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

The Olympia Press, 1955. Two volumes. First edition, first issue with Francs: 900 printed on the back of both volumes. Sm. 8vo., original wrappers, a very good, bright copy. ||| A very good, vibrant copy of the first edition, first issue

1958. Original ink drawing, signed by the artist. 30.7 x 20.8 cms.||Reproduced in The Tranquil Gardener, p.185Provenance: Estate of John Nash; Michael Taylor Rare Books; Neil Jennings|Colvin 1.41

London: John Lane, The Bodley Head, 1944. No. 49 of 50 special signed copies printed on mould-made paper. 12 full page illustrations (one for each month of the year) and 4 elaborate botanical borders by John Nash. 8vo., original maroon cloth with Pudney’s signature in gilt on the bottom right hand corner of upper cover, spine lettered in gilt. Couple of marks to lower board, otherwise very good. This special edition came with a plain glassine wrapper (not present here).||A really fine example of John Nash’s charm and superb illustrative skills showing his place in the British Pastoral tradition.| One of 50 special signed copies on mould-made paper

1961. Original ink drawing. 25.8 x 9.3 cms.||Reproduced in The Native Gardener, p.76Provenance: Estate of John Nash; Michael Taylor Rare Books; Neil Jennings|Colvin 1.45

Woodbridge: Jeremy Greenwood, 2020. One of 200 copies. Portrait frontispiece of Nash at work, 30 illustrations of engravings and drawings by John Nash. Printed in Berghold Sabon on Lambeth Drawing Cartridge paper. Folio, original red cloth with printed paper label on upper boards, spine titled in gilt. As new.||Greenwood published ‘The wood engravings of John Nash’ in 1987 and this book takes the form of an elaborate addendum, inspired by the discovery of two new prints. Greenwood took the opportunity to reproduce these along with a number of superb and rare preparatory drawings from John Nash’s estate which give a good idea of Nash’s working methods.|

Waltham St. Lawrence: Golden Cockerel Press, 1928. Translated by Brian Rhys. Four wood engravings by Paul Nash, all with original tissue guards. One of 400 copies. 8vo., in original blue cloth backed marbled paper covered boards, gilt lettering on spine, top edge gilt. Without the dust jacket. Spine very mildly faded with some very mild browning to endpapers, otherwise very good.||The first translation into English from the original French of Jules Tellier’s ‘Les Deux Paradis’.Nash’s wood-engravings are fine examples of his work, Clare Colvin in “Paul Nash Book Designs” marks them out: “stylistically they mark the climax of Nash's representational wood engravings”.|Chanticleer: Bibliography of the Golden Cockerel Press, 60 “the climax of Nash’s representational wood engravings”

Waltham St. Lawrence: Golden Cockerel Press, 1928. Translated by Brian Rhys. Four wood engravings by Paul Nash, all with original tissue guards. One of 400 copies. 8vo., in original blue cloth backed marbled paper covered boards, gilt lettering on spine, top edge gilt. Without the dust jacket. Spine a bit faded, some rubbing, good internally with the original tissue guards.||The first translation into English from the original French of Jules Tellier’s ‘Les Deux Paradis’.Nash’s wood-engravings are fine examples of his work, Clare Colvin in “Paul Nash Book Designs” marks them out: “stylistically they mark the climax of Nash's representational wood engravings”.|Chanticleer: Bibliography of the Golden Cockerel Press, 60 “the climax of Nash’s representational wood engravings”

Waltham St. Lawrence: Golden Cockerel Press, 1928. Translated by Brian Rhys. Four wood engravings by Paul Nash, all with original tissue guards. One of 400 copies. 8vo., in original blue cloth backed marbled paper covered boards, gilt lettering on spine, top edge gilt, in the original red dust jacket with wood engraving by Nash on upper cover. Jacket with some darkening and chipping to spine, otherwise a very good copy.||The first translation into English from the original French of Jules Tellier’s ‘Les Deux Paradis’.Nash’s wood-engravings are fine examples of his work, Clare Colvin in “Paul Nash Book Designs” marks them out: “stylistically they mark the climax of Nash's representational wood engravings”.|Chanticleer: Bibliography of the Golden Cockerel Press, 60 “the climax of Nash’s representational wood engravings”

1799. Mainly in blue thread with alphabets and numbers above two lines of verse - “The little birds sing praises to God when they warble sweetly in the shade” with ornamental crowns presumably to reflect the surname of the young seamstress. 29 x 34 cms. Framed.|||

c.1890s. 8 photographs including one of a family group, all in Salvation Army uniform. 6 of them are mounted of which 3 were taken by G.E. A. Burrell of Chester Street West in Christchurch, 2 were taken by M.J. Allan of Smith Street, Collingwood and one was taken by the Temple of Light in Adelaide, Australia.|||

Oxshott: The Tabard Private Press, 1986. No. 232 of 250 copies, there were also 20 special copies. Numerous examples of type specimens, drawings, calligraphy, bookplates, wood engravings, ornaments and borders and facsimile reproductions of pages. Text machine-set in Monotype Bembo at the Whittington Press and printed on Basingwerk paper. 4to., bound by Woolnough in quarter blue canvas over blue buckram boards, lettering in gilt to spine, floral patterned endpapers. A very good copy. ||A large series of short and interesting notes on all aspects of book production including book jackets, private presses such as Ashendene, Doves, Kelmscott etc, Paul Nash’s Genesis, Greek type, The London School of Printing, The Fleuron, good printing, scribes and illuminators, Monotype, wood engravings etc.|

London: William Heinemann, 1900. 12 coloured lithographs by William Nicholson, rhymes by Arthur Waugh. First “Popular” edition. Pp. 18. Square 4to., original cloth backed boards with yellow duckling by William Nicholson on upper cover, an unusually sound copy with only one tiny bump to top edge, some foxing internally.||It is extremely unusual to find this book strong condition, presumably due to its use in the nursery.A rarity.|

London: Golden Cockerel Press, 1950. No.310 of 500 copies. 6 copper engravings by John Buckland Wright. 8vo., designer binding by Nicky Oliver depicting bull’s horns in 22k gold with wood veneer, recessed vellum and walnut burl veneer inlays, black morocco onlays, full fair goat dyed with leather dyes using a miniature sponge to create a mosaic style pattern. Patterned paper and suede endpapers, acrylic wash and gold leaf top edge, others uncut. Housed in the original clamshell box with walnut burl veneer recessed strip and dyed vellum spine label.||Nicky Oliver’s design notes read: Pasiphae: the immortal daughter of the sun god Helios, wife of King Minos of Crete. Legend has it that her husband displeased the god Poseidon. As and act of revenge, Poseidon cursed Pasiphae to fall madly in love with Minos’s prized white bull. To satisfy her lust for the creature she employed the services of the great craftsman Daedalus to create a wooden cow- so that she could be “coupled” with the beast.… Read More

Paris: Georges Cres et Cie, 1919. Translated by Henri Albert. Portrait frontispiece engraved after Aubert. Extra-illustrated with an additional hand-painted title page, 8 full page hand-painted original designs in gouache and 2 full page hand-painted designs for the binding in gouache all by A.J. Powilewicz in 1962. Pp. x, 448 [2]. 8vo., bound in full vellum painted on both sides and the spine in red, green, yellow, blue and gilt by A.K. Powilewicz, and with his hand-painted elaborate endpapers, original wrappers bound in, t.e.g. Boards a trifle bowed, otherwise very good.||On the verso of his hand-painted and written colophon Powilewicz writes in ink that the designs have been inspired by Persian miniatures and rugs from the Caucasus and Persia.A delightful and playful extra-illustrated copy of a French edition of Nietzsche’s Also sprach Zarathustra, apparently put together for the personal pleasure of the artist. Powilewicz was an artist and illustrator known for his images for books in the… Read More

London: Nonesuch Press, 1928. Translated by H. Wade-Gery & Maurice Bowra. Copper plate engravings Stephen Gooden. No. 1052 of 1550 copies. Printed in Monotype Bodoni on Pannekoek mould-made paper. Sm. 8vo., original cream linen in the original brown patterned paper covered slipcase. Rather worn slipcase, spine and ffep slightly darkened, otherwise good.||An important translation of Pindar by the famous Maurice Bowra and H. Wade-Gery delicately printed within borders on each page and with Gooden’s little cooper engravings.Booklabel of Clarence B. Hanson, Jr.|

London: Nonesuch Press, 1936. No.440 of 750 copies. Frontispiece portrait of the owner Francis Meynell by Eric Gill, 67 illustrations of devices, bindings, title-pages & texts, 46 original leaves from the books tipped in, usually being reset and printed or stencilled by the original printers of the books from which they have been taken. Printed at the Cambridge University Press by Walter Lewis. Folio, original green buckram with black and gilt spine label, in the rare original dust jacket. Top edge spotted, slight browning to endpapers, dust jacket with some closed tears on flaps and bottom of spine, otherwise very good.||A wonderful, elaborate overview of the first 100 books and roughly the first 10 years of the Nonesuch Press.Booklabel of Clarence B. Hanson, Jr.|

London: Nonesuch Press, 1927. No. 138 of 1525 copies. Set in Caslon and printed on Arches cream laid paper by Richard Clay & Sons. Pp. 27. Tall thin 4to., original stiff marbled paper covered boards with printed paper label on upper cover. A largely unopened copy. Some fading to extremities, slight wear to edges of marbled paper.||Laver’s pastiche of Pope’s ‘Rape of the Lock’, ‘transposed into modern times’. James Laver (1899-1975) was the Keeper of Prints and Drawings at the V & A but also a very talented writer. He later published a sequel to this edition, entitled ‘Love’s Progress, or the Education of Araminta’.|Nonesuch, 46. “As much a typographical essay ‘in the manner’ as Laver’s verse satire itself” [Francis Meynell]

Bloomsbury: Nonesuch Press, 1934. No. 124 of 625 copies, there were also 75 copies bound in goatskin. Set in Monotype Centaur and Arrighi and printed on Van Gelder paper at Cambridge University Press. Pp. [8] 146 [6]. Small 4to., original red-brown patterned paper boards designed by Enid Marx at the Curwen Press, grey paper title label to upper cover, edges uncut, housed in the original terracotta chemise with grey title label to spine, in grey paper covered slipcase. A lovely copy, with some minor offsetting to endpapers, some light rubbing to the chemise, slipcase very slightly worn.||A commemorative edition, published to coincide with anniversary of poet and dramatist George Chapman’s death three hundred years earlier. Ellis’s informative essay is accompanied by a generous selection of illustrative passages, including Chapman’s Dedicatory Epistle to his friend Matthew Royden; the Epithalamion Teratos from ‘Hero and Leander’; Philosophical Poems (Of Friendship, Of the Soul, Of Learned… Read More

London: Nonesuch Press, 1929. Five volumes. No. 544 of 1550 copies. Decorative portrait illustration for each life by T.L.Poulton printed by the Curwen Press. printed in Monotype Fournier on Arches paper. 12 x 8 ins, original brown buckram over bevelled boards, printed paper spine labels with spares on lower pastedowns, top edges gilt, others uncut. Darkened endpapers, spines slightly speckled, and vol II slightly bubbled, otherwise good.||Thomas North’s translation of Amyot’s French version of Plutarch’s Lives printed from the first edition of 1579 with the addition of 15 lives from the 3rd edition of 1603. A serious and elegant printing of a great and readable work.Booklabel of Clarence B. Hanson, Jr. in each volume.|

London: Nonesuch Press, 1930. No. 913 of 1600 copies. With a reminiscence by David Garnett. Set in Caslon and Old Face Open types and printed by the Curwen Press on Auvergne handmade paper. Pp. [4] xiii [1] 96 [6]. 155 x 245 mms. 8vo., original quarter natural canvas over yellow buckram, black morocco title label to spine, in original grey Ingres paper dust jacket. Slight offsetting to endpapers, lower corners of some central pages faintly stained, jacket with one or two faint marks and stains, browning to endpapers but a presentable copy.||The four stories in this collection, all previously unpublished, were written by Lawrence in the late summer of 1912, at a time when he was wandering through Italy and Germany with only a few lire to support himself and his wife.|Dreyfus, Nonesuch Press, 68