Chaucer, Geoffrey; William Russell FlintBiblio.com
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191323568London: 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.<br /> <p><br /> 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. <br /> <p><br /> A scarce vellum edition now a unique copy in the Bumpus binding and illuminations.<br /> <p>. Philip Lee Warner; The Medici Society hardcover
1929ST17611Waltham 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. <br/> 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.<br/> <br/> 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
1927180559Waltham 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
19952110502150900730Yushodoshoten 1995. Soft Cover. Fine. Number of books: 2 Yushodoshoten paperback
1927172358Waltham 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
1931318064Golden Cockerel Press 1931. Copy no. 358 of 485 copies total edition of 500. Wood engravings by Eric Gill. Printed in red black and blue. 4 vols. Small folio. Original quarter brown niger morocco and patterned paper over boards spines a little darkened hint of wear at corners but a fine copy. Gill Eric. Copy no. 358 of 485 copies total edition of 500. Wood engravings by Eric Gill. Printed in red black and blue. 4 vols. Small folio. Eric Gill's Canterbury Tales. Universally acknowledged to be one of Gill's greatest achievement and deservedly sought after as one of the finest illustrated books of the twentieth century. Golden Cockerel Press unknown books
1928176203Waltham 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
1927008358Waltham Saint Lawrence Berkshire: The Golden Cockerel Press 1927. 1st Edition . Hardcover. Very Good. Folio - over 12 - 15" tall. GILL Eric 1882-1940. A Golden Cockerel Press in the publishers quarter morocco over patterned paper boards by Sangorski & Sutcliffe corners worn edges rubbed a few scratched to lower board. Spine raised bands blind tooling gilt titles some fading. Internally all on hand made paper half title wood-engraved pictorial title decorative borders illustrations and initials by Eric Gill initials printed in red and blue t.e.g. remainder uncut engraved armorial bookplate to fep Peter Garnett Agnew - with some light foxing & offsetting to facing fep. An edition limited to just 225 copies. 305190 mm. Chanticleer 50; Gill 279. The first and scarcest of Gill's three great works for the Golden Cockerel Press with a limitation half the size of The Canterbury Tales and The Four Gospels. And one of the most significant narrative poems of the Middle Ages presented in the original Middle English. <br/> <br/> The Golden Cockerel Press hardcover
19298747<p>Number 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.</p><p>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.</p> Golden Cockerel Press,
19268746<p>Number 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.</p><p>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.</p><p>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.</p> Golden Cockerel Press,
1927128770Golden 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
1929000681<p><strong>One of the most prestigious books published by the Golden Cockerel Press number 80 of a limited edition of 485 copies printed on handmade paper and 15 on vellum. </strong></p><p><strong>Description:</strong> 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.</p><p><strong>Ref.:</strong> Cave/Manson 63; Chanticleer 63; Gill 281</p><p><strong>Condition:</strong> Binding somewhat bumped and bruised at corners spine occasionally stained as often fore-edges slightly dusty and with single marginal stains interior clean and free of marks.</p><p><strong>Notes:</strong> Eric Gill's woodcuts for the Golden Cockerel Press edition of Geoffrey Chaucer's <em>The Canterbury Tales</em> are celebrated for their artistic and technical mastery. Gill created an impressive array of wood engravings designing them to harmonise with the typography reflecting his expertise as a typeface designer. The engravings complement the text enhancing the reading experience with a seamless blend of visual and literary art rooted in the tradition of illuminated manuscripts. The borders often featuring leaf and stem motifs are inhabited by figures - girls men kings priests and nuns - that interact with or comment on the tales. These range from playful and erotic to solemn mirroring Chaucer's diverse moods and adding narrative depth. Some of the woodcuts are known to have been rather bold in their depictions and have been seen as controversial in their time; however they have since been recognised as being apt and reflective of the spirit of the text. It is therefore fair to conclude that taken as a whole these features make Gill's woodcuts a standout contribution to 20th-century book illustration marrying technical precision with imaginative flair and thus cementing the edition's status as a landmark in private press publishing.</p> Golden Cockerel Press hardcover
192968192With Wood Engravings by Eric Gill GOLDEN COCKEREL PRESS. CHAUCER Geoffrey. The Canterbury Tales. With wood engravings by Eric Gill. Waltham Saint Lawrence in Berkshire: Printed and published at the Golden Cockerel Press 1929-1931. One of 485 numbered copies on Batchelor handmade paper out of a total edition of 500 copies. Stated "File Copy" on colophon page in lieu of a limitation number. Four folio volumes 12 x 7 1/2 inches; 307 x 190 mm. One full-page illustration twenty-nine half-page illustrations 269 decorative borders tail-pieces and line-fillers and sixty-one initial letters printed in black red or blue all engraved on wood by Eric Gill. Bound by Sangorski & Sutcliffe in quarter niger morocco over patterned boards. Gilt-lettered spine with raised bands. Top edge gilt others uncut. Spines lightly sunned to different degrees. A few very tiny chips to spines. Tips slightly bumped and with some rubbing. Housed in a morocco-tipped cloth slipcase. Overall a handsome and desirable set which shows very well and the text is very clean. ìMost 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 upon the stories.the pattern continues affectionate and cheeky erotic enjoyable and relevant decorative and explanatory a balance of taste and eye. Borders are repeated sometimes in new combinations. To start a new tale we have more elaborate and descriptive work with a red or blue initial letter.There they are the characters in the tale with their stage scenery.One other quality in these borders should be noticedótheir mannerism the distortion of human figures sometimes so that they almost share the forms of leaf and stemóand sometimes grow from them. It is another rather touching aspect of GillÃs idea and all these manners work towards a single artóthe poetry people leaves decoration and explanation. Author artist and printer have shared one concept and expressed itî Colin Franklin The Private Presses pp. 143-144. Chanticleer 63. Gill 281. HBS 68192. $10000 Printed and published at the Golden Cockerel Press hardcover books
192969547Waltham Saint Lawrence in Berkshire: Printed and published at the Golden Cockerel Press 1929. GOLDEN COCKEREL PRESS; GILL EricSANGORSKI & SUTCLIFFE. With Wood Engravings by Eric Gill<br> <br> GOLDEN COCKEREL PRESS. CHAUCER Geoffrey. GILL Eric illustrator. SANGORSKI & SUTCLIFFE binder. The Canterbury Tales. With wood engravings by Eric Gill. Waltham Saint Lawrence in Berkshire: Printed and published at the Golden Cockerel Press 1929.<br> <br> Full Description:<br> <br> GOLDEN COCKEREL PRESS. CHAUCER Geoffrey. The Canterbury Tales. With wood engravings by Eric Gill. Waltham Saint Lawrence in Berkshire: Printed and published at the Golden Cockerel Press 1929-1931.<br> <br> One of 485 numbered copies on Batchelor handmade paper out of a total edition of 500 copies. This being number 381. Four folio volumes 12 1/4 x 7 1/2 inches; 310 x 190 mm. One full-page illustration twenty-nine half-page illustrations 269 decorative borders tail-pieces and line-fillers and sixty-one initial letters printed in black red or blue all engraved on wood by Eric Gill.<br> <br> Bound by Sangorski & Sutcliffe in quarter niger morocco over patterned boards. Gilt-lettered spine with raised bands. Top edges gilt others uncut. Spines lightly sunned to different degrees. Top of boards with some light sunning. Some minor rubbing to board edges. Previous owner's attractive bookplate on front pastedown of each volume which looks like a magician performing a trick in front of a book. Overall a handsome and desirable set which shows very well and the text is very clean.<br> <br> "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 upon the stories.the pattern continues affectionate and cheeky erotic enjoyable and relevant decorative and explanatory a balance of taste and eye. Borders are repeated sometimes in new combinations. To start a new tale we have more elaborate and descriptive work with a red or blue initial letter.There they are the characters in the tale with their stage scenery.One other quality in these borders should be noticed-their mannerism the distortion of human figures sometimes so that they almost share the forms of leaf and stem-and sometimes grow from them. It is another rather touching aspect of Gill's idea and all these manners work towards a single art-the poetry people leaves decoration and explanation. Author artist and printer have shared one concept and expressed it" Colin Franklin The Private Presses pp. 143-144.<br> <br> Chanticleer 63. Gill 281.<br> <br> HBS 69547.<br> <br> $10000. Printed and published at the Golden Cockerel Press unknown
192968192Waltham Saint Lawrence in Berkshire: Printed and published at the Golden Cockerel Press 1929. GOLDEN COCKEREL PRESS; GILL EricSANGORSKI & SUTCLIFFE. With Wood Engravings by Eric Gill<br> <br> GOLDEN COCKEREL PRESS. CHAUCER Geoffrey. The Canterbury Tales. With wood engravings by Eric Gill. Waltham Saint Lawrence in Berkshire: Printed and published at the Golden Cockerel Press 1929-1931.<br> <br> One of 485 numbered copies on Batchelor handmade paper out of a total edition of 500 copies. Stated "File Copy" on colophon page in lieu of a limitation number. Four folio volumes 12 x 7 1/2 inches; 307 x 190 mm. One full-page illustration twenty-nine half-page illustrations 269 decorative borders tail-pieces and line-fillers and sixty-one initial letters printed in black red or blue all engraved on wood by Eric Gill.<br> <br> Bound by Sangorski & Sutcliffe in quarter niger morocco over patterned boards. Gilt-lettered spine with raised bands. Top edge gilt others uncut. Spines lightly sunned to different degrees. A few very tiny chips to spines. Tips slightly bumped and with some rubbing. Housed in a morocco-tipped cloth slipcase. Overall a handsome and desirable set which shows very well and the text is very clean.<br> <br> "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 upon the stories.the pattern continues affectionate and cheeky erotic enjoyable and relevant decorative and explanatory a balance of taste and eye. Borders are repeated sometimes in new combinations. To start a new tale we have more elaborate and descriptive work with a red or blue initial letter.There they are the characters in the tale with their stage scenery.One other quality in these borders should be noticed-their mannerism the distortion of human figures sometimes so that they almost share the forms of leaf and stem-and sometimes grow from them. It is another rather touching aspect of Gill's idea and all these manners work towards a single art-the poetry people leaves decoration and explanation. Author artist and printer have shared one concept and expressed it" Colin Franklin The Private Presses pp. 143-144.<br> <br> Chanticleer 63. Gill 281.<br> <br> HBS 68192.<br> <br> $10000. Printed and published at the Golden Cockerel Press unknown
1927318063Waltham Saint Lawrence Berkshire: Golden Cockerel Press 1927. No. 143 of 219 copies of 225 total printed in black red and blue. Wood engravings by Eric Gill. 1 vols. 4to. Quarter niger morocco with pattered paper-covered boards t.e.g. slipcase. Spine just a touch faded minor rubs to corners small ownership signature to f.f.e.p but fine. Gill Eric. No. 143 of 219 copies of 225 total printed in black red and blue. Wood engravings by Eric Gill. 1 vols. 4to. One of Gill's finest. This book had the smallest limitation of all of Gill's major works. A lovely copy with Gill's richly sensuous illustrations and marginal decorations one of his greatest achievements. Ransom 47; Chanticleer A Bibliography of the Golden Cockerel Press # 50 Golden Cockerel Press unknown books
193002194CANTERBURY TALES OF GEOFFREY CHAUCER TOGETHER WITH A VERSION IN MODERN ENGLISH VERSE Covici Friede 1930 first edition thus 2 volumes light tanning and wear to the spines else a near fine set bound in full leather in slip-case with accompanying suite of plates laid in. 1/75 copies SIGNED by the artist who supplies no less that 25 full page duo colored illustrations with text modernized by Van Wyck printed side by side with the original of Chaucer. Among his most desirable publications. Issued at a price of $250. Covici Friede hardcover
19132091202133206223Riccardi Press 1913. Soft Cover. Fine. Number of books: 3 books in total Riccardi Press paperback
19293589Oxford: Basil Blackwell 1929. First edition. One of 375 sets this being number 224 on Batchelor's Kelmscott handmade paper out of a total edition of 386 copies. Eight folio volumes 267 x 184 mm. Handsomely bound ca. 1940 in full blue crushed levant morocco by Bayntun Rivière. Covers ruled in gilt spines with five raised bands decoratively tooled and lettered in gilt in compartments decorative gilt board edges gilt ruled turn- ins marbled liners and endpapers all edges gilt. Spines uniformly faded. Calligraphic half-titles title-pages and contents pages in red and black by Joscelyne V. Gaskin. Paragraph marks in red and blue first initial in gold other initials and sections headings printed in blue after designs by Gaskin some shoulder notes printed in blue occasional text printed in red and blue. Seventy hand-colored woodcut illustrations and twenty hand-colored woodcut diagrams. "A very handsome and attractive set of this fine edition.<br/><br/>A beautiful example of Chaucer's works. The figures of the Canterbury Pilgrims were freely drawn from the Ellesmere manuscript now in the Huntington Library by Hugh Chesterman. The miniatures in The Romaunt of the Rose were redrawn by Lynton H. Lamb from a fourteenth-century French manuscript MS. Egerton 881 at the British Museum. Other manuscripts from the Bodleian Library and Cambridge University were used for the illustrations to The Compleynte of Mars and A Treatise on the Astrolabe as well as for two portraits of Chaucer. Woodcuts from Richard Pynson's 1526 three-volume edition of Chaucer were redrawn by Lynton H. Lamb to illustrate A Parlement of Foules Troilus and Criseyde The House of Fame and The Legende of Good Women and woodcuts from Vincent's early sixteenth-century Lyon edition of Boethius were adapted for De consolacione philosophie.<br/><br/>Franklin 150 235. Ransom 16 no. 60. Basil Blackwell unknown books
193010380New York: Covici-Friede 1930. Edition De Luxe of seventy five copies on Crane's Olde Book paper this copy numbered 61. very good . Two Volumes. Folio. Bound in pigskin. Illustrated by Rockwell Kent and. Signed by Rockwell Kent. Original and modern versions in parallel columns. Paged continuously. Full-page wood-engraved illustrations printed in black and brown. Accompanied by a special portfolio of Kent plates -- Wear to the spines on both volumes. internally fine. -- Overall Condition. "Chaucer's work begins at the Tabard Inn in Southwark England where a group of pilgrims have assembled on their way to Canterbury. Harry Bailly the innkeeper suggests a contest: whoever tells the best tale will win a supper when they reach Canterbury"-worldcat. Covici-Friede unknown
19131029212<p>CHAUCER Geoffrey. <b><i>The Canterbury Tales of Geoffrey Chaucer</i></b>. Illustrated after Drawings by W. Russell Flint. London: Philip Lee Warner 1913. 4to vol. 1: x 239pp. vol. 2: x 221pp. vol. 3: x 187pp. Beige quarter-cloth with light blue boards and paper labels affixed to the front and spine extra paper labels tipped-in to the rear of each volume. 36 mounted color plates 12 in each volume. Vol. 1: Head of spine lightly rubbed lower spine end a tad so free endpapers discolored where not covered by jacket flap else a fine copy in original dust jacket spine heavily sunned small chip at top of spine panel – no loss to printed area light edge wear at top of rear flap. Vol. 2: Spine ends lightly rubbed free endpapers faintly discolored where not covered by jacket flap else a fine copy in original dust jacket spine heavily sunned a few tiny chips at spine panel ends. Vol. 3: free endpapers lightly discolored where not covered by jacket flaps else a fine copy in original dust jacket spine heavily sunned covers less so but a bit discolored a few tiny chips at spine panel ends. All three volumes housed in original carboard slipcases all sunned and worn with one slipcase split open at one ends the other two having small splits. A beautiful set rarely found in the original jackets and slipcases.</p><p>First W. Russell Flint-illustrated edition in 3 volumes. #500/500 numbered copies of the limited trade edition. Here is a breathtaking edition of one of the most enduring works in English literature: Geoffrey Chaucer's <i>Canterbury Tales</i> featuring the stunning masterful watercolors of the renowned Sir William Russell Flint!</p> Philip Lee Warner hardcover
1913141456London: printed by the Riccardi Press and published for the Medici Society by Philip Lee Warner 1913. First Riccardi Press edition number 196 of 500 copies printed on Riccardi paper deluxe issue bound in limp vellum and each volume with its original dust jacket and slipcase. The Riccardi Press Chaucer is a most handsome production attractively illustrated by William Russell Flint and is among the most desirable productions of the press. The printed dust jackets show that of the 500 copies on paper they could be purchased in boards at £7 17s. 6d. or as here in limp vellum at £9 9s. There were an additional 12 copies printed on vellum for sale at £47 5s. 3 vols quarto. With 36 mounted colour plates by William Russell Flint with captioned tissue guards. Original limp vellum spine and front covers lettered in gilt green cloth ties top edges gilt others uncut. With the printed dust jackets each numbered "196" by hand to spine and card slipcases. The vols themselves in fine bright condition the jackets tanned to spine panels and a little rubbed with a portion of loss though no loss to titles from the head of vol. 3 the slipcases lightly worn and tanned in places but all intact. hardcover
1913189195London: Philip Lee Warner The Medici Society 1913. Here biginneth the book of the tales of Canterbury First Flint edition number 55 of 500 copies printed on handmade paper at the Riccardi Press; there were also 12 copies printed on vellum. William Russell Flint 1880-1969 is renowned for his watercolours of women. In this edition the majority of the illustrations concentrate on female subjects: "Flint drew women wherever possible using for example a woman to represent April in the General Prologue female figures to illustrate the 'old gods' referred to at the opening of the Knight's Tale and barmaids aplenty in the picture accompanying the Pardoner's Story of the revellers" Echard pp. 137-8. 3 vols quarto. Colour frontispieces title pages printed in blue and black 33 colour plates all with captioned tissue guards by William Russell Flint. Original brown quarter linen cloth blue sides paper labels to the spines and front covers lettered in black top edges gilt others untrimmed green silk bookmarker in each volume printed bookmarkers and Riccardi Press catalogue loosely inserted in two volumes. With dust jackets. Contemporary gift inscription in vol. I contemporary bookplates in each volume. A few spots of wear to edges a few spots of foxing; jacket spines toned loss to head of spine and rear panel of vol. I affecting text on rear panel flaps unpriced as issued. A very good set. S. Echard Printing the Middle Ages 2013; Keith S. Gardner Sir William Russell Flint. a Catalogue Raisonné. 1994 p. 119. hardcover
1913000047London: Philip Lee Warner for the Medici Society 1913. Three volumes complete - Volume One - x 235pp 5; Volume Two - x 217pp 5 and Volume Three - x 183pp 5. Original full vellum in DJ's gilt title to spines and upper covers t.e.g. DJ spines faded with ink number as issued to spines. Hint of foxing to fore-edge of text block otherwise bright and clean. With thirty-six colour full-page tissue-guarded tipped in illustrations by W. Russell Flint twelve in each volume as called for. Limited edition of five hundred copies this being copy one hundred and eighty eight as per the number on the spines of the DJ's. An attractive set. First Thus. Full Vellum. Very Good/Good. Illus. by Flint W. Russell. 4to. Limited Edition. Philip Lee Warner for the Medici Society Hardcover
1935008712New York: Coward-McCann Inc. 1935. Second edition. Hardcover. This is a lovely presentation copy of the second edition of this Christmas anthology edited by Robert Frosts eldest daughter featuring several noteworthy signatures inscriptions and presentations. This copy offers a compelling and ostensibly unique convocation of associations - including the poet Robert Frost his daughter Lesley Frost infamous Frost collector Earl J. Bernheimer and newspaper columnist and syndicator George Matthew Adams. A two-page facsimile manuscript of Robert Frost's poem "Good Relief" fills two pages preceding the title page. Below his facsimile signature in six lines in black ink Frost signed and wrote "Robert Frost - second signature for Earl J. Bernheimer April 5 1936". The Editor Leslie Frost signed "Lesley Frost" below her printed name on the title page. She further signed and inscribed the front free endpaper recto in five lines three at the upper center two at the lower left: "For George Matthew Adams from Lesley Frost N.Y.C. June 1951". <br /> <br />Already unique by inscriptions and association this copy is also noteworthy for condition approaching fine in a very good plus dust jacket. It is an attractive little book bound in blue cloth with elaborate gilt print and illustration on the spine the contents bound with red and yellow head and tail bands and yellow-stained top edges. The dust jacket is striking printed in green red and black on a silver background the holly leaves and banners design of the binding spine repeated in color on both the jacket spine and front face edges with further illustrations on both faces. This copys blue cloth binding is square clean bright tight and sharp-cornered with only trivial hints of shelf wear to extremities. The contents are clean and bright with no spotting no soiling no appreciable toning and retaining a crisp feel. The dust jacket is bright unclipped and nearly complete with only fractional loss at the spine head flap fold corners and the bottom edge of the front face. Light soiling to the rear face and minor scuffs primarily to the extremities joints and flap folds do not significantly mar the books excellent presentation. The book is housed in a marbled-paper-lined black cloth chemise nested within a black cloth slipcase with three gilt-printed dark red leather spine labels. The slipcase is intact though worn with some loss to the perimeter of the labels. <br /> <br />The circa 1929 facsimile manuscript of Frost's poem "Good Relief" herein is the first published appearance of this poem which was never included by Robert Frost in one of his collections. "The poem was begun in Beaconsfield England in 1912." It was first printed in the first 1929 edition of Come Christmas and printed again here in the 1935 second edition. <br /> <br />The recipient for whom Frost inscribed this copy was one of the twentieth centurys first significant Frost collectors. A wealthy Beverly Hills bibliophile Earl J. Bernheimer began collecting Frosts books and manuscripts in 1936 - the same year Frost inscribed this copy of Come Christmas to him. Capitalizing on Frosts financial anxieties Bernheimer eventually acquired from Frost a magnificent trove of Frostiana with Frost entertaining the hope and understanding that Bernheimer would one day donate everything to a single university library. Instead owing in part to a rancorous and expensive divorce and to Frosts manifest resentment Bernheimer sold off his collection in a famous 1950 New York auction. <br /> <br />The editor Lesley Frost Ballantine or Lesley Frost as she always liked to be known 1899-1983 was the second child of Robert and Elinor Frost. She spent her early childhood on the Derry New Hampshire farm that informed her fathers developing poetic voice and where he drafted many of his early poems. It was during her first marriage and after the birth of her first daughter Elinor named after her mother and to whom this book is dedicated that Leslie edited this collection of Christmas Poetry Song Drama and Prose. This 1935 second edition was issued when Lesley was divorced and teaching. She was an author and worked in various fields but her most well-known work was as custodian of her fathers legacy. She eventually served as the first chair of the Robert Frost Foundation oversaw restoration of the Frost farm in Derry and gained an international reputation for her correspondence with her fathers friends and for her articles and lectures on his work. <br /> <br />George Matthew Adams 1878-1962 to whom Lesleys inscription is addressed was a newspaper columnist and founder of the George Matthew Adams News Service which syndicated columns and comic strips to more than one hundred newspapers all over the world over the course of half a century. <br /> <br />References: Crane E17; Parini Robert Frost: A Life; Tuten and Zubizarreta; University of New Hampshire; University of Rochester ANB <br/><br/> Coward-McCann, Inc. hardcover
