Search Results: Fine Press from MRM Books

London: Longmans & Co, 1898. First Edition. hardcover. Very Good+. 8 3/8" × 5 3/4" (21.3 × 14.6 cm) . First Printing. Printed by Chiswick Press. 8vo. Bound in publisher's original hardcover quarter Holland-backed blue paper boards, with blue linen spine and black titles to cover. Printed on fine, hand-made, heavy paper. Uncut, deckled edges. Colophon. [iv], 25, [iv] pp. Part of a William Morris series comprising five octavo books printed at the Chiswick Press with the Golden type designed by Morris for his Kelmscott Press, 1898–1901. Lecture I: "Birmingham School of Art," delivered before the Birmingham Municipal School of Art. on Feb. 21, 1894.As Walter Crane wrote of Morris's far-reaching aesthetic philosophy, "if it has not turned all British craftsmen into artists or all British artists into craftsmen, it has done not little to expand and socialize the idea of art, and (perhaps it is not too much to say) has made the tasteful English house with its furniture and decorations a model for… Read More

London: Longmans & Co, 1898. First Edition. hardcover. Near Fine. 8 3/8" × 5 3/4" (21.3 × 14.6 cm) . First Printing. Printed by Chiswick Press. 8vo. Bound in publisher's original hardcover quarter Holland-backed blue paper boards, with blue linen spine and black titles to cover. Printed on fine, hand-made, heavy paper. Uncut, deckled edges. Colophon. [iv], 25, [iv] pp. Part of a William Morris series comprising five octavo books printed at the Chiswick Press with the Golden type designed by Morris for his Kelmscott Press, 1898–1901. Lecture I: "Birmingham School of Art," delivered before the Birmingham Municipal School of Art. on Feb. 21, 1894.As Walter Crane wrote of Morris's far-reaching aesthetic philosophy, "if it has not turned all British craftsmen into artists or all British artists into craftsmen, it has done not little to expand and socialize the idea of art, and (perhaps it is not too much to say) has made the tasteful English house with its furniture and decorations a model for the… Read More

London: Longmans & Co, 1998. First Edition. hardcover. Near Fine. 8 3/8" × 5 3/4" (21.3 × 14.6 cm) . Latter Impression. Printed by Chiswick Press. 8vo. Bound in publisher's original hardcover quarter Holland-backed blue paper boards, with blue linen spine and black titles to cover. Printed on fine, hand-made, heavy paper. Uncut, deckled edges. Colophon. [iv], 50, [iv] pp. Part of a William Morris series comprising five octavo books printed at the Chiswick Press with the Golden type designed by Morris for his Kelmscott Press, 1898–1901. "Lecture IV: Architecture and History," A Paper Read before the Society for the Protection of Ancient Buildings, on July 1, 1884; and "Westminster Abbey," A Paper Written for the Protection of Ancient Buildings in June, 1893As Walter Crane wrote of Morris's far-reaching aesthetic philosophy, "if it has not turned all British craftsmen into artists or all British artists into craftsmen, it has done not little to expand and socialize the idea of art, and (perhaps… Read More

London: Longmans & Co, 1901. First Edition. hardcover. Near Fine. 8 3/8" × 5 3/4" (21.3 × 14.6 cm) . First Printing. Printed by Chiswick Press. 8vo. Bound in publisher's original hardcover quarter Holland-backed blue paper boards, with blue linen spine and black titles to cover. Printed on fine, hand-made, heavy paper. Uncut, deckled edges. Colophon. [iv], 47, [ii] pp. Part of a William Morris series comprising five octavo books printed at the Chiswick Press with the Golden type designed by Morris for his Kelmscott Press, 1898–1901. This volume comprises two lectures delivered before the National Association for the Advancement of Art: "Lecture V: Art and Its Producers," was delivered by Morris in Liverpool, 1888, and "Lecture VI: The Arts and Crafts of Today," in Edinburgh, October 1889. As Walter Crane wrote of Morris's far-reaching aesthetic philosophy, "if it has not turned all British craftsmen into artists or all British artists into craftsmen, it has done not little to expand and… Read More

London: George N. Bell and Sons, 1902. Limited First Edition. hardcover. Very Good. 13 5/8" × 9 1/2" (34.6 × 24.1 cm) . Walter Crane . First Printing. Illustrated by Walter Crane . Printed by Chiswick Press: Charles Whittingham & Co. Folio. Bound in fine hardcover three-quarter dark brown leather. Printer's device. xiii, [1], 147, [1] pp. Printed in black and red, two inserted facsimile leaves from "The Story of the Glittering Plain," published by the Kelmscott Press (the only Kelmscott book illustrated by Crane, despite his close friendship with fellow-Socialist William Morris). 8 photogravure plates, 24 color plates, and 26 monochrome plates. Numerous text illustrations. Title in red and black designed by Crane.In the opening section, "Art & Socialism," Konody points out Morris's profound influence on Crane's ideas about both socialism and art.Pasted in is a note which reads: "NOTE: I desire to state that Mr. Kondy's book upon my work has been arranged, written, and completed without my… Read More

London/Hammersmith: Kelmscott Press, 1895. Limited First Edition. hardcover. Near Fine. 6 1/16" × 4 1/16" × 1" (15.4 × 10.3 × 2.5 cm) . First Printing. Printed by and sold by William Morris. 16mo. Bound in publisher's original hardcover quarter Holland-backed blue paper boards, with white linen spine and paper title label. One of 600 [at fifteen shillings] paper copies (plus 12 [at four guineas] on vellum). Printed on fine, hand-made, Batchelor (with the first and second versions of the Primrose watermark) paper. Uncut, deckled edges. Colophon in red. [viii], 1 (title), [ii], 256, [ii]; [iv], 1 (title) [i], 238, 1 (colophon), [iii] pp. Printed in black and red throughout in the Chaucer type designed by Morris for his press. Head-title, shoulder-notes, and colophon in red. Numerous 7- and 3-line woodblock initial capitals all designed by Morris, engraved by William Harcourt Hooper. Woodcut title. The borders (15a and 15) designed by Morris for this book were only used once again, in HAND AND… Read More

London: Longmans, Green & Co, 1903. Limited First Edition. hardcover. Good+. 6 5/8" × 4 7/8" (16.8 × 12.4 cm) . Sir Edward Coley Burne-Jones. First Thus. Illustrated by Sir Edward Coley Burne-Jones. Printed by Ballantine, Hanson & Co., Edinburgh & London. 12mo. Bound in publisher's original hardcover quarter Holland-backed blue paper boards, with blue linen spine and paper title label. One of 250 (reset from the Kelmscott Press edition of 1892) copies. Printed on fine, hand-made, heavy paper. Uncut, deckled edges. [vi], 169, [viii] pp. One of a Limited First Edition of and printed on handmade paper, with the frontispiece (with tissue paper intact) by Sir Edward Coley Burne-Jones: "When Adam Delved and Eve Span, Who then Was the Gentleman?"A Dream of John Ball has been called: "... a work of singular elevation and beauty, which may be classed either as a romance or as a study in the philosophy of history." The story describes time travel encounters between the medieval and modern worlds and is… Read More

London/Hammersmith: Kelmscott Press, 1896. Limited First Edition. hardcover. Near Fine. 9 7/16" × 6 7/16" × 5/16" (24 × 16.4 × .8 cm) . First Printing. Edited by Frederick Startridge Ellis. Printed by and sold by William Morris. Medium 4to. Bound in publisher's original hardcover quarter Holland-backed blue paper boards, with white linen spine and black titles to cover. One of 300 [at ten shillings] paper copies (plus 10 [at two guineas] on vellum). Printed on fine, hand-made, Batchelor (with the Apple watermark) paper. Uncut, deckled edges. Colophon and the smaller, rectangular printer's device designed by Morris (no. 1). [viii], 1 (title), [ii], 47, [iii] pp. Printed in black and red throughout in the Troy type, with the “Note" and "Colophon" in the Chaucer type, both types designed by Morris for his press. The two stories opening with title printed in red and 15-line elaborate foliate woodblock initial words designed by Morris for his WORKS OF CHAUCER and engraved by William Harcourt… Read More

London/Hammersmith: Kelmscott Press, 1896. Limited First Edition. Very Good. 9 7/16" × 6 7/16" × 5/16" (24 × 16.4 × .8 cm) . First Printing. Edited by Frederick Startridge Ellis. Printed by and sold by William Morris. Medium 4to. Bound in contemporary dark red leather. One of 300 [at ten shillings] paper copies (plus 10 [at two guineas] on vellum). Printed on fine, hand-made, Batchelor (with the Apple watermark) paper. Uncut, deckled edges. Colophon and the smaller, rectangular printer's device designed by Morris (no. 1). [viii], 1 (title), [ii], 256, [ii]; [iv], 1 (title) [i], 238, 1 (colophon), [iii] pp. Printed in black and red throughout in the Troy type, with the "Note" and "Colophon" in the Chaucer type, both types designed by Morris for his press. The two stories opening with title printed in red and 15-line elaborate foliate woodblock initial words designed by Morris for his WORKS OF CHAUCER and engraved by William Harcourt Hooper. Dated Aug. 21, issued Nov. 2, 1896, the first copy… Read More

London/Hammersmith: Kelmscott Press, 1893. Limited First Edition. hardcover. Good+. 5 13/16" × 4 1/16" × 3/8" (14.8 × 10.3 × 1 cm) . Second State. Printed by and sold by William Morris. 16mo. Bound in publisher's original hardcover quarter Holland-backed blue paper boards, with white linen spine and black titles to cover. One of 500 [of a total run of 1,500, at two shillings and sixpence] paper copies (plus 45 [at ten and fifteen shillings] on vellum). Printed on fine, hand-made, Batchelor (with the second version of the Primrose watermark) paper. Uncut, deckled edges. Colophon. [ii], 1 (title), [i], 68, [viii] pp. Printed in black and red throughout in the Golden type designed by Morris for his press. Head-title and shoulder-notes in red. Numerous 6- and 4-line woodblock initial capitals all designed by Morris, engraved by William Harcourt Hooper. Morris used his four-line initials for this first time with this, his first book printed in the 16mo format. This lecture was setup at Hammersmith… Read More

London/Hammersmith: Kelmscott Press, 1893. Limited First Edition. hardcover. Very Good. 5 13/16" × 4 1/16" × 3/8" (14.8 × 10.3 × 1 cm) . First State. Printed by and sold by William Morris. 16mo. Bound in publisher's original hardcover quarter Holland-backed blue paper boards, with white linen spine and black titles to cover. One of 500 [of a total run of 1,500, at two shillings and sixpence] paper copies (plus 45 [at ten and fifteen shillings] on vellum). Printed on fine, hand-made, Batchelor (with the second version of the Primrose watermark) paper. Uncut, deckled edges. Colophon. [ii], 1 (title), [i], 68, [viii] pp. Printed in black and red throughout in the Golden type designed by Morris for his press. Head-title and shoulder-notes in red. Numerous 6- and 4-line woodblock initial capitals all designed by Morris, engraved by William Harcourt Hooper. Morris used his four-line initials for this first time with this, his first book printed in the 16mo format. This lecture was setup at… Read More

London/Hammersmith: Kelmscott Press, 1893. Limited First Edition. hardcover. Near Fine. 5 13/16" × 4 1/16" × 3/8" (14.8 × 10.3 × 1 cm) . Second State. Printed by and sold by William Morris. 16mo. Bound in publisher's original hardcover quarter Holland-backed blue paper boards, with white linen spine and black titles to cover. One of 500 [of a total run of 1,500, at two shillings and sixpence] paper copies (plus 45 [at ten and fifteen shillings] on vellum). Printed on fine, hand-made, Batchelor (with the second version of the Primrose watermark) paper. Uncut, deckled edges. Colophon. [ii], 1 (title), [i], 68, [viii] pp. Printed in black and red throughout in the Golden type designed by Morris for his press. Head-title and shoulder-notes in red. Numerous 6- and 4-line woodblock initial capitals all designed by Morris, engraved by William Harcourt Hooper. Morris used his four-line initials for this first time with this, his first book printed in the 16mo format. This lecture was setup at… Read More

London/Hammersmith: Kelmscott Press, 1893. Limited First Edition. limp vellum. Very Good. 8 1/4" × 5 7/8" × 1 1/4" (21 × 14.9 × 3.2 cm) . First Printing. Edited by Frederick Startridge Ellis. Printed by William Morris, and sold by Reeves & Turner. 8vo. Bound in publisher's original limp vellum by J. & J. Leighton, with silk ties supplied by Morris & Co., with gilt titles to spine. One of 250 [at two guineas] paper copies (plus 6 [at ten guineas] on vellum). Printed on fine, hand-made, Batchelor (with the second version of the Primrose watermark) paper, with yapped edges. Uncut, deckled edges. Colophon and the smaller, rectangular printer's device designed by Morris (no. 1). [vii], 1 (foreword),1 (title), 3 (prologue), 286, 1 (colophon), [vii] pp. Printed in black and red throughout in the Golden type designed by Morris for his press. Border 1. Head-title and shoulder-notes in red. 10-line and numerous 6- and one 4-line woodblock initial capitals all designed by Morris, engraved by William… Read More

London/Hammersmith: Kelmscott Press, 1893. Limited First Edition. hardcover. Good+. 8 5/16" × 5 11/16" × 1/2" (21.1 × 14.4 × 1.3 cm) . First State. Printed by William Morris, and published by Macmillan & Co., Bedford Street, Strand. 8vo. Bound in custom hardcover full leather with tooled design. One of 500 [at two guineas] paper copies (plus 5 [not for sale] on vellum). Printed on fine, hand-made, Batchelor (with the second version of the Primrose watermark) paper. Uncut, deckled edges. Colophon and the smaller, rectangular printer's device designed by Morris (no. 1). All edges gilt. [iv], 69, [70, imprint] pp. Printed in black and red throughout with the Golden type designed by Morris for his press, with stanza numbers in red. Woodcut title within a floral border, facing page with full woodcut floral page-border (borders 10a and 10). Numerous other floral edge borders at stanza heads. Three 12-line woodcut initial and numerous 6-line initials all designed by Morris, engraved by William… Read More

London/Hammersmith: Kelmscott Press, 1898. Limited First Edition. hardcover. Very Good. 8 1/4" × 5 5/8" × 7/16" (21 × 14.3 × 1.1 cm) . Sir Edward Coley Burne-Jones. First Printing. Illustrated by Sir Edward Coley Burne-Jones. Printed by William Morris, and sold by the Trustees of the late William Morris at the Kelmscott Press. 8vo. Bound in publisher's original hardcover quarter Holland-backed blue paper boards, with white linen spine and black titles to cover. One of 525 [at ten shillings] paper copies (plus 12 [at two guineas] on vellum). Printed on fine, hand-made, Batchelor (with the second version of the Primrose watermark) paper. Uncut, deckled edges. Colophon and the smaller, rectangular printer's device designed by Morris (no. 1). [iv], 70 pp., [1, colophon], [1, blank]. Printed in black and red throughout with the Golden type designed by Morris for his press, with 5 pages in the Troy and Chaucer types he designed. Head-title and shoulder-notes in red. The frontispiece, "Psyche Borne… Read More

London/Hammersmith: Kelmscott Press, 1898. Limited First Edition. hardcover. Near Fine. 8 1/4" × 5 5/8" × 7/16" (21 × 14.3 × 1.1 cm) . Sir Edward Coley Burne-Jones. First Printing. Illustrated by Sir Edward Coley Burne-Jones. Printed by William Morris and sold by the Trustees of the late William Morris at the Kelmscott Press. 8vo. Bound in publisher's original hardcover quarter Holland-backed blue paper boards, with white linen spine and black titles to cover. One of 525 [at ten shillings] paper copies (plus 12 [at two guineas] on vellum). Printed on fine, hand-made, Batchelor (with the second version of the Primrose watermark) paper. Uncut, deckled edges. Colophon and the smaller, rectangular printer's device designed by Morris (no. 1). [iv] + 70 + [1, colophon] + [1, blank] pp. Printed in black and red throughout with the Golden type designed by Morris for his press, with 5 pages in the Troy and Chaucer types he designed. Head-title and shoulder-notes in red. The frontispiece, "Psyche… Read More

London/Hammersmith: Kelmscott Press, 1894. Limited First Edition. hardcover. Very Good+. 8 7/16" × 5 11/16" × 3/8" (21.4 × 14.4 × 1 cm) . First Printing. Edited by Frederick Startridge Ellis. Printed by William Morris. 8vo. Bound in publisher's original hardcover quarter Holland-backed blue paper boards, with white linen spine and paper title label. One of 300 [at seven shillings and sixpence] paper copies (plus 12 [at three guineas] on vellum). Printed on fine, hand-made, Batchelor (with the second version of the Primrose watermark) paper. Uncut, deckled edges. Colophon and the smaller, rectangular printer's device designed by Morris (no. 1). [ii], 63, [ii] pp. Printed in black and red throughout with the Chaucer type designed by Morris for his press. Head-titles in red. Numerous three-quarter woodcut ornamental borders and 6-, 5-, and 3-line initials all designed by Morris, engraved by William Harcourt Hooper. "Thus ends the rhymed version of the Penitential Psalms, found in a Manuscript of… Read More

London/Hammersmith: Kelmscott Press, 1894. Limited First Edition. hardcover. Very Good+. 8 7/16" × 5 11/16" × 3/8" (21.4 × 14.4 × 1 cm) . First Printing. Edited by Frederick Startridge Ellis. Printed by William Morris. 8vo. Bound in publisher's original hardcover quarter Holland-backed blue paper boards, with white linen spine and paper title label. One of 300 [at seven shillings and sixpence] paper copies (plus 12 [at three guineas] on vellum). Printed on fine, hand-made, Batchelor (with the second version of the Primrose watermark) paper. Uncut, deckled edges. Colophon and the smaller, rectangular printer's device designed by Morris (no. 1). [ii], 63, [ii] pp. Printed in black and red throughout with the Chaucer type designed by Morris for his press. Head-titles in red. Numerous three-quarter woodcut ornamental borders and 6-, 5-, and 3-line initials all designed by Morris, engraved by William Harcourt Hooper. "Thus ends the rhymed version of the Penitential Psalms, found in a Manuscript of… Read More

London: Reeves and Turner, 1890. Superior Edition. hardcover. Very Good+. 8 1/8" × 6 7/8" (20.6 × 17.5 cm) . First Thus. Printed by Chiswick Press: Charles Whittingham & Co. Small 4to. Bound in publisher's original hardcover Morris & Co. "Honeysuckle" printed floral chintz cloth-covered boards (designed by the author & produced by his firm), with gilt titles to spine. One of 250 copies. Printed on fine, hand-made, watermarked "J Whatman 1889" paper. Uncut, deckled edges. [i–iv], [1], 2–424 pp. Printed in Basle Roman type. "Morris bought 'the whole making' of the Whatman paper on which [this book] is printed, and used the balance for catalogues and prospectuses when he founded his own Kelmscott Press. This book so satisfied its author that he never reprinted the work at his Kelmscott Press. He declared it to be the best-looking book issued since the seventeenth century." [Colbeck II p.582]. Morris wrote to Georgie Burne-Jones on 16 November, 1889: "I am so pleased with my book—typography,… Read More

London/Hammersmith: Kelmscott Press, 1897. Limited First Edition. hardcover. Very Good. 8 5/16" × 5 5/8" × 1/2" (21.1 × 14.3 × 1.3 cm) . Sir Edward Coley Burne-Jones. First Printing. Edited by Frederick Startridge Ellis, after the edition printed by J.O. Halliwell, from the Cambridge manuscript, with some additions and variations from the THORNTON ROMANCES manuscript, in the Library of Lincoln Cathedral. Illustrated by Sir Edward Coley Burne-Jones. Printed by and sold by William Morris. 8vo. Bound in publisher's original hardcover quarter Holland-backed blue paper boards, with white linen spine and black titles to cover. One of 350 [at fifteen shillings] paper copies (plus 8 [at four guineas] on vellum). Printed on fine, hand-made, Batchelor (with the second version of the Primrose watermark) paper. Uncut, deckled edges. Colophon and the smaller, rectangular printer's device designed by Morris (no. 1). 81 [1] pp. Printed in black and red throughout in the Chaucer type designed by Morris for… Read More