Ashendene press (50 Ergebnisse)

In-8 - br. Vente publique le 18 nov. 2014. 60 numéros, nomb. ill. en couleurs.

Foreword and description of all 60 lots in English with a short summary in German.

Oktn 4°. Pressendrucke.

folio. full white pigskin with seven raised bands. (ii), 363+(1) pages. Printed in an edition limited to 280 copies by St. John Hornby at the Ashendene Press, of which this is one of 260 copies printed on paper (Hornby, no.37; Franklin, pp.170-173). There were an additional 20 copies printed on vellum. Lacking the scarce publisher's slipcase. Bookplate of 'Livingston' on the front pastedown. Minor discoloration to boards at edges, joints and spine a bit rubbed; minor wear at edges, touches of toning; very good. Translated from the original Greek by Benjamin Jowett. The last folio format book printed by the Ashendene Press, Thucydides' History of the Peloponnesian War is both a triumphantly imaginative work and one that begins a series of operatic death knells for St. John Hornby's "hobby of [his] leisure hours" (Franklin, Ashendene Press 171). Using four different typographic sources, the design once again demonstrates Hornby's great skill in typography, and his penchant for printing books in which he could be creative with the format, including the elaborate marginal notes. This aspect has been, quite rightly, acknowledged as adding additional interest to this volume. Hornby himself states that the majority of the typography is in black Ptolemy type, with the abundant red side-notes printed in Blado Italic, and the three-line red initials beginning each chapter and the opening lines of each of the eight books from the alphabet designed by Eric Gill for "Utopia." were designed by Graily Hewitt. These elements have been described as being done by Hewitt with "habitual finesse" (Franklin, Ashendene Press 171). Hornby himself admitted that the character of the side notes was unique, even within his own oeuvre: "This is the first time since my third book issued in 1896 that I have used for side or shoulder notes a type other than that of the book itself" (Franklin, Ashendene Press171). Contemporary correspondents of Hornby lavished their praise on him for the Thucydides, calling the composition and press work "immaculate as usual," and the work as a whole "one of the greatest masterpieces of your Press - a very fine page, the measure not too wide for so large a type and the side notes most beautiful and effective" (Franklin, Ashendene Press172). Franklin adds his voice to those others, saying "for pleasure in the look of a page, the openings of each Book in the Thucydides are the happiest climax of Ashendene printing" (Franklin, Private Presses57). Like the copies at the Bridwell Library at Southern Methodist University, "the printer's mark at the end is imperfectly black" (Franklin, Ashendene Press172). full white pigskin with seven raised bands. Ashendene Press (illustrator).…

folio. full original dark green morocco by the W.H. Smith bindery (signed on lower turn-ins), five raised bands, gilt lettering on spine. (xiii), 268; (x), 257 pages. Two Volumes. The text in the 1620 English translation of Thomas Shelton. Printed in an edition limited to 225 copies (Ashendene no.36; Ransom 39; Franklin p.57, 196, Tomkinson p.8 of Ashendene section). There were 20 copies printed on vellum. Small bookseller's ticket of Philip C. Duschnes on the rear pastedown. Minor fading to the spine of Part I. Very minor rubbing along the hinges of both volumes. Very minor shelfwear. Overall a lovely set. Set in (new) Ptolemy types and finely printed on Batchelor hand made paper in red and black in two columns. This is the first use of the Ashendene Ptolemy type, and, as such, it represents a new direction for the press in its final years of activity. In Franklins eyes, Emery Walker's new typeface, derived from the font used for the 1482 Ptolemy printed in Ulm, was "a much lighter, more elegant letter than the earlier fount," the denser Subiaco. "And with the use of this less dictatorial typeface, the printer could cast away a little of his restraint in planning whatever lay outside it. So in Don Quixote we find at last an alphabet of open and freely drawn decorative initial letters, designed by Louise Powell and shadowing something of Kelmscott Press taste from years before." The Ptolemy face was used just three more times before the Ashendene Press closed. Includes decorated initials and borders by Louise Powell who was an early student of Edward Johnston. The blocks were then cut by W.M. Quick & Geo. H. Ford. The first page of each book is embellished with elaborate engraved marginal decorations. Considered by many to be the preferred book of the Ashendene large folios, and constitutes the longest Ashendene publication while also being the most expensive one to produce. full original dark green morocco by the W.H. Smith bindery (signed on lower turn-ins), five raised bands, gilt lettering on spine. Ashendene Press (illustrator).…

Zustand: Wie neu. Folio (34 cm wide x 42.5 cm high). 216 pages. Hardcover / Binding in full green morocco with lettering and Dante's head as bronze sculpture per inlet to front cover. Binding by Douglas Cockerell, signed "WHS", during his directorship of W.H.Smith & Son (1905 - 1914). The manuscript is on excellent paper, watermarked O.W.P. & A.C.L. [O.W. Paper & Arts Co. Ltd., established by English painter John William North (1842-1924) in 1895]. The binding rubbed and with some small damages, in need of some minor restoration but overall still very good. The interior, the paper and the artwork all in excellent condition besides one of the juxtaposed photographs (Filippina Lippo) removed from the manuscript with some residue of the photograph remaining and some of the photographs with some dogears and minimal discoloration. All the original artwork in spectacular and fresh condition. The manuscript is a spectacular find and the quality of its execution is of utmost interest for any lover of rare books, manuscripts and special bindings. The circle of Douglas Cockerell, his involvement in one of the most beautiful books ever printed: the Ashendene Press Dante, as well as Cockerell being the binder of this unique manuscript, the fantastic paper used for the manuscript by one of the idyllist movement's central figures, John William North, and the wonderful Dante - theme of the manuscript with illuminated poetry from the Divine Comedy and the unique style of collage art, lets us rightfully dream that the anonymous composer of the manuscript was an important or at least peripheral member to either the Arts and Crafts Movement, the Ashendene Press or it was someone who worked in the style of the calligraphy schools that were inspired by William Morris or even earlier epigones like Owen Jones.…

With three engravings by Gwen Raverat. One of 1000 copies. Printed in Jan van Krimpen's 'Romanee' type on Barcham Green handmade paper. Large 8vo., [19 x 26.5 cms], original printed paper wrappers with a reproduction in red and black of Irving Robbins's bookplate designed by Mallette Dean. A very good, fresh copy. Published for an exhibition of the Ashendene Press Collection given to Stanford University by Irving W. Robbins. Jr.…

98, (1) Seiten. Mit zahlreichen meist farbigen u. ganzseitigen Abbildungen. Farbig illustrierte Originalbroschur. (Geringe Gebrauchsspuren. etwas wellig). 27x19,5 cm * Die Ashendene Press war eine englische private Buchdruckerei, die 1894 von Charles Harry St. John Hornby (1867-1946) gegründet wurde und bis 1935 bestand. Hornby nannte seine Druckerei nach seinem Geburtsort Ashendene, Bayford, Hertshire, wo er am 25. Juni 1867 als Sohn von Reverend Charles Edward Hornby und Harriet Catherine Turton geboren war.[1] Anfangs stellte er eine Handpresse im Haus seiner Eltern auf und druckte nur für seine Freunde. Sein erstes Buch war ,The journal of Joseph Hornby" (1895), ein Tagebuch seines Großvaters, das dieser während einer Reise nach Paris 1815 geführt hatte. Er begann unter den einfachsten Bedingungen - er benutzte geborgte Typen und nur mit der Hilfe seines Bruders und seiner Schwestern lernte Hornby das Drucker-Handwerk ,in der Schule der Erfahrung". In Hertfordshire druckte er 10 Bücher. Die Presse blieb dort bis 1899, als er wegen seiner Heirat nach London in das Shelley House im Stadtteil Chelsea umzog. Für den Druck von drei Gedichten von John Milton (1896) und für zwei Aufsätze von Francis Bacon: Of building and gardens (1897), die nur in 16 Exemplaren gedruckt wurden, benutzte Hornby sein eigenes Papier, das von Messrs. Batchelor hergestellt und mit einem besonderen Wasserzeichen versehen wurde. Die Ashendene Press bestand bis 1935 mit Unterbrechungen in den Jahren 1915 bis 1920, die durch den Ersten Weltkrieg bedingt waren. Wie bei den anderen Privatdruckereien in England prägten Hornbys persönlicher literarischer Geschmack und seine künstlerischen Vorlieben das Aussehen und den Inhalt seiner Bücher. Zusammen mit der Kelmscott Press und der Doves Press, leistete die Ashendene Press einen bedeutenden Anteil an der englischen Buchkunstreform, konzentrierte sich auf das traditionelle Druckerhandwerk und produzierte qualitätsvolle Bücher als Protest gegen die maschinelle minderwertige Herstellung. Die im Jahre 1909 erschienene Dante-Ausgabe der Ashendene Press ist in ihrer buchkünstlerischen Leistung und Gestaltung vergleichbar mit der Chaucer-Ausgabe der Kelmscott Press. Ebenso zählen die Ausgaben von Le Morte D'Arthur (1913), Il Decameron (1920), Don Quixote (1927/28) und Thucydides (1930) zu seinen Meisterwerken. Hornby konnte Emery Walker als Mitarbeiter für die Presse gewinnen, der mit Hilfe von Sydney C. Cockerell, dem früheren Sekretär der Kelmscott Press, die Subiaco-Type entwarf. Für die Entwicklung der Subiaco-Type, einer Antiqua, orientierte sich Walker an einer frühen Type aus dem 15. Jahrhundert, die die Drucker Konrad Sweynheim (+ 1477) und Arnold Pannartz in Subiaco bei Rom genutzt hatten. Nach dem Vorbild der 1482 in Ulm erschienenen Ausgabe Cosmographia von Ptolemäus gedruckt von Lienhart Holl, wurde eine zweite Type für die Ashendene Press entwickelt, die Ptolemy-Type. Hornby beschäftigte Mitarbeiter von Rang und Namen, wie z. B. Edward Johnston, Graily Hewitt, Eric Gill, die Buchbinderin Katherine Adams und Sydney Cockerells Bruder, Douglas Cockerell. In den 35 Jahren ihres Bestehens gab die Ashendene Press, in der alle Ausgaben per Hand gesetzt wurden, 40 Bücher heraus.(Quelle Wikipedia) Sprache: Deutsch Gewicht in Gramm: 300.…

Soft cover. Zustand: Fine. Set in Centaur and Arrighi Italic and printed in red and black on specially watermarked hand-made paper. Blue printed wrappers, sewn with silk thread. A fine copy. The marriage service of the C.J. St. John Hornby's second son presents an interesting puzzle. Though not recorded by Franklin, or listed in the bibliography it was produced - and well produced - as an imitation of the Order of Service for his first son's wedding in 1928. There is, however, no known instance of the use of these typefaces at the Ashendene Press and it was certainly printed elsewhere.…

Zustand: Very Good. 1st Edition, Limited Edition. Set in Ptolemy type and printed in red and black on Batchelor hand-made paper, Sewn into blue paper wrappers (slight fading), titled and decorated in black. A very good copy. Reprinted from pp.167-77 of the Bibliography, but preceded by a short list of Minor Pieces with the exception of the Queen's Dolls' House book.…

Soft cover. Zustand: Fine. 1st Edition. One of about 400 copies printed in red and black in Subiaco type on specially watermarked Batchelor handmade paper. Colophon in red. Blue printed wrappers, sewn with green silk thread. A fine copy. Attractively and representatively printed in the famous `Subiaco' fount designed by Emery Walker and Sydney Cockerell and specially cast for the Press. One literal has been corrected in red ink in Hornby's hand and a few prices lightly added in pencil. (Ashendene Minor Pieces 10).…

Illustrated copy - Price Two Shillings. Green printed wraps, 40pp., 8vo, wear and tear, contents shaky (staples rusting), wraps worn and sl. soiled, contents partly stained but clear and complete. St J. Hornby's copy. INSCRIBED by St John Hornby "StJH" on front on which is stamped (some faded) "Please do not use in the press before 6 Nov. 1931" i.e advanced review copy for distinguished customer. Hornby has annotated several items usually with the price and the purchaser (First item recorded, "Annals of Sporting and Fancy Gazette", Wills, £115; then a complete set of "Bentley's Miscellany", Freeman, £50; Latin Bible, Maggs, £40; Combe's "Dr Syntax", Mitchell, £140, and so on). The entry for The complete Pickwick in numbers attracts the most annotation. Hornby recalls the price of the Jerome Kern copy in 1929, £5600 [only two years before], that of the McGeorge copy, £1400, 1928 ("prob. finest & purest copy for years"); and the price this copy made, Bowden, £1480 "started £200 / Sotheran underbidder" - presumably aware of the impact on prices of the Crash. Perhaps St J. Hornby is displaying a collector's interest in certain items and/or recording information which bears on his collection. Another hand has written St J. Hornby on [p.40]. …

A near-fine set of this superb private press edition, undoubtedly one of Ashendene's finest achievements. The font Ptolemy was created for this work and was based on the type used in Ptolemy's Geographia of 1482. Limited edition, one of only 225 copies; 2 vols, folio (43.5 x 32 cm); printed in red and black, decorative initials and borders designed by Louise Powell and cut on wood by W.M. Quick & Geo. H. Ford, original glazing wrapper partially preserved and inserted to rear of vol. 2, occasional spot or smudge, else unmarked internally; full dark green pigskin by W. H. Smith & Son, spine lettered in gilt in six compartments, text untrimmed, a touch of rubbing to extremities, spine a little faded, mild offsetting to endpapers, a few faint scuffs or marks to boards, otherwise a near-fine copy; xiii, [1], 268, [1]; x, 256, [1]pp. Hornby 36.…

Limp Vellum. Zustand: Fine. Limited edition. Also 24691 AALL. 4to. 182 pp. Hand-illuminated initial letters in red, blue and green by Graily Hewitt and his assistants, Ida D. Henstock and Helen E. Hinkley. (4to), original orange vellum with orange ties, gilt spine title; printed in black and red; in publisher's marbled paper slipcase. Finely printed at the press of St. John Hornby in 'Subiaco' type. One of 328 copies on paper of which 250 were for sale. This is a fine, bright copy, without the sunning of the spine usually found. Ashendene Bibliography, No. 90. .…

Hardback. Zustand: Very Good. First Thus. [2], 182pp. Publisher's original orange vellum, bound by W. H. Smith with their pallet to lower turn in, title, publisher, and date in gilt to spine, silk ties. Hint of fading to spine, but otherwise bright and clean. Housed in a Cockerell paper covered card slipcase. One of three hundred and twenty-eight copies on paper, with twenty-five on vellum. "Printed in Subiaco type, with chapter-headings and shoulder-notes in red. All the coloured initials are filled in by hand in red, blue, or green by Graily Hewitt & his two assistants" (Hornby, 'A Descriptive Bibliography of the Books Printed at The Ashendene Press MDCCCCV-MCMXXXV', page 90). Hornby himself thought it was "one of the most satisfactory of the books of the Press" (ibid, page 92). Ashendene XXXVIII Size: 4to.…

Folio. (408 x 282 mm). [188 leaves; pp. 363, (i)]. Printed title and 'Book I' to 'Book X' of Thucydides' text in English in red and black in Ptolemy type, chapter summaries in Blado marginal, chapter summaries and opening lines by Graily Hewitt in red, the red initials from the alphabet designed by Eric Gill for the Ashendene Utopia, final leaf with colophon and woodcut Ashendene device verso. Original publisher's full white pigskin by W. H. Smith & Son, Ltd. with their signature gilt to rear turn-in, banded spine with gilt title in six compartments. The Ashendene Thucydides, the final folio from the press. From the edition limited to 280 copies, with this one of 260 on Batchelor 'knight in armour' Ashendene paper; 20 copies on vellum were also issued. The Greek text was translated by Benjamin Jowett, Regius Professor of Greek at Oxford. The book is printed in Ptolemy with Blado marginal chapter summaries - the first time St John Hornby had used a different type for side-notes. This copy includes the original purchaser's invoice, a single leaf (216 x 150 mm) headed 'THE ASHENDENE PRESS / SHELLEY HOUSE, CHELSEA' and made out to Mr. Jacques Steinitz / Warren, Ohio'. Signed by St. John Hornby, with two pence stamp and dated May 27th, 1931, the cost is detailed as 15 Guineas. [Ashendene XXXVII].…

Hardcover. Zustand: Fine in very good binding. First Edition. Hardcover. Number 134 of 390 copies, numbered and signed by St J. Hornby. This magnificent bibliography of one of the greatest British private presses, along with Kelmscott and Doves, was the last book to be to be issued by the press. It was finished in February, 1935, forty years after the first book printed at the Press. This first title was The Journal of Joseph Hornby, published in February 1895. Joseph Hornby was the printer's grandfather. The printer and proprietor of the press, the businessman C.H. St John Hornby (1867 - 1946), wrote an interesting foreword to the bibliography. He describes the beginnings of his Press, noting that the Press was the hobby of his leisure hours, where he worked entirely alone for many years. This, he explains, is why the output of the Press was so small in comparison with the Kelmscott and Doves Presses. He notes that William Morris greatly influenced him, and that he treasured the memory of spending an afternoon with him at Hammersmith in 1895. Hornby discusses in detail his efforts to use the finest papers, inks, and types. He finishes with a note saying that while he did not collate the volumes, he wrote all of the detailed descriptions. He also noted that the many specimen pages are not actual facsimiles, but accurate resettings of the originals. For each book in the bibliography there is a copy of the colophon, the collation, and the description giving the type of paper, the colors of ink, the presence of large initials designed by Graily Hewitt, and the number of copies printed and for what price they were for sale. Following the bibliographic listings of the books, there is a section with images of wood engravings done for the press from drawings by Charles M. Gere, Margaret Gere, R.Catterson Smith, Gwendolen Raverat and Noel Rooke. This section is followed by a section with specimens of initial letters designed for the press by Graily Hewitt, Eric Gill and Louise Powell, that includes printer's marks, water marks, and examples of title-pages. There is also a section with illustrations of some of the bindings of the press including both special bindings and the bindings of issue. Finally, there is a section showing specimens of the founts of type used by the press and a chronological list of the books printed at the press, the number of copies printed, and the prices of those offered for subscription. After the colophon, two sheets of errata are present, one bound in and one loosely inserted. Bound in brown leather with gilt titling to the spine with five raised bands and the mark of the press in gold on the front cover. Some rubbing to the spine and corners of the covers, and a few light marks to both front and back covers. There is light browning to the fore-edges of the free endpapers in the front and rear, and offsetting to the free endpapers and pastedowns. Text pages are in fine condition. No slipcase. Measures 9.25 x 13.25 inches. 172 pages. PRI/092124. Signed.…

First edition. Quarto. pp iv, 163. One of 290 copies. 26 wood engravings by Gwendolen Raverat; initials filled in by hand by Graily Hewitt. Translated into French by J. Amyot. Edited and corrected, with an Introduction, by Paul-Louis Curier. Vellum-backed turquoise boards stamped with gilt vignette. Printed by C.H. St John Hornby in Ptolemy type on Batchelor handmade paper, with title and marginal notes printed in red.Fine in very good indeed sturdy patterned board slipcase with a bit of rubbing to the corners. …

One of only 85 copies on Batchelor's 'Bugle' handmade paper, 6 printed on vellum. Printed in black on red in Subiaco type with initials printed in blue and red throughout. 8vo., original linen backed blue paper covered boards, title printed in black on the upper cover. A spine darkened with a little wear to top headcap, boards with some fading and a few small marks, very edges a little darkened but otherwise very good. This was the first time these 11 poems had been published in book form, and here they were only printed in a small number for private circulation. Hornby writes in his bibliography that with his own hand these were "printed during the first few months of the Great War.for private circulation only, 50 copies going to the Poet Laureate & the remainder being distributed by myself.When the book was finished the Press was closed down until the beginning of 1920". With a presentation letter to 'Milford', presumably Bridges's publisher and head of the Oxford University Press Humphrey Milford, from Robert Bridges at Chilswell (the house he built), dated July 1st 1915, so this is one of the 50 copies printed for the poet. He writes "I said I would send you a copy of Hornby's book. Here it is. Pls accept it with my compts.". With the ex libris of Constance Maria Josepha Hugh Smith and Violet Rawson, Lady Leconfield of Petworth House.…

Translated into English by Thomas Shelton (first printed in 1612 and 1620). Two parts in two volumes. Each one of 225 copies on Batchelor paper, 20 copies were printed on vellum. Decorative initials and borders designed by Louise Powell and cut on wood by W.M. Quick & Geo. H. Ford. Chapter headings, shoulder notes and some of the text in red. Printed in double columns in the new Ptolemy type. Folio, handsomely bound in original full white pigskin by the W.H. Smith bindery (signed on lower turn-ins, gilt lettering on spine. Bindings with a few marks and eight small circular green marks to lower board of the first volume, spines a little darkened but generally an extremely good, clean and crisp set. The first Ashendene to be printed in Hornby's new Ptolemy type which was adpated from the type used by F. Holle of Ulm for the Geographia of Ptolemaeus in 1482. The Kelmscott-like decorated initials and borders cut on wood are very handsome and suit the work well. Emery call the book 'truly magnificent' adding 'Mrs Powell's initials and ornaments are very harmonious and virile". A very good copy of a statuesque book. …

Hardcover. First edition thus. 163 pages. 25.5 x 18.5 cm. Limited edition of 310 copies. Printed in red and black in Ptolemy type. Initials hand-colored in blue by Graily Hewitt, wood-engravings throughout by Gwen Raverat. HORNBY XXXIX. This edition was initially printed in 1931, the ink used was very slow to dry, the sheets packed before the ink dried. When discovered at the binder Hornsby decided to destroy the entire edition. Text in French. Fresh, very bright copy. Orig. vellum-backed green boards, white corner tips, gilt device front cover. Near fine.…

A lovely copy of the fine Ashendene Press edition of the first printed book on fishing. 8vo, edition limited to 150 copies of which 125 for sale, [2], 48 pp., original vellum gilt, stext slightly wavy else a very good example. Provenance: Bernulf Clegg, bookplate to front pastedown. Clegg corresponded with Oscar Wilde about Wilde's famous 'all art is quite useless' quote from The Picture of Dorian Grey. Ashendene Bibliography, XVI.…

Vellum. Zustand: Very Good. Limited Edition. One of 150 copies on paper, from an overall edition of 175, printed in red and black, initials supplied in blue by Graily Hewitt.Books measures 19.5x13.5.cm.62,[1]pp. Bound in original publishers full vellum, yapped edges, gilt title lettering on spine. Vellum lightly dust marked, very light vain/crease lining, slightly sprung. Generally a very good binding. Internally, pages in very good near fine condition. A nice copy. Size: 8vo. …

Hardcover. Zustand: Fine. Chelsea, Ashendene Press, 1932 (first thus). Tall quarto, [ii] (title leaf, verso blank), 182 pages printed in red and black Subiaco type, with woodcut initials printed in green and blue, and a large woodcut printer's device printed in red on the colophon. Original overlapping orange vellum by W.H. Smith & Son, lettered in gilt on the spine, with silk ribbon ties; all edges uncut; vellum slightly rubbed at the edges; essentially a fine copy. A superb example of private press printing. This is one of 328 copies on Batchelor handmade paper, with a further 25 copies printed on vellum. The colophon reads in full: 'Printed by C.H. St J. Hornby at the Ashendene Press, Shelley House, Chelsea, with the help of H. Gage-Cole, Pressman, and A.J. Fisk, Compositor, and finished in July of the year 1932. The initial letters in colour are by the hands of Graily Hewitt & his assistants Ida D. Henstock and Helen E. Hinkley'. Ecclesiasticus, a collection of ethical teachings attributed to Joshua ben Sirach, is one of the biblical apocrypha. The text of this edition was collated by A.D. Power using the Authorised and Revised versions, with reference to versions in Greek, Syriac, Latin and the original Hebrew.…

Hardcover. Zustand: Very Good. Set in Subiaco type and printed on Batchelor paper with the Bugle water-mark of the same size and quality as used for the folio Dante. One of 105 copies printed on paper (plus 6 on vellum). With the exception of the 'Tavola' the book is printed in double column. The headings of each 'Gionata' are printed in blue capitals, those of each Novella in red.They were specially designed for this book by Graily Hewitt. A beautiful long-tailed 'Q' begins the 'Introduzione'. Bound in in blue boards, linen back, printed spine label. There is a small waterstain to the head of the upper board. Morocco book label of Richard Montgomery Gilchrist Potter. A very good copy indeed. As will be seen from the colophon the printing of this book was begun in 1913. Before it was half way through the work was interrupted by the world war, which necessitated the closing down of the Press until January. 1920. 'A curiously neglected volume, excelling simply in design and colour and therefore characteristic of the best post-war Ashendene folios.' (Franklin) Yates Thompson; 'It shall be placed on a choice shelf between Jenson's Plutarch and the Florence Homer of 1488.' Dyson Perrins says: 'it is perfect in all respects - press-work & format - there could be no better example of Printing.' (132) Bella Costa Greene from the Morgan Library: 'it is the finest piece of modern bookmaking and printing that I have ever seen.'.…

Printed in red and black. "Printed for Private Circulation Only". Folio, 4 leaves, bound in original blue printed wrappers with small wood engraving on the front cover. Chelsea, The Ashendene Press. This is a reprint of pp. 168-177 of the Ashendene Press Bibliography, preceded by a short list of Minor Pieces. Slightly cockled, but a very good copy. Franklin, The Ashendene Press (1986), p.232.…

Chelsea, Ashendene Press, 1935 / Nachdruck, San Francisco, 1976. 31 : 22 cm. 224 S. mit 36 Faksimile-Tafeln, wie im Original in Schwarz, Rot, Blau u. Grün gedruckt. . Orig.-Leinen. Faksimile-Ausgabe in nur 375 Exemplaren. - Die Tafelabb. nach speziell für die Presse entworfenen Einbänden, Holzschnitten, Initialen etc. - Eine Gesamtdarstellung über die Arbeit der bedeutenden Presse von der Gründung bis zu ihrem Ende. - Tadelloses Exemplar. - DABEI: "Post-Publication Note" mit Korrekturen und Information + Liste des Antiquariaat De Zilverdistel "The Ashendene Press". 1995/96. 3 Bl., 38 S. Typoskript mit Verkaufspreisen. Sprache: en. …

Printed in red and black. "Printed for Private Circulation Only". Folio, 4 leaves, bound in original blue printed wrappers with small wood engraving on the front cover, uncut in a later blue cloth case with gilt lettering. Chelsea, The Ashendene Press. This is a specially produced reprint of pp.168-177 of the Ashendene Press Bibliography, preceded by a short list of Minor Pieces. An excellent copy. Pencil annotations by a former owner noting which books were in his or her collection, listing the Roxburghe Club title as well as altering a limitation.Franklin, The Ashendene Press, p.232.…

First edition, first impression. The colophon notes that this handlist was printed in December 1925 "on the thirty-first anniversary of the founding of the Press". The Ashendene Press, described as "the zenith of superb bookmaking", was founded by C. H. St John Hornby in 1895 (Ransom, p. 95). It closed in 1935. C H. St John Hornby, "Minor Pieces", X. Will Ransom, Private Presses and their Books, 1929. Octavo. Printed in Subiaco type in red and black. Original blue paper wrappers, front cover lettered in black. Wrappers a little toned: a near-fine copy.…

Fine presentation copy of the first Ashendene edition, one of the 328 copies in this limited edition, noted for its coloured initial letters by Graily Hewitt, Ida Henstock and Helen Hinkley. Laid in is a note from Arnold D Power (the driving force behind this publication) to 'Harmsworth' (surely the newspaper tycoon), presenting this copy of the book on 11 April, 1933. Printed in read and black Subiaco type on Batchelor handmade paper, a small folio in size, bound in delicious orange limp vellum, spine in gilt, edges untrimmed and four silk orange ties. Binding signed in gilt to lower turn in 'W H Smith and Son'. Housed in a slipcase with Cockerell paper covering. A lovely copy. Please contact Christian White Rare Books Ltd for more information or images of this item.…