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

San Francisco: The Colt Press, 1939. One of 750 copies. Vignette illustrations in the margins. 4to., original blue cloth backed paper covered boardw itha print of the Colt Press device in silver on black paper on the upper cover, printed paper spine label. Some darkening to edges, otherwise a good copy.|||

1929. Original wood engraving for the beginning of The Tale of Melibeus for the Golden Cockerel Press The Canterbury Tales. No. 4 of 5 for the USA signed by the artist ‘EricG’. Image size 10 x 12.5 cms, framed and mounted.|||Physick 593 Original signed wood engraving for the Golden Cockerel Canterbury Tales

Marcham: Alembic Press, 2000. 2 wood engravings by Robert Gibbings and Simon Brett. One of 120 copies, this one unnumbered. 8vo., original brown cloth backed, printed paper covered boards, spine lettered in gilt. A fine copy.||The Tale of Two Benches is taken from Gibbings’s book Till I End My Song, being the chapter about the village where the Alembic Press was based, Marcham in Oxfordshire. Included is the history of Marcham and how Gibbings came to be there.| From Gibbings’s Till I End My Song

London: printed by the Golden Cockerel Press for Frank Hollings, 1928. Portrait frontispiece. No. 302 of 500 copies. Printed on handmade paper. 12mo., original parchment backed green paper covered boards, sides with a gilt fillet at the edge of the spine, gilt lettering on spine. Spine a little soiled and mildly rubbed, otherwise a very good, untrimmed copy. |||

Cambridge: Privately Printed at the University Press, 1953. One of 450 copies, printed at Christmas for presentation by the University Printer, Brooke Crutchley, to his friends in printing and publishing, and with his preface and post script. Pp. vii [1] 101 [3]. Large 8vo., original russet cloth, lettered in gilt to spine. Spine very slightly faded, some minor wear to head of spine, owner inscription to front pastedown, a good copy, lacking slipcase. With the prospectus for the 1973 collector’s edition loosely inserted.||Morison’s fascinating account of 17 typefaces, and why they were cut at his instigation and under his supervision by the Monotype Corporation between 1922 and 1932.From the library of Robert L. Leslie, American doctor, graphic designer and typologist, with his bookplate to front pastedown.|

New York: Press of the Woolly Whale, 1941. Dwiggins’s engaging treatise on the relationship between artist (designer) and client. One of an unspecified number of copies. Decorated with head and tail pieces and set in Dwiggins’s Electra type with special cursive italic. Designed by W.A. Dwiggins and printed by Melbert Cary. 12mo., original string-tied printed self-wrappers, a few faint marks to covers.|||

1993. Original wood engraving. Edition of 20, numbered, titled and signed in pencil by the artist. Image size 100 x 100 mm. Paper size 180 x 178 mm.||After graduating in 1989 Anne Desmet spent a year on the British School in Rome’s Scholarship in Printing. This engraving of the oldest surviving marble building in Rome (also known as the Temple of Hercules Victor) shows beautifully Desmet’s continued exploration of the light in Italy’s effect on tonal contrast and dramatic shadows of Roman architecture.Desmet was born and brought up in Liverpool and gained her BFA and MA in Fine Art from Oxford and a Postgraduate Diploma in Printmaking from Central School of Art and Design. In 2011 she became the third wood engraver to be elected as a member of the Royal Academy of Arts in its 250 year history. Desmet’s works are in numerous public and private collections across the World including the Ashmolean Museum and the Whitworth Art Gallery. She has completed several important commissions including… Read More

Proof signed by Gill, 1923. Original proof wood engraving signed by Eric Gill, “Eric G” in pencil. Framed. Image size 11.6 x 10.2 cms. 1923||One of Gill’s white on black, line wood-engravings, a classic image. Like The Skaters, it was based on a photograph in the 1923 Daily Mirror. Unusually for this image, the print is signed.|Physick 217

Waltham Saint Lawrence: Golden Cockerel Press, 1922. No. VII of 20 copies on hand-made paper (there were 350 ordinary copies). Printed in 9 pt Caslon O.F. type. Pp.70. 12mo., original canvas backed blue paper covered boards, printed paper label on spine, fore and lower edges untrimmed. Slight darkening to boards and free endpapers, corners very mildly bumped but generally a very good, clean copy.||The press bibliography declares that the 20 special copies are bound in black buckram - this special copy of the second edition is clearly a variant.|Chanticleer, Bibliography of the Golden Cockerel Press, 2 One of only 20 copies on hand-made paper

Marlborough: Libanus Press, 1988. Edited and introduced by Marius Kociejowski. No. 69 of 220 copies. 7 illustrations and cover design by Richard Shirley Smith. Illustrated by Richard Shirley Smith. Printed in Monotype Garamond on thick handmade Amatruda paper. 8vo., bound by Smith Settle in original quarter grey cloth over illustrated paper boards, spine lettered in silver, lower edge uncut, in the original mauve thin card slipcase (slightly faded with tiny tear). Slight fading to spine, otherwise very good.||The fascinating 18th century letters of Charlotte Biggs, in which she relates stories of love, intrigue, abduction and rape.|

New York: Oxford University Press, 1929. A poem in four books by British Poet Laureate Robert Bridges. One of 250 copies, this no. 137. Set in Linotype Estienne and printed on Vidalon paper at the press of William Edwin Rudge. Pp. 184. 4to., original quarter burgundy cloth with marbled paper covered boards, lettering in gilt to spine, t.e.g, marbled endpapers. Very slightly faded at spine, some occasional rubbing to boards, otherwise a good copy in the remains of the original marbled slipcase, lacking lower edge.||With the book label of Brian Douglas Stilwell. The publisher’s printed note on the text is inserted loose.|

Stanford Dingley: Mill House Press, [1934]. Parts I & II (all issued) of a proposed 6 parts. The prospectus declares that “the edition will consist of not fewer than 60 or more than 100 copies”. Printed by hand in Baskerville type on hand-made paper in red and black. 8vo., original blue wrappers with printed paper labels. In very good condition.||The project was abandoned after these two parts as the subscriptions weren’t numerous enough. The final part was to have the title page, introduction etc so there is no title page.Apparently the last leaf we have here (p.80) was not bound in to all copies. Of the 10 institutional holdings only Indiana University lists a copy with 80pp, 6 list pagination at 79pp. and 3 have no pagination.With the original 4pp. prospectus.|Ridler, British Modern Press Books, 20 One of around 60 copies - the only parts issued, with the original prospectus

ff [Flynn & Funazaki], 2013. No. 2 of a limited edition of 5. 94 x 100 x 22mm. Bound in full calf leather with vellum blocked in black. Rounded spine made from a dowel and the vellum extends to form the pockets, where both ends of the concertina pages are inserted and attached to the cover. The doublures have been laser-printed from a drawing by the binder. The text by Danny Flynn and illustrations by Eri Funazaki were handset and printed in letterpress from zinc plates using an Adana Eight-Five onto Zerkall paper, which have been additionally hand-tooled in gold and blind. Housed in a full light green calf clamshell box lined with printed paper.||The text is an excerpt from a play involving two dogs having a heated conversation about their daily life (ie waiting to be told where to sit) written by Danny Flynn. “It has been both a new and experimental project that edits and shortens the longer play to fit the nature of typesetting for an artists’ book without losing the speed and the flow of the… Read More

New York: printed at the Curwen Press for the Fountain Press, 1930. Title page vignette. No.175 of 850 copies, signed by the author. Printed on Barcham Green paper at the Curwen Press. 12mo, original green cloth, with lettering and decoration in gilt. A very good partially unopened, uncut copy. in the original black card clipcase with wear to bottom.||Nicely printed poetry by the important Irish writer James Stephens.|

San Francisco: Book Club of California, 1978. One of 500 copies. Frontispiece and 15 colour plates printed at The Curwen Press. Folio, quarter red coth, marbled boards, spine lettered in gilt, a very good copy.||This well-produced book is a useful and informative introduction to British aquatint books and their contents. Designed by John Dreyfus.Prospectus inserted loose.|

London: printed at The Westminster Press for the Fanfrolico Press, [1929]. Introduction by Edward Hutton. No. 451 of 500 copies. 20 woodcuts by Lionel Ellis. 4to., original full green vellum, gilt lettering on spine and gilt stamped image after one of Ellis’s cuts on the upper cover, top edge gilt, others uncut. Some fading to the spine and marking to the edges of the vellum, otherwise very good. ||The wood engravings in the book are remarkably good and rich. Lionel Ellis (1903-1988) was a noted painter, wood engraver and teacher. He also illustrated the Fanfrolico Herrick and Catullus.|

Marlborough: Libanus Press, 1985. No. 35 of 50 deluxe copies. 6 wood engravings printed in black, green and red by Carol Walkin. Printed in Gill Perpetua type on Velin Arches rag paper. Pp. [24]. Tall 4to., original quarter green morocco, marbled paper boards, gilt border and lettering to spine, fore and lower edges uncut. Spine very slightly faded, otherwise a very good copy.||A free rendering into heroic verse by Dryden of the story found in Boccaccio’s ‘Decameron’, which was first published in 1700 as a section from John Dryden’s ‘Fables Ancient and Modern’.| One of 50 deluxe copies

Edinburgh: J. Dickson, 1788. First edition, first printing of this important work. Whole volume: Pp.vii, [1], [ix]-xii, 100, 304, 1 leaf [explanation of plates for Theory of the Earth], [305]-336, 209 pp, 1 leaf [errata; directions to binder]; 4 plates (at p. 40, two at p. 304, at p. 334)]. 4to., contemporary full tree calf, rebacked. Some rubbing and bumping to corners and edges and occasional foxing, tiny tear at bottom of margin on two leaves, not affecting text, otherwise very good.||Hutton gave his ground breaking address in a paper read to the Royal Society of Edinburgh in 1785 and this 1788 printing was the Society’s first publication of it. In 1795 an enlarged version of it appeared in two volumes but this is the first presentation, and thus has massive importance as the initial means of dissemination of his important theory of uniformitarianism - that the formation of the earth is one continuous process.|Norman 1130, Dibner, Heralds of Science 93 (citing this journal appearance). PMM 247… Read More

London: printed in Paris at the Trianon Press for the William Blake Trust, 1972. Letter L of 26 copies reserved for the Trustees of the William Blake Trust and teh Publishers. 21 plates - 20 plates reproduced by colour collotype with water-color washes by hand through stencil, and one engraving. 2 vols., 4to and small 4to., quarter brown morocco with marbled paper covered boards, in original marbled paper covered slipcase. A very good copy.||The text is a clear statement of Blake’s beliefs regarding the nature of man. The full book only came to light in 1953 and this is the first reproduction of the text. Such maxims are included as “Man’s desires are limited by his perceptions, none can desire what he has not perciev’d (sic)” and “If any could desire what he is incapable of possessing despair must be his eternal lot”.|Bentley, Blake Books, 202.

London: printed in Paris at the Trianon Press for the William Blake Trust, 1972. No. VI of 50 de luxe copies. 21 plates - 20 plates reproduced by colour collotype with water-color washes by hand through stencil, and one engraving; together with a set of plates showing progressive stages of the collotype and hand stencil process with guide sheet and stencil. Edition de luxe, limited to 50 copies with additional proof sheets, progressive plates and original stencil, etc. 2 vols., 4to and small 4to., full brown morocco, in original marbled paper covered slipcase. Near fine, prospectus inserted loose.||The text is a clear statement of Blake’s beliefs regarding the nature of man. The full book only came to light in 1953 and this is the first reproduction of the text. Such maxims are included as “Man’s desires are limited by his perceptions, none can desire what he has not perciev’d (sic)” and “If any could desire what he is incapable of possessing despair must be his eternal lot”.|Bentley,… Read More