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

Liepzig-Berlin: Verlag Grethlein & Co. Pp. 112. Sm. 4to., full vellum over boards with painted illuminated monogram and title on the upper cover including insects, weasels, a mouse and lizards. Some spotting internally, binding a little marked but with a charming example of a painting vellum binding.||WWII booklabel of L. Jiranek.|

El Cerrito, California: Prickly Pair Editions, 1998. One of 45 copies. Illustrated with numerous colour and gilt decorations. Set in Walbaum type cast by the Bixlers. 8vo., original mustard-coloured silk, silver and black printed title label to upper cover. A fine copy. ||With the original prospectus inserted loose. The fourth and final title from Prickly Pair Editions.| One of only 45 copies

[Sherman Oaks, CA], 1989. Cast paper statue. 21.5 x 14.5 cms. In the original mailing box, together with a tls to Edwards H. Metcalf, signed “Joe” [Joseph D’Ambrosio] dated Sept. 23, 1989.||Cast paper statue of Michelangelo’s David being a maquette for D’Ambrosio’s forthcoming book “D’Ambrosio’s David” which was issued in 1993. In his auto-biography ‘A Memoir of Book Design”, D;Ambrosio remarks that the cast paper statues were created first and were only drawn into a book 5 years later.In the letter to Metcalf, D’Ambrosio describes his process in making the cast, first using a clay model then making a latex mold which he then used to make a statue out of paper pulp with a sizing of wheat paste and a fungicide. D’Ambrosio also suggests that Metcalf might include the model in an upcoming exhibition on paper at the Huntington Library as the work “illustrates the almost limitless possibilities of paper”.Edwards Huntington Metcalf, the recipient of this model, was an… Read More

Marlborough: Paulinus Press, 1986. 5 wood engravings by Simon Brett. No. 232 of 250 copies, signed by the author and engraver. Set in Baskerville type and printed on Zerkall mould-made paper at the Paulinus Press. 8vo., [20 x 28 cms], original sewn cream wrappers, printed in black. Very slightly toned along edges of covers, otherwise a good copy. |||

London: Grant Richards Ltd., 1924. No. 240 of 270 copies. Edited, translated and with a commentary by R.W. Postgate, signed by him on the limitation page. Printed in red and black at the Pelican Press. 8vo., original decorative paper wrappers, printed title label to upper cover. A very good copy.||The great Latin poem supposedly written for the Festival of Venus: ‘Cras amet qui numquam amavit; quique amavit cas amet’ - in Postgate’s translation ‘Tomorrow love comes to the loveless, tomorrow lovers love again’.| Tomorrow love comes to the loveless

Kent: Privately Printed, Christmas 1958. One of 1500 copies. 31 wood engravings Reynolds Stones, Cecil Keeling, Derrick Harris, Imre Reiner, Roy Morgan, George Buday, David Gentleman and Diana Bloomfield. Monotype Van Dijck printed on Japanese-fold Hosho-Shi at the Westerham Press. 12mo., [13 x 18], original cream paper backed wood veneer boards, spine lettered in gilt. An attractive copy, with some slight darkening to the spine.||A selection of wood engravings, which had appeared in Penguin books from 1949, and collected together here by publisher Allen Lane, printed from the original blocks.|

Minneapolis: Pentagram Press, 1990. No. 243 of 312 copies. Numerous examples of ‘Granjon Arabesques’ printed in various colours, printed using Monotype’s version of the ornaments from 16th century Antwerp, probably cut by Robert Granjon. Tall thin 8vo.,, original blue sewn wrappers, gilt decorative design and black lettering to upper cover, brown endpapers printed with Granjon Arabesques in blue, fore and lower edges uncut. A very good copy. |||

Minneapolis: Pentagram Press, 1988. 1 tipped-in specimen of marbled paper, 1 tipped-in photograph, and numerous typographical ornaments printed in colour. No. 39 of 150, signed by the printer, Michael Tarachow. 8vo., bound by the Campbell-Logan Bindery in original black cloth over cream handmade Fabriano Roma paper boards, printed title label to spine, blue patterned endpapers, fore and lower edges uncut. Very good copy.||A wonderful selection of various type specimens and typographic designs presented as quotations from the likes of Bruce Rogers, Eric Gill, Rudolph Koch, Daniel Berkelely Updike, Victor Hammer and Francis Meynell, among many others.| A charming collection of typographic specimens

Rockport, Massachusetts: Pentagram Press, 2001. Portfolio of 17 colour printing specimens of poems, epigrams, quotations and typographic designs and ornaments on various paper textures. Without a limitation but one of a very small number number. All loose as issued in original brown silk folder, black morocco title label lettered in gilt to upper cover, lined with black paper. A few very faint spots to one specimen sheet, otherwise an excellent collection.||| An excellent portfolio of typographic ephemera

Hammersmith, London: published at the Hampshire Hog Workshops, Hampshire Hog Lane,, 1915. 6 wood cuts and 5 triangular devices by Eric Gill. Copy no.10 (x) of 200 numbered “proof” copies, inscribed and signed by Douglas Pepler. 12mo., original quarter smooth canvas with red paper covered pictorial boards, with Dumb Driven Cattle by Gill on the upper cover, a little rubbing to extremities and darkening to spine, otherwise a good and bright copy of this early Gill work and collaboration with Pepler.||Seen as the precursor to the S. Dominic’s Press with its early Gill engraving and close collaboration between Gill and Pepler. This copy is inscribed by Pepler for R.N. Green Armytage, a friend of the Guild members at Ditchling: “We gave up this game as too proud. Douglas Pepler”. Pepler has also written a personal note to Green Armytage which is tipped in, dated from Ditchling, 26. VI. 19 and with the Guild mark in ink. He writes about The Game magazine and some beautiful verses received from Fr… Read More

Hammersmith, London: published at the Hampshire Hog Workshops, Hampshire Hog Lane,, 1915. 6 wood cuts and 5 triangular devices by Eric Gill. Copy no.71 of 200 numbered “proof” copies, signed by Eric Gill and Douglas Pepler. 12mo., original quarter smooth canvas with red paper covered pictorial boards, with Dumb Driven Cattle by Gill on the upper cover, a little rubbing and fading to the boards and mild spotting to endpapers, otherwise a good and bright copy.||Seen as the precursor to the S. Dominic’s Press with its early Gill engraving and close collaboration between Gill and Pepler. At the time this book was published, Pepler worked for the London County Council and was the organiser of the first school meals service in London. The Devil’s Devices, a sociological satire, reflect his social concerns at the time and reflects on wealth and capitalism with some very interesting use of page design and printing. Printed at the Westminster Press, 441a Harrow Road, just down from our current… Read More

New York: Peter Pauper Press, 1955. Bound by Peter Jones in black morocco backed trademark wooden boards constructed of two different types of wood slotted together perfectly on two rods, black paper endpapers, black edges. Housed in the original black cloth covered slipcase.|||

Achill Island, Ireland: Rex Fox Press, 2014. One of only 69 signed and numbered copies. 24 screen printed pages. 25 x 33 cms. In a superb large enginerred binding by the great British bookbinder Peter Jones of brown, tan and green morocco backed wooden and perspex boards with palm tree and signs design in various coloured pape applied to perspex sections. All housed in a superb wooden, orange felt lined box, perspex windows with original upper wrapper screen print on the upper cover. Original screen printed back wrappers in a pocket at the back. ||The binding statement declares: Through my choice of materials, design and structure I sought to capture the essence of the scenes depicted within the book. The treatment of the spine and adjacent shapes are palm trees with the shapes at the fore-edges being stylised representations of signage, viewed from street level. The structure of the binding was devised to cope with the particular demands of a thick single section text block printed on heavy paper.… Read More

London: Rupert Hart-Davies, 1968. Photographic illustrations by Jim Dine. 256 x 205 mms. Bound by Peter Jones in black morocco spine over black acrylic sides. The spine is beautifully constructed with bands of morocco over a thin ridged morocco back, edges coloured black with lettering in silver on the black endpapers. Housed in the original felt lines, black cloth clamshell box.|||

Monmouthshire: Old Stile Press, 2003. Woodcuts in one and two colours by Chris Nurse. One of 160 copies numbered and signed by the artist. Printed on Somerset paper in Bulmer type. Oblong 4to., 290 x 162 mms. Bound by Peter Jones in 2014 black, red, cream and grey morocco with an opaque acrylic ‘crack’ on the front cover and a wooden strip in the lower board. Housed in the original black cloth covered clamshell box. ||Jones has taken this tale from Shakespeare’s Midsummer Night’s Dream and reflected the story - particularly noticeable in his use of opaque acrylic to represent the crack in the wall in the story. The binding is structured beautifully and perfectly executed.Peter Jones worked in London as a furniture restorer and leather liner before training in bookbinding at Brighton Polytechnic. He now works as a bookbinder and as a carpenter and his books have a remarkably engineered quality with a great understanding of how to use different material in his work. He has taught bookbinding… Read More

[2014]. A unique book with reproductions of drawings by Hugo Jones digitally printed on handmade paper. 21.5 x 14 cms. Bound by Peter Jones in acrylic with a spine of wood, vellum strips and externally sewn rods. Housed in the original black and grey cloth clamshell box.|||

Mount Vernon, New York: Peter Pauper Press, c.1950. Set in Baskerville types and printed on Curtis Mill paper at the Peter Pauper press. 8vo., [14.5 x 23 cms], original patterned paper boards, black titles printed to spine. Housed in original blue card slipcase, red printed title label to one side. Spine and slipcase a little faded, otherwise a good copy.|||

Petrarch Press, 1994. Calligraphic text drawn by Laura Davis, who also redrew the illustrations, originally designed by Franklin’s grandson. One of a small limited edition (of which 60 were special copies signed by the artist). Printed on all-rag Arches and Fabriano Ingres. Pp. [16]. 8vo., original yellow sewn French-fold wrappers, text and silhouette printed in brown to upper cover. A very good copy.||Written as an undated letter by Benjamin Franklin during his stay in France in the late 1780s.|

Oxford & Cambridge University Presses, printed under Brooke Crutchley at the CUP,, 1961. Bound by Philip Smith in 1961 (signed on the upper turn-in in blind and lower in gilt). 8vo., full niger morocc, upper cover with design of descending angel stamped in gilt with wings and body in feathered onlays, followed by trail of colours in feathered onlays and stamping in black, lower cover with design of ascending angel stamped in black with wings and body in feathered onlays, followed by trail of stamping in black, spine lettered in white on black stamps together with feathered onlays, gilt edges, original brown cloth slipcase. In superb condition with Slight offset to free endpapers from turn-ins.||From the library of Lord Wardington sold at Sotheby’s 12th July 2006, Lot 210. Since then in a private collection. A remarkably good and rather beautiful example of the work of the great British designer bookbinder Philip Smith, MBE.Philip Smith (b.1928) studied bookbinding under Roger Powell at the Royal… Read More

Written out in this form at Yatton Keynell, October 2006.. 13 pages of printed philosophical text by Philip Smith with 19 postcards of works by Philip Smith bound in interleaved by plain paper. Sm. 8vo., yoke-backed binding sewn on three linen tapes with a symbolic landscape painted across both boards on Langley handmade paper and over a ground of Japanese paper on the spine in acrylics by Smith, four endpaper sheets in yellow, blue and brown Mi-Tients Canson paper. Housed in the original blue cloth, felt lined box with printed paper spine label. ||Philip Smith was one of the greatest British bookbinders of the 20th century and was well-known for inventing several techniques including the ‘lap-back’ structure which allows the book to open fully and so an image or configuration can be created across both boards. He also invented vellum/laminated yokes which can also be seen here which reinforces the joints and allows for full opening.The philosophy of Non-Duality was the driving force behind… Read More