Doves Press (53 results)

Hard Cover. Condition: Very Good+ binding. Octavos. [10], 400; [8], 437, [3], 13, [1] pp., frontises, plates. Facsimile. In publisher's cloth. A bright, fresh copy with only trivial shelfwear; clean throughout. Originally issued in 1926, this is a very nice reprint of the journals of one of the great printers and bookbinders active during the Arts and Crafts movement. Appended to the end of Volume II is a facsimile reprint of the John Henry Nash edition of Cobden-Sanderson's essay, The Ideal Book, or Book Beautiful.…

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. Aufgrund der neuen PPWR-Regelung zur Zeit kein Versand in EU-Länder. Due to PPWR no delivery to EU-countries.…

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.

cloth, dust jacket. small 4to. cloth, dust jacket. 272 pages. First edition. Fine in near fine jacket. This highly-researched work is the most authoritative account of the first and most famous private press of the 20th century - The Doves Press. Starting its operation in the wake of William Morris, the Doves Press became a major influence in the development of modern book design. Marianne Tidcombe reveals the intriguing story of the cutting of the famous Doves Type, the printing of Paradise Lost, Paradise Regained, and The English Bible. Also included is the saga of Cobden-Sanderson's short and stormy partnership with Emery Walker. Recounted in detail, this blusterous relationship ultimately lead to a final episode where Cobden-Sanderson throws the Doves type into the River Thames to prevent it from falling into Walker's hands after his death. A detailed, descriptive bibliography of all the books and papers printed at the Doves Press along with a list of all ephemeral items is provided. Richly illustrated with 18 color and 124 black-and-white illustrations. Marianne Tidcombe has spent over thirty years researching the Doves Press. She is also the author of Women Bookbinders 1880-1920 (Oak Knoll Press 1996). Doves Press (illustrator). …

Soft cover. Condition: Very Good. 1st Edition, Limited Edition. The First edition, second issue, of a scarce item, printed by Ward Ritchie for Alice Millard for her exhibition of Doves Press books in 1933. The two issues, according to the Ritchie checklist, consisted of one of 125 copies, with a later reprint of 50 copies (as per The Ward Ritchie Press and Anderson, Ritchie, & Simon, p. 70). The first issue is 9 3/16 x 5 13/16," that is a bit smaller than the present issue. It is printed on machine-made wove paper and bound in blue or gray wrappers. According to the checklist, this second issue consisted of fifty copies. The handmade laid paper of this second issue is a more expensive variety than that used in the first issue. In the first issue, the colophon bears the statement, "125 copies printed by Ward Ritchie. South Pasadena, California. March 11, 1933." In the present second issue, the colophon simply says: Printed by Ward Ritchie, South Pasadena, Calif. Cream-coloured wrappers, printed with the phrase "Order Touched with Delight" in red. . Octavo . Doves Press device in red on title-page and large red decorative initial on page 5. Text throughout mostly in black with red section headings. Printed on handmade laid paper. Wrappers lightly age marked but otherwise in Very Good++ or better condition. Edges untrimmed. Internally the odd few spots and light creasing but otherwise clean. A nice copy of a fragile early Ward Ritchie printing. Loosely laid in is a small printed note-card from Mrs George Madison Millard in which she thanks a (?) Mr Jackson. ' a trifling acknowledgement of the great pleasure which your books have given to me.' Ward Ritchie (1905-1996) was a very young man when he printed this, and the place of publication is in South Pasadena, where Ritchie's childhood home was located. It would not be long before his publications would bear the place name of Los Angeles instead. He has noted in several places that he finished printing this catalogue during the March 10, 1933 Long Beach earthquake. The opening of Alice Millard's exhibition was the next day, March 11, and he delivered the catalogues just hours before it started. According to Ritchie, she found some problems with the printing of the catalogue and asked him to produce a second issue. Housed in a custom card chemise and a Secol archival folder. A scarce publication. Signed by Author(s).…

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 '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 '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.…

1p., 12mo. In good condition, lightly-aged. He has 'given consideration to the following MSS.': 'THE WEB OF FATE by M. Garahan | ANTONY IN LOVE [by] C. E. Rose | THE NIGHT MOTH [by] Amy Miller'. As he cannot make any offer for their publication he is returning the manuscripts forthwith.

First separate edition. Scarce ephemeral printing from the Doves press, reprinting a manifesto by Cobden-Sanderson arguing for the ethical, unified, and artistic development of the modern city. G.S.A. Tomkinson notes in his bibliography of principal modern presses, "About 300 copies" were printed. This copy inscribed by one of the most influential printers and designers of the arts and crafts movement, and who helped redefine fine printing for the generations following. Signed material from Cobden-Sanderson is quite uncommon. . 24x17cm, [5]pp including printed inner front wrapper. Inscribed by Cobden-Sanderson "To Winifred. C.-S." on the front wrapper. Bifolium leaf laid in printed, brown paper wraps. Light horizontal crease, some edge wear. Near fine. …

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).…

A Doves Press publication comprising poems by William Wordsworth, almost all of which were composed between the years 1798-1807. 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. One of 200 copies on paper; small 4to; printed in red & black, bookplate of C.W.S. Goodger to front pastedown; original limp vellum, spine lettered in gilt, boards bowed and spotted; 230, [1] pp. Provenance: C.W.S. Goodger (bookplate). …

One of 250 copies, (a further 15 copies were printed on vellum). Printed in red and black throughout with four large capital letters, two full page, designed by Edward Johnston and engraved by Noel Rooke and Eric Gill. Sm. 4to., original vellum backed, blue holland paper covered boards, signed 'The Doves Bindery' on the lower turn-in, gilt lettering to spine. Housed in a later cloth slipcase. An extraordinarily crisp and bright copy. Booklabel of the collector David Rose.…

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).…

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).…

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.…

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.…

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. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. 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.

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.

Limited to about 300 copies. 8vo. [4] pp, single sheet folded. Loose as issued in original printed wrappers. A fine copy of a scarce Doves Press publication. One of a series of small Doves Press pamphlets, grouped alongside related pieces. "On a Passage in Julius Caesar." was Cobden-Sanderson writing publicly about a specific textual crux in the play. These were minor pamphlet productions by Cobden-Sanderson, printed in the final years of the press (c. 1913-1916) in connection with his deep engagement with Shakespearean text and punctuation. (Tidcombe "The Doves Press" DPL4).…

ONE OF 250 COPIES. 9 1/2 x 6 3/4" 1 p.l., 12 pp. Original holland-backed blue-gray boards (stamp-signed The Doves Bindery to the rear pastedown), printed title. Printed in red and black. Page four with one correction in red ink, initialed "C. S." Front pastedown with Henry Young & Sons, Liverpool stamp. Rear flyleaf with Newbegins, San Francisco bookseller's ticket. Tidcombe DP-27; Tomkinson, p. 57. Edges of boards somewhat browned, spine with a few areas of discoloration, corners a bit rubbed, but the fragile binding with no appreciable wear; fine internally. This is the second full-length catalogue put out by the Doves Press, recording their publications through 1911. As in the 1908 catalogue raisonné, this work includes remarks by Cobden-Sanderson about his approach, emphasis, and motivation. He begins by saying that his press was founded in 1900 "to attack the problem of pure typography, . . . keeping always in view the principle laid down in 'The Book Beautiful' that 'the whole duty of typography is to communicate to the imagination, without loss by the way, the thought or image intended to be conveyed by the author.'" Tidcombe notes that the British Library copy has the same correction as ours, initialled by Cobden-Sanderson. The lovely Doves typeface stands out on the bright, clean paper here, and the binding is well preserved, with none of the fraying that so often affects the cloth spine.…

The Doves Bible, the finest output of the press and among the finest achievements of typography, one of 500 sets on handmade paper. This is the copy of Hearst Cartle, the residence satirized as Xanadu in Citizen Kane (1941). Its owner, the newspaper magnate William Randolph Hearst, provided Orson Welles with the model for Charles Foster Kane. Situated in San Simeon, California, the castle was constructed from 1919 to 1947 in collaboration between Hearst (1863-1951) and the architect Julia Morgan. Welles's unflattering portrayal of Hearst provoked attempts to sabotage the film, explored in the documentary The Battle Over Citizen Kane (1996). This set appeared in the sale of Hearst's library through Parke Benet in 1938. The shelf labels of Hearst Castle appear on the rear free endpapers recto. In contrast to Hearst's opulence, this binding presents a restrained aesthetic entirely appropriate for the Doves Bible, reserving more ornate decoration for the doublures. The binder, Henry Stikeman, trained under the renowned American bookbinder William Matthews and soon himself rose to pre-eminence in the last decades of the 19th century. Much of the Stikeman bindery's production was for high-end publisher's sets and in later years he established his trade bindery in New York. "The Doves Bible and the Kelmscott Chaucer stand side by side upon the highest peak of typographical accomplishment, utterly dissimilar yet with the same element of greatness incontestable. The great red initial 'I' that dominates and yet fits exactly the opening page of Genesis in the Doves Bible is a pattern for all time of complexity reduced to the minimum of simplicity. When it is said that they approach dangerously near to absolute perfection, everything has been said" (Ransom). Tidcombe notes that foxing appears on the sheets of early volumes of the Bible, "although fortunately not the opening page". Cobden-Sanderson was asked about this condition issue in 1920 and noted that it was "due to a misadventure in the drying of the sheets long ago, when the Bible was being printed" (cited in Tidcombe, p. 45). Ransom, p. 56; Tidcombe DP6. 5 vols, quarto (331 x 228 mm). Doves type printed in black with red initials by Edward Johnston, on handmade paper. Bound without publisher's 6 blank leaves at front of vols 3-4 and end of vol. 5. Near-contemporary dark red morocco by Stikeman & Co., New York, spines lettered in gilt, raised bands with gilt dotted roll and foliate finials, concentric gilt frames thickly bordering compartments and covers, gilt rule to board edges, gilt rules and floral roll to turn-ins, dark blue morocco doublures with fillet and floral panels incorporating onlaid petals in red and green, red silk moiré free endpapers, top edges gilt, others trimmed. Bindings bright, couple of gentle surface scratches to covers, a few marks to fore edges, foxing to initial leaves of vol. 1 as usual (see note), occasional light foxing elsewhere, mostly marginal. A near-fine set.…

237 x 167 mm. (9 3/8 x 6 5/8"). 96 pp. Publisher's vellum-backed blue-gray boards, flat spine with gilt lettering. With frontispiece silverpoint portrait of T. J. Cobden-Sanderson by A. Legros. Printed in red and black. Front pastedown with book label of Norman J. Sondheim. Tidcombe DP-40; Tomkinson, p. 59. A touch of browning to edges of boards, light shelfwear to tail edge, a handful of creased corners in the text, otherwise very fine. This is the sought-after final book and the most complete catalogue raisonné issued by the Doves Press, containing press co-founder T. J. Cobden-Sanderson's "Hail and Farewell" in which he recounts the establishment and purpose of the press, and the "Consecratio" in which he consigns the Doves Press Fount of Type to the River Thames. In addition to listings of the press' publicationsboth in chronological order and as annotated descriptions arranged by categoriesthe volume contains Cobden-Sanderson's 1891 "Address to the Art Worker's Guild," his letters to the editors of the Westminster Gazette and The Times of London, his notes on the press' editions of Shakespeare's Julius Caesar and Shelley's poetry, some advertisements issued for works of the press, a list of previous catalogues raisonnés (there were six), and an Epitaph: "Here lies the Poet / Who saw life's future / As he saw its dawn; / Cloud-obscured its / Limits, but midmost / Bright: / God's great Creation, / The Poet's Vision. / Be you it, he said, / And died." The Doves Press was founded in 1900 by Thomas James Cobden-Sanderson (1840-1922) and Emery Walker (1851-1933) to produce their ideal of the "Book Beautiful." Over the next 16 years, they produced 51 titles in which they demonstrated that printing with plain type (designed by Walker) that is well set and with good margins could produce notable work. As Cave says, the Doves Press books, "completely without ornament or illustration, . . . depended for their beauty almost entirely on the clarity of the type, the excellence of the layout, and the perfection of the presswork." After the partnership ended (acrimoniously) and this finale had been printed, Cobden-Sanderson threw Walker's beautiful type into the Thames, so it could never be used by anyone else. This copy was formerly owned by Pennsylvania businessman Norman J. Sondheim (1914-2011), an avid collector of private press books. ONE OF 150 COPIES on paper (and 10 on vellum). …

260 x 202 mm. (10 1/8 x 8"). Contained in an envelope addressed to Edgar S. Oppenheimer (see below) from the Chiswick Bookshop, postmarked January 20, 1950. See Tidcombe, The Doves Press, pp. 74- 81; Reminiscences of Newell Sill Jenkins, p. 400. In excellent condition, surprisingly without tears or soiling. This small collection of Doves Press material, which includes a manuscript letter from Cobden-Sanderson to the husband of a former student, recalls for us a fond connection between the pre-eminent English bookbinder of the period and an aspiring one, and provides a glimpse into the sunset days of Cobden-Sanderson's career. It consists of the letter (approximately 250 words long), a typed transcript of the letter (the letter being one which poses the challenge to legibility frequently seen in Cobden-Sandersons' penmanship), the original envelope (addressed in Cobden-Sanderson's hand), a Doves Press receipt, a pencilled list of purchases, and, most important, rubbings of the two bindings made for deluxe Doves vellum-printed books that are at the center of the correspondence. The receipt records the sale of copies of the Doves Press Shelley and Keats, both printed on vellum, to Dr. T. Leslie Shear (1880-1945) as well as paper copies of "The Prelude," Goethe's "Gedichte," and a Doves Press "Catalogue Raisonné." The total bill came to the considerable sum of £88 4s (about $420 at the time), with £73 10s going for the two finely bound vellum books. The four pages of rubbings are for the bindings on the Keats and Shelley volumes, as recorded in Tidcombe (see "The Dove's Bindery" Nos. 779 and 780). Shear, our buyer, was an archaeologist best known for his excavations of the Athenian agora and the city of Corinth. At the time of this purchase, he was teaching Greek at Columbia University, and later went on to be a Professor of Classical Archaeology at Princeton for 25 years. Although the letter here is addressed to "My dear Leslie," the most important connection between Cobden-Sanderson and the Shears was through the professor's wife, Nora Jenkins Shear (1872-1927), an artist, later an archaeologist with her husband--and an aspiring bookbinder. As the unmarried Nora Jenkins, she had been one of a significant group of women, many of them American, allowed into (and able to afford) the elite bookbinding course offered by Cobden-Sanderson in his Hammersmith studio during the final decade of the 19th and first decade of the 20th centuries (for example, Evelyn Hunter Nordhoff, Emily Preston, Ellen Gates Starr). According to her father's memoirs, Nora attended the course at the urging of her decorative arts professors in Paris, but never seriously pursued bookbinding, preferring to focus her energies on archaeology. However, she formed a personal friendship with Cobden-Sanderson during her time in London: the two maintained a correspondence lasting over 15 years, and several books with personal inscriptions to Nora from Cobden-Sanderson are retained in libraries or have appeared on the market (see, for example, Tidcomb DP 8, DPE 89). She owned one of only 25 copies of the Cobden-Sanderson print "In Bookbinding, then, as in Other Crafts" (Tidcombe DPE 83), which now resides at the Bancroft Library. In the present cordial letter, in which the writer refers to Nora as "R." (a nickname or inside joke?), Cobden-Sanderson says that he looks forward to an upcoming letter from Nora and to a visit from the Shears, during which they would pick up their purchases: "I will keep watch on your books against your soon coming." This piece of correspondence and associated receipt, dated 13 March 1917, are highly representative of the period at the end of Cobden-Sanderson's career. The "Catalogue Raisonné" purchased by the Shears was the final printing of the press, and the Shelley and Keats were among the last, if not the very last, copies sold directly by Cobden-Sanderson. We know this because he wrote to bookseller Thomas Bain on April 5, 1917 that "all.…