Doves Press (57 results)

4to, 196pp., coloured frontis., numerous plates, orig. decorated wrappers, 417 lots.

Mit 7 Abbildungen. 29 S., 1 Bl. Orig.-Kartoniert. 21 : 15 cm. * 1 von 850 Exemplaren. Detaillierte Beschreibung des Probedruckes (1 Blatt) von Thomas James Cobden-Sanderson "Bookbinding, then, as other crafts, I would recommend, for the worke`s sake and for the man`s sake, the union of the mind and of the hand ." - Sehr gut erhalten.

Number '50' of an edition limited to 70 copies designed by Christopher Wakeling who printed it on a Korrex Hannover test press, using Arches and Hahnemühle paper and Hermann Zapf's Palatino and Optima type. Green paper wrappers, sewn in green thread, printed and decorated paper label to the upper cover. Oblong, 165 x 250 mm, pp. [12]. A book in Fine condition. The text includes a letter addressed to the editor of 'The Times', October 26, 1911, together with 'An Announcement | Shakespeare's Plays and Poems | The Doves Press - MDCCCCXII | No. 15 Upper Mall, Hammersmith, London W 1.' There is a Foreword by Christopher Wakeling.

Number '49' of an edition limited to 70 copies designed by Christopher Wakeling who printed it on a Korrex Hannover test press, using Arches and Hahnemühle paper and Hermann Zapf's Palatino and Optima type. Green paper wrappers, sewn in green thread, printed and decorated paper label to the upper cover. Oblong, 165 x 250 mm, pp. [12]. A book in Fine condition. The text includes a letter addressed to the editor of 'The Times', October 26, 1911, together with 'An Announcement | Shakespeare's Plays and Poems | The Doves Press - MDCCCCXII | No. 15 Upper Mall, Hammersmith, London W 1.' There is a Foreword by Christopher Wakeling.

Number '36' of an edition limited to 70 copies designed by Christopher Wakeling who printed it on a Korrex Hannover test press, using Arches and Hahnemühle paper and Hermann Zapf's Palatino and Optima type. Green paper wrappers, sewn in green thread, printed and decorated paper label to the upper cover. Oblong, 165 x 250 mm, pp. [12]. A booklet in Fine condition, now in a clear, archival quality, protective display pocket. The text includes a letter addressed to the editor of 'The Times', October 26, 1911, together with 'An Announcement | Shakespeare's Plays and Poems | The Doves Press - MDCCCCXII | No. 15 Upper Mall, Hammersmith, London W 1.' There is a Foreword by Christopher Wakeling.

16 pages folio, sewn into blue wrappers stamped in black. San Francisco, John Henry Nash. A lavish piece of advertising, printed in black and red on specially watermarked Van Gelder paper. Faint vestiges of a vertical crease in wrappers, but a very nice copy. The text includes Nash's description of his dealings with the Cobden-Sandersons and the genesis of the book.

4pp. 1 vols. 8vo. About 300 printed. About 300 printed. 4pp. 1 vols. 8vo. Ransom 33 Single folded sheet, unbound. Without the printed brown wrappers.

First edition. Two leaves. Printed brown wrappers. The first of Cobden-Sanderson's ephemerally printed letters to the press.Fine.

Unbound. Condition: Fine. Broadside. Measuring 11" x 17". Fine. Broadside reads: "i work / you work / he works / she works / we work / you work / THEY $PROFIT$." Nicely printed from hand-set type as a gift for friends of the press, commemorating the Paris May 68 protests.

8pp. 1 vols. 8vo. About 300 printed. About 300 printed. 8pp. 1 vols. 8vo. Ransom 40 Laid in printed brown wrappers. Fine.

About 300 printed. About 300 printed. 6 pp. with conjugate blank. 1 vols. 8vo. Ransom 42 Single folded sheet, unbound and laid into printed brown wrappers. Fine 6 pp. with conjugate blank. 1 vols. 8vo.

Hardcover. Condition: Gut bis sehr gut. 1. Auflage. First edition of Doves Press's second Catalogue Raisonné. ¶ Description: Linen spine and blue paper-covered boards. Titled on the upper cover THE DOVES PRESS. Octavo: 24 × 17 cm; pp. [1], 12. Printed from 'Doves' type on 'Doves' paper. Paragraph marks, section headings, etc., in red. ¶ Ref.: Cowan 96; Tidcombe 27 ¶ Condition: Boards showing some soiling and foxing, internally, clean, bright and free of marks. Generally a very good copy. ¶ Notes:The second Catalogue Raisonné (the first Catalogue Raisonné was published in 1908) includes books published to June 1911 and an introduction and additional comments by T. J. Cobden-Sanderson. 250 copies on paper. The final Catalogue Raisonné (1916) states the number of copies is 350, in error (Tidcombe). ¶.

Doves Press (illustrator). 8vo. original limp vellum, with gilt-lettered spine. (ii), 28 pages. Printed in an edition limited to 315 copies, this being one of the 300 printed on paper. (Doves Press, Catalogue Raisonnépg 16; Tomkinson pg 52). A tight, bright, and unmarred copy. Bound by The Doves Bindery, with bookbinder's ticket on rear pastedown. An address given by Mackail, Burne-Jones's son-in-law, after encouragement by Annie Cobden-Sanderson, the suffragette, wife of Thomas Cobden-Sanderson of the Doves Press and friend of Morris, which gives a superb overview of the life of William Morris. The address was given where Morris first started making carpets and which was later used for the meetings of the Hammersmith Socialist Society. Mackail wrote the first biography of William Morris in 1899. This address was first published by The Doves Press in 1901. It has been printed in red and black by T.J. Cobden-Sanderson and Emery Walker. This is the third publication of the press. original limp vellum, with gilt-lettered spine.

Doves Press (illustrator). five folio volumes (13 3/16 x 9 3/16 inches; 335 x 234 mm). full limp vellum, uncut fore and tail edges, gilt on spines, individual later cloth slipcases with leather spine labels. vol 1: (xii), (2), 394, (I); vol 2: (xii), (2), 518, (I); vol 3: (iv), (14), 390, (II); vol 4: (iv), (14), 300, (II); vol 5: (xii), (2), 307, (I) pages. Five volumes. One of 500 copies printed on handmade paper by T.J. Cobden-Sanderson and Emery Walker (Tidcombe DP6; Clark Library, Kelmscott and Doves, pp. 90-92, Huntington Library, Great Books in Great Editions, 7, Ransom, Private Presses, p. 251, no. 6, Tomkinson, p. 54, no. 6, Hutner and Kelly, Century for the Century, 4). With the very common scattered foxing between "The Translators to the Reader" through page 13 of volume one, else in immaculate condition. The later black-cloth slipcases have an occasional bumped corner, else in fine condition. "This edition of the Bible is considered the masterpiece of the Doves Press. . . The type is a particularly crisp and faithful version of Jenson's fifteenth-century roman. It was cut in only one size, which was used in all of the half-hundred issues of the Press. When the Press was discontinued in 1916, the type and matrices were destroyed by Cobden-Sanderson to prevent their misuse." (Huntington Library, Great Books in Great Editions). The distinctive red initial letters, executed by hand by Edward Johnston, are described by Ransom (Private Presses, p. 56) as "a pattern for all time of complexity reduced to the minimum of simplicity." Bound by Cobden-Sanderson at his Doves Bindery, as noted on the rear vellum turn-in on each volume. full limp vellum, uncut fore and tail edges, gilt on spines, individual later cloth slipcases with leather spine labels.

Doves Press (illustrator). 8vo. later full brown morocco-covered boards, borders and floral ornaments stamped in black on the covers and spine, gilt on spine, five raised bands, all edges gilt, brown morocco turn-ins with a single border and floral ornaments stamped in black, marbled endsheets. 312 pages. With Preface by Thomas Carlyle. Privately printed in an edition limited to 325 copies (Tidcombe DP8; Tomkinson, Ransom no.9). Moderate rubbing to the hinges, minor toning to the spine, minor discoloration to the endsheets from the leather turn-ins, else a near fine copy. This was the only American text printed by Cobden-Sanderson. The preface by Carlyle was written in 1841. Emerson was one of several authors that were particularly sympathetic to Cobden-Sanderson's philosophy. He saw him as "a pinnacle of a man," and according to Marianne Tidcombe in her book The Doves Press (Oak Knoll Press), he "was attracted to Emerson's idealism and to the hint of mysticism that coloured his view of nature." The twelve essays in this volume include "Self-Reliance," "Spiritual Laws," "Love," "Friendship," and "Intellect and Art," among others. The binding is signed by R.M.S. (front leather turn-in) and dated 1910 (rear leather turn-in). later full brown morocco-covered boards, borders and floral ornaments stamped in black on the covers and spine, gilt on spine, five raised bands, all edges gilt, brown morocco turn-ins with a single border and floral ornaments stamped in black, marbled endsheets.

DOVES PRESS (illustrator). Hammersmith: Sold at The Doves Press, 1907]. Limited to 325 copies, of which this is one of 300 copies on Batchelor paper. Small quarto (9 1/4 x 6 1/2 inches; 235 x 165 mm). [10, blank], 73, [1], [1, colophon], [15, blank] pp. Printed at the Doves Press by T.J. Cobden-Sanderson and Emery Walker, from the first edition "printed in the yeare 1644." Bound by The Doves Bindery in full limp vellum with title in gilt on spine. Usual mild toning to vellum binding. Otherwise a near fine, attractive copy. Clark Library, Kelmscott and Doves, p. 95. Ransom, Private Presses, p. 251, no. 12. Tomkinson, p. 55, no. 12. HBS 69281. $3,500.

Condition: Fine. One of 300 copies on paper. There were also 25 copies on vellum. This is a beautiful copy of this volume of essays by Emerson. Cobden-Sanderson, the founder of the press met Emerson in the 1860s when he visited London, and he had made quite an impression. He saw him as "a pinnacle of a man," and according to Marianne Tidcombe in her book The Doves Press, "was attracted to Emerson's idealism and to the hint of mysticism that coloured his view of nature." The twelve essays in this volume include "Self-Reliance," "Spiritual Laws," "Love," "Friendship," and "Intellect and Art," among others. In a full limp vellum binding with titling in gilt to spine, and a coat of arms in gilt on the front cover. Spine lettering slightly faded. Vellum lightly creased on top and bottom edges. The arms are those of the Mander family. Sir Charles Tertius Mander of the paint and varnish company Mander Brothers, became a baronet in 1911. The binding must have been done after this as it uses his coat of arms registered that year. Affixed to the front pastedown is the book label of Gerald Poynton Mander of Tettenhall Wood in Staffordshire, the second son of the first baronet. His library sold at auction at Sotheby in 1954. Interior pages are elegantly printed in black with red initials. An extremely nice copy in about fine condition. Small quarto. 312 pages. PRI/092424.

First edition. Small quarto. pp xiv, 120, [2]. Publishers' binding of full limp vellum. 300 copies were printed. The essays were originally published in the Cornhill Magazine. In his Preface the author asserts, ''I believe them to be the best, that is to say, the truest, rightest-worded, & most serviceable things I have ever written''.Signed on the one of the front blanks by the book's printer T.J. Cobden-Sanderson.Fine.

First Edition. 4to, pp.[2], 7, [1 (blank)], with preliminary and final blanks; printed in red and black in Doves type on laid paper watermarked 'CS EW 1902' and 'TJCS 1910'; small mark at foot of colophon, nonetheless a very good copy; bound in vellum by the Doves Bindery (stamp to lower pastedown), spine lettered directly in gilt, sewn with green thread on 4 tapes; vellum bowing slightly with a few scattered spots.One of 150 copies on paper of the elusive Pervigilium Veneris, a celebration of the spring festival of Venus Genetrix, here in the original Doves Bindery vellum, 'a triumph of simplicity and restraint' (Tidcombe). T.J.Cobden-Sanderson (18401922) established the Doves Bindery in 1893 and the Doves Press in 1900, the latter forming the 'triple crown' of private printing along with Morris's Kelmscott Press and Hornby's Ashendene Press. The distinctive Doves type, commissioned in 1899, had been promised by Cobden-Sanderson to his partner Emery Walker for use after his death; following the bitter dissolution of their partnership in 1909, however, he gradually and 'irretrievably committed [the type] to "the bed of the River Thames"' between August 1916 and early 1917, in the wish that the type should 'never be subjected to a machine other than the human hand'. The enigmatic origins of the Pervigilium Veneris have traditionally been dated to the reign of Hadrian and at times attributed to Florus, although its innovative style has led some to place it as late as the fourth century; Walter Pater rather fancifully imagined its composition by a young scholar under Marcus Aurelius. It is 'remarkable not only for its exquisite melody and romantic evocation of spring-time and its associations, but also as an experiment in a new form of poetry, making large use of assonance, recurrence of words and phrases, and even occasionally of rhyme, in anticipation of the accentual Latin poetry of a later age' (Oxford Companion to Classical Literature). The opening line and repeated refrain, 'Cras amet qui nunquam amavit, / Quique amavit cras amet' ('Let those love now who never loved before, / Let those who always lov'd, now love the more', trans. Thomas Parnell), is here accentuated in red ink, recurring after every four lines of the poem. An additional twelve copies were printed on vellum. See Tidcombe, p.64 ff. Language: Latin.

8vo. (235 x 170 mm). [164 leaves including blanks; pp. 311, (i)]. Leaf with printed title recto, five leaves with Thomas Carlyle's preface recto and verso, leaf with list of contents and Emerson's twelve essays, each with four-line initial in red, final leaf of text with colophon verso. (Sheet size: 234 x 166 mm). Original publisher's limp vellum with stamped signature to rear pastedown: 'THE DOVES BINDERY', paper endpapers and pastedowns, title gilt to spine. A fine copy on vellum of Emerson's Essays, the only American text printed at the Doves Press. From the edition limited to 325 copies, with this one of 25 on vellum. 'Cobden-Sanderson had actually met Emerson once when Emerson was visiting London in the 1860s. In a presentation copy of the Doves edition of the Essays, Cobden-Sanderson wrote that they were printed in memory of a conversation he had had with Emerson as they walked together down Pall Mall. Cobden-Sanderson was attracted to Emerson's idealism, and to the hint of mysticism that coloured his view of nature. In Cobden-Sanderson's mind Emerson was 'a pinncale of a man'. The Essays, issued in June 1906, were printed from the first English edition, with a preface by Carlyle. It was the first Doves Press book in which Miller and Richard's Old Style italic was used. '. (Tidcombe). [Tidcombe DP8; see Ransom, Doves 9].

Large 8vo. (234 x 168 mm). [102 leaves; pp. 203]. Title, leaf with explanation, verso and following leaves with contents, leaf with title in red and sonnet 'Bright star!' verso and Keats' verse, two leaves with 'Table of Years', final leaf with colophon recto. Printed text in red and black throughout, sheet size: 230 x 162 mm. Full scarlet crushed morocco by Frieda Thiersch with her signature gilt, boards with double gilt rules, banded spine with elaborate tooled decoration with title 'KEATS / 1815 - 1820' and dated 'MCMXIV' in six compartments, large turn-ins with gilt tools and rules to surround vellum doublures, board edges ruled in gilt, morocco-edged wool-lined marbled board slipcase. [PROVENANCE: From the collection of scholar and bibliophile Dr. Ernst Kyriss (1881 - 1974), with his discreet oval stamp to front free endpaper; Achilles Foundation, the collection of Edith and Barbara Achilles]. A very scarce copy of the vellum issue of the Doves Press' Keats in a highly accomplished binding of red morocco by Frieda Thiersch. From the edition limited to 212 copies, with this one of 12 examples printed on vellum. Apprenticed to the binder Charles McLeish who described her as the 'most skillful pupil we ever had . equal to any professional', Frieda Thiersch (1889 - 1947) was a prodigy: a highly talented, innovative and controversial binder. The daughter of a distinguished Munich-based architect, Frieda had a privileged upbringing before her seduction by her music master Ludwig Hess for a bet; the ensuing pregnancy caused her banishment to France for the birth of her child to avoid scandal. After the birth she was sent to London where she undertook an apprenticeship at McLeish & Sons that led to their endorsement and laid the foundations for her future as a binder. Thiersch clearly absorbed, along with the binding skills and knowledge of the McLeishs, the influence of the Doves Bindery: Charles McLeish Sr. had worked with Cobden-Sanderson from 1893 until the establishment of his own bindery in 1909. The austere but beautiful work with the emphasis on simple clarity with a highly restrained decor became a feature of Thiersch's own work and the signature of the many bindings designed by her and issued by the Bremer Press - she worked as the principal designer and her atelier was the principal bindery for the press - before the worsening economic situation in the late 1920s / early 1930s caused the press to close. Throughout the time she worked with the Bremer Press, Thiersch took commissions in her own right as the present binding, signed with her full name as opposed to her initials (when produced by an assistant) and likely produced in the late 1920s, attests. Thiersch exhibited her work internationally and showed books at the First Edition Club in London in 1929 (it is tempting to think that this binding was shown there), the World Exhibition in Barcelona in the same year, the Milan Triennale in 1930, 1933 and 1936 where she was awarded a gold medal and the Paris World Exhibition in 1937 where she was awarded another gold medal. Later in the 1930s Thiersch became associated with the German political establishment and undertook government contracts for the Nazis. Although she did execute personal commissions for, among others, Hitler, her own political views have never been established. The destruction of her archive and personal collection in a bombing raid in 1944, her death from lung cancer in 1947 and the confusion of the Second World War itself have ensured that both an aura of mystery has surrounded her work while adhering a considerable bibliophile cachet to it. Although Thiersch's bindings for the Bremer Presse are prized, even more so are the bindings that she undertook on commission. We can trace few of these, but notable examples are the luxusausgabe of 'Das Graphische Werk Max Pechsteins' (1921), Johanne Auerbach's 'Summa de Auditione Confessionis et de Sacramentis' (the second or third book printed in Augsburg pro.

Softcover. Condition: Sehr gut. From the 1899 Weimar Text. A near fine copy of 200 printed on paper from a total edition of 232 copies (32 on vellum). ¶ Description: Original full limp vellum with title in gilt on spine. Octavo: 24 × 17 cm; pp. 110, [1]. Printed in black and red on Doves handmade paper, top edge cut, fore and lower edges trimmed. Inner pastedown stamped 'The Doves Bindery'. ¶ Provenance: Neat ownership inscription (Sutterlin script) to 2nd blank flyleaf: Ernst Bertram, Bonn 1924. ¶ Ref.: Cobden-Sanderson 1922, 141; Tidcombe DP28 ¶ Condition: Covers slightly soiled. Internally bright and clean, no browning to endpapers. ¶ Notes: Interest in Doves Press editions was very high in Germany. Therefore, after Shakespeare's plays, Cobden-Sanderson decided to print three plays by Goethe in the original German text: 'Die Leiden des Jungen Werther' (1911), 'Iphigenie auf Tauris' (1912) and 'Torquato Tasso' (1913). In addition, Cobden-Sanderson received requests from German dealers to increase both the number of copies on vellum and the number of special vellum copies with gold initials. The appetite in Germany for the finest editions seemed undimmed by the prices Cobden-Sanderson was forced to charge (Tidcombe 2002, 66). This led to the unusually high edition of 32 copies on vellum for 'Iphigenia on Tauris' (5 of them with gold initials) in addition to the rather moderate edition of 200 copies on paper. ¶.

Doves Press (illustrator). 8vo. limp vellum, spine titled in gilt, later slipcase. 203 pages. Selected Poems. Selected and Arranged by Thomas James Cobden-Sanderson. Limited to 212 copies, of which this copy is one of 200 on paper. (Catalogue RAISONNE, p.22; Tidcombe DP36; Tomkinson p. 58.). With bookplate, "J. W. R. Brocklebank." The vellum has darkened, albeit naturally. A tight, bright, and unmarred copy. Printed in red & black by T.J. Cobden-Sanderson at The Doves Press, and bound by The Doves Bindery, with bookbinder's ticket on rear pastedown. Cobden-Sanderson first considered a selection of Keats' poetry for the Doves Press in 1913. It was announced in December 1914 for publication in January 1915. After establishing the Doves Bindery in 1893, Thomas James Cobden-Sanderson partnered with Emery Walker to found the Doves Press in 1901. Alongside the Kelmscott, Ashendene and Vale presses it is considered one of the cornerstones of the Golden Age of Private Press, drawing heavily on the spirit of the Arts & Crafts Movement that flowered at the turn of the century. The two partners, along with Sydney Cockerell, created type based on Nicolas Jenson's Roman type (1470s), named the 'Doves Type.' Unfortunately, the relationship between the two partners deteriorated, resulting in said type being famously dumped in the Thames, where it languished until 2014, when it was rescued and subsequently digitalized. limp vellum, spine titled in gilt, later slipcase.

One of 200 copies on paper; small 4to (240 x 170 mm); printed in red & black, near-fine; original limp vellum by the Doves Bindery (stamp to rear endpaper), spine titled in gilt, uncut, mild spotting to fore-edges, vellum toned and warped (as usual), otherwise a very good copy of this rare edition. After establishing the Doves Bindery in 1893, Thomas James Cobden-Sanderson partnered with Emery Walker to found the Doves Press in 1901. Alongside the Kelmscott, Ashendene and Vale presses it is considered one of the cornerstones of the Golden Age of Private Press, drawing heavily on the spirit of the Arts & Crafts Movement that flowered at the turn of the century. The two partners, along with Sydney Cockerell, created type based on Nicolas Jenson's Roman type (1470s), named the 'Doves Type.' Unfortunately, the relationship between the two partners deteriorated, resulting in said type being famously dumped in the Thames, where it languished until 2014, when it was rescued and subsequently digitalised. Tidcombe DP5 & DP7.

One of 200 copies on paper, presentation copy from Cobden-Sanderson; small 4to; printed in red & black; original limp vellum lettered in gilt to spine, a fine example. Inscribed on front free end paper: 'To Mr Mason/ with the compliments/ of the printer C-S, Nov, 1911'. J.H. Mason (1875-1951), the chief compositor of the Doves Press. After establishing the Doves Bindery in 1893, Thomas James Cobden-Sanderson partnered with Emery Walker to found the Doves Press in 1901. Alongside the Kelmscott, Ashendene and Vale presses it is considered one of the cornerstones of the Golden Age of Private Press, drawing heavily on the spirit of the Arts & Crafts Movement that flowered at the turn of the century. The two partners, along with Sydney Cockerell, created type based on Nicolas Jenson's Roman type (1470s), named the 'Doves Type.' Unfortunately the relationship between the two partners deteriorated, resulting in said type being famously dumped in the Thames, where it languished until 2014, when it was rescued and subsequently digitalised. Tidcombe DP25.

Softcover. Condition: Sehr gut. "Cleanly printed from first to last" as Cobden-Sanderson remarked on 'Shelley'. A very good copy of 200 printed on paper from a total edition of 212 copies (12 on vellum). ¶ Description: Original full limp vellum with title in gilt on spine. Octavo: 24 × 17 cm; pp. 181. Printed in black and red on Doves handmade paper, top edge cut, fore and lower edges trimmed. Inner pastedown stamped 'The Doves Bindery'. ¶ Ref.: Cobden-Sanderson 1922, 142; Tidcombe DP35 ¶ Condition: Volume is near fine, with clean boards, straight corners without rubbing. Pages tightly bound throughout, pages 102-103 and 106-[107] show some yellow discolourations (verso of gathering g1, obviously an incident during printing), edges slightly spotted. But otherwise, a very good, clean copy. ¶ Notes: The 'Shelley' print was a tough nut to crack. By May 1914, when Shelley was printed, Cobden-Sanderson had recovered from his long illness, but he had become over-sensitive about the quality of the presswork. He blamed his age for the imperfections he thought were there, and for his 'growing inability to energize the Press to its fingertips'. In the end, however, he found the prints were 'on the whole quite "all right" - cleanly printed from first to last' (Tidcombe, 2002). It is all the more surprising, given Cobden-Sanderson's pedantry, that a copy with such a paper defect should have come into circulation at all. ¶.

Hardcover. Condition: Near Fine. No Jacket. One of 225 copies on paper. [Colophon]: Officina Columbarum excuderunt T. J. Cobden-Sanderson et Emery Walker textum recensuit J. W. Mackail typos composuit J. H. Mason prelum exercuit H. Gage-Cole XIV Kal. Nov. MDCCCC. Size of the vellum binding: 6 ½ in. x 9 ¼ in. Three blank flyleaves, blank leaf signed: a, with watermark of two doves on a perch & initials: C-S & E W, title page, pp. 1-[33] with colophon at the bottom of p. [33], four blank flyleaves. Bound in full, limp vellum, with the spine gilt lettered: Tacitii Agricola. With the stamp: The Doves Bindery on the lower edge of the back paste-down end-paper. The vellum shows some light age toning. Small book label of American diplomat & scholar, Douglas Maxwell Moffat (1881-1956), on the front paste-down end-paper. The paste-down end-papers show a little buckling to the paper, including slight splitting to the paper from the vellum to the fore-edge of the back paste-down. The lower right corner of p. [33], shows a small imperfection to the paper sheet (paper loss of a one inch triangular section). Latin text. Ransom, Private Presses and Their Books, 1929, p. 250. Doves Press # 1, 225 copies on paper. The first book of the press.

LeatherBound. Condition: New. LeatherBound edition. Condition: New. Reprinted from 1905 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. Pages: 66 As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 66 Language: English.

3 pp. 1 vols. 12mo. Condition: Fine. 3 pp. 1 vols. 12mo. "I was so sorry to ---away without coming to wish you 'good-bye' & hear how you were feeling.

First edition. Two leaves. No wrapper, although Tidcombe mentions copies ''in an unprinted brown wrapper, or in a folded leaf of Doves paper''. In this instance the brown wrapper (splitting at the fold) is printed with the titles for ''Wordsworth's Cosmic Poetry).Fine. Scarce.