(London: Humphrey Milford for Oxford University Press, 1922). 190 x 123 mm. (7 1/2 x 5"). 148 pp. Second Impression.
FINE RED MOROCCO, GILT AND INLAID, BY DOUGLAS COCKERELL & SON (stamp-signed "D. C. & Son 1934" on rear turn-in), covers framed by gilt dots and dashes interspersed with inlaid green morocco dots, upper cover with medallion centerpiece of interlacing gilt fillets forming an eight-petalled flower with gilt-tooled green morocco lozenge at center, the compartments formed by the fillets accented with geometrical gilt tools, raised bands, spine compartments framed by dots and dashes, a central inlaid green morocco dot in four compartments surrounded by a lozenge of small tools, gilt lettering in two compartments, turn-ins with gilt rules enclosing dots and dashes, distinctive Cockerell marbled papers in red, tan, and black, all edges gilt. With two facsimile reproductions of title pages. Front pastedown with bookplates of Geo. A. Zabriskie and Stuart B. Schimmel; front free endpaper with evidence of bookplate removal; p. 23 with pencilled annotation. Spine a little sunned, small, faint water stain near fore edge of front board, a couple of tiny spots to rear board, otherwise fine, the text clean and fresh, the binding well preserved.
This is an appealing example of the craftsmanship of Cockerell father and son. One of the most influential binders to emerge from the Arts & Crafts Movement, Douglas Cockerell (1870-1945) was generally considered to be the leading binder of his day. Through his work, his teaching, and his publications, he probably exerted "more influence on bookbinding practice and design than any one man has had before." (DNB) An apprentice for Cobden-Sanderson when the latter began his Doves Bindery in 1894, Cockerell set up his own workshop in 1897; this was merged with the W. H. Smith bindery from 1905 to 1915. After the Great War, Cockerell struck out again on his own, taking his son Sydney (1906-87), called "Sandy," into the business in 1924. One of Sandy's contributions to the craft was his innovation in paper marbling. According to DNB, "In the 1920s his experiments on marbling paper for bindings soon led to its regular production by his workshop. This continued until his death, principally in the hands of William Chapman. The necessary combs to create the repeatable and distinctive (yet always subtly different) patterns were made in the workshop." The text here is a series of essays by literary scholar and publisher Robert William Chapman (1881-1960), written when he was serving with the Royal Garrison Artillery at Salonika during World War I. Included here are "Proper Names in Poetry," "Old Books and Modern Reprints," "The Decay of Syntax," and "The Textual Criticism of English Classics," the latter proclaiming, "To restore, and maintain in its integrity the text of our great writers is a pious duty." The author took this duty quite seriously, both in his work as publisher at the Oxford University Press and in his writings. This volume was formerly in the libraries of two distinguished bibliophiles, both members of the Grolier Club. A business executive who served as president of the New York Historical Society, George Albert Zabriskie (1868-1954) was a serious book collector with a special interest in fine bindings; he wrote on bibliopegy, studied the craft of bookbinding, and produced excellent bindings himself. A passionate collector known for reading and enjoying the books he amassed, Stuart B. Schimmel (1925-2013) also took pleasure in sharing his treasures with others, organizing exhibitions from his collection for the Grolier Club and for other New York organizations. (ST17129-028)
Add to Cart Price: $1,500.00
PJP Catalog: 79.076