706 résultats
19681075954 vols. London: Trianon Press 1968. 4 vols. 8vo and 12mo Vol. I 8vo i-vii-viii 50 4 pp. Vol. II 12mo 2 pp. 22 plates Vol. III 4 pp. 31 plates Vol. IV 12mo 2 pp. 10 plates negative and copper plate. Original tan morocco volume 4 in brown cloth as issued cloth slipcase gilt lettering to backstrips of all three volumes. Backstrips slightly rubbed. § From an edition of 726 total copies this de luxe copy unnumbered out of series including 700 numbered 1 to 700 of which the first 50 have additional material and are in a special binding. Volume I is an introductory volume followed by three volumes of plates. Bentley Blake Books 48. Trianon Press hardcover books
1972110461Folio. London: Trianon Press 1972. Folio with 116 color facsimile leaves reproduced by collotype and hand-stencil color the text of the poems reproduced from copper-plate with 3 additional printings to reproduce Blake’s pencillings and the tone of the paper. Original sheets marbled boards morocco backstrip lettered in giltquarter brown morocco box. § Edition limited to 518 copies in all including 100 copies for Paul Mellon personally of which 12 copies were a super de luxe issue in three volumes with extra material 36 copies were a de luxe issue also with extra material but in sheets unbound18 copies were hors commerce contents unrecorded and 352 copies either bound in 3 volumes in slipcases or as a single set of the loose sheets in a box. This is #370.The 116 water-color illustrations to Thomas Gray's poems are among Blake's major achievements as an illustrator. They were commissioned in 1797 by Blake's friend the sculptor John Flaxman as a gift for his wife Ann to whom Blake addressed the poem that ends the series. The commission may have been inspired by the Flaxmans' seeing Blake's water-color designs to Edward Young's Night Thoughts begun in 1795. The Gray illustrations follow the same basic format. Blake cut windows in large sheets of the same type of Whatman paper used for the Night Thoughts illustrations and mounted in these windows the texts of Gray's poems from a 1790 octavo edition published by John Murray leaving out some prefatory materials fly-titles the notes and the 7 engraved illustrations. Blake then drew and colored his designs surrounding the letterpress texts. On blank versos near the beginning of each poem and in one case on a separate piece of paper pasted over letterpress text Blake inscribed with pen and ink either titles for each design or quotations from the poem to indicate the passage illustrated. On most text pages Blake also drew a pencil cross left of the first line of the illustrated passage. He numbered most leaves consecutively in pen and ink beginning a new sequence for each of the 13 poems.Blake conceived of his work as an illustrated book rather than a series of unbound designs as indicated by his offsetting Gray's texts above and to the right left on versos from the middle of each leaf—then the convention for all letterpress books. Although listed by William Michael Rossetti in his catalogue of Blake's drawings and paintings published in the 1863 and 1880 editions of Alexander Gilchrist's Life of William Blake the Gray illustrations were virtually unknown until their rediscovery by Herbert Grierson in 1919.The Trianon Press reproductions are recognized as the finest examples of the art of facsimile reproduction; working from the originals in Paul Mellon’s collection each leaf is faithfully hand-colored through stencils to achieve an astonishing exactitude. The Times Literary Supplement stated that nothing like these books had ever been printed before and that it was highly unlikely that they could be printed again. Bentley Blake Books 385. Trianon Press hardcover books
19261107072 vols. London: The Nonesuch Press 1926. 2 vols. in 1 8vo viii 283; xii 359 pp. Title pages in sepia and black 27 black-and-white plates. Full stiff vellum gilt-lettered backstrip covers slightly bowed and spotted in the vellum. Two gift inscriptions at front. § De luxe edition limited to 95 copies on India paper copies. One of the finest of the Nonesuch Press books with excellent reproductions of the watercolors and extensive notes on them by Geoffrey Keynes. Bentley Blake Books 394. The Nonesuch Press hardcover books
197291063 volumes. London: Trianon Press 1972. 3 volumes folio with 116 color facsimile leaves reproduced by collo-type and hand-stencil color the text of the poems reproduced from copper-plate with 3 additional printings to reproduce Blake's pencillings and the tone of the paper. Marbled boards morocco backstrips slipcases a very good set as issued. § Limited to 220 copies thus; 100 copies were issued unbound in Port-folio and 36 de luxe copies with extra material. The 116 water-color illustrations to Thomas Gray's poems are among Blake's major achievements as an illustrator. They were commissioned in 1797 by Blake's friend the sculptor John Flaxman as a gift for his wife Ann to whom Blake addressed the poem that ends the series. The commission may have been inspired by the Flaxmans' seeing Blake's water-color designs to Edward Young's Night Thoughts begun in 1795. The Gray illustrations follow the same basic format. Blake cut windows in large sheets of the same type of Whatman paper used for the Night Thoughts illustrations and mounted in these windows the texts of Gray's poems from a 1790 octavo edition published by John Murray leaving out some prefatory materials fly-titles the notes and the 7 engraved illustrations. Blake then drew and colored his designs surrounding the letterpress texts. On blank versos near the beginning of each poem and in one case on a separate piece of paper pasted over letterpress text Blake inscribed with pen and ink either titles for each design or quotations from the poem to indicate the passage illustrated. On most text pages Blake also drew a pencil cross left of the first line of the illustrated passage. He numbered most leaves consecutively in pen and ink beginning a new sequence for each of the 13 poems.Blake conceived of his work as an illustrated book rather than a series of unbound designs as indicated by his offsetting Gray's texts above and to the right left on versos from the middle of each leaf—then the convention for all letterpress books. Although listed by William Michael Rossetti in his catalogue of Blake's drawings and paintings published in the 1863 and 1880 editions of Alexander Gilchrist's Life of William Blake the Gray illustrations were virtually unknown until their rediscovery by Herbert Grierson in 1919.The Trianon Press reproductions are recognized as the finest examples of the art of facsimile reproduction; working from the originals in Paul Mellon’s collection each leaf is faithfully hand-colored through stencils to achieve an astonishing exactitude. The Times Literary Supplement stated that nothing like these books had ever been printed before and that it was highly unlikely that they could be printed again. Bentley Blake Books 385. Trianon Press hardcover books
19571231793 vols. London: The Nonesuch Press; New York: Random House 1957. 3 vols. in one roy. 8vo 364 397 and 429 pp. Illustrated with 58 plates. Original full brown morocco extra a very good copy with the bookplate of Scott Cunningham at the front. § From a limited edition of 1500 copies on Vidalon handmade paper this is #L of 75 copies on Oxford India paper numbered I to LXXV. Bentley Blake Books 370 A. The Nonesuch Press; New York Random House unknown books
1973263500London: Trianon Press 1973. Copy #1 of 32 special copies. Color facsimile accompanied with a set of paltes showing progressive stages of the collotype and hand stencil process together with a guide sheet and stencil Only in Roman numeral copies and unique to COPY ONE the etched copper plate for the title-page tipped in at back and etched in "Copy 1". 1 vols. 4to 11 x 9 inches ; 22.5 x28 cm. Bound in publisher's full black morocco as new in original slipcase. Blake William. Copy #1 of 32 special copies. Color facsimile accompanied with a set of paltes showing progressive stages of the collotype and hand stencil process together with a guide sheet and stencil Only in Roman numeral copies and unique to COPY ONE the etched copper plate for the title-page tipped in at back and etched in "Copy 1". 1 vols. 4to 11 x 9 inches ; 22.5 x28 cm. COPY NUMBER ONE WITH COPPER PLATE. Trianon Press unknown books
19511088124to. London: Trianon Press for The William Blake Trust 1951. 4to 6 ix 100 color plates. Very good in original dark blue buckram with protective acetate wrapper in a folding box with grey cloth spine and patterned paper covers slight fraying to cloth at top and bottom of front cloth spine for c 1/2" and tiny chip of loss to paper at top of rear of box. § Copy No. 393 of 516 issued. The first of the magnificent series of Blake Trust collotype and pochoir facsimiles by the Trianon Press of Blake’s illuminated books edited by Geoffrey Keynes. Bentley BB 78. Trianon Press for The William Blake Trust hardcover books
19511005614to. London: Trianon Press for the William Blake Trust 1951. 4to 6 ix text and 100 pochoir colorplates. Blue buckram gilt title. Very good copy in a worn folding box. § Limited to 516 copies. The definitive facsimile of one of Blake’s greatest works and the first of the magnificent series of facsimiles created by the Trianon Press of Blake’s illuminated books. The Preludium is by Joseph Wicksteed and the Bibliographical Statement by Geoffrey Keynes. Bentley 78. "Blake's etched copperplates giving the text of his poem and the basis of the designs were printed by him in a rich orange ink and were then illuminated by hand in water colours and gold. The etched base has now been reproduced by collotype in orange and the prints have then been coloured by hand by a stencilling process so that the final result bears the closest possible resemblance to Blake's original plates. An average of forty-four applications of water colours was required for each full page illustration of which there are four. Of the remainder fifty-one have some text with designs filling half the page or more and thirty-five have text with small marginal decorations.". Introduction Trianon Press for the William Blake Trust hardcover books
19511091744to. London: Trianon Press 1951. 4to 6 ix text and 100 color plates. Original blue cloth folding box worn very good. § Limited to 516 copies. The first of the magnificent series of facsimiles by the Trianon Press of Blake’s illuminated books edited by Geoffrey Keynes. Bentley Blake Books 78. Butlin noted in the Blake Quarterly: “The long list of color facsimiles produced by the Trianon Press under Arnold Fawcus for the William Blake Trust were above all objects of beauty recreating as near to perfection as possible Blake’s original achievements.†Trianon Press hardcover books
19651047324to. London: Trianon Press 1965. 4to 8 plates 5 pp. text plus the extra materials. Full brown morocco marbled paper-covered slipcase gilt lettering to backstrip. A fine copy. § Edition limited to 426 copies de luxe issue being copy XII of XX copies with a suite of progressive states of one plate an original guide-sheet and stencil etc. One of the more difficult Trianon Press books to find. Bentley Blake Books 26. “The first the simplest and the most charming of the prophetic books. best understood as a rewriting of Milton’s Comus.†Trianon Press unknown books
1941432602New York 1941. Hardcover. Very Good. Quarto measuring 10" x 11.5". Textured cloth over stiff paper boards. Contains 32 black and white silver gelatin photographs measuring between 2" x 3" and 8" x 10" with some captions. Very good album with near fine photographs.<br/><br/>A photo album and scrapbook kept by Betty Blake while serving with the British & American Ambulance Corp. and the American Theatre Wing during World War II. Both were humanitarian organizations created to aid in relief and fundraise during the war. They were frequently used together and often put on events for war charities. Betty worked for both organizations as an actress and includes 8" x 10" photos of headshots and performances throughout. She also worked as a "Hospital Hostess" and can be seen stuffing envelopes making calls and painting a "V" on a vehicle. Two photos show a group of women wearing British & American Ambulance Corps sashes posed by a truck. Betty's scrapbook also includes a typed note signed by actress Antoinette "Toni" Perry inviting her to tea. A program and newsletter from the New York Theatre Critics' Review is laid in at the end of the album.<br/><br/>The American Theatre Wing had originally been founded during World War I in 1917 as the Stage Women's War Relief by playwright and director Rachel Crothers. By 1939 Crothers brought the organization back through the British War Relief Society. This time members included Mary Antoinette "Toni" Perry Helen Hayes Lynn Fontaine and Tallulah Bankhead among others. They set out to fundraise and organize donations of clothing for European refugees displaced during the war. During World War II they opened the Stage Door Canteen in New York to entertain servicemen. After the war many of the actresses continued on with the organization to help with post-war relief. <br/><br/>An interesting collection documenting a young actress' service during World War II. hardcover books
1999CNJL1299London: Enitharmon Press 1999. Limited Edition. Hardcover. Fine. Rego Paula. Number 23 of 75 copies of the deluxe edition folio size 46 pp. signed by Blake Morrison and Paula Rego. Paula Rego b. 1935 a native of Portugal studied art at the Slade School London where she now mainly lives and works. This work is based almost unbelievably so on factual history: "the Children's Crusade of 1212 remains an enigmatic historical episode recorded in only a few contemporary accounts but it captured the imagination of the acclaimed painter Paula Rego as a story steeped in imaginative possibilities and contemporary relevance. It touches not only on children's love of adventure but also on darker issues including fears of the unknown incipient sexuality and exploitation. In his introduction Blake Morrison brilliantly illuminates Rego's twelve hand-coloured etchings and their relation to the crusade and the scene is set by two passages from medieval chronicles. The book concludes with an extensive and revealing interview with Paula Rego in which she explains her fascination with the subject." N.B. from the website of the publisher.<br/><br/>___DESCRIPTION: Original gray linen covered boards with the illustration "Voices II" inlaid to the upper board fore- and tail-edges uncut color printed reproductions of the original etchings tipped in; text has been hand-set in Monotype Caslon printed on Arches Vélin paper folio size 12.75" by 10" pagination: 1-6 7-45 1 colophon limited edition this number 23 of 75 copies of the deluxe edition total edition 190 signed by Blake Morrison and Paula Rego. Rego's signed original etching "Bait" is laid loose into a wallet in the slipcase; the etching has been printed on 300 gsm Somerset Velvet; the book and the etching are housed in a matching gray linen slipcase with a printed label inlaid to the upper board.<br/><br/>___CONDITION: A fine copy; crisp clean like new; no prior owner markings the separate etching also fine absolutely clean and without wear; the slipcase is fine overall strong and sturdy the cloth is unrubbed with no frayed edges; a few minor stray spots of faint foxing to the case else fine.<br/><br/>___CITATION: Rosenthal "Paula Rego the Complete Graphic Work" pp. 130-145.<br/><br/>___POSTAGE: International customers please note that additional postage may apply as the standard shipping charge does not always cover costs; please inquire for details.<br/><br/>___Swan's Fine Books is pleased to be a member of the ABAA ILAB and IOBA and we stand behind book we sell. Please contact us with any questions you may have we are here to help. Enitharmon Press hardcover books
1920123193Slim 4to. Edmonton: William Muir 1920. Slim 4to 8 unnumbered hand-colored plates. Half red calf upper cover lettered in gilt upper cover slightly soiled. § The second Muir facsimile based on copy J in the Houghton Library and limited to 50 copies so stated. With Muir's limitation statement and copy number 5 pasted in the front. Bentley Blake Books 249b. William Muir unknown books
1935140940411Honolulu: Paradise of the Pacific Press 1935. First Edition. Very Good. First edition first printing. Bound in original hand-painted tapa-cloth with titles in black on upper board. Very Good with boards lightly splayed nick to spine near foot. Binding lightly shaken with some hinges slightly visible. Pages toned with erased pencil scribble to front free endpaper; small label remnant to rear pastedown with offsetting to adjacent free endsheet. An early book by Tom Blake who is often considered to be one of the most influential surfers in the history of the sport. He is largely credited with transforming surfing from a regional Hawaiian sport to one with national popularity as well as founding California surf culture. Paradise of the Pacific Press unknown books
1935321293Honolulu: Paradise of the Pacific Press 1935. First Edition. Illustrated with 46 Illustrations. 16 iv 5- 95; 32 photographic plates plus other illus. in text. 1 vols. 8vo. Original blue cloth with surfers on upper cover no priority to binding variants cited by DeLa Vega. Very Good. First Edition. Illustrated with 46 Illustrations. 16 iv 5- 95; 32 photographic plates plus other illus. in text. 1 vols. 8vo. First edition of the first title devoted to surfing. Blake was an early 20th century surfing and health food pioneer who conceived and developed the hollow surf board . The first definitive book on surfing by the sport's greatest innovator and the first person to surf Malibu Point along with Sam Reid in September of 1926. "The most important publication in the surfing canon." Dela Vega 200 Years of Surfing Literature. DeLa Vega B28 Paradise of the Pacific Press unknown books
1920302999London: Wm. Muir 1920. No. 21 of 50 i.e. 32 copies signed by Muir. William Muir facsimile 8 leaves with lithographic illustrations colored by hand. 1 vols. 4to. Original printed wrappers. Fine. Brown morocco backed folding case. No. 21 of 50 i.e. 32 copies signed by Muir. William Muir facsimile 8 leaves with lithographic illustrations colored by hand. 1 vols. 4to. Muir Facsimile. Bentley Blake Books 249 Wm. Muir unknown books
1920303032London: Wm. Muir 1920. No. 16 of 50 i.e. 32 copies signed by Muir. William Muir facsimile 8 leaves with lithographic illustrations colored by hand. 1 vols. 4to. Original printed wrappers light chipping to edges else fine. No. 16 of 50 i.e. 32 copies signed by Muir. William Muir facsimile 8 leaves with lithographic illustrations colored by hand. 1 vols. 4to. Muir Facsimile. Bentley Blake Books 249 Wm. Muir unknown books
19271088114to. London: William Muir 1927. 4to 27 4 plates hand-colored and one uncolored. Original printed gray wrappers brown paper backstrip as issued. § No. 23 of about 50 copies printed. The second Muir facsimile of this title inscribed by Muir “Made in Great Britain Copy No. 23†and signed by him on the front inside wrapper and the same information printed and filled in by hand at the end. The coloring is exceptionally bright and clear in these early copies. They were “facsimiled by Joseph Patrick Trumble Sophia Elizabeth Muir and William Muir from the Beaconsfield Originals in the British Museum with in Experience as an appendix 4 plates from the other British Museum copy. Also one plate for which no colouring is known 'A Divine Image’ which seems to belong to the Songs although not included in them by Blake.†Bentley 144. William Muir unknown books
1955122595Small 8vo. London: Trianon Press 1955. Small 8vo 54 color plates 3 pp. printed text at end. Full teal morocco slipcase backstrip faded as usual and lightly rubbed at crown a very good copy with the book plate of the California physician K. Garth Huston. § Limited to 526 copies this being number 9; the superb color facsimile of the Rosenwald-LC copy Z. One of the scarcest and the most desirable of all the magnificent Trianon Press Blake facsimiles which have been hailed as the finest examples of color collotype facsimile printing of the 20th century. The colophon notes that as many as thirty stencils were used to create each plate. Bentley Blake Books 187. Blake and his wife Catherine hand-printed and bound fewer than forty copies of the Songs of Innocence and the combined Songs of Innocence and of Experience and yet they have become his most popular and enduring work. Trianon Press unknown books
1930310071San Francisco: Book Club of California 1930. No 10 of 300 copies printed at the Windsor Press. Decoration by Julian A. Links. 22 pp. 12mo. Original full vellum lettered in gilt paper slipcase with label. Vellum and slipcase a touch toned faint browning to folds of letter. Housed with letter in quarter morocco clamshell box. Links Julian A. No 10 of 300 copies printed at the Windsor Press. Decoration by Julian A. Links. 22 pp. 12mo. With TLS of Rockwell Kent charging plagarism. With a typed letter signed of Rockwell Kent to Oscar Lewis secretary of the Book Club of California voicing his strong displeasure with the illustrations by Julian Links for this edition. Dated May 13 1930 the letter reads in part: "I am glad that I took the trouble to call the matter to your attention for my complaint does put you in the position of calling the printers to account for what is unquestionably a breach of professional ethics. I am sorry that it is not the policy of the Book Club to supervise more carefully the production of the books that appear within its imprint. I feel the book of Thel irrespective of the plagiarism involved in the illustrations has been very badly illustrated Book Club of California unknown books
190323193London 1903. Engraving by Thomas Butts after Blake. Laid paper. First and only state. Hand written in ink upper right corner "Cent quatre vingt septieme 187" A determined Christ walks over the vanquished Satan.<br/> <br/>This fascinating engraving after a Blake drawing depicts a muscular and single-minded Christ with a bow in one hand and arrow in the other walking on the beard and chest of Satan who despite his lifeless eyes reaches for Christ's bow. Blake's Christ is more reminiscent of Hercules or Gilgamesh than the Christ known to us through church iconography and his Satan reminds us more of Zeus than Christianity's Devil. Archibald Russell in The Engravings of William Blake Houghton Mifflin 1912 that this image illustrates a passage in Paradise Lost Bk.VI 763 but was an allegory for the triumph of imagination or creativity over reason. Thomas Butts senior 1757-1845 and junior 1788-1862 were both given drawing and engraving lessons by Blake starting in March 1806. They produced a number of plates from Blake's designs although his level of direct involvement can only be estimated. The present plate was sold by the Butts' descendants at Sotheby's lot 20 24 June 1903. The plate was acquired shortly after the auction by Edward J. Shaw of Walsall. He apparently had printed a number of impressions by December 1903. These are the earliest recorded impressions of this plate other than a single impression sold with the plate at the auction. The plate remained in Shaw's possession until 1925 when it was sold at Sotheby's 29 July lot lot158 to Mansfield. The New York dealers E.Weyhe bought a number of impressions and possibly the plate itself as they still had multiple copies for sale as late as 1965. Essick records 18 copies of this print on various paper types but no order of precedence is given and he had not seen any `proof' impressions.<br/> <br/>Essick The Separate Plates of William Blake. unknown books
19581104034to. London: Trianon Press 1958. 4to 27 plates 5pp text plus the extra materials. Full red morocco slipcase very good. § Limited to 526 copies of which this is copy V of XX with a suite of progressive states of one plate an original guide-sheet and stencil etc. The de luxe copy is very hard to come by. Even the trade edition is one of the more difficult Trianon Press books to find. Bentley Blake Books 40. “Blake’s most ambitious production thitherto. seven copies and a few scattered pages have been located. intended to be the first of a series dealing with activities in the supernatural world which caused the creation of the natural world and the early history of mankind.†Damon Blake Dictionary. Trianon Press unknown books
1956106796Small 4to. Northampton Mass.: Gehenna Press 1956. Small 4to 11 inc. the first blankpp. 18 b/w plates printed on Japan vellum with a title-sheet printed in red on plain paper preceding each image. Stapled into wrappers very good. § “Fifty copies of this book have been printed by Esther and Leonard Baskin at the Gehenna Press in Northampton Mass." This is copy number “X†which indicates a proof copy since the edition was issued in a quarter morocco binding and this copy is unbound. Six copies are recorded on WorldCat to which add Toronto Fisher Library and Essick CA. Leonard Baskin’s note from the Bibliography: “This was the last book which was made with my hands that cessation a benefaction since I was a compositor & pressman of no distinction. This book is an homage to Blake & the dear youths who plied him with honour in his late age. My increased skill in woodengraving is here made manifest & a pattern for a kind of Gehenna Press book makes its beginning here; an introduction succeeded by a series of prints. The title-page reveals the novice’s poking into historical sources & exemplars.†Gehenna Press hardcover books
1963110688Folio. London: Trianon Press 1963. Folio 18 color facsimile leaves 8 pages commentary. Full blue morocco contents a bit foxed slipcase. § Edition de luxe #19 of an edition limited to 20 copies with additional proof sheets progressive plates original stencil etc. “America was the first of Blake’s books to name a place Lambeth in the imprint. which was an act of defiant courage. for the first time he designated one of his books as “a prophecyâ€. he concentrated particularly on the dramatic events in Boston. Blake continued his tale in Europe and then to make the cycle of continents complete he wrote “Africa†and “Asiaâ€giving a general title of all four: The Song of Los.†Damon Blake Dictionary. One of the rarest Trianon Press publications and the first de luxe edition we’ve seen in many years. Bentley Blake Books A9. Trianon Press unknown books
1987110738Folio. London: The William Blake Trust 1987. Folio two large slipcases the first housing the text volume and a portfolio of plates including all 21 plates in several states 21 fascicules and the plate-by-plate commentary; the second slipcase houses The Colour Versions of the Book of Job. the text volume and three separate volumes of illustrations all bound in quarter-morocco with marbled paper covered boards with solander boxes fitted inside each slipcase printed on Arches pure rag paper. Near fine overall. § Limited edition number III of LXV numbered copies from a total edition of 387. Illustrations of the Book of Job with essays and commentary from several notable Blake scholars including Charles Ryskamp David Bindman John Commander Geoffrey Keynes Robert Essick Bo Lindberg and Barbara Bryant. The plates are comprised of 22 fascicules including the title-page and 21 plates of Blake's engraved Illustrations of the Book of Job in facsimile of the proof copy lately in the collection of Sir Geoffrey Keynes. Each fascicule also contains reproductions of related material together with a plate-by-plate commentary by Bo Lindberg. Colour versions of WIlliam Blake's Book of Job designs. with three portfolios containing "The New Zealand Set" of 21 plates and a title-page "The Collins Set of Coloured Engravings" of 21 plates and a title-page and "Four Coloured Engravings" of plates 11 15 18 and 20 from The Fitzwilliam Museum Cambridge. Plates printed by pochoir method at the Trianon Press Paris under the supervision of the late Arnold Fawcus.A surprisingly hard title to find from the Blake Trust being their last publication until the 2009 issue of “The Grave†watercolors. The edition included a less expensive version of this issue as well as two more elaborate issues. The analysis of the various states of the Job plates and of the coloring of the three colored copies known is not printed anywhere else and thus this set is essential for anyone studying this book surely Blake’s masterpiece of engraving. The William Blake Trust hardcover books
