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

1940. Very good +. Gelatin silver print mounted on board, 7 1/2 x 9 1/2 in. (190 x 241 mm) from the Roland Butler Collection, Press Agent, Ringling Bros. and Barnum & Bailey Circus (1930s-1960s) Roland Butler Collection hand stamp on verso. Gargantua, a headliner with the Ringling Brothers and Barnum & Bailey Circus from 1937 to 1949 was quite possibly the most famous circus animal of the 20th century. "Based on his posters, crowds expected a terrifying animal, capable of pulling apart the bars on his cage and crushing people with his bare hands." Adrian Brune, "Hartford Courant," January 19, 2006 'A TRIBUTE TO THE REAL KING KONG, GARGANTUA

1840. Ink and wash in sepia and brown on heavy wove paper, 5 13/16 x 8 1/2 inches (146 x 215 mm). Scattered uniform age tone and discoloration throughout. Brown ink spot with associated spots in the lower right image area. Provenance: Exhibited by Guy Peppiat Fine Art in association with Charles Nugent, "The Watercolors and Drawings of Thomas Miles Richardson, Sr. (1784-1848)," 16th - 30th January, 2012, Duke Street, St. James, London, catalog #43.

London: W. & S. Jones, 1813. Fourth Edition. Very good. Two volumes, 8vo, 9 x 5 3/4 in. (228 x 145 mm); 9 x 5 ½". Text volume: pp. frontispiece, xii, 534, [16] ads; Plates vol.: pp. title page and 34 folding plates. Previous owner's name penned on the first free flyleaf. Uniform contemporary paper-covered boards, untrimmed, housed in a felt-lined custom clamshell box, 9 x 5 1/2 in. Occasional browning to the edges of some of the plates in Vol. 2, 1/2 inch tear to fold of Pl. VIII and 1 inch tear to the edge of Pl XIV, none of these minor flaws affecting the images. Frontispiece "The Great Theodolite, by Ramsden, Used by the late Gen.l Roy &c. in the great English Trigonometrical Operations." This is the "Fourth Edition, corrected and enlarged by William Jones, F. Am. P. S. [ESTC T88416, 1791 edition]. The last chapter of these fascinating volumes includes conversion tables to various standard national measure ranging from the Paris foot to the Russian archine, to the Venice braccio, the Egyptian… Read More

London: D. Bogue, 1854. Very Good. 8vo, 2 magazines, each 8 3/4 x 5 5/8 (223 x 145 mm), January 1854 and February 1854 issues. Original pictorial yellow paper wrappers with price of 1s marked at top right. No. 1. Jan. 1854, contains two folding etchings, one glyphograph, and three woodcuts ; 8 pp. of advertisements; pp. 1-40. No. 2, Feb. 1854, contains one folding etching, one folding glyphograph (loose), and four woodcuts ; 16 pp. advertisements; pp. 41-80. The plates in both issues are dark, richly inked, with all fine details and lines printed clearly. Stab stitched; housed in a red cloth chemise inside a custom red half morocco and canvas pull-off case (9 1/4 x 6 1/2 inches, 235 x 160 mm). The paper wrapper corners are bent with small minor tears and soiling to edges of the paper; No. 1 has a two-inch tear at the top fold of the paper wrapper. The Magazines includes the four folding images depicting The Comet of 1853, The Disagreeable Aspects of Smoking, Elephantine Performances, and Methods for… Read More

1880. Etching on cream laid Arches paper, 6 9/16 x 5 1/8 inches (166 x 129 mm), full margins. Signed in pencil, lower center margin. A very good impression. Titled, dated, and inscribed in pencil in the margin, recto. Long rectangular marks from non archival tape along top center, bottom center, and right center on verso well outside image area. Discoloration along right edge visible on verso, tearing along left side with adhesive residue visible on recto, both well outside image area. Etched by Paul Rajon.

1820. Ink wash with watercolor in sepia and black, and blue, on buff wove watercolor paper, 14 1/4 x 10 1/4 inches (360 x 260 mm). 1/4" of the lower right corner is lost, minor crack (does not present through to the verso) in the area of the doorway on the recto. Uniform toning and scattered surface soiling. Adhesive residue on in each of the four corners on the recto, as well as halfway up on each the of the sheet edges on the recto. Scattered pencil notations on the verso.

1840. Etching on chine-collé laid down to cream wove paper, 80 x 121 mm; 3 3/16 x 4 13/16 inches, full margins. In good condition with minor mat and light tone around in image area, adhesive residue at top right and left corners (well outside of image area). Several scattered pea-sized spots of light yellow discoloration on verso, one showing through to recto, visible on lower right extreme sheet edge (well outside of image area), recto. Born in Paris in May of 1813, little is known about the early personal life of Charles-Émile Jacque. It is known however, that he began his artistic pursuits in a nontraditional way, having trained as an etcher before having trained as a painter. As a young man, Jacque apprenticed to a map maker in Paris, and after military service, where he served as a cartographer, he left for England, where he was employed as an engraver for La Charivari.  After two years in London, Jacque returned home to Paris, and made his Salon debut in 1833. Jacque continued to regularly… Read More

1937. Etching on antique cream laid paper with an "England" watermark; 13 7/8 x 8 5/8 inches (353 x 221 mm), full margins. Signed, dated, titled, numbered "III," and inscribed in pencil. One of approximately 175 third state (of 4) impressions, before the inscription was removed. In superb condition. French Church Series No. 39. 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… Read More

1936. Etching on cream wove paper with a deckle edges, 1 x 1 inch (24 x 24 mm), full margins. Signed in pencil, lower margin. Number 18 from the Christmas Card series; number 19 from the Miniature series. In excellent condition with all of the fine lines printing in astonishing detail. Born in 1887 in Washington DC, John Taylor Arms studied at Princeton University, and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I, Arms served as an officer in the United States Navy, and it was during this time that he turned his focus to printmaking, having published his first etching in 1919. His first subjects were the Brooklyn Bridge, near the Navy Yard, and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on gothic cathedrals and churches he visited in France and Italy (the plate for Guardians of the Spire was created in 1921). He used what was available to him, namely sewing… Read More

Boston: Estes & Lauriat Editions, 1882. Etching on cream laid paper, 2 3/4 x 5 1/4 inches (68 x 132 mm), wide margins. In good condition with one area of adhesive stain residue at top center extreme sheet edge, verso. Not visible through to recto, and well outside of image are. Wide but unevenly trimmed lower margin. A beautiful and delicate 19th century image of one of New England's most storied ports.

1880. Heliogravure with soft varnish on Japan paper, 7 5/8 x 6 1/2 inches (192 x 164 mm), full margins. In good condition with some very minor handling wear, uniform toning, and one spot of light foxing in the upper left sheet margin, recto, well outside of image area. [Exteens 798]. Félicien Victor Joseph Rops (7 July 1833 - 23 August 1898) was a Belgian artist associated with Symbolism and the Parisian Fin-de Siecle. He was a painter, illustrator, caricaturist and a prolific and innovative print maker, particularly in intaglio (etching and aquatint). Although not well known to the general public, Rops was greatly respected by his peers and actively pursued and celebrated as an illustrator by the publishers, authors, and poets of his time. He provided frontispieces and illustrations for Jules Barbey d'Aurevilly, Charles Baudelaire, Charles De Coster, Théophile Gautier, Joris-Karl Huysmans, Stéphane Mallarmé, Joséphin Péladan, Paul Verlaine, Voltaire, and many others. Best known today for his… Read More

London: Martin Hopkinson and Company, 1927. Limited Edition. Near Fine. 8vo, 8 1/2 x 5 1/2inches (215 x 140 mm); viii, 52 pp. Printed on laid paper, watermarked, title page in gold and blue ink. Handsomely bound in tan morocco by Zaehnsdorf London (gilt stamp on front turn-in), gilt fillets on boards and edges, gilt scrolls on turn-ins, gilt title and date on spine; t.e.g., rest uncut. Spine toned and slight water stain to tail of spine and adjoining boards. Copy 16 in ink on limitation page of 262 printed by the Chiswick Press: Charles Whittingam and Griggs, London. Provenance William Foyle - W.A. Foyle / Beeleigh Abbey book plate in red morocco pasted inside front cover. A beautiful Zaehnsdorf-bound collection of the poetry of Algernon Charles Swinburne (1837 - 1909) whose works often handled Victorian taboos, such as lesbianism, sado-masochism, and anti-theism. His poems have many common motifs, such as the ocean, time, and death.

London: The Golden Cockerel Press, 1943. Near Fine. Large 8vo, 10 x 7 3/8 inches (255 x 187 mm), 128 pp., printed in 14 pt. Perpetua type on Arnold's mould-made paper. 500 numbered copies of which this is number 63, bound in quarter green morocco with cream canvas sides bound by Sangorski and Sutcliffe (stamp on first free flyleaf); t.e.g, rest uncut. Frontispiece reproduction of a bronze bust of the author by Lanyi; endpaper with map Levant-Caspian Front by the author with travel route from Nathanya to Baghdad marked in red. Spine shows uniform fading, internally clean and bright throughout and binding firm. Inscription in ink on second flyleaf. [Pertelote 155]. «The Golden Carpet is one of those books born to fame, richly endowed with all the elements which go to make a classic. Of topical interest and permanent value as historical literature, this swift vivid account of one of the most romantic episodes of modern warfare will live, with its author and the characters he describes, as a picture… Read More

Paris: L'Artiste, 1865. Etching on Chine collé adhered to white wove paper, as issued. 2 9/16 x 3 5/8 inches (650 x 930 mm), full margins. In very good condition with some minor areas of light yellow discoloration in the margins, well out side of image area. With the blind stamp of the publisher in the lower left margin. [Guiffrey 1866, 88.176]. An impression of this work may be found in the permanent collection of the Metropolitan Museum of Art, accession number 63.625.448a. L'Artiste was a weekly illustrated review published in Paris from 1831 to 1904, supplying "the richest single source of contemporary commentary on artists, exhibitions and trends from the Romantic era to the end of the nineteenth century." -Nancy Ann Roth, "'L'Artiste' and 'L'Art Pour L'Art': the new cultural journalism in the July Monarchy", The Art Journal (1989:35-39) Also see Henri Béraldi Les graveurs du XIXe siècle: Guide de l'amateur d'estampes modernes. Librairie L. Conquet, vol. XII, Paris, 1885-1892, cat. no.… Read More

London: Robert Wilkinson, 1811. Copperplate engraving with hand coloring in watercolor, 12 1/4 x 17 inches (315 x 435 mm), full margins. Central fold, as issued. Handling creases and dog-eared corners at the lower right and left sheet edges, consistent with age. Coloration is moody and extensive. Likely from the second edition, printed 1834. From the text: This View represents Ludgate as having just caught fire; behind is the Cathedral of St. Paul, involved in Flames, the Extremity of the Scene exhibits the Ancient and Beautiful Arched Tower of St. Mary le Bow, surrounded by the Burning Ruins of the desolated City.

London: George Baxter, 1850. Oil lithograph in colors on light card stock, 1 7/8 x 1 inches (47 x 24 mm), printed to the margins, as issued. Signed and titled in another hand in ink on the mat. Colors are attenuated and the image shows toning throughout. Mat tone, and affixed to the mat at the top edge with a paper tape stamp, as issued. Small area of skinning with an associated "flap" in the center image area, no loss. Presented in a period gilded plaster frame. With the King & Hayman label on the frame back, Bournemouth. These miniature works were initially produced by Baxter for needle box manufacturers with the intention that they would be affixed to the tops of the small, ornate boxes in which women purchased and stored their sewing needles. Baxter intended that the prints would be sold entirely for this purpose, however a new fad sweeping Victorian England opened an entirely new and extremely lucrative market for him; the "parlour scrapbook" rage was flourishing. Baxter, who printed and… Read More

London, 1739. Etching with engraving on cream laid paper with a Garden of Holland or Maid of Dort Pro Patria watermark, 11 x 14 1/4 inches (278 x 361 mm), thread margins. Lettered with the title in a cartouche at the top-center sheet, continuing "a Latere Occidentali Prospeus AD MDCCXXXIX," with numbers over the image at right that correspond to a key 1 to 29, and with publication details: "Georgius Vertue Londini delineavit et Sculpsit anno MDCCXXXIX". Multiple expert repairs, notably a Y-shaped, expert paper tape repair on the verso. Handling creases, toning. All issues are consistent with age. An impression of this work may be viewed in the permanent collection of the British Museum, registration No. 1880,1113.3963. A bird's eye view of the college in Broad Street, London, showing the courtyard, adjoining stable yard to the right, and the buildings at the back. This work was included in Frederick Crace's 1878 tome A Catalogue of Maps, Plans and Views of London, Westminster and Southwark; XXV.29.

1941. Etching on light yellow cream laid paper with deckle edges, 3 7/8 x 5 15/16 inches (984 x 150 mm), full margins. Inscribed in the image "Library of the Grolier Club, Demonstration Plate, Drawn, Etched and Printed in a Little Over Two Hours, On the Evening of March 9th, 1941." Signed, dated, titled and inscribed "I Sketch, Grolier Club Library- Demonstration Print," in pencil, lower margin. In excellent condition with no visible defects. [Fletcher 353]. Born in 1887 in Washington DC, John Taylor Arms studied at Princeton University, and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I, Arms served as an officer in the United States Navy, and it was during this time that he turned his focus to printmaking, having published his first etching in 1919. His first subjects were the Brooklyn Bridge, near the Navy Yard, and it was during his wartime travel that Arms created a series of extraordinarily detailed etchings based on… Read More

1941. Etching on cream laid paper, 3 7/8 x 5 7/8 inches (99 x 150 mm), full margins. Signed, dated, and inscribed "Sketch Grolier Club Library Demonstration Print," and numbered "I" in pencil in lower margin in the artist's hand. In very good condition with good inking. From the edition of only 3 impressions printed by the artist. Demonstration Series No. 105. [Fletcher 353]. Plate Inscription: Library of the Grolier Club Demonstration Plate, Drawn, Etched and Printed in a little over two hours, at the Grolier Club, New York City, on the evening of March 9, 1941 John Taylor Arms.

1929. Etching on cream laid paper with an unknown watermark with an AL inside a ribbon. 10 1/4 x 7 7/8 inches (258 x 187 mm), full margins. Signed, titled, and dated in pencil lower margin. In good condition with one small, very minor 1/4- inch horizontal tear in lower-center quadrant of the image area, in the area of the doorway beneath the arch, very difficult to discern, and completely unobtrusive. 1/2-inch minor horizontal edge tear center sheet edge, bottom margin (outside of image area). Paper tape from a previous hinge at top right and left sheet edges. Light scattered age tone and surface soiling. Perhaps now most famous for one particular illustration for an edition of The Rubaiyat of Omar Khayyam, Sullivan's etching of a skeleton crowned in roses was appropriated by Stanley Mouse and Alton Kelley for the now iconic Grateful Dead poster and album cover.