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

New York, 1950. Etching on cream wove paper, 5 15/16 x 7 7/8 inches (151 x 200 mm), full margins. Light inky fingerprints on the verso at the lower left corner, and some very light scattered surface soiling throughout on the recto. Inking anomalies in the left quadrant of the image, perhaps an unmarked printers proof.

Netherlands, 1930. Etching on cream laid paper, 3 7/8 x 3 inches (97 x 75 mm), full margins. Area of inking imperfecton in the form of a light colored intermittent band, running in a slight diagonal across the lower portion of the sheet, unobtrusive and well outside of the image area. Minor, pencil-thin light colored line of printer's ink along the left sheet edge, unobtrusive and well outside of image area.

1930. Etching with drypoint on light-weight cream laid paper, 3 7/8 x 4 1/8 inches (98 x 105 mm), full margins. Very light age tone at sheet corners, and one light inky fingerprint on the verso, lower center margin, not visible on recto. Top-right corner has a soft dog-ear crease. One small (1-inch) light line-shaped abrasion visible outside of image area above top right corner of image.

1634. Etching with drypoint printed in sepia on buff wove paper, 4 x 3 inches (100 x 75 mm), full margins. In good condition but with the area of the tree tops and birds appearing slightly misaligned. Printed 20th century.

Netherlands. Etching and drypoint on cream wove paper, 6 7/8 x 4 7/8 inches (174 x 123 mm), full margins. In very good condition with minor scattered areas of adhesive residue, upper right sheet edge, well outside of image area.

Paris: Cadart & Luquet, 1865. Etching and engraving on Chine-collé mounted to watermarked Aqua-Fortistes cream laid paper, 7 x 12 7/8 inches (177 x 327 mm), full margins. Condition issues include minor uniform toning (worse at the sheet edges), handling creases (especially at the sheet edges), and edge wear resulting in several small nics occurring around the sheet perimeter. Printed by Delâtre, Paris. With the Cadart blind stamp in the lower-center margin. From a volume published by the Société des Aquafortistes containing sixty prints by various artists including Delacroix, Jongkind, Corot, Courbet and Bracquemond. Published in Paris by Cadart et Luquet, 1867. Each image with artist and titles at front, and with the publisher's blindstamp. Tancrède Abraham was born on January 7, 1836 in Vitre. He was a student at the Cogniet workshop in Paris, and achieved his first public success with an etching representing the banks of the Oudon in 1863. A member of the Society of Aquafortists from 1862,… Read More

London: R. Ackermann, printed by L. Harrison & J. C. Leigh, 1814. First Edition. Near fine. Bluck, Stadler, Hill & others after Pugin, Mackenzie, Westall & others. In two volumes; 4to, 13 x 10.5/8 in. (330 x 270 mm). vol. 1: xxvi+275+vi; vol. 2: iv+262+vi. Half-titles, list of subscribers, uncolored stipple-engraved portrait of Lord Grenville to whom the volume is dedicated, and 81 hand-colored plates comprising 64 aquatint views by Bluck, Stadler, Hill & others after Pugin, Mackenzie, Westall & others and 17 stipple-engraved plates of academic costumes by Agar after Unwins, without the 33 portraits of founders as often, plate 50 in first state but plates 1, 15, 39, 74, 78, 84 & 94 all in second state, plates bright and clean but usual offsetting, portrait in vol.1 with light water-staining to upper margin, stain to a few upper inner margins of a few plates and leaves of vol.2. Watermark on text and plates J. Whatman 1812. Later brown morocco, gilt fillets, 5 raised bands, spines ruled in gilt,… Read More

London: R. Ackermann, 1812. First Edition, second issue. Near fine. In Two volumes, large 4to; 12 3/4 x 10 3/4 in. (325 x 272 mm), with all 83 plates, 81 of which are colored aquatints by J.Bluck, J.Hamble, T.Sutherland and others, after A.Pugin, F.Mackenzie, H.Villiers, T.Uwins, &c. Includes the half-titles; list of subscribers and arrangement of plates. Vol. 1 pp. xx + 330 + vi index, and 4 plates-2 colored aquatint plates and 2 uncolored engravings of a) floorpan b) portrait of William Vincent, Dean of Westminster opposite the dedication page. Vol. 2 pp. 275 +iv index, 79 colored aquatints. Hands binding in navy crushed morocco by Doverley and Sons, with gilt fillets and decorations on cover, scrolls on turn-ins. Spine gilt with decorations and floral patterns, gilt title and date, 5 double raised bands with four red bands; gilt decorations on edges, marbled end-papers, a.e.g. Some light offset from the plates and foxing only on the letterpress for one gathering towards the end of Vol. 2, not… Read More

London, 1810. First Edition. Near Fine. Thomas Rowlandson and Augustus Pugin. In three volumes with 104 brilliantly-colored acquaint plates. Large 4to; 13 x 10 7/16 in. (330 x 267mm). Illustrated woodcut titles, half-titles, and engraved dedication page to the Prince of Wales in each volume, as well as a list of illustrations for binder plate positioning.Vol. 1 [4], iv, [2], 231; Vol. 2 [6], vi, 239; Vol. 3 [4], iv, 280, [6] index and errata. All visible watermarks are J.Watham between 1806 and 1808; offsetting from plates as usual and foxing on dedication page; several text quires toned. Full period diced Russia binding, elaborately gilt, by Baker -binder's ticket tipped in to front free endpaper; gilt titles and decorations on spines; gilt rules and tooling on edges; marbled endpapers and all edges marbled. From the Collection of Victor Niederhoffer. [Abbey Scenery 212; Tooley 7; Prideaux pp. 121 - 124; Bobins 606 & 828; Colas 2054]. Tooley points as follows: First state of Dedication and… Read More

London: W. & S. Jones, 1813. Fourth Edition. Very good. Two volumes, 8vo, 9 x 5 3/4 in. (228 x 145 mm); 9 x 5 ½". Text volume: pp. frontispiece, xii, 534, [16] ads; Plates vol.: pp. title page and 34 folding plates. Previous owner's name penned on the first free flyleaf. Uniform contemporary paper-covered boards, untrimmed, housed in a felt-lined custom clamshell box, 9 x 5 1/2 in. Occasional browning to the edges of some of the plates in Vol. 2, 1/2 inch tear to fold of Pl. VIII and 1 inch tear to the edge of Pl XIV, none of these minor flaws affecting the images. Frontispiece "The Great Theodolite, by Ramsden, Used by the late Gen.l Roy &c. in the great English Trigonometrical Operations." This is the "Fourth Edition, corrected and enlarged by William Jones, F. Am. P. S. [ESTC T88416, 1791 edition]. The last chapter of these fascinating volumes includes conversion tables to various standard national measure ranging from the Paris foot to the Russian archine, to the Venice braccio, the Egyptian… Read More

Antwerp: Christophe Plantin (Dutch: Christoffel Plantijn), 1580. First Canter Edition. 32mo; 4 1/4 x 3 in. (152 x 80 mm); pp. 355 + vii; texts in Greek, introduction and notes in Latin. Title with woodcut printer's device, woodcut head- and tail-pieces and decorative initials, trimmed at head and foot, touching a few headlines or signatures, some staining, and one small paper loss (p. 97) not affecting the text. 19th century tan calf with gilt dentelle on covers, gilt green label and gilt decorations on spine, blue marbled endpapers; binding showing some signs of use and wear to edge, light stain to front cover, binding tight. [Adams A270]. Christophe Plantin was a French Renaissance humanist and book printer and publisher who resided and worked in Antwerp. Early on the quality of his work as a bookbinder brought him into contact with nobility and wealth. By 1549, he headed one of the most well-respected publishing houses in Europe and is probably best known for his Polyglot Bible, which has… Read More

London: John Stockdale, 1793. First Edition. Fine. 2 vol., Large 8vo, 11 x 7 in. (278 x 178 mm); pp. lxv, 189 (misnumbered 891); advertisement, xi, 248; engraved vignettes on title page of each vol. and 110 other plates, one for each fable, by various engravers including Skelton and Barrett, J Chapman, Clarke, J. Smith, some unsigned. Vol. 2 contains the advertisement for the publication of The Fables by John Gay by the same publisher and the same year. Offset to some pages from engraved plates (tissue guards not present) and very occasional foxing. Handsome later binding in green crushed morocco by F. Bedford (gilt stamped on turn-in of Vol. 1) with gilt fillets on boards, decorative motifs on turn-ins, marbled endpapers, 5 raised bands, spines elaborately gilt and tooled, gilt title, t.e.g., rest uncut. [Brunet I, 103; Lowndes, I, p. 17; ESTC T84992; Bentley, Blake Books, 460]. A beautiful edition with all 110 engravings by over 30 engravers and two vignette title pages. In his comprehensive… Read More

1925. Etching with drypoint on cream laid paper, 11 5/8 x 17 3/8 inches (295 x 440 mm), full margins. Signed in pencil, lower right. Some toning on the verso, with the sheet adhered at points around the perimeter to a non archival board. The recto is clean and the impression is lovely with good inking.

1780. Etching on cream laid paper, 4 3/8 x 3 3/8 inches (110 x 90 mm), thread margins. Several scattered light spots of yellow discoloration, and mutilple areas of minor skinning and adhesive residue from a former mount on the verso. An exceptionally well inked impression.

1880. Heliogravure on cream laid paper, 6 1/2 x 5 1/2 inches (164 x 138 mm), thread margins. Uniform toning on the recto, and scattered light foxing and various notations in purple ink and pencil on the verso. Printed late 19th century. [Bartsch 22 (copy)].

1815. Black crayon and graphite with white heightening on blue handmade laid paper, 11 7/8 x 18 inches (300 x 456 mm). Adhered at all four corners to a period support, on which the title and an illegible date (perhaps 1815) appear to be written in the artist's hand. Aglio was born in Cremona is 1777 and his artistic talent was recognized early in his life. He was promised a place at the University in Milan by the Holy Roman Emperor, however, his formal education was upended before it even began by the invasion of Italy and Austria by Napoleon. Aglio joined the war effort and fought in a series of major battles near Venice before becoming seriously ill. At the age of about 23 he was released from duty, and traveled to Rome to focus on his health, and landscape painting. In Rome, Aglio studied with the renowned artist Campovecchio. At the invitation of well known British architect William Wilkins (designer of the National Gallery and University College London), Aglio relocated to London in 1803. He… Read More

1900. Etching and drypoint on cream wove paper, 7 1/4 x 5 3/4 inches (185 x 147 mm), full margins. Signed and titled in pencil, lower margin. In good condition with marginal toning and several scattered spots of light, unobtrusive discoloration throughout.

London: Thomas McLean, 1822. Soft ground etching with hand coloring in watercolor, 7 3/4 x 10 inches (195 x 252 mm), full margins. Minor edge wear, handling wear and surface soiling, all consistent with age. Colors are fresh with minor age and mat tone.

London: Thomas McLean, 1822. Soft ground etching with hand coloring in watercolor, 8 x 9 3/4 inches (200 x 241 mm), full margins. Mat tone and light edge wear, with a small portion of the bottom right corner missing, all well outside of image area. Handling creases and surface soiling consistent with age.

London: Thomas McLean, 1822. Soft ground etching with handcoloring in watercolor on cream wove paper, 8 7/16 x 10 9/16 inches (215 x 270mm), full margins. From the edition of 42 hand-colored and bound softground etchings, printed by Thomas McLean. Scattered discoloration, light surface soiling and age tone. Window of light mat-burn at 1/4 inch perimeter outside of image area. Some spots of light foxing and light brown discoloration on the verso. Two minor edge tears at top right and left extreme sheet edges, well outside of image area. Non archival mounting residue at top sheet edge, well outside of image area. All condition issues are consistent with age.