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

London: Charles Joseph Hullmandel, 1839. Oil stick color lithograph on cream wove paper, 14 3/16 x 11 inches; (360 x 280 mm), full margins. Scattered light yellow spots of discoloration throughout, more apparent on the verso. Non-archival tape on the lower sheet margin, and at the top right and left corners on the recto. 1-inch repaired horizontal edge tear at the left-upper sheet edge, outside of image area. Several notations in pencil in the margins on the verso. From Picturesque Architecture in Paris, Ghent, Antwerp, Rouen, &c. This image, which was produced entirely by means of lithography, was printed in oil color, and appears exactly as it was pulled from the press. It represents part of the first real challenge to the supremacy in England of the hand colored aquatint as a media, which is an older technique in which the hand coloring is applied after the image is pulled from the press. An impression of this work may be found in the permanent collection of the Metropolitan Museum of Art.

1932. Etching on elaborately watermarked, antique, cream laid Dard Hunter paper, 13 5/8 x 7 1/78 inches (347 x 181 mm), full margins. Signed, titled, dated and inscribed "Ed. 100 II." From the edition of a total of 162 impressions printed by Henry Carling in 1932. In excellent condition with natural toning, and no visible defects. A fine impression with all of the fine lines printing cleary. [Fletcher 248; French Church Series No. 34]. 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 etchings based on Gothic cathedrals and… Read More

London: J.S. Virtue & Co. Limited, 1880. Etching with engraving on buff wove paper, 8 12 x 6 inches (215 x 150 mm), full margins. Signed in the image, lower left. In very good condition with an unrecognizable ink stamp in purple on the verso. An attractive etched Victorian image of London's The Strand and its architecture. 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 etchings to a number of his publications, including "The Portfolio," and "Etching and Etchers." Brunet-Debaines spent a large portion of his career working and… Read More

1510. Engraving on cream laid paper laid down to wove paper, 4 1/4 x 2 5/8 inches (109 x 68), trimmed inside the platemark. Scattered discoloration and uniform age tone, all consistent with age. Adhesive residue at the corners with some minor associated discoloration in the top right corner. A reverse-image impression of Van Leyden's circa 1510 engraving, perhaps done by Jan Muller in the early to mid 17th century. [New Hollstein 88].

Paris: Melchior Tavernier, 1620. Chiaroscuro woodcut on cream laid paper, printed from three blocks in black, olive-green, and yellow ochre, 8 3/16 x 6 1/4 inches (207 x 157 mm), thread margins. Some scattered light discoloration throughout, lightly backed with laid paper, however the sheet retains translucence when viewed through raking light. Trimmed at or near the margin. Archivally sound small repaired corner tear, upper right, with a very minor (1/4 inch) vertical edge split in the center top margin, above the figure's head. All condition issues are consistent with age, and present an exceptionally good example of this truly remarkable work. With the collector's stamp of Friedrich August II, King of Saxony, last King of Poland (1797-1854), Dresden, on the right corner, recto (Lugt 971). This work likely appeared in a well-known posthumous sale of Friedrich August II's private collection, which was handled by C.G. Boerner, and took place in Leipzig, on May 7-9, 1928, presumably this print was… Read More

1504. Woodcut on cream laid paper, 8 1/2 x 5 7/8 inches (215 x 148 mm), thread margins. Significant expert repairs to lower right sheet edge, and center right sheet edge. Minor scattered light areas of surface rubbing, small nic-sized losses, and extremely minor printing defects, all consistent with age. Likely printed 17th century. [Bartsch 108; Meder 235].

Paris: Cadart & Luquet, 1865. Etching and engraving on Chine-collé mounted to watermarked Aqua-Fortistes cream laid paper, 12 1/2 x 9 1/2 inches (316 x 240 mm), full margins. In very good condition with some minor toning at the extreme edges of the support sheet, as well as a dog-eared lower right corner on the support sheet. With the Cadart blindstamp in the lower-center margin. Printed by Delâtre, Paris. From a volume published by the Société des Aquafortistes containing sixty prints by various artists including Delacroix, Jongkind, Corot, Courbet and Bracquemond. Published in Paris by Cadart et Luquet, 1867. Each image with artist and titles at front, and with the publisher's blindstamp.

1933. Ecthing in black ink on cream laid paper with a partial watermark, 6 7/8 x 4 7/8 inches (174 x 125 mm), full margins. In excellent condition. A very scarce work from an edition of less than 20 impressions. Signed, dated and inscribed in pencil, lower margin. From the Demonstration Series. [Fletcher 255]. 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 etchings based on gothic cathedrals and churches he visited in France and Italy (the plate for Guardians of the Spire was created in 1921). He used what was available… Read More

1970. Fine. Vintage gelatin silver print on baryta paper, 11 3/4 x 9 in. (300 x 228 mm), printed to edge. Photographer's credit sticker on verso, with penciled title "Caltagirone" and negative number. From Scafidi's series dedicated to life in Sicilian towns, depicting the monumental staircase of Santa Maria del Monte in Caltagirone, which features the town's famed painted ceramic tiles. Nicola Scafidi was born in Palermo in 1925 and began practicing photography very young, having learned the technique from his father. In 1943 he was there to document when the Allies landed in Sicily and he dedicated his life to photojournalism, capturing the contradictions, ugliness and hope of his native Sicily. He portrayed all aspects of life, from the mundane and familiar to the religious, from the destruction of earthquakes to the brutality of the mafia. Celebrated film directors called on him to document the sets of their productions, among them Rossellini, Zeffirelli, DeSica, Fellini, Visconti, and Rosi.… Read More

1970. Fine. Vintage gelatin silver print on baryta paper, 11 3/4 x 8 1/4 in. (300 x 208 mm), printed to edge. Photographer's credit sticker on verso, with penciled title "Caltagirone" and negative number. From Scafidi's series dedicated to life in Sicilian towns, depicting the monumental staircase of Santa Maria del Monte in Caltagirone, which features the town's famed painted ceramic tiles. Nicola Scafidi was born in Palermo in 1925 and began practicing photography very young, having learned the technique from his father. In 1943 he was there to document when the Allies landed in Sicily and he dedicated his life to photojournalism, capturing the contradictions, ugliness and hope of his native Sicily. He portrayed all aspects of life, from the mundane and familiar to the religious, from the destruction of earthquakes to the brutality of the mafia. Celebrated film directors called on him to document the sets of their productions, among them Rossellini, Zeffirelli, DeSica, Fellini, Visconti, and… Read More

London: George Humphrey, 1821. Etching and engraving on cream wove paper with extensive hand coloring in watercolor. 9 5/8 x 13 3/4 inches (244 x 348 mm), trimmed at the platemark. A beautiful impression of this large, intricate print, with extensive rich, bright and fresh handcoloring. Extensive surface soiling, minor rubbing, and scattered minor edge losses. Paper tape along entire top sheet edge, verso. Hard vertical crease at center sheet edge. Scattered light and unobtrusive spots of paper adhesive stuck to face of image. Age tone and time stain. Condition consistent with age. "This caricature depicts George IV as Henry VIII receiving a petition from his subjects, who are portrayed at oxen, with their horn tips covered with tiny liberty caps. The incident pictured refers to the petitioning by the London citizens to have the King's ministers removed. The ministers standing on either side of the throne area all grotesquely satirized. In the background, beefeaters carry large forks and eye the oxen… Read More

Edinburgh, 1800. Etching on cream wove paper, 5 5/8 x 4 1/2 inches (134 x 114 mm), trimmed at the platemark. Adhesive residue and pencil notations on the verso. Minor surface soiling. The humorous charicature that appears in the upper left corner of the image indicates that this was etched by David Deuchar, from A Collection of Etchings After the Most Eminent Masters of the Dutch and Flemish Schools particularly Rembrandt, Ostade, Cornelius Bega and Van Vliet, Edinburgh: 22 December, 1803.

1900. Watercolor on buff, heavy weight watercolor paper, 3 1/2 x 5 5/8 inches (90 x 143 mm), initialed in pencil in the lower right corner. General uniform toning and some framer's notations in pencil on the verso. Anna May Walling was born in 1881, a native of Goshen, New York. She was a graduate of the Blair Academy, and Pratt Institute. She traveled to Europe in 1910 where she focused on decorative arts, and was for a time under the tutelage Louis Comfort Tiffany. She is most well known for her hand-painted Dresden China and decorative kiln-fired tiles, as well as elaborate, hand-painted clock face designs.

Pen and black ink with gray wash on cream laid paper, 9 1/4 x 5 inches (238 x132 mm). 1/4 inch repaired loss, top center, to the left of the figure's head. Scattered light skinning at sheet edges, paper tape repair at top right corner, verso. Three small spots of foxing at top-right corner, recto. Scattered light surface soiling, recto and verso. All condition issues are consistent with age.

London: The Nonesuch Press, 1927. Limited Edition. Near fine. 4to, 10 5/ 8 x 1 1/2 inches (270 x 190 mm); pp. [2] xx [2] 198 [2]. Five copperplate engravings and engraved decoration on title page, water-colored by hand with stencils, very light offset on facing pages. Full marbled cloth binding, calf label with gilt title at head of spine, which is somewhat sunned. Monotype Baskerville with Old face open and Fournier ornaments for headpieces, on Dutch mould-made paper. This is copy 1222 (inked in limitation colophon) of 1500 printed [Dreyfus 47]. A classic from 1776, The Seasons is a lengthy blank verse poem in four parts, reflecting on landscape and nature by the Scottish poet James Thomson (1700 - 1748) and his best known work. A dispute about its publishing rights gave rise to important legal decisions around copyright. Its German translation became the libretto for Haydn's oratorio by the same name. 'The Seasons may be said to be the life-work of the poet: he devoted twenty years to its… Read More

Tokyo, 1851. Set of 12 woodblock prints in colors on handmade, laid mulberry paper, 6 3/4 x 10 1/4 inches (170 x 258 mm), printed in Ka-ei 4 (1851). Each print with minor handling wear, otherwise in excellent condition with bright and fresh color, and with details printed in silver ink. The images themselves contain several illusive characters indicating the publisher which are obfuscated by figures, as intended. Presented loose, as issued. A fine set. The astrological commentary print has a large and meandering blind stamp with a bird and palm frond motif. This print lists various phrases concerning the Twelve Zodiac Animals as historically counted in Japan, and appears to include erotic commentary on the traits of people born under each of the twelve signs. These Shunga images were issued in books that paralleled (in an erotic fashion) the 52 chapters of Genji Monogatari, or Tales of Prince Genji. From the series, Seishi Ai-oi Genji, Genji refers to the protagonist in a 10th century classical… Read More

London: J. Hearne, 1819. Third Edition. Very Good. Large Folio, 16 3/4 x 12 7/8 in. (428 x 324 mm). 62 hand colored aquatints, including one title page "Ruines de Rome. Published by J. Hearne. 218 Tottenham Court Road."; Colophon: "Printed by W. Lewis, 21, Finch-lane, Cornhill"; 72 p. with text in English and French + list of plates. Later half calf, rebacked, with gilt tooling; marbled boards, somewhat rubbed with chips on the boards; matching endpapers; 5 raised bands with elegant gilt tooling in compartments, gilt titling, all edges marbled. Offsetting from plates as usual and occasional faint spotting and foxing; armorial bookplate of John Evan Davies [Franks 8108] on front pastedown. Originally published in 1797 and 1799, later printings can be dated by the watermarks. The copy offered here has plates watermarked 1817, and the added engraved title page in the later state with J. Hearne's imprint. Plates are dated 1796 and 1798; most are signed by Merigot, others singed by Merigot & Edwards.… Read More

London: for R. Ackermann, by J. Diggens, 1816. First Edition. Fine. Imperial 8vo, 10 1/4 x 7 in (260 x 178 mm); [8], 159, [1] pp., with 76 hand-colored plates, 5 are extended fold-outs, by J. Hamble and Joseph Constantine Stadler after Papworth and Augustus Pugin. Elegant later black morocco binding by Riviere, London, raised bands, gilt title, gilt fillets on board edges, richly decorated gilt turn-ins and marbled endpapers. a.e.g. A few leaves browned with plate offsets, but plates are beautifully fresh. [Abbey Scenery 217; Tooley 361; Prideaux 143-144;]. First edition in book form of "one of the great books of London." (Franklin), collecting a series of architectural notes describing contemporary London. The views here are divided into two sections: the first, of places of worship, entertainment, and residences; the second, of mercantile and financial establishments. It was originally published in serial form between 1810-1815. Abbey, Scenery, 217 notes two issues with no priority but copies… Read More

1945. Portfolio containing 20 lithographs based on selected tales by de Maupassant, printed on handmade Lawrence Barrett paper. Each lithograph measures 21 1/4 x 16 15/16 inches (540 x 430 mm), with full margins, and is signed, titled, and numbered by Dehn. Presented along with a signed and numbered limitation page identifying the portfolio as being number 160/250 in the series. Lacking the cloth case; each impression in excellent condition, the complete set. [Lumsdaine/O'Sullivan 1987, 390]. A native Minnesotan, Dehn is remembered as a prolific artist of great range. His artworks are held in over 100 museums (including the National Gallery of Art, National Portrait Gallery, Metropolitan Museum, Museum of Modern Art, and Whitney Museum of American Art); over 25 museums hold extensive collections of his work. "Many of Dehn's prints are made using tusche, a liquid lithographic medium which allows for fluid effects. He has been called the "Debussy of American lithography" and "Dean of American… Read More

London: Seeley & Co, 1880. Etching and engraving on watermarked WBW Portfolio cream laid paper, 10 1/8 x 7 inches (255 x 175 mm), full margins. Minor mat tone and with the tip of the lower right corner missing, otherwise in very good condition. From The Portfolio, vol. 11, 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 etchings to a number of his publications, including "The Portfolio," and "Etching… Read More