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

Dortmund: Fr. Wilhelm Ruhfus, 1911. 64 pages with 53 designs for posters, writing, trademarks, business lettering, covers and titles for books, exhibitions and showcase decorations by Fritz Helmut and Clara Ehmcke, several colour illustrations using chromolithography. First edition. 8vo., original printed wrappers. Some creasing but generally a very good copy. ||An early overview of the work of the Ehmckes. The last page bears an adverstisment of the Werkstatt fur Kunstlerische Schrift [Workshop for Artistic Font] of F.H. Ehmcke in Dusseldorf with details of all sorts of work he will undertake.Rare in this condition.|

London: John Stockdale, 1793. Two volumes. 112 engraved plates with protective tissue by Thomas Stothard, J. Landseer, Hunt, Medland, Lovegrove, Skelton, Powell, Eastgate, W. Grainger, Clarke, L. Chapman, A. Smith, J. Saunders, Audinet et al. Pp. lxi, publisher’s ad. leaf, 198; xii, 248. Large 8vo., original cloth backed marbled paper covered board with printed paper spine labels. Some rubbing, light browning to end of volume II, and a bit shaken.||An excellent untrimmed copy pretty well preserved in the original binding of Stockdale’s well printed and deliciously illustrated Aesop. This is a true first of the great 1793 Stockdale edition with the advertisement leaf for Stockdale’s Gay’s Fables and the misprinted p.891 for p.198 of the first vol. The text is by Samuel Croxall. Booklabels of Carleton Richmond. | In the original publisher’s binding

New York: The Museum of Modern Art, 1954. Illustrated with linoleum blocks by Antonio Frasconi. One of 975 copies, this no. 239, signed by Frasconi, Westcott and printer Joseph Blumenthal. Designed and printed by Joseph Blumenthal at the Spiral Press. Handset in Emerson type and printed on Rives mould-made paper. 4to., original quarter red cloth backed patterned paper covered boards, lettering in gilt to spine, original black slipcase with printed paper label (a little worn and rubbed to extremities). Spine mildly faded, small bookseller label to rear pastedown, otherwise a good copy. ||The first of a series of limited editions published by The Museum of Modern Art under the direction of Monroe Wheeler. The fables include The Bee-keeper Robbed and Stung, The Ambitious Woman and the Fat Hen and The Stag in His Own Opinion.Inscribed on the colophon by Joseph Blumenthal to poet Harold Corbin – ‘This is one of my favourite books’ – in April of 1990. |Spiral Press Bibliography, 273 Inscribed by… Read More

New York: printed at The Riverside Press for Hurd and Houghton, 1865. 130 engravings based on designs by Herrick. 8vo., original brown cloth decorated in gilt. Top of spine rather worn and front hinge split.|||

Chelsea: Ashendene Press, 1923-1925. Two volumes. One of 180 copies & 200 copies respectively on Batchelor 'knight in armour' paper, (there were also 12 & 15 copies printed on vellum). Printed in double column in red, blue (particularly in the Minor Poems) and black in Subiaco type with large initials printed in red and blue designed by Graily Hewitt, who also designed the opening words for each Booke of the Faerie Queene. The Greek type which appears occasionally designed by Selwyn Image for Macmillan. Folio, original brown cowhide backed ivory vellum sides bound in the WH Smith bindery with their monogram in blind on the lower turn-ins, gilt lettering on spine. Faeire Queene with a little rubbing to spine and headcaps and some spotting to endpapers and edges, slight offset from the turnins otherwise very good; Minor Poems with expertly repaired joins and some rubbing and wear to spine, lower corners bumped, offset from booklabel dn turn-ins, edges darkened, otherwise good. Prospectus for the… Read More

Cambridge: Loft Press, printed by C.H. Waddington, 1925. 5 woodcuts by H.G. Gurney. Printed by the young C.H. Waddington and containing poems by Rolf Gardiner, Edward Upward and Austin Lee amongst others. Sm. 8vo., original blue paper wrappers sewn as issued, printed paper label on upper cover, slight wear with a couple of creases to wrappers and chips to spine, one sewing strand has broken.||Although known for his work in developmental biology and genetics, the brilliant young Conrad Hal Waddington was also passionate about poetry and art. Whilst at Cambridge he began The Loft Press printing work by Isherwood and Edward Upward amongst others. |

Original linocut print. One of a numbered edition of 100 printed by hand at Gwasg Gregynog on large sheet (625 x 520mms) of Gregynog watermarked hand-made paper.||Kyffin Williams, RA, the noted Welsh landscape painter, worked with the Gregynog Press in Newtown, Wales on many occasions. He left them 6 original linocuts in his will so that they could produce an edition of prints after his death. |

London: Collins, 1933. Written with 31 wood engravings by Clare Leighton. First edition. Oblong folio, original green cloth with lettering and image by Leighton in gilt on upper cover, in the original Leighton designed dust jacket which matches the endpapers. Cloth faded at the very edges, unclipped jacket chipped at head and tail of spine and with a few small spots but generally a very good copy. ||In words and spectacular large wood engravings, Leighton gives a monthly account of rural agricultural life in 1930s England from the perspective of farm workers. A remarkable and radical production in a time when farm labourers were in a period of low wages and depression. Leighton lived among the workers in Buckinghamshire in order to get as close as possible to their lives and present it the wider world in this impressive way.In Gollancz’s publicity for this work, Gill is quoted as writing “Bewick and Raverat have done little engravings that are big in spirit, but no one in our time has succeeded… Read More

Tölz: Bremer Presse, 1920. No. 58 of 270 copies. Title and initials by Anna Simons. 4to., bound by Frieda Thiersch at the Bremer Bindery and signed on the rear turn-in in original vellum covered boards with gilt orders round the covers and the spine lettered and ruled in gilt, top edge gilt, others uncut. An extremely good copy.||The seventh book from the press and an elegantly printed response to the Doves Press Faust which was issued in two parts in 1906 and 1910.|

Darmstadt: Printed by the Kleukens Press in Frankfurt am Main for the Ernst Ludwig Presse, 1922-3. Two volumes bound in one by Alfred Hüter of Berlin, with his binding label. Woodcut titles and initials. Printed in red and black in Kleukens-Antiqua type at the Kleukens Presse. Pp. 214, [3]; 328. 4to., full vellum binding over stiff boards with calligraphic title in black ink on spine. 4pp prospectus inserted loose. Slight wear to the lower sewn headband, first gathering a little shaken, few small marks to lower cover, but generally a very handsome volume. ||Two volumes of three, the last being published in 1924 being a small volume entitled ‘Urfaust & Paralimpomena’ The colophon declares that two Frankfurt men, Moritz Freiherr von Bethmann and Hans von Pasavant paid for the paper on the understanding that the Kleukens Presse would repay the same amount to the Goethe Museum in Frankfurt.The dramatic full page opening initial I is reminiscent of the Doves Bible. Indeed, the great German book and… Read More

2005. Colour wood engraving printed by the artist, signed, numbered and titled by the artist. Image size 10 x 9 cm (4 x 3.5 ins). Paper size 23 x 16 cm. Printed on Monadnock paper. ||One of the special edition of 26, printed on Gampi Torinoko paper, is also available, priced at £300.|

1925. Original proof wood engraving, here printed on handmade paper, signed and dated by the artist in pencil. With pencil numbering 3 - 10. Image size 127 x 57 mms, sheet size 164 x 174 mms.||From the Golden Cockerel Press Gulliver’s Travels, vol II., p. 109 (usually appearing coloured in green, red and flesh-colour but here uncoloured).The image is comparatively lightly inked and is was printed on paper with some crease marks but still good and with clear detail.|Cleverdon E121 Original signed proof

Harper Woods, Michigan: Adagio: The Private Press of Leobard Bahr, 1970. One of about 300 copies. A selection of quotations from the works of Robert Louis Stevenson. Text and decorative ornaments and initials printed in black and brown. 16mo., [9.5 x 17.5 cms], original sewn brown paper wrappers printed in black. A very good example.||Together with 2 other pieces of Adagio Press ephemera:1. ‘A Gathering of Typographic Odds and Ends rescued from sundry sources and now protected in the cases at the Adagio Press’, 1970. One of about 200 copies. 16mo., [9.5 x 17.5 cms], original printed cream stapled wrappers. 15 pages of beautifully printed typographic ornaments.2. ‘A select checklist of the books, pamphlets and folders’, 1971. Single pale green sheet [13.5 x 21.5 cms] printed in red and black, listing previously published works and works in progress by the Adagio Press.| Adagio Press ephemera

London: Hamilton, Adams & Co., 1833. 85 illustrations by R. Cruickshank engraved on wood by Dodd, Williams, Bonner & others. Title page printed in red and black. 8vo., handsome later half calf, spine decorated in gilt in compartments, cloth sides. An extremely good copy.||The preface is signed by ‘Job Crithannah’ an anagram of Jonathan Birch. The fables are varied and include such tales as The Thistle and the Wheat, The Truant Ass, The Warrener and the Ferret, The Boy and the Rattlesnake, The Ruin and the Ivy. Aesop and the Libertine and Prometheus and Man.Robert Cruikshank was the elder brother of the famous George and son of the Socttish bpainter and caricaturist Isaac Cruikshank.|

Octon: Verdigris, 2001. Five round mezzotints of figs in various stages of bursting by Judith Rothchild plus a screen prints of fig leaves including a two-coloured one facing the colophon. Printed on Hahnemuhle paper in Vendome Romain type by Mark Lintott. One of 36 ordinary copies (this no.21). Sq. 4to., loose as issued in velvet black wrappers screen printed with fig leaf, green lettering on spine in the original black slipcase. ||D.H. Lawrence's provacative and erotic poem Fig first appeared in Birds, Beasts and Flowers in 1923. It achieved notoriety when it was used in a memorable scene in Ken Russell's film Women in Love . It is stunningly presented here with wonderful use of spacing for the text and luscious illustration. A sensual and and beautiful piece of printing.Judith Rothchild is an American painter/printmaker who collaboraters with the English printer Mark Lintott on Verdigris publications in the South of France. She has an international reputation and her work has been exhibited at… Read More

Printed by William Edwin Rudge for the Mergenthaler Linotype Company, [n.d. circa 1929]. . A portfolio of 8 specimen pages of from books designed by Bruce Rogers. One of 975 copies, this no. 780. 8vo., eight 4pp specimens housed in a blue board portfolio, in matching slipcase. Spines of portfolio and slipcase slightly rubbed, lower edge of slipcase split, specimen pages fine.||From the library of Jean B. Barr. Later with a book label from the Graphic Arts Collection in Honour of Mary B. Eilbeck.|

Risbury, Herefordshire: The Whittington Press, 1999. No. i of 65 special copies with an additional portfolio of 25 whole sheets of paper. The book has 40 tipped-in specimens of handmade papers from the Oxford University Press collection. 2 plates of photographs of paper mills and techniques, and examples of watermarks. One of 300 copies, this no. 85. Set in Centaur type (from matrices originally belonging to Oxford University Press) and printed at the Whittington Press on Zerkall mould-made paper. Pp. 85 [plus 40 leaves of specimens]. Folio, bound by the Fine Bindery in original half green duck egg blue morocco over green Fabriano Roma paper boards, the portfolio is green cloth and dark green paper covered boards, housed in the green clamshell box with a leather spine label the length of the spine. A fine copy with ‘The Whittington Press’ written in pencil on the first blank by John Randle.||With descriptions of each of the specimens, and the mills where they were produced, which include T.H.… Read More

Washington: Library of Congress, 1987. Illustrated with numerous plates of photographs and page specimens. Originally presented by master printer and Californian Ward Ritchie as one of the ‘Engelhard Lectures on the Book’ at the Library of Congress, 1985. One of 1500 copies. Designed by Scott Freutal and Patrick Reagh. Set in Bembo type and printed on Mohawk Superfine paper. 8vo., [15.5 x 23 cms], very good in the original printed wrappers bound by Cardoza-James Binding Company, San Francisco.|||

ff [Flynn & Funazaki], 2011. No. 3 of a limited edition of 5. 97 x 98 x 23 mms. Handset and letterpress printed text by Danny Flynn. Multi-coloured illustrations by Eri Funazaki printed in letterpress and hand tooled in gold and blind. Pages folded in a double concertina style to be pulled out in opposite directions. Bound in goat skin and letterpress printed blue suede finished with gold and carbon tooling. In a full blue morocco box resembling a giant metal type of a pointing finger. ||“The book is about a pointing finger, which you may commonly find in old posters and signposts. The whole design was inspired by this particular character, which seems to have visual authority over common text and even illustration. The design of the book was influenced by old wooden poster type and geometrical shape of printing furniture and quoins. It ends with a question, ‘Can it be trusted?’ The answer is ‘Well I really don’t know….’”|

Waltham St. Lawrence: Golden Cockerel Press, 1945. No. 316 of 500 copies. 6 wood engravings by Clifford Webb. Thin 4to., original half vellum binding with orange/brown buckram sides by Sangorski & Sutcliffe with a flowing design of knights by Webb blocked in gilt on upper cover, spine lettered in gilt, top edge gilt, others uncut. A very good copy.||A sumptuous production of the first ever complete translation of a unique eye-witness account of the First Crusade. The deeds of the Crusaders done in the name of God makes rather modern reading and leaves usastonished as to what extraordinary acts are bred by fanaticism. |Cockalorum 168