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Displayed below are some selected recent viaLibri matches for books published in 1910

        DRAMATIS PERSONAE

      Hammersmith: Doves Press, 1910. ONE OF 250 COPIES on paper (and 15 on vellum). In contrast to Morris' proclivity toward the baroque, Thomas J. Cobden-Sanderson, the founder (along with Emery Walker) of the Doves Press, 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." For Cobden-Sanderson, who took up printing late in life, the elegant simplicity of the Doves books was intended to be in harmony with the works of God in creating the beauty and mystery of the universe. Beginning in 1900, the Doves Press issued 51 imprints (in addition to ephemeral items) before closing in 1916, after which its hyphenated co-founder, under the cloak of darkness, tossed his famous Doves type into the Thames so that it could never be used by anyone else. He may have been a crackpot, but this did not stop him from producing books printed with beautiful purity (not to mention the ravishing bindings he designed and/or fashioned with his own hands), and Doves books will always have a strong appeal for those who believe in being uncluttered as the first principle of layout and typographic design. The present collection of 18 shorter poems, first published in 1864 when the poet was 52, achieved for Browning the general recognition that his talents warranted. And it is an indication of the poet's persisting popularity into the 20th century that his work was chosen for this special edition nearly 50 years after its first appearance.. 235 x 171 mm. (9 1/4 x 6 3/4"). 4 p.l. (2 of them blank), [9]-202 pp., [1] leaf (colophon). ONE OF 250 COPIES on paper (and 15 on vellum). Original flexible vellum, vertical gilt titling on the spine. Printed in black and red. Tidcombe DP-22; Tomkinson, p. 56. Naturally occurring variations in the color of the vellum (this binding with the pinpoint brown grain predominating), otherwise a very fine copy, the text entirely clean, smooth, and bright. In contrast to Morris' proclivity toward the baroque, Thomas J. Cobden-Sanderson, the founder (along with Emery Walker) of the Doves Press, 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." For Cobden-Sanderson, who took up printing late in life, the elegant simplicity of the Doves books was intended to be in harmony with the works of God in creating the beauty and mystery of the universe. Beginning in 1900, the Doves Press issued 51 imprints (in addition to ephemeral items) before closing in 1916, after which its hyphenated co-founder, under the cloak of darkness, tossed his famous Doves type into the Thames so that it could never be used by anyone else. He may have been a crackpot, but this did not stop him from producing books printed with beautiful purity (not to mention the ravishing bindings he designed and/or fashioned with his own hands), and Doves books will always have a strong appeal for those who believe in being uncluttered as the first principle of layout and typographic design. The present collection of 18 shorter poems, first published in 1864 when the poet was 52, achieved for Browning the general recognition that his talents warranted. And it is an indication of the poet's persisting popularity into the 20th century that his work was chosen for this special edition nearly 50 years after its first appearance.

      [Bookseller: Phillip J. Pirages Fine Books and Mediev]
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        Poems.

      Hampstead: The Priory Press, and Cambridge, Bowes & Bowes,, [1910]. Small quarto. Original cloth backing grey paper boards, lettered in black on spine and front cover, grey endpapers. Spine tanned, some minor marks to covers, extremities a little rubbed, a few spots within but on the whole very fresh, a very good copy. First edition, first impression, a rare presentation copy of the very scarce large paper issue on hand-made paper (not in Anderson), inscribed, "EMD from FCC, March 1910", on the first blank, mostly likely to a member of the sprawling Darwin family. Frances Cornford (1886-1960, née Francis Crofts Darwin - granddaughter of Charles, married the poet Francis Cornford in 1909) was a close friend of Brooke, and an aspiring poet in her own right. This publication, Cornford's second book (following the rare Holtbury Idyll, 1908) and first poetry collection, includes her poem "Youth", later titled "On Rupert Brooke" ("A young Apollo, golden-haired, / Stands dreaming on the verge of strife, / Magnificently unprepared / For the long littleness of life"), as well as the notorious "To a Fat Lady Seen from a Train" ("O why do you walk through the field in gloves, / Missing so much and so much? / O fat white woman whom nobody loves, / Why do you walk through the field in gloves?"), which became a standard anthology piece and was parodied for its assuming callousness by Housman and by Chesterton ("Why do you rush through the field in trains, / Guessing so much and so much? / Why do you flash through the flowery meads, / Fat-head poet that nobody reads").

      [Bookseller: Peter Harrington]
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        The Rhinegold & the Valkyrie; Siegfried and the Twighlight of the Gods. [Together known as] The Ring of the Niblung. A Trilogy with a Prelude.

      London: William Heinemann,, 1910–11. Translated into English by Margaret Armour. 2 volumes, quarto (275 x 227 mm). Uniformly bound by Zaehnsdorf in near-contemporary blue crushed half morocco, spine lettered in gilt direct, gilt motifs to compartments within 5 raised bands to spine, blue cloth sides, top edge gilt, others uncut. With 64 tipped-in colour plates with printed tissue-guards and 23 black and white line drawings. Fading to spine, fading at the head of the rear cover of volume 2, very slight marking to covers, slight foxing. An excellent set. Signed limited editions, numbers 390 and 361 respectively of 1,150 copies signed by Arthur Rackham, in a handsome binding.

      [Bookseller: Peter Harrington]
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        The Rhinegold & the Valkyrie; Siegfried and the Twighlight of the Gods. [Together known as] The Ring of the Niblung. A Trilogy with a Prelude. Translated into English by Margaret Armour.

      London: William Heinemann, 1910–11 - 2 volumes, quarto (275 x 227 mm). Uniformly bound by Zaehnsdorf in near-contemporary blue crushed half morocco, spine lettered in gilt direct, gilt motifs to compartments within 5 raised bands to spine, blue cloth sides, top edge gilt, others uncut. Fading to spine, fading at the head of the rear cover of volume 2, very slight marking to covers, slight foxing. An excellent set. With 64 tipped-in colour plates with printed tissue-guards and 23 black and white line drawings. Signed limited editions, numbers 390 and 361 respectively of 1,150 copies signed by Arthur Rackham, in a handsome binding. Riall p. 103. [Attributes: First Edition; Signed Copy]

      [Bookseller: Peter Harrington. ABA member]
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        Amusement resort designed to be built at Wolf Lake, Indiana. Perspective, 1895. Pl. LX.

      Berlin: Ernst Wasmuth, 1910.(). Original lithograph on 4-ply, wove, tan paper. Foldout, printed over the fold. 15.9 x 37.5" (40.5 x  95.25 cm). Artist's embossed stamp lower left. Archival mat and backing.Provenance: The Prairie Avenue Bookshop, Chicago. The Bookshop recently closed and Wittenborn Art Books has taken over the distribution of the Wasmuth plates.  Many of these were acquired from Wright's apprentices and bear the marginal water stains from the famous fire of 1914, which destroyed the architect's home and studio and most of the edition. Text and title in German/Deutsch. Finely toned, moreso around the fold; creased at the fold. Else VG/NF. Matted. Wolf Lake, IL.Dover (LXa); Hitchcock (1942) pl. 37, pp. 27, 52, 109, Project

      [Bookseller: Wittenborn Art Books]
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