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

Paris: Societe des Amis des Livres, 1948. With commentary by Leon-Paul Fargue. One of 88 copies for individual members of the Societe des Amis des Livres, this no. 29 printed for Mr. Rene Lavallette-Simon. 23 large erotic etchings (3 double page) around the text and one wood engraving on the front cover by Pierre-Yves Tremois, engraved by Raymond Haasen and Pierre Bouchet. Very large 4to., unbound as issued in the original pictorial wrappers with Tremois engraving in green on upper cover, housed in teh original green cloth backed chemise with printed paper covers spine. Slight rubbing to chemise spine but otherwise an extremely good copy. With the note to the binder inserted loose. Together with an additional 4 leaves with the first three bars of Debussy’s L’Apres Midi printed in green and black and another large full page etching of the Faun by Tremois.||Also with this copy are two large 4pp. menus for the Societe des Amis des Livres for March and November 1948, one at the Cercle Interallie and… Read More

Lausanne: les frères Gonin, 1935. 12 original lithographs and 15 woodcuts by Artistide Maillol. No. 73 of 225 copies, signed by the artist and editor in pencil, (there were also 50 copies for Zwemmer in London and 50 suites of plates). Printed on special handmade paper made by les Manufactures Canson et Montgolfier, after the process of Aristide and Gaspard Maillol. Pp. 124. Folio, bound by Roland Meuter in a full mosaic binding of orange morocco with inlaid sections of tan morocco and gold covered leather with inlaid silhouettes in white leather of nudes in line. Housed in the original morocco backed linen solander box with white lettering on spine. Extremely good with only occasional mild spotting.||Bound by the Swiss bookbinder Roland Meuter, who still binds in his atelier in Weggis.| In a dramatic figurative designer binding

Lausanne: André & Pierre Gonin, 1959. No. 14 of 15 deluxe copies with an extra suite of prints on Chine, an original copper plate for the book (which has been crossed) and two original drawings, this specially printed for Dr. John Blum, of a total edition of 215 copies, signed by the publisher. 16 original etchings by Hans Fischer. Printed in Baskerville type with the title and initials printed in red on Auvergne handmade paper;l. Large 4to., loose as issued in the original wrappers in the original chemise and slipcase with vellum spine with blue lettering and blue paper covered boards.||Hans Fischer was a Swiss painter well known as the author and illustrator of the children’s book Pitschi, the kitten who always wanted to be something else.| One of only 15 copies with an original copper plate, two original drawings and an extra suite

Paris: Chez Audot et chez Susse, [1825?]. 37 engraved plates by John Flaxman, engraved by Etienne Achille Reveil. Oblong 4to., original embossed cloth with floral pattern, spine lettered in gilt. Upper hinge cracked, with slight fading and rubbing to edges, head and tail of spine chipped, very occasional extremely light spotting. In all a very bright copy in the original cloth.||Reveil’s engraving of Flaxman’s drawings for Hesiod, showing characteristic Flaxman flowing classical lines. In 1817, Blake had finished his version of engravings from Flaxman’s original drawings.|

Paris: Le Livre, 1925 & 1927. Two volumes. Vol I: 14 illustrations, including the vignette on the upper wrapper and the frontispiece, by Georges Lepape reproduced in pochoir by Jean Saudé, vignette woodcut on title page. One of 400 copies on vélin d’Arches, of a total edition of 435 plus 25 hors commerce copies. Printed in lilac, blue and black throughout. Pp. [vi], 213. Large 8vo., in the original printed wrappers with Lepape design on upper cover, a little shaken but generally a very good copy.Vol II. 61 plates including 7 plates of theatre sets which are double page all from watercolour drawing by Georges Lepape, reproduced in pochoir by Jean Saudé, as is the title page vignette. Printed in blue and black throughout. One of 200 copies on vélin d’Arches, of a total edition of 425 plus 5 hors commerce copies. Large 8vo., in the original printed wrappers with vignette on upper cover also coloured in pochoir, with the original tissue guards throughout. A very good copy. ||The first volume is… Read More

Paris?, c.1660. Illuminated manuscript on recto only of a single vellum leaf (195 x 271 mm) written out by Gilles Rousselet in black, red and gold ink, title in a cartouche, historiated initial P, initials in red outlined gilt and red and a tailpiece in gold and colours, all within a ruled red and gilt border.Mounted and bound by Riviere and Son as a folio in full dark blue goatskin, with gilt double fillet border, spine in compartments with gilt fillets, gilt lettering, turn-ins tooled with gilt rolls, marbled endpapers, all edges gilt. Housed in a half red morocco chemise with marbled paper sides, lined in felt.||A remarkable and exquisite manuscript of The Lord’s Prayer by the great French calligrapher Gilles Rousselet (1610-1686). He worked as calligrapher, engraver and printer-publisher at the Imprimerie Royale from 1642 to 1648 and as Graveur du Roi he reproduced 14 of the great Masters in the Royal collection. He was one of the most skilled engravers and calligraphers of the 17th… Read More

New York: Kurt H. Volk, 1953. The first English translation of this 15th century religious poem by Medieval woman of letters, Christine de Pisan. Translated by Margaret Marks and Jean Misrahi, who also wrote the foreword. Text in French and English. Typography and design by Kurt Volk. Pp. 24. Oblong Folio, original red cloth, lettering and decorations in gilt to upper cover and spine, housed in the original red slipcase. Slight fading to spine, a touch of rubbing to slipcase, otherwise a good copy. ||The French text is from the ‘Poetic Works of Christine De Pisan’, originally published by Maurice Roy in Paris, 1896.|

London: Golden Cockerel Press, 1947. 12 collotypes of pictures by Francois Boucher. No. 639 of 650 ordinary copies. Printed in Garamond type, with the title in Fournier, on Arnold's mould-made paper. 8.25 x 4.75 ins, 21.5 x 12.5 cms, original special binding of red and blue buckram with cockerel and intials GCP in gilt on upper cover and gilt lettering on spine, top edge gilt, others uncut. Spine a little faded, otherwise a good copy.||A short but interesting biography of the Irish beauty who fascinated Louis XV and was Boucher's model. Sandford writes furiously about one reviewer who he calls 'Mr Small' who declared this book to be pompous. Sandford prefers to call it a "little 'coquette'".|Cockalorum: Bibliography of the Golden Cockerel Press, 173.

London: Golden Cockerel Press, 1947. 12 collotypes of pictures by Francois Boucher. No. 13 of 100 specially bound copies signed by the author (the edition was of 750). Printed in Garamond type, with the title in Fournier, on Arnold's mould-made paper. 8.25 x 4.75 ins, 21.5 x 12.5 cms, original special binding of half blue morocco with red buckram boards, cockerel and intials GCP in gilt on upper cover and gilt lettering on spine, top edge gilt, others uncut, in the original blue buckram slipcase. Spine a little faded, otherwise a very good copy.||A short but interesting biography of the Irish beauty who fascinated Louis XV and was Boucher's model. Sandford writes furiously about one reviewer who he calls 'Mr Small' who declared this book to be pompous. Sandford prefers to call it a "little 'coquette'".|Cockalorum: Bibliography of the Golden Cockerel Press, 173.

London: Golden Cockerel Press, 1947. 12 collotypes of pictures by Francois Boucher. No. 61 of 100 specially bound copies signed by the author (the edition was of 750). Printed in Garamond type, with the title in Fournier, on Arnold's mould-made paper. 8.25 x 4.75 ins, 21.5 x 12.5 cms, original special binding of half blue morocco with red buckram boards, cockerel and intials GCP in gilt on upper cover and gilt lettering on spine, top edge gilt, others uncut, in the original blue buckram slipcase. Spine a little faded, otherwise a very good copy.||A short but interesting biography of the Irish beauty who fascinated Louis XV and was Boucher's model. Sandford writes furiously about one reviewer who he calls 'Mr Small' who declared this book to be pompous. Sandford prefers to call it a "little 'coquette'".|Cockalorum: Bibliography of the Golden Cockerel Press, 173.

London: Eragny Press for Le Livre Contemporain, 1913. Wood engraved title page border in 3 colours, 12 illustrations each printed from 4 blocks designed by Camille Pissarro and engraved on wood by Lucien Pissarro, historiated initials, headpieces and tailpieces designed by Lucien Pissarro and engraved by Lucien and Esther Pissarro. One of 116 copies, this copy for M.A. Gracy of the Livre Contemporain. Printed in Brook type on Arches paper with watermarks of Le Livre Contemporain and the Eragny Press. 8vo., original green full limp calf lettered in gilt, inside cover in cream calf stamped in gilt with apple motifs and the monogram of Le Livre Contemporain. A good uncut copy with some fading to the spine, some very occasional spotting and offset from the doublures and some staining to bottom of first and last two leaves.||La Charrue d'Erable or The Maple-wood Plough comprised 12 short chapters on a rural theme written by Emile Moselly to match 12 drawings by Camille Pissarro. Pissarro matched the… Read More

Madrid: Libros Clan A. Graficas, 2010. New edition of Rueda’s erotic novel with illustrations by Marina Arespacochaga. New edition of Rueda’s erotic 16.5 x 22 cms. Bound by Edgard Claes (signed beneath his stamp and dated 28/07/2011 on the final blank) in a bradel binding employing the structure from Otto Dorfner in Weimarwith sides of polycarbonate with a blue and rose flowing design, ornamented with small triangles andpink and light blue lines, the straps are covered with onlaid half ovals in polycarbonate decorated in pink with light blue triangles and lines on both sides, spine of rose snake skin, doublure of rose velourr, double endpapers of rose japanese paper, housed in his usual soft grey velvet case. In fine condition.||Exquisitely executed by the international prize-winning Belgian binder Edgard Claes (b. 1954), who is also a brother in the Order of the Holy Cross. The detailed and intricate pattern is very typical of his extraordinary work. He is no longer binding.| By one of the… Read More

London: Nonesuch Press, 1928. 42 illustrations after the drawings by Sandro Botticelli, printed by Daniel Jacomet. No. 1006 of 1475 copies. Printed by the Westminster Press in Poliphilus Roman and Blado Italic on Van Gelder paper. Folio, bound in a very handsome American designer binding of full black morocco with an arresting design on both covers of onlaid red/tan morocco with gilt tooling round the shape and gilt ruled lines coming to points, gilt titling on spine, hand painted endpapers of acrylic on paper showing a representation of an inferno, top edge gilt, others uncut. A very good copy.||Bound by Joe Newman in 1990, this binding was exhibited at The Grolier Club in 1991 and is pictured in the catalogue of the show entitled ‘Contemporary American Bookbinding’ which was also on display at the Bibliotheque de l’Arsenal in Paris and the Bibliotheca Wittockiana in Brussels. Inserted loose is a compliments slip from the Grolier Club “Thank you for your participation in the exhibition… Read More

Paris: Caracteres de Henri Didot, 1802. Engraved frontispiece and 32 plates after Raphael by Dubois and Marchais under the direction of Girodet. Folio (341 x 238 x 30 mm), bound c.1890 by R. Petit (signed in gilt on front turn-in) and tooled by J. Le Comte (signed in gilt on rear turn-in) in red morocco, covers tooled in gilt to an elaborate fanfare design with connecting compartments of fillets and gouges, containing a basket of flowers, a quiver and bow and fleurons with fronds and sprigs, the central compartment left empty, surrounded by leafy stems and scrolls. The spine is divided into six panels with raised bands, lettered in the second and third, the others with a quiver and bow, scrolls and sprigs, the edges of the boards tooled with a gilt double fillet, the turn-ins and matching inside joints with gilt rolls, green watered silk endleaves, gilt edges. Some foxing or spotting. In a later clamshell box.||A grandly printed and illustrated edition. The binding is suitably splendid and is signed… Read More

Paris: Pierre Seghers, 23rd October, 1953. First edition. No. 129 of 750 copies on Hollande Pannekoek laid paper (there were a further 50 deluxe and 50 HC copies). Pp. 58, Sm. sq. 8vo., original wrappers with an orange, ivory and black lithograph by Fernand Léger. Extremely good.||Inscribed the day after publication by the author in ink to his friend Gaby Padora “tres cordialement”, dated with a little picture of a flower.| First edition, affectionately inscribed by the author to a close friend on publication

London: Eragny Press, sold by Hacon & Ricketts, 1900. Wood engraved frontispiece, honeysuckle border and initials designed by Lucien Pissarro and engraved by Lucien and Esther Pissarro. One of 226 copies. Printed in Vale type on Arnold's handmade paper. 12mo., in a very handsome binding by Zaehnsdorf of full tan morocco, elaborately tooled in gilt with flower buds and hearts on both sides and spine, double gilt fillets on each side and dotted lines, turn-ins with double gilt fillets, dotted border and tooth roll tool with floral tooling and triple dots, top edge gilt, silk doublures.||The frontispiece is a charming, tranquil image of a doe in the forest with a pair of rabbits in the foreground as a gentle pastoral contrast to what Alice Beckwith calls “the brutal assaults on nature depcited in Gustave Flaubert’s riveting story”. With attention to modern psychology, Flaubert postulates the circumstances which caused Julian to murder his parents and then seek forgiveness in a life of penitence… Read More

Paris: G. Briffaut, 1952. Introduction by Jean Hervet. 12 erotic colour plates by Paul-Émile Bécat. 12mo., original printed wrappers. Spine a little darkened and creased with mild chipping to very top and bottom of spine, otherwise good. ||The much reprinted sapphic tale here illustrated with typical erotic plates by Bécat..|

Stockholm, WI: Midnight Paper Sales, 2015. One of 100 copies, signed by Gaylord Schanilec. A remarkable large folding wood engraved map printed on Kraku Kozo handmade paper, 8 other large colour wood engravings printed on Zerkall paper by Gaylord Schanilec of fish, pelicans and river scenes plus 31 electrotype prints of fish in the text which is printed on Barcham Green Tovil and Wookey Hole Mill paper. Handprinted by the artist with the title page typeface made from type by Russell Maret after the 1499 Aldus Manutius Hypnerotomachia Poliphili. Folio, bound and with a box by Craig and Leigh Ann Jensen using marbled paper by Jemma Lewis, original quarter cloth with marbled paper covered boards in blue leather backed maroon cloth clamshell box. As new.||A real magnum opus and an astonishing tribute to Lake Pepin, the widening of the Mississippi between St.Paul, Minnesota and La Crosse, Wisconsin. The book was nearly seven years in the making the book explores the landscape and natural history of the… Read More

Stockholm, WI: Midnight Paper Sales, 2015. No. 17 of 100 copies, signed by Gaylord Schanilec, being one of 12 copies in sheets with the text printed on Hahnemuhle Bugra paper. A remarkable large folding wood engraved map printed on Kraku Kozo handmade paper, 8 other large colour wood engravings by Gaylord Schanilec of fish, pelicans and river scenes plus 31 electrotype prints of fish in the text. Title page typeface made from type by Russell Maret after the 1499 Aldus Manutius Hypnerotomachia Poliphili. Folio, loose as issued awaiting binding. As new.||A real magnum opus and an astonishing tribute to Lake Pepin, the widening of the Mississippi between St.Paul, Minnesota and La Crosse, Wisconsin.Schanilec printed the text of 12 copies on Hahnemuhle Bugra paper before moving to Barcham Greene Tovil handmade paper for the remainder of the print run.| Set of sheets for binding, one of only 12

1970. Original silk screen print in four colours - silver, purple, blue and black. Artist’s Proof, titled and signed by the artist in pencil. Image size 340 x 268 mm. Paper size 510 x 360 mm. ||One of of an important series of 10 silk screen mask prints of characters in Macbeth, created by Ron King for his great Circle Press Macbeth published in 150 copies in 1970. It remains one of the great British artists’ books and the prints look as fresh and relevant as the day they were printed.Ron King is probably the most important book artist working in Britain today and continues to produce outstanding, innovative work. |