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

London: Golden Cockerel Press, 1946. Eleven wood engravings by John O’Connor. One of 750 copies. 8vo., original blue cloth backed, patterned paper covered boards with design by O’Connor, top edge gilt. Spine very mildly faded, corners bumped. and edges rubbed.||A celebration of the end of the War and the last book to be prepared by Rutter before he died. John O’Connor completed all the engravings while on active service and got to Sandford “precariously by field post”.|Cockalorum: A Bibliography of the Golden Cockerel Press, no. 171 “We few, we happy few, we band of brothers...”

Verona: Officina Bodoni, 1972. No. 125 of 150 copies. Poems in the original Italian, edited and with a postscript by Ada Ronzini. Variants of the ornamental title page border recur on the three part titles, which are printed in green, blue and red as are certain displayed letters, lines and musical staves. Set in Zeno and Dante types and printed on Magnani mould-made paper. Pp. [4] 126 [6]. 8vo., original tan buffalo leather over brown paper patterned boards with gilt borders, red morocco title label lettered in gilt to spine, t.e.g, others uncut. Housed in the original tan cloth slipcase. Slight fading to the spine and rubbing to the slipcase, otherwise a handsome copy with the original prospectus inserted loose.||The Italian poet Ser Garzo dall’Incisa, is a mystery. Opinion is divided as to his actual identity, though one fairly plausible explanation is that he was the great-grandfather of Petrarch. This edition brings together his collected writings for the first time: the ‘Proverbs’, the… Read More

New York: New Directions, printed in Verona at the Officina Bodoni, 1949. 11 of 12 lithographs by Massimo Campigli, pulled from stone by Piero Fornasetti in Milan, (lacking the two-colour inserted lithograph signed by the artist). With a reproduction of a pen drawing by Campigli to the title page. No. 46 of 200 copies. Translated from the French by John Russell. Set in Garamond types and hand-printed by Mardersteig on Magnani handmade paper at the Officina Bodoni. Pp. [4] 97 [11]. 4to., original cream cloth over patterned paper boards, printed title label to spine, housed in original grey slipcase, with printed title label to cover. Slight darkening to spine, otherwise a handsome copy in the remains of the slipcase.||Gide’s interpretation of the legend of Theseus, and his final work. |Mardersteig, Officina Bodoni: An Account of the Work of a Hand Press 89. Barr, 45 One of 200 copies

Berlin-Steglitz: Officina Serpentis for Gotik-Verlag Erfurt., 1923. Edited by Margarete Hoffmann and Margarete Rühle., printed by E.W. and E. H. Tieffenbach. 8vo., original boards with printed paper labels on spine and upper cover. Boards darkened, spine slightly chipped but generally good.|||Rodenberg p.120

Canberra: Officina Brindabella, 1989. No. 274 of 290 copies, signed by the poet and the printer on the colophon. 7 wood engravings by Rosalind Atkins. Designed and printed by A.T. Bolton at the Officina Brindabella in Monotype Perpetua. Pp. [36]. Large 8vo., bound by Robin Tait in original quarter rust morocco over grey paper boards, printed paper label to upper cover printed in red and black, the endpapers made of grass fibre by Katharine Nix. A fine copy.||A lovely example of Australian Alec Bolton’s fine printing combined with the natural wood engravings of the Australian artist Rosalind Atkins. Bolton was a creative force in Australian publishing for almost half a century. He founded the small but renowned literary press, Officina Brindabella (later Brindabella Press), in 1972. |

Verona: Officina Bodoni, 1966. Edited with an essay by Gianfranco Contini. No. 14 of 175 copies (including 6 on vellum and 4 on japanese vellum). Text in Italian. Title and delicate initials printed in red, Cavalcanti arms on title-page in red, light and dark grey. Set in Arrighi-Vincentino and Centaur types and printed on Fabriano paper. Pp. 114. 8vo., original full vellum, Bodoni device and lettering in gilt to upper cover and spine, t.e.g, others uncut, red handbands. Housed in original grey paper slipcase. Covers slightly darkened in places, one or two spots to fore edge, otherwise a handsome copy in a very good slipcase.||With the original prospectus, in Italian, inserted loose.An exquisite and perfectly balanced printing of Cavalcanti’s 13th century ‘dolce stil novo’ (sweet new style) of Tuscan poetry. He was a friend and mentor to Dante Alighieri and much light is thrown on their relationship in Gianfranco Contini’s excellent essay at the end of this edition. |Mardersteig, Officina… Read More

Old School Press, 2018. One of 60 numbered copies. Printed in red and black on Zerkall paper. 18 pp. Oblong thin 8vo., bound in original Curwen paper and sewn with ribbon in a stab binding. As new.||The types used are Open Kapitalen, Van Dijck Roman, Van Dijck Italic, various pt sizes of Van Dijck, Cancelleresca Bastarda, Lutetia italic, Romulus roman and Romulus italic.|

Bath: Old School Press, 2011. No. 90 of 95 copies signed by the author/printer. 12 full page photographs of some of the proofs. Machine set in 12 pt Caslon with title text in Caslon Old Face added by hand. Printed at Old School Press on a ream of Turkey Mill wove paper rescued from St. Hugh’s Charterhouse monastery in 2000. 8vo., original linen backed blue boards with printed paper label on spine to match Falconer Madan’s bibliography of the Daniel Press. As new. ||Also included in the book is a reprint of the fine obituary of Daniel by the writer Edmund Gosse.Ould examined some 52 pages of proofs from the Daniel Press, many with Henry Daniel’s pencil corrections. As Ould writes ‘comparison of the proof sheets with the books as finally issued tells us quite a lot about what he spotted and what he did not! Through these items we see Henry Daniel working at his Albion Press at Worcester House in Oxford, setting up perhaps four or eight pages in his forme, pulling a proof, and marking the… Read More

Bath: Old School Press, 2001. Watercolours and line drawings by John Watts. Calligraphy by Patricia Gidney. No. 27 of 330 copies, signed by Watts on the colophon. Edited by Martyn and Angela Ould. Set in monotype Centaur, with the titles in Carol Twombly’s Lithograph printed using line blocks. Pp. 119 [5]. Oblong 4to., original russet cloth in cream illustrated dust jacket. An excellent copy with the original 4 page illustrated prospectus inserted loose.||The diary of an Oxford undergraduate George Tonge, recounting his tour the Mediterranean by boat in 1857. His 10 week journey took him to Gibraltar, Genoa, Pisa, Naples, Vesuvius, Pompeii, Corinth, Athens, Vastitza and back via Algiers.|

Llandog, Monmouthshire: Old Stile Press, 2010. Two volumes. 10 copper engravings printed from the original plates by Martyn Grimmer in Bristol on Velin Arches Blanc 200gsm paper. No. 41 of a total edition of 75 copies. Designed, set and printed by Nicolas McDowall in Gill’s Aries Type. Sm. folio, bound by The Fine Book Bindery in Old Stile Press designed paper covered boards, spines lettered in gilt, housed together in the original pale green cloth slipcase. An extremely good copy.||The words and the images appear as the defining text of Gill’s life. Physical love as a gift from God.When engraving the images for the Golden Cockerel Press Procreant Hymn for which these images were done, Gill produced 4 more explicit erotic engravings which were not to be used in the 1926 publication (three of them were available privately to subscribers as separate prints). The Old Stile Press have reprinted the book, once with the original plates, and once with Gill’s erotic plates to finally give Gill’s… Read More

Monmouthshire: Old Stile Press, 2000. Wood engravings and an afterword by Angela Lemaire. No. 8 of 220 copies, signed by the artist. Set in Van Dijck and printed on Zerkall mould-made paper. Apart from the second colour on the colophon and title pages, three different black inks were used in the printing of the book. Pp. 38 [6]. 4to., bound by The Fine Bindery in original illustrated green paper boards, lettering in gilt to spine, fore and lower edges uncut and housed in the original blue slipcase with 4 wood engravings pasted to one side. A handsome copy, very slightly faded at spine.||Lemaire engraved the blocks in the text especially for an edition of ‘Thomas the Rhymer’ and the engravings, depicting the seasons, that appear throughout the afterword were originally created for a calendar, which was never printed. Thomas the Rhymer, the thirteenth century visionary poet was inspired by the forests of Melrose Abbey in Roxburghshire where in the poem he sees the Queen of the Fairies and so his… Read More

Llandogo: printed by Nicholas McDowall at The Old Stile Press, 1987. One of 250 copies signed by the artist. Numerous woodcuts throughout and on the covers by Alyson MacNeill. Printed in Garamond types on St. Cuthbert’s Mill paper. 20.8 x 31 cms, original tan cloth backed cream paper covered boards printed with a design by MacNeill in red, all edges gilt, housed in the original cloth and pictorial paper covered slipcase. An extremely good copy. ||A remarkable rendition of the canticle Benedicite Omnia Opera [O All Ye Works of the Lord: Bless ye the Lord: Praise him & magnify him forever]. MacNeill’s illustrations, here printed from the blocks, flow beautifully across the pages, punctuated with the large verses in English in a fine Garamond type. A very handsome example of text, illustration, type, printing, paper and binding all coming together as a very satisfying whole.| A joyous printing of the canticle with flowing woodcuts and large Garamond type

Oxford: Clarendon Press, 1978. Profusely illustrated with over 200 pages of black and white and colour plates of books, documents and portraits. Preface by Charles Ryskamp. First Edition. 4to., original black cloth, gilt decorative design to upper cover, lettering in gilt to spine, patterned endpapers, in original printed and edge worn dust jacket, otherwise very good.||| Informative history of the first 500 years of Oxford University Press

Stamford, Connecticut: Overbrook Press, 1943. One of 600 copies. Wood engravings by Rudolph Ruzicka. 12mo., original green paper boards slightly faded along edges, printed title label to spine, in a chipped and toned glassine wrapper.||With the original publisher’s printed compliments slip inserted loose. |

Stamford, Connecticut: Overbrook Press, 1946. ‘Printed for the Senators and Congressmen, who, in these troubled times, may find much needed distraction in the refreshing humour of Mark Twain.’ 8vo., [16 x 23.5 cms], original brown paper wrappers, printed title label to upper cover. Very shallow chip to spine head, occasional creasing to wrappers.||Includes the sketches ‘My Late Sentimental Secretaryship’, ‘The Facts Concerning the Recent Resignation’ and ‘How I Edited an Agricultural Paper’.|

Stamford: Overbrook Press, 1936. Eminent French surgeon Malgaigne’s words of advice to a young lady on the choice of a library. One of 250 copies. Printer’s note in English, text in French. 16mo., original black cloth over marbled board, printed paper title label to spine, fore and lower edges uncut. Very mild rubbing to boards, a few spots to top edge, otherwise good.||| Advice on building a young lady’s library