Doves press shakespeare william (7 resultados)

One of 250 copies, (a further 15 copies were printed on vellum). Printed in red and black throughout with four large capital letters, two full page, designed by Edward Johnston and engraved by Noel Rooke and Eric Gill. Sm. 4to., original vellum backed, blue holland paper covered boards, signed 'The Doves Bindery' on the lower turn-in, gilt lettering to spine. Housed in a later cloth slipcase. An extraordinarily crisp and bright copy. Booklabel of the collector David Rose.…

No Binding. Condición: Very Good. 1st Edition. Proof sheets, the first signature of the text(16 pages), from the rare Doves Press publication. The edition comprised only 265 total copies. It was the first of four Shakespeare plays published by Doves founder, T.J. Cobden-Sanderson. *** Printed in red and black on handmade paper. Includes the opening green initial designed by famed calligrapher, Edward Johnston. Inscribed on the flyleaf by Cobden-Sanderson, Doves Press Hamlet Specimen Sheets. C.S.   Various creasing, a few light spots, else Near Fine. *** An extremely scarce piece of Doves Press memorabilia. ***Please email us for better pricing. Inscribed by Author(s).…

Condición: Fine. Large 8vo, 9 3/8 x 6 5/8 inches (235 x 162 mm); 158, (2), 23 Appendix, (1) pp. Printed in black and red with a calligraphed initial in green ink by Edward Johnston. Original limp vellum by the Doves Bindery with gilt lettering. One of 250 copies (+ 15 on vellum). In excellent condition with very light toning of the vellum and paper edges. Small embossed stamp "Ger Keis" to lower edge of last fly leaf. [Ransom 17, p. 252; Steele 62; Franklin 279 - 2nd ed.; Tomkinson 17]. Hamlet marked the first of four Shakespeare plays printed by Cobden-Sanderson. The text of the play is taken from the Second Quarto with additions from the First Folio and punctuation corrections by T. J. Cobden-Sanderson It contains the famous flourished opening initial "W" calligraphed by Edward Johnston in green.…

First Doves Press edition, one of 200 copies. Publication of Coriolanus was announced for the autumn of 1913 in the press's Catalogue Raisonné that April. Cobden-Sanderson, however, fell ill during its production, delaying its release. He continued to revise the text and compile the errata while convalescing at a nursing home in October 1913, and the work appeared in March 1914. The Doves Press was run by T. J. Cobden-Sanderson alongside his wife Anne. Cobden-Sanderson left his career as a lawyer in 1884 in order to open the Doves Bindery, establishing the Doves Press in 1900. He was interested in all aspects of book design, writing in his diary in 1898 that "I must, before I die, create the type for today of 'The Book Beautiful', and actualize it - paper, ink, writing, printing, ornament, and binding". The text of this edition is based on the First Folio, published in 1623. Franklin, p. 278; Ransom 41. Marianne Tidcombe, The Doves Press, 2002, DP34. Quarto. Text printed in red and black. Original limp vellum by the Doves Bindery, their stamp to the rear pastedown, spine lettered in gilt, fore and bottom edges untrimmed. Housed in an orange card slipcase. Vellum clean and notably unbowed, contents bright: a fine copy.…

235 x 164 mm. (9 1/4 x 6 1/2"). 84 pp., [1] leaf. ELEGANT CONTEMPORARY DARK BLUE MOROCCO, EXTRAVAGANTLY GILT, IN THE STYLE OF THE DOVES BINDERY, gilt, covers with strapwork frame, daisy cornerpieces, two medallions at center in an intricate Celtic knot design, raised bands, spine compartments with guilloche tooling, gilt lettering, turn-ins ruled in gilt with strapwork loops at corners, all edges gilt and gauffered with rows of dots. Three fine capitals engraved by Noel Rooke and Eric Gill after Edward Johnston. Printed in red and black. Tidcombe DP-18; Tomkinson, p.56; Gill 307. For the binding: Tidcombe, "The Doves Bindery," Appendix III, pp. 458-65. Mild offsetting from turn-ins (as uaual), one opening with barely perceptible horizontal darkening along tail margin, but A BRIGHT AND BEAUTIFUL COPY INSIDE AND OUT. This Doves Press version of Shakespeare's Sonnets is based on the text of the first edition of 1609 and is printed in celebration of the 300th anniverary of their first appearance. The volume is a very pleasing example of the "Book Beautiful" as envisioned by press founders T. J. Cobden-Sanderson and Emery Walker: a desirable text rendered with reserved elegance and exquisite taste in Walker's stately Doves type. Cobden-Sanderson was a perfectionist, and finding that he had inadvertently printed an extraneous comma in the first sonnet, he covered over by hand every extra comma in every copy, using an early form of correction fluid. The correction is just visible in our volume (after the word "aboundance"). The engraving Gill did on the initials here is among the very earliest of his recorded work. Our binding is not signed, but was clearly inspired by Doves Bindery examples. The navy crushed morocco, the elaborate but tasteful design, and the precise tooling are all characteristic of Doves work. While the tools and pattern do not match any of those in Tidcombe's comprehensive study of the bindery, the open petals in the cornerpieces are similar to Doves tools, just as the use of strapwork is common in Cobden-Sanderson bindings. Tidcombe documents counterfeit Doves bindings in her book, and notes several common features. Like ours, all of the fake bindings are on Doves Press books and all are bound in dark blue morocco. But they differ from our binding in that they all use a stamp-signed Doves Bindery signature. She considers unsigned bindings in the Doves style copies, rather than forgeries. All that being said, it seems possible that our binding was created by an artisan who had studied with Cobden-Sanderson and who was much influenced by his bindings. ONE OF 250 COPIES ON PAPER (and 15 copies on vellum).…

Condición: Fine. Limited Edition. Small 4to, 9 1/4 x 6 1/2 inches (235 x 166 mm); xii + 76 + colophon + errata + xiv pp.; printed in black and red ink; pages clean and bright, with no foxing or staining. Colophon and list of corrections to the 1594 quarto text at rear. Original full limp vellum by The Doves Bindery, stamp at foot of lower pastedown, spine lettered in gilt. One of 175 copies on paper with 10 additional copies on vellum. [Tidcombe DP37; Tomkinson, p. 58, no. 46; Ransom, p. 254, no. 46; Cobden-Sanderson, Cosmic Vision, p. 142]. This handsome edition of Shakespeare's narrative poem about the legendary Roman noblewoman Lucretia, is printed from the Text of the First Edition of 1594 and includes a dedication to his patron, the Earl of Southampton, which begins, "The love I dedicate to your Lordship is without end." The dedication is followed by "The Argument", a prose paragraph that summarizes the historical context of the poem, which begins in medias res. The poem contains 265 stanzas in iambic pentameter. It is set in the elegant and famous Doves Typeface and was originally scheduled to appear in 1913, but was repeatedly postponed due to editor Cobden-Sanderson's illness and the disruption of the First World War. During the 16 years that The Doves Press was in business, Cobden-Sanderson managed to produce 40 books bound in 45 volumes. Perfectionism and dedication lead to the creation of some of the most simply elegant books of the 20th century. His version of the ideal book in which the design did not get in the way of the reader's ability to see the author's message proved to be terribly popular, especially after The Doves Press closed in 1916. In his fundamental book Private Presses and Their Books, Will Ransom writes «.if we follow the momentum of the Nineties over the turn of the century we find 1900 ushering in an outstanding figure and a famous achievement, T. J. Cobden-Sanderson and the Doves Press.» (p.35) Based in Hammersmith, London, the Doves Press was founded by T. J. Cobden-Sanderson who was a friend of William Morris and a staunch supporter of Arts and Crafts ideology. The press was established with funds from Cobden-Sanderson's wife Anne and by 1900, Emery Walker was asked to join as a partner. A distinguishing feature of the Dove Press books was a specially-devised typeface, known variously as the Doves Roman, the Doves Press Fount of Type, or simply the Doves Type. Cobden-Sanderson and Walker were in a protracted and bitter dispute involving the rights to the Doves Type in the dissolution of their partnership around 1909. All rights to the Doves Type were to pass to Walker upon the death of Cobden-Sanderson. Instead, as recorded in his Journals, Cobden-Sanderson destroyed all the matrices by throwing them into the Thames River off Hammersmith Bridge in London, a short walk from the Press. His Journals record 170 trips to the Thames, always after dusk, from August 1916 through January 1917. «Yes; yesterday, and the day before, and Tuesday I stood on the bridge at Hammersmith, and, looking towards the Press and the sun setting, threw into the Thames below me the matrices from which had been cast the Doves Press Fount of Type.» [The Journals of Thomas James Cobden-Sanderson, 1879-1922, p. 214] After Cobden-Sanderson's death, Walker sued his widow and received payment for the loss of the rights to the type. Since the beginning of digital type, several designers have reproduced the typeface. In 2013, the designer Robert Green began to create a more polished digital version of the Doves type and in 2015, after searching the riverbed of the Thames near Hammersmith Bridge with help from the Port of London Authority, Green managed to recover 150 pieces of the original type, which helped him to refine the font. [The fight over the Doves: A legendary typeface gets a second life. The Economist, December 19, 2013.].…

238 x 172 mm. (9 3/8 x 6 3/4"). 3 p.l., 7-140 pp., [2] leaves (colophon and errata). Original flexible vellum by the Doves Bindery, gilt spine titling, edges untrimmed. Printed in red and black. Tidcombe DP-29; Tomkinson, p. 57. A little natural variation (as always) in the grain of the vellum and covers tending to splay slightly, but in virtually pristine condition inside and out. This is a splendid copy of one of the series of Shakespeare works issued by Cobden-Sanderson's Doves Press. Although he printed 16 items before turning to something written by Shakespeare, seven of the last 35 Doves Press productions were authored by the Stratford bard. Probably first performed in 1607, "Anthony and Cleopatra," the tragic, classic story of lust and politics in ancient Rome and Egypt, is the third of those seven ("Hamlet" and the "Sonnets" were printed previously, in 1909). The text here is based on the First Folio, with errata added at the end. The Doves Press was founded in 1900 by Thomas James Cobden-Sanderson and Emery Walker to produce their ideal of the "Book Beautiful." Over the next 16 years, they produced 51 titles in which they demonstrated that printing with plain type (designed by Walker) that is well set and with good margins could produce notable work. As Cave says, the Doves Press books, "completely without ornament or illustration, . . . depended for their beauty almost entirely on the clarity of the type, the excellence of the layout, and the perfection of the presswork." After the partnership ended acrimoniously, Cobden-Sanderson threw Walker's beautiful type into the Thames, so it could never be used by anyone else. Doves Press items appear regularly in the marketplace, but "Anthony and Cleopatra" shows up less frequently than expected. ONE OF 200 COPIES on paper (and 15 copies on vellum).…