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

London: Published by the author, 1874. First Edition. Near fine. Quarto, 8 7/8 x 6 1/4 inches (200 x 159 mm), pp. (2), 46, blank pages before and after illustrations, with 36 ORIGINAL WATERCOLORS; contemporary half morocco, three-quarter binding, decorative gilt on spine, 5 raised bands, marbled boards and end papers; slightly rubbed. Title and index lightly foxed, occasional pencil annotations. A pencil note under the text for Plate IV reads, "The Larva is drawn on the previous Plate III. The author in some copies drew the Larva and Moth on separate leaves, making two plates." [Freeman 1996] [Nissen ZBI 2119] "Theo Johnson's works are little known. He was an amateur naturalist and artist and in his works the text is conventionally typeset... however, there is very little text. He maintained that his illustrations were so accurate that long descriptions of the butter-fly were completely unnecessary. Johnson hand-drew and coloured all the plates himself from specimens in his own collection... The… Read More

London: Thomas McLean, 1822. Soft ground etching with handcoloring in watercolor on cream wove paper, 8 7/16 x 10 9/16 inches (215 x 270mm), full margins. From the edition of 42 hand-colored and bound softground etchings, printed by Thomas McLean. Scattered discoloration, light surface soiling and age tone. Window of light mat-burn at 1/4 inch perimeter outside of image area. Some spots of light foxing and light brown discoloration on the verso. Two minor edge tears at top right and left extreme sheet edges, well outside of image area. Non archival mounting residue at top sheet edge, well outside of image area. All condition issues are consistent with age.

New York: Brentano's, 1927. First, Limited Edition. Folio, 12 3/8 x 9 3/4 inches (315 x 248 mm); pp. 127, [2]; THIS IS NO. 59 of 600 COPIES PRINTED; Alternative title page: The art of Bakst / by V. Svietlov; half-title: Bakst; in variant contemporary pebbled blue library cloth, gilt titling on spine and front; due to the rebinding, there is no dust jacket present. Illustrated with 30 phototype Bakst plates, of which 20 colored by hand or pochoir and many highlighted in silver and gold, 13 color illustrations tipped in, some with offsetting; intact numbered and captioned tissue guards; illustrations and decorations in the text; small damp stains at bottom of front and back pages not affecting images or text, binding shaken. Colophon: "600 copies of this edition (American edition) were printed in Paris. The hand-coloured photo-types were executed at D. Jacomet's Artistic Press, the text was composed and printed at the G. Lang Press." A wonderful collection of famous costume designs of Léon… Read More

London: William Herbert & Robert Wilkinson, 1809. Engraving on buff wove paper, 12 1/4 x 8 1/4 inches (310 x 208 mm), full margins. In good condition with some scattered surface soiling, and edge wear along the top sheet edge, well outside of the image area. From a series of three views of the Duke's Theater. An impression of this work may be viewed in the permanant collection of the Royal Collection Trust.

London: Robert Wilkinson, 1815. Etching and engraving on wove paper with an "1809" watermark, 13 1/2 x 10 inches (342 x 252 mm), full margins. In very good condition with some age related toning and light spots of discoloration in the lower sheet quadrant. Damaged in the Blitz, and largely demolished in the 1960s, what remains of St Mary Elsing includes these doorways, which still stand, looking back towards London Wall. The ruins include tall arches which once formed the base of the tower. There is also a low wall with an arched recess which may have been used to house a tomb.

Robert E. Townsend, 1991. Resist ground etching and engraving with hand refinement in charcoal, pencil, stabilo, and eraser on BFK Rives white wove paper, 20 x 36 inches (507 x 914 mm), full margins. Signed, titled, dated and numbered 51/175 by the artist in pencil, lower margin. A brilliant, inky impression with luminous light and gradient tones. In excellent condition with one extremely minor and superficial spot of light tan adhesive residue on the verso, unobtrusive and not visible on the recto, with no other visible defects. With the blind stamp of the printer, Robert E. Townsend in the lower left margin. An especially fine impression in superb condition. [Milton 113]. When asked about this work in particular, Milton expressed that his favorite images were his darkest images, in theme, mood, and in ink. Milton, who has said that his work is infused with a postmodern awareness of the past, has focused here in a deeply personal way on a segment of history that continues to haunt us all. The… Read More

1984. Resist ground etching and engraving on BFK Rives wove paper, 20 x 36 inches (501 x 913 mm), full margins. Signed, titled, dated and numbered 49/175 in pencil, lower margin. In excellent condition with minor mat tone. A luminous, rich, and well-inked impression of this haunting image, with astonishing detail and depth. Framed handsomely under museum grade glass with archival materials in a solid wood frame with silver finish. [Milton 107]. Intended to be a stand alone image in its inception, Family Reunion ended up spawning seven additional images, and became a sort of Primo Pensiero in the sprawling, masterpiece suite now known as Interiors. The suite took eight years to complete, and consists of works of varying format, psychological intensity, and subject matter. The thematic darkness in the eight images waxes and wanes, and Milton intentionally included several interlude works to lighten the tension he felt while composing several of the darker images. The first two in the series, Family… Read More

Ink and wash on hand made, cool-toned cream laid paper, 6 3/4 x 8 7/8 inches (170 x 224 mm), top margin slightly trimmed. Partial watermark of a shield with two horns, upper right corner. The deckle edge along the sheet top has been trimmed out, the three other deckle edges appear to be full. Three or so very minor spots of foxing appear on the verso, none of which are visible through to the recto. Paper tape remnants at top right and left corner, verso, also not visible through to the recto. A lovely composition, in very good condition. In this charming scene a maid appears bashful as she is introduced by her mother to the shepherd's son.

1900. Drypoint etching on cream laid paper, 5 3/8 x 7 1/8 inches (130 x 180 mm), full margins. A beautiful, bright and detailed impression of this lovely collaborative print. Signed in pencil by both artists in the margin.

London: T. Cadell and E. Moxton, 1834. First Illustrated Edition. Near fine. Turner and Stothard. 8vo, 8 x 5 3/8 inches (202 x 135 mm); vii, [1], 284 pp.; viii, 296, [1] pp. Separately published works, often found as companion copies, in elegant matched bindings by Lucien Broca, stamp-signed on front turn-in. Crushed green morocco with gilt rules and intricate gilt floral and pointillé decorations on corners and turn-ins, gilt ruled board edges, raised bands with gilt dots, spine lavishly gilt in compartments with complex floral and pointillé designs and gilt lettering; bright green silk endpapers; t.e.g. Spine sunned, as typical of green morocco, but bindings square and in excellent condition. Occasional faint foxing. A total of 4 full-page plates, 20 in-text illustrations and over 100 steel-engraved headpieces and tailpieces most from designs by J. M. W. Turner and Thomas Stothard. - W.A. Foyle library bookplate in red morocco pasted inside front cover of each volume. [Ray 13, 15]. A superb… Read More