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1929réf. 000681One of the most famous books published by Golden Cockerel Press. Description: 4 vols. Original quarter niger morocco over patterned papered boards spines with raised bands lettered in gilt bound by Sangorski and Sutcliffe. Quarto: 32 × 20 cm; pp.: vol.i: 4 150 2; vol.ii 4 188 2 vol.iii 4 196 2 vol.iv 2 218 4. With 1 full-page 29 half-page and 269 decorated borders tail-pieces line-fillings and 61 initials engraved on wood by Eric Gill. Printed from 18 pt. Caslon Old Face printed on Batchelor hand-made paper nos. 16–500 in black red and blue. Top edge gilt others trimmed. No. 80 of a limited edition of 485 copies printed on Batchelor handmade paper from a total edition of 500 copies. Ref.: Cave/Manson 63; Chanticleer 63; Gill 281 Condition: Binding somewhat bumped and bruised at corners spine occasionally stained. Fore-edges slightly dusty. Content clean and free of marks. Notes: Eric Gill's woodcuts for The Canterbury Tales demonstrate his keen understanding of the relationship between illustration and typography. Drawing on his experience as a type designer and his knowledge of medieval illuminated manuscript aesthetics Gill combines images ornaments and text to create a cohesive visual design. Elaborately executed initials and accompanying scenes introduce the individual tales. The borders composed of intertwining leaves and branches feature figures of men women kings priests and nuns. These figures often allude to the narrative and their gestures and postures range from solemn seriousness to playful irreverence and even erotic allusions. Gill's idiosyncratic depiction of the human body -- often elongated or deliberately distorted -- enables the figures to blend into the surrounding foliage. The woodcuts derive much of their character from the interplay of medieval ornamentation and modernist stylization. Gill's interpretation of Chaucer's bawdy humor is particularly evident in his unabashedly sensual depictions. These caused a stir in their time yet they remain closely linked to their literary source. The woodcuts derive their expressiveness from the harmonious combination of technical precision and artistic expression. Therefore it is fair to say that Gill's woodcuts are an outstanding contribution to Twentieth-century book illustration that has lost none of its impact to this day. Golden Cockerel Press hardcover
1929réf. 8747Number 381 of 485 copies on paper there were also 15 on vellum. Along with Troilus and Criseyde and The Four Gospels The Canterbury Tales is one of the high points of the Golden Cockerel Press. It perhaps stands above above all in Gill's masterful designs forming as Colin Franklin pointed out an integral part of the book's success — 'not quite illustration but far transcending decoration'. 'The balance of text and illustration goes further than typography . Most of the borders are leaf and stem but among the leaves hiding or beckoning climbing or leaning out are girls and men kings and boys priests and nuns who take part or seem to be commenting on the stories. A young man is whistling across the page two fingers at his mouth to a girl; Chaucer himself waves to a little god of love facing across his own poem; a sad lover looks over to Christ crucifies; Pan blows pipes and a naked girl hearing him prepares to climb her tree; a nineteen-twentyish girl climbs up and a sad young bearded man looking like Robert Gibbings sits supporting the whole tree's weight opposite; Chaucer is writing with confidence under the leaves taking it down by dictation from the naughty spirit looking down and over the lines. So the pattern continues affectionate and cheeky erotic enjoyable and relevant decorative and explanatory a balance of taste and eye' Franklin. 4 volumes small folio 310 × 190 mm pp. 4 150 2; 4 188 2; 4 196 2; 4 218 4. Woodcut ornaments by Eric Gill including four full-page illustrations printed in Caslon with black red and blue ink on Kelmscott hand-made paper. Original quarter goatskin by Sangorski and Sutcliffe spine lettered in gilt patterned paper boards top edge gilt others uncut. Spines slightly faded and rubbed corners very slightly bumped. Bookplate of W. and P. J. Kupfer. Golden Cockerel Press,
1926réf. 8746Number 183 of 225 copies. Troilus and Criseyde is the first of the three outstanding Golden Golden Cockerel Press editions produced by Robert Gibbings and Eric Gill the others being The Canterbury Tales and the The Four Gospels. The Middle English text was edited by Arundell del Re the compositors were F. Young and A.H. Gibbsand the pressman A.C Cooper. Gill's woodcuts include portraits of Chaucer: one depicting him with Cupid whispering in his ear the other shows him writing Troilus. There are four full page illustrations one at the beginning of each book while every page has a tall border facing each other across each opening. In these Gill successfully re-imagined the borders of medieval manuscripts in which the images do more than simply decorate the margins but work in interplay with the text — marking illustrating and commenting with varying degrees of transparency subtlety eroticism and humour. 'They rank very high in the range of Gill's work' Franklin p. 142. Small folio 310 × 180 mm pp. xi 1 309 5. Woodcut ornaments by Eric Gill including four full-page illustrations printed in Caslon with black red and blue ink on Kelmscott hand-made paper. Original quarter goatskin by Sangorski and Sutcliffe spine lettered in gilt patterned paper boards top edge gilt others uncut. Spine very slightly faded and rubbed corners very slightly bumped. Bookplate of W. and P. J. Kupfer. Golden Cockerel Press,
1927réf. 128770Golden Cockerel Press 1927. Leather. Very Good. 1927 Golden Cockerel Press quarter leather over patterned boards. Engravings by Eric Gill. Tight binding no marks with former owner's book plate to front paste down. #125 of 225 limitation. oversized and overweight. Please email for photos. Golden Cockerel Press hardcover
1927réf. 172358Waltham Saint Lawrence: The Golden Cockerel Press 1927. Edited by Arundel del Re with wood engravings by Eric Gill. Pp. xii3104colophon and blanks printed in red blue & black pictorial title page plus 5 full page illustrations numerous decorative borders and 4 tailpieces by Eric Gill; small f'cap. folio; qr. red/brown niger morocco spine lettered in gilt with five raised bands patterned papered boards the spine faintly faded; t.e.g. others uncut; The Golden Cockerel Press Waltham Saint Lawrence 1927. Edition limited to 225 numbered copies. Chanticleer 50. The first of three books produced by Robert Gibbings and Eric Gill at the Golden Cockerel Press; considered the scarcest of these due to the relatively small limitation. The Golden Cockerel Press unknown
1928réf. 176203Waltham St Lawrence: Golden Cockerel Press 1928-31. Beautiful Books Limited edition number 135 of 485 copies on handmade paper; a further 15 copies were issued on vellum. The Canterbury Tales was one of the "most important Golden Cockerel editions for which Eric Gill provided the engravings" and showcases his "originality and verve" ODNB. This work was seen as one of the finest books to be produced by the press exhibiting the ideals of the private press movement as if the "author artist and printer have shared one concept and expressed it" Franklin. An announcement of the edition within The Times Literary Supplement on 2 February 1928 noted a publication price of 25 Guineas. It also stated that the vellum copies at 120 Guineas had already been fully subscribed. The publication of the work was a major literary event and was widely covered in the press throughout the four-year publication period. A review within The Times Literary Supplement described the set as "a fine one" and noted that "each page is ornamented at the side with a conventional tree at the top or bottom of which there are usually figures. These figures seems alternately to express an almost frivolous gaiety and a harsh ascetism. Gill portrays these attributes and characteristics of the Middle Ages as if they came down to us from a great distance as pale now romantic shadows of what was once violent and robust. With this mood is at times combined a strain of Post-Impressionism a modern flavour". The review concluded comparing the Golden Cockerel edition to the Kelmscott Chaucer noting that Pre-Raphaelitism was "adaptable to new circumstances". The partners of the Golden Cockerel Press Christopher Sandford Owen Rutter and Anthony Sandford described the set in their bibliography of the press as simply "beautiful books". 4 vols tall octavo. Initials printed in red blue and black. With full-page illustration 29 half-page illustrations decorated borders tailpieces and line fillers all by Gill. Bound for the publishers by Sangorski & Sutcliffe in brown quarter niger spines lettered in gilt patterned paper boards top edge gilt others untrimmed. Some wear to extremities slight colour variance to morocco minor cracking to front joint of vol. 1 minor browning to endpapers as usual: a very good set. Chanticleer 63; Franklin 307; Gill 281. The Times Literary Supplement 2 Feb. 1928 p. 79 & 18 April 1929 p. 310. hardcover
1995réf. 2110502150900730Yushodoshoten 1995. Soft Cover. Fine. Number of books: 2 Yushodoshoten paperback
1927réf. 180559Waltham St Lawrence: Golden Cockerel Press 1927. A crown jewel of the press First Golden Cockerel Press edition number 129 of 219 copies printed on Kelmscott handmade paper retaining the seldom-seen original slipcase. Loosely inserted is the equally elusive publisher's prospectus for autumn 1926 describing this edition as "a larger and more elaborate volume than has hitherto been attempted." Troilus and Criseyde was one of the first books that Eric Gill illustrated for the Golden Cockerel Press having joined as chief engraver in 1924. Together with The Song of Songs 1925 Canterbury Tales 1925 and The Four Gospels 1931 it is one of "the classic examples of specialist book production of that period. For a while the Golden Cockerel was Eric Gill" MacCarthy p. 187. Gill's artworks "captured the whimsical interplay between words and images displayed in medieval illuminated manuscripts. In Troilus and Cryseide Gill mixed full page illustrations with a combination of black and white lines and a rich assortment of shapes that presented a sense of motion. He created serpentine flora with simple figures to cushion the distinctive text. These border decorations reflect the narrative stanzas in an unassuming manner" Berona p. v. There were also six copies on vellum. Small folio. Woodcut title page 5 full-page woodcut illustrations ornamental borders throughout by Eric Gill. Text printed in black red and blue in Caslon O. F. type. Original quarter niger by Sangorski & Sutcliffe spine with raised bands second compartment lettered in gilt floral patterned paper-covered sides top edge gilt others untrimmed. Housed in the publisher's card slipcase. Publisher's prospectus loosely inserted. Hint of wear to corners otherwise a fine copy in the slipcase a little worn and with short split to one edge. Chanticleer 50; Gill 279. For the prospectus see Cock-A-Hoop P50. David A. Berona Eric Gill's Masterpieces of Wood Engraving: Over 250 Illustrations 213; Fiona MacCarthy Eric Gill 1989. hardcover
1561réf. 2210201London: John Kyngston for John Wight 1561. Fifth. hardcover. Very good. First issue of the 1561 Stowe edition. Very good in contemporary covers and recent leather spine with gold lettering. Probable first issue of the Stowe Edition with Chaucer's arms dated 1560 and before woodcut additions. As for the differences between the Stowe issues David R. Carlson "The Woodcut Illustrations in Early Printed Editions of Chaucer's Canterbury Tales" in Chaucer Illustrated: Five Hundred Years of The Canterbury Tales in Pictures British Library 2003 states "the most plausible explanation seems to be that the printer and publisher of the Stowe edition came into possession of the woodcuts belatedly after most of the press work for the edition had been done. After obtaining the blocks they ran up a new issue of the beginning of the book incorporating a "General Prologue" illustrated with woodcut. In all documented cases the unillustrated i.e. first"General Prologue" occurs with a title page showing the Chaucer arms dated 1560 at the top of the shield. A different title-page dated 1561 is found in copies incorporating the woodcut illustrated General Prologue." A handsome complete copy without loss of text beautifully printed in fifty-six line two-column black-letter Gothic. The 1561 Stowe edition is probably the one known to William Shakespeare and Edmund Spenser. Folio. More photos available upon request. John Kyngston for John Wight unknown
1561réf. 2210201London: John Kyngston for John Wight 1561. Fifth. hardcover. Very good. First issue of the 1561 Stowe edition. Very good in contemporary covers and recent leather spine with gold lettering. Probable first issue of the Stowe Edition with Chaucer's arms dated 1560 and before woodcut additions. As for the differences between the Stowe issues David R. Carlson "The Woodcut Illustrations in Early Printed Editions of Chaucer's Canterbury Tales" in Chaucer Illustrated: Five Hundred Years of The Canterbury Tales in Pictures British Library 2003 states "the most plausible explanation seems to be that the printer and publisher of the Stowe edition came into possession of the woodcuts belatedly after most of the press work for the edition had been done. After obtaining the blocks they ran up a new issue of the beginning of the book incorporating a "General Prologue" illustrated with woodcut. In all documented cases the unillustrated i.e. first"General Prologue" occurs with a title page showing the Chaucer arms dated 1560 at the top of the shield. A different title-page dated 1561 is found in copies incorporating the woodcut illustrated General Prologue." A handsome complete copy without loss of text beautifully printed in fifty-six line two-column black-letter Gothic. The 1561 Stowe edition is probably the one known to William Shakespeare and Edmund Spenser. Folio. More photos available upon request. John Kyngston for John Wight unknown books
1929réf. ST17611Waltham St. Lawrence: Golden Cockerel Press 1929-31. No. 344 OF 485 COPIES on paper and 15 on vellum. 318 x 197 mm. 12 1/2 x 7 3/4". Four volumes. Original Niger morocco-backed patterned paper boards by Sangorski & Sutcliffe raised bands gilt titling top edges gilt others untrimmed. The four volumes housed in two burnt orange morocco-backed cloth clamshell boxes with gilt lettering on the backs. Red and blue initials ONE FULL-PAGE AND EIGHT HALF-PAGE WOOD ENGRAVINGS AND 267 VERY PLEASING WOOD-ENGRAVED BORDERS frequently inhabited AND TAILPIECES BY ERIC GILL each border design repeated two to five times so that nearly every page is thus adorned. Chanticleer 63; Gill 281. Spines softly sunned--though uncharacteristically very minor and uniform in the fading; otherwise faultless. AN EXEMPLARY COPY PRISTINE INTERNALLY. This is as fine a copy as one could hope to find of one of the best examples in modern fine press work of the successful collaboration of text decoration and typography. With the "Four Gospels" of 1931 and "Troilus and Criseyde" of 1927 it is one of the three greatest Golden Cockerel Press books and according to Cave & Mason its "naughty amusing" engravings make it one of the five "foremost English illustrated books of the 20th century." It was produced at the zenith of the decade-long collaboration between Golden Cockerel Press director and book designer Robert Gibbings 1889-1958 and artist Eric Gill 1882-1940 which in the words of Gill biographer Fiona McCarthy "resulted in some of the classic examples of specialist book production of that period" works that "have a forcefulness and clarity which still excites one." While some squeamish critics deemed Gill's racy engravings inappropriate the bawdy Chaucer would no doubt have been delighted with them and found them most apt. Colin Franklin astutely observed that the "Gill/Gibbings version of 'Canterbury Tales' tackled the problems of illustrating Chaucer IN ALL HIS MOODS. emphasis in original." Cave & Mason report that its publication was "regarded as a literary event" and was widely reported and well received by the press. The book was very profitable grossing some £14000 for the Press. It is to be expected that a major production from a major press like the Golden Cockerel "Tales" would in many cases be very well treated by owners down through the years but copies now are almost never found in the immaculate condition seen here. Golden Cockerel Press unknown
1929réf. ST17611Waltham St. Lawrence: Golden Cockerel Press 1929-31. No. 344 OF 485 COPIES on paper and 15 on vellum. 318 x 197 mm. 12 1/2 x 7 3/4". Four volumes. Original Niger morocco-backed patterned paper boards by Sangorski & Sutcliffe raised bands gilt titling top edges gilt others untrimmed. The four volumes housed in two burnt orange morocco-backed cloth clamshell boxes with gilt lettering on the backs. Red and blue initials ONE FULL-PAGE AND EIGHT HALF-PAGE WOOD ENGRAVINGS AND 267 VERY PLEASING WOOD-ENGRAVED BORDERS frequently inhabited AND TAILPIECES BY ERIC GILL each border design repeated two to five times so that nearly every page is thus adorned. Chanticleer 63; Gill 281. Spines softly sunned--though uncharacteristically very minor and uniform in the fading; otherwise faultless. AN EXEMPLARY COPY PRISTINE INTERNALLY. This is as fine a copy as one could hope to find of one of the best examples in modern fine press work of the successful collaboration of text decoration and typography. With the "Four Gospels" of 1931 and "Troilus and Criseyde" of 1927 it is one of the three greatest Golden Cockerel Press books and according to Cave & Mason its "naughty amusing" engravings make it one of the five "foremost English illustrated books of the 20th century." It was produced at the zenith of the decade-long collaboration between Golden Cockerel Press director and book designer Robert Gibbings 1889-1958 and artist Eric Gill 1882-1940 which in the words of Gill biographer Fiona McCarthy "resulted in some of the classic examples of specialist book production of that period" works that "have a forcefulness and clarity which still excites one." While some squeamish critics deemed Gill's racy engravings inappropriate the bawdy Chaucer would no doubt have been delighted with them and found them most apt. Colin Franklin astutely observed that the "Gill/Gibbings version of 'Canterbury Tales' tackled the problems of illustrating Chaucer IN ALL HIS MOODS. emphasis in original." Cave & Mason report that its publication was "regarded as a literary event" and was widely reported and well received by the press. The book was very profitable grossing some £14000 for the Press. It is to be expected that a major production from a major press like the Golden Cockerel "Tales" would in many cases be very well treated by owners down through the years but copies now are almost never found in the immaculate condition seen here. Golden Cockerel Press unknown books
1561réf. 1489Full calf. Probable first issue of the Stowe Edition with Chaucer's arms dated 1560 and before woodcut additions. Relative to the precedence of issues of the 1561 Stowe edition David R. Carlson "The Woodcut Illustrations in Early Printed Editions of Chaucer's Canterbury Tales" in Chaucer Illustrated: Five Hundred Years of The Canterbury Tales in Pictures British Library 2003 states "the most plausible explanation seems to be that the printer and publisher of the Stowe edition came into possession of the woodcuts belatedly after most of the press work for the edition had been done. After obtaining the blocks they ran up a new issue of the beginning of the book incorporating a "General Prologue" illustrated with woodcut. In all documented cases the unillustrated i.e. first"General Prologue" occurs with a title page showing the Chaucer arms dated 1560 at the top of the shield. A different title-page dated 1561 is found in copies incorporating the woodcut illustrated General Prologue." v. also David R. Carlson "Woodcut Illustrations of the Canterbury Tales 1483-1602. More specifically a recent Robert Temple Catalogue adds: "The first three gatherings in the 1561 second issue were entirely reprinted this being done to permit the inclusion of twenty-two wood-cut illustrations in the Prologue to the Canterbury Tales the signatures running floret4 floretiii being mis-signed Aiii 6 A4 B - I6. instead of the floret4 A - I6. of the first issue. In the illustrated i.e. second issue some damage to the wood-cut frame of the first secondary title is apparent which is not evident in the first issue: a crack in the wood extends from the centre of the lower edge up through the box identifying King Henry IIII to just left of centre of the title box and another from the top left-hand corner of the title-box through the box identifying King Henry VII and ending apparently at a worm-hole in its top rules. STC 2nd edition unaccountably and without assigning a reason lists these two issues in the reverse order - despite the evidence in the illustrated issue of the later date on the title-page the obviously interpolated gathering `' which contains the first six illustrated leaves of ten the rest being in the variant short gathering `A' and the extended splitting of the wood-block on the title-page to the Canterbury Tales which shows only a slight split at the extreme tail in the first printing and no worm-hole." Professional restoration to the present copy include wash and repair of title page with ancient replacement of top inch and periphery of same not affecting text; repapering of Prologue gutters; new pastedowns & fly papers. All that said a complete copy without loss of text. Light peripheral worming. Handsomely bound in appropriate period style full ruled English calf five raised bands six compartments; morocco title & date labels. This copy was presented by the Durants to Wellesley College then sold in 1912 to George Herbert Palmer & then to Lewis Kennedy Morse. Folio 12 3/16 x 8 1/2 inches 310 x 215 mm; 5 ccclxxviii leaves. Divisional title pages of the "Caunterburie Tales" and "Romaunt of the Rose" both borrowed from Edward Hall's 1550 Vnion of the two noble and illustre famelies of Lancastre & Yorke in ornamental border showing the ascent of Henry VIII. Large woodcut of the Knight at the head of his tale recto of B1. Collation: Floret4; A-I6; K-U6; Aa-Ii6. Kk-Pp6; Q-U6; X-Z6; Aaa-Iii6; Kkk-Uuu8. Numerous oddities in foliation following CCXXIV though catchwords and signatures remain constant. A handsome & supple copy beautifully printed in fifty-six line two-column black-letter Gothic. The 1561 Stowe edition is probably the one known to William Shakespeare and Edmund Spenser and presents some nineteen poems here first printed from manuscript sources. STC5076 Foregoing copyright 2024.; Folio ; Additional images and further information provided upon request. ; All shipments through USPS insured Priority Mail. John Kyngston for Jhon Wight hardcover
1561réf. 1489Full calf. Probable first issue of the Stowe Edition with Chaucer's arms dated 1560 and before woodcut additions. Relative to the precedence of issues of the 1561 Stowe edition David R. Carlson "The Woodcut Illustrations in Early Printed Editions of Chaucer's Canterbury Tales" in Chaucer Illustrated: Five Hundred Years of The Canterbury Tales in Pictures British Library 2003 states "the most plausible explanation seems to be that the printer and publisher of the Stowe edition came into possession of the woodcuts belatedly after most of the press work for the edition had been done. After obtaining the blocks they ran up a new issue of the beginning of the book incorporating a "General Prologue" illustrated with woodcut. In all documented cases the unillustrated i.e. first"General Prologue" occurs with a title page showing the Chaucer arms dated 1560 at the top of the shield. A different title-page dated 1561 is found in copies incorporating the woodcut illustrated General Prologue." v. also David R. Carlson "Woodcut Illustrations of the Canterbury Tales 1483-1602. More specifically a recent Robert Temple Catalogue adds: "The first three gatherings in the 1561 second issue were entirely reprinted this being done to permit the inclusion of twenty-two wood-cut illustrations in the Prologue to the Canterbury Tales the signatures running floret4 floretiii being mis-signed Aiii 6 A4 B - I6. instead of the floret4 A - I6. of the first issue. In the illustrated i.e. second issue some damage to the wood-cut frame of the first secondary title is apparent which is not evident in the first issue: a crack in the wood extends from the centre of the lower edge up through the box identifying King Henry IIII to just left of centre of the title box and another from the top left-hand corner of the title-box through the box identifying King Henry VII and ending apparently at a worm-hole in its top rules. STC 2nd edition unaccountably and without assigning a reason lists these two issues in the reverse order - despite the evidence in the illustrated issue of the later date on the title-page the obviously interpolated gathering `' which contains the first six illustrated leaves of ten the rest being in the variant short gathering `A' and the extended splitting of the wood-block on the title-page to the Canterbury Tales which shows only a slight split at the extreme tail in the first printing and no worm-hole." Professional restoration to the present copy include wash and repair of title page with ancient replacement of top inch and periphery of same not affecting text; repapering of Prologue gutters; new pastedowns & fly papers. All that said a complete copy without loss of text. Light peripheral worming. Handsomely bound in appropriate period style full ruled English calf five raised bands six compartments; morocco title & date labels. This copy was presented by the Durants to Wellesley College then sold in 1912 to George Herbert Palmer & then to Lewis Kennedy Morse. Folio 12 3/16 x 8 1/2 inches 310 x 215 mm; 5 ccclxxviii leaves. Divisional title pages of the "Caunterburie Tales" and "Romaunt of the Rose" both borrowed from Edward Hall's 1550 Vnion of the two noble and illustre famelies of Lancastre & Yorke in ornamental border showing the ascent of Henry VIII. Large woodcut of the Knight at the head of his tale recto of B1. Collation: Floret4; A-I6; K-U6; Aa-Ii6. Kk-Pp6; Q-U6; X-Z6; Aaa-Iii6; Kkk-Uuu8. Numerous oddities in foliation following CCXXIV though catchwords and signatures remain constant. A handsome & supple copy beautifully printed in fifty-six line two-column black-letter Gothic. The 1561 Stowe edition is probably the one known to William Shakespeare and Edmund Spenser and presents some nineteen poems here first printed from manuscript sources. STC5076 Foregoing copyright 2024.; Folio ; Additional images and further information provided upon request. ; All shipments through USPS insured Priority Mail. John Kyngston for Jhon Wight hardcover books
1913réf. 23568London: Philip Lee Warner; The Medici Society 1913. First Flint edition. Hardcover. Fine. Unique copy. Number 5 of 12 copies printed on vellum from a total edition of 512. 3 volumes 4to. Full brown calf by Bumpus of Oxford spines with raised bands gilt titles spines and boards tooled in blind in a mediaeval diaper designed with blind tooled symbols; inner dentelles tooled in blind; all edges gilt. Illustrated title pages and 30 color plates by Flint. A fine set. All dropped capitals have been embellished by hand in color or gold 44 colored 29 illuminated in gold. Nine full page decorations in mediaeval style by an unknown but utterly competent calligrapher one to introduce each tale. All color plates have been laid down onto thick paper with captions added by hand with their capitals added in gold. A scarce vellum edition now a unique copy in the Bumpus binding and illuminations. . Philip Lee Warner; The Medici Society hardcover
1913réf. 23568London: Philip Lee Warner; The Medici Society 1913. First Flint edition. Hardcover. Fine. Unique copy. Number 5 of 12 copies printed on vellum from a total edition of 512. 3 volumes 4to. Full brown calf by Bumpus of Oxford spines with raised bands gilt titles spines and boards tooled in blind in a mediaeval diaper designed with blind tooled symbols; inner dentelles tooled in blind; all edges gilt. Illustrated title pages and 30 color plates by Flint. A fine set. All dropped capitals have been embellished by hand in color or gold 44 colored 29 illuminated in gold. Nine full page decorations in mediaeval style by an unknown but utterly competent calligrapher one to introduce each tale. All color plates have been laid down onto thick paper with captions added by hand with their capitals added in gold. A scarce vellum edition now a unique copy in the Bumpus binding and illuminations. . Philip Lee Warner; The Medici Society hardcover books
1550réf. 3936London: Wyllyam Bonham n.d. 1550 1550. Third collected edition ESTC describes it as one of four variants of this date with different publisher's names in the colophon. The text is the version edited by William Thynne. Folio. 295x197mm. ff. 8 cxciii cxciii-cc ccii-ccvii ccx-cclxxi cclxxiii-cclxxvii cclxxix-ccclv. Lacking final blank leaf. Printed in double columns woodcut initials and woodcuts of the Knight and the Squire. The Romaunt of the Rose has a separate title. Full brown sheep single fillet border to covers with corners decorated with crowned garlands framing dolphins. Spine with five raised bands compartments decorated in gilt. Red edges. Front pastedown has armorial bookplate of Mr Baron Maule and Kenneth Rapoport. Front free endpaper has armorial bookplate of Newton Hall Cambridge and ownership inscription of Jo. Maule. Head and foot of spine chipped with loss. Hinges strengthened. Some damp-staining to first gathering which is also a little loose. A very nice copy in a smart eighteenth century binding of the Thynne edition published jointly by four London booksellers. Although all copies are undated William Bonham the publisher of this copy is known to have been at the Red Reed Lion address in 1551 so a date of 1550 is generally agreed. All variants are rare ESTC recording this one in seven UK libraries and eight in the US. ESTC: S108819 London: Wyllyam Bonham n.d. [1550] hardcover
1532réf. 69608London: Printed.by Thomas Godfray 1532. RIVIÈRE & SON. . The workes of Geffray Chaucer. newly printed with dyuers workes whiche were neuer in print before: As in the table more playnly dothe appere. London: Printed.by Thomas Godfray 1532. Full Description: CHAUCER Geoffrey. The workes of Geffray Chaucer newly printed with dyuers workes whiche were neuer in print before: As in the table more playnly dothe appere. London: Printed.by Thomas Godfray 1532. The first collected edition of Chaucer's works and the first attempt at historical editing of any English author. Folio in sixes 11 11/16 x 8 1/8 inches; 297 x 205 mm. 397 leaves plus an additional leaf Qq7 containing compartment for divisional title on recto 22 xiii-CCxix 4 CCxx-CCC CCC-CCClxxxiii leaves. With fourteen leaves including title in facsimile A1-A4 B1 I4 Qq4 Qq5 Qq7 and Vvv2-Vvv6. Black letter. Forty-eight lines plus headline double columns. Several sets of decorated initials and lombards used as initials a few capital spaces with guides. Fifteen woodcuts in the Canterbury Tales three repeated one three times a total of twenty impressions. Edited by William Thynne. Handsomely bound by Rivière & Son in full brown morocco. Covers decoratively panelled in blind spine in six compartments with five raised bands gilt-lettered in two compartments and decoratively tooled in blind in the remaining four board edges and turn-ins ruled in blind all edges gilt. A few early ink annotations. Housed in a custom full brown morocco clamshell. Box with some tape repairs at edges. Overall a very good copy. The first collected edition of Chaucer deserves to rank in many ways with the 1623 First Folio edition of Shakespeare. The editor William Thynne was chief clerk of the kitchen in Henry VIII's household and accrued a wide variety of lucrative preferments. His dedication to Henry VIII actually written by Sir Brian Tuke contains many interesting remarks on the development of language and on Thynne's efforts at forming an "author collection" of Chaucer both manuscript and printed. The source for the Canterbury Tales was Wynkyn de Worde's 1498 edition collated with several manuscripts. Besides authentic works Thynne included some two dozen inauthentic poems making this the largest compendium of Middle English poetry heretofore published. In all twenty-one of the poems in the collection are first printings including four authentically by Chaucer: "The Book of the Duchess" "The Complaint unto Pity" "Lack of Steadfastness and "The Legend of Good Women." Thynne has often by criticized for publishing so many inauthentic poems in his Chaucer but this is unhistorical; nor is it even clear that he was making an active claim of authenticity for all that was included. His edition established the vulgate text of Chaucer for well over two centuries until Tyrwhitt's great edition of the Canterbury Tales appeared in 1775 see Sotheby's New York 29 October 1996 lot 346. "The woodcuts of the Knight and the Squire are here used for the first time as Chaucer illustrations the former is a close copy of the cut used in the Pynson 1526 edition but the rest belong to the original series of blocks cut for Caxton's second edition of the Canterbury Tales 1484" Pforzheimer. Pforzheimer 173. STC 5068. HBS 69608. $125000. Printed...by Thomas Godfray unknown
1532réf. 69608London: Printed.by Thomas Godfray 1532. RIVIÈRE & SON. . The workes of Geffray Chaucer. newly printed with dyuers workes whiche were neuer in print before: As in the table more playnly dothe appere. London: Printed.by Thomas Godfray 1532. Full Description: CHAUCER Geoffrey. The workes of Geffray Chaucer newly printed with dyuers workes whiche were neuer in print before: As in the table more playnly dothe appere. London: Printed.by Thomas Godfray 1532. The first collected edition of Chaucer's works and the first attempt at historical editing of any English author. Folio in sixes 11 11/16 x 8 1/8 inches; 297 x 205 mm. 397 leaves plus an additional leaf Qq7 containing compartment for divisional title on recto 22 xiii-CCxix 4 CCxx-CCC CCC-CCClxxxiii leaves. With fourteen leaves including title in facsimile A1-A4 B1 I4 Qq4 Qq5 Qq7 and Vvv2-Vvv6. Black letter. Forty-eight lines plus headline double columns. Several sets of decorated initials and lombards used as initials a few capital spaces with guides. Fifteen woodcuts in the Canterbury Tales three repeated one three times a total of twenty impressions. Edited by William Thynne. Handsomely bound by Rivière & Son in full brown morocco. Covers decoratively panelled in blind spine in six compartments with five raised bands gilt-lettered in two compartments and decoratively tooled in blind in the remaining four board edges and turn-ins ruled in blind all edges gilt. A few early ink annotations. Housed in a custom full brown morocco clamshell. Box with some tape repairs at edges. Overall a very good copy. The first collected edition of Chaucer deserves to rank in many ways with the 1623 First Folio edition of Shakespeare. The editor William Thynne was chief clerk of the kitchen in Henry VIII's household and accrued a wide variety of lucrative preferments. His dedication to Henry VIII actually written by Sir Brian Tuke contains many interesting remarks on the development of language and on Thynne's efforts at forming an "author collection" of Chaucer both manuscript and printed. The source for the Canterbury Tales was Wynkyn de Worde's 1498 edition collated with several manuscripts. Besides authentic works Thynne included some two dozen inauthentic poems making this the largest compendium of Middle English poetry heretofore published. In all twenty-one of the poems in the collection are first printings including four authentically by Chaucer: "The Book of the Duchess" "The Complaint unto Pity" "Lack of Steadfastness and "The Legend of Good Women." Thynne has often by criticized for publishing so many inauthentic poems in his Chaucer but this is unhistorical; nor is it even clear that he was making an active claim of authenticity for all that was included. His edition established the vulgate text of Chaucer for well over two centuries until Tyrwhitt's great edition of the Canterbury Tales appeared in 1775 see Sotheby's New York 29 October 1996 lot 346. "The woodcuts of the Knight and the Squire are here used for the first time as Chaucer illustrations the former is a close copy of the cut used in the Pynson 1526 edition but the rest belong to the original series of blocks cut for Caxton's second edition of the Canterbury Tales 1484" Pforzheimer. Pforzheimer 173. STC 5068. HBS 69608. $125000. Printed...by Thomas Godfray unknown books
1896réf. 001577Hammersmith London: Kelmscott Press 1896. 4 i-ii 3 2-554pp. Later full pigskin by Sangorski and Sutcliffe raised bands spine in seven panels title in gilt to second panel publisher and date to foot remaining panels with thick and thin line borders a central tudor rose with lions above and below and fleur-de-lis to either side and small flower head corner pieces. Covers with thick and thin line borders tudor rose corner and side pieces with repeated lion and flower head tools in broken panels surrounding inner single line frame with fleur-de-lis corner pieces. Spine lightly browned minor rubbing to extremities internally bright and clean. Housed in a pigskin backed drop back box. The crowning achievement of Morris's press famous before it even came off the press one of four hundred and twenty-five copies printed on 'Perch' paper in 'Chaucer' and 'Troy' type in double column and in red and black. With wood engraved title borders and initials by C. E. Keates W. H. Hooper and W. Spielmeyer after designs by Morris and eighty-seven text illustrations by Edward Burne-Jones redrawn in ink by R. Catterson-Smith and engraved by W. H. Hooper. See Franklin page 201; Peterson A40; Tomkinson page 117. First Thus. Hardback. Very Good. Illus. by Burne-Jones Edward; Morris William; Harcourt Hooper William. Folio. Kelmscott Press Hardcover
