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

London: F. Goulding, 1865. Hamerton's "Portfolio" edition. Etching and drypoint on cream wove paper, 7 3/16 x 9 15/16 inches (135 x 213 mm), wide margins. First state (of 5), before the addition of the dog and it's shadow. In very good condition with beautiful, inky burr, and all of the fine lines printing clearly. An obvious early impression of this favorite image. Pencil notations in the margins, well outside of image area. A luminous first state impression.

Paris: Delâtre, 1863. Drypoint etching on watermarked cream wove paper, 5 7/16 x 8 7/16 inches (39 x 215 mm), wide (perhaps full) margins. A very desirable, bright and richly inked impression, with the dark burr printing clearly. Expertly repaired corner losses at each of the four corners, paper defect at lower center margin, outside of image area. [Drake 44; Harrington 51; Schneiderman 47].

London: Smith, Elder, & Co, 1887. First Edition. Fine. 8vo. 7 1/4 x 4 3/4 (184 x 120 mm); viii, 336. Handsomely bound in polished red calf by Bayntun (stamp on first endpaper), gilt fillets on covers, decorations to edges and turn-ins, 5 raised bands, gilt decorations in compartments, with title on green and blue morocco labels, marbled endpapers; original red cloth covers bound in; a.e.g. Very occasional spotting, else pages clean and fresh and binding tight and square. FOYLE COPY copy with gilt-stamped red roan Wm. A. Foyle Beeleigh Abbey label to front pastedown [McKay 6]. A beautifully bound volume from the distinguished library of bibliophile and bookseller William A. Foyle. This novel, set in South Africa, is the fifth work of fiction by Sir Henry Rider Haggard KBE (1856-1925), know for his adventure fiction romances set in exotic locations, and sometimes considered the father of the Lost World genre. Jess, like several of his other works including King Solomon's Mines and She, were… Read More

London: Longmans, Green and Co, 1887. Near fine. 8vo. 7 1/4 x 4 3/4 (184 x 120 mm); viii, 280; 20 wood engraved illustrations by J. Cooper from drawings by C. H. M. Kerr, including frontispiece portrait of Allan Quatermain with tissue guard and a fictitious dedication "Very sincerely Yours | Allan Quatermain." Elegant polished sky blue calf binding by Bayntun (stamp on first endpaper), marbled endpapers, gilt fillets on covers, decorations to edges and turn-ins, 5 raised bands, gilt decorations in compartments, with title on red and green morocco labels, lightly sunned at extremities, very light rubbing to spine ends and corners; original blue cloth covers bound in; a.e.g. FOYLE COPY, red roan Beeleigh Abbey label missing from front pastedown, but conspicuous red mark visible (Binding matches our copy of Haggard, H. Rider. She, A History of Adventure - our cat. no. 1307). [Sadleir 1079; McKay 7]. An exquisitely bound volume from the personal library of bibliophile and bookseller William A. Foyle… Read More

London: Longmans, Green and Co, 1887. First English Edition, First Issue. Near fine. 8vo. 7 1/4 x 4 3/4 (184 x 120 mm); viii, 31, ii advert.; two color lithographs facing one another on a single folding of heavy paper precede the title, tissue guard. Elegant polished sky blue calf binding by Bayntun (stamp on first endpaper), marbled endpapers, gilt fillets on covers, decorations to edges and turn-ins, 5 raised bands, gilt decorations in compartments, with lettering on red and black morocco labels, lightly sunned at extremities, very light rubbing to spine ends and corners; original blue cloth covers bound in; a.e.g. FOYLE COPY copy with gilt-stamped red roan Beeleigh Abbey label to front pastedown [Sadleir 1092; McKay 5a]. Published serially in the London "Graphic" between October 1886 and January 1887, She was inspired by Haggard's experiences living in South Africa for seven years (1875-1882) working at the highest levels of the British colonial administration. In the figure of She, the novel… Read More

1900. Etching in brownish black ink on cream laid paper, 8 1/4 x 4 1/4 inches (209 x 111 mm), full margins. Signed (illegibly) in pencil, lower right margin. In good condition with a printing defect along lower right margin, beneath the platemark, resulting in a thinning of the paper.

Paris, 1930. 100. Etching and drypoint on cream laid Van Gelder Zonen watermarked paper, 8 7/8 x 6 1/2 inches (220 x 164 mm), full margins. Signed, titled, and inscribed "ed. 100" in pencil, lower margin. In very good condition with minor age tone and scattered light, minor surface soiling.

Paris: Gazette des Beaux Arts, 1892. Etching and dry point on cream laid paper. 7 9/16 x 5 7/8 inches (191 x 148 mm), full margins. Signed in pencil, lower right margin. A dark, inky impression of this touching portrait of the artist's wife. Scattered marginal mat tone and light tone, tab marks on top left and right visible on recto, well outside of the image area.

1879. Watercolor on buff laid paper, 16 x 11 inches (405 x 280 mm), initialed and dated in ink, lower left. Laid down to non-archival board with areas of minor scattered discoloration, the verso remains unexamined. Colors are vibrant and extremely fresh. This is an engaging work with masterful detail that will unfold for an intent viewer, particularly in the area of the figure's well-worn hands, and her traditional clothing. The image depicts a Bavarian woman deep in thought while winding a skein of wool. She is seated outside of her home, where she has brought her yarn swift to take in the sun and fresh air while she works.

Watanabe Shozaburo, 1936. Woodblock in colors on handmade mulberry paper, Koban 7 3/16 x 4 3/4 inches (182 x 120 mm), full margins. With the Shôtei artist seal in red ink, upper right. Signed "Shotei" and titled in English on the matrix in graphite. With the "Made in Japan" export stamp and the Watanabe catalog number stamp (179), both in blue ink, on the bottom sheet edge, verso, as issued. Adhered to a card stock matrix with deckle edges, as issued. A beautiful pre-war impression of this serene and peaceful scene, good gradient inking and luminosity in the lantern. Printed by hand with cherrywood blocks. [Marc Kahn, shotei.com, catalog #S-10; Watanabe 179]. Born in Tokyo in 1871, Hiroaki Takahashi was working as an artist in an official capacity at an incredibly young age. After an early apprenticeship with his uncle, Matsumoto Fuko (who awarded the young boy the name Shôtei), Takahashi was hired by the Imperial Household Department of Foreign Affairs to copy designs for ceremonial objects. By… Read More

New York: Associated American Artists, 1964. 250. Lithograph on cream wove paper,15 x 10 3/4 inches (380 x 270 mm), full margins. Signed in pencil, lower margin. In very good condition with minor mat tone, and one area of light discoloration from a former mount, right sheet edge (well outside of image area). [Cole 49]. "Jazz is not a what, it is a how." -Bill Evans.

New York: F.O.C. Darley, 1870. Copper plate engraving on smooth wove paper, 8 3/4 x 11 inches (222 x 275 mm), full margins. In very good condition with minor age tone and slightly dog-eared corners. The English artist Francis Holl was the son of the highly esteemed engraver William Holl the elder (1771-1838), to whom he was apprenticed. Buffalo hunting reached a pitch in America in the middle of the 19th century, largely to feed construction crews who were working on the Union Pacific Railroad expansion.

1635. Etching on cream laid paper, 3 7/16 x 2 3/4 inches (87 x 70 mm), thread margins. Lacking the inscription in the plate; "Felix Biler in: W Hollar fee: 1635," generally found in the top left image. In very good condition with a minor area of skinning in the top left sheet edge on the verso. Printed later. [Hollstein p. 71].

Prague/London, 1640. Etching on cream laid paper, 132 x 69 mm; 5 1/4 x 2 3/4 inches, trimmed inside platemark. From the collection of 26 costume plates by Hollar. 8vo., printed late 18th century, London. Laid down to heavier weight cream laid paper, and adhered at top margins to card stock, scattered light surface soiling, consistent with age. An English lady standing whole length to right; wearing a dark hat, shoulder wrap fastened with a bow, her hands in a muff. Title cropped at bottom. Colas 1464; Lipperheide (1963) 975.

1928. Drypoint etching on cream laid paper, 10 7/8 x 8 5/8 inches (275 x 218 mm), full margins. Signed in pencil, lower center margin. A lovely impression with rich, inky burr, sheet is clean and without visible defect. A lovely dark and inky impression, signed by the artist.

London: Robert Wilkinson, 1814. Engraving on buff wove paper, 11 7/8 x 16 1/4 inches (300 x 411 mm), full margins. Central fold (as issued) with paper tape supports on the verso, along with some minor discoloration in the margins. Generally in good condition with issues being consistent with age. St. Michael-le-Querne, also called St. Michael ad Bladum, was a parish church in the Farringdon Within Ward in the City of London. It was destroyed in the Great Fire of London of 1666 and not rebuilt. The name is apparently a reference to a quern-stone as there was a corn market in the churchyard.

Paris: Alphonse Lemerre, 1893. First, Limited Edition. Near fine. 8vo; 8 1/4 x 5 1/2 in. (210 x 143 mm); pp. iv + 214 + colophon page; preliminary title page in black ink; half-title with copyright page on verso; frontispiece engraved portrait of the author by R. de Los Rios printed on Chine; title page in red and black ink. Printed on velin (plain tinted vellum), full margins. Bound in 3/4 tan levant with gold fillets and marbled paper, gilt titling and decorations on spine, t.e.g., rest uncut; marbled endpapers, green silk ribbon; original paper wrappers bound in. Colophon bears the date 29 December 1892. First commercial edition of which 600 un-numbered on velin (as this copy) and 200 numbered and initialed on various papers, all with title in red ink. The preceding edition of only 10 copies (issued one month earliler) had a title page in black ink and was reserved for members of the Académie Française. From the library of Guy Bigorie, small ticket with GB initials pasted on the inside front… Read More

Collage heightened in white with gilt ink, laid down to card stock, 3 7/8 x 2 1/2 inches (97 x 64 mm). Signed or inscribed illegibly in pencil on the lower right on the recto; perhaps with name of the sitter, which was more commonly added beneath a silhouette than the name of the artist. Mat tone, and an area of in-painting in black ink in the area of the subject's left hand. Light attenuation, otherwise in good condition. Presented beautifully in an oval wooden frame of the period, which has been painted white. William Hubard, sometimes known as "Master Hubard," was a British born American artist who settled in Boston in about 1820, in his late teenage years. He opened a gallery on the corner of Milk and Congress Streets at Julien Hall, in the heart of Boston's Financial District. His gallery became well known for Hubard's silhouette's, which he produced prodigiously for sitters in moments, using nothing but black paper, a pair of scissors, and sometimes a dash of gold ink. Hubard filled his gallery… Read More

Boston, 1850. Collage heightened in gilt ink laid down to card stock, 3 7/8 x 2 1/2 inches (97 x 64 mm). Light band of moisture stain running horizontally along the top margin, above the image area. Light attenuation, otherwise in good condition. Presented beautifully in a period burled walnut frame. William Hubard, sometimes known as "Master Hubard," was a British born American artist who settled in Boston in about 1820, in his late teenage years. He opened a gallery on the corner of Milk and Congress Streets at Julien Hall, in the heart of Boston's Financial District. His gallery became well known for Hubard's silhouette's, which he produced prodigiously for sitters in moments, using nothing but black paper, a pair of scissors, and sometimes a dash of gold ink. Hubard filled his gallery with silhouette likenesses of famous people, beggars, fiddlers, great works of architecture, and all types of animals. Each evening he presented a panharmonicon concert in his gallery, and for 50¢ the public was… Read More

London, 1850. Collage heightened in gilt ink laid down to card stock, 4 1/2 x 3 3/4 inches (104 x 95 mm). Light attenuation and minor uniform toning, otherwise in good condition. Presented in a simple black wood frame of the period, with a label from the Harry Denne Gallery, Bond Street, on the mat back. William Hubard, sometimes known as "Master Hubard," was a British born American artist who settled in Boston in about 1820, in his late teenage years. He opened a gallery on the corner of Milk and Congress Streets at Julien Hall, in the heart of Boston's Financial District. His gallery became well known for Hubard's silhouette's, which he produced prodigiously for sitters in moments, using nothing but black paper, a pair of scissors, and sometimes a dash of gold ink. Hubard filled his gallery with silhouette likenesses of famous people, beggars, fiddlers, great works of architecture, and all types of animals. Each evening he presented a panharmonicon concert in his gallery, and for 50¢ the public… Read More