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Current Exhibition

We are pleased to present the first in our series of


The first in our series of exhibitions is


Featuring books, magazines, journals, art-work, and much more!

This exhibition is due to help, guidance and assistance of Larisa Cassell. We can provide further information and images upon request.


Prices in US Dollars, please use our currency converter for other currencies.

1. (Architecture and Design). GLASS PAINTS, VARNISHES AND BRUSHES. Pittsburgh: Pittsburgh Plate Glass, 1923. First Edition. Quarto. Decorative Cloth. An outstanding trade catalogue, 178pp; plus xxii pp. categorized index. The date is deceptively late. The book contains a wealth of extremely useful information for anyone interested in the restoration or construction of the Arts and Crafts period and its transition to Art Deco. Dozens of full page color plates, including a large array of color samples that are an invaluable tool in the selection of appropriate color schemes for achieving historical accuracy in construction or renovation. In addition to color samples and rating of paint durability, this handsome volume addresses both commercial and residential uses of plate and leaded glass. A very good copy with only minor edge wear and a small paper scrape on one page. A worthy addition to the reference library of architects, designers, contractors and individual homeowners interested in the American Arts and Crafts movement and its long-reaching effects on building design. $200.00

2. (Architecture and Design). BUILDER'S WOODWORK. Universal Design Book Number 25. American Sash and Door Co. Kansas City, Mo. Kansas City, Mo.: American Sash & Door Company, 1927. Quarto. Published by The Universal Catalog Bureau in Dubuque, Iowa, this catalog was available to trades people of the day and would be printed with each company's name on the cover and title page. Bound in original brown cloth, 356 pages, including index. Profusely illustrated with black and white, half tone and color illustrations of Arts and Crafts bungalow interior and exterior elements, as well as more traditional styles. This exceptional trade catalogue of period detail provides invaluable assistance for interior design professionals and home restoration. The Universal Design Book, No. 25, with its wide array of quality materials for home construction was distributed by various lumber and building companies, the binding stamped with the company's name and logo. These fine products that were the "standard choices" of the day reveal the woeful group of look alikes offered at modern DIY stores as the pathetic elements that they are, both aesthetically and with regard to the quality of construction. Although the date of the book is a bit past the generally accepted boundaries of the Arts and Crafts period, " Mission Style" is on abundant display in inglenooks, bookcases, china closets, doors, stairways and more. Sun porches with rustic furnishings are pictured and the garden is considered with illustrations of trellises and seating. Aside from a whisper of rubbing to the extremities, this is a flawless copy. $350.00

3. (Architecture). THE COUNTRY HOME. Volume I. May to October. London: Archibald Constable & Company, Ltd., 1908. A quarto of 380 pages, profusely illustrated with photographic images as well as line drawings and half-tones This gorgeous volume from the Arts and Crafts period of design is bound in emerald green cloth with a pictorial cover vignette of a fine country home drawn in black line silhouette against a yellow twilight sky. All of the elements so prized in country homes of the period are captured in this cover vignette....with a neatly trimmed shrub surrounding the house, broken by two gates and the limb of a fine old tree in the foreground. A rose tree is staked outside the border of the scene. The design is signed with the monogram of the artist, BR, in the lower right hand corner. Gilt titles on cover and spine, top edge gilt. Although this is only one volume of two for 1908, it is quite complete in itself with wonderful articles and editorials on country life, including gardening and interior and exterior architectural designs. There are several faint spots on the cover, else this a fine copy of a sumptuously bound Arts and Crafts periodical of rural English life. $150.00

4. (Art Nouveau Book Design) Pink, Alfred. GARDEN FOR THE MILLION. London (1904): T. Fisher Unwin, An octavo of 267 pages bound in the original pictorial cloth of a gardener in a white shirt and hat tending a garden bed with his rake. The spine features a large bay standard with twisted twin trunks set in a large pot. This exceptional publisher's trade binding is executed in white, olive and chartreuse green set against navy blue. Colored frontispiece of sweet peas. Written by the author of Recipe For The Million, it contains a wealth of practical information for garden lovers. The text can be readily had in various internet formats and reproductions.....but the satisfaction of the boldly handsome binding, representing the best elements of the Arts and Crafts period of design, cannot be captured in modern commercial endeavors. A bit of light foxing and rubbing as well as a little wear to the spine extremities. Overall a very good copy indeed of this scarce title in its original binding. $175.00

5. (Art Nouveau Trade Binding)(Turbayne, A. A.) Peacock, Thomas Love. HEADLONG HALL and NIGHTMARE ABBEY. London & New York: Macmillan and Co., 1896. Octavo, 244 pages bound in original dark blue cloth. Illustrated by H. R. Millar. A smashing copy of a stunning Art Nouveau trade binding featuring A. A. Turbayne's gilt peacock design on the upper cover and spine. All edges gilt. Turbayne was one of the leading book designers at the Carlton Studio, responsible for some of the most notable trade bindings of the period, of which this is certainly one. The peacock motif, a favorite of the Art Nouveau period, is repeated in yellow on the endleaves. There is a large gift label on the front pastedown offering Holiday greetings from the firm of Greenlees & Sons. 1918 - 19. The label faces a presentation inscription to Beatrice Alice Hill, January 1919. Greenlees & Sons were one of the largest boot and shoemaking firms in Britain at the turn of the last century. Their shop windows adorned fashionable streets from London to the Scottish Highlands, including one located at 17 High Street, Inverness. A pristine copy, as fine and bright as the day it was published, with an interesting British association. $150.00

6.) (Architecture & Design). LOW COST HOMES. (Circa 1930): The Houston Doughty Lumber Co., Pictorial wrappers. Illustrated in color and black and white, this trade catalog features modest homes based primarily on bungalow and cottage design. Thumbnail plans for interiors and dimensions with each home. Light soil to front cover, else a very good copy. $50.00

7.) (Arts and Crafts Design). RADFORD'S ARTISTIC BUNGALOWS. Unique Collection of 208 Designs. Chicago and New York, (1908). The Radford Architectural Company, First edition, quarto, 219 pages + index and ads. A collection of 208 designs for smaller homes. Includes perspective views and floor plans with plan costs and estimated building costs. The cover has some soiling....nevertheless, a nice copy of one of the classic Radford titles in the original binding. These books are excellent examples of the Arts and Crafts period...a handsome aesthetic asset to homes exhibiting the architectural elements of cottages, bungalows and prairie style details and a useful reference for design professionals. $250.00

8.) (Arts and Crafts Design) (Chicago Interest) Heberling, W. A. BASIC LETTERING Composition * Color Harmony* Gilding* Embossing Processes, Etc. Chicago (1922): Walbrunn, Kling & Co., Trade Catalogs, Posters, Advertising. Oblong 4to. bound in original tan cloth with exceptional Arts and Crafts cover design executed in primary green, yellow and red. A stunning copy of this rare design book, containing 64 full page plates and 110 pages of text. Heberling was the head of the graphic arts department at the Mooseheart Vocational Training School. The book is considered one of the best books of the period for preparing students interested in the graphic arts of posters, signs and other forms of advertising. Scarce in any condition and virtually impossible to locate in the state of remarkable preservation of this copy of the First Edition. $450.00

9.) (Arts and Crafts Design) Jones, Newton. NEWLY FEATHERED MOTHER GOOSE. Philadelphia (1915): National Publishing Company, Slim octavo bound in original pictorial boards. An uncommon title and very scarce indeed in this condition. Originally published in 1903, this is a fine copy of the second printing of this charming rendition of classic Mother Goose tales. $75.00

10.) (Arts and Crafts Design) Stickley, L. & J. G. THE WORK OF L. & J. G. STICKLEY. Fayetteville, New York (1910): A square octavo, bound in original tan pictorial wrappers with illustration on the front cover of a room furnished with the work of the Stickley brothers. Profusely illustrated throughout in black and white. Aside from some light chips at the extremities this is a fine copy of an original trade catalog, as bright and fresh as the day it was issued. $300.00

11. (Arts and Crafts Illustration). Guerber, H. A. YOURSELF AND YOUR HOUSE WONDERFUL. Philadelphia: The Uplift Publishing Company (1913), An octavo, 301 pages, bound in original green cloth with color pictorial pastedown on the front cover. This book was intended to provide guidance for children and their parents when dealing with some of the more sensitive issues of growing up in a respectable environment. Parallel discussions about home and personal life abound, accompanied by charming illustrations, some in color. No wonder the generation of children growing up at the time the Arts and Crafts movement began turned out to be so well-behaved.....FEAR! A very good copy of a fascinating and attractive book. $75.00

12. (Arts and Crafts). THE HOUSEKEEPER'S SCRAPBOOK. Chicago (1911): Reilly & Britton Co., First Edition. Octavo. Bound in original coarse tan cloth with a pictorial cover of a woman seated at a writing table, printed in dark brown and orange. This marvelous book has 125 pages of heavy brown stock, each titled in dark brown, many with pictorial vignettes illustrating the areas of a fine contemporary home, including separate rooms, nooks, porches and gardens. The book was intended to provide a record of home life and the pages are clean, bright and unmarked, with the exception of erasure marks on p. 14. Else, both contents and binding are as fresh as the day the book was published. The furnishings, lighting fixtures and textiles featured in the line drawings illustrate Mission style furniture and ornamental motifs. This rare title from one of the leading publishers of the day would be an excellent addition to any collection representing American Arts and Crafts style....a unique housewarming gift for Bungalow Lovers. $250.00

13. (Arts and Crafts). THE QUARTO AN ILLUSTRATED QUARTERLY FOR 1896. London: J. S. Virtue, 1896. A quarto, 96 pages, printed with lovely wide margins on heavy stock. Bound in original olive green cloth with Art Nouveau cover design and titles in gilt. Striking black and white illustrations by some of the most noted artists of the day, including Alice B. Woodward and Frederick Sandys. Articles and fiction by G. K. Chesterton, Joseph Pennell and Gleeson White, editor of The Studio. The Quarto was lavishly produced with only four bound volumes published, this being the first. Aside from some minor soil and rubbing as well as a couple of wrinkled tissue guards, this is a fine copy of an exceptional production representing the strong design sensibilities of the Arts and Crafts period. $150.00

14. (Arts and Crafts). THE MENU BOOK What To Eat Today. Chicago (1911): Reilly & Britton Co., First Edition. Octavo. Bound in original coarse tan cloth with a pictorial cover of a woman with a Gibson girl coif puzzling over a recipe booklet, printed in dark brown, green and orange, including Art Nouveau border. This handsome book has 171 pages heavy brown stock, many with pictorial vignettes illustrating seasonal celebrations. The illustrations and endleaves reflect the strong influence of Arts and Crafts design and ornament. There are several recipes hand-written in the book and some old tape marks. The binding has one small stain on the cover...else; this is a fine, bright copy of a rare title from one of the leading publishers of the day. A striking addition to any collection of books and decor relating to the golden age of American bungalows. $175.00

15. (Arts and Crafts). Warner, H. H. SONGS OF THE SPINDLE & LEGENDS OF THE LOOM. London: N. J. Powell & Co., 1889. Edition: First edition, limited to 250 numbered copies signed by H. Selected & Arranged by H. H. Warner. With Illustrations by A. Tucker, H. H. Warner, & Edith Capper. H. Warner. Square octavo, unbleached coarse linen-covered boards with ornaments and titles in black, pp. [ii], 32, illustrated, including four Auto-Gravure plates (reproducing art work by Arthur Tucker, H. H. Warner and Edith Capper). A collection of spinning and weaving songs, including: "Song of the Irish Spinning Wheel" by Alfred Perceval Graves, "Song from Winter's Tale" by Shakespeare, and contributions by Goldsmith, Wordsworth, Longfellow, Burns, Macaulay et al. Also prints "The Spindle, the Shuttle, and the Needle. A Fairy Tale" by the Brothers Grimm. Quite scarce in any condition but particularly so with the binding so clean and bright. Front and rear endleaves are very browned (presumably due to binder's glue), light foxing to margins of plates, else a near fine copy. "This little book is the product of hand-work alone...Not only was the paper made by hand, and the printing done by a hand-press, but the flax-which forms the basis of both Linen and Paper-was first spun...and the thread thus formed, was afterwards specially woven for the cover of this book...We freely acknowledge we are in great measure indebted to The Arts and Crafts Society..." Nicely printed at "Beaufort House. " Limited to 250 copies, signed by H. H. Warner. $275.00

16. (Baumann, Gustave). Riley, James Whitcomb. ALL THE YEAR ROUND. Indianapolis, (1912): The Bobbs Merrill Company, Gustave Baumann was one of the most important woodblock artists working in America in the twentieth century. He was born in Germany in 1891, and moved with his family to Chicago at the age of nine. He attended the Art Institute of Chicago and later settled in Nashville, Indiana where he established his own graphic arts workshop. The shop produced woodblock prints of exceptional quality. After he had perfected the process used in his work he relocated to Santa Fe, New Mexico and became a leading figure in the Taos Art Colony. This book, illustrated by Baumann in 1914 is a very desirable title to the devotee of American Arts and Crafts style. A square quarto bound for the Rotarians in blue cloth with gilt titling, this is A PRISTINE COPY of the First Edition, Second Issue. Aside from a gift inscription, dated Dec. 1916, in a graceful hand on the front free endpaper, the book is as fine and bright as the day it was published, retaining the original printed dust wrapper. The dust wrapper repeats the cover design of the book, printed in gilt and aside from a small paper scrape and a few closed marginal tears, ( the longest measuring just over 1") it too is very fine. The extraordinary condition of both the book and the dust wrapper may be attributed to the presence of the rather worn, but primarily intact, original pictorial box. The top of the box has several old cello tape repairs along the edges and lacks one three inch and one two inch piece. The bottom portion of the box also has some old tape repairs along the edges. Gratefully, these edge repairs do not affect the pictorial cover, which repeats "January", one of Baumann's woodcuts found in the book. Printed on French fold paper, the book contains twelve strong woodcuts by Baumann, one for each month of the year. Each illustration faces a text page printed in brown, also designed by Baumann. An ornamental border frames the name of each month with a small device centered between the heading of the month and the beginning of Riley's poem. The generous margins of the book further strengthen this remarkable edition. Very rare indeed in this stunning condition, All The Year Round, is a vibrantly handsome example of the graphic arts of the period, reflecting the strong influence of the American Southwest upon the Arts and Crafts movement. $1,500.00

17. (Bradley, Will). Le Gallienne, Richard. YOUNG LIVES. New York and London: John Lane: The Bodley Head, 1899. First American Edition. An octavo, 386 pp., bound in original olive green cloth. Cover and spine design by Will Bradley of stylized doves and foliage in pale gray and black. Top edge gilt. Small bookplate of previous owner on front pastedown. Some rubbing on the cover....still a nice copy of a handsome Bradley design. $50.00

18. (Brangwyn, Frank). Phillpotts, Eden. THE GIRL AND THE FAUN. London: Cecil Palmer & Hayward, 1916. Quarto, 77 pages, plus publisher's ads. First Edition, in original brown cloth with pictorial cover and pictorial paper spine label. Four full page color plates by Frank Brangwyn, including frontispiece. Beautifully printed in black with a tan ornamental border on each page. ORIGINAL DUST WRAPPER....repeating the cover design of the book as well as the spine label. The book is pristine and the dust wrapper is nearly so.... astonishingly bright and unfaded. A few tiny marginal chips, entirely as issued including the original red price sticker of 7/6. Occasionally it will seem to be far easier to locate a limited edition of a book than the trade edition in pristine condition.... such is the case with this book. A superb copy of a handsome book reflecting the Arts and Crafts period of design. $500.00

19. (Burne-Jones, Edward). (Bell, Malcolm). SIR EDWARD BURNE JONES. London (1907): George Newnes, Quarto, 31 pages of introductory text by Malcolm Bell and 57 mounted illustrations, plus frontispiece. Bound in original olive green cloth with gilt titles and gilt Art Nouveau ornamental spine. Contemporary prize label on front pastedown. Aside from minor wear to the binding and usual foxing, a very nice copy. $150.00

20. (Crane, Walter). Townsend, W. G. Paulson. EMBROIDERY OR THE CRAFT OF THE NEEDLE. London: Truslove & Hanson, 1907. Second edition. A small octavo of 309 pages, bound in the original green cloth. Aside from a name in ink on the front free endpaper that is quite unobtrusive due to the gray marbled paper of the endleaves, this is a fine copy. The book retains the rare decorative dust wrapper with a lovely Art Nouveau ornament and titles printed in black on heavy olive green stock. The dust wrapper is soiled on the spine, otherwise it is exceptionally bright and unchipped. Originally published in 1899, this book was written in response to the contemporary demands for a useful handbook on the art of embroidery. In his preface, Walter Crane discusses the "remarkable revival of the arts and handicrafts of design" and embroidery as "...that most delicate and charming of them all." The book is illustrated with a colored frontispiece and many black and white plates, including several by Walter Crane and one of a tapestry by Edward Burne-Jones. The book remains a very informative work on needlecraft as well as making a fine addition to any collection of books representing the Pre-Raphaelites, Walter Crane or the Arts and Crafts period of design. $125.00

21. (Dresser, Christopher, et al). A PAIR OF AESTHETIC MOVEMENT TILES. Stoke-on-Trent, England (1880): Minton Hollins & Co., A pair of Minton Hollins & Co. Tiles, circa 1880. The design is intended to be presented in pairs, with each tile having half of an open fan and two oranges in the corners....completing the pattern when set together. The colors are soft apricot, black and palest mint green against a slate green ground. We have been unable to establish with certainty the artist of the design but the work represents the classic elements found in the work of William Morris, Walter Crane, Christopher Dresser and Lewis Day. The latter three all worked for Minton Hollins during this period. The combination of architectural and natural ornaments was the philosophical and artistic mainstays of the Arts and Crafts movement in England. Christopher Dresser, a student of Owen Jones, was particularly adept at incorporating traditional Egyptian and Asian ornamentation with Continental Art Nouveau in a wide range of endeavors.... including pottery, metalwork, architecture and textiles. With the exception of a few tiny chips, none measuring over 1/16", each tile is in exceptionally fine condition. The finish is uncompromised, with no cracks or crazing. (Each tile 6" x 6") $250.00

22. (Fell, H. Granville). Latham, Charles. IN ENGLISH HOMES. London and New York: Country Life and Charles Scribners' Sons, 1904. A large folio, 419 pp., bound in original blue cloth with strikingly handsome Art Nouveau cover design by H. Granville-Fell, executed in gilt. Gilt spine and all edges gilt. The ornamental title page, also the design of Granville-Fell, establishes a noble tone for this monumental volume, with two classically garbed architects holding the tools of their art and craft, flanking an imposing entry with the date of the book carved above the door. Profusely illustrated with photographs, this is one of three volumes, published separately, in a series featuring the finest English homes at the turn of the last century. Aside from light edgewear, this is a superb copy of an impressive work presented by one of the most highly regarded publishers in British architectural and horticultural reference books. Extra Postage Required. $300.00

23. (Fine Binding). Sterne, Laurence. A SENTIMENTAL JOURNEY THROUGH FRANCE AND ITALY. Philadelphia and London: J. B. Lippincott and Chatto and Windus, 1908. Octavo, 442 pages, illustrated by T. H Robinson. Beautifully bound in three-quarter leather over green cloth. The spine has gilt titles and rules as well as a pictorial panel with a gilt grape cluster and leaves bordered with a double gilt rule. Top edge gilt. Minor scuffing to the extremities, else a fine copy of an attractively bound book. $125.00

24. (Granville Fell, Herbert). THE SONG OF SOLOMON. London: Chapman and Hall, 1897. Square octavo. Bound in the original ivory linen with elaborate gilt cover design that is often cited as one of the most stunning examples of Art Nouveau book design. Sixteen pages of text, each facing an extraordinary full page illustration by H. Granville Fell. Frontispiece, pictorial title page and colophon as well as beautiful head and tail pieces throughout....all by this masterful artist. $750.00

25. (Granville Fell, Herbert). Latham, Charles. THE BOOK OF JOB. London and New York: J. M. Dent and Dodd, Mead & Co., 1896. Bound in the original tan linen with elaborate gilt designs on both the upper cover and spine. Containing 103 pages, the book is considered to be one of the highlights of the Art Nouveau period. The striking black and white illustrations by H. Granville Fell are exquisite. There are sixteen full-page illustrations, including several double-page. Numerous textual vignettes and ornamental borders impart the fullest sense of beauty and power found in the lessons of the Book of Job. Aside from browning to the endleaves, which is expected with this title, this is a stunning copy of an important and handsome book. $600.00

26. (Hand-painted Binding). Supino, J.B. FRA ANGELICO. Florence: Alinari Brothers, 1902. A 12mo. bound by Giulio Giannini of Florence in original full vellum. Elaborate hand-painted cover and spine executed in brilliant colors and heavy gilt. The painting of the central panel is a reproduction of Fra Angelico's "The Annunciation" from the Convent of San Marco. There is a one inch closed tear at the head of the spine as well as two small areas of restoration to the gilt on the spine. Else, a fine example indeed of an Italian trade binding. These little gift books were done for the English-speaking gentry visiting The Continent on their Grand Tours. $285.00

27. (Holme, Charles) (King, Jessie M.; Parrish, Maxfield; Crane, Walter). MODERN PEN DRAWINGS. London, Paris & New York: The Studio, Quarto, 216 pp. bound in original blind-stamped vellum with olive green linen ties present. Top edge gilt. Beautifully illustrated with 75 plates representing many of the finest artists of the day...including Jessie M. King, Maxfield Parrish, Walter Crane, Laurence Housman, and Hugh Thomson etc. A fine copy of an impressive and desirable book from the Arts and Crafts period of design. $900.00

28. (Italian Art Nouveau). IL LIBRO DELLE CONFESSIONI. Firenze, (1900): G. Barbera, An oblong octavo bound in olive green cloth over limp card, yapp edges. 236 pp. Green silk ribbons are laced across the covers and spine, with one long tie remaining. Exceptional Art Nouveau cover design consisting of gilt ruled borders surrounding a rose tree in full bloom planted in an urn with the title of the book printed on a gilt ribbon entwined around the stem. Other gilt ornamental foliage on the corners of the spine. A rare and captivating Italian guest book with 28 sections of "Confessioni" from visitors. Each "Confessioni" is comprised of a list of 35 questions regarding the tastes, preferences and interests of the guests. The subject matter of the queries includes a wide and fascinating variety of subjects ranging from literary opinions to personal defects. Printed on cream stock with gray-green ink, each page has several questions, a space for the answer and a variety of lovely Art Nouveau ornamental devices. Color title page illustrated with vignettes of a man and woman reading, with floral arrangements and ornaments in the style of Alphonse Mucha. Five pages at the front of the book are to be used as an index. Lovely ornamental "Fine" closes the volume. Binding a bit shaken and some offsetting from the ribbons on to the endleaves, else a fine copy of a most unusual Art Nouveau book. Bellesimo! $425.00

29. (King, Jessie M). Spenser, Edmund. POEMS OF SPENSER. London (1907): Caxton Publishing Company, A 12mo., 290 pages, including an index of first lines. With an introduction by William Butler Yeats. Portrait frontispiece and pictorial title page by A. S. Hatrick. Eight full page plates by Jessie M. King, printed on heavy stock and embellished with gilt details. A bit of wear at the head of the spine and corner tips....endleaves browned, else a fine copy. White 74. $200.00

30. (King, Jessie M). Spenser, Edmund. POEMS OF SHELLEY. London (1907): Caxton Publishing Company, A 12mo., 246 pages, including an index of first lines. Decorative brown cloth, top edge gilt. With an introduction by William Butler Yeats. Portrait frontispiece and pictorial title page by A. S. Hatrick. Eight full page plates by Jessie M. King, printed on heavy stock and embellished with gilt details. A trace of wear and endleaves browned, else a fine copy. White 74. $200.00

31. (King, Jessie M.). CORNERS OF GREY OLD GARDENS. London, Edinburgh & Boston (1914): T. N. Foulis, First Edition. An octavo of 151 pp. with eight color plates by Margaret Waterfield mounted on heavy stock, illustrating charming essays on gardening by various authors. White paper over boards with a marvelous cover illustrations in vivid colors by Jessie M. King. Top edge gilt. A companion volume to A Book Of Sundials, this is considered by many to one of the finest examples of Jessie King's inimitable style. Aside from some very light soiling, this is an exceptional copy, with the boards and gilt bright and the contents clean and free from foxing. White 112. $300.00

32. (King, Jessie M.) Cross, Launcelot. A BOOK OF SUNDIALS & THEIR MOTTOES. London, Edinburgh & Boston (1914): T. N. Foulis, First Edition. An octavo of 103 pp. with eight color plates by Alfred Rawlings mounted on heavy stock, and 36 drawings by Warrington Hogg of notable sundials. White paper over boards with marvelous cover illustrations in vivid colors by Jessie M. King. Top edge green. A companion volume to Corners Of Grey Old Gardens, this is considered by many to one of the finest examples of Jessie King's inimitable style. Having become quite scarce of late, particularly in the First Edition, this is a handsome and satisfying copy. There is a modest contemporary signature in the corner of the front pastedown and some very minor soiling and wear. A small bit of old cello tape is at the bottom of the spine (1/2" x 1.5"), not particularly detracting. Offsetting from paper between the front free endpapers. Overall, the book requires few apologies, with the boards and gilt exceptionally bright and the contents clean and free from foxing. White 111. $400.00

33. (Lemos, Pedro J.) Bralliar, Floyd. FLO THE EAGE AND OTHER STORIES. Mountain View, California (1926): Pacific Press Publishing Association, Bound in original red pictorial cloth, this is a fine copy of a very early title in the artistic career of Pedro Lemos, originally published in 1908. Previous owner's inscription on the front free endpaper and the front hinge is loose but the book is otherwise in exceptional condition. Quite rare, particularly in this condition. Illustrated throughout in black and white by Lemos. $65.00

34. (MacDougal, W. B.). THE BOOK OF RUTH. London and New York: J. M. Dent and Dodd, Mead & Co., 1896. Bound in the original tan linen with elaborate gilt designs on both the upper cover and spine. A companion to Granville Fell's Book of Job, this is an exceptional example of Art Nouveau book design. The striking black and white illustrations by MacDougal are exquisite. There are eight full-page illustrations, including one double-page. Numerous textual vignettes and ornamental borders provide an exquisite presentation of the heroic story told in The Book of Ruth. A virtually flawless copy. (Harvard, Turn of A Century, 39). $600.00

35. (Mackintosh, Charles Rennie). Lamb, Charles. LAMB'S TALES FROM SHAKESPEARE. London, Glasgow and Bombay (circa 1915): Blackie and Son, A small octavo, 221 pages, bound in original light tan cloth. Overall geometric pattern of stylized birds in forest green on front cover and spine, designed by Charles Rennie Mackintosh. Contemporary inscription on front free endpaper and offsetting from dust wrapper flaps on endleaves. Else, a pristine copy of the book retaining the original pictorial dust wrapper. The dust wrapper has a white background, printed in full color with minor edgewear and some light soiling. A very satisfying copy of an ever-popular title, quite scarce with Mackintosh's cover design. $150.00

36. (Millais, Sir John Everett). Baldry, A. L. SIR JOHN EVERETT MILLAIS Bart P.R.A. His Art and Influence. London: George Bell & Sons, 1899. An octavo, 123 pages, including index plus 8-page publisher's catalogue bound in at the back. Bound in terra cotta colored cloth with Art Nouveau ornaments on both cover and spine. Gilt titles and top edge gilt. Nicely illustrated in black and white, this volume comprises a handsome and useful reference on the work of one of the original members of the Pre-Raphaelite Brotherhood. A fine copy of the second printing of the First Edition $125.00

37.. (Millar, H. R.). THE DIAMOND FAIRY BOOK. London (1900): Hutchinson & Co., First. Red cloth octavo, 310 pages, with a captivating cover illustration in silver and gilt of a fairy standing atop a globe shoveling diamonds into a child's apron. Gilt titles and silver diamonds on the spine. All edges gilt. Illustrations by H. R. Millar enhance this tender collection of fairy tales. A trace of fading to the spine and rear cover, else a very good copy. $250.00

38. (Morris, Talwin). A LIBRARY OF CHOICE POETRY (TWELVE VOLUME BOXED SET). London (1903): The Gresham Publishing Company, A stunning Talwin Morris rarity, twelve volumes, 12 mo., bound in buff cloth and housed in ORIGINAL PRINTED BOX. Classic Glasgow design of stylized roses and foliage executed in gilt and olive green adorn upper cover, repeated on the spine. Top edge gilt. The ornamental motif is carried through to the title page, pastedown and endleaves of each volume; printed in pink, enamel green and black. (See Cinamon & Rodger and Archie MacSporran). The poets represented in the collection are; Robert Browning, E. B. Browning, H. W. Longfellow, John Keats, Christina Rossetti, Percy Bysshe Shelley, Alfred Lord Tennyson, John G. Whittier, William Wordsworth, Matthew Arnold and Robert Burns. Each volume has a portrait frontispiece of the poet and an introduction preceding the selections. Single titles of these handsome volumes are not terribly difficult to find. To have them all together, in pristine condition is a challenge.....but to find them in the original box is a happy and rare circumstance indeed. The clamshell box is covered in green linen with "A Library Of Choice Poetry" stamped in gilt on the top. The names of the poets are listed on a paper label on the inside of the lid bordered in triple rules of olive green. New red ribbon laid-in for removal of the books. Aside from some minor soiling and wear the box is in very good condition, accounting for the flawless condition of the volumes contained within. The chaste design employed on these bindings is Talwin Morris at his very best. $2,250.00

39. (Morris, Talwin). (Watson, William, editor). THE GARDENER'S ASSISTANT. A Practical And Scientific Exposition Of The Art Of Gardening In All It's Branches. Six Volumes. . London: The Gresham Publishing Company, 1908. First Edition. This six volume set is uniformly bound in forest green cloth with white "Glasgow Style" flowers and leaves on a stylized trellis frame of pine green contrasting with the darker background, designed by Talwin Morris. Gilt spine titles. All volumes have some foxing on the preliminary pages and the spine of the last volume is a bit faded. Else, this is a very nice set of one of the designs Talwin Morris produced for Gresham. The set contains a wealth of information for the gardener and is beautifully illustrated with black and white line drawings, photographic images and several full-page chromolithographic plates of flowers, fruits and vegetables. $325.00

40. (Morris, Talwin). Davidson, C. R. THE BOOK OF THE HOME. Eight Volumes. London (1900/01): Gresham, Uniformly bound in dark turquoise cloth with exquisite Art Nouveau design of stylized peacocks by Talwin Morris on both front and rear covers and spines executed in sage green, cream and gilt. This set is highly desirable, with the text affording an extraordinary range of information regarding the organization and running of a fine home at the turn of the last century, the bindings providing a superb example of the brilliant aesthetic qualities that came to be known as "Glasgow Style" with many illustrations representing the Arts and Crafts period of design including, architectural, landscaping and interior details. Each volume has a frontispiece in full color representing elements of fine living, with four of the plates illustrating fully furnished rooms designed by the well-regarded London firm of S. J. Waring and Sons. Waring, along with Liberty, was one of the leaders in offering the new and rather radical designs of the Arts and Crafts movement to the public. Three of these frontispieces, The Nursery, The Morning Room and The Dining Room are quite amazing in their detailing of stenciled walls, carpets, pottery and fabrics as well as furniture. Liberty & Co. is also represented in the set. Aside from browning to the grey endleaves and a bit of very minor foxing and edgewear, this is a superb, bright set...difficult to find with all volumes present and in fine condition. $650.00

41. (Morris, William, Taylor, E. A., et al). Duncan, J. H. Elder. THE HOUSE BEAUTIFUL AND USEFUL Being Practical Suggestions On Furnishing and Decoration. London, Paris, New York and Melbourne: Cassell & Company Ltd., Quarto bound in publisher's limp sage green cloth, printed in black and orange. The back cover is a full-page advertisement for the firm of Roger Dawson, 1 Berners Street, Oxford. Containing 224pp. plus illustrated ads. Colour frontispiece of "Evenlode", a William Morris design for chintz. A wealth of black and white and half tone drawings and photographic reproductions of every element required to furnish and decorate an Arts and Crafts period home. This rare reference book discusses the elements of modern home decor in detail as well as offering some historical perspective on antique furniture. The products and designs offered include the work of some of the most noted artists, craftsmen and firms of the day, including William Morris, C. R. Ashbee, E. L. Luytens and E. A. Taylor. The covers and preliminary pages have some soiling and wear but this fragile reference work is sound and complete....quite rare and a most desirable book for anyone interested in the Arts and Crafts movement. $325.00

42. (Shaw, Byam). THE TAMING OF THE SHREW. London: George Bell & Sons, 1902. A very attractive example of an Art Nouveau binding, 16 mo., 120 pp., includes glossary of terms and notes. Slate green cloth with elaborate gilt cover ornament of stylized tulip buds and foliage in an interlacing pattern surrounding the gilt title "The Chiswick Shakespeare". Ornament is repeated on the spine along with the title of the book, in gilt. Top edge gilt. Printed at the Chiswick Press. As with other literary classics, it was not unusual to publish these small gift volumes separately, promoting the collection of the entire set...which offers a great challenge for today's collector. Illustrated with five bold black and white plates, including frontispiece, by Byam Shaw. Shaw also did the ornamental title page and several textual vignettes. There is a trace of edgewear and some scattered foxing, else a fine copy of a charming little volume. $35.00

43. (Shaw, Byam). BALLADS AND LYRICS OF LOVE. (London): Chatto and Windus, 1908. An octavo, 178 pages, plus glossary. Bound in original green cloth with gilt titles on spine and front cover as well as a charming gilt cupid with his quiver of arrows. Top edge gilt. Aside from some browning to the front endleaves and a small previous owner's name on the front pastedown, this is a fine copy. Frontispiece and nine full-page illustrations in color by Byam Shaw, capturing the artist's ever-present sense of high romance. $85.00

44. (Shaw, Byam). LEGENDARY BALLADS. (London): Chatto and Windus, 1908. An octavo, 178 pages, plus glossary. Bound in original red cloth with gilt titles on spine and front cover as well as a gilt knight upon his steed. Top edge gilt. Some browning to the front endleaves, a small previous owner's name on the front pastedown and some very minor spotting, else a fine copy. Frontispiece and nine full-page illustrations in color by Byam Shaw, capturing the artist's ever-present sense of high romance. $75.00

45. (Shaw, Byam). TALES FROM BOCCACCIO. London: George Allen, 1899. First Edition Thus. Square octavo of 117 pages bound in green cloth with outstanding Arts and Crafts cover design in black, red and gilt. Shaw's illustrations seem to combine the force of Will Bradley and the medieval romance of William Morris to achieve a style uniquely his own. An outstanding copy of a stunning trade binding. $200.00

46. (Shaw, Byam). Shakespeare, William. LOVE'S LABOURS LOST. London: George Bell & Sons, 1901. A very attractive example of an Art Nouveau binding, 16 mo., 122 pp., includes glossary of terms and notes. Slate green cloth with elaborate gilt cover ornament of stylized tulip buds and foliage in an interlacing pattern surrounding the gilt title "The Chiswick Shakespeare". Ornament is repeated on the spine along with the title of the book, in gilt. Top edge gilt. Printed at the Chiswick Press. As with other literary classics, it was not unusual to publish these small gift volumes separately, promoting the collection of the entire set...which offers a great challenge for today's collector. Illustrated with five bold black and white plates, including frontispiece, by Byam Shaw. Shaw also did the ornamental title page and several textual vignettes. There is a trace of edgewear, else a fine copy of a charming little volume. $35.00

47. (Smith, Jessie Wilcox). Macdonald, George. AT THE BACK OF THE NORTH WIND. New York: David McKay, 1919. A fine copy of the first edition in scarce dust wrapper with some soiling and wear. The pictorial pastedown on the front cover is most often found with scratches and other problems. This copy is exceptionally nice. $350.00

48. (Smith, John Moyr). (Tennyson, Alfred Lord). ART TILE FROM IDYLLS OF THE KING. "VIVIEN". Stoke-on-Trent, England (1875): A fine English Art tile, with an alluring illustration in a circular vignette of Vivien dancing before Merlin. Celtic knots in each corner of the tile. Executed in dark brown and butternut tan against a cream colored ground. From a series of twelve tiles designed by Moyr for Mintons China Works illustrating The Idylls of the King. Measuring 6" by 6", the tile is firmly mounted in a solid contemporary pewter trivet frame, standing one inch high. The pewter is darkened, gratefully escaping a cleaning from an unknowing hand. Signed by the artist in the design. A very unusual combination of characteristics.beautiful, original and practical for everyday use. A handsome accompaniment to a collection of English literature. $350.00

49. Burnett, Frances Hodgson. MY ROBIN. New York (1912): Frederick A. Stokes, A charming 12 mo., 42 pages, bound in green cloth with gilt titles on the cover and spine. Illustrated by Alfred Brennan, including a lovely frontispiece in full color. The frontispiece illustration is repeated on the dust wrapper. The book is in fine condition, the dust wrapper worn and chipped including the loss of a small triangular piece from the margin of the lower panel. The illustration on the cover of the dust wrapper remains complete, clean and bright and the 50-cent price is intact on the front flap. A nice copy of a tender story. $85.00

50. Caxton, William (Steele, Robert). RENAUD OF MONTAUBAN. London: George Allen, 1897. An octavo, 283 pp., bound in tan cloth with a lovely Art Nouveau design on the cover and spine. Exceptional bold illustrations in black and white by Fred Mason with borders in the Pre-Raphaelite style. Dedicated to Walter Crane. Endleaves browned and some minor soiling to the cover, else a very good copy of a handsome book. $120.00

51. Collingwood, W. G. RUSKIN RELICS. London: Isbister & Company Limited, 1903. A small quarto, 232 pages, including index. Bound in an attractive Art Nouveau publisher's binding of navy blue cloth with gilt ornamental upper cover and spine motifs comprised of stylized flowers and interlaced Celtic strapwork. This is the second English edition, containing a chapter not found in the first edition of 1901. The book offers an affectionate collection of text, photographs and drawings, providing a fascinating look into John Ruskin's life. There are fourteen chapters, the first being "Ruskin's Chair", the last "Ruskin's Isola"...with such captivating subjects as "Ruskin's "Cashbook", "Ruskin's Music" and "Ruskin's Library". The endleaves are browned and there is a bit of light wear to the binding, particularly at the spine extremities. It remains a very satisfying copy of a most intriguing book. $125.00

52. Crane, Walter. QUEEN SUMMER: OR THE TOURNEY OF THE LILY & THE ROSE. London, Paris & Melbourne: Cassell & Co: Ltd., 1891. First Edition. A slim quarto bound in original cream colored cloth over pictorial paper covered boards, 40 pages, plus six page publisher's catalogue bound in at the back. Each page is illustrated in delicate colors by Walter Crane, printed on one side only on French fold sheets. These fragile books, many of which were intended to be parted and used in decorative screens and friezes, are usually found in compromised condition, including heavy soiling and foxing. This copy has not wholly escaped the troubles of its companions, with general overall soiling to both covers and spine as well as some wear to the extremities, particularly the corners. The lime green, terra cotta and cream cover designs are in satisfactory condition and the contents are exceptionally clean and bright, totally free from foxing or stains. The salmon colored patterned endleaves are also bright, with the charming bookplate of Birmingham School artist H. Isabel Adams affixed to the front pastedown. A very pleasing association copy of a beautiful book from one of the leaders of the British Arts and Crafts movement. $350.00

53. Daniels, Fred Hamilton. THE FURNISHING OF A MODEST HOME. Boston, N.Y., Chicago and Dallas (1908): Atkinson, Mentzer & Company, First Edition. Bound in original tan cloth with dark forest green pictorial cover and titles, 16 mo., i-xiii, 14 - 137, iv pages. This little book has become a classic in the study of Arts and Crafts aesthetics. The discussions of what constituted a tasteful home reflecting simplicity and rebellion against Victorian excess are admirably bold in nature. Nicely illustrated with line drawings and photographic images. The book enjoyed popularity when it was first written, reprinted shortly after it first appeared. It is now available in modern reproductions. This is a fine copy of the First Edition. $125.00

54. , Arts and Crafts, Tile, Pottery. A rare and particularly handsome William De Morgan tile. Measuring 6" x 6", this tile has exceptional coloration and classic de Morgan aesthetic details divided into quadrants, with ornamental motifs of purple stylized flowers and lovely green foliage. The design reflects the artist's commitment to the work of A.W.N. Pugin and Owen Jones. The bottom edge has some chipping with approximately 1/8 to ¼ inch loss. Upper left corner lightly chipped. Minimal crazing. A very satisfying example of a British art tile from an esteemed leader of the Arts and Crafts movement in England. $650.00

55. Delamotte, F. THE EMBROIDERER'S BOOK OF DESIGN. Initials, Ciphers, Ornamental Borders, Emblems, Ecclesiastical Devices, Monograms, Alphabets Mediaeval and Original, National Emblems, etc. etc. London: E. & F. N. Spon, 1860. Oblong octavo containing 19 pages printed on one side only. Bound in original cloth-backed boards with elaborate pictorial cover printed in brown red and green. The back cover, printed in brown, is an advertisement for two of Delamotte's other design books: Ornamental Alphabets Ancient and Modern and Modern Alphabets Plain, with descriptions and prices. The books relating to lettering as well as the author's Primer on Illumination are desirable but not particularly difficult to find. This title is quite rare in any condition, with this copy exhibiting only minor wear and some light soiling. Each page illustrates a wide range of patterns for needlework; each printed in a different color....either blue, purple, brown, red or black. Laid in are several hand done patterns by a former owner, adding to the charm of this exceptional design book. $500.00

56. Earle, Alice Morse. OLD TIME GARDENS. New York: The Macmillan Company, 1901. Original gray cloth with elaborate cover and spine design of a white sundial standing amongst towering pink hollyhocks with pale green stems. The entire design is bordered in white. Top edge gilt. Some light rubbing and wear to covers and spine a bit faded, else a very good copy of a most desirable book in the First Edition. $125.00

57. Greenaway, Kate. LANGUAGE OF FLOWERS. London (1884): George Routledge, 12mo, green glazed pictorial boards, green spine, yellow edges, bright yellow endpapers, 80p., light cover soil and wear to the extremities, else a very good copy of the First Edition (Schuster 107-1i). Beautiful color illustrations throughout by Greenaway, engraved by Edmund Evans. $400.00

58. Hubbard, Alice. AN AMERICAN BIBLE. East Aurora, N. Y. (1911): The Roycrofters, This is a near fine copy of a book often found in compromised condition. It is a 444-page octavo printed in red and black with the original smooth calf binding. The binding has mellowed to a lovely dark brown with the original blind stamping Art Nouveau design on the cover and spine crisp and clean. Interesting inscription on blank prelim otherwise bright and unmarked internally. This volume, of course, is not the King James Bible but a series of essays by Franklin, Jefferson, and Uncle Walt etc. $300.00

59. Hubbard, Elbert. HOLLYHOCKS AND GOLDEN GLOW. East Aurora, N. Y. (1912): The Roycrofters, This is a beautiful copy of an early edition bound in the original embossed leather binding with elaborate blind stamped panels of flowers and vines. It is an octavo of 157 pages, decorated with head and tailpieces in black and white. Portrait of Hubbard tipped in as frontispiece with facsimile signature below. Aside from a bit of fading to the spine and the slightest edge-wear this is a clean unworn copy. $325.00

60. James, George Wharton. UTAH The Land of Blossoming Valleys. Boston: The Page Company, 1922. A stout octavo of 371 pages, including index. Bound in original forest green cloth with exceptional Art Nouveau illustration on the cover, executed in pale pink, lavender, light green and gilt. Top edge gilt. The fourth title in Page's series, "See America First, the book contains a map and fifty-six plates, of which eight are in color. A pristine copy of a handsome book. $125.00

61. King, Jessie M. ALBUM VON BERLIN. Berlin: Globus Verlag, 1904. An uncommonly small size for this title, an oblong octavo, measuring 6" by 8". The cover design is one of four, which comprise Jessie King's first large commission. First appearing in 1899, the cover was used on several subsequent albums featuring photographic images of German cities. Colin White says of this design, "...one of Jessie's most imaginative conceptions. Combining German orderliness with Scottish fantasy, it set the Imperial Eagle in a framework of climbing rosebushes with clusters of petals stylized like so many iron crosses." " Bound in gray paper over boards, this is a small version of the more easily obtainable quarto edition of the same title and design. The back cover has the letter " V " in the middle of a small globe. The paper is over white cloth, revealed in this copy by some light edgewear and two small chips, (the largest measuring less than one-half inch), on the extremities of the spine. Despite some light overall soil, the cover illustration executed in black, slate blue, gilt and a touch of orange, is exceptionally bright. Lovely patterned endleaves of clusters of grapes and vines. The contents are fine, bright and totally sound. A nice example of an early Jessie King item. White, pp.34, 35,36; B1-iv, De Beaumont 1, (1899). $300.00

62. McKenna, Ethel M. M. (editor). THE WOMAN'S LIBRARY (Six Volumes). London: Chapman and Hall, 1903. Six volumes, comprising an extremely scarce complete set of The Woman's Library, edited by Ethel M. M. McKenna. Small octavos, bound in a soft turquoise cloth with titles and decorative devices on the upper cover and spine executed in sharp, pure white. Each volume lists the names of the authors contained within on the front cover, surrounded by a heart. The books are very attractive, with a distinct Arts and Crafts style, signed with a capital "M" and four dots that we assume to be the monogram of Ethel M. M. McKenna. The volumes are as follows: Vol. I ( 368 pp., including index): EDUCATION AND PROFESSIONS By Janet E. Hogarth, Beatrice Orange, Louise Jopling, Mary Frances Billington, Madge Kendall, Ethel F. Lamport, MD, Margaret H. Irwin and Mabyn Armour. Vol. II (312 pp., including index): NEEDLEWORK By Miss J. E. Davis, Miss Ruth M. Day, Miss Clare Hill, and Mrs. Turnbull & Miss Turnbull. Vol. III (286 pp. including index): NURSERY & SICKROOM By Lady Isabel Margesson, Dr. Ethel Lamport & Miss H. F. Gethen. Vol. IV (327 pp., including index): SOME ARTS AND CRAFTS By May Crommelin, Mrs. R. Barton Shaw, Maria E. Reeks, Elinor Halle, A. M. Clive Bayley, Ethel M. M. McKenna and Alice Hughes. Vol. V (311 pp., including index): COOKERY AND HOUSEKEEPING By Mrs. Praga. Vol. VI (346 pp., including index): THE LIGHTER BRANCHES OF AGRICULTURE By Edith Bradley and Bertha La Motte with an Introduction by The Countess of Warwick. This collection of essays, written by some of the most successful women of the day, offers historical perspective on the education and social circumstance of females in England. All of the authors were active in the movement for women's rights, with these volumes particularly addressing the question asked by families in a broad spectrum of financial means, "What are we to do with our girls?" The gentry considered education for their sons a serious topic indeed, in order to secure associations and degrees that would propel them to the proper heights. Education for a girl, on the other hand, was still primarily seen as an enhancement to her ability to attract a husband. This set of books lives up to the title of the collection..."The Woman's Library"...providing encouragement to young women to seek the satisfaction of useful and gainful work with proper training and apprenticeships....much in the same manner Ashbee, Morris and other social and artistic luminaries encouraged young men. The Countess of Warwick, "Daisy"....promoted the establishment of hostels where girls could learn the skills required for respected engagement in the rural pursuits of market gardening, beekeeping and other avenues that would offer independent employment. Madge Kendal, who would become Dame Madge Kendal in honor of her work in the theatre both on and off stage, writes with wit and candor about, 'The Theatrical Life." Medicine, Art, Journalism and virtually every other skilled profession undertaken by males is discussed with regards to the requirements for success. The tuition rate and availability of scholarships are given for many institutions, including Cambridge and Oxford. Louise Jopling, the first woman elected to the Royal Society of British Arts writes a fine and noble essay about Art as a necessity in a balanced society. She indicts the staid and entrenched values of English men for bringing the country to its position of disregard in comparison to artistic achievements of other nations. Ethel McKenna offers a marvelous chapter on Bookbinding, with an emphasis on the work of The Guild of Women Binders. Single volumes of this set are scarce on their own....with the complete group of six a rare prize indeed. Aside from foxing to the edges and endleaves, this is a fine bright set of an important collection of work in the progression of the women's movement, housed in elegant cloth bindings. $1,500.00

63. Morris, William. SOME HINTS ON PATTERN DESIGNING. London: Longman's and Co., 1899. A slim octavo, 45 pages, bound in linen-backed paper over boards. Printed at the Chiswick Press with the Golden type designed by William Morris for the Kelmscott Press. A touch of wear to the corners and light browning to the endleaves, else a fine copy of a lecture delivered by William Morris at the Working Men's College, London, December 10, 1881. $150.00

64. Rossetti, Christina. VERSES. London: Society For Promoting Christian Knowledge, 1904. An octavo bound in dark brown cloth with gilt titles on upper cover and spine. Top edge gilt. Aside from light edgewear, this is a fine copy. Beautifully printed with red linear borders on each page. $75.00

65. Rossetti, Dante Gabriel. THE POEMS OF DANTE GABRIEL ROSSETTI. London: Ellis, 1908. A small octavo, 711 pages, edited by the author's devoted brother, William M. Rossetti. This captivating little pocket edition of Rossetti's poems is sympathetically bound in quarter vellum over brown cloth. The smooth calf spine label reflects the influence of the Arts and Crafts movement on bookbinding, with simple letters in gilt. Below the label is a gilt ornament consisting of two tiny flowers linked with gilt leaves and ruled stems...the longest one supporting a gilt daisy blossom. Engraved frontispiece of the poet. There is a faint, small stamp on the verso of the front free endpaper, "The Times Book Club Oxford Street". Aside from a trace of foxing and wear at the corners this is a fine presentation of Rossetti. A discreet inscription on the front free endpaper dated 2nd July 1910 enhances the romantic subject and binding: "To my own darling Gladys, from her true lover Edward." $250.00

66. Rossetti, Dante Gabriel. EARLY POEMS OF DANTE GABRIEL ROSSETTI. London (1908): Grant Richards Ltd, 24mo - over 5" - 53/4" tall. A charming, diminutive volume of Rossetti's early poems, before the author altered them as he achieved more skill and sophistication. Original scarlet cloth, 83 pp., with Art Nouveau floral motifs in blind on the upper cover. Frontispiece, "The Blessed Damozel" after the painting by Rossetti. Originally published in December 1906, this is the second edition. Red cloth bindings are notorious for fading, particularly the spine. This copy of a scarce little volume is without fault...very satisfying to hold and read. $50.00

67. Ruskin, John. UNTO THIS LAST. London, (1909): George Allen & Sons, A superb Art Nouveau binding with a strong Arts and Crafts influence, with a tantalizing link to John Ruskin. This slim 16mo of 199 pages is bound in full calf of deepest burgundy with a cover design in gilt of a stylized trellis with six repeating squares containing a single blossom and foliage, repeated on the spine. All edges gilt. This superb little volume contains some of Ruskin's most penetrating essays on the nature of Man, originally published in the Cornhill Magazine. Affixed to the front pastedown is a presentation notice explaining that John Ruskin had revived "...an Old-World ceremony (at Whiteland's College) of The Crowning of the Queen of the May and dignified the occasion by presenting a beautifully wrought gold cross, to be worn by the Queen. He also gave many purple calf-bound volumes of his work to be distributed to her subjects. Since his death, the quaint old ceremony has been kept up, by a few of those who knew and loved him, in the spirit in which it was instituted, and in honour of his name." The May Day ceremony remains the most important event of the year at Whitelands. This book was presented to Daisy Cooke, Queen of the May 1912. Ruskin was one of the most important Friends of the College, donating hundreds of books and pictures to the institution. He persuaded Edward Burne-Jones to design windows for the College chapel and William Morris to make them. Aside from a trace of wear to the spine extremities, this is a very fine copy indeed of a very special edition. Ruskin died in 1900 and although there is no binder's mark, we believe this copy was specially bound in deepest purple to carry on the tradition of the May Queen. $300.00

68. Ruskin, John. SESAME AND LILLIES. London: George Allen, Ruskin House: Charing Cross Road, 1902. A collection of three lectures presented in 1871 by the Mentor of the Pre-Raphaelite Brotherhood, so inspired they have been bound countless times in various formats and designs. An octavo of 228 pages, including index. This copy, reprinted from the first "small edition" of 1893 is particularly sympathetic to the ideals of Mr. Ruskin. Bound in half navy blue calf over light blue boards with six paneled spine exquisitely embellished with gilt lilies and foliage. Top edge gilt, marbled endleaves. Although the binding is unsigned, it is of the quality one would expect from Riviere or Sangorski and Sutcliffe. It has a decided Arts and Crafts flavor with flat broad bands on the spine and stylized floral motifs, in the style of Cobden-Sanderson. Aside from some minor rubbing to the spine extremities, this is a fine copy of a beautiful and satisfying edition of one of John Ruskin's most beloved titles. $300.00

69. Shelley, Percy Bysshe. POETICAL WORKS (Two Volumes). London: Reeves & Turner, 1882. 572 pp.; 580 pp., plus 14-page publisher's catalogue bound in the back of the second volume. Original light brown cloth with aesthetic movement pictorial covers featuring the pleasures of Heaven and Earth found in the sun, stars, wildflowers with two opposite corners occupied by a butterfly and bird in flight, all in gilt. Engraved portrait frontispiece in the first volume. Aside from minor wear and some foxing to the endleaves, this is a very nice set containing the highly esteemed editorial work of H. Buxton Forman. $250.00

70. Swanson, Margaret and MacBeth, Ann. EDUCATIONAL NEEDLECRAFT. London, New York, Bombay and Calcutta: Longmans, Green and Co., 1913. Bound in original blue cloth, this is a very good copy of a rare title representing the work of Ann MacBeth, one of the leading figures of the Scottish Arts and Crafts movement that was centered in Glasgow. Miss MacBeth was an accomplished student at the Glasgow School of Art and went on to become the head of the School of Needlework at the highly esteemed institution. Her contemporaries, also luminaries of the Glasgow School, were Charles Rennie Mackintosh, Talwin Morris and Jessie M. King. Books of this period by Ann MacBeth are very elusive, particularly in original cloth. This copy of an early printing is in lovely condition with the only faults being browned endleaves and some minor rubbing along the spine. Eight full-page color plates and numerous line drawings illustrate the book with representations of the favored ornamental style of the day. The finely written text affords not only instruction for the various projects but offers a commentary on the appalling conditions of child labor and the limited opportunity for females. A scarce and important volume from the Arts and Crafts period of design. $225.00

71. Tennyson, Alfred Lord. THE POETICAL WORKS OF ALFRED, LORD TENNYSON. London and Glasgow (1903): Collins' Clear Type Press, A stout octavo of 692 pages, including an index of first lines. Bound in three-quarter vellum over sage green cloth, this is one of the most attractive volumes of Tennyson's poems that we have seen in some time. Although unsigned, it is superior both in craftsmanship and the quality of the vellum and gilt. The gilt design on the spine has a strong Arts and Crafts flair, constituted by chaste ruled lines forming the stems of small tulips and leaves. The design is supported by the choice of font and the arrangement of the gilt title on a label of smooth butterscotch calf. The vellum on both covers is bordered with a single gilt rule. Top edge gilt. Nicely illustrated in color and black and white by several artists, including Arthur Dixon and Herbert Cole. Of particular interest is a folding color plate of Sir Launcelot and Queen Guinevere from the original painting in the National Gallery of Art by Sir Edward Burne-Jones. Aside from a couple of small marks on the lower cover, this is an exceptional volume of Tennyson's work. $450.00

72. Ward, James. COLOUR DECORATION OF ARCHITECTURE. London: Chapman and Hall, 1913. Bound in original brick red cloth with decorative cover and gilt spine. Trace of wear to the extremities, discreet previous owner's signature, else a fine copy of the First Edition. James Ward contributed several books to the field of design and ornament during the Arts and Crafts period, including Principles of Ornament and Progressive Design. This volume contains twelve illustrations in colour and twenty-two in half tone. $85.00

73. Whitman, Walt. LEAVES OF GRASS. Philadelphia: David McKay (1900), First Thus. Octavo. Bound in original forest green cloth with decorative Art Nouveau cover and spine in gilt and black. (x); 11-489; (xi). Top edge gilt. Extremities rubbed and gilt on spine a bit dull, nevertheless a handsome copy, with portrait frontispiece of Uncle Walt and a facsimile of the poet's Biographical Note bound in. $125.00


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Thomas James Cobden Sanderson (1840 - 1922) was a British artist and bookbinder associated with the Arts and Crafts movement.
Born in Alnwick, Northumberland, Cobden Sanderson attended many schools including the Royal Grammar School Worcester before entering Owen's College (Manchester University) and then Trinity, Cambridge to study law. He left without taking a degree, and entered Lincoln's Inn as a barrister.
As a friend of William Morris, Cobden Sanderson was involved with the Arts and Crafts ideology and during a dinner party with the Morrises he was persuaded by Janey (wife of William Morris) to take up book-binding. In 1884 he opened a workshop and in 1900 the Doves Press was founded by him along with Emery Walker in Hammersmith, London. They produced books for William Morris, including the famous Doves Bible in 1903.
A special font known as the Doves Type was used by the press, but when the press closed in 1916 Cobden Sanderson threw the font type into the Thames.


Doves Press was a small printing company based in Hammersmith, London between 1900 and 1916. It was founded by Thomas Cobden-Sanderson and Emery Walker, with Walker designing the press's type and Cobden-Sanderson working in the bindery. It is considered to have been a significant contributor to the arts and crafts movement; the founders had been associated with William Morris and the Kelmscott Press. The type used by the press was created by Emery Walker, based on the designs of Jenson. The fonts were destroyed by Cobden-Sanderson in 1916 when he threw them off Hammersmith bridge one night, and the company closed soon after. The company was named after "The Dove" an old riverside pub in Hammersmith. The Doves Press was responsible for the Doves Bible, which is considered to be one of the best examples of its type.


In January 1891, Morris founded the Kelmscott Press at Hammersmith, London, in order to produce examples of improved printing and book design. He designed clear typefaces, such as his Roman 'golden' type, which was inspired by that of the early Venetian printer Nicolaus Jenson, and medievalizing decorative borders for books that drew their inspiration from the incunabula of the 15th century and their woodcut illustrations. Selection of paper and ink, and concerns for the overall integration of type and decorations on the page made the Kelmscott Press the most famous of the private presses of the Arts and Crafts movement. It operated until 1898, producing 53 volumes, and inspired other private presses, notably the Doves Press. Among book lovers, the Kelmscott Press edition of The Canterbury Tales is considered one of the most beautiful books ever produced.


Douglas Bennett Cockerell (1870-1945) was born in Sydenham, England. Early indications definitely did not point to his future career as a master bookbinder, who would revolutionize modern bookbinding and be entrusted with rebinding some of England's most precious manuscripts. Cockerell hated school. His widowed mother decided real life experience might be his best schooling. At fifteen and with 5 British pounds in his pocket, Douglas was sent out to Canada to find his way. For the six years he spent in Canada, Cockerell first worked as a farm hand, then as a wool carder, and finally as a bank clerk. In 1891 Cockerell returned home to England with lots of life experience and a very clear idea of what he did not want to do for a living.
Back in England, Douglas was introduced to the book arts by his brother Sydney, the private secretary to William Morris of the Kelmscott Press. In March 1893, Douglas entered a four year apprenticeship with T.J. Cobden-Sanderson at the Doves Bindery in Hammersmith. From Cobden-Sanderson, Douglas learned the importance of combining quality materials with technical skill and creativity. Based on his research of older binding styles, his own design ideas, and his innovative approach to the technical aspects of handbinding, Cockerell developed his own distinctive style. His insistence on sound book structure and his unique combinations of simple forms to create eye-pleasing designs set new standards in bookbinding.
In 1897, Cockerell launched his own bindery in London and took up a teaching appointment at the London County Council Central School of Arts and Crafts. Except for the war years, Cockerell taught these continually until his retirement in 1935. As a textbook for his students, Cockerell wrote his influential bookbinding manual, Bookbinding and the Care of Books (1901). He would publish two other major works on bookbinding--Some Notes on Bookbinding (1929) and Bookbinding as a School Subject (1939). Through his publications, Cockerell was able to persuasively present his guiding principles for sound, creative, and responsible bookbinding. Indeed, he was able to start a revolution.
Throughout his long binding and teaching career, Cockerell constantly worked to improve and adapt the materials and techniques he used. Among his accomplishments were the introduction of higher quality African leather, the recognition of the superiority of alum-dressed leather, the establishment of principles for reliable conservation work, and the refinement of marbling techniques leading to the production of a consistent, high quality paper for endpapers.
In his essay entitled "Fine Bookbinding in England," published in The Art of the Book (London, 1914), Cockerell stated:
"Fine binding ... implies that the craftsman has done his best with the best materials. It may be plain or decorated, but whatever work there is should be the best of which the craftsman is capable."
Dalhousie University


C.R. Ashbee founded Essex House Press in 1898 in London, England. The press moved to Chipping Campden, Gloucestershire, England, in 1902 and continued to operate until 1910. Ashbee was known as a leader in the English Arts and Crafts movement of the late nineteenth century. Like other Arts and Crafts presses, Ashbee maintained that all aspects of the book -- type, paper, binding, etc. -- should rise to the status of an art and adhere to a standard of beauty.
A bibliography was published: A bibliography of the Essex House press, with notes on the designs, blocks, cuts, bindings, etc., from the year 1898 to 1904, by C.R. Ashbee, Campden, Gloucestershire, Essex House press, 1904


Charles De Sousy Ricketts (1866 - 1931) was a versatile English artist and designer, best known for his work as book designer and typographer from 1896 to 1904 with the Vale Press, and his work in the theatre as a set designer.
He was born in Geneva to a French mother and an English father. He grew up mainly in France and Italy. He began his studies in art at the City and Guilds Technical Art School in Lambeth, in 1882, after both his parents had died.
There he met Charles Shannon (1863-1937), painter and lithographer, who would be his lifelong partner in both his artistic and personal life. On the advice of Pierre Puvis de Chavannes, they settled in England rather than abroad. They founded The Dial, a magazine, which had five issues from 1889 to 1897, and the Vale Press, named after their house, The Vale in Chelsea, London.
Ricketts was one of two illustrators of Oscar Wilde's work, the other being Aubrey Beardsley who worked on Salomé. He and Shannon were friends and supporters of Wilde.
It was in the work of the Vale Press that Ricketts would find his talents were best employed. The enterprise also involved Thomas Sturge Moore, and later William Llewellyn Hacon (1860-1910), a barrister. The actual printing was carried out by Ballantyne Press under the supervision of Charles McCall. A total of about 75 books were produced, including a complete Shakespeare in 39 volumes, before the special type fonts were destroyed. In parallel, Ricketts was involved with the Eragny Press, run by Lucien Pissarro and his wife Esther, from 1894 to 1914.
After 1902, he became a more serious painter and sculpturer. He also wrote on art, was a collector, and became a member of the Royal Academy in 1928. He designed sets for plays by Wilde, Bernard Shaw and Cecil Lewis; and also the revived Savoy Operas of the 1920s.


One of the most important of English woman poets, who was the sister of the painter-poet Dante Gabriel Rossetti, and a member of the Pre-Raphaelite art movement. 'A Birthday,' 'When I Am Dead,' and 'Up-Hill' are probably Rossetti's best-known single works. After a serious illness in 1874, she rarely received visitors or went outside her home. Her favorite themes were unhappy love, death, and premature resignation. Especially her later works deal with sombre religious feelings.

Does the road wind uphill all the way?
Yes, to the very end.
Will the day's journey take the whole long day?
From morn to night, my friend.
(from 'Up-Hill', 1861)

Christina Rossetti was born in London, one of four children of Italian parents. Her father was the poet Gabriele Rossetti (1783-1854), professor of Italian at King's College from 1831. He resigned in 1845 because of blindness. All the four children in the family became writers, Dante Gabriel also gained fame as a painter. Christina was educated at home by her mother, Frances Polidori, a former governess, an Anglican of devout evangelical bent. She shared her parents' interest in poetry and was portrayed in the paintings and drawings of the Pre-Raphaelites. Christina was the model for his brother's picture The Girlhood of Mary Virgin (1849), which was the first picture to be signed P.R.B. Jan Marsh has proposed in her biography Christina Rossetti: A Writer's Life (1995) that Christina was sexually abused by her father, but "perhaps like many abuse victims she banished the knowledge from conscious memory." However, this kind of speculative claims become highly popular in biographies in the 1990s.
Rossetti's first verses were written in 1842 and printed in the private press of her grandfather. In 1850, under the pseudonym Ellen Alleyne, she contributed seven poems to the short-lived Pre-Raphaelite journal The Germ, which was founded by her brother William Michael and his friends. When the family was in a financial trouble, she helped her mother to keep a school at Frome, Somerset. The school was not a success, and they returned in 1854 to London. Except for two brief visits abroad, she lived with the mother all her life.
Rossetti's deeply religious temperament left its marks on her writing. She was a devout High Anglican, much influenced by the Tractarian, or Oxford, Movement. Rossetti broke engagement to the artist James Collison, an original member of the Pre-Raphaelite Brotherhood, when he joined the Roman Catholic church. She also rejected Charles Bagot Cayley for religious reasons.

By the 1880s, recurrent bouts of Graves' disease, a thyroid disorder, had made Rossetti an invalid, and ended her attempts to work as a governess. Rossetti's illness restricted her social life, but she continued to write sonnets and ballads. Especially she was interested the apocalyptic books, and such religious writers as Augustine and Thomas à Kempis. She also admired George Herbert and John Donne. Among her later works are A PAGEANT AND OTHER POEMS (1881), and THE FACE OF THE DEEP (1892). She was considered a possible successor to Alfred Tennyson as poet laureate. To accept the challenge, she wrote a royal elegy. However, Alfred Austin was appointed poet laureate in 1896. Rossetti developed a fatal cancer in 1891, and died in London on December 29, 1894.
In 'After Death', which she wrote in 1849, the poet-speaker lays on a bed, with a shroud on her face, observing the surroundings before the burial. "He did not love me living; but once dead / He pitied me; and very sweet it is / To know he still is warm tho' I am cold." The theme of death appears next year also in her brother's poem 'My Sister's Sleep', (1850), in which death visits a family on a Christmas Eve. Rossetti's best-known work, GOBLIN MARKET AND OTHER POEMS, was published in 1862. The collection established Rossetti as a significant voice in Victorian poetry. The title poem is a cryptic fairy-tale and tells the story of two sisters, Lizzie and Laura, who are tempted the eat the fruit of the goblin men. After eating the fruit, Laura cannot see the goblins. Lizzie, whose refusal have angered the goblins, is attacked by them, and she saves her sister in an act of sacrifice. Laura, longing to taste again the fruit, licks the juices with which Lizzie is covered. "For there is no friend like a sister / In calm or stormy weather." THE PRICE'S PROGRESS, AND OTHER POEMS, appeared in 1866. SING SONG. A NURSERY RHYME BOOK was illustrated by Arthur Hughes in 1872. Rossetti also wrote religious prose works, such as SEEK AND FIND (1879), CALLED TO BE SAINTS (1881) and THE FACE OF THE DEEP (1892).

Rossetti's brother William Michael edited her complete works in 1904. He once said that "Christina's habits of composing were eminently of the spontaneous kind. I question her having ever once deliberated with herself whether or not she would write something or other, and then, after thinking out a subject, having proceeded to treat it in regular spells of work. Instead of this, something impelled her feelings, or "came into her head," and her hand obeyed the dictation. I suppose she scribbled lines off rapidly enough, and afterwards took whatever amount of pains she deemed requisite for keeping them in right form and expression." Rossetti's work has suffered from reductive interpretations, but she is increasingly being reconsidered as a major Victorian poet.



A wood engraver, sculptor, typographer, and draughtsman, Arthur Eric Rowton Gill was born in Brighton. He studied in Chichester at the Theological College, and then at the Technical and Art School before moving to London and attending the Central School.
Gill's early training there under the calligrapher and stonemason, Edward Johnston, is reflected within the purity and severity of his work; his forms lose all extraneous and superfluous detail in favour of a more austere and abstract method of representation, which has come to be recognised as neo-Byzantine and anti-naturalistic. An equal importance laid upon lettering and the compatibility of the engraving with any accompanying text is also indicative of his early pupillage.

Gill lived in Ditchling, Sussex 1907-24 and around him sprung up a community of artists. Gill's Roman Catholic views were influential upon the community and in 1917 a religious order of artists was conceived, and in 1921 members of the community formed the Guild of St Joseph and St Dominic (which exists today). Among the artists surrounding him at Ditchling were David Jones, Hagreen, Pepler, and Johnston. In 1924 he moved to Capel-y-ffin, near Hay-on Wye and over the next four years produced much of his best engraved work.

Gill's often radical approaches set him apart from other contemporaneous engravers: he did not stick solely to the white-line method, nor was he afraid to experiment with the inclusion of large areas of white in his engravings through the cutting away of the equivalent areas from the block.

Gill never strayed far from the religious roots which inform his work. Eroticism also forms an important part of it. Gill was not afraid to combine these two elements. Among his many and varied achievements are the numerous books he designed, both type and illustration, The Canterbury Tales and The Four Gospels being among the greatest book productions between the Wars.

He held a number of teaching jobs, including gilding at the Central School and lettering at the LCC Paddington Institute. He was a founder member of the SWE and an associate of the RA. In 1937 he was awarded an honorary associateship of the Royal Society of British Sculptors.

From British Printmakers 1855-1955 Garton & Co and Scolar Press


Kate Greenaway (Catherine Greenaway) ( London, March 17, 1846 - November 6, 1901) was a children's book illustrator and writer. Her first book, Under The Window (1879), a collection of simple, perfectly idyllic verses concerning children who endlessly gathered posies, untouched by the Industrial Revolution, was a best-seller.
The Kate Greenaway Medal is awarded annually by the UK Chartered Institute of Library and Information Professionals to an illustrator of children's books.
New techniques of photolithography enabled her delicate watercolors to be reproduced. Through the 1880s and 90s, in popularity her only rivals in the field of children's book illustration were Walter Crane and Randolph Caldecott, himself also the eponym of a highly-regarded prize medal. 'Kate Greenaway' children, all of them little girls and boys too young to be put in trousers, according to the conventions of the time, were dressed in her own versions of late eighteenth century and Regency fashions: smock-frocks and skeleton suits for boys, high-waisted pinafores and dresses with mobcaps and straw bonnets for girls. The influence of children's clothes in portraits by British painter John Hoppner (1758-1810) may have provided her some inspiration. Liberty's of London adapted Kate Greenaway's drawings as designs for actual children's clothes. A full generation of mothers in the liberal-minded 'artistic' British circles that called themselves "The Souls" and embraced the Arts and Crafts movement dressed their daughters in Kate Greenaway pantaloons and bonnets in the 1880s and 90s.
She lived in an arts and crafts house she commissioned from Richard Norman Shaw in Frognal, London, although she also spent summers in the small Nottinghamshire village of Rolleston, near Southwell.


In 1862 his picture "The Lady of Shalott" was exhibited at the Royal Academy, but the Academy steadily refused his maturer work; and after the opening of the Grosvenor Gallery in 1877 he ceased to send pictures to Burlington House. In 1864 he began to illustrate a series of sixpenny toy-books of nursery rhymes in three colours for Edmund Evans. He was allowed more freedom in a series beginning with The Frog Prince (1874) which showed markedly the influence of Japanese art, and of long visit to Italy following on his marriage in 1871.
The Baby's Opera was a book of English nursery songs planned in 1877 with Evans, and a third series of children's books with the collective title Romance of the Three R's, provided a regular course of instruction in art for the nursery. In his early "Lady of Shalott" the artist had shown his preoccupation with unity of design in book illustration by printing in the words of the poem himself, in the view that this union of the calligrapher's and the decorator's art was one secret of the beauty of the old illuminated books.

He followed the same course in The First of May: A Fairy Masque by his friend John Wise, text and decoration being in this case reproduced by photogravure. The Goose Girl illustration taken from his beautiful Household Stories from Grimm (1882) was reproduced in tapestry by William Morris.

Flora's Feast, A Masque of Flowers had lithographic reproductions of Crane's line drawings washed in with water colour; he also decorated in colour The Wonder Book of Nathaniel Hawthorne, and Margaret Deland's Old Garden. In 1894 he collaborated with William Morris in the page decoration of The Story of the Glittering Plain, published at the Kelmscott Press, which was executed in the style of 16th century Italian and German woodcuts. Crane also illustrated editions of Edmund Spenser's Faerie Queene (12 pts., 1894-1896) and The Shepheard's Calendar.
Crane wrote and illustrated three books of poetry, Queen Summer (1891), Renascence (1891), and The Sirens Three (1886).


Randolph Caldecott (1846-1886) was a British artist, born in Chester and was the eponym of the Caldecott Medal.
He exercised his art chiefly in book illustrations, which were full of life, and instinct with a kindly, graceful humour. Though professionally trained, his abilities as an artist were promptly and generously recognised by the Academy.
Randolph Caldecott transformed the world of children's books in the Victorian era. Children eagerly awaited the two books illustrated by him, priced at a shilling each, which came out each Christmas for eight years.
Randolph's output, however, ranged wider than this: he illustrated novels and accounts of foreign travel; he made humorous drawings depicting hunting and fashionable life; he drew cartoons and he made sketches of the famous inside Parliament and out of it; he also exhibited sculptures and paintings in oil and watercolour in the Royal Academy and galleries.
Randolph was born in Chester on 22 March 1846 at 150 Bridge Street (now No 16) where today there is a plaque to commemorate him. His father, John Caldecott, was a Chester business man and an accountant of some note who was married twice and had 13 children. Randolph was his third child by his first wife Mary Dinah (née Brookes). In 1848 the family moved to Challoner House, Crook Street and in 1860 to 23 Richmond Place at Boughton just outside Chester. He spent the last five years of his schooling at The King's School which, in those days, was in the cathedral buildings in the centre of the city. In his early childhood Randolph drew and modelled, mostly animals, and he continued drawing for the rest of his life. There is a small oil painting in Chester of his brother Alfred painted during his school days.
On leaving school at the age of fifteen, Randolph went to work at the Whitchurch branch of the Whitchurch & Ellesmere Bank and took lodgings at Wirswall, a village near the town. In his spare time and when he was out visiting clients he was often to be seen walking and riding around the countryside; many of his later illustrations incorporate buildings and scenery of that part of Cheshire. His love of riding led him to take up hunting and his experiences in the hunting field and his love of animals bore fruit over the years in the masses of drawings and sketches of hunting scenes, many of them humorous. In the year that he left school, 1861, he first had a drawing published: it was a sketch of a disastrous fire at the Queen Railway Hotel in Chester and it appeared in the Illustrated London News together with his account of the blaze.
After six years at Whitchurch, Randolph moved to the head office in Manchester of the Manchester & Salford Bank. He lodged variously in Aberdeen Street, Rusholme Grove and at Bowdon. He took the opportunity to study at night school at the Manchester School of Art and practised continually, with success in local papers and some London publications. It was a habit of his at this time, which he maintained all his life, to decorate his letters, papers and documents of all descriptions with marginal sketches to illustrate the content or provided amusement. A number of his letters have been reprinted with their illustrations in Yours Pictorially, a book edited by Michael Hutchings. In 1870 through a friend in London, the painter Thomas Armstrong, Randolph was put in touch with Henry Blackburn the editor of London Society, who published a number of his drawings in several issues of the monthly magazine.
Encouraged by this evidence of his ability to support himself by his art, Randolph decided to quit his job and move to London; this he did in 1872 at the age of 26. Within two years he had become a successful magazine illustrator working on commission. His work included individual sketches, illustrations of other articles and a series of illustrations of a holiday which he and Henry Blackburn took in the Hartz Mountains in Germany. The latter became the first of a number of such series. He remained in London for seven years, spending most of them in lodgings at 46 Great Russell Street just opposite the British Museum, in the heart of Bloomsbury. While there he met and made friends (as he did very readily) with many artistic and literary people, among them Rosetti, George du Maurier (who was a fellow contributor to Punch), Millais and Leighton. His friendship with Frederick (later Lord) Leighton led to a commission to design peacock capitals for four columns in the Arab room at Leighton's rather exotic home, Leighton House in Kensington. (Walter Crane designed a tiled peacock frieze for the same room). In 1869 Randolph had a picture hung in the Royal Manchester Institute. He had a picure hung in the Royal Academy for the first time in 1876. He was also a water colourist and was elected to the Royal Institute of Watercolour Painting in 1872. In 1877 Edmund Evans, who was a colour printer and talented engraver, lost the services of Walter Crane as his children's book illustrator and asked Randolph to do illustrations for two books for Christmas. The results were [The House that Jack Built] and The Diverting History of John Gilpin, published in 1878. They were an immediate success; so much so that he produced two more each year until he died. The stories and rhymes were all of Randolph's choosing and in some cases were written or added to by himself. In another milieu Randolph followed The Hartz Mountains with illustrations for two books of Washington Irving's, three for Juliana Ewing, another of Henry Blackburn's, one for Captain Marryatt and for other authors. Among well known admirers of his work were Gauguin and Van Gogh. Randolph continued to travel, partly for the sake of his health, and to make drawings of the people and surroundings of the places he visited; these drawings were accompanied by humorous and witty captions and narrative.
In 1879 he moved to Wybornes, a house which he took (it is not known whether he bought or rented it) near Kemsing in Kent. It is there that he became engaged to Marian Brind, who lived at Chelsfield about seven miles away. They were married in 1880 and lived at Wybornes for the next two years. There were no children of the marriage. In the autumn of 1882 the Caldecotts left Kent and bought a house, Broomfield, at Frensham in Surrey; they also rented No 24 Holland Street, Kensington. By 1884, sales of Randolph's Nursery Rhymes had reached 867,000 copies (of twelve books) and he was internationally famous.
However, his health was generally very poor and he suffered much from gastritis and a heart condition going back to an illness in his childhood. It was his health among other things which prompted his many winter trips to the Mediterranean and other warm climates. It was on such a tour in the United States of America that he was taken ill again and succumbed. He and Marian had sailed to New York and travelled down the East Coast; they reached Florida in an unusually cold February; Randolph was taken ill and died at St. Augustine on the 12th Feb 1886. He was not quite 40 years old. A headstone still marks his grave in the cemetery there.
Soon after his early death, his many friends contributed to a Memorial to him which was designed by Sir Alfred Gilbert. It was placed in the Crypt of St. Paul's Cathedral, London.


Sir William Nicholson (1872-1949) was a British painter, also know for his work as an illustrator. His partnership with James Pryde, his brother-in-law, was conspicuous for striking graphical work, and woodcuts: they were known as the Beggarstaff Brothers, and their poster work was significant historically. He married Mabel Pryde (1871-1918), also an artist, in 1893.
After 1900 he concentrated on painting, encouraged by Whistler. He was knighted in 1936. Ben Nicholson and Nancy Nicholson were his children; as was the architect Christopher 'Kit' Nicholson.
He was involved in illustrating early volumes from Robert Graves, with Nancy, who was Graves' first wife. He wrote and illustrated characteristic children's books: The Velveteen Rabbit (1922) by Margery Williams, and his own Clever Bill (1926) and The Pirate Twins (1929) for Faber & Faber.
He also designed stained glass, notably a memorial window at St Andrew's Church, Mells.


Talwin Morris worked as a book designer from 1893 to 1911, the year of his death. Born in 1865 in Winchester, England, he moved to Glasgow in 1893 to become the Art Director for the publisher Blackie & Son. As of 1898, he also designed books for Blackie & Son's subsidiary, Gresham Publishing.
Morris befriended Charles Rennie Mackintosh and other proponents of the Glasgow Style, a particularly Scottish expression of Art Nouveau. In fact, one of Mackintosh's better known buildings, Hill House, designed for Walter Blackie, came about due to Morris' influence (Macleod 90). He introduced Mackintosh to Walter Blackie and championed his work.
Morris also commissioned book designs from Mackintosh and from a number of other artists in the Glasgow Style circle. His designs also reflected many of the stylistic forms and symbols found in the others' works. Those forms draw on natural shapes such as roses, stems and feathers but Morris also used linear and architectural motifs in his designs.
Blackie & Son sold popular books, including children's books, school texts, theological and philosophical works, popular novels, and poetry. They also published science texts, dictionaries, and encyclopaedias. Gresham Publishing also sold popular material in addition to reference texts and manuals. The books aimed for general readership and both publishers were important suppliers to book purchasers in Great Britain.
Morris worked during a very dynamic period of book design. Bookbinding technology permitted increasingly elaborate and colourful designs, and Morris took advantage of the possibilities as they developed. His later designs incorporate different colours and bolder shapes, reflecting improvements in binding craft.


Born New Kilpatrick, Dunbartonshire, Jessie Marion King studied at Glasgow University and Glasgow School of Art where, during the 1890s, she was influenced by the work of tutors Jessie and Fra Newberry. Her work developed quickly and she won a Queen's prize in the South Kensington National Art Competition of 1898 for her design work. She had developed a highly individual illustrative style based upon exquisite pen-and-ink drawing, using lines and dots in a manner reminiscent of Aubrey Beardsley whom she admired. Her work, however, lacked the sensuality of Beardsley and the tormented anguish of Frances MacDonald.

In 1902 she joined the staff of Glasgow School of Art to teach book-cover design and in the same year she was recognised by a full-length article in The Studio by Walter Watson. In 1904 King was commissioned to produce 95 illustrations for William Morris's The Defence of Guinevere and Other Poems, but even when not working on specific commissions she would illustrate literature, which had caught her imagination. The late 19th century believed in the concept of the total work of art, bringing together various branches of art, and in this respect Jessie King was part of the Symbolist movement. She worked as a designer of jewellery, tiles, fabrics, wallpapers and book covers.

In 1909 an exhibition was held of her watercolours and drawings of France, Germany and Scotland including Kirkcudbright, which represented a move away from her earlier illustrative work. In 1908 she married E A TAYLOR and in 1911 they moved to Paris, establishing an art school - the Shealing Atelier. King was impressed by the designs of Bakst for the Ballets Russes and her designs became stronger and more colourful. She also experimented with batik. On the outbreak of war they returned to Scotland, setting up a summer school at High Corrie on Arran and working from their home near Kirkcudbright. King's later watercolours show a bold, colourful approach, influenced to some extent by her husband. She experimented with acid dyes to give more brilliant colours: she also worked on ceramic.

Jessie King was widely talented, and all periods of her work are interesting, but her exquisitely detailed and executed drawings and illustrations of 1898-1905, often painted on vellum and sometimes heightened with gold, have few rivals in British art of the period. She became well known and well loved in her adopted home of Kirkcudbright and died there aged 74.

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Will Bradley was a cartoonist, illustrator, decorator, and architect. One of the leading American poster artists of the turn of the century, his facility in the graphic arts earned him the nickname "The American B," in reference to the great English graphic artist, Aubrey Beardsley. Born in Boston, Bradley received his first formal artistic education from his father, who worked as a cartoonist for the Daily Item, a local Massachusetts newspaper. In 1880 Bradley began a long career as a journalist, working for the Iron Agitator. He continued his journalistic pursuits until 1887 when he decided to move to Chicago to work for the prestigious painters, Knight and Leonard. By the 1890s he had become an independent designer, working for Harper's and other magazines. He established his own studio and produced theater posters as well as commercial advertisements. By 1895 he was back in Boston where he published "Bradley, His Book: A Monthly Magazine Devoted to Art, Literature, and Printing".

In 1915 he began working for the newspaper magnate William Randolph Hearst, acting as art supervisor to a film series produced by Hearst. By 1920 he was head art supervisor of the Hearst magazines and newspapers. In 1954, Bradley was awarded a gold medal by the American Institute of Graphic Arts. Will Bradley's posters compare favorably with the best of the French and English poster designers of his generation. While Aubrey Beardsley set a formidable example, Bradley developed his own style of bold and elegant poster design relying, like Beardsley, on sharp contrasts of black and white for strong visual impact. In addition to his graphic work Bradley designed three houses for his family, revealing an interest in architecture influenced by the school of Glasgow and the work of Frank Lloyd Wright. He died at the age of ninety-four in Short Hills, New Jersey.


Publisher's bindings designed by trained artists are a relatively recent phenomenon, and Margaret Armstrong (American, 1867-1944), is among the first women whose work can be so identified. She was privately educated (her father was the stained-glass artist Maitland Armstrong), and also took drawing lessons from Susan Hale and Rhoda Holmes Nicholls, among others. According to her bibliographers Charles Gullans and John Espey, Armstrong designed more than 300 bindings between 1890-1940, the majority for Scribner's. Her best work balances the graceful symmetry and natural motifs of the Art Nouveau style, as in the cover of this guidebook to ferns.
Armstrong was also an author in her own right. Her Field Book of Western Wild Flowers (New York: Putnam, 1915), which includes 500 black-and-white illustrations and 48 plates in color, all drawn "from nature" by Armstrong, is considered the first comprehensive guide to these plants. Her research trip for this book was phenomenal in another way: she and her traveling companions are alleged to be the first women ever to descend to the bottom of the Grand Canyon, which they did in July 1911, "after much persuasion of the canyon authorities and guides" (Charles Gullans and John Espey, Margaret Armstrong and American Trade Bindings, Los Angeles: UCLA Library Department of Special Collections, 1991, p. 51).

Collecting Arts and Crafts Period Books In The Twenty-First Century.

The First in a Series of Amiable Fireside Chats: The Forlorn Nature of A Collector’s Home Without Books

Collectors share many traits. We are lovers by nature. If we collect objects of intrinsic worth wisely and well, we are often crowned kings by default. We will travel absurd distances in pursuit of the objects of our desire. We will lie to dear friends and relatives about the amount of money spent to acquire something valued less than a Christmas ham to the unschooled, but as elusive as a moonbeam to us. We are collectors. We are seekers of the unknown, the undocumented, uncatalogued and hopefully under priced.

In order to cultivate a personal environment that compliments the aesthetics and philosophies of the Arts and Crafts movement it behooves the serious student to consult and collect representatives of the graphic and book arts. Cicero said, “ A room without books is as a body without a soul.” A collector, who has constructed or restored a home to represent the ideals of the Arts and Crafts movement, may do well to carefully reflect upon Cicero’s statement. Without books of the period, an Arts and Crafts home can never capture the fullness of this extraordinary era of artistic achievement in the graphic and applied arts. Such a home risks the shallow satisfaction of being a cold museum display, a home without a heart. How lonely the quarter sawn shelves without their natural companions bound in linen, leather and hand wrought paper.

Textiles, art pottery and glass capture the warmth of mica’s glow. Fine bindings executed by artist’s working in handicraft guilds protect an enchanted world of hand-colored illustrations and exquisite printing. Books are modest members of the household. They are quite happy to share their space with as many of their kind as one can safely place next to them, rarely calling out for star status in the room. They are also more forgiving than their aesthetic counterparts. Books beg to be handled and caressed by a gentle collector’s hand. With reasonable care, they will not chip or crack or require expensive cleaning. Books live to be opened and held for our pleasure and enlightenment, not placed behind glass to be gazed upon. As Henry Ward Beecher mused in agreement with Cicero, “Books are the windows through which the soul looks out.” William Morris, Will Bradley, Charles Rennie Mackintosh, Gustave Bauman, Ann MacBeth, Jessie M. King and artists less known but singing the same song are eager to remain in places of esteem where they may continue to meet new collectors and readers that are looking out. It is a fine thing to know of the people that began this movement that inspires us still, but it is far better to feel, examine and delight in the original editions of their work. The truth remains, in life, love and art that there is nothing like the real thing.

A few words, if we may, about a puzzling and disturbing matter often observed. Bookcases, such as Gustave Stickley’s magnificent # 715, a single door, sixteen light treasure, often find their shelves filled with CDs, paperback travel books and stacks of photo albums. Anchoring the same room may be the handsome Gus table, #634. The travesty of placing a vinyl table runner upon the fine quarter sawn table would be unthinkable. What then could explain such contrast in loyalty to the past when it comes to bookcases? Why is the table dressed in linen and bathed in the mellow light of a period lighting fixture, while the bookcase is insulted with the cast off organization of a modern chaotic life. Why do serious collectors so cavalierly defile the shelves that once held the classics in literature and art? Bookcases were designed for books. It is not unusual to find a few Elbert Hubbard books on the shelves. There are indeed many handsome Roycroft books. They represent, however, only a tiny slice of the immense field of Arts and Crafts books.

Original Arts and Crafts bookcases deserve the same degree of consideration for the appropriate nature of their companions as do all other elements of the Arts and Crafts home. We suggest such consideration will provide new avenues of collecting joy, similar to those experienced in reuniting an elusive piece of missing hardware with a Limbert sideboard or locating a restoration expert that will exercise all due care when replacing missing enamel on an a piece of Archibald Knox pewter designed for Liberty. The sturdy simple planks of these cases, along with the architectural shelves found in Arts and Crafts period residences and public buildings cry out against the insult of bearing the bits and bobs of careless compilation of “stuff”. These noble boards demand to be reunited with books of a similar age and aesthetic as themselves. To ignore their request is no different than tying a Wal-Mart seat cushion to a William Morris Sussex chair.

The seed of collecting books, not just Arts and Crafts period books, but fine books of any period, is often planted in the fertile fields of memory or need. Some of the most widely known collections of illustrated books began with a few titles that had provided companionship in childhood. Personal libraries of architectural books may start when embarking upon gathering original source material for the construction or restoration of a building. The latter is particularly true of collections of Arts and Crafts books because the aesthetics that were employed in construction and decoration of homes and public buildings are reflected in every aspect of published material of the time. Advertisements, paint sample catalogs and sheet music had the unmistakable “look” that catches the attention of devotees of the period. Due to the common element of late 19th and early 20th century book design it is possible to assemble a very respectable collection in pristine condition by the original artist without spending over $200.00 for any individual item. Signed art glass, metalwork and furniture tend to be a bit pricier.

Once the book-collecting bug has bitten, there are myriad paths for the collector to follow. A gardener might pursue the works of Gertrude Jekyll that offer a cornucopia of books on all aspects of the period garden and of course her collaboration with the architect and author Edward Luytens is a bonus. What about bookbindings? No, not the stuffy drawing room sets that have never been opened but possibly a quirky, original design of the Guild of Women Binders on a volume of love poetry, or maybe a full binding by Cedric Chivers with an original drawing underneath the transparent vellum. If philosophy and the Arts and Crafts ideals are your interest then William Morris and his circle (Dante Gabriel Rossetti, T. J. Cobden Sanderson, John Ruskin, Walter Crane to name a few) can be the beginning of a lifetime of collecting. Morris alone wrote over seventy books in addition to those produced by his legendary Kelmscott Press. Not to forget the graphic arts and book illustration; the 1890’s to the 1920’s ushered in the golden age of book illustration with names such as Aubrey Beardsley, Laurence Houseman, H. Granville Fell, Kay Nielson and many many more. All of these possibilities are available for prices from a few dollars to wherever your bankbook can take you. Book collecting can still be done on a modest scale with the real possibility if using your knowledge to ferret out a treasure at a jumble sale or used bookshop.

In the months ahead we’d like to have a conversation with all of you about the books on your shelves. We hope to offer education, inspiration and delight in the pursuit of one of the lesser known areas of Arts and Crafts collecting. Won't you join us?

Larisa and Christopher Cassell
Green Gate Farm Antiquarian Books ABAA-ILAB


email: John and Chrissie - theartsandcraftshome@gmail.com