Resultados de búsqueda: Libros de Nudelman Rare Books

London: A. C. Benson, 1910. Quarto (12 x 8 inches). Magnificent jeweled peacock binding by Sangorski and Sutcliffe in full straight-grained red morocco featuring a central oval recessed panel of dark green morocco with a peacock taking up over half of the front cover. The peacock's body is inlaid in light green, blue, white and brown morocco, with tail feathers fully outspread over green morocco inlays, and intricately tooled in gilt as they splay outward, with inlaid blue hearts and set at the very end with 31 amethysts and citrines. Both covers with heavy gilt rose and grass motif, including rose bouquet corner-pieces and blue morocco gilt inlaid borders. Spine gilt in six compartments, lettering, gilt-decorated floral and grape onlay panels. Turn-ins gilt, full blue morocco doublures, blue moire silk flyleaves. With two superb brass clasps set with three jewels each (one of the six is chipped). No. 3 of only 10 copies, specially bound by Sangorski and Sutcliffe, with an original unpublished… Leer más

166-173 (h) x 222mm, i.e. very slightly trapezoidal. Original albumen photograph. This famous photograph is one of a series of photographs taken of the Rossetti family by Charles Lutwidge Dodgson, (i.e. Lewis Carroll), in the garden of Dante Gabriel Rossetti's house in Cheyne Walk on 7 October 1863. On verso, written in the hand of Helen Angeli Rossetti, daughter of William Michael Rossetti: "Photograph taken by Ch. L. Dodgson (Lewis Carroll) [sic] in the Cheyne Walk Garden, c. 1865? Probably 1863 (Autumn)." The composition, arranged by Carroll and subsequently photographed and printed by Carroll, shows the Rossetti's in their garden, from left to right: Christina G. Rossetti, Maria Francesca Rossetti, Frances Livinia Rossetti and Dante Gabriel Rossetti, the latter two seated at a table playing chess. Of a similar print, Christina Rossetti wrote, describing the day ìthe author of Wonderland photographed us in the gardenî: ìIt was our aim to appear in the full family group of five; but whilst… Leer más

New York, 1865. 7 1 4 x 4 1 2 inches. 72pp. Original publisher's brown sand-grain cloth with blind-stamped triple-rule frame, front cover with bold gilt-blocked circular background in horizontal weave, surrounded by single circular gilt frame; the back cover with exact same motif, but in blind. A FINE COPY, with virtually no signs of wear. PRESENTATION COPY FROM WALT WHITMAN TO A NEIGHBOR BOY, LEONARD HORNER, in the hand of the recipient (though as an older man), as follows: "Presented to Leonard Horner by Walt Whitman- (in Person) Jan - 1885-- (to be given to his Mother),î written in wavering hand on the front free fly. As well, there is are signature initials on the upper right of the same page, "PEH," more than likely the party to which Horner later presented the book. Regarding this superb Presentation, Ted Genoways, Whitman scholar, makes these following fascinating observations: ìThe name ìWm. Leonard Hornerî (apparently in his own hand) appears in one of Whitmanís notebooks… Leer más

London: Privately printed at G. Polidori's (i.e Gaetano Polidori, Christina's grandfather on her Mother's side), 1847. First Edition. First Edition. Christina Rossetti's Own Copy of her First Book, Inscribed Posthumously in the year of her death by her brother William Michael Rossetti. The inscription is on the front free fly: "W. M. Rossetti/ from Christina's books/ 1894." An astonishing ASSOCIATION COPY with many inscriptions and presentations, as well as an important ALS from Christina to the recipient, bound-in. A magnificent and finely bound copy of Christina Rossetti's excessively rare first book, privately published by her grandfather in 1847 (Christina was only 17), with a many-faceted presentation and provenance history. The book is beautifully BOUND BY THE RECIPIENT, FRANK WALTER BURGESS (see last paragraph for more detail) in full turquoise morocco with ornate gilt tooling to covers and spine, and bearing rich full morocco decorated doublures, who was a well-known rare book dealer (and… Leer más

London: Kelmscott Press, 1893. First Edition. First Edition. 12mo. ONE OF 45 COPIES PRINTED ON REAL VELLUM. First issue, with the mis-prints "gilds" for "guilds" in the shoulder note on p. 41, and "Van Eyk" instead of "Van Eyck" p. 45 line 1. While Peterson notes that all vellum copies had these misprints corrected (as in the second state), that is clearly not the case. Bound in publisher's original hardcover quarter Holland-backed blue paper boards, with white linen spine and black titles to cover. [ii], 1, [i] 68, [viii] pp. Printed in black and red in the Golden type designed by William Morris. Head-title and shoulder-notes in red. Numerous 6- and 4-line woodblock initial capitals designed by William Morris, engraved by William Harcourt Hooper. The first appearance of Morris's four-line initials, and also his first book printed in the 16mo format. This lecture was set up at Hammersmith and printed at the New Gallery during the Arts and Crafts Exhibition in October and November, 1893. The first… Leer más

London: Vale Press, 1898. First Edition Thus. First Edition Thus. Two volumes. Fine Condition. An utterly magnificent, elaborately inlaid binding (both covers and spine) by the renowned English (and later American) bookbinder, Alfred de Sauty, who is widely regarded as one of the finest bookbinders of the early 1900ís, originally working as a finisher for Riviere. De Sauty then designed bindings for the prestigious Hampstead Bindery, taught bookbinding in England, and later emigrated to the U.S. to become the head of the esteemed bindery at R. R. Donnelley in Chicago (see below). In this exquisite binding for the Vale Press Keats (1898) we find an intricately and finely designed inlaid binding with OVER 250 individual inlaid pieces of varying colored morocco in a highly appealing design. The covers are filled with gathered leaves and grape clumps forming and emanating from the sides, and all coming together in a central, interwoven group. There are gilt-stamped winding vines, as well as attractive… Leer más

East Aurora: Roycroft Press, 1903. First Edition. First Edition. 4to, (11 1/2 x 8 inches). Limited of 50 Copies Only. One of Louis Kinder's greatest bindings, a monument in design form and and execution, on a large scale format, which are extremely scarce and sought after. The binding, in full sumptuous turquoise crushed morocco, features a striking design of inlaid morocco and ornate gilt tooling in graceful arching geometric patterns. There are eight large olive green morocco inlays that form outer arches coming together in four concave spaces at each corners which are filled with gilt-tooled spiral cross-hatches. Along with stars and winding gilt ruling (nearly all over), the covers feature a central panel surrounded by curving stylized garlands. At middle, bottom there is wonderful gilt tooled device (((())))) and at the middle top, a pair of clasped hands. The spine, with five raised bands and six large panels is further tooled in gilt with a similar design motif. Finally, the dentelles are wide… Leer más

Paris: Librairie A. Rouquette, 1900. First Edition. First Edition. Quarto. 9 1/2 x 6 1/2 inches. A monumental binding by GRUEL, crafted in 1900, with a central original watercolor painting of a couple on a couch kissing, under slightly domed plastic-like covering, appearing to pre-date the first Cosway bindings by a few years. As J. H. Stonehouse, the manager of Henry Sotheran wrote in their Piccadilly Notes of 1913, ìthe firm claimed this style as invented by us 10 years ago,î thus putting the beginning of the Cosway bindings in 1903. Exquisitely crafted full sumptuous black Morocco with copious onlays on both covers and spine in ochre, red-brown, beige, maroon and dark brown comprising geometric swirls, blossoms, stems, and the like, and magnificently tooled in gilt on both covers and spine. Full brown Morocco doublures heavily gilt with ruling, border design and corner designs, and with the bookbinder's signature ìGRUELî stamped in gilt near the bottom. Lavish green silk finely woven… Leer más

New York: D. Appleton and Company, 1881. First Edition, First Issue. First Edition, First Issue. 231pp + 8pp "New Books" ads at rear (not containing this title, per first issue). Original publisher's navy blue cloth, with bold gilt-stamped illustration on cover of Brer Rabbit in the forest, embossed illustration in black, along with stylized fence, gilt lettering and design/stippling on spine. First Issue, with "presumptive" on last line of page 9, and with no listing of this title in book adv. at end. Original light green pictorial end papers, front hinge completely in tact, rear is cracked. With illustrations throughout by Frederick S. Church and James H. Moser. Laid in is an original autograph letter signed by Harris, with attending envelope, postmarked Feb. 19, '98. The letter (and envelope) is a addressed to Jules Hart, who was at that time the head of the Hebrew Orphan Asylum of New York, a Jewish orphanage founded in 1860, and closing offices in 1941. The orphanage found that children thrive… Leer más

London: Macmillan & Co, 1893. A truly stunning binding by Sangorski & Sutcliffe, in full rich crushed dark green levant morocco with onlaid tan borders and leaves, onlaid red blossoms and fruit, bold gilt repeating vine pattern, numerous flying birds all over on covers, and varying motifs on both covers. The front cover featuring two bell designs, a dog and a wolf at the corners with exquisite central leaf and blossom pattern; rear cover similar, but with crossing rifles and pipes at corners, and the central design with onlaid petals in violet and differing design. The spine with four superb heavily gilt and onlaid patterning. All edges gilt and gauffered with double jagged edge motif. Exquisite full violet pigskin doublures with concentric filet ruled lines and stippling, violet mauve silk free endsheets, themselves with attractive gilt stippled pattern. FINE CONDITION. Stunningly well-preserved with virtually no signs of wear apart from extremely minor rubbing to very small area on upper spine.… Leer más

Original Elizabeth Shippen Green Watercolor entitled "Clematis XII." Signed lower right: "ESGE To HC With Love, 1909." This is a full-size watercolor painted and given by Green to her friend and gardener, Henrietta Cozens of Cogslea (residence of J.W. Smith, E.S. Green, Violet Oakley and Cozens in early 1900ís). As per the account of Edith Emerson, friend and eventual curator of Violet Oakleyís estate, Green painted it as a present for Cozens, with a gentle ribbing implied in the title. As the story goes, Cozens, who became quite proficient in her gardening skills for the beautiful estate, at the beginning of her tenure as gardener couldnít quite get the names of the flowers straight. So after misnaming nearly a dozen flowers ëclematis,í Green came up with this painting of lilies and snapdragons and named it, sardonically, ìClematis XIIî as in, ëthe twelfth try at getting the name right.í The painting is bright and colorful and in pristine condition, measuring 20î x 15.î.

Springfield: The Wayside Press, 1896. First Edition. First Edition. Offered here is the finest "Bradley, His Book" collection we have seen in 40 years, with an extra fine set of the seven volumes, as well as the rare 8th issue, in the original uncompleted form, which one never finds. Five of the seven have original mailing envelopes (one of which is glassine for July number, the others paper). As well, the collection includes another fine copy of Vol. One, A PROOF COPY, and a true one-of-a-kind, being inscribed by Will Bradley on the dedication page: "One of the first five copies of magazines, April 29, '96. Will Bradley." The contents of the proof copy were never sewn into the wraps (as is the case with the standard issue, and the following distinctive points obtain: the proof copy has no "published at springfield, mass," which appears in red at the bottom of the cover wraps in the standard issue; the proof copy has no "Copyright, 1896, by Will Bradley," which appears at the bottom of the title… Leer más

Chelsea: Ashendene Press, 1928. First Edition. First Edition. Two volumes. Folio (17 x 12 inches). Extremely scarce in the Ashendene full pigskin binding which Ashendene procured W. H. Smith to expertly bind (signed on rear lower dentelle of volume two in gilt pallet: "Bound by W. H. Smith and Son," An impressive binding with five large raised bands extending slightly onto covers forming a triangle, six large raised bands and two extending out at top and bottom, six panels, two of which contain gilt-stamped lettering. Printed in Ptolemy type, designed for its first use by Emery Walker, in black and red, double column, shoulder notes in red, chapter headings in red beneath chapter numbers in black, two three-quarter page borders, 18-line and smaller initial capitals or opening words in a stylized black-on-white leaf and tendril pattern, designed by Louise Powell and cut on wood by W. M. Quick and G. H. Ford. All edges untrimmed. One of 255 copies, this in the original pigskin binding (Hornby 36). An… Leer más

Paris: A. Ferroud, Libraire-Editeur, 1901. Superbly bound by the CLUB BINDERY in full black crushed morocco with elaborate gilt concentric geometric design pattern consisting of isolated rectangles in quadruple filet gilt ruling, and with leaf and blossom pattern at four corners, on both covers and spine. Wide dentelles with similar design and ruling, and with THE CLUB BINDERY, 1902 stamped in gilt at lower dentelle. This is 1 of only 20 copies (the first 10 contained an original watercolor by Caruchet) of the rare Japan Vellum edition where the entire book has been masterfully hand-colored in subtle and aesthetic watercolor by the artist, Henri Caruchet, AND, with an extra suite of illustrations in black and white on china paper, each preceding the colored plate. These illustrations by Caruchet represent the zenith of turn of the century art nouveau in Europe, and the quality of reproduction is of the highest quality. From the library of bibliophile and long-standing Grolier Club member David Allen… Leer más

Offered here is a wonderful collection 23 sketches by two generations of the Cruikshank family, Isaac (father) and son, George Cruikshank: CRUIKSHANK, ISAAC. 1764-1811; AND GEORGE CRUIKSHANK. 1792-1878. Sketches are in various media, mostly pencil or ink with occasional color, including a profile image of a man by Isaac Cruikshank, c.1790s; a sketch of a rattlesnake by Isaac with an ink and watercolor image of a foundering ship by George on the verso; 2 full-page 4to leaves covered in multiple sketches in pencil; 2 similar leaves in 8vo; a graphite and colored pencil sketch of an illustration identified as the drawing for "The Marble Count" for Kit Bam's Adventure, by Mary Cowden Clarke (1849), 115 x 85 mm; 5 profile caricatures in watercolor on the verso of a letter; various other small sketches and studies, some on letters and envelopes, one on a calling card of a Mrs. Rhoades. There are several sketches with ink signatures of George Cruikshank. Condition varies, many with stains, creases, and… Leer más

London: Robert Barker and John Bill, for James Mountague, 1616. First Edition. First Edition. Folio, 13 1/2 x 9 1/4. 570pp. Magnificently bound in contemporary full dark brown calf, neatly re-backed with original spine laid down, with lavishly gilt-decorated design work on both covers comprising corner sections and a central geometric piece showing strapwork design as negative space behind thick gilt onlay work. Spine with five raised bands. The scarce first edition of the collected works of James I, King of England, said to be, "One of the finest specimens of Jacobean book-production," including, in part, to its highly accomplished copper-engraved frontispiece by Simon Pass, of James enthroned in robes, as well as an additional engraved title-page. An important edition, bringing Dante into the English-speaking world, the book having seen its reputation suffer a decline in the previous century. The translator, Henry Boyd (1748/9-1832), added his own personal character into the text with a lengthy… Leer más

Hammersmith: Kelmscott Press, 1895. First Edition. First Edition. 12mo, 4 x 5 1/2 inches. Exquisitely bound by the Rowfant Bindery (signed in gilt on front lower doublure with their wonderful bindery "woodchuck" emblem inlaid into the lower doublure), and finished by the master finisher Leon Malliard, with his gilt signature on the rear lower doublure: "LEON MAILLARD FINISHER. The Willis Vickery Copy, appearing in the final sale (Anderson Galleries, Willis Vickery Library, 1933, Lot 472). As head of Rowfant Bindery, Vickery always boasted that he got the best bindings from Rowfant. This is one of the finest of any bindings by Maillard, and in extremely fine condition with no signs of wear anywhere, housed in the superb original Rowfant Bindery slipcase composed of decorative board and folders with gilt lettered levant spine, marbled paper which covers the book and then inserts into the slipcase. Book is bound in full green crushed levant morocco, borders with a dark green inlay, richly gilt tooled… Leer más

East Aurora: Roycroft Press, 1903. First Edition. First Edition. 8vo, (9 x 6 inches). David Ogle: OB-003-96, pictured full-page and color, on pg. 201. THE ONLY KNOWN SIGNED KINDER BINDING, with Kinder's monogram "LK," stamped to inside back cover on the lower dentelle, as well as Roycroft's "orb and cross mark" to side dentelle. The signature is a sort of cuneiform mark, "made from four sequential impressions of the same binder's tool, shaped like the parenthesis symbol... impressed in the order to form an approximation of the initials "LHK. This mark was first discovered in an inlaid full leather specimen of 'The Holly Tree,' (i.e. our copy) and no other examples of the mark are presently known. David Ogle ("On a High Shelf", pg 59). A striking Kinder binding in full light green crushed morocco with repeating gilt-tooled circle design motif highlighted by inlaid circles and squares (on end) in ochre and dark green morocco on both covers. Spine with similar, though linear, gilt and inlaid motif. #17… Leer más

Boston: Little, Brown & Co, 1926. First Edition. First Edition. 9 x 6 1/2 inches. A stellar mosaic binding by Curtis Walters (Signed gilt pallet, "Bound by C. Walters" on rear dentelle) intricate and astonishingly high number of inlaid mosaic design, comprising an overlapping and juxtaposed design element in a mosaic pattern on both covers and three panels of the spine. The artistry and accomplish of this master binder are seldom better exemplified than this binding, which in every manner, including design, coloration, finish work and more, all point to greatness. And even better the binding is in extremely fine condition, with absolutely no signs wear, owing to its preservation in a morocco-backed marbled paper folder chemise, fitting perfectly into its matching slipcase. Full blue crushed morocco doublures, quadruple gilt fillet ruling to dentelles, with two-color inlaid between, silk blue moire endsheets. With a Presentation Note on the publisher's paper in card, "With the Compliments of the… Leer más

Hand-crafted by Johanna Birkenruth, morocco Leather Lined Revolving Book Case. Completely Covered in morocco Hand-Tooled Leather by Birkenruth (signed in two places with her gilt signature pallet laid into one of the leather compartments. This is a fabulous, one-of-a-kind, Arts & Crafts style revolving bookcase, by Johanna Birkenruth, master British bookbinder in the late 19th and early 20th Century (see below). All parts fully covered in fine green morocco leather, and expertly hand-tooled as if it were a fine binding, featuring a perfectly working rotating base, a central decorative spindle, four compartments to place books, with border lip, and superb gilt tooled designs include a central monogram of GDR inlaid in colors, and intricate gilt-stamped all-over design work. As well, the slats, appearing in triplicate on each side (one lacking) are wonderfully tooled with Art Nouveau style elongated stems and thistle blossoms at the top. In remarkably well-preserved condition. We are aware of not other… Leer más