john keats (Más de 2.300 resultados)

No Binding. Condición: Very Good. No Jacket. About the books: Three books are part of this collection. From the personal library of Katherine Waddell, Canadian poet Archibald Lampman's muse and love interest, until the day he died in February 10, 1899, age 37. The first book is Volume Two of Jean Ingelow's Poems published in 1890. The book has been inscribed to Katherine inside front boards. This book was given to her on her birthday, June 26, 1891. It was this book that verified the previous owner's identity. The second book is Cranford by Mrs. Gaskell published by Rodgers Co. This book has been inscribed to Ms. Waddell from William Dawson LeSueur, author and boss of both Lampman and Waddell at the Post Office in Ottawa. LeSueur's signature is nearly impossible to locate. This book was inscribed to Ms. Waddell, Christmas 1898. The third book is The Lyrical Poems of John Keats published by J.M. Dent and Sons. On the first blank page is Katherine Waddell's name and the date 1898. Despite her first name being spelled incorrectly we are almost 100 percent certain that her name in this book was written by Archibald Lampman. All three books are small and all three are in excellent condition. A truly rare find. All three are important pieces in Canada's literary history. A love story in words. Additional photos available upon request. Non-Authorial Inscription.

FIRST EDITION. 165 x 92 mm. (6 1/2 x 3 3/4"). 3 p.l., 121 pp. EXQUISITE CITRON MOROCCO, GILT AND INLAID, BY THE CLUB BINDERY (stamp-signed and dated 1908 on front turn-in), covers with inlaid frame and cornerpieces of chestnut brown morocco outlined with double rules and densely tooled in gilt, central panel with rectangular extension at center of each side containing a gilt fleuron, raised bands, spine compartments with inlaid panel of chestnut brown morocco tooled with pointillé and small tools, gilt titling, turn-ins with floral roll, marbled endpapers, all edges gilt. In a brown morocco-backed marbled paper chemise. Title page with the bust of a poet in laurel wreath. Front pastedown with armorial Cardiff Castle bookplate of the Marquess of Bute and morocco ex-libris of Beverly Chew. Tail margin of p. 109 with faint annotation in a 19th century hand. Hayward 231; Ashley III:9. â Leaves a little yellowed with age, isolated tiny rust spots or minor smudges but A FINE COPY, clean and fresh internally, IN A FLAWLESS BINDING. This is a volume with every desirable quality imaginable: the first edition of the first book of poems by one of the most important Romantic poets, offered in a splendid binding by the first great American workshop, in beautiful condition and with distinguished provenance. Though the publisher was disappointed in the sales of Keats' "Poems," Day finds the book "filled with youthful enthusiasm for various discoveries," among them poetry, the art and literature of classical Greece, and the beauty of Nature. Among the contents are Keats' first known poem, "Imitation of Spenser"; what Day calls his "first indisputably great poem," "On First Looking into Chapman's Homer"; and his first important longer poem, "Sleep and Poetry." Although he lived but a short time, Keats (1795-1821) left a lasting mark on English literature, and his poetry remains popular to this day. In the words of the Poetry Foundation, "The urgency of this poetry has always appeared greater to his readers for his intense love of beauty and his tragically short life. Keats approached the relations among experience, imagination, art, and illusion with penetrating thoughtfulness, with neither sentimentality nor cynicism but with a delight in the ways in which beauty, in its own subtle and often surprising ways, reveals the truth." In addition to the importance of the content here, this item is memorable because of its beautiful binding. Once the Grolier Club was founded in 1884 as an organization to further the interests of America's most serious bibliophiles, it soon became apparent that the country's few established hand binders were overtaxed in providing repairs and rebinding for the club members' rapidly accumulating acquisitions. As a consequence, in 1895, Grolier members, along with Edwin Holden and other wealthy collectors, established the Club Bindery in order to attract European craftsmen to provide, close to home, fine quality binding work rivalling what was available abroad. The Club Bindery was in operation until 1909, with Robert Hoe being its most influential manager and client. It provided bindings that tended to be traditional in style--though frequently with elaborate decoration--and that lived up to its patrons' expectations in terms of excellence. The first members of the staff of the Club Bindery were the Englishmen R. W. Smith and Frank Mansell. They were subsequently joined by a number of French binders, chief among them being Leon Maillard, who had worked previously for Cuzin, Gruel, and Marius-Michel, and whose precise and intricate finishing is impressively demonstrated on our binding here. Our binding was commissioned by Grolier Club member Beverly Chew (1850-1924), a successful New York banker who was an extremely discriminating collector, first, of American literature and, subsequently and more importantly, British literature. He bought heavily in 16th and 17th century authors, and sold 2,000 choice titles in this area in one transaction to Henry E. Huntington, probably the most famous of all American book collectors. Dickinson says that Chew was one of the most respected collectors of his time, and that his contributions to the very useful Grolier Club catalogue "Wither to Prior" were invaluable.

First edition. Original publisher's plain grey boards with original title label. A very good copy with repairs to the the front joint and base of the spine. Rear joint with split at the base and spine darkened, but boards clean and well preserved. Internally, front hinge cracked, but notably clean and fresh. A well preserved example of Keats's first work, seldom encountered in an original state. Wood engraving of Edmund Spencer to the title page. Keats's first book, published on 3 March 1817 by Charles and James Ollier, who were already publishing Shelley. The first of a mere three lifetime publications, it is a work of mainly youthful promise Keats had appeared for the first time in print less than a year earlier, with a poem in the radical weekly The Examiner on 5 May 1816. The 1817 Poems attracted a few good reviews, but these were followed by the first of several harsh attacks by the influential Blackwood's Magazine, mainly by critics who resented Keats's avowed kinship with the despised Leigh Hunt. The best-known poem in the book is the sonnet "On First Looking into Chapman's Homer", "by common consent one of its masterpieces in this form, having a close unsurpassed for the combined qualities of serenity and concentration" (Colvin), and described by ODNB as "an astonishing achievement, with a confident formal assurance and metaphoric complexity which make it one of the finest English sonnets. As Hunt generously acknowledged, it 'completely announced the new poet taking possession' (Hunt, Lord Byron, 249)" (ODNB).

Hardcover. Condición: Fine. 1st Edition. First Edition, First Printing published in London. A fantastic copy. This copy is elegantly bound in a period morocco black letter with raised bands. The binding is tight with NO cocking or leaning and the boards are crisp with minor wear to the spine. The pages are clean with a Frederick Locker armorial bookplate and previous owner's name neatly written on a blank page before the title page. The pages are exceptionally clean with NO foxing in the book. A superb copy of the author's third and last book published in his lifetime. This book includes some of his best-loved poems: "Ode to a Nightengale," "Ode on a Grecian Urn," "Ode to Psyche," and "Ode to Melancholy.".

First edition, first issue, finely bound by Riviere. Endymion was the second of only three lifetime publications by Keats. This copy is from the library of the noted American bibliophile Natalie Knowlton Blair (1887-1951), "the earliest woman collector of Americana of the first rank" (Moonan), with her Blairhame leather book label on the front pastedown. Blair had converted the attic of her Manhattan mansion into a series of museum rooms where she displayed a wealth of American and European antiques. The New York summers were not kind to her books, and much of her collection was damaged by the heat; the chemise and slipcase of this Endymion have borne the brunt of the attic's climate, leaving the binding in beautiful condition. This copy has the first issue imprint on the verso of the half-title, "Printed by T. Miller, Noble Street, Cheapside", and the one-line erratum leaf, as well as the five-line errata slip. It also contains an original pencil portrait bound in before the advertisements, presumably intended to be a portrait of Keats. Hayward 232; MacGillivray A2. Wendy Moonan, "A Trove of Americana from a Well-Stocked Attic Goes on the Block", New York Times, 6 Jan 2006. Octavo (220 x 146 mm). Late 19th century red morocco by Riviere & Son, raised bands on spine, ruled, tooled, and lettered in gilt, covers richly gilt, turn-ins ruled in gilt, green silk endpapers, top edge gilt, others untrimmed. Housed in a custom red cloth chemise and morocco slipcase. With the half-title, five-line errata slip and one-line errata page, and 4 pp. publisher's advertisements dated May 1818 at rear. Several leaves browned (half-title, title page, p. ix, p. xi, F3, F6, L2, L7-8, M1-3, M6-8, N1, N4-5, N8), chemise and slipcase dry and worn. A very good, handsomely bound copy.

ONE OF 160 COPIES. 240 x 165 mm. (9 1/2 x 6 3/4"). 4 p.l., 115, [2] pp. HANDSOME MOSAIC CHOCOLATE BROWN CRUSHED MOROCCO, BY "MYRIAM" [Marie de Jouvencel] (stamp-signed on front turn-in), covers with inlaid border and repeating rows of interlocking circles in green morocco, raised bands, spine compartments with inlaid light brown frame, gilt titling, stylized monogram ("E L"?) formed by gilt arrows at foot of spine, GREEN MOROCCO DOUBLURES inlaid with two brown morocco frames (lobed at head and foot) and brown morocco circlets containing a blind-tooled and inlaid brown morocco flower at each corner, green silk free endleaves, marbled flyleaves, top edge gilt, other edges untrimmed. CHARMINGLY ILLUMINATED THROUGHOUT BY RACHEL GRIBILLAC, with added double page pictorial title on front flyleaves, the decorative lettering within architectural frames with medallions at head featuring Endymion and his lover the Moon Goddess, putti on clouds at lower fore-edge corners, engraved title page decoration and woodcut initials by H. M. O'Kane hand-colored, EVERY PAGE WITH INHABITED HALF (or sometimes quarter) BORDER depicting the events and characters described in the poem, among them shepherds, fauns, nymphs, putti, gods, goddesses, and sea creatures, and WITH A FULL-PAGE MINIATURE of the Moon Goddess gazing down at a sleeping Endymion. â Spine evenly sunned to a slightly lighter shade of brown, a hint of bowing to boards, corners faintly rubbed, a touch of browning to untrimmed edges, but A VERY FINE COPY, clean and fresh internally, the paintings with vibrant colors and bright gold, and the binding virtually unworn. Keats' immortal phrase "A thing of beauty is a joy forever" opens this poem and describes the book that presents it: an attractive printing from a leader in the American private press movement in an intricately inlaid binding and with delightful illumination illustrating the story of a young shepherd beloved by the goddess of the moon. Founded by Clarke Conwell in 1900, the Elston Press printed some 20 books between 1900-04 and helped to reestablish the hand printing press in America. At first showing the influence of William Morris, the press soon took on its own distinctive appearance and became the most successful of the private American presses that emerged at the turn of the century. Franklin calls the work of this press "truly fine" and reflecting "the skill and taste which make good books"; he is especially impressed with the excellent handmade paper. The fine paper and generous margins, plus the imaginative subject matter, made this book a superb choice for an illuminator, and our artist has taken full advantage of each available blank space to bring the tale from classical mythology to life. In addition to idyllic pastoral scenes, she shows us Endymion's adventures under the sea, in which he rescues a sea-god trapped by the witch Circe, encounters Neptune in his palace, and rides a sea monster. Endymion also takes to the air, on a giant eagle sent by Jupiter and on a winged steed provided by Mercury. The gods Phoebus, Apollo, Diana, and Pan also flit through the margins, along with Bacchus and his bacchantes, the Nine Muses, and assorted nymphs, fauns, and demi-gods. Venus and her human lover Adonis appear, to support the goddess-and-mortal relationship between Cynthia the Moon and her beloved Endymion. We have not been able to discover any information or other works by our artist, Rachel Gribillac, but her style suggests that she was a talented and enthusiastic amateur skilled in the application of gold and with an eye for whimsical details. The artist makes clever use of the narrow vertical and horizontal spaces by balancing lush greenery and fluffy clouds with stylized organic elements and lines that add structure to the composition, with brightly hued robes to pull the eye toward the central figures. Each illustration is also heightened with gold in some way--from delicate gilt accents to gold grounds etched with patterns--adding an element of luxury and sophistication to this work. Though unrecorded by Flety or Duncan & De Bartha, the binder Marie de Jouvencel, who signed herself Myriam, appears in several auction records describing beautifully inlaid bindings, including one quite similar to the present design (only executed in blue and red) that was owned by binding connoisseur Maurice Burrus. She did work for the Mabilde bindery, which executed bindings for Paul Bonet, and seems to have been active in France in the 1920s and 1930s. It is possible that our illuminator was also French, and that the illumination and binding were done at about the same time.

First Edition Thus. First Edition Thus. Two volumes. Fine Condition. An utterly magnificent, elaborately inlaid binding (both covers and spine) by the renowned English (and later American) bookbinder, Alfred de Sauty, who is widely regarded as one of the finest bookbinders of the early 1900ís, originally working as a finisher for Riviere. De Sauty then designed bindings for the prestigious Hampstead Bindery, taught bookbinding in England, and later emigrated to the U.S. to become the head of the esteemed bindery at R. R. Donnelley in Chicago (see below). In this exquisite binding for the Vale Press Keats (1898) we find an intricately and finely designed inlaid binding with OVER 250 individual inlaid pieces of varying colored morocco in a highly appealing design. The covers are filled with gathered leaves and grape clumps forming and emanating from the sides, and all coming together in a central, interwoven group. There are gilt-stamped winding vines, as well as attractive gold stippling at the sides. The back cover has the same inlaid motif, but with a different design altogether, with four grape blossoms meeting in the center. The spine, with five raised bands, is similarly adorned with inlaid pieces, and gilt lettering. Attractive gilt-ruled dentelles, with gilt-stamped signature of the binder in each volume, at bottom, front: ìDE SAUTY.î Marbled endpapers, TEG, others untrimmed. The first edition of the Keats Vale Press, which features a fabulous double-spread title page designed by Charles Ricketts and cut on wood by Bernard Sleigh. Woodcut vine-patterned initials throughout by Ricketts. Housed in likely its original red watered-silk chemises (with some wear). A truly remarkable binding in both the intricacy of its inlaid artistry, as well as the beauty of the design composition, by Alfred de Sauty (1870 -1949). The two-volume set is in fine condition. Sarah Prideaux said of De Sauty: ì.his work is of considerable merit. His inlays are distinguished for the taste shown in the association of colors, and his finishing has some of the brilliant qualities of the French School, seen particularly in the finely studded tooling of which he seems particular fond.î Both volumes are literally pristine, with absolutely no signs of wear, having been kept safe from wear and light in their protective cases.

Full Description: KEATS, John. Lamia, Isabella, The Eve of St. Agnes, and Other Poems. London: Printed for Taylor and Hessey, 1820. First edition. Twelvemo (6 1/8 x 3 3/4 inches; 155 x 97 mm). [vi], 199, [1, printer's imprint] pp. Bound without the half-title or the ads at the rear. With the publisher's advertisement leaf at the front, bound after the title-page. Late nineteenth-century full red morocco. Boards ruled and stamped in gilt. Spine lettered and stamped in gilt. Board edges tooled in gilt. Gilt dentelles. Watered green silk paste-downs and free endpapers. All edges gilt. A minor crack to bottom outer hinge. Some minor foxing but generally very clean. Overall a very good, attractive copy. Housed in a red cloth slipcase. Slipcase with some rubbing and soiling. First edition of the poet's third and last book. Taylor and Hessey originally planned to issue the last of Keats's poems in five separate pamphlets at a half-crown each but quickly realized that it was eminently more salable as a volume of poems at 7s. 6d. On 24 June publisher John Taylor wrote his father that "Next week Keats's new Volume of poems will be published, and if it does not sell well, I think nothing will ever sell againâ "I am sure of this for poetic Genius there is not his equal living, & I would compare him against any one with either Milton or Shakespeare for Beauties." The book resonates with not only the notable three poems mentioned in the title, but also with the unfinished epic "Hyperion" and three of the four great odes: "Ode to a Nightingale," "Ode on Melancholy," and "Ode on a Grecian Urn." For the first time, critical acclaim of Keats's poems was not limited to his small circle of friends. "The reviewers were won over . all to a measure of admiration, and without any dispiriting delays," wrote Keats's biographer Robert Gittings, and that "Keats had at last the consolation of being fully reviewed, recognized, praised and extensively quoted and reprinted in his lifetime, a success by no means accorded to all poets" (pp. 401-402). Yet favorable public notice was of cheap comfort to Keats, who, because of declining health, once more abandoned "Hyperion," which was to be his great work and equal in length to "Endymion." Ashley III, 15. Grolier, 100 English, 72. Hayward 233. MacGillivray 3. Sterling 523. HBS 68955. $13,500.

Limited Edition. Octavo, 8 1/4 x 5.5 in (206 x 140 mm) 392 pp. Edited by F.S. Ellis. One of 300 copies on Flower paper, printed in red and black in Golden type, wood-engraved borders and initials designed by William Morris, neat contemporary ink inscription to front free endpaper, original limp vellum with ties, yapp edges, spine titled in gilt, uncut; binding very slightly soiled with a small mark to the upper cover, else in fine condition. Inscription: "W.M. Marshall / from E.M. & T.C. Farrer / 1896" [Peterson A24; Tomkinson p. 113 no. 24; Forman p. 220; Ransom p. 327, no. 24]. This collection and the extreme care and expertise William Morris poured into his edition of the poems of John Keats (1795-1821), is a testament to the high regard in which this second-generation romantic poet was held towards the end of the 19th century, and particularly by the Pre-Raphaelites. "This was, arguably, the most popular of the titles published by the press, and the supply was exhausted quickly." [PetersonA24] Morris was especially keen on textual fidelity to Keat's originals. For "La Belle Dame Sans Merci", a mainstay of the Pre-Raphaelite movement, he was intransigent: "A specimen of each sheet of every book was brought in to Morris as soon as it came off the press. I (Sydney Cockerell) was with him when he happened to open the sheet on which La Belle Dame sans Merci was printed. He began to read it and was suddenly aware of unfamiliar words. . Great was his indignation. He swiftly altered the words and then read the poem to me, remarking that it was the germ from which all the poetry of his group had sprung. . The sheet was reprinted." [Peterson, p. 65 - Sidney Colvin, John Keats: His Life and Poetry, 1918] The donors of this copy were Emma Cecilia Farrer Darwin, and her brother, Thomas Cecil Farrer (2d Baron Farrer). Emma was married to the youngest son of Charles Darwin, while her brother Thomas was on the board of the Underground Electric Railways Company of London (forerunner of the London Underground) and was an active suffragist, along with his wife, Lady Evangeline.

Hardcover. Condición: Very Good. 1st Edition. [200] Pp. First Edition, Half Title Present, Original Paper Spine Label Bound In. Keats' Last Book, Of Modest Success When Published, Later Found To Have Some Of The Finest Poems In The English Language. When Shelley's Body Was Recovered In The Roads Of Viareggio (Not The Gulf Of Spezia) In 1822, Identification Was Made Possible By Two Books He Carried In His Pocket, A Sophocles, And A Copy Of "Lamia" Doubled Back At "The Eve Of St. Agnes". Binding By Riviere, In Late 19Th Or Early 20Th Century Full Calf, Five Bands, Gilt In All Compartments, Gilt Rules On Boards With Small Devices At Corners. Binding Re-Backed Preserving The Riviere Spine, Boards And Green Endpapers.17.2 X 10.7 Cm [The Uncut Leaves Were 7" X 4", Thus These Leaves Trimmed At Top And Bottom, Presumably When Bound]. Complete, Including The Half Title, And The "Advertisement" Leaf After The Title Page. With The Correct "London: Printed By Thomas Davison, Whitefriars." On The Verso Of The Half-Title. The Ads At Rear, Found In Some Copies But Not Required, Are Not Present Here. The Entire Original Spine Label From The Original 1820 Publication In Boards Has Been Attached By The Binder To A Final Blank. Elaborate And Artistically Engraved Decorative Bookplate Of Author Maurice Baring [Of The English Banking Family] Dated June 1897 In The Plate. Slight Chipping To Edges Of Endpapers, Contents Otherwise Clean And Complete, No Foxing To Pages, Touch Of Wear At Corners Of Page Block.

"A Thing of Beauty is a Joy Forever: its Loveliness Increases; It will Never Pass into Nothingness" COSWAY-STYLE BINDING. SANGORSKI & SUTCLIFFE, binders. KEATS, John. The Poetical Works of John Keats. With a Memoir by Richard Monckton Milnes. Illustrated by 120 designs, original and from the antique, drawn on wood by George Scharf, Jun., F.S.A., F.R.S.I. London: Edward Moxon, 1854. First edition thus. Octavo ( 7 7/8 x 5 1/4 inches; 201 x 133 mm.). xii, xl, 375, [1, imprint] pp. With an engraved portrait frontispiece of Keats. Engraved text illustrations throughout. Handsomely bound ca. 1950 by Sangorski & Sutcliffe London England for the Halle Bros. Co. (stamp signed in gilt on rear turn-in). Full red morocco over beveled board, covers with triple gilt frames and knot-work corner-pieces. Front cover with monogram of John Keats in center. Spine with five raised bands decorated in gilt, fancy gilt lattice-work and lettered in gilt in compartments, double gilt ruled board edges, elaborate gilt turn-ins. Front doublure in dark blue morocco decorated with small gilt floral designs, an oval 'sunken' compartment in the center with a very fine portrait miniature (3 x 2 3/8 inches) of John Keats set under glass within a brass frame, this in turn encircled by a gilt wreath set with four inlaid pink morocco blossoms, pale blue watered silk endleaves and rear liner, all edges gilt. Housed in the original fleece-lined, blue cloth clamshell case, spine lettered in gilt. This collection of works by one of the three great English Romantic poets, along with an influential biography of Keats is here presented in a luxurious Cosway-style binding by the great London bookbinding firm of Sangorski & Sutcliffe. An exceptionally fine example. Halle Bros. Co., (The Halle Brothers Company (1891-1982) of Cleveland, Ohio department store known for high quality merchandise and superior service. In 1970 they merged with Marshall Field and Company of Chicago who were very well known for their rare book department.

208 x 132 mm. (8 1/8 x 5 1/4"). xxv, [5], 338 pp., [1] leaf. Introduction by Walter Raleigh. EXTREMELY ATTRACTIVE CONTEMPORARY DARK GREEN CRUSHED MOROCCO, LAVISHLY GILT AND INLAID, covers with outer frame lettered with verses from "Endymion," wide inner frame densely stippled in gilt and tooled with floral vines bearing inlaid red morocco blossoms, the vines emanating from inlaid morocco hearts at each corner, central panel diapered in gilt, raised bands, spine compartments with inlaid and gilt floral spray on a stippled ground (covers and spine with a total of 107 inlays), gilt titling, CRIMSON MOROCCO DOUBLURES tooled with intricately entwined gilt floral vines framed by green morocco, leather hinges, crimson watered silk endleaves, all edges gilt. With illustrations by Robert Anning Bell, including double-page title opening, dedication, and three section titles, numerous vignettes in the text, and 20 full-page plates. Verso of front free endpaper with bookplate of Oswald Lewis, engraved by W. P. Barrett, the tail margin with the handwritten date "1923." â Spine uniformly sunned to olive brown (as nearly always with green morocco), a touch of rubbing to extremities, but a fine copy, the text entirely clean, fresh, and bright, and in a lustrous, scarcely worn binding. Well printed, as one expects with any Chiswick Press product, this collection of the best-known works of one of the three great English Romantic poets is offered here in a binding with animated design and great aesthetic appeal. The text is highlighted with graceful and elaborate illustrations in keeping with the flavor of the poetry and with the creative principles of an era that produced the Kelmscott Press and other artifacts of the Arts & Crafts movement. Illustrator Robert Anning Bell (1863-1933) was also a stained glass artist, and Houfe suggests that his work in that medium may be responsible for his illustrations' two-dimensional quality and resemblance to woodcuts; Houfe also notes the influence of Walter Crane in the "rather long and angular figures without shading contained in decorative borders," as seen here. Like the wood engravings, the unsigned binding is very much a product of the Arts & Crafts Movement. The elaborate frame is in the style characteristic of Riviere or Sangorski & Sutciffe, engaging our attention while the frame promises, "I will tell thee stories of the sky, and breathe thee whispers of its minstrelsy." Inside the cover, the gentle green garden of the cover gives way to the boldness of the bright red doublure, with its vigorous gilt blooms. The passion of the poems is reflected in the energy of the binding, which is likely the work of a bookbinding student at one of London's schools of handicrafts or an apprentice at one of the great binderies. Former owner Oswald Lewis (1887-1966), son of the founder of John Lewis department stores, was a barrister, bibliophile, and Conservative MP.

Full Morocco. Condición: Very Good. FIRST EDITION. Full modern brown morocco with raised bands on the spine. Marbled endpapers. All edges gilt. Bound without the half-title and ads. The blank upper margin of the title-page has been excised and restored, else this is a very good copy, finely bound, of Keat's third and final book, containing his finest and best-known odes. Hayward 233; MacGillivray 3.

A Very Fine Cosway-Style Binding Sidney Colvin's Life and Poetry of John Keats [COSWAY-STYLE BINDING]. BAYNTUN RIVIÈRE, binders. KEATS, John. COLVIN, Sidney. John Keats, His Life and Poetry, His Friends Critics and After-Fame. London: Macmillan and Co., Limited, 1917. First edition. Octavo (8 3/8 x 5 7/16 inches; 213 x 138 mm.). xviii, errata slip, 598p. Tipped-in color portrait frontispiece and twelve full page illustrations including a facsimile letter. Bound ca. 1940 by Bayntun Rivière in a Cosway-style binding of full red crushed morocco with marbled endpapers, all edges gilt. The upper cover with a mounted portrait of young Keats on ivory under beveled glass, the portrait surrounded with a gilt frame of various flowers and holly in gilt, the remainder of the covers with vertical lines, the spine with gilt tiles and floral panel ornaments. A very fine copy, housed in a cloth box. A fine Cosway-Style binding ca. 1940 by Bayntun Rivière (stamp-signed in gilt on front turn-in). Full red crushed levant morocco, both covers with a geometical design in gilt. The upper cover with a fine oval portrait miniature set under glass of John Keats surround by an elaborate gilt floral design. Spine with five raised bands decoratively tooled and lettered in gilt. Decorative gilt board-edges and turn-ins, Cockerel liners and endleaves, all edges gilt. A very fine example. Housed in it's original felt-lined red cloth clamshell case, spine lettered in gilt. "To the name and work of Keats our best critics and scholars have in recent years paid even closer attention and warmer homage. But their studies have for the most part been specialized and scattered, and there does not yet exist any one book giving a full and connected account of his life and poetry together in the the light of our present knowledge and with help of all the available material. Ever since it was my part, some thirty years ago, to contribute the volume on Keats to the series of short studies edited by Lord Morley, (the English Men of Letters series), I have hoped one day to return to the subject and do my best to supply this want. The following pages., timed to appear in the hundredth year after the publication of Keat's first volume, are the result." (Preface). Sir Sidney Colvin (1845-1927) was an English curator and literary and art critic, part of the illustrious Anglo-Indian Colvin family. He is primarily remembered for his friendship with Robert Louis Stevenson and his Life of John Keats.

First edition, first issue. First edition, first issue. ix, [3], 207 pp. Half-title with imprint on verso reading "Printed by T. Miller, Noble street, Cheapside," dedication leaf, single erratum on page [xi]. Lacking ads at end. 8vo. First edition, first issue, of the second of only three lifetime publications by Keats, comprising his longest single sustained poem, famous for its opening line: "A thing of beauty is a joy for ever". This copy has the first issue imprint to the verso of the half-title "Printed by T. Miller, Noble Street, Cheapside" and the one-line erratum leaf. MacGillivray A2; Ashley III:13; Tinker 1419; Hayward 232 ; Tinker 1419. S Contemporary calf, rebacked, spine gilt in six compartments, original lettering-piece laid down. Occasional light spotting, a clean copy ix, [3], 207 pp. Half-title with imprint on verso reading "Printed by T. Miller, Noble street, Cheapside," dedication leaf, single erratum on page [xi]. Lacking ads at end. 8vo.

Full Morroco. Condición: Fine. First Edition. A very fine copy of this very rare first edition, very finely rebound in a very dark maroon full leather, spine with five raised bands edged with gilt lines & titles , gilt ruling and wavy line with corner devices on front and back boards, maroon marbled endpapers and pastedowns , new eps, half title, five line errata slip inserted before publication as called for in the first edition. 207pp. An exceptionally rare and handsome book.

Full Leather. Condición: Near Fine. 1st Edition. First edition, first issue. The present copy has the first issue imprint to the verso of the half-title "Printed by T. Miller, Noble Street, Cheapside" and the one-line erratum leaf, as well as the tipped-in 5-line errata slip. 8vo. ix, [3], 207pp. Handsomely rebound in full, dark-blue leather w/blind stamped borders on front and rear covers. Spine has five raised bands, black leather labels, and gilt detailing. New endpapers. Lacking the five pages of advertisements at the rear. There is a faint trace of an ownership inscription on the half-title. Half-title and last page are tanned, otherwise in remarkable condition throughout. Near-fine. Endymion was the second of only three lifetime publications by Keats, comprising his longest single sustained poem, famous for its opening line: "A thing of beauty is a joy for ever".

Full Leather. Condición: Fine. Robert Gibbings Ilustrador. Limited Edition. A limited edition collection of Keats' poetry (#95 of 500) bound by Gabrielle Fox in full alum-tawed goatskin with red and green goatskin onlays, raised and recessed images, and gold tooling. Endpaper illustrations created with layers of Tengujo tissue. Matching Box in red buckram. Letterpress printed on handmade paper and illustrated with plate engravings by Robert Gibbings. Design influenced by the paper, typography and illustrations as much as by the poems. Selected by and exhibited at North Bennet Street School with Heroic Works, part of the Designer Bookbinders International Competition in conjunction with the Bodleian Libraries.

Hardcover. Condición: Near Fine. 1st Edition. Number XXV of XXXV (376) copies printed on Imperial Japanese vellum, with a double set of proofs of 11 wood-engravings, signed on the colophon by the artist, and specially bound. Type: Van Krimpen Romanee. Illustrated with 11 full-page wood-engravings, with two extra sets of proof engravings, one on Japon vellum, one on Dutch Pannekoek paper, bound in. Full dark blue shagreen with five raised bands by Louis Malcorps, signed in gilt on the front turn-in, marbled endpapers, predominantly peacock-blue sprinkled with gold, upper board blocked in gold to a design by the artist, gilt spine titling, t.e.g. Engraved book label of James Fuller Spoerri on front endpaper. Head and tail of spine just faintly rubbed. Cloth chemise with morocco spine label, slipcase. A very good to fine copy. The 376 copies were composed as follows: (a) 1 copy with a triple set of proofs, 5 rejected engravings and with the original sketches; (b) 15 copies with the triple set of 16 wood engravings; (c) 35 copies with the double set of proofs of 11 wood engravings; (d) 325 copies with 11 wood engravings. Some copies of (b) and (c)were never bound. These were issued in sheets in a slipcase or remain undistributed. All the bound copies have J.B.W.'s design of a nude female blocked in gold on the upper cover. This was Buckland-Wright's first published book. (See: Reid A1c). Signed by Illustrator(s).

Vellum. Condición: Very Good Minus. Estado de la sobrecubierta: None. John Buckland-Wright Ilustrador. First Thus. 32.5 cm, 152 pp, illus, vellum over boards. A very clean and square copy, which appears unused. Some light sporadic tanning to around 15 pages; moderate to around three of those, and the rest mild - all copies affected with this to some degree; and does not particularly detract. One hundred copies specially bound in vellum at Sangorski and Sutcliffe - however this is not numbered nor signed, but is from that part of the run. VG minus.

8vo (21.8 x 15.7 cm). Publisher's original green cloth with gilt titles and decoration to the upper board and spine, gilt to all page edges. Illustrated with 20 mounted albumen prints. FIRST EDITION of one of the earliest works of poetry to be illustrated by photography. The anthology combines extracts from authors including Keats, Clare, Wordsworth, Cowper, and Longfellow, with mounted photographs depicting idyllic scenes of contemporary rural life by the renowned stereographer William Morris Grundy (1806-1859), to create a harmonious interweaving of verse and imagery. Grundy was born in Birmingham, moving to Sutton Coldfield in 1850. Initially taking up photography as a hobby in 1855, he went on to achieve notable commercial success with his series of stereoscopic genre scenes. Following his death, the London Stereoscopic Company purchased his negatives and used them to illustrate the present volume. Produced during a period of increasing public and commercial interest in the potential of new photographic processes, it represents a pioneering, inventive attempt to utilise photography in the creation of an artistic literary work. A wonderful copy in superb state of preservation. A lovely near-fine copy, the binding firm and bright. The contents with a previous owner's bookplate to the front pastedown and a little spotting to the endpapers, are otherwise clean and fresh throughout. A superb example of a very scarce title.

Condición: Very Good. Half grained navy morocco. Edited with Notes and Appendices by H. Buxton Forman. With an Introduction by John Masefield. Signed by both Forman & Masefield. Number 836 of only 1050 copies. ; 8vo ; All shipments through USPS insured Priority Mail.

Hardcover. Condición: Near Fine. No Jacket. 1st Edition. Octavo, A beautiful Contemporary full decorative dark blue morocco binding, elaborately gilt decorated spine and boards, raised bands, All edges gilt. No previous ownership inscriptions. Housed in green clamshell box with a marbled interior and a black morocco label. FIRST EDITION of this collection of works by these three Romantic poets. Comprises the first collected edition of Shelley, the first collected edition of Keats, and only the second collected edition of Coleridge, with many poems published for the first time. With frontispiece portrait of the three poets. This edition was published in Paris because the poets lacked international copyright protection and no royalties needed to be paid. However, Galignani in fact worked closely with friends and relatives of the poets to create these three exhaustive collections. The frontispiece portrait is the first printed portrait of Shelley. MacGillivray B1. Peck ii, 440. A scarce and desirable copy in a beautiful and very appropriate period binding.

The Hampstead Edition, number 268 of 1050 sets, the best collected edition of Keats's works, here one of a smaller number of sets issued in half morocco (most issued in cloth), retaining the rare glassine jackets. 8 volumes, octavo. Original blue half morocco by the Atelier Bindery, spines lettered in gilt, blue cloth sides, blue cloth slipcases. With the original glassines. Portrait frontispiece to volume I and illustrations throughout. Glassines a little chipped in places with some tape repair, slipcases with some light soiling and patch of wear to slipcase of volume V. A fine set, the bindings and contents without defect.

One of 200 copies on paper; small 4to (240 x 170 mm); printed in red & black, near-fine; original limp vellum by the Doves Bindery (stamp to rear endpaper), spine titled in gilt, uncut, mild spotting to fore-edges, vellum toned and warped (as usual), otherwise a very good copy of this rare edition. After establishing the Doves Bindery in 1893, Thomas James Cobden-Sanderson partnered with Emery Walker to found the Doves Press in 1901. Alongside the Kelmscott, Ashendene and Vale presses it is considered one of the cornerstones of the Golden Age of Private Press, drawing heavily on the spirit of the Arts & Crafts Movement that flowered at the turn of the century. The two partners, along with Sydney Cockerell, created type based on Nicolas Jenson's Roman type (1470s), named the 'Doves Type.' Unfortunately, the relationship between the two partners deteriorated, resulting in said type being famously dumped in the Thames, where it languished until 2014, when it was rescued and subsequently digitalised. Tidcombe DP5 & DP7.

Portfolio. Condición: New. Limited Edition. Poetry by John Keats, hand colored etchings by Matt Phillips. 16 sheets of paper. Title page, 2 pages of poetry, 1 page "Thoughts about Keats' Grecian Urn, 1 page "About by Drypoints, 11 drypoints hand colored by the artist, 1 colophon page. Tall quarto, loose as issued in a dark blue and burgundy clamshell case. Edition of 21. Signed and dated in pencil by the artist on the colophon page, inscribed 6/21. Very good condition, acquired directly from the artist. Inventory #93919-1. This item needs special handling in shipping. From Colophon: "Keats' Ode on a Grecian Urn was designed and printed by Peter Rutledge Koch in an edition of 21 copies. The test, printed from photopolymer plates on Rives BFK, is composed in a digital restoration of the historic Fell types, a Dutch baroque typeface imported by Bishop Fell for the Oxford University Press in 1672. The drypoints were printed by Kay Bradner in her San Francisco studio and hand-watercolored by the artist. The box was constructed by John DeMerritt in Emeryville, California.". Signed by Illustrator(s).

Small octavo 6x4 inches- VERY HANDSOMELY LEATHER BOUND IN A FINE BINDING BY RAMAGE - full morocco with inlaid blue and gilt fan devices to the corners and a blue central oval piece, spine in compartments with gilt stars and small blue inlays. Wide inner dentelles surrounding a silk doublure as a pastedown, with a corresponding free endpaper of silk. The Golden Treasury Series with notes by Francis T. Palgrave. Ownership inscriptions to the blank endpaper. A superb example of a Ramage binding on the works of one of the great Romantic Poets.

Hardcover. Condición: Very Good. Pp.152, numbered limited edition of 500 copies. Original quarter vellum and illustrated buckram boards. Bound by S&S London (Sangorski & Sutcliffe). TEG. Other edges uncut. Woodcut engravings by John Buckland-Wright. Front free end paper has a sliver removed from the top edge. A fine example of this rare limited edition work with beautiful typography and design by the famous Golden Cockerel Press.

Limited edition, one of 200 paper copies, small 4to, 203, (5) pp. Titles and shoulder-notes printed in red. Original gilt titled limp vellum, a few very minor marks otherwise an excellent copy. Tidcombe 36.

Doves Press Ilustrador. 8vo. limp vellum, spine titled in gilt, later slipcase. 203 pages. Selected Poems. Selected and Arranged by Thomas James Cobden-Sanderson. Limited to 212 copies, of which this copy is one of 200 on paper. (Catalogue RAISONNE, p.22; Tidcombe DP36; Tomkinson p. 58.). With bookplate, "J. W. R. Brocklebank." The vellum has darkened, albeit naturally. A tight, bright, and unmarred copy. Printed in red & black by T.J. Cobden-Sanderson at The Doves Press, and bound by The Doves Bindery, with bookbinder's ticket on rear pastedown. Cobden-Sanderson first considered a selection of Keats' poetry for the Doves Press in 1913. It was announced in December 1914 for publication in January 1915. After establishing the Doves Bindery in 1893, Thomas James Cobden-Sanderson partnered with Emery Walker to found the Doves Press in 1901. Alongside the Kelmscott, Ashendene and Vale presses it is considered one of the cornerstones of the Golden Age of Private Press, drawing heavily on the spirit of the Arts & Crafts Movement that flowered at the turn of the century. The two partners, along with Sydney Cockerell, created type based on Nicolas Jenson's Roman type (1470s), named the 'Doves Type.' Unfortunately, the relationship between the two partners deteriorated, resulting in said type being famously dumped in the Thames, where it languished until 2014, when it was rescued and subsequently digitalised. limp vellum, spine titled in gilt, later slipcase.