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

Chicago: Caxton Club, 1984. Illustrated with specimens of RHM’s type faces, books and engravings, together with photographs of his Cherryburn Press. One of 1000 copies. 8vo., original black buckram spine over patterned paper boards, red printed paper title labels to upper cover and spine. A very good copy.||With the original prospectus and order sheet inserted loose.| Eight essays on typographer and printer Robert Hunter Middleton

1937. Original proof wood engraving, second state. Printed on laid paper, signed by the artist in ink and numbered by him 16/100, an edition of which only the first 25 were signed. Image size 8.7 x 11 cm. Framed and glazed.||Proof of a design, which in its first state had been used on the cover of Saint Bartholomew’s Hospital Journal in 1938.|Physick 964, second state.

New York: Alfred A Knopf, 1923. One of 950 copies, this no. 764. Typography designed by Bruce Rogers. Set in Monotype Caslon and printed by William Edwin Rudge. 8vo., [15.5 x 24 cms], original quarter black cloth over orange paper covered boards, printed title label to spine. Slight toning to the spine label, occasional rubbing to extremities, otherwise a good copy.|||

Cambridge: Rampant Lions Press, 1988. A wonderful collection of miscellany from the press, illustrated with wood engravings by Miriam Macgregor and Reynolds Stone, Linocuts by Hellmuth Weissenborn and Claire Melinsky and an etching by Alan Wilbur, together with numerous other typographic and page specimens, printed in colour on different coloured papers. One of 185 copies, this no. 57. 8vo., a very good copy in the original quarter grey cloth over blue patterned paper covered boards, printed title label to spine.||| One of 185 copies

Howell: Dale Guild Type Foundry, 1997. One of 150 copies on Lana Laid paper. Rubricated in tempera, the specimen sheet is printed in gilt with blue decoration. Set in Cloister Old Style by Victor Hammer based on a font by Jenson, Ratdolt’s contemporary in Venice. Pp.8. 4to., original printed wrappers. Very slight fading to edge of wrapper, otherwise very good.||The first showing of Ratdolt Titling commission by Robert Haas and printed by the Dale Guild.|

[Milk Marketing Board, 1949].. 8 autolithographs by Barnett Freedman printed in black on a yellow or green tinted background all signed and dated in the stone. Pp. 16. Thin folio, original three colour lithographed sewn linen wrappers over card by Barnett Freeman, signed and dated 1939 in the stone, incorporating the title and two additional designs by him on the deep flaps. Very slight rubbing to top and bottom of spine, otherwise an extremely good copy. ||Rare advertising brochure showing the journey of making cheese from pasture to table, commissioned by Crawford’s Advertising Agency in 1939 but not distributed until 1948 because of WWII. This copy also has two contemporary promotional pieces from the English Country Cheese Council and the National Milk Publicity Council laid in. | A perfect example of twentieth century autolithography, in superb condition

Gloucestershire: The Whittington Press, 1980. 7 wood engravings by Miriam Macgregor. One of 500 copies, signed by the poet (there were also 25 special copies). Handset in Bell type by Macgregor and printed from the original wood engravings on Basingwerk Parchment. 8vo., [16.5 x 22.5 cms], original sewn maroon patterned paper wrappers, oval printed title label to upper cover. Some light glue staining to title label, otherwise a good copy.|||

Newcastle upon Tyne, c.1973-76. No. 41 of an edition of 75, numbered by the artist in pencil with the signature of the engraver’s wife on the verso. Wood engraving by Leo Wyatt with aphorism in white lettering on grey background, printed on handmade paper. 16.4 x 21.4 cms. Paper size, 25.2 x 34 cms||Leo Wyatt’s trade was to design and engraved steel dies and copper plates. In his late fifties, challenged by the assertion that famed English wood engraver Reynolds Stone was seemingly “the sole practitioner of the Chancery Cursive letter in engraved form today” he began to engrave letterheads and bookplates on wood using this traditional letter form. He created alphabets and engraved quotations and aphorisms in the 1970s which proved extremely popular.|

1999. Blind-embossed print from a copper wire sculpture. Edition of 50. Image size 42 x 17 cms. Paper size 56 x 38 cms. Numbered, titled and signed by the artist.|||

Cambridge: Dunster House, 1921. Two poems by John Freeman. One of 425 copies (of which 50 were numbered and printed on handmade paper). Set in Monotype Caslon type. Designed by Bruce Rogers and printed at the press of William Edwin Rudge. 8vo., [16 x 25.5 cms], original quarter tan linen over blue paper covered boards, printed title label to upper cover. Very slight fading along edges of boards, otherwise a good copy.|||Warde 148.

Bristol: Printed at Offenbach-am-Main for Douglas Cleverdon, 1928. 15 hand coloured wood engravings by Willi Harwerth. One of 460 copies, this no.331. Printed in Rudolf Koch’s Grosse-Antiqua type by Wilh. Gerstung. 8vo., original paper covered boards, the upper one with a hand-coloured vignette by Hawerth, black letteregin to spine, fore and lower edges untrimmed. Slight offset from the boards to the ffeps, boards slightly toned. ||One of Douglas Cleverdon’s very first publications, produced the year before his great book of Gill Engravings. The Red Shoes was beautifully produced in Offenbach-am-Main, the combination of Harwerth’s charming hand-coloured engravings and Koch’s type face being particularly pleasing. The book tells the tale of the girl who loved red shoes and who loved them above all other things so that they were bewitched by the devil and she was made to dance by day and by night until she had her feet cut off to stop the dancing. She repented her idolatory of the red shoes and… Read More

Waltham St. Lawrence: Golden Cockerel Press, 1925. 8 wood engravings by Robert Gibbings. One of 500 copies, this no. 342. Printed in red 8vo., a very good, bright copy in the original linen backed bright red paper covered boards, gilt lettering on the spine, in the original rather worn and chipped printed dust jacket with Gibbings engraving on the front, patterned paper endpapers heightened in gilt. ||Edward Powys Mathers, translator of Oriental poetry, poet, cryptic crossword compiler and a favourite of the Golden Cockerel Press, is most often remembered for his version of One Thousand and One Nights which he translated from Mardrus’s French translation. He also famously freely translated the work of the Kashmiri poet Bilhana, a beautiful love poem from the Sanskrit which he published as Black Marigolds and which was quoted in Cannery Row by John Steinbeck.|Chanticleer, Bibliography of the Golden Cockerel Press, 34 “Your wine has the taste of the red lilies seen by a righteous man on his first… Read More

Wisconsin: Midnight Paper Sales, 2020. Colour wood engraving, one of an edition of only 115, signed, titled and numbered in pencil by the artist. Image size 11.5 x 7.7 cms. Paper size 21 x 13 cm.||From ‘Bokeh: A Little Book of Flowers’, the third book in Schanilec’s trilogy, the other two are his Little Book of Birds and Ninja Press’s Departures. |

Circle Press, 1978 . Original silkscreen print, loose in a folder. The folder has been printed by the artist in letterpress with the title and a Chaucer-inspired poem, ‘The Reeve’ by Keith Please. One of 50 copies, monogrammed in pencil by the artist. Image size 248 x 182 mm. Paper size 380 x 260 mm. ||Ron King’s first artists’ book, The Prologue, was printed in 1967 using Chaucer’s Canterbury Tales’ text accompanied by 20 silkscreen mask-like prints representing the major characters in The Tales. He printed a second edition in 1978 and, at the same time, produced 50 sets of the prints, each housed in its own folder, with texts by poets such as Keith Please inspired by Chaucer’s character. There were 20 folders with loose prints, numbered I to XX, and all the prints were signed by the artist. Ron King is probably the most important book artist working in Britain today and continues to produce outstanding, innovative work, leading the way in this art form. |

Circle Press, 1978. Original silkscreen print, loose in a folder. The folder has been printed by the artist in letterpress with the title and a Chaucer-inspired poem, ‘The Reeve’s Horse’ by Andrew Crozier. One of 50 copies, monogrammed in pencil by the artist. Image size 280 x 140 mm. Paper size 378 x 260 mm. ||Ron King’s first artists’ book, The Prologue, was printed in 1967 using Chaucer’s Canterbury Tales’ text accompanied by 20 silkscreen mask-like prints representing the major characters in The Tales. He printed a second edition in 1978 and, at the same time, produced 50 sets of the prints, each housed in its own folder, with texts by poets such as Andrew Crozier inspired by Chaucer’s character. There were 20 folders with loose prints, numbered I to XX, and all the prints were signed by the artist. Andrew Crozier (1943-2008) was a leading poet, a radicalist presence in The British Poetry Revival and an energiser of other poets’ work.Ron King is probably the most important… Read More

New York: William Edwin Rudge, 1922. One of 950 copies. A convincing and lucid treatise on the principles of art. Printed at the press of William Edwin Rudge with typography by Bruce Rogers. 8vo., [15 x 22.5 cms], original quarter brown cloth over blue cloth boards, lettering in gilt to upper cover and spine. A presentable copy.|||

Bristol: printed and published by J.M. Gutch, 1816. First edition. Pp. 32. 8vo., bound in recent blue wrappers. Some browning to first and last pages, otherwise very good.||McAdam’s system relied on layers of carefully graded stone laid on a well-drained base; the topmost layer of stones were to be broken by workers with hammers into rough pieces weighing no more than 6 oz and that would fit into the mouth. His techniques were simple, effective and economical and his process became of global importance and endured.He revolutionised the process of road building: ‘By the early nineteenth century the fact that the methods of road construction were haphazarad, and the surveyors largely untrained and of low esteem, was causing official as well as private concern. Sir John Sinclair, chairman of the board of agriculture, supported a series of parliamentary committees which reported regularly from 1806. Evidence was invited and in 1810 Sri John received an impressive memorandum from McAdam which was… Read More

1994. Colour wood engraving, one of an edition of 220, signed, numbered and dated in pencil by the artist. Image size 16 x 10.5 cm (4 x 6 ins). Paper size 25 x 17 cm. ||Engraved for the book A House in the Country, printed and published by the artist under his imprint Midnight Paper Sales. The book is comprised of four essays by Mary Logue documenting the trials of renovating her old Swedish farmhouse, and her observations on small-town life in rural America.|

Wisconsin: Midnight Paper Sales, 2010. One of 200 copies, signed by the author. Two colour wood engravings by Schanilec. Set in Bembo type and printed on Zerkall paper. Pp.24. Oblong 8vo. [20x 15 cms], original sewn plain paper wrappers with strong walnut red hand made cover by Amanda Degener and Briget O’Malley of Cave paper with moon design in gilt on upper cover, in the original slipcase with printed paper spine label and another printed spine label tipped in at the rear of the book bearing the name of the author as ‘GAYLOR SHAMWAY’.||Schanilec’s poetry examining the question ‘Why do fish jump?’. He writes: It is possible for the rumination of a mid-life poet/printer to continue through the printing process, as evidenced by the inclusion of a second printing of one of the poems, with the title ERRATUM printed in blue on the second, slightly revised version of the poem. The color brown, printed next to the the deep, walnut red paper of the Cave women, enables the engraving of a gizzard… Read More

Cambridge: Riverside Press, 1902. With a woodcut, decorative border and initial after Howard Pyle. One of 300 copies, this no. 70. Printed by hand at the Riverside Press under the direction of Bruce Rogers. Pp. 20. 4to., original quarter green cloth over decorated paper covered boards, printed title label to upper cover. ||Inserted loose is a prospectus for Shakespearean scholar Mark Liddell’s series, ‘The Elizabethan Shakespeare’, including specimen pages and a small printed biographical note on Liddell.| Rogers’s first use of a trial font of the Montaigne typeface and the first Riverside Press book printed on a hand press.