144 résultats
1808123890Single plate. London: Cromek 1808. Single plate etching on wove unwatermarked paper full margin including the note "Subscriber's copy" at the very bottom often trimmed off. § From the first quarto edition this is one of the most powerful plates in the series. Bentley Blake Books 435b. Cromek unknown books
1808107329Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper margins slightly soiled image clean. § From the first 4to edition. Bentley Blake Books 435 A. Cadell and Davies unknown books
1813110778Single plate. London: Ackermann 1813. Single plate folio etching on wove unwatermarked paper good. § From the second folio edition. Bentley Blake Books 435. Ackermann unknown books
1808123898Single plate. London: Cadell and Davis 1808. Single plate etching on wove unwatermarked paper cleaned and in fine condition. § From the first 4to edition this is one of the most powerful plates in the series. Bentley Blake Books 435b. Cadell and Davis unknown books
1808107328Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper margins slightly soiled image clean. § From the first 4to edition. Bentley Blake Books 435 A. Cadell and Davies unknown books
1808123901Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper cleaned and in fine condition. § From the first 4to edition. Bentley Blake Books 435b. Cadell and Davies unknown books
1808107323Single 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 435b. Cadell and Davies unknown books
1808123889Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper cleaned and in fine condition. § From the first 4to edition. Bentley Blake Books 435b. Cadell and Davies unknown books
18101302843London: M. J. Godwin 1810. Second Edition. Hardcover. Octavos 2 volumes; G; bound in patterned light brown cloth rebacked with brown cloth majority of previous spine preserved including back labels with gilt lettering; some chipping and rubbing to boards; with 20 engraved plates by Blake after drawings by Mulready including frontispieces one for each tale told within some plates offset onto the facing page including the title page for volume 2; Some foxing/spotting throughout; With the bookplate of English Novelist Hugh Walpole on front pastedowns of both volumes; small bookseller sticker to front pastedown of volume 1; Volume 1: xi 1 235 1 Volume 2: 4 261 3 pages; shelved case 0. Lamb says in his preface that he "wished to make these Tales easy reading for young children.for young ladies too it has been my intention chiefly to wrote because boys are generally permitted the use of their fathers' libraries at a much earlier age than girls are they frequently have the best of Shakespear by heart before their sisters are permitted to look into this manly book";<br /> <br><br /> <br><br /> Hugh Walpole was a best-selling author in the 1920s and 1930s with a large and varied output. Between 1909 and 1941 he wrote thirty-six novels five volumes of short stories two original plays and three volumes of memoirs. His range included disturbing studies of the macabre children's stories and historical fiction most notably his Herries Chronicle series set in the Lake District. He worked in Hollywood writing scenarios for two Metro-Goldwyn-Mayer films in the 1930s and played a cameo in the 1935 version of David Copperfield. As a gay man at a time when homosexual practices were illegal for men in Britain Walpole conducted a succession of intense but discreet relationships with other men and was for much of his life in search of what he saw as "the perfect friend". He eventually found one a married policeman with whom he settled in the English Lake District. Having as a young man eagerly sought the support of established authors he was in his later years a generous sponsor of many younger writers. He was a patron of the visual arts and bequeathed a substantial legacy of paintings to the Tate Gallery and other British institutions. wikipedia. 1302843. Shelved Dupont Bookstore. M. J. Godwin hardcover books
18966716Boston 1896. A bound volume of autograph letters with the invitation and autograph menu. Octavo 22.5 x 15 x 8 cm. bound volume of letters mounted on stubs. A superb record of the social grace of an era long gone. Mrs. Francis Blake wife of the physicist and inventor of telephone fame see DAB gave a small 'dancing' party for the society 'A' list of Boston. Participants were to depart from the Columbus Ave. station and return to the Huntington Ave. station 1:45 AM via private train. Also includes a complete list of the final attendees and a manuscript record of the menu and engraved invitation accompany the individual acceptance and rejection few letters. Very good; some wear to the binding. A stationer's Shipman adhesive half leather letter file book. hardcover books
1808107321Single 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 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. Cadell and Davies unknown books
1813109208Single plate. London: R. Ackermann 1813. Single plate etching on wove unwatermarked paper recently cleaned. § 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 435 B."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 R. Ackermann unknown books
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
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
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
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
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
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
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
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 William Blake Milestone: the First Account of His Life. 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 books
1813109308e. London: Bensley for Ackermann 1813 i.e. 1870. 4to 2 liv 42 pp. With a portrait frontispiece etched title and 11 plates all with tissue guards. Blind-stamped black cloth rebacked with black cloth lettered in gilt. § Third quarto edition printed from the same plates as the 1813 edition but actually issued by or for John Camden Hotten in 1870. Of this version Essick wrote: “I've also seen the true 1813 text and plates in a very similar cloth binding with just a few differences in the blind stamping but very much the same style and period. 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 just the blind stamping and perhaps the cloth color or weave 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. Bentley lists the 1870 issue in Blake Books but I don't believe he lists the portfolio issue of the plates only. I have a vague recollection however that he did note it in one of his later checklists of publications in the Blake Quarterly.†Bentley Blake Books 435E. Bensley for Ackermann hardcover books
1828107872Single plate by William Blake. London: for the author and sold by Longman 1828. Single plate by William Blake cleaned by Court Benson. § From the first and only edition of this elusive Blake item. Includes Blake's figure of the constellation 'Cancer' which may be a caricature self-portrait of Blake himself. Keynes 248: 'extremely rare'. Bentley Blake Books 501. for the author and sold by Longman unknown books
1886302951London: Kegan Paul Trench and Co 1886. Folding facsimile of the Blake broadside by William Muir. With explanatory note by Herbert Gilchrist at pp. 159-60. 1 vols. 4to. Blake plate folded fine. Volume bound in contmporary quarter brown morocco and cloth marbled endsheets t.e.g. Minor rubbing to joints. Very good. Folding facsimile of the Blake broadside by William Muir. With explanatory note by Herbert Gilchrist at pp. 159-60. 1 vols. 4to. First volume of the Hobby Horse publication of the influential Century Guild. Notable for the fine facsimile of the rare Blake broadside Little Tom the Sailor. The ballad is by William Hayley and in the autumn of 1800 Blake engraved the two images on pewter. The broadside was "Printed for & Sold by the Widow Spicer of Folkstone for the benefit of her orphans". The facsimile is uncredited but is by William Muir. Bentley 407b Kegan, Paul, Trench and Co unknown books
1893WRCLIT73714London: 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. Spines somewhat rubbed and dull some shelfwear to joints and lower edges and bumps and wear to fore-tips endsheets a bit foxed and cloth a bit handsoiled some cracking and subtle repairs to inner hinges; still not a wholly disagreeable set of a work particularly susceptible to such issues. 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
