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

Amsterdam, 1721. Etching on handmade laid paper with an intact fleur-de-lys watermark. 8 x 10 7/8 inches (203 x 275 mm), trimmed at the platemark. Several expert repairs visible on verso, including a 1.5 x 1 inch archival paper patch at top center sheet edge, and several other expertly repaired small areas of skinning along lower quadrant sheet edges. One minor spot of light brown foxing in center left sheet area, verso. All issues are generally invisible on recto.

1932. Etching, engraving, roulette and drypoint on watermarked BFK Rives wove paper, 5 x 8 3/4 inches (126 x 222 mm), full margins. Signed and numbered 4/32 in pencil, lower margin. Minor handling creases at the lower extreme corner, and archival paper tape remnants at the top sheet edge (from a former mount), otherwise in very good condition. An excellent, clean and silvery impression of this image, with all the fine lines printing clearly. Born in 1877 into a monied, bourgeoisie family in Nantes, southwest of Paris, Laboureur spent a short time studying law at his father's behest. It was soon after his arrival in Paris in 1895 that he decided to follow his passion, and abandoned his legal studies to take up tutelage at the Académie Julian, where he was instructed in engraving by Auguste-Louis Lepère. Recognized as the leader of the creative revival of woodcut engraving in France, Lepère was a highly influential force in Laboureur's early composition, which was largely primitive in nature, not… Read More

Paris, 1866. Etching on cream wove paper, 5 1/2 x 4 1/2 inches (140 x 115 mm), full margins. In good condition with some light, marginal toning, outside of the platemark. Printed by Delâtre, Paris.

Paris: Faure, 1866. Etching on cream wove paper, 5 1/2 x 4 1/2 inches 140 x 115 mm, full margins. In good condition with some light, marginal toning, outside of the platemark. Printed by Delâtre, Paris. A dark Parisian back alley with a with woman walking on the sidewalk at left; an illustration from Frédéric Henriet's book "Le Paysagiste aux champs," Faure Press, Paris, 1866.

Paris, 1884. XL1. Copper plate etching with drypoint on cream laid paper with a partial heraldic watermark, 11 x 8 inches (280 x 204 mm), full margins. Toning and some discoloration along the left margin, well outside of the image area. There is a pencil inscription in English on the verso, and toning along the top sheet edge, both outside of the image area.

London: George Redway, 1886. Limited Edition. Near fine. 12mo, 6 3/8 x 3 7/8 inches (160 x 93 mm), pp. 80. Top edge gilt, rest uncut; full mottled calf binding, gilt triple fillets and rosette corners, raised bands and gilt decorations in compartments, turn-ins with gilt decorative scrolls, marbled end papers. Front cover detached cleanly but present, back hinge cracked, interiors pristine. This is a limited edition of 100 copies of which this is no. 4. " Now first reprinted from then | original editon of 1811 | with a preface and notes | by Richard Herne Shepherd......

1955. Copper plate engraving on cream wove paper, 18 1/4 x 13 3/8 (462 x 338 mm), full margins. Signed in pencil, lower right. Edition of 20. First state (of 2). Minor uniform toning, and scattered very light areas of toning on the verso (does not effect recto). A superb impression with rich and textural inking. This print won The Exposition Internationale de Gravure award in 1955, Ljubljana. [Kraeft 113]. Born in Crandon, Wisconson in 1904, Armin Landeck was a contemporary of Martin Lewis and George Miller, with whom he opened The School for Printmakers in 1934. Landeck met Stanley William Hayter in New York in the 1940s, and began to work at Atelier 17, where he made his first engraving. Landeck was a member of and exhibited with the Society of American Etchers, and the Society of American Graphic Artists. He was elected an Academician in the National Academy of Design, and was a member of the Institute of Arts and Letters, and the Institute of the American Academy. Landeck received a Guggenheim… Read More

Yorkshire, UK: Simon Lawrence printed by The Whittington Press, 1982. First, Limited Edition. Fine/Near fine. Imperial 8vo; 10 3/8 x 7 1/2 inches (265 x 190 mm); 12 pp. text set in Caslon type, printed in Whittington red and black; and 48 engravings by different artists printed from original wood blocks on Zerkall mould-made paper by John and Rosalind Randle and Miriam Macgregor. Quarter binding in green buckram, Whittington marbled paper boards by Smith Settle & Co., gilt rules and gilt title on spine; headbands, top edge stained green, rest untrimmed; green endpapers and matching slipcase, as issued, a little faded. Inside pages bright and clean, binding square. Copy no. 315 of 350, numbered and signed in ink on colophon page by Simon Lawrence and dated 24.10.82 [Butcher A2]. An elegantly printed and bound collection of exquisite and strong wood engravings by contemporary artists, including Howard Phipps, Enid Marx, Pamela Hughes, Rachel Reckitt, Douglas Percy Bliss and Margaret Wells.

Privately Printed, 1928. Near Fine. 8vo, 8 7/8 x 6 1/4 in. (225 x 158 mm); half title + Limitation page + title + 365 pp. 3/4 red crushed morocco binding with marbled boards and matching endpapers; 5 raised bands, gilt title and date, spine and top of boards sunned, t.e.g., rest uncut. First published privately in 1928, in Italy, and in France in 1929, Lady Chatterly's Lover became notorious for its story of the physical (and emotional) relationship between a working-class man and an upper-class woman, its explicit descriptions of sex and its use of then-unprintable four-letter words. An unexpurgated edition was not published openly in the United Kingdom until 1960 when it was the subject of a watershed obscenity trial against the publisher Penguin Books, which won the case and quickly sold three million copies. The book was also banned for obscenity in the United States, Canada, Australia, India and Japan. Several pirated copies of the book were issued and their editorial history is difficult to… Read More

1735. Engraving on cream laid paper, 6 x 8 1/2 inches (153 x 217 mm), full margins. Scattered areas of light brown discoloration, scattered handling wear and age related minor defects. Moderate age toning around the perimeter of the sheet, outside of image area. Partial indiscernible watermark, lower left sheet corner. Likely printed late 18th century. Said to have always been good natured, Jacques-Philippe Le Bas was the founder of the largest 18th century engraving studio in Paris. Le Bas was born into relative poverty, the son of a wig maker, too destitute to attend school, he was educated at home by his mother. After showing talent in draftsmanship, he was apprenticed to an engraver, where he excelled at the skill. It was around this time that the wealthy financier, and collector of old masters, Pierre Crozat, was introduced to Le Bas, and enlisted his services in reproducing the works in his own collection, perhaps including this image of St. Anthony Preaching to the Fishes, which was painted by… Read More

London: A. Churchill & J. Knapton, 1754. Engraving on fibrous laid paper with a "C" watermark, 9 3/4 x 11 3/4 inches (246 x 297 mm), full margins. Significant edge wear including multiple small tears and a loss at the lower right corner, all well outside of the image area. From An Atlas of London by Richard Blome, A. Churchill & J. Knapton, London. 1720.

Paris: Cadart & Luquet, 1865. Etching and engraving on Chine-collé mounted to watermarked Aqua-Fortistes cream laid paper, 9 x 11 1/4 inches (229 x 286) , full margins. In very good condition with some minor toning at the extreme edges of the support sheet. With the Cadart blindstamp in the lower-center margin. Printed by Delâtre, Paris. 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.

Llandogo, Monmouthshire, UK: Old Stile Press, 2000. First, Limited Edition. Fine. 4to, 11 x 8 5/8" (280 x 220mm); 44 pp. printed on Zerkall mould-made paper and set in Van Dijck type, with 19 wood engravings and 3 linocut borders printed from original blocks in sepia and three different tones of black. Casebound in light green paper with designs by the artist; gilt spine titling; scarlet end-papers. Blue cloth slipcase, incorporating label printed with "Four Seasons" engravings. Bound by The Fine Bindery, Wellingborough. Limited edition of 220 numbered copies of which this is no. 128, SIGNED by the AUTHOR. [McDowall & Campbell p. 22-25]. Thomas the Rhymer, also known as Thomas of Erceldoune, was a real person who lived in the 13th century. While wandering alone in the forest lands of Melrose Abbey, Roxburghshire, Thomas saw a beautiful lady riding on a palfrey. He took her to be the Queen of Heaven. She denies it and tells him she is from 'another country'. She is, rather, the Queen of the… Read More

1909. 35. Etching and drypoint on cream laid paper, 7 3/4 x 8 inches (195 x 200 mm), full margins. Signed and numbered 8/35 in pencil, lower right margin. Laid down to non archival board, mat tone, and age tone. Impression is beautiful, dark and inky.

Paris: Gazette des Beaux Arts, 1896. Etching with aquatint on cream laid paper, 7 7/8 x 4 7/8 (200 x 125 mm), full margins. Edition of roughly 750. In good condition with uniform toning. Printed by Delâtre for the Gazette des Beaux Arts.

1886. Wood engraving on extremely fine onion skin paper, signed in ink and numbered 13/35. 10 3/4 x 7 inches (272 x 177 mm), full margins. From the special editon of signed and numbered impressions before the edition that was published to include the poem of the same title by François Coppé. In very good condition with some cockeling in the corners, as well as a small tab of cellephane tape (which has caused discoloration) at each of the corners on the verso.

London: Gebbie & Husson Co, 1879. Héliogravure and engraving on cream wove paper, 10 1/4 x 12 1/4 inches (258 x 310 mm), full margins. In good condition with some very minor marginal toning.

London: Chapman and Hall, 1856. First Edition in book form. Very Good. Phiz [Hablot Knight Browne]. 8vo, 8 3/8 x 5 1/4 (212 x 132 mm); xiv, 625 pp. Forty plates, including frontispiece and vignette title, by Hablot K. Browne ("Phiz"). Half leather binding in tan polished calf with blind-stamped blue canvas; raised bands and elegant gilt decorations; gilt title on red calf label; edges stained red; hinges partly cracked but binding square and tight; dampstains on some pages and generally evenly toned pages. [Sadleir 1410]. The Martins of Cro' Martin is novel about the exploits of a young man named Paul Goslett, who comes to the small Irish village of Cro' Martin and falls in love with the daughter of a local politician. It depicts the fall of a Connemara estate in the period between Catholic Emancipation (1829) and the Great Famine (1845-1849). Even as he asserts that the fall of the landed gentry brings disastrous upheaval to a traditional society, Lever insists on the inevitability of such… Read More

1510. Engraving on cream laid paper laid down to wove paper, 4 1/4 x 2 5/8 inches (109 x 68), trimmed inside the platemark. Scattered discoloration and uniform age tone, all consistent with age. Adhesive residue at the corners with some minor associated discoloration in the top right corner. A reverse-image impression of Van Leyden's circa 1510 engraving, perhaps done by Jan Muller in the early to mid 17th century. [New Hollstein 88].

1510. Engraving on cream laid paper laid down to wove paper, 4 1/4 x 2 5/8 inches (109 x 68), thread margins. Scattered discoloration and uniform age tone, all consistent with age. Initials in ink in the top right on the verso, as well as a shield with three marbles ink stamp. A reverse-image impression of Van Leyden's circa 1510 engraving, perhaps done by Jan Muller in the early to mid 17th century. [New Hollstein 115].