Search Results: Titles starting with R from Nudelman Rare Books

Paris: Editions Tiranty, 1935. First Edition. First Edition. 4to. Original color paper wrappers. IN ORIGINAL PUBLISHER'S GLASSINE PROTECTOR WRAPPER. Scarce and very desirable 1930's photo magazine with photographs by Man Ray, Boucher, Brassao, Dumas, Duval, Goursat, Keighlev, Kertesz, Kollar, Schall, Sougez, Wolff, and more. A very fine copy indeed, and seldom seen thus.

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.

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… Read More

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.

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… Read More

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.

London: Smith, Elder and Co, 1845. Original green cloth with ornate blind-stamped design on both covers, gilt design and letter on cover and spine. Second Edition "With Additions." Ads in back dated December, 1844. Inscription on engraved frontispiece is in fact in the plate (whereas some have cited an original presentation by the author). Spine small piece missing at bottom, some wear. Auction number affixed to cover as paper clipping. Very good copy of a scarce title.

London: Elkin Mathews and John Lane, 1893. First edition. First edition. Full publishers stiff vellum binding with bold ornate gilt Nouveau pattern on both covers and spine by Charles Ricketts. Illustrations by Charles Ricketts. With the Art Nouveau bookplate of Christie Chetwynd Atkinson with illustration by M.C. Fisher, 1902. Near fine copy.

London: Cassell, 1933. First edition. First edition. Original blue cloth, gilt spine. In scarce original brown dust jacket with black printing on cover and spine. Decorated endpapers by Ricketts. Illustrated throughout with photo reproductions of Charles Ricketts' work. Near fine. Jacket very good with small piece missing from lower spine.

London: Elkin Mathews and John Lane, 1893. First edition. First edition. Original green cloth with elaborate all-over gilt-stamped design on both covers and spine, by Ricketts. A marvelous Association Copy, INSCRIBED BY RICKETTS ON FRONT FREE FLY TO VIVIAN FORBES (1891-1937), English soldier, painter and poet in the early 20th century, known for his relationship with painter Glyn Philpot, and protÈgÈ of Charles Ricketts. Written in Ricketts' spare script: "To V.F. from C.R., 1919." The decorative bookplate of of Vivian Forbes (designed by Forbes) is affixed to front pastedown. Forbes died tragically at the age of 46, committing suicide following the death of Philpot. Like Philpot, Forbes' work was affected by concern over the rise of fascism in Europe, and he was immediately influenced by the 19th century Aestheticism movement, and painters like Charles Ricketts and Shannon, the former taking him on as a protÈgÈ. "We have taken a great liking to Forbes, the sensual beast who ate my… Read More

London: Constable, 1920. First edition. First edition. Original beige paper covered boards with cover and spine design in blue by Charles Ricketts. Top of spine frayed, discolored, some wear to corners, very good.

London: Elkin Mathews and John Lane, 1893. First edition. Paperback. Paperback. First edition. Narrow octavo. Original green cloth with renowned vertical repeating wavy line and leaf motif on both covers designed by Charles Rickets. Author's first book, Copy #152 OF 250 Copies on Van Gelder handmade paper. Acclaimed as Ricketts' greatest book design and widely considered one of the high-points in fin-de-siËcle book design. Ricketts designs for Silverpoints pre-dated the Vale Press books, and were based on Aldine models, referring to the elongated shape of the book as a ìsaddle book,î an attribution hearkening back to Persian sources. In 1899, Ricketts commented on the success of the book, ìthe cover of the ìSilverpoints published in art paper has drifted back to me from places where my name is quite unknown on bindings, end-papers, wallpapers, and dress cretonnes.î A fine copy.

Indianapolis: The Bowen-Merrill Co, 1891. First edition. First edition. Original two-toned cloth. Scarce James Whitcomb Riley title, with extensive presentation inscription by the author on prelim page which has been attached to the original stub, "To Jess C. Millikan- From his old Compatriot, the 'Truthful' - James Whitcomb Riley," and below that a quotation from another book. With the decorative bookplate of William F. Gable (of Gable Department Store fame). With early bookseller description on separate card laid in. Very good.

Leipzig: 1911, Im Insel. First edition thus. First edition thus. Parchment -backed, rust colored paper covered boards. A scarce German imprint by the famed publisher, Insel, of Browning's "Sonnets from the Portugeuse," translated by Rainer Rilke. Very good.

Offered here is a rare and unusual collection of designs and drawings, the work of what appears to be a single binder for Riviere & Son, from the late 1920's, with a very few possibly later. There are 8 large designs for spines with some drawings, tool impressions, two of which are in color; 4 smaller designs for spines; 7 small "snippets" of tooling designs; 7 front cover designs (some drawings, some with tool impressions); 26 rubbings of bindings (covers, spines, etc., various sizes); 4 miscellaneous: a sheet of oasis leather samples used for the Andrew Lang Fairy Books, tool roll samples for a set of Shakespeare, a small piece of paper with what looks to be time studies for various bindings (e.g. ìΩ Plain 50 minî), spine design samples from various sets of English authors, sheet with various pictorial tools used and which authors, titles, etc. to use them (e.g. a witch on a broom and ìThe Arthur Rackham Fairy Bookî). A variety of paper has been used in these examples, some thicker,… Read More

Edinburgh: Printed for William Creech and T Cadell, and W. Davies, 1797. First edition. First edition. Original gray paper covered boards, white paper spine. Excessively rare first edition of of the first and most elaborate treatise aimed at exposing the excesses and scandals of Free Masons, especially laying claim to the workings of the Illuminati, the most feared of all secret societies in the 18th Century. John Robison (1739-1805) was a noted Scottish physicist and mathematician and professor of philosophy at the University of Edinburgh who in his later years became enamored with promulgating various worldwide conspiracy theories. This work, his chief 'scholarly' output was purported to stem from valid research though chiefly from the testimonies of one man, a 'secret monk' whose name was Alexander Horn. The work was extremely popular and went through many editions including a stated Second Edition in the same year, Third and Fourth Editions in 1798, etc. It was translated into French, German and… Read More

New York: Bowling Green Press, 1928. Boards, spine lettered in silver.

London: Bowling Green Press, 1928. First edition. First edition. Original wavy green paper covered boards with printed label on spine. 780 Copies. Presenation Copy from Bruce Rogers to H. M. Manin, in ink on front free fly. In original dark green dust wrapper matching boards. With B/R and sprig seal at end. Superb illustrated title-page with stylized back of cat in silver, silver ruling throughout. A truly gorgeous production.

Chicago: Way and Williams, 1895. First edition. First edition. 5 x 7" Publisher's dark reddish brown buckram with gilt lettering to spin. Limited to 75 copies printed on French hand-made paper, of which this is #48. Title page, two initial letters and tailpiece by Bruce Rogers, all of which have been colored by hand. "[Way & Williams'] most notable book of 1895 was an edition of Shelley's translation of Plato's Banquet designed by Bruce Rogers in an obvious imitation of the Kelmscott Press style. The intent of the firm to establish themselves as publishers of fine books in limited editions was clear" (Kraus, who never examines a copy of this limited edition). Some soiling to edges of title page extending to verso of facing free fly. Corners slightly bumped, light rubbing to edges, general wear to cloth. Bookplate to front pastedown. Kraus 9. Warde 5.

Boston: Houghton Mifflin and Company, 1903. First edition thus. First edition thus. Tan buckram spine with dark blue paper covered boards, white buckram corner tips, additional printed label tipped into rear endpaper. Limited to 330 numbered copies, #143. Designed by Bruce Rogers at the Riverside Press. Printed in red and black on unbleached Arnold paper and illustrated with woodcuts throughout. Title page woodcut has been illuminated in watercolors and gilt. As well, the Bruce Rogers decorated thistle device on colophon has been nicely illuminate in color. With Riverside Press catalogue (4pp) from 1913 loosely inserted. Some light fading to upper portion of front cover and browning to the spine label.