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

London: The Galahad Press, 1968. Frontispiece portrait and several of Carter’s page specimens on different coloured papers. An illustrated study of Rampant Lions Press printer Will Carter. One of an unspecified limited number, there were also 100 special copies. Set in Monotype Bembo and designed by Derek Maggs and Malcolm Read. 4to., [21 x 28 cms], a bright, fresh copy in the original quarter ochre cloth over printed ochre paper covered boards. |||

New York: Chilmark Press, 1967. Greek poet Trypanis’s long elegiac poem inspired by the ancient myths of Adonis. One of 450 copies, this no. 408, signed by the poet. Designed and printed on T.H. Saunders Wookey Hole mould-made paper by Will and Sebastian Carter at the Rampant Lions Press. The second of the Clover Hill Press editions of the Chilmark Press. Pp. 32. 4to., a good copy in the slightly rubbed original dark green Fabriano paper covered boards, lettering and decorative design in gilt to spine, lacking the slipcase.||Will Carter discusses the typeface – a rare cutting of the Arrighi italic, designed Frederic Warde after the calligraphic models of 16th century writing master Ludovico Arrighi of Vincenza – in his typographical note.With the original prospectus inserted loose.| Set in a rare cutting of Warde’s Arrighi typeface

Cambridge: Rampant Lions Press, 1988. A wonderful collection of miscellany from the press, illustrated with wood engravings by Miriam Macgregor and Reynolds Stone, Linocuts by Hellmuth Weissenborn and Claire Melinsky and an etching by Alan Wilbur, together with numerous other typographic and page specimens, printed in colour on different coloured papers. One of 185 copies, this no. 57. 8vo., a very good copy in the original quarter grey cloth over blue patterned paper covered boards, printed title label to spine.||| One of 185 copies

Cambridge: Deighton, Bell & Company, 1973. One of only 100 special copies, this no. XVII, from a complete edition of 500 copies. Introduction by Isabel Rivers. Designed by Sebastian Carter and printed on Barcham Green mould-made paper by Will Carter at the Rampant Lions Press. Set in Palatino and Plantin types, with the initials in Grot R designed by Michael Harvey. Pp. 50. Folio, bound by John P. Gray and Son in original full black morocco, gilt lettering to spine, t.e.g, others uncut. Housed in the original, slightly rubbed and faded, purple cloth covered slipcase. Extremely good copy.||The most widely read of Milton’s prose works, his famous defence of the freedom of the press, written in opposition to the parliamentary order that all books must be licensed and approved before being printed. First published in 1664, this edition is a fine example of printing and letter design.| One of only 100 special copies.

Cambridge: Rampant Lions Press, 1946. A collection of 44 clerihews, edited by John Waynflete. Second Edition, revised and enlarged. Oblong 8vo., a good copy in the original cream paper wrappers printed in green.|||

New York: R. B. Bowker Co, 1929. Pp. 494. Designed and printed at the Lakeside Press under the direction of the author. 8vo., original brown cloth, a little rubbed with one small mark on the upper cover.|||

New York: Philip C. Duschnes, 1945-1950. 12 parts bound in one. Pp. 420. 8vo., bound in green library cloth with all the orignal wrappers bound in. Ex-library copy, withdrawn from the Westminster Public Libraries. In good condition.||Covers both English and American presses.|

London: Constable and Company Limited, 1933. Frontispiece engraving by Horace Walter Bray. A play by Helen Waddell. One of 750 copies, this no. 516, signed by Waddell. The Raven Miscellany series. Printed at the Raven Press. 8vo., [16 x 23 cms], original quarter vellum over brown cloth boards, gilt lettering to upper cover and spine, t.e.g. A few faint spots to cloth, preliminaries and fore edge, spine and edges of boards slightly darkened.||With the book label of Norman H. Partridge.|

London: Printed at the Raven Press in Harrow for Constable & Co, 1933. One of 750 numbered copies, signed by the author. Wood engraved frontispiece by Horace Walter Bray. Pp. [viii], 57, blank, colophon. 8vo., original vellum backed brown cloth, spine and upper cover lettered in gilt. Occasional light spotting, edges a little darkened, otherwise very good.||Produced after their time at the Gregynog Press, this is a fine example of the attractive later work of Maynard & Bray.|

Harrow: Raven Press, printed by Robert Ashwin Maynard & Horace Walter Bray, 1931. 5 full page wood engravings printed in black, grey and flesh colour by Horace Walter Bray plus title page vignette and hand coloured head-piece and numerous elaborate hand coloured initials by Bray. One of 275 copies, this no.48. 8vo., original quarter vellum, decorated with a gilt raven and lettered in gilt, marbled paper boards, in the original marbled paper covered slipcase. Couple of small marks to the spine, otherwise very good.||The Book of Tobit, named after its hero Tobias, combines Jewish piety and morality with oriental folklore in a fascinating story.Tobit, a devout and wealthy Israelite living among the captives deported to Nineveh from Israel in 721 B.C., suffers many reverses and is finally blinded. He begs the Lord to let him die but recalling the large sum he had formerly deposited in far-off Media, he sends his son Tobiah there to bring back the money. In Media, at this same time, a young woman, Sarah,… Read More

Harrow Weald: Raven Press, 1932. Wood engravings by the printers, R.A. Maynard and H.W. Bray. Poet Laureate Southey’s poem commemorating King George’s ascension to heaven, accompanied by Byron’s satirical response. One of 220 copies, this no. 113. Introduction by R. Ellis Roberts. Set in Baskerville and Bodoni types and printed on Batchelor handmade paper. Pp. 84. Sm. 4to., original quarter red morocco over marbled paper covered boards, lettering in gilt to spine, t.e.g, others uncut. Rear board very slightly bowed, some mild fading to spine, otherwise a good copy.||With the original prospectus inserted loose.|

1930. Original wood engraving, titled and signed by the artist in pencil. 150 x 100 mm. Final state, probably an edition of 60. Mounted.|||Selborne & Newman, Gwen Raverat: Wood Engraver, 202

London: Martin Secker, 1933. 55 wood engravings by Eric Ravilious. 13.5 x 17.5 cms. 12mo., original black cloth backed blue paper covered boards, spine lettered in gilt. Some fading to edges, otherwise good, without the dust jacket.||A rarer work with copious charming engravings by Ravilious, one for each epigram and epitaph. Delightful| One of Ravilious’s rarer books

Red Howler Press, 2000. 7 wood engravings by David Moyer inspired by the apocalyptic visions described in the seventh chapter of the Book of Daniel in the Old Testament, and printed from end grain maple blocks. One of only 75 copies, this no. 13 signed by the artist. Preface by Gretchen Heinze. Set in Fette Fraktur type and printed on Somerset Satin paper by Kevin Auer of Portland, Maine. Folio, very slightly rubbed in the original full black cloth, titles in gilt to upper cover.||| One of only 75 copies

Westport, Connecticut: Redcoat Press, 1945. No. 23 of 210 copies. Handset in English Caslon Old Face type and printed at the Redcoat Press. 12mo., original red cloth, gilt lettering to spine, fore edge uncut. A very good copy.||Delightful observations of everyday life in England by Elizabethan poet Breton over the course of twelve hours. |

London: printed by T. Bensley for J. Taylor at the Architectural Library, High Holborn, 1816. First edition, complete with half title and list of plates with errata. Plates from drawings by Humphry Repton. 24 hand-coloured aquatint plates, (3 double-page), of which 10 have overslips; 5 tinted aquatint plates, of which 1 has an overslip; 13 uncoloured aquatint plates, of which 3 have overslips; 9 uncoloured aquatint vignettes, of which 2 have overslips; wood-engraved vignettes and figures in text.Pp. xii, 238, [2] (list of plates). Large 4to., contemporary drab boards, a very good untrimmed copy. Rebacked with an early hand-written spine label laid down, boards a little worn but strengthened at very edges and hence a robust, handsome copy in original untrimmed condition with large margins. Housed in a green morocco backed solander box, spine gilt.||Repton’s final treatise on landscape gardening which brings together all of Repton’s work into a book which could be understood by anyone intersted.… Read More

London: printed for William Miller by W. Bulmer & Co, 1804. Two volumes, complete with half-titles. 2 stipple-engraved title page vignettes, 10 fine hand coloured aquatint plates engraved by J. Stadler after drawings by Repton. Pp. xii, [ii (contents], 171; [iv], 164. 8vo., half green morocco with gilt tooling by Bayntun of Bath, all edges gilt, marbled endpapers. A very good, handsome set.||Several of the essays were printed in Variety magazine and the comedy which appears in the second volume “Odd Whims, or Two at a Time” was written in 1783 and was produced at Ipswich in 1804. Booklabel of George Seton Veitch.|Abbey, Life, 246 Amusing essays and dialogues, written and illustrated by the great landscape gardener Humphry Repton

London: Printed by T. Bensley, for J. Taylor, at the Architectural Library, High Holborn, 1803. First edition. Stipple-engraved portrait frontispiece by W. Holl after a painting by Samuel Shelley. First edition. Stipple-engraved portrait frontispiece by W. Holl after a painting by Samuel Shelley. 13 original aquatint plates with overslips (9 hand-coloured, 1 folding), 4 hand-coloured aquatints and engravings, 22 uncoloured aquatints and engravings, other aquatints and engravings in text. Folio, contemporary drab boards, a very good untrimmed copy. Rebacked with an early hand-written spine label laid down, boards worn but strengthened at very edges and hence a robust, handsome copy in original untrimmed condition with large margins, a couple of leaves (K4 and N3) with very slight tears far from text and folding plate with very slight tears at folds not affecting image. Housed in a green morocco backed solander box, spine gilt.||Humphry Repton (1752-1818) was born in Suffolk and became head gardener… Read More

London: W. Bulmer & Co., Shakspeare Printing-Office and sold by J. and J. Boydell and G. Nicol., [1794]. One of only 250 copies. 16 aquatint plates, comprising 10 coloured aquatint plates with moveable overslips (four folding) and 6 uncoloured or touched up tinted plates, 4 with moveable overslips, all overslips with their original tabs. Half-title and full title page. Oblong folio., contemporary blue straight-grain morocco with gilt roll tool and fillets as a border on both sides, greek key gilt border on turn-ins, marbled endpapers, top edge gilt, silk marker. Some very expert repair to spine (which was cleverly replaced to style by James and Stuart Brockman about 20 years ago) and edges of binding, a little shelf wear to bottom edge and some slight rubbing to sides. A very handsome copy. ||Humphry Repton’s first book based primarily on his Red Book of Welbeck, a very prestigious commission from the Duke of Portland, but incorporating examples of his work on other estates to give a rounded… Read More

Massachusetts: Richard Zauft Editions., 2023. One of 30 copies. Four seasonal haiku by Matsuo Basho with English translations by Lucien Stryk, designed, letterpress printed and bound by Richard Zauft and with 4 dye-printed photographs by Zauft. With four Kanji symbols drawn by master calligrapher Chihiro in Hiroshima for this book representing Spring (Haru), Summer (Natsu), Autumn (Aki) and Winter (Fuyu). Enso, the Zen circle (of life) is brush drawn by Richard Zauft for the frontispiece. Printed in Agaki typeface, designed by Neil Summerour in 2007 on several papers: Johannot for the texts, Ito-iri for the covers and Gampi for the endpapers. Bound in full double paper wrappers, attached to a wooden rod at the spine which allows it to be suspended inside its handmade mahogany slipcase.||Matsuo Basho (1644-1694) is considered by many Japanese to be their country’s greatest poet, almost single handedly being responsible for the raising the esteem of the haiku which until he began writing, had been… Read More