A COMPLETE COLLECTION OF THE PRESS

BRUCE MARSHALL RARE BOOKS Bruce Marshall Rare Books Foyers,20 Gretton Road,Gotherington, Cheltenham,Glos.GL52 9QU,England,UK Tel:+44 (0)1242 672997 e-mail: [email protected] website:www.marshallrarebooks.com ALTHOUGH ALMOST ALL OF THE TITLES ARE BEAUTIFULLY PRINTED A COMPLETE COLLECTION OF THE BOOKS PUBLISHED BY THE AND ILLUSTRATED, IT IS THE KELMSCOTT CHAUCER THAT SET A NEW KELMSCOTT PRESS, INCLUDING ORIGINAL ART, DESIGNS, PROOFS AND BENCHMARK FOR BOOK DESIGN AT THE END OF THE 19TH CENTURY. EPHEMERA BY , EDWARD BURNE JONES, ROBERT IT WAS ALSO THE LAST GREAT PROJECT OF MORRIS’S LIFE, BRINGING CATTERSON-SMITH AND OTHERS. EACH TITLE HOUSED IN A HALF TOGETHER TWO OF HIS PASSIONS. FIRST, HIS LOVE OF MEDIAEVAL VELLUM GILT CASE. LITERATURE, WHICH INSPIRED THE SUBJECTS AND STYLE OF MUCH THE KELMSCOTT PRESS WAS THE FINEST OF THE VICTORIAN OF HIS OWN WRITING. SECOND, HIS SOCIALIST PHILOSOPHY, WHICH PRINTING HOUSES WITH SOME OF THE MOST BEAUTIFUL DESIGNS LOOKED BACK TO A TIME BEFORE MECHANISATION AND DIVISION OF AND TYPE FACES DISPLAYED IN ANY PRINTED BOOK. LABOUR HAD DESTROYED, AS HE SAW IT, THE PERSONAL FULFILMENT AND SOCIAL FUNCTION OF MEANINGFUL WORK. WILLIAM MORRIS FOUNDED THE KELMSCOTT PRESS TOWARDS THE THE BOOK WAS EXCEPTIONAL IN ITS AMBITIOUS NUMBER OF END OF HIS LIFE IN 1891. HE WANTED TO REVIVE THE SKILLS OF ILLUSTRATIONS AND RICH DECORATIVE BORDERS. “IF WE LIVE TO HAND PRINTING, WHICH MECHANISATION HAD DESTROYED, AND FINISH IT,” BURNE-JONES WROTE, “IT WILL BE LIKE A POCKET RESTORE THE QUALITY ACHIEVED BY THE PIONEERS OF PRINTING IN CATHEDRAL – SO FULL OF DESIGN AND I THINK MORRIS THE THE 15TH CENTURY. GREATEST MASTER OF ORNAMENT IN THE WORLD.” WILLIAM MORRIS WAS BORN INTO A PROSPEROUS MIDDLE- MEANWHILE, EDWARD BURNE-JONES SPENT EVERY SUNDAY ON CLASS FAMILY IN WALTHAMSTOW, THEN A VILLAGE JUST OUTSIDE THE BOOK’S 87 ILLUSTRATIONS, WORKING LONG HOURS IN FEAR LONDON, IN 1834. HE WENT UP TO UNIVERSITY TO THAT MORRIS MIGHT DIE BEFORE THE PROJECT WAS FINISHED. HIS STUDY THEOLOGY, BUT LOST HIS FAITH AND LEFT BEFORE TAKING PENCIL DRAWINGS WERE PAINTED OVER IN CHINESE WHITE AND HIS DEGREE. AT OXFORD, HOWEVER, HE MET EDWARD BURNE- INDIAN INK BY R. CATTERSON-SMITH, WHOSE INTERPRETIVE ROLE JONES, AND BOTH JOINED A GROUP OF YOUNG MEN WHO CALLED IS OFTEN OVERLOOKED. THE BLACK-AND-WHITE DESIGNS WERE THEN THEMSELVES THE PRE-RAPHAELITES AND CIRCLED AROUND THE TRANSFERRED TO WOODEN BLOCKS AND ENGRAVED BY WILLIAM CHARISMATIC FIGURE OF GABRIEL DANTE ROSSETTI, POET AND HARCOURT HOOPER. ON SEEING THE FIRST COPY, BURNE-JONES ARTIST. WROTE: “WHEN MORRIS AND I WERE LITTLE CHAPS AT OXFORD, IF FRUSTRATED BY THE DECLINING STANDARD OF PRINTED BOOK, SUCH A BOOK HAD COME OUT THEN WE SHOULD HAVE JUST GONE MORRIS SET UP HIS OWN PRESS “WITH THE HOPE OF PRODUCING OFF OUR HEADS, BUT WE HAVE MADE AT THE END OF OUR DAYS THE SOME WHICH WOULD HAVE A DEFINITE CLAIM TO BEAUTY.FOR HIS VERY THING WE WOULD HAVE MADE THEN IF WE COULD.” BURNE- BOOK MAKING HE LOOKED BACK TO THE EARLIEST DAYS OF PRINTING JONES PENNED A HUMOROUS CARTOON TO MARK THE OCCASION, IN THE 15TH CENTURY. AT THE BEGINNING OF 1891, PREMISES WERE SHOWING HIMSELF AND MORRIS EMBRACED BY THE GHOST OF FOUND AT 16 UPPER MALL, HAMMERSMITH. WILLIAM BOWDEN WAS CHAUCER, WHO PRONOUNCES A GRATEFUL BENEDICTION: “BLESS YE ENGAGED AS MASTER-PRINTER TO RUN THE PRACTICAL SIDE OF THE MY CHILDREN.” BUSINESS. MORRIS NAMED THE PRESS AFTER , INCLUDED IN THIS COLLECTION ARE SOME OF THE WORKING HIS BELOVED COUNTRY HOUSE IN WILTSHIRE. DESIGNS THAT CATTERSON-SMITH AND BURNE-JONES USED FOR THE CHAUCER, LOVE IS ENOUGH, SYR YSEMBRACE AND SIRE DEGREVAUNT. 1. MORRIS, WILLIAM. T  S    G P. W  . MORRIS, WILLIAM. P    W. W  W H B A C   L  L M    A    M. T  K P, U  M, H , . U. W  W M. T  K P, U  M, H , . O       ,        (   ).  .  . ; . [] + . G    B  O       ,       (  ). -    (    )   P .  .  . ; . [] + . G    B  - . F-   ,        (    )   P . ;  -     . O   F-   ,    . ;     . P A . O   ;     . P A . THE WORK INCLUDES SOME NEW POEMS BY MORRIS AND SOME THAT APPEARED T         K P     IN MAGAZINES.   .W C          M ’                 . . BLUNT, WILFRID SCAWEN. T  L-L  S  4. RUSKIN, JOHN. THE NATURE OF GOTHIC. A CHAPTER OF THE P  W S B    L-S  STONES OF VENICE. BY JOHN RUSKIN. THE KELMSCOTT PRESS, UPPER MALL, P    S A  N R   T  F T HAMMERSMITH, 1892.  M S O    E E. L MDCCCXCII. T  K P, U  M, H , . ONE OF 500 COPIES ON PAPER (NO VELLUM COPIES). 20.8 X 14.8 X 2.3 CM; PP. (4) + V + 128. ON BATCHELOR HAND-MADE PAPER. ONE FULL PAGE WOODCUT BORDER, AND NUMEROUS WOODCUT INITIALS. ORIGINAL FULL ONE OF 300 COPIES ON PAPER (NO VELLUM COPIES). 20.9 X 14.7 X 3 CM; PP. [4] STIFF VELLUM; TITLE GILT ON SPINE. PETERSON A4. + VIII + 252. GOLDEN TYPE ON BATCHELOR HAND-MADE PAPER WITH (THE FIRST THE NATURE OF GOTHIC...A CHAPTER FROM ‘THE STONES OF VENICE’... VERSION OF) THE PRIMROSE WATERMARK. TWO FULL-PAGE WOODCUT BORDERS, MORRIS, WHO WROTE THE PREFACE PRAISING THE BOOK, HAD BEEN GREATLY AND NUMEROUS WOODCUT INITIALS; SHOULDER-TITLES INITITALS, STANZA AND INSPIRED BY RUSKIN WHOSE WRITINGS INFLUENCED THE ARTS AND CRAFTS SONNET NUMBERS, AND SOME LINES IN RED. ORIGINAL FULL STIFF VELLUM, TITLE MOVEMENT BY ENCOURAGING THE REVIVAL OF GOTHIC ART AND ARCHITECTURE. GILT ON SPINE. PETERSON A3. BLUNT STYLED HIMSELF AS PROTEUS AND INTENDED TO INCLUDE A NEW POEM ‘NATALIA’S RESURRECTION’, BUT THIS WAS WITHDRAWN DUE TO A LETTER FROM MARGARET TALBOT CONCERNED ABOUT THE POEM AND HER HUSBAND DISCOVERING THROUGH THE POEM HER RELATIONSHIP WITH BLUNT. 5. MORRIS, WILLIAM. THE DEFENCE OF GUENEVERE, AND OTHER 6. MORRIS,WILLIAM. A DREAM OF JOHN BALL AND A KING’S LESSON. POEMS. BY WILLIAM MORRIS. THE KELMSCOTT PRESS, UPPER MALL, BY WILLIAM MORRIS. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, HAMMERSMITH, 1892. 1892.

ONE OF 300 COPIES ON PAPER, OF A TOTAL EDITION OF 310 (10 ON VELLUM). 21 ONE OF 300 COPIES ON PAPER, OF A TOTAL EDITION OF 311 (11 ON VELLUM). X 15 X 2 CM; PP. [4] + 172. GOLDEN TYPE ON BATCHELOR HAND-MADE PAPER 20.9 X 15.1 X 1.5 CM; PP. [8] + 124. GOLDEN TYPE ON BATCHELOR HAND-MADE WITH (THE FIRST VERSION OF) THE PRIMROSE WATERMARK. TWO FULL-PAGE PAPER WITH (THE FIRST VERSION OF) THE PRIMROSE WATERMARK. WOODCUT WOODCUT CORNER BORDERS, AND NUMEROUS WOODCUT INITIALS; SHOULDER- FRONTISPIECE (BY EDWARD BURNE-JONES) AND TITLE, THREE FULL-PAGE TITLES AND NOTES, SPEAKERS’ NAMES, AND SOME LINES IN RED. ORIGINAL FULL WOODCUT BORDERS, AND NUMEROUS WOODCUT INITIALS; SHOULDER-TITLES AND LIMP VELLUM; GOTHIC CALLIGRAPHIC TITLE ON SPINE. PETERSON A5. A FEW LINES IN RED. ORIGINAL FULL LIMP VELLUM, WITH RED SILK TIES; TITLE ‘THE DEFENCE OF GUENEVERE’, WAS INSPIRED BY ROBERT BROWNING’S GILT ON SPINE. PETERSON A6. PSYCHOLOGICAL DRAMATIC MONOLOGUES AND IS TOLD FROM THE PERSPECTIVE A DREAM OF JOHN BALL IS ABOUT THE GREAT REVOLT OF 1381, OF QUEEN GUENEVERE AS SHE RECOUNTS HER AFFAIR WITH SIR LAUNCELOT IN CONVENTIONALLY, BUT INCORRECTLY, CALLED “THE PEASANTS’ REVOLT”, SINCE A LONG SPEECH OF SELF-VINDICATION. ITS PROMINENCE WITHIN THE COLLECTION FEW OF THE PARTICIPANTS WERE ACTUAL PEASANTS. IT FEATURES THE REBEL LED TO MORRIS’S ONLY SURVIVING EASEL PAINTING, ‘LA BELLE ISEULT’. PRIEST JOHN BALL, WHO WAS ACCUSED OF BEING A LOLLARD. HE IS FAMED FOR HIS QUESTION “WHEN ADAM DELVED AND EVE SPAN, WHO WAS THEN THE GENTLEMAN? 7. VORAGINE, JACOBUS DE. THE GOLDEN LEGEND. [3 VOLS.] THE 8 LEFEVRE, RAOUL. THE RECUYELL OF THE HISTORYES OF TROYE. [3 KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1892. BOOKS IN 2 VOLS.] THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1892.

ONE OF 500 COPIES ON PAPER (NO VELLUM COPIES). VOL. 1: 30.1 X 21.4 X 5.6 CM; PP. XIV + 470. VOL. 2: 30 X 21.5 X 4 CM; PP. [4] + 400. VOL. 3: 30 X ONE OF 300 COPIES ON PAPER, OF A TOTAL EDITION OF 305 (5 ON VELLUM). 21.5 X 4.7 CM; PP. [4] + 424. GOLDEN TYPE ON BATCHELOR HAND-MADE PAPER VOL. 1: 29.9 X 21.2 X 3.4 CM; PP. XVI + 296. VOL. 2: 29.8 X 21.5 X 4.3 CM; WITH THE PRIMROSE WATERMARK. TWO WOODCUT ILLUSTRATIONS (IN VOL. 1, BY PP. 428. TROY TYPE (TABLE OF CONTENTS AND GLOSSARY IN CHAUCER TYPE) ON EDWARD BURNE-JONES) AND TITLE, SIX FULL-PAGE WOODCUT BORDERS (IN VOL. BATCHELOR HAND-MADE PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE 1), WOODCUT CORNER BORDERS, AND NUMEROUS WOODCUT INITIALS. ORIGINAL WATERMARK. WOODCUT TITLE, AND TWO FULL-PAGE WOODCUT BORDERS IN VOL. HOLLAND-BACKED BLUE PAPER BOARDS, TITLE PRINTED ON PAPER SPINE LABEL, 1, ONE IN VOL. 2; HALF, SIDE, AND CORNER WOODCUT BORDERS, AND NUMEROUS SPINES A LITTLE WORN, PETERSON A7. WOODCUT INITIALS; CHAPTER TITLES, ONE POEM, AND EXPLICITS OF THE FIRST ‘THE GOLDEN LEGEND, A MEDIAEVAL COLLECTION OF SAINTS LIVES, HELD GREAT TWO BOOKS IN RED. ORIGINAL FULL LIMP VELLUM, TITLE GILT ON SPINE. APPEAL FOR MORRIS. ELLIS WROTE ‘ AMONG THE BOOKS WHICH SERVE TO PETERSON A8. ILLUSTRATE THE RELIGIOUS LIFE AND MODE OF THOUGHT THAT PREVAILED IN ‘WRITTEN AT THE END OF THE MIDDLE AGES AND DEALING WITH CLASSICAL THE MIDDLE AGES, NONE HOLDS A MORE IMPORTANT PLACE THAN THE ‘LEGEND MYTHOLOGY, IT HAS IN IT NO TOKEN OF THE COMING ‘RENAISSANCE’ BUT IS AUREA.’ PETERSON PURELY MEDIAEVAL. IT IS THE LAST ISSUE OF THAT STORY OF TROY WHICH HAD SUCH A HOLD ON MEN’S IMAGINATIONS; THE STORY BUIT UP FROM RUMOUR OF THE CYCLIC POETS, OF THE HEROIC CITY OF TROY, DEFENDED BY PRIAM, WITH HIS GALLANT SONS, LED BY HECTOR....SURELY THIS IS WELL WORTH READING IF AS ONLY A PIECE OF UNDILUTED MEDIAEVALISM.’MORRIS.

9. MACKAIL, J. W. BIBLIA INNOCENTIUM: BEING THE STORY OF GOD’S 10. CAXTON, WILLIAM [TRANSLATOR]. THE HISTORY OF REYNARD CHOSEN PEOPLE BEFORE THE COMING OF OUR LORD JESUS CHRIST UPON THE FOXE BY WILLIAM MORRIS. THE KELMSCOTT PRESS, UPPER MALL, EARTH, WRITTEN ANEW FOR CHILDREN BY J.W. MACKAIL, SOMETIME FELLOW HAMMERSMITH, 1893. OF BALLIOL COLLEGE, OXFORD. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1892. ONE OF 300 COPIES ON PAPER, OF A TOTAL EDITION OF 310 (10 ON VELLUM). 29 X 20.7 X 2.1 CM; PP. [2] + VI + 164. TROY TYPE (GLOSSARY IN CHAUCER ONE OF 200 COPIES ON PAPER (NO VELLUM COPIES). 21.4 X 15 X 2.6 CM; PP. TYPE) ON BATCHELOR HAND-MADE PAPER WITH (THE SECOND VERSION OF) THE [6] + VIII + 254. GOLDEN TYPE ON BATCHELOR HAND-MADE PAPER WITH (THE PRIMROSE WATERMARK. TWO FULL-PAGE WOODCUT BORDERS AND TITLE, SIDE, SECOND VERSION OF) THE PRIMROSE WATERMARK. FULL-PAGE WOODCUT BORDER, CORNER, AND THREE-QUARTER WOODCUT BORDERS, AND NUMEROUS WOODCUT AND NUMEROUS WOODCUT INITIALS. ORIGINAL FULL STIFF VELLUM; TITLE GILT INITIALS; CHAPTER TITLES AND EXPLICIT IN RED. ORIGINAL FULL LIMP VELLUM, ON SPINE. PETERSON A9. TITLE GILT ON SPINE. PETERSON A10. THE FIRST OCTAVO BOOK ISSUED BY THE PRESS; MORRIS WANTED IT TO BE ‘THIS TRANSLATION OF CAXTON’S IS ONE OF THE VERY BEST OF HIS WORKS AS TO ILLUSTRATED BY BURNE-JONES BUT HE ONLY COMPLETED TWENTY-FIVE DESIGNS STYLE; AND BEING TRANSLATED FROM A KINDRED TONGUE IS DELIGHTFUL AS TO OF THE INTENDED TWO HUNDRED OR SO AND IT WAS THEREFORE ISSUED MERE LANGUAGE. IN ITS RUDE JOVIALITY, AND SIMPLE AND DIRECT DELINEATION WITHOUT ILLUSTRATIONS.. OF CHARACTER, IT IS A THOROUGHLY GOOD REPRESENTATIVE OF THE FAMOUS BEAST EPIC.’ MORRIS 11. SHAKESPEARE, WILLIAM. THE POEMS OF WILLIAM 12. MORRIS, WILLIAM. : OR, AN EPOCH OF REST, SHAKESPEARE, PRINTED AFTER THE ORIGINAL COPIES OF VENUS AND ADONIS, BEING SOME CHAPTERS FROM A UTOPIAN ROMANCE, BY WILLIAM MORRIS. 1593. THE RAPE OF LUCRECE, 1594. SONNETS, 1609. THE LOVER’S COMPLAINT. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1893. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1893.

ONE OF 300 COPIES ON PAPER, OF A TOTAL EDITION OF 310 (10 ON VELLUM). ONE OF 500 COPIES ON PAPER, OF A TOTAL EDITION OF 510 (10 ON VELLUM). 21.1 X 14.8 X 3.1 CM; PP. [8] + 312. GOLDEN TYPE ON BATCHELOR HAND-MADE 21.3 X 15.2 2.3 CM; PP. [8] + 224. GOLDEN TYPE ON BATCHELOR HAND-MADE PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE WATERMARK. WOODCUT PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE WATERMARK. THREE FRONTISPIECE (BY CHARLES M. GERE), TWO FULL-PAGE WOODCUT BORDERS, FULL-PAGE WOODCUT BORDERS, WOODCUT CORNER BORDER, AND NUMEROUS AND NUMEROUS WOODCUT INITIALS; SHOULDER-NOTES AND A FEW LINES IN RED. WOODCUT INITIALS; POEM TITLES, SHOULDER-TITLES, AND SONNET NUMBERS IN ORIGINAL FULL LIMP VELLUM, TITLE GILT ON SPINE. PETERSON A12. RED. ORIGINAL FULL LIMP VELLUM, TITLE GILT ON SPINE. PETERSON A11. WILLIAM MORRIS’S FAMOUS UTOPIAN NOVEL, NEWS FROM NOWHERE, WAS ‘ONE OF THE RAREST BOOKS ISSUED FROM THE PRESS.’COCKERELL WRITTEN IN 1890. MORRIS’S NARRATOR WAKES IN A POST-REVOLUTIONARY MORRIS & ELLIS WERE IN AGREEMENT THAT THE ORIGINAL SPELLING FUTURE IN WHICH THERE IS NO PRIVATE PROPERTY, NO INDUSTRIALISATION, OF MEDIAEVAL AND ELIZABETHAN TEXTS SHOULD BE PRESERVED IN THE NO MONEY, NO CAPITALIST SYSTEM. IN THIS PASTORAL PARADISE, ALL MEMBERS PRODUCTION OF THE BOOKS FROM THE PRESS. ELLIS WROTE IN THE FOREWORD OF SOCIETY WORK CO-OPERATIVELY AND TAKE PLEASURE IN THEIR LABOUR. ‘ AFTER A LAPSE OF ABOUT 300 YEARS SHAKESPEARE’S POEMS ARE IN THIS RELUCTANTLY, THE NARRATOR RETURNS TO HIS OWN TIME, RESOLVED TO MAKE EDITION PRINTED WITH THE ORIGINAL SPELLING.’ THIS FUTURE A REALITY. 13 [LULL, RAMÓN]. THE ORDER OF CHIVALRY. THE KELMSCOTT PRESS, 14. CAVENDISH, GEORGE. THE LIFE OF THOMAS WOLSEY, CARDINAL UPPER MALL, HAMMERSMITH, 1893. ARCHBISHOP OF YORK. WRITTEN BY GEORGE CAVENDISH. THE KELMSCOTT PRESS, UPPER MALL, HAMMER-SMITH, 1893.

ONE OF 225 COPIES ON PAPER, OF A TOTAL EDITION OF 235 (10 ON VELLUM). 20.4 X 14.3 X 1.7 CM; PP. [4] + 152. CHAUCER TYPE ON BATCHELOR HAND-MADE ONE OF 250 COPIES ON PAPER, OF A TOTAL EDITION OF 256 ( 6 ON VELLUM). PAPER WITH (THE FIRST AND SECOND VERSIONS OF) THE PRIMROSE WATERMARK. 20.9 X 14.7 X 3.2 CM; PP. [4] + IV + 288. GOLDEN TYPE ON BATCHELOR HAND- WOODCUT FRONTISPIECE (BY EDWARD BURNE-JONES) AND TITLE, TWO FULL- MADE PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE WATERMARK. FULL- PAGE WOODCUT BORDERS, WOODCUT CORNER BORDERS, AND NUMEROUS PAGE WOODCUT BORDER, AND NUMEROUS WOODCUT INITIALS. ORIGINAL FULL WOODCUT INITIALS; CHAPTER TITLES IN RED. ORIGINAL FULL LIMP VELLUM; TITLE LIMP VELLUM; TITLE GILT ON SPINE. PETERSON A14. GILT ON SPINE. PETERSON A13. “ONE SPECIAL POINT OF INTEREST ABOUT IT IS, THAT IT PRESENTS US WITH “THE PRETTIEST BOOK YET DONE” SYDNEY COCKERELL. THE FIRST SEPARATE BIOGRAPHY IN THE ENGLISH LANGUAGE. BUT FOR IT, WE “THE INCLUSION OF L’ORDENE WAS AN AFTERTHOUGHT; HENCE THE BOOK’S SHOULD HAVE BUT A VERY IMPERFECT IDEA OF ONE OF THE MOST REMARKABLE PECULIAR FORMAT. (THE FIRST PART OF THE VOLUME REPRESENTS THE FINAL FIGURES IN ENGLISH HISTORY. CHRONICLERS, HISTORIANS, AND DRAMATISTS USE OF THE SMALLER FLOWER PAPER.) L’ORDENE WAS INITIALLY TRANSLATED HAVE ALIKE BEEN INDEBTED TO IT IN WRITING OF WOLSEY” MORRIS INTO PROSE BY ELLIS BEFORE MORRIS DECIDED TO RENDER IT IN VERSE.” (PETERSON). IT WAS THE FIRST BOOK PRINTED IN CHAUCER TYPE. 15. [GUILELMUS, ARCHBISHOP OF TYRE]. THE HISTORY 16. MORE, SIR THOMAS. UTOPIA. WRITTEN BY SIR THOMAS MORE. OF GODEFREY OF BOLOYNE AND OF THE CONQUEST OF IHERUSALEM. THE THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1893. KELMSCOTT PRESS, UPPER MALL HAMMER-SMITH, 1893.

ONE OF 300 COPIES ON PAPER, OF A TOTAL EDITION OF 308 (8 ON VELLUM). ONE OF 300 COPIES ON PAPER, OF A TOTAL EDITION OF 306 (6 ON VELLUM). 21 X 14.5 X 3.3 CM; PP. [2] + XIV + 284. CHAUCER TYPE (TRANSCRIPT OF THE 29.1 X 21 X 5 CM; PP. XXIV + 452. TROY TYPE (TABLE OF CONTENTS AND TITLE-PAGE OF THE SECOND EDITION OF ROBINSON’S TRANSLATION IN TROY GLOSSARY IN CHAUCER TYPE) ON BATCHELOR HAND-MADE PAPER WITH THE TYPE) ON BATCHELOR HAND-MADE PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE WATERMARK. TWO FULL-PAGE WOODCUT BORDERS AND TITLE, SIDE, PRIMROSE WATERMARK. TWO FULL-PAGE WOODCUT BORDERS, AND NUMEROUS CORNER, HALF AND THREE-QUARTER WOODCUT BORDERS, AND NUMEROUS WOODCUT INITIALS; HEAD-TITLES, SIDE-NOTES, EXPLICITS, AND SOME LINES IN WOODCUT INITIALS ; CHAPTER TITLES IN RED. ORIGINAL FULL LIMP VELLUM; RED. ORIGINAL FULL LIMP VELLUM, TITLE GILT ON SPINE. PETERSON A16. TITLE GILT ON SPINE. PETERSON A 15. MORRIS PRINTED THOMAS MORE’S UTOPIA BECAUSE HE FELT IT WAS THE SORT THE HISTORY OF GODEFREY OF BOLOGNE WAS THE FIFTH AND LAST OF OF BOOK THAT BELONGED IN EVERY SOCIALIST’S LIBRARY. MORRIS’ ENTHUSIASTIC WILLIAM MORRIS’S BOOKS AFTER THE MAN WHO INTRODUCED PRINTING CHAMPIONING OF MORE AS A PROTO-COMMUNIST, FIGHTING AGAINST THE INTO ENGLAND, WILLIAM CAXTON. MORRIS USED CAXTON’S 1481 EDITION “UGLY BRUTALITY OF COMMERCIALISM” COST HIM, AT LEAST TEMPORARILY. AN CORRECTED FOR THE PRESS BY MORRIS’S SON-IN-LAW, H. HALLIDAY SPARLING ETON SCHOOLMASTER PLACED AN ORDER FOR FORTY VOLUMES, TO BE GIVEN TO STUDENTS AS PRIZES. WHEN HE SAW MORRIS’ INTRODUCTION HE CANCELLED THE ORDER. MORRIS NEVERTHELESS SOLD OUT HIS ENTIRE PRESS RUN OF 300 COPIES WITHIN A YEAR. PETERSON 17. TENNYSON, ALFRED LORD. MAUD, A MONODRAMA, BY ALFRED 18. MORRIS, WILLIAM. GOTHIC ARCHITECTURE: A LECTURE FOR LORD TENNYSON. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, THE ARTS AND CRAFTS EXHIBITION SOCIETY. BY WILLIAM MORRIS. THE 1983. KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1893.

ONE OF 500 COPIES ON PAPER, OF A TOTAL EDITION OF 505 (5 ON VELLUM). ONE OF 1500 COPIES ON PAPER, OF A TOTAL EDITION OF 1545 (45 ON VELLUM). 20.9 X 14.8 X 1.2 CM; PP. [8] + 72. GOLDEN TYPE ON BATCHELOR HAND-MADE 14.6 X 10.7 X 1 CM; PP. [2] + 72. GOLDEN TYPE ON BATCHELOR HAND-MADE PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE WATERMARK. TWO FULL- PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE WATERMARK. NUMEROUS PAGE WOODCUT BORDERS AND TITLE, QUARTER, HALF AND CORNER WOODCUT WOODCUT INITIALS; HEAD-TITLE AND SHOULDER-NOTES IN RED. ORIGINAL BORDERS, AND NUMEROUS WOODCUT INITIALS; STANZA NUMBERS IN RED. HOLLAND-BACKED BLUE PAPER BOARDS, TITLE PRINTED ON THE FRONT COVER. ORIGINAL FULL LIMP VELLUM; TITLE GILT ON SPINE. PETERSON A17. PETERSON A18. THE POEM WAS INSPIRED BY CHARLOTTE ROSA BARING, YOUNGER DAUGHTER THE FIRST BOOK PRINTED IN 16MO AND PRINTED IN PUBLIC IN THE NEW OF WILLIAM BARING (1779–1820) AND FRANCES POULETT-THOMSON (D. 1877). GALLERY FOR THE ANNUAL ARTS AND CRAFTS EXHIBITION UNDER THE EYES OF FRANCES BARING MARRIED, SECONDLY, ARTHUR EDEN (1793–1874), ASSISTANT- AN INTERESTED AND CONSTANTLY RENEWED CROWD WHOSE PRESENCE IMPOSED A COMPTROLLER OF THE EXCHEQUER, AND THEY LIVED AT HARRINGTON HALL, SEVERE STRAIN UPON THE PRINTERS. PETERSON SPILSBY, LINCOLNSHIRE, WHICH IS THE GARDEN OF THE POEM (ALSO REFERRED TO AS “THE EDEN WHERE SHE DWELT” IN TENNYSON’S POEM “THE GARDENER’S DAUGHTER”). 19. MEINHOLD, WILLIAM. SIDONIA THE SORCERESS. BY WILLIAM 20A. ROSSETTI, DANTE GABRIEL. BALLADS AND NARRATIVE MEINHOLD, TRANSLATED BY FRANCESCA SPERANZA LADY WILDE. THE POEMS BY DANTE GABRIEL ROSETTI. THE KELMSCOTT PRESS, UPPER MALL, KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1893. HAMMERSMITH, 1893.

ONE OF 300 COPIES ON PAPER, OF A TOTAL EDITION OF 310 (10 ON VELLUM). ONE OF 310 COPIES ON PAPER, OF A TOTAL EDITION OF 316 (6 ON VELLUM). 29.1 X 21.2 X 5.1 CM; PP. [2] + XIV + 456. GOLDEN TYPE ON BATCHELOR 20.6 X 14.7 X 2.5 CM; PP. [8] + 232. GOLDEN TYPE ON BATCHELOR HAND- HAND-MADE PAPER WITH THE PRIMROSE WATERMARK. FULL-PAGE WOODCUT MADE PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE WATERMARK. TWO BORDER, AND NUMEROUS WOODCUT INITIALS; CHAPTER TITLES, SPEAKERS’ NAMES, FULL-PAGES WOODCUT BORDERS AND TITLE, AND NUMEROUS WOODCUT INITIALS; AND SIDE-NOTES IN RED. ORIGINAL FULL LIMP VELLUM; TITLE GILT ON SPINE. SHOULDERS AND SOME LINES IN RED. ORIGINAL FULL LIMP VELLUM; TITLE GILT PETERSON A19. ON SPINE. PETERSON A20. LADY WILDE’S TRANSLATION OF SIDONIA THE SORCERESS, WHICH WAS BALLADS AND NARRATIVE POEMS WAS PART OF A TWO VOLUME SET OF WORKS PUBLISHED IN THE PARLOUR LIBRARY IN 1849, WAS WELL KNOWN TO MORRIS’S OF . A FEW MONTHS AFTER THIS FIRST VOLUME WAS CIRCLE: ROSETTI IN PARTICULAR WAS AN ENTHUSIASTIC ADMIRER OF IT, AND PRODUCED, THE KELMSCOTT PRESS PUBLISHED ROSSETTI’S SONNETS AND BURNE-JONES PRODUCED TWO WATER-COLOURS BASED ON THE STORY IN 1860. LYRICAL POEMS. MORRIS FELL UNDER ROSSETTI’S INFLUENCE IN HIS YEARS OSCAR WILDE’S MOTHER DOUBTLESS APPRECIATED MORRIS’S CHEQUE FOR £25, AT OXFORD AND THE TWO REMAINED FAST FRIENDS, AND OFTEN BUSINESS FOR SHE WAS LIVING IN EXTREME POVERTY IN THE 1890’S. PETERSON PARTNERS, THROUGHOUT THEIR LIVES. 20B ROSSETTI, DANTE GABRIEL. SONNETS AND LYRICAL POEMS 21. MORRIS, WILLIAM [TRANSLATOR]. THE TALE OF KING BY DANTE GABRIEL ROSETTI. THE KELMSCOTT PRESS, UPPER MALL, FLORUS AND THE FAIR JEHANE. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1894. HAMMERSMITH, 1893.

ONE OF 310 COPIES ON PAPER, OF A TOTAL EDITION OF 316 (6 ON VELLUM). ONE OF 350 COPIES ON PAPER, OF A TOTAL EDITION OF 365 (15 ON VELLUM). 20.7 X 14.7 X 2.5 CM; PP. [8] +XII + 200. GOLDEN TYPE ON BATCHELOR HAND- 14.9 X 11 X 1.3 CM; PP. [8] + 98. CHAUCER TYPE ON BATCHELOR HAND-MADE MADE PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE WATERMARK. TWO PAPER WITH THE PERCH WATERMARK. TWO FULL-PAGES WOODCUT BORDERS FULL-PAGES WOODCUT BORDERS AND TITLE, AND NUMEROUS WOODCUT INITIALS; AND TITLE, AND NUMEROUS WOODCUT INITIALS; HEAD-TITLE, SHOULDER-NOTES SONNET NUMBERS WOODCUT, FOOTNOTES, SHOULDER-TITLES, AND SOME LINES IN AND EXPLICIT IN RED. ORIGINAL HOLLAND-BACKED BLUE PAPER BOARDS, TITLE RED. ORIGINAL FULL LIMP VELLUM; TITLE GILT ON SPINE. PETERSON A20A. PRINTED ON THE FRONT COVER. PETERSON A21. THE SOURCE OF THIS AND TWO OTHER KELMSCOTT BOOKS WAS NOUVELLE FRANCAISES EN PROSE DU XIII SIECLE BY L. MOLAND AND C. D’HERICAULT (PARIS 1856) MORRIS’S TRANSLATIONS WERE LATER COLLECTED IN A SINGLE VOLUME ENTITLED OLD FRENCH ROMANCES DONE IN TO ENGLISH BY WILLIAM MORRIS. PETERSON 22. MORRIS, WILLIAM. THE STORY OF THE GLITTERING PLAIN WHICH HAS BEEN ALSO CALLED THE LAND OF LIVING MEN OR THE ACRE OF THE UNDYING. WRITTEN BY WILLIAM MORRIS. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1894.

ONE OF 250 COPIES ON PAPER, OF A TOTAL EDITION OF 257 (7 ON VELLUM). 29.5 X 21.8 X 2.4 CM; PP. [8] + 184. TROY TYPE (TABLE OF CONTENTS IN CHAUCER TYPE) ON BATCHELOR HAND-MADE PAPER WITH THE PERCH WATERMARK. TWENTY-THREE WOODCUT ILLUSTRATIONS (BY WALTER CRANE), TWO FULL-PAGE WOODCUT BORDERS AND TITLE, SIDE AND THREE-QUARTER WOODCUT BORDERS, AND NUMEROUS WOODCUT INITIALS; CHAPTER TITLES IN RED. ORIGINAL FULL LIMP VELLUM; TITLE GILT ON SPINE. PETERSON A22.

THE ONLY TITLE PRINTED TWICE. THERE ARE MORE ILLUSTRATIONS IN THE 1894 EDITION THAN ANY OF THE FIFTY-THREE BOOKS PRINTED AT THE KELMSCOTT PRESS EXCEPT THE WORKS OF GEOFFREY CHAUCER. ALL TWENTY-THREE ILLUSTRATIONS AND THREE OF THE BORDERS ON PAGES 12, 12A, 23, WERE DRAWN BY WALTER CRANE (1845-1915) AND CUT ON WOOD BY A. LEVERETT. NONE OF THE BORDERS AND ONLY ONE OF THE SEVEN FRAMES AROUND THE ILLUSTRATIONS WERE EVER USED AGAIN BY MORRIS. AS PAUL NEEDHAM STATES, THE ILLUSTRATIONS WERE NOT A SUCCESS, PARTICULARLY BECAUSE LEVERETT’S “FUSSY RAGGED LINES REPRODUCE CRANE’S PEN WORK WITH GREAT ACCURACY, BUT DO NOT SORT WELL WITH THE SHARP CLEAR TYPOGRAPHY” (NEEDHAM, 129). CRANE CAME INTO MORRIS’S SPHERE THROUGH SHARED INTERESTS. THEY WERE ASSOCIATED WITH COMMONWEAL, THE MAGAZINE OF THE SOCIALIST LEAGUE, AND THEY WERE FOUNDING MEMBERS OF THE ARTS AND CRAFTS EXHIBITION SOCIETY OF 1887. CRANE WAS PROUD OF HIS WORK WITH MORRIS AND REPRODUCED A PAGE FROM THE GLITTERING PLAIN IN HIS ‘OF THE DECORATION OF BOOKS OLD AND NEW ‘, PUBLISHED IN 1896, BUT NEITHER CRANE NOR LEVERETT WORKED ON ANY OTHER KELMSCOTT BOOKS. BECKWITH 23. MORRIS, WILLIAM [TRANSLATOR]. OF THE FRIENDSHIP OF 24 KEATS, JOHN. THE POEMS OF JOHN KEATS. THE KELMSCOTT PRESS, AMIS AND AMILE. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, UPPER MALL, HAMMERSMITH, 1894. 1894.

ONE OF 300 COPIES ON PAPER, OF A TOTAL EDITION OF 307. (7 ON VELLUM). ONE OF 500 COPIES ON PAPER, OF A TOTAL EDITION OF 515 (15 ON VELLUM). 20.8 X 15 X 4.2 CM; PP. [8] + 392. GOLDEN TYPE ON BATCHELOR HAND-MADE 14.8 X 11 X 1.1 CM; PP. [8] + 72. CHAUCER TYPE ON BATCHELOR HAND-MADE PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE WATERMARK. TWO FULL- PAPER WITH THE PERCH WATERMARK. TWO FULL-PAGES WOODCUT BORDERS AND PAGES WOODCUT BORDERS AND TITLE, AND NUMEROUS WOODCUT INITIALS; TITLE, AND NUMEROUS WOODCUT INITIALS; HEAD-TITLE, SHOULDER-NOTES, AND SHOULDERS-TITLES, NOTES, AND SOME WORDS IN RED. ORIGINAL FULL LIMP FIRST PARAGRAPH OF COLOFON IN RED. ORIGINAL HOLLAND-BACKED BLUE PAPER VELLUM, TITLE GILT ON SPINE. PETERSON A24. BOARDS, TITLE PRINTED ON THE FRONT COVER. PETERSON A23. JOHN KEATS, WHO DIED AT THE AGE OF TWENTY-FIVE, HAD PERHAPS THE MOST THIS TALE DATES FROM ABOUT THE SAME PERIOD AS KING FLORUS, AND REMARKABLE CAREER OF ANY ENGLISH POET. HE PUBLISHED ONLY FIFTY-FOUR ITS LITERARY AND HISTORICAL VALUE IS EQUALLY HIGH. AS IN THE CASE OF POEMS BUT AT EACH POINT IN HIS DEVELOPMENT HE TOOK ON THE CHALLENGES KINGFLORUS, THE ENGLISHING IS LITERAL. THE STORY WAS IMMENSELY POPULAR OF A WIDE RANGE OF POETIC FORMS FROM THE SONNET, TO THE SPENSERIAN IN THE MIDDLE AGES. PETERSON ( NOTE BY MORRIS) ROMANCE, TO THE MILTONIC EPIC, DEFINING ANEW THEIR POSSIBILITIES WITH HIS OWN DISTINCTIVE FUSION OF EARNEST ENERGY, CONTROL OF CONFLICTING PERSPECTIVES AND FORCES, POETIC SELF-CONSCIOUSNESS, AND, OCCASIONALLY, DRY IRONIC WIT. IN THE CASE OF THE ENGLISH ODE HE BROUGHT ITS FORM, IN THE FIVE GREAT ODES OF 1819, TO ITS MOST PERFECT DEFINITION. POETRY FOUNDATION. 25. SWINBURNE, ALGERNON CHARLES. ATALANTA IN CALYDON; 26. MORRIS, WILLIAM [TRANSLATOR]. THE TALE OF THE A TRAGEDY BY ALGERNON CHARLES SWINBURNE. THE KELMSCOTT PRESS, EMPEROR COUSTANS AND OF OVER SEA. THE KELMSCOTT PRESS, UPPER MALL, UPPER MALL, HAMMERSMITH, 1894. HAMMERSMITH, 1894.

ONE OF 250 COPIES ON PAPER, OF A TOTAL EDITION OF 258 (8 ON VELLUM). ONE OF 525 COPIES ON PAPER, OF A TOTAL EDITION OF 545 (20 ON VELLUM). 29.2 X 21.6 X 1.4 CM; PP. [8] + 84. GOLDEN TYPE ON BATCHELOR HAND-MADE 15.5 X 11.2 X 2 CM; PP. [8] + 136. CHAUCER TYPE ON BATCHELOR HAND-MADE PAPER WITH THE PERCH WATERMARK. TWO FULL-PAGES WOODCUT BORDERS AND PAPER WITH THE PERCH WATERMARK. FOUR FULL-PAGES WOODCUT BORDERS AND TITLE, SIDE AND THREE-QUARTER WOODCUT BORDERS, AND NUMEROUS WOODCUT TITLE, AND NUMEROUS INITIALS; ONE ROW OF ORNAMENTS AND SPEAKERS’ NAMES IN RED. ORIGINAL WOODCUT INITIALS; SHOULDER-NOTES, AND SOME LINES (INCLUDING THE FULL LIMP VELLUM, TITLE GILT ON SPINE. PETERSON A25. COLOPHON) IN RED. ORIGINAL HOLLAND-BACKED BLUE PAPER BOARDS, TITLE PRINTED ON THE FRONT WHEN ATLANTA WAS PRINTED BY MORRIS, SWINBURNE WROTE TO HIM COVER. PETERSON A26. THAT IT WAS ‘CERTAINLY ONE OF THE LOVELIEST EXAMPLES OF EVEN YOUR INCOMPLARABLE PRESS’. THIS IS THE ONLY BOOK IN WHICH MORRIS USED A MORRIS’S LITERARY PREFERENCES LAY IN THE MIDDLE AGES, AND WITH TYPE NOT DESIGNED BY HIMSELF. PETERSON MEDIEVAL TEXTS. AND THIS PUBLICATION COMPRISES TWO MEDIEVAL FRENCH ROMANCES TRANSLATED BY MORRIS INTO HIS ARCHAIC-SOUNDING ENGLISH. BORDERS OF TWINING LEAVES, WOODCUT FOLIATED THREE-LINE INITIALS, AND DESIGNS BY BURNE-JONES ENHANCE THESE LOVE STORIES. 27. MORRIS, WILLIAM. THE WOOD BEYOND THE WORLD. BY WILLIAM 28. WARDROP, OLIVER [TRANSLATOR]. THE BOOK OF WISDOM MORRIS. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1894. AND LIES. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1894.

ONE OF 250 COPIES ON PAPER (NO VELLUM COPIES). 21.2 X 15.1 X 3 CM; PP. [2] ONE OF 350 COPIES ON PAPER, OF A TOTAL EDITION OF 358 (8 ON VELLUM). + XVIII + 256. GOLDEN TYPE ON BATCHELOR HAND-MADE PAPER WITH (THE 20.8 X 14.8 X 3.1 CM; PP. [8] + 264. CHAUCER TYPE ON BATCHELOR HAND- SECOND VERSION OF) THE PRIMROSE WATERMARK. TWO FULL-PAGES WOODCUT MADE PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE WATERMARK. BORDERS AND TITLE, AND NUMEROUS WOODCUT INITIALS; FOOTNOTES, CHAPTER WOODCUT FRONTISPIECE (BY EDWARD BURNE-JONES), TWO FULL-PAGES TITLES, AND SHOULDER-NOTES IN RED. ORIGINAL FULL LIMP VELLUM; TITLE GILT WOODCUT BORDERS, SIDE, HALF AND THREE-QUARTER WOODCUT BORDERS, AND ON SPINE. PETERSON A28. NUMEROUS WOODCUT INITIALS; CHAPTER TITLES AND SHOULDER-NOTES IN RED. ON 8 MARCH 1894 BERNARD QUARITCH WROTE TO MORRIS ASKING HIM TO ORIGINAL FULL LIMP VELLUM; TITLE GILT ON SPINE. PETERSON A27. PRINT THE BOOK OF WISDOM AND LIES. THIS GEORGIAN STORYBOOK WAS THE WOOD BEYOND THE WORLD WAS WRITTEN BY MORRIS SPECIFICALLY TRANSLATED BY WARDROP. FOR THE KELMSCOTT PRESS AND IS A FANTASY NOVEL BY WILLIAM MORRIS, MORRIS MUST HAVE LIKED THE BOOK AS HE INCLUDED IT IN THE SERIES OF PERHAPS THE FIRST MODERN FANTASY WRITER TO UNITE AN IMAGINARY WORLD KELMSCOTT PRESS PUBLICATIONS. PETERSON WITH THE ELEMENT OF THE SUPERNATURAL, AND THUS THE PRECURSOR OF MUCH OF PRESENT-DAY . 29. SHELLEY, PERCY BYSSHE. THE POETICAL WORKS OF 30. PSALMI PENITENTIALES. THE KELMSCOTT PRESS, UPPER MALL, PERCY BYSSHE SHELLEY. (3 VOLS.) THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1894. HAMMERSMITH, 1894-95.

ONE OF 300 COPIES ON PAPER, OF A TOTAL EDITION OF 312 (12 ON VELLUM). ONE OF 250 COPIES ON PAPER, OF A TOTAL EDITION OF 256 (6 ON VELLUM). 21.2 X 14.7 X 1 CM; PP. [8] + 64. CHAUCER TYPE ON BATCHELOR HAND-MADE VOL. 1: 21.1 X 14.7 X 4.7 CM; PP. [8] + 400. VOL. 2: 21 X 14.8 X 4.9 CM; PP. PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE WATERMARK. THREE- [4] + IV + 416. VOL. 3: 21.2 X 14.9 X 4.9 CM; PP. VIII + 424. GOLDEN TYPE ON QUARTER WOODCUT BORDERS BATCHELOR HAND-MADE PAPER WITH THE PRIMROSE WATERMARK. TWO FULL- AND NUMEROUS WOODCUT INITIALS; LATIN TEXTS IN RED. ORIGINAL HOLLAND- PAGE WOODCUT BORDERS AND TITLE (IN VOL. 1), HALF AND THREE-QUARTER BACKED BLUE PAPER BOARDS, TITLE PRINTED ON THE FRONT COVER. PETERSON WOODCUT BORDERS AND NUMEROUS WOODCUT INITIALS; STAGE DIRECTIONS, ACT AND SCENE NUMBERS, AND SPEAKERS’ NAMES IN RED (IN VOLS. 2 AND 3). A30. ORIGINAL FULL LIMP VELLUM, WITHOUT TIES; GILT TITLE ON SPINE. PETERSON THESE PSALMS ARE EXPRESSIVE OF SORROW FOR SIN. FOUR WERE KNOWN A29. AS ‘PENITENTIAL PSALMS’ BY ST. AUGUSTINE OF HIPPO IN THE EARLY 5TH PERCY BYSSHE SHELLEY ONE OF THE MAJOR ENGLISH ROMANTIC POETS AND CENTURY. THE FIFTY-FIRST PSALM (MISERERE) WAS RECITED AT THE CLOSE OF IS REGARDED BY SOME AS AMONG THE FINEST LYRIC POETS IN THE ENGLISH DAILY MORNING SERVICE IN THE PRIMITIVE CHURCH. TRANSLATIONS OF THE LANGUAGE, AND ONE OF THE MOST INFLUENTIAL. A RADICAL IN HIS POETRY PENITENTIAL PSALMS WERE UNDERTAKEN BY SOME OF THE GREATEST POETS IN AS WELL AS IN HIS POLITICAL AND SOCIAL VIEWS, SHELLEY DID NOT SEE FAME RENAISSANCE ENGLAND, INCLUDING SIR THOMAS WYATT, HENRY HOWARD, DURING HIS LIFETIME, BUT RECOGNITION FOR HIS POETRY GREW STEADILY EARL OF SURREY, AND SIR PHILIP SIDNEY. FOLLOWING HIS DEATH. SHELLEY WAS A KEY MEMBER OF A CLOSE CIRCLE OF VISIONARY POETS AND WRITERS THAT INCLUDED LORD BYRON, LEIGH HUNT, THOMAS LOVE PEACOCK, AND HIS OWN SECOND WIFE, MARY SHELLEY, THE AUTHOR OF FRANKENSTEIN. 31. SAVONAROLA, GIROLAMO. EPISTOLA DE CONTEMPTU MUNDI 32.MORRIS, WILLIAM & WYATT, A.J. [TRANSLATORS]. THE DI FRATE HIERONYMO DA FERRARA DELL ORDINE DE FRATI PREDICATORI LA TALE OF BEOWULF. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, QUALE MANDA AD ELENA BUONACCORSI SUA MADRE, PER CONSOLARLA DELLA 1895. MORTE DEL FRATELLO, SUO ZIO. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1894. ONE OF 300 COPIES ON PAPER, OF A TOTAL EDITION OF 308 (8 ON VELLUM). 29.4 X 21.8 X 1.7 CM; PP. VIII + 120. TROY TYPE (SHOULDER AND SIDE-NOTES, ARGUMENT, LIST OF PERSONS AND PLACES, AND GLOSSARY IN CHAUCER TYPE) ON ONE OF 150 COPIES ON PAPER, OF A TOTAL EDITION OF 156 (6 ON VELLUM). BATCHELOR HAND-MADE PAPER WITH THE PERCH WATERMARK. TWO FULL-PAGES 21.3 X 14.7 X 0.4 CM; PP. 16. CHAUCER TYPE ON BATCHELOR HAND-MADE WOODCUT BORDERS AND TITLE, HALF AND THREE-QUARTER WOODCUT BORDERS, PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE WATERMARK. TITLE-PAGE AND NUMEROUS WOODCUT INITIALS; SECTION TITLES, WOODCUT (BY CHARLES FAIRFAX MURRAY), FULL-PAGE WOODCUT BORDER, AND AND SHOULDER AND SIDE-NOTES IN RED. ORIGINAL FULL LIMP VELLUM; TITLE WOODCUT INITIAL; CONJECTURALLY RESTORED WORDS AND PRINTER’S MARK IN GILT ON SPINE. PETERSON A32. RED. ORIGINAL HOLLAND-BACKED BLUE PAPER BOARDS, UNTITLED. PETERSON MORRIS SAID OF BEOWOLF THAT IT WAS ‘THE FIRST AND THE BEST POEM OF THE A31. ENGLISH RACE, [WITH] NO AUTHOR BUT THE PEOPLE’. PETERSON THE BOOK WAS PRIVATELY PRINTED FOR CHARLES FAIRFAX MURRAY AND WAS OF COURSE NOT FOR SALE AT THE KELMSCOTT PRESS. HENCE IT IS PROBABLY THE ONLY KELMSCOTT PRESS BOOK THAT WAS EVER INSCRIBED TO MORRIS. PETERSON 33. SYR PERECYVELLE OF GALES. THE KELMSCOTT PRESS, UPPER MALL, 34. MORRIS, WILLIAM. THE LIFE AND DEATH OF JASON, A POEM. BY HAMMERSMITH, 1895. WILLIAM MORRIS. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1895.

ONE OF 350 COPIES ON PAPER, OF A TOTAL EDITION OF 358 (8 ON VELLUM). ONE OF 200 COPIES ON PAPER, OF A TOTAL EDITION OF 206 (6 ON VELLUM). 21.3 X 15 X 1.4 CM; PP. [8] + 104. CHAUCER TYPE ON BATCHELOR HAND-MADE 29.7 X 21.8 X 4.3 CM; PP. [8] + 360. TROY TYPE ON BATCHELOR HAND-MADE PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE WATERMARK. WOODCUT PAPER WITH THE PERCH WATERMARK. WOODCUT FRONTISPIECE (BY EDWARD FRONTISPIECE (BY EDWARD BURNE-JONES), TWO FULL-PAGE WOODCUT BORDERS, BURNE-JONES), FOUR FULL-PAGE WOODCUT BORDERS, SIDE, HALF, AND THREE- WOODCUT HALF BORDER, AND NUMEROUS WOODCUT INITIALS; (TWO) TITLES QUARTER WOODCUT BORDERS AND NUMEROUS WOODCUT INITIALS; TITLES OF AND SHOULDER-NOTES IN RED.SPECIAL COPY BOUND IN ORIGINAL LIMP VELLUM BOOKS, SPEAKERS’ NAMES, AND SHOULDER-TITLES IN RED. ORIGINAL FULL LIMP PETERSON 33. VELLUM, TITLE GILT ON SPINE. PETERSON A34. THIS VOLUME, LIKE SIR DEGREVAUNT AND SIR YSAMBRACE WAS BASED ON THE LIFE AND DEATH OF JASON BECAME THE MOST IMMEDIATELY POPULAR OF THE TEXT OF THE THORNTON ROMANCES: THE EARLY ENGLISH ROMANCES OF MORRIS’S POEMS. IT IS A POEM OF EMOTIONAL RANGE AND VERBAL DEXTERITY, PERCEVAL, ISUMBRAS, EGLAMOUR, AND DEGREVANT. PETTERSON BUT ITS UNDESERVED EARLY REPUTATION FOR ESCAPISM HAS DISCOURAGED LATER CRITICAL SCRUTINY. IN THE TRANSITION FROM HIS EARLIER “SCENES FROM THE FALL OF TROY” TO “PROLOGUE: THE WANDERERS” OF , MORRIS’S METAPHOR FOR THE CENTRAL CONFLICTS AND ACTIVITIES OF LIFE SHIFTED FROM THAT OF CONFLICT AND BATTLE TO JOURNEY AND SEARCH. THE CHANGE FOLLOWED MORRIS’S REAL INTERESTS: HE WAS AN INTENSE BUT PEACEABLE MAN, IN LATER LIFE AN ANTI-IMPERIALIST AND NEAR-PACIFIST. JASON IS OF COURSE AN ARCHETYPAL SEEKER, WHO ATTEMPTS BRAVE DEEDS TO WIN LOVE AND AN UNDYING MEMORY. THE GOLDEN FLEECE IS SOUGHT FOR ITS OWN SAKE, AS A KIND OF ULTIMATE INCARNATION OF WEALTH, EARTHLY STATUS, AND DIVINE FAVOUR.

35.MORRIS, WILLIAM. CHILD CHRISTOPHER AND GOLDILIND THE 36. ROSSETTI, DANTE GABRIEL. HAND AND SOUL. BY DANTE FAIR. BY WILLIAM MORRIS. [2 VOLS.] THE KELMSCOTT PRESS, UPPER MALL, GABRIEL ROSETTI. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, HAMMERSMITH, 1895. 1895.

ONE OF 600 COPIES ON PAPER, OF A TOTAL EDITION OF 612 (12 ON VELLUM). ONE OF 300 COPIES ON PAPER, OF A TOTAL EDITION OF 311 (11 ON VELLUM); VOL. 1: 14.8 X 10.8 X 2.7 CM; PP. [ 8] + 256. VOL. 2: 14.8 X 10.8 X 2.6 CM; ALSO 225 COPIES IN ENGLAND, OF A TOTAL EDITION OF 235 (10 ON VELLUM). PP. [ 8] + 240. CHAUCER TYPE ON BATCHELOR HAND-MADE PAPER WITH (THE 14.7 X 10.7 X 1 CM; PP. [8] + 58. GOLDEN TYPE ON BATCHELOR HAND-MADE FIRST AND SECOND VERSIONS OF) THE PRIMROSE WATERMARK. TWO FULL- PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE WATERMARK. TWO FULL- PAGE WOODCUT BORDERS AND TITLE (IN VOL. 1), WOODCUT SIDE BORDER, AND PAGES WOODCUT BORDERS AND TITLE, AND NUMEROUS WOODCUT INITIALS; NUMEROUS WOODCUT INITIALS; CHAPTER TITLES, SHOULDER-NOTES, EXPLICIT EPIGRAPH, HEAD-TITLE, SHOULDER-NOTES, FOOTNOTE, SOME LINES, AND FIRST (OF VOL. 1), AND FIRST PARAGRAPH OF COLOPHON IN RED. WITH ERRATUM SLIP. PARAGRAPH OF COLOPHON IN RED. ORIGINAL FULL STIFF VELLUM, TITLE GILT ON ORIGINAL HOLLAND-BACKED BLUE PAPER BOARDS, PRINTED PAPER TITLE ON SPINE. PETERSON A36. BOTH SPINES. PETERSON A35. THIS WORK IS ONE OF THE MOST IMPORTANT ROSSETTIAN AND PRE-RAPHAELITE CHILD CHRISTOPHER AND GOLDILIND THE FAIR TAKES PLACE ENTIRELY IN DOCUMENTS TREATING IDEAS OF ART AND AESTHETICS. THE STORY OF CHIARO A NON-MAGICAL WORLD, BUT THE TINY KINGDOMS, THICKLY FORESTED AND IS THE STORY OF AN ARTIST WHO REFUSED TO TAKE THE RENAISSANCE ROAD. THINLY POPULATED BY PEASANTS AND FORESTERS (DOMINATED BY NOBLCS WHO AS SUCH, IT IS A STORY WITH A PROFOUND CONTEMPORARY (MID-VICTORIAN) MUSTER ARMIES AND HAVE READY RECOURSE TO VIOLENCE, AND A FALLIBLE, MESSAGE. UNCONTESTED CHRISTIAN CHURCH), MIGHT BE THOSE OF CENTRAL EUROPE IN THE TENTH CENTURY, PERHAPS GERMAN STATES ON WHICH NO HOLY ROMAN EMPIRE HAD EVER FALLEN . 38. COLERIDGE, SAMUEL TAYLOR. POEMS CHOSEN OUT OF THE 37. HERRICK, ROBERT. POEMS CHOSEN OUT OF THE WORKS OF WORKS OF SAMUEL TAYLOR COLERIDGE. THE KELMSCOTT PRESS, UPPER ROBERT HERRICK. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, MALL, HAMMERSMITH, 1896. 1896.

ONE OF 300 COPIES ON PAPER, OF A TOTAL EDITION OF 308 (8 ON VELLUM). ONE OF 250 COPIES ON PAPER, OF A TOTAL EDITION OF 258 (8 ON VELLUM). 21.1 X 14.9 X 1.5 CM; PP. [4] + IV + 100. GOLDEN TYPE ON BATCHELOR HAND- 21.2 X 14.9 X 3.4 CM; PP. XVI + 296. GOLDEN TYPE ON BATCHELOR HAND- MADE PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE WATERMARK. TWO MADE PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE WATERMARK. FULL-PAGES WOODCUT BORDERS, THREE-QUARTER WOODCUT BORDERS, AND TWO FULL-PAGES WOODCUT BORDERS AND TITLE, AND NUMEROUS WOODCUT NUMEROUS WOODCUT INITIALS; SHOULDER-TITLES, NOTE, SIDE-NOTES, AND A FEW INITIALS; HEAD-TITLE, SHOULDER-TITLES, A FEW WORDS AND ORNAMENTS, LINES IN RED. ORIGINAL FULL LIMP VELLUM; TITLE GILT ON SPINE. PETESON STAGE DIRECTIONS, AND CHARACTER REFERRED TO IN RED. ORIGINAL FULL LIMP A38. VELLUM; TITLE GILT ON SPINE. PETERSON A37. SAMUEL TAYLOR COLERIDGE IS THE PREMIER POET-CRITIC OF MODERN ENGLISH MORRIS ‘ I LIKE HIM BETTER THAN I THOUGHT I SHOULD: I DARESAY WE TRADITION, DISTINGUISHED FOR THE SCOPE AND INFLUENCE OF HIS THINKING SHALL MAKE A PRETTY BOOK OF IT.’ HERRICK LIVED THROUGH CIVIL WARS ABOUT LITERATURE AS MUCH AS FOR HIS INNOVATIVE VERSE. ACTIVE IN THE AND RESTORATION. IN HIS BEST-KNOWN POEMS- CHERRY RIPE AND GATHER WAKE OF THE FRENCH REVOLUTION AS A DISSENTING PAMPHLETEER AND LAY YE ROSEBUDS WHILE YE MAY’ HE WRITES OF LOSS, OF THE PASSING OF TIME, OF PREACHER, HE INSPIRED A BRILLIANT GENERATION OF WRITERS AND ATTRACTED DEATH. THE PATRONAGE OF PROGRESSIVE MEN OF THE RISING MIDDLE CLASS. AS WILLIAM WORDSWORTH’S COLLABORATOR AND CONSTANT COMPANION IN THE FORMATIVE PERIOD OF THEIR CAREERS AS POETS, COLERIDGE PARTICIPATED IN THE SEA OF CHANGE IN ENGLISH VERSE ASSOCIATED WITH LYRICAL BALLADS (1798). HIS POEMS OF THIS PERIOD, SPECULATIVE, MEDITATIVE, AND STRANGELY ORACULAR, PUT OFF EARLY READERS BUT SURVIVED THE DOUBTS OF WORDSWORTH AND ROBERT SOUTHEY TO BECOME RECOGNIZED CLASSICS OF THE ROMANTIC IDIOM.

39. MORRIS, WILLIAM. THE WELL AT THE WORLD’S END. BY WILLIAM MORRIS. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1896. 40.CHAUCER, GEOFFREY. THE WORKS OF GEOFFREY CHAUCER. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1896. ONE OF 350 COPIES ON PAPER, OF A TOTAL EDITION OF 358 (8 ON VELLUM). 29.2 X 21.2 X 5.3 CM; PP; [8] + 496. CHAUCER TYPE ON BATCHELOR HAND- MADE PAPER WITH (THE FIRST AND SECOND VERSIONS OF) THE PRIMROSE WATERMARK. FOUR WOODCUT ILLUSTRATIONS (BY EDWARD BURNE-JONES), AND ONE OF 425 COPIES ON PAPER, OF A TOTAL EDITION OF 438 (13 ON VELLUM). TITLE, EIGHT FULL-PAGES WOODCUT BORDERS, SIDE, HALF, THREE-QUARTER AND LARGE FOLIO, 43.2 X 29.8 X 6.6 CM; PP. [4] + IV 556. ORIGINAL HOLLAND CENTRE WOODCUT BORDERS, AND NUMEROUS WOODCUT INITIALS; ORIGINAL BACKED BLUE BOARDS, UNCUT. EIGHTY-SEVEN WOODCUT ILLUSTRATIONS FULL LIMP VELLUM; TITLE GILT ON SPINE. PETERSON A39. BY EDWARD BURNE-JONES.WOOD-CUT TITLE-PAGE,14 WOODCUT BORDERS,18 ON ITS PUBLICATION, THE WELL AT THE WORLD’S END WAS PRAISED BY H. WOODCUT FRAMES AROUND ILLUSTRATIONS,26 NINETEEN-LINE WOODCUT INITIAL G. WELLS, WHO COMPARED THE BOOK TO MALORY AND ADMIRED ITS WRITING WORDS,NUMEROUS THREE,SIX AND TEN LINE WOODCUT INITIAL LETTERS,AND STYLE: “ALL THE WORKMANSHIP OF THE BOOK IS STOUT OAKEN STUFF, THAT WOODCUT PRINTER’S DEVICE,ALL DESIGNED BY WILLIAM MORRIS.PRINTED IN MUST NEEDS ENDURE AND PRESERVE THE MEMORY OF ONE OF THE STOUTEST, BLACK AND RED IN CHAUCER TYPE,THE TITLES OF LONGER POEMS PRINTED IN CLEANEST LIVES THAT HAS BEEN LIVED IN THESE LATTER DAYS”.ALTHOUGH TROY TYPE.BATCHELOR HAND-MADE PAPER WITH THE PERCH WATERMARK. THE NOVEL IS RELATIVELY OBSCURE BY TODAY’S STANDARDS, IT HAS HAD A A FINE COPY IN THE PUBLISHER’S BLUE BOARDS BINDING. SIGNIFICANT INFLUENCE ON MANY NOTABLE FANTASY AUTHORS. C. S. LEWIS AND J. R. R. TOLKIEN BOTH SEEM TO HAVE FOUND INSPIRATION IN THE THE MOST AMBITIOUS AND REMARKABLE OF ALL THE KELMSCOTT PRESS WELL AT THE WORLD’S END: ANCIENT TABLES OF STONE, “KING GANDOLF,” A BOOKS,AND A MASTERPIECE OF ILLUSTRATION BY EDWARD BURNE-JONES WHO “KING PETER,” AND A QUICK, WHITE HORSE NAMED “SILVERFAX,” AN OBVIOUS ONLY WORKED ON THESE DESIGNS ON SUNDAYS WHEN VISITED BY MORRIS. INSPIRATION FOR “SHADOWFAX,” ARE ONLY A FEW. LEWIS WAS SUFFICIENTLY CHAUCER WAS DISCOVERED BY MORRIS AND BURNE-JONES WHEN AT OXFORD ENAMORED WITH MORRIS THAT HE WROTE AN ESSAY ON THAT AUTHOR, FIRST IN THE 1850’S,AND THEY HAD ENVISIONED AN EDITION OF CHAUCER’S WORKS READ TO AN UNDERGRADUATE SOCIETY AT OXFORD UNIVERSITY CALLED THE PRINTED FROM A BLACK LETTER FOUNT TO BE INCLUDED AMONGST THE FIRST OF MARTLETS AND LATER PUBLISHED IN THE COLLECTION OF ESSAYS CALLED THE PUBLICATIONS OF THE PRESS.THIS TOOK MUCH LONGER THAN IMAGINED DUE REHABILITATIONS TO THE DIFFICULTY OF OBTAINING PERMISSION TO REPRINT THE TEXT OF WALTER W.SKEAT’S EDITION OF CHAUCER PUBLISHED BY THE CLARENDON PRESS,AND TO TRANSLATING THE DESIGNS OF BURNE-JONES AND MORRIS TO WOOD-ENGRAVINGS BY ROBERT CATTERSON-SMITH.THE PRINTING OF THE CHAUCER BEGAN ON 8TH AUGUST,1894 AND ON THE 24TH JUNE,1896 DOUGLAS COCKERELL BROUGHT TO MORRIS THE FIRST PIG-SKIN BOUND COPY.MORRIS NOTED IN HIS DIARY “VERY SATISFACTORY”.

THE KELMSCOTT CHAUCER IS “NOT ONLY THE MOST IMPORTANT OF THE KELMSCOTT PRESS’S PRODUCTIONS;IT IS ALSO ONE OF THE GREAT BOOKS OF THE WORLD.ITS SPLENDOUR...CAN HARDLY BE MATCHED AMONG THE BOOKS OF THE TIME”(RAY,THE ILLUSTRATOR AND THE BOOK IN ENGLAND). PETERSON A40

41.MORRIS, WILLIAM. THE EARTHLY PARADISE. BY WILLIAM MORRIS. [8 VOLS.] THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1896. 42. LAUDES BEATAE MARIAE VIRGINIS. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1896.

ONE OF 225 COPIES ON PAPER, OF A TOTAL EDITION OF 231 (6 ON VELLUM). VOL. 1: 23.9 X 16.9 X 2.6 CM; PP. [8] + 200. VOL. 2: 23.9 X 16.7 X 1.9 CM; PP. [8] + 124. VOL. 3: 23.8 X 16.8 X 2.4 CM; PP. [8] + 172. VOL. 4: 23.7 X 17 X 1.9 ONE OF 250 COPIES ON PAPER, OF A TOTAL EDITION OF 260 (10 ON VELLUM). CM; PP. [8] + 140. VOL. 5: 23.5 X 17.1 X 3.1 CM; PP. [8] + 248. VOL. 6: 23.9 29.4 X 21.5 X 1 CM; PP. [8] + 40. TROY TYPE ON BATCHELOR HAND-MADE PAPER X 17 X 2.8 CM; PP. [8] + 220. VOL. 7: 23.8 X 17 X 2.8 CM; PP. [8] + 204. VOL. WITH THE PERCH WATERMARK. WOODCUT HALF BORDERS, AND NUMEROUS 8: 23.9 X 16.9 X 2.5 CM; PP. [8] + 188. GOLDEN TYPE ON BATCHELOR HAND- WOODCUT INITIALS; TEXT OF PSALMS IN RED; INITIALS ALTERNATE IN RED AND MADE PAPER WITH APPLE WATERMARK. FOUR FULL-PAGE WOODCUT BORDERS IN BLUE. ORIGINAL HOLLAND-BACKED BLUE PAPER BOARDS, TITLE PRINTED ON THE VOLS. 2, 6, AND 8, SIX IN VOL. 1, AND EIGHT IN VOLS. 3, 4, 5, AND 7; THREE- FRONT COVER. PETERSON A42. QUARTER WOODCUT BORDERS ‘MORRIS PURCHASED AN EARLY THIRTEENTH-CENTURY ENGLISH PSALTER, WHICH AND NUMEROUS WOODCUT INITIALS; SHOULDER-TITLES, SPEAKERS’ NAMES, HE CALLED THE NOTTINGHAM PSALTER.. ONE SECTION OF THE PSALTER, A AND SOME LINES IN RED. ORIGINAL FULL LIMP VELLUM; TITLE GILT ON SPINE. LAUDES BEATAE MARIAE VIRGINIS, WHICH MORRIS PRINTED, WAS ATTRIBUTED TO PETERSON A41. STEPHEN LANGTON OR TO JOHN PECKHAM.’ PETERSON THE EARTHLY PARADISE BY WILLIAM MORRIS IS AN EPIC POEM. IT IS A LENGTHY COLLECTION OF RETELLINGS OF VARIOUS MYTHS AND LEGENDS FROM GREECE AND SCANDINAVIA. IT WAS BEGUN IN 1868 AND SEVERAL LATER VOLUMES FOLLOWED UNTIL 1870. THE EARTHLY PARADISE WAS GENERALLY WELL RECEIVED BY REVIEWERS: ACCORDING TO ONE STUDY IT “ESTABLISHED MORRIS’S REPUTATION AS ONE OF THE FOREMOST POETS OF HIS DAY” 43. CLANVOWE, SIR THOMAS. THE FLOURE AND THE LEAFE, & THE 44. SPENSER, EDMUND. THE SHEPHEARDES CALENDER: CONTEYNING BOKE OF CUPIDE, GOD OF LOVE, OR THE CUCKOW AND THE NIGHTINGALE. TWELVE AEGLOGUES, PROPORTIONABLE TO THE TWELWE MONETHES. THE THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1896. KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1896.

ONE OF 300 COPIES ON PAPER, OF A TOTAL EDITION OF 310 (10 ON VELLUM). ONE OF 225 COPIES ON PAPER, OF A TOTAL EDITION OF 231 (6 ON VELLUM). 23.9 X 16.8 X 0.9 CM; PP. [8] + 48. TROY TYPE ON BATCHELOR HAND-MADE 23.9 X 17.1 X 1.4 CM; PP. [8] + 104. GOLDEN TYPE ON BATCHELOR HAND-MADE PAPER WITH THE APPLE WATERMARK. WOODCUT INITIALS WORDS; POEM TITLES PAPER WITH THE APPLE WATERMARK. TWELVE FULL PAGES ILLUSTRATIONS FROM AND EXPLICIT IN RED. ORIGINAL HOLLAND-BACKED BLUE PAPER BOARDS, TITLE PROCESS BLOCKS (BY ARTHUR J. GASKIN), AND WOODCUT INITIALS; SPEAKERS’ PRINTED ON THE FRONT COVER. PETERSON A43. NAMES IN RED. ORIGINAL HOLLAND-BACKED BLUE PAPER BOARDS, TITLE PRINTED THE FLOURE AND THE LEAFE IS AN ANONYMOUS MIDDLE ENGLISH ALLEGORICAL ON THE FRONT COVER. PETERSON A44. POEM IN 595 LINES OF RHYME ROYAL, WRITTEN AROUND 1470. DURING THE THE SHEPHEARDES CALENDER WAS EDMUND SPENSER’S FIRST MAJOR POETIC 17TH, 18TH, AND MOST OF THE 19TH CENTURY IT WAS MISTAKENLY BELIEVED TO WORK, PUBLISHED IN 1579. IN EMULATION OF VIRGIL’S FIRST WORK, THE BE THE WORK OF GEOFFREY CHAUCER, AND WAS GENERALLY CONSIDERED TO BE ECLOGUES, SPENSER WROTE THIS SERIES OF PASTORALS TO BEGIN HIS CAREER. ONE OF HIS FINEST POEMS. THE NAME OF THE AUTHOR IS NOT KNOWN BUT THE HOWEVER, SPENSER’S MODELS WERE RATHER THE RENAISSANCE ECLOGUES POEM PRESENTS ITSELF AS THE WORK OF A WOMAN. OF MANTUANUS. THE TITLE, LIKE THE ENTIRE WORK, IS WRITTEN USING DELIBERATELY ARCHAIC SPELLINGS, IN ORDER TO SUGGEST A CONNECTION TO MEDIEVAL LITERATURE, AND TO GEOFFREY CHAUCER IN PARTICULAR.

45. MORRIS, WILLIAM. THE WATER OF THE WONDROUS ISLES BY ROISSART S HRONICLES HE ELMSCOTT RESS PPER ALL WILLIAM MORRIS. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 46. F ’ C . T K P , U M , 1897. HAMMERSMITH, 1897.

PECIMEN AGES ONE OF 250 COPIES ON PAPER, OF A TOTAL EDITION OF 256 (6 ON VELLUM). S P . LEAVES JOINED RINTED ON ELLUM 28.9 X 21.3 X 3.8 CM; PP. [8] + 344. CHAUCER TYPE (COLOPHON AND 2 P V . PAGES RINTED ON APER COPIES TRANSITIONAL PASSAGE AT THE END OF EACH PART IN TROY TYPE) ON 16 P P (32 ) ETERSON BATCHELOR HAND-MADE PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE P A46. HE SCARCEST OF THE WORKS LISTED BY ETERSON IS THE ABANDONED WATERMARK. SEVEN FULL-PAGE WOODCUT BORDERS, SIDE, CORNER, HALF, T P ROISSART S HRONICLES HOUGH IT WAS SEVERAL TIMES ANNOUNCED IN THREE-QUARTER AND CENTRE WOODCUT BORDERS, AND NUMEROUS WOODCUT F ’ C . ‘ T THE PRESS THE ROISSART CONTINUED TO BE HELD IN ABEYANCE WHILE WORK INITIALS (AND INITIAL WORDS); CHAPTER AND SHOULDER-TITLES IN RED. , F ON THE HAUCER PROGRESSED T WAS DEFINITELY ABANDONDED ONLY AFTER ORIGINAL FULL LIMP VELLUM; TITLE GILT ON SPINE. PETERSON A45. C . I ORRIS S DEATH ETERSON THE WATER OF THE WONDROUS ISLES IS A FANTASY NOVEL, AND PERHAPS M ’ .’ P ORRIS INTENDED THE ROISSART TO BE A GRAND FOLIO LIKE THE HAUCER MORRIS IS THE FIRST WRITER OF MODERN FANTASY TO UNITE AN IMAGINARY M F C , PUBLISHED IN FOUR PARTS IN TWO FOLIO VOLUMES BOUND IN WHITE WORLD WITH THE ELEMENT OF THE SUPERNATURAL, AND THUS A PRECURSOR OF PIGSKIN NO BOOK THAT COULD DO WOULD GIVE ME HALF THE PLEASURE MUCH OF PRESENT-DAY FANTASY LITERATURE. ....’ I .’ MORRIS BEFORE THE END OF 1896 THIRTY-TWO COPIES OF THE INCOMPLETE SHEETS WERE DISTRIBUTED TO FRIENDS OF MORRIS. THE NOTE AT THE END READS “INCOMPLETE SHEETS OF THE FROISSART. 32 COPIES PRINTED AT THE KELMSCOTT PRESS ON DEC. 24, 1896, BEFORE THE DISTRIBUTION OF THE TYPE. NOT FOR SALE.” AN EVEN SHORTER PRINTING OF SPECIMEN PAGES WOULD BE PRINTED ON VELLUM AND ISSUED IN 1897

47. SIRE DEGREVAUNT. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1897.

ONE OF 350 COPIES ON PAPER, OF A TOTAL EDITION OF 358 (8 ON VELLUM). 21 X 14.9 X 1.2 CM; PP. [8] + 88. CHAUCER TYPE ON BATCHELOR HAND-MADE PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE WATERMARK. WOODCUT FRONTISPIECE (BY EDWARD BURNE-JONES), TWO FULL-PAGE WOODCUT BORDERS, AND NUMEROUS WOODCUT INITIALS; HEAD-TITLE, SHOULDER-NOTES AND EXPLICIT IN RED. ORIGINAL HOLLAND-BACKED BLUE PAPER BOARDS, TITLE PRINTED ON THE FRONT COVER. PETERSON A A FAVOURITE OF MORRIS’S CIRLE,’ SIR DEGREVAUNT IS PERHAPS, MORE CURIOUS AND VALUABLE THAN THE OTHER ROMANCES IN THIS VOLUME, THE DESCRIPTIVE NOTICES OF EARLY COSTUME AND ARCHITECTURE, ARE OF PECULIAR INTEREST; AND IT WOULD BE PERHAPS DIFFICULT TO SELECT A ROMANCE OF THE KIND OF MORE MERIT.’ JAMES HALLIWELL 48.SYR ISAMBRACE. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 49 COCKERELL, SYDNEY C. [EDITOR]. SOME GERMAN WOODCUTS 1897. OF THE FIFTEENTH CENTURY. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1898.

ONE OF 350 COPIES ON PAPER, OF A TOTAL EDITION OF 358 (8 ON VELLUM). 21.2 X 14.7 X 0.8 CM; PP. [8] + 44. CHAUCER TYPE ON BATCHELOR HAND-MADE ONE OF 225 COPIES ON PAPER, OF A TOTAL EDITION OF 233 (8 ON VELLUM). PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE WATERMARK. WOODCUT 29.5 X 21.7 X 1 CM; PP. XII + 60. GOLDEN TYPE ON BATCHELOR HAND-MADE FRONTISPIECE (BY EDWARD BURNE-JONES), TWO FULL-PAGE WOODCUT BORDERS, PAPER WITH THE PERCH WATERMARK. THIRTY-FIVE LINE-BLOCK ILLUSTRATIONS, AND NUMEROUS WOODCUT INITIALS; HEAD-TITLE, SHOULDER-NOTES AND EXPLICIT AND WOODCUT INITIAL; TITLES, MARGINAL FIGURE REFERENCES, FIRST PARAGRAPH IN RED. ORIGINAL HOLLAND-BACKED BLUE PAPER BOARDS, TITLE PRINTED ON OF COLOPHON, AND SOME WORDS IN RED. ORIGINAL HOLLAND-BACKED BLUE THE FRONT COVER. PETERSON A48. PAPER BOARDS, TITLE PRINTED ON THE FRONT COVER. PETERSON A49. SYR ISAMBRACE TELLS THE MEDIEVAL STORY OF A PROUD AND SUCCESSFUL COCKERELL’S CATALOGUE OF THE PAGES FROM THE INCUNABULA AND MEDIAEVAL NOBLEMAN WHO IS DELIVERED A MESSAGE FROM GOD BY A SPEAKING BIRD – HE MANUSCRIPTS IN MORRIS’S LIBRARY. ‘OF COURSE , THIS IS JUST A LITTLE FANCY HAS BECOME TOO PROUD. THE BIRD DELIVERS AN ULTIMATUM. HE CAN REMAIN FOR MY OWN PLEASURE, AND YET I HAVE AN IDEA THAT THERE OUGHT TO BE WEALTHY IN HIS YOUTH BUT SUFFER THE LIFE OF A BEGGAR IN HIS OLD AGE, OR MANY BOOK-LOVERS AND ART-LOVERS WHO WOULD FIND MUCH IN THE VOLUME THE OTHER WAY ROUND. WHEN SYR ISAMBRACE SELECTS IMPOVERISHMENT AS TO DELIGHT THEM..’ MORRIS A YOUTH, THINGS IMMEDIATELY BEGIN TO GO BADLY FOR HIM. SEPARATED FROM HIS WIFE AND CHILDREN HE LOSES EVERYTHING HE OWNS. HE GOES THROUGH LIFE AS A PEASANT UNTIL IN HIS LATER YEARS HE IS REUNITED WITH HIS FAMILY AND INHERITS A VAST KINGDOM. 50. MORRIS, WILLIAM. THE STORY OF SIGURD THE VOLSUNG AND THE 51. MORRIS, WILLIAM. . WRITTEN BY WILLIAM FALL OF THE NIBLUNGS. BY WILLIAM MORRIS. THE KELMSCOTT PRESS, UPPER MORRIS. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1898. MALL, HAMMERSMITH, 1898.

ONE OF 300 COPIES ON PAPER, OF A TOTAL EDITION OF 310 (10 ON VELLUM). ONE OF 160 COPIES ON PAPER, OF A TOTAL EDITION OF 166 (6 ON VELLUM). 21.1 X 14.7 X 5.2 CM; PP. [8] + 508. CHAUCER TYPE ON BATCHELOR HAND-MADE 33.2 X 24 X 2.7 CM; PP. PP. [8] + 212. CHAUCER TYPE (TITLES OF BOOKS PAPER WITH (THE SECOND VERSION OF) THE PRIMROSE WATERMARK. LINE-BLOCK IN TROY TYPE) ON BATCHELOR HAND-MADE PAPER WITH THE APPLE MAP (BY H. CRIBB), FULL-PAGE WOODCUT BORDER, HALF AND THREE-QUARTER WATERMARK. FOUR FULL-PAGE WOODCUT BORDERS, WOODCUT FRONTISPIECE WOODCUT BORDERS, AND NUMEROUS WOODCUT INITIALS; CHAPTER TITLES AND AND ILLUSTRATION (BY EDWARD BURNE-JONES), SIDE AND CORNER WOODCUT SHOULDER-NOTES IN RED. ORIGINAL HOLLAND-BACKED BLUE PAPER BOARDS, BORDERS, AND NUMEROUS WOODCUT INITIALS; SECTION AND SHOULDER-TITLES IN TITLE PRINTED ON THE FRONT COVER AND ON THE PAPER SPIN LABEL. PETERSON RED. ORIGINAL FULL LIMP VELLUM; TITLE GILT ON SPINE. PETERSON A50. A51. THIS WAS MORRIS’S OWN FAVORITE OF HIS POEMS, AND WAS ENTHUSIASTICALLY THIS WAS ON OF MORRIS’S FAVOURITE FANTASIES. OSBERNE WULFGRIMSSON PRAISED BOTH BY CONTEMPORARY CRITICS AND BY SUCH FIGURES AS T. E. AND ELFHILD ARE LOVERS WHO LIVE ON OPPOSITE SIDES OF THE SUNDERING LAWRENCE AND GEORGE BERNARD SHAW. IT HAS BEEN SEEN AS AN INFLUENCE FLOOD, AN IMMENSE RIVER. WHEN ELFHILD DISAPPEARS DURING AN INVASION ON SUCH FANTASY WRITERS AS ANDREW LANG AND J. R. R. TOLKIEN. BY THE RED SKINNERS, THE HEARTBROKEN OSBERNE TAKES UP HIS MAGICAL SWORD BOARDCLEAVER AND JOINS THE ARMY OF SIR GODRICK OF LONGSHAW, IN WHOSE SERVICE HE HELPS DETHRONE THE TYRANNICAL KING AND PLUTOCRACY OF MERCHANTS RULING THE CITY AT THE MOUTH OF THE RIVER. AFTERWARDS HE LOCATES ELFHILD, WHO HAD FLED WITH A RELATIVE, A WISE WOMAN SKILLED IN THE MAGICAL ARTS, AND TAKEN REFUGE IN THE WOOD MASTERLESS. ELFHILD TELLS OSBERNE OF THEIR ADVENTURES EN ROUTE TO SAFETY. AFTERWARDS THEY RETURN TOGETHER TO WETHRMEL, OSBERNE’S HOME, AND ALL ENDS HAPPILY. 52.MORRIS, WILLIAM. LOVE IS ENOUGH, OR THE FREEING 53. A NOTE BY WILLIAM MORRIS ON HIS AIMS FOUNDING THE PHARAMOND: A MORALITY. WRITTEN BY WILLIAM MORRIS. THE KELMSCOTT KELMSCOTT PRESS. TOGETHER WITH A SHORT DESCRIPTION OF THE PRESS PRESS, UPPER MALL, HAMMERSMITH, 1898. BY S.C. COCKERELL, & AN ANNOTATED LIST OF THE BOOKS PRINTED THEREAT. THE KELMSCOTT PRESS, UPPER MALL, HAMMERSMITH, 1898.

ONE OF 300 COPIES ON PAPER, OF A TOTAL EDITION OF 308 (8 ON VELLUM). ONE OF 525 COPIES ON PAPER, OF A TOTAL EDITION OF 537 (12 ON VELLUM). 29.6 X 21.8 X 1.5 CM; PP. [8] + 92. TROY TYPE (MOST STAGE DIRECTIONS 20.9 X 14.6 X 1.1 CM; PP. [8] + 72. GOLDEN TYPE (TWO PAGES IN TROY IN CHAUCER TYPE) ON BATCHELOR HAND-MADE PAPER WITH THE PERCH TYPE, AND THREE IN CHAUCER TYPE) ON BATCHELOR HAND-MADE PAPER WATERMARK. WOODCUT FRONTISPIECE AND ILLUSTRATION (BY EDWARD BURNE- WITH (THE SECOND VERSION OF) THE PRIMROSE WATERMARK. WOODCUT JONES), TWO FULL-PAGE WOODCUT BORDERS, SIDE, CORNER, HALF, AND THREE- FRONTISPIECE (BY EDWARD BURNE-JONES), TWO FULL-PAGE WOODCUT BORDERS, QUARTER WOODCUT BORDERS, AND NUMEROUS WOODCUT INITIALS; SPEAKERS’ THREE ORNAMENTS (DESIGNED ENGRAVED FOR LOVE IS ENOUGH), WOODCUT NAMES AND STAGE DIRECTIONS IN RED, SOME INITIALS IN BLUE. ORIGINAL FULL SIDE BORDERS, AND FOUR WOODCUT INITIALS (DESIGNED FOR FROISSART’S LIMP VELLUM; TITLE GILT ON SPINE. PETERSON A52 CHRONICLES, BUT NEVER USED), HEAD-TITLES, BOOK TITLES, CAPTION, LOVE IS ENOUGH, A PLAY WRITTEN BY WILLIAM MORRIS AFTER THE MANNER SHOULDER-TITLES, LEAF ORNAMENTS, AND COLOPHON IN RED. ORIGINAL OF MEDIEVAL MORALITY PLAYS, IS BASED ON THE THEME THAT LOVE IS MORE HOLLAND-BACKED BLUE PAPER BOARDS, TITLE PRINTED ON THE FRONT COVER. IMPORTANT AND VALUABLE THAN POWER OR WEALTH. MORRIS COMPLETED THE PETERSON A53 PLAY IN 1872 DURING THE FIVE-YEAR PERIOD WHEN HE CREATED HIS MOST AFTER WILLIAM MORRIS DIED IN 1896, HIS TRUSTEES AND FRIENDS PUBLISHED ACCOMPLISHED ILLUMINATED MANUSCRIPTS. THIS BOOK AS THE LAST WORK OF THE KELMSCOTT PRESS. IT IS A MEMORIAL AND AN ESSENTIAL HISTORY OF MORRIS’S DEVELOPMENT AS A DESIGNER CONCERNED WITH EVERY ASPECT OF BOOK PRODUCTION. THE VOLUME BEGINS WITH AN ACCOUNT WRITTEN BY MORRIS FOR A LONDON BOOKSELLER WHO HAD AN AMERICAN CLIENT DESIROUS OF GIVING A LECTURE ON THE KELMSCOTT PRESS. ORIGINAL DRAWINGS, FINISHED DESIGNS AND PROOFS FOR ‘ LOVE IS ENOUGH’ ; ‘WORKS OF GEOFFREY CHAUCER’ - TALE OF THE CLERK OF OXENFORD - THE ROMAUNT OF THE ROSE’ ; ‘SIR DEGREVAUNT & SIR ISAMBRACE’

54. BURNE-JONES, EDWARD--CATTERSON-SMITH, ROBERT ILLUSTRATIVE MATERIAL RELATING TO THE WORKS OF GEOFFREY CHAUCER, ‘THE TALE OF THE CLERK OF OXENFORD’, COMPRISING:

1. PAGE [127] ILLUSTRATION, PHOTOGRAPH OF THE ORIGINAL BURNE-JONES DESIGN WITH SMALL SECTIONS OF ADDED PENCIL AND INK, 130 BY 176MM., LAID DOWN TO CARD, THE BORDER WITH DETAIL OF ROPE AND TWO NOTES IN PENCIL. 2. PAGE [129] ILLUSTRATION, PHOTOGRAPH OF THE ORIGINAL BURNE-JONES DESIGN WITH SECTIONS OF ADDED INK, 130 BY 176MM., LAID DOWN TO CARD, THE BORDER WITH DETAILS OF GRASS IN INK. 3) PAGE [129] ILLUSTRATION, INK AND GOUACHE, 130 BY 176MM., LAID DOWN TO CARD, THE BORDER WITH DETAILS OF HEAD ATTIRE IN PENCIL. 4) PAGE [132] ILLUSTRATION, PHOTOGRAPH OF THE ORIGINAL BURNE-JONES DESIGN WITH WASH OF WHITE, 130 BY 176MM., LAID DOWN TO CARD. 5) PAGE [136] ILLUSTRATION, PHOTOGRAPH OF THE ORIGINAL BURNE-JONES DESIGN WITH SMALL SECTION OF ADDED INK AND GOUACHE, 135 BY 176MM., LAID DOWN TO CARD, THE REVERSE SHOWS DETAILS OF AN ARCH, A POOL AND WOODWORK IN INK AND PENCIL. 6) PAGE [136] ILLUSTRATION, PHOTOGRAPH OF THE ORIGINAL BURNE-JONES DESIGN IN A LATER STATE (?), 130 BY 168MM., LAID DOWN TO CARD, THE REVERSE SHOWS DETAILS OF HANDS IN PENCIL.

THE ILLUSTRATION ON PAGE [129] OF THE KELMSCOTT CHAUCER IS PUBLISHED IN A DIFFERENT STATE THAN SHOWN HERE. THE VERSION AS WORKED IN THIS COLLECTION INCLUDES A TREE TRUNK AND FOLIAGE EXTENDING DOWN THE ENTIRE LEFT EDGE OF THE COMPOSITION. THE GRASS IS ALSO IN A MORE STYLISED FASHION. THE EXTENSIVE LEAF DETAIL OF THE PUBLISHED VERSION IS SUGGESTED BY A MORE MINIMAL AND STYLISED LEAF EFFECT.

55. BURNE-JONES, EDWARD--CATTERSON-SMITH, ROBERT ILLUSTRATIVE MATERIAL RELATING TO SIRE DEGREVAUNT AND SYR ISAMBRACE, COMPRISING:

FRONTISPIECE ILLUSTRATION FOR SIRE DEGREVAUNT: 1. PHOTOGRAPH OF THE ORIGINAL BURNE-JONES DESIGN, INK AND GOUACHE, 135 BY 85MM., LAID DOWN TO CARD WITH PRINTED BORDER ADDED, THE BORDER WITH DETAIL OF FACE IN PENCIL THOUGHT TO BE IN THE HAND OF BURNE-JONES, THE PRINTED BORDER IN FOUR SECTIONS 2. ANOTHER PHOTOGRAPH WITH INK AND GOUACHE. 3. PROOF PRINTING WITH DECORATIVE BORDER,[TOGETHER WITH:] FRONTISPIECE ILLUSTRATION FOR SYR ISAMBRACE. 4. PHOTOGRAPH OF THE ORIGINAL BURNE-JONES DESIGN; 5. INK AND GOUACHE, 133 BY 82MM., WITH PRINTED BORDER ADDED, MOUNTED, THE PRINTED BORDER IS IN FOUR SECTIONS AND IS OBSCURED BELOW THE MOUNT. CATTERSON-SMITH HAS ADDED A NOTE TO A PAPEYR FRM AN OLD FRAM FOR ITEM 5 NOTING “DRAWING FOR WOODCUT BY RCS. I HAVE FORGOTTEN WHAT IT WAS FOR”. 56. BURNE-JONES, EDWARD--CATTERSON-SMITH, ROBERT 57. A PROSPECTUS AND A PRICE LIST FOR CHAUCERS WORKS. FRONTISPIECE ILLUSTRATION FOR LOVE IS ENOUGH AN ENGRAVED ADVERT FOR JOHN BALL WITH ENGRAVED ILLUSTRATION BY BURNE JONES. 5 PAGES. INK AND GOUACHE, 210 BY 140MM., LAID DOWN THE CARD, THE MOUNT WITH DETAILS OF A FACE, BEDPOST, ETC. TOGETHER WITH SEPARATE INITIALS OF BURNE-JONES PRESUMABLY TO INDICATE THE ARTWORK HAS BEEN PASSED FOR ENGRAVING, MOUNTED, PETERSON REPORTS THAT “MORRIS HAD ABANDONED HIS PLAN TO PRODUCE AN ORNAMENTED AND ILLUSTRATED EDITION, THOUGH AN ILLUSTRATION BY BURNE-JONES, SLIGHTLY ALTERED AND REDRAWN BY ROBERT CATTERSON-SMITH (COCKERELL DIARY, 6 OCTOBER 1897), WAS LATER ADAPTED FOR US IN THE KP EDITION.” THE FRAME INCLUDES DETAILS IN THE HAND OF CATTERSON-SMITH AND IT APPEARS THAT THE DRAWING, DESCRIBED AS “ORIGINAL DRAWING FOR THE KELMSCOTT EDITION OF LOVE IS ENOUGH. DESIGNED BY THE LATER SIR E. BURNE-JONES BART. DRAWN BY R. CATTERSON-SMITH”, WAS EXHIBITED IN 1901. CATTERSON-SMITH ADDS A NOTE THAT “THIS DRAWING WAS SUBJECT TO CONSIDERABLE ALTERATION AS IT WAS BEING DRAWN - SO IT IS THE ORIGINAL DRAWING”.