Blake William.ABAA
1 088 résultats
18861088064to. Edmonton: William Muir 1886. 4to 4 45 hand-colored plates 2 leaves. Contemporary half navy calf gilt with navy morocco and gilt label on cover and navy cloth boards original wrappers bound in. A fine copy with the bookplate of H.C. Plimmer. § Limited to about 50 copies by Muir and his team based on copy A. Muir’s preface is five pages and at the end is a three-page facsimile of Blake’s letter of March 16 1804. The first facsimile of the second-longest and penultimate of Blake’s illuminated books which is known in only four copies. The poem follows the poet John Milton returned from heaven to the mortal world on a journey of self-discovery and renewal The William Blake Archive. Blake himself is present as the personification of Imagination and the poem contains many biographical allusions. It is exceptionally rich with numerous full-page plates. Blake’s famous poem “Jerusalem†appears in the preface to Milton only in copies A and B. Bentley BB 249f. William Muir hardcover books
18851088074to. Edmonton: William Muir 1885. 4to 1 preface by Muir 8 hand- colored leaves; 1preface by Muir 11 hand-colored leaves bound with tissue guards in original gray wrappers as issued by Muir: copies 24 and 30. Bound in contemporary half navy calf gilt with navy morocco and gilt label on cover and navy cloth boards with H.C. Plimmer's bookplate. Very good. § The Thel facsimile is based on copy D colored by hand and limited to about 50 copies. Essick notes three versions of the ca. 1885 edition one entirely executed by hand this version with the correction of ’sprin’ to ’springs’ on leaf 5 line 7 and with the two final plates numbered 7 and 8 and a third version with the final two leaves correctly numbered 5 and 6 as in Blake’s original. The Visions facsimile also limited to around 50 copies is on Hodgkinson wove paper some copies were printed on a thinner “Antique Note†laid paper. Based on copy A in the British Museum. Bentley Blake Books 249 b and c William Muir hardcover books
179111069912mo. London: printed for J. Johnson 1791. 12mo xii 177 3 advertisements pages with 6 plates by William Blake after his own designs and an extra plate bound in at the front not by Blake. Modern polished tree calf gilt backstrip red label in very good condition. Some plates have offset onto the facing page as usual. § First edition to contain William Blake’s characteristic illustrations reminiscent in iconography to his designs for his own Songs of Innocence 1789. This copy has all the plates in the second and much improved state and an extra plate at the front thought to be by Blake but not. This collection of didactic tales for youth in part reinforcing the lessons of Wollstonecraft’s first book Thoughts on the Education of Daughters proved her most popular book going through five editions by 1800. Windle Bibliography of Mary Wollstonecraft A3b. Bentley Blake Books 514A. Easson and Essick vol. I no. III. printed for J. Johnson unknown books
1885303029Edmonton 1885. No. 39 of 50 copies on Hodgkinson wove paper. William Muir facsimile. Preface and 11 hand-colored plates. 1 vols. 4to. Full dark green levant preserving wrappers with an unrecorded folding announcement from Muir bound in at front. No. 39 of 50 copies on Hodgkinson wove paper. William Muir facsimile. Preface and 11 hand-colored plates. 1 vols. 4to. Muir Facsimile. Bentley 249c unknown books
18881088084to. Edmonton: William Muir 1888. 4to intaglio title page iv text prologue 18 leaves with Muir's black and white intaglio engraved plates sewed and more recently bound in vellum and new endpapers and fitted into a modern marbled slipcase. Original Muir wrappers not bound in. § Possibly one of the copies Quaritch had for sale as recently as 1942 when their catalogue records only 31 copies had been published rather than the 50 first envisaged and of these 31 at least some were still being offered for sale. The facsimile is convincing enough that plates from it have been offered as originals on occasion. Copies in such fine condition are almost unheard of. Bentley BB 249m. William Muir hardcover books
20096633London: William Blake Trust 2009. Limited Edition. Hardcover. Fine in Fine Slipcase and Fine Portfolio. Tight bright and unmarred. Black cloth red leather matching slipcase gilt lettering. Small fo. Illus. color plates. <br/><br/>"Bound in gilt-lettered quarter deep scarlet calf over black moiré silk covered boards deep scarlet leather label blocked in gilt to the centre of the upper board; 96pp. illustrated throughout with colour and b/w reproductions of Blake's drawings and watercolours. Contents: Morton D. Paley William Blake and Robert Blair's 'The Grave'. Martin Butlin The History of Blake's Illustrations to 'The Grave' and The Newly Discovered Water-colours. Blake's twenty watercolour designs with a Catalogue and illustrated Commentaries by Martin Butlin. Robert Blair's The Grave from Cromek's edition 1808. Schiavonetti's engravings of twelve of Blake's designs from the 1808 edition. Blake's rejected engraving of 'Death's Door'. Printed throughout in black and white and colour on 200 gsm archival acid-free paper. With A portfolio 35x28x2.8 cm bound in maroon calf with tongue-and-strap closure blocked in gold flap blind-embossed with double rule border lined in red; all in close replication of the portfolio made sometime after 1822 to contain: 19 of 20 watercolour inventions by Blake in illustration of Blair's The Grave mounted on thick beige paper within ruled and tinted borders and trimmed to 33.3x26.7 cm; here reproduced in facsimile. One of 36 copies of the Portfolio Plates and Book in cloth-covered double slipcase numbered I-XXXVI." William Blake Trust hardcover books
1982109358London: Jonathan Cape 1982. First edition of this Dahl classic which has sold over 20 million copies. Octavo original cloth illustrated by Quentin Blake. Boldly inscribed by the author on the front pastedown "Nicola Love Roald Dahl." Additionally inscribed by the illustrator Quentin Blake opposite Dahl's inscription. Fine in a near fine dust jacket. Uncommon signed by both Dahl and Blake. Roald Dahl is now considered one of the most beloved storytellers of the twentieth century. Dahl's ability to twist words into a clever and creative new language is fascinating to children and is evident in BFG. The gruesome descriptions of the horrid giants and the subtle allusions to other stories will entertain children young and old. An animated adaptation was released in theatres in 1987 with David Jason providing the voice of the BFG and Amanda Root as the voice of Sophie. It was also the basis for the 2016 film directed and co-produced by Steven Spielberg written by Melissa Mathison and starring Mark Rylance Ruby Barnhill Penelope Wilton Jemaine Clement Rebecca Hall Rafe Spall and Bill Hader. Jonathan Cape hardcover books
1983101467London: Jonathan Cape 1983. First edition of Dahl's Whitbread Award-winning children's novel illustrated by Quentin Blake. Octavo original cloth. Boldly signed by Roald Dahl on the half-title page. Near fine in a near fine dust jacket. Dahl's The Witches centers on the experiences of a young British boy and his Norwegian grandmother in a world where child-hating societies of witches secretly exist in every country. "Don't be fooled by those witches with their black hats black cloaks and broomsticks though those are not REAL WITCHES. Real witches are exceedingly difficult to spot in the wild and dress in ordinary clothes looking very much like ordinary people." Dahl's vital indicators for spotting a real witch include facts like they always wear gloves they have no toes are bald as boiled eggs and they have blue spit. "Dahl seems to have made an art form of the rediscovery that children tend to warm to the sorts of horror that make lesser mortals adults squirm with displeasure. He is undeniably special" Connolly 104. Jonathan Cape hardcover books
107739US: 1954. Large folio fine clear uniform impression on hand-made paper with no watermark inscribed in pencil by Lessing Rosenwald see below. § The best of Blake's illustrations of Dante often called the “Whirlwind of loversâ€. It depicts a scene from the fifth canto of The Inferno in which Dante guided by Virgil sees the sinful bodies of lovers "whom love bereav'd of life" trapped in a whirlwind rising to heaven.Incomplete at the time of his death in 1827 Blake’s illustrations for the Divine Comedy commissioned by John Linnell are some of his finest and most affecting inventions. From 102 illustrations ranging from pencil sketches to finished watercolors Blake made seven engravings also left incomplete. Though unfinished these prints are still reckoned amongst the most powerful and moving of Blake’s images and are especially impressive by virtue of their large size.This impression from the original plate was printed for Lessing Rosenwald in 1953/4 this impression is dated 6/14/1954. No number is given though Keynes Blake Studies suggested 20 sets plus three extra prints of plate 1; the later 1968 printing of restrikes for the Trianon Press edition was limited to 25 sets. Essick notes see below that “In 1953-55 Rosenwald had sets printed on heavy dead-white wove paper with a surprisingly bold pebble-grain surface. The plates had to be printed with considerable pressure in order to smooth the paper sufficiently to register fine lines. In a complete suite of these restrikes in the Huntington Library San Marino California each sheet measures 35.5 50.5 cm. and is inscribed in pencil lower right “Impression taken from the copper plate in my collection 1953-4. Lessing J Rosenwald 4/19/55.†and records watermarks on some sheets. Bentley Blake Books 448D. Bindman Complete Graphic Works of Blake 647–653. Essick “The Printings of William Blake’s Dante Engravings†Blake: An Illustrated Quarterly Fall 1990. 1954. Large folio unknown books
122998London: Kegan Paul Trench & Co. January 1886 - October 1888 and London: The Chiswick Press January 1889 - October 1892. 4to. 28 volumes illustrated by woodcut and photogravure in the original printed wrappers. Expectable browning to the untrimmed edges and occasional foxing and offsetting; issue no. 9 front wrapper spotted and rear wrapper very creased; issue 12 slight red staining to rear wrapper; issue 21 upper wrapper torn with large loss; issue 28 lower wrapper soiled and with a large chip. Despite the few flaws listed above the overall condition is in general clean and quite beautiful remarkably well-preserved for a large format elegant journal in its original wrappers. All enclosed in modern cloth boxes. § A complete run of the main series of the Century Guild Hobby Horse the first significant magazine dedicated to the visual arts in England preceding both the The Yellow Book and The Savoy and more egalitarian than either in its mission to create a unified vision of the arts and crafts in Victorian Britain. The quarterly magazine was the collaboration of architects Arthur Mackmurdo and Herbert Horne and the designer Selwyn Image who together formed the small but influential Century Guild of Artists. It featured essays on the fine and decorative arts architecture literature typography book design and collecting along with much original poetry. The Guild members were clearly well-connected particularly with the Pre-Raphaelites and regular contributors included W.M. Rossetti Christina Rossetti and Frederic Shields. Oscar Wilde contributed an essay on Keats May Morris one on embroidery and William Morris' lecture on "The Influence of Building Materials upon Architecture" appeared for the first time in print in its pages. There is an essay by Hubert Parry on English song writing original poetry from Matthew Arnold and Christina Rossetti and several essays by Alfred Pollard on book design. The contributors were particularly interested in the influence of William Blake and different issues featured several very important Muir facsimiles as well as the first typographic printing of The Marriage of Heaven and Hell.A prepublication issue had been printed by George Allen for Mackurdo in 1884. After Mackmurdo and Image stepped away at the end of 1892 the magazine was renamed simply The Hobby Horse and survived for two more years before ending in 1894 the year The Yellow Book first appeared. Neither the prepublication issue nor these later issues are included in this series.An ambitious and quite beautiful production suffused with the spirit of the Arts & Crafts movement the issues are finely printed on handmade paper at the Chiswick Press illustrated with woodcut decorations and with photogravures of notable artworks. From the frontispiece art reproduced with the permission of many famous names to the appended directories of recommended craftsmen and women May Morris William Muir W.M. Rossetti among them the issues form a rich record of the thoughts and activities of a fascinatingly intertwined group of artists authors and designers in the act of revolutionizing the visual arts in England.Complete runs like this are very uncommon in institutions and in the trade. Kegan Paul hardcover books
17881107522 prints. London: J.R. Smith 1788. 2 prints images 21 x 26 cms. with full margins and imprints. Well printed in brown ink cleaned and titles mounted below the prints in very good condition. § Second state of The Idle Laundress third state of Industrious Cottager good impressions. These two prints were designed to be issued together but they are extremely rarely found so. I have had two copies of the first plate third state and one copy of any state of the second plate. The first is known in one copy of the first state and Essick records only two copies of the second state BM and Keynes; Essick has the third state printed in 1803. The second plate is known in one copy each of the first and second states and 4 copies of the third state. Essick The Separate Plates of William Blake XXX and XXXI. J.R. Smith unknown books
1960136893Los Angeles: Twentieth Century-Fox 1960. Archive of scripts and revision pages for 56 episodes of the hip private-eye detective television series "Peter Gunn." Copies belonging to screenwriter Lewis Reed with his holograph name to the front wrapper of each episode. <br/><br/>Included are screenplays for nearly half of the 114-episode run of the noir influenced television series starring the sophisticated sharp-dressed modern iazz-loving private eye Peter Gunn played by Craig Stevens. Probably the only television show that ever rivaled the best film noir of the big screen with minimalist dialogue and bleak open-ended conclusions that challenge even the best of television today. Creator Blake Edwards who later spawned both "Breakfast at Tiffany's" and the "Pink Panther" comedy film series starring Peter Sellers would use the success of "Peter Gunn" to jump start his film career. <br/><br/>Nominated for eight Primetime Emmy Awards and a Grammy Award. <br/><br/>Composer Henry Mancini also won an Emmy and two Grammy Awards for the show's well-loved theme song including the first Grammy ever awarded for Album of the Year. <br/><br/>Scripts in Very Good to Near Fine condition. Mimeograph on eye-rest green or white stock. Many episodes also contain pink blue white and yellow revision pages laid in at the rear. Twentieth Century-Fox unknown books
2009107742Folio. N. P.: The William Blake Trust 2009. Folio 95pp. Original quarter-maroon calf with black moiré silk-covered boards with gilt lettered maroon-morocco label to top board backstrip likewise stamped in gilt; portfolio in full maroon calf containing 19 watercolors reproduced in facsimile mounted within framing lines on heavy beige paper black moiré silk-covered double slipcase; illustrated throughout with color reproductions of watercolor drawings as well as engravings. As new. § Copy XXXV of the de luxe edition limited to 36 copies. The entire edition is out of print. From the announcement: “These watercolor designs which disappeared from the public eye from 1836-2001 came to light in a Glasgow bookshop and were later offered as an entity to institutions and collectors at a price which as it turned out none could afford or at least was prepared to pay. Eventually in the face of much protest the portfolio and the 19 designs were offered for sale in 20 separate lots at Sotheby’s New York in 2006. The drawings are now widely dispersed and it is most unlikely that they will ever again be seen together.†The sale was roundly condemned at the time as an act of cultural crime. This book and the facsimile portfolio are now the only record we will ever have of the original series. Happily the Blake Trust created a superb book which is and will surely remain the single most valuable reference work on these remarkable Blake drawings. The William Blake Trust hardcover books
18851088034to. Edmonton: William Muir 1885. 4to 1p.preface by Muir 27 leaves hand-colored 1p.appendix 2 leaves at the end in facsimile of Blake’s manuscript arrangement of the Songs of Innocence and of Experience and the separate plate ‘A Divine Image’. Original printed wrappers bound into contemporary half navy calf gilt with navy morocco gilt label on cover and navy cloth boards with the bookplate of H.C.Plimmer. Very good with tissue guards as issued. § The superb Muir facsimile limited to 50 copies this copy numbered 2. Reproduces copy A - the Beckford-Harvard copy. “This book is Blake’s Principia in which he announced a new concept of the universe.†Damon Blake Dictionary. One of Blake’s most popular texts with numerous famous lines. See Bentley BB #249e. William Muir hardcover books
18851228914to. London: Muir 1885. 4to 1p. preface by Muir 27 leaves hand-colored 1p. appendix 2 leaves at the end in facsimile of Blake’s manuscript arrangement of the Songs of Innocence and of Experience and the separate plate ‘A Divine Image’. Original printed wrappers stitched as issued a fine copy. § The superb Muir facsimile limited to 50 copies this copy numbered 40. Reproduces copy A - the Beckford-Harvard copy. “This book is Blake’s Principia in which he announced a new concept of the universe.†Damon Blake Dictionary. One of Blake’s most popular texts with numerous famous lines. See Bentley Blake Books #249e. Muir unknown books
18851074264to. London: Muir 1885. 4to 1p. preface by Muir 27 leaves hand-colored 1p. appendix 2 leaves at the end in facsimile of Blake’s manuscript arrangement of the Songs of Innocence and of Experience and the separate plate ‘A Divine Image’. Original printed wrappers bound into full mottled calf red morocco vertical label on backstrip; upper hinge split but holding internally a very fine copy. § The superb Muir facsimile limited to 50 copies this copy numbered 31. Blake's prophetic book The Marriage of Heaven and Hell is known in only twelve copies; Muir's facsimile reproduces copy A now owned by Harvard. “This book is Blake’s Principia in which he announced a new concept of the universe.†Damon Blake Dictionary. "Through the voice of the "Devil" Blake parodies and attacks the theology of Emanuel Swedenborg the cosmology and ethics of Milton's Paradise Lost and biblical history and morality as constructed by the "Angels" of the established church and state. Energy and passion are positively valorized; reason and temperance are characterized as restraints on spiritual insight and self-expression" The William Blake Archive. See Bentley Blake Books #249e. Muir unknown books
1885123394Sm. London: Muir 1885. Sm. 4to 1p. preface by Muir 27 leaves hand-colored 1p. appendix 2 leaves at the end in facsimile of Blake’s manuscript arrangement of the Songs of Innocence and of Experience and the separate plate ‘A Divine Image’. once badly stained in the margins now washed and cleaned by Court Benson. New brown cloth upper cover lettered in gilt. § The extremely rare variant of the superb Muir facsimile limited to maybe 5 copies; only two copies ever offered for sale are recorded by Essick this copy and the Essick copy. Reproduces the Fitzwilliam Cambridge copy I they have three very different copies of which there is only the Dent trade reproduction and this one. Muir has noted this in manuscript in the preface crossing out the reference to copy A - the Beckford-Harvard copy. Inscribed by Muir: "This copy is coloured after the Original in the Fitzwilliam Museum at Cambridge. W Muir". “This book is Blake’s Principia in which he announced a new concept of the universe.†Damon Blake Dictionary. One of Blake’s most popular texts with numerous famous lines. See Bentley Blake Books #249e and 249h "On Homer's Poetry"; Blake Books Supplement p. 153. Muir hardcover 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
1885123176Tall slim folio. Edmonton: William Muir 1885. Tall slim folio 8 unnumbered hand-colored plates with no printed outline. Full red straight-grain morocco covers panelled in gilt backstrip gilt-lettered. A fine copy bookplate of C.H. Wilkinson dated 1938. § The Muir facsimile based on copy D in the British Museum and limited to around 50 copies. The plates are delicately colored and the text is in golden-brown. Bentley Blake Books 249b. Essick notes three versions of the ca. 1885 edition one entirely executed by hand another version with the correction of 'sprin' to 'springs' on leaf 5 line 7 and a third version with the final two leaves numbered 5 and 6 as in Blake's original the two prior versions do not have numbered leaves. William Muir unknown books
1884303008Edmonton: John Pearson for Bernard Quaritch 1884. One of 50 copies. Hand-colored facsimile by William Muir. With 11 hand-colored plates bound without wrappers or the preface addressed to Muir's patron. 1 vols. 4to. Full green straight-grain morocco covers gilt with triple gilt fillets spines lettered in gilt within decorative framing lines board edges gilt marbled endpapers t.e.g. Faint wear to extremities else fine; probably the publisher's special binding. One of 50 copies. Hand-colored facsimile by William Muir. With 11 hand-colored plates bound without wrappers or the preface addressed to Muir's patron. 1 vols. 4to. Blake's 'Daughters of Albion': Muir Facsimile in Special Binding. Keynes 217c; Bentley pp. 28-9 John Pearson for Bernard Quaritch unknown books
1885303018London 1885. No. 38 of 50 copies. William Muir facsimile based on copy D. 8 leaves. 1 vols. 4to. Full green levant wrappers bound in. Spine toned. Fine. No. 38 of 50 copies. William Muir facsimile based on copy D. 8 leaves. 1 vols. 4to. Muir Facsimile. Bentley 249b unknown books
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
17841046722 vols. London: Harrison and Co. 1784–1785. 2 vols. in one 8vo 1-9 10-485 1; 1-5 6-193 1 pp. With a folding frontispiece second version and numerous folding engraved plates of which 5 are engraved by Blake one after Stothard and four after Samuel Collings. Contemporary marbled boards modern-calf backstrip and tips a very good set with good margins around the plates: rare. § Only edition. "These are the only caricature prints engraved by Blake. The graphic style is appropriately broad and rugged particularly in the barnyard scene. 'Fun I love but too much fun is of all things most loathsom' Blake to Trusler 1799. Blake may have felt that the great rage for caricature prints in the 1790s was a hindrance to the sale of his own original graphic works." Essick CBE p. 37. Bentley Blake Books 513. Essick William Blake’s Commercial Book Illustrations XVI. Harrison and Co hardcover books
17841017082 vols. London: Harrison and Co. 1784–1785. 2 vols. 8vo 2 485 1; 193 1 pp. With a folding frontispiece second version and numerous folding engraved plates including 5 by Blake one after Stothard and four after Samuel Collings. Contemporary calf somewhat worn and vol. I lacking backstrip label. Withal a good set very rare. § Only edition. "These are the only caricature prints engraved by Blake. The graphic style is appropriately broad and rugged particularly in the barnyard scene. 'Fun I love but too much fun is of all things most loathsom' Blake to Trusler 1799. Blake may have felt that the great rage for caricature prints in the 1790s was a hindrance to the sale of his own original graphic wqorks." Essick CBE p. 37. Bentley Blake Books 513. Essick William Blake’s Commercial Book Illustrations XVI. Harrison and Co unknown books
