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

Offenbach am Main: Gebr. Klingspor, 1927. Pp.32. Printed in red and black with some colour decorations. Sm.folio, original printed wrappers. Small 4pp. specimen inserted loose. Wear to the top and bottom of spine with a little darkening to top and bottom edges. ||| Type specimen

Northampton: published by Leonard Baskin at the Gehenna Press, 1964. One of 50 special numbered copies with an extra suite of etchings on large white Rives paper, signed, titled and numbered by the artist. 21 etchings by Thomas Cornell on blue Fabriano paper plus the extra suite, all signed except the frontispiece, as issued. Designed by Leonard Baskin. Loose in a full leather chemise and laid into a leather and cloth tray case with the extra etchings in a cloth portfolio. Spine of box a little worn, otherwise very good.||Babeuf led the so called “Conspiracy of Equals” against the French Directory in post-Revolutionary France, for which he was executed in 1796. He is now seen as the first communist.|

Boston: David Godine, 1969. One fo 350 copies. Pp. 18. Printed by hand at The Gehenna Press with some printing in red on title page and a couple of ornaments in olive green. 8vo., original patterned paper wrappers with printed paper label on upper cover. Tears to outside wrapper and scuffing to label.||Introduction by John Dreyfuss. This New Year’s keepsake was printed as a memorial in the year of Beatrice Warde’s death, being an important speech she made at the St. Bride Institute on the responsibilities and powers of the Private Press.|

Paris: Editions de l’Ile de France, 1947. 34 illustrations by Georges Lepape. Pp. 165. 8vo., exquisitely bound by the excellent gilder Berthaux in full maroon morocco with blue morocco inlays and a recessed fully gilt panel with onlaid pink morocco roses and green morocco leaves all tooled in gilt, gilt ruled borders and lettering on spine, inner dentelles with pink onlaid roses and gilt ruling, marbled endpapers, in a matching chemise and slipcase. In superb condition. ||Paul Geraldy’s beautiful, ‘naive’ poems following the course of a love affair first appeared in 1912.| A sumptuous binding by the superb gilder Berthaux on poems charting the course of a love affair

Gottingen: Vandenhoeck & Ruprecht, [1948]. Printed after a calligraphy manuscript by Fritz Lometsch completed in 1945 and hand-coloured by Albert Wald in 1948. Pp. 12. 8vo., in the original hand-coloured printed wrappers. Edges of wrappers creased and a little faded, otherwise very good.||A really lovely book in praise of the countryside.|

Hamburg: Otto Rohse Press, 1986. 12 wood engravings by Otto Rohse. One of 150 copies, this no. 106, signed by the artist. The 19th printing of the Otto Rohse Press. Handset in Lettergieterij Amsterdam Garamont. Pp. 42. 4to., bound by Christian Zwang in original beige paper covered boards, wood engraving and blind embossed lettering to covers, titles printed in orange to spine. Housed in the original decorated slipcase. A bright, fresh copy.||One of the best of German printers during the second half of the 20th century, Rohse illustrated his own remarkable fine press books with wood and copper engravings. | With Rohse’s exceptional wood engravings and in an attractive binding using wood engraving and blind embossing

Stuttgart: C.E. Poeschel, 1952. 23 pages of different font and lettering specimens, mainly full alphabets. 34.5 x 24.5 cms. Original cloth backed printed paper covered boards with an alphabet in brown on the upper cover. Boards browned with marking but generally a good copy.||The specimens here, under the title Script Writing and Drawing Fonts, were derived for the book graphic art class at the Stuttgart Academy as font exercises for the calligraphy and lettering course.Walter Brudi (1907-1987) was a German painter and graphic book designer. At the time of writing this book he was professor of book graphics and typography at the Academy of Fine Arts in Stuttgart. |

Leipzig: Insel Verlag, 1925. No. 315 of 450 copies. Portrait frontispiece, 38 plates of bindings (several in colour), 8 colour plates of designs for papers and boards, 82 plates of designs for title pages etc. several in two or more colours, 13 plates of Weiss’s type, 8 plates of bookplates and devices, 6 plates of initials, 11 plates of borders and ornaments, plus many other illustrations of Weiss’s work in the essays. Folio, original parchment backed boards with design by Weiss in red on upper cover. Slightly rubbed at edges, a bit shaken, otherwise good. Inserted loose is an original engraving by Weiss, signed and numbered 2/26.||The festschrift for Emil Rudolf Weiss, a leading German calligrapher, typographer, type and book designer who worked in the first half of the 20th century and is particularly associated with Bauer.Among the essays are contriubtions by Gerhart Haptmann, Oskar Loerke, Hans Rupe, Emil Strauss, J. Meier-Graese, Hans Loubier and Stnaley Morison who contributes an… Read More

London & Glasgow: Gowans & Gray, 1908. Elaborate illuminated binding on full vellum over bevelled boards by Giuseppe Giannini of Florence with his binders label, gold patterned paper endpapers, red top edge and red silk bookmark. Gowans Art Books no.2 with 60 pages of reproductions of Van Dyck’s paintings. Housed in the original green linen box.||A classic of the genre of bindings produced by the famous Giuseppe Giannini of Florence for the English tourist trade.| Elaborate illuminated vellum binding from Florence

Waltham St Lawrence: Golden Cockerel Press, 1934. 14 wood engravings by Robert Gibbings, title page printed in red and black, initials and one headline printed in red. No. 233 of 277 copies. Folio, original quarter vellum, buckram boards, spine lettered in gilt, top edge gilt, others uncut. Some darkening and marking to the linen and a few marks to the vellum, internally very good and clean.||Some of Gibbings’s greatest work is in Glory of Life including wood engravings of animals - for instance an orangutan, a gull and a jaguar - and some spectacular lettering on the title page printed in red. A fabulous Golden Cockerel book.|Chanticleer: Bibliography of the Golden Cockerel Press, 91 With some of Gibbings’s most striking engravings

San Francisco: Cranium Press for the Roxburghe and Zamorano Clubs, 1972. One of 200 copies. Facsimile of Eric Gill’s original poetry manuscript and corrected first printing. Pp. 8 folded leporello.||The original manuscript and corrected proof of this poem composed by Eric Gill in August 1921 while travelling on a train to Ditchling are now in the Gleeson Library in the University of San Francisco. The poem first appeared in print in The Game in March 1922 printed at the St. Dominic’s Press.| One of 200 keepsakes for the Roxburghe & Zamorano Clubs

London: Johnathan Cape, 1944. 6 engravings by Gill. First edition. 8vo., original blue cloth with silver lettering and decoration, in the original dust jacket. Jacket with plastic stuck on it as protection, spine a little darkened.||14 essays most reprinted from other places - including The Lord’s Song, David Jones, Clothing without Cloth, Eating Your Cake, Art and Business and The Human Person and Society.|

New York: Literary Guild, 1932. Profusely illustrated with wood engravings by Eric Gill. Issued by the Literary Guild of New York. 8vo., [18 x 23.5 cms], original parchment spine over blue cloth, gilt initials and lettering to upper cover and spine, in the original dust jacket. Very worn and chipped dust jacket.||The engravings by Gill were those used in the Golden Cockerel Press ‘Troilus and Cressida’ of 1927.|Evan Gill, Eric Gill Bibliography 279.

London: John Lane and Bodley Head, 1934. Pp. xiv, 154. Frist edition. 8vo., apparently a form of proof copy in plain paper wrappers with no page numbers on the contents page. Very good.||From The Twentieth Century Library series edited by Krishna Menon.|Evan Gill, Eric Gill Bibliography, 29 Proof copy

London: Stourton Press, 1975. One of 102 copies. Printed in 14 point Aries type by Eric Gill. Tall 8vo., oriignal linen backed green cloth, black lettering on spine. A very good copy.||Four stories and a dream sequence printed in Gill’s Aries type at the author’s own press.|

1929. Printed on card and with wood engraving by Eric Gill. 13.2 x 11 cms. Very good. In a book mount.||On the verso in pencil is written “Given me by Mrs Constance Fletcher, 6th October 1961”.Ifan Kyrle Fletcher was a bibliographer and writer, particularly on dance and the theatre. He wrote the bibliography of Edward Gordon Craig. Together the Fletchers were theatrical book dealers in London.|Physick 598

1938. Two original lead and wood printing blocks and two electrotype plates for Gill’s 25 Nudes, printed by Hague & Gill Ltd and published by J.M. Dent & Sons Ltd. In 1938.1. ‘The number 25’. Line block for the cover and half title to Twenty-five Nudes.2. ‘Monogram EG’. Line block for the cover and half title to Twenty-five Nudes.3. “Three Female Nudes”. Line block for the title to Twenty-five Nudes.Cut by Ralph Beedham from Eric Gill’s design and then worked on.4. “25 Nudes and EG”. Line block for the cover and half title to Twenty-five Nudes.Cut by Ralph Beedham from Eric Gill’s design and then worked on.Together with the proof for the initial letter in the book, printed 4 times on one sheet plus original prints of the number 25 and EG and NUDES printed from the the original larger size woodblocks from which the designs were taken.Plus a copy of the first edition of the book Twenty Five Nudes with the original dust jacket.… Read More

1921. An original pencil drawing with watercolour depicting St. Christopher carrying the Christ Child. Inscribed by the artist in pencil “DEAR GORDIAN THIS IS SAINT CHRISTOPHER from daddy 2.9.’21.” with a symbol of St Dominic at the top of the image. Image size 6.5 cms x 11 cms, mounted and framed in an early frame. ||On the back of the frame is a label from The Piccadilly Gallery in 1985 stating it was sold to Barnabus McHenry that year.A really enchanting image which Gill made for his adopted son Gordian. Eric and Mary only had daughters and after the birth of their youngest daughter Joanna in 1910, it became clear she was unable to bear any more children. In 1917 they decided to adopt one from the infants’ home in Haywards Heath. Eventually they were allowed to take the 8 month old Gordian home to foster. Although he was never legally adopted he was brought up as their son. This drawing would have been done for Gordian when he was 4 years old.|

1926. Original proof copper engraving signed and numbered by Eric Gill in pencil, “EG” and 17/25. Image size 11.5 x 9.1 cms. Framed.||Proof for Procreant Hymn, published by The Golden Cockerel Press, being an alternative and more explicit design for the frontispiece of the book which was rejected in favour of a less obviously masculine image. Extremely scarce.|Physick 364 Rare proof of an explicit and unused design for Procreant Hymn, signed by the artist

London: Printed by Hague & Gill for Sheed & Ward, 1932. Wood engraving by Eric Gill. One of 500 copies. 12mo., original sewn printed yellow wrappers. Rather worn with a little ripping at he spine stitching. |||