Search Results: Authors starting with R from Rob Zanger Rare Books LLC

Paris: Les Bibliophiles du Palais, 1932. Limited Edition. Fine/Very good. Jean Bruller (1902 - 1991). 8vo, 10 1/4 x 7 1/8 inches (260 x 180 mm); (10), 128, (18) pp., printed in black and red on Rives wove paper; 4 original etchings by Jean Bruller printed in brown-black ink, tissue guards, and numerous typographical embellishments, dropcaps and tailpieces by Louis Jou. Signatures loosely stitched together; paper cover with title in black ink on cover and spine, original glassine overcover intact. Chemise and slipcase in marbled paper, grey-blue spine label with gilt titling; chemise partially split at joints and spine sunned, slipcase with corners lightly bumped.; interiors clean, back pages unopened. Copy VIII, specially printed for Monsieur Agostino Soldati as stated on the individual limitation page, out of an edition of 200 numbered I-XL and 1-160. [Carteret IV, 330; BNF32552458]. An elegant edtion of Racine's only comedy, The Plaideurs was inspired by Aristophanes' The Wasp and first… Read More

1890. Ink and gouache with gold heightening on fibrous, brown laid paper, with a Jaipur Court Fee tax stamp in purple ink on the recto, 13 1/4 x 8 7/8 inches (336 x 226 mm). Toning, handling creases and minor scattered surface soiling throughout. There are scattered coeval inscriptions in ink on the recto and verso. A traditional Indian butter churn is operated by rapidly pulling a rope which turns a paddled spindle. The paddles churn cows milk inside a large jar until milk solids form. Ghee is made from cow milk butter, which is treated with low heat until the water evaporates, leaving behind milk solids. The solids are skimmed off or strained if needed. Ghee is a staple food on the Indian subcontinent, and as a cooking oil, it is the most widely used food in India, apart from wheat and rice. Because of its exalted status at Hindu weddings, ghee is expensive and in high demand. Male wedding guests are expected to compete with each other to see who can eat the most of it; consuming two pounds or more… Read More

1890. Ink and gouache with gold heightening on fibrous, brown laid paper with a Jaipur Court Fee tax stamp in black ink, 13 3/8 x 8 3/4 inches (340 x 222 mm). Toning, handling creases and minor scattered surface soiling throughout. Scattered coeval Hindi inscriptions in ink on the verso, as well as the embossed blindstamp of the Treasury of Jaipur. The first revenue stamps in India were issued in the mid-nineteenth century during the Raj, and they are still being issued to this day. Apart from issues for the whole of India, many princely states, provinces, and other states also had (or still have) their own revenue stamp issues. Before independence, Indian revenue stamps were closely modeled on similar designs from Great Britain, as is the case with this carriage motif stamp from Jaipur. The stamps were issued to denote various denominations, including rupees and annas. An anna (or ānna) was a currency unit formerly used in British India, equal to 1⁄16 of a rupee. It was subdivided into four… Read More

1895. Ink and gouache with gold heightening on fibrous, brown laid paper with a Jaipur Court Fee tax stamp in purple ink, 13 3/8 x 8 3/4 inches (340 x 222 mm). Toning, handling creases and minor scattered surface soiling throughout. A typed and signed court order dated 1891 (in reference to a landlord/tenant dispute) appears on the verso, as well as the purple blindstamp of the Treasury of Jaipur. There are scattered coeval Hindi inscriptions in ink on the recto. The following text appears typed on the verso: "Maloom order of 2nd July, 1891, and (5) party No. (b) applied to the P.I.B. Department for redress. The P.W. Member opined that party No. (b) is entitled to live in the quarters which had been continually occupied by them and party No.(a) should not interfere with the other party in respect of the quarters which should be restored to the latter. Resolution No.34. Resolved that the proposal of the P.W.Member be accepted. TRUE COPY Registrar, Mahakma Khas, Jaipur." The first revenue… Read More

1890. Ink and gouache with gold heightening on fibrous, brown laid paper, with a Jaipur Court Fee tax stamp in blue ink on the recto, as well as the Jaipur City Council blindstamp, 13 1/4 x 8 1/2 inches (335 x 215 mm). Toning, handling creases and minor scattered surface soiling throughout. There are scattered coeval inscriptions in ink on the recto and verso. The first revenue stamps in India were issued in the mid-nineteenth century during the Raj, and they are still being issued to this day. Apart from issues for the whole of India, many princely states, provinces, and other states also had (or still have) their own revenue stamp issues. Before independence, Indian revenue stamps were closely modeled on similar designs from Great Britain, as is the case with this carriage motif stamp from Jaipur. The stamps were issued to denote various denominations, including rupees and annas. An anna (or ānna) was a currency unit formerly used in British India, equal to 1⁄16 of a rupee. It was subdivided… Read More

1890. Ink and gouache with yellow heightening on fibrous, brown laid paper with a Jaipur Court Fee tax stamp in blue ink, 13 1/2 x 8 3/4 inches (343 x 222 mm). Toning, handling creases and minor scattered surface soiling throughout. There are scattered coeval Hindi inscriptions in ink on the recto. Raja Mahan Singh Mirpuri (1810 - 1844) was a famous general in the Sikh Khalsa Army. He was conferred by Maharaja Ranjit Singh the title of Raja for his conquests of Haripur, Nowshera and Peshawar. The town of Mansehra derives its name from him. Singh was murdered by his own soldiers in 1844, when mutiny broke out in the Sikh Khalsa Army. His death was avenged by his son, Chhattar Singh, who was himself killed soon after. The first revenue stamps in India were issued in the mid-nineteenth century during the Raj, and they are still being issued to this day. Apart from issues for the whole of India, many princely states, provinces, and other states also had (or still have) their own revenue stamp issues.… Read More

1890. Ink and gouache with gold heightening on brown laid paper with a Jaipur Court Fee tax stamp in black ink, 13 3/8 x 8 3/4 inches (340 x 222 mm). Toning, handling creases and minor scattered surface soiling throughout. Scattered coeval Hindi inscriptions in ink on the recto and verso. The first revenue stamps in India were issued in the mid-nineteenth century during the Raj, and they are still being issued to this day. Apart from issues for the whole of India, many princely states, provinces, and other states also had (or still have) their own revenue stamp issues. Before independence, Indian revenue stamps were closely modeled on similar designs from Great Britain, as is the case with this carriage motif stamp from Jaipur. The stamps were issued to denote various denominations, including rupees and annas. An anna (or ānna) was a currency unit formerly used in British India, equal to 1⁄16 of a rupee. It was subdivided into four (old) Paisa or twelve pies (thus there were 192 pies in a… Read More

1890. Ink and gouache with yellow heightening on fibrous, brown laid paper, with a Jaipur Court Fee tax stamp in purple ink on the recto, and the Jaipur State Council Stamp dated June 5 1894, and the 1889 Jaipur State Council stamp in black ink on the verso, 12 1/2 x 9 inches (318 x 230 mm). Toning, handling creases and minor scattered surface soiling throughout. There are scattered coeval Hindi inscriptions in ink on the recto. The first revenue stamps in India were issued in the mid-nineteenth century during the Raj, and they are still being issued to this day. Apart from issues for the whole of India, many princely states, provinces, and other states also had (or still have) their own revenue stamp issues. Before independence, Indian revenue stamps were closely modeled on similar designs from Great Britain, as is the case with this carriage motif stamp from Jaipur. The stamps were issued to denote various denominations, including rupees and annas. An anna (or ānna) was a currency unit formerly… Read More

1890. Ink and gouache with gold heightening on fibrous, brown laid paper, with a Jaipur Court Fee tax stamp in black ink on the recto, as well as the Jaipur City Council blindstamp, 13 5/8 x 8 7/8 inches (345 x 226 mm). Toning, handling creases and minor scattered surface soiling throughout. There are scattered coeval inscriptions in ink on the recto and verso. The first revenue stamps in India were issued in the mid-nineteenth century during the Raj, and they are still being issued to this day. Apart from issues for the whole of India, many princely states, provinces, and other states also had (or still have) their own revenue stamp issues. Before independence, Indian revenue stamps were closely modeled on similar designs from Great Britain, as is the case with this carriage motif stamp from Jaipur. The stamps were issued to denote various denominations, including rupees and annas. An anna (or ānna) was a currency unit formerly used in British India, equal to 1⁄16 of a rupee. It was subdivided… Read More

1890. Ink and gouache with gold heightening on fibrous, brown laid paper with a Jaipur Court Fee tax stamp in gray ink, and the 1889 Jaipur State Council stamp in black ink, 13 1/4 x 8 3/4 inches (335 x 222 mm). Toning, handling creases and minor scattered surface soiling throughout. There are scattered coeval Hindi inscriptions in ink on the recto. "A ragamala, translated from Sanskrit as "garland of ragas," is a series of paintings depicting a range of musical melodies known as ragas. Its root word, raga, means color, mood, and delight, and the depiction of these moods was a favored subject in later Indian court paintings. The celebration of music in painting is a distinctly Indian preoccupation. Ragamalas were first identified as a specific painting genre in the second half of the fifteenth century, but their ancestry can be traced to the fifth- to seventh-century Brihaddeshi treatise, which states: "A raga is called by the learned that kind of composition which is adorned with musical notes . . .… Read More

1890. Ink and gouache with gold heightening on brown laid paper with a Jaipur Court Fee tax stamp in black ink, 12 5/8 x 8 9/16 inches (320 x 217 mm). Toning, handling creases and minor scattered surface soiling throughout. Scattered coeval Hindi inscriptions in ink on the recto and verso. The first revenue stamps in India were issued in the mid-nineteenth century during the Raj, and they are still being issued to this day. Apart from issues for the whole of India, many princely states, provinces, and other states also had (or still have) their own revenue stamp issues. Before independence, Indian revenue stamps were closely modeled on similar designs from Great Britain, as is the case with this carriage motif stamp from Jaipur. The stamps were issued to denote various denominations, including rupees and annas. An anna (or ānna) was a currency unit formerly used in British India, equal to 1⁄16 of a rupee. It was subdivided into four (old) Paisa or twelve pies (thus there were 192 pies in a… Read More

1890. Ink and gouache with gold heightening on fibrous, brown laid paper, with a Jaipur Court Fee tax stamp in purple ink on the recto, 12 1/2 x 9 inches (318 x 230 mm). Toning, handling creases and minor scattered surface soiling throughout. There are scattered coeval inscriptions in ink on the recto and verso. The first revenue stamps in India were issued in the mid-nineteenth century during the Raj, and they are still being issued to this day. Apart from issues for the whole of India, many princely states, provinces, and other states also had (or still have) their own revenue stamp issues. Before independence, Indian revenue stamps were closely modeled on similar designs from Great Britain, as is the case with this carriage motif stamp from Jaipur. The stamps were issued to denote various denominations, including rupees and annas. An anna (or ānna) was a currency unit formerly used in British India, equal to 1⁄16 of a rupee. It was subdivided into four (old) Paisa or twelve pies (thus there… Read More

1900. Etching with engraving on heavy wove paper, 10 1/2 x 8 3/4 inches (265 x 221 mm), full margins. Significant toning and foxing, light dampstain along the left sheet edge, outside of the image area. From an unknown portfolio of reproductions of oil paintings, inscribed "Plate LXVII" in the plate. The Courtyard of a House in Delft is a 1658 oil painting by Pieter de Hooch, housed in the National Gallery, London.

1690. Gouache and ink with gold heightening on cream laid paper, 9 3/4 x 5 3/4 inches (247 x 145 mm), with margins. Some scattered insect damage, along with age related toning and some handling creases, minor edge tears and losses, and scattered inscriptions. Condition issues are largely in the area of the margins, outside of the image area. Extensive inscriptions in red and black ink on the verso. The color is exceptionally fresh, rich, and saturated. The scene depicts Vishnu in the form of Krishna, seated with his beloved Radha, being serenaded by two Gopis playing music, one playing a drum, and the other a sitar.

London: Thomas Collins, 1672. First Edition in English, First Issue. Very Good. Small 8vo; 6 1/2 x 4 1/8 inches (165 x 104 mm); [40], 237 [1] pp., with the errata at the beginning of the table of contents, table misbound after dedication, C1 with tear to lower margin, not affecting text, some light marginal browning. Etched garland and cornucopia arms of Lord Arlington on both title and dedicatory page. Later brown calf binding, decorative blind stamp on covers, title in gilt on spine; trimmed, marbled edges; stamp of the Maynard and Outram Smith Library on f.e.p. and previous owner's signature dated 1770 at head of dedication page. Internally clean and bright with consistent toning on the edges; spine a little faded and light rubbing to spine ends and corners; firmly bound. Provenance: Tho. Boston Alnwick 1770 (ink inscription). [Keynes 181; ESTC 006089128]. John Evelyn the Younger's first book, RARE FIRST ISSUE with title date 1672. We can trace no example of this issue for sale and only 6… Read More

Leipzig: Zeitschrift für Bildende Kunst, 1904. Etching with aquatint printed in brownish black ink on cream laid paper, 9 3/8 x 7 inches (237 x 176 mm), full margins. In good condition with uniform age tone, several scattered light spots of pin-point-sized foxing, outside of the image area. Lower margin slightly trimmed to exclude the text which would include the name of the artist and publisher. A rich and tonal impression. "Rassenfosse has often been linked with Felicien Rops as a follower. This is perhaps unfair. One author has said, for example, that while Rops portrayed courtesans, Rassenfosse depicted the daughters of working people. In his intimate nude studies the women have natural elegance, but are not purely objects of desire, as Rops would have made them." [Parisse, Jacques, Actuel XX: la peinture à Liège au XXe siècle. Editions Mardaga, Paris, 1975. ISBN 2802100068].

Hartford, Connecticut / Paris: James Thrall Soby / Cahiers d'Art, 1934. First Edition, second issue. Spiral bound. Very good +. Large 4to, 12 1/8 x 9 /14 inches (308 x 235 mm), spiral bound in original stiff color pictorial wrappers with plastic "comb" spine; creasing and generally light wear at edges of wrappers, some dust smudging to back wrapper, top two "fingers" and the bottom most "finger" of plastic "comb" spine defective - otherwise intact. Light internal creasing at corners, very occasional, minor internal finger smudging. Complete. Text in English and French. 104 black and white plates of which 84 photographs and 20 rayographs by Nab Ray. "Deuxième Edition [but first edition, second issue]." Man Ray made several different studies for the cover, and finally settling on this image of his own bust looking down on a blue-eyed blonde contemplating a plaster hand cradling a fragile lightbulb that mirrors a catching toy ( a ball on a peg) [Roth 101 p. 80-81], "First edition; one of an unknown… Read More

Etching on cream wove paper, 4 3/4 x 3 3/4 inches (120 x 95 mm), wide margins. Scattered light surface soiling, unevenly trimmed wide margins, all consistent with age. Likely printed 18th century.

1840. Ink and wash in sepia and brown on heavy wove paper, 5 13/16 x 8 1/2 inches (146 x 215 mm). Scattered uniform age tone and discoloration throughout. Brown ink spot with associated spots in the lower right image area. Provenance: Exhibited by Guy Peppiat Fine Art in association with Charles Nugent, "The Watercolors and Drawings of Thomas Miles Richardson, Sr. (1784-1848)," 16th - 30th January, 2012, Duke Street, St. James, London, catalog #43.

1910. Stone lithograph in black ink on tissue-thin wove Japon paper, 9 x 11 1/4 inches (228 x 285 mm), full margins. Signed and numbered 43/125 in pencil in the lower margin. Overall moderate toning, some extremely minor scattered pinpoint size spots of light yellow discoloration.