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

London: Hodder and Stoughton, 1914. First Edition. Near fine. Small 8vo., 7 3/8 x 5 inches (188 x 127 mm), pp. vi + 207. Beautiful red calf binding Red calf binding by Root & Son, with gold fillets and rosettes on boards, 5 raised bands, gilt decoration and titles in compartments, turn-ins decorated in gilt, marbled endpapers, original spine panel with gilt title and both original dark navy buckram covers bound in, t.e.g., spine lightly sunned and rubbed, interiors clean and bright, firmly bound. [Cutler 69]. This English edition issued in December 1914 follows the American edition, published by Scribner's two months prior. Sir James Matthew BARRIE, 1st Baronet, OM (1860 - 1937) was a Scottish novelist and playwright, best remembered as the creator of PETER PAN.

London: Robert Wilkinson, 1820. Copperplate engraving on buff wove paper, 13 x 9 3/4 inches (330 x 247 mm) full margins. In good condition with some minor toning and surface soiling consistent with age.

London: Golden Cockerel Press, 1935. Limited Edition. Near fine. Eric Ravilious. 8vo, 9 1/2 x 6 1/4 in. (240 x 160 mm); (vi) + 46 + (vi) wood-engraved illustrations by Eric Ravilious, slight offsetting to title, original morocco-backed marbled boards, spine rubbed with some fading but binding tight and square; t.e.g, rest uncut; pages bright and crisp. Colophon ends with the words: "God save the King !" and bears the ink signature of the author and the number 115 (out of a limited first edition of 212 on hand-made paper; a further 1000 copies were printed on machine-made paper, unsigned and un-numbered). [Chanticleer 105]. This is a charming little volume by the Golden Cockerel Press, printed to mark the Silver Jubilee of King George V in May 1935 and bears a superb wood-engraved frontispiece, a head-piece illustrating transport and progress (steam train crossing a viaduct, a biplane, windmills) and fifteen further decorative wood-engraved vignettes by Eric Ravilious (1903 - 1942) the famed… Read More

1641. Etching on cream wove paper, 5 1/16 x 7 11/16 inches (128 x 195 mm), narrow margins. Printed 19th century on a remainder which has a partially trimmed, printed image of a Virgilia Heliodes specimen on the verso; a large, orange wildflower native to the American southwest, similar to a daisy. [Mannocci 240.39 vi/vi]. Ex-collection Ferdinand Roten Gallery, Baltimore, with the label on the mat.

London: The Golden Cockerel Press, 1944. Near fine. 8vo., 10 x 7 1/2 inches (254 x 190 mm), 84 pp. This is copy 118 in a limited edition of 500 numbered copies printed in red and black, Perpetua 14 pt type on Arnold's mould-made paper. With 1 collotype frontispiece portrait P.B. Shelley. Quarter red morocco binding with blue buckram boards, gilt title on spine. t.e.g, rest deckled. Spine lightly sunned but book in otherwise fine condition. [Cockalorum 161].

Essex, 1899. Etching with aquatint on cream wove paper, 7 1/2 x 12 1/4 inches (190 x 310 mm), full margins. Signed and titled in pencil in the lower margin. In very good condition with excellent gradient toning and rich inking. One small, vertical, pencil-thin area of light yellow discoloration in the left margin, well outside of image area. Archival paper tape tabs at the top corners, on the verso, from a former mount. Pencil inscriptions in the margins, recto and verso. Charles Edward Baskett (1845-1929) Born at Colchester, Essex in 1845.  "Still life painter and etcher who exhibited at Liverpool Walker Art Gallery, Manchester City Art Gallery, the Royal Academy, the Royal Society of British Artists, the Royal Society of Painter-Etchers and Engravers and the Royal Hibernian Academy from Colchester, Essex in 1883 and from Felixstowe, Suffolk in 1913.  His Royal Academy exhibits included On the Marshes, Evening 1893 and An old Stackyard, Winter 1895.  He was living at 14 Hospital Road,… Read More

Paris: Pierre Langlume, 1820. Lithograph on cream wove paper, 13 7/8 x 9 3/4 inches (350 x 247 mm), margins trimmed. Scattered foxing and surface soiling with handling creases and an approximately 3-inch vertical edge tear at the top center sheet edge that extends downward into the image area. The likeness seen here is taken from a figure appearing in Raffaello's masterpiece painting The Marriage of St. Joseph.

1850. Graphite and crayon on cream wove paper, 6 3/8 x 5 1/4 inches (162 x 143 mm), mounted to a sheet of heavy wove paper which is inscribed in pencil.

1729. Chiaroscuro woodcut printed from two blocks in beige and olive with etching and aquatint on cream laid paper, 11 1/8 x 10 inches (281 x 252 mm) (plate), full margins with the text printing clearly below in olive ink. In very good condition with no visible defects other than one pinpoint sized spot of foxing on the verso, left sheet center. Charles Nicolas Cochin père did the etching, Vincent Le Sueur did the chiaroscuro woodcut. After a Drawing by Raffaello Sanzio. (The supposed Raphael drawing on which the print is based is now identified as "school of," but the print remains as beautiful despite the re-attribution). The Cabinet Crozat was a collection of prints after drawings in the collection of Pierre Crozat, then known as one of the finest collections in the world. Many of the prints, which were by various hands, were made in the unusual combination of etching with chiaroscuro woodcut superimposed upon it. In this case, Cochin did the etching and Le Sueur the chiaroscuro woodcut.… Read More

1670. Etching on handmade, cream laid paper. 5 13/16 x 7 5/8 inches (146 x 192 mm), thread margins. Scattered handling creases, light age tone, and minor paper inconsistoncies throughout. All consistent with age.

London: George Hunt, 1825. Near fine. 4to; 10 x 8 3/8 in. (253 x 212 mm); (2), 34 pp, 28 plates by George Hunt after M. Egerton, including 24 hand-colored engraved and aquatint plates and four plates (21-24) of Waterloo memorials uncolored. Modern half morocco binding, title gilt, spine sunned. Occasional offsetting from plates, otherwise a fine copy. [Abbey Travel 188; Tooley 207]. An uncommon aquatint work, illustrating a regency excursion to the Low Countries. Egerton was a humorous designer and social satirist active in London between 1820 and 1829, who supplied drawings to members of the print trade (including the Hunts and Pyall) for engraving. For this project he begins his tour at Ostend, where he was stuck for a day as it was a Sunday. He took time to describe the people's custom-house hotel and the 'Purgatory Gate' attached to the church (destroyed in a fire later in the nineteenth century) before traveling the next day by 'Great Coach' and barge to Ghent, observing the 'Belgic Military'… Read More

1800. Etching on cream laid paper, 4 x 4 3/4 inches (100 x 120 mm) narrow margins. In very good condition with a number of inscriptions in pencil on the verso. Also on the verso there is an unidentified circular collector's stamp in black ink bearing the initials YVB, or LVB (not in Lugt). A copy printed later, evidenced by the lack of the artist's initials which would have appeared in the upper-left image area. A fine 19th century impression. [Bartsch 4].

1898. Lithograph on bluish green wove paper, 8 3/4 x 5 3/4 inches (223 x 146 mm), full margins. In very good condition with no visible defects. A dramatic 19th century view of the Harlem River, New York City.

1927. Drypoint etching in brownish black ink on J. Whatman watermarked cream laid paper. 7x12 1/4 inches (177 x 312 mm), full margins. Signed and numbered 36/75 in pencil, lower margin. In very good condition with light mat tone, well outside of image area. Light surface soiling in corners, pencil inscription lower right corner, recto. Associated crayon mark well outside of image area, recto, with a crease in lower left extreme corner.

London: Adam Islip, 1601. First Edition in English, second issue. Folio, 11.75 x 8 inches (298 x 203 mm), 2 VOLUMES bound into one. Pp. (58), 614, (42); (12), 632, (84, 2). Title pages with woodcut devices present in both parts (lacking blanks [pi]1 and Ppp8), woodcut initials, head and tailpieces, copious indexes of both volumes, final errata sheet. Full later calf, rebacked, extra­ gilt spine with 5 raised bands, some rust spots, marginal tears and paper flaws, eight leaves with expertly repaired corners, with resulting small loss of text; occasional marginalia; paper supple and evenly toned; binding somewhat scuffed but firm and square. Armorial bookplate of James Backnell Praed pasted inside front cover. [Carter 5; Pforzheimer 496; ESTC 006187259]. A handsome and rare copy of the first full English translation of Pliny's Naturalis Historia, by Philemon Holland, the greatest translator of the Elizabethan age. «The 'Natural History' of Pliny the Elder is more than a natural history: it is an… Read More

London: R. Ackermann, printed by L. Harrison & J. C. Leigh, 1814. First Edition. Near fine. Bluck, Stadler, Hill & others after Pugin, Mackenzie, Westall & others. In two volumes; 4to, 13 x 10.5/8 in. (330 x 270 mm). vol. 1: xxvi+275+vi; vol. 2: iv+262+vi. Half-titles, list of subscribers, uncolored stipple-engraved portrait of Lord Grenville to whom the volume is dedicated, and 81 hand-colored plates comprising 64 aquatint views by Bluck, Stadler, Hill & others after Pugin, Mackenzie, Westall & others and 17 stipple-engraved plates of academic costumes by Agar after Unwins, without the 33 portraits of founders as often, plate 50 in first state but plates 1, 15, 39, 74, 78, 84 & 94 all in second state, plates bright and clean but usual offsetting, portrait in vol.1 with light water-staining to upper margin, stain to a few upper inner margins of a few plates and leaves of vol.2. Watermark on text and plates J. Whatman 1812. Later brown morocco, gilt fillets, 5 raised bands, spines ruled in gilt,… Read More

London: R. Ackermann, 1812. First Edition, second issue. Near fine. In Two volumes, large 4to; 12 3/4 x 10 3/4 in. (325 x 272 mm), with all 83 plates, 81 of which are colored aquatints by J.Bluck, J.Hamble, T.Sutherland and others, after A.Pugin, F.Mackenzie, H.Villiers, T.Uwins, &c. Includes the half-titles; list of subscribers and arrangement of plates. Vol. 1 pp. xx + 330 + vi index, and 4 plates-2 colored aquatint plates and 2 uncolored engravings of a) floorpan b) portrait of William Vincent, Dean of Westminster opposite the dedication page. Vol. 2 pp. 275 +iv index, 79 colored aquatints. Hands binding in navy crushed morocco by Doverley and Sons, with gilt fillets and decorations on cover, scrolls on turn-ins. Spine gilt with decorations and floral patterns, gilt title and date, 5 double raised bands with four red bands; gilt decorations on edges, marbled end-papers, a.e.g. Some light offset from the plates and foxing only on the letterpress for one gathering towards the end of Vol. 2, not… Read More

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

London: T. Osborne, et al., 1765. Third Edition. Good. Hayman. 4 vols.; 8vo, 6 1/2 x 4 in. (165 x 102 mm) , vol. 1: (6), xl, 293; vol. 2: (1), 314; vol. 3: 910, xi, 331; vol. 4: 91), 322. With 28 copperplate engravings designed by F. Hayman and engraved by G. V. Neist; all are signed by both artist and engraver; all have "Vol" and "p." indications, except those for Vol. I., which have "p." indications only. Three-quarter tan calf binding with marbled paper, all edges stained yellow, gilt title, decorations and raised bands on spine. The antique bindings have a little expected aging or rubbing to the leather and a 1.5 cm chip to the head of vol. 3. Front hinges cracked in vols. 1 & 4, but all four bindings are sound and sturdy, the textblock lightly aged, with some occasional spotting and toning, but overall quite fresh. Bookplate of J. Arch & Mary B. MEARS on front pastedown of each volume, ffep for vol. 4. [Ashbee 53, p.27; ESTC T59494]. The first part of Don Quixote came out in 1605 and was… Read More

Frederick Gleason, 1851. Engraving with hand-drawn borders on cream wove paper, laid down to board. 7 3/4 x 10 inches (197 x 255 mm), trimmed margins, lacking text. Scattered light soiling, and toning, with a dog-eared lower left corner. An illustration from the June 21 & 28, 1851 edition of Gleason's Pictorial Drawing Room Companion. The Pictorial featured artists such as Winslow Homer, and authors such as: Giddings H. Ballou, Susan H. Blaisdell, Alice Carey, Sylvanus Cobb, Jr., Sophronia Currier, Mrs. S.P. Doughty, Francis A. Durivage, Aglaus Forrester, Mrs. H.C. Gardner, Joseph Holt Ingraham, Grace Lee, Mary A. Lowell, Mary L. Meany, Ellen Alice Moriarty, Arthur Morton, Frances P. Pepperell, Mary E. Robinson, M.V. St. Leon, Frederick Ward Saunders, Sue M. Scott, Maurice Silingsby, Frederick Stanhope, Horace B. Staniford, John Thornberry, Winnie Woodfern, and Joseph Wolf.