Blake William.ABAA
144 résultats
1828107781e 1825 but published 1826. London: March 8 1828 i.e 1825 but published 1826. Single leaf recently cleaned. § First edition one of 100 sets printed directly onto Whatman wove with the word “proof†removed. Blake had a long pictorial engagement with the biblical story of Job. This a single leaf from a series of 21 engravings commissioned by John Linnell in 1823 that are generally considered to be Blake's masterpiece as an intaglio printmaker. "Rather than using the customary "mixed method" of preliminary etching followed by engraving Blake used pure line engraving in the Job plates. Perhaps one of his motivations was to evoke the art of the master engravers of the Renaissance whom Blake greatly admired such as Albrecht Dürer." The William Blake Archive.In the Book of Job Job and his old friends argue at length over the divine purpose of Job's afflictions. This plate illustrates the moment the youthful Elihu overcomes his respect for his elders and bursts into the conversation to explain why he thinks both sides are wrong Job 32:6. In Blake's elaborate borders the figure of Job's Humanity sleeps while soaring angels try to awaken him.Bentley Blake Books 421A. Bindman Complete Graphic Works of Blake 625–641C. March 8 unknown books
1828107776e 1825 but published 1826. London: March 8 1828 i.e 1825 but published 1826. Single leaf recently cleaned. § First edition one of 100 sets printed directly onto Whatman wove with the word “proof†removed. Bentley Blake Books 421A. Bindman Complete Graphic Works of Blake 625–641C. March 8 unknown books
1828107778e 1825 but published 1826. London: March 8 1828 i.e 1825 but published 1826. Single leaf recently cleaned. § First edition one of 100 sets printed directly onto Whatman wove with the word “proof†removed. Bentley Blake Books 421A. Bindman Complete Graphic Works of Blake 625–641C. March 8 unknown books
1828107779e 1825 but published 1826. London: March 8 1828 i.e 1825 but published 1826. Single leaf recently cleaned. § First edition one of 100 sets printed directly onto Whatman wove with the word “proof†removed. Bentley Blake Books 421A. Bindman Complete Graphic Works of Blake 625–641C. March 8 unknown books
1808109096London: Printed by T. Bensley for R.H. Cromek 1808. Rare first edition subscriber's copy of Robert Blair`s famous poem which initiated a fashion for mortuary poems illustrated with 11 etchings by William Blake. Quarto bound in three quarters morocco marbled endpapers with the famous engraved frontispiece portrait of William Blake after the painting by Phillips engraved title page with 11 additional plates engraved by Louis Schiavonetti after Blake's drawings designed at the request of Cromek. With the poem dedicated to the Queen by Blake list of subscribers four-page prospectus for the Procession of Chaucer`s Pilgrims to Canterbury by Thomas Stothard at rear. In very good condition. Ownership inscription. Rare and desirable. In October 1805 Blake was commissioned by the engraver and would-be publisher Robert H. Cromek to prepare 40 drawings for Robert Blair's Grave from which Cromek planned to select twenty for this deluxe edition of the poem. While The Grave originally appeared in 1743 this 1808 edition was to become famous for its illustrations demonstrating "the rare imaginative power of William Blake" Magnusson 162. A dispute over a preliminary etching "in white-line" called "Death's Door" which Cromek rejected resulted in Blake's being prevented from engraving his own designs so the 12 drawings eventually selected were rendered by Louis Schiavonetti "with a mingled grace and grandeur which won for them a wider popularity. Never has the theme of death been handled in pictorial art with more elevation and beauty" DNB. Printed by T. Bensley for R.H. Cromek unknown books
18931087763 vols. London: Quaritch 1893. 3 vols. large 8vo. profusely illustrated. In original green cloth with extensive gilt stampings of Blake designs to covers in bright condition although spines now a little dulled with rubbing to edges and spine ends. All volumes very clean internally with traces of dustiness to the uncut page edges. § First edition of one of the most influential works on Blake. “The enthusiasm and comprehensiveness of this work are of considerable historical importance†Bentley 369 who cautions that the scholarly value of the work is at best uneven. The book is also treasured by devotees of gilt-stamped bindings of which this is a striking example. Quaritch hardcover books
1886108532Small slim 4to. London: Pickering & Co. 1886. Small slim 4to printed blue upper wrapper serving as the title-page 12 leaves with illustrations printed lithographically in reddish-brown highlighted in black of which 3 are colored. Early full brown morocco binding by Riviere dark green glazed endpapers backstrip lettered in gilt lower cover rehinged. § § Large-paper copy privately printed for Pickering in an edition of 50 copies. One of the rarest Blake facsimiles and only in the large-paper edition very well executed the rest were not colored and were printed in a dark brown without highlights. Not in Bentley but see Blake Books Supplement page 140. Essick notes: “According to BBS page 140 the plates reproduced are the same as those in the Muir facsimile of 1886 apparently from copies A L and perhaps H. However Joseph Viscomi Blake and the Idea of the Book pp. 205 212-13 demonstrates that most of the plates a1 a2 a4 a8 a9 b3 b4 b12 in this Pickering facsimile were based on copy I one of the early “bogus†or facsimile copies now in the Morgan Library. The remaining plates a2 a5 a6 a7 were probably based on copy D Harvard or copy G Morgan according to Viscomi.†Pickering & Co unknown books
1825215604London: W. Sams Book & Printseller to the Royal family opposite St James's Palace 1825. Third state the first being produced in 1818. Hand-colored aquatint with etched outline. 1 vols. 20 x 26 inches matted and framed to 27 x 33 inches overall. Third state the first being produced in 1818. Hand-colored aquatint with etched outline. 1 vols. 20 x 26 inches matted and framed to 27 x 33 inches overall. A large and important depiction of an exhibition sparring match held in Fives Court in London's Little St. Martin's Street a tennis and fives court hired for such events the participants unlike a regular bare-knuckle bout being fitted with gloves "mittens" or "mufflers". The contestants shown were Ned Turner "The Out-and-Outer" who had killed a man in the ring serving time for manslaughter and Jack Randall "The Prime Irish Lad" unbeaten throughout 12 years of ring activity. The two had fought an epic fight in 1818 which Randall won to become the Lightweight champion. A large number of famous pugilists are pictured in the audience not always accurately Jem Belcher the famed champion and the first real sporting celebrity in the modern sense is shown although he was dead and it is a fair portrait of "The Fancy" as the mix of often raffish sporting professionals and upscale spectators including nobility came to be known. THE MOST FAMOUS BOXING PRINT EVER PRODUCED AND AN IMPERISHABLE EVOCATION OF REGENCY SPORT. Snelgrove British Sporting and Animal Prints p. 48-9 color plate 5; Siltzer pp. 319 320 325; Wilder Sporting Prints p. 178 color plate p. 179; Magriel The Ring and the Glove pp. 17-18 W. Sams, Book & Printseller, to the Royal family opposite St James's Palace unknown books
18861092194to. Edmonton: William Muir 1886. 4to 1 blank 2 Preface 3-23 text 24 On Homer’s Poetry 25 blank. Original wrappers upper wrapper titled in manuscript lower wrapper blank stitched as issued. Bookplate of Templeton Crocker. § Copy #50 of 50 copies numbered and signed by Muir. Includes “All Religions are One†and Muir's own version of the missing plate b5 as in other copies and also the separate plate “On Homer’s Poetry†not found in the other copies above but present in copy #40 for sale at James Cummins. Essick notes: There is No Natural Religion. The "Preface" dated 1886 indicates that the facsimile is based on plates "in the British Museum copy A and from some papers in my own possession copy L." However the printed front wrapper of Muir's Europe facsimile 1887 indicates that "Mr. Burt's copy H--which according to Joseph Viscomi is a forgery" was also used. This would seem to be correct since copies A and L are printed in olive and green whereas plates a1 a2 and b1 in the facsimile are in brown as in copy H. Also includes plate 2 of All Religions are One the original of which is bound into There is No Natural Religion copy M and Muir's own version of the missing plate b5. Delivered to Quaritch 8 Sept. 1886. Note: There is No Natural Religion copy M also printed in brown but it seems unlikely that this was "Mr. Burt's copy" since copy M was in the Tulk family collection until 1956.†BB#249g. Bentley Blake Books 249 G. The Templeton Crocker/Herbert M. Evans copy with the Crocker bookplate at the front and Howell’s note “HME†at the back priced $100. William Muir unknown books
1886302993London: Quaritch 1886. No. 40 of 50 copies signed by Muir. William Muir facsimile. 23 plates including Preface and title all hand colored save for the final plate On Homer's Poetry. 1 vols. 4to. Printed wrappers. Some splitting and marginal chipping internally fine. Brown morocco backed folding case. No. 40 of 50 copies signed by Muir. William Muir facsimile. 23 plates including Preface and title all hand colored save for the final plate On Homer's Poetry. 1 vols. 4to. Muir Facsimile. Includes the title-page and All Religions are One and Muir's own version of the missing plate b5. The "Preface" dated 1886 indicates that the facsimile is based on plates "in the British Museum copy A and from some papers in my own possession copy L."<br/>The last leaf of the facsimile is the single page On Homer's Poetry. Bentley Blake Books 249g Quaritch unknown books
180510791510 volumes. London: C and J. Rivington 1805. 10 volumes royal 8vo with a portrait frontispiece of Shakespeare and 37 separate engravings after drawings by Fuseli by Neagle Cromek Rhodes Dodley and two by William Blake. Original calf rather worn with some hinges cracked. Gilt on raised backstrip also rather worn. Volume 1 has some cracking to spine. Some spotting. Volume 1 has one minor worm hole on the lower margin the goes through a number of pages to the rear pastedown. Volume 3 has a small worm hole that goes through the entire lower margin of the book and becomes two holes that continues to the back pastedown. Volume 9 has some minimal worming at the rear pastedown. The text in all volumes is unaffected. Volumes 1 and 3 have a few untrimmed pages. Each volume has a bookplate from the previous owner Henry Frederick Thistlethwayte at front. Volume 1 is inscribed with with a note from Thistlethwayte to his son Alfred. The plates are fine impressions. § Large-paper issue of the best illustrated collection of Shakespeare’s plays save only the elephant-folio Boydell. This was one of Fuseli’s major projects as a book-illustrator and it succeeds brilliantly; the engravings are dramatic and rich and in this edition well printed. Blake engraved two plates after Fuseli for the book his only illustrations of Shakespeare. Vol. VII for King Henry VIII and vol. X for Romeo and Juliet. There was a nine-volume small-paper issue with greatly inferior printing of text and plates but as Bentley observed “the ten-volume edition is considerably more elegantâ€. Bentley 498. Essick William Blake’s Commercial Book Illustrations XLVII. C and J. Rivington unknown books
18861088104to. Edmonton: William Muir 1886. 4to printed upper wrapper; 1 blank 2 Preface 3-23 text; lower wrapper printed on the inside with the “Programme†dated November 1885. All bound into modern blue buckram red morocco label on backstrip bookplate of Joseph Holland and a Moncure Biddle typed library record at front Houghton Library Phil Hofer manuscript note pasted in at the back. A fine copy. § Copy No. 11 of 50.Includes “ All Religions are One†and Muir's own version of the missing plate b5. Essick notes: There is No Natural Religion. The "Preface" dated 1886 indicates that the facsimile is based on plates "in the British Museum copy A and from some papers in my own possession copy L." However the printed front wrapper of Muir's Europe facsimile 1887 indicates that "Mr. Burt's copy H--which according to Joseph Viscomi is a forgery" was also used. This would seem to be correct since copies A and L are printed in olive and green whereas plates a1 a2 and b1 in the facsimile are in brown as in copy H. Also includes plate 2 of All Religions are One the original of which is bound into There is No Natural Religion copy M and Muir's own version of the missing plate b5. Delivered to Quaritch 8 Sept. 1886. Note: There is No Natural Religion copy M also printed in brown but it seems unlikely that this was "Mr. Burt's copy" since copy M was in the Tulk family collection until 1956.†Bentley BB 249 G. William Muir hardcover books
1803104400Roy. Chichester: J. Seagrave for T. Cadell and W. Davies 1803. Roy. 8vo 9.5 x 5.75 ins. xii 165 pages. With 6 engraved plates by William Blake after Maria Flaxman. Later half green morocco gilt top other edges untrimmed an excellent copy with wide margins. § A large-paper copy unusually clean and with fine dark impressions of the plates. First edition of Blake’s engravings after these dreamy and slightly surreal illustrations. Bentley Blake Books 471A. Essick William Blake’s Commercial Book Illustrations XLIII. DNB notes of Hayley: “Possibly his greatest achievement however was his didactic poem Triumphs of Temper 1781 which ‘was to reform the entire feminine mind of England by the advice’ Bishop 53. This allegorical work aspired in rhyming couplets to teach young women the virtues of a pleasant nature. Its advice was heeded by some: Emma Hamilton thanked Hayley ‘for the lessons she had learnt from the poem’ P. Jaffe Drawings by George Romney 1978 44 and asked Romney to inform Hayley that his poem ‘made me Lady H. … for Sir W. minds more temper than beauty’ ibid. Triumphs of Temper ran into fourteen editions and proved to be the most durable of all his publications.†J. Seagrave for T. Cadell and W. Davies unknown books
18061087518vo. London: Richard Phillips 1806. 8vo xxiv 270pp ii publisher's booklist with Blake's engraved frontispiece of Sir Joshua Reynolds design " The Graphic Muse". Original blue-grey boards spine slightly darkened and worn at edges. § First edition a very scarce book especially in boards. With the bookplates of Gilbert Redgrave and George Goyder : there are also signatures of Sir Edward Hoare an early owner on the title page and other pages. Bentley Blake Books 474. Essick William Blake's Commercial Book Illustrations XLVIII. Richard Phillips hardcover books
1893WRCLIT68725London: Bernard Quaritch 1893. Three volumes. Large thick octavo. Original green cloth spines and upper covers elaborately decorated in pictorial gilt after designs by Blake t.e.g. others untrimmed. Portrait facsimiles and plates. Some modest rubbing at extremities but a quite bright sound very good or better set. First edition. One of five hundred sets comprising the regular paper issue. Controversial in its interpretation of Blake's texts this work nonetheless remains in this issue and binding something of a landmark of 1890s book production. "The enthusiasm and comprehensiveness of this work are of considerable historical importance" - Bentley. Wade quotes Yeats's inscription in his own copy about the nature of this collaboration: "The writing of this book is mainly Ellis's the thinking is as much mine as his. The biography is by him. He re-wrote and trebled in size a biography of mine. The greater part of the 'symbolic system' is my writing; the rest of the book was written by Ellis working over short accounts of the books by me except in the case of the 'literary period' the account of the minor poems & the account of Blake's art theories which are all his own except in so far as we discussed everything together." WADE 218. BENTLEY 369. Bernard Quaritch hardcover books
1825104648Proof on India paper mounted on handmade paper. London: March 8 1825 but published 1826. Proof on India paper mounted on handmade paper some leaves watermarked J. Whatman Turkey Mill 1825. A fine impression. Matted. § Single plate from the first edition one of 150 proof sets on India paper. Bentley Blake Books 421A. Bindman Complete Graphic Works of Blake 625–641C. March 8 unknown books
1809108741Large 4to. Chichester: W. Mason 1809. Large 4to 8 416 7 pp with a portrait frontispiece and 11 engraved plates including one by Blake after Romney. Large paper copy in red half calf over marbled paper boards with gilt rules and titling. A very good copy with clean pages and prints throughout : just traces of ageing on the first few pages. § First edition large-paper copy. Although not substantially bigger than uncut copies of the regular issue the large-paper copies are on heavier paper and the impressions are stronger. The 1-page advertisment at the end for “Epistles to Romney†is not found in the small-paper copies. Blake’s plate of the shipwreck incorporates a number of familiar figures from his iconography and is a strong and vivid illustration. Bentley Blake Books 469 Essick William Blake's Commercial Book Illustrations XLIX: large-paper issue has an “1807†watermark without a maker’s name; the small paper is watermarked “Rye Mill / 1807â€. W. Mason hardcover books
1885302990Edmonton 1885. No. 49 of 50 copies signed by Muir on upper wrapper. William Muir facsimile. Preface leaf and 11 hand colored plates. 1 vols. 4to. Original printed wrappers. Some external soiling and chipping to edges internally fine. Brown morocco backed folding case. No. 49 of 50 copies signed by Muir on upper wrapper. William Muir facsimile. Preface leaf and 11 hand colored plates. 1 vols. 4to. Blake's Daughters of Albion. Keynes 217c; Bentley 249e unknown books
1880WRCLIT82179London: Macmillan and Co. 1880. Two volumes. Large thick octavos. Original navy blue cloth elaborately stamped in gilt after a pictorial design by Rossetti. Portraits plates and illustrations. Two bookplates in each volume otherwise a fine bright partially unopened set in the rare pictorial dust wrappers that for volume one split up the upper joint with small chips at toe and crown of upper joint and another about half- way up the joint not affecting design and that for volume two with a shallow loss along the lower edge of the front panel and a small chip from the blank area of the toe of the upper joint. Preserved in a fleece lined folding cloth slipcase. Second and best edition enlarged with additional letters and a memoir of the author. The earlier of the bookplates are tipped to each free endsheet; the later bookplates are those of the Garden Library affixed to each pastedown. One of the great late 19th century pictorial bindings very seldom encountered in the pictorial dust jackets which replicate the binding design. Macmillan and Co. hardcover books
18631048982 vols. London: Macmillan 1863. 2 vols 8vo i-v vi-xv 1-389; i-v vi-vii 1-3 4-268 pp. In addition to the portrait frontispiece in vol. 1 the folding frontispiece of the Canterbury Pilgrims in vol. 2 and numerous illustrations from Job and Songs this is an extra-illustrated copy with 34 bound tipped-in or loosely inserted engravings from The Grave Triumphs of Temper Aphorisms on Man Life and Posthumous Writings of William Cowper Botanic Garden and Gay’s Fables. 19th-century full tan-colored calf rebacked surely to accommodate the extra-illustrations triple gilt fillet borders on covers fleurons at corners gilt backstrip with red-colored morocco labels gilt turn-ins all edges gilt marbled endpapers. The front flyleaf in vol. I with a chip at the upper-right corner. Occasional spotting or foxing. See below for complete list of extra material. Very good. § First edition. This copy is unusual and desirable for the extra material from many of Blake’s most famous commercial engravings as follows: Volume I: Originally bound in opposite pp. 1 but now detached ‘Guillermo Blake’ T Phillips Pinx t L Schiavonetti V.A. Sculpt. Frontispiece from the very rare Meditaciones Poeticas 1826 folded three times 8-1/2 x 13-1/2 inches; and 11 additional engravings from the same edition are bound in after the text all folded in order of original appearance and fairly tightly cropped; and a single engraving from The Triumphs of Temper: Flaxman/ Blake Canto I Verse 29 1803 Cadell and Davies.Volume II: After pp. 268 we find the cropped title page from the quarto issue of The Grave 8-6/8 x 13 inches. After the text in vol. 2 resumption of grangerized material from the1803 Triumphs of Temper continues as follows: Canto II Verse 471; Canto III Verse 201; Canto VI Verse 294; Canto V Verse 43; and Canto IV Verse 328. The frontispiece from Lavater’s Aphorisms on Man showing William Cowper looking up measuring 8 x 9-1/2 inches. Four engravings from Life and Posthumous Writings Cowper: A View of St Edmunds Chapel; William Cowper Author of The Task; William Cowper Carmine Nobilem; and Mrs Cowper. From the 1799 J. Johnson 8vo edition of Darwin’s Botanic Garden: The Fertilization of Egypt London Dec 1st 1791 St Pauls Church Yard. 9 engravings from Gay’s Fables Vol I 1793: The Goat without a Beard; The Shepherd and the Philosopher; The Pin and the Needle; The Tame Stage; The Miser and Plutus; The Persian the Sun and the Cloud; The Butterfly and the Snail; The Setting Dog and the Patridge; and The Owl and the Farmer.Also of interest are the prints found in all copies - three from electrotypes of the Virgil prints and 17 from electrotypes of the Songs of Innocence and of Experience. Gilchrist was Blake’s first full-scale biographer. The work was unfinished when he died and largely completed by Dante Gabriel Rossetti who wrote the final chapter from Gilchrist’s notes with help from his brother William Michael and also Swinburne whose own book on Blake was the result of his researches when reviewing Gilchrist’s book. Bentley Blake Books 1680A. Macmillan unknown books
1885303018London 1885. No. 38 of 50 copies. William Muir facsimile based on copy D. 8 leaves. 1 vols. 4to. Full green levant wrappers bound in. Spine toned. Fine. No. 38 of 50 copies. William Muir facsimile based on copy D. 8 leaves. 1 vols. 4to. Muir Facsimile. Bentley 249b unknown books
18931226213 vols. London: Quaritch 1893. 3 vols. large 8vo profusely illustrated. In original green cloth with extensive gilt stampings of Blake designs to covers in bright condition. The finest copy we have ever seen. § First edition of one of the most influential works on Blake. The Doheny copy with book plate in all three volumes. “The enthusiasm and comprehensiveness of this work are of considerable historical importance†Bentley 369 who cautions that the scholarly value of the work is at best uneven. The book is also treasured by devotees of gilt-stamped bindings of which this is a striking example. Quaritch hardcover books
1884303008Edmonton: John Pearson for Bernard Quaritch 1884. One of 50 copies. Hand-colored facsimile by William Muir. With 11 hand-colored plates bound without wrappers or the preface addressed to Muir's patron. 1 vols. 4to. Full green straight-grain morocco covers gilt with triple gilt fillets spines lettered in gilt within decorative framing lines board edges gilt marbled endpapers t.e.g. Faint wear to extremities else fine; probably the publisher's special binding. One of 50 copies. Hand-colored facsimile by William Muir. With 11 hand-colored plates bound without wrappers or the preface addressed to Muir's patron. 1 vols. 4to. Blake's 'Daughters of Albion': Muir Facsimile in Special Binding. Keynes 217c; Bentley pp. 28-9 John Pearson for Bernard Quaritch unknown books
1885123176Tall slim folio. Edmonton: William Muir 1885. Tall slim folio 8 unnumbered hand-colored plates with no printed outline. Full red straight-grain morocco covers panelled in gilt backstrip gilt-lettered. A fine copy bookplate of C.H. Wilkinson dated 1938. § The Muir facsimile based on copy D in the British Museum and limited to around 50 copies. The plates are delicately colored and the text is in golden-brown. Bentley Blake Books 249b. Essick notes three versions of the ca. 1885 edition one entirely executed by hand another version with the correction of 'sprin' to 'springs' on leaf 5 line 7 and a third version with the final two leaves numbered 5 and 6 as in Blake's original the two prior versions do not have numbered leaves. William Muir unknown books
18851088034to. Edmonton: William Muir 1885. 4to 1p.preface by Muir 27 leaves hand-colored 1p.appendix 2 leaves at the end in facsimile of Blake’s manuscript arrangement of the Songs of Innocence and of Experience and the separate plate ‘A Divine Image’. Original printed wrappers bound into contemporary half navy calf gilt with navy morocco gilt label on cover and navy cloth boards with the bookplate of H.C.Plimmer. Very good with tissue guards as issued. § The superb Muir facsimile limited to 50 copies this copy numbered 2. Reproduces copy A - the Beckford-Harvard copy. “This book is Blake’s Principia in which he announced a new concept of the universe.†Damon Blake Dictionary. One of Blake’s most popular texts with numerous famous lines. See Bentley BB #249e. William Muir hardcover books
