MORRIS, William (1834-1896). The Well at the World's End . Hammersmith: Kelmscott Press, 1896. 4° (285 x 204mm). Printed in Chaucer type, each book opening with double-page woodcut foliate border with illustrations by Hooper after Burne-Jones, 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]. (A few leaves with light spotting or offsetting.) Early 20th-century half green crushed morocco gilt for Henry Sotheran & Co, spine lettered, top edge gilt, others uncut (spine slightly faded, corners lightly rubbed). Provenance : Fanny Emma Price (presentation inscription from Jane Morris dated New Years Day 1899) -- Fairfax Rhodes (bookplate). PRESENTATION COPY INSCRIBED BY JANE MORRIS TO FANNY PRICE, the sister of William Morris' close friend Cormell Price. Jane Morris (1839-1914), central Pre-Raphaelite figure and model for some of Rossetti's most famous paintings, presumably first came into contact with Fanny Price through William Morris' association with her elder brother Cormell Price. Immortalised as the headmaster in his former pupil Rudyard Kipling's Stalky & Co , Cormell Price was part of Morris' set at Oxford, remaining a lifelong friend, and Peterson records three Kelmscott books inscribed by Morris to Price. Morris was introduced to Price's sisters Fanny and Margaret in 1855 and Margaret described the visit thus in her diary: 'We had great fun: Morris got so excited once that he punched his own head and threw his arms about frantically' (MacCarthy, London: 1994, p.97). The Well at the World's End (or as Morris called it 'the Interminable'), spent longer in production than any other Kelmscott Press publication. Printing commenced in December 1892 and only finished in March 1896, the delay due in part to difficulties with the illustrations. Having originally announced that Charles Fairfax Murray would illustrate the book, Morris then commissioned Arthur J. Gaskin to carry out the work, but his designs were ultimately rejected in favour of Burne-Jones'. This is one of 350 on flower paper of an edition of 358. Peterson A39; Tomkinson 'Kelmscott' 39; Ransom 'Kelmscott' 39.
MORRIS, William (1834-1896). The Well at the World's End . Hammersmith: Kelmscott Press, 1896. 4° (285 x 204mm). Printed in Chaucer type, each book opening with double-page woodcut foliate border with illustrations by Hooper after Burne-Jones, 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]. (A few leaves with light spotting or offsetting.) Early 20th-century half green crushed morocco gilt for Henry Sotheran & Co, spine lettered, top edge gilt, others uncut (spine slightly faded, corners lightly rubbed). Provenance : Fanny Emma Price (presentation inscription from Jane Morris dated New Years Day 1899) -- Fairfax Rhodes (bookplate). PRESENTATION COPY INSCRIBED BY JANE MORRIS TO FANNY PRICE, the sister of William Morris' close friend Cormell Price. Jane Morris (1839-1914), central Pre-Raphaelite figure and model for some of Rossetti's most famous paintings, presumably first came into contact with Fanny Price through William Morris' association with her elder brother Cormell Price. Immortalised as the headmaster in his former pupil Rudyard Kipling's Stalky & Co , Cormell Price was part of Morris' set at Oxford, remaining a lifelong friend, and Peterson records three Kelmscott books inscribed by Morris to Price. Morris was introduced to Price's sisters Fanny and Margaret in 1855 and Margaret described the visit thus in her diary: 'We had great fun: Morris got so excited once that he punched his own head and threw his arms about frantically' (MacCarthy, London: 1994, p.97). The Well at the World's End (or as Morris called it 'the Interminable'), spent longer in production than any other Kelmscott Press publication. Printing commenced in December 1892 and only finished in March 1896, the delay due in part to difficulties with the illustrations. Having originally announced that Charles Fairfax Murray would illustrate the book, Morris then commissioned Arthur J. Gaskin to carry out the work, but his designs were ultimately rejected in favour of Burne-Jones'. This is one of 350 on flower paper of an edition of 358. Peterson A39; Tomkinson 'Kelmscott' 39; Ransom 'Kelmscott' 39.
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