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Edité par Dent, London, 1894
Vendeur : James Cummins Bookseller, ABAA, New York, NY, Etats-Unis
Edition originale
First edition, number 279 of 300 of the superior issue on Dutch hand-made paper. 4 double page plates and 16 full-page wood engravings plus numerous textual drawings by Aubrey Beardsley. 3 vols. 4to (10 x 8 inches). DELUXE ISSUE. Lasner 22; Ray, England 314; . Houghton Library, The Art Nouveau Book pp. 94-96; Houfe, Fin de Siècle, the Illustrators of the Nineties, pp. 66-69 Bound in three quarters green morocco, spines gilt and marbled boards. Bookplate of Charles J. Groves 4 double page plates and 16 full-page wood engravings plus numerous textual drawings by Aubrey Beardsley. 3 vols. 4to (10 x 8 inches) First edition, number 279 of 300 of the superior issue on Dutch hand-made paper.
Edité par London: Dent, 1893, 1893
Vendeur : Peter Harrington. ABA/ ILAB., London, Royaume-Uni
Edition originale
First Beardsley edition, one of 1,500 copies on ordinary paper; another 300 were printed on Dutch handmade paper. This copy in a bright and spectacular example of a "vellucent" binding, by Cedric Chivers of Bath, unsigned but a characteristic example of this style. Chivers invented a way to treat vellum so that it became translucent ("vellucent"): the cover design would be painted on a separate sheet and then a thin sheet of this translucent vellum would be laid over it; gilt tooling would then be applied over the top of this. In his catalogue of Books in Beautiful Bindings (c. 1905), Chivers describes the Beardsley Morte D'Arthur as "bound in whole vellucent from a design by the illustrator of the book. A figure panel enclosed in a floral border". The hand-painted cover illustrations for this set reproduce two of Beardsley's designs, volume one depicting "How Four Queens Found Launcelot Sleeping" (p. 184) and volume two "The Achieving of the Sangreal" (frontispiece). "Commissioned by British publisher J. M. Dent in 1892 and first published in twelve monthly magazine instalments between June 1893, and mid-1894, Aubrey Beardsley's Morte Darthur was one of the most original and certainly one of the most controversial of the nineteenth-century artistic reinterpretations of Malory. Although his illustrations for the Morte established Beardsley as the voice of the 1890s, he was until that time largely an unknown young artist. La Morte Darthur proved to be an immediate sensation upon publication and the impact of Beardsley's Arthurian illustrations was tremendous. Today, Beardsley's illustrations for the Morte, which constituted almost half his lifetime's artistic output, survive as the first example of modern Arthurian book illustration, and they remain arguably the best experimental visual reinterpretation of the Arthurian world. With their bold lines, strong visual themes, and numerous memorable but unconventional details, the Morte 'pictures' (which is how Beardsley himself referred to them) created an important - although admittedly idiosyncratic - symbology and iconography. Often shockingly overt in their sexuality and eroticism, the illustrations rejected the aesthetic of the Pre-Raphaelites who were Beardsley's original mentors and offered a revisionist and parodic treatment of their medievalism. Ultimately, Beardsley went far beyond his original intention to 'flabbergast the bourgeois' of his day; he also challenged generations of readers and artists to view Arthurian society through his own modernist lens" (Lupack, chapter 4). This is a masterpiece of book illustration in a striking binding. Ray, The Illustrator and the Book in England from 1790-1914, 314. Barbara Tepa Lupack, Illustrating Camelot, D. S. Brewer, 2008. Two volumes, large square octavo (250 x 214 mm). Contemporary full vellum over bevelled boards by Cedric Chivers of Bath for Bumpus of London, gilt panelled spines with hand-painted art nouveau-style lettering and scrolling floriate motifs, below which, on a field of gilt dots, an overall pattern of stylised roses and rose leaves (volume I) and tulips and tulip leaves (volume II), sides with two-line gilt border enclosing a frame of hand-painted intertwining roses and rose leaves (volume I) and intertwining tulips and tulip leaves (volume II), both on a field of gilt dots, panel on each front cover with a hand-painted scene taken from Beardsley's designs, back covers with three-line gilt panels, top edges gilt, others untrimmed, partially uncut, gilt turn-ins, marbled endpapers. Gravure frontispieces, 18 full page wood engravings (including five double-page), numerous text illustrations, and approximately 350 repeated designs for chapter headings and borders, all by Aubrey Beardsley. Front joint of Vol. 2 superficially cracked but firm, short cracks to both spine heads, dampstains to joints and lower extremities, a touch of rubbing to the front of Vol. 1, vellum a little soiled but still bright and handsome, a touch of occasional foxing to contents and some light offsetting from frontispieces, else internally clean. A very good set, bright and fresh.
Edité par J. M. Dent, London, 1893
Vendeur : Thorn Books, ABAA, Tucson, AZ, Etats-Unis
Edition originale
Wraps. Etat : Very good. Aubrey Beardelsy (illustrateur). First edition. Twelve original parts in green wrappers. Parts 1-8 and 10-12 are the "Superior Issue" of 300 copies on Dutch handmade paper (this set unnumbered). Part 9 is from the "regular issue" and is slightly smaller in size. Full page and double page illustrations, rubricated initials, borders and in-text decorations by Aubrey Beardsley in his first major commission. This set is uncut and largely unopened. There is some offsetting from the illustrations to the facing pages, as usual. Part 9 lacks a tiny piece form the spine and has had a nearly invisible repair to the upper wrapper; the wrappers show light soil, rubbing and aging else this is a very good set.
Edité par London: J. M. Dent and Co., 1893, 1893
Vendeur : Peter Harrington. ABA/ ILAB., London, Royaume-Uni
Edition originale
First Beardsley edition, one of 1,500 copies on ordinary paper, in the scarce original 12 monthly instalments published from June 1893 to mid-1894 and with a publisher's slip offering binding options tipped into part XII. This was Beardsley's first major commission and the book that launched the "Beardsley look" (Gillon, p. IV). "Aubrey Beardsley's Morte Darthur was one of the most original and certainly one of the most controversial of the nineteenth-century artistic reinterpretations of Malory. Although his illustrations for the Morte established Beardsley as the voice of the 1890s, he was until that time largely an unknown young artist. La Morte Darthur proved to be an immediate sensation upon publication and the impact of Beardsley's Arthurian illustrations was tremendous. Today, Beardsley's illustrations for the Morte, which constituted almost half his lifetime's artistic output, survive as the first example of modern Arthurian book illustration, and they remain arguably the best experimental visual reinterpretation of the Arthurian world. With their bold lines, strong visual themes, and numerous memorable but unconventional details, the Morte 'pictures' (which is how Beardsley himself referred to them) created an important - although admittedly idiosyncratic - symbology and iconography. Often shockingly overt in their sexuality and eroticism, the illustrations rejected the aesthetic of the Pre-Raphaelites who were Beardsley's original mentors and offered a revisionist and parodic treatment of their medievalism. Ultimately, Beardsley went far beyond his original intention to 'flabbergast the bourgeois' of his day; he also challenged generations of readers and artists to view Arthurian society through his own modernist lens" (Lupack, pp. 75-91). "In Le Morte D'Arthur Beardsley learnt his job, but the result is no bungling student's work. If he had never illustrated another book, this edition of Morte D'Arthur could stand as a monument of decorative book illustration" (Lewis, pp. 148-9). Edmund Vincent Gillon, Illustrations for Le Morte D'Arthur, 1972; John Lewis, The Twentieth Century Book, 1984; Barbara Tepa Lupack, Illustrating Camelot, 2008. 12 parts, large octavo. Original light blue wrappers printed in black, part XII largely uncut. Engraved frontispiece to each volume, 18 wood-engraved plates (including five double-page), numerous text illustrations, and approximately 350 repeated designs for chapter headings and borders, all by Aubrey Beardsley. Spines lightly toned, wrappers nicked at edges, subtle repair to front joint of part XI, a little foxing to edges, otherwise clean and fresh. An excellent set in the original wrappers.
Edité par J. M. Dent, London, 1893
Vendeur : Thorn Books, ABAA, Tucson, AZ, Etats-Unis
Edition originale
Wraps. Etat : Near fine. Aubrey Beardelsy (illustrateur). First edition. Twelve original parts in green wrappers. Regular issue: one of 1500 copies. Full page and double page illustrations, rubricated initials, borders and in-text decorations by Aubrey Beardsley in his first major commission. The wrappers are generally lightly soiled and chipped at the edges. Spines are worn at tips, and the spine of Part One is split but firmly held by the sewing. A very good set of this masterpiece with the textblocks in near fine condition and free of the foxing that dogs the issue on handmade paper. Housed in two volumes of slipcases and cloth chemises, with the title on the slipcases on leather labels, gilt. Gaines, A14, a.1. .
Edité par J. M. Dent, London, 1894
Vendeur : Whitmore Rare Books, Inc. -- ABAA, ILAB, Pasadena, CA, Etats-Unis
Edition originale
Etat : Near Fine. Etat de la jaquette : Very Good. First edition thus. One of 1500 copies, complete in two volumes. Bound in full yellow cloth with elaborate gilt stamping to the front boards and spines. Retaining the very scarce original brown paper dust jackets. Books in Near Fine condition, some foxing to the cloth and the internal contents, but rarely seen when the cloth retains its natural color. Dust jackets both about Very Good, minor chipping to the spine ends and along the top of the rear panel to vol. 2. Vol. 2 also missing the lower half of the front flap. Interestingly, each book has an additional thin paper wrapper, between the printed jacket and the binding (as issued by the publisher). Unrestored 19th century dust jackets are uncommon. Malory translated and compiled the legends of Arthur, Merlin, Lancelot, Guinevere, Sir Gawain, and the Knights of the Round Table, using numerous French and English sources. His work was first published in 1485 by William Caxton, the first English printer. It proved immensely popular and became the basis for the countless retellings and adaptations throughout the next five centuries (with a few periods of silence, namely 1634 - 1816). We can think of no other collection of stories that have more fully captured the imagination and passion of the English people than the Arthurian legends. "It is the only true English epic; its matter is 'the Matter of England'. The matchless style, the humour, the magnificence, the magic that takes away the breath, combine in a masterpiece of legendary narrative. Each century has produced its own version of the Arthurian tapestry, but Malory's will never be forgotten" (Printing and the Mind of Man 29, for the first edition). Near Fine in Very Good dust jacket.
Edité par Westminster: J. M. Dent, 1893-94, 1893
Vendeur : Peter Harrington. ABA/ ILAB., London, Royaume-Uni
Edition originale
First Beardsley edition, an out of series unnumbered copy of one of 300 deluxe copies on Dutch handmade paper, from a total edition of 1,800. The book was issued in 12 parts in wrappers, with the purchaser given the choice of sending it back to the publisher, who bound them in vellum or cloth, or to a binder of their own. In 1892, seeking to emulate the books of the Kelmscott Press, John M. Dent commissioned the 20-year-old Beardsley to produce this edition, work that took the young artist 18 months to complete. "In Le Morte d'Arthur Beardsley learnt his job, but the result is no bungling student's work. If he had never illustrated another book, this edition of Morte d'Arthur could stand as a monument of decorative book illustration" (Lewis, pp. 148-9). The work was first published in 12 monthly magazine instalments between June 1893, and mid-1894. "Aubrey Beardsley's Morte Darthur was one of the most original and certainly one of the most controversial of the nineteenth-century artistic reinterpretations of Malory" which "established Beardsley as the voice of the 1890s" (Tepa Lupack, Chapter 4). "Often shockingly overt in their sexuality and eroticism, the illustrations rejected the aesthetic of the Pre-Raphaelites who were Beardsley's original mentors and offered a revisionist and parodic treatment of their medievalism. Ultimately, Beardsley went far beyond his original intention to 'flabbergast the bourgeois' of his day; he also challenged generations of readers and artists to view Arthurian society through his own modernist lens" (ibid.). La Morte Darthur was an immediate sensation upon publication. Lasner 22. Lewis, John, The Twentieth Century Book, Herbert Press Ltd, 1984, pp. 148-9; Ray, The Illustrator and the Book in England from 1790 to 1914, Oxford University Press, 1976, p. 314; Tepa Lupack, Barbara Illustrating Camelot, D. S. Brewer, 2008. Three volumes (243 x 188 mm). Contemporary half vellum, titles in gilt to red calf labels to spines, foliate gilt rulings to spine ends, brown morocco grain cloth sides, marbled edges and endpapers. With photogravure frontispieces on India paper to volumes I and III, 18 full-page wood engravings with tissue guards (5 double-page), numerous text illustrations and approximately 350 designs for chapter headings and borders (foliate and historiated) all by Aubrey Beardsley printed in red and black. Light soiling to vellum, slight bumps to tips, top edge of book block dust toned, sporadic faint foxing occasional and offsetting from full-page engravings and toning to their edges, a very good set.
Edité par J. M. Dent, London, 1893
Vendeur : Nudelman Rare Books, Seattle, WA, Etats-Unis
Edition originale
First Edition Thus. First Edition Thus. Twelve original parts. In original printed pictorial green wrappers. Woodcut illustrations as plates, illustrations and decorations throughout by Aubrey Beardsley, one his most celebrated group of illustrations to appear in book form. 1500 copies were printed, seldom seen as a complete set of individual numbers in the original wrappers. Numbers 2 and 4 with spines darkened and chipped including some loss, overall age toning and edge wear to wrappers; contents generally quite clean; housed in three separate quarter calf folders within matching slipcases. Malory's reworking of existing tales about King Arthur, Guinevere, Lancelot, Merlin and the Knights of the Round Table. A truly remarkable set, Beardsley's output amounted to 360 full and double-page drawings, borders, chapter headings, and ornaments of detailed illustration, and a net total of over 1,000 decorations.
Edité par Macmillan and Co, New York, 1917
Vendeur : Thorn Books, ABAA, Tucson, AZ, Etats-Unis
Edition originale
Hardcover. Etat : Fine. Limited edition. 4to. 517pp. Illustrated with 16 full page illustrations by Arthur Rackham. One of 250 numbered copies; this is number 240. Finely bound in full crimson morocco, the upper board inlaid with a black morocco base bearing a representation of the sword in the stone in gilt and silver leaf, with a black leather onlay, the whole embellished with 8 emeralds, 10 citrines, 13 red corals and 2 star sapphires for a total of 33 jewels. Gilt titles. Protected in a morocco backed clamshell case. Ownership inscription on a preliminary blank else a fine copy in a fine artist binding. .
Edité par London: J. M. Dent and Co., 1927, 1927
Vendeur : Peter Harrington. ABA/ ILAB., London, Royaume-Uni
Edition originale
First edition thus, and third overall, one of 1,600 unnumbered copies, retaining the scarce jacket. This was Dent's final edition, entirely reset, and enlarged with two drawings (pp. xj and lvj) and one additional chapter heading (p. 530) never before printed. This edition also includes a new foreword by the Scottish newspaper editor Aymer Vallance (1892-1955). First published in two volumes in 1893, Morte Darthur was Beardsley's first major commission and the book that launched what has come to be known as the "Beardsley look" (Gillon, p. IV). In 1892, seeking to emulate the books of the Kelmscott Press, John M. Dent commissioned the 20-year-old Beardsley to produce an edition of Le Morte D'Arthur. The 351 designs appearing in the first edition required 18 months for the artist to complete. Bored with the project, Beardsley at last refused to complete Dent's original commission of 500 drawings. Of this work, John Lewis states: "In Le Morte D'Arthur Beardsley learnt his job, but the result is no bungling student's work. If he had never illustrated another book, this edition of Morte D'Arthur could stand as a monument of decorative book illustration" (Lewis, pp. 148-9). Edmund Vincent Gillon, Illustrations for Le Morte D'Arthur, 1972; John Lewis, The Twentieth Century Book, 1984. Large quarto. Original green cloth over bevelled boards, spine lettered in gilt, spine and front cover stamped in gilt with floral patterns, top edge gilt, largely uncut. With dust jacket. Frontispiece, 21 plates, illustrations in text throughout. Cloth and gilt bright, a few spots of foxing to lower edge; the jacket with minor fading to spine panel, small chip and couple of short tears to edges, overall a remarkably clean and fresh example, unclipped; a near-fine copy in like jacket.
Hardcover. Etat : Very Good. No Jacket. 1st Edition. The Birth and Acts of King Arthur of his Noble Knights of the Round Table Their Marvelous Enquests and Adventures The Achieving of the San Greal and in the End Le Morte Darthur with the Dolourous Death and Departing out of this World of them all. With an Introduction by Professor Rhys, and embellished with many Original designs by Aubrey Beardsley Books show slight signs of wear, binding cloth a bit dirty, spines darkened paper yellowed. One of 1800 copies of the Ist edition, 300 printed on Dutch hand made paper and 1500 ordinary copies, presented to Bob Kiphuth from the 1937-1938, Yale Swim Team John Macionis capt, Lang Baldwin Manager (inscription on ffep) professionally repaired, tight copy, shows minor edgewear. Language: eng Language: eng 0.0 Language: eng Language: eng Language: eng Language: eng.
Edité par Dent, [London], 1893
Vendeur : Jeffrey H. Marks, Rare Books, ABAA, Rochester, NY, Etats-Unis
Edition originale
With an Introduction by Professor Rhys. 2 vols. Embellished with many original designs by Aubrey Beardsley. 4to, publisher s white gilt-decorated cloth, t.e.g. First edition; one of 1,500 copies. Attractive old bookplate on the pastedown of Vol. I. Spines and cloth sides very slightly tanned; small black stain near the center of the spine of Volume I; contents clean and attractive.
Edité par Philip Lee Warner, The Medici Society, London, 1911
Vendeur : Thorn Books, ABAA, Tucson, AZ, Etats-Unis
Edition originale
Etat : Near fine. Illustrated by W.Russell Flint. (illustrateur). First edition. 4 volumes. 4to. The Text of William Caxton in modernized spelling. 46 colored plates by William Russell Flint. Tissue guards printed in red. Full limp vellum; gilt titles; top edges gilt. Green silk ties; white ribbon markers. Printed on Riccardi handmade paper. One of 500 numbered copies, this being number 156. In the scarce green dustwrappers printed in black. The dustwrappers have some minor sunning, some neat repairs to the folds from within. The dustwrapper to volume 2 has a small chip at the tip of the spine and the wrapper to volume 4 lacks a small piece in the same place (neatly restored). Overall the dustwrappers are in very good condition. Volumes 2, 3 and 4 have an small residue where a bookplate has been removed or fallen off, but the plate of the former owner is still present in Volume 1: author Mark Holstein. Printed in black and green on fine paper, it depicts the authors name and a Holstein, designed by Arthur Allen Lewis. The set is protected in two custom clamshell cases, each containing two volumes. Gaines A19.
Edité par Longman, Hurst, London, 1817
Vendeur : Thorn Books, ABAA, Tucson, AZ, Etats-Unis
Edition originale
Hardcover. Etat : Near fine. Two large 8vo volumes. (4),lxiii,(3),xxxix,(1)383,(1);(4)495,(1)pp. Printed from Caxton's edition of 1485. With an Introduction and Notes by Robert Southey, the Poet Laureate of England. First edition with Southey's notes. Each volume with a large woodcut on the title page showing a knight and a dragon. Engraved gothic and figural initials. Contemporary binding of full near black morocco, spines in six compartments with raised bands, top edges gilt; gilt inner dentelles; marbled endpapers. Text blocks are remarkably free of the usual foxing that dogs this edition. Neat bookplates in each volume. A near fine set. This is the ninth printing of Malory, after Caxton (1485), De Worde (1498 & 1529), Copland (1557), East (ca. 1575), Stansby (1634) and two 12mo. editions in 1816. This was the first modern text of Malory which attempted to recapture the text as it was first published by Caxton. All contemporary advertisements indicate that this edition consisted only of 250 copies with 50 copies on large paper, though there is some suggestion from notes in the publisher's books that as many as 1000 copies may have been printed. This is the regular edition, still impressive at 10 inches, and a scarce and important printing. Gaines, A9. .
Edité par London: Published by David Nutt, 1889-91, 1889
Vendeur : Peter Harrington. ABA/ ILAB., London, Royaume-Uni
Edition originale Signé
First edition of the first truly scholarly edition of Malory's Arthurian epic, number 14 of 108 copies numbered and signed by Nutt, this set from the library of a notable San Francisco family, handsomely bound by the Californian binders Hicks Judd. The 861-page first volume (bound here as two) prints word-for-word the preface and full text of Caxton's 1485 Morte Darthur first edition - Sommer was working from the Althorp copy in the British Library, one of only two then known. The latter two volumes comprise much bibliographical and critical discussion, including an essay by Andrew Lang, a list of names and places, and a glossary. Provenance: each volume has the bookplates of both the poet and 28th Mayor of San Francisco, Edward Robeson Taylor, and his eldest son, the printer and artist Edward DeWitt Taylor, to the front pastedowns. Three volumes in 4, quarto (333 x 266 mm). Contemporary red half morocco by Hicks Judd, marbled sides, titles gilt to spines, raised bands tooled in blind, blind rules extending to covers, marbled endpapers, top edges gilt, others untrimmed. Facsimile plate in vol. 1, 5 charts (4 folding) in vols. 2 and 3. Two bookplates to each pastedown. Extremities occasionally bumped, a little recoloured, negligible marks to boards of vol. 2, light foxing to edges, very occasionally extending to text. A very good copy indeed.
Edité par London: J. M. Dent and Co., 1893, 1893
Vendeur : Peter Harrington. ABA/ ILAB., London, Royaume-Uni
Edition originale
First Beardsley edition, one of 1,500 copies on ordinary paper, bound from the original twelve monthly instalments published from June 1893 to mid-1894, and with the original wrappers bound in. There were also 300 copies printed on Dutch handmade paper. This was Beardsley's first major commission and the book that launched the "Beardsley look" (Gillon, p. IV). "Aubrey Beardsley's Morte Darthur was one of the most original and certainly one of the most controversial of the nineteenth-century artistic reinterpretations of Malory. Although his illustrations for the Morte established Beardsley as the voice of the 1890s, he was until that time largely an unknown young artist. La Morte Darthur proved to be an immediate sensation upon publication and the impact of Beardsley's Arthurian illustrations was tremendous. Today, Beardsley's illustrations for the Morte, which constituted almost half his lifetime's artistic output, survive as the first example of modern Arthurian book illustration, and they remain arguably the best experimental visual reinterpretation of the Arthurian world. With their bold lines, strong visual themes, and numerous memorable but unconventional details, the Morte 'pictures' (which is how Beardsley himself referred to them) created an important - although admittedly idiosyncratic - symbology and iconography. Often shockingly overt in their sexuality and eroticism, the illustrations rejected the aesthetic of the Pre-Raphaelites who were Beardsley's original mentors and offered a revisionist and parodic treatment of their medievalism. Ultimately, Beardsley went far beyond his original intention to 'flabbergast the bourgeois' of his day; he also challenged generations of readers and artists to view Arthurian society through his own modernist lens" (Lupack, pp. 75-91). "In Le Morte D'Arthur Beardsley learnt his job, but the result is no bungling student's work. If he had never illustrated another book, this edition of Morte D'Arthur could stand as a monument of decorative book illustration" (Lewis, pp. 148-9). Edmund Vincent Gillon, Illustrations for Le Morte D'Arthur, 1972; John Lewis, The Twentieth Century Book, 1984; Barbara Tepa Lupack, Illustrating Camelot, 2008. Two volumes, large quarto (239 x 190 mm). Contemporary brown half morocco, spines with gilt-tooled raised bands, gilt lettering in compartments, brown cloth sides ruled in gilt, marbled endpapers, top edges gilt, others untrimmed, red silk bookmarkers. Engraved frontispiece to each volume, 18 wood-engraved plates (including five double-page), some retaining tissue guards, numerous text illustrations, and approximately 350 repeated designs for chapter headings and borders, all by Aubrey Beardsley. Bookplate on front pastedowns of Robert Peel Sheldon, dated September 1893 and designed by himself (R.P.S. Fecit); Sheldon was an English collector, and perhaps the director of Cabrera Mines, Ltd. Spines faded, minor rubbing to extremities, bookmarkers detached and loosely inserted in each volume, occasional spot of foxing or small faint mark to contents, otherwise internally clean. A very good set.
Edité par Philip Lee Warner for The Medici Society, Ltd, London, 1911
Vendeur : Fahrenheit's Books, Denver, CO, Etats-Unis
Membre d'association : RMABA
Edition originale Signé
Soft cover. Etat : Good. Flint, W. Russell (illustrateur). 1st Edition Thus, Limited. First edition thus, four volume softcover set printed on handmade paper and bound in full vellum with hand-sewn head bands, green ribbon closures, cream placeholder ribbons, and gilt top edge treatment. Published between 1910-1911, marked limited no. 135/500 paper copies, and one of ten vellum copies for sale. The first volume is SIGNED by the illustrator (Flint) at the limitation statement. All four volumes have waving to their text blocks with some bubbling and warping to the vellum covers and to the paste downs. The set also has rubbing with some areas of discoloration to the covers, light bumps to the spine ends and cover corners, mild sunning to the spine, a touch of bowing to the head bands, and varying degrees of wear to their placeholder ribbons. Additionally, Volume I has some shallow creasing to the vellum at the head of the spine, and lacks the placeholder ribbon, while Volume IV has significant damage to its upper rear closure ribbon with only about half of it remaining. Otherwise this is a solid, tight Good+ four volume set. Additional images are available upon request.
Edité par Walker and Edwards, London, 1816
Vendeur : Thorn Books, ABAA, Tucson, AZ, Etats-Unis
Edition originale Signé
Hardcover. Etat : Fine. Two volumes. Engraved frontispieces and dual title pages, one engraved in each volume and one typeset. The engraved titles and frontispieces have offset to each other and are lightly stained else the text blocks are clean. Recent artist binding by Þ (signed on inner rear covers) in full maroon morocco. Spine titles gilt. Marbled endpapers. On Volume one in a recess is a representation of the Sword in the stone done in puckered colored leathers and carved wood. On the upper board of Volume II is a representation of the Sword being returned to the lake, caught by its Lady. The bindings are in fine condition, and are protected by the binder's maroon cloth dustwrapper, gilt titles on spines. With the signature of James Ranken Fergusson, 2nd Baronet of Spitalhaugh and also a prolific author. His armorial bookplates were retrieved from the original bindings and inserted into these. The first edition of Malory's Morte d'Arthur was printed by Caxton in 1485. The Caxton edition was followed by editions in 1498, 1529, 1557 and 1634. No further editions were printed until two competing editions were issued in 1816, of which this is reputedly the first. No editions earlier than the 1634 are obtainable, and a copy of the 1634 edition only rarely comes on the market. This 1816 edition is the first practically obtainable edition of the Morte d'Arthur. .
Edité par Riccardi Press, 1910
Edition originale
Hard Cover. Etat : Very Good. Etat de la jaquette : Very Good. Flint, William Russell (illustrateur). Limited Edition. Original limp vellum, with gilt titles to spines and front covers. Green silk ties and dust-wrappers. Top edges gilt. 4 volume set in original slipcases. 27.5cm x 21cm. Pp. xx, 168; xvi, 179; xvi, 208; xvi, 212. Complete with 48 mounted colour plates by W. Russell Flint, with captioned tissue guards. No. 391 of a limited edition of only 500 copies. Fore and bottom edges untrimmed. D/w spines faded to brown with '391' lightly stamped on them. Slipcase and d/w's a little faded and worn. A little light spotting to first and last few blank pages, very occasionally to contents. Vellum on one volume darkened in places. A heavy set, additional postage will be required for orders outside the UK.
Edité par Longman, Hurst, London, 1817
Vendeur : Thorn Books, ABAA, Tucson, AZ, Etats-Unis
Edition originale
Hardcover. Etat : Near fine. Two large 8vo volumes. (4),lxiii,(3),xxxix,(1)383,(1);(4)495,(1)pp. Printed from Caxton's edition of 1485. With an Introduction and Notes by Robert Southey, the Poet Laureate of England. First edition with Southey's notes. Each volume with a large woodcut on the title page showing a knight and a dragon. Engraved gothic and figural initials. Bound to style in half navy blue morocco. Spines in six compartments with raised bands; deep blue leather lettering pieces, gilt. Marbled paper boards and endpapers. Text blocks lightly foxed else this is a very good set in a fine binding. This is the ninth printing of Malory, after Caxton (1485), De Worde (1498 & 1529), Copland (1557), East (ca. 1575), Stansby (1634) and two 12mo. editions in 1816. This was the first modern text of Malory which attempted to recapture the text as it was first published by Caxton. All contemporary advertisements indicate that this edition consisted only of 250 copies with 50 copies on large paper, though there is some suggestion from notes in the publisher's books that as many as 1000 copies may have been printed. This is the regular edition, still impressive at 10 inches, and a scarce and important printing.
Edité par The Macmillan Company, 64-66 Fifth Avenue, New York, 1917
Vendeur : The BiblioFile, Rapid River, MI, Etats-Unis
Edition originale
Full-Leather. Etat : Very Good. Rackham, Arthur (illustrateur). First Edition. Stated and hand-numbered in red at limitation page: "Of this large paper edition two hundred and fifty copies have been printed of which this is number: "109". Rare larger limited edition printed by MacMillan & Company of London. Oversize gift book design at apprx. 9" x 11 1/2" x 2" weighing nearly 4 1/2 lbs. Very stylish fountain pen signature inside cover at front pastedown: "John Jacob Astor, Christmas 1920." Intriguing association example acquired by prior collector from an estate descendent of the Astor family. Set in cover is a small printed Christmas card with classic carolling motif from New York business magnate Bradish Gaillard Johnson. Likely Gaillard gifted this volume to a young fatherless "Jakey." Prior collector also associates Gaillard Johnson with the Astors as family friends. The Astors were the or near the wealthiest American family in the ninetheenth century from the fur trade, railroad and ship construction, opium trade, real estate, etc. John Jacob Astor VI, or young "Jakey," was known as the Titanic baby as his father, the Colonel JJA IV (who opposed the institution of the Federal Reserve central bank in America), perished on the mythic unsinkable. John Pierpont Morgan infamously missed scheduled boarding in England. JJA VI's mother, Madeleine Astor, survived while five months pregnant with him and is portrayed in the 1997 film. Men and most onboard may have also been rescued, but for an insufficient number of life boats, etc. Publisher's morocco boards in white, gilt embossed cover and spine titles, moderate shelf, spine wear ripple, rub, nicking, small area of scrape. Bright gilt cover design features finely detailed bugler knight on regaled horseback; gilt spine design features titles with stylized royal lion vignette. Bright gilded smooth exterior top edge. Frontispiece color plate by Rackham: "How Arthur drew his sword Excalibur for the first time". Thick deckled leaves, near fine, bright. Bind fine, square; front hinge reinforced. Sharp near very good larger edition of this classic volume from the library of John Jacob Astor VI. Features sixteen tipped-in color plates in brilliant, subdued hues and seven in black & white by Arthur Rackham. Each color plate with fine tissue guards captioned in red. Additional partial-page imagery, headers, tailpieces, symbology and decoration throughout. Sir Thomas Malory (1405 - 1471) collected all the ancient tales of the mythical Arthur and published them under the title Le Morte D'Arthur. The characters are familiar: Lancelot and Guinevere, and Tristan and Isolde, here in the definitive account of the Arthurian legends. The vigorous, eloquent epic tale of valor is noted for having been written in the best English prose of the Fifteenth Century. Includes 5-page detailed glossary. Printed by R. & R. Clarke, Limited, Edinburgh. 509 pages. Insured post. Size: 4to - over 9¾" - 12" tall.
Edité par J.M. Dent, London., 1927
Vendeur : Peter Ellis, Bookseller, ABA, ILAB, London, Royaume-Uni
Edition originale
Third edition. Quarto. pp lvi, 538. Decorated cloth gilt. Top edge gilt. One of 1600 copies. Six page Foreword on Aubrey Beardsley by Aylmer Vallance. Fifteen page Introduction by John Rhys. One page note by R.A. Walker, ''A Note on the designs omitted from the First Edition''. Includes ten chapter headings omitted from the first edition, included in the second edition by mistake and included in this edition for the first time on purpose. Includes for the first time and totally by design Beardsley's original drawing for the cover. Copiously illustrated by Aubrey Beardsley, with numerous full-page black and white drawings, some tissue-guarded, as well as numerous black and white drawings in the text.Near fine in sadly defective, worn, torn and chipped dustwrapper with extensive repairs on the reverse.
Edité par Macmillan Company, London, 1917
Vendeur : Thomas J. Joyce And Company, Chicago, IL, Etats-Unis
Edition originale
Hardcover. Etat : Near Fine. First, Limited Edition. Quarto; xxiv, 509 pages, full vellum, untrimmed, t.e.g., a trifle rubbed Copy 194 of only 500 numbered and signed by the illustrator, ARTHUR RACKHAM. With 16 tipped-in color plates, and 7 cuts in black-and-white.
Edité par MacMillan & Co., Limited, St. Martin's Street, London, 1917
Vendeur : The BiblioFile, Rapid River, MI, Etats-Unis
Edition originale Signé
Hard Cover. Etat : Good. Rackham, Arthur (illustrateur). First Edition. Stated at limitation page: "This Edition Consists of Five Hundred Copies Signed by the Artist: 'No. 123, Arthur Rackham'". Rare signed, limited edition printed by MacMillan & Company of London. Large 9" x 11 1/2 x 2 1/2" design weighing over 5 lbs. Cream vellum (leather) boards, gilt embossed cover and spine titles, moderate shelf wear generally, some discoloration, wear to bottom area apprx. 1" high x 3" long. Bright gilt cover design features finely detailed bugler knight on regaled horseback; gilt spine design features stylized royal lion w/gilt bands. Frontispiece color plate by Rackham: "How Arthur drew his sword Excalibur for the first time". Pages generally very good; some discoloration, wear to bottom edge of first fifty, first few w/some missing material to same lower area, and moderately throughout, slightly increasing at back few pages. Couple leaves remain uncut. Bind good. Feature sixteen color plates in brilliant subdued hues and seven in black & white by Arthur Rackham. Each color plate features fine tissue guard w/caption. Additional partial-page imagery, headers, tailpieces, symbology and decoration throughout. Attractive, near good first edition. Sir Thomas Malory (1405 - 1471) collected all the ancient tales of the mythical Arthur and published them under the title Le Morte D'Arthur. The characters are familiar: Lancelot and Guinevere, and Tristan and Isolde, here in the definitive account of the Arthurian legends. The vigorous, eloquent epic tale of valor is noted for having been written in the best English prose of the Fifteenth Century. Include 5-page detailed glossary. Printed by R. & R. Clarke, Limited, Edinburgh. 509 pages. Insured post. Size: 4to - over 9¾" - 12" tall. Signed by Artist.
Edité par The Macmillan Company, NY, 1917
Vendeur : J. HOOD, BOOKSELLERS, ABAA/ILAB, Baldwin City, KS, Etats-Unis
Edition originale
Hardcover. Number 120 of the large paper edition limited to 250 copies. First American Edition. Size: 9"x11.25", 517pp., 16 colored hand-tipped plates with tissue guards, 7 black & white plates and numerous decorative emblishments. This copy has been rebound in 1/4 vellum over off-white linen covered boards with a red leather decorative title label to the spine and dark green "limited edition 1917" leather label below. It is now housed in a dark green cloth-covered slipcase with red leather edging. The original contents have tanned a bit with just light foxing to a few pages, the plates are still bright and all tissue guards are present. The vellum spine has an aged effect but the binding is attractive and sound with just a modicum of wear to the bottom of the slipcase. Photographs upon request.
Edité par Shakespeare Head Press, Oxford, 1934
Vendeur : Nudelman Rare Books, Seattle, WA, Etats-Unis
Edition originale
First edition thus. First edition thus. Original publisher's full brick red pigskin with bold grain, gilt lettering on pine, superb marbled endpapers. #266 of 370 Copies on handmade paper, top edges gilt, others untrimmed. Printed in red and black throughout with 22 woodcut illustrations from de Worde's 1498 folio edition, considered the first text illustrations made from engravings. Only a limited number of these were issued in the full red pigskin bindings. With the original four page prospectus printed in red and black as well as an order form, laid-in. A fine set, rarely seen thus.
Edité par J. M. Dent, London, 1893
Vendeur : The Wild Muse, Granville, NY, Etats-Unis
Edition originale
Hard. Etat : Very Good. Etat de la jaquette : Good. Beardsley, Aubrey (illustrateur). 1st. First edition, limited to 1,500 copies. Volume One only (Includes Books 1-9 as published), in extremely rare dust jacket. Published London: J. M. Dent, 1893. 4to., 8 1/2" x 10", lxiv + 455 pages, illustrated with full page plates, vignettes, borders, in-text decorations and cover design by Aubrey Beardsley. Beardsley's first major commission and a landmark of great illustrated books. Beardsley juxtaposed various traditional and contemporary styles with his own, and laid them down, side-by-side throughout the book. From elaborate and formal William Morris design elements to shocking eroticism and striking decadence - as in the case of the frontispiece plate of Arthur. Cream linen cloth with elaborate gilt design and fancy titles. Top edge gilting, 3-color ribbon marker bound in. Slight foxing to the cloth, endpapers toned along the perimeters, some wrinkling to the tissue guard at frontis, else very good, attractive; binding square and tight in a rare dust jacket. We have been unable to locate any other example in a dust jacket. Jacket has rebacking and loss at the spine and rear panel. A significant book. Size: 4to. Limited Edition.
Edité par Philip Lee Warner, 1920
Vendeur : Fireside Bookshop, Stroud, GLOS, Royaume-Uni
Membre d'association : PBFA
Livre Edition originale
Hardcover. Etat : Very Good. First Edition. First two volume edition in vellum 1920.Full vellum with decorative gilt to front boards and spine. t.e.g. volume one has a dent to the spine. Slight fading/darkening to boards and spine. Small mark to rear board. Some foxing to edges of pages and end papers. Volume two has slight darkening with rubbing and some chipping to head and tail of spine and bottom corners of boards. Some foxing to page edges and end papers.
Edité par R. Wilks, London, 1816
Vendeur : Hyraxia Books. ABA, ILAB, Hutton Cranswick, Royaume-Uni
Livre Edition originale
Hardback. Etat : Very Good. 1st Edition. London, R. Wilks, 1816. First Edition. First Impression. Hardback. A very good copy. Three volumes, complete. An important entry in the Arthurian canon. I guess it's technically the eighth edition given the six editions between Caxton's 1485 issue and the 1634 edition published by Jacob Bloome. Then boom, like a stagecoach two centuries later, two turn up at once (actually three if you include Southey's of 1817). The Walker and Edwards edition of 1816 seems to have been published prior to this Wilks edition, though the text seems to have been prepared in 1815 given the preface. Of the three, it appears the Wilks issue sold the poorest, perhaps given the editing of all the fruity language. The text is based on the 1634 edition, and the book includes a folding plate replicating an illustration from that edition and a copy of the title page. From the library of S.A.S. Metheny. This copy includes a note from writer George Lillie Craik about the various editions, including the other 1816 edition and Southey's 1817 issue (later backing on the note). Presumably later cloth, though still fairly old, fairly amateurish covering but presentable enough. The labels have faded though. Rubbing to the lower edges. One volume has pretty much split at the lower hinge. Internally excellent. [10720, Hyraxia Books].
Edité par J. M. Dent; Aldine House, 1894
Vendeur : Nudelman Rare Books, Seattle, WA, Etats-Unis
Edition originale
Hardcover. Etat : Very Good. 1st Edition. First Edition Thus. Two Volumes, thick quartos. Exquisite publisher's full cream cloth over beveled boards, lettered and decorated with bold gilt-blocked and elaborate art-nouveau design by Beardsley on front covers and spines, rear covers with publisher's imprint in gold. TEG, others uncut. 990 pp [paginated continuously], Glossary & Index to rear of Vol. Two. Magnificently illustrated throughout on India paper, featuring 18 full-page wood engravings with tissue guards (5 double-page) by Beardsely, as well as numerous text illustrations and approximately 350 designs for chapter headings and borders, all by Beardsley. A very good copy, with foxing occurring to front and rear fly of Vol. 1, but not Vol. 2. Wear to edge of spine head of Vol. 1, with about 1 cm nick. Covers with usual discoloration and some smudging, and slight rubbing to gilt. The inner hinges are completely in tact, rare for this size of book (two inches thick!). Commissioned In 1892 by Dent to emulate the Kelmscott Press seeking to emulate the books of the Kelmscott Press. Beardsley was only 20 years old!.