Search Results: Authors starting with M from Rob Zanger Rare Books LLC

Risbury, Herefordshire: The Whittington Press, 1997. Limited Edition. Fine. 4to; 8 7/8 x 10 inches (224 x 252 mm); pp. [iv], [26], [3].; printed on Zerkall moldmade paper in brown and black ink and SIGNED BY THE ARTIST on the colophon; copy 181 of 385 copies. 13 full-page wood-engravings by Miriam Macgregor, printed on the recto of a leaf, verso left blank, with two additional small engravings on title and colophon. Bound by the Fine Bindery in boards, illustrated overall with a design by Macgregor, with matched laid paper endpapers and slipcase, title on paper ticket pasted on spine. A lovely book demonstrating the life cycle of nature through 13 beautifully executed large engraving of the same apple tree throughout the year. The last image intentionally repeats the fist, to indicate this cycle. Accompanied by an evocative and touching account of the tree by the artist.

Donald Shaw MacLaughlan, 1920. Etching with drypoint printed in sepia ink on cream laid paper bearing an indiscernible watermark with linked spheres. 10 1/4 x 13 1/8 inches (260 x 332 mm), unevenly trimmed yet full margins. Signed and titled in pencil, lower margin. Moderate toning in the area of the title, lower right margin, well outside of image area. A beautiful impression with soft, rich tone which echoes the title. Printed and published by the artist.

1922. Etching with drypoint on antique cream laid paper with a large figural watermark, signed in pencil, lower right. 14 1/4 x 11 inches (362 x 280 mm), full margins. Scattered foxing on the verso in a band along the top sheet edge, as well as uniform light toning throughout. Archival canvas tape tabs from a former mount at the top corners, verso. Inking is rich and dark.

1935. Drypoint etching on cream laid paper with an oak leaf watermark, c 1935. 7 1/4 x 9 3/4 inches (183 x 241 mm), full margins. Signed, titled and inscribed in pencil, lower margin. A beautiful, dark impression with the fine lines printing clearly. In very good condition with some minor rubbing at the end of the signature. Slightly unevenly trimmed margin, lower sheet. Inscribed "To my old pal Milicent," in pencil, lower margin.

Paris: Philippe Gonin, 1937. Woodcut on hand made laid paper with the publisher's watermark designed by the artist, 4 5/16 x 4 7/8 inches (107 x 122 mm), full margins. From the special suite of 53 woodcut illustrations which were laid in loose to the deluxe edition of Maillol's 8vo illustrated Les Pastorales de Longus ou Daphnis & Chloe. In very good condition with some light, uniform age tone and some very small and minor spots of scattered light discoloration througout the sheet.

London: A. Zwemmer [printed in Paris by Philippe Gonin], 1937. Limited Edition. Fine. Aristide Maillol (1861-1944). 8vo, 7 3/4 x 5 1/2 in. (200 x 132 mm); pp. [6 (blank)] + vi +211 + colophon + [12 (blank)]; Copy 21 of 250 numbered copies on hand-made Maillol paper and SIGNED BY THE ARTIST on the colophon, with 52 original woodcuts, and 4 woodcut initials, printed in bistre; leading and bottom edges deckled. Full vellum with laced-in thongs, gilt lettering on spine, faint; pencil notations and tipped in label from earlier booksellers on inside front cover, edges stained on first 2 and last 2 blanks. EXTRA SUITE of 45 WOODCUTS in a separate vellum portfolio, printed in black. Fine copy in simple cardboard slipcase. Colophon: "Aristide Maillol engraved with his own hand the wood-cuts which illustrate this book, The text is that of Thronley's translation of 1657, revised and augmented. Philippe Gonin of Paris undertook the achievement of this work, and printed it on his hand-press, for A. Zwemmer,… Read More

Paris: Philippe Gonin, 1950. Woodcut printed in black on buff laid paper, 4 1/2 x 5 3/8 inches (113 x 135 mm), full margins. Scattered minor foxing in the lower right sheet quadrant, recto, and with the lower sheet edge folded horizontally upwards approximiately 1/4 inch from the bottom, well outside of image area. From the suite of 144 woodcuts from Maillol's illustrated Virgil's Les Géorgiques, loose as issued.

London, 1880. Etching on grayish wove paper, laid down to light cream card stock, 4 3/4 x 2 3/8 inches (120 x 60 mm), 1/2-inch margins. Adhered at three of four corners to light weight card stock, scattered light age tone and surface soiling throughout, unadhered corner is slightly dog-eared.

London: Thomas Malton, 1796. Aquatint printed in brownish ink with extensive hand coloring in watercolor on buff paper, 10 1/4 x 12 1/2 inches (260 x 317 mm) (sheet), uneven narrow to full margins. Laid down to a contemporary wove paper support. Scattered condition issues on the sheet (excluding the mount) include surface soiling, creasing, a significant vertical repaired tear, and toning, despite these issues, the hand coloring remains good. Suitable for framing. From A Picturesque Tour Through the Cities of London and Westminster, Illustrated With the most interesting Views, accurately delineated And executed in Aquatinta By Thomas Malton, published by Thomas Malton, London 1796. The work was published serially, in twenty-five numbers. The plates in Volume I carry the dates 1792, 1793, 1794, 1795, 1796 or 1797; those in Volume II, the dates 1797, 1798, 1799, 1800 or 1801. In most copies the title page of Volume I carries the publisher's later address, of 103 Long Acre, to which he moved in 1792.… Read More

1869. Etching and aquatint on cream laid, watermarked Rives paper. 6 5/8 x 5 inches (167 x 126 mm). Sixth and final state, a posthumous impression. A fine, inky impression with full margins and deckle right and bottom sheet edges. Faint time stain, and light adhesive residue from a previous mount on the recto, well outside of the image area. Otherwise in excellent condition. [Moreau-Nélaton 19, Guérin 53, Harris 65].

Paris: Gazette de Beaux Arts, 1907. Etching with aquatint on cream wove paper, 8 7/8 x 11 1/2 inches (225 x 292 mm), narrow left-hand margin, with a full margin with a deckle edge on the right (as issued). Two small spots of archival canvas tape at the top right and left corners, recto, and several small areas of light, unobtrusive discoloration in the margins, otherwise in good condition. The inking is rich with good tonality. From the edition of about 500 published by the Gazette de Beaux Arts, printed in 1908.

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

1930. Etching and drypoint on cream wove paper, 8 1/4 x 12 1/16 inches ( 209 x 305 mm), full margins. Signed and numbered 59/75 in pencil, lower margin. Notations in pencil along the lower sheet edge, recto, well outside of image area. A superb, well inked impression. The Irish Folklore Commission, which collected lore from schoolchildren in the late 1930s, claims that the early arrival of these geese, between late September and early October, was believed to be a harbinger of a hard winter. Their arrival in large numbers was heavily associated with the loss of crops. Scaring the geese away was a farmer's most powerful tool in alleviating the damage.

Paris: Auguste Bry, 1880. Lithograph in colors with engraving on cream wove paper, 9 5/8 x 7 1/4 inches (243 x 183 mm), full margins. Scattered light areas of very minor toning, with moderately attenuated colors, otherwise in good condition. An impression of this work may be found in the British Museum.

Paris: A. G. Mornay / Kieffer, 1927. Near fine. Alfred Le Petit. 8vo, 7 3/4 x 6 1/8 in. (197 x 156 mm); pp. 224 + colophon. This is no. 55 of 68 on Japon impérial, from a limited edition of 1000. Printed in Vanves by Kapp. Colour pochoir frontispiece and illustrations by Le Petit, as well as tailpieces and initials in the text, with tissue guards on most. Original blind-stamped maroon morocco by René Kieffer -binder's ticket tipped in to front free endpaper- endpapers in orange paper printed in gold with leaf motif, covers blind-stamped with image of sailboat, gilt titling on spine, very slight wear to joints and corners; t.e.g. Original wrappers bound in; front wrapper and spine with color pochoir illustrations, rear wrapper blank. Text in French. No. 36 in the series "Les Beaux Livres." A very attractive and colorful volume with a bounty of pochoir-colored illustrations by Alfred Le Petit (1841-1909), a French painter, photographer, cartoonist, and founder of several satirical broadsheets. He… Read More

London: Elkin Mathews & Marrot, 1930. Limited Edition. Fine/Near fine. 8vo., 7 5/16 x 55 in. (194 x128 mm); pp.vi + 58, UNOPENED; original decorative paper-covered boards over a grey cloth spine, gilt titles; near fine dust-jacket. Clean and bright with slight offset on the front endpaper. Copy 151 of 530 printed, signed in blue ink by the author on the limitation page. A Proustian pastiche, first published in English in this limited edition of 530 copies, and in 1934 by Gallimard with the title "Le Côté de Chelsea", this short book echoes the tile of Proust's most famous work "Swann's Way", and was translated by Hamish Miles. ANDRÉ MAUROIS, born Émile Salomon Wilhelm Herzog, (1885 - 1967) was a French novelist, biographer, storyteller and essayist, elected to the prestigious Académie française in 1938. During World War I he joined the French army and served as an interpreter for Lieutenant Colonel Winston Churchill. He was a prolific writer and is best known for his excellence in… Read More

London: R. Bowyer, 1809. Aquatint with hand coloring in watercolor with engraving on cream wove paper, 9 3/8 x 13 inches (238 x 330 mm), partially trimmed to full margins. In good condition with some minor mat tone and age tone. From Views in the Ottoman Dominions, in Europe, in Asia, and some of the Mediterranean islands, from the original drawings taken for Sir Robert Ainslie, by Luigi Mayer. Engraved by William Watts, printed by Thomas Bensley. Presented with original accompanying text sheet.

New York: White, Stokes & Allen, 1884. Etching on thick, hand made laid paper, 8 1/8 × 5 13/16 inches (206 × 148 mm), full margins. Scattered light age tone surface soiling, dog-eared corners, and minor edge nicks. An impression of this work can be found in the permanent collection of the Syracuse University Art Museum. This work was exhibited in the annual New York Etching Club Exhibition of 1884.

Philadelphia: D. Rice & A. N. Hart, 1855. Third Edition. Very good. J. T. Bowen (ca. 1801 - 1856). Three volumes, 8vo, 10 ½ x 7 inches (266 x 178 mm). Vol. 1: pp. iv, 333, 40 portraits; Vol. 2: pp. v, 319, 50 portraits; Vol. 3: pp. 339, 31 portraits. Red morocco binding, gilt fillets and elaborate floral and dart decorations on the covers, 5 raised bands, gilt titling and decorations in compartments, all edges gilt, hinges professionally repaired, shelf worn, some spotting and foxing, tissue guards on most plates. FEATURING 120 HAND-COLORED LITHOGRAPHS BY J.T. BOWEN [Howes M129; Sabin: 43411]. As early as 1824, the practice was begun of taking portraits of the principal Indians who came to Washington, and depositing them in the War Department. They were chiefly painted by Mr. King, an artist of high repute, who has been remarkably successful in transferring to his canvas the strong lineaments of the Indian countenance. Col. McKinney, who was for many years superintendent of Indian affairs at… Read More

The Netherlands, 1705. Engraving with hand coloring in watercolor on watermarked Honig cream laid paper. 12 7/8 x 9 5/8 inches (327 x 245 mm), sheet 20 5/8 x 14 inches (522 x 354), full margins. Minor handling wear, and scattered light spots of minor discoloration throughout. Colors remain extremely vibrant. From the edition engraved by Pieter Sluyter, printed early between 1719 and 1730. Translation of the original text regarding Plate No. 26: "This plate shows a branch of a Cacau boom [cocoa tree], of which the leaves are hard, stiff and grass-green. The trees grow as tall as an apple tree and bear simultaneously blossom, ripe and unripe fruits. The blossom is reddish and sprouts from either side of the wood. The young fruits are reddish-green. When they are ripe they are yellow like lemons. They have thick peels, which are used as fertilizer and as manure for the land. The beans or seeds are dried and hardened in the shade before, they are sent to other countries. These trees grow very well in… Read More