Beschreibung:

KELMSCOTT PRESS]. CHAUCER, Geoffrey. The Works ... now newly imprinted . Edited by F.S. Ellis. [London:] Kelmscott Press, 1896. 2 o (425 x 288 mm). Chaucer and Troy types, printed in black and red, woodcut title, borders and initials by C.E. Keates, W.H. Hooper and W. Spielmeyer after William Morris 87 woodcut illustrations by W.H. Hooper after Edward Burne-Jones Original linen-backed blue boards, printed spine label, edges uncut (spine label slightly toned, slightest wear to fore-corners, very minor finger-soiling to covers); later slipcase. A FINE COPY OF THE KELMSCOTT PRESS'S MASTERPIECE. LIMITED TO 436 COPIES, THIS IS ONE OF 425 ON PAPER. Almost inarguably the greatest of private press books, the Kelmscott Chaucer was the product of years of collaborative effort between William Morris and Edward Burne-Jones Morris's earliest plans for the work date to 1891 and by the end of that year a trial setting of lines from Chaucer was printed in Troy type. The Troy type proved too large for a book of this size and so the Chaucer type, a smaller version of the same design, was cut in 1892. The book was announced to Kelmsott Press subscribers in December 1892 with the expectation that it would contain "about 60 designs" by Burne-Jones, who had already begin his work at that time. The actual printing of the book, however, did not begin until August 1894. A third Albion press was acquired in January 1895, enabling Morris to use two of his three presses exclusively for pulling off the Chaucer sheets. Burne-Jones's drawings were eventually completed in December 1895, and the last wood engravings made from them were ready at the end of March 1896, the point when Morris completed his final design for the title-page. In fact, Burne-Jones's drawings could not be copied directly onto the wood, and an intermediate photographic process, involving the collaboration of Emery Walker was necessary before the woodblocks could be cut. The Chaucer was issued to subscribers in June 1896, five years after plans for its publication were first being drawn up (see William Morris and the Art of the Book , pp. 133-138). Artist and the Book 45; Franklin Private Presses , p.192; Peterson A40; Sparling 40; Tomkinson, p.117, no. 40. [ With :] An Autograph statement signed ("Maude Aldes"), Dunwich, Saxmundham, July 29, 1928. 7 pages 8vo. Ms. Aldes records the circumstances surrounding the purchase of her copy of the Kelmscott Chaucer, acquired as it was directly from William Morris In part: "I had several friends who lived near William Morris's house in Hammersmith and who also collected the books issued from the Kelmscott press ... I saved up twenty pounds and applied for the Chaucer ... having got mixed up between Kelmscott House and the Press, I went to the former to ask for Mr. Morris. He was alone in the house and opened the door to me himself, so I held out my twenty sovereigns and asked for the Chaucer. I had short hair ... and I came round on my tricycle and evidently must have looked a funny little figure. He took me for quite a little girl and shewed me in to his study, in a friendly but puzzled way, and asked me to say again what I wanted, which I did. He said ... "so you know I have never sold anything direct to anyone in all my life -- and you will want me to give you a receipt, and I don't know how to give a receipt -- but if you will give me the money, you shall most certainly have the Chaucer." I paid my money ... and after the arrival of the precious book, I thought no more about my interview. Shortly after Morris's death, one of my sisters was at a party at which one of William Morris's secretaries was present. The talk ran to the Chaucer. This lady said "Do you know there is a queer story about one copy? The accounts never balanced properly as Morris obstinately declared that a little girl in a sailor suit on a tricycle had come and given him the money for one copy, and he refused to part with the money, but kept it in a special drawer