ashendene press (47 resultados)

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

98, (1) Seiten. Mit zahlreichen meist farbigen u. ganzseitigen Abbildungen. Farbig illustrierte Originalbroschur. (Geringe Gebrauchsspuren. etwas wellig). 27x19,5 cm * Die Ashendene Press war eine englische private Buchdruckerei, die 1894 von Charles Harry St. John Hornby (18671946) gegründet wurde und bis 1935 bestand. Hornby nannte seine Druckerei nach seinem Geburtsort Ashendene, Bayford, Hertshire, wo er am 25. Juni 1867 als Sohn von Reverend Charles Edward Hornby und Harriet Catherine Turton geboren war.[1] Anfangs stellte er eine Handpresse im Haus seiner Eltern auf und druckte nur für seine Freunde. Sein erstes Buch war The journal of Joseph Hornby (1895), ein Tagebuch seines Großvaters, das dieser während einer Reise nach Paris 1815 geführt hatte. Er begann unter den einfachsten Bedingungen er benutzte geborgte Typen und nur mit der Hilfe seines Bruders und seiner Schwestern lernte Hornby das Drucker-Handwerk in der Schule der Erfahrung. In Hertfordshire druckte er 10 Bücher. Die Presse blieb dort bis 1899, als er wegen seiner Heirat nach London in das Shelley House im Stadtteil Chelsea umzog. Für den Druck von drei Gedichten von John Milton (1896) und für zwei Aufsätze von Francis Bacon: Of building and gardens (1897), die nur in 16 Exemplaren gedruckt wurden, benutzte Hornby sein eigenes Papier, das von Messrs. Batchelor hergestellt und mit einem besonderen Wasserzeichen versehen wurde. Die Ashendene Press bestand bis 1935 mit Unterbrechungen in den Jahren 1915 bis 1920, die durch den Ersten Weltkrieg bedingt waren. Wie bei den anderen Privatdruckereien in England prägten Hornbys persönlicher literarischer Geschmack und seine künstlerischen Vorlieben das Aussehen und den Inhalt seiner Bücher. Zusammen mit der Kelmscott Press und der Doves Press, leistete die Ashendene Press einen bedeutenden Anteil an der englischen Buchkunstreform, konzentrierte sich auf das traditionelle Druckerhandwerk und produzierte qualitätsvolle Bücher als Protest gegen die maschinelle minderwertige Herstellung. Die im Jahre 1909 erschienene Dante-Ausgabe der Ashendene Press ist in ihrer buchkünstlerischen Leistung und Gestaltung vergleichbar mit der Chaucer-Ausgabe der Kelmscott Press. Ebenso zählen die Ausgaben von Le Morte DArthur (1913), Il Decameron (1920), Don Quixote (1927/28) und Thucydides (1930) zu seinen Meisterwerken. Hornby konnte Emery Walker als Mitarbeiter für die Presse gewinnen, der mit Hilfe von Sydney C. Cockerell, dem früheren Sekretär der Kelmscott Press, die Subiaco-Type entwarf. Für die Entwicklung der Subiaco-Type, einer Antiqua, orientierte sich Walker an einer frühen Type aus dem 15. Jahrhundert, die die Drucker Konrad Sweynheim ( 1477) und Arnold Pannartz in Subiaco bei Rom genutzt hatten. Nach dem Vorbild der 1482 in Ulm erschienenen Ausgabe Cosmographia von Ptolemäus gedruckt von Lienhart Holl, wurde eine zweite Type für die Ashendene Press entwickelt, die Ptolemy-Type. Hornby beschäftigte Mitarbeiter von Rang und Namen, wie z. B. Edward Johnston, Graily Hewitt, Eric Gill, die Buchbinderin Katherine Adams und Sydney Cockerells Bruder, Douglas Cockerell. In den 35 Jahren ihres Bestehens gab die Ashendene Press, in der alle Ausgaben per Hand gesetzt wurden, 40 Bücher heraus.(Quelle Wikipedia) Sprache: Deutsch Gewicht in Gramm: 300.

Mit zahlr. farb. Abbildungen. 98 S., 1 Bl. Farb. illustr. Orig.-Karton. 26,7 : 20 cm. * "Unikales Angebot aller 40 Bücher, die diese Presse zwischen 1895 und 1935 gedruckt hat, dazu Pergament-Abzüge von acht Werken, `Minor Pieces`, Ephemera, Autographen des Druckers, Bibliographie etc." (Titel) - Gut erhalten.

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

Oktn 4°. Pressendrucke.

Hardcover. First Edition. Nice bright clean copy, near fine, trival wear, no bumps.

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

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

Limited to 250 copies. Exemplary copy of one of the more beautifully designed books from Ashendene, printing an English translation of the Book of Sirach. The text is part of the Biblical apocrypha, and consists of a set of ethical teachings by Yeshua ben Eleazar ben Sira. The founder of Ashendene himself, Charles St. John Hornby, called this printing "one of the most satisfactory of the books of the Press." . 28.5x19cm, [2], 182pp. Printed in Subiaco type, with chapter-headings and shoulder-notes in red. Initials hand colored in red, blue, and green. Ashendene device at colophon also in red. In the original binding by Douglas Cockerell at W.H. Smith Bindery, of orange vellum with gilt lettering on spine, silk ties. Housed in a Cokerell marbled paper covered slipcase. Touch of light rubbing at spine ends and corner tips else a bright, about fine copy in slipcase with some edge rubbing.

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

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

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

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

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

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

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

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

8vo, edition limited to 150 copies of which 125 for sale, [2], 48 pp., original vellum gilt, stext slightly wavy else a very good example. A lovely copy of the fine Ashendene Press edition of the first printed book on fishing. Ashendene Bibliography, XVI.

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

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

In the ALS included with the present book, Hornby discusses his choice of Subiaco type initials. He writes: ÒI am glad you like the Subiaco type. I think it has a wonderful nobility, and it is besides very good to read.Ó Octavo. 48 pp. With a woodcut of an angler on page two and text woodcuts on six pages, all copied from the original Treatyse, which was printed by Wynkyn de Worde in 1496. Also with Subiaco type initials, the first in red, and the Ashendene Press device on the final page. Full limp vellum with gilt lettered spine. Twentieth century bookplate on front pastedown of art collector C.F.J. Beausire. A fine, clean copy with the second half of an ALS from Ashendene Press founder Charles St. John Hornby, on his personal stationery headed with the address of his house Chantmarle in Dorset, laid in. One of 150 copies on paper, 125 of which were for sale, printed by Hornby at the Ashendene Press with type set by Hornby and Meysey Turton. 25 morocco-bound copies on vellum, 20 of which were for sale, were also printed. Colin Franklin, in The Ashendene Press (1986), calls the present work a Òsmall and happy bookÓ with cuts that were recreated so carefully and accurately that engraver Charles Keates reproduced a crack in one of the original woodblocks. The Boke of Saint Albans, which is often credited in whole or in part to Juliana Berners, was printed by de Worde in 1496. It was the first book on fishing printed English. BernersÕ authorship of the Boke has not been entirely verified, but her other writing on fishing, hunting, and hawking is some of the first of its kind. Ashendene Bibliography, item XVI, p. 50.

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

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

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

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

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

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

First Ashendene edition, one of 328 copies printed in red and black Subiaco type on Batchelor handmade paper. This limited edition is celebrated for its initials by Graily Hewitt and his assistants who influenced the revival of calligraphy in England. Hewitt (1864-1952) taught writing and illuminating at the Central School of Arts and Crafts and designed type for several private presses, including the Ashendene Press and the Gregynog Press. Franklin, p. 219. Large octavo. Initials hand-executed in red, blue, and green by Graily Hewitt, Ida D. Henstock, and Helen E. Hinkley. Shoulder notes printed in red. Original orange limp vellum, spine lettered in gilt, edges untrimmed, silk orange ties. Housed in original Cockerell paper-covered slipcase. Spotting to spine and occasionally to covers, else vellum bright. A near-fine copy.

Condición: Fine. First Ashendene edition. One of 225 copies on Batchelor paper, out of a total edition of 245 copies. A bright, Fine set. Two large folio vols (430 x 308 mm). Beautifully bound in original full white pigskin. Printed in red and black in Ptolemy type; text in double columns; border and initials designed by Louise Powell and cut on wood by W. M. Quick and Geo. H. Ford. Bookplates of Don Cameron Allen to upper pastedowns. A bit of smuging to binding, and small scuffs to leather at head of spine, still an excellent set. ?First appearance of Ptolemy type. Ashendene knight-in-armour paper.taken as a single work Don-Quixote is the largest of the Ashendene books. It has an interesting alternative to Hewitt?s drawn or printed initials, the successful but unrepeatable device of neo-Kelmscott initials, borders and opening words cut on wood from designs by Louise Powell. The new Ashendene type was imitated and adapted from the Geographia of Ptolemaeus, printed by Leonard Holle at Ulm in 1482. In two columns, with red used chiefly for headings and shoulder notes, decorated but not illustrated, this link with the Kelmscott past was an entirely successful venture? (Franklin). ?One of those universal works which are read by all ages at all times? (PMM 111, first edition). Originally published in two volumes a decade apart (in 1605 and 1615), Don Quixote is the most influential work of literature to emerge from the Spanish Golden Age and the entire Spanish literary canon. As a founding work of Western literature, it is often cited as the first modern novel. Ashendene Bibliography XXXVI. Fine.

Hand-drawn initials by Graily Hewitt in gold, red and blue. One of 150 copies on Japanese vellum. Small 4to., original limp vellum lettered in gilt. Chelsea, Ashendene Press. Near fine, slightest of creases to covers and very light spotting to foredge.  A beautiful book, printed in Subiaco type with a red colophon and greatly enhanced by Hewitt's initial.