![[GUILELMUS, Archbishop of Tyre]. The History of Godefrey of Boloyne and of the Conquest of Iherusalem. Translated by William Caxton (c. 1415-1492). Hammersmith: Kelmscott Press, 1893.](https://www.christies.com/img/LotImages/2005/CKS/2005_CKS_07088_0098_000(110227).jpg?w=1)
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[GUILELMUS, Archbishop of Tyre]. The History of Godefrey of Boloyne and of the Conquest of Iherusalem. Translated by William Caxton (c. 1415-1492). Hammersmith: Kelmscott Press, 1893.
4° (287 x 205mm). Printed in Troy (text) and Chaucer types (table of contents and glossary), title and first page with woodcut foliate border, opening lines and chapter headings in red, woodcut foliate initials and borders by Hooper after Morris, woodcut press device after Morris on colophon leaf [Peterson 'Printer's marks' no.2]. (Some light offsetting and browning.) Orange morocco by Katharine Adams, signed and dated 1904, spine lettered in gilt (spine slightly faded, corners lightly rubbed, some cracking on joints, upper hinge split, boards slightly bowed). Provenance: Charles H. St John Hornby (1867-1846, bookplate) -- H. Harvey Frost (book label).
THE C.H. ST JOHN HORNBY COPY BOUND BY KATHARINE ADAMS. C.H. St John Hornby set up the Ashendene Press in 1895. Hornby greatly admired what Morris had achieved with the Kelmscott Press, remarking that 'even those who profess to make light of Morris as a printer are themselves largely influenced by what was best in the Morris tradition' (Peterson, The Kelmscott Press. A History, Oxford: 1991, p.282). While Hornby was undoubtedly influenced by Morris -- and indeed paid a visit to the Kelmscott Press in 1895 to see the Chaucer in production -- he avoided direct imitation when he established his own press in the same year. Katharine Adams (1862-1952), a 'markedly individual' designer (DNB), was a pupil of Sarah Prideaux and T.J. Cobden-Sanderson and became one of the best known female bookbinders of the first half of the 20th century. Adams lived near the Morris family in Oxfordshire as a child and her first commission as a professional bookbinder came from Jane Morris. In 1901, she set up the Eadburgh Bindery in Gloucestershire, receiving regular commissions from Hornby (including most probably the present binding) and Sydney Cockerell. Frost's book label, which is printed in Golden Type and uses ornament no .1, is possibly one of those produced by the Chiswick Press after the closure of the Kelmscott Press (cf. Peterson D1). Morris wrote in the announcement of Godefrey, 'This book must from a literary point of view be considered one of Caxton's most important works ... it is a delightful book to read' (Peterson). Despite Morris' belief in the text, this edition did not sell well and Mrs Morris donated a number of copies to public libraries in 1897. Limited to 306 copies, this one of 300 on flower paper. Peterson A15; Tomkinson 'Kelmscott' 15; Ransom 'Kelmscott' 15.
4° (287 x 205mm). Printed in Troy (text) and Chaucer types (table of contents and glossary), title and first page with woodcut foliate border, opening lines and chapter headings in red, woodcut foliate initials and borders by Hooper after Morris, woodcut press device after Morris on colophon leaf [Peterson 'Printer's marks' no.2]. (Some light offsetting and browning.) Orange morocco by Katharine Adams, signed and dated 1904, spine lettered in gilt (spine slightly faded, corners lightly rubbed, some cracking on joints, upper hinge split, boards slightly bowed). Provenance: Charles H. St John Hornby (1867-1846, bookplate) -- H. Harvey Frost (book label).
THE C.H. ST JOHN HORNBY COPY BOUND BY KATHARINE ADAMS. C.H. St John Hornby set up the Ashendene Press in 1895. Hornby greatly admired what Morris had achieved with the Kelmscott Press, remarking that 'even those who profess to make light of Morris as a printer are themselves largely influenced by what was best in the Morris tradition' (Peterson, The Kelmscott Press. A History, Oxford: 1991, p.282). While Hornby was undoubtedly influenced by Morris -- and indeed paid a visit to the Kelmscott Press in 1895 to see the Chaucer in production -- he avoided direct imitation when he established his own press in the same year. Katharine Adams (1862-1952), a 'markedly individual' designer (DNB), was a pupil of Sarah Prideaux and T.J. Cobden-Sanderson and became one of the best known female bookbinders of the first half of the 20th century. Adams lived near the Morris family in Oxfordshire as a child and her first commission as a professional bookbinder came from Jane Morris. In 1901, she set up the Eadburgh Bindery in Gloucestershire, receiving regular commissions from Hornby (including most probably the present binding) and Sydney Cockerell. Frost's book label, which is printed in Golden Type and uses ornament no .1, is possibly one of those produced by the Chiswick Press after the closure of the Kelmscott Press (cf. Peterson D1). Morris wrote in the announcement of Godefrey, 'This book must from a literary point of view be considered one of Caxton's most important works ... it is a delightful book to read' (Peterson). Despite Morris' belief in the text, this edition did not sell well and Mrs Morris donated a number of copies to public libraries in 1897. Limited to 306 copies, this one of 300 on flower paper. Peterson A15; Tomkinson 'Kelmscott' 15; Ransom 'Kelmscott' 15.
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