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

London: Bradbury & Evans, 1848. First Edition, First Issue. Near Fine. 8vo; 8 3/8 x 5 1/8 in. (212 x 130 mm); pp. ix + 625 + 38 steel-engraved plates, engraved frontispiece, engraved vignette title page, and 150 woodcuts and illustrated capitals in the text by Thackeray. COSWAY-STYLE BINDING by BAYNTUM of Bath (stamp-signed on front turn-in) with HAND-PAINTED PORTRAIT MINIATURE of THACKERAY on IVORY inset in the front cover. Contemporary full green-blue crushed levant over beveled boards, elaborately tooled and gilt, raised bands, spine compartments with scrolling tooling, turn-ins with gilt fillets and corner lilies, moiré-silk doublures, a.e.g., hinges repaired, binding a little worn and edges scuffed, as expected in a well-loved book. [Grolier English 100, 57; Allibone, Thackeray 7; Van Duzer 231]. This is the FIRST EDITION, FIRST ISSUE of the best-known work by William Makepeace Thackeray (1811-1863), with the headline on page one in rustic type, the suppressed woodcut of the Marquis of Steyne… Read More

1786. Etching and engraving with hand coloring in watercolor on laid paper with an E and R watermark. 8 3/8 x 12 3/4 inches (212 x 323 mm), full margins. Minor condition points include the plate number appearing attenuated in the lower right image area, a small graphite mark in the lower right corner on the recto (outside of the image area), and a long but narrow strip of non archival clear tape along the top sheet edge, recto, well outside of the image area. The work is in otherwise excellent condition with fresh color. It bears mention that the figure of the nursing woman in the lower right appears adorned in a bright lemon-colored robe, most commonly we see this figure appear in purple. A scarce representation of this lovely detail.

Rome: Giacomo Antonelli, 1825. Engraving with hand coloring in watercolor on cream wove paper with a "PM" watermark, 11 1/4 x 14 1/2 (285 x 360 mm), full margins. Scattered moderate handling creases, especially along the top margin. Several minor spots of scattered light-yellow discoloration on the recto, as well as some notations in pencil and archival tape remnants at the corners on the verso. Plate 11 from Nuova raccolta delle principali vedute antiche e moderne dell'alma città Roma e sue vicinanze.

1925. Etching with drypoint on cream laid paper, 11 5/8 x 17 3/8 inches (295 x 440 mm), full margins. Signed in pencil, lower right. Some toning on the verso, with the sheet adhered at points around the perimeter to a non archival board. The recto is clean and the impression is lovely with good inking.

Etching on W King cream wove paper, 3 7/8x 8 7/8 inches (97 x 212mm), full margins. Signed in the plate, upper right. An excellent and well inked impression. Horizontal watermark, lower sheet edge outside of image area. Light area of minor skinning, lower center sheet edge well outside of image area. Paper tape hinges along extreme top sheet edge from a former mount. Archival corners at lower right and left sheet corner have become adhered to sheet, well outside of image area. Notations in pencil, lower left corner, recto.

1883. Etching on watermarked W King cream wove paper, 3 7/8x 8 7/8 inches (97 x 212mm), full margins. An excellent and well inked impression. On the verso there is a non-archival tape hinge along the top-center sheet edge, as well as additional tape tabs at each of the other three sheet edges on the verso. Minor handling creases, otherwise in very good condition. A rich impression with excellent inking.

1654. Etching with engraving on thin laid paper with an early and large unidentified watermark with a sundial and a many-pointed star, and an unidentified collector's stamp in the shape of a beehive in purple ink on the verso (Lugt 2732). 9 3/4 x 12 7/8 inches (247 x 326 mm), thread margins. Uniform age tone with scattered edge nicks and one-inch vertical edge tears at each of the top corners, approximately one inch from the sheet edge (due to stress from a former mount). On the left recto there appears to be a partial 19th century ink stamp in blue, regrettably unidentifiable, which extends slightly into the printed area. The plate number (6), located between the two main bodies of text, is burnished out and rewritten in pencil. On the verso is scatted light discoloration from a former mount, as well as paper tape remnants at three of the four corners. It appears that the watermark has been traced in graphite on the verso in attempt to clarify (or identify) the design. A beautiful, early impression… Read More

1944. Etching on fine, antique laid paper, 1 5/16 x 2 3/8 inches (34 x 61 mm), full margins. Signed and dated in pencil, lower margin. A Christmas card from Dorothy and John Taylor Arms from the year 1944; presented in the original handmade paper folder inscribed with the title (God's Mirror"), and an excerpt from Psalm CXXI, as issued by the couple. Printed by David Strang, from an edition of 90. In superb condition. [Fletcher 384]. Christmas Card Series No. 22 Miniature Series No. 33 Note: "Vermont" and "Normandy" were etched on the same plate, 6 x 5; 153 x 127. The "Vermont" section of the plate was damaged during the process of etching, which made it necessary to reduce the size. The plate was cut in half after the second state. Paper: Arms was typical of the artists of this period - he was obsessed with paper, a mania for collecting paper that could/would improve an edition. The quantity he left after his death, distributed by his wife to fellow artists, witnesses his love for finely made… Read More

1944. Etching on fine antique laid paper with a partial "Catalunya Spain" watermark, 1 5/16 x 2 3/8 inches (34 x 61 mm), full margins. Signed, dated, and inscribed "III" in pencil, lower margin. A proof impression of the third state (of 3), after the trimming of the plate, before the regular edition of 90 impressions. Fletcher states 5 proof impressions of the third state, 5 proof impressions of the second state, and an unkown number of first state impressions. Printed by David Strang. In superb condition. [Fletcher 384]. Christmas Card Series No. 22 Miniature Series No. 33 Note: "Vermont" and "Normandy" were etched on the same plate, 6 x 5; 153 x 127. The "Vermont" section of the plate was damaged during the process of etching, which made it necessary to reduce the size. The plate was cut in half after the second state. Paper: Arms was typical of the artists of this period - he was obsessed with paper, a mania for collecting paper that could/would improve an edition. The quantity he left after… Read More

Fine. Albumen silver print from glass negative, from the artist's series on sculptures on the grounds of Versailles. Annotated in Atget's hand in pencil on verso "Versailles - Bosquet de L'arc de Triomphe - La France par Tuby" (sculpture by Jean-Baptiste Tuby), with his inventory number "6483"; 1904; 8 1/2 x 7 inches (215 x 178 mm). Ex. collection Phiadelphia Museum of Art, with their accession number in pencil crossed out verso lower left. In fine condition. The glass plate of this photograph was sold as one of 2600 "Art in Old Paris" series which Atget sold in 1920 to the Service Photographique des Monuments Historiques, which are currently held by the French Ministry of Culture at the Médiathèque du patrimoine et de la photographie in Yvelins, near Versailles. [https://www.pop.culture.gouv.fr/notice/memoire/APMH00087788].

1904. Fine. Albumen silver print from glass negative, from the Atget's series on sculptures on the grounds of Versailles, annotated in the artist's hand in pencil on verso, "Versailles ­­ Bosquet de L'arc de Triomphe", with his inventory number '6479'; 1904; 8 1/2 X 7 inches (217 x 178 mm). Ex. collection Philadelphia Museum of Art, with their accession number crossed out verso lower left. In fine condition. [Barberie, Peter: Looking at Atget, Philadelphia Museum of Art - Yale Univ. Press, 2005; p. 50] The glass plate of this photograph was sold as one of 2600 "Art in Old Paris" series which Atget sold in 1920 to the Service Photographique des Monuments Historiques, which are currently held by the French Ministry of Culture at the Médiathèque du patrimoine et de la photographie in Yvelins, near Versailles. [https://www.pop.culture.gouv.fr/notice/memoire/APMH00087712].

1928. Drypoint etching on cream laid paper, 10 7/8 x 8 5/8 inches (275 x 218 mm), full margins. Signed in pencil, lower center margin. A lovely impression with rich, inky burr, sheet is clean and without visible defect. A lovely dark and inky impression, signed by the artist.

Paris: Sagot, 1910. Etching with drypoint on watermarked buff wove M.L.C. Annonay paper, 6 x 8 5/8 inches (152 x 218 mm), full margins. Signed and titled in pencil in the lower margin, and with the Sagot blind stamp (Lugt 2254) in the lower right margin under the signature. Overall toning and some minor mat tone with several notes in pencil in the margin on the recto, otherwise in very good condition with excellent inking.

Brussels, 1874. Etching with engraving and drypoint printed in brownish black ink on cream laid paper with a partial heraldic A and fleur-de-lys watermark, 5 5/8 x 4 1/4 inches ( 341 x 107 mm), full margins. In very good condition with cockling along the extreme sheet perimeter, and a hard crease along the left margin, approximately 1-inch inward from the sheet edge, and well outside of the image area. Light notations in pencil in the lower left margin on the recto, and in the upper right corner, verso, also well outside of image area. An impression of this work may be found in the permanent collection of the Musée Felicien Rops, registration No. PER E0273.7.CF. Félicien Victor Joseph Rops (7 July 1833 - 23 August 1898) was a Belgian artist associated with Symbolism and the Parisian Fin-de Siecle. He was a painter, illustrator, caricaturist and a prolific and innovative print maker, particularly in intaglio (etching and aquatint). Although not well known to the general public, Rops was greatly… Read More

1936. Gelatin silver print on baryta paper. Later print. Image dimensions 11 1/2 x 14 3/4 in (292 × 375 mm); sheet dimensions 12 x 15 1/4 in (304 × 388 mm); archivally matted and framed. The verso signed "W. Suschitzky", hand annotated and dated "London, Cambridge Circus, Charing Cross Road, ca. 1936". Minimally rubbed in the outermost corners and in the white margin (outside of the image), tiny retouched areas upper left. Otherwise in very good condition. [Michael Omasta, et al. Wolfgang Suschitzky: Photos (Vienna: Synema, 2014), ill. p. 71]. An iconic image of a double-decker London bus in the snow from the legendary photographer Wolfgang Suschitzky (Vienna 1912 - 2016 London). As he often said "My approach is to 'find' photographs - to observe things, not arrange them." 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… Read More

London: Laurie & Whittle, 1799. Engraving on buff wove paper, 10 3/4 x 15 3/4 inches (271 x 338 mm), uneven narrow to wide margins. Soft vertical fold at the center sheet (as issued), scattered handling creases and surface soiling, otherwise in good condition. Trinity House was founded as a pilotage authority and maritime charity. In 1793 their London headquarters was in need of repair, and a new site was selected in Tower Hill. A new headquarters, designed by Samuel Wyatt, was completed by 1796. The Corporation of Trinity House of Deptford Strond, also known as Trinity House (and formally as The Master, Wardens and Assistants of the Guild Fraternity or Brotherhood of the most glorious and undivided Trinity and of St Clement in the Parish of Deptford Strond in the County of Kent), is the official authority for lighthouses in England, Wales, the Channel Islands and Gibraltar. Trinity House is also responsible for the provision and maintenance of other navigational aids, such as light vessels, buoys,… Read More

1879. Watercolor and graphite on cream laid paper, laid down to archival board, 6 3/4 x 14 3/4 inches (170 x 374 mm). Initialed in watercolor in the lower left recto. Minor (pea-sized) area of scattered light 'tics' of discoloration (does not appear to be foxing) in the the right half of the sky, directly above the central sailboat. Some light surface soiling in the right quadrant of the sheet, most visible where the land meets the sky, but generally unobtrusive. Color is lively and bright. A refreshing and joyful image of sailing on the Bosporus featuring a keelboat with a very full spinnaker. Framed beautifully in a gilt and cinnabar wood frame. Tristam Ellis, known as Tristie to his family, boarded the steamship Alexandria in 1879 and traveled from England to the Syrian coast, overland to Diyarbakır in southeast Turkey, and then by raft down the Tigris River to Mosul and Baghdad. This beautiful painting is likely from that ambitious expedition. Upon his return to London, Ellis sold 90 works from… Read More

Paris, 1788. Etching on light cream wove paper, 5 1/2 x 8 1/2 inches (140 x 215 mm), full margins. Some minor toning at the top margin, as well as small losses at the lower right extreme sheet edge. The plate is printed on an oversize sheet of paper (15 1 /2 x 12 inches), and all condition points are well outside of the image area. The impression is finely printed and well inked. Likely printed 19th century. An impression of this work may be found in the permanent collection of the British Museum, object number 1989,0930.247. The British Museum offers the following biographical information regarding the artist: "Painter, draughtsman, etcher, curator and author. Worked as a diplomat in Naples (1779-85), where he learned how to engrave; travelled through Italy in 1788/89 and settled in Venice from where he was expelled in July 1793, prompting his return to Paris; in 1797/98 with Napoleon on the Egyptian campaign. In these years turned his amateur etchings into a business, and published two catalogues… Read More

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.

London: Chatto & Windus for the Florence Press, 1910. Limited Edition. Fine. Norman Wilkinson. 4to, 10 x 7 1/2 in. (253 x 189 mm); [6] leaves, including 1 blank + 120 pp + [2] leaves, including 1 blank. 12 chromolithographed plates by Norman Wilkinson, printed on plate paper and not included in the pagination, legends on tissue guards printed in red. This is COPY no. 4 OF 12 COPIES PRINTED ON VELLUM, as noted on the limitation page, on verso of second leaf: «Of this edition of Virginibus Puerisque / have been printed on Aldwych hand- / made paper 250 copies, of which 235 are / for sale; on vellum 12 copies, of which 10 / are for sale. / Vellum Copy No. 4». Limp vellum binding with four green ties; gilt lettering on spine and upper cover, t.e.g. Very faint spotting to front free endpaper, slight offsetting of ties. Otherwise a pristine copy. Provenance: William Russell Flint (from the family, by descent). [Beinecke, Stevenson 79; Ransom 278:6; Tomkinson 85:6; Prideaux 13]. A splendid edition of… Read More