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

Salisbury School of Art and Crafts, c.1960. 8pp. with 7 original ink and watercolour paintings of buildings and architectural details in Salisbury and with a title page with ink and watercolour vignette and lettering by Katherine Fisher. 21.2 x 30 cms. 4to., sewn as issued in the original black cloth backed portfolio with original three colour printed linocut sides designed by Fisher with an additional linocut of the same image, before the addition of the yellow,inserted loose. ||A wonderful example of a graduation piece from a student at the Salisbury College of Arts and Crafts. It was established as the Salisbury College of Art and Design in the late 19th Century and changed its name in the 1930s. In the mid 1960s it once again became the Salisbury College of Art and Design.| A beautifully presented watercolour and linocut Art School graduation piece focussed on Salisbury

London: Folio Society, 1957. Engravings by Frank Martin. Printed in black and blue. 13.9 x 20.4 cms. Sm. 8vo, bound by Sayaka Fukada in full dark green morocco with and inlaid vellum cross over both sides and spine, with gilt and platinum tooling with tracks across both sides and spine and onto the dark green morocco and printed paper doublures with secondary patterned paper endpapers, speckled edges, housed in a complimentary structured solander box using the same patterned paper using feathered paper on the outside of the linen, platinum lettering on spine.||Sayaka Fukada began her artistic life as a professional photographer in Japan. She is a superb and much sought after conservator and her superb designer bindings are in collections in the UK and USA.|

Santa Cruz: Ace Press, 1985. One of only 100 copies. 7 woodcut illustrations by Kate Pond. Printed in Goudy Modern & Baskerville on Rives paper with end sheets of Chiri kozo paper. Oblong 4to., original red abaca handmade paper wrappers with woodcut by Pond on covers. Couple of slight bumps to wrappers but a very good copy. Original prospectus in an envelope with a personal note to Kenneth Auchincloss from the artist inserted loose. ||Story and illustrations by Kate Pond, a very attractive production.|

Original lithograph, signed, numbered and titled by the artist in pencil. Artist’s Proof X. With the ‘Paul Hogarth Editions’ blind stamp. Printed at the Curwen Press by Stanley Jones. 54 x 73 cms.|||

London: printed by Joh. Enschedé en Zonen for Peter Davies, 1928. No.28 of 350 copies. 2 drawings by Vera Willoughby printed in collotype at the Chiswick Press. Printed in J. van Krimpen’s Antigone Greek and Lutetia roman and italic types. 4to., original beige buckram with gilt lettering and design on upper cover and spine, housed in the original slipcase. Spine slightly darkened, slipcase worn but generally a very good, clean copy, largely unopened.||A beautifully printed and designed book with some remarkable designs by Willoughby, printed in both Greek and English. |

Paris: Éditions de la Lampe d’Or, 1923. Translated by Louis Jarty. One of only 40 deluxe copies printed on Japon with an extra suite of prints in shades of sanguine, this no.20. 30 hand-coloured aquatints by Maurice Becque highlighted in gilt. 4to., bound in later half maroon morocco with marbled paper covered boards, marbled endpapers, spine lettered in gilt, original wrappers bound in. A sumptuous copy.||Maurice de Becque (1878-1928) was a noted French illustrator and painter, this is one of his later books with a sophisticated style and finish.| One of only 40 copies on japon with an extra suite of plates

Iowa City: Windhover Press, 1979. One of 300 copies. A reprint of George Chapman’s translation originally published in 1629. Text in Latin and English. Preface by William Kupersmith. Designed by Christy Morrill. Set in Romanée type and printed on Rives Heavyweight paper. 8vo., original maroon cloth, printed title label to upper cover. Very slightly faded at spine, some occasional rubbing to cloth, small bookseller label to rear pastedown, otherwise a good copy.|||

Washington: Bauble Publishing Co, Finished for the binder Nov., 1896. 26 illustrations by Will Chandlee including one full length portrait of Uncle Eben printed in brown which is repeated on the upper cover. Seen through the Presses by Will A. Page at his printing shop, no. 937 Washington, District of Columbia. Title printed in red and black. Pp. 88 12mo., original red patterned cloth backed printed paper covered boards, lettering in gilt on upper cover. Some mild dampstaining to the edges of the paper covered boards, rubbing and one gathering slightly starting but still a good, strong untrimmed copy.||A rather charmingly rustic printing and binding, with amateur inking and rather off kilter printing of the red letters on the title page.Many of the ‘sayings’ originally appeared in the Washington Evening Star with Johnson’s take on African American Vernacular English. Johnson was a long time staff member at the Star and was also a noted lyricist and poet. He was a humourist and is famous for his… Read More

New York: Press of the Woolly Whale, 1932. An address delivered as the Phi Beta Kappa Oration at the Commencement exercises of Columbia University, May 31, 1932. One of 300 copies printed for private distribution. Set in Poliphilus and Blado types, with chapter divisions in Lombardic Capitals specially cut and cast by Frederic Goudy, and printed on handmade Litchfield paper. 12mo.,original gilt-speckled coloured paper covered boards a little rubbed at extremities, printed title label to upper cover, in a slightly toned and chipped glassine wrapper.|||

Basel: Benno Schwabe & Co. Verlag., 1942. Illustrated with numerous type specimens and examples of early letter forms. Tschichold’s textbook of writing for typographers and graphic designers. Text in German. Pp. 77. 8vo., original green cloth with some mild fading to spine and along edges of boards, titles in gilt to upper cover and spine. Edges a little faded, in the original slightly spine darkened dust jacket.|||

Stuttgart: C.E. Poeschel, 1952. 23 pages of different font and lettering specimens, mainly full alphabets. 34.5 x 24.5 cms. Original cloth backed printed paper covered boards with an alphabet in brown on the upper cover. Boards browned with marking but generally a good copy.||The specimens here, under the title Script Writing and Drawing Fonts, were derived for the book graphic art class at the Stuttgart Academy as font exercises for the calligraphy and lettering course.Walter Brudi (1907-1987) was a German painter and graphic book designer. At the time of writing this book he was professor of book graphics and typography at the Academy of Fine Arts in Stuttgart. |

Paris: J. Hetzel, 1842. 2 volumes. First edition. 201 engraved plates plus illustrations in text by Grandville, engreved by his preferred engraver Brévière. 4to., bound by Plow of Boston, Lincolnshire in half maroon morocco with marbled paper boards, edges and endpapers, spines decorated in gilt. Worn with repairs to upper joints, but still good strong copies. Booklabel of James Lloyd and Plow binder’s tickets.||Stahl was a pseudonym for the publisher Hetzel who edited texts by Balzac Jules Janin, George Sand and others to go with Grandville’s superb engravings. It was seen as a great satire on French manners of the the middle nineteenth century |Ray, One Hundred Outstanding French Illustrated Books; Carteret p.552-9.

London: printed for S. Popping at the Raven in Paternoster Row, 1712. 32pp. 8vo., unbound. Very slightly soiled on the outside but generally very good.||Although Carstares was a strong and pivotal supporter of the Act of Union, and the Hanoverian succession, as this pamphlet shows, he was alarmed by intereference with Scottish religious affairs by the Parliament in London. He pointed to the ways in which a bill to give Scottish Episcopalians greater freedom would disrupt and threaten the security of the Church of Scotland and of the state as well. It was the chief object of his policy at this time to prevent Lord Oxford from strenghtening the Episcopalian Jacobites, especially two bills, one of which extended their privileges and the other which would have placed in the hands of old patrons the right of patronage which the Revolution Settlement had put in the hands of the elders and the Protestants.|

Ditchling: St. Dominic’s Press, 1923. 3 wood-engravings by Eric Gill - Sculpture II (on title and upper cover), Crucifix and St. Cuthbert’s Cross. 8vo., bound in printed cream linen boards with Gill engraving, a very good copy with only slight darkening to the spine.||The book contains two essays - a preface about God and ‘Stone-Cutting’ - both are revised from previous publications. A very attractive book.Two booklabels, one of Austen St Barbe Harrison by Gill (Cupid, Physick 887) and one by Reynolds Stone of David Potter.|Gill engravings - Physick 228, 259 & 160.Taylor & Sewell A112 With a booklabel by Gill

London: Printed by Hague & Gill for Sheed & Ward, 1932. Wood engraving by Eric Gill. One of 500 copies. 12mo., original sewn printed yellow wrappers. Rather worn with a little ripping at he spine stitching. |||

Barre, Massachusetts: The Imprint Society, 1971. Limited to 1950 signed copies, this copy unnumbered. 10 wood engravings by Garrick Palmer. Printed in Monotype Bembo on Basingwerk Parchment. Pp. xiv 221 [1]. 8vo., [16 x 25 cms], bound by Mackay Binders in original black morocco-backed spine over green buckram, gilt design to upper cover, gilt titles to spine, in original green and grey illustrated slipcase. Spine rubbed with 6 cm tear to fore edge of page 211, otherwise a good copy.||Tomlinson’s popular account of the voyage of an English tramp steamer, from Swansea to Brazil and then along the Amazon, by way of Barbados and Jamaica, between 1909 and 1910. Dramatically illustrated with Garrick Palmer’s wood engravings.|

Nappanee: Private Press of the Indiana Kid, 1959. One of ‘about 250 copies’. 93 pressmarks printed in different colours, each with a brief explanation of the printer by Weygand. Printed on handmade paper. Pp. 102 [2]. 8vo., original maroon cloth, gilt decorative design and lettering to upper cover and spine, fore edge uncut. A very good copy.||A really charming and deep guide to America’s small fine presses.|

Bosham: Circle Press, 2017. An Inuit Myth with verse by Richard Price. One of only 40 signed and numbered copies. 7 french-fold gatherings with 15 blind relief prints (5 double page) from wire and shaped board sculpture on Khadi paper by Ron King. Letterpress text printed in a delicate icy blue. 30 x 31.5 cms, with the sections in thick Khadi paper wrappers with Inuit image by King on the upper side, all housed in a hand made card blue chemise with image by King blocked in silver on the upper board and sliver lettering to the spine, in a canvas covered slipcase.||A true masterpiece and breathtakingly beautiful. The poet Richard Price and the artist Ron King retell in words and relief prints, “the Inuit story of the motherless young woman Sedna who becomes, through extreme trial, the sea goddess central to Inuit belief. In this version, Sedna first appears when she is refusing to have local suitors foisted upon her by her father. She resists any match until a mysterious stranger approaches.… Read More

Circle Press, 2017. Blind embossed print using a copper wire sculpture on Khadi hand made paper. 1 of 40, numbered, titled and signed in pencil by the artist. Image size 253 x 220 mm. Paper size 285 x 290 mm. ||The poet Richard Price and the artist Ron King retell in words and relief prints the Inuit myth of Sedna and the Fulmar.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. |

Newtown: The Gregynog Press, 1928. No. 284 of 310 copies. Portrait frontispiece wood by R.A. Maynard after Augustus John. Printed in Baskervile type on Japanese vellum in with yellow title vignette and borders on every page. 8vo., original black buckram and marbled paper covered boards, largely unopened. With some mild rubbing to cloth, otherwise very good.||Simply but beautifully printed edition of the work of the Welsh poet W.H. Davies, known as the ‘tramp poet’. Rather engagingly, Davies writes a foreword which declares that most of the poems were written from his own life experience: “’The Sleepers’ was written after a night out on the London Embankment, when I was penniless...It will be seen from reading some of these poems that I have known the discomforts of a homeless life...however, even my experience of hunger has not left me bitter: for I believe my mind became stronger and better fed because of an occasional spell of fasting...Gluttony has starved more brains than… Read More