Search Results: Titles starting with F 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

London: John Stockdale, 1793. First Edition. Fine. 2 vol., Large 8vo, 11 x 7 in. (278 x 178 mm); pp. lxv, 189 (misnumbered 891); advertisement, xi, 248; engraved vignettes on title page of each vol. and 110 other plates, one for each fable, by various engravers including Skelton and Barrett, J Chapman, Clarke, J. Smith, some unsigned. Vol. 2 contains the advertisement for the publication of The Fables by John Gay by the same publisher and the same year. Offset to some pages from engraved plates (tissue guards not present) and very occasional foxing. Handsome later binding in green crushed morocco by F. Bedford (gilt stamped on turn-in of Vol. 1) with gilt fillets on boards, decorative motifs on turn-ins, marbled endpapers, 5 raised bands, spines elaborately gilt and tooled, gilt title, t.e.g., rest uncut. [Brunet I, 103; Lowndes, I, p. 17; ESTC T84992; Bentley, Blake Books, 460]. A beautiful edition with all 110 engravings by over 30 engravers and two vignette title pages. In his comprehensive… Read More

London: C.Motte, 1828. Lithograph on Chine appliqué, 9 1/4 x 8 1/8 inches (235 x 206 mm), full margins. First state (of 4). Extremely minor uniform age tone, otherwise in good condition. A superb, richly-inked impression. [Delteil 61.1]. At an early age Delacroix became a lover of music and literature and had been drawing from the time he entered school.  He expected painting would be a hobby, but on the death of his father he found he had to make his own way in life.  In 1817 he entered the studio of Pierre-Narcisse Guerin; amongst his fellow pupils was Gericault.  His first exhibited work was Dante and Virgil in 1822 in the Salon. His success in 1822 having brought him fame, Delacroix for a time led a busy social life.  He was a friend of Richard Parkes Bonington, who frequented the studio of Gros, and he became acquainted with Thales Fielding. Tradition has it that after seeing one of Constable's landscapes at a Parisian art dealer's, in the four days remaining before the opening of the… Read More

1906. Edition of 100. Color aquatint and etching, 21 x 14 7/8 inches (531 x 376 mm), wide margins (full). Signed in pencil, lower left image area. Light toning, otherwise in very good condition. An excellent impression with bright colors. [Merrill-Chase 35]. Manuel Robbe was highly influenced by the most important French artists of the nineteenth century: Degas, Renoir, Legrand, Chahine and Lautrec, who were his elder contemporaries, all had major impacts on his composition. Robbe delighted in depicting women. He focused on highlighting their individuality and interests, while also celebrating their beauty. His prints chronicled the emerging status of women as decision-makers and connoisseurs, as well as their ability to judge and appreciate art. Throught this lense of respect and appreciation he was able to show their sensuality, sociability, and the ability of the modern women to elegantly enjoy the simple pleasures in life, while also assuming a status and position in the arts once only enjoyed by men. Read More

London: Harvill Press, 1999. First Edition. As new/Fine. First Edition. Octavo, 9.5 x 6.25 in (241 x 159 mm); 212 pages. Hardcover, dust jacket protected with mylar cover. Unread copy. SYNOPSIS: In Madrid in 1868, fencing master and man of honor Don Jaime is approached by a mysterious woman who seeks to learn the unstoppable thrust, an arcane technique known only to him. All too soon he finds himself in the vortex of a plot that includes seduction, secret political documents, and more than one murder. Rich with historical detail of a decaying world that agonizes - as does the art of fencing itself - over the ideals of honor and chivalry. Made into a film in 1992 (El maestro de esgrima), starring Assumpta Serna and Joaquim de Almeida.

1911. Etching in black ink on cream laid Japon paper, 9 1/16 × 7 1/16 inches (229 x 178 mm), full margins. With an ink stamp from the collection of E.A. Scollin, M.D., Springfield, IL, and the numeral 8, both in blue ink on the verso. Minor scattered toning, and some notations in the margin, well outside of image area. A rich and dark impression with good inking, and all of the fine lines printing clearly.

1925. Etching on antique cream laid paper, 7 7/8 x 5 1/8 inches (201 x 130 mm), full margins. Edition of 150. Printed by Federick Reynolds. Signed and dated in pencil, lower right. Arms was assisted in the completion of this plate by Kerr Eby. In excellent condition with no visible defects to the sheet, archival paper tape hinge at the top sheet edge affixed at the verso. [Fletcher 169] [Illustrated: Page 86, Arms, Dorothy Noyes, "Hilltowns and Cities of Northern Italy."]. Born in 1887 in Washington DC, John Taylor Arms studied at Princeton University, and ultimately earned a degree in architecture at the Massachusetts Institute of Technology in 1912. With the outbreak of W.W.I, Arms served as an officer in the United States Navy, and it was during this time that he turned his focus to printmaking, having published his first etching in 1919. His first subjects were the Brooklyn Bridge, near the Navy Yard, and it was during his wartime travel that Arms created a series of extraordinarily detailed… Read More

1925. Etching on antique cream laid paper, 7 7/8 x 5 1/8 inches (201 x 130 mm), full margins. Edition of 150. Printed by Federick Reynolds. Signed and dated in pencil, lower right. Arms was assisted in the completion of this plate by Kerr Eby. In very good condition with minor toning, otherwise no visible defects to the sheet, archival paper tape hinge at the top sheet edge affixed at the verso. [Fletcher 169] [Illustrated: Page 86, Arms, Dorothy Noyes, "Hilltowns and Cities of Northern Italy.

London: John Murray, 1834. First Edition. Very good. 3 volumes; 4to 8 1/2 x 6 1/4 in. (220 x 160 mm); pp. vi + 250 + 41 engravings; vol. 2: vi + 154 + 41 engravings; vol. 3: iv + 182 + 42 engravings. Maroon crushed Morocco, with elaborate gilt decorations and a Grecian urn on the front and back covers, 5 raised bands, gilt titling and compartments with decorative compartments and titling on spine; all edges gilt, lilac moiré endpapers, turn-ins with gilt double fillets and corner rosettes; spines and edges somewhat rubbed, spine sunned, front 2 sheets of vol. 1 loose, pages are slightly tanned but otherwise clean, with occasional foxing and offset on pages facing some engravings. The three volumes of this lovely set present a plethora of views and portraits associated to the life, travels, and writings of Lord Byron, from Costantinople to the Parthenon, from the Pantheon to Venice and Gibraltar, and figures ranging from Sir Walter Scott, to Coleridge and Mme de Staël, from Ali Pacha to Byron's own… Read More

London: Thomas McLean, 1822. Soft-ground etching with hand-coloring in watercolor, 10 1/2 x 8 3/8 inches (266 x 213 mm), full margins. In good condition with uniform age tone, a minor edge nic at the left sheet edge (well outside of image area), and scattered light surface soiling. From the set of 14 hand colored etchings entitled "Illustrations to Popular Songs," published by Thomas McLean and the Repository of Wit & Humour, Haymarket.

1925. Etching and dryoint on heavy wove paper, 4 3/4 x 6 3/4 inches (120 x 170 mm), full margins. Signed and titled in pencil lower margin. In very good condition with light toning around the sheet perimeter, well outside of image area. A peaceful street scene interrupted by the amusing nature of curious cats and frolicsome dogs.

New York: Harcourt Brace & Company, 1990. First Edition. As new/Fine. First Edition. Octavo, 9 x 6 in (229 x 152 mm) 295 pages. Hardcover, dust jacket protected with mylar cover. Both book and dustjacket as new. Unread copy. The Flanders Panel was made into a film released in 1994 entitled Uncovered directed by John Wood, starring Kate Beckinsale SYNOPSIS: Julia, an art restorer and evaluator living in Madrid, discovers a painted-over message on a 1471 Flemish masterpiece called La partida de ajedrez (The Chess Game) which reads "Quis Necavit Equitem"(Who killed the knight?). With the help of her old friend and father-figure, an antiques dealer named César, and Muñoz, a quiet local chess master, Julia works to uncover the mystery of a 500-year-old murder. At the same time, Julia faces danger of her own, as several people helping her along her search are also murdered.

1912. Watercolor and ink on heavy wove watercolor paper, 10 5/8 x 15 inches (270 x 380 mm). Signed in black watercolor in the lower right image area. In very good condition with minor surface soiling on the verso. Titled "Verdun" in pencil on the verso in the artist's hand. Adhered on the verso to matboard at the extreme margins with non archival tape. Presented handsomely in a simple, period maple frame. Titled, dated, inscribed and initialed by the artist on a label on the frame back. Born in Cambridge in 1898 and educated at Southsea School of Art, Norman Wilkinson is known for his graphic art, specifically his British Railway poster images, and also for something quite incredible; Wilkinson revolutionized the art of naval camouflage. Having been assigned to submarine patrols in Dardanelles, Gallipoli, and Gibraltar during WWI as a member of the Royal Navy Volunteer Reserve, Wilkinson was deeply troubled by the unprecedented success the German submarine fleet had torpedoing British ships. He hoped… Read More

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.

London: Longman, Rees, Orme, Brown, and Green, 1826. First Edition. Very Good. William Clark. 8vo, 9 1/8 x 5 5/8 in. (232 x 145mm). pp [122], 60 hand-colored plates, aquatints and lithographs, by William Clark, 1 double-page, tissue-guards, occasional spotting, especially on tissue guards, small tears at top of double-page plate not affecting the image, previous owner's ink signature on front free endpaper, contemporary half-calf, rebacked retaining original backstrip with gilt lettering and decoration, a little rubbed. [Sitwell, Great Flower Books 1700-1900 page 121; British Library BLL01002555954]. Initially published in 15 monthly parts, each with 4 plates, from July 1825 to September 1826, this is one of the great botanical plate books. The clarity and colouring and atmosphere of these hand coloured plates is of the highest order of excellence, they have great depth and luminosity, particularly in the foliage which is finely observed. Plates include Verbena Lamberti, Cassia Odorata, Papaver… Read More

Waltham Saint Lawrence: Golden Cockerel Press, 1935. Limited Edition. Near fine. John Nash. 4to, 10 x 7 1/2 in (250 x 185mm); 54 pp.; 5 wood-engraved illustrations by John Nash, including title page; printed on Batchelor hand-made paper. Half green morocco binding by Sangorski & Sutcliffe, London, spine lightly sunned; handsome marbled paper boards, lower corner bumped; gilt titling, t.e.g., rest uncut. Bookplate of John Gant on inside front cover. LIMITED EDITION 179/325, SIGNED by the author on the limitation page. [Chanticleer 106]. This book is Bates's first collection of essays about rural life and gardening, and expresses his passion for nature, his fond memories of early family and boyhood, and the saga of the acquisition of the Kentish granary in 1930 as a family home and the creation of its gardens. Two sections recall visits to the home and garden of his great-grandmother and make the point that love, more than horticultural knowledge, makes the garden. Herbert Ernest BATES (1905 -… Read More

1919. Etching with aquatint on watermarked F J Head & Co. cream laid paper, 9 3/4 x 11 1/2 inches (245 x 290 mm), full margins. Signed in pencil, lower margin. Scattered age tone and mat tone around perimteter of image, image itself has some light age tone. Scattered areas of light discoloration from adhesive residue at top right and left sheet corners, well outside of image area. Image area is bright and in generally good condition. Literature includes Sir Reginald Blomfield, Architectural Water-Colours and Etchings of W Walcot, London: H C Dickins & Technical Journals, 1919, Page 15; Elizabeth Harvey-Lee 5.

Rome: Giovanni Giacomo De Rossi, 1625. Etching and engraving on cream laid paper, 8 3/8 x 11 1/4 inches (222 x 286 mm), full margins. In good condition with some light yellow discoloration in the margins and on the verso, the image area remains clean and bright. The inscription in the lower margin reads Altra fontana più sopra all'antecedente fontana rustica del teatro della villa Aldobrandini di Belvedere a Frascati, con giuochi d'acque nelle scale (Another fountain above the antecedent rustic fountain of the theater of the Villa Aldobrandini di Belvedere in Frascati, with plays of water in the stairs). Printed in 1691. [Bartsch/Le Pientre graveur XXI.244.43]. Book II: plate 10, from "Le fontane delle ville di Frascati nel Tusculano con li loro prospetti" ("The fountains of the Villas of Frascati in Tusculano and their prospects"); a set of four books on fountains published by Giovanni Giacomo De Rossi (Italian, Rome 1627-1691), after Giovanni Francesco Venturini (active ca. 1650-1700) and… Read More

London: Seeley & Co, 1882. Etching and engraving on watermarked WBW Portfolio cream laid paper, 10 1/4 x 7 1/2 inches (260 x 190 mm), full margins. Minor mat tone, and moisture staining at the top corner-tips (well outside of image area), scattered minor adhesive residue in the lower sheet edge, also well outside of image area. From The Portfolio, vol. 1e, edited by P. G. Hamerton. An impression of this work may be found in the permanent collection of the Metropolitan Museum of Art. Well known as an etcher of lively street scenes and architecture, Alfred-Louis Brunet-Debaines began his studies at the École des Beaux-Arts in Paris, in 1863. He learned etching techniques under the tutelage of masters such as Maxime Lalanne and Jules Jacquemart. Brunet-Debaines proved to be a gifted printmaker, and exhibited his first prints at the Paris Salon of 1866. Several years later he was invited to England by the influential writer and critic, Philip Gilbert Hamerton, who commissioned him to contribute original… Read More

Rome: Giovanni Giacomo De Rossi, 1625. Etching and engraving on cream laid paper, 8 3/8 x 11 1/4 inches (222 x 286 mm), full margins. In good condition with some light yellow discoloration in the margins and on the verso, the image area remains clean and bright. The inscription in the lower margin reads Paulus Quintus Pont. Maxim ... anno DNI MDCXII Pontif.s sui Septimo' and in the margin 'Fontana e castello dell'acqua Paola a S.Pietro Montorio sul Gianicolo, condotta da Paolo V, vicino a Bracciano, Architett.a di Giovanni Fontana', and signed at left 'G.B.Falda del. et inc.' and at right 'G.Iac.Rossi le stampa in Roma alla pace co priv. del SP', and the number '11' in the lower right corner. Printed in 1691. [Bartsch/Le Pientre graveur XXI.241.13]. Book I, plate 11: Fountain of San Pietro in Montorio, from "Le fontane delle ville di Frascati nel Tusculano con li loro prospetti" ("The fountains of the Villas of Frascati in Tusculano and their prospects"); a set of four books on fountains published… Read More