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

Ditchling: S Dominic’s Press, 1922. 12 numbers of Vol V of The Game for 1922. 12 full page wood engravings by David Jones. Each limited to about 200 copies. Bound as some of the sets of Vol V were issued by the Press at a later date in quarter linen with paper covered boards and printed dust jackets. Our copy has 1922 written in ink on the linen spine, dust jacket a little darkened with mild rubbing, otherwise very good.||Of the beginnings of The Game, which he called ‘that lively magazine’, Pepler wrote “Edward Johnston, Eric Gill and myself decided to print our views about things in general which we regarded, as all men regard games, of supreme importance.” [The Hand Press, Ditchling, 1934]. No. 1 of Vol. V was issued in January 1922 and thereafter the numbering was changed to 23ff to encompass the number of all the issues from the very first in 1916.|Taylor & Sewell: Saint Dominic's Press, A Bibliography, F1, pp.143-4. A set of the issues for 1922, specially bound by the Press

London: Golden Cockerel Press, 1934. Translated from the Arabic into French by Franz Toussaint and then rendered into English by Christopher Sandford. 8 copper engraved erotic headpieces by Gertrude Hermes. Title printed in green and black. One of 275 numbered copies, this no. 225. Printed in Gill Felicity Italic on Millbourn paper. 8vo., original vellum backed blue cloth boards with gilt lettering on spine, top edge gilt, others uncut, with the university crest of Reading University stamped on the upper cover and a prize label on the front pastedown. Rubbed at edges, endpapers a little browned, otherwise good.||The sensually joyful love poems were written by a Moor in Spain in the 10th century. Hermes’s engravings for the Garden of Caresses are particularly sensuous and beautiful.Given as the 1935-6 Wells Prize in Art to Amy Green by the University of Reading.|Chanticleer, Bibliography of the Golden Cockerel Press, 100

Original lithograph, signed, numbered and titled by the artist in pencil. No.85 of 150. With the ‘Paul Hogarth Editions’ blind stamp. Printed at the Curwen Press by Stanley Jones. 73 x 54 cms.||Garsington Manor, near Oxford, England, is a country house, dating from the 17th century. It gained fame when owned by Ottoline and Philip Morrell in the early 20th century. Members of the Bloomsbury Group and other artists, writers and intellectuals, such as D. H. Lawrence, T. S. Eliot, E. M. Foster, Bertrand Russell, Virginia Woolf and Siegfried Sassoon were frequent guests at the property.|

Cambridge: Riverside Press, 1909. Profusely illustrated with reproductions of wood engravings, decorative borders, floriated initials, monograms and specimens of Greek and Latin alphabets. One of 370 copies, this no. 93. Designed by Bruce Rogers. Translated into English by George B. Ives. Pp. 332. 4to., original green paper covered boards, decorative design in gilt to covers, gilt lettering to spine. Rather stained with some wear to spine, endpapers a bit dampstained and edges darkened, but a good largely unopened copy internally.||A fine example of Bruce Roger’s mastery of typography, design and illustration. For his design of Auguste Bernard’s important work on Geofroy Tory – the great French engineer and fine Royal Printer under François I – Rogers re-engraved Tory’s original designs and, with few exceptions, rendered them here in their original size.With the book label of George Dillwyn Cross.|Hunter / Kelly ‘Century for the Century’ 7. One of Bruce Rogers’s early masterpieces

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.|||

Old Woking: Gresham Books, 1981. I. No. 104 of 250 copies for an exhibition of his wood engravings at the Ashmolean Oxford in 1981, signed by the author/artist. 32 reproductions of wood engravings by Monica Poole, Joan Hassall, Robert Gibbings, Clifford Webb, John Farleigh, Gertrude Hermes, Noel Rooke, Iain Macnab, Gwenda Morgan, Nora Unwin, Agnes Miller Parker, Buckland Wright and Blair Hughes-Stanton. 67 reproductions of wood engravings, with printed titles and dates, by George Mackley loose on 60 varying sized sheets of paper in pocket at the rear. Sm. folio. II. 137 illustrations, mainly of Mackley engravings from 1937 to 1969 plus one by Monica Poole, they are split up into sections on Botanical engravings, engravings of the sea, countryside, waterways, The Netherlands, rivers, and commercial engravings. Sm. folio. III. 1981 reprint of the 1948 edition on the mechanics of wood engraving b Mackley. 8vo.Special set with all three volumes uniformly bound by E.A. Weeks & Sons in quarter sheep with… Read More

Boston: Printed by the Riverside Press for Houghton Mifflin & Company, 1904. Virgil’s agricultural poem, his second major work. One of 330 copies, this no. 36. Decorative illustrations printed in brown. Translated from the Latin into English by J.W. Mackail. Set in Brimmer Italic type and designed by Bruce Rogers. Pp. 110. 8vo., original quarter vellum over patterned paper covered boards, gilt lettering to spine. Slight darkening to vellum, minor rubbing to corners, some offsetting from the book label to front pastedown, otherwise internally clean and bright.||With the book label of Louis Henry Bristol, detached and inserted loose.|Warde 50.

Waltham Saint Lawrence: printed by Robert and Moira Gibbings at the Golden Cockerel Press, 1932. No. 179 of 307 copies, printed on handmade paper and signed by the author. Frontispiece, title-page and 8 wood engravings by Lynton Lamb. 8vo., original quarter red morocco by Sangorski & Sutcliffe with printed patterned cloth incorporating the initials of the Press and the author, spine titled in gilt, top edge gilt, others uncut. Spine a little faded, extremely mild browning to free endpapers, very good.||The pages are beautifully designed by the expert printer Robert Gibbings who has incorporated the wood engravings with the text just perfectly. He was a master of design.The story is splendid being an autobiographical account of Bates’s trip to Germany with Chalres Lahr (they are Richardson and Karl in the story).|Chanticleer, Bibliography of the Golden Cockerel Press, 81

Paris: George Crès & Cie, 1914. Etched frontispiece by Charles Jouas, woodcuts throughout by R.-N Raimbault d’Hauterive. Pp. 262 plus errata leaf. 8vo., in a signed binding by Marc Leclerc with his monogram at the foot of the spine, full parchment covered boards hand painted by the binder on both sides and the spine with thistles, cowslips, olives and vine leaves, spine in compartments with raised bands and three panels with black lettering on a blue background and the others with a thistle, a cowslip, an olive and a vine leaf, special patterned endleaves of blue with stencilled vine leaves and grapes in darker blue and brown by the binder, green silk marker.Some marking but generally a very handsome volume. ||The binder has inscribed the verso of of the front endleaf “Reliure et Papiers de Garde spécialement composée et executée pour a volume par Marc Leclerc”.| With remarkable special stencil-patterned endpapers by the binder

[1923- printed 1929]. Original wood engraving printed on hand made paper, signed in the block. 109 x 109 mm. Mounted and framed.||There was no edition of this engraving although it was used in ‘Wood Engravings’ published by St. Dominic’s Press in 1924. HHere we have one of the edition of 80 printed by Douglas Cleverdon on hand made paper in 1929.Physick 218|

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

Waltham St Lawrence: Golden Cockerel Press, 1934. 14 wood engravings by Robert Gibbings, title page printed in red and black, initials and one headline printed in red. No. 233 of 277 copies. Folio, original quarter vellum, buckram boards, spine lettered in gilt, top edge gilt, others uncut. Some darkening and marking to the linen and a few marks to the vellum, internally very good and clean.||Some of Gibbings’s greatest work is in Glory of Life including wood engravings of animals - for instance an orangutan, a gull and a jaguar - and some spectacular lettering on the title page printed in red. A fabulous Golden Cockerel book.|Chanticleer: Bibliography of the Golden Cockerel Press, 91 With some of Gibbings’s most striking engravings

Guildford: Circle Press, 1982. Two relief prints by Willow Legge. One of 100 signed copies printed by the artist on 300 gsm Somerset rag-made paper. Large 8vo., fine in the original printed brown wrappers.||1|

San Francisco: Arion Press, 1991. One of 250 copies signed by the author. Portrait frontispiece of the poet. 8vo., original half grey cloth, patterned paper covered boards. Slight darkening to spine label and very edges of boards, otherwise very good. Original 4pp prospectus inserted loose.||39 poems by what was then a new, vivid poetic voice.| One of 250 copies, signed by the author

New York: Alfred A. Knopf, 1946. Vignettes before each chapter. Typography and binding design by W.A. Dwiggins. Printed in Caledonia type at the Plimpton Press. 8vo., original brown cloth with design by Dwiggins in gilt on upper cover and spine. Spine very slightly darkened, small mark on upper cover, otherwise good.|||

1926. Original proof copper engraving signed and numbered by Eric Gill in pencil, “EG” and 17/25. Image size 11.5 x 9.1 cms. Framed.||Proof for Procreant Hymn, published by The Golden Cockerel Press, being an alternative and more explicit design for the frontispiece of the book which was rejected in favour of a less obviously masculine image. Extremely scarce.|Physick 364 Rare proof of an explicit and unused design for Procreant Hymn, signed by the artist

Bosham: Circle Press, 2013. One of only 30 copies. A-G Bestiary with a collection of 7 illustrated poems, written by Richard Price, with blind emboss work and colour by Ron King. Set in Bembo by Joanna Mersey and printed together with the artist onto variously coloured rag made Khadi papers. 6 folding prints in red blind embossed wrappers, housed in a red chemise with iridescent butterfly on upper cover and a grey slipcase.||Published to present the case for 7 creatures which are being mistreated, which are on the point of disappearing, or have already ‘Gone!’. Ron King and the poet Richard Price perfectly present the Armadillo, the Emperor Butterfly, the Chimpanzee, the Dodo, the Elephant, the Fox and the Goose. | One of only 30 copies

New York: The Marchbanks Press, 1929. Introduction by Montague Glass. Illustrated with numerous engravings. Pp. [2] xi [1] 72 [2]. 8vo., original orange cloth over patterned paper boards, paper title label to upper cover. Mildly faded at spine, a very good copy. ||A charming Christmas Keepsake of verse by British-American humorist Montague Glass, attributed to his pseudonym, Thoephilus Cossart, and illustrated throughout with 19th century-style vignettes. The Marchbanks Press was the brainchild of George Hoffman and Joseph Blumenthal who went on to found the Spiral Press.|Gale, ‘Encyclopaedia of American Humorists’ p.175.

New York: Printed by William Edwin Rudge for The John Day Company, 1926. Title page wood cut illustration. One of 1250 copies, of which 750 copies were for sale. Designed by Bruce Rogers. Large 8vo., original gilt ruled blue cloth, gilt lettering to spine, t.e.g. Slightly rubbed at extremities, contemporary ownership signature to front endpaper which has some minor offsetting, bookseller label to rear pastedown, but still a handsome copy.|||Haas 140.

Vermont: Louise Fili Ltd., 1998. Illustrated catalogue of restaurant and food design projects by Louise Fili, including menus and bottle labels. Photographs by Austin Hughes. One of 500 copies. Printed in letterpress with four-colour process on Dulcet Neutral paper at the Stinehour Press. Pp. [16] French-fold leaves. 16mo., original peach coloured Hahnemuhle Bugra paper wrappers. Fine.|||