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

London: R. Ackermann, 1817. First Edition. Near Fine. Thomas Rowlandson. Tall 8vo, 9 1/4 x 5 3/4 in. (235 x 147 mm); vi + 285 pp. + advertisement, with 26 richly colored aquatint plates including the engraved title page by Thomas Rowlandson, plate offsets throughout, otherwise pages clean and bright. Contemporary black calf, respined, with old green marbled boards, patterned endpapers, raised bands, gilt title and decorations, marbled edges, headbands; light rubbing to bottom edges. Armorial book plate of Graham M. Adee pasted inside front cover. [Tooley 410; Abbey Life 264; Grolier Rowlandson, 38; Prideaux pp. 306-07 & p. 332; Ray 34, p. 28]. Rowlandson and Combe had begun a successful collaboration in 1810 on the monthly Doctor Synax series for Rudolph Ackermann's Poetical Magazine, with Rowlandson producing the illustrations first and Combe writing the poetry, in iambic tetrameter, second. They continued this collaborative style on further joint works, including The English Dance of Death (our… Read More

London: Thomas McLean, 1818. Third Edition. Etching with hand coloring in watercolor on cream wove paper, (published August 1st, 1835), 9 1/2 x 13 3/4 inches, (240 x 348 mm), full margins. Final edition, printed by Thomas McLean. Light, circular area of dampstaining at right sheet edge verso, extending into image area approximately 1-inch, unobtrusive. Second area of circular dampstaining at left lower sheet edge, well outside of image area. Scattered small edge losses along top sheet edge where sheet was bound. Associated binding holes across top margin, well outside of image area. Scattered light handling creases and one moderate edge crease with a small (1/8 inch) associated tear, center sheet, extreme sheet edge, well outside of image area. With light, fresh color. Ex-collection: The Fresno Metropolitan Museum of Art and Science, Fresno, CA.

London: A. Zwemmer [printed in Paris by Philippe Gonin], 1937. Limited Edition. Fine. Aristide Maillol (1861-1944). 8vo, 7 3/4 x 5 1/2 in. (200 x 132 mm); pp. [6 (blank)] + vi +211 + colophon + [12 (blank)]; Copy 21 of 250 numbered copies on hand-made Maillol paper and SIGNED BY THE ARTIST on the colophon, with 52 original woodcuts, and 4 woodcut initials, printed in bistre; leading and bottom edges deckled. Full vellum with laced-in thongs, gilt lettering on spine, faint; pencil notations and tipped in label from earlier booksellers on inside front cover, edges stained on first 2 and last 2 blanks. EXTRA SUITE of 45 WOODCUTS in a separate vellum portfolio, printed in black. Fine copy in simple cardboard slipcase. Colophon: "Aristide Maillol engraved with his own hand the wood-cuts which illustrate this book, The text is that of Thronley's translation of 1657, revised and augmented. Philippe Gonin of Paris undertook the achievement of this work, and printed it on his hand-press, for A. Zwemmer,… Read More

Paris: Robert Estienne, 1545. 16mo, 6 1/4 x 4 1/4 in. (160 x 107 mm); pp. 141 + errata + [6], title with woodcut printer's device, errata to penultimate verso, text in Latin on hand-made laid paper, supple and clean, with very minor toning; ink doodles and previous owner name inscribed on blank pages at end of book. Later brown calf binding with 5 raised bands and silver titles. [BNF30407841]. This title first appeared 1535, then 1543, and this edition, as stated on the title page, "was lately added another pamphlet concerning the worship and manner of gardens, according to the opinion of the ancients." It was intended for the enlightenment of children, and examines the names and characteristic features of plants, including French translations of botanical terms. CHARLES ESTIENNE (1504-1564), known as Carolus Stephanus in Latin and Charles Stephens in English, was an early exponent of the science of anatomy in France. He was part of the illustrious Estienne family of printers and the younger… Read More

1880. Lithograph on Les Lettres et les Arts watermarked cream wove paper with deckle edges, 8 3/4 x 10 1/2 inches (220 x 265 mm), full margins. Signed, titled, and numbered 34/52 in pencil, lower margin. In good condition with dog-eared corners at the top right and lower left, and minor wear along the edges resulting in several very minor nics, well outside of image are.

1902. Etching with aquatint on buff laid watermarked Van Gelder Zonen paper, 12 9/16 x 9 1/16 inches (319 x 230 mm), full margins. Signed, titled and numbered 33/100 in pencil, lower margin. Minor uniform toning, minor mat tone, and one 1/4-inch vertical edge tear in the lower center sheet edge, well outside of image area.

1911. Etching on handmade laid paper, 5 x 3 3/8 inches (126 x 80 mm), full margins. Signed in pencil, lower margin. Minor toning, and a large, expertly repaired tear in the upper-right corner which extends 1/2 inch into the image area, but is only visible through raking light, or with the use of a blacklight. Small loss at the right sheet edge, well outside of image area. An impression of this work may be viewed in the permanent collection of the Art Institute of Chicago; Prints & Drawings, collection No. 1927.5737.

1925. Drypoint etching in black ink on heavy cream wove paper, 6 5/8 x 8 1/8 inches (167 x 203 mm), full margins. Signed and titled in pencil in the lower margin. In very good condition with minor mat and light tone. Scattered unobtrusive framer's notations in pencil in the margins, well outside of the image area. A beautiful American mountain landscape with iconic saguaro cactus and creosote bush.

Pen and black ink on handmade, buff wove paper, 4 1/2 x 3 1/4 inches (115 x 81 mm). Two drips of translucent candle wax on the verso, scattered light surface soiling. Adhered at two corners to a paper mount. With pencil insciptions on the verso.

1820. Pen and sepia ink on cream laid paper, 8 3/4 x 5 3/8 inches (222 x 136 mm). Scattered paper tape repairs on the verso in the area of the upper left corner, and along the right sheet edge. Hard vertical crease along the bottom sheet edge, approximately 1-inch from the bottom of the sheet. Pencil inscriptions on the verso. The image appears to have been trimmed in half, with the left portion of the design lacking.

1630. Pen and grayish black ink on cream laid paper, 11 1/8 x 7 1/4 inches (283 x 185 mm), with the center of the sheet removed to create a window frame. Scattered light surface soiling, and a repaired tear in the upper image area, near the figure of the starburst and dove. The activity of the Rovetta-based Fantoni family as marangoni (wood carpenters) or magistri lignaminis (wood masters) is regularly documented throughout the 15th century, however, there is mention reaching as far back as the 1400s of the Fantoni family operating as wood carvers, with Bertulino de Fantonis being acknowledged as the founder of the workshop. The activity of the workshop appears to have reached an apex of production around 1630, under the direction of Andriano Fantoni (1563-1633), who - together with his brothers and his son Donato (1594-1664) - produced a tremendous repertoire, and the frequency of commissions suggests a full and thriving workshop which provided carved ornamentation, civil furnishings, and grand… Read More

Engraving with hand coloring in watercolor on cream wove paper, 11 x 8 inches (280 x 203 mm), full margins. Light band of toning along the right sheet edge, well outside of image area. Otherwise in good condition with fresh color.

1800. Graphite and grayish ink wash on bluish wove paper, 7 x 10 1/2 inches (177 x 265 mm) (matrix). Scattered surface soiling, adhesive residue, dog-eared corners, and scattered edge tears along left margin, outside of image area. Paper is braced on the verso with two pages from a mid 19th century book with illustrations by C.Perrin. One image depicts a scene of a group of soldiers representing the Holy Roman Empire causing a ruckus in a tavern named for King Richard the Lionhearted. Soldiers in what appears to be 18th century uniform bicker, one drawing his sword in defense, a lady appearing at his side, the other standing at the foot of an empty throne. Perhaps a then modern depiction of King Richard refusing to show deference to the Holy Roman Empire.

New York: William Morrow, 1993. First Edition. As new/As new. Octavo, 9.5 x 6.25 in (241 x 159 mm); 316 pages; First Edition, First Printing. Hardcover, dust jacket protected with mylar cover. SIGNED by the AUTHOR on the title page. Unread copy. No 11 of the Matthew Scuddler series by Lawrence Block. Scudder is back, tracking a killer through the alleys of Hell's Kitchen and mapping the darker regions of the human soul. Glenn Holtzman sits on top of the world, watching the sun set from his penthouse... half and hour later he's just another statistic, gunned down in a phone booth on Eleventh Avenue. When the cartridge casings of the fatal shots turn up on a well-known local Vietnam Vet the whole of the Big Apple knows it's an open and shut case. But not Scudder - this Yuppie lawyer has skeletons in his closet and Matt can hear them rattling.

Risbury, Herefordshire: The Whittington Press, 1997. Limited Edition. Fine. 4to; 8 7/8 x 10 inches (224 x 252 mm); pp. [iv], [26], [3].; printed on Zerkall moldmade paper in brown and black ink and SIGNED BY THE ARTIST on the colophon; copy 181 of 385 copies. 13 full-page wood-engravings by Miriam Macgregor, printed on the recto of a leaf, verso left blank, with two additional small engravings on title and colophon. Bound by the Fine Bindery in boards, illustrated overall with a design by Macgregor, with matched laid paper endpapers and slipcase, title on paper ticket pasted on spine. A lovely book demonstrating the life cycle of nature through 13 beautifully executed large engraving of the same apple tree throughout the year. The last image intentionally repeats the fist, to indicate this cycle. Accompanied by an evocative and touching account of the tree by the artist.

Engraving with hand coloring in watercolor on cream wove paper, 11 x 8 inches (280 x 203 mm), full margins. Light band of toning along the right sheet edge, well outside of image area. Otherwise in good condition with fresh color.

Venice: Gabriel Giolito Di Ferrari, 1549. First Edition. Very good +. Small 8vo, 5 7/8 x 3 3/4 inches (150 x 95 mm); pp. 48, imprint in the base of an elaborate woodcut on the title-page, with Giolito di Ferrari's famous device (phoenix, motto saying 'from my death I live eternal life' and initials GGF) , a different woodcut phoenix device on verso of last leaf, and 21 woodcut pictorial initials (3 series) plus 1 repeat. Light age yellowing, occasional spotting and offset, re-cased, new endpapers, later vellum with black calf label on spine, gilt titling, chipped, binding tight. [Adams D184; Cicognara 114; OCLC: 11805910; Pollen p. 437]. FIRST and ONLY EDITION of this work in dialogue form by Antonio Francesco Doni (circa 1503-1574), Florentine writer and printer, dedicated to painting and sculpture and mentioning, among others, Brunelleschi, Donatello, Michelangelo and Cellini. The first five essays concern the principles and practices of painting and sculpture, including techniques and… Read More

London: Faber and Faber, 1935. First Edition, third impression. Very good/Good. 8vo, 8 x 5 1/3 inches (203 x 133 mm); 180 pp, printed on laid paper; pink cloth with black title on spine. Dust jacket with price (2s. 6d. net) intact on front flap, sunned on edges and spine, with a couple of chips but DJ in good condition. First performed by the Group Theatre in 1936, this is the first of several Auden-Isherwood collaborations which made an important contribution to English drama in the 1930s. A curious detail about this play is that there were two endings: one by Isherwood which appears in the printed version, and a different, more dramatic one by Auden for the staged version. 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.

Brussels: Jules Géruzet, 1860. Etching on cream laid paper, 6 1/8 x 4 3/4 inches (156 x 120 mm), full margins. In good condition with some minor, uniform age tone. Printed by George Bertauts, Paris. [Beraldi II.140.26] Henri Béraldi Les graveurs du XIXe siècle: Guide de l'amateur d'estampes modernes. Librairie L. Conquet, vol. XII, Paris, 1885-1892, cat. no. 34, p. 140. Well known in his native Germany as a watercolorist, Karl Bodmer had a rich experience exploring in North America in the 19th century, accompanying German explorer Prince Maximilian zu Wied-Neuwied as the official artist on an expedition which toured the Missouri River and its environs from 1832 until 1834. The expedition resulted in a plethora of highly detailed and accurate paintings, and 81 aquatints which focused on the towns, people, customs and Native Americans they encountered along the way. These works served to illustrate Prince Maximilian's book, entitled Maximilian Prince of Wied's Travels in the Interior of North… Read More

Paris, 1900. Etching on a large sheet of light cream wove paper, 4 3/4 x 3 1/2 inches (120 x 90 mm), full margins. In good condition with minor edge wear, well outside of image area. An etching after the c1780 illustration by Fragonard, likely printed early 20th century. The British Museum offers the following biographical information regarding the artist: "Painter, draughtsman, etcher, curator and author. Worked as a diplomat in Naples (1779-85), where he learned how to engrave; travelled through Italy in 1788/89 and settled in Venice from where he was expelled in July 1793, prompting his return to Paris; in 1797/98 with Napoleon on the Egyptian campaign. In these years turned his amateur etchings into a business, and published two catalogues of his work (in 1793 and in 1803). Appointed in 1803 as (first) director of the Louvre, and put in charge of the Gobelins, Sèvres and the Monnaie; for this created a Baron. In charge of deciding the works to be removed from occupied Europe for the Louvre.… Read More