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

London: Hamilton, Adams & Co., 1833. 85 illustrations by R. Cruickshank engraved on wood by Dodd, Williams, Bonner & others. Title page printed in red and black. 8vo., handsome later half calf, spine decorated in gilt in compartments, cloth sides. An extremely good copy.||The preface is signed by ‘Job Crithannah’ an anagram of Jonathan Birch. The fables are varied and include such tales as The Thistle and the Wheat, The Truant Ass, The Warrener and the Ferret, The Boy and the Rattlesnake, The Ruin and the Ivy. Aesop and the Libertine and Prometheus and Man.Robert Cruikshank was the elder brother of the famous George and son of the Socttish bpainter and caricaturist Isaac Cruikshank.|

London: for subscribers to The Fanfrolico Press, 1929. Foreword by Brian Penton. Translated by Jack Lindsay. One of 375 copies. Large title page vignette, 6 full-page and 12 half-page illustrations & decorations by Alan Odle. Printed in Cloister type on Van Gelder Antique handmade paper. Pp. 72. 4to., original cloth backed decorated Japanese paper covered boards, top edge gilt, others uncut. Corners with a little wear, a little darkening to page edges, otherwise well preserved.||The first book hand-printed by Jack Lindsay after he moved to Hampstead: “the splendid Miniambs of Herondas, with powerful surreal designs by Alan Odle [was] in marked contrast to the predominant Norman Lindsay style of the Press’s earlier work” (Cave p.294)|

London: printed at The Westminster Press for the Fanfrolico Press, [1929]. Introduction by Edward Hutton. No. 451 of 500 copies. 20 woodcuts by Lionel Ellis. 4to., original full green vellum, gilt lettering on spine and gilt stamped image after one of Ellis’s cuts on the upper cover, top edge gilt, others uncut. Some fading to the spine and marking to the edges of the vellum, otherwise very good. ||The wood engravings in the book are remarkably good and rich. Lionel Ellis (1903-1988) was a noted painter, wood engraver and teacher. He also illustrated the Fanfrolico Herrick and Catullus.|

London,: printed at Cambridge University Press for William Heinemann, 1935. 10 wood engravings by John Farleigh printed in red and black. Type format in red and black arranged by John Mason and printed by W. Lewis at Cambridge University Press. 4to., original quarter beige cloth, marbled paper covered sides, gilt titling on spine, lacking the dust jacket. Very mild bowing to top board, otherwise very good.||A fine association copy between two artistic collaborators and friends who believed in bringing the best in hand-press production values to the machine age. With the gold and white name label of John Mason and his ownership inscription and with an extraordinary presentation inscription from Farleigh: “This book is the result of my long friendship with Mason. I have put in it all that he has taught me. John Farleigh, Dec. 1935”.Farleigh and Mason were friends and, as practioners of the book arts, were both members of the Arts and Crafts Exhibition Society and both taught at the Central School… Read More

Henley-on-Thames: Gresham Books, 1985. Frontispiece two colour wood engraving and 89 pages of wood engravings by John Farleigh, portrait of Farleigh and a few illustrations accompanying the text. Pp. iv, 122. Folio, original maroon cloth, gilt lettering on spine, no jacket. A very good copy with ‘Specimen’ stamped in red on the title page.||John Farleigh (1900-1965) was a noted wood engraver, mural painter, designer and craftsman who was the co-founder and first Chairman of teh Crafts Centre of Great Britain which first opened in 1947. As President of the Crafts Centre Prince Philip writes a foreword to this celebration of Farleigh’s wood engravings.|

New York: Limited Editions Club, 1939. One of 1500 copies, signed by the illustrator. Wood engravings by John Farleigh, under the direction of Shaw. 4to., original full green cloth with green and gilt leather labels on spine and upper cover, original card slipcase. The spine label is faded to brown and the slipcase is faded with some wear.||With the advertising card for this publication, The Monthly Letter of the Limited Editions Club from July, 1939, Number 119. with the title “If there are Four Hitlers". Also included is a pamphlet of the Limited Editions Club on the artwork of John Farleigh and Shaw’s comments on his artwork for the book.|

London: Constable & Company Limited, 1932. Profusely illustrated with wood engravings by John Farleigh. First Edition. Pp. 74 [4]. 135 x 210 mms. 8vo., original black illustrated paper boards, black and white illustrated endpapers. Short tear to head of spine, mild rubbing to extremities, a few spots to edges.||Shaw’s satirical allegory of an African girl’s conversion to Christianity, boldly illustrated with Farleigh’s wood cuts, which powerfully illuminate the text. Both the story and the illustrations drew much controversy upon the book’s publication.|

Henley-on-Thames: Gresham Books, 1985. Frontispiece two colour wood engraving and 89 pages of wood engravings by John Farleigh, portrait of Farleigh and a few illustrations accompanying the text. Pp. iv, 122. Folio, original maroon cloth, gilt lettering on spine, no jacket. Exlibris on front pastedown.||An excellent illustrated look at the work of John Farleigh by his friend and pupil, the engraver Monica Poole. Included is a bibliography of his work.John Farleigh (1900-1965) was a noted wood engraver, mural painter, designer and craftsman who was the co-founder and first Chairman of the Crafts Centre of Great Britain which first opened in 1947. As President of the Crafts Centre Prince Philip writes a foreword to this celebration of Farleigh’s wood engravings.|

London: W. Strahan & T. Cadell, 1770. First edition. 3 copper engraved plates by Bayly after Ferguson. First printed form of 6 lectures given on the subject. Illustrated with copper plates. 8vo., a very good copy in a contemporary calf binding, with slight cracking to the spine.||Elihu Thomson’s copy with his signature and bookplate of the Elihu Thomson Collection of the Franklin Institute Library, deaccessioned. Initially Ferguson’s lectures dealt mainly with astronomy and mechanics, and resulted in his hugely successful textbooks Astronomy explained upon sir Isaac Newton’s Principles (1756) and Lectures on Select Subjects in Mechanics (1760), but from 1768 onwards he included electricity in his lecture courses, and as this topic was not covered in his two text books he produced this introduction.Elihu Thomson was born in Manchester in 1853 and grew up in Massachusetts. He became one of the most prolific inventors in US history, eventually joining Thomas Edison to form the General Electric… Read More

Privately printed for members of the First Edition Club, 1932. One of 400 copies, there were also 350 copies published for the Dorian Workshop and Studio. The 20th publication of the First Edition Club. Set in Centaur and Arrighi types and printed on handmade paper by The Bradley Press. 155 x 230 mms. 8vo., original black cloth, silver title label laid across spine to upper cover, fore edge uncut. Mild offsetting to endpapers, a touch of rubbing to covers, in a slightly toned and worn glassine wrapper. ||Percy Smith’s essay on architectural typography, ‘a plea for the greater consideration of lettering more especially in relation to architecture’, reprinted here from ‘The Architectural Review’ of April 1928.|

Lausanne: André & Pierre Gonin, 1959. No. 14 of 15 deluxe copies with an extra suite of prints on Chine, an original copper plate for the book (which has been crossed) and two original drawings, this specially printed for Dr. John Blum, of a total edition of 215 copies, signed by the publisher. 16 original etchings by Hans Fischer. Printed in Baskerville type with the title and initials printed in red on Auvergne handmade paper;l. Large 4to., loose as issued in the original wrappers in the original chemise and slipcase with vellum spine with blue lettering and blue paper covered boards.||Hans Fischer was a Swiss painter well known as the author and illustrator of the children’s book Pitschi, the kitten who always wanted to be something else.| One of only 15 copies with an original copper plate, two original drawings and an extra suite

Salisbury School of Art and Crafts, c.1960. 8pp. with 7 original ink and watercolour paintings of buildings and architectural details in Salisbury and with a title page with ink and watercolour vignette and lettering by Katherine Fisher. 21.2 x 30 cms. 4to., sewn as issued in the original black cloth backed portfolio with original three colour printed linocut sides designed by Fisher with an additional linocut of the same image, before the addition of the yellow,inserted loose. ||A wonderful example of a graduation piece from a student at the Salisbury College of Arts and Crafts. It was established as the Salisbury College of Art and Design in the late 19th Century and changed its name in the 1930s. In the mid 1960s it once again became the Salisbury College of Art and Design.| A beautifully presented watercolour and linocut Art School graduation piece focussed on Salisbury

Paris: Chez Audot et chez Susse, [1825?]. 37 engraved plates by John Flaxman, engraved by Etienne Achille Reveil. Oblong 4to., original embossed cloth with floral pattern, spine lettered in gilt. Upper hinge cracked, with slight fading and rubbing to edges, head and tail of spine chipped, very occasional extremely light spotting. In all a very bright copy in the original cloth.||Reveil’s engraving of Flaxman’s drawings for Hesiod, showing characteristic Flaxman flowing classical lines. In 1817, Blake had finished his version of engravings from Flaxman’s original drawings.|

Denby Dale: Fleece Press, 1998. One of 280 copies. Set in Modern 7 and printed on Zerkall paper. 33 illustrations, 4 colour, two photographs and the rest being wood engravings. Several loose engravings and Royal Flush illustrations housed in seperate folders. Sq. 4to., original gold cloth backed patterned paper covered boards, printed paper spine label, in a clamshell cloth covered box together with 3 large wood engravings in wrappers, a loose broadsheet, and reproductions of 9 full colour illustrations by Harris for Royal Flush all in grey wrapper portfolio. A fine copy.||Derrick Harris sustained the medium of wood engraving through the 1950s when it was struggling, admired by fellow artists, his suicide at the age of 40 affected many of them deeply including Edward Ardizzone who wrote “First he made a niche for himself as a good artist in an exacting craft, then as a dear friend whom we loved”.|

Denby Dale: Fleece Press, 2000. Two volumes. Numerous wood engravings and tipped in illustrations. 8vo., original light brown cloth backed, marbled paper covered boards, printed paper spine labels, housed in the original cloth and paper covered slipcase. A very good, near fine copy.||Introduction by John Dreyfus. |

Edinburgh & London, 1698-1702. Pp. 66. First edition. Edinburgh, 1698.Bound together with:1. [SETON, William]. The Interest of Scotland in Three Essays viz. I. Of the true Original and Indifferency of Church-Government. II. Of the Union of Scotland and England into one Monarchy. III. Of the Present State of Scotland.Pp. viii, 114. Printed in the Year 1700.2. ANON. A Discourse Upon the Uniting Scotland with England. Pp.ii,92. London, printed for James Knapton, 1702.3. ASGILL, John. An Essay on a Registry for Titles of Lands by John Asgill of Lincoln’s Inn. Pp. iv, 43. London, printed by John Attwood. 1698. ||All bound in contemporary calf with ‘Misc. R.’ on the spine label in gilt and with the booklabel of Thomas Foley of Great Witley Court in Worcester.In his ‘Discourse of Government relating to Militias’ Fletcher argued that the Royal Army in Scotland should be replaced by local militias – aposition of republican virtue which was to return a half-century later and foreshadowed the… Read More

London: Fortune Press, nd. No.1195 of 1250 copies. Occasional decoration of printer’s borders. Printed by the Whitefriars Press on Arnold unbleached handmade paper. 8vo., original black cloth with gilt lettering on spine. Rubbed and a bit bumped at extremities, with remains of dust jacket pasted on free endpaper, booklabel and ownership inscription. |||

London: Fortune Press, [c.1942]. Third Issue of the Fortune Press edition, with the verso of the title page still stating ‘First Published in 1934’, and with Knole Park Press as printer, ‘no’ for ‘nor’ on page 12, line 8 and ‘word’ for ‘world’ on page 23, line 7. Pp. 31 [1]. 8vo., this copy in full green buckram, lettering in gilt to spine. Very slight offsetting to endpapers, a touch of foxing to top edge, gentle bump to tail of spine, but a presentable copy.||‘18 Poems’ was Thomas’s first collection of poetry, the winner of a contest sponsored by the ‘Sunday Referee’ in 1934. It contains the poem, ‘The force that through the green fuse drives the flower’ which, with its distinctive style, cemented his reputation as a poet.| Dylan Thomas’s first collection of poetry

Paris: Le Livre de Demain, 1931. 28 woodcuts by Foujita. 18.4 x 23.5 cms. 8vo., later half russet cloth, marbled paper covered sides, platinum lettering on spine, original pictorial wrappers bound in. A well preserved copy.||Léonard-Tsuguharu Foujita was a notable Japanese-French painter and printmaker born in Tokyo who, on moving to France, became friends with Picasso, Gris, Modigliani and Matisse. He was feted and very much part of the artistic scene in Paris. He was particularly sought after for his superb ability to combine Japanese art with the European tradition.|

New York: printed at the Curwen Press for the Fountain Press, 1930. Title page vignette. No.175 of 850 copies, signed by the author. Printed on Barcham Green paper at the Curwen Press. 12mo, original green cloth, with lettering and decoration in gilt. A very good partially unopened, uncut copy. in the original black card clipcase with wear to bottom.||Nicely printed poetry by the important Irish writer James Stephens.|