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Algernon Charles Swinburne:
Atalanta in Calydon: A Tragedy

 

Algernon Charles Swinburne: Atalanta in Calydon: A Tragedy

 

Algernon Charles Swinburne: Atalanta in Calydon: A Tragedy

 

Algernon Charles Swinburne: Atalanta in Calydon: A Tragedy

 

Algernon Charles Swinburne: Atalanta in Calydon: A Tragedy

 

Algernon Charles Swinburne: Atalanta in Calydon: A Tragedy

 

Algernon Charles Swinburne: Atalanta in Calydon: A Tragedy

 

Algernon Charles Swinburne:

Atalanta in Calydon: A Tragedy. By Algernon Swinburne.

Hammersmith: Kelmscott Press, 1894.

Quarto. ca. 290 x 211 mm. [8], 81, [1], [6 weiße] Seiten. Mit Holzschnittitel, verschiedenen Randleisten, sowie zahlreichen Initialen.

Handgebundener flexibler Original-Pergamentband (292 x 218 x 13 mm) mit eingeschlagenen Vorderkanten, olivgrünen Seidenbindebändern, goldgeprägter Rückentitel. Gebunden von J. & J. Leighton. – In modernem, handgefertigtem Klappkasten mit hellbeigem Lederrücken (310 x 233 x 35 mm), darauf in Goldprägung Verfasser und Titel.

Eins von nur 250 Exemplaren, Gesamtauflage 258 Exemplare. Das einzige Buch der Kelmscott Press mit griechischen Typen, diese sind von Selwyn Image entworfen, die er 1892 mit Hilfe von Emery Walker anhand einiger Manuskripte des zehnten Jahrhunderts und anderer Werke aus der British Library schuf.

Eins der sechs Bindebänder fachmännisch ersetzt, kleiner roter Sammlerstempel auf dem Vortitel, Kopfschnitt kaum merklich angestaubt, sonst sehr gut. Ein sehr schönes, wohlerhaltenes Exemplar.

One of 250 copies on paper of an edition of 258. Printed in Troy type in black and red, argument and speakers in margins in Chaucer type; and the only Kelmscott book with Greek uncial type, designed by Selwyn Image. Woodcut title with full woodcut page-border, numerous woodcut initials. Original limp vellum, gilt title on spine, uncut. One of the six silk ties skilfully replaced with matching material, small red owner stamp on the halftitle, else a fine copy. In a solander box.
¶ „Certainly one of the loveliest examples of even your incomparable press“ (Swinburne). „I like the look of the volume very much“ (Morris). „The book was sold out within a few weeks of publication“ (Petersen).

Wise 14 – Peterson A25 – Tomkinson 113,25 – Cockerell 25 – Franklin 190 – Ransom 327,25 – Bibliographien.

 

Golden type hätte wohl eher zum Text und zu Selwyn Images eleganzfreier griechischer Type, die gleiche Strichstärke und dicke, kurze Serifen aufweist, gepaßt. Morris scheint dies Unförmige für archaisch gehalten zu haben.

Das Sammeln der Kelmscott-Drucke fing zögerlich als privates Vergnügen an, als ich sie mir noch nicht leisten konnte und statt dessen einige der Chiswick Press mit Texten von Morris erwarb. Später folgten die echten, interessanter immerhin als die Doves-Drucke in ihrer typographischen Eintönigkeit und teilweise durch Illustrationen bereichert. Als es viele Jahre später dann zum Verkauf kam, schmerzte es nicht mehr, ich hatte sie lang genug betrachtet.
Kelmscott Press

ATALANTA, in Greek legend, the name of two Greek heroines. (1) The Arcadian Atalanta was the daughter of Iasius or Iasion and Clymene. At her birth, she had been exposed on a hill, her father having expected a son. At first she was suckled by a she-bear, and then saved by huntsmen, among whom she grew ​up to be skilled with the bow, swift, and fond of the chase, like the virgin goddess Artemis. At the Calydonian boar-hunt her arrows were the first to hit the monster, for which its head and hide were given her by Meleager. At the funeral games of Pelias, she wrestled with Peleus, and won. For a long time she remained true to Artemis and rejected all suitors, but Meilanion at last gained her love by his persistent devotion. She was the mother of Parthenopaeus, one of the Seven against Thebes (Apollodorus iii. 9; Hyginus, Fab. 99). (2) The Boeotian Atalanta was the daughter of Schoeneus. She was famed for her running, and would only consent to marry a suitor who could outstrip her in a race, the consequence of failure being death. Hippomenes, before starting, had obtained from Aphrodite three golden apples, which he dropped at intervals, and Atalanta, stopping to pick them up, fell behind. Both were happy at the result; but forgetting to thank the goddess for the apples, they were led by her to a religious crime, and were transformed into lions by the goddess Cybele (Ovid, Metam. x. 560; Hyginus, Fab. 185). The characteristics of these two heroines (frequently confounded) point to their being secondary forms of the Arcadian Artemis. — Encyclopædia Britannica, Eleventh Edition, Cambridge: University Press, 1910. Vol. II, pp. 822-823.