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

Rochester, New York: The Printing House of Leo Hart, 1947. 4 page facsimile pamphlet announcing Updike’s forthcoming publications for the autumn of 1895 laid in to front pocket and 39 illustrations, many of them of title page and text designs. Pp. [2] x [4] 141 [3]. 8vo., original black cloth, yellow lettering to spine, in original dust jacket. A good copy in a slightly worn dust jacket.||The first volume of the Printer’s Valhalla series, devoted to Updike and his contributions to typography and bookmaking.|

Bath: Old School Press, 2011. One of 175 copies signed by the authors. 2 tipped in facsimiles of Daniel Frome printing printed from blocks on a Ruthven Press, 48 plates showing Frome printing. Text machine set in Caslon and printed on T. Edmonds laid paper at The Old School Press. 8vo., bound to imitate Falconer Madan’s work on The Daniel Press in linen backed blue paper covered boards, printed paper spine label. As new.||A far deeper coverage of the less known output of the Daniel family at their domestic press at their home in Frome, Somerset. The domestic press dates from Henry’s early years but it was picked up by two of his brothers, Eustace and William, while he was away at school and then studying in London and Oxford. After Henry had left home and established himself and his press at Worcester College, Oxford, the brothers and their clergyman father continued printing small items. Some were clearly juvenile and rather amateur works - much of it was ephemeral material for use in running… Read More

Red Howler Press, 2000. 7 wood engravings by David Moyer inspired by the apocalyptic visions described in the seventh chapter of the Book of Daniel in the Old Testament, and printed from end grain maple blocks. One of only 75 copies, this no. 13 signed by the artist. Preface by Gretchen Heinze. Set in Fette Fraktur type and printed on Somerset Satin paper by Kevin Auer of Portland, Maine. Folio, very slightly rubbed in the original full black cloth, titles in gilt to upper cover.||| One of only 75 copies

Paris: Gonin, 1937. French edition, the version written by Amyot & edited by Courier. No. XXXIII of 500 signed copies, this signed by Maillol and initialled by Gonin, being one of the large paper Hors Commerce copies with roman numerals (often with two extra suites in black and sanguine but this with just one extra suite in sanguine). 49 woodcuts by Aristide Maillol (including one on the cover of the wrappers) with an additional complete suite of 48 woodcuts in sanguine (including one on the wrapper cover). Printed on Papier Maillol. Pp. [2], 217, [5]. Thick 8vo., beautifully bound, including the suite, by Madeleine Gras in full light brown morocco with a perfectly executed curving gilt tooled pattern on both sides with gilt lettering and curves on spine, suede doublures and endpapers, signed on the upper turn-in, all wrappers bound in, all edges gilt. Housed in the original chemise and slipcase. A very fine, handsome copy.||Madeleine Gras (1891-1958) was a Parisian bookbinder whose work was first… Read More

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

Hamburg: Maximilian-Gesellschaft, 1964. With 37 woodcut illustrations by Lieselotte Schwarz. One of 1600 copies, signed by the artist. 4to., in a designer binding by Martin Jaegle in full tan oasis with 2 large ochre curved onlay decorations on front cover, t.e.g., spine lettered in gilt, suede endpapers with signatures on upper and lower turn-ins of Martin Jaegle and the Legatoria Artistica Ascona dated 1972. In tan morocco backed linen clamshell box.||The Legatoria Artistica Ascona in Switzerland produced many of the best European binders of this period including Martin Jaegle. The design is very much of its time and reflect Schwarz’s striking primitivist illustrations to Hoffmann’s “Bleak House”. Lieselotte Schwarz was a superb German illustator, she died in 2003, and has been mentioned in Germany as being on a level with Sendak.|

[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

Lexington: King Library Press for the University of Kentucky Libraries, 1976. No. 13 of 100 copies. Double page engraved map printed in red and black by Paul Holbrook, 5 full page prints of views from the travel books of Basil Hall and Alcide Orbigny. Designed by Carolyn Hammer Printed in Old Caslon type in black and red on untrimmed Hosho paper. Pp xiv, 57. Thin 8vo., original case binding with printed paper green wrapper. A superb copy.||A beautifully printed travellogue.| One of only 100 copies in fine condition

London: Hacon & Ricketts & Iohannes Lane, [Vale Press], 1901. Full page floral border, one large initials and 5 woodcut illustrations by Charles Ricketts. One of 310 copies on handmade paper. Printed in Vale type on heavy paper with a watermark of engraving tools and wreaths. Pp.30. Tal 4to, original linen backed blue paper covered boards with printed paper label on upper cover, largely unopened. Slight darkening to spine and bumping to corners, rubbing to edges of the boards, some browning and spotting to first and last few leaves, particularly to endpapers and edges. ||One of Ricketts’s most powerful books, the woodcuts being among his best illustrations. A design for one of the woodcuts was reproduced in ‘The Pageant’ and another in ‘The Dial’. With the signature of Charels Ricketts in pencil on the front free endpaper.| Signed by Charles Ricketts

Denby Dale: Fleece Press, 2000. Two volumes. Numerous wood engravings and tipped in illustrations. 8vo., original light brown cloth backed, marbled paper covered boards, printed paper spine labels, housed in the original cloth and paper covered slipcase. A very good, near fine copy.||Introduction by John Dreyfus. |

Wellingborough: Christopher Skelton, 1973. A version by Rene Hague after Iliad XXII. Four full page illustrations by Peter Campbell from originals in Indian ink. No.28 of 50 special copies printed on Pachuco Cadava Amalfi Rag Laid paper. Tall thin 8vo. 31 x 15.5 cms, bound by George Percival at Leicester in quater brown cloth with upper cover of binding covered in calligraphic paper printed in two colours from a brush lettered design by Rene Hague, a very good copy. ||The Death of Hector was a radio play written by Rene Hague, son in law and partner of Eric Gill. Hague was multi-talented and here his skill as a writer is apparent. As the producer of the play in 1958 wrote “the translation is terrific. Cold shivers run down my spine as I read”. Also his skill as a calligrapher is apparent on the eye-catching upper cover.Original invoice and Christmas card from John and Myrtle Skelton inserted loose.| One of 50 special copies

Van Nuys: Richard Hoffman: printer, finding pleasure in his printing office, 1980. One of 150 copies. pp. 20 followed by 83 pages of specimens printed in several colours. 8vo., original grey cloth backed decorated paper covered boards printed in black purple and green.An extremely good copy.|||

Ditchling: Printed for Christ’s Hospital by H. Pepler at St. Dominic’s Press, 1925. Five illustrations after Frank Brangwyn’s paintings in Christ’s Hospital. Oblong 4to., original white linen spine with printed blue paper covered boards with illustration on upper cover, a superb copy. ||Frank Brangwyn was a long time inhabitant of Ditchling and paintings and drawings of local people were often incorporated into his work. This book begins with “There is no finer of more representative example of the work of Frank Brangwyn than the sixteen pictures in Christ’s Hospital...and nor is there anywhere a decorative scheme more grandly planned”. The pictures are immense and beautiful, these illustrations giving a taster of the real thing.|Taylor & Sewell A134

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.|

Frankfurt am Main: Bauersche Gieszerei, 1938. Printed in Rundgothisch by E.R. Weiss with his griffin design on the title page and upper cover. Numerous illustrations. Printed in red and black. Pp. 60. 8vo., original printed wrappers. Very slight wear to the spine and a little shaken, otherwise good.|||

Berlin: Julius Bard, 1911. One of 200 copies. Ornaments and initials by Koch who designed the book. Printed in red and black in Koch’s Deutsche-Schrift. Pp. 343. 8vo., original white buckram with designs by Koch on the spine and upper cover, edges blue, corners rounded. A very good copy.||This was a companion volume to Koch’s edition of the Gudrunsliede which he designed and supervised.|

Chelsea: Ashendene Press, 1935. No. 348 of 390 copies on Batchelor Ashendene 'knight in armour' paper, numbered and signed by Hornby. Printed in Ptolemy type, with part of title and occasional text printed in red. Several illustrations, including the famous engraving by Ashwin Maynard of Hornby at his press and numerous sample leaves, several set again line-for-line, with many hand drawn initials, of most of the Ashendene books. Large leaves folded and mounted on a guard. Included is a leaf from the destroyed Japanese vellum 'Daphnis & Chloe', type-specimens, title-pages, prospectuses and the folded 'Announcement of the Last Books'. Collotypes and photogravures made and printed by Emery Walker Ltd. Errata slipstipped in at the end. Large 4to., original full brown soft calf by W.H. Smith, lettered on the spine and with the Ashendene Press device in gilt on the front cover, t.e.g, fore and lower edges uncut. Spine a little faded and a couple of small scratches on the sides, otherwise a very good copy… Read More

Newtown: Gwasg Gregynog, 1990. No.89 of 900 copies. Illustrated. Tall thin 4to., original printed wrappers. Spine slightly faded, otherwise good.|||

London: printed at the Essex House Press under C.R. Ashbee, published by Edward Arnold in London and Samuel Buckley in New York, 1904.. No. 101 of 150 copies printed on vellum. Hand-coloured woodcut frontispiece by Charles Robert Ashbee and hand-coloured woodcut tail-piece, hand-written calligraphic initial letters in red, blue and green throughout by the noted British calligrapher Florence Kingsford. Printed in Caslon type. 8vo., original full vellum with press dianthus design “Soul is Form” stamped in blind on upper cover, spine lettered in gilt. An extremely good, fresh copy.||One of the series of 14 books produced by C.R. Ashbee celebrating the Great Poems of the Language whose motto ‘Soul is Form’ is taken from Spenser’s ‘Hymn in Honour of Beauty’. Ashbee had started the Essex House Press in 1898 after the Guild of Handicraft took over the stock, equipment and services of the some of the staff of Morris’s Kelmscott Press. He set the presses up in Essex House in Mile End - the… Read More

Oldham: Incline Press, 1993. No. 28 of 160 copies, being one of 50 signed by the artist Peter S. Carter. double page illustration on title by Peter S. Carter. Printed in Baskeville type. Pp. viii, 26. 19.4 x 15 cms. 8vo., original black and red cloth, printed paper label on spine. An extremely good copy.||One of Incline Press’s first books. A poem which has as much weight today as it did when it was published in 1770. It decries rural depopulation and the pursuit of excessive wealth.| “Ill fares the land”