Search Results: Titles starting with A from SOPHIE SCHNEIDEMAN RARE BOOKS

Offenbach / London: Bund Deutscher Buchkünstler / The Wynken de Worde Society, 1989. Illustrated with 26 colour pages of type specimens and 2 tipped-in colour plates, together with numerous photographs and type specimens in the text. Edited by Knut Erichson and John Dreyfus. Text in German and English. Pp. 251. 4to., [18.5 x 28 cms], original maroon cloth, gilt initials stamped on covers, spine titled in gilt. A fine copy.||A festschrift for Hermann Zapf, being collection of essays on his professional and personal life, with contributions by Max Caflisch, John Dreyfus, Jerry Kelly, Giovanni Mardersteig, Hans Schmoller, Paul Standard and Adrian Wilson, among many others. Inserted loose is a bookmark affectionately inscribed by Hermann Zapf, together with a printed New Year card for 1991, with a quote from Goethe printed in German on the front, from Gudrun and Hermann Zapf.| With a bookmark inscribed by Hermann Zapf.

London: Constable and Company Limited, 1933. Frontispiece engraving by Horace Walter Bray. A play by Helen Waddell. One of 750 copies, this no. 516, signed by Waddell. The Raven Miscellany series. Printed at the Raven Press. 8vo., [16 x 23 cms], original quarter vellum over brown cloth boards, gilt lettering to upper cover and spine, t.e.g. A few faint spots to cloth, preliminaries and fore edge, spine and edges of boards slightly darkened.||With the book label of Norman H. Partridge.|

London: Printed at the Raven Press in Harrow for Constable & Co, 1933. One of 750 numbered copies, signed by the author. Wood engraved frontispiece by Horace Walter Bray. Pp. [viii], 57, blank, colophon. 8vo., original vellum backed brown cloth, spine and upper cover lettered in gilt. Occasional light spotting, edges a little darkened, otherwise very good.||Produced after their time at the Gregynog Press, this is a fine example of the attractive later work of Maynard & Bray.|

[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

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 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”

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”

Boston: Privately Printed , 1918. Portrait frontispiece of Jane (after Rembrandt). This edition privately printed by Updike at the Merrymount Press. First published by Charles Scribner’s Sons in 1918. 110 x 175 mms. 16mo., original black cloth backed marbled paper boards, gilt lettering to spine. Mild wear to corners, light rubbing to boards. Small bookseller label to rear pastedown.||American journalist Martin’s sprightly travel book chronicling his journey to England and Europe.|Smith 487.

Boston: The Merrymount Press, 1925. Printer’s copy, with ‘Printer’s copy: Not in Edition’ stamped on the colophon and booklabel of the Merrymount Press to front pastedown. 130 copies of this volume were privately printed by D.B. Updike. Pp. [10] 21 [5]. 4to., full red morocco, double gilt fillet borders to covers, gilt device to upper cover, spine titled in gilt, double gilt borders on turn-ins, top edge gilt, others uncut. Upper joint starting slightly at spine ends, mild wear to corners, slight offset from turn-ins, otherwise a good,handsome copy.||The dedication of the west window of St. John’s Church, finely printed by Updike, and with a plate, diagram and explanation of the symbolism of the window.With the booklabel of the Merrymount Press on the front pastedown|Smith, 620. Printer’s copy, with The Merrymount Press booklabel and in a very handsome red morocco binding

San Francisco: printed at The Grabhorn Press for The Book Club of California, 1952. 19 plates. One of 375 copies. Printed in red and black. 4to., original vellum backed, patterned paper covered boards, spine lettered in red, in the original green card slipcase. Slipcase with some fading, otherwise a very good copy.||Includes 19 early images of missions including Santa Clara, Santa Cruz, Santa Barbara etc. |

[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

Boston: The Merrymount Press, 1902. Printed by Updike at the Merrymount Press. 2 black and white portraits of the author. Pp. [iv], 51. 115 x 185 mms. 12mo., original red cloth, gilt lettering to upper cover and spine. Slight fading to spine, some occasional marks and rubbing to covers, ink ownership signature to ffep.||Alumnus and Civil War veteran Higginson’s address upon gifting 31 acres of land to Harvard College. Higginson founded the Boston Symphony Orchestra in 1881. |Smith 116. By the founder of the Boston Symphony Orchestra

London: printed by Geo. W. Jones for the Aquila Press, 1929. One of 50 specially bound copies of a total edition of 850, this no. 30, signed by the author. 8vo., original black and natural tan niger with the title as a signature in black on spine and upper cover. Some spotting to the tan morocco and rubbing to the spine. ||Together with: List of Books to be Published by The Aquila Press, Printers & PUblishers of 15a Lenthall Place, Gloucester Road, London SW& during the Autumn of 1929 and the Spring of 1930” Pp. 16, printed in red and black on japanese vellum, sewn as issued, very good.And a compliments slip from Geo. W. Jones at The Sign of the Dolphin, Gough Square, London EC4.With the booklabel of Albert Sperisen on the front pastedown and an exhibition ticket for the Book Club of California exhibit “American Expatriate Printers and Publishers, Paris 1920, 1920. January 1973.The first book from James Cleugh’s fairly short-lived Aquila Press printed by the great George W. Jones at The Sign of… Read More

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.|

Jamaica: The Kelly Winterton Press, 1990. One of 100 copies. Printed in black with the latin text in red on British handmade paper from Adobe Garamond type generated directly onto film from a Macintosh file. Pp. [2] 17 [5]. 210 x 280 mms. 4to., bound in original full crimson silk by Moroquain, gilt lettering to upper cover. Spine very mildly faded, otherwise very good. ||With the original prospectus inserted loose.Translated from the Latin by Sir G.K. Richards. This section from Virgil’s masterpiece, the ‘Aeneid’, deals with Aeneas’ encounters important Romans from earlier times in the realm of the departed. It was the model for Dante’s ‘Divine Comedy’ in which Virgil lead Dante through a similar excursion.| One of 100 copies, designed by Jerry Kelly.

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.|||

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

Iowa City: Windhover Press The University of Iowa, 1991. Faulkner’s short story, originally published in French translation in the Algerian literary magazine, ‘Fontaine’, following a poor reception in America. One of 200 copies. Introduction by Carol de Saint Victor. Set in Romanée type and printed on Johannot paper. Pp. 15. 8vo., original grey paper wrappers, black titles to spine. Very slightly faded at spine, otherwise a lovely copy. |||

Cambridge: Rampant Lions Press, 1969. One of 500 copies. Edited by Raymond Postgate with an introduction, commentary and translation of the play into modern English prose. Text in Greek and English. Printed by Will and Sebastian Carter. 8vo., a very good copy in the original ochre cloth, black spine label lettered in gilt.|||

Newtown: Gwasg Gregynog, 1997. No. 177 of 185 ordinary copies (there were 15 specials). 17 wood engravings by Agnes Miller Parker printed from the original blocks onto Japanese Gampi Vellum paper. Printed in Monotype Bembo on Zerkall mould-made paper. Folio, original red cloth backed patterned paper covered boards by Agnes Miller Parker, housed in the cloth edges patterned paper covered slipcase, spine lettered in black. An extraordinarily good copy with only a few dust marks to the very bottom of the slipcase.||A superb reprinting of the wood engravings executed by Miller Parker for the Gregynog XXI Welsh Gypsy Folk-Tales of 1933 which was printed in only 250 copies.John Sampson was an Irish linguist and scholar, best known for The Dialect of the Gypsies of Wales (1926) and for his examination of Welsh Romani folk stories. This reprint includes 4 essays on Sampson’s work, the Gregynog printing of it and how the book was put together.| A rich printing from Agnes Miller Parker’s original blocks on… Read More