Resultados de búsqueda: Autores que empiezan por R de Nudelman Rare Books

Paris: Firmin-Didiot Freres, 1880. Deuxieme Edition. Deuxieme Edition. Large folio, with the original publisher's (16 x 12 inches) green cloth folders with cover stamped in white, and top sections of each the four flaps with attractive ornamental printed design. Title page in red and black, and ONE HUNDRED exquisite plates in many colors including silver and gold, with superb 60-page prefatory section replete with fine wood engravings, and each plate with explanatory leaf preceding. Complete. Most scarce thus. There is occasional wear, slight foxing, but on the whole very well-preserved in its original state with publisher's folders, which are quite rare to find.

London: David Nutt, 1893. First Edition. First Edition. 8vo, 8 1/4 x 6 inches. Superb and cunning binding by the renowned Hampstead Bindery, founded and overseen by Frank Karslake in 1898, (who also co-founded the Guild of Women Binders in 1898), the two running concurrently), in full beige morocco with innovative onlaid pieces in green, blue and red, with gilt outlines depicting a hooded woman blowing bubbles in a walled garden against a background sunrise repeated on both covers. Decorative spine lettered in gilt, gilt-tooled dentelles with floral motif in corners, red watered silk endpapers, all edges gilt. Original color pictorial card wrappers bound-in, at end. Pictured by G.M.B. [Gertrude Bradbury] with extremely pleasing color sepia full-page illustrations (six), and full-page illustrated text in light green half-title, printed in green by Edmund Evans. Interesting provenance: Hampstead Public Libraries, with label tipped inside upper cover, and unobtrusive ink stamp on blank verso of title… Leer más

London: De La More Press, 1904. First edition. First edition. 6.5 x 10" Beige buckram with cover illustration stamped in green and bold gilt lettering, spine with gilt lettering. Frontispiece and twelve illustrations by L.E. Wright in a wonderfully expressive style, in the manner of Walter Crane. Printed on Unbleached Arnold paper. ìÖDollie Radford managed to unite the two opposite directions of the Pre-Raphaelite movement. She pursued the direction of a conservative aesthetics associated with the reflexive discourse of an art for art's sake ideology, which led to the Decadence of the fin-de-siecle poets. And she pursued the direction of a radical politics associated with the communal discourse of an Arts and Crafts ideology, which led to the socialism of William Morris and the feminism of the New Woman poets." (David Latham). Some soiling and foxing to covers, gift inscription to half title. A beautiful example of arts & crafts illustration and printing.

London: David Nutt, 1909. First Edition. First Edition. 8vo., approx. 4.75" x 7.5." 143pp. Exquisitely bound in light brown crushed morocco with an attractive all-over gilt and inlaid cover design consisting of a panel of gilt leaves, vines, and a pointillÈ border, with inlaid red and orange morocco flowers and green morocco dots, on both covers. Five bands to spine, with title and author in second compartment; remaining compartments with a gilt leaf and vine design. Wide turn-ins with rolled gilt borders and large fleurons at corners. The book features stunning and unusual handmade floral gilt stamped paper doublures and facing endsheets. All edges gilt, finely applied. Original olive green satin page marker intact. A beautiful and very well executed unsigned binding. but unfortunately unsigned. Some very light rubbing to edges of covers, spots of wear to lower right corner of front cover, along with narrow and nearly invisible loss to leather on top and bottom of front dentelles. A scarce… Leer más

London: Sold by T. Evans, No. 788 Long Lane, 1805. 16mo. 10.6 x 5.5 cm, re-sewn into protective wrappers. Fabulous original printed wrappers with woodcut of Jack and Jill holding a pail of water, and with printed publisher and poem at bottom. 16 numbered pages (except for front cover, which is [1]. 16 wonderful half-page woodcut illustrations (one on every page). This appears to be the earliest copy of this title we can locate, with others a bit late published by Evans as well, but curiously with the imprint ìJ. Evans.î Our copy with ìT. Evans.î The discrepancy perhaps a relation within the publishers? Extremely scarce thus. Printed on very fragile paper which has seen some toning over the years and some spotting, untrimmed, edges frayed. Osborne p.97, listing a slight variation, ëPd by T. Evansí to front wrapper. In protective decorative paper folder. Only two copies found in WorldCat.

London: John Evans, Long Lane, 1810. 16pp., numbered. 9 x 5.6 cm. Original printed paper wrappers 16 pp. (including self wrappers). 15 half-page woodcut illustrations. Pages uncut to top edge (i.e. single sheet intact, unopened). A remarkable survival, very rare. Slightly toned, several leaves chipped to edges. WorldCat list three copies only.

London: David Bogue, 1849. First edition. First edition. Contemporary full tan polished cloth with gilt rules, gilt name of author on cover, two morocco labels on spine, gilt spine, gilt dentelles, bound by Root & Son for Charles E. Lauriat. Frontispiece, and 11 etched engravings by George Cruikshank. TEG. Front hinge starting, , stain along bottom edge of first dozen pages, plates free from foxing, original covers bound in at end; custom cloth drop-back case.

East Aurora: Roycroft Press, 1905. First edition. First edition. Exquisitely bound by Roycroft in three-quarter brown levant which has been dyed with black veins to appear as a stylized wood grain, superb elaborately gilt spine, marbled boards and endpapers. The binding has been attributed to Louis Herman Kinder, Roycroft's greatest artisan bookbinder. Interestingly, though McKenna states the limitation for this title is 106 copies, there is no limitation page in this copy, which makes one wonder if this was a special copy for presentation. In the original publisher's felt-lined paper-covered box with printed label. Exquisite color decorated title page, perhaps by Dard Hunter, and truly innovative and attractive initials in pale green, black, and highlighted in gold, throughout, plus a wonderful color colophon, with bold gold highlight. Book is extremely fine, with no signs of use. Box is very good with a few splits along joints. Extremely desirable Roycroft item, with no other examples located.

East Aurora: Roycroft Press, 1905. First edition. First edition. Bound by Roycroft in three-quarter green levant, elaborately gilt spine, marbled boards and endpapers. The binding has been attributed to Louis Herman Kinder, Roycroft's greatest artisan bookbinder. Inscribed by Hubbard on front free fly: "The Law of Love should govern the universe- Elbert Hubbard II, 12, 1/19. #38 of 106 copies, signed again by Hubbard just below limitation notice. Exquisite color decorated title page, perhaps by Dard Hunter, and truly innovative and attractive initials in pale green, black, and highlighted in gold, throughout, plus a wonderful color colophon, with bold gold highlight. Book is extremely fine, with no signs of use. Near fine with slight wear to margins of spine and corners.

Nurnberg: Theo Stroefer's Kunstverlag, 1894. First edition. First edition. Quarto. Original color pictorial (chromolithograph) glossy paper covered boards, red cloth spine, original light blue decorative endpapers. With eight exquisite changing view slides with picture puzzles that change into a new color image upon pulling of the tabs. Each scene is accompanied with its own story. All mechanisms fully functional, a few have slightly pulled away from text block, one with new tab, but otherwise all original and in surprisingly well-preserved state. The covers are remarkably bright and untarnished. A most scarce and attractive moveable.

London: William Orr, 1833. 12mo, xx, 122pp., preliminary advert leaf. In the publisher's original dark green glazed linen boards (very early cloth binding!) with printed paper label on the cover, a vignette woodcut on title page, and woodcut text illustrations. A very good copy of the scarce first edition. James Rennie (1787-1867) graduated from Glasgow University where he initially studied natural sciences, moved to London in 1821, and between 1830 to 1834, was professor of natural history and zoology at King's College. He emigrated to Australian 1840, headed up the College High School in Elizabeth Street, Sydney, with an emphasis on the arts and natural history. The second series of ëAlphabetí books of which Rennie proposed to publish a volume or part every two or three months.î They were designed to improve on the ëLibrary of Useful Knowledgeí which he thought too abstruse, and ill-adapted for beginners. Very good with slight nick, wear to spine. Most scarce.

London: Printed for William Miller by J. Ballantyne, 1807. 2 vol., three-quarter polished brown calf, marbled boards. Ninth edition of vol.1, third edition vol.2, 2 folding stipple-engraved frontispieces by Edward Scriven after Beresford (short tears repaired). woodcut illustrations. . All edges stippled red. Near fine.

Stunning original printed color lithographed poster by Louis Rhead for The Century Magazine Christmas Number (1894), depicting the profile of an Art Nouveau stylized woman holding a peacock on a platter while wearing a matching pattern dress. Printed by The Century Co. Sight size 19" x 13",Frame 25" x 19 1/4" Signed "Louis J. Rhead" lower left within the image. Provenance: Ainsworth Gallery, Boston. From the property of the Boston Company, Inc., Asset Management. Light horizontal crease in center, archival frame and mat, excellent condition of a wonderful pleasing Art Nouveau poster by this accomplished American artist and illustrator. Excellent copy in archival frame and mat.

Autograph postal card signed from Louis Rhead (1857-1926), American author and illustrator, to Frank Chouteau Brown (1876-1947), noted American architect and editor of Architectural Review, who became a bookplate designer; postmarked Jan. 4, 1896. "Dear Sir, I lecture on the elements of design... before the N.Y. school of applied design... on the 23rd and am at your mercy in regard to the original. I write to to tell you that I cannot consent to them being loaned elsewhere than at your desk any longer than the time named in my last letter..." He goes on to explain his fears of losing track while he is traveling, etc. Postmarked on both sides. Scarce.

Jan. 28, 1896. A fabulous early letter by Louis John Rhead (1857-1926), renowned English-born American artist, illustrator, and author known especially in the early 1890s, for his expert Rhead poster art, and was heavily influenced by the work of Swiss artist EugËne Grasset. Rhead's letter (with holograph stamped envelope, addressed by Rhead) is to Frank Chouteau Brown, (1876ñ1947), American architect, who was educated at the Minneapolis School of Fine Arts, the Boston Art Club, and in Europe. In 1902, Brown began practice in Boston and from 1907 to 1919, was editor of the Architectural Review periodical. In 1916, he became a member of the faculty of Boston University and in 1919, head of the Department of Art and Architecture. ìDear Mr. Brown, Just a few words in answer to your letter. I am perfectly happy now that they are in my possession. As you know, a slight embarrassment is only temporary. I can see that the Club wanted a manager to look after things. Prang will issue the most… Leer más

Written on a 5 x 8 inch sheet of yellow paper, as a sort of documentation or informal contract, ca. 1900: "Reserved from Louis J. Rhead the following original drawings of posters loaned by him for Exhibition at the Studio Club to be returned to him on a or about the 11th of Jan. in the same condition as received: 2 double sheet journal; 4 (or 6 as the case may be) "Suns";; 1 n.y. Herald original & Print; 1 "Winter Tales for Winter Nights"; 1 poster for my Exhibition at Wonderlichs. Please sign this and sent it on immediately you got them." A fascinating record by one of the leading poster artists in the revival of printing at the Turn of the Century in the US.

A wonderful, large opaque watercolor by Louis Rhead depicting a woman carrying laundry in, with another woman putting laundry on a line, brick wall and trees in background in distinctively poster-like style, reminiscent of Edward Penfield, in bright colors. Matted and framed in simple wood frame (image size is: 7 1/4" wide by 11 1/4" tall; frame size is: 17" wide and 21 1/2" tall). Slight wear to signature, else fine. This may have been a study, or finished design for a book cover or poster concept, as the hanging sheet taking up a good area middle left, would be a perfect area for lettering/titling. These kind of graphic quality Rhead paintings are quite scarce.

Ca. 1895. Excellent early letter by Louis John Rhead (1857-1926), renowned English-born American artist, illustrator, and author known especially in the early 1890s, for his expert Rhead poster art, and was heavily influenced by the work of Swiss artist EugËne Grasset. Rhead's letter is to Frank Chouteau Brown, (1876ñ1947), American architect, who was educated at the Minneapolis School of Fine Arts, the Boston Art Club, and in Europe. In 1902, he began practice in Boston and from 1907 to 1919, was editor of the Architectural Review periodical. In 1916, he became a member of the faculty of Boston University and in 1919, head of the Department of Art and Architecture. "My dear Sir, If you know how much correspondence I have gotten here and about, you would pardon me not answering before. However, I am willing to loan you some originals. The Boston drawings have been lent to the bones, and school- from there I shall want them back- as there are more drawings not sold, and therefore, prefer to have… Leer más

Indianapolis: The Bobbs-Merrill Company, 1904. First edition. First edition. Textured red leather over flexible boards. Drawings by Howard Chandler Christy. Decorations throughout by Margaret Armstrong. Parts of color on leather worn off on corners and spine, tear on top of spine, very good. Gullans & Espey, #217.

Indianapolis: Bobbs-Merrill Company, 1904. First edition. First edition. Green textured cloth with cover insert, decorations stamped in white, gilt lettering, by Margaret Armstrong. Illustrated throughout in tint by Howard Chandler Christy. Decorations by Armstrong. Book is near fine with crease to one corner of a page.