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

[Paris: Éditions Henri Jonquières, 1935]. No. 57 of 250 copies. 26 erotic pochoir coloured woodcuts illustrating the letters of the alphabet by Jules Pascin. Printed in sanguine and black on velin d’Arches. 14.5 x 16 cms. Sq. 12mo., loose as issued in salmon pink wrappers printed with the alphabet in lilac and rose, housed in the original slipcase. Slipcase with some marking, a little spotting to blank endpapers.||Pascin’s charming and rather sweetly erotic alphabet accompanies Pierre Mac Orlan’s short verses in this second, more elaborately illustrated of Henri Jonquières’ Abecedaire. The first version of 1924 was printed in 150 copies and had line drawings on simple plain coloured backgrounds, this was a very different and far better printed production.| A charming joyfully erotic alphabet with pochoir illustrations by Jules Pascin

London: printed for private circulation [by command of Queen Victoria, who had purchased the manuscript after MacGillivray’s premature death], 1859. First edition. Two folding maps, frontispiece and several illustrations throughout. Rare special issue in presentation binding of red pebble grain morocco, gilt royal arms on the upper cover, all edges gilt, a superb copy. ||There is an elaborate printed presentation note pasted to the front free endpaper ‘This work, printed by command of the Queen, is presented to The Revd. C. Kingsley by H.R.H. Prince Albert’. (There is also a later inscription on the title page to ‘Maurice Kingsley from Mother. 1879’.Prince Albert was an enthusiast for Charles Kingsley’s idealized view of manly, Germanic Christianity and he was appointed chaplain to the Queen in 1859, the year this was published. The theme of the present book, Scottish rivers, seems certain to have appealed to the famous author of The Water Babies.His son, Maurice Kingsley, emigrated to… Read More

London: T & W Boone, 1852. First edition. 2 volumes. Large folding chart, 6 tinted lithographs & 7 other plates, with further illustrations in the text. Pp. xi, 402, 12pp ads.; v, 395, 8pp. ads. 8vo., original blue-green cloth, repaired, discreet gilt ownership initials of the Cruising Association on spine and upper cover with booklabels on front pastedowns and blind stamps on titles, spines faded, marking to boards. ||"A very important voyage of exploration and scientific research" (Ferguson).. This, the official account, records the Rattlesnake's four year voyage, during which she made brief visits to, amongst other places, Rio de Janeiro, Mauritius, Port Stanley, Hobart Town, Sydney, Melbourne and New Zealand. The fine lithograph plates were taken from drawings by the noted naturalist T.H. Huxley who acted as assistant-surgeon on the Rattlesnake, but whose work mainly concentrated on marine specimens.The son of the noted naturalist William MacGillivray, "John served as naturalist on various… Read More

London: T. Cadell, Jun. & W. Davies, Cobbett and Morgan & W. Creech, 1801. First edition. Engraved frontispiece portrait, 3 large folding maps (the map of North America hand-coloured), 2 page errata leaf. 4to., bound in handsome gilt bordered full calf, spine in panels and decorated in gilt, maroon leather and gilt spine label. A very good copy.||In 1789, Mackenzie's crew which included French-Canadian voyagers, his wife and several others, paddled off in a birchbark canoe from Fort Chipewyan in Central Canada. Other canoes, navigated by Indian hunters and interpreters, followed behind. Over 100 days later, however, Mackenzie's entourage arrived back at the fort with details of another route to the Arctic Ocean, not the elusive Pacific.Although this first trip aided in mapping the northern regions of the continent, Mackenzie remained determined to find the ‘Western Sea’. Therefore on May 9 1793, Mackenzie, with nine others, packed into a 25 foot canoe at Fort Fork along the Peace River for a… Read More

Old Woking: Gresham Books, 1981. I. No. 104 of 250 copies for an exhibition of his wood engravings at the Ashmolean Oxford in 1981, signed by the author/artist. 32 reproductions of wood engravings by Monica Poole, Joan Hassall, Robert Gibbings, Clifford Webb, John Farleigh, Gertrude Hermes, Noel Rooke, Iain Macnab, Gwenda Morgan, Nora Unwin, Agnes Miller Parker, Buckland Wright and Blair Hughes-Stanton. 67 reproductions of wood engravings, with printed titles and dates, by George Mackley loose on 60 varying sized sheets of paper in pocket at the rear. Sm. folio. II. 137 illustrations, mainly of Mackley engravings from 1937 to 1969 plus one by Monica Poole, they are split up into sections on Botanical engravings, engravings of the sea, countryside, waterways, The Netherlands, rivers, and commercial engravings. Sm. folio. III. 1981 reprint of the 1948 edition on the mechanics of wood engraving b Mackley. 8vo.Special set with all three volumes uniformly bound by E.A. Weeks & Sons in quarter sheep with… Read More

Paris: Philippe Gonin, 1937-1943 [ie1950]. No.289 of 750 copies. 122 woodcuts Aristide Maillol. Printed on special handmade paper with Maillol’s watermark of a seated nude. 2 volumes. Sm. folio, unbound as issued in the original printed wrappers, housed in the original chemises, with title printed in black on the spines, and slipcases. A very good set accompanied by the original 4pp. prospectus with two original woodcuts.||Text in Latin with the French translation by L’Abbé Delille and Mme. Michel Roussier on hte facing pages. Maillol began work on this large project with Count Kessler of the Cranach Press in 1908 but failed to complete the woodcuts until just before he died in 1944. It was published posthumously by Gonin who frequently collaborated with Maillol. It is a spectacular book.With the original 4pp. prospectus with two original woodcuts inserted loose.|Artist & the book, 175 A beautiful rendering of the Georgics and one of Maillol’s most successful books

London: printed in Paris for A. Zwemmer, 1937. English edition. One of 250 copies, this no. 86, signed by the artist in pencil at the end “Maillol”. 52 wood engravings plus four decorated wood-engraved initials by Maillol, printed in green. Printed by Philippe Gonin on his Paris hand-press on hand-made paper made to a process rediscovered by Maillol. 8vo., original full vellum over boards, spine lettered in gilt, uncut, in the original slipcase which is missing the bottom edge, some spotting throughout, particularly to edges.||Translated into English from the original Greek by George Thornley.A stunning achievement being a perfect match of paper, printing and illustrations, all presenting an earthy freshness. Unlike the French edition, to please the British market the English edition was elegantly bound, and is remarkably satisfying to handle.Maillol found a freedom and excitement in the story of innocent sensuality which inspired him to produce some really fine wood-cuts.| The very pleasing… Read More

Paris: Philippe Gonin, 1939 [1958]. Text in Latin and French, translated by Baron Delort. One of 350 copies on hand made paper, this no.291, signed by the publisher. 125 wood engravings by Maillol with two duplicated on each wrapper. Two volumes. Printed on handmade linen paper by Maillol with the Maillol watermark. Loose as issued in wrappers in the original chemises with printed spines including two different wood engravings by Maillol, housed together in the original card slipcase. A very good, fresh set, the spine of the chemises are slightly darkened, otherwise extremely good.||Gonin and Maillol’s book was a triumph of simple lines and subtle typography. Maillol had been introduced to book illustration by Harry Graf Kessler who had used Maillol to illustrated the Cranach Press Eclogues in 1926. In 1937 Maillol returned to the delights of book illustration when images he had produced originally for the Cranach Press Georgics, which was to be unpublished by Kessler, were taken up by Gonin who… Read More

Paris: Societe des Amis des Livres, 1948. With commentary by Leon-Paul Fargue. One of 88 copies for individual members of the Societe des Amis des Livres, this no. 29 printed for Mr. Rene Lavallette-Simon. 23 large erotic etchings (3 double page) around the text and one wood engraving on the front cover by Pierre-Yves Tremois, engraved by Raymond Haasen and Pierre Bouchet. Very large 4to., unbound as issued in the original pictorial wrappers with Tremois engraving in green on upper cover, housed in teh original green cloth backed chemise with printed paper covers spine. Slight rubbing to chemise spine but otherwise an extremely good copy. With the note to the binder inserted loose. Together with an additional 4 leaves with the first three bars of Debussy’s L’Apres Midi printed in green and black and another large full page etching of the Faun by Tremois.||Also with this copy are two large 4pp. menus for the Societe des Amis des Livres for March and November 1948, one at the Cercle Interallie and… Read More

[Paris], c.1880. 32 pp. of elaborate hand illuminated lithographed text of the communion service with a splendid illuminated frontispiece depicting a saint at communion. Sq. 8vo., original chestnut brown morocco decorated in blind and with gilt trefoils in each corner and in each spine panel, lettered in gilt with gilt initials on the upper cover, turn ins with gilt tooled borders, endleaves of deep red watered silk, all edges gilt with silk bookmark. In excellent condition with the occasional offset.||An elaborate first communion book which were sold with the text and elementary borders of each page lithographically printed. Subsequently the plain, printed pages were all illuminated in colour including silver and gold by the owner or someone commissioned to do so, usually a woman. Perhaps surprisingly only a very few of these have survived.| A sumptuous hand-illuminated communion mass made as a first communion gift

New York: Privately Printed by George Sas at The Marble Hill Press, 1963. One of 150 copies. With a foreword by Corwin F. Stickney. Designed, handset and printed by George Sas. Printed in Caslon No. 540 on Curtis Tweedweave paper. Pp. 20 [4]. 16 x 24 cms. 8vo., hand sewn russet wrappers, title design printed in green, black and white to upper cover, fore edge uncut. A touch of creasing to edges, otherwise fine.||A well produced booklet reprinting chapter nine of Melville’s ‘Moby Dick’, in which Father Mapple launches into a whaling hymn followed by a sermon about Jonah and the whale.|

New York: Marchbanks Press for The Book Club of Texas, 1930. No. 279 of 300 copies. Printed at The Marchbanks Press for The Book Club of Texas. Pp. [48]. 140 x 215 mms. 8vo., original paste paper, printed paper label to upper cover. Mild fading to spine, very slightly rubbed at extremities, top of spine loose.||A series of fictional letters and other texts, opening with a public letter by Confederate officer, Major George E. Tommey, requesting information on the whereabouts of his black slave, Eneas. What follows are responses from across Georgia to Tommey describing their encounters with Eneas and the slave’s eventual return to his master. First published in 1919, Edwards’s story was one of the most popular pro-slavery texts in American history. The Marchbanks Press was the brainchild of George Hoffman and Joseph Blumenthal who went on to found the Spiral Press.| Slave history

New York: The Marchbanks Press, 1929. Introduction by Montague Glass. Illustrated with numerous engravings. Pp. [2] xi [1] 72 [2]. 8vo., original orange cloth over patterned paper boards, paper title label to upper cover. Mildly faded at spine, a very good copy. ||A charming Christmas Keepsake of verse by British-American humorist Montague Glass, attributed to his pseudonym, Thoephilus Cossart, and illustrated throughout with 19th century-style vignettes. The Marchbanks Press was the brainchild of George Hoffman and Joseph Blumenthal who went on to found the Spiral Press.|Gale, ‘Encyclopaedia of American Humorists’ p.175.

2018. 41 x 27 cm. Alphabet carved into limestone, highlighted with orange paint. |||

1955-1957. 17 pencil and charcoal drawings, one with wash and 4 with watercolour on 13 different sheets, all signed and with a handmade title page by Frank Martin including a photograph of the model Jennifer Knight-Barnard and housed in a standard art portfolio. All drawings are around 30 x 40 cms.Together with 7 larger pencil and charcoal drawings all signed by the artist of the same model at the same time, all filling paper from 57 x 38 to 63 x 45 cms. One drawing with a few tears at the edges but not affecting the image. ||These accomplished original life drawings of one model by Frank Martin were all done by him at his studio in the ‘Italian Village’, an artist’s studio colony set up before the war in Fulham just by Stamford Bridge. They were all of one of his favourite models in the 1950s Jennifer Knight-Barnard. He had made a maquette of a title page in pen and ink with an original photograph of the model on the front for a projected book ‘Twenty-Six Drawings of Jennifer… Read More

London Arts, 1968. One of three artist proof sets of a total edition of 38, each portfolio signed. 10 signed drypoints of a nude by Frank Martin all on Crisbrook handmade paper, two wood engravings in text. Folio, loose with a 4pp. folio title page and colophon with an epigram ‘Marie’ dated 1727, housed in the original cloth backed paper covered boards portfolio with printed paper label on upper cover. A very good set.||A remarkable set of very accomplished and beautiful drypoints of a single nude model by Frank Martin, one time Professor of Engraving and Etching at Camberwell Art School. He is very well known for his engravings, book illustrations and for his prolific life drawings all done in Chelsea between the 1950s to 1970s.|

Chiswick: Grove Park Press, 2004. No. 120 of 148 copies, signed by the artist. 48 copies were used in the special edition. Illustrated throughout with reproductions of Martin’s drawings. Pp. 24. 4to., original printed wrappers. An excellent copy.||Frank Martin was a prolific life drawer. The book describes in detail his process. As he says ‘they were not made as preliminary studies for other works such as paintings or prints; they were done for their own sake because I enjoyed drawing from life and found it a welcome relief from the cramped and solitary work of engraving wood-blocks for book illustration”. He describes how they were all done in his studio in the ‘Italian Village’, an artist’s studio colony set up before the war in Fulham just by Stamford Bridge, mainly using Camberwell School of Art students, where he was Professor of Engraving and Etching. |

Chiswick: Grove Park Press, 2004. No. 1 of 48 special copies housed together in a solander box with 16 large ink jet prints of drawings done by Martin between 1951 and 1972. The book is illustrated throughout with reproductions of Martin’s drawings. 4to., original printed wrappers, housed in a tray in a large folio solander box with the extra set of prints covered in Martin designed patterned paper. An excellent copy.||Frank Martin was a prolific life drawer. The book describes in detail his process. As he says ‘they were not made as preliminary studies for other works such as paintings or prints; they were done for their own sake because I enjoyed drawing from life and found it a welcome relief from the cramped and solitary work of engraving wood-blocks for book illustration”. He describes how they were all done in his studio in the ‘Italian Village’, an artist’s studio colony set up before the war in Fulham just by Stamford Bridge, mainly using Camberwell School of Art students, where… Read More

Church Hanborough: Previous Parrot Press, 1998. One of 36 special copies with an incomplete set of 4 (of 8) additional engravings printed from the block by David Esslemont, signed, numbered, and titled by the artist. 314 illustrations by Frank Martin. Printed in Joanna type on Mohawk paper. Folio, original black morocco backed boards, housed with the portfolio of prints in the original patterned paper covered slipcase. With occasional very light spotting, otherwise very good. Prospectus inserted loose. ||The book was produced to celebrate 50 years of Martin’s career as a wood engraver, and ‘jobbing artist’. He learned wood engraving with Gertrude Hermes at St. Martin’s and is well known for the eleven books he illustrated for the Folio Society with wood engravings. He was also a remarkable graphic artist using large woodcuts and etchings, being particularly fascinated by silent screen and 1920s show business, as can be seen in Arwas and Kobal’s book on this work ‘Hollywood-Continental’.… Read More

1977. Original etching on copper. One of an edition of 15, signed, numbered and titled by the artist in pencil. 34.5 x 26.5 cms, paper size 40 x 33 cms. Framed in a decorated wooden frame. ||Professor of Engraving and Etching at Camberwell School for Art, Frank Martin was taught etching by John Buckland Wright and was inspired by his friend and mentor both in technique, freedom in the use of printmaking and subject matter.|Frank Martin Catalogue of Intaglio Prints, 202