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

1550. Drawing in black ink on cream laid paper, 7 5/8 x 2 1/16 inches (192 x 50 mm) (matrix), with uneven margins. Signed in ink, lower-center margin. Scattered significant foxing, unevenly trimmed margins, all consistent with age.

Genova: Giuseppe Pavoni, 1617. Very good. Agostino Carracci and Giacomo Franco after Bernardo Castello. Folio, 11 3/4 x 7 7/8 in (297 x 197 mm); xvi + 255 +72 (notes) + 36 (places and allegory) + vi (index of names). 2 engraved titles, 20 full-page engraved illustrations set within architectural frames located at the beginning of each Canto. Two of the illustrations were printed separately and neatly laid down within the architectural frame, as illustrated in our photo no. 5. Each book also features the subject of the canto ('Argomento') within a woodcut decorative cartouche, as well woodcut head-pieces and historiated initials. Printed on hand-made laid paper; offset on verso and facing page of full-page engravings, occasional staining within text, marginal water-staining. Contemporary speckled brown calf, sympathetically rebacked, covers rubbed, 6 raised bands with gilt decorations in compartment, gilt titling on red morocco label; all edges stained red. [Cicognara, 1113; Gamba, 948; Brunet IV,… Read More

New York: Duell, Sloan, & Pierce, 1946. First Edition. Very good/Very good. Elizabeth Taylor. Square 8vo, 7.25 x 8 inches (203 x 184 mm), 77 pp., printed in black, green and brown ink (illustrations in green and sepia). Very Good, with a Very Good lightly chipped dust jacket: endpapers and dust jacket mildly browned, $1 price in to corner of rear DJ panel unclipped Library Edition printed on flap of dust jacket. INSCRIBED PRESENTATION COPY: "To David Lee, Elizabeth & Nibbles" written boldly on the inside front cover. With a written note on title page "From Aunt Lee, Los Angeles, Calif., Friday August 2, '46". Silver embossed labels from the renowned Bullock's department store in Los Angeles are affixed to the inside front cover and the inside rear cover. Includes a signed (in pencil at rear) 4 x 5 inch Metro Goldwyn Mayer PUBLICITY PHOTOGRAPH of child actor Elizabeth Taylor holding a cat (c. 1944). This signed presentation copy of the book written and illustrated by Elizabeth Taylor at age 13 is a… Read More

Rome: Nicolas van Aelst, 1613. Engraving on cream laid paper with a foolscap watermark, 11 1/4 x 8 inches (282 x 203 mm), thread margins. Scattered expert repairs including minor pulp patches, minor rubbing and one 1/4 inch area of in-painting in the top left margin, in the area of the God's robes. All condition issues are consistent with age, and do not present significantly on the recto. A fascinating depiction from the Book of Genesis. [Bartsch XVII.129.236]. Antonio Tempesto's Cainus fratri necem molitur is an extremely interesting composition that tells the story of Cain and Abel, the first born sons of Adam and Eve, in four visual chapters. The story begins in the far background to the right of the central action. An intimation of the the recent past, we see Cain, a farmer, and Abel, a shepherd, making their sacrifices to God. Cain offers the fruits of the land, while Abel offers the first born lamb from his flock. God prefers Abel's offering, and shows favor to him. Cain, dejected, invites… Read More

London: Standings & Co, 1838. Lithograph with engraving printed in black and cream-colored ink on buff wove paper, 12 3/8 x 14 1/2 inches (313 x 367 mm), full margins. Laid down to archival board. Central crease with significant associated tears at the top and bottom sheet edges. Moderate toning and dampstain.

London: C. Kegan Paul & Co, 1879. First Edition. Near Fine. 16mo, 6 1/2 x 4 1/4 in. (165 x 109 mm), 95 pp + 4pp ads; FINE FULL TAN CRUSHED MOROCCO BY ZAEHNSDORF (stamp-signed on front turn-in), covers with double gilt fillet border, 5 raised bands, spines gilt in compartments with decorative centerpiece, gilt titling, turn-ins with gilt decorative roll, marbled endpapers, top edges gilt. This is a handsomely bound copy of Tennyson's "A Lover's Tale", a text that underwent many changes and has a colorful publishing history. Written in 1828 when the poet was 19 years old, it was printed in 1833 (London, Moxton) mainly at the instigation of his friend and classmate at Trinity College Cambridge, Arthur Hallam, for distribution among the author's college intimates [Shepherd, Tennyson p. 12]. Only a few copies of this printing exist. Again in 1869 "A Lover's Tale" was sent to print to accompany "The Golden Supper" but was pulled at the last minute by Tennyson. Only 6 copies of this were saved from… Read More

London: Bradbury & Evans, 1848. First Edition, First Issue. Near Fine. 8vo; 8 3/8 x 5 1/8 in. (212 x 130 mm); pp. ix + 625 + 38 steel-engraved plates, engraved frontispiece, engraved vignette title page, and 150 woodcuts and illustrated capitals in the text by Thackeray. COSWAY-STYLE BINDING by BAYNTUM of Bath (stamp-signed on front turn-in) with HAND-PAINTED PORTRAIT MINIATURE of THACKERAY on IVORY inset in the front cover. Contemporary full green-blue crushed levant over beveled boards, elaborately tooled and gilt, raised bands, spine compartments with scrolling tooling, turn-ins with gilt fillets and corner lilies, moiré-silk doublures, a.e.g., hinges repaired, binding a little worn and edges scuffed, as expected in a well-loved book. [Grolier English 100, 57; Allibone, Thackeray 7; Van Duzer 231]. This is the FIRST EDITION, FIRST ISSUE of the best-known work by William Makepeace Thackeray (1811-1863), with the headline on page one in rustic type, the suppressed woodcut of the Marquis of Steyne… Read More

Paris: René Kieffer, 1923. Limited Edition. Near fine. Jean-Baptiste Vettiner (1871-1935). 4to, 10 1/4 x 7 3/4 inches (260 x 194 mm); pp. iv + 156. This is copy no. 7 of the DELUXE EDITION of 50 printed on vélin teinté with the ADDITIONAL SET OF 41 WOODCUTS PRINTED ON JAPON PELURE and mounted at the rear of the book. 32 woodcuts by Jean-Baptiste Vettiner, plus the original front paper wrapper bound in at the front of the book, and the original paper back strip tipped in at the rear of the book. Dark green embossed morocco by René Kieffer - binder's ticket mounted to front free endpaper - black tooled with a central medallion bearing a classical Grecian crouching female nude, surrounded by vines and grapes and with additional decorative motifs that run across the boards and spine; spine sunned and front hinge starting, edges rubbed in places, marbled endpapers, title in gilt, t.e.g., rest uncut. Occasional foxing and staining in the margins around the mounted woodcuts, not affecting images. A… Read More

Paris: René Kieffer, 1923. Limited Edition. Near fine. Jean-Baptiste Vettiner (1871-1935). 4to, 10 1/4 x 7 7/8 inches (260 x 200 mm); pp. iv + 156. 32 woodcuts by Jean-Baptiste Vettiner. Binding by René Kieffer in dark blue crushed morocco, title in gilt, with ONE OF THE ORIGINAL WOOD-BLOCKS HEIGHTENED WITH GILT AND INSET INTO THE UPPER COVER. Blue striped endpapers, a slight one-inch split along the front hinge of the pastedown and ffep, top edge gilt, rest uncut, blue silk ribbon page marker. Original printed upper paper wrapper and unprinted paper spine bound in. This is copy no. 251 of 500 copies. With an ORIGINAL PEN AND INK SKETCH BY THE ARTIST bound in. A beautiful copy of a classic collection of pastoral poems and elegies by the Sicilian poet Theocritus (c. 300 B.C. - c. 260 B.C.), know for his epic and pastoral works in Greek. The energetic woodcuts that illustrate each of the stories are the work of Jean-Baptiste Vettiner (1871-1935), a French artist and engraver who studied at the… Read More

1917. Graphite on cream wove paper, 7 x 6 1/2 inches (178 x 165 mm). Titled in pencil, lower left image area. Skinning at each of the four corners on the verso, uniform age tone and light surface soiling, with several rectangular areas of discoloration in the area of the sky. Pencil inscriptions on the verso including the name "G.H. Thomas.

London: The Nonesuch Press, 1927. Limited Edition. Near fine. 4to, 10 5/ 8 x 1 1/2 inches (270 x 190 mm); pp. [2] xx [2] 198 [2]. Five copperplate engravings and engraved decoration on title page, water-colored by hand with stencils, very light offset on facing pages. Full marbled cloth binding, calf label with gilt title at head of spine, which is somewhat sunned. Monotype Baskerville with Old face open and Fournier ornaments for headpieces, on Dutch mould-made paper. This is copy 1222 (inked in limitation colophon) of 1500 printed [Dreyfus 47]. A classic from 1776, The Seasons is a lengthy blank verse poem in four parts, reflecting on landscape and nature by the Scottish poet James Thomson (1700 - 1748) and his best known work. A dispute about its publishing rights gave rise to important legal decisions around copyright. Its German translation became the libretto for Haydn's oratorio by the same name. 'The Seasons may be said to be the life-work of the poet: he devoted twenty years to its… Read More

Philadelphia & Brooklyn: Harry Cunningham, 1925. Limited Edition. Fine. Clara Tice (1888 - 1973). Octavo, 9 x 6 1/2 inches (227 x 165 mm); number 40 of 50 copies on Japon, drawn, etched, and hand-colored throughout by Clara Tice with pictorial title; 6 pictorial plates with tissue guards captioned in red by hand, 6 text pages within decorative borders, and pictorial colophon; printed on rectos only. Dedication copy: signed and inscribed by the artist "to Mr Carl Weeks, sincerely, Clara Tice" and with small sketch of naked lady in pink crayon on front free endpaper; Tice's own copy with her etched bookplate showing a naked woman and peacock, plus that of Carl Weeks; original burnt orange crushed morocco, gutter cracked, five raised bands, titled in gilt on upper cover with gilt frame, inner gilt dentelles, uncut. CLARA TICE (1888 - 1973) drew racy illustrations at a time when ladies did not engage in such things, and when Anthony Comstock's Society for the Suppression of Vice was very active - and… Read More

Paris: Société du Livre d'Art. Imprimerie Nationale, 1909. Limited Edition. Near fine. Henri Jourdain. 4to, 10 1/2 x 7 3/4 inches ( 266 x 197 mm); pp. [6], iv, 355, ii, [6]; 66+1 colored etchings by Henri Jourdain; original blue paper wrappers bound in; printed on paper specially-made by Maison Perrigot-Masure, offset on pages opposite the etchings, otherwise paper is bright and clean. This is No. 90 of 130 copies; the first 99 destined to members of the Société du Livre d'Art. It is also one of only 5 copies to contain an EXTRA SUITE of colored etchings. Exquisite binding by E. Maylander (gilt stamped on inside front cover) in emerald green morocco, multiple concentric gilt fillets on boards with a strip of tan morocco, spine with four raised bands, compartments decorated as the boards, gilt titling, a.e.g.; doublures in tan morocco with mosaic (embossed & gilt motif of leaves and chestnuts), green silk endpapers, second set of endpapers in green and gold marbled paper; "chemise" in 3/4 green… Read More

Paris: G. Charpentier et Cie, 1884. The complete set of ten (10) etchings on cream wove paper illustrating the same-titled novel by Edmond and Jules de Goncourt. Each etching approximately 9 3/4 x 6 3/8 inches (250 x 163mm) (sheets), each with full margins. Some sheets exhibit light discoloration along the extreme edges, well outside of the image areas. Tone is consistent with age. Each impression is dark and richly inked, with the fine details printing clearly. A lovely example of this highly collectible set by Tissot. [Wentworth 62-71]. These dark and inky impressions are such both in tone and theme, visually and emotionally. The classic novel by Goncourt, originally published in 1864, is a cautionary tale of an emancipated young woman, the youngest of three siblings, who seeks to double-cross her conniving older brother. Renée Mauperin exposes the plan of her opportunistic brother Henri, who has embarked upon a love triangle between his bride, and his future mother in law, in order to secure a… Read More

London: Methuern & Co, 1934. Third Edition. Near fine. E. H. Shepard. 12mo, 6 3/8 x 4 5/8 inches (158 x 120 mm); pp. vii + 215; original bright red cloth, gilt titling on front and spine, gilt illustration of Christopher Robin fishing, spine faded, endpapers yellowed, no dust jacket; overall the book is bright and clean condition. With an introduction by A.A. Milne and charmingly illustrated by Shepard. The book is designed with two dates per page and space to inscribe names; each page has a quotation chosen by A.A. Milne from 'When We Were Very Young', 'Winnie-The-Pooh', 'Now We Are Six', and 'The House at Pooh Corner', and accompanied by illustrations by E.H. Shepard ** Penned inscription on the FEP reads "P.M.R. Tolkien", Milne's last child and only daughter Priscilla Mary Anne Reuel Tolkien (born 18 June 1929); Blackwell's book label to pastedown "B.H. Blackwell Ltd. Booksellers, 50 and 51 Broad Street, Oxford." [Haring-Smith C113]. A charming piece of Tolkieniana. The 65 names filled in by… Read More

London: Elizabeth Darchery, 1783. Etching and engraving with hand coloring in watercolor on cream laid paper. 6 3/4 X 9 5/8 inches (170 x 244 mm), margins trimmed, image intact. Rubbing in the lower left image area obscuring the publishing information (which reads Published by Mm. Darchery, St. James Street March 11, 1783), scattered light foxing, corner loss, top left corner, well outside of image area. "SMP" collector's stamp in red ink on the verso (not in Lugt), and the name "Renier" and the initials "AR" in black ink on the verso. Colors are extremely fresh. Impressions of this work may be found in the permanent collection of the British Museum, and the Yale Center for British Art. Ex-Collection of Anne & Ferdinand Gabriel (F.G.) Renier, reknowned for their inspriational collection of children's books and works on paper, now housed in the Victoria & Albert Museum. The devil officiates at the wedding of Tory Lord North, and Charles James Fox, the Whig statesman whose career spanned almost four… Read More

1880. Pencil on cream wove paper, 2 1/2 x 4 inches (65 x 102 mm). Scattered staining and laid down to card stock with a partially trimmed drawing on the verso that is visible through to the recto.

1540. Chiaroscuro woodcut on cream laid paper with a partial anchor in a circle watermark, printed from two blocks in black and olive-green, 10 3/4 x 8 3/8 inches (272 x 221 mm), thread margins. We believe this to be an early, first state impression (of two), issued from Niccolò Vicentino's workshop. The second state edition printed by Andrea Andreani in the early 17th century includes a monogram added by Andreani, which is not present in our impression. Scattered expert repairs, most notably a 1-inch hook shaped tear in the lower left sheet and a 1/4-inch vertical split in the area of the central figure's left arm. On the verso there is an approximately 3-inch irregular oblong area of brown discoloration in the area of the central figure's head, as well as a 1 1/2-inch irregular area of brown discoloration in the area of the kneeling figure's knee. All condition issues are consistent with age, and repairs appear to have been made with archival materials and state of the art conservation methods.… Read More

1850. Watercolor on cream wove paper mounted on thin card stock, 10 x 12 1/2 inches (255 x 320 mm), wide margins. Adhesive residue around the perimeter of the sheet, recto, from a former mount, outside of image area. Minor uniform age tone throughout sheet. A beautiful, well-lit watercolor. In 1842 J.M.W. Turner embarked on a quest to generate commissions for large scale watercolor paintings based on a series of 10 "sample study" watercolors he had done after a group of sketches he made while traveling through Switzerland. All but two of the landscapes are of Swiss scenes, Lake Constance, is one of the exceptions. When the landscape study failed to entice any of his collectors to commission a finished work, Turner fleshed out the painting and presented it to his agent, Thomas Griffith. Griffith was eventually successful in wooing the well known art critic, instructor, and polymath John Ruskin to purchase the finished work for his private collection. Ruskin presented the painting to his students, who… Read More

Paris: Editions du Pavois, 1946. Fine. Jean Trubert. 2 volumes, 4to, 10 7/8 x 8 1/2 inches (276 x 216 mm); printed on watermarked Johannot paper. Vol 1, 209 pp., printed in black with sienna page headings and numbers; Vol. 2 contains various states of the woodblocks, colored and monochrome, some offset on text from the illustrations. Gorgeous custom binding in pebbled tan morocco, with drystamped edges and marbled paper boards; raised bands, gilt title and mosaic decorations in compartments, top edges trimmed, remainder deckled; original paper wrappers bound in; housed in a matching slipcase. One of only 35 copies with the extra suite of woodblocks. A special copy inscribed to Madame Heloise Bonetti by the engraver, G. Angiolini, on the limitation page. A collection of twelve stories by Mark Twain, translated into French and amusingly illustrated with color illustrations by Jean Trubert (1909 - 1983) a well known and prolific comic strip designer and script writer. He worked on Tintin, Bécassine,… Read More