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

London: R. Balmire, 1789. First Edition. Near Fine. 2 vol.; 8vo; 8 3/4 x 5 1/4 in. (222 x138 mm) ; vol. 1: vii + xi + 221; vol. 2: ttl. + 196 + xxi; with 34 aquatints (tinted aquatints and soft ground etchings, most plates oval) and 6 hand-colored maps. Offsetting where plates are bound in. Previous owner's name in brown ink on each volume on first blank sheet. Bound in contemporary tree-calf with delicate gilt motifs on borders and turn-ins, marbled endpapers, rebacked, a little rubbed. [Abbey Scenery 487 (citing the third edition); Prideaux, p.337; Lowndes III, p.895; Cox, Travel, III p. 32-33; ESTC T98995]. This is Gilpin's third in his series of works tracing picturesque beauty in British natural landscapes. In it he portrays the landscapes of Scottish Highlands, and describes them lyrically in his text. Prefacing the list of Prints at the end of the second volume, the author says "With regards to the prints, which adorn these volumes, I can only say..... that few of them pretend to be 'exact… Read More

London: Thomas Collins, 1672. First Edition in English, First Issue. Very Good. Small 8vo; 6 1/2 x 4 1/8 inches (165 x 104 mm); [40], 237 [1] pp., with the errata at the beginning of the table of contents, table misbound after dedication, C1 with tear to lower margin, not affecting text, some light marginal browning. Etched garland and cornucopia arms of Lord Arlington on both title and dedicatory page. Later brown calf binding, decorative blind stamp on covers, title in gilt on spine; trimmed, marbled edges; stamp of the Maynard and Outram Smith Library on f.e.p. and previous owner's signature dated 1770 at head of dedication page. Internally clean and bright with consistent toning on the edges; spine a little faded and light rubbing to spine ends and corners; firmly bound. Provenance: Tho. Boston Alnwick 1770 (ink inscription). [Keynes 181; ESTC 006089128]. John Evelyn the Younger's first book, RARE FIRST ISSUE with title date 1672. We can trace no example of this issue for sale and only 6… Read More

1925. Etching on cream wove paper, 6 x 4 inches (153 x 102 mm), full margins. Signed in pencil, lower margin. From the edition of 150, printed by Frederick Reynolds. [Fletcher 163]. This work was commissioned by The Print Connoissuer, and served as the frontispiece for the October, 1925 issue. Illustrated on p. 52, Dorothy Noyes Arms, Churches of France Note: according to Fletcher, Arms was assisted in work on this plate by Kerr Eby, both concluding "neither very successful.

Glasgow: Regality Club, 1894. Etching on cream laid paper with a poppy watermark, 4 1/2 x 5 7/8 inches (115 x 148 mm) full margins. Notations in the margins recto, well outside of image area. Scattered very minor light brown foxing in the right-side sheet quadant, virtually invisible on recto. [Rinder 191]. The son of a clergyman, Sir David Young Cameron was born in Glasgow in 1865. After a brief and unhappy dalliance in the fields of business and law, Cameron began attending the prestigious Glasgow School of the Arts in 1881, and later the Edinburgh School of the Arts. At first associated with the Glasgow Boys (John Lavery, Joseph Crawhall and James Guthrie), Young gained notoriety as an etcher, and by the 1890s he was internationally recognized, and had been elected to the Royal Society of Painter-Etchers. In 1899, having married, Cameron and his wife moved to the Scottish Highlands, where he switched his focus from interior scenes to architectural and landscape compositions. His feathery line… Read More

New York: Harcourt, Brace and Company, 1939. First American Edition. Near fine/Very Good -. 8vo, 8 1/2 x 6 inches (215 x 152 mm). 46 pp + 1 blank. Grey cloth boards lettered in black down the spine. Orange dust jacket lettered in black by the author with his pictorial designs on front and back, price of $1.25 unclipped, tears to the spine paper repaired with acid-free paper tape. One of 2000 copies printed. On verso of title leaf:... "first American Edition Printed in the United States of America...." A title-leaf, printed on orange paper is inserted, reproducing the front and back designs of the dust jacket. Binding tight and square, edges very lightly discolored, pages clean and evenly toned. [Gallup A34b]. The title of this book of light verse is given by Ezra Pound's friendly nickname for Eliot "Old Possum." In 1954, the composer Alan Rawsthorne set six of the poems for speaker and orchestra in a work titled Practical Cats. After Eliot's death, the book was the basis of the musical Cats by… Read More

1927. Etching with drypoint on watermarked "Hand Made" laid paper, signed in pencil lower right with snail cypher in pencil, and titled "Smyth Gate" in bottom left margin. 8 3/4 x 7 3/4 inches (222 x 196 mm), full margins with a deckle edge. In good condition with minor mat tone and a small loss below the top right corner, well outside of image area. Edition of 150. A charming composition full of light and shadow. A view of the gateway to Simmons-Edwards House (14 Legare Street), also known as the Pineapple Gate House. Literature: Sara C. Arnold and Stephen G. Hoffius, editors, [The Life and Art of Alfred Hutty: Woodstock to Charleston], The University of South Carolina, 2012, p. 105,135, no. 66.

1640. Etching on cream laid paper, 3 x 2 1/4 inches (76 x 57 mm), margins. In very good condition with some minor losses at the extreme lower right corner. Pencil inscriptions on the verso. Formerly attributed to Rembrandt (B.295), now recognized as being in the manner of Rembrandt by Ferdianand Bol, this impression was likely printed 18th century. [Hollstein 350].

1965. Near fine. Vintage gelatin silver print. Image dimensions 7 3/4 x 9 1/2 in. (197 x 242 mm), printed to edge, bottom left corner stlightly bent Photographer's copyright stamp and credit sticker on verso, with penciled title and date "'60s/'70s" A striking photograph from Scafidi's copious production of images relating to crime news, depicting the traditional funerary carriage in a stark landscape near Palermo. Nicola Scafidi was born in Palermo in 1925 and began practicing photography very young, having learned the technique from his father. In 1943 he was there to document when the Allies landed in Sicily and he dedicated his life to photojournalism, capturing the contradictions, ugliness and hope of his native Sicily. He portrayed all aspects of life, from the mundane and familiar to the religious, from the destruction of earthquakes to the brutality of the mafia. Celebrated film directors called on him to document the sets of their productions, among them Rossellini, Zeffirelli, DeSica,… Read More

1925. 18/75. Drypoint etching on cream laid paper, 5 1/2 x 7 7/8 inches (138 x 198 mm), full margins. Signed and numbered in brown link, lower margin. A lovely dark impression with the fine lines printing clearly. Scattered light surface soiling.

Drypoint etching and aquatint in sepia on cream wove paper, 10 x 8 inches (254 x 201 mm), full margins. Signed in pencil, lower left. Minor toning with evidence of very minor moisture damage along the lower quadrant on the verso. Non-archival adhesive residue at the top corners on the verso, and nickel-sized area of minor skinning at the top left sheet edge, verso. Light pencil notation in the lower left corner, verso. Otherwise in good condition with rich inking. "Delteil 24" marked in pencil on verso.

1680. Etching on cream laid paper with a large heraldic watermark which is partially trimmed, 4 3/16 x 3 5/8 inches (105 x 84 mm), margins trimmed but preserving the signature in the lower left. Archival paper tape reinforcement on the verso behind the signature, with losses at each of the three remaining corners. A silvery and luminous impression of this period reverse copy. [Godefroy 8]. An impression of this reverse image may be viewed in the permanent collection of the Metropolitan Museum of Art, Accession Number: 51.501.467.

Prague/London, 1640. Etching on cream laid paper, 132 x 69 mm; 5 1/4 x 2 3/4 inches, trimmed inside platemark. From the collection of 26 costume plates by Hollar. 8vo., printed late 18th century, London. Laid down to heavier weight cream laid paper, and adhered at top margins to card stock, scattered light surface soiling, consistent with age. An English lady standing whole length to right; wearing a dark hat, shoulder wrap fastened with a bow, her hands in a muff. Title cropped at bottom. Colas 1464; Lipperheide (1963) 975.