Search Results: Titles starting with C from Rob Zanger Rare Books LLC

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

1977. Fine. Vintage gelatin silver print. Image dimensions 12 x 7 3/4 in. (302 x 195 mm), printed to edge. Photographer's copyright stamp and credit sticker on verso. A typical cobbled street in Caltanissetta, at the heart of Sicily, by photojournalist Alessandro Delcanale.

1977. Fine. Vintage gelatin silver print. Image dimensions 12 x 7 7/8 in. (302 x 200 mm), printed to edge. Photographer's copyright stamp and credit sticker on verso, with date 10/77. Photo depicting a people in a narrow street of Caltanissetta, Sicily by photojournalist Alessandro Delcanale.

1977. Fine. Vintage gelatin silver print. Image dimensions 12 x 7 7/8 in. (302 x 200 mm), printed to edge. Photographer's copyright stamp and credit sticker on verso, with date 10/77. A beautifully composed image of a Sicilian town in the 1970's by photojournalist Alessandro Delcanale.

1866. Etching on cream wove paper. 5 1/2 x 4 3/8 inches (138 x 110 mm), full margins. Third state (of 4). Light scattered age tone, and time stain. Scattered extremely light areas of minor spots of foxing at extreme sheet edge. Hard crease along lower sheet margin, appx 1/2 inch from sheet bottom. Inscription in pencil at sheet edge. Light pencil inscriptions on sheet edges, verso. All well outside of image area. Impression is richly inked with all of the fine lines printing clearly. [Delteil 8iii]. Jean-Baptiste-Camille Corot (1796-1875) is an esteemed name in a very distinguished century for French art. Though best-known as a landscape painter, he was also a prolific and masterful printmaker. Renowned for bridging the Neoclassical tradition with Realism and a plein air approach, Corot struggled to gain acceptance amongst the European artistic establishment. He traveled extensively in Italy and France, finally settling in the Barbizon region, near Fountainbleu. It was here that his landscapes, all… Read More

1890. Pencil on cream wove paper, 5 1/2 x 8 5/8 inches (140 x 218 mm). In good condition with uniform toning and a partial sketch of boats on the verso. Adhered lightly to cardstock at three corners.

Haarlem / New York: J. Enschedé en Zonen for the Bennett Libraries Inc, 1927. Limited Edition. Near fine. Clara Tice (1888 - 1973). 8vo, 9 x 5 3/4 inches (228 x 147 mm). 2 parts in 1 volume with continuous pagination: [10], 182 pp., (7) index, [10]; 10 etched plates by CLARA TICE, including hand-colored frontispiece, each with tissue guard with legends printed in red. Copy 541 of the limited edition of 1000 copies, set by hand in Didot type and printed on 'papier à la cuve', t.e.g., one page unopened. Etching at p.54 with loss in the lower corner, not affecting the image, paper somewhat toned at edges and occasional small tears to some sheets, but copy is in near fine condition, paper supple. Half cloth binding with marbled boards; gilt title on spine, slightly rubbed, some bumping and wear at corners and edges, 2-inch crack to top of front hinge, but binding tight and square. All for the Best. This edition, enriched by Clara Tice's racy and whimsical illustrations, is an "Exact reprint of the… Read More

Boston: Frederick Gleason, 1851. Engraving with hand-drawn borders on cream wove paper, laid down to board. 7 3/4 x 10 inches (197 x 255 mm), trimmed margins, lacking text. Scattered light soiling, and toning, with a dog-eared lower left corner. An illustration from the June 21 & 28, 1851 edition of Gleason's Pictorial Drawing Room Companion. The Pictorial featured artists such as Winslow Homer, and authors such as: Giddings H. Ballou, Susan H. Blaisdell, Alice Carey, Sylvanus Cobb, Jr., Sophronia Currier, Mrs. S.P. Doughty, Francis A. Durivage, Aglaus Forrester, Mrs. H.C. Gardner, Joseph Holt Ingraham, Grace Lee, Mary A. Lowell, Mary L. Meany, Ellen Alice Moriarty, Arthur Morton, Frances P. Pepperell, Mary E. Robinson, M.V. St. Leon, Frederick Ward Saunders, Sue M. Scott, Maurice Silingsby, Frederick Stanhope, Horace B. Staniford, John Thornberry, Winnie Woodfern, and Joseph Wolf. The accompanying text added below for context. Mr. Stebbings June and Mr. Nutter, of Boston, who undertook the… Read More

Torino: Umberto Allemandi & C., 1990. Second Edition, Revised and Enlarged by Luisa Vertova. 3 Vols. in slipcase, 8.5 in. x 12 in. (21. 6 x 30.5 cm). Vol. 1: text, 275 pp., Vol. 2: plates 1 - 927, Vol. 3: plates 928-1648. Very Fine. Dust jackets in Fine Condition. Text in English. Vol. II Plates 1-927 (Caravaggio and Italian Caravaggism) Vol. II 1-593: French Caravaggism Plates 594-927. VOL. III Northern European Caravaggism Plates 928-1648. This work was previously published under the title: The International Caravaggesque Movement. Vol. 1 includes bibliographical references and indexes. The books are in pristine condition.

Antwerp: Maarten van den Enden, 1633. Etching on cream laid paper with an indiscernible watermark, likely 17th century, 9 7/16 x 6 1/8 inches (240 x 155 mm), wide margins. In very good condition with some handling creases and cross-shaped light fold at the center of the sheet, some light skinning at the top center margin (outside of image area) on the verso, and scattered unobtrusive surface soiling. All condition issues are consistent with age. An impression of this work may be found in the permanent collection of the British Museum, Object No.1888,0612.19.

1933. Lithograph on cream wove paper 14 x 18 inches (354 x 452mm), full margins. Signed, titled, and numbered 17/33 in pencil, lower margin. Minor mat tone around the perimeter of the image, and with very minor, scattered handling creases, otherwise in very good condition. A fine example of this early, scarce print. [Fine & Looney 85].

New York: Random House, 1957. First edition, First Printing, Third Issue. Near fine/Near fine. Dr. Seuss. 8vo, 9 x 6 1/2" (230 x 165 mm), (2) + 61 + (1) pp; pictorial end papers, verso of free end paper blank, pictorial title page, copyright page. Binding with glazed pictorial paper cover over boards and title on spine, very light signs of wear at corners and spine ends, binding stitched at 1 inch intervals; upper cover illustrated and lettered with addition of "For beginner readers"; back cover with excerpts from reviews printed in letterpress below illustration of chalkboard reading Educators hail The Cat in the Hat. Printed in red, black, salmon, dark blue and light blue on wove paper, with bold illustrations on every spread; pages a touch yellowed on edges. On the back of the last page of text is a note on the book enclosed within a large outline in blue of Cat in the Hat. The ORIGINAL DUST WRAPPER in near fine condition, with just slight wear on corners and a chip on the bottom of the spine,… Read More

Paris: Imprimerie Nationale, 1910. Near fine. M. Margelidon. Large 4to, 12 x 9 in. (300 x 225 mm); pp. vii + 163 + engraved frontispiece showing allegorical figures and symbols of art, music, literature and time + 50 color plates with rice paper guards inscribed with legend; some offset to verso of illustration and guards. Printed on specially-produced heavy paper by Arches, uncut; pages clean and crisp. Polished light brown calf binding by Pagnant (stamp-signed on front turn-in) with gilt fillets and corner fleur-de-lys and profile decorations on boards; 5 raised bands with gilt titling and decorations in compartments, floral scrolls and fillets in gilt on turn-ins, marbled endpapers. Some rubbing on edges and spine, slight wear on front hinge; housed in original publisher's faux-shagreen covered slipcase edged in morocco, lined with flannel (worn). The author and printer of the color plates and frontispiece is M. Margelidon and the text by M. le Comte de Chavagnac, cataloguer commissioned by J.P.… Read More

New York: Privately Printed by Order of Mr. J. Pierpont Morgan (DeVinne Press &, 1911. First, Limited Edition. Near fine. 2 volumes; Royal 8vo; 9 1/2 x 6 1/2 in. (240 x 160 mm); Vol. 1: pp. xvii + 196; Vol. 2: lxxiii + 145; + 158 chromolithographs with rice paper guards inscribed with legend, many double-tissued. In vol. 2 plate no. 147 is used as a frontispiece. Each volume includes an index of cases with schematic drawings and key numbers, as well as Chinese characters and diagrams of maker marks. Top edges gilt, rest uncut; Brown pebbled morocco, with gold fillets on boards, five raised spines, gilt titling and decorations in compartments. Fillets on wide turn-ins, moiré silk and morocco doublures, spine sunned and some very light shelfwear to volume 1. Volume 2 bound in slightly darker morocco, with similar detailing and moiré-silk doublures, front cover re-attached by the Baytun-Riviere bindery. Volume two bears the pictorial bookplate of Earl Gifford Talbott. LIMITED EDITION of 250 copies… Read More

New York: Privately Printed by Order of Mr. J. Pierpont Morgan (DeVinne Press &, 1911. First, Limited Edition. Fine. 2 volumes; Royal 8vo; 9 1/2 x 6 1/2 in. (240 x 160 mm); Vol. 1: pp. xvii + 196 pp.; Vol. 2: lxxiii + 145 pp. 158 chromolithographs with rice paper guards inscribed with legend in red ink, legends pasted on the border of the image in vol. 2. In vol. 2 plate no. 147 is used as a frontispiece. Volume 1 of this set includes an additional chromolithograph of a Glazed Earthenware Fish Bowl, with the mark "The Connoisseur" tipped into the last fly leaves. LIMITED EDITION of 250 copies FOR PRIVATE CIRCULATION. Each volume includes an index of cases with schematic drawings and key numbers, as well as Chinese characters and diagrams of maker marks. Top edges gilt, rest uncut; Dark green-brown pebbled morocco, with gold fillets on boards, five raised bands on spines, title in gilt with gilt decorations in compartments. Fillets on wide turn-ins, moss green moiré silk and morocco doublures, spine… Read More

1929. Etching on antique cream laid paper, 12 7/8 x 5 1/2 inches (328 x 140 mm), full margins. Signed in pencil, lower margin. Laid down to non-archival board, general age tone and some mat tone. The image itself is superb and well inked. Paper: Arms was typical of the artists of this period - he was obsessed with paper, a mania for collecting paper that could/would improve an edition. The quantity he left after his death, distributed by his wife to fellow artists, witnesses his love for finely made paper -paper interesting because of texture, color, distinctive weave. The earliest paper known to have been used by Arms came from a Baptismal Register Kirchen Ordnung, The Reformed Church, Middletown, Dauphin County, Pennsylvania, 1708, bought in a bookshop in Philadelphia. His early prints, 1915-1919, evidence paper taken from old books with gilded edges. Some prints appear on stationary from the Cisalpine Napoleonic Italy, still bearing the estampe of the office or department; others carry penned ink… Read More

1890. Pencil on cream laid paper, 8 1/2 x 7 1/4 inches ( 215 x 185 mm). Toning over-all with paper tape remnants and notations in pencil on the verso.

1944. Etching on bluish-grey, thin laid paper, 9 1/2 x 5 1/2 inches (242 x 140 mm), full margins. Signed, dated and numbered "II." In very good condition with three pin-point sized dots of brown discoloration in the left margin (well outside of the image area), and paper tape at the top and botton corners at the right sheet edge, verso. A trial proof (from a total of 13 proof impressions). A luminous impression on unusual paper. English Series No. 11. [Fletcher 381]. On an impression of this work belonging to William Dolan Fletcher, Arms mentions that he spent 236 hours on the first state, and an additional 53 1/2 hours on the second state. Awards: 1945: Annual Exhibition of the Royal Academy, London 1945: Best Print in Exhibition, 22nd Annual Exhibition, Arts & Crafts Assoc., Meriden, CT. 1947: Honorable Mention for Excellence, 30th Annual Exhibition, Chicago Society of Etchers, Chicago, IL. 1948: Special Mention for Excellence, 30th Annual Exhibition, Palm Beach Art League, West Palm Beach, FL.

Milan / New York: Electa Editrice / Rizzoli International Publications, 1982. Portfolio. Near fine. A portfolio of twelve heliogravure plates with tissue guard-leaves, housed in portfolio and slipcover. Portfolio: 16 1/4 x 12 1/2 in (415 x 317 mm); each print approximately 8 5/8 x 6 5/8 in (220 x 170 mm). Subjects include Gary Cooper, 1930s; Buster Keaton, 1931; Marlene Dietrich, 1935; John Wiessmuller, 1933; Greta Garbo, 1946; Marlon Brando, 1947; Audrey Hepburn, 1954; Frank Sinatra, Sammy Davis Jr., Dean Martin in "High Society", 1956; Marilyn Monroe, 1952; Rudolf Nureyev, November, 1962; Edith Sitwell, 1962; and Pablo Picasso, 1965. Palazzoli, Daniela (Editor), introduction in English by Giuseppe Turroni.

Robert Wilkinson, 1816. Copperplate engraving on buff wove paper with hand coloring in watercolor, 10 7/8 x 13 /4 inches (275 x 336 mm), full margins. In good condition with some scattered age tone and surface soiling, especially in the area of the right sheet edge, and top right corner, well outside of the image area. From the set of illustrated maps of London neighborhoods and building plans from Robert Wilkinson's 1834 edition of "Londina Illustrata; Graphic and Historic Memorials of Monasteries, Churches, Chapels, Schools, Charitable Foundations, Palaces, Halls, Courts, Processions, Places Of Early Amusement and Modern & Present Theatres, In the Cities And Suburbs of London & Westminster." The images show many of the city's lost architectural gems.