The Noble and Joyous Book Entytled Le Morte D'Arthur Notwithstanding It Treateth of the Byrth, Lyf, and Actes of the Sayd King Arthur, of His

Mallory, Syr Thomas, Knyght.
Enquire about this Book
MALLORY, Syr Thomas, Knyght.
xxiv, 502 pp. One of 145 copies (and eight copies on vellum). With three armorial bookplates on front pastedown. Laid in is a reproduction from a woodcut of this edition, used as memento at the exhibition of the Ashendene Press at Stanford University, 1971.
Chelsea: Ashendene Press, 1913. Illustrated by Margaret and Charles M. Gere, cut on wood by W. H. Hooper and J. B. Swain with two full page woodcuts, and 27 smaller woodcuts in the text.
Folio, full brown smooth morocco, spine with five raised bands, lettered in gilt, inner gilt dentelles, marbled endpapers, all edges deckled -original binding. Spine a bit faded, minimal rubbing of edges and corners, morocco dentelles offset to endpapers (as usual), interior pristine.

""Le Morte d'Arthur"" (originally spelled ""Le Morte Darthur"", Middle French for ""the death of Arthur"") is a reworking of existing tales by Sir Thomas Malory about the legendary King Arthur, Guinevere, Lancelot, Merlin, and the Knights of the Round Table. Malory interprets existing French and English stories about these figures and adds original material (e.g., the Gareth story). Le Morte d'Arthur was first published in 1485 by William Caxton, the first English printer, and is today one of the best-known works of Arthurian literature in English. Many modern Arthurian writers have used Malory as their principal source, including T. H. White in his popular The Once and Future King and Tennyson in The Idylls of the King. The first printing of Malory's work was made by Caxton in 1485. Only two copies of this original printing are known to exist, in the collections of the Morgan Library & Museum and the John Rylands Library.[10] It proved popular and was reprinted in 1498 and 1529 with some additions and changes by Wynkyn de Worde who succeeded Caxton's press. Three more editions were published before the English Civil War: William Copland's (1557), Thomas East's (1585), and William Stansby's (1634), each of which contained additional changes and errors (including the omission of an entire leaf). Thereafter, the book went out of fashion until the Romantic revival of interest in all things medieval; the year 1816 saw a new edition by Walker and Edwards, and another one by Wilks, both based on the 1634 Stansby edition. Davison's 1817 edition was promoted by Robert Southey and was based on Caxton's 1485 edition or on a mixture of Caxton and Stansby. Davison was the basis for subsequent editions until the discovery of the Winchester Manuscript. The ""Ashendene Press ""was a small private press founded by St John Hornby (1867–1946). It operated from 1895 to 1915 in Chelsea, and was revived after the war in 1920. The press closed in 1935. Most Ashendene editions used one of two fonts which were specially cast for the Press: Subiaco, which was based on a fifteenth-century Italian type cast by Sweynheim and Pannartz in Subiaco, Italy, and to a lesser extent Ptolemy. Some Ashendene books, such as that by St. Francis of Assisi shown, were illustrated with wood-engravings, but the majority were printed solely using type. The wood engraver William Harcourt Hooper worked for the Press from about 1896 -wikipedia. [Hornby 26.

Price: $8,000.00
SKU: 33573
Online Credit Card Processing