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

London: Thomas Mclean, 1835. Etching with hand coloring in watercolor on cream wove paper, 5 x 8 3/8 inches (125 x 210 mm), full margins. A lovely, well inked impression with fresh and extensive hand coloring. Paper tape remnants from a former mount at top right and left sheet edges, recto. Hand coloring is fresh and extensive. In good condition with no visible defects. This stirring image is in reference to an incident which occurred in the winter of 1821. Great Britain, struggling with economic distress after the strain of the Napoleonic Wars, was thrown into a period of intense social unrest. The middle class, who bore the brunt of the cost of the victory against France, was struggling under the newly imposed Corn Laws. Periods of famine ensued, and unemployment soared as soldiers returned from the continent looking for work. One such soldier was Arthur Thistlewood. In January of 1820, King George III died unexpectedly, precipitating a constitutional crisis, and creating the necessity of a general… Read More

1901. Approximately 50. Etching with drypoint on Japan paper, 9 3/4 x 12 3/4 inches (245 x 322 mm), full margins. Signed by the artist in pencil, lower center margin, titled in another hand, lower left margin. In lovely condition with excellent burr. Paper is slightly cockled at sheet edged, a natural characteristic of Japan paper. Two minor areas of adhesive residue at top right and left sheet edges from a former mount, with two associated areas of unobtrusive light skinning, verso. A rich and silvery impression with extensive handwork in the plate.

1862. Graphite on cream wove paper, 6 5/8 x 10 3/8 inches (167 x 262 mm), signed, titled and inscribed in pencil in the lower margin. With inscriptions in pencil on the verso and multiple horizontal and vertical folds throughout the sheet area. Handling creases and a small fold-associated edge tear extending horizontally 1/4-inch into the sheet at the right-center sheet edge. Likely a study for an illustration for Harper's Weekly, for which Wiser was a Civil War-era illustrator, focusing on shipwrecks and battles occurring along the mid-Atlantic coast.

1890. Ink and gouache with yellow heightening on fibrous, brown laid paper with a Jaipur Court Fee tax stamp in blue ink, 13 1/2 x 8 3/4 inches (343 x 222 mm). Toning, handling creases and minor scattered surface soiling throughout. There are scattered coeval Hindi inscriptions in ink on the recto. Raja Mahan Singh Mirpuri (1810 - 1844) was a famous general in the Sikh Khalsa Army. He was conferred by Maharaja Ranjit Singh the title of Raja for his conquests of Haripur, Nowshera and Peshawar. The town of Mansehra derives its name from him. Singh was murdered by his own soldiers in 1844, when mutiny broke out in the Sikh Khalsa Army. His death was avenged by his son, Chhattar Singh, who was himself killed soon after. The first revenue stamps in India were issued in the mid-nineteenth century during the Raj, and they are still being issued to this day. Apart from issues for the whole of India, many princely states, provinces, and other states also had (or still have) their own revenue stamp issues.… Read More

1890. Ink and gouache with gold heightening on fibrous, brown laid paper with a Jaipur Court Fee tax stamp in gray ink, and the 1889 Jaipur State Council stamp in black ink, 13 1/4 x 8 3/4 inches (335 x 222 mm). Toning, handling creases and minor scattered surface soiling throughout. There are scattered coeval Hindi inscriptions in ink on the recto. "A ragamala, translated from Sanskrit as "garland of ragas," is a series of paintings depicting a range of musical melodies known as ragas. Its root word, raga, means color, mood, and delight, and the depiction of these moods was a favored subject in later Indian court paintings. The celebration of music in painting is a distinctly Indian preoccupation. Ragamalas were first identified as a specific painting genre in the second half of the fifteenth century, but their ancestry can be traced to the fifth- to seventh-century Brihaddeshi treatise, which states: "A raga is called by the learned that kind of composition which is adorned with musical notes . . .… Read More

1890. Ink and gouache with gold heightening on fibrous, brown laid paper, with a Jaipur Court Fee tax stamp in purple ink on the recto, 12 1/2 x 9 inches (318 x 230 mm). Toning, handling creases and minor scattered surface soiling throughout. There are scattered coeval inscriptions in ink on the recto and verso. The first revenue stamps in India were issued in the mid-nineteenth century during the Raj, and they are still being issued to this day. Apart from issues for the whole of India, many princely states, provinces, and other states also had (or still have) their own revenue stamp issues. Before independence, Indian revenue stamps were closely modeled on similar designs from Great Britain, as is the case with this carriage motif stamp from Jaipur. The stamps were issued to denote various denominations, including rupees and annas. An anna (or ānna) was a currency unit formerly used in British India, equal to 1⁄16 of a rupee. It was subdivided into four (old) Paisa or twelve pies (thus there… Read More

1849. Etching on light gray Chine collant, laid down to ivory wove paper, 4 3/8 x 7 3/4 inches (110 x 195 mm) (Chine matrix), full margins. In very good condition with light mat tone and one lentil-sized spot of light yellow discoloration at the top right sheet corner, wove paper, well outside of image area. Only known state. [Guiffrey 89; Beraldi 89; Fonds Français 236]. 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 contribute paintings and prints to the Salon every year until 1870.… Read More

Paris, 1861. Etching, drypoint, and engraving on cream laid paper, 6 x 4 1/4 inches (152 x 108 mm), full margins. Dog-eared left corner, extending 3-inches into the sheet, but well outside of the image area. [Schneiderman 1990, no. 78, State v/v]. Rene Goulaine de Laudonnière (c. 1529-1574) was a French Huguenot seaman and explorer, and was the founder of the French colony of Fort Caroline in what is now Jacksonville, Florida. Admiral Gaspard de Coligny, a Huguenot, sent Jean Ribault and Laudonnière to explore potential sites in Florida suitable for settlement by the French Protestants. In 1562, Laudonnière was appointed second in command of the Huguenot expedition to Florida under Jean Ribault. Leaving in February 1562, the expedition returned home in July after establishing the small settlement of Charlesfort in present-day South Carolina.

Paris: Charpentier, 1884. Limited Edition. Fine. Fine. James Jacques Joseph Tissot (1836-1902). 8vo 10 1/2 x 6 7/8 in. (266 x 175 mm). No. 5 of 20 deluxe illustrated copies printed on imperial japon paper from a total edition of 550. This copy includes 10 original etchings, signed in pencil by James J. Tissot (1836 - 1902) and a second state of each etching, with page number and red ink stamp printed on holland paper. 380 pp. including half title, limitation page, title, dedication, preface and colophon; paper uncut and in exceptionally attractive condition with no spotting or foxing. Binding by Charles Allô, half blue morocco with gilt fillets, gold speckled paper on boards, marbled endpapers, 5 raised bands, title in gilt, compartments with elaborate gilt tooling and red roses; original wrappers bound in; t.e.g.; spine lightly sunned and some chipping to the edges of the boards; binding tight and square. From the library of GUY BIGORIE: Small ticket with GB initials pasted on the inside front… Read More

Paris: G. Charpentier et Cie, 1884. The complete set of ten (10) etchings on cream wove paper illustrating the same-titled novel by Edmond and Jules de Goncourt. Each etching approximately 9 3/4 x 6 3/8 inches (250 x 163mm) (sheets), each with full margins. Some sheets exhibit light discoloration along the extreme edges, well outside of the image areas. Tone is consistent with age. Each impression is dark and richly inked, with the fine details printing clearly. A lovely example of this highly collectible set by Tissot. [Wentworth 62-71]. These dark and inky impressions are such both in tone and theme, visually and emotionally. The classic novel by Goncourt, originally published in 1864, is a cautionary tale of an emancipated young woman, the youngest of three siblings, who seeks to double-cross her conniving older brother. Renée Mauperin exposes the plan of her opportunistic brother Henri, who has embarked upon a love triangle between his bride, and his future mother in law, in order to secure a… Read More

1800. Woodblock on cream laid paper, 5 5/8 x 7 inches (141 x 177 mm), narrow margins. Scattered handling creases, with one pin-point spot of brown discoloration above the female figure's head. The date "1807" written in ink in the top-right margin. On the verso is a passage in French from an unknown book.

Paris, 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.

London: George Baxter, 1842. Oil lithograph in colors with engraving on cream wove paper, laid down to card stock, 7 3/8 x 4 3/8 inches (195 x 120 mm) full margins. Scattered moderate but light colored foxing throughout, with surface soiling and slightly attenuated colors. Presented in the original black lacquer and gilt wood frame. A hopeful moment before a well document tragedy, Baxter created several versions of this scene and its aftermath in various sizes. He was clearly captivated by the gruesome story which ended in the massacre of missionary Reverend John Williams and his party. As Williams and fellow missionary James Harris stepped ashore they were attacked with clubs by the native people and reportedly eaten by them, in one of the most well documented cases of cannibalism. Recently the decedents of Williams have taken part in a reconciliation ceremony in the South Pacific to mark the 170th anniversary of the death of Reverend Williams and James Harris. It had been a long-awaited event by… Read More

1870. Watercolor and gouache on cream wove paper, 17 3/4 x 13 7/8 inches (450 x 340 mm). Signed and titled in watercolor in the lower right image area. Small circular pea-sized damp stain in the top center image area (visible in the area of the sky), and some additional small spots of unobtrusive foxing in the upper left sheet area. Otherwise in very good condition with fresh colors and intricate brushwork. Henri Schäfer attended l'Ecole National de Beaux-Arts, and is well known for his Victorian era European city and town views, especially his French and Belgian cathedral landscapes. Schäfer's work is often conflated with that of British artist Henry Thomas Schafer, who was active in the same regions at the same time. In addition, both artists are considered to belong to the School of Samuel Prout. Biographical distinctions may be found in Christopher Wood's 1971 reference, The Dictionary of Victorian Painters, published by the Antique Collectors Club, London. One observation that can be made in… Read More

London: E. and R. Nutt / Company of Stationers, 1726. 32mo, 5 x 2 7/8 in. (127 x 78 mm). Maroon morocco with elaborately gilt covers and spine, of the two metal clasps only one half is present; marbled endpapers, a.e.g.; covers and hinges worn and somwhat cracked, notations in brown ink, dated 1726 and 1727, on the first two of 13 blank sheets at the beginning of the book; blank sheets also interspersed between months and at the back of the book for notations, some scribbled in brown ink; custom stamps to title-page. The title page also reads: It being the second after Bissextile or Leap-Year; Fitted for all Capacities within the Islands of Great Britain and Ireland. Also Chronological Observations of Principal Use, with Notes of Husbandry and Physick, Fairs and Marts. Also Directions and Tables for Many good Purposes. Made and compiled for his Country's Benefit, By Cardanus Rider. [ESTC T171165]. Rider's British Merlin was a pioneering and popular almanac, first printed in 1656 and then through… Read More

London: R. and M. Brown / Company of Stationers & J. Jolliffe, G. Woodfall, and J. Walter, et al., 1774. Very Good. 12mo; 5 1/4 x 2 7/8 in. (134 x 77 mm); almanac and calendar bound into one volume. 1. Rider's Merlin, 60 pp. + 13 blank sheets for notes and a woodcut "Anatomical Man," printed in black and red ink; 2. Court and City Register, vi + 282 pp. printed in black ink. Title pages of both are mounted in succession at the beginning of the book. Contemporary red morocco with flap, elaborate gilt decoration, four raised bands, black morocco title label to spine, white metal clasp; Dutch gilt endpapers, a.e.g.; green silk pocket to contain cards etc. on the back of the book is torn and partially missing. Binding worn and soiled, as is typical of an object of daily use, but binding is tight and square, and pages clean and bright, a few tightly cropped. Calendar 1: Rider's British merlin: For the year of Our Lord God 1774. Being the second after bissextile or leap-year. Adorned with many… Read More

1750. Engraving on buff laid paper, 6 1/2 x 10 1/8 inches (164 x 267 mm), unevenly trimmed margins (approximately 1/8 inch). In good condition with scattered areas of light yellow discoloration on the verso. Marks are unobtrusive and are only slightly visible on the recto, especially in the area of the lower left sheet edge and corner.

London: Faber and Faber, 1934. First Edition, Third impression. Near fine/Near fine. Small 8vo, 7 1/2 x 5 inches (190 x 125 mm); 86 pp. Original grey paper-covered boards, blue lettering on spin; original grey dust jacket with white and red lettering, unclipped (price of 2s. 6d. net) with minimal toning and only one small tear in the rear flap panel, else very fresh interior pages evenly toned but clean and binding tight. [Gallup A26a]. This pageant play with words by T. S. Eliot and music by Martin Shaw was first performed at Sadler's Wells Theatre in London on 28 May 1934. In a prefatory note Eliot disclaimed full responsibility for the text, saying "I cannot consider myself the author of the "play", but only of the words which are printed here." By Eliot's account, the text was written in collaboration with director E. Martin Browne and R. Webb-Odell. It was part of a massive project to fund the construction of forty-five new churches in the Anglican diocese of London. The director E. Martin… Read More

1927. Etching on antique wove Catalunya-Spain watermarked paper, 12 x 5 inches (305 x 127 mm), full margins. Signed and dated in pencil, lower margin. In excellent condition with light toning along the left margin, outside of the image area. An impression from the regular edition of 120, printed by Frederick Reynolds. [Fletcher 189]. 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… Read More

London: Thomas McLean, 1835. First Edition. Etching with extensive hand coloring in watercolor on cream wove paper. 8 x 10 3/8 in (200 x 262 mm), full margins. An excellent, well-inked impression of this startling image with fresh colors. Scattered light surface soiling with light handling wear. 1 ½ inch vertical sheet tear from lower margin, well outside of image area. Paper tape remnants from a former mount at top right and left sheet edges, recto. Hand coloring is bright and substantial. This dark image is in reference to an incident which occurred in the winter of 1821. Great Britain, struggling with economic distress after the strain of the Napoleonic Wars, was thrown into a period of intense social unrest. The middle class, who bore the brunt of the cost of the victory against France, was struggling under the newly imposed Corn Laws. Periods of famine ensued, and unemployment soared as soldiers returned from the continent looking for work. One such soldier was Arthur Thistlewood. In January of… Read More