Chaucer, Geoffrey.

folio (425 x 284mm.), limited to 438 copies of which this is one of 425 on paper, printed in red and black, 87 wood-engraved illustrations by Edward Burne-Jones, ornamental woodcut title, borders and initials, original decorative white pigskin tooled in blind (signed on lower cover, "The Doves Bindery 1896."), lettered on upper cover, silver and leather clasps, gilt edges, collector's chemise and brown cloth slipcase, binding slightly soiled

Peterson A40

Condition is described in the main body of the cataloguing, when appropriate.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

A fine copy of one of the greatest and most ambitious pieces of book production; the masterpiece of the Kelmscott Press.

This is one of 48 copies specially bound at the Doves Bindery to William Morris's own design.

Chaucer was one of the great discoveries of Morris and Burne-Jones whilst at Oxford in the 1850s. Morris had always conceived of producing an edition of the Works in one of his own black letter fonts. First advertised in 1892, its history was arduous, with the first borders being designed in 1893, printing starting in 1894 and Burne-Jones completing his illustrations in December 1895.

William S. Peterson notes "48 copies were bound in white pigskin at the Doves Bindery from a design by Morris" (Peterson, A Bibliography of The Kelmscott Press, Oxford, 1984, p.106). Marianne Tidcombe has noted that this figure is "presumably... the number of bindings commissioned when the books were ordered... more than a few copies were bound after Douglas Cockerell left the bindery [in November 1897]" (Tidcombe, The Doves Bindery, London, 1991, p.51). Given that this copy is stamped by the bindery in 1896 it comprises one of the original bindings at the time of production.