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

The Olympia Press, 1955. Two volumes. First edition, first issue with Francs: 900 printed on the back of both volumes. Sm. 8vo., original wrappers, a very good, bright copy. ||| A very good, vibrant copy of the first edition, first issue

Woodbridge: Jeremy Greenwood, 2020. One of 200 copies. Portrait frontispiece of Nash at work, 30 illustrations of engravings and drawings by John Nash. Printed in Berghold Sabon on Lambeth Drawing Cartridge paper. Folio, original red cloth with printed paper label on upper boards, spine titled in gilt. As new.||Greenwood published ‘The wood engravings of John Nash’ in 1987 and this book takes the form of an elaborate addendum, inspired by the discovery of two new prints. Greenwood took the opportunity to reproduce these along with a number of superb and rare preparatory drawings from John Nash’s estate which give a good idea of Nash’s working methods.|

1961. Original ink drawing. 25.8 x 9.3 cms.||Reproduced in The Native Gardener, p.76Provenance: Estate of John Nash; Michael Taylor Rare Books; Neil Jennings|Colvin 1.45

1958. Original ink drawing, signed by the artist. 30.7 x 20.8 cms.||Reproduced in The Tranquil Gardener, p.185Provenance: Estate of John Nash; Michael Taylor Rare Books; Neil Jennings|Colvin 1.41

London: John Lane, The Bodley Head, 1944. No. 49 of 50 special signed copies printed on mould-made paper. 12 full page illustrations (one for each month of the year) and 4 elaborate botanical borders by John Nash. 8vo., original maroon cloth with Pudney’s signature in gilt on the bottom right hand corner of upper cover, spine lettered in gilt. Couple of marks to lower board, otherwise very good. This special edition came with a plain glassine wrapper (not present here).||A really fine example of John Nash’s charm and superb illustrative skills showing his place in the British Pastoral tradition.| One of 50 special signed copies on mould-made paper

Waltham St. Lawrence: Golden Cockerel Press, 1928. Translated by Brian Rhys. Four wood engravings by Paul Nash, all with original tissue guards. One of 400 copies. 8vo., in original blue cloth backed marbled paper covered boards, gilt lettering on spine, top edge gilt, in the original red dust jacket with wood engraving by Nash on upper cover. Jacket with some darkening and chipping to spine, otherwise a very good copy.||The first translation into English from the original French of Jules Tellier’s ‘Les Deux Paradis’.Nash’s wood-engravings are fine examples of his work, Clare Colvin in “Paul Nash Book Designs” marks them out: “stylistically they mark the climax of Nash's representational wood engravings”.|Chanticleer: Bibliography of the Golden Cockerel Press, 60 “the climax of Nash’s representational wood engravings”

Waltham St. Lawrence: Golden Cockerel Press, 1928. Translated by Brian Rhys. Four wood engravings by Paul Nash, all with original tissue guards. One of 400 copies. 8vo., in original blue cloth backed marbled paper covered boards, gilt lettering on spine, top edge gilt. Without the dust jacket. Spine very mildly faded with some very mild browning to endpapers, otherwise very good.||The first translation into English from the original French of Jules Tellier’s ‘Les Deux Paradis’.Nash’s wood-engravings are fine examples of his work, Clare Colvin in “Paul Nash Book Designs” marks them out: “stylistically they mark the climax of Nash's representational wood engravings”.|Chanticleer: Bibliography of the Golden Cockerel Press, 60 “the climax of Nash’s representational wood engravings”

Waltham St. Lawrence: Golden Cockerel Press, 1928. Translated by Brian Rhys. Four wood engravings by Paul Nash, all with original tissue guards. One of 400 copies. 8vo., in original blue cloth backed marbled paper covered boards, gilt lettering on spine, top edge gilt. Without the dust jacket. Spine a bit faded, some rubbing, good internally with the original tissue guards.||The first translation into English from the original French of Jules Tellier’s ‘Les Deux Paradis’.Nash’s wood-engravings are fine examples of his work, Clare Colvin in “Paul Nash Book Designs” marks them out: “stylistically they mark the climax of Nash's representational wood engravings”.|Chanticleer: Bibliography of the Golden Cockerel Press, 60 “the climax of Nash’s representational wood engravings”

1799. Mainly in blue thread with alphabets and numbers above two lines of verse - “The little birds sing praises to God when they warble sweetly in the shade” with ornamental crowns presumably to reflect the surname of the young seamstress. 29 x 34 cms. Framed.|||

c.1890s. 8 photographs including one of a family group, all in Salvation Army uniform. 6 of them are mounted of which 3 were taken by G.E. A. Burrell of Chester Street West in Christchurch, 2 were taken by M.J. Allan of Smith Street, Collingwood and one was taken by the Temple of Light in Adelaide, Australia.|||

Oxshott: The Tabard Private Press, 1986. No. 232 of 250 copies, there were also 20 special copies. Numerous examples of type specimens, drawings, calligraphy, bookplates, wood engravings, ornaments and borders and facsimile reproductions of pages. Text machine-set in Monotype Bembo at the Whittington Press and printed on Basingwerk paper. 4to., bound by Woolnough in quarter blue canvas over blue buckram boards, lettering in gilt to spine, floral patterned endpapers. A very good copy. ||A large series of short and interesting notes on all aspects of book production including book jackets, private presses such as Ashendene, Doves, Kelmscott etc, Paul Nash’s Genesis, Greek type, The London School of Printing, The Fleuron, good printing, scribes and illuminators, Monotype, wood engravings etc.|

London: William Heinemann, 1900. 12 coloured lithographs by William Nicholson, rhymes by Arthur Waugh. First “Popular” edition. Pp. 18. Square 4to., original cloth backed boards with yellow duckling by William Nicholson on upper cover, an unusually sound copy with only one tiny bump to top edge, some foxing internally.||It is extremely unusual to find this book strong condition, presumably due to its use in the nursery.A rarity.|

London: Golden Cockerel Press, 1950. No.310 of 500 copies. 6 copper engravings by John Buckland Wright. 8vo., designer binding by Nicky Oliver depicting bull’s horns in 22k gold with wood veneer, recessed vellum and walnut burl veneer inlays, black morocco onlays, full fair goat dyed with leather dyes using a miniature sponge to create a mosaic style pattern. Patterned paper and suede endpapers, acrylic wash and gold leaf top edge, others uncut. Housed in the original clamshell box with walnut burl veneer recessed strip and dyed vellum spine label.||Nicky Oliver’s design notes read: Pasiphae: the immortal daughter of the sun god Helios, wife of King Minos of Crete. Legend has it that her husband displeased the god Poseidon. As and act of revenge, Poseidon cursed Pasiphae to fall madly in love with Minos’s prized white bull. To satisfy her lust for the creature she employed the services of the great craftsman Daedalus to create a wooden cow- so that she could be “coupled” with the beast.… Read More

Paris: Georges Cres et Cie, 1919. Translated by Henri Albert. Portrait frontispiece engraved after Aubert. Extra-illustrated with an additional hand-painted title page, 8 full page hand-painted original designs in gouache and 2 full page hand-painted designs for the binding in gouache all by A.J. Powilewicz in 1962. Pp. x, 448 [2]. 8vo., bound in full vellum painted on both sides and the spine in red, green, yellow, blue and gilt by A.K. Powilewicz, and with his hand-painted elaborate endpapers, original wrappers bound in, t.e.g. Boards a trifle bowed, otherwise very good.||On the verso of his hand-painted and written colophon Powilewicz writes in ink that the designs have been inspired by Persian miniatures and rugs from the Caucasus and Persia.A delightful and playful extra-illustrated copy of a French edition of Nietzsche’s Also sprach Zarathustra, apparently put together for the personal pleasure of the artist. Powilewicz was an artist and illustrator known for his images for books in the… Read More

London: Nonesuch Press, 1929. Five volumes. No. 293 of 1550 copies. Decorative portrait illustration for each life by T.L.Poulton printed by the Curwen Press. Printed in Monotype Fournier on Arches paper. 4to., original brown buckram over bevelled boards, printed paper spine labels with spares on lower pastedowns, top edges gilt, others uncut. Darkening to endpapers, mild spotting to edges, some occasional rubbing to boards and spine labels, label on vol I rather chipped, upper cover of vol II slightly bubbled, but still a handsome set.||Thomas North’s translation of Amyot’s French version of Plutarch’s Lives printed from the first edition of 1579 with the addition of 15 lives from the 3rd edition of 1603. A serious and elegant printing of a great and readable work.|Nonesuch, 63.

London: Nonesuch Press, 1929. Ten colour illustrations by Marian Dorn lithographed at the Curwen Press. No.344 of 1050 copies. Printed in Monotype Plantin by the Oxford University Press on pale grey mottled Van Gelder paper. 8vo., original quarter vellum with terracotta paper covered sides, blocked with rules and title in Arabic in gilt on the front cover, spine lettered in gilt, top edge gilt, others uncut. Edges and spine bit rubbed, spine darkened, otherwise good.||The chromolithographs by Dorn, McKnight Kauffer’s wife, were the first to be printed at the Curwen Press for book illustration.Vathek combined popular Oriental elements with the Gothic novel. It was composed in French in 1782 and then translated in 1786, claiming to be translated directly from Arabic. Booklabel of Clarence B. Hanson, Jr.|

New York: Nonesuch Press, 1945. One of 1000 copies. Pegasus design by Eric Gill printed in grey to the title page. Designed and printed by Joseph Blumenthal at The Spiral Press on Rives mould-made paper. 8vo., original red buckram, gilt titles to spine, fore and lower edges uncut, in original grey printed dust jacket with Gill’s Pegasus design. Very slight rubbing to extremities, in a chipped and mildly edge worn dust jacket. ||Pegasus was originally designed by Eric Gill in 1914 as a bookplate for Francis Meynell.|Nonesuch, 116c.

Bloomsbury: Nonesuch Press, 1929. No. 392 of 1525 copies. Printed by Walter Lewis at the University Press, Cambridge in Monotype Bodoni italic on Arches mould-made cream paper. Pp. 32. Tall thin 4to., original stiff marbled paper covered boards with printed paper label on upper cover. Mild fading to spine and along edges of boards, marbled paper chipped and splitting at edges with loss at top and bottom front board.||James Laver (1899-1975) was the Keeper of Prints and Drawings at the V & A but also a very talented writer. Nonesuch Press had previously published his pastiche of Pope’s ‘Rape of the Lock’ and ‘Love’s Progress’ was its sequel.|Nonesuch, 62.

London: Nonesuch Press, 1934. One of an unspecified number. Cover design by Leonard Beaumont. Printed at the Kynoch Press for the Nonesuch Press. 8vo., original cream printed boards with wood-engraved image of a young lady, a church and bells on the cover with the title in graphic lettering on the upper cover, edges uncut. Lacking the dust wrapper with the additional words of the title, ‘and divorce’. Spine slightly darkene, mild rubbin to extremities.||Written under the pseudonym of ‘Ambrose Hoopington’ by Cecil Binney, a practising barrister and the founder of ‘Cherwell’ magazine. He also published a popular manual on ‘The Divorce Court’ in 1957.|Nonesuch, 96. “A pleasantly witty discussion of divorce”

London: Nonesuch Press, 1929. No. 916 of 1050, there were also 500 copies for Random House. Copper engraved title page and 2 headpieces to the introduction and colophon Stephen Gooden and printed by A. Alexander and Son. Set in Monotype Bodoni and printed by R. MacLehose & Co. on Arches cream laid handmade paper. Pp. xvi, 368. 12mo., original full maize buckram with bevelled boards, gilt titles to spine, t.e.g, others uncut. With the original marbled paper slipcase (worn). Spine slightly darkened, otherwise very good.||An anthology of Latin and English poetry, with selections from the work of twenty-one important Latin poets rendered into English. With the armorial book label of R.L. Langon-Down.|Nonesuch, 59.