Search Results: Authors starting with B from Nudelman Rare Books

East Aurora: Roycroft Press, 1901. First edition thus. First edition thus. Bound by Roycroft in three-quarter crimson morocco with gilt ruling bordering marbled boards, ornate gilt decorated spine, marbled endpapers. 50 Copies Only, in original brown box with printed paper label. Printed on Imperial Japan Vellum (Copy #14), and hand-illumined by Lily Ess. Printed in red and black with stunning full-page hand-illumined title and running headpieces. Book is fine, with no signs of use, box very good. A scarce and appealing Roycroft title thus.

East Aurora: Roycroft Press, 1901. First edition thus. First edition thus. Publishers light blue 'cloudy' three-quarter levant, superbly gilt spine, marbled paper covered boards and endpapers. Printed in two colors on Roycroft handmade paper, with hand illumined title page and running heads by Anna Paine (signed in colophon with Roycroft monogram). In original felt-lined crimson folding box with printed paper label. Book is very fine with no signs of use, box near fine. Scarce thus.

8vo, (8 x 6 inches) Three-quarter brown crushed morocco, marbled paper covered boards. Limited to 50 Copies, Signed by Hubbard (this is copy #42). Signed in gilt on front dentelle, "Roycroft." Hand-Illumined by Edith Andrews with her signature, illumine Roycroft orb, title page, headpieces and colophon. With a great ALS from Bacheller to Elbert Hubbard tipped onto front free fly. "Sound Beach Conn. April 19, 1901. My dear Elbert: You remember more than a year ago you thought of putting my fiddle sketch in a leaflet ad. I was then glad to say yes but now if you haven't I wish you would not for I can see a way to use it in a book to some advantage. We shall be in Buffalo the third week of June and - if you're there- I'm coming over to have a look at you and, then, you may see what kind of a critter I am. But damned if I'll clean or wash dishes or wheel the wheelbarrow. I only ask for an hour with the boss. With all good wishes, Sincerely, Irving Bacheller." Near fine with minor rubbing to spine and… Read More

London: Arthur L. Humphreys, 1907. First edition thus. First edition thus. 12mo. Attractive full brown crushed morocco binding by Harcourt Bindery (signed in palet front dentelle) with gilt border designs on covers and spine, gilt dentelles. Slight wear to margins of spine, else near fine.

London: Arthur L. Humphreys, 1900. First edition thus. First edition thus. Arts & Crafts binding in full crushed brown morocco with elaborate gilt tooled ruling, stipple pattern and floral motifs repeated on both covers, gilt spine with compartments. Thick inner dentelles with gilt ruling. 272pp, printed on Japan Vellum. Margins of spine slightly worn, spine gilt faded, else a very good copy of an attractive binding.

London: Whittaker, Treacher & Co, 1830. First edition. First edition. Bound in full contemporary wavy grain calf with bold gilt vine and blossom pattern on both covers and spine, beautiful crimson wavy silk endsheets. Inscribed by the author to his son, William Badnall. A fascinating and vanishingly scarce book of poetry by Richard Badnall, silk, ribbon and button tycoon of the early 1800's in Leek, Staffordshire and a man whose riches to rags story could make an entertaining if not sad novel. Through bad investments, he lost his fortune and nearly landed in debtor's prison. Somehow, during this time he seemed to be able to write poetry, and this volume was received with some praise, though acclaim never landed Badnall reputation, much less remuneration from his writings. He also wrote a treatise on Silk Trade (1828), a book on politics (183) and another on Railroad Improvement (1833), all exceedingly rare. Besides our copy of Zelinda, no copies of any of these books were found at the time of… Read More

London: William Pickering, 1848. Third edition. Third edition. Original bind-stamped dark blue cloth with emblem design both covers, attractive gilt-stamped design of snake and lightening bolt. The third edition similar to second edition, but with an entirey reset text printedd by R. Allen, Nottingham. With erratum leaf at end. This, Bailey's chief work, comprises some twelve divisions in an attempt to represent the relation of God to man." An uncommon and important work. Near fine.

London: W. Pickering, 1850. First edition. First edition. Original blue blind-stamped cloth with bold central gilt wreath enclosing lettering, , gilt decorated spine with lettering. 104pp. AEG. An uncommon work by Bailey, who was admired in by the Pre-Raphaelite in their very early critique of the poetry of that period. Frontispiece woodcut illustration, title with red initials. Top of spine slightly frayed, else near fine. Very scarce.

London: Chapman and Hall, 1858. First edition. First edition. Original tan blind-stamped cloth with gilt lettering on spine, yellow endpapers. 208pp. James Philip Bailey was a member of the so-called "Spasmodic Poets," or poetry heavily favoring drama in verse, the protagonist often of which is a poet, characterized by unwieldy soliloquies and considered egotistical and somewhat inferior. An interesting and uncommon title by Bailey (whose best work was "Festus"), a satire in poetic form with the chief characters being "critic," "young author," and "mutual friend." Slight wear to sides of spine, else a near fine copy. Most scarce.

London: T. Nelson and Sons, 1899. Bound in black full grained morocco by Alfred L. Hackman of the L.C.C. Central School of Arts and Crafts (taught by Peter McLeish), and signed by same, with decoration in the style of Douglas Cockerell, including a rectangular dual leaf border pattern to the front and back covers. Triple gilt rule to edges of cover. Curved gouges and leaf tool to spine, with title to second compartment. Ruled turn-ins with leaves at corners and grey endpapers. Slight bumping to corners.

New York: The Bancroft Co, 1900. First edition. First edition. 8vo, 5 3/4 x 8 1/2 inches, 738pp. Green vertically ribbed cloth. Striking cover illustration and design by Margaret Armstrong consisting of ocean waves and sea-shells, with the Ancient Mariner telling to the Weding Guiest the story of his adventures, etc. A fine copy of a scarce Armstrong title, rarely seen in this condition owing to its thickness.

London: H. Humphrey No. 37 New Bond Street, 1795. First Printing. First Printing. Paper size: 10 1/4 x 15 inches, image size 9 3/8 x 12 1/7. Superb full-size etching satirical cartoon by James Gillray entitled THE GREAT SOUTH SEA CATERPILLAR, TRANSFORM'D INTO A BATH BUTTERFLY. This noted etching by Gillray, dubbed the "father of the political cartoon, was a satirical cartoon spoofing the social elevation of Joseph Banks, who accompanied Cook on his voyages. Banks' head is replaced onto a butterfly arising out of the mud near the seashore, gazing upwards towards the Crown, depicted as the center of the sun. The "Order of Bath" is pinned to his coat, the medieval ceremony for appointing a knight, which involved bathing (as a symbol of purification) as one of its elements-- Gillray here compares Joseph Banks' rapid ascension into the social ranks to an insect which first "crawl'd into notice from among the Weeds & Mud on the Banks of the South Sea; & being afterwards placed in a Warm Situation by the… Read More

Chicago: Brothers of the Book, 1912. First edition. First edition. 12mo. Original publisher's calf-backed, marbled paper covered boards, paper label on cover. Woodcut designs. Colophon state that the book is a reprint of a certain hoax perpetrated on a time by one Kendall Banning... With an interesting "Addenda" attached to rear (a printed addenda by LCW, Woodworth, founder of the press), "The writer of the 'explanation' accepted Mr. Banning's statement that the original of this reprint was a hoax. Since the book went to press, however, several of Mr. Bannning's friends have written in vigorous protest..." Quite an interesting fracas, indeed. Scarce. Near fine.

Wausau: Van Vechten & Ellis, The Philosopher Press, 1897. First edition. First edition. 12mo. Illustrated card wrappers. Exceedingly scarce true first title of the Philosopher Press, NOT IN RANSOM. Art Nouveau-style cover design by Gardner C. Teall. Importantly inscribed on first page by co-publisher Ellis to the owner of the book, famed collector Joseph Manuel Andreini (whose bookplate appears facing page): "Here, for Mr. J. M. Andreini, with the compliments of Van Vechten & Ellis, is a copy of the first book ever made at the Philosopher Press."

New York: Charles Scribner's Sons, 1900. First edition. First edition. Brown linen weave cloth, cover with attractive leaf and berry design in green and red, gilt and black device, by Margaret Armstrong. Gilt lettering on cover and spine. Eleven full-page black and white illustrations by Bernard Partridge. Corners slightly bumped, near fine. Gullans & Espey, #19.

New York: Charles Scribner's Sons, 1900. Brown cloth with superb cover design stamped in light green and gilt by Margaret Armstrong. Very good.

New York: Charles Scribner's Sons, 1896. First edition. First edition. Brown smooth buckram, attractive cover design stamped in gold with green stem design, by Margaret Armstrong. Near fine copy.

Amsterdam: D'Estienne Roger, 1701. 12mo. 19th Century marbled boards (rubbed), later calf spine (sl. wear to extr.), marbled endpapers contemporary with boards. 473pp. followed by six pages of Table [of Contents], ending with half-page advertisement. Exceedingly scarce Aesop title, with exquisite full-page copper-engraved frontispiece, title printed in red and black with device, and 147 half-page copper-engraved text illustrations throughout, as per P. van der Borcht. 473 S. This is the scarce Aesop Fables collection by the French scholar, Jean Baudoin; the small-format etchings carry on a much-celebrated woodcut history for the Fables ... As early as 1593, these woodcut templates had been processed into a cycle of etchings, and the work of Pieter van der Borcht, which is used again here in Baudoin's presentation of the Fables. - Rare edition, contains 117 fables. A remarkably preserved copy, fine internally, amazingly bright with no significant wear. "The life of Aesop" (30 Texcupfer, p. 11-93).

Ca. turn of the century. A set of four separate proof illustrations printed on light proof paper by Franz von Bayros, 1886-1924, Austrian commercial artist and illustrator.

4 1/2 x 7 inches. Famous lithograph image of "La Dame aux Camelias," by Aubrey Beardsley. A framed and matted original printer's proof with remnants of Heritage Gallery on verso verifying as Printer's Proof from a representative of the British Museum. As well, stated at lower right of image, "there you will note penciled marks of the publisher's [directions to] printer. One of Beardsley's more celebrated images, the drawing was first published in the journal St Paul's on 2 April 1894, and at the time it was one of Beardsley's most popular works. Six months later it was illustrated with the present title in Volume Three of The Yellow Book, an avant-garde journal of which Beardsley was art editor. Very light toning to margins, very good. A most scare and desirable Beardsley proof.