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

1931. 8vo, 7 3/8 x 5 1/2 in (187 x 151 mm); 82 pages of which 66 with handwriting and 16 blank; Hand-made Florentine album with heavy hand-made paper stitched and bound into a contemporary vellum cover, hand-painted and highly decorated, brown leather straps with woven white leather ribbons, limp leather ties, woodblock endpapers with green motif. Cover somewhat thumbed but solid with no color losses, pages bright and clean. Hand writing in different color inks. Binder ticket on front pastedown, Alfonso Dori, Florence, with pen inscription about the origin of the gift in 1931. This elegantly decorated Florentine album belonged to the young Dorothy Colles, who received it as a present in 1931 when she was 14 years of age. On the cover Colles notes "This book was Aunt Dorothy's: Granny gave it to me in 1931. Mummy had it made for her in Florence. I was called after her." As stated on the first page Colles began writing in the album in December of 1932 and collected, in her own very neat handwriting, an… Read More

1832. Very good +. Unique Album, 8 5/8 x 11 3/8 in. (220 x 290 mm); 50 sheets of heavy hand made paper, come in pastel colors. Bound in light calf with dainty decorative borders in black and white ink, bearing classical motifs and medallions, tooled on corners and border in gilt and a beautiful color painting in a diamond frame at the center, bearing the view of an elegant pavilion in a formal garden, with 4 elegant characters walking about; 5 raised bands and gilt decorations with two red morocco labels, untitled; blue and beige end papers, lower corners bumped. One signature slightly loose but overall in very good plus condition. The album contains a varied collection of memorabilia including, some pasted in and some loose: - a dedicatory letter written on board of the ship/boat Sirena (mermaid) on 13 June 1832 to Antonietta on her name-day. The writer (unsigned) talks of this book as a reminder of the best times of his life, of travels to Naples, Pompeii, and climbing on top of Vesuvius which… Read More

1931. Etching and drypoint on cream-colored, handmade laid paper with deckle edges, 7 1/4 x 6 3/4 inches (185 x 171 mm), edition of 100, full margins. Signed, dated and numbered "Ed. 100" in pencil, lower margin, second state (of three). Printed by Henry Carling, New York. Extremely minor mat tone and some inky residue in the top right corner, all unobtrusive and well outside of image area. An exquisite impression of this intricate image, with astonishing detail, and all the fine lines printing clearly. The image represents the first print which Arms printed on his own handmade paper. Framed handsomely with archival materials and museum grade glass in a wood gilt frame with a flower and garland motif. Illustrated: Dorothy Noyes Arms, Hill Towns and Cities of Northern Italy, p. 180; Anderson, American Etchers Abroad 1880-1930; Eric Denker, Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940, p. 116. [Fletcher 233]. Born in 1887 in Washington DC, John Taylor Arms studied… Read More

Paris: Cadart & Luquet, 1865. Etching on buff, cream laid paper, 9 3/8 x 13 7/8 inches, full margins. Printed by Delâtre, Paris, with the blindstamp in the center-sheet, lower margin. General toning and minor handling creases; one -1/4 inch vertical edge tear at the left sheet edge, well outside of image area. A lovely, inky and rich impression. One of 60 etchings published in the third volume of the third year of the Society of Aquafortistes, entitled Eaux-fortes modernes.

London: Golden Cockerel Press, 1950. Limited Edition. Fine. John Buckland Wright. 8vo; 9 x 5 3/4 inches (228 x 144 mm); 40 pp., 13 pt Bembo type. 6+1 copper engravings by John Buckland Wright, with tissue guards. This is copy no. 96 of 100 special numbered copies with one extra engraving facing the title page. Bound by Sandorski & Sutcliffe, London (stamped in gilt on inside front cover) in wine coloured vellum boards, gilt title and gilt image of Horus with the sun between the horns; gilt fillet on turn-ins; t.e.g, rest uncut; spine slightly faded, as expected by the publisher (see comments below) [Cock-a-Hoop 185]. «Among the greatest poets of antiquity Euripides, Propertius, Virgil, and Ovid all found in the legend of beautiful, tortured Pasiphaë, who loved a bull, a subject to evoke sublime verse, and Swinburne when he chose this theme was thus in noble company. Ignored by editors and critics, the poem is nevertheless comparable with his finest work, and it gave me much satisfaction that… Read More

Paris: Faure, 1866. Etching on cream wove paper, 5 1/2 x 4 1/2 inches 140 x 115 mm, full margins. In good condition with some light, marginal toning, outside of the platemark. Printed by Delâtre, Paris. A dark Parisian back alley with a with woman walking on the sidewalk at left; an illustration from Frédéric Henriet's book "Le Paysagiste aux champs," Faure Press, Paris, 1866.

Boston: American Art Review, 1880. Etching on cream laid paper, 5 3/4 x 8 3/4 inches (146 x 230mm), full margins. Light uniform age tone, scattered handling creases and minor toning at extreme sheet edges. On the verso there are multiple scattered areas of brown discoloration that do not show through to the recto. Nonarchival paper adhesive inventory sticker measuring approximately 3/4 x 3/4 inches, verso, outside of image area. Pencil inscription in margin, verso, outside of image area. A bright, well-inked impression with all the fine lines printing clearly.

Paterson, New Jersey, 1870. Very good +. Albumen silver print. 10 11/16 x 16 3/16 inches. The first iron, and fourth bridge to cross the Chasm was placed there July 2, 1868, was eighty-five feet long and was built by the Watson Machine Company, builders of the Post Patent bridges. E. M. Graff, Passaic County Historical Society Publication, October 1944. The river was highly significant in the early industrial development of New Jersey. It provided a navigable route connected by canals to the Delaware River starting in the late 18th century. It also was an early source of hydropower at the Great Falls of the Passaic in Paterson, resulting in the early emergence of the area as the center of industrial mills. "The Great Falls: Power for Another Revolution?" Jacqueline Mroz; The New York Times, March 27, 2009. More than 200 years ago, during the Revolutionary War, Alexander Hamilton was traveling with General George Washington when the men stopped with their entourage to have a meal in front of a… Read More

Paris, 1849. Etching, drypoint, and roulette on buff laid Japon paper, 5 7/16 x 9 13/16 inches (137 × 249 mm) full margins. In very good condition with light and unobtrusive scattered foxing. Some pencil inscriptions in the margins, recto, as well as the Alfred Beurdeley collection stamp (Lugt 421) in black ink in the lower left margin on the recto. There are some light scattered inscriptions in pencil on the verso, as well as a numerical stamp in blue ink, which we believe is the lot number from part III of a well-known series of sales of Beurdeley's collection organized by Loys Delteil. This portion of the sale of Beurdeley's massive collection focused on Modern Prints, and took place on May 19 - 20, 1920, in Paris. In regard to the content of the sale, Fritz Lugt states "Meryon's work included all the beautiful pieces about Paris." A rich and tonal impression. [Delteil & Wright 9; Schneiderman 12]. A note on the provenance: Alfred Beurdeley (1847-1919) was the son of one of the first antique… Read More

1844. Etching on Chine collé mounted to cream wove paper, 3 5/8 x 5 1/8 (90 x 129 mm), full margins. With a pencil notation in the right margin on the recto (outside of image area), as well as some minor mat tone. Otherwise in very good condition.

1845. Etching on Chine-collé mounted to heavy wove paper, 3 1/8 x 4 1/2 inches (758 x 108 mm), full margins. Signed and dated in the plate, upper right. In good condition with minor mat tone. An impression of this work can be found in the collection of the British Museum.

1647. Etching on thin, cream laid paper 4 x 3 5/8 inches (100 x 90 mm), with narrow margins, trimmed inside the platemark. Adhesive residue at the top right and left corners, and archival paper supports expertly applied at both bottom corners on the verso, the recto is unaffected. Small area of rubbing in the lower left corner. In very good condition over all. A good impression with warm plate tone and good details in all of the fine lines. [Bartsch 42].

1675. Etching on on laid paper. 3 1/16 x 2 1/5 inches (78 x 62 mm), sixth state (of 6th). Adhered along left sheet edge to archival wove paper. A rich inking impression in very good condition. From the Picart Edition of 1710. Ex-collection Ferdinand Roten Galleries, Baltimore, MD. [Hollstein 49; Godefroy 1990].

Edinburgh, 1800. Etching on cream wove paper, 3 1/4 x 2 3/8 inches (81 x 68 mm), trimmed at the platemark. Minor condition issues consisting of toning and light handling creases, all consistent with age. A copy of the work etched by David Deuchar after van Ostade, from A Collection of Etchings After the Most Eminent Masters of the Dutch and Flemish Schools particularly Rembrandt, Ostade, Cornelius Bega and Van Vliet, Edinburgh: 22 December, 1803. [Delteil 22 copy].

1647. Etching on cream wove paper, 3 7/8 x 3 inches (98 x 75 mm), narrow margins. The lower left corner has been repaired with in-painting and paper tape, and at the area of the right corner on the verso there is a partial collectors stamp which has been obscured by adhesive residue. Adhesive residue at each of the four corners on the verso. Moderate toning. Printed later, likely late 18th century. [Bartsch 42].

London: McLeary, 1850. Steel engraving with hand coloring in watercolor on cream wove paper, 8 3/4 x 7 3/4 inches (222 x 195 mm), margins trimmed to exclude the top of the sheet and the publisher's information. Uniform age tone. The text below reads: The Pedestrian Carriage or Walking Accelerator The carriage is propelled by the Feet of the Pedestrian. In the first step made to give the Machine motion, the heel should be the Just part of the foot to touch the ground, and so on with the other foot alternately as if walking, observing always to begin the movement very gently. In the front before the Rider is placed a Cushion to rest the arms on, while the hands hold the Lever to direct the fore wheel which moves on a pivot to one side or the other as occasion requires; the Cushion that supports the arms is properly called a Ballance, as it really answers that purpose, for in turning of the Machine inclines to the left the right arm is pusse on the ballance which brings the Carriage upright again, and… Read More

1900. Photogravure printed in brownish beige ink on cream laid paper, laid down to card stock, 6 x 8 inches (151 x 202 mm), margins trimmed to image area. Significant rubbing at corners of matrix, and along matrix edges. Etched by Friedrich Wilhelm Zimmermann after the late 18th century masteripiece by Batoni, the original canvas was destroyed on Valentine's Day, 1945, during a series of allied air raids on Dresden. This photogravure is made from the only known existing photographic record of the painting taken before its destruction.

London: James Whittle & Richard Holmes Laurie, 1814. Engraving with hand coloring in watercolor on wove paper, 11 1/2 x 17 1/4 inches (290 x 437 mm). Condition issues include significant creasing, toning, surface soiling and multiple paper tape repairs on the verso. Hand coloring is extensive and well saturated.

London: Richard Watkyns, 1579. First Edition. Very Good. Small 4to; 7 1/2 x 5 5/8 in. (190 x142 mm); pp. [4] + xiv +1-152 First Booke, Physicke for Fortune: 153-343 Second Booke, Phisicke against Fortune + vi (table of contents) + [2]. Each book with Epistolary preface by Franucis Petrarche. Translated into English from Latin by Thomas Twyne whose introduction dedicates the work to "Richard Bertie Esquier." Title within woodcut decorative border, woodcut decorative initials, set in gothic and latin type, lacking sig.B and final blank, lower corner of title torn and repaired with loss supplied, first gathering lower corners repaired, some dampstaining and toning throughout but sheets supple and intact. 19th century calf, gilt, panels from early English blind-stamped binding laid down on covers, corners worn, rubbed. Front pastedown with small engraved bookplate with initials "I N" Title page reads: «Physicke against Fortune, as well prosperous, as adverse, contained in two Bookes Whereby men are… Read More

Hartford, Connecticut / Paris: James Thrall Soby / Cahiers d'Art, 1934. First Edition, second issue. Spiral bound. Very good +. Large 4to, 12 1/8 x 9 /14 inches (308 x 235 mm), spiral bound in original stiff color pictorial wrappers with plastic "comb" spine; creasing and generally light wear at edges of wrappers, some dust smudging to back wrapper, top two "fingers" and the bottom most "finger" of plastic "comb" spine defective - otherwise intact. Light internal creasing at corners, very occasional, minor internal finger smudging. Complete. Text in English and French. 104 black and white plates of which 84 photographs and 20 rayographs by Nab Ray. " "Deuxieme Edition [but first edition, second issue]." Man Ray made several different studies for the cover, and finally settling on this image of his own bust looking down on a blue-eyed blonde contemplating a plaster hand cradling a fragile lightbulb that mirrors a catching toy ( a ball on a peg) [Roth 101 p. 80-81], "First edition; one of an unknown… Read More