Search Results: Authors starting with G from Rob Zanger Rare Books LLC

Paris: Hetzel, 1847. Engraving on light cream wove paper 6 5/8 x 4 5/8 inches (175 x 118 mm), margins trimmed. On the verso is a partially trimmed printed image with accompanying text in French referencing the lifestyle of medical students in Paris. A drawing from the series The Students of Paris in Selected Works of Gavarni, Studies of Contemporary Manners, Hetzel, Paris, 1847.

1919. Etching and drypoint on cream wove paper, 10 3/4 x 7 1/2 inches (270 x 190 mm), full margins. Signed, inscribed and titled in pencil, lower margin. In good condition with minor mat tone.

1910. Etching with drypoint on heavyweight gloss wove paper, 12 x 8 3/4 inches (305 x 223 mm), full margins. Signed, titled and inscribed in pencil in the lower margin. In very good condition and uniform toning and archival, paper tape around the perimeter of the sheet on the verso (perhaps from a former mount).

1919. Etching and drypoint on cream wove paper, 10 3/4 x 7 1/2 inches (270 x 190 mm), full margins. Signed, inscribed and titled in pencil, lower margin. Some small, scattered light spots of foxing on the verso, light mat tone.

Tokyo: Matsuki Heikichi, 1893. Woodcut in ink with embossing and hand-coloring in watercolor on handmade mulberry paper, 14 1/2 x 9 7/8 inches (368 x 251 mm), ōban tate-e, full margins. Scattered handling wear, adhesive residue on the verso, and minor edge losses at the left sheet edge and top right corner, well outside of image area. Meiji period (1868-1912), from the series of 47 essays and images called Sketches by Gekkō (Gekkō zuihitsu). 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.

Tokyo: Matsuki Heikichi, 1896. Woodcut in ink with embossing and hand-coloring in watercolor on handmade mulberry paper, 14 1/2 x 9 7/8 inches (368 x 251 mm), ōban tate-e, the full sheet. Scattered handling wear, some spots of adhesive residue on the verso and a small edge tear along the left-center sheet edge, extending approximately 1/2-inch into the image. Meiji period (1868 - 1912), from the series of essays and images called Sketches by Gekkō (Gekkō zuihitsu). 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. Read More

Tokyo: Matsuki Heikichi, 1896. Woodcut in ink with embossing and hand-coloring in watercolor on handmade mulberry paper, 14 1/2 x 9 7/8 inches (368 x 251 mm), ōban tate-e, the full sheet. Scattered handling wear, adhesive residue and early linen tape repairs on the verso. Recto is largely unaffected. Meiji period (1868-1912), from the series of essays and images called Sketches by Gekkō (Gekkō zuihitsu). This particular essay from Gekkō zuihitsu is in reference to a legend of a strange, old woman who served a master who had a rare disease. The only cure for his ailment was the blood of children born in a certain month. The woman was said to roam the countryside taking small jobs in homes, secretly in search of children; a cautionary tale. Ogata 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… 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.

Tokyo: Yokoyama Ryohachi, 1892. Woodcut in ink with embossing and hand-coloring in watercolor on handmade mulberry paper, 14 1/2 x 9 7/8 inches (368 x 251 mm), ōban tate-e, the full sheet. Scattered handling wear, some spots of adhesive residue on the verso and a small edge at the area of the top-right corner. Colors slightly attenuated. Meiji period (1868 - 1912), from the series of images called The Tale of Genji. 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.

Japan: Matsuki Heikichi, 1891. Woodblock with ink and handcoloring on laid mulberry paper, 12 3/4 x 8 5/8 inches (323 x 220 mm), ōban tate-e, full margins. Scattered handling creases and edge losses at the extreme edges, and a loss with associated skinning at the top right corner, outside of the image area. Some minor areas of adhesive residue in the margins on the verso. Colors remain fresh and vibrant. "The Customs and Manners of Women" was published in the 1890s, in the Meiji era, when a wave of Westernization was sweeping Japan. Women are shown engaged in a plethora of idealized activities; traditionally dressed ladies are seen enjoying gardens, practicing ikebana, playing instruments, and serving tea. These prints are a window into the lives of women in 19th century Japan, and were meant to memorialize the the traditional customs, rituals and activities that were beginning to disappear. Ogata Gekkō (originally known as Nakagami Masanosuke) was a self-trained artist who was orphaned at a young… 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.

1900. Watercolor on buff, heavy weight watercolor paper, 4 7/8 x 3 1/2 inches, signed "Roffe" on the verso in pencil. In good condition with some light, uniform toning.

Paris: L'Eclipse, 1872. Woodcut engraving with hadcoloring on light-weight wove paper, 13 3/4 x 11 5/8 inches (347 x 294 mm), margins trimmed. Illustrated in Histoire de la révolution de 1870-71, Volume 2, page 177, by Jules Claretie. Scattered light age tone, handling wear and surface soiling, all consistent with age and the nature of the paper.

Paris: L'Eclipse, 1872. Woodcut with hand coloring in watercolor, 14 5/8 x 12 3/8 inches (370 x 312 mm), L'Eclipse publication page and masthead have been trimmed out, margins are narrow. Sheet laid down to bluish wove paper.

London: R. Balmire, 1789. First Edition. Near Fine. 2 vol.; 8vo; 8 3/4 x 5 1/4 in. (222 x138 mm) ; vol. 1: vii + xi + 221; vol. 2: ttl. + 196 + xxi; with 34 aquatints (tinted aquatints and soft ground etchings, most plates oval) and 6 hand-colored maps. Offsetting where plates are bound in. Previous owner's name in brown ink on each volume on first blank sheet. Bound in contemporary tree-calf with delicate gilt motifs on borders and turn-ins, marbled endpapers, rebacked, a little rubbed. [Abbey Scenery 487 (citing the third edition); Prideaux, p.337; Lowndes III, p.895; Cox, Travel, III p. 32-33; ESTC T98995]. This is Gilpin's third in his series of works tracing picturesque beauty in British natural landscapes. In it he portrays the landscapes of Scottish Highlands, and describes them lyrically in his text. Prefacing the list of Prints at the end of the second volume, the author says "With regards to the prints, which adorn these volumes, I can only say..... that few of them pretend to be 'exact… Read More

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

Waltham Saint Lawrence: Golden Cockerel Press, 1928. Limited Edition. Near fine. J. E. (Jean Émile) Laboureur. 8vo, 9 x 5 3/4 inches (230 x 145 mm); iv + 152 + ii pages, printed on English hand-made paper in 14 pt. Caslon O.F. type by Robert Gibbins. Copy 394 of 500, with six copper engravings by Jean Émile Laboureur. Original buckram, gilt titling, t.e.g., rest uncut; with RARE RED PRINTED DUST-JACKET, spine slightly sunned and extremities chipped. [Chanticleer 59; Ransom p. 297, no. 56]. This is a delightfully illustrated edition by the famed COCKEREL PRESS of Laurence Sterne's last novel, issued just three months before his death. In 1765 the author had traveled through France and Italy and wanted to write a book unlike its predecessors who stressed classical learning and objective/descriptive points of view; Sterne's novel was going to be an account of his sentimental journey. It proved to be extremely popular and influential, and helped establish travel writing as a dominant genre in the… Read More

Waltham Saint Lawrence: Golden Cockerel Press, 1932. Limited Edition. Near fine. Eric Ravilious. Small folio, 13 1/4 x 9 1/4 in (330 x 235 mm); pp. v +76 + colophon. This in no. 94 of 275 copies printed on Batchelor paper with Golden Cockerell watermark and set in Golden Cockerel type. Wood-engraved title-vignette, borders, illustrations and decorations by ERIC RAVILIOUS (1903-1942) printed in purple-brown or grey-green. Original half morocco over pictorial cloth by Sangorski & Sutcliffe, with Ravilious illustrations on both covers, t.e.g., others uncut, a little rubbed, a few scuffs to boards, light staining to spine. [Chanticleer 82]. As stated in the colophon the text follows the Globe edition of the play. "One of the Press's greatest aesthetic successes, and the finest flowering of Ravilious' engraved book illustrations" Twelfth Night was Ravilious's "most ambitious project. With a design concept similar to Eric Gill's Canterbury Tales, published by Gibbings [at the Golden Cockerel Press], the… Read More

London: The Golden Cockerel Press, 1943. Near Fine. Large 8vo, 10 x 7 3/8 inches (255 x 187 mm), 128 pp., printed in 14 pt. Perpetua type on Arnold's mould-made paper. 500 numbered copies of which this is number 63, bound in quarter green morocco with cream canvas sides bound by Sangorski and Sutcliffe (stamp on first free flyleaf); t.e.g, rest uncut. Frontispiece reproduction of a bronze bust of the author by Lanyi; endpaper with map Levant-Caspian Front by the author with travel route from Nathanya to Baghdad marked in red. Spine shows uniform fading, internally clean and bright throughout and binding firm. Inscription in ink on second flyleaf. [Pertelote 155]. «The Golden Carpet is one of those books born to fame, richly endowed with all the elements which go to make a classic. Of topical interest and permanent value as historical literature, this swift vivid account of one of the most romantic episodes of modern warfare will live, with its author and the characters he describes, as a picture… Read More

London: Golden Cockerel Press, 1942. Fine. 8vo, 7 1/2 x 5 inches (190 x 127 mm); 232 pp., many unopened; printed on Arnold's mould-made paper in 13 pt. Perpetua Roman and Felicity italic types. Illustrated with collotype reproductions of seven of the manuscripts. Bound in red buckram with GCP device in gilt on front cover and gilt title on spine. t.e.g, rest uncut. This is copy 24 of 300 as stated on limitation on verso of title page. [Peterlote 153]. This is a collection of autograph letters and documents that was discovered by Edward Pine in the great library of St. Michael's College, Tenbury. They are a selection of 142 letters from the collection of approximately 250 formed by Mary James Ouseley and her brother Sir Frederick Ouseley founder of St. Michael's College. Correspondents include Napoleon, Rousseau, the Duke of Wellington, Horace Walpole, and David Hume.