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

Offenbach am Main: Gebr. Klingspor, 1927. Pp.32. Printed in red and black with some colour decorations. Sm.folio, original printed wrappers. Small 4pp. specimen inserted loose. Wear to the top and bottom of spine with a little darkening to top and bottom edges. ||| Type specimen

Boston: David Godine, 1969. One fo 350 copies. Pp. 18. Printed by hand at The Gehenna Press with some printing in red on title page and a couple of ornaments in olive green. 8vo., original patterned paper wrappers with printed paper label on upper cover. Tears to outside wrapper and scuffing to label.||Introduction by John Dreyfuss. This New Year’s keepsake was printed as a memorial in the year of Beatrice Warde’s death, being an important speech she made at the St. Bride Institute on the responsibilities and powers of the Private Press.|

Northampton: published by Leonard Baskin at the Gehenna Press, 1964. One of 50 special numbered copies with an extra suite of etchings on large white Rives paper, signed, titled and numbered by the artist. 21 etchings by Thomas Cornell on blue Fabriano paper plus the extra suite, all signed except the frontispiece, as issued. Designed by Leonard Baskin. Loose in a full leather chemise and laid into a leather and cloth tray case with the extra etchings in a cloth portfolio. Spine of box a little worn, otherwise very good.||Babeuf led the so called “Conspiracy of Equals” against the French Directory in post-Revolutionary France, for which he was executed in 1796. He is now seen as the first communist.|

Paris: Editions de l’Ile de France, 1947. 34 illustrations by Georges Lepape. Pp. 165. 8vo., exquisitely bound by the excellent gilder Berthaux in full maroon morocco with blue morocco inlays and a recessed fully gilt panel with onlaid pink morocco roses and green morocco leaves all tooled in gilt, gilt ruled borders and lettering on spine, inner dentelles with pink onlaid roses and gilt ruling, marbled endpapers, in a matching chemise and slipcase. In superb condition. ||Paul Geraldy’s beautiful, ‘naive’ poems following the course of a love affair first appeared in 1912.| A sumptuous binding by the superb gilder Berthaux on poems charting the course of a love affair

Gottingen: Vandenhoeck & Ruprecht, [1948]. Printed after a calligraphy manuscript by Fritz Lometsch completed in 1945 and hand-coloured by Albert Wald in 1948. Pp. 12. 8vo., in the original hand-coloured printed wrappers. Edges of wrappers creased and a little faded, otherwise very good.||A really lovely book in praise of the countryside.|

Hamburg: Otto Rohse Press, 1986. 12 wood engravings by Otto Rohse. One of 150 copies, this no. 106, signed by the artist. The 19th printing of the Otto Rohse Press. Handset in Lettergieterij Amsterdam Garamont. Pp. 42. 4to., bound by Christian Zwang in original beige paper covered boards, wood engraving and blind embossed lettering to covers, titles printed in orange to spine. Housed in the original decorated slipcase. A bright, fresh copy.||One of the best of German printers during the second half of the 20th century, Rohse illustrated his own remarkable fine press books with wood and copper engravings. | With Rohse’s exceptional wood engravings and in an attractive binding using wood engraving and blind embossing

Leipzig: Insel Verlag, 1925. No. 315 of 450 copies. Portrait frontispiece, 38 plates of bindings (several in colour), 8 colour plates of designs for papers and boards, 82 plates of designs for title pages etc. several in two or more colours, 13 plates of Weiss’s type, 8 plates of bookplates and devices, 6 plates of initials, 11 plates of borders and ornaments, plus many other illustrations of Weiss’s work in the essays. Folio, original parchment backed boards with design by Weiss in red on upper cover. Slightly rubbed at edges, a bit shaken, otherwise good. Inserted loose is an original engraving by Weiss, signed and numbered 2/26.||The festschrift for Emil Rudolf Weiss, a leading German calligrapher, typographer, type and book designer who worked in the first half of the 20th century and is particularly associated with Bauer.Among the essays are contriubtions by Gerhart Haptmann, Oskar Loerke, Hans Rupe, Emil Strauss, J. Meier-Graese, Hans Loubier and Stnaley Morison who contributes an… Read More

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. |

London & Glasgow: Gowans & Gray, 1908. Elaborate illuminated binding on full vellum over bevelled boards by Giuseppe Giannini of Florence with his binders label, gold patterned paper endpapers, red top edge and red silk bookmark. Gowans Art Books no.2 with 60 pages of reproductions of Van Dyck’s paintings. Housed in the original green linen box.||A classic of the genre of bindings produced by the famous Giuseppe Giannini of Florence for the English tourist trade.| Elaborate illuminated vellum binding from Florence

Waltham St Lawrence: Golden Cockerel Press, 1934. 14 wood engravings by Robert Gibbings, title page printed in red and black, initials and one headline printed in red. No. 233 of 277 copies. Folio, original quarter vellum, buckram boards, spine lettered in gilt, top edge gilt, others uncut. Some darkening and marking to the linen and a few marks to the vellum, internally very good and clean.||Some of Gibbings’s greatest work is in Glory of Life including wood engravings of animals - for instance an orangutan, a gull and a jaguar - and some spectacular lettering on the title page printed in red. A fabulous Golden Cockerel book.|Chanticleer: Bibliography of the Golden Cockerel Press, 91 With some of Gibbings’s most striking engravings

London, 1934. 102 engravings by Eric Gill, each printed from the original block under the supervision of the artist on one side of a separate page, this copy unopened. One of 300 copies. Folio, original green cloth, gilt lettering on spine,in the original dust jacket. Spotting to endpaper, first few leaves and very edges but not on any of the prints, dust jacket in pretty good condition with slightly darkened spine and some tears to edges.||A wonderful way to own original prints by Gill from this period all of which were printed under his supervision.Original 4 pp. prospectus inserted loose with two large engravings by Gill on inside pages.| Printed under Eric Gill’s supervision by Hague and Gill for Faber & Faber

1935. Original intaglio wood engraving by Eric Gill, numbered 8/25 and signed by the artist ‘EricG’ in pencil. Image size 10.2 x 7.6 cm. Mounted.||A very pleasing image and rather rare.|Physick 319

1930. Original wood engraving. Inscribed by the artist ‘L.W. from EG’. Image size 7.2 x 13.3 cm. Mounted and framed.||Engraving for ‘Clothes’ by Eric Gill, published by Jonathan Cape in 1931.Rather charmingly the engraving depicts a sculptor with a strong resemblance to Gill. L.W. may well be Leonard Woolf with whom Gill was friendly and with whom he corresponded. There are records of books inscribed by Gill to Woolf at this time including a copy of The Four Gospels in 1931.|Physick 714 Inscribed by Gill, probably to Leonard Woolf

1923. Original proof wood engraving on thin laid paper. Signed by the artist “Eric G” in pencil. 114 x 64 mm. Mounted and framed. Small mark to the bottom right hand corner of the mount, not anywhere near the print.||After a drawing by Norval Gray whose initials are engraved in the block.Extremely scarce thus - no edition is recorded by Physick.|Physick 256 Extremely scarce signed proof

1926. Original proof copper engraving signed and numbered by Eric Gill in pencil, “EG” and 6/25, however the numbering has been crossed out and the word “proof” added in pencil. Image size 115 x 91 mms. Small crease to the side of the image. Mounted and framed.||Proof of an alternative and more explicit design which was rejected in favour of the more delicately covered image actually used for ‘Earth Receiving’ in Procreant Hymn, published by The Golden Cockerel Press in 1926. Very scarce.|Physick 367 Proof of an unused and more explicit design for Procreant Hymn, signed by the artist

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

London: Neville Spearman, 1954. First edition. 24 illustrations of life drawings by Eric Gill. Sm. 4to., original red cloth with Gill’s monogram in gilt on the upper cover. Darkening and a little marking to edges, free endpapers rather browned, without the jacket.||With an introduction by John Rothenstein explaining that Gill only started life drawing in 1926 when he was 44 which would seem very late except that Gill wrote, “Drawing from life properly comes late in life rather than early. For the training of imaination is the first thing to be seen to...”.|

London: printed by Hague & Gill for J.M. Dent & Sons, 1937. 12 illustrations by Denis Tegetmeier, Gill’s son in law. Pp. vi, 141. 8vo. original beige cloth, gilt lettering on spine. Spine rather darkened, occasional very light spotting, without the dust jacket.||Eight essays by Eric Gill including ‘Architects & Builders’ with the booklabel of the noted architect Austen St Barbe Harrision, engraved by Eric Gill and of David Potter, engraved by Reynolds Stone.The noted architect Harrison spent a great deal of his working life in Jerusalem and it was there he collaborated with Eric Gill in building the Rockefeller Museum where 10 bas-reliefs by Gill can be seen in the inner courtyard (see also From a Jerusalem Diary published in 1952 which shows Gill’s work for the museum). | From the library of Gill’s friend and collaborator in Jerusalem, the architect Austen St Barbe Harrison

London: printed by Hague and Gill & published for them by J.M. Dent & Son, 1928. 11 illustrations by Denis Tegetmeier. Printed in Gill’s Bunyan type. 8vo., [17 x 21 cms],original pink and blue printed wrappers, in the original sleeve printed to match. A lovely copy in a slightly rubbed and edge creased sleeve. ||11 short pithy one page pieces by Eric Gill, illustrated with cartoons by Tegetmeier. The Unholy Trinity is Power, Respectability and Money, ‘the product of their mutual love’. |Evan Gill, Eric Gill Bibliography 37.

London: Jonathan Cape, 1947. First edition. Illustrated throughout. 8vo., original red cloth with Gill device in blind, gilt lettering, in the original dust jacket (price clipped with Times Book Club label stuck on the inside). Jacket with a few chips and faded spine, top corners bumped, ownership inscription on free endpaper.|||