Search Results: Authors starting with B from SOPHIE SCHNEIDEMAN RARE BOOKS

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

Mission, British Columbia: Crispin & Jan Elsted at Barbarian Press, 2013. Endgrain Editions Four. One of 120 regular copies, of a total edition of 175. Tipped in wood engraved frontispiece ‘Jacob and the Angel), 133 wood engravings by Simon Brett printed on Zerkall smooth white paper each with a title printed in green. Printed in Gill’s Joanna type cast by Michael & Winifred Bixler. Folio, bound by Alann Simenson in original quarter green Japanese cloth with patterned paper sides designed by Brett. ||A complete chronological list of all of Brett’s engravings from 1961 providing an extraordinary visual catalogue of the work of one of Britain’s greatest wood engravers.|

Paris: H. Piazza, 1928. No. 151 of 200 special copies printed on japon with an extra suite of illustrations in black and white. 20 full page hand-coloured pochoir plates plus pochoir title page and two pochoir illustrations on the wrappers by George Barbier (the plates signed and dated in the plate between 1920 and 1928). 4to., original wrappers with pochoir illustrations by Barbier on the front and back, spine and upper cover lettered in green, extra suite in the original patterned paper covered portfolio and both housed together in the original patterned paper covered slipcase. An extremely good, bright copy in very fresh wrappers, the portfolio has some wear to the spine and the slipcase is darkened and rubbed at the edges.||Barbier’s exquisite Art Deco rendering of Verlaine’s poetry. |Carteret IV - 393 Special copy with an extra suite of plates in black and white

Fontenay-aux-Roses: Editions de la Cicogne, 1932. New translation by C. Poyard. 40 etchings by Barta, printed by Edmond Rigal. No. 50 of 59 copies on Montval paper of a total edition of 109 copies. Printed by J & J Vaucher in Garamond type. Folio, bound in a unique binding of full brown calf with two different relief metal plate sculptures on the upper and lower covers depicting a woman carrying water pots, spine lettered in blind and verdigris, the endpapers are each original paintings of scenes from Lysistrata, either by Barta or in his style, top edge gilt, others uncut, in the original, slightly worn slipcase. Rubbing to edges and joints but still an incredible binding. Prospectus inserted loose.||| One of 59 copies on Montval paper in an extraordinary and unique artist’s binding

Northampton, Mass.: Gehenna Press, 1968. One of 250 copies. Title vignette and 19 pages of culs de lampe printed in red, green, blue and black on Nideggen and Fabriano blue and white paper. Pages numbered in grey. In addition there is a contents page with details of the sixteenth and seventeenth century books from which these culs de lampe are taken, a colophon and Baskin’s own design for a cul de lampe printed in red. Oblong sm. 8vo., original marbled paper covered boards with printed paper label on spine. Upper corners slightly bumped, some mild rubbing to very edges of spine and boards.||Signed and inscribed by Baskin on the colophon - “For my old friend Robert from Leonard with constant affection, 1988”.|

London & Boston: Faber & Faber, 1981. First edition. 13 pictures after paintings by Leonard Baskin. 4to., original red cloth, original dust jacket. Top edge of jacket slight creased, otherwise very good.||The book, dedicated to Leonard Baskin's daughter Lucretia, is inscribed by the artist in a fine calligraphic hand "For Regina with the warmest regard of Leonard, 1981". | Inscribed by the artist to Regina

Frankfurt: Bauer Type Foundry, 1961. 14 woodcuts by Günther Stiller of Wiesbaden. A type specimen in the form of 5 different pieces by major authors in their original language and English about cats all set in different types. Designed by Walter Plata. Small square 4to, original wrappers with wood cut by Stiller, housed in the original black card envelope. A very good copy.||A type specimen especially for the New York City friends of Bauer Alphabets printed in Folio Medium Extended, Bauer Bodoni, Fortuna, Weiss, venus, Futura etc.|

2009. Lithograph printed in black on wove paper, 56.7 x 75 cms. One of an edition of 225, this unnumbered. A printing of the key plate from the 1967 colour lithograph, produced by the Curwen Studio in agreement with the Bawden estate.||Acquired from the Curwen Press Studio Sale.|

Paris: Editions de la Nef D’Argent, 1950. Limited edition in one volume. 11 erotic colour plates by Bécat, black and white illustrations in text. 8vo., bound later in a full green morocco binding with an erotic image of a female nude looking into a mirror on the upper cover, original wrappers bound in, housed in a green cloth slipcase. Spine faded, otherwise a very good copy.||Written between 1534 and 1536 in two volumes, Pierre L’Aretino’s Ragionamenti is a kind of manual for women of pleasure. Until at least the 18th century, his work was considered to be a highlight of erotic literature - who better to illustrate it than the erotic master Bécat.Each volume covers three days, during the first three, Nanna searches for what is best for her daughter Pippa. She has three options: let her daughter enter a convent, let her marry or let her become a whore. With her friend Antonia, she deals with one situation a day. Eventually she comes to the conclusion that her daughter should have sex… 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..|

London & Boston: Elkin Mathews & John Lane & Copeland & Day, April 1894 to April 1897. Thirteen volumes, all published. Numerous illustrations and covers by Aubrey Beardsley, William Rothenstein, Walter Sickert, Housman 8vo., original yellow publisher’s pictorial cloth embossed in black. A remarkably good set with only slight bumping to the headcaps and corners and occasional mild darkening. ||A complete set of the most famous periodical of the 1890s. It became infamous when it was rumoured that Oscar Wilde was reading it when he was arrested (he was in fact reading Pierre Louys’ Aphrodite). It began as an avant garde publication with new departures in literature and art especially with Beardsley’s graphic contributions. However it became more conservative and mainstream after Wilde’s arrest. It remained very popular and was widely owned and read with contributions by Henry James, Max Beerbohm, Yeats, Le Gallienne, Charles Conder, Baron Corvo, Kenneth Grahame, etal.| A complete set

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

Princeton: Princeton University Press, 1940. 14 wood engravings by Alexander Anderson after originals by Thomas Bewick, printed from the original blocks in the possession of Helen M. Knubel. One of 200 copies. Essay by Lawrence Thompson, with his captions accompanying each engraving. 8vo., original beige printed paper wrapper. Mild darkening to spine, slight wear to spine ends and fore edge.||Alexander Anderson was the first to spread Bewick’s techniques in America after seeing Bewick’s History of Quadrapeds in 1795 at a bookstore in New York. He faithfully copied Bewick’s engravings and produced an American edition of the Quadrapeds in 1804, all done by Anderson even though he was a young doctor at the time.| One of 200 copies

Paris: Albin Michel, 1918. . First edition. One of 25 numbered copies on papier de Hollande of only 40 large paper copies. 173 black and white art deco illustrations by Charles Martin, highlighted in red/orange. 12mo., bound by Bichon in full polished tan calf, spine and square corners in salmon pink calf, the upper cover has a cut out heart bordered in black and salmon pink calf revealing the illustration of the original cover beneath it showing a married couple, smooth spine titled in gilt, balsa doublures, top edge gilt, original wrappers bound in the original wood veneer slipcase edges with salmon pink calf.||« Combien d’hommes se marient sans savoir ce qu’est une femme ! Combien ont procédé avec elle comme le singe de Cassan avec son violon ! Ils ont brisé le cœur qu’ils ne comprenaient pas, comme ils ont flétri et dédaigné le bijou dont le secret leur était inconnu. » [“How many men marry without knowing what a woman is! How many treat her like Cassan's monkey… Read More

Florence: stamperia di S.A.S. alla Condotta, 1688. Engraved armorial title-vignette by Francesco Nacci which includes a figure holding a football, two folding engraved plates, the first by Alexander Cecchini showing the players lined up for the start of play in the Piazza Sante Croce and the second a diagram of their positions. [6]ff. 180 pp. 4to., contemporary vellum over paste-board, spine ruled and lettered in gilt with floral device in 6 of the 7 compartments. A few small wormholes in the binding, otherwise a superb, bright and crisp copy. Housed in a later tan leather clamshell box (with some wear but still attractive).||A superb copy of the first edition of Pietro Bini’s anthology of works on Florentine football, published to commemmorate the game played during the wedding festivities of Ferdinando de’ Medici and Princess Violante Beatrice of Bavaria in December to January 1688-9. The players in this celebratory game were all members of the Florentine aristocracy and they are all listed as… Read More

London: 89 Cromwell Road, c.1897. Two brown calf bookends with a design of decorative brass studs and with tooling in blind of flowers and the gouged words ‘Mind Me’ and ‘As You Find Me’, so typical of Birkenruth’s style, worked into the leather in blind, border in blind on the smooth inside edges. Each signed with a stamp on the inside in blind ‘Johanna Birkenruth London’. Each 144 x 135 x 70 mms. Some occasional rubbing with a little wear to the very top of the back and the base of one bookend and the base.||Johanna Birkenruth (1853-1929), began binding around 1888 and was a fascinating example of an enterprising, independent woman of the time who made a living out of her work. Her work was much admired and one of her bindings was displayed at the 1897 Arts & Crafts Exhibition which was so instrumental in inspiring Frank Karslake to set up the Guild of Women-Binders with which she was associated, although she never became one of their number. Birkenruth was a highly independent and… Read More

London: The Camberwell Press, 1999. Introduction by Russell Hoban. No. 175 of 300 signed copies. Superb reproductions of 20 very large watercolour drawings by Quentin Blake. The watercolours were expertly scanned directly from the originals and printed on Rivoli White paper on a single colour press by Smith Settle. 645 x 460 mms, original grey cloth ribbon laced binding by Smith Settle. An extremely good copy. ||Hogan’s introduction “Wrapped Attention, Also Unwrapped” describes how Blake has done these watercolours and how under their blankets, dressing gowns etc they are in fact female nudes. The result is a very strong collection of drawings which show beautifully a woman in various poses in the act of absorbed reading.|

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

London: printed in Paris at the Trianon Press for the Trustees of the William Blake Trust, 1974. Limited to 32 deluxe copies with extra material, proofs, stencil etc. 25 colour plates printed using the collotype and hand-stencil method, 8 proofs, and commentary by Geoffrey Keynes at the end, 8 colour facsimile trial proofs, 12 pages of text plus an extra suite of 14 states of plate C & D with a matching guide-sheet and pochoir stencil. Folio, original full brown morocco, in the original morocco edged marbled paper covered slipcase. Very slight fading to spine, otherwise extremely good.||The longest of Blake’s prophetic books which tells of the fall of Albion, Blake’s embodiment of man, or the Western World. Six copies were printed between 1820 & 1827 and a further 4 copies were printed posthumously. This is the facsimile of Lord Cunliffe’s copy (copy B) and Kerrison Preston’s proofs; the colouring differs markedly from the Stirling copy which was the first Trianon Press Blake facsimile… Read More

London: Printed at the Trianon Press for the Trustees of The William Blake Trust, 1976. No. 156 of 480 ordinary copies, in addition there were 32 deluxe copies and 26 copies for the Trustees and publishers. 5 colour facsimile plates made using the collotype and hand-stencil process at the Trianon Press in Paris. Printed on Arches pure rag paper to match the paper used by Blake. 4to., quarter brown morocco, marbled paper boards in a marbled paper covered slipcase. Very good.||The companion volume to the Book of Ahania, printed by Blake in Lambeth in 1795. A facsimile of the only known copy of The Book of Los in the British Museum.In his commentary, Geoffrey Keynes writes: “the philosophic message of this small book is hidden in apocalyptic verbiage calculated to puzzle Blake’s small audience.. Blake seems to have sensed this obscurity as soon as it was completed and, as far as is known, he never made another copy...or referred to it...”Bookplate of Alexander Stone on front pastedown. |Bentley,… Read More