455 résultats
1808107319Single plate. London: Cromek 1808. Single plate etching on wove unwatermarked paper margins slightly soiled and worn image clean. § From the first 4to edition this is one of the most famous plates in the series. Bentley Blake Books 435 A. Cromek unknown books
1808107325Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper margins slightly soiled and worn image clean. § From the first 4to edition. Bentley Blake Books 435 A. Cadell and Davies unknown books
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
18161068098vo. London: Henry Colburn 1816. 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. § 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 Blakeâ€. Some claim Watkins authored A-K and Shoberl the rest. Henry Colburn hardcover books
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
18031051664 vols. Chichester: J. Seagrave 1803-04. 4 vols. in 3 4to 8 table of contents 1-413 2; 6 iii-xii introductory letter 1-424; 4 i-iii iv-xxxi 1-416 1; 2 ads 1-122 22 pp. With 5 plates and an engraving in the text one designed and engraved by Blake 4 engraved by Blake after other artists and 1 engraved by Caroline Watson. Contemporary mottled calf with gilt borders on both covers. Backstrips and labels chipped covers rubbed with minor loss of calf hinges considerably worn yet sound. Armorial bookplate of Mrs Gosling in all three vols. § 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. J. Seagrave unknown books
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
18031027843 vols. Chichester: J. Seagrave 1803-04. 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. § 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. J. Seagrave unknown books
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
1803007944Chichester : Printed by J. Seagrave for J. Johnson 1803. 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. . First Edition. Quarter Calf. Very Good Plus/No Jacket As Issued. 4to - over 9¾" - 12" tall. Printed by J. Seagrave for J. Johnson Hardcover books
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
1881110436Archival inkjet print. London: Colnaghi printing after 5 March 1881. Archival inkjet print 93.9 x 30 cm. printed by E.M. Ginger of 42-Line in Oakland CA. Framed. § Fine facsimile print of William Blake’s Canterbury Pilgrims 5th and final state. The reproduction by 42-Line is so good it is virtually indistinguishable from an original print.“‘Chaucers Canterbury Pilgrims’ was one of Blake’s major attempts at building a reputation as a painter-engraver and achieving the sort of critical and financial success that had escaped him for so many years.…†However Blake wasn’t to meet with the critical success he had hoped for and the competition created when Thomas Stothard executed a plate of the same subject caused him to become bitter. “Most contemporary connoisseurs probably found the print old-fashioned and ‘Gothic’ in the pejorative sense.… The record of prices brought by the print at auction indicates that it has attracted strong interest from collectors only in the last few years†Essick pp. 86-88. Blake made substantial changes in the fourth and fifth states of this famous plate and “it is only in the last two states of the plate that we find Blake’s mature artistry as an original printmaker bringing to his largest and most ambitious single print the same techniques distinguishing his Job and Dante engravings.†Essick Separate Plates of William Blake XVI and see William Blake Printmaker. Colnaghi printing unknown books
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
18031050323 vols. Chichester: J. Seagrave 1803-04. 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. § 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. J. Seagrave hardcover books
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
