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

1993. Original wood engraving. Artist's Proof. Edition of 25. Signed, and dated 1993. Image size 153 x 190 mm. Paper size 265 x 293 mm. |||

Original aquatint etching by Julian Trevelyan of Hammersmith Bridge with a red painted moon. 13.7 x 9.6 cms. Etching on the front and folded with note by Mary Fedden on the inside in black ink “Love from Julian and Mary. Addressed - I promise! before your charming sheep arrived, and just waiting to be delivered! Mxx||Hammersmith Bridge is very close to where Trevelyan and Fedden lived together and he used it for several of his prints. The red painted moon is very typical and can be seen in several Trevelyan prints.|

London: Lund Humphries, 1983. No. 38 of 200 copies, signed and monogrammed. Two volumes. Text volume pp. 280. Sample volume with 45 samples all relating to the text and in a ring binder. Sm. 4to., original green cloth, sample volume with paper samples in a ring binder with printed dividers and index. Both volumes in the original green cloth and card slipcase. An extremely good copy.||The 45 paper samples are from countries all over the World including Australia, France, tehUK, India, Israel, Japan, Italy, Poland, Sweden and the USA. A fascinating broad overview of papermaking.|

New Fairfield: October House, 1955. One of 600 copies, of which 500 copies were for sale at the Chiswick Bookshop. Designed by Bruce Rogers. Type composed by William E. Rudge’s Sons and printed at the Stinehour Press. Pp. 81. Thin 8vo., original quarter purple cloth over lavender patterned paper covered boards, printed title label to spine, t.e.g. Very slightly faded at spine and along top edge of boards with one or two faint marks, still a very good copy.||Beerbohm’s light-hearted short story concerning the misadventures of one Lord George Hell.|

2023. One of an edition of 50 printed on Khadi paper from a copper wire sculpture on board. 15 x 20 cms.|||

London: Golden Cockerel Press, 1944. Edited by Walter Sidney Scott. Portrait frontispiece of Shelley. No. 394 of 450 ordinary copies. Printed in Perpetua type on Arnold's mould-made paper. 4to., original quarter brown morocco with blue buckram boards, top edge gilt, others uncut. Slight fading to spine and bumping to fore-edge of upper board, otherwise very good.||The letters with which the book is concerned were written by Shelley to his friend Thomas Jefferson Hogg during a period of estrangement occasioned by the attachment of Jefferson Hogg to Shelley's first wife, Harriet, and also the letters of Mary Godwin to Jefferson Hogg during 1815 after Shelley's desertion of Harriet and elopement with Mary. Here they are published for the first time edited by Walter Sidney Scott who had married into the Jefferson Hogg family.The book is part of a trilogy from the Press which included The Athenians and Shelley at Oxford.|

London: Golden Cockerel Press, 1935. No. 283 of 300 copies signed by the author. Borders on every page by Tirzah Ravilious (nee Garwood) printed in red. 8vo., bound by Sangorski & Sutcliffe in original quarter blue cloth with patterned paper covered boards top edge gilt, others uncut. Ex Wigan Public Library copy with ex-libris on front pastedown and small blind stamp on the title, otherwise very good.|||

2005. Original colour wood engraving, one of an edition of 250, signed, numbered and titled by the artist in pencil. Image size 9 x 11 cm (3.25 x 4.5 ins). Paper size 23 x 15 cm. Printed on Monadnock paper.||Ephemerella subvaria, engraved for Mayflies of the Driftless Region written and hand printed by the artist in 2005.“’Dry Fly Entomology’ by Frederic M. Halford, published in London in 1897, was the inspiration for ‘Mayflies of the Driftless Region’. Halford, the Victorian innovator and popularizer of modern fly-fishing, scientifically described and surveyed the principal British mayflies of his time, but he did not claim his work as a comprehensive entomological treatise. Instead, ‘Dry Fly Entomology’ was aimed at providing anglers with a basic, working understanding of the nature of aquatic insects. ‘Mayflies of the Driftless Region’ can make no such claim: it is not a field guide. Instead, it is a study of mayflies by an artist....I have created 13 depictions of mayflies,… Read More

New York: Limited Editions Club, 1939. 6 large wood engravings by Eric Gill. No. 1187 of 1950 copies. Folio, original linen backed patterned paper covered boards with the original glacine wrapper, top edge gilt. A very good copy with the prospectus inserted loose.||One of the 37 volumes of The Plays of William Shakespeare published by The Limited Editions Club of New York for subscribers.|

London: Golden Cockerel Press, 1937. No.110 of 200 copies. 8 wood engravings by John O’Connor. Printed in Perpetua type on Arnold’s hand-made paper. 8vo., original quarter blue morocco, marbled paper covered boards, with gilt lettering to spine. Spine rather faded and marked, a little rubbing to extremities, booklabel on front pastedown. ||Sandford and Rutter, partners in the Press, write “One of the happiest and gayest of our smaller books...This one was the outcome of a holiday task set by one of the partners to his...fourteen-year-old daughter [Joan Rutter]...When two exercise books had been filled he saw the possibilities of a Cockerel book”John O’Connor was a pupil of Eric Ravilious and perfectly binds the poetry together with his wood engraved garlands.|Pertelote: Bibliography of The Golden Cockerel Press, 124

London: printed for Frederick Etchells and Hugh Macdonald at 1a Kensington Place, 1924. One of 825 numbered copies. Printed on Kentish all rag paper at The Pelican Press. Sm. 4to., original brown buckram backed printed boards, original dust jacket. Jacket worn and faded, boards darkened. |||

2009. Wood engraving by Reynolds Stone, printed from the original block by Phil Abel at the Hand and Eye Press and overseen by the artist’s two daughters Phillida Gili and Emma Beck. Edition limited to 100, each print numbered by the artist’s daughter Phillida Gili and with the blindstamp of the Reynolds Stone estate. 11.7 x 7.7 cms.||Engraved by Stone around 1938 for The Skylark, printed for Colin Fenton at The Curwen Press. It is one of seven illustrations by Stone inspired by Ralph Hodgson’s poems.|

Berlin-Steglitz: Officina Serpentis for Gotik-Verlag Erfurt., 1923. Edited by Margarete Hoffmann and Margarete Rühle., printed by E.W. and E. H. Tieffenbach. 8vo., original boards with printed paper labels on spine and upper cover. Boards darkened, spine slightly chipped but generally good.|||Rodenberg p.120

2005. Colour wood engraving hand printed by the artist, one of an edition of 230, signed, numbered and titled by the artist. Image size 8 x 11 cm (3 x 3.5 ins). Paper size 23 x 15 cm. Printed on Monadnock paper.||Heterocloeon anoka, engraved for Mayflies of the Driftless Region, written and hand printed by the artist in 2005. “’Dry Fly Entomology’ by Frederic M. Halford, published in London in 1897, was the inspiration for ‘Mayflies of the Driftless Region’. Halford, the Victorian innovator and popularizer of modern fly-fishing, scientifically described and surveyed the principal British mayflies of his time, but he did not claim his work as a comprehensive entomological treatise. Instead, ‘Dry Fly Entomology’ was aimed at providing anglers with a basic, working understanding of the nature of aquatic insects. ‘Mayflies of the Driftless Region’ can make no such claim: it is not a field guide. Instead, it is a study of mayflies by an artist....I have created 13 depictions of… Read More

Ivoy-le-pre: Les livres sont muets, 2014. No. 24 of 28 copies, signed by the author and the artist in pencil. 19 drawings and lettering by François Righi printed in lithography by Michael Woolworth in Paris, and 3 copper engravings printed by the artist. There is a loose leaf with translations of the text by Gregoire in English and Spanish. Printed in Antique Olive on japon Kawasaki paper. 24.5 x 26 cms. 8vo., stab sewn as issued in stiff card boards with japon wrappers and a lithograph in black and silver on the upper cover. A fine copy housed in the original chemise and slipcase covered in midnight blue japanese moire paper.||This book features drawings and thoughts inspired by the sculpted ceiling in the oratory of the Hôtel Lallemant, a Renaissance-era building in Bourges. The recessed panels of this ceiling are decorated with alternating crest and cherub emblems, and each type of panel provides the inspiration for the various illustrations in this book. The fourteen panels decorated with… Read More

2005. Colour wood engraving hand printed by the artist, one of an edition of 125, signed, numbered and titled by the artist. Image size 24 x 23 cm (9.5 x 9 ins). Paper size 32 x 24 cm. Printed on Monadnock paper.||Hexagenia bilineata, the largest image engraved for ‘Mayflies of the Driftless Region’, written and hand printed by the artist in 2005. ‘Dry Fly Entomology’ by Frederic M. Halford, published in London in 1897, was the inspiration for ‘Mayflies of the Driftless Region’. Halford, the Victorian innovator and popularizer of modern fly-fishing, scientifically described and surveyed the principal British mayflies of his time, but he did not claim his work as a comprehensive entomological treatise. Instead, ‘Dry Fly Entomology’ was aimed at providing anglers with a basic, working understanding of the nature of aquatic insects. ‘Mayflies of the Driftless Region’ can make no such claim: it is not a field guide. Instead, it is a study of mayflies by an artist....“I have created… Read More

1987. Complete set of 10 colour wood engravings printed by the artist. Signed, dated and numbered by the artist. Each image has different edition size of between 51 and 61 prints. Image Size 12.5 cm x 9 cm (5 x 3.5 ins). Paper Size Majority is 25.5 cm x 19 cm.||Engraved for a book ‘High Bridge’ printed and illustrated by Gaylord Schanilec and written by Clayton Schanilec, published in 1987.On February 24, 1985, 24,000 people gathered on the banks of the Mississippi River in Saint Paul, Minnesota to witness the demolition of a 97 year old bridge that connected their communities for generations. When it came down in a well-orchestrated collapse of steel, there was scattered applause and then silence. No one present had ever see this valley without the bridge.‘High Bridge’ documents the passing of the bridge, contrasting images of demolition with accounts of its construction. The images are a sequence of ten wood engravings printed in 5 to 7 colours. These compositions blend together in a… Read More

1987. Colour wood engraving printed by the artist. Edition of 58. Signed, dated and numbered by the artist. Image Size 12.5 cm x 9 cm (5 x 3.5 ins). Paper Size 25.5 cm x 19 cm.||Engraved for a book ‘High Bridge’ printed and illustrated by Gaylord Schanilec and written by Clayton Schanilec, published in 1987.On February 24, 1985, 24,000 people gathered on the banks of the Mississippi River in Saint Paul, Minnesota to witness the demolition of a 97 year old bridge that connected their communities for generations. When it came down in a well-orchestrated collapse of steel, there was scattered applause and then silence. No one present had ever see this valley without the bridge.‘High Bridge’ documents the passing of the bridge, contrasting images of demolition with accounts of its construction. The images are a sequence of ten wood engravings printed in 5 to 7 colours. These compositions blend together in a cinemagraphic-like style, affording views of the bridge as if on a walk.|

1987. Colour wood engraving printed by the artist. Edition of 61. Signed, dated and numbered by the artist. Image Size 12.5 cm x 9 cm (5 x 3.5 ins). Paper Size 25.5 cm x 19 cm.||Engraved for a book ‘High Bridge’ printed and illustrated by Gaylord Schanilec and written by Clayton Schanilec, published in 1987.On February 24, 1985, 24,000 people gathered on the banks of the Mississippi River in Saint Paul, Minnesota to witness the demolition of a 97 year old bridge that connected their communities for generations. When it came down in a well-orchestrated collapse of steel, there was scattered applause and then silence. No one present had ever see this valley without the bridge.‘High Bridge’ documents the passing of the bridge, contrasting images of demolition with accounts of its construction. The images are a sequence of ten wood engravings printed in 5 to 7 colours. These compositions blend together in a cinemagraphic-like style, affording views of the bridge as if on a walk.This image is now… Read More

1987. Colour wood engraving printed by the artist. Edition of 69. Signed, dated and numbered by the artist. Image Size 9 cm x 12.5 cm (5 x 3.5 ins). Paper Size 25.5 cm x 19 cm.||Engraved for a book ‘High Bridge’ printed and illustrated by Gaylord Schanilec and written by Clayton Schanilec, published in 1987.On February 24, 1985, 24,000 people gathered on the banks of the Mississippi River in Saint Paul, Minnesota to witness the demolition of a 97 year old bridge that connected their communities for generations. When it came down in a well-orchestrated collapse of steel, there was scattered applause and then silence. No one present had ever see this valley without the bridge.‘High Bridge’ documents the passing of the bridge, contrasting images of demolition with accounts of its construction. The images are a sequence of ten wood engravings printed in 5 to 7 colours. These compositions blend together in a cinemagraphic-like style, affording views of the bridge as if on a walk.|