doves press (56 risultati)

Hard Cover. Condizione: Very Good+ binding. Octavos. [10], 400; [8], 437, [3], 13, [1] pp., frontises, plates. Facsimile. In publisher's cloth. A bright, fresh copy with only trivial shelfwear; clean throughout. Originally issued in 1926, this is a very nice reprint of the journals of one of the great printers and bookbinders active during the Arts and Crafts movement. Appended to the end of Volume II is a facsimile reprint of the John Henry Nash edition of Cobden-Sanderson's essay, The Ideal Book, or Book Beautiful.

Mit 7 Abbildungen. 29 S., 1 Bl. Orig.-Kartoniert. 21 : 15 cm. * 1 von 850 Exemplaren. Detaillierte Beschreibung des Probedruckes (1 Blatt) von Thomas James Cobden-Sanderson "Bookbinding, then, as other crafts, I would recommend, for the worke`s sake and for the man`s sake, the union of the mind and of the hand ." - Sehr gut erhalten.

4to, 196pp., coloured frontis., numerous plates, orig. decorated wrappers, 417 lots.

Unbound. Condizione: Fine. Broadside. Measuring 11" x 17". Fine. Broadside reads: "i work / you work / he works / she works / we work / you work / THEY $PROFIT$." Nicely printed from hand-set type as a gift for friends of the press, commemorating the Paris May 68 protests.

cloth, dust jacket. Doves Press (illustratore). small 4to. cloth, dust jacket. 272 pages. First edition. Fine in near fine jacket. This highly-researched work is the most authoritative account of the first and most famous private press of the 20th century - The Doves Press. Starting its operation in the wake of William Morris, the Doves Press became a major influence in the development of modern book design. Marianne Tidcombe reveals the intriguing story of the cutting of the famous Doves Type, the printing of Paradise Lost, Paradise Regained, and The English Bible. Also included is the saga of Cobden-Sanderson's short and stormy partnership with Emery Walker. Recounted in detail, this blusterous relationship ultimately lead to a final episode where Cobden-Sanderson throws the Doves type into the River Thames to prevent it from falling into Walker's hands after his death. A detailed, descriptive bibliography of all the books and papers printed at the Doves Press along with a list of all ephemeral items is provided. Richly illustrated with 18 color and 124 black-and-white illustrations. Marianne Tidcombe has spent over thirty years researching the Doves Press. She is also the author of Women Bookbinders 1880-1920 (Oak Knoll Press 1996).

Number '50' of an edition limited to 70 copies designed by Christopher Wakeling who printed it on a Korrex Hannover test press, using Arches and Hahnemühle paper and Hermann Zapf's Palatino and Optima type. Green paper wrappers, sewn in green thread, printed and decorated paper label to the upper cover. Oblong, 165 x 250 mm, pp. [12]. A book in Fine condition. The text includes a letter addressed to the editor of 'The Times', October 26, 1911, together with 'An Announcement | Shakespeare's Plays and Poems | The Doves Press - MDCCCCXII | No. 15 Upper Mall, Hammersmith, London W 1.' There is a Foreword by Christopher Wakeling.

Number '36' of an edition limited to 70 copies designed by Christopher Wakeling who printed it on a Korrex Hannover test press, using Arches and Hahnemühle paper and Hermann Zapf's Palatino and Optima type. Green paper wrappers, sewn in green thread, printed and decorated paper label to the upper cover. Oblong, 165 x 250 mm, pp. [12]. A booklet in Fine condition, now in a clear, archival quality, protective display pocket. The text includes a letter addressed to the editor of 'The Times', October 26, 1911, together with 'An Announcement | Shakespeare's Plays and Poems | The Doves Press - MDCCCCXII | No. 15 Upper Mall, Hammersmith, London W 1.' There is a Foreword by Christopher Wakeling.

Number '49' of an edition limited to 70 copies designed by Christopher Wakeling who printed it on a Korrex Hannover test press, using Arches and Hahnemühle paper and Hermann Zapf's Palatino and Optima type. Green paper wrappers, sewn in green thread, printed and decorated paper label to the upper cover. Oblong, 165 x 250 mm, pp. [12]. A book in Fine condition. The text includes a letter addressed to the editor of 'The Times', October 26, 1911, together with 'An Announcement | Shakespeare's Plays and Poems | The Doves Press - MDCCCCXII | No. 15 Upper Mall, Hammersmith, London W 1.' There is a Foreword by Christopher Wakeling.

1p., 12mo. In good condition, lightly-aged. He has 'given consideration to the following MSS.': 'THE WEB OF FATE by M. Garahan | ANTONY IN LOVE [by] C. E. Rose | THE NIGHT MOTH [by] Amy Miller'. As he cannot make any offer for their publication he is returning the manuscripts forthwith.

4pp. 1 vols. 8vo. About 300 printed. About 300 printed. 4pp. 1 vols. 8vo. Ransom 33. Ransom 33 Single folded sheet, unbound. Without the printed brown wrappers.

First separate edition. Scarce ephemeral printing from the Doves press, reprinting a manifesto by Cobden-Sanderson arguing for the ethical, unified, and artistic development of the modern city. G.S.A. Tomkinson notes in his bibliography of principal modern presses, "About 300 copies" were printed. This copy inscribed by one of the most influential printers and designers of the arts and crafts movement, and who helped redefine fine printing for the generations following. Signed material from Cobden-Sanderson is quite uncommon. . 24x17cm, [5]pp including printed inner front wrapper. Inscribed by Cobden-Sanderson "To Winifred. C.-S." on the front wrapper. Bifolium leaf laid in printed, brown paper wraps. Light horizontal crease, some edge wear. Near fine.

Hardcover. Condizione: Gut bis sehr gut. 1. Auflage. First edition of Doves Press's second Catalogue Raisonné. Description: Linen spine and blue paper-covered boards. Titled on the upper cover THE DOVES PRESS. Octavo: 24 × 17 cm; pp. [1], 12. Printed from 'Doves' type on 'Doves' paper. Paragraph marks, section headings, etc., in red. Ref.: Cowan 96; Tidcombe 27 Condition: Boards showing some soiling and foxing, internally, clean, bright and free of marks. Generally a very good copy. Notes:The second Catalogue Raisonné (the first Catalogue Raisonné was published in 1908) includes books published to June 1911 and an introduction and additional comments by T. J. Cobden-Sanderson. 250 copies on paper. The final Catalogue Raisonné (1916) states the number of copies is 350, in error (Tidcombe).

Doves Press (illustratore). 8vo. full limp vellum, gilt, later paper covered boards slipcase, chemise sleeve. 386, (3) pages. Limited to 325 copies printed by T.J. Cobden-Sanderson (Marianne Tidcombe, The Doves Press, 37-42, Catalogue Raisonne p.20; Ransom no.5&7), of which this is one of 300 copies printed on paper. Extremely minor and common foxing along the few of the rear signatures. Some minor cracking to the outer edges of the vellum covers, else tight, bright, and unmarred housed in a later slipcase / chemise. Title and margin notes in red. Initials designed by Grayley Hewitt and Edward Johnston. The present work is one of Walker and Cobden-Sanderson's earlier productions, and certainty one of the highlights of the Doves Press. Bound by The Doves Bindery, with bookbinder's ticket on rear pastedown. After establishing the Doves Bindery in 1893, Thomas James Cobden-Sanderson partnered with Emery Walker to found the Doves Press in 1901. Alongside the Kelmscott, Ashendene and Vale presses it is considered one of the cornerstones of the Golden Age of Private Press, drawing heavily on the spirit of the Arts & Crafts Movement that flowered at the turn of the century. The two partners, along with Sydney Cockerell, created type based on Nicolas Jenson's Roman type (1470s), named the 'Doves Type.' Unfortunately, the relationship between the two partners deteriorated, resulting in said type being famously dumped in the Thames, where it languished until 2014, when it was rescued and subsequently digitalised. By 1909, Walker and Cobden-Sanderson were embroiled in a long and bitter dispute involving the rights to the Doves Type as they dissolved their partnership. In the dissolution agreement, all rights to the distinctive typeface were meant to pass to Walker upon the death of Cobden-Sanderson. But on Good Friday of 1913, Cobden-Sanderson destroyed the matrices by casting them off Hammersmith Bridge and into the Thames. He began destroying the types in August of 1916, and apparently completed the task in January 1917. Indeed, over the course of about 170 trips, Cobden-Sandersa small, frail, seventy-six year old manmanaged to carry more than a ton of type from 15 Upper Mall to the Thames. In 2015, designer Robert Greenwith help from the Port of London Authoritywas able to recover 150 pieces of the original type from the waters near Hammersmith Bridge. full limp vellum, gilt, later paper covered boards slipcase, chemise sleeve.

8vo (162 x 116mm). Printed in red and black. Original red morocco, gilt-lettered on front cover, stamp signed by the Doves Bindery on rear turn-in (some wear and staining to binding).

Doves Press (illustratore). 8vo. original limp vellum, with gilt-lettered spine. (ii), 28 pages. Printed in an edition limited to 315 copies, this being one of the 300 printed on paper. (Doves Press, Catalogue Raisonnépg 16; Tomkinson pg 52). A tight, bright, and unmarred copy. Bound by The Doves Bindery, with bookbinder's ticket on rear pastedown. An address given by Mackail, Burne-Jones's son-in-law, after encouragement by Annie Cobden-Sanderson, the suffragette, wife of Thomas Cobden-Sanderson of the Doves Press and friend of Morris, which gives a superb overview of the life of William Morris. The address was given where Morris first started making carpets and which was later used for the meetings of the Hammersmith Socialist Society. Mackail wrote the first biography of William Morris in 1899. This address was first published by The Doves Press in 1901. It has been printed in red and black by T.J. Cobden-Sanderson and Emery Walker. This is the third publication of the press. original limp vellum, with gilt-lettered spine.

Doves Press (illustratore). 8vo. later full brown morocco-covered boards, borders and floral ornaments stamped in black on the covers and spine, gilt on spine, five raised bands, all edges gilt, brown morocco turn-ins with a single border and floral ornaments stamped in black, marbled endsheets. 312 pages. With Preface by Thomas Carlyle. Privately printed in an edition limited to 325 copies (Tidcombe DP8; Tomkinson, Ransom no.9). Moderate rubbing to the hinges, minor toning to the spine, minor discoloration to the endsheets from the leather turn-ins, else a near fine copy. This was the only American text printed by Cobden-Sanderson. The preface by Carlyle was written in 1841. Emerson was one of several authors that were particularly sympathetic to Cobden-Sanderson's philosophy. He saw him as "a pinnacle of a man," and according to Marianne Tidcombe in her book The Doves Press (Oak Knoll Press), he "was attracted to Emerson's idealism and to the hint of mysticism that coloured his view of nature." The twelve essays in this volume include "Self-Reliance," "Spiritual Laws," "Love," "Friendship," and "Intellect and Art," among others. The binding is signed by R.M.S. (front leather turn-in) and dated 1910 (rear leather turn-in). later full brown morocco-covered boards, borders and floral ornaments stamped in black on the covers and spine, gilt on spine, five raised bands, all edges gilt, brown morocco turn-ins with a single border and floral ornaments stamped in black, marbled endsheets.

First edition. Small quarto. pp xiv, 120, [2]. Publishers' binding of full limp vellum. 300 copies were printed. The essays were originally published in the Cornhill Magazine. In his Preface the author asserts, ''I believe them to be the best, that is to say, the truest, rightest-worded, & most serviceable things I have ever written''.Signed on the one of the front blanks by the book's printer T.J. Cobden-Sanderson.Fine.

First Edition. 4to, pp.[2], 7, [1 (blank)], with preliminary and final blanks; printed in red and black in Doves type on laid paper watermarked 'CS EW 1902' and 'TJCS 1910'; small mark at foot of colophon, nonetheless a very good copy; bound in vellum by the Doves Bindery (stamp to lower pastedown), spine lettered directly in gilt, sewn with green thread on 4 tapes; vellum bowing slightly with a few scattered spots.One of 150 copies on paper of the elusive Pervigilium Veneris, a celebration of the spring festival of Venus Genetrix, here in the original Doves Bindery vellum, 'a triumph of simplicity and restraint' (Tidcombe). T.J.Cobden-Sanderson (18401922) established the Doves Bindery in 1893 and the Doves Press in 1900, the latter forming the 'triple crown' of private printing along with Morris's Kelmscott Press and Hornby's Ashendene Press. The distinctive Doves type, commissioned in 1899, had been promised by Cobden-Sanderson to his partner Emery Walker for use after his death; following the bitter dissolution of their partnership in 1909, however, he gradually and 'irretrievably committed [the type] to "the bed of the River Thames"' between August 1916 and early 1917, in the wish that the type should 'never be subjected to a machine other than the human hand'. The enigmatic origins of the Pervigilium Veneris have traditionally been dated to the reign of Hadrian and at times attributed to Florus, although its innovative style has led some to place it as late as the fourth century; Walter Pater rather fancifully imagined its composition by a young scholar under Marcus Aurelius. It is 'remarkable not only for its exquisite melody and romantic evocation of spring-time and its associations, but also as an experiment in a new form of poetry, making large use of assonance, recurrence of words and phrases, and even occasionally of rhyme, in anticipation of the accentual Latin poetry of a later age' (Oxford Companion to Classical Literature). The opening line and repeated refrain, 'Cras amet qui nunquam amavit, / Quique amavit cras amet' ('Let those love now who never loved before, / Let those who always lov'd, now love the more', trans. Thomas Parnell), is here accentuated in red ink, recurring after every four lines of the poem. An additional twelve copies were printed on vellum. See Tidcombe, p.64 ff. Language: Latin.

Large 8vo. (234 x 168 mm). [102 leaves; pp. 203]. Title, leaf with explanation, verso and following leaves with contents, leaf with title in red and sonnet 'Bright star!' verso and Keats' verse, two leaves with 'Table of Years', final leaf with colophon recto. Printed text in red and black throughout, sheet size: 230 x 162 mm. Full scarlet crushed morocco by Frieda Thiersch with her signature gilt, boards with double gilt rules, banded spine with elaborate tooled decoration with title 'KEATS / 1815 - 1820' and dated 'MCMXIV' in six compartments, large turn-ins with gilt tools and rules to surround vellum doublures, board edges ruled in gilt, morocco-edged wool-lined marbled board slipcase. [PROVENANCE: From the collection of scholar and bibliophile Dr. Ernst Kyriss (1881 - 1974), with his discreet oval stamp to front free endpaper; Achilles Foundation, the collection of Edith and Barbara Achilles]. A very scarce copy of the vellum issue of the Doves Press' Keats in a highly accomplished binding of red morocco by Frieda Thiersch. From the edition limited to 212 copies, with this one of 12 examples printed on vellum. Apprenticed to the binder Charles McLeish who described her as the 'most skillful pupil we ever had . equal to any professional', Frieda Thiersch (1889 - 1947) was a prodigy: a highly talented, innovative and controversial binder. The daughter of a distinguished Munich-based architect, Frieda had a privileged upbringing before her seduction by her music master Ludwig Hess for a bet; the ensuing pregnancy caused her banishment to France for the birth of her child to avoid scandal. After the birth she was sent to London where she undertook an apprenticeship at McLeish & Sons that led to their endorsement and laid the foundations for her future as a binder. Thiersch clearly absorbed, along with the binding skills and knowledge of the McLeishs, the influence of the Doves Bindery: Charles McLeish Sr. had worked with Cobden-Sanderson from 1893 until the establishment of his own bindery in 1909. The austere but beautiful work with the emphasis on simple clarity with a highly restrained decor became a feature of Thiersch's own work and the signature of the many bindings designed by her and issued by the Bremer Press - she worked as the principal designer and her atelier was the principal bindery for the press - before the worsening economic situation in the late 1920s / early 1930s caused the press to close. Throughout the time she worked with the Bremer Press, Thiersch took commissions in her own right as the present binding, signed with her full name as opposed to her initials (when produced by an assistant) and likely produced in the late 1920s, attests. Thiersch exhibited her work internationally and showed books at the First Edition Club in London in 1929 (it is tempting to think that this binding was shown there), the World Exhibition in Barcelona in the same year, the Milan Triennale in 1930, 1933 and 1936 where she was awarded a gold medal and the Paris World Exhibition in 1937 where she was awarded another gold medal. Later in the 1930s Thiersch became associated with the German political establishment and undertook government contracts for the Nazis. Although she did execute personal commissions for, among others, Hitler, her own political views have never been established. The destruction of her archive and personal collection in a bombing raid in 1944, her death from lung cancer in 1947 and the confusion of the Second World War itself have ensured that both an aura of mystery has surrounded her work while adhering a considerable bibliophile cachet to it. Although Thiersch's bindings for the Bremer Presse are prized, even more so are the bindings that she undertook on commission. We can trace few of these, but notable examples are the luxusausgabe of 'Das Graphische Werk Max Pechsteins' (1921), Johanne Auerbach's 'Summa de Auditione Confessionis et de Sacramentis' (the second or third book printed in Augsburg probably in 1469 or 1470), Georg Martin Richter's unique copy of Thomas Mann's 'Walsengenblut' (1921) and Franz Liszt's copy of the first edition of Baudelaire's 'Les Paradis Artificiels' with a presentation from the author among others. [Tidcombe DP36; Tomkinson 58, 45].

Softcover. Condizione: Sehr gut. From the 1899 Weimar Text. A near fine copy of 200 printed on paper from a total edition of 232 copies (32 on vellum). Description: Original full limp vellum with title in gilt on spine. Octavo: 24 × 17 cm; pp. 110, [1]. Printed in black and red on Doves handmade paper, top edge cut, fore and lower edges trimmed. Inner pastedown stamped 'The Doves Bindery'. Provenance: Neat ownership inscription (Sutterlin script) to 2nd blank flyleaf: Ernst Bertram, Bonn 1924. Ref.: Cobden-Sanderson 1922, 141; Tidcombe DP28 Condition: Covers slightly soiled. Internally bright and clean, no browning to endpapers. Notes: Interest in Doves Press editions was very high in Germany. Therefore, after Shakespeare's plays, Cobden-Sanderson decided to print three plays by Goethe in the original German text: 'Die Leiden des Jungen Werther' (1911), 'Iphigenie auf Tauris' (1912) and 'Torquato Tasso' (1913). In addition, Cobden-Sanderson received requests from German dealers to increase both the number of copies on vellum and the number of special vellum copies with gold initials. The appetite in Germany for the finest editions seemed undimmed by the prices Cobden-Sanderson was forced to charge (Tidcombe 2002, 66). This led to the unusually high edition of 32 copies on vellum for 'Iphigenia on Tauris' (5 of them with gold initials) in addition to the rather moderate edition of 200 copies on paper.

One of 200 copies on paper; small 4to (240 x 170 mm); printed in red & black, near-fine; original limp vellum by the Doves Bindery (stamp to rear endpaper), spine titled in gilt, uncut, mild spotting to fore-edges, vellum toned and warped (as usual), otherwise a very good copy of this rare edition. After establishing the Doves Bindery in 1893, Thomas James Cobden-Sanderson partnered with Emery Walker to found the Doves Press in 1901. Alongside the Kelmscott, Ashendene and Vale presses it is considered one of the cornerstones of the Golden Age of Private Press, drawing heavily on the spirit of the Arts & Crafts Movement that flowered at the turn of the century. The two partners, along with Sydney Cockerell, created type based on Nicolas Jenson's Roman type (1470s), named the 'Doves Type.' Unfortunately, the relationship between the two partners deteriorated, resulting in said type being famously dumped in the Thames, where it languished until 2014, when it was rescued and subsequently digitalised. Tidcombe DP5 & DP7.

Softcover. Condizione: Sehr gut. "Cleanly printed from first to last" as Cobden-Sanderson remarked on 'Shelley'. A very good copy of 200 printed on paper from a total edition of 212 copies (12 on vellum). Description: Original full limp vellum with title in gilt on spine. Octavo: 24 × 17 cm; pp. 181. Printed in black and red on Doves handmade paper, top edge cut, fore and lower edges trimmed. Inner pastedown stamped 'The Doves Bindery'. Ref.: Cobden-Sanderson 1922, 142; Tidcombe DP35 Condition: Volume is near fine, with clean boards, straight corners without rubbing. Pages tightly bound throughout, pages 102-103 and 106-[107] show some yellow discolourations (verso of gathering g1, obviously an incident during printing), edges slightly spotted. But otherwise, a very good, clean copy. Notes: The 'Shelley' print was a tough nut to crack. By May 1914, when Shelley was printed, Cobden-Sanderson had recovered from his long illness, but he had become over-sensitive about the quality of the presswork. He blamed his age for the imperfections he thought were there, and for his 'growing inability to energize the Press to its fingertips'. In the end, however, he found the prints were 'on the whole quite "all right" - cleanly printed from first to last' (Tidcombe, 2002). It is all the more surprising, given Cobden-Sanderson's pedantry, that a copy with such a paper defect should have come into circulation at all.

Hardcover. Condizione: Near Fine. No Jacket. One of 225 copies on paper. [Colophon]: Officina Columbarum excuderunt T. J. Cobden-Sanderson et Emery Walker textum recensuit J. W. Mackail typos composuit J. H. Mason prelum exercuit H. Gage-Cole XIV Kal. Nov. MDCCCC. Size of the vellum binding: 6 ½ in. x 9 ¼ in. Three blank flyleaves, blank leaf signed: a, with watermark of two doves on a perch & initials: C-S & E W, title page, pp. 1-[33] with colophon at the bottom of p. [33], four blank flyleaves. Bound in full, limp vellum, with the spine gilt lettered: Tacitii Agricola. With the stamp: The Doves Bindery on the lower edge of the back paste-down end-paper. The vellum shows some light age toning. Small book label of American diplomat & scholar, Douglas Maxwell Moffat (1881-1956), on the front paste-down end-paper. The paste-down end-papers show a little buckling to the paper, including slight splitting to the paper from the vellum to the fore-edge of the back paste-down. The lower right corner of p. [33], shows a small imperfection to the paper sheet (paper loss of a one inch triangular section). Latin text. Ransom, Private Presses and Their Books, 1929, p. 250. Doves Press # 1, 225 copies on paper. The first book of the press.

LeatherBound. Condizione: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1905 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. Pages: 66 As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 66 Language: English.

3 pp. 1 vols. 12mo. Condizione: Fine. 3 pp. 1 vols. 12mo. ?I was so sorry to ---away without coming to wish you 'good-bye' & hear how you were feeling.

First edition. Two leaves. No wrapper, although Tidcombe mentions copies ''in an unprinted brown wrapper, or in a folded leaf of Doves paper''. In this instance the brown wrapper (splitting at the fold) is printed with the titles for ''Wordsworth's Cosmic Poetry).Fine. Scarce.

8pp. 1 vols. 8vo. About 300 printed. About 300 printed. 8pp. 1 vols. 8vo. Ransom 40 Laid in printed brown wrappers. Fine.

About 300 printed. About 300 printed. 6 pp. with conjugate blank. 1 vols. 8vo. Ransom 42 Single folded sheet, unbound and laid into printed brown wrappers. Fine 6 pp. with conjugate blank. 1 vols. 8vo.

ONE OF 250 COPIES. 9 1/2 x 6 3/4" 1 p.l., 12 pp. Original holland-backed blue-gray boards (stamp-signed The Doves Bindery to the rear pastedown), printed title. Printed in red and black. Page four with one correction in red ink, initialed "C. S." Front pastedown with Henry Young & Sons, Liverpool stamp. Rear flyleaf with Newbegins, San Francisco bookseller's ticket. Tidcombe DP-27; Tomkinson, p. 57. Edges of boards somewhat browned, spine with a few areas of discoloration, corners a bit rubbed, but the fragile binding with no appreciable wear; fine internally. This is the second full-length catalogue put out by the Doves Press, recording their publications through 1911. As in the 1908 catalogue raisonné, this work includes remarks by Cobden-Sanderson about his approach, emphasis, and motivation. He begins by saying that his press was founded in 1900 "to attack the problem of pure typography, . . . keeping always in view the principle laid down in 'The Book Beautiful' that 'the whole duty of typography is to communicate to the imagination, without loss by the way, the thought or image intended to be conveyed by the author.'" Tidcombe notes that the British Library copy has the same correction as ours, initialled by Cobden-Sanderson. The lovely Doves typeface stands out on the bright, clean paper here, and the binding is well preserved, with none of the fraying that so often affects the cloth spine.

The Doves Bible, the finest output of the press and among the finest achievements of typography, one of 500 sets on handmade paper. "All copies of the Bible were sold before printing was finished, and the fourth Doves Press List published in June 1905 states that the Bible, like all other Doves Press books, was now out of print" (Tidcombe). "The Doves Bible and the Kelmscott Chaucer stand side by side upon the highest peak of typographical accomplishment, utterly dissimilar yet with the same element of greatness incontestable. The great red initial 'I' that dominates and yet fits exactly the opening page of Genesis in the Doves Bible is a pattern for all time of complexity reduced to the minimum of simplicity. When it is said that they approach dangerously near to absolute perfection, everything has been said" (Ransom). Tidcombe notes that foxing appears on the sheets of early volumes of the Bible, "although fortunately not the opening page". Cobden-Sanderson was asked about this condition issue in 1920 and noted that it was "due to a misadventure in the drying of the sheets long ago, when the Bible was being printed" (cited in Tidcombe, p. 45). In this copy the foxing is very limited. On the head of each pastedown is the thin bookplate of Benjamin Fairfax Hall (1904-82), founder of the Stourton Press in 1930. The press was known for its appealing productions, many of which used the Aries font designed specially for Fairfax Hall by Eric Gill. Ransom, p. 56; Tidcombe DP6. 5 vols, large quarto. Doves type printed in black with red initial letters by Edward Johnston, on handmade paper. Original limp vellum by the Doves Bindery with their stamp on rear pastedowns, spines lettered in gilt. Spines a little creased, natural colour variance, remarkably little foxing. A near-fine set.