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TENNYSON, Alfred (Lord)

The Poems

The Poems

Cambridge: Printed for Members of the Limited Editions Club, 1974

Illustrated by STONE, Reynolds

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TENNYSON, Alfred (Lord).  The Poems.  Cambridge: Printed for Members of the Limited Editions Club, 1974. 

xv + 285 pp. Large, 27.3x16.5cm. Limited to 2000 copies. Bound in three-piece style, with imported goatskin on the shelfback, harmonising cloth on the sides, black leather gilt printed title label on spine, and a portrait in low relief inset on the upper cover, from an engraving by Reynolds Stone that he based on a photograph by Julia Cameron in his own collection, the die for the portrait having been made at the Baddeley Brothers' London studio. Bound in Moonachie, New Kersey, by the eminent Victorians at the Tapley-Rutter Company under the baronial eye of William F. Fortney. Housed in a black slipcase with cream paper title label on edge.

Selected and introduced by Tennyson scholar John D. Rosenberg who fittingly described Tennyson as "one of the supreme poets in our language; the precursor of Yeats and Eliot, the troubled prophet of Apocalypse who foresaw in King Arthur's 'last dim weird battle of the West' the long nightmare of the twentieth century".

Illustrated with 25 wood-engraving vignettes by distinguished wood engraver Reynolds Stone of the Old Rectory in Dorchester, a leading 20th-century artist faithful to the austere craftsmanship of the finest earlier masters, who previously illustrated the Club's editions of Omoo and The Writings of St. Thomas Aquinas. Stone was a (brief) disciple of Eric Gill who encouraged him to engrave - in their only lesson together while Stone was a young apprentice - an alphabet on wood. Stone was a keen Tennyson enthusiast who - according to the Limited Editions Club monthly letter on 'The Baron of Camelot' - wrote to the team twice to make sure his favourite Tennyson poems would be included in the final volume. 

Designed by John Dreyfus of London who also devised the format of the previous eight volumes in the Limited Editions Club's British Poets series. Dreyfus chose twelve-point Perpetua as the type, designed by Eric Gill, revealing the sculptor's hand in the purity of its line and its classical letter forms.

Foxing to the closed text block and slightly to covers, with a touch of wear to the portrait inset on the upper cover; else clean and uninscribed. In a somewhat worn and discoloured slipcase.

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