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

1696. Etching on fine cream laid paper, 10 1/4 x 7 1/2 inches (259 mm x 190 mm), narrow margins. In excellent condition with no visible defects. Printed 1700. An image from Charles Perrualt's 1700 volume, Les Hommes Illustres Qui ont Paru en France pendant ce Siècle.

Ink and watercolor on fibrous Japon paper laid down to period cream laid paper, 6 x 7 1/2 inches (155 x 190 mm). Minor toning and some insect damage on the mount, painting itself remains completely intact.

Paris: Cadart & Luquet, 1865. Etching on buff, cream laid paper, 9 3/8 x 13 7/8 inches, full margins. Printed by Delâtre, Paris, with the blindstamp in the center-sheet, lower margin. General toning and minor handling creases; one -1/4 inch vertical edge tear at the left sheet edge, well outside of image area. A lovely, inky and rich impression. One of 60 etchings published in the third volume of the third year of the Society of Aquafortistes, entitled Eaux-fortes modernes.

Edinburgh: W. Sutherland, 1823. First Edition. Very good. 12mo. 7 5/8 x 4 1/2 inches (192 x 113 mm); 64 pp; most pages uncut. Illustrated with 12 hand-colored plates including frontispiece, unattributed, in the style of George Cruikshank, that were printed separately and stitched in. Includes the full-page advertisement for "William Sutherland, Bookseller, Stationer, and Music Seller", and the two-page "Dramatis Personae". Offset from color plates and occasional stains and browning to page edges. In rare ORIGINAL BROWN PAPER PRINTED WRAPPERS, somewhat worn and with tears at head and tail, protected in a paper-lined red cloth chemise and housed in a red leather-backed slipcase, gilt stamped with 5 raised bands, which are both fine. [Cohn 266; Tooley ]. Tom and Jerry, or Life in London, was one of several stage adaptations of Pierce Egan's popular book Life in London, published in 1821 with illustrations by George Cruikshank. The play depicts the adventures and misadventures of two young men in… Read More

London: George Hunt, 1825. Near fine. 4to; 10 x 8 3/8 in. (253 x 212 mm); (2), 34 pp, 28 plates by George Hunt after M. Egerton, including 24 hand-colored engraved and aquatint plates and four plates (21-24) of Waterloo memorials uncolored. Modern half morocco binding, title gilt, spine sunned. Occasional offsetting from plates, otherwise a fine copy. [Abbey Travel 188; Tooley 207]. An uncommon aquatint work, illustrating a regency excursion to the Low Countries. Egerton was a humorous designer and social satirist active in London between 1820 and 1829, who supplied drawings to members of the print trade (including the Hunts and Pyall) for engraving. For this project he begins his tour at Ostend, where he was stuck for a day as it was a Sunday. He took time to describe the people's custom-house hotel and the 'Purgatory Gate' attached to the church (destroyed in a fire later in the nineteenth century) before traveling the next day by 'Great Coach' and barge to Ghent, observing the 'Belgic Military'… Read More

London: Faber and Faber, 1934. First Edition, Third impression. Near fine/Near fine. Small 8vo, 7 1/2 x 5 inches (190 x 125 mm); 86 pp. Original grey paper-covered boards, blue lettering on spin; original grey dust jacket with white and red lettering, unclipped (price of 2s. 6d. net) with minimal toning and only one small tear in the rear flap panel, else very fresh interior pages evenly toned but clean and binding tight. [Gallup A26a]. This pageant play with words by T. S. Eliot and music by Martin Shaw was first performed at Sadler's Wells Theatre in London on 28 May 1934. In a prefatory note Eliot disclaimed full responsibility for the text, saying "I cannot consider myself the author of the "play", but only of the words which are printed here." By Eliot's account, the text was written in collaboration with director E. Martin Browne and R. Webb-Odell. It was part of a massive project to fund the construction of forty-five new churches in the Anglican diocese of London. The director E. Martin… Read More

London: Faber & Faber, 1930. First Edition. Near fine/Good +. 8vo, 7 5/8 x 5 inches (192 x127 mm); 21 pp. Brown cloth boards stamped in gold on front cover and on spine; t.e.g., others untrimmed. Dust-jacket printed in green, black, and red, with design by Edward Balden, price clipped, spine panel fragile and split, several chips and small tears to the top edge and bottom rear corner. Bookseller ticket pasted inside front cover; small script pencil notes on rear jacket flap and some pages. [Gallup A15b]. In 1927 T. S. Eliot converted to Anglicanism and became a British citizen, thus renouncing his American nationality. "Ash-Wednesday" is the first long poem he wrote after his conversion. Published in 1930, it deals with the struggle that ensues when a person who has lacked faith acquires it. Sometimes referred to as Eliot's "conversion poem", it is richly but ambiguously allusive, and deals with the aspiration to move from spiritual barrenness to hope for human salvation. Eliot's style of writing in… Read More

London: Faber & Gwyer Ltd, 1927. First Edition. Very Good. Edward McKnight Kauffer. 12mo, 7 1/4 x 4 3/4 (183 x 120 mm). Cover title, 4 pp, including one color illustration by E. McKnight Kauffer. Stab-stitched yellow paper wrapper printed in black on pages i (color frontispiece) and iv (series title and no.), folded over heavy blanks; back wrapper neatly separated at the seam, but wrapper clean and crisp. No. 8 of the Ariel Poems [Gallup A9a]. This is one of the early "Ariel Poems" series published by Faber & Gwyer (later ones by Faber & Faber) which included each one poem by T. S. Eliot accompanied by a color illustration done by one of several artists who contributed to the series. Each was printed in a run of 3000 to 5000 copies. From the estate of Robert Cecil Bald (1901 - 1965), an Australian scholar of English Literature, who moved to the US to teach at Cornell University in 1937 and was then a professor at the University of Chicago from 1952 to 1965.

London: Faber and Faber, 1934. First Edition. Near Fine/Very good. 8vo, 8 3/4 x 5 1/2 inches (221 x140 mm); 68 pp. Black cloth boards lettered in gold down the spine, fore edge and bottom edge untrimmed. Pink dust jacket printed in black and blue, with extremity wear, two large chips at head of spine and bottom right corner, closed tear along the spine panel, which is sunned. Owner's name and date in pencil on ffep. [Gallup A25a]. A collection of 3 lectures delivered by Eliot at the University of Virginia in 1933, the Page-Barbour lectures that year. In them he asserts that the weakness of modern literature is a religious weakness, and some critics have read in them some tones of antisemitism. From the estate of Robert Cecil Bald (1901-1965), an Australian scholar of English Literature, who moved to the US to teach at Cornell University in 1937 and was then a professor at the University of Chicago from 1952 to 1965.

1949. Fine. Two one-page letters on Faber & Faber stationery, SIGNED by T. S. Eliot. The first, dated 1 December 1949 is double sided, 10 1/4 x 8 inches (266 x 204 mm) in envelope 4 1/4 x 5 1/4 inches (110 x 133 mm). The second is dated 23 August 1950, one sided, 8 x 6 7.8 inches (204 x 174 mm) in envelope 4 1/4 x 5 1/4 inches (110 x 133 mm). Typed in black and red ink, central vertical and horizontal folds, with no sign of wear. The accompanying envelopes show minor signs of wear and the back flap of the first envelope is partially torn. These two typewritten letters were addressed to Robert Cecil Bald (1901 - 1965), an Australian scholar of English Literature, who taught at Cornell University starting in 1937 and then at the University of Chicago from 1952 to 1965. They attest to a cordial exchange between a poet and a scholar, and the rich network of contacts that Eliot had both as an author and as the long-time editorial director at Faber & Faber in London (1925-1965). In the first letter,… Read More

London: Faber and Faber, 1945. First Edition, Second Impression. Near fine/Very good. 8vo; 8 1/4 x 5 3/8 inches (218 x 135 mm); 32 pp., printed on heavy laid paper, lower edges uncut. Bright blue/turquoise cloth boards, gilt lettering on spine, light bumping on corners and tail of spine. Cream dust jacket printed in black and red, price clipped, a little thumbed and faded, extremities of dust jacket frayed with small chips at head and tail of spine panel. Bookseller ticket pasted inside front cover, Melbourne, Australia. [Gallup A45b]. This is the text of the first Annual Address to the Virgil Society, of which T. S. Eliot was the First President, 1943/44. Eliot sets out to define that the classic is a work that reflects the maturity of a culture. Indeed, he argues that "[a] classic can occur only when a civilization is mature; when a language and a literature are mature; and it must be the work of a mature mind." From the estate of Robert Cecil Bald (1901 - 1965), an Australian scholar of English… Read More

New York: Harcourt, Brace and Company, 1939. First American Edition. Near fine/Very Good -. 8vo, 8 1/2 x 6 inches (215 x 152 mm). 46 pp + 1 blank. Grey cloth boards lettered in black down the spine. Orange dust jacket lettered in black by the author with his pictorial designs on front and back, price of $1.25 unclipped, tears to the spine paper repaired with acid-free paper tape. One of 2000 copies printed. On verso of title leaf:... "first American Edition Printed in the United States of America...." A title-leaf, printed on orange paper is inserted, reproducing the front and back designs of the dust jacket. Binding tight and square, edges very lightly discolored, pages clean and evenly toned. [Gallup A34b]. The title of this book of light verse is given by Ezra Pound's friendly nickname for Eliot "Old Possum." In 1954, the composer Alan Rawsthorne set six of the poems for speaker and orchestra in a work titled Practical Cats. After Eliot's death, the book was the basis of the musical Cats by… Read More

London: Faber & Faber, 1928. First Edition. Very Good. Edward McKnight Kauffer. 12mo, 7 1/4 x 4 3/4 (183 x 120 mm). Cover title, 4 pp, including one color illustration by E. McKnight Kauffer. Stab-stitched blue laid paper wrapper printed in black on pages i and iv (series title and no.), folded over heavy blanks. Wrapper partially but neatly separated at the seam, and seam very lightly discolored, but otherwise clean and crisp No. 16 of the Ariel Poems [Gallup A11a]. This is one of the early "Ariel Poems" series published by Faber & Gwyer (later ones by Faber & Faber) which included each one poem by T. S. Eliot (Thomas Stearns Eliot OM,1888 - 1965) accompanied by a color illustration done by one of several artists who contributed to the series. Each was printed in a run of 3000 to 5000 copies. From the estate of Robert Cecil Bald (1901 - 1965), an Australian scholar of English Literature, who moved to the US to teach at Cornell University in 1937 and was then a professor at the University of… Read More

New York: Alfred A. Knopf, 1920. First American Edition, 1st Printing. Good. 8vo, 7 1/2 x 5 inches (190 x 127 mm); 63 pp. Ribbed tan paper boards stamped in brown on front cover. Top edges stained brown, fore edges roughly trimmed, bottom edges uncut. Spine panel missing, no dust jacket; hinge cracked but binding solid and pages clean. Bookseller ticket pasted inside back cover. [Gallup A4b]. This is the first collection of Eliot poems published in his native country, the US. Although the poems occur in different order, the contents are the same as those of Ara Vos Prec, except the "Hysteria" is substituted for "Ode" and "Le spectateur" is titled "Le directeur." The original manuscripts and typescripts of many of these poems are now in the Berg Collection of the New York Public Library. The book is dedicated to Jean Verdenal 1889-1915, a French medical officer who served and was killed in World War I in the Gallipoli Campaign at the Dardanelles. Verdenal was a classmate of Eliot's at the Sorbonne… Read More

London: Faber & Faber, 1930. First Edition. Near Fine. Edward McKnight Kauffer. 8vo, 7 3/8 x 4 3/4 inches (187 x 122 mm); Cover title, 4 pp, including one color illustration by E. McKnight Kauffer. Stab-stitched blue paper wrapper printed in black on pages i (color frontispiece) and iv (series title and no.), folded over heavy blanks. Edges very lightly toned and small bump to bottom of wrapper fold. No. 29 of the Ariel Poems [Gallup A17a]. This is one of the early "Ariel Poems" series published by Faber & Gwyer (later ones by Faber & Faber) which included each one poem by T. S. Eliot accompanied by a color illustration done by one of several artists who contributed to the series. One of 2000 copies published on 25 September 1930 From the estate of Robert Cecil Bald (1901 - 1965), an Australian scholar of English Literature, who moved to the US to teach at Cornell University in 1937 and was then a professor at the University of Chicago from 1952 to 1965.

New York: Harcourt, Brace and Company, 1943. First Edition, first impression. Fine/Near fine. 8vo, 8 1/2 x 5 1/2 inches (215 x 139 mm). vii + 39 [3]. Black cloth boards lettered in gold down the spine. White dust-jacket designed by E. McKnight Kauffer, printed in black, cream and grey; unclipped ($2.00). On verso of title-leaf: ..."first American edition | Printed in the United States of America". 4,165 printed (first impression only, of which 3,377 copies were destroyed). Small tear and chips to edges, but dj in overall fresh condition Bookseller ticket pasted inside rear board, occasional spotting on pages, pencil notation on title page. [Gallup A43]. This is a true first-impression of the book, which is the only that bears the words "first American edition" on the verso of the title-leaf. As reported by Gallup in his bibliography of T.S. Eliot, "In the first impression, the margins of many pages were incorrect because of faulty impostition of the formes as a result of the use of unskilled… Read More

New York: Harcourt, Brace and Company, 1950. First American Edition. Near fine/Very good. 8vo, 8 1/2 x 5 3/4 inches (219 x 147 mm); 190 pp., + 1 leaf of music, and verso with cast of first Edinburgh Festival production. Black cloth boards lettered in gold on spine; binding tight and pages clean with even toning especially on edges. Dust jacket printed in yellow and black, with spine panel sunned, 1/4 inch hole not affecting text and 1/2 inch tear in rear panel. [Gallup A55b]. This is the most popular of Eliot's seven plays in his lifetime, although his 1935 play, Murder in the Cathedral, is better remembered today. It focuses on a troubled married couple who, through the intervention of a mysterious stranger, settle their problems and move on with their lives. It was written when the author was a visiting scholar at the Institute for Advanced Study in Princeton, New Jersey in 1948. First performed at the Edinburgh Festival in 1949, the play had successful runs in London and New York, and won the… Read More

1879. Watercolor and graphite on cream laid paper, laid down to archival board, 6 3/4 x 14 3/4 inches (170 x 374 mm). Initialed in watercolor in the lower left recto. Minor (pea-sized) area of scattered light 'tics' of discoloration (does not appear to be foxing) in the the right half of the sky, directly above the central sailboat. Some light surface soiling in the right quadrant of the sheet, most visible where the land meets the sky, but generally unobtrusive. Color is lively and bright. A refreshing and joyful image of sailing on the Bosporus featuring a keelboat with a very full spinnaker. Framed beautifully in a gilt and cinnabar wood frame. Tristam Ellis, known as Tristie to his family, boarded the steamship Alexandria in 1879 and traveled from England to the Syrian coast, overland to Diyarbakır in southeast Turkey, and then by raft down the Tigris River to Mosul and Baghdad. This beautiful painting is likely from that ambitious expedition. Upon his return to London, Ellis sold 90 works from… Read More

1880. Black crayon on white wove paper, 4 3/8 x 5 3/8 (110 x 135 mm), signed in pencil on the verso. Adhered to an archival laid-paper mount at each of the four corners on the verso. With a partial study of an heraldic shield in ink on the verso (does not show through to recto). Emanuel was born and lived in London where he studied at the Slade under Alphonse Legros before further studies at the Academie Julian, Paris.  From the late 1880s he began to show at the Royal Academy and Paris Salon, also exhibiting at the New English Art Club and elsewhere.  He traveled widely in Europe, Africa and Ceylon.  He became chief examiner for the Royal Drawing Society and published a number of books on etching and general art criticism.  He is represented in the collection of the Tate Gallery, London.

Lausanne: Antione Chapin, 1765. First Edition. Fine. Quarto, 10 x 8 inches (254 x 203 mm); pp. xxii, 268, 8; two copper engraved folding maps by I.A. Chovin are "Carte de la partie Septentrionale et Occidentale de l'Amerique " and "Carte de la partie Septentrionale et Orientale de l'Asie " with four insets of North American regions including California, both in fine condition; contemporary tree calf (dry, scuffed), marbled end papers, extra gilt spine. Bookplate of James Strohn Copley. Contents including the two folding maps are Fine. A very important book in the history of cartography, as it shows California not as an island but a peninsula. The map of North America, with its intricate network of rivers, was the model for Diderot's map of North America for his Encyclopedia, which was issued in 1770 and after and is one of the most recognizable maps of the North America from the latter part of the 18th Century. "A valuable part of Engel's present work is his rejection of the persistent belief held… Read More