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. Some small, scattered light spots of foxing on the verso, light mat tone.

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).

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

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.

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: 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, 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: 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

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: The Golden Cockerel Press, 1954. Fine. Mark Severin. 8vo, 9 1/4 x 6 inches (235 x 152 mm), 62 pp.; printed in Poliphilus 13 pt type on hand-made paper; with 7 wood-engravings by Mark Severin. 300 numbered copies, our copy is number 230. Bound in quarter green buckram with pink hand-made paper boards with wood-cuts printed in red on front and back boards, gilt lettering on spine; top edge cut, rest deckled. [Cock-a-Hoop 194]. «Written for performance in 1614 to 1615, Circe and Ulysses is among the best of the picturesque and ravishing displays staged on festal occasions in banqueting halls to delight the audience with harmony of spectacle and poetry, dance and song. To the new production Mark Severin contributed sparkling engravings of extravagantly dressed male masquers and more of less bare girls.» [Chambers/Sanford, Cock-a-Hoop 194] The GOLDEN COCKEREL PRESS was founded by Harold Midgely Taylor in 1920 with the object of publishing new works of literary significance by young authors… Read More

London: The Golden Cockerel Press, 1944. Near fine. 8vo., 10 x 7 1/2 inches (254 x 190 mm), 79 pp. This is copy 118 of 500 numbered copies printed in red and black, Perpetua 14 pt type on Arnold's mould-made paper. With 4 collotypes of portraits. Half red morocco binding with blue buckram boards. Occasional faint foxing and spine lightly sunned. [Cockalorum 163]. This books seems to have been particularly close at heart to its publisher, Christopher Sandford. In the third volume of the Golden Cockerel Press bibliography Sanford writes "I think it was a slight trespass against artistic proportion to print 'close-up' portraits of Percy and Mary, although this treatment seems to bring them very near us to-day. After working with the Editor on three books about the Shelleys, they had become so near to me that I felt their presence constantly in the house. Their portraits were propped against the back of my desk, and once - on looking up - I had a strange hallucination, Mary seemed to give a sweet… Read More

Waltham Saint Lawrence: Golden Cockerel Press, 1926. Limited Edition. Near fine. Rene Ben Sussan. 12mo; 7 3/4 x 5 in (200 x 130 mm). Pp.(viii), 18, colophon (verso blank), (viii) + 2 engraved images (1-17) in sepia, brown and grey-blue ink by René Ben Sussman. Quarter bound cream buckram, spine lettered in gilt and very lightly browned, batik papered boards; lightly cracked at title page.The fragile original plain Glassine WRAPPER is in Very Good condition and now protected by a removable archival mylar cover. Printed on hand-made paper, uncut, in black ink with decorations and caps in sepia. This is number 256 of 325 copies printed. [Chanticleer 46; Ransom p. 296, no. 43]. John Marston was a poet, satirist and playwright whose short career spanned the late Elizabethan and early Jacobean periods and was famous for the feuds with Ben Johnson. His reputation has varied widely over time but his work was resuscitated by the Romantics and some of his works were well-loved by T.S. Elliot. The text for… Read More

London: The Golden Cockerel Press, 1933. Limited Edition. Fine. Hugh Thomson. 4to, 12 1/2 x 8 3/8 inches (317 x 213 mm); with seven fine bright color illustrations by Hugh Thomson. Edition printed for the Members of the Limited Editions Club, this is copy 1460 of 1500. Full yellow cloth binding with the Golden Cockerel Press emblem printed in green on the front cover, title on spine in green, top edge stained green, rest uncut; rather worn slipcase with paper tag in fragile condition; the book is clean inside and out and in fine condition. Dickens began writing the book around 17 October 1845 and finished it by 1 December. Like all of Dickens's Christmas books, it was published in book form, not as a serial. Dickens described the novel as "quiet and domestic... innocent and pretty." It is subdivided into chapters called "Chirps.

London: The Golden Cockerel Press, 1936. Second Edition. Very good. Robert Gibbings. 5 x 3 5/8 in (125 x 90 mm); 23 pp.; title page printed in gold, the rest black in 110t Caslon's Old Face Type. 4 wood-engravings by ROBERT GIBBINGS. Red cloth binding, black title on spine, without its dust-jacket. Copy clean with very faint spots on the enpapers. [Pertelote 115]. Translated by Hannah Waller and with a note on Pushkin and the tale by Raïssa Lomonossova, "This diverting little book had considerable success and the translation was hailed as one of the best renderings of Pushkin ever made." (Pertelote 115) The title in gold adopted a process where the page was printed in colored ink, then dusted over with powdered gold, which adheres to the ink. A limited edition of 100 copies was bound in gold cloth and sold for 1 Guinea, but collectors did not hesitate over the high price, for such a tiny book. The GOLDEN COCKEREL PRESS was founded by Harold Midgely Taylor in 1920 with the object of publishing… Read More