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

Verona: Officina Bodoni, 1972. Limited Edition. Fine. Octavo, 9 7/8 x 6 1/2 in (250 x 165 mm); 2 volume set in slipcase. Vol. 1, pp. 280, with 68 hand-colored woodcuts; Vol. 2, pp. 120. Set in Centaur type and printed on hand-made Magnani paper with goose watermark. Original morocco-backed vellum, with strapwork border and title in gilt, t.e.g., remaining uncut; number 146 of 160 sets; text in Latin, Italian and English. Woodcut illustrations by Anna Bramanti after Liberale da Verona, ALL HAND-COLOURED AFTER A COPY OF THE 1479 EDITION IN THE BRITISH MUSEUM BY THE ATELIER DANIEL JACOMET OF PARIS, list of woodcuts loosely inserted. An exquisite and beautifully executed edition of Aesop's FABLES, richly illustrated with newly-cut wood engravings after a copy of the 1479 edition in the collection of the British Museum whose woodcuts are attributed to Liberale da Verona (1441-1526). The illustrations are beautifully carved and hand-colored with a rich scale of colors and shadings that remind us of… Read More

Verona: Officina Bodoni, 1941. Limited Edition. Vellum. Near Fine. Octavo, 9 7/8 x 6 3/4 inches (250 x 170 mm); title page vignette etched by Mario Vellani-Marchi with a couple of small spots, original vellum, slightly bowed, paper slightly wrinkled, else fine; t.e.g., others uncut. Grifo type, 16 point with swash letters. Limited edition of 420 copies on Magnani hand-made paper (I-L, 1-350, 20 unnumbered). This is no XL of the 50 copies reserved for the owner of the letters, M. E. Aeschilmann with roman numerals. This is a PRESENTATION COPY signed by Aeschilmann to Francesco Pastonchi on front free endpaper. First edition of 34 letters written to Mimì Romanelli, of which 32 in French and 2 in German. [Mardersteig 52] Provenance: Giannalisa Feltrinelli (bookplate) Giovanni Mardersteig, (Weimar, 1892 - Verona 1977), was a printer and typographer who, as head of Officina Bodoni, created books exemplifying the highest standards in the art of printing. The press began in 1922 in Montagnola Switzerland… Read More

1770. Woodcut on cream laid paper, 7 1/4 x 2 1/2 inches (182 x 63 mm), narrow margins. Laid down to non-archival board with scattered soiling and some adhesive staining. Okumura Masanobu (Japanese 1686 - 13 March 1764) was a Japanese print designer, book publisher, and painter. He also illustrated novelettes and in his early years wrote some fiction. At first his work adhered to the Torii school, but later drifted beyond that. He is a figure in the formative era of ukiyo-e doing early works on actors and bijin-ga ("pictures of beautiful women"). While Masanobu's early life is largely undocumented, he is believed to have been born about 1686, possibly in Edo (modern Tokyo). Edo was a small fishing village when Tokugawa Ieyasu chose it as his administrative capital of the Tokugawa shogunate, and by the early 17th century the city had prospered and its population had grown to half a million. Masanobu appears to have been self-taught painter (though he did study poetry under Tachiba Fukaku); he is… Read More

Japan, 1770. Woodcut on cream laid paper, 7 1/4 x 2 1/2 inches (182 x 63 mm), narrow margins. Laid down to non-archival board with scattered soiling and some adhesive staining. Okumura Masanobu (Japanese 1686 - 13 March 1764) was a Japanese print designer, book publisher, and painter. He also illustrated novelettes and in his early years wrote some fiction. At first his work adhered to the Torii school, but later drifted beyond that. He is a figure in the formative era of ukiyo-e doing early works on actors and bijin-ga ("pictures of beautiful women"). While Masanobu's early life is largely undocumented, he is believed to have been born about 1686, possibly in Edo (modern Tokyo). Edo was a small fishing village when Tokugawa Ieyasu chose it as his administrative capital of the Tokugawa shogunate, and by the early 17th century the city had prospered and its population had grown to half a million. Masanobu appears to have been self-taught painter (though he did study poetry under Tachiba Fukaku); he… Read More

Rome: Andrea Fe, 1622. First Edition. Large Octavo, 9 3/16 x 6 7/8 inches (232 x 175 mm);pp. XI + 161 + [12], including 66 full-page engraving of which 43 represent individual birds and 23 illustrate the materials about trapping and caring for birds; woodcut initials & tail-pieces, light offsetting as typical, a little browned, a few stains, A7 lacking small portion from inner margin, E4 with small paper flaw holes at head just touching head-line; 18th century diced russia, rebacked, flat spines divided into panels by single gilt rules, gilt title and publication year, rubbed, corners worn, gilt-rolled turn-ins, marbled endpapers. Front pastedown with the engraved armorial bookplate of Thomas Philip Earl de Grey, Wrest Park, and a second engraved bookplate belonging to his daughter Anne, who inherited the Wrest Park estate and its library (ACC initial for Anne Countess Cowper). Title page reads: Uccelliera Overo discorso della natura e proprietà di diversi uccelli e in particolare di que' che… Read More

1648. Etching on cream laid paper. 5 3/4x 4 3/4 inches (147 x 118 mm). 1/4 inch to 1/2 inch margins. In good condition with a band of minor discoloration along top and bottom sheet edge verso. One circular 1.5 inch- sized area of light and unobtrusive brown discoloration extending into image area left lower sheet edge recto. 10th state (of ten). [Godfroy 43].

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].

Etching on cream wove paper, 3 1/2 x 2 7/8 inches (87 x 60 mm), narrow margins. A 19th century copy.

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].

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.

1646. Etching and drypoint on cream laid paper, 4 x 3 3/8 inches (102 x 86 mm), 1/4 inch margins. Signed in the plate, lower left corner. The 3rd state (of 6), after the rounding of the plate corners and the reworked borderline, but before the addition of the fine vertical lines of shading on the bright side of the pedlar's basket (4th state). In good condition with light toning on the verso. [Bartsch 29; Godefroy 29.III; Hollstein 29].

1680. Etching on cream wove paper, 3 1/4 x 2 1/2 inches (82 x 62 mm), narrow margins. Laid down to brown wove paper. Significant staining throughout, as well as some spots of light adhesive along the left sheet edge. A reverse image copy printer later, likely 19th century. [Godefroy 24; Hollbein XV.29.24].

1800. Etching on cream wove paper, 3 15/16 x 3 1/8 inches (99 x 79 mm), unevenly trimmed at and around the platemark. Some skinning and adhesive residue on the verso, uniform age tone. Printed later, likely 19th century.

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].

1925. Drypoint etching in black ink on heavy cream wove paper, 6 5/8 x 8 1/8 inches (167 x 203 mm), full margins. Signed and titled in pencil in the lower margin. In very good condition with minor mat and light tone. Scattered unobtrusive framer's notations in pencil in the margins, well outside of the image area. A beautiful American mountain landscape with iconic saguaro cactus and creosote bush.

1929. Etching with drypoint on buff wove paper, 6 1/2 x 10 1/4 inches, full margins. Signed and titled in pencil, lower margin. Minor mat tone and framer's notations in pencil in the margins on the recto (well outside of image area), and minor light discoloration on the verso, otherwise in good condition.

London: Fine Art Society, 1828. Etching and engraving on Japan paper, 4 5/8 x 4 5/8 inches, thread margins. Adhesive residue at all four corners on the verso, remnants of a former mount, otherwise in very good condition. After the 1628 etching of the same title by Dutch printmaker Willem Basse. From "A Collection of Thirty-Nine Fac-Similes of Rare Etchings by Celebrated Painters of the Italian, Dutch, and Flemish Schools," by William Young Ottley, F.A.S. London, 1828.