Search Results: Authors starting with G from Nudelman Rare Books

London: Macmillan, 1915. Original publisher's blue cloth with bold gilt stamped cover design by T. Sturge Moore. Delicately illustrated with color plates by Nandalall Bose. A fine copy.

Venetis: Aldine Press, 1514. 18th Century three-quarter calf (worn) later marbled paper. 216pp. All edges tinted light blue. Aldine publisher's emblem woodcut on title page and also at very end. Cover leather worn, internally very good. Scarce.

London: Elkin Mathews, 1893. First edition. First edition. 12mo. Original publisher's full vellum over boards, gilt design on both covers. 150 Copies on Handmade Paper. Superb woodcut half-title and title page by J. Illingworth Kay. Uncut, unopened and fine. Scarce thus.

London: Coupil & Co, 1899. Folio (10 x 13 inches). Sumptuously bound by the Birmingham Guild of Handicraft in an impressive full sienna sealskin Arts & Crafts binding, with interlocking gilt rules across the front cover and four gilt quatrefoils in each corner, decorated with leaves and tudor roses on front cover, double gilt ruled borders onback cover. Five raised bands to spine, with lavish gilt design on four compartments, gilt title, date, etc. on others. Dentelles with single example of floral decoration in gilt to corners. Top edge gilt. Limited to 1475 copies, of which this is #1090. Frontis portrait in color and numerous engraved plates, all with tissue guards with letterpress captions. Sealskin is most well known as an Arts & Crafts-era bookbinding material by The Doves Bindery, and has distinct qualities that render a wonderful polished almost liquid appearance to the leather. ìThe Birmingham Guild was established in 1890, its founder member being Arthur Stansfield Dixon. It originated… Read More

Boston: Little, Brown & Co, 1895. First edition. First edition. Thick quarto. Original thick full vellum covers with bold gilt designs on cover and spine. In original brown parchment dust wrapper with gilt decorated spine. One of 25 Copies printed on Japan Vellum with two original watercolor drawings by Garrett. Written by Garrett on leaf facing half-title (where the first watercolor appears): "Of the twenty-five copies with a watercolor, this is number five- Edmund H. Garrett, Nov. 1, 1895." Watercolor on half-tile with Garrett's penciled monogram and the title: "Asters." The other watercolor appears full-page on the following blank leaf, a delightful view of (holograph by Garrett): "Bridge over the Avon at Pershore," and with his monogram. TEG, others uncut. Edmund Garrett (1853-1929) was an American illustrator, bookplate-maker and author, as well as a highly repsected painter, renowned for his illustrations of the legends of King Arthur. The book is filled with exquisite full-page sepia plates in… Read More

London: Macmillan and Company, 1891. Large Paper Edition. Large Paper Edition. Superbly bound by Lorenz Schwartz, one of the premier designers and finisher in the history of the US, working with Otto Zahn, S.C. Toof, Roycrofters, and Monastery Hill Binderies. The thick binding measures 10 1/2 x 7 3/4 inches and is signed by The Monastery Hill Bindery on the rear lower turn-in, and again by Schwartz with his characteristic ìLSî monogram 1 4 of the way up the spine on left. Bound in full navy morocco with ìcathedralî-esque design on the front cover made up of vertical lines, ringlets, and the signature Schwartz heart tool. At the bottom of the design space,ìCRANFORDî is spelled out with inlaid turquoise morocco, filled in with all-over gilt stippling. Spine with four raised bands and title (hand-gouged) in second compartment; corresponding ìcathedralî tooling with leaf, fillet, gouge, and ringlet in first and fifth compartments; middle compartment ruled with ringlets at corners;… Read More

Frame size: 15 x 18 inches; image size: 3 x 4 inches. Original graphite drawing created by renowned artist and illustrator Arthur Joseph Gaskin (1862 - 1928) of Louis Fairfax Muckley (1861-1915), leading illustrator, etcher, painter and designer, who studied painting and drawing at the Birmingham School of Art and during the early 1880's, was a classmate of Gaskin. The portrait is dated 1884 and comes rom the collection of Frank Richards R.B.A., A well known landscape and figure painter. This portrait drawing is signed in pencil with Arthur Gaskin's 'A. G.' monogramme and dated, 'Dec. '84' on the front, and the verso has a holograph inscription in pencil: "By Arthur J. Gaskin/ Sketch of Louis Muckley." An important portrait, linking Gaskin, a major illustrator, portraitist, painter and designer during the last decade of the nineteenth century, with Louis Fairfax Muckley, a leading illustrator, etcher, painter and designer in contact with the influential art of William Morris, and other leaders in… Read More

London: George Allen, 1893. First Edition. First Edition. Later green cloth, gilt spine. Deaccession from Hackley Public Library. Fully illustrated by Gaskin throughout. Card folder at front, various library stamps, including side edges. Very good. Housed in the same style contemporary morocco backed folders and slipcase as others from the same Gaskin collection in our possession.

London: The Leadenhall Press, 1896. First Edition. First Edition. Tall octavo, 9 x 5 inches. Original grey-green cloth with black stamped illustration to both covers, lettering to spine. Top edge gilt, bottom edge uncut. Unpaginated with 71 superb pages of jingles and black and white illustrations by Georgie Gaskin (title slightly tinted] concerning the horn book. Printed on thick card paper, on one side only. With three pages of advertisements, one at the beginning for Andrew Tuer's "History of the Horn Book, (1896), and two at the rear. Covers with wear causing some fading of the black ink used in blocking, corners and edges showing wear, internally quite clean and bright, and the text block is tight for a thick book such as this, owing to the paper size. Housed in the same style contemporary morocco backed folders and slipcase as others from the same Gaskin collection in our possession.

London: Elkin Mathews; Chicago,, A. C. McClurg, 1895. First Edition. First Edition. Original publishers green fine wove cloth with cover illustration stamped in black. Fully illustrated with cunning black and white woodcut illustrations throughout in Pre-Raphaelite style by Georgie Gaskin, printed book label by GC as front pastedown decoration. This appears to be an interesting variant of the uncommon first edition (1895), with the cover insert only stamped in black (we have seen with cream and also orange ink)... whereas nearly all copies we've noted have at very least been cited as 1896. We found a publisher's announcement which stated the book was published in December, 1895, which could explain a perhaps second issue very soon in 1896? A very wonderfully illustrated children's book indeed. Covers slightly soiled, small tear upper spine at cover. Contents very good. Scarce thus.

Edinburgh and London: William Blackwood and Sons, 1857. Fifth Edition. Fifth Edition. Original publisher's salmon pebbled cloth with fine gilt illustrated cover and spine. AEG. 258pp. Super engraved illustrations throughout by Richard Doyle, John Leech and Alfred Crowquill. Uncommonly found in presentable condition in the original cloth. Spine slightly sunned, occasional wear, very good.

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… Read More

London: Printed for John Watts, 1728. Modern half calf, marbled paper covered boards. Early edition without printed music. 58pp. Some repair to title page, else very good copy of a scarce edition of this classic.

London: J. and R. Tonson, 1742. Fifth Edition. Fifth Edition. Original blue wrappers, stitched at spine. Seven superb etched plates by du Guernier. Uncut, preserved in later cloth folder. 60pp. with four-page Index at end, "Alphabetical List of Names, Plants, Flowers..." Scarce thus.

Bath: Binns and Goodwin, 1853. Second Edition. Second Edition. 184pp. Original publisher's dark blue pebble grain cloth with superb gilt illustrative design on cover depicting a gilt astrological wheel. and spine decorations/lettering, all by John Leighton. Half-title, and nine engraved plates. A very good copy of a scarce and fascinating mid-19th Century treatise on astronomy. Name on the front- end-paper of Susan E. Clarke, Seaton Carew, January 24, 1858. Very Scarce, Copac records BL, and Trinity College Dublin only. The second edition has a new preface, dated Redland, January 1853, and is dedicated to Joseph Woolley, principal of the Central Mathematical School of Her Majestyís Dockyard, Portsmouth. It includes ìsome new and useful matter, such as the best time for the observation of Mercury, for the years 1853 and 1854.î.

New York: Mitchell Kennerley, 1916. First Edition. First Edition. Tall quarto. Original beige buckram cloth. Plates in excellent condition, including photographs By Edward Steichen, Arnold Genthe; Reproductions Of Drawings By Leon Bakst, Auguste Rodin, etc. A library copy, with three-quarters brown tape. This is in need of rebinding, but internally near fine. An excellent resource, and a much higher priced book in nice condition.

Paris: Ernest Flammarion, 1931. First edition. First edition. Bound in full crushed morocco with gilt rules on cover and attractive Art Deco design on spine with red and light brown inlaid morocco, gilt dentelles, striking brown wavy grain endsheets, by Flammarion (signed gilt pallet lower front dentelle). One of 500 Special Numbered Copies, frontispiece by George Bruyer, decorated throughout by De Renefer. In matching brown morocco edged slipcase. Fine with minor rubbing to raised bands.

London: George Routledge, 1868. First edition thus. First edition thus. Superb full light brown crushed morocco binding by Wood nearly matching a famous design by Constance Karslake documented in one of the Guild of Women Binders prospectuses and shown in Studio, 1899-1900, with quite a few variations, but the overall stylistic composition is strikingly similar, and thus a curious 'copy' by a noted binder.Superb workmanship as found in nearly all Wood bindings, with a plethora of gilt patterning, including both covers, spine and both dentelles. Signed by woo in gilt pallet, front dentelle. Margins of spine sl. wear, else fine. AEG. A classic illustrated book with wonderful woodcuts by Gilbert throughout.

London: George Routledge & Sons, 1900. First edition thus. First edition thus. 12mo. Attractive Arts and Crafts binding (signed N.S.L. in rear dentelle. Full light brown crushed morocco with central inlaid stylized tulp and leaf pattern (light green), spine with blind-stamped leaf patter and lettering. 317pp. AEG. Near fine.

3pp on folded sheet, letter from John Gilbert, (1817-1897) celebrated English artist, illustrator and engraver, best known for his woodcuts. "Blackheath, 24th Oct., '67. My dear Bricknell, I was thinking of starting off after breakfast to see if you had returned home again- ... I should like to see you all brown, rosy, and healthy- If I can't go on Sunday, will write again... I fore-warn you- I am not "jolly" and shall not be in a state to 'cut capers' I am quite the other way. I expect- no friendly sympathy from you, rather Sulphur- Doesn't Croaker in the pay sa- "Ah, my dear friend, it is a perfect satisfaction to be miserable with you." Here is sympathy, rare to find in these days..." Etc. A wonderful letter indeed.