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

1864. Etching with engraving on cream laid Hudelist paper with a large indicative watermark, 5 1/8 x 5 5/8 inches (130 x 143 mm), full margins. From the edition of only 50 impressions printed with a short poem. Two minor edge tears at the right sheet edge, one measuring approximately 1-inch, the other approximately 1/4- inch, both are perfectly horizontal and are well outside of the image area. One pinpoint spot of discoloration in the lower right margin, well outside of the image area. The ink in the area of the verse is slightly attenuated, otherwise in very good condition. [Schneiderman 93, v/v.].

Waltham Saint Lawrence: Golden Cockerel Press, 1927. Limited Edition. Fine/Near Fine. Eric Ravilious (1903-1942). Small 8vo; 7 3/4 x 5 1/4 inches (195 x 132 mm); [4] (2), 9, (4) pp., 8 engravings by Eric Ravilious. 1/4 cream buckram with brown batik paper over boards. Square and firmly bound, gilt title. Double dust jacket, the exterior one toned on edges and with some rubbing but in very good condition with light pencil inscription on the flap, the interior one with very light toning and in near fine condition. Copy 49 of 375, numbered on colophon. [Chanticleer 29]. A humorous and erotic poem that "celebrates the union of John Lord Lovelace and Lady Anne Wentworth on 11 July 1638", this edition includes an engraving of music notation.

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.

London: T. Bensley for R. Bowyer, 1810. Hand-colored aquatint on cream wove paper, 9 x 12 3/8 inches (227 x 318 mm), full margins. Scattered light toning and a spray of light spots of discoloration in the lower left corner. One plate from Views in the Ottoman Dominions, in Europe, in Asia, and some of the Mediterranean Islands, from Original Drawings Taken for Sir Robert Ainslie, by Luigi Mayer. In its entirety, Views in the Ottoman Dominions, in Europe, in Asia, and some of the Mediterranean Islands, from Original Drawings Taken for Sir Robert Ainslie, by Luigi Mayer contained 71 colored aquatints engraved by William Watts, after drawings by Mayer, each accompanied by leaf of text in English and French.

1890. Ink and sepia wash on light wove paper, 5 1/8 x 4 inches (128 x 100 mm), signed in brown ink and dated in black ink below the image. Scattered light foxing and uniform toning. Adhered to nonarchival white cardstock, creating minor cockling, and obscuring the verso. Alberto Prosdocimi (1852-1925) was an Italian watercolorist and celebrated mansucript illuminator known for his atmospheric cityscapes and interior views of Venice. His canal scences are simple yet masterful, filled with languid motion, light, and shadow. Prosdocimi was one of the collaborators of the masterwork La basilica di S. Marco illustrata nella storia e nell'arte (1878-93), published by Ferdinando Ongania, for which he created all of the drawings of the Basilica that were reproduced as chromolithographs.

1852. Ink wash in brown ink on cream wove paper, 9 7/8 x 13 inches (250 x 330 mm), titled and dated in brown ink, lower right. In fair condition with minor scattered soiling, uniform age tone, and edge 'nics;' all consistent with age. Laid down to archival mat board.

Tokyo. Woodblock print (nishiki-e) with ink and hand-coloring in watercolor on handmade mulberry paper, 14 7/16 x 9 15/16 inches (367 x 252 mm), ōban tate-e, the full sheet. In good condition with some handling creases. Colors are fresh and extremely vibrant. The right panel from the triptych by Yoshitora depicting one of Japan's most storied naval battles. An impression of this work may be found in the permanent collection of the Honolulu Museum of Art. The great naval battle of Dan-no-ura in 1185 was the final climax in a long series of bitter wars between two powerful families in feudal Japan. The Minamato clan, under their skilled military leader Yoshitsune, defeated the Taira. The protracted naval battle at the narrow straits separating the mainland from the northern tip of Kyushu marked a decisive end to the Gempei War, and set the stage for centuries of samurai rule. This defeat of the Taira forces led to the end of the Taira bid for control of Japan, and resulted in Minamoto no Yoritomo… Read More

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.

Etching on cream wove paper, 4 3/4 x 3 3/4 inches (120 x 95 mm), wide margins. Scattered light surface soiling, unevenly trimmed wide margins, all consistent with age. Likely printed 18th century.

London: George Redway, 1886. Limited Edition. Near fine. 12mo, 6 3/8 x 3 7/8 inches (160 x 93 mm), pp. 80. Top edge gilt, rest uncut; full mottled calf binding, gilt triple fillets and rosette corners, raised bands and gilt decorations in compartments, turn-ins with gilt decorative scrolls, marbled end papers. Front cover detached cleanly but present, back hinge cracked, interiors pristine. This is a limited edition of 100 copies of which this is no. 4. " Now first reprinted from then | original editon of 1811 | with a preface and notes | by Richard Herne Shepherd......

Frankfurt, 1649. Engraving on two sheets of joined cream laid paper, one sheet with a fleur-de-lys watermark, 9 x 11 3/4 inches (230 x 300 mm), full margins. Vertical center crease, as issued. General toning with scattered light spots, two tabs of paper tape at the center sheet edges on the right and left margins, well outside of image area. Handling creases, and age-consistent wear. An illustration to Theatrum Europaeum, a journal on the history of the German-speaking lands by Matthäus Merian, published between 1633 and 1738. Just thirteen years after nine splended canvases by Peter Paul Rubens were installed on the high ceiling of the Banqueting House, Charles I viewed them for the last time. As a condemned man, Charles I walked to his death under the magnificent paintings, which ironically, he had commissioned as a tribute to his late father. The King was then executed on a scaffold outside the Banqueting House on 30 January 1649. His death is commemorated in a service held there every year on… Read More

1850. Pencil on tissue-thin wove paper, 4 1/2 x 7 1/4 inches (115 x 185 mm). Scattered foxing, horizontal creases, and general toning. The name "Groves" or "Grovel" appears in graphite in the area of the field, to the right and below the house structures.

New York: New Directions, 1945. First combined edition. Near fine/Good. 8vo, 8 x 5 1/2 inches (203 x 140 mm), (6), 207 pp. Grey publisher's cloth with black title and brown graphic element on spine. Original dust jacket with photomontage, somewhat worn on folds and corners, a few chips and tears near head and tail of spine; price ($3.50) intact on front flap; bookseller ticket pasted inside back cover. This American edition of Isherwood's two novels set in Weimar-era Berlin, were originally published by the Hogarth Press (1935 & 1939). They form the basis for the Oscar-winning film, Cabaret, that starred Michael York and Liza Minnelli. From the estate of Robert Cecil Bald (1901 - 1965), an Australian scholar of English Literature, who moved to the US to teach at Cornell University in 1937 and was then a professor at the University of Chicago from 1952 to 1965.

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.

Delft: Arnold Bon, 1667. Very good. 2 parts in one volume, 4o, 7 1/2 x 6 inches (190 x 152 mm); 891,(37),(33), (4) pp., lacks frontispiece, 1 folding plan and 2 views. Woodblock plates after C. Decker: 2 double-page plans, 30 views, 3 of which are folding and exhibit some tears, most of which are repaired (7 cm closed tear at p. 220 not repaired); title page re-attached. Later owner's entry on upper pastedown; occasional foxing, and some toning on the verso of one plate. Contemporary half calf binding; spine with raised bands, simple gilt decorations in compartments and gilt title. Paper over-covers partly worn off; remnants of tickets on both covers; firmly bound. English translation of title: Description of the city of Delft, concerning its own Situation, Origin and Age, Rise and Progress, increase of Freedom and Jurisdiction, Domains and Lordships, with a short description of the region. A very good copy of Bleyswijck famous description of the history, topography, institutions, and commercial… Read More

1940. Gelatin silver print. Vintage. 7 1/2 x 8 5/8 in (192 × 220 mm); archivally matted and framed. Minimal oxidation mirroring (only discernible in counterlight) in the edges, minimally rubbed in the outermost corners. The verso signed "W. Suschitzky", with photographer's stamp and hand annotation "Big Ben and Bodicea", c. 1940" A superb vintage print by consummate visual artist Wolfgang Suschitzky, whose photographs capture London's sites, people, moods, and lights in a masterful and perceptive manner. Born in Vienna in 1912 Wolfgang Suschitzky was not only an established documentary photographer but also a cinematographer who worked on over 200 feature films, TV productions, and documentaries. His father was a social democrat of Jewish origin, who opened the first social democratic bookshop in Vienna (later to become a publisher), and Suschitzky was born in the apartment above the bookshop. His photographer sister Edith Tudor-Hart (1908-1973) convinced him to set aside his passion for zoology… Read More

Tokyo, 1887. Woodblock print in colors with embossing on handmade, laid mulberry paper, 14 x 8 1/4 inches (355 x 210 mm), ōban tate-e, the full sheet. Multiple condition issues include scattered edge tears with associated losses, scattered adhesive residue on the verso, toning, and a ghost impression from another image which presents as a floral band across the top of the sheet (the result of improper storage). Colors remain fresh and delicate. Ogaka Gekkō (originally known as Nakagami Masanosuke) was a self-trained artist who was orphaned at a young age and survived by illustrating brochures, selling drawings, and designing rickshaws. While the likes of Kitagawa Utamaro, Hishikawa Moronobu, Keisei Eisen, and Suzuki Harunobu were regarded as the innovators and masters of the bijin-ga form, Gekkō was one of the first Japanese woodblock print designers to achieve international recognition during his lifetime. - Parkstone International, Looking Beyond the Portrait, November 5, 2015.

1859. Etching printed in dark brownish black ink on cream laid paper, 6 x 8 7/8 inches (152 x 226 mm); full margins. Extremely minor and unobtrusive band of toning along the top sheet edge, well outside of the image area. A superb, well-inked impression with all the fine lines printing clearly and with crisp, well defined plate edges. MacDonald's ninth state (of 9), before cancellation. [Kennedy 47; Glasgow 51].

Easthampton, Massachusetts: Cheloniidae Press, 1990. Fine. Alan James Robinson. Folio, unbound folded sheets, 15 7/8 x 10 1/2 inches (402 x 266 mm) folded, 26 signatures + 3 additional duplicates, edges uncut; with 54 wood engravings depicting the birds and beasts found in Shakespeare's plays and poems, plus two portraits of the Bard: one etching and one wood-engraving; text printed in black with caramel-colored rule on each page, with quotes from Shakespeare also in caramel-colored ink. The portrait frontispiece is in 2 states showing Shakespeare surrounded by animals appearing in the various plays; 2 sheets of ochre and cream marbled paper for endpapers; publisher's prospectus printed recto and verso on grey paper. Limited edition of 155 copies printed. This example of unbound printed sheets is unnumbered being 'Artist Proof VIII' and bearing the SIGNATURE OF THE ARTISTS on the colophon page. Printed to mark the 10th anniversary of the Cheloniidae Press (and the first book of the press with the… Read More

London: The Nonesuch Press, 1956. Fine/Near fine. 4to, 11 1/2 x 8 3/4 inches (290 x 222 mm); xi [227] pages; 56 collotype illustrations, plus text. Printed on Dutch pannekoek mould-made paper and bound in Holland by J. Brandt & Zoon with terra-cotta buckram over beveled boards with gilt title on spine; black paper jacket with gilt stars and dots, title on white label on spine, edges untrimmed. This is copy no. 33 (in ink on limitation page) of 1440 copies printed. [Dreyfus 126]. This is the sequel to The Nonesuch Press' first book of Blake's Pencil Drawings, published in 1927. The Max Reinhardt / Nonesuch list 1956 remarked: 'During the twenty-nine years that have elapsed a number of exciting drawings have come to light, several of which are now in the Editor's possession, such as the fine study for the great colour-print of 'Newton' now in the Tate Gallery, and Blake's magnificent version of the Laocoon theme, in which he adapts the groups by Praxiteles to his own mythology.' [John Dreyfus. A… Read More