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A Note by William Morris on His Aims in Founding the Kelmscott Press
To celebrate the Morris centenary year, the Grolier Club and the William Morris Society in the United States published this enlarged and corrected version of the very last book published by the Kelmscott Press. This autobiographical history of Morris and his Kelmscott Press includes passages related to Morris's approaches to paper, type design, ink, page design and ornament, and book illustration. The annotated listing of the 53 titles, originally compiled by Sydney Cockerell, is enhanced by the editorial modifications made in this edition that record all of Cockerell's known revisions and second thoughts. A short description of the press by C. Cockerell and seven full-page facsimiles are included. It was designed and typeset by William S. Peterson and printed letterpress at the Stinehour Press. The book was published in conjunction with the exhibition held from December 10, 1996 to February 15, 1997.
The Kelmscott Press
From a quantitative point of view the achievement of the Kelmscott Press may not seem impressive: between 1891 and 1898 it produced fifty-two books and a set of specimen pages for another book. Yet each was remarkably beautiful. Designed by William Morris, printed on hand-presses, ornamented with initials and borders by Morris, and illustrated often by Edward Burne-Jones, these few Kelmscott Press books are famous everywhere today. Why they have so profoundly affected twentieth-century theories of book design and what cultural significance the founding of the Kelmscott Press played are some of the questions the author considers.
William Morris
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The Routledge Companion to William Morris
William Morris (1834–96) was an English poet, decorative artist, translator, romance writer, book designer, preservationist, socialist theorist, and political activist, whose admirers have been drawn to the sheer intensity of his artistic endeavors and efforts to live up to radical ideals of social justice. This Companion draws together historical and critical responses to the impressive range of Morris’s multi-faceted life and activities: his homes, travels, family, business practices, decorative artwork, poetry, fantasy romances, translations, political activism, eco-socialism, and book collecting and design. Each chapter provides valuable historical and literary background information, reviews relevant opinions on its subject from the late-nineteenth century to the present, and offers new approaches to important aspects of its topic. Morris’s eclectic methodology and the perennial relevance of his insights and practice make this an essential handbook for those interested in art history, poetry, translation, literature, book design, environmentalism, political activism, and Victorian and utopian studies.
Skb William Morris
Eight page softcover book with 150 reusable paper stickers (3 each of 50 different designs).Size: 8 x 11 in. From the Brooklyn Museum
The Ideal Book
Here are all of William Morris's known writings on the book arts. He founded the Kelmscott Press in 1891 with the express aim of rejuvenating one of the most debased of the applied arts - printing. He produced magnificent books, and his revolutionary views on typography and the book arts have become the basis of modern design. Morris's essays and lectures are supplemented by an introduction and notes by Professor Peterson, a newly edited version of Sydney C. Cockerell's A Short History and Description of the Kelmscott Press, four interviews with Morris about his work as a printer, and many handsome photographs of books and medieval manuscripts that Morris refers to.
William Morris and his Palace of Art
William Morris and his Palace of Art is a comprehensive new study of Red House, Bexleyheath; the only house commissioned by William Morris and the first independent architectural work of his close friend, Philip Webb. Morris moved in to Red House as an ebullient young man of 26, with an independent income and a head brimming with ideas and the persistent question of ‘how best to live? Red House, together with its Pre-Raphaelite garden, stands as the physical embodiment of his exuberant spirit, youthful ambition, passionate medievalism, creativity and great sense of possibility. For five intense years from 1860–5, it was a place of halcyon days – happy family life, loyal friendship, goo...
