Search Results: Authors starting with E from SOPHIE SCHNEIDEMAN RARE BOOKS

Charlottenburg: Werbedienst, 1921. 267 illustrations in text. Pp.40. 4to., original paper backed boards with printed paper labels on spien and upper cover. Spine worn, otherwise very good.||Ehmcke on trademarks and logos.|

Dortmund: Fr. Wilhelm Ruhfus, 1911. 64 pages with 53 designs for posters, writing, trademarks, business lettering, covers and titles for books, exhibitions and showcase decorations by Fritz Helmut and Clara Ehmcke, several colour illustrations using chromolithography. First edition. 8vo., original printed wrappers. Some creasing but generally a very good copy. ||An early overview of the work of the Ehmckes. The last page bears an adverstisment of the Werkstatt fur Kunstlerische Schrift [Workshop for Artistic Font] of F.H. Ehmcke in Dusseldorf with details of all sorts of work he will undertake.Rare in this condition.|

Munich: C.H. Beck’sche Verlagsbuchhandlung, 1925. One of 1100 copies. 162 illustrations of trademarks and logos designed by Ehmcke between 1900 and 1924 (11 coloured). 12mo., original red cloth decorated in gilt with the original dust wrapper and card slipcase. An extremely good copy.|||

Munich: Bucherstube am Siegestor Horst Stobbe, 1917. Portrait of Ehmcke plus 23 illustrations and 4 page specimens. 8vol., original coloured patterned paper wrappers with printed paper label on the upper cover. Slight chipping to edges and offset from the turn in of the wrappers, otherwise good.||Includes a dated bibliography of works up to 1917 by Fritz Helmuth Ehmcke (1878-1965), the German graphic artist, type designer, illustrator and book designer who founded the Steglitzer Workshop in 1900 and was later responsible for the Rupprecht Press form 1913-1914.|

London: printed by Joh. Enschedé en Zonen for Peter Davies, 1928. No.28 of 350 copies. 2 drawings by Vera Willoughby printed in collotype at the Chiswick Press. Printed in J. van Krimpen’s Antigone Greek and Lutetia roman and italic types. 4to., original beige buckram with gilt lettering and design on upper cover and spine, housed in the original slipcase. Spine slightly darkened, slipcase worn but generally a very good, clean copy, largely unopened.||A beautifully printed and designed book with some remarkable designs by Willoughby, printed in both Greek and English. |

Haarlem: Printed at Joh. Enschedé en Zonen for the Stichting Museum Enschedé, 1978. English translation with notes by Harry Carter. First English edition. One of 1500 copies. Portrait frontispiece, 519 figures including hundreds of illustrations of type, pages of borders, specimens etc. Pp.xxviii, 478. Folio, original tan calf backed printed paper covered boards, inthe original card slipcase. A few scratches and small bump to spine but generally a very good copy.||A spectacular and comprehensive production including lists of type specimens included in the original text, a table of typefaces etc.|

Amsterdam: printed by Joh. Enschede en Zonen for Nonpareil, 1953. 12mo., original red paper covered boards, printed paper label on upper cover. Spine rather worn.||| From the library of Brooke Crutchley

London: Eragny Press, sold by Hacon & Ricketts, 1900. Wood engraved frontispiece, honeysuckle border and initials designed by Lucien Pissarro and engraved by Lucien and Esther Pissarro. One of 226 copies. Printed in Vale type on Arnold's handmade paper. 12mo., in a very handsome binding by Zaehnsdorf of full tan morocco, elaborately tooled in gilt with flower buds and hearts on both sides and spine, double gilt fillets on each side and dotted lines, turn-ins with double gilt fillets, dotted border and tooth roll tool with floral tooling and triple dots, top edge gilt, silk doublures.||The frontispiece is a charming, tranquil image of a doe in the forest with a pair of rabbits in the foreground as a gentle pastoral contrast to what Alice Beckwith calls “the brutal assaults on nature depcited in Gustave Flaubert’s riveting story”. With attention to modern psychology, Flaubert postulates the circumstances which caused Julian to murder his parents and then seek forgiveness in a life of penitence… Read More

The Brook, Hammersmith: Eragny Press, sold by Hacon & Ricketts, 1902. Wood engraved frontispiece, border and 77 initial letters deisgned by Lucien Pissarro and engraved by Esther Pissarro. One of 226 copies printed in black and red in Vale type on Arches paper with the Eragny watermark. 8vo., quarter bound in pale grey paper, title in gilt on top left hand corner, hawthorn blossom patterned paper covered sides. Spine mildly darkened with a little wear to the top, usual browning to free endpapers but a very good, bright and unopened copy.||The great sixteenth century French poet Ronsard was one of Pissarro’s favourite writers, particularly enjoying his amatory verse and his long series of odes and sonnets to Cassandre, Pikles, Genevre and Helene, 76 of which are exceptionally printed in this book.The frontispiece image of a girl picking flowers was one of which Pissarro was proud. The image also appears in the frontispiece of Bacon’s Essay and Lucien sent a coloured version to the Gazette des… Read More

Chelsea: designed on the wood, cut and printed by Lucien Pissarro at his press in Epping, published by C. Ricketts, 1895. 12 woodcut illustrations, 4 in four colours, one in gold and four colours and 7 in grey, 4 green borders and 1 gold, 3 ornaments in red, all designed and engraved on wood by Lucien Pissarro. Printed on Japanese paper. One of 150 copies, this numbered 71 and signed with Lucien Pissarro's monogram in red ink, a further 30 copies ‘not for sale’ were bound in olive green calfskin. 8vo., an extremely good, bright copy in original full vellum with gilt iris decoration on upper cover. ||After failing to interest publishers in an illustrated edition of Nerval’s ‘La Reine des poissons’, Lucien decided to print the book himself using a version of Nerval’s text translated in to English by his wife Esther’s friend Margaret Rust who made it more suitable for children. Pissarro exploded onto the private press scene with an astonishing display of four colour and gold printing, and… Read More

London: Eragny Press for Le Livre Contemporain, 1913. Wood engraved title page border in 3 colours, 12 illustrations each printed from 4 blocks designed by Camille Pissarro and engraved on wood by Lucien Pissarro, historiated initials, headpieces and tailpieces designed by Lucien Pissarro and engraved by Lucien and Esther Pissarro. One of 116 copies, this copy for M.A. Gracy of the Livre Contemporain. Printed in Brook type on Arches paper with watermarks of Le Livre Contemporain and the Eragny Press. 8vo., original green full limp calf lettered in gilt, inside cover in cream calf stamped in gilt with apple motifs and the monogram of Le Livre Contemporain. A good uncut copy with some fading to the spine, some very occasional spotting and offset from the doublures and some staining to bottom of first and last two leaves.||La Charrue d'Erable or The Maple-wood Plough comprised 12 short chapters on a rural theme written by Emile Moselly to match 12 drawings by Camille Pissarro. Pissarro matched the… Read More

ff [Flynn & Funazaki], 2011. No. 3 of a limited edition of 5. 97 x 98 x 23 mms. Handset and letterpress printed text by Danny Flynn. Multi-coloured illustrations by Eri Funazaki printed in letterpress and hand tooled in gold and blind. Pages folded in a double concertina style to be pulled out in opposite directions. Bound in goat skin and letterpress printed blue suede finished with gold and carbon tooling. In a full blue morocco box resembling a giant metal type of a pointing finger. ||“The book is about a pointing finger, which you may commonly find in old posters and signposts. The whole design was inspired by this particular character, which seems to have visual authority over common text and even illustration. The design of the book was influenced by old wooden poster type and geometrical shape of printing furniture and quoins. It ends with a question, ‘Can it be trusted?’ The answer is ‘Well I really don’t know….’”|

ff[Funazaki & Flynn], 2011. No. 1 of a limited edition of 5. 12.6 x 22.5 cms. Text by Danny Flynn handset in Baskerville 12pt metal type and printed in letterpress. Illustrations by Eri Funazaki screen-printed with additional gold tooling. Bound by Eri Funazaki in full smooth goat skin with very thin recessed red leather onlay that depicts the image of a building site crane. Screen-printed doublures. Housed in a screen printed paper covered slipcase with blue goat skin edges.||“The prose by Flynn involves a sad battle of wits and the humorous missed communications between a man and a woman. Illustration of the urban landscape with cranes, office buildings, construction sites implies this couple’s life will carry on for some time but will be taken over by some new lives by the end”. Funazaki reflects the text beautifully in here illustrations and binding design.Eri Funazaki studied Graphic Design at Joshibi University, Tokyo, Japan and then worked as a graphic designer for Les Mains?… Read More

ff [Flynn & Funazaki], 2013. No. 2 of a limited edition of 5. 94 x 100 x 22mm. Bound in full calf leather with vellum blocked in black. Rounded spine made from a dowel and the vellum extends to form the pockets, where both ends of the concertina pages are inserted and attached to the cover. The doublures have been laser-printed from a drawing by the binder. The text by Danny Flynn and illustrations by Eri Funazaki were handset and printed in letterpress from zinc plates using an Adana Eight-Five onto Zerkall paper, which have been additionally hand-tooled in gold and blind. Housed in a full light green calf clamshell box lined with printed paper.||The text is an excerpt from a play involving two dogs having a heated conversation about their daily life (ie waiting to be told where to sit) written by Danny Flynn. “It has been both a new and experimental project that edits and shortens the longer play to fit the nature of typesetting for an artists’ book without losing the speed and the flow of the… Read More

Iowa City: Prairie Press, 1964. One of 400 copies. Frontispiece brush-drawn portrait of Gill by Father Catich after Gill’s own wood engraved self portrait. Perpetua titling capitals in colour to each page, with 2 floriated capitals on the title page. Set in Joanna type and printed on Curtis Rag paper by Carroll Coleman at the Prairie Press. 8vo., original green cloth over grey patterned paper boards, in the original dust jacket. Very slight offsetting to endpapers, otherwise a good copy in a slightly toned and edge worn jacket.|||Cheever, The Prairie Press: A Thirty Year Record 139.

Lausanne: Andre Gonin, 1949. No 154 of 230 copies signed by the artist and editor. 14 etchings by Hans Erni together with two original pen & ink drawing signed by Erni on half-title and colophon. Printed in Garamond type on handmade paper. Folio., loose as issued in the original pictorial wrappers of horses, housed in the original vellum backed, brick red paper covered chemise and original paper covered slipcase. Slipcase a little worn with some repair but otherwise an extremely good copy.||Hans Erni was an important Swiss artist well known for his posters, murals, designs for stamps, ceramics and theatre sets as well as his elegant etchings. He died in 2015 aged 106.|Giroud: Erni Catalogue Raisonné des livres illustrés, 9 With two original pen and ink drawings signed by Hans Erni

Darmstadt: Printed by the Kleukens Press in Frankfurt am Main for the Ernst Ludwig Presse, 1922-3. Two volumes bound in one by Alfred Hüter of Berlin, with his binding label. Woodcut titles and initials. Printed in red and black in Kleukens-Antiqua type at the Kleukens Presse. Pp. 214, [3]; 328. 4to., full vellum binding over stiff boards with calligraphic title in black ink on spine. 4pp prospectus inserted loose. Slight wear to the lower sewn headband, first gathering a little shaken, few small marks to lower cover, but generally a very handsome volume. ||Two volumes of three, the last being published in 1924 being a small volume entitled ‘Urfaust & Paralimpomena’ The colophon declares that two Frankfurt men, Moritz Freiherr von Bethmann and Hans von Pasavant paid for the paper on the understanding that the Kleukens Presse would repay the same amount to the Goethe Museum in Frankfurt.The dramatic full page opening initial I is reminiscent of the Doves Bible. Indeed, the great German book and… Read More

Darmstadt: Printed by Christian H. Kleukens at Ernst Ludwig Presse, 1927. One of a small unspecified limitation. No. IV of the small printings produced for the Gutenberg Society. 8 woodcuts depicting notable hand presses from 1499 to the present day including those of Jost Amman and the modern day Stanhope, Columbia and Hagar Presses. Pp. [32]. 155 x 225 mms. 8vo., original cream wrappers with Ernst Ludwig Presse device in gilt to upper cover. Spine worn with slight darkening and chipping to edges of the wrappers, very good internally. Inserted loose is a one page prospectus listing 9 books from the press.||A brief history of the printing press written by Christian Kleukens and dedicated to members of the Gutenberg Society. Another edition had been printed the year before in 125 copies.From the library of Charles Anthony Wimpfheimer, vice president of Random House.|Stürz, Die Ernst-Ludwig Presse, 102b; Not in Rodenberg With prospectus inserted loose

Paris: Jeanne Bucher, 1934. Complete set of the first edition of all 5 cahiers, all with the original wrappers bound in and each no. 502 of 800 copies printed on Navarre. 128 fantastical collages by Max Ernst. 22 x 27 cms. superbly bound by Daniel-Henri Mercher (signed on the front turn-in) in quarter black morocco each side with a replication of one of Ernst’s collages with bands of purple, green, red, blue and yellow colour overlaid with cut out metallic marbled paper beneath clear Lucite, the cut outs reveal the stylised letters ‘DLMMJVS’ (in reverse on the lower cover) standing for the days of the week in French, spine delicately lettered in purple, green, red, blue and yellow, wood-veneer endpapers, tope edge black, others untrimmed; all the immaculate original wrappers bound in plus the woodcut printed on green paper which was originally issued on the outside of the publisher’s slipcase. Superb copy, housed in the black morocco and wood-veneer chemise and slipcase with the same colour… Read More

Campden: Printed at the Essex House Press by the Guild of Handicraft, 1904. Preface by Sidney Webb. No. 61 of 150 copies on ordinary paper bound in boards. 7 illustrations of Dover’s Hill, Campden and the Guild of Handicraft and a double page map after drawings by Edmund H. New. Pp. [4], lvx, 60. Sm. 4to., original paper covered boards, printed paper spine label, sympathetic repair to joints and headcaps. Endpapers and edges browned, occasional spotting.||A remarkable copy being inscribed and signed by C.R. Ashbee, the author and founder of the Essex House Press and Guild of Handicraft, to E.G. Stevenson in August 1905. Stevenson was his office manager between 1902 and 1907.Most interestingly on the last blank is pasted an original albumen print of a photograph taken in 1871 of Giles Cockbill, mentioned in pp.41-43 et seq. of the book. He was a ranger on Weston Field up to the time of the Enclosure in 1852 and after this time travelled on foot as a carrier between Chipping Campden and Weston… Read More