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

Hamburg: Maximilian-Gesellschaft, 1964. With 37 woodcut illustrations by Lieselotte Schwarz. One of 1600 copies, signed by the artist. 4to., in a designer binding by Martin Jaegle in full tan oasis with 2 large ochre curved onlay decorations on front cover, t.e.g., spine lettered in gilt, suede endpapers with signatures on upper and lower turn-ins of Martin Jaegle and the Legatoria Artistica Ascona dated 1972. In tan morocco backed linen clamshell box.||The Legatoria Artistica Ascona in Switzerland produced many of the best European binders of this period including Martin Jaegle. The design is very much of its time and reflect Schwarz’s striking primitivist illustrations to Hoffmann’s “Bleak House”. Lieselotte Schwarz was a superb German illustator, she died in 2003, and has been mentioned in Germany as being on a level with Sendak.|

London: Printed at the Stamperia Valdonega for The British Library, 1994. Photographic portrait frontispiece of Dreyfus. Pp. x, 339. Large 8vo., specially bound by Jeff Clements for Anthony Dowd in 2003 as printed on the lower doublure. Bound in grey Harmatan goatskin with feathered onlays of black, red and yellow and natural white alum-tawed goatskin on both covers, six of the onlays traverse the edges onto the doublures, the yellow goatskin goes across the front cover and spine, single vertical grey line tooled on each which run down the doublures as well. Each doublure with an integral joint is of acid free blue Fabriano handmade ‘Roma’ laid paper divided into two making use of the deckle edges and between the Roma papers are original leaves from Cranach Press prospectuses, the endleaves are lined with blue suede sheepskin, edges coloured yellow. Housed in the original clam shell box of blue Irish buckram lined with felt, spine label titled in Palatino on Fabriano hand made paper. ||A superb… Read More

London: Folio Society, 2011. Translated by Raymond Rosenthal. Frontispiece and seven other full page colour illustrations by Mark Smith. 8vo., bound by Jill Prole in 2011/12 in full grey morocco with dna string design in blink across both covers and circles, lines and stars tooled in metallic blue, silever an gold and red and onlaid lines and semi circles of white, red, blue, brown and black morocco, representing space and the elements, the stars and circles are tooled in a wave across the black endpapers, edges black with flecks of several colours, spine lettered in black, housed in the original silver sparkling black cloth solander box lined in velvet with black morocco and silver lettered spine label. In superb condition.||A very accomplished bookbinding by Jill Prole which won the J. Hewit & Sons prize in the 2012 Designer Bookbinding Competition. It was exhibited in the annual prize exhibition in 2013 and since then has been in a private collection.Jill Prole is a noted British bookbinder who… Read More

London: Nonesuch Press, 1928. 42 illustrations after the drawings by Sandro Botticelli, printed by Daniel Jacomet. No. 1006 of 1475 copies. Printed by the Westminster Press in Poliphilus Roman and Blado Italic on Van Gelder paper. Folio, bound in a very handsome American designer binding of full black morocco with an arresting design on both covers of onlaid red/tan morocco with gilt tooling round the shape and gilt ruled lines coming to points, gilt titling on spine, hand painted endpapers of acrylic on paper showing a representation of an inferno, top edge gilt, others uncut. A very good copy.||Bound by Joe Newman in 1990, this binding was exhibited at The Grolier Club in 1991 and is pictured in the catalogue of the show entitled ‘Contemporary American Bookbinding’ which was also on display at the Bibliotheque de l’Arsenal in Paris and the Bibliotheca Wittockiana in Brussels. Inserted loose is a compliments slip from the Grolier Club “Thank you for your participation in the exhibition… Read More

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

London: John Hogg, 1909. First edition, first impression. 16 plates including 5 by Eric Gill which are reproductions of his carved and written alphabets. 32 x 25.5 cms, original linen backed, printed blue paper covered portfolio, linen ties. Some rubbing and bumping to the edges and corners, some darkening to the boards boards but the linen is in good condition and generally a good, bright copy. ||Inserted loose is a scarce advertisement leaf for plaster casts of lettering by Eric Gill available from the publisher.Ownership inscription of the Scottish architect Basil Oliver dated April 11, 1911.| With 5 plates of carved and written alphabets by Eric Gill

London: Ian Mortimer, 1993. Printer’s archive set E (of 5). Title page, 25 sheets of specimens displaying complete alphabets of all sizes of type and a colophon, all printed on white machine catridge paper. The first specimen sheet shows the three sizes of cast metal type that were produced from Johnston’s design, and is printed from original foundry type cast by the Steven Shanks Foundry., the remaining 24 specimens show wood type from 5-line pica to 24-line pica and are printed from the original wood. In addition this set includes1) an early trial proof of 2 alphabets (10-line pica and 8-line pica) which were done to check the condition of the type2) Early proof of 5-line pica Medium and Bold printed on Moulin de Gue mould-made paper as a sample3) Proof of the unused text for the Title page4) Grid overlay used as a guide to consistency in teh setting-up and spacing of each alphabet5) Trial proof for sheet 21 with compositor’s notes6) Two discarded sheets from first printings - letters from… Read More

1925. Original proof wood engraving, here printed on handmade paper, signed and dated by the artist in pencil. With pencil numbering 3 - 10. Image size 127 x 57 mms, sheet size 164 x 174 mms.||From the Golden Cockerel Press Gulliver’s Travels, vol II., p. 109 (usually appearing coloured in green, red and flesh-colour but here uncoloured).The image is comparatively lightly inked and is was printed on paper with some crease marks but still good and with clear detail.|Cleverdon E121 Original signed proof

1924. Original proof wood engraving printed on japon. Signed and dated by the artist in pencil. Image size 83 x 57 mms, sheet size 130 x 95 mms. Framed.||The last image in Libellus Lapidum for which Jones engraved 16 images. Jones engraved the images spontaneously responding to Pepler’s popping in and out of his workplace reciting satirical rhymes for him to illustrate. On the cover engraving Jones sits with a giant burin behind Pepler on a wingless Pegasus. Dilworth describes the engravings as ‘remarkably free, showing an important advance in liveliness and ease that would make Jones, in Hagreen’s estimation, an engraver equal to Hogarth, Bewick and Blake’|Cleverdon E78; Taylor & Sewell: Saint Dominic’s Press A125; Dilworth, David Jones, p.79 Original wood engraving

London: Clover Hill Editions published by Douglas Cleverdon, 1977. 10 wood engravings by David Jones printed from the original blocks. No. XVI (16) of 80 special copies with a separate suite of all the engravings printed on japon. Printed on Barcham Green mould made paper by Will Carter at the Rampant Lions Press in Gill’s Golden Cockerel type, title page printed in red and black. Sm. folio, original quarter niger with marbled paper covered boards and a niger label on the upper cover lettered in gilt, extra set of engravings loose in the original cloth portfolio, both housed in the original cloth slipcase with printed paper label to spine. An extremely good set||Originally the ten engravings were going to include two printed offset, however while the text was being prepared, the missing two blocks were unearthed in Wales so all the engravings were printed from Jones’s original blocks.The first printing of the blocks was in the Golden Cockerel Press edition of 1927. In this edition Robert… Read More

1929. Original wood engraving, numbered 6 of 20 by the artist. Titled ‘Illlustration to 15th Cent Morality Play’, signed and dated by the artist in pencil. Image size 165 x 141 mms, sheet size 233 x 222 mms. Mounted and framed. Tiny repair to base of image, otherwise an excellent impression.||A very good impression of the engraving made by Jones for an edition of Everyman suggested as a project by Robert Gibbings which was announced in the Golden Cockerel Press Spring 1932 prospectus but which was later abandoned. According to Thomas Dilworth, he found the medieval morality play ‘utterly’ uncongenial.|Cleverdon E199/ Dilworth, David Jones p.114. One of an edition of 30, signed, titled and dated by the artist