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

2011. Original colour wood engraving on Zerkall mould-made paper. One of an edition of 90, signed, numbered and titled in pencil by the artist. Image size 77 x 38 mm. Paper size 290 x 175 mm. ||Original wood engraving for The Bicycle Diaries; One New Yorker’s Journey through September 11th by Richard Goodman, which was illustrated and printed by Gaylord Schanilec at his press, Midnight Paper Sales, in Wisconsin. |

London: John Murray, 1856. First edition. Frontispiece, folding map and folding plan. Pp. xvi, 456. 8vo. half calf, gilt, rather rubbed.||Born in Orkney, Baikie studied medicine at Edinburgh University. He joined the Royal Navy in 1848 and soon attracted the notice of Sir Roderick Murchison who secured Baikie the post of surgeon and naturalist to the Niger expedition sent by Macgregor Laird in 1854. This is a fascinating association copy with Sir Roderick Murchison's original autograph transcription of Baikie's Times obituary.A well-written, fascinating narrative. One of Baikie’s most important observations was on the use of quinine to prevent malaria as noone on the expedition contracted the disease. During the expedition the senior officer, Consul Beecroft, died and Baikie took command. Ascending the Benue about 250 miles beyond the point reached by former explorers, his small steamer Pleiad returned and reached the mouth of the Niger, after a voyage of 118 days, without the loss of a single man.… Read More

London: T & W Boone, 1852. First edition. 2 volumes. Large folding chart, 6 tinted lithographs & 7 other plates, with further illustrations in the text. Pp. xi, 402, 12pp ads.; v, 395, 8pp. ads. 8vo., original blue-green cloth, repaired, discreet gilt ownership initials of the Cruising Association on spine and upper cover with booklabels on front pastedowns and blind stamps on titles, spines faded, marking to boards. ||"A very important voyage of exploration and scientific research" (Ferguson).. This, the official account, records the Rattlesnake's four year voyage, during which she made brief visits to, amongst other places, Rio de Janeiro, Mauritius, Port Stanley, Hobart Town, Sydney, Melbourne and New Zealand. The fine lithograph plates were taken from drawings by the noted naturalist T.H. Huxley who acted as assistant-surgeon on the Rattlesnake, but whose work mainly concentrated on marine specimens.The son of the noted naturalist William MacGillivray, "John served as naturalist on various… Read More

London: printed for private circulation [by command of Queen Victoria, who had purchased the manuscript after MacGillivray’s premature death], 1859. First edition. Two folding maps, frontispiece and several illustrations throughout. Rare special issue in presentation binding of red pebble grain morocco, gilt royal arms on the upper cover, all edges gilt, a superb copy. ||There is an elaborate printed presentation note pasted to the front free endpaper ‘This work, printed by command of the Queen, is presented to The Revd. C. Kingsley by H.R.H. Prince Albert’. (There is also a later inscription on the title page to ‘Maurice Kingsley from Mother. 1879’.Prince Albert was an enthusiast for Charles Kingsley’s idealized view of manly, Germanic Christianity and he was appointed chaplain to the Queen in 1859, the year this was published. The theme of the present book, Scottish rivers, seems certain to have appealed to the famous author of The Water Babies.His son, Maurice Kingsley, emigrated to… Read More

1924. Original proof wood engraving printed on japon. Signed and dated by the artist in pencil. Image size 83 x 57 mms, sheet size 130 x 95 mms. Framed.||The last image in Libellus Lapidum for which Jones engraved 16 images. Jones engraved the images spontaneously responding to Pepler’s popping in and out of his workplace reciting satirical rhymes for him to illustrate. On the cover engraving Jones sits with a giant burin behind Pepler on a wingless Pegasus. Dilworth describes the engravings as ‘remarkably free, showing an important advance in liveliness and ease that would make Jones, in Hagreen’s estimation, an engraver equal to Hogarth, Bewick and Blake’|Cleverdon E78; Taylor & Sewell: Saint Dominic’s Press A125; Dilworth, David Jones, p.79 Original wood engraving

London: printed by T. Bensley for B. White & Son, 1789. First edition. 9 plates including large folding engraved frontispiece and two title vignettes all from the drawings of S.H. Grimm, with the errata leaf. Pp. v, [blank], 1-468, [12, index} plus errata leaf (p.292 misnumbered 262 as usual). 4to., bound in contemporary half green morocco with marbled paper covered sides, with gilt rules and ‘bird bath’ tools to panels of spine, lettered in gilt in second panel. A very handsome and clean copy, boards with some rubbing and a little expert repair to corners and headcaps.||Frontispiece with slight tear to very right hand side where it is bound in affecting only the very edge of the image, plate IV trimmed to the edges of the image.Presented as a series of letters to the great antiquarian and zoologist Thomas Pennant and Daines Barrington, the book by this eighteenth century intellectual and curate was one of the most published books in the English language. White observed the natural world in… Read More

Croton Falls, New York: Spiral Press, 1932. No. 9 of only 100 copies. Set in Emerson type and printed on Maidstone handmade English paper at the Spiral Press. Pp. 28. 8vo., original brown buckram by Robert Franck, red morocco title label lettered in gilt to spine, fore and lower edges uncut, housed in original brown cloth and card slipcase. Slight rubbing to spine label and extremities of slipcase, spine mildly darkened, otherwise a good copy.||With the book labels of Albert Parsons Sachs and Harold Corbin, and the tipped-in bookplate of Robert Sutter.Inscribed on the colophon by Blumenthal twice, once ‘for Bob Sutter, December 1949, from Joseph Blumenthal’ in ink and once, ‘for Harold’, with details of the printing of this edition: ‘this book gave Emerson type its name – the title and initial letter I designed – the book and slip were done by hand by Peter Franck. The paper is “Maidstone” handmade in England. The sheets were hung to dry in our attic by Ann (my wife) at Croton… Read More

Hammersmith: Kelmscott Press, 1892. One of 500 copies printed on paper, there were no vellum copies. 20 architectural line-block figures in text. Border on the first page of the text, 111 six- and, mainly, ten-line initial letters, all by William Morris, engraved on wood by W.H. Hooper et al, the initial letters then being electroplated. Press device printed in two places at the end of the table of contents and on the colophon. Printed in black and red Golden type on hand-made Batchelor Flower paper, with decorated initials, numbers, titles and side notes printed in red throughout. Sm. 4to., original stiff vellum with brown silk ties, yapp edges, spine lettered in gilt, fore- and lower edges untrimmed. A very good tight copy without the usual bowing and with all the ties, vellum with some marks and a little darkening to the edges.||The chapter from his Stones of Venice which Ruskin always believed to be the most important and which was first printed separately in 1854 as a sixpenny pamphlet. Morris… Read More

London: printed by Thomas Kell, published quarterly at Royalty Chambers, Dean Street, Soho, London W., November 1907 - August 1908. 4 issues, complete. The text is printed throughout in lithographic calligraphic printing after being written out by Graily Hewitt. With lithographs by Frank Brangwyn, Ernest Jackson, Spenser Pryse, Charles Shannon, Sickert, A.S. Hartrick, Joseph Pennell and others. 42 x 29.5 cm. Large folio, a very good set in the original brown paper sewn wrappers, printed in calligraphic titling by Graily Hewitt and the periodical device on the back wrapper. ||The Neolith was an artistic literary periodical published quarterly in London from 1907-1908 under the direction of Edith Nesbit, Graily Hewitt, F. Ernest Jackson and Spencer Pryse. The issues featured poems and short stories with illustrations throughout the text and as individual inserts. Edith Nesbit was an important English author and poet who wrote and collaborated on more than 60 books of fiction for children including the… Read More

Dresden: Wolfgang Jess Verlag, 1925. 16 loose plates with an 8 pp. introduction. Oblong 4to., housed in a printed card portoflio with some spotting and wear to covers but generally a very good copy. ||A very attractive book of font templates. |

Risbury, Herefordshire: Whittington Press, 1998. 11 pochoir illustrations coloured through stencils in water colour by Miriam Macgregor. One of 100 ‘possible’ copies, of which 25 were bound in vellum, this no. A11 signed by the artist. Set in Walbaum type and printed on Zerkall mould-made paper. Pp. [20]. 4to., bound by The Fine Bindery in original red decorated paper covered boards with a pattern cut in stencils by the artist, printed title label to spine, housed in the original red paper slipcase. Fine.||Macgregor’s recollections from a day spent wandering around New Castle, Delaware, during an Oak Knoll fine press fest, accompanied by her enchanting pochoir illustrations. | One of only 100 copies

Oxford & Cambridge University Presses, printed under Brooke Crutchley at the CUP,, 1961. Bound by Philip Smith in 1961 (signed on the upper turn-in in blind and lower in gilt). 8vo., full niger morocc, upper cover with design of descending angel stamped in gilt with wings and body in feathered onlays, followed by trail of colours in feathered onlays and stamping in black, lower cover with design of ascending angel stamped in black with wings and body in feathered onlays, followed by trail of stamping in black, spine lettered in white on black stamps together with feathered onlays, gilt edges, original brown cloth slipcase. In superb condition with Slight offset to free endpapers from turn-ins.||From the library of Lord Wardington sold at Sotheby’s 12th July 2006, Lot 210. Since then in a private collection. A remarkably good and rather beautiful example of the work of the great British designer bookbinder Philip Smith, MBE.Philip Smith (b.1928) studied bookbinding under Roger Powell at the Royal… Read More

London: Golden Cockerel Press, 1948. 14 wood engravings by Averil Mackenzie-Grieve. One of only 100 special copies, this no. 13, signed by the artist. 8vo., original red morocco spine, lettering in gilt with green and red marbled boards, very mild rubbing to very tips of the head and tail, very mild darkening where the marbled paper meets the leather and slight toning to the endpapers as expected from cheaper post war paper, otherwise extremely good.||The marbled paper was specially done for Sandford by the famous Sidney Cockerell.|Cockalorum 179 One of 100 special copies

London: Golden Cockerel Press, 1948. 14 wood engravings by Averil Mackenzie-Grieve who also edited the book. No. 427 of 400 ordinary copies. Printed in Caslon Old Face on mould-made paper. 8vo., original red cloth backed green and red marbled paper covered boards. Spine very mildly faded, otherwise good.||The marbled paper was specially done for Sandford by the famous marbler Sidney Cockerell. A rare eighteenth century book, well reprinted and illustrated. |Cockalorum 179

Berkeley: University of California Press, 1995. Illustrated with numerous page specimens and typographic examples. The first English translation of Jan Tschichold’s first book, ‘Die neue Typographie’, originally published in 1928. Translated from the German by Ruari McLean. Introduction by Robin Kinross. Pp. 236. 8vo., original black cloth, lettering stamped in silver to spine, in the original dust jacket. Very slight rubbing to the jacket, otherwise a very good copy.||| The first English translation of Tschichold’s definitive 1928 treatise on book design.

New York: William Edwin Rudge, 1924. Typography by Bruce Rogers. One of 1000 copies. Set in Monotype Scotch type with decorations and printed at the press of William Edwin Rudge. 8vo., [12 x 20 cms], a bright copy in the original decorated paper covered boards, printed title label to upper cover, in a toned and chipped glassine wrapper.|||Warde 176.

New York: The Grolier Club, 2002. 11 colour wood engravings by Gaylord Schanilec. One of 200 copies signed by the artist and author, there were also 50 specials with a portfolio of wood engravings by Ruzicka printed for the club in 1915. Printed in 12 point Monotype Emerson. Tall thin 4to., bound at the Campbell-Logan Bindery in original grey silk covered boards with black and gilt spine label, housed in a grey silk covered slipcase. As new.||A great tribute to New York and New Yorkers. The book was intended as a modern day reply to a Grolier Club book on New York printed in 1915 with colour wood engravings by Rudolph Ruzicka, however, it took on a new importance as its publication coincided with the attack on New York in September 2001.A truly beautiful book printed by Gaylord Schanilec at his press in Wisconsin, Midnight Paper Sales.| 11 exciting colour wood engravings by the great Gaylord Schanilec for The Grolier Club

Hanborough: Previous Parrot Press, 1996. 30 wood engravings by Frank Martin, of which 8 are initial letters and a lino cut cover. No. 163 of 320 copies, signed by Martin. Designed by Dennis Hall and set in Ehrhardt by David Vickers, the blocks printed by David Esslemont on Zerkall mould-made paper at Gwasg Gregynog. Pp. 74 [4]. Thin 4to., bound by The Fine Bindery in original Canson paper boards with linocut by the artist on upper cover, fore and lower edges uncut. Splitting to head of spine and the spine slightly faded, otherwise good copy.||With the original prospectus inserted loose.|

Ditchling: St. Dominic’s Press, 1919. 20 wood engravings by Eric Gill, one by Gill and Beedham, 3 by Desmond Chute and one by John Beedham. Title page printed in red and black. Pp. [viii], 56, [2]. 8vo., original linen backed printed boards. Edges of boards and spine darkened with a little light soiling, very good internally.||A heavily illustrated selected of 28 ‘rimes’ by Pepler. All the illustrations are printed from the original blocks.|Taylor & Sewell: St Dominic’s Press, A bibliography, A55

Showing 21 international artist photographers with images printed using vegetable inks. Limited to 1000 copies worldwide, hand numbered. Large format printing 48 x 28 cms, white printed paper wrappers, open stitch spine. Alaska Editions Spring-Summer 2008.|||