304 résultats
1886d2793bLondon: Kegan Paul Trench & Co. G : in good condition. Cover rubbed and soiled. Eps darkened. Fold-out repaired with archive tape. 1886. First Edition. Blue hardback boards with cream vellum spine. 320mm x 240mm 13" x 9". vi 160pp plates. 9 plates 6 b/w 3 sepia 1 fold-out. With Glasgow Arts Club bookplate. Heavy item - shipping supplement may apply for overseas. . Kegan Paul, Trench & Co hardcover
18271259791827. N.p.: n.d. <br /> <br /> 8vo 141pp. original printed blue wrappers with the Blake plate pasted in at the front. The image and plate mark as per Essick 3.1 x 7.8 cm. and 3.3 x 8.1 cm. respectively. Printed in black on wove India paper measuring 5 x 10 cm.<br /> <br /> § Enigmatic version of the famous "Cumberland card" Blake's last engraving executed for one of his closest friends. It is lightly printed and pasted into a copy of the Hayward catalogue: inscribed at the front by Geoffrey Keynes to Robin Skelton and with a later pencil inscription see below noting that this is "a copy of Blake's engraving struck off by Keynes from the plate". This cannot be true since Keynes never owned the original plate and its whereabouts have never been established. More likely is that Keynes gave Skelton a spare proof of the card illustrated in his book Engravings by William Blake plate 38. A subsequent owner William Clair notes in pencil: "Presented to Robin Skelton by Geoffrey Keynes with a copy of Blake's engraving struck off by Keynes from the plate." and adding "Bought in Toronto". Skelton was a highly regarded poet and academic who though English lived in Toronto and taught at the University of Victoria.<br /> <br /> The images invoke one of Blake's greatest themes-the relationships between time and eternity. Opinions vary on the purpose of this plate but it should be noted that at the time 1827 it was not uncommon to paste a calling card into a book as proof of ownership. However no book once owned by Cumberland has been located with his card pasted in. It has also been suggested that the name of Cumberland in the center was executed by a writing engraver and Blake added his borders later. 39 examples of this print are known to Essick not including examples now untraced all but three on laid paper printed later and three on card but it is quite rare in commerce. <br /> <br /> Offered with the book Engravings by William Blake.<br /> <br /> Essick The Separate Plates of William Blake XXI. Bindman Complete Graphic Works of Blake 654. unknown
1803007944Chichester: Printed by J. Seagrave for J. Johnson 1803. Book. Very Good Plus. Hardcover. First Edition. 4to - over 9¾" - 12" tall. The first two volumes published 1803 of Hayley's biography Volume 3 published in1804 not present. 3 engraved portraits by Blake and engraving at Appendix of Vol. II featuring Cowper's Tame Hares. In contemporary quarter calf over marbled boards with later replaced plain endpapers with inked auction # 112 front paste downs marbled page edges. Near Fine scattered faint toning light rubbing at tips. SCARCE in the First Edition. Printed by J. Seagrave for J. Johnson Hardcover
1858000017110Columbus Ohio: J. & H. Miller 1858. First edition. Hardcover. Very Good. Large 8vo. 3 iv-xvi 1 18-832 4 pp. Full contemporary black sheep with decorations stamped in blind on the boards gold lettering and gold decorations on the spine; all edges marbled. Marbled endpapers and pastedowns. Illustrated with a frontispiece and a few plates engravings all in black and white. With a publisher's advertisement slip for a different work a Bible laid in. With a passage on John Brown's raid at Harper's Ferry and an appendix on the Dred Scott decision. Hogg 88. Sabin 5800. Blake begins his history with the practice of slavery in ancient Greece and Rome and includes chapters on slavery in the West Indies and discusses slavery in the fifteenth to the eighteenth centuries. His work ends with a discussion of the annexation of Texas the Missouri Compromise and the conflict in Kansas. A timely history published shortly before the U.S. Civil War. The boards' edges rubbed without much loss to the leather light foxing to the versos of the plates. J. & H. Miller hardcover
1870541677Concord: B.W. Sanborn & Co 1870. Softcover. Very Good. First edition. Octavo. 32pp. The printed wrappers are moderately toned light foxing on the title page and final text page very good or better. Rev. Blake's spirited and detailed exhortation against contemporary advocates for women's rights and women's suffrage whom he refers to as "hot-headed agitationists". He also includes appendices on the issue of women in regard to taxation and education. A nice copy in the original wrappers. B.W. Sanborn & Co unknown
185913<p><em><strong>History of Slavery and The Slave Trade in good condition</strong></em></p><p><em><strong>Binding is tight.</strong></em></p> J. & H. Miller
18131092081813. London: Ackermann 1813. <br /> <br /> Single plate etching on wove unwatermarked paper recently cleaned.<br /> <br /> § From the second 4to edition this is one of the best known plates in the series. It was designed by Blake and engraved by Luigi Schiavonetti. Bentley Blake Books 435D.<br /> <br /> "In October 1805 Blake was commissioned by the engraver and would-be publisher Robert H. Cromek to prepare forty drawings illustrating Robert Blair's The Grave a popular "Graveyard" school poem first published in 1743. Cromek planned to select twenty of these designs for a deluxe edition of the poem. In Cromek's first prospectus of November 1805 Blake is named as both the designer and engraver of fifteen designs. Blake etched one image Deaths Door in white-line but Cromek rejected it. The dark power of the white-line print appeals to modern tastes but was far from fashionable in the early nineteenth century. In a second prospectus also of November 1805 Cromek announced that Luigi or Louis Schiavonetti would engrave twelve designs for the new edition. Blake had lost the potentially lucrative commission to engrave his own designs; his relationship with Cromek descended into anger and argument. In spite of their disagreement Cromek included a portrait of Blake as a frontispiece to the volume published in 1808. Cromek promoted the book aggressively and the illustrations to The Grave became Blake's best known work through much of the nineteenth century." The William Blake Archive. unknown
18081073211808. London: Cadell and Davies 1808. <br /> <br /> Single plate etching on wove unwatermarked paper margins slightly soiled and worn image clean. <br /> <br /> § From the first 4to edition this is one of the best known plates in the series. It was designed by Blake and engraved by Luigi Schiavonetti. Bentley Blake Books 435 A. unknown
18131092061813. London: Ackermann 1813. <br /> <br /> Single plate etching on wove unwatermarked paper recently cleaned.<br /> <br /> § From the second 4to edition this is one of the most famous plates in the series. Bentley Blake Books 435D. unknown
18131092111813. London: Ackermann 1813. <br /> <br /> Single plate etching on wove unwatermarked paper recently cleaned.<br /> <br /> § From the second 4to edition. Bentley Blake Books 435D. unknown
18081073251808. London: Cadell and Davies 1808. <br /> <br /> Single plate etching on wove unwatermarked paper margins slightly soiled and worn image clean. <br /> <br /> § From the first 4to edition. Bentley Blake Books 435 A. unknown
18664020<p>London: Basil Montagu Pickering 1866. First edition thus. 8vo in 4s. 172x105mm. pp. xii 108. Original brown cloth paper label to spine. Joint with upper cover split corners and label worn. Internally very good. Front free endpaper is inscribed "Frances Marten 1867 from H.C.R." On the front pastedown opposite is pasted a photograph of "H.C.R." who is Henry Crabb Robinson. The front free endpaper also has the book label of Priscilla and Samuel Meek. This reprint of Songs of Innocence and Experience contains two previously unpublished Blake poems. Two of the other poems were Bowdlerised and have lines replaced with asterisks to spare Victorian sensibilities. Henry Crabb Robinson 1775-1867 a lawyer journalist diarist and a co-founder of London University has been described as one of the best connected of literary men. He "knew almost every British writer of note from Blake Wordsworth Coleridge Lamb Southey and Hazlitt to Gaskell George Eliot and Matthew Arnold". Crabb Robinson's friendship with the elderly Blake was short they met in 1825 and Blake died in 1827 but unsurprisingly the shamanic artist and poet made an enormous impression. In his Diary Letters and Reminiscences. Crabb Robinson's describes his first meeting with Blake: "Shall I call him Artist or Genius—or Mystic—or Madman Probably he is all. He has a most interesting appearance. He is now old—pale with a Socratic countenance and an expression of great sweetness but bordering on weakness—except when his features are animated by expression and then he has an air of inspiration about him. The conversation was on art and on poetry and on religion". Crabb Robinson himself was an old man when this book was published which makes the gift all the more moving as he would have been one of the few people alive to have remembered Blake. Bentley 335A.</p> London: Basil Montagu Pickering 1866 hardcover
1890168621Boston: Houghton Mifflin Company 1890. First Edition; First Printing. Hardcover. Very Good in boards. Owner name on FEP. Front hinge starting. Light shelfwear on front/rear panels. Top text block edge gilded. Houghton Mifflin Company hardcover
18161068091816. London: Henry Colburn 1816. <br /> <br /> 8vo viii 449 pp. With 2 leaves of ads at the front and another 2 at the back dated 1818. Original boards paper backstrip slightly rubbed with loss of label some wear to boards a very fine copy entirely uncut and in original state as issued.<br /> <br /> § First edition of a fascinating contemporary reference work. It includes one of the earliest biographical references to William Blake "an eccentric and very ingenious artist" as well as a large number of writers such as Wordsworth Coleridge and Byron and hundreds of other authors forgotten today but amazingly no Shelley Mary or Percy no Keats and no Jane Austen. Bentley Blake Books 2929: "references to Blake under William Hayley W. Blake and William Blake". Some claim Watkins authored A-K and Shoberl the rest. unknown
18051066411805. Chichester: J. Seagrave for Richard Phillips 1805. <br /> <br /> The Lion. Single plate full margins well printed first state.<br /> <br /> § See: Bentley Blake Books 465. Easson and Essick William Blake Book Illustrator VIII. Bindman Complete Graphic Works of Blake 403-407. unknown
18031027841803. Chichester: J. Seagrave 1803-04. <br /> <br /> 3 vols. 4to 2 xii 8 413; 4 424; 6 xxxi 416 pages. With 5 plates and an engraving in the text one designed and engraved by Blake the others engraved by Blake after other artists. Old diaper calf rebacked new labels a good set.<br /> <br /> § Second edition final state of the "Weatherhouse" plate designed by Blake. Hayley's position as the most respectable and considerable literary figure who had known Cowper made him the inevitable choice to write the definitive work. Blake was living with his wife at Felpham and she helped him make and print the engravings for their old friend and patron Hayley. Bentley Blake Books 468 A. Easson & Essick I VII. Bound in at the end is another book entitled: Cowper Illustrated by a Series of Views in or near The Park of Weston-Underwood Bucks. London: 1803 published by Vernor and Hood and with an engraved title and 12 plates by Storer and Greig. This added text has nothing to do with Blake and only relates to William Cowper. unknown
186223079Columbus Ohio: Henry Miller and Company. 1862. Hardcover. Fair two fairly large chips on the top of the spine and the cover fore-edge a scrape on the front edges rubbed the binding is sound except a break at the front hinge some foxing mostly in the margins. This edition has a 367 page section on the Civil War with a number of engraved portrait plates. No dust jacket issued. This edition seems to be more scarce than earlier editions. Black embossed hard leather with gilt spine decoration and lettering and a stamped cover design marbled end pages and page edges. ; Engraved plates.; 975 pages . Henry Miller and Company hardcover
1900189673c.1900. Bring me my bow of burning gold A nice example of early 20th-century amateur illumination taking as its subject the nation's favourite hymn "Jerusalem". A gift inscription in a contemporary hand is penned on the front pastedown from one Margaret. Illumination was one of the many handicrafts practised by women at this time. Landscape quarto. Text in manuscript initials in red green and blue within gilt borders. Original parchment front cover lettered in manuscript. Contemporary gift inscription to front pastedown. Parchment soiled title rubbed book block threads loose but attached contents vivid. A very good example. unknown
18031050321803. Chichester: J. Seagrave 1803-04. <br /> <br /> 3 vols. 4to 10 table of contents iii-xiii 1-413; 8 1-424; 2 1-iii iv-xxxi 416 4 6 1-122 24 pp. With 5 plates and an engraving in the text one designed and engraved by Blake the others engraved by Blake after other artists. Original polished brown half calf marbled paper over boards. Backstrips of each volume with two black morocco labels lettered in gilt. Hinges and joints of vol. III just starting. Some spotting and foxing along edges of text blocks and within the text itself sometimes within the image. Minor rubbing and wear at extremities. Armorial bookplate of the Corbollis family on front pastedown of each volume. Excellent original copies in fantastic overall condition.<br /> <br /> § Second edition final state of the "Weatherhouse" plate designed by Blake. Hayley's position as the most respectable and considerable literary figure who had known Cowper made him the inevitable choice to write the definitive work. Blake was living with his wife at Felpham and she helped him make and print the engravings for their old friend and patron Hayley however "the plates for vols i-ii are much more clearly and darkly printed in the second edition so indicated on the title pages than the first. Perhaps many of the lines were cut more deeply when the plates were converted in their second states but more careful inking and printing could account for the considerable tonal differences. One hesitates to blame Mrs. Blake for the poor impressions of the first states but that may indeed be the case" Essick William Blake's Commercial Book Illustrations 86. Bentley Blake Books 468 A. Easson & Essick I VII. unknown
18031028661803. Chichester: Printed by J. Seagrave; for J. Johnson. 1803-1806. <br /> <br /> 4 vols. including Supplementary Pages in three 4to pp. i-iii-xii not including 8 -- 'Contents' bound after title-page 1-413; 8 1-422; 4 xxxi 1-416; 4 1-122 24 with five plates and an engraving in the text by William Blake second state of those in Vols. I and II no second state for those in Vol. III top cover of Vol. II with worm track frontispiece to Vol. II slightly foxed occasional browning in Vol. III and a worm track in the upper margin of the first few leaves bound without half-titles contemporary mottled calf gilt borders to front and back covers flat spines not green gilt in compartments with red lettering pieces in the second and fifth a bit rubbed and worn joints tender the upper cover of Vol. III nearly detached; original blue silk bookmarks in all three vols. ownership inscription in each vol. of Charlotte Beatty that in the third vol. dated 1805. Good.<br /> <br /> § First edition and second state of the "Weatherhouse" plate the only illustration in the book designed and engraved by Blake of which only a few examples are known in the first state. This plate here present in a very good impression with the imprint quite clear is almost always in the second state; three or four copies are known in the first state. The other 5 plates are engraved by Blake after designs by others. Hayley's position as the most respectable and considerable literary figure who had known Cowper made him the inevitable choice to write the definitive work. Blake was living with his wife at Felpham and she helped him make and print the engravings for their old friend and patron Hayley. <br /> <br /> Pencil inscription to front free endpaper reads: "These three volumes were obtained from the family of the Rev. Wm Bull of Newport Pagnell Friend of Cowper and Newton see DNB. Charlotte Beatty was the original owner of the books and she was a friend of this circle and also well-known in that area where alms houses were named in her honour."<br /> <br /> Keynes Grolier 124; Bentley 468A; Essick XLIV note that the entry in Easson and Essick IV is totally superseded by Essick's new research in the Commercial Book Illustrations. unknown
187010325<p>R. Ackermann. London. 1813 Circa 1870. PORTFOLIO OF 13 PLATES. No text as issued. Paper size 14.9 x 11.3 inches. The portfolio is 15.5 x 12 inches. Portrait of Blake by T. Phillips RA; Engraved title page dated 1808 and 11 plates all stating Ackermann as publisher dated 1813 and engraved by Louis Schiavonetti after Blake's designs. The pages have a little bumping to the edges but well away form the engraved area. Plates a little dusty and toned but the impressions are good. The original portfolio is brown Morocco grained cloth with elaborate blind tooled designs to both boards. Gilt lettering to the front board. Only one small piece of one silk tie remaining. Yellow coated endpapers. 3 small clippings from bookseller catalogues each listing copies of the Blair/Blake book tipped in to the front pastedown endpaper. Some minor rubbing and bumping to the cloth but the gilt is still very bright and the cloth clean. Overall a very good example of this rare edition. ----- "When Gilchrist's Life of William Blake 1863 made the artist's name familiar again a deposit of prints left over from 1813 came to light probably in Ackermann's storehouse. Somebody possibly John Cameron Hotton reissued the books. There are no new title pages no dates or places indicated; but the bindings are in mid-Victorian style and could not have been made in the first half-century." A Blake Dictionary: The Ideas and Symbols of William Blake By Samuel Foster Damon. ---- "My theory on that is that Camden Hotten who produced the 1870 issues not only got the copperplates from Ackermann with the Spanish inscriptions for de Mora but also some remainders of the impressions and letterpress and bound these up in a slightly different fashion. He removed the Spanish on the coppers and had an engraver restore the 1813 English inscriptions then printed for both the portfolio and the 1870 issue of the text with the engravings."--Essick.</p> R. Ackermann. London. 1813 (Circa 1870?) hardcover
1806220643London: T. Bensley for Longman Hurst Rees and Orme 1806. First edition. Engraved frontispiece by Robert Cromek after the design by William Blake and Haye and three plates one folding map. xlviii 172 pp. 1 vols. 8vo 25 x 15.5 cm. UNCUT in the original boards; rebacked in cloth endpapers renewed. Fine tall copy. First edition. Engraved frontispiece by Robert Cromek after the design by William Blake and Haye and three plates one folding map. xlviii 172 pp. 1 vols. 8vo 25 x 15.5 cm. A book of paramount importance to Blake studies. Malkin was a personal friend of William Blake with whom he shared an interest in radical politics and on the death of his gifted six-year-old son Thomas in 1802 Malkin commissioned Blake to design the frontispiece for Malkin's FATHER'S MEMOIR. In his Preface to this work Malkin gives what the DNB calls the "first and fullest" account of Blake's early life and career and it was with this very tribute to his friend's idiosyncratic genius that Malkin first gave impetus to a more general appreciation of William Blake's art. Keynes 80; Bentley Blake Books p. 18 T. Bensley for Longman, Hurst, Rees, and Orme unknown
1880140947503London: Macmillan and Co 1880. Second Edition. Very Good. Second edition A New and Enlarged Edition Illustrated from Blake's Own Works with additional Letters and a Memoir of the Author. Plates Portraits and Facsimiles. xxi 2 1-431; ix 4 1-383 pp. Bound in the publisher's dark green cloth boards ornately stamped in gilt. Complete in two volumes. Very Good. Light wear to cloth with some rubbing through at joints and tips light rubbing to gilt. Foxing and light offsetting to endsheets and preliminaries contemporary ownership notation to both volumes and light toning to contents. The exceptional second edition of Blake's life and prose a true apex of late Victorian decorated bindings. Macmillan and Co unknown
1813003676London: R. Ackermann 1813. Leather. Very Good. William Blake. Original half brown morocco over pebbled boards five raised bands gilt title and decorated compartments marbled endpapers 14" x 11 1/2". Dedication to the Queen by Blake List of Subscribers from 1808 issue Advertisement signed Cromak Remarks signed Fuseli Biographical sketch of Robert Blair Biographical sketch of Lewis Schiavonetti Biographical sketch of Robert Hartley Cromek Text of poem 37 pages Of the Designs; Engraved Blake portrait engraved titlepage of 1808 plus 11 full-page plates engraved by Schiavonetti after William Blake at rear. Some general exterior wear bumped corners and rubbing; typical light foxing heaviest on Blake portrait and engraved title page else internally clean. Provenance: Armorial bookplate of George Baird Stichill. Size: Folio <br/> <br/> R. Ackermann hardcover
18771229001877. London: John Pearson 1877. <br /> <br /> Large 4to 100 plates printed in black and white with black framing lines. Original upper blue-gray wrapper backstrip and lower wrapper supplied text block untrimmed. <br /> <br /> § A wonderful facsimile of copy D now at Harvard limited to 100 copies per Bentley and Keynes but an old Quaritch catalogue stated 250 an unlikely number although a copy is recorded with the number "385" on the front wrapper. This copy numbered 5 on the upper cover. Bentley attributed the publication to Chatto but revised it to Pearson in his Blake Books Supplement. The Rinder copy reproduced by the Trianon Press is in a smaller format and this large quarto has a much more imposing and appealing presence and seems to be a better facsimile - certainly this copy is clearer and more striking than copy C. Bentley BB 76 and BBS p. 88. <br /> <br /> "Blake's final and longest epic in illuminated printing constitutes a recapitulation and summation of his multiple interests ranging from his own mythology to biblical history from sexuality to epistemology and from the Druids to Newton. The cast of characters is vast but Los the artist's imagination at work in the material world Jerusalem and Albion the female and male portions of divided humanity who must be reunited the nature goddess Vala and Jesus play major roles." The Blake Archive Blake made five copies of Jerusalem but only colored one. A suite of 25 plates was also colored by Blake and a few posthumous copies were printed in tints. The one-hundred plates of Jerusalem were etched in relief with many designs in white-line etching between c. 1804 the date on the title page and 1820. unknown
