Search Results: Authors starting with O from Nudelman Rare Books

Color poster, image size: 11 x15" on cardboard, probably printed in early 1940's from the original painting. We have not found if the image was originally published. There is one small chip out of the top left corner (about 1" square) which comes right up to the corner border of the image, small tear on side which doesn't extend into image, else very good. Scarce.

Geneva: Albert Kundig, 1937. First edition. First edition. Quarto. Original printed wrappers with Violet Oakley monogram on cover, lettering in black. 14-page booklet with text by Oakley in both French and English explaining and expanding on her motives for the exhibition items. One full-page black and white plate reproducing one of her paintings. Very fine. Most scarce.

Philadelphia: Pennsylvania Academy of the Fine Arts, 1914. 12mo. Gray printed wrappers with cover drawing by Violet Oakley. Contains painting titles of various artists, including Violet Oakley. Very good. Scarce.

Philadelphia: Privately Printed by Violet Oakley, 1922. First edition. First edition. Elephant Folio measuring 15 5/8 inches wide, 23 inches long. 51 pp + [7] and 22 superb full color tipped in plates, some folding to enormous size. Original full brown leather embossed with geometric and floral stamped designs in dark brown, pictorial bold gilt stamped circular motifs and lettering on front cover, two brass clasps. Inside endsheets both brilliant gold shiny paper. Two large closing brackets on outward edges. In original faux-wood paper box. Limited to 500 Numbered and Signed Copies by Violet Oakley, of which this is No. 173. This monumental production was personally overseen and published by Oakley over more than a decade of preparation and production and comprises seven separate folders or fascicles, each of which printed on special Italian handmade paper and printed in red and blue and black from manuscript calligraphy by Oakley. Two of the fascicles contain huge (some folding out) color plates… Read More

New York: Grand Central Art Galleries, 1930. First edition. First edition. Printed stiff card wrappers with cover illustration in line by Violet Oakley as well as Oakley's monogram. 16pp. Foreword by Harrison S. Morris. Contains large frontispiece line illustration by Oakley. Near fine.

New York: The Wilmington Society of the Fine Arts, 1930. 16pp. Printed card wrappers with cover illustration in line by Violet Oakley. Frontispiece line illustration by Oakley. Same as Central Art Galleries booklet, but this one has paper label covering these credits and stating October 13th to October 23. Very good.

Florence: Giulio Giannini & Son, 1929. Third edition. Third edition. 12mo. Patterned color paper wraps, printed label on cover. Color frontis, one engraving, borders in green and orange. An amazing and exceedingly rare association between two of the three principal female Brandywine artists, Violet Oakley and Elizabeth Shippen Green (the other was J.W. Smith). Signed in attractive cursive hand across the whole the front free endpaper: "Merrie Christmas Greetings/ to/ Elizabeth- the Queen/ and/ Huger- the King/ from Violet/ "Cogslea"/ December/ 1930." Huger, referring to Elizabeth Shippen Green's husband, Huger Elliot. A monumental and endearing inscription. Association copies of books between the Brandywine artists are quite scarce. Book is fine.

London: Printed for Andrew Crook, 1651. 8vo, 8 1/2 x 6 inches. 19th Century quarter calf (rebacked), earlier marbled paper covered boards. The scarce complete first edition of Ogilby's translation of 1651 with 81 copperplate illustrations of fables. Frontis cut down and mounted on old paper, other paper repairs professionally restored. Title page with "Eugenai Wright Her Book" in what appears to be a very early inscription. Lacks large corner of Plate 55, and a narrow strip at foot of Plate 38. One plate is partly colored, and a couple of drawings to versos of plates. Expert paper repair throughout with some cuts lost, but still a fabulous survival. A few text pages with minor ink spots but nothing defacing. The first Ogilby edition herewith has the D'Avenant poem dated 165, and is thus more difficult to come by than later editions. With all, still a very presentable and certainly scarce mid-17th Century Aesop title, first edition thus.

Berlin: Ernst Waysmuth, 1901. First Edition. First Edition. Offered here are 52 folio printed leaves from the original portfolio, loose as issued, of the eventual 150 plates in the series, consisting of architectural floor plans, sketches, some full page and in color, including the color study for a house in Darmstadt and the color study for Hans Christiansen's house also in Darmstadt, as well as tinted photogravures. Each page measures 19 x 12 3/4 inches, numbered in the type, and with the Waysmuth imprint. Joseph Maria Olbrich (1867-1908) was a leading architect in Austrian Art Nouveau and one of the founders of the Viennese Secession, and he designed the Vienna Secession Building in 1897. He later became the sole architect (with one exception) of an artistsí colony in Darmstadt, at the invitation of the Grand Duke Ernst Ludwig of Hesse-Darmstadt. At the colony, he designed houses for notables such as Hans Christiansen and Georg Keller. Olbrich also designed interiors, craft objects,… Read More

Esslingen und Munchen: J. F. Schreiber, 1925. 4to. Color pictorial paper covered boards, brown cloth spine. Early edition. With superb full-page color illustrations by von Olfers. Occasional wear. A popular and innovative interpretation of "root" children getting discovering the world.

Esslingen und Munchen: J. F. Schreiber, 1925. Color pictorial paper covered boards, turquoise cloth spine. One of von Olfers most beloved renderings, becoming a bestseller. Full-page color illustrations throughout on thick paper. A highly interpretive and creative group of illustrations by this famed illustrator. Corners bumped, internally near fine.

Boston: Little, Brown & Co, 1926. First Edition. First Edition. 9 x 6 1/2 inches. A stellar mosaic binding by Curtis Walters (Signed gilt pallet, "Bound by C. Walters" on rear dentelle) intricate and astonishingly high number of inlaid mosaic design, comprising an overlapping and juxtaposed design element in a mosaic pattern on both covers and three panels of the spine. The artistry and accomplish of this master binder are seldom better exemplified than this binding, which in every manner, including design, coloration, finish work and more, all point to greatness. And even better the binding is in extremely fine condition, with absolutely no signs wear, owing to its preservation in a morocco-backed marbled paper folder chemise, fitting perfectly into its matching slipcase. Full blue crushed morocco doublures, quadruple gilt fillet ruling to dentelles, with two-color inlaid between, silk blue moire endsheets. With a Presentation Note on the publisher's paper in card, "With the Compliments of the… Read More

London: John Camden Hotten, 1870. First edition. First edition. Original plum cloth, beveled boards, with central gilt figure of man lying down at beach, gilt lettering on spine. ASSOCIATION COPY FROM O'SHAUGHNESSY TO PRE-RAPHAELITE ARTIST ALMA TADEMA: (written in purple ink on first blank before title page: "Monsier L. Ama Tadema, with the author's best regards, 16th January, 1871." Full-page illustrated title page (prior to lettered title page and five textual illustrations by J. T. Nettleship in an abstract almost Blakean style. O'Shaughnessy's first book, inscribed to Lawrence Alma-Tadema, classical Dutch painter who moved to London in 1870 to rapidly become one of the most famous and highly paid painters of his time, befriending and working with most of the Pre-Raphaelite artists. A wonderful and certainly important association, occurring at the brink of both poet's and artist's burgeoning careers. Near fine.

Amsterdam: Van Holkema & Warendorf, 1900. First printing. First printing. Oblong quarto. Color pictorial paper covered boards.23 nearly full-page color illustration in delightful, unpretentious style. Corners and edges show some wear, very good. Scarce.

Amsterdam: Van Holkema & Warendorf, 1910. First edition thus. First edition thus. Huge Square Folio (15 x 17 inches). Original full pebbled cloth with beveled boards, bold black, gold and blue pictorial stamped cover, bold gilt stamped lettering on cover and spine, silk styled endpapers. Twelve exquisite color illustrations mounted onto bordered pages by Hans Pellar, the whole of the book printed on thick art paper. This is the extremely scarce Amsterdam edition of Pellar's classic and now highly sought-after illustrations for Ostini's classic fairy tale, and considered one of the highpoints in Jugendstil art. This edition may have begun at or very near the original German George Dietrich edition, which stands by comparison, a much less desirable entity than the Dutch edition herewith described. A near fine copy of what may accurately said to be one of the most beautiful Jugendstil productions of the period.

Munchen: Georg W. Dietrich, 1909. Oblong quarto. Superb original color pictorial paper covered boards, heightened in gold. A fairytale, with twelve famous pictures by Hanns Pellar of Fritz v. Ostini's wonderful story. "One of the finest and most original children's books of Jugendstil" (Seebafl II, p. 254). - The unusual color-rich picture book of the Viennese artist, Hanns Pellar (1886-1971), reveals the influence of Gustav Klimt as well as that of Pellar's teachers Lefler and Stuck. After a visit to Versailles, Pellar imagined the fantastic and historical scenes, to which Fritz von Ostini constructed his story of fairy tales. "(Bildwelt, p. 352) 24 pages. - Cover slightly stained and tanned, some wear to edges, etc. Binding with original staples shows usual detachment issues from binding, but the central text block is tight and in tact, rear hinges frayed and separating. matching pieces of pictorial endsheets. Gold on cover and in some plates still bright.

Munchen: George W. Dietrich, 1909. First edition. First edition. Oblong quarto. Superb original color pictorial paper covered boards, heightened in gold. A fairytale, with twelve famous pictures by Hanns Pellar of Fritz v. Ostini's wonderful story. "One of the finest and most original children's books of Jugendstil" (Seebafl II, p. 254). - The unusual color-rich picture book of the Viennese artist, Hanns Pellar (1886-1971), reveals the influence of Gustav Klimt as well as that of Pellar's teachers Lefler and Stuck. After a visit to Versailles, Pellar imagined the fantastic and historical scenes, to which Fritz von Ostini constructed his story of fairy tales. "(Bildwelt, p. 352) 24 pages. - Cover slightly stained and tanned. Binding strengthened with matching pieces of pictorial endsheets. A later edition, in 1921, is often cited as the 'first edition,' however, the two can be easily differentiated by the lack of brilliant gold highlighting found in the 1909 edition edition herewith. Scarce thus.

East Aurora: Roycroft Press, 1906. First edition thus. First edition thus. Bound in three-quarter crushed maroon morocco with gilt lettering and florets on spine, marbled boards and endpapers, with inserted and folded newspaper article on "Fido," the dog that "never made it into the White House." Near fine, with some wear to corners.

London: Methuen & Co, 1913. 12mo. Finely bound for J.W. Robinson Company by Sangorski & Sutcliffe in polished calf with gilt-tooled borders, gilt bee design onfront, decorative gilt spine with raised bands, morocco spine labels lettered in gilt; inner gilt dentelles, illustrated enpapers, all edges gilt; original cloth bound in. Presentation inscription by Oxenham on blank page at front, ""Alex D. Wallace, with the Compl. of John Oxenham, Sept. 18, '13." Light scuffing to calf with a bit of rubbing to extremities; light offsetting to endpaper edges, ownership signature and chop stamps at front; about near fine.