Search Results: Titles starting with D from Nudelman Rare Books

London: Printed for Private Distribution, 1873. Inscribed on the half-title page by writer and famed engraver George Dalziel to English translator and children's author Henry William Dulcken: "To Dr H W Dulcken/ With the Authors/ very best regards/ July 2/73." First edition. Octavo. 223 pages. Green cloth with gilt rules, titles, and author's stylized initials "GD" on front cover and spine. Cloth bubbled up from boards, corners bumped, lower left corner of rear board bent, lightly soiled, joints cracking near head and foot of spine, front hinge starting, rear hinge cracked, small holograph pencil annotation on verso of front free endpaper, small binders label on rear pastedown; occasional thumb creases, smudges, or minor soiling; nonetheless in very good condition.

Edinburgh: A.C. Black, 1858. First edition thus. First edition thus. 8vo. Original plum cloth with blind-sped and gilt front cover and spine by JOHN LEIGHTON. Woodcut illustrations throughout engraved by Edmund Evans and Dalziel Brothers by Birket Foster, John Tenniel, T. Dalziel and others. Near fine.

London: Printed for William Baynes, 1811. Original printed brown paper covered boards, bearing the title-page within a border design. Twenty-five superb full-page copperplate illustrations, including French title-page etched by David Deuchar. Contains the watermarks of "A. Stace, 1801" or "TM & S, 1809.: The plates and their architectural frames depicting caryatids (sculpted female figures) by Deuchar were separately printed. Text in English. A very scarce issue, no copies online, and those located are in institutions. The Toronto Public Library has a copy exactly collating to ours, except theirs is rebound, not retaining the original printed covers. Corners and side-edges chipped, slight foxing to prelims, a bit loosened at very end; a well-preserved and very good copy of a scarce title.

London: J. Coxhead, 1816. Bound in early 19th Century black full textured and embossed crushed calf (neatly rebacked). With 33 excellent hand-colored sepia illustrations (etched plates), with two uncolored portraits of Holbein engraved by W. AEG. A very nicely preserved copy, the text of which differs from the 1804 edition, and the present copy has the text in both English as well as French. Earlier bookseller's description affixed to front pastedown.

n.p.: Printed by Henry M. Daniel [Execudabat Henricus Danielus nauta], 1923. First edition thus. First edition thus. Bound in vellum with gilt title to spine. The scarce first volume under the direction of Henry Daniel's (Daniel Press) nephew. Top edge gilt. As noted in the rear of the volume: "The Press is the same as that on which his uncle and father collaborated at Frome, and on which in 1887 the former, Dr. Henry Daniel of Oxford, printed "The Garland of Rachel." Title page printed in black, red, blue, and gold, with charming initials--set in landscapes--throughout. Though no limitation is noted, it was likely quite small; just 5 copies noted in OCLC. Measures approx. 4.25" x 6". Some spotting to vellum covers. The Grolier club provides this additional information: "This small book, produced by Henry Danielís nephew, Henry Martin Daniel, a naval officer, represents a curious episode in the afterlife of the Daniel Press. It was made on the same table press used by Daniel and his brothers at… Read More

Oxford: Daniel Press, 1901. 4to. ONE OF ONLY FEW COPIES BOUND BY EMILY DANIEL IN VELLUM. [DANIEL PRESS]. Full limp vellum with ties (2 of 4). The Daniel Press Bibliography states that 130 copies were bound at 10s in paper covers. A few copies were personally bound by Emily Daniel in limp Classic Vellum with leather ties, with gold lettering on front cover, as per our copy. Titleñpage facsimile of the 1610 edition. Original limp vellum lettered in gilt on cover, by Mrs. Daniel. Provenance: Sybil and Arthur Colefax (bookplates). LIMITED EDITION, number 84 of 130 copies (on limitation page) and printed on Van Gelderís handñmade paper. A scarce reprint of a unique copy of the 1610 edition (the only known one) of Jonesís Muses Gardin in Lord Ellesmereís library at Bridgewater House in London. Madan 50. Slight wear, nice tight copy with wrinkling to front pastedown as commonly seen on limp vellum backing. Very good or better. Extremely rare Emily Daniel binding.

Oxford: Printed by H. Daniel, Fellow of Worcester College, 1887. First edition. First edition. Original printed wrappers with cover border, lacking rear wrapper and covering of spine. #55 of Only 105 Copies. Decorative title page (as cover wrapper), red initial, decorative borders in black. Fraying to sides of cover wrapper, very good. Scarce.

Oxford: H. Daniel, 1885. First edition. First edition. Original blue paper covered boards with broad vellum backed spine, horizontal gilt lettering. Limited to 150 Numbered Copies, of which this is Copy #40. One double-framed border design on Limitation Page, woodcut colophon on final page. Presentation Copy from the editor, Stephen E. Spring Rice, who writes a prefatory note describing the origins of the book relating to Edmund Gosse. On title page, "William and Harriet Dyer, from Stephen E. Spring Rice, July 29th, 1885." Spine well worn with part of lower vellum missing, corners bumped, covers soiled.

Oxford: Printed at the Private Press of H. Daniel, 1885. First edition. First edition. Original blue paper covered boards with broad vellum backed spine, horizontal gilt lettering. Limited to 150 Numbered Copies, of which this is Copy #120. One double-framed border design on Limitation Page, woodcut colophon on final page. WIth the superb decorative bookplate of Richard Stamper Philpott, cleric, offical and principal of Wells Theological College, "River House, Hammersmith, 1884," with woodcut illustration by E. H. New, from an 1893 Studio Illustration. Corners bumped, vellum spine smudged, fine internally. Partially unopened. Scarce Daniel Press item.

Oxford: Henry Daniel, 1884. First edition. First edition. Original printed wrappers with double cover border design (repeated on title page) and woodcut on back wrapper. Copy #57 of Only 100 Copies Printed. Border designs, one printed in red. One of the earliest Daniel Press titles. Fragile wrappers neatly detached. Slight browing to wrappers, internally near fine. A second rear wrapper is laid in. Housed in custom printed card wrapper folders. Most scarce.

Paris: Se trouve ‡ Paris, chez l'Artiste, 8 Rue Lacretelle, 1931. A superb production, Limited to 250 numbered copies, beige flexible wrappers with printed illustration and lettering on cover, glassine wrapper, contents entirely unbound and gathered in folded groups, as issued. 192p., 3p. With 26 original etchings by Jean Dulac. 23 x 16 cm. In marbled cardboard cover and cardboard slipcase. Very fine. A wonderful production. Scarce.

New York: New York Review of Books, 1965. First edition. First edition. 4to. Original gray printed wrappers. Contents and explanation page plus 13 illustrations laid into folder of famous personalities of the period including The Beatles, Jack Kerouac, Picasso, etc. executed by David Levine, noted caricaturist of the period. Levine has inscribed his name under the Jack Kerouac drawing (#5). Slight shelf-wear, plates are fine.

Edinburgh and London: William Blackwood and Sons, 1884. The edition of the present work is limited to 100 copies on large paper, and 350 copies on small paper, of which this is No. 187." Folio, 45 pages. Illustrated with twenty-seven plates. Publisher's cloth binding with titles in gilt on the front cover and spine. Page edges are lightly soiled. Minor loss at the head and foot of the spine. Front cover shows areas of water staining at the lower edge. Front and rear joint split. Very good.

Indianapolis: The Bobbs-Merrill Company, 1911. First edition. First edition. Blue cloth with attractive cover design stamped in light yellow and green by Margaret Armstrong. Spine somewhat worn, corners bumped.

Paris, 1889. 11 x 9 inches. Circa 1889, Day became intrigued with the French author Balzac, and during a trip to Paris painted three watercolors while he was researching Balzac and making connections with other artists and authors. As well, he photographed these houses, and some of those original prints still turn up on the market. This is a wonderful watercolor painting of a house which probably captured his eye based on its whimsical architecture, as well as the placard affixed to the front, which reads, ìDefense DíAfficher, a phrase coined in the 1700's which basically means, I do not post any advertisements here.î wonderful watercolor executed by F. Holland Day An avid publisher, book collector, and photographer, F. Holland Day was a dedicated aesthete and well-known figure in turn-of-the-century Boston. He was one of the earliest advocates of Pictorial photography in America and, like Alfred Stieglitz (with whom he corresponded until they had a serious disagreement around 1902), he… Read More

Various sizes (see below) on art paper, all 1894. Offered here are three fine watercolor, charcoal and ink sketches by William Goodrich Beal, (1855-1919) artist specializing in etching in the Boston area and a friend of F. Holland Day who did at least three drawings meant to extra-illustrate a book from day's collection of Keats books. #1) 6 1/4 x 8 1/4 inches, "Keats Surgery at Edmonton. Aug 94, Dr. Hammond's House." #2) 5 /4 x 6 1/2 inches, "Grave of Thomas Hammond, Edmonton, Aug. 94. #3) 10 3/4 x 7 1/2 inches, "The Knocker on the door of Keats' House at Edmonton, Drawn for my Friend F. Holland Day. W. Goodrich Beal, Edmonton, Aug, 94." FHD was an enthusiastic collector of John Keats and led the campaign which resulted in the first memorial to Keats being placed n Hampstead Church, in 1894. William Goodrich Beal (1855-1919), painter and etcher, was active in the Boston area during the late 19th century, exhibiting at the Chicago Art Institute and elsewhere. His etchings and paintings are in major… Read More

Eight letters from Mary F. Macareth to F. Holland Day comprising replies and queries to his letters over a sixth month period (Aug. 11, 1890 to Feb. 13, 1891) regarding her father, George Macareth, who was a close associate with John Keats in early days of studying medicine. Fred Holland Day was an enthusiastic collector of John Keats, amassed a large collection of Keats and Keatsiana, and he led the campaign which resulted in the first memorial to Keats (placed in Hampstead Church in 1894. These letters were written by Keats during his stays in London and Madrid, while he was doing especially comprehensive research on Keats. In these letters, it is clear that Day was trying to obtain Keats-related material from Macareth, and the exchanges indicate a rather straightforward individual trying at once to help a prominent figure, as well as trying to safeguard her own interests (see below). Eight letters, 12mo, very good or better condition, all but one are accompanied by the original envelope, addressed… Read More

Large-size (4 1/2 x 6 inches) original and unused bright orange bookplate for F. Holland Day, designed by Day himself, or Goodhue. There is also a small one in black or orange, but this is the large one. Day used it n his books, but didn't give them away, so having an unused one is special.

Offered here are two one-page Fred Holland Day manuscripts, and two letters to Day (both 1890, see descriptions following) concerning a plan, along with his close friend Louise Imogen Guiney, to put up a plaque in memory of William Hazlitt (at Hazlitt's church). FHD (1864-1933) was a prominent American photographer and publisher, circling in both literary and photography circles in the late Nineteenth Century, and co-founder of Copeland & Day, a Boston publisher who produced Beardsely's Salome and about 100 titles. 1) Two autograph letters signed: the first, dated Sept. 10, 1890, from Edwin F. Dyke, Maidstone, from the Vicarage, Sept two pages. "... if you will send me the design for the brass tablet you would desire to place in my church in memory of William Hazlett and will be content to omit the last 3 lines of the enclosed inscription, I will see what I can to fall in with your wishes... etc." The second letter is dated Sept. 9, 1890, two pages, from Nigel Wade at St. Anne's Rectory in Soho… Read More

London: George Routledge and Co, 1854. First edition. First edition. Three quarter calf, marbled endpapers (modern). Woodcut frontispiece by Walter Howell Deverell. Allingham's celebrated poems which came to be the focal point of the Pre-Raphaelite's early illustrations in the very next year.