Craig (Edward Gordon)
the engravings tipped to thin card, the first printed in sepia and marked 'hors serie' by the artist, with his note '6th state, proof - not clean enough, EGC', the second signed with initials in 1908, the latter with some faint spots to margins, the last item (Fletcher & Rood A18a) richly illustrated with the work of various illustrators, including a folding plate, image sizes: 5.5. x 15 cm; 7 x 7 cm approx; pp. 73, [7], 8vo, the last item in original wrappers, the pages untrimmed and uncut, very good condition overall. All three items are inscribed by Gordon Craig to Rosemary Goad, the first female director at Faber and Faber, in 1952.
(Fleece Press.) ROGERSON (Ian)
ONE OF 241 COPIES (from an overall edition of 300 copies) printed in black and blue on Zerkall mouldmade paper, 35 wood-engravings by Agnes Miller Parker (a number full-page) and a colour-printed painting in tempera, tipped in reproductions of 3 photographs and a pencil drawing of the artist by William McCance, pp. 88, oblong imperial 8vo, original quarter blue buckram-backed blue, maroon, pink and gold wave-patterned paste-paper boards by Claire Maziarczyk, backstrip with printed label, untrimmed, small bookplate of Felix Dennis, slipcase with printed label, fine. The copy of poet and publisher (inter alia) Felix Dennis. Pages 73-88 contain a useful bibliography of the artist's work: 'Books illustrated by Agnes Miller Parker'.
(Bawden.) HOWES (Justin)
FIRST EDITION, ONE OF 70 HARDBACK COPIES, Bawden illustrations throughout, pp. xv, [i], 132, small folio, publisher's half navy cloth, boards with Bawden patterned paper in red and white, upper board with label printed in blue, top edge of upper board slightly faded, very good. Signed by Edward Bawden on the title-page - visibly a late signature, the artist dying the following year. A very useful reference work.
Eliot (George)
with half-titles, advertisement catalogue at end of vol. one, and single page ad at end of vol. two, tipped-in ad for new two vol. edition of Scenes of Clerical Life at beginning of first vol., occasional faint spots, pp. [viii], 410, vi ads; [viii], 398, ii ad, 8vo, publisher's blind-stamped terracotta cloth, decorative gilt spines, boards with a few faint marks, board corners and backstrip edges lightly rubbed, very good. An attractive, readable copy of Eliot's most poignant work.
Trollope (Anthony)
FIRST EDITION, first issue, with half-titles, 2 wood-engraved frontispieces and 38 further plates, publisher's catalogue discarded, two plates with short marginal nicks, one nearly repaired, several plates faintly spotted, as often, pp. [ii], viii, 320; [ii], viii, 320, 8vo, contemporary half green polished calf with marbled boards, spine with raised bands, decorative gilt panels and gilt-lettered red morocco labels, marbled edges, board edges slightly worn, very good. Although the illustration 'And then they all marched out etc.' appears opposite p.73 (its position in the second issue), the comma is still present in its caption, which appears to indicate first issue. (Sadleir. Trollope 13)
(Wood Lea Press.) (BAWDEN.) Greenwood (Jeremy)
ONE OF 450 COPIES (from an edition of 505 copies), over 200 illustrations with the majority colour-printed, title-page printed in red and black, title signed with inscription by the author, pp. 134, oblong folio, original quarter blue linen by Woolnough bookbinders, boards covered with Bawden-designed patterned paper of white and black-outlinedleaves on grey ground, backstrip lettered in gilt, slipcase, fine. Inscription reads: 'for Peter with gratitude for the assistance which helped to make the book it is. Jeremy'. 'Bawden was a marvellously inventive artist who worked in many media. The same strengths underlie all his work, in particular his extraordinary sense of observation and his ability to transform his own, very personal vision of the world, into an appealing visual language.' (Moncrieff, Introduction)
(Fleece Press.) WHITE (Ethelbert)
ONE OF 200 SETS with pulls of two wood engravings, 'Forest Pool' and 'A Corner of the Forest' printed on Rivoli paper, text in Van Dijck set at The Rocket Press, printed on Zerkall mould-made paper, title-page and headings printed in red, 2 tipped in reproductions of photographs, 6 wood-engravings, including the front cover dustjacket engraving by White, mounted engravings: each 30 x 24.5cm, book: pp. 24, 4to, original plain white card, untrimmed, dustjacket, together with the prints in a yellow buckram, patterned-paper lined clamshell box with a printed label on the back and a wood-engraved print laid onto the front cover, near fine. Two beautifully printed woodland wood engravings from a founding member of the English Wood Engraving Society, who was often to be found in the summers of the early 1920s, travelling around Surrey and Sussex with his wife in their horse-drawn gypsy caravan.
(Fleece Press.) (BAWDEN.) YORKE (Malcolm)
ONE OF 575 COPIES (from an overall edition of 750 copies), designed and set by Simon Lawrence, printed on PhoeniXmotion Xantur paper, with numerous colour illustrations, with tipped-in addendum. pp. 287, folio, original quarter orange linen by Smith Settle, boards with design of apple-green leaves interspersed with roundels, an adaptation of Bawden's 'Pigeon and Clocktower' pattern, backstrip with printed label, endpapers with Bawden-designed map of the town of Great Bardfield, green slipcase, fine. 'It is pleasing to be able to mark the Press' twenty-fifth anniversary with this book' (Simon Lawrence, colophon). A wonderful history of Edward Bawden, his circle and his times, containing well over 200 Bawden illustrations, the great majority reproduced in colour, and including several tipped-in plates. With keepsake printed in red and black with engraved vignette to commemorate Dr. Malcolm Yorke's talk about Bawden on 3.12.2005; and press slip regarding change of binding loosely inserted.
(Bawden). BLISS (Douglas Percy)
FIRST EDITION, 154/200 DELUXE COPIES, designed by John and Griselda Lewis and printed by the Scholar Press on Glastonbury Book Antique laid paper, numerous reproductions of illustrations by Bawden, including several in colour, pp. 200, folio, original quarter black morocco, boards covered with Bawden-designed patterned paper with black, chocolate-brown and white vertically stripes, backstrip gilt lettered, top edge gilt, colour-printed proof pull by Bawden, numbered, signed and titled by him 'Nekayah, Rasselas & Imlac', in orange card folder, matching orange slipcase, fine. Written by Bliss, a fellow student with Ravilious, of Bawden's at the Royal College of Art, for whom Bawden provided unrivalled access to his archives, paintings, photographs, prints, books and letters.
(Whittington Press.) LAWRENCE (S.T.E.)
206/250 COPIES printed on Zerkall mould-made paper, wood-engraved frontispiece by Leo Wyatt printed in brown, and 37 further wood-engravings, each printed on a separate leaf with the engraver's name printed in brown beneath, title-page printed in black and brown, pp. [92], royal 8vo, original quarter mid brown cloth with vertical gilt rule and marbled sides, backstrip lettered in gilt, top edge gilt, others untrimmed, board slipcase, fine. A beautifully printed record of the leading engravers of the period, including Monica Poole, John Craig and Richard Shirley-Smith, in addition to perennial favourites, Gertrude Hermes, Blair Hughes-Stanton, Reynolds Stone etc.
(Lake District.) HANSON (Neil, Editor)
4/10 COPIES (from an edition of 160 copies) signed by all of the 41 contributors and accompanied by a cloth-and-board portfolio containing an original watercolour by Ian Gardner, and original drawing by David Nash, etchings by Norman Ackroyd and Donald Wilkinson, and photographic prints by Fay Godwin and John A. Davies, all of this additional material signed by the respective artists, the book itself richly illustrated throughout, pp. 223, 4to, original deluxe binding by Faith Shannon of dark green goatskin, partially cut away to expose boards with maps of the region covered by translucent vellum, pale green edges, the book and portfolio together in slipcase, fine. A wonderful tribute to the region, here in its most limited version with exclusive additional material. The majority of the work in the book itself is previously unpublished: the text includes work by Ian Hamilton Finlay, Fleur Adcock, Melvyn Bragg, Roy Fisher, Tony Harrison, Glyn Hughes, Frances Horovitz, Norman Nicholson, Jon Silkin, et al.; the visual material from Andy Goldsworthy, Fay Godwin, Norman Ackroyd, Paul Joyce, David Nash, Hamish Fulton, et al.
Clarke (Susanna)
FIRST EDITION, pp. [x], 782, [3], 8vo, original black boards, backstrip lettered in blind, edges black, white page-marker, black dustjacket with a touch of rubbing at extremities and a light crease at foot of backstrip panel, very good. Signed by the author to the title-page.
(Gill.) DONNE (John)
FIRST GILL EDITION, ONE OF 550 COPIES signed by Gill, 'Eric G', printed in Gill's Bunyan typeface (the first work using this typeface) on Barcham Green handmade paper, 4 full-page wood-engravings and clover colophon device by Gill, front endpaper with contemporary ownership inscription, pp. xiv, [26], 8vo, original black cloth, upper board gilt-lettered with clover device repeated in gilt, backstrip gilt-lettered, upper board with faint vertical stains, slightly affecting a few letters, backstrip slightly faded, good. (Gill, Corey & MacKenzie 298)
(Gogmagog Press.) Cox (Morris)
32/50 COPIES signed by Cox, text printed on Japanese Kozu-shi (mulberry) paper, 8 reverse/direct offset colour prints using gesso, card, leaves mounted on partially incised lino, f. 49 (doubled leaves joined at fore-edge), 8vo, original Japanese anime ('net-mesh') paper-covered black boards with 3 pink circles on upper board, pink Japanese handmade paper backstrip printed in black, tairei ('full-ceremonial') crimson endpapers, a few spots at upper and lower edges, acetate wrapper, very good. In addition to Cox' playful, organic nature-printed intaglios in which his experimental approach creates striking effects, the settings of the text are unusual: the first section, 25 alphabetical alliterative poems, each with a red poster-style initial, the next section, playing with a palindromic form, the final section, a cacophony of patterns in type. (Gogmagog: Chambers, Franklin, Tucker, no.22)
(Haslewood Books.) DEFOE (Daniel)
506/500 COPIES (from an overall edition of 535 copies) printed by Glasgow University Press on all-rag paper, title-page vignette and 8 full-page hand-coloured pochoir illustrations by McKnight Kauffer, pp. [ii], 332, [iv], 4to, original slate-blue cloth, front board with silver-stamped McKnight Kauffer design, backstrip lettered in silver, board edges and backstrip slightly faded, endpapers lightly toned, untrimmed, good. The Times described McKnight Kauffer's illustrations as 'these very fresh and brilliant plates' while T.S. Eliot, an earlier collaborator, wrote 'I like the illustrations immensely, and some of them have a quality which reminds me of Chirico'. (Tucker 26)
(Artists' Choice Editions.) ROSSETTI (Christina)
31/42 COPIES (from an overall edition of 240 copies) signed by the illustrator, printed on Zerkall paper at the Libanus Press, title with wood-engraved vignette, 11 further engravings within the text and before and after the colophon, pp. [24], [1], royal 8vo, original quarter black morocco by The Fine Bindery, russet boards with an overall design repeating title-page vignette, matching endpapers, fore- and lower edges untrimmed, with 2 prints (title-page vignette & a goblin embrace) numbered and signed in pencil by the artist in apple-green folder, slipcase, fine. The deluxe issue of this edition, among those judged by the FPBA as one of the year's best.
Lawrence (D.H.)
FIRST EDITION, 348/450 COPIES (from an overall edition of 500 copies) printed on Holland Van Gelder Zonen paper by Harry and Caresse Crosby, vivid frontispiece watercolour reproduction with tissue-guard, 4 watercolour reproduction vignettes in red and green, title printed in red and black, internally clean, pp. [vi], 95, [v], small 4to, original white wrappers with title printed in black and red, backstrip slightly spotted, rough-trimmed with a few spots at top and fore-edge, original glassine jacket, backstrip torn with loss, good. The first appearance of the complete text, generally considered to be Lawrence's last significant work of fiction, in this edition, privately published for subscribers only, the first part having previously appeared in February, 1928 in The Forum magazine. The contentious title, which, though Lawrence vehemently denied any double-entendre, was unlikely to find a favourable reception amongst a broader audience, was changed to The Man Who Died for later unlimited editions. (Roberts A50a: Minkoff A27)
XXXV/50 COPIES signed by the artist (from an edition of 310 copies), 30 wood engravings and 3 line drawings, some printed in purple, orange, blue or red, many hand-coloured, these special copies with separate prints of 3 wood engravings in tipped-in wallet to rear pastedown, pp. vii, 33, small 4to, original quarter red cloth, the boards with a patterned Marx design, printed label to upper board and backstrip, edges untrimmed, prospectus laid in at rear, fine. The Press's first book, hand-coloured. The majority of the illustrations were originally made for Chatto & Windus's 'Zodiac Book of Nursery Rhymes' in 1938.
136/275 COPIES, 5 full-page illustrations, 14 initials and 3 head-and tail-pieces by Bray, all wood-engraved and hand-coloured, pp. 34, crown 8vo, original quarter cream vellum with sides of Cockerell marbled paper, backstrip gilt lettered, gilt blocked press-device to vellum of upper board, some minor spotting to vellum, t.e.g., others untrimmed, slightly later gift inscription to flyleaf, matching marbled board slipcase (this with slight wear at opening and a couple of minor marks), very good. The inaugural work of the Press of H.W. Bray and R.A. Maynard, established following their departure from Gregynog.
various sizes and formats, mixed condition, as listed. The recipients were the British diplomat, ambassador to Italy, and his wife, the art historian Virginia Surtees; a copy of a letter to Clarke from the V & A Museum, in 1968, thanks him for the loan of materials (including the present work) for an exhibition, accompanied by a listing of the items. [With:] A Living Theatre: The Gordon Craig School, The Arena Goldoni, The Mask. Setting fort the Aims and Objects of the Movement and Showing by Many Illustrations the City of Florence, The Arena. Florence, 1913, SECOND EDITION, various engravings both historical and contemporary (including by Craig), one folding plate, pp. 73, [7], 8vo, original wrappers, slightly frayed at head of darkened backstrip, crease to top corner of front, edges untrimmed, good (Fletcher & Rood A18c)
title with original etched illustration by Tanner, two further full-page original etchings with tissue-guards, each signed in pencil by the artist, latter section with numerous reproduction of etchings by the leaders of the field, pp. [ii], 81, [iii], [iv, original plates], 81 [plates], folio original quarter blue morocco, gilt lettering to backstrip, fawn linen-covered boards, top edge gilt, small Norwegian design dealer's ticket to pastedown, board edges very slightly rubbed, near fine. An extensive survey including an A-Z biography list, an analysis of the etching market and a more subjective reflection on collecting, with reproductions of etchings by Muirhead Bone, G.V. Sutherland, Frank Brangwyn, F.S Hayden, P. Drury, D.Y Cameron etc. and with three original etchings by Robin Tanner: Wren and Primroses (title-page); Full Moon; The Old Road.