN PRINTERS FROM THE 1470s--PETER SCHOEFFER, JOHANN MENTELIN, GÜNTHER ZAINER, AND ANTON KOBERGER. â The incunabular leaves consistently excellent, with only minor defects, and the Kelmscott leaves (which were never part of a bound volume) in entirely fine condition. This is a unique leaf book in the way that it combines three elements: a significant private press production involving people at the top of their craft, a scholarly commentary that contributes to a further understanding of the history of printing, and--most important--five leaves: one from the Kelmscott Press "Works" of Geoffrey Chaucer and four from books issued by German printers at work in the 1470s. The book has been printed and bound by hand by gifted professionals; the essay addresses a topic of significance to typophiles in a considerably more thoroughgoing way than has been done before; and the assemblage of leaves represents a powerful visual reinforcement of the text, as well as an opportunity to share in the ownership of four important incunabula, along with the extraordinary Kelmscott Chaucer. The story of the production is heavy on serendipity: in the winter of 2012, after purchasing a very incomplete copy of the Kelmscott Chaucer at auction, we considered the possibility of producing a leaf book, but because the Chaucer--universally considered to be one of the most beautiful books ever printed--had been written about by so many different people in so many different ways, we didn't know what aspect was left for us to explore. The one topic we fastened on as thus far inadequately examined is the origin of the work's typeface. We soon learned that Morris, who is known to have owned more than 500 incunables, most admired--and was, consequently, most likely to have been influenced in his typographic design by--Peter Schoeffer of Mainz, Johann Mentelin of Strassburg, Günther Zainer of Augsburg, and Anton Koberger of Nuremberg. Over the course of the years succeeding the purchase of the defective Chaucer, we were fortunate beyond all expectation to acquire incomplete books from each of these four eminent printers. As a result, the present leaf book will allow the reader not only to read in the accompanying essay about the influence on Morris of his typographic forebears, but also to compare with his or her own eyes the resemblances between the Kelmscott leaf and the leaves from four centuries earlier. ONE OF 84 COPIES in floral-patterned cloth from a total edition of 165 COPIES.

154 x 112 mm. (6 x 4 1/2"). xxv, [3], 158 pp., [1] leaf (imprint). Edited and annotated by Walter William Skeat. Charming contemporary tan pigskin, inlaid and gilt in the Arts & Crafts style, covers with delicate inlaid green morocco frame with inlaid cinquefoil flowers of honey brown morocco at corners and at center of vertical sides, this enclosing a central panel with two concentric inlaid four-lobed ornaments of green morocco, these and the outer frame with repeating gilt cinquefoils decorating the morocco, at center a wreath of 10 inlaid brown cinquefoils, the flowers connected by garlands of gilt dots, beads, and leaves, similar garlands draping from the flowers at corners and sides of outer frame, raised bands, spine compartments framed by gilt dots and circlets, with gilt cinquefoils at corners, two panels with gilt lettering, turns-ins framed by four gilt rules punctuated with gilt flowers, all edges gilt. Woodcut strapwork crest of The King's Classics on half title, engraved frontispiece of Griselda from "The Clerk's Tale." Binder's blank at front with ink presentation inscription dated January 1921. â Spine and edges of boards slightly darkened, otherwise fine, with few signs of use. This is a volume inspired by the Arts & Crafts Movement, both inside and out. The De La More Press was founded by Alexander Moring in 1895, and, while not in the first rank with Ashendene, Kelmscott, and Doves, it nevertheless produced books of very respectable quality. The text here was published as part of the De La More King's Classics Series, which included a seven-volume edition of Chaucer done into modern English by Walter William Skeat (1835-1912), a leading expert on Early English and a prolific editor. Professor Skeat has given us five of Chaucer's tales--the "Prioress's Tale," the "Pardoner's Tale," the "Clerk's Tale" of Patient Griselda, the "Nun's Tale," and the "Tale of the Canon's Yeoman"--done into modern English iambic hexameter rhymed couplets that are purposefully archaic but very readable. According to DNB, "All Skeat's vast output is distinguished by accuracy in matter of fact, wide learning, and humanity, and most of it he produced without prospect of reward, out of devotion to his subject." Of greater interest here--because it is both unique and an interesting expression of the period--is the animated binding. Its innovative and ambitious design as well as its skillful execution reflect the work of a talented amateur, perhaps a student at one of the schools of Arts & Crafts that arose from the movement. It is not Sangorski & Sutcliffe, but it has very considerable charm.

Illustr, 17 x 12, full gilt decorated Nigerian goatskin; teg, 553 pp, hinges a little loose, small scuff near top of spine else a wonderful, clean, fresh, beautiful facsimile of Geoffrey Chaucer's Works published in Hammersmith at the Kelmscott Press by William Morris in 1896. Housed in a pristine blue cloth clamshell (or solander) box, with a booklet "The Kelmscott Chaucer" by William S. Peterson. All around sumptuous production. LIMITED TO 1010 NUMBERED COPIES (this copy #832).

Full-Leather. Condition: Like New. William Morris (illustrator). This book in like new and unread condition, clamshell case got very light marks/ scuffes. This facsimile edition was limited to 1,010 copies of which 1,000 were produced for sale. This elephant folio is a faithful reproduction of William Morris' Kelmscott Chaucer with the famous eighty-seven wood-engraved illustrations by Edward Burne-Jones. The paper has been specially made in Cumbria and the binding design has been redrawn by David Eccles. Text in red and black throughout, with numerous fine illustrations and borders in the text; Bound in cream Nigerian goatskin to a decorative gilt binding design from a copy bound by T. J. Cobden-Sanderson at the Doves Bindery in 1900, elaborately blocked with a design by William Morris. Gilded top edge, ribbon silk marker. Handmade laid endpapers from the Fabriani Mill, Italy. Measured by 12" x 17". Presented in a cloth clamshell box with leather title label to spine. SHIPPING CHARGES: Domestic USA shipping is as quoted (almost free); International shipping requires extra (anywhere from $200-$250).

2 vols, large folio and 8vo., First Edition thus, on laid paper, Main volume with text in red and black, fine illustrations and borders throughout; full ivory morocco BY SMITH SETTLE richly tooled and lettered in gilt, back with raised bands, second compartment lettered in gilt, all other compartments tooled in gilt, gilt top, blue laid endpapers, ribbon markers; Essay volume in printed wrappers sewed as issued, the whole housed in publisher's dark blue board clamshell case, the case minutely bruised at yapped corners else a fine copy. EDITION LIMITED TO 1010 COPIES (1000 FOR SALE); THIS COPY NO 742. Superb facsimile of the Arts & Crafts classic; one of the most beautiful books produced in England. Peterson's essay is reprinted from 'The Kelmscott Press' (1991).

Text: 244 x 154 mm. (9 1/8 x 6 1/8"); Case: 502 x 372 mm. (19 3/4 x 14 5/8"). ii, 75 pp. Bound in linen-backed blue paper boards (inspired by Kelmscott Press bindings) by Amy Borezo, who also constructed the case holding the volume and leaves. The book printed letterpress on Zerkall Book Laid Vellum paper by Arthur Larson at Horton Tank Graphics. Book layout by Jill Mann. EACH COPY WITH FIVE LEAVES: ONE FROM THE KELMSCOTT CHAUCER with text only AND ONE EACH FROM THE PRESSES OF FOUR GERMAN PRINTERS FROM THE 1470s--PETER SCHOEFFER, JOHANN MENTELIN, GÜNTHER ZAINER, AND ANTON KOBERGER. â The incunabular leaves consistently excellent, with only minor defects, and the Kelmscott leaves (which were never part of a bound volume) in entirely fine condition. This is a unique leaf book in the way that it combines three elements: a significant private press production involving people at the top of their craft, a scholarly commentary that contributes to a further understanding of the history of printing, and--most important--five leaves: one from the Kelmscott Press "Works" of Geoffrey Chaucer and four from books issued by German printers at work in the 1470s. The book has been printed and bound by hand by gifted professionals; the essay addresses a topic of significance to typophiles in a considerably more thoroughgoing way than has been done before; and the assemblage of leaves represents a powerful visual reinforcement of the text, as well as an opportunity to share in the ownership of four important incunabula, along with the extraordinary Kelmscott Chaucer. The story of the production is heavy on serendipity: in the winter of 2012, after purchasing a very incomplete copy of the Kelmscott Chaucer at auction, we considered the possibility of producing a leaf book, but because the Chaucer--universally considered to be one of the most beautiful books ever printed--had been written about by so many different people in so many different ways, we didn't know what aspect was left for us to explore. The one topic we fastened on as thus far inadequately examined is the origin of the work's typeface. We soon learned that Morris, who is known to have owned more than 500 incunables, most admired--and was, consequently, most likely to have been influenced in his typographic design by--Peter Schoeffer of Mainz, Johann Mentelin of Strassburg, Günther Zainer of Augsburg, and Anton Koberger of Nuremberg. Over the course of the years succeeding the purchase of the defective Chaucer, we were fortunate beyond all expectation to acquire incomplete books from each of these four eminent printers. As a result, the present leaf book will allow the reader not only to read in the accompanying essay about the influence on Morris of his typographic forebears, but also to compare with his or her own eyes the resemblances between the Kelmscott leaf and the leaves from four centuries earlier. We have additional copies of this binding available at different price points. Please contact us directly for more details. ONE OF 32 COPIES in linen-backed blue paper boards from a total edition of 165 COPIES.

Hardcover. Condition: Near fine. Chesterman, Hugh; Gaskin, Joscelyn V.; Lamb, Lynton H. (illustrator). Limited Edition. One of 375 copies, eight volumes (complete), quarto size, 1886 total pp. This eight-volume set comprises much of Geoffrey Chaucer's (ca. 1343-1400) significant work, including "The Canterbury Tales", "Boecii de Consolacione Philosophie", "The Romaunt of the Rose", "Troilus and Criseyde", as well as a myriad of his minor poems. The text used was that "prepared under the editorship of Dr. A.W. Pollard for the Globe edition since revised by him". Alfred William Pollard (1859-1944) was a widely known scholar, who, in addition to Chaucer, edited Malory's "Le Morte d'Arthur" amongst many other works. The Shakespeare Head Press brings the full force of its talents to the design of these books, with titles, initials and paragraph marks in blue and red, drawn by Joscelyn V. Gaskin, in each volume. Volumes I, II, III and the beginning of Volume IV (all of the Tales of Canterbury) are also graced with hand-coloured, full-colour marginal drawings reproduced by Hugh Chesterman from the fourteenth-century Ellesmere manuscript of Chaucer's "Canterbury Tales"; Volume V, "Boece" contains chapter headpieces drawn by Lynton H. Lamb from woodcuts in a copy printed in Lyons ca. 1508-1525, and several other volumes contained absolutely stunning colour illustrations. This set fresh and clean, several volumes with many signatures remaining unopened - a gorgeous presentation from an important British press. ___DESCRIPTION: Quarter natural linen spine with blue paper boards, white paper spine label with red and black lettering, fore- and bottom edges uncut, title pages in red and black, initial capitals by Joscelyn V. Gaskin in red and blue throughout all volumes; spare spine labels tipped into all volumes at the rear; Caslon Old Face type, Batchelor's Kelmscott handmade paper, quarto size (11.5" by 7.75"), pagination: Volume I: [i-vi] 1-224; Volume II: [i-vi] 1-212 [213]; Volume III: [i-vi] 1-200 [201]; Volume IV: [i-vi] 1-216 [217]; Volume V: [i-vi] 1-177; Volume VI: [i-vi] [1] 2-300 [301]; Volume VII: [i-viii] 1-250; Volume VIII: [i-vi] 1-252 [253], no. 8 of 375 copies (total edition 386). ___CONDITION: Near fine, the bindings strong with square text blocks, solid hinges, the interiors clean and bright and entirely free of foxing, several of the volumes with many signatures unopened; the paper covering the boards slightly dusty with a few very minor, stray marks, the corners lightly bumped and beginning to rub, the uncut edges of the text block dusty, a few guttars just beginning to crack (but the text blocks still firmly bound), the sole prior owner markings we see are on the front pastedown of the first volume with some pencilled notations (prior bookseller notes) and the former owner's last name written discretely at the guttar margin of the front pastedown at the top, in blue ink. Overall a lovely set. ___CITATION: Ransom p. 16. ___POSTAGE: Please note that this is an extremely large and heavy set, and therefore additional postage will apply. We are happy to ship at cost to both domestic and international customers; please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help.

Leather. Condition: Fine. Dust Jacket Condition: No Dust Jacket. Limited Edition. A Fine copy in full decorated Nubian gooatskin leather of this fasimile edition of the Kelmscott Chaucer, in a Very Good slipcase showing rubbing to the blue cloth. Number 841 of 1000 copies printed. The booklet essay "The Kelmscott Chaucer" by William S. Peterson, and the publication announcement and order confirmation material are laid in. Book.

Full-Leather. Condition: Like New. William Morris (illustrator). An exclusive leather-bound Deluxe Limited Edition. This Edition is strictly limited to a quantity of 425 copies. The legendary William Morris designed 1896 edition of The Canturbury Tales and other Chaucer masterpieces. This exclusive Easton Press Deluxe re-creation features: 1. The complete works of the first great author of the English language, including the immortal Canterbury Tales. 2. All 87 woodcuts by renowned Victorian-era artist, Sir Edward Burne-Jones. 3. The borders, decorations, and initials drawn by William Morris himself. 4. The unique typeface created by Morris specifically for this masterpiece. 5. A magnificent Morris-designed cover, debossed just like the original. 6. A golden-edged satin-ribbon page marker. 7. Archival-quality paper made to replicate the original edition. 8. A clamshell case, covered in luxurious fabric, specially designed for this edition. 9. numbered with a matching certificate of authenticity. Measured by 11 1/2" x 17", 576pp.

Hardcover. Condition: Fine. Limited Edition, Numbered. Folio Society's facsimile of William Morris's work, The Kelmscott Chaucer. Edited by F.S. Ellis. 1,010 copies were printed, of which 1,000 were for sale. This is copy number 91. Accompanied by William S. Peterson's essay, 'The Kelmscott Chaucer', which is bound in blue-green paper wrappers and inserted in a pocket inside the solander box which holds the facsimile. Letter and leaflet from publisher as well as a separately printed sample page from the text laid in box. Bound in full cream goatskin leather with a hubbed spine. Binding blocked in gold with a design by T.J. Cobden-Sanderson that has been carefully redrawn by David Eccles. Gilt top edge and deckled page edges. Handmade blue endpapers printed with a watermark. Wood-engraved illustrations, borders, and initials after designs by Edward Burne-Jones and William Morris. Text printed in two colors on specially commissioned cream laid paper. Two ribbon markers. 568 pp. Presented in a dark blue solander box with a cream leather spine label bearing the title. Due to the size and/or weight of this book, additional shipping may be needed. Full refund if not satisfied.

Hardcover. Condition: Fine. Hardcover. Number 84 of 425 copies . This is the deluxe limited edition replica of the 1896 William Morris edition, issued in 425 copies. This is a magnificent production from the Easton Press and a fitting tribute to the original masterpiece from the Kelmscott Press. From the prospectus: "This special oversized, heirloom edition includes all of the illustrations originally provided by Sir Edward Burne-Jones (there were 87 illustrations) and it features the borders, decorations, and initials as drawn by William Morris. The typeface and de-bossed cover design expertly replicate in fine detail those created specifically for this masterpiece. Beautiful marbled endsheets and gilded page ends are lavish enhancements that also provide incomparable durability." Bound in specially crafted white leather imported from Italy. The cover design, done in gilt replicates the beautiful binding done by the Doves Bindery in 1900 for about fifty copies in white pigskin, the covers tooled in gilt with a border enclosing a design of gouge-work stems, convolvulus flowers, and heart-shaped leaves; spine with six bands and offset head caps, tooled in gilt; plain endleaves. All edges gilt. Marbled endpapers by Peggy Skycraft of Skycraft Designs. Printed on Mohawk Ultrafelt warm white paper specially milled for this edition by Mohawk Fine Papers. Accompanied by a four page prospectus that discusses the history of Chaucer's Canterbury Tales, followed by a short history of the Kelmscott Press. Also inserted is an Easton Press bookplate. Housed in a green cloth covered clamshell box. In fine condition. Measures 11.5 x 16.5 inches. 554 pages. PRI/012624.

Cream leather elaborately gilt in facsimile of original Kelmscott issue. Fine in fine publisher's clamshell case with a few minor, light scuffs. Deluxe limited facsimile of the 1896 Kelmscott Chaucer, number 262 of 425 copies.

Full Leather. Condition: Fine. Facsimile. 42.5 x 30 cm. Folio. 554pp. Bound into full white Nigerian goatskin leather, gilt lettering and design. 6 raised bands to spine, ribbons. TEG. Facsimile of the 1896 Kelmscott Press edition, designed by William Morris, limited to 1010 copies of which this is copy 831. Printed on handmade laid endpapers from the Fabriano Mills, Italy. Housed in blue clamshell box. Includes the staplebound pamphlet, a 15 page essay titled "The Kelmscott Chaucer" by William S. Peterson. Beautiful edition and condition. Heavy book, international shipping will require substantial additional shipping charges.

Condition: Very Good. Dust Jacket Condition: No Dj. Folio pp. ii ii + 552 8. No. 216 of an edition of 1000 copies. ii, 554 pp. Bound in cream Nigerian goatskin to a decorative gilt binding design from a copy bound by T. J. Cobden-Sanderson at the Doves Bindery in 1900. In a cloth clamshell box with leather title label to spine. Includes an?. book.

Full Morocco. Condition: Near Fine. Edward Burne-Jones (illustrator). Facsimile. Facsimile edition. Copy No. 796 of an edition of 1000 copies. ii, 554 pp. Bound in cream Nigerian goatskin to a decorative gilt binding design from a copy bound by T. J. Cobden-Sanderson at the Doves Bindery in 1900. Reproducing the famous engraving by Edward Burne-JonesIn a cloth clamshell box with leather title label to spine. Includes an essay by William S. Peterson reprinted to accompany the edition. A handsome copy of arguably one of the most beautiful books produced in England. The book is in fine condition, but sadly the solander box has a mark where some wax has sat on the blue paper. This does not effect the book at all. Folio Limited Edition.

Hardcover. Condition: Very Good. Hardback, full Nigerian goatskin, with elaborate gilt decoration. 41 x 29cm. ii, 554pp. Number 131 of an edition 1000 copies printed for The Folio Society by Cambridge University Press. Some denting to the corners of the box, thankfully the book remains undamaged. The finest facsimile of the Kelmscott Chaucer. A very heavy volume, substantial additional postage charges likely for delivery outside the UK.