Morris William Cockerell (13 results)

Softcover. Condition: Very Good. [32] pp., 8vo, stapled self wrapper. A facsimile of the version that was reprinted in 1934 to celebrate the centenary of the birth of William Morris. Very good; minor foxing on a couple of pages and spine fold a bit toned.

Hardcover. Condition: Near Fine. Sir Edward Coley Burne-Jones (illustrator). 1st Edition. Printed by Robert Hogg. Bound in publisher's original quarter light green paper boards, with white linen spine and black titles to cover. Colophon and printer's device. [iv] + 70 + [1, colophon] + [1, blank] pp.  A reproduction of the Kelmscott edition of 1898, this edition was "Reprinted MCMLXIX by photolithography in the Republic of Ireland at the Irish University Press. T M Mac Glinchey Publisher Robert Hogg Printer." printed in black and red in the Golden type designed by Morris for his press, with 5 pages in the Troy and Chaucer types he designed. Head-title and shoulder-notes in red. The frontispiece, "Psyche Borne off by Zephyrus," designed by Sir Edward Coley Burne-Jones, was engraved by William Morris for a projected edition of The Earthly Paradise in the 1860s and was "touched up" by Robert Catterson-Smith. Rejected ornaments for Love Is Enough. Woodcut borders (4a and 4) to frontispiece and first page of text. One 6-line woodblock initial capital designed by Morris for his press, engraved by William Harcourt Hooper, plus four large, 20-line woodcut initials (designed for the Froissart, but never used).  A few tiny bits of foxing to the cloth spine. Covers most-minimally soiled. Internally pristine. Condition overall: Near Fine.

Wallpaper item is an offprint in a printed folder, 11x8 inches, the article is loose-leaf with a single very large leaf of glazed alkaline paper on which is reproduced several of Morris' wallpaper designs in color, this leaf folded to fit the Floud folder. This item is lightly foxed within, has external spots of heavy foxing. [Plus] The Furneaux is a neat, beautifully produced sewn pamphlet of 31 page in excellent condition, printed by Dolmen Press for the society; unopened signatures, slight edgewear to covers, threads quite sound. [Plus] The letterhead notices are rubricated and total five pages of printed material (society doings) four of which are reproduced from typescript; all are creased, torn and soiled. These items as a scanty lot. The wallpaper wizard block-printed only, and only allowed a couple of machine runs to please an associate who thought machines could execute subtle effects.

Bound in the original wraps, with some edgewear and a few light marks to the covers, some fading to the top edge of the rear cover. Some light splitting to the spine ends. Illustrated with woodcut reproductions after William Morris. A bright 1930s work on the history of William Morris's renowned Kelmscott Press.

Hardcover. Condition: Very Good. Sir Edward Coley Burne-Jones (illustrator). 1st Edition. Printed by William Morris, and sold by the Trustees of the late William Morris at the Kelmscott Press. Bound in publisher's original quarter Holland-backed blue paper boards, with white linen spine and black titles to cover. One of 525 [at ten shillings] paper copies (plus 12 [at two guineas] on vellum). Printed on fine, handmade, Batchelor (with the second version of the Primrose watermark) paper. Uncut, deckled edges. Colophon and the smaller, rectangular printer's device designed by Morris (no. 1). [iv], 70 pp., [1, colophon], [1, blank].  Printed in black and red throughout with the Golden type designed by Morris for his press, with 5 pages in the Troy and Chaucer types he designed. Head-title and shoulder-notes in red.  The frontispiece, "Psyche Borne off by Zephyrus," designed by Sir Edward Coley Burne-Jones, was engraved by William Morris for a projected edition of THE EARTHLY PARADISE in the 1860s and was "touched up" by Robert Catterson-Smith. Rejected ornaments for LOVE IS ENOUGH. Woodcut borders (4a and 4) to frontispiece and first page of text. One 6-line woodblock initial capital designed by Morris for his press, engraved by William Harcourt Hooper, plus four large, 20-line woodcut initials (designed for the Froissart, but never used). This was the last book printed at the Kelmscott Press. It was finished at No. XIV Upper Mall, Hammersmith, in the County of London, on the fourth day of March, MDCCCXCVIII. [Clark Library, Kelmscott and Doves, pp. 62-63. Peterson A53. Ransom, Private Presses, p. 331, no. 53. Sparling 53. Tomkinson, pp. 121-124, no. 53.]  Lacking errata slip.  Light wear and soiling to boards. Corners slightly bumped. Cloth spine in good condition. Mark to letterpress of title (possibly flaw in paper at time of printing). Condition overall: Very Good.

Proofs or Sample Pages from a later reworking [??] of the Philobiblon/LCC School of Arts & Crafts Edition of 1934 ** One large sheet folded to form 16pp each measuring c.25.5 x 16.5 cms, a few light marks, in excellent clean & crisp condition. ** Woodcut portrait of Morris by John Farleigh : & large ten-line dropped calligraphic-style opening letter I. *** Scarce. The original Kelmscott edition was published in 1898 : the Philobiblon / LCC Central School of Arts & Crafts edition of 32pp was originally published in 1934 : see Peterson : Morris in Private Press & Limited Editions, No. 135. **** To order this book, please click the link Ask Bookseller A Question. We can then confirm availability.

hardcover. Condition: fine. Together with a Short Description of the Press by Cockerell & an Annotated List of the Books Printed Thereat. 70pp., beautifully printed in red and black. Thin square 8vo, cloth-backed printed boards, original mylar wrapper. (Irish University Press, 1969). Fine. Photolithographic reprint of the last book printed at the Kelmscott Press, 1898.

Hardcover. Condition: Very Good. Large Paper Edition Second Printing. Quarto. A very good copy in marbled boards with a leather spine. Some rubbing to spine but lettering clear. A clean copy apart from a small ownership inscription. 32pp. Frontispiece of William Morris by John Farleigh. Attractive woodcuts.

Hardcover. Condition: Good. Quarter cloth and paper covered boards in good condition, slightly rubbed and discoloured in places, a little light browning to the endpapers, corner removed from one of the rear blanks, arranged by J.H. Mason and C.L. Pickering with an engraved portrait of Morris by John Farleigh Size: 8vo - over 7¾" - 9¾" tall.

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1898 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: 86 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: 86 Language: English.

An interesting letter, in which Webb sets out his approach to bookplate design. According to his entry in the Oxford DNB, 'By 1899 Webb was in poor health and losing money. His meagre savings were insufficient to build a cottage, so he accepted Caxtons, a four-bedroom sixteenth-century yeoman's house at Worth, near Crawley, Sussex, offered at a selflessly low rental by his friend William Scawen Blunt.' For the context of the present letter, see the letter from Webb to Sydney Cockerell, 1 September 1902, in volume 3 of John Apin's edition of Webb's letters. The present item is 1p, landscape 8vo, and consists of eighteen lines written in a tiny hand in pencil, with a number of ink additions that raise the possibility that it may be a draft. Addressed to 'Dear Mr. Holliday' and signed 'Ph: W.' In fair condition, on worn paper with a block of sunning. Folded into three equal sections by two vertical creases. He begins by stating that on 16 August Sydney Cockerel sent him [in a letter now in the British Library] an extract of one of Holliday's letters to him, beginning 'I suppose we are getting nearer to the time when Philip Webb will be at liberty to think about my book plate'. Webb's reply is: 'Now, & at this time, I can only answer with your word 'nearer' - for there is one in hand (or rather in rough idea) which has to be done before yours, on the principle of "first come, first served".' On the wider question he writes: 'I need scarcely add, that to do anything for you - which I thought passably fit to let go, would please me much; & therefore, I write the following with that not too forlorn hope. Cannot you think of something in your life, or of belongings, or fancy, or fact, which would be a hook on which to hang my [last word underlined] "fancy"? You see - or wd. guess, that I do not like to make such a design which has not some sufficient significance in it - great or small, - as the case may be - and for motive: when I have this it tethers me to some positive instead of a negative course; though I might add to or deduct from my brief according to the demands of decorative art - or my own wilfulness?' He turns to the 'third to be served' with a bookplate, John Feeney, proprietor of the Birmingham Daily Post. In that case 'the spirit is willing but the time and aptitude are but small. There is always a load on my spirit of things undone, when undoing to get into bed 365 nights in the year, so that I long to unship my pack of sin as Bunyan's "Christian" did his. What fellows these Cockerells & Walkers are for getting me into this "slough of despond"!' A postscript refers to 'Catterson Smith & the mace' (explained in John Apin's edition of Webb's letters). See Image.

210 x 150 mm. (8 1/4 x 5 3/4"). 4 p.l. (including two blanks), 70 pp., [1] leaf (colophon). Original holland-backed blue paper boards. WOODCUT ILLUSTRATION BY EDWARD BURNE-JONES of "Pysche Borne off by Zephyrus" ENGRAVED BY WILLIAM MORRIS, elaborate borders around this and first page of text designed and cut by Morris, large decorative woodcut initials, device on last page of text, and one full-page woodcut of ornaments used in the Kelmscott edition of "Love is Enough." Printed in red and black in Golden, Troy, and Chaucer types. With errata slip laid in at title page. Front pastedown with Arts & Crafts-style bookplate of Edmund Bulkley dated 1893; a list of the Kelmscott books in E. W. Buckley's collection, listed by the number assigned to them in this book, recorded in pencil on a translucent piece of paper laid in here. Morris & Cockerell 53; Peterson A-53; Ransom 53; Tomkinson, p. 121. Some wear to lower corners, just a hint of soil to covers, otherwise a very fine copy--exceptionally fresh, clean, and bright internally. Owned by two collectors with a special interest in Morris, this is a very pleasing copy of one of the key Kelmscott Press books, and the last one to be issued by the press. Morris tells us here about his admiration for 15th century printed books, saying that "they were always beautiful by force of the mere typography, even without the added ornament, with which many of them are so lavishly supplied." And he says that "it was the essence of [his] undertaking to produce books which it would be a pleasure to look upon as pieces of printing and arrangement of type." This is the most important contemporaneous source of comment on the founding, operation, and publications of the Kelmscott Press. Peterson quotes Newdigate, who says that this is "one of the three books that every student of English book-production ought to read." The original owner here was American private press collector Edmund Bulkley, who, according to the list laid in at the rear of this volume, owned 42 Kelmscott books. Evidently prepared after Bulkley's death, the list also marks with a "0" the books sold before 1950, and notes at the end the books (including this volume) that remained in the possession of "M A B B." (this might refer to a relation, possibly art collector M. A. B. Bulkley, who bequeathed a Pre-Raphaelite-style painting to the Fitzwilliam Museum in 1996). Bulkley's distinctive bookplate, perhaps created by one of the private presses, is found in a number of press books, which when listed at auction, are in notably fine condition. In 1883, Morris & Company took out a full-page ad in the Official Catalogue of the Boston Foreign Exhibition announcing the appointment of Elliott & Bulkley of 42 East 14th Street, New York City, as U.S. agents for the sale of Morris & Co. "Decorative Manufactures," including wallpaper, fabrics, and "the celebrated Hammersmith carpets made only by Morris & Company." It is tempting to speculate that Edmund Bulkley was associated with this firm, and became aware of the Kelmscott Press via this connection with Morris & Company. Although without additional signs of ownership, our book was later sold as part of the library of Clive Wilmer (1945-2025), English poet and scholar of John Ruskin and William Morris. He wrote and lectured extensively on both men, and from 2009 to 2019 served as Master of The Guild of St. George, a charity for arts, crafts, and the rural economy founded by Ruskin in 1871. The Ruskin Society of North America presented him with a Lifetime Achievement Award in 2023. Copies of this work appear with some regularity in the marketplace, but specimens in attractive condition are becoming increasingly difficult to find. ONE OF 525 COPIES on paper (and 12 on vellum).

Leather Bound. Condition: New. Language: English. Language: English. Presenting an Exquisite Leather-Bound Edition, expertly crafted with Original Natural Leather that gracefully adorns the spine and corners. The allure continues with Golden Leaf Printing that adds a touch of elegance, while Hand Embossing on the rounded spine lends an artistic flair. This masterpiece has been meticulously reprinted in 2024, utilizing the invaluable guidance of the original edition published many years ago in 1898. The contents of this book are presented in classic black and white. Its durability is ensured through a meticulous sewing binding technique, enhancing its longevity. Imprinted on top-tier quality paper. A team of professionals has expertly processed each page, delicately preserving its content without alteration. Due to the vintage nature of these books, every page has been manually restored for legibility. However, in certain instances, occasional blurriness, missing segments, or faint black spots might persist. We sincerely hope for your understanding of the challenges we faced with these books. Recognizing their significance for readers seeking insight into our historical treasure, we've diligently restored and reissued them. Our intention is to offer this valuable resource once again. We eagerly await your feedback, hoping that you'll find it appealing and will generously share your thoughts and recommendations. Lang: - English, Pages: - 84, Print on Demand. If it is a multi-volume set, then it is only a single volume. We are specialised in Customisation of books, if you wish to opt different color leather binding, you may contact us. This service is chargeable. Product Disclaimer: Kindly be informed that, owing to the inherent nature of leather as a natural material, minor discolorations or textural variations may be perceptible. Explore the FOLIO EDITION (12x19 Inches): Available Upon Request. 84 84.