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1793259455London: Printed for John Stockdale 1793. First Stockdale edition and first with the Blake plates first issue with the long 's' throughout. 2 engraved title-pages with vignette "Gay Monument" frontispiece and 68 illustrations including 12 etchings by William Blake. ii xii 225; ii vii 188 pp. 2 vols. 8vo 10-3/8 x 6-3/4 inches. Contemporary full straight-grained red morocco covers stamped in gilt with outer roll border flat spines divided into 6 compartments 2 with title and volume number the rest gilt with small tool a.e.g. marbled endpapers. Light wear to extremities some foxing to title-pages. Bookplate of Frasier W. McCann. First Stockdale edition and first with the Blake plates first issue with the long 's' throughout. 2 engraved title-pages with vignette "Gay Monument" frontispiece and 68 illustrations including 12 etchings by William Blake. ii xii 225; ii vii 188 pp. 2 vols. 8vo 10-3/8 x 6-3/4 inches. A tall copy in contemporary binding of the Stockdale edition of Gay's Fables with 12 engravings by Blake who freely adapted his source material. Ray considers this one of the best examples of Blake's work as a reproductive engraver. Bentley & Nurmi 371A; Ray England 1; Essick William Blake's Commercial Book Illustrations XXVI Printed for John Stockdale unknown
1935237391New York: The Pierpont Morgan Library 1935. 105 black and white and color facsimile engraved plates pencil drawings and watercolors by William Blake in six fascicles. Folio. Original cloth-backed gray wrappers printed labels on front cover in cloth box with some wear. 105 black and white and color facsimile engraved plates pencil drawings and watercolors by William Blake in six fascicles. Folio. Illustrations of the Book of Job being all the water-color designs pencil drawings and engravings beautifully reproduced in facsimile. The Pierpont Morgan Library 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
1793259455London: Printed for John Stockdale 1793. First Stockdale edition and first with the Blake plates first issue with the long 's' throughout. 2 engraved title-pages with vignette "Gay Monument" frontispiece and 68 illustrations including 12 etchings by William Blake. ii xii 225; ii vii 188 pp. 2 vols. 8vo 10-3/8 x 6-3/4 inches. Contemporary full straight-grained red morocco covers stamped in gilt with outer roll border flat spines divided into 6 compartments 2 with title and volume number the rest gilt with small tool a.e.g. marbled endpapers. Light wear to extremities some foxing to title-pages. Bookplate of Frasier W. McCann. First Stockdale edition and first with the Blake plates first issue with the long 's' throughout. 2 engraved title-pages with vignette "Gay Monument" frontispiece and 68 illustrations including 12 etchings by William Blake. ii xii 225; ii vii 188 pp. 2 vols. 8vo 10-3/8 x 6-3/4 inches. With 12 Plates by Blake. A tall copy in contemporary binding of the Stockdale edition of Gay's Fables with 12 engravings by Blake who freely adapted his source material. Ray considers this one of the best examples of Blake's work as a reproductive engraver. Bentley & Nurmi 371A; Ray England 1; Essick William Blake's Commercial Book Illustrations XXVI Printed for John Stockdale unknown books
19751052184to. London: Trianon Press 1975. 4to 8 plates 8 pp. commentary by Keynes with another plate plus 22 additional progressive proof plates and with a metal pochoir stencil mounted at the end. Full brown morocco prospectus inserted a fine copy in slipcase. As new. § #28 of 32 de luxe copies with the extra plates showing the progressive stages of the collotype and hand-stencil process. The total edition was limited to 458 copies. One of the richest and most elaborate Trianons. Bentley Blake Books A137. “The Song of Los completes the cycle of the four continents. the complete work tells the story of mankind from Adam to the Last Judgment the triumph of death and the general resurrection caused by the revolution.†Damon Blake Dictionary. Trianon Press unknown books
198710811222 separate plates. Paris: Trianon Press for the Blake Trust 1987. 22 separate plates approx. 15.75 x 12.25 inches 30 x 31 cm each printed in color on Arches housed in a tri-fold paper folder. Very good condition. § The New Zealand Set are careful watercolor copies of the central designs of the original engravings produced by the circle of John Linnell presented here in faithful facsimile. 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 for the Blake Trust unknown books
19681075944 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 is the de luxe advance publisher’s copy 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
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
198487851London: Quartet Books 1984. First Edition stated Presumed first printing limited to only 10000 copies. Hardcover. Very good/Very good. Rebecca Blake Photographer. The format is approximately 1125 inches by 13.5 inches. DH has slight wear and soiling. Unpaginated. Preface Nocturnes Fairy Tales Night visions Forbidden Dreams Virgins and Vampires Index. Afterword. Profusely illustrated in color. Signed and dated on the title page after the verso. Concept by David Leddick. Design by Vincent Gagliostro. Preface by Lina Wertmuller. This is an oversized book and if sent outside of the United States will require additional shipping charges. Seventy-eight fashion photographs combine eroticism violence surrealism and a sense of mystery. Passion glamour eroticism irony these are Rebecca Blake's obsessions document here in seventy-eight photographs that sear--and chill--with a dry-ice intensity. While issuing form the concerns and conventions of fashion photography Blake's work transcends that or any other genre sometimes achieving the character of the psychological portrait sometimes that of the cinematographic tableau. Always sumptuous--never more so that when they flirt with the violent the gritty the ambiguous these images are of a complexity that rewards and occasionally defies multiple viewings. Rebecca Blake was an acclaimed music video/commercial director and fashion photographer perhaps best known for her collaborations with music artist Prince. Born in Antwerp Belgium Blake came to the United States at a young age and her European roots are evident in her work and aesthetics. She attended the prestigious High School for Music and Art as a piano major before attending New York University where she earned her Bachelor’s Degree studying music and art history. After graduating college Blake quickly established a career as a successful commercial photographer working with some of the world’s most prestigious fashion and beauty brands: Estee Lauder Revlon Elizabeth Arden Yves St. Laurent and Clairol among others. In 1977 she was hired by director Irvin Kershner to work closely with both himself and actress Faye Dunaway as special photographic consultant on the feature film The Eyes of Laura Mars which starred Dunaway as a New York fashion photographer who has premonitions of murders. At the same time Blake was commissioned by Columbia Pictures to create a series of erotic photographs which were featured in the film alongside work by German fashion photographer Helmut Newton. Blake quickly moved into directing commercials for clients such as L’Oréal Pantene Revlon Shiseido Victoria’s Secret Guess Maybelline Citroen and Volkswagen. Over the course of her career Blake worked with an extensive list of the top models musicians and actors of our time: Angelina Jolie Claudia Schiffer Kate Moss Cindy Crawford Hallie Berry Jessica Lange Monica Bellucci John Travolta Christie Brinkley U2 Duran Duran Debbie Harry Sheena Easton Sheila E. Michael Bolton KISS George Benson Pattie La Belle Stephanie Seymour Lauren Hutton Paulina Porizkova Brooke Shields Grace Jones Vanessa Williams John Malkovich Kevin Kline Darryl Hall and Luis Miguel among others. Blake was a trailblazer in many ways being one of the handful of women who were able to break into the traditional “boy’s club†of advertising and music video production at a time when females were relegated to lesser roles. Blake’s photography is in the permanent collections of the International Center of Photography The Brooklyn Museum and The Mellon Collection of Surreal Art. Her work has been exhibited at The Rizzoli Gallery Nikon House The Hastings Gallery The Witkin Gallery and The Light Gallery among others.<br /> I. Quartet Books hardcover
18931270451893. London: Quaritch 1893. <br /> <br /> Large 4to xxi pp. text 54 leaves printed in outline in reddish brown. Original half hardgrain morocco first blank and title-page foxed otherwise internally a very fine copy with some light wear to the backstrip.<br /> <br /> § A very scarce companion volume to the colored version both issued by Quaritch at the same time. Bentley Blake Books 173. Bookplate at the front of Pickford Waller and in the back that of Harris Elliott Kirk. unknown
1081121987. Paris: Trianon Press for the Blake Trust 1987. <br /> <br /> 22 separate plates approx. 15.75 x 12.25 inches 30 x 31 cm each printed in color on Arches housed in a tri-fold paper folder. Very good condition. <br /> <br /> § The New Zealand Set are careful watercolor copies of the central designs of the original engravings produced by the circle of John Linnell presented here in faithful facsimile. 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.". unknown
193579441935. New York: Pierpont Morgan Library 1935. <br /> <br /> Large 4to text illustrations including 63 color facsimile plates in six fascicles in original wrappers with labels; near fine copy small stain to one wrapper enclosed in the original blue cloth box rather worn. <br /> <br /> § A magnificent production showing for the first time the three colored sets done by Blake and the drawings for the smaller set as well as reproducing in fine facsimile the proof issue of the first printing. Issued in a small edition and hard to find in good condition. Bentley BB 374. "The 134 plates of this excellent edition include Blake's pencil drawings and watercolors and proofs of his engravings. For the genesis of Job it is of crucial importance." Despite the Trianon Press edition of 1987 this edition is still a necessity as it reproduces in color a set not reproduced in color in the Trianon edition. unknown
1935237391New York: The Pierpont Morgan Library 1935. 105 black and white and color facsimile engraved plates pencil drawings and watercolors by William Blake in six fascicles. Folio. Original cloth-backed gray wrappers printed labels on front cover in cloth box with some wear. 105 black and white and color facsimile engraved plates pencil drawings and watercolors by William Blake in six fascicles. Folio. Illustrations of the Book of Job being all the water-color designs pencil drawings and engravings beautifully reproduced in facsimile. The Pierpont Morgan Library unknown
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
19681075951968. London: Trianon Press 1968. <br /> <br /> 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 flaked.<br /> <br /> § Copy #14 with the first three volumes bound in morocco. From an edition of 726 total copies including 700 numbered 1 to 700 of which the first 50 have additional material and are in a special binding and 26 reserved copies lettered A-Z. Volume I is an introductory volume followed by three volumes of plates. <br /> <br /> "In about 1818 Blake revised For Children: The Gates of Paradise giving the work the new title of For the Sexes: The Gates of Paradise and adding three new text plates at the end Plates 19-21. All twenty-one plates are intaglio etchings/engravings. Plates 19-20 contain brief interpretive statements keyed by number to the preceding design plates. The final plate is addressed to Satan as the "God of This fallen World." Blake Archive. Bentley BB 48. unknown
1268401972. London: Trianon Press 1972. <br /> <br /> 3 volumes 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. Marbled boards morocco backstrips slipcases a fine set as issued.<br /> <br /> § 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 copy #125.<br /> <br /> 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.<br /> <br /> 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.<br /> <br /> 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. unknown
1077171972. London: Trianon Press 1972. <br /> <br /> 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.<br /> <br /> § 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 copy 387. <br /> <br /> 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.<br /> <br /> 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.<br /> <br /> 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. unknown
194816214Unknown. 1948. First edition. Matted and framed original artwork for The Case of the Dangra Millions Sexton Lake Library book number 189. 18 1/2" X 17 3/8" in total size. Depicts in full color a man with a gun hiding behind a door who has just knocked unconscious a listener at the door with the butt end of the pistol while a young woman and her male companion look on. Colorful and attractive. Unknown. unknown
17641263551764. London: Printed in the Year of our Lord God 1699: and Re-printed in the year 1764. <br /> <br /> Sm. 4to vii viii errata 179pp. Engraved portrait frontispiece not always present. Original blue boards white paper backstrip rather soiled ff. iv-v also soiled otherwise a good copy as issued entirely untrimmed.<br /> <br /> § Second edition of Lodowick Muggleton's spiritual autobiography published posthumously in 1699 and reprinted in 1764. Muggleton was the founder of a radical Protestant sect which engaged in heated debates with the Quakers and others. Morton in "The Everlasting Gospel" 1958 et seq. is responsible for suggesting that Blake many have been influenced by extreme dissenters including Muggletonians -- others disagreed. Bentley BBS p.579. "Blake participates in a radical politico-religious tradition that was most vocal and extreme in the seventeenth century. chiefly Ranters Muggletonians and other extreme dissenters". ESTC T91008; Smith Bibliotheca Anti-Quakeriana p. 310. See Wikipedia for a long entry on Muggletonianism. unknown
189432183AB1894. Original / First Edition. 21 Volumes bound in seven Volumes. London Seeley and Co. 1894-1896. Quarto 19.2 cm wide x 27.2 cm high. c. 1600 pages with a total of 37 Etchings / Engravings. Hardcover / All Volumes in their original very decorative Art Nouveau-Bindings with gilt lettering and ornament on spine and frontcover. All Bindings in protective Collectors-Mylar. Excellent actually stunning condition with only minor signs of wear and occasional foxing to some of the illustrations only. One layer loosened in the 1895-Volume. This collection of 21 Volumes Bound in seven Volumes includes: 1. 1894 - Annual Volume One 3 Volumes in 1: I. William Sharp - "Fair Women In Painting and Poetry" With Etchings by Alma-Tadema / Sir Peter Lely / Daniel Mytens etc. II. C.J.Cornish - "The New Forest" Illustrated by Lancelot Speed Alexander Ansted and John Fullwood III. Walter Armstrong - "Thomas Gainsborough" _______________________________________________________ 2. 1894 Annual Volume Two - 3 Volumes in 1: I. P.G.Hamerton - "The Etchings of Rembrandt" With Plates Etched in Facsimile by Amand Durand The four wonderful Rembrandt-Etchings are: a. Rembrandt with the Broad Hat and Embroiderd Mantle b. The Rat Killer c. Johannes Lutma d. Rembrandt's Mother seated looking to the right II. Rev. W.K.R.Bedford - "MALTA and the Knights Hospitallers" With Plates etched: a. "Isola Point" - Etched by A. Ansted b. "Rabato Gozo" - Drawn by T.H.Crawford and Engraved by Walter L. Colls c. "Citta Vecchia" - Etched by A. Ansted from a drawing by Edward Lear d. "Chapel of our Lady of Philermos" - Engraved by Walter L. Colls III. A.H. Church - "Josiah Wedgwood - Master-Potter" His Precursors / His Early Years / As Master-Potter / His Ceramic Improvements / His Invention of the "Jasper" Body / The Barberini or Portland Vase / Cameo His Cameos Medallions and Plaques / His Portrait Cameos / Vases in the Jasper Body / Miscellaneous Productions in Jasper / Later Years / Position as an Art-Potter / Collections and Collectors // Illustrations in the Wedgwood-Volume include: 1. Portland Vase / 2. Plaque Sacrifice of Iphigenia / 3. Two Medallions A Zephyr / 4. Medallion Portrait of Flaxman __________________________________________________ 3. 1895 - Annual Volume One - 3 Volumes in 1: I. C.J.Cornish - "The Isle of Wight" a. With an original etching by John Fullwood: "Freshwater Gate" Frontispiece b. With an original etching after E.Duncan: "Isle of Wight - The Fleet leaving Portsmouth" c. With an original etching by John Fullwood: "Bonchurch" d. With an original etching by Thomas Huson: "Sandown Bay" Also includes several text-illustrations of the Isle of Wight II. Julia Cartwright - "Raphael in Rome" III. L.Binyon - "Dutch Etchers" _____________________________________________________ 4. 1895 - Annual Volume Two - 3 Volumes in 1: I. Julia Cartwright Mrs. Henry Ady - "The Early Work of Raphael" Illustrated II. Walter Armstrong - "The Art of William Quiller Orchardson" WIth original engravings and text-illustrations III. George Grahame - "Claude Lorrain - Painter & Etcher" Illustrated _______________________________________________________ 5. 1895 - Annual Volume Three - 3 Volumes in 1: I. Richard Garnett - "William Blake - Painter and Poet" With an etching "The Sons of God" and several illustrations also in colour: a. "The Sons of God" From the Book of Job b. "The Lamb and Infant Joy" from Songs of Innocence c. "The Fly and the Tiger" From Songs of Experience d. "The Book of Thel Title-page in two facsimiles by W.Griggsl e. "America" With 19 further text-illustrations by William Blake including a rare portrait of Blake II. Olivier Georges Destree - "The Renaissance of Sculpture in Belgium" Illustrated III. W.H.James Weale - "Gerard David - Painter and Illuminator" Illustrated ______________________________________________________________________ 6. 1895 - Annual Volume Four - 3 Volumes in 1: I. W.J.Loftie - "Whitehall" With many interesting historical illustrations on Whitehall and Scotland-Yard II. Professor Anderson - "Japanese Wood-Engravings" Illustrated beautifully some in colour after Utagawa Toyokuni Utamaro Katsugawa Shuncho etc. III. Claude Phillips - Antoine Watteau Illustrated _______________________________________________________________ 7. 1896 - Annual Volume - 3 Volumes in 1: I. Claude Phillips - The Picture Gallery of Charles I. Illustrated II. Cecilia Waern - "John La Farge - Artist and Writer" Illustrated with a stunning engraving of "Prosperitas" an illustration of "The Wolf Charmer" etc. etc. III. Richard Garnett - Richmond on The Thames Illustrated with stunning engravings by a. John Fullwood "Richmond Hill" - Engraving b. Clough Bromley "The Thames from Buccleugh Gardens" - Engraving c. T.Huson "The View from Richmond Hill" - Engraving d. T.Huson "Richmond Bridge" - Engraving and many text-illustrations "The Portfolio" was a British monthly art magazine published in London from 1870 to 1893. It was founded by Philip Gilbert Hamerton and promoted contemporary printmaking especially etching and was important in the British Etching Revival. Early contributors included Francis Turner Palgrave 18241897 and Sidney Colvin 18451927. The mid-nineteenth century in France and Britain saw a rise in the interest in etching. Hamerton had spent the 1860s in France with his French wife Eugénie. The impetus for the launch of The Portfolio came in the wake of the foundation in Paris of the Société des aquafortistes in 1862 and to a lesser extent from the longer established Etching Club from 1838. Etchings by many French etchers such as Paul Rajon 18431888 and Alfred Brunet-Debaines 18451939 were a marked feature of the publication. Indeed The Standard remarked in 1874 that the publication's "speciality as probably most people know is the etchings with which it is adorned." Rajon published twelve etchings in the periodical before his untimely death. The New York Times lavished praise on the publication when in 1875 it remarked that it could not "eulogize too highly the merits of this periodical in all its departments. It is without question the most beautiful in regard to illustration which emanates from the press." The late nineteenth-century British author George Gissing wrote in his diary for December 1895 sic. that he took the magazine for his son because of its good pictures. In a survey of the etching revival in 1878 the Magazine of Art highlighted the centrality of Hamerton and his monthly magazine which had "so ably and unceasingly pleaded the cause of etching" in Britain. Wikipedia ______________________________________________________________________ Philip Gilbert Hamerton 10 September 1834 4 November 1894 was an English artist art critic and author. He was a keen advocate of contemporary printmaking and most of his writings concern the graphic arts. He was an important theorist of the English Etching Revival. Hamerton was born at Laneside a hamlet near Shaw and Crompton Lancashire England. His mother died giving birth to him and his father died ten years later. When he was about five he was sent to live with his two aunts at an estate called the Hollins1 on the edge of Burnley where he attended Burnley Grammar School. Hamerton's first literary attempt a volume of poems was unsuccessful leading him to devote himself for a time entirely to landscape painting; he camped out in the Scottish Highlands where he eventually rented the former island of Inistrynich in Loch Awe upon which he settled with his wife Eugénie Gindriez the daughter of a French republican magistrate in 1858. Discovering after a time that he was more suited to art criticism than painting he moved to Sens and later to Autun3 where he produced his Painter's Camp in the Highlands 1863 which was very successful and prepared the way for his standard work on Etching and Etchers 1866. In the following year he published Contemporary French Painters and in 1868 a continuation Painting in France after the Decline of Classicism. He had by now become art critic to the Saturday Review which necessitated frequent visits to England forcing him to give it up. He proceeded in 1870 to establish and edit an art journal of his own The Portfolio a monthly periodical each number of which included of a monograph upon some artist or group of artists often written by him. The journal championed printmaking especially etching. He selected and wrote the accompanying text for Etchings by French and English Artists London: Seeley 1874 which included work by Alphonse Legros and Léon Gaucherel. The discontinuation of his painting gave him time for writing and he successively produced The Intellectual Life 1873 perhaps the best known and most valuable of his writings; Round my House 1876 notes on French society by a resident; and Modern Frenchmen 1879 admirable short biographies. He also wrote two novels Wenderholme 1870 and Marmorne 1878. In 1884 Human Intercourse another volume of essays was published and shortly afterwards Hamerton began his autobiography which he brought down to 1858. In 1882 he issued a finely illustrated work on the technique of the great masters of various arts under the title of The Graphic Arts and three years later another splendidly illustrated volume Landscape which traces the influence of landscape upon the mind of man. His last books were: Portfolio Papers 1889 and French and English 1889. In 1891 he removed to Villa Clématis in the Parc des Princes district of Boulogne-Billancourt in the southwest suburbs of Paris. He died there suddenly on 4 November 1894 aged sixty occupied to the last with his labours on The Portfolio and other writings on art. In 1897 'Philip Gilbert Hamerton: an Autobiography 18341858; and a Memoir by his wife 18581894' was published. Wikipedia hardcover
4to (260 x 205 mm), 2 parts in one, first part the first edition, the second part is a third edition, [4], vii-xii, 214, 126, [2]; [2], ix, [1], 197, [1]pp., engraved frontispieces and 18 plates (5 folding), of which 5 plates by William Blake, occasional offsetting, signatures L & M misbound (part 2), scattered faint spotting, marbled endpapers, contemporary full red morocco, single gilt fillet border to boards, smooth spine, seven gilt tooled bands producing 6 compartments, upper compartment with the Arnold crest - a demi tiger regardant bezanty holding a pheon, next compartment gilt lettered direct, some light rubbing to extremities, otherwise a very nice copy. Epic poetic tribute to the lives, loves, and reproductive capacity of plants by the grandfather of Charles Darwin. Darwin's Botanic Garden is important for the five plates in part I which are engraved by William Blake: 'The Fertilization of Egypt,' engraved after the painting by Henry Fuseli, and four engravings of the Portland Vase. "The chief source of Erasmus Darwin's literary fame during his lifetime, The Botanic Garden contains a great deal of important and frequently advanced scientific information in the nearly 300 footnotes and the 115 pages of appendices to its verses..."? The Encyclopaedia Britannica. Provenance: Armorial bookplate of George Henry Arnold (1791-1844) to font paste-down; later bookplate of Ralph Hermon Major.
183459712New York: published by Peter Hill no. 94 Broadway 1834. Large 8vo in 4s approx. 10¼" x 6½" pp. 6 960; alphabetical text in double column; engraved oval frontispiece portrait of George Washington and 22 lithographs by Pendleton of notable American architecture; contemporary quarter diced russia over marbled boards; boards worn neatly rebacked with old spine laid down; internally clean and the binding remains sound. Early owner's ownership signature on two flyleaves and recto of the frontispiece. Originally published in monthly parts beginning in 1832 of which no copies in OCLC this is the first book edition. Among the buildings represented are City Hall Augusta Georgia; Columbia College; the Deaf and Dumb Asylum Philadelphia; Mount Auburn Cemetery; Andover Theological Seminary; Mount Vernon; the Arcade in Providence; Kenyon College; Dartmouth College; the Capitol of Pennsylvania at Harrisburg; Yale College and State House; The White House State House in Boston and City Hall in New York among others. That six of the nine records in OCLC are for individual plates suggests that this was a book often broken up for the lithographs. OCLC locates a total of only 7 copies: Yale Boston Athenaeum Boston Public Harvard Lehigh Houston and the University of Edinburgh. Not noted in Walsh Anglo-American General Encyclopedias. Not in the Arents Collection of Books in Parts. American Imprints 23440; Sabin 5782. published by Peter Hill, no. 94 Broadway unknown
115051Clairvaux: by the Trianon Press for the William Blake Trust London 1976. First edition thus copy II of 32 copies bound in full morocco with an original guide sheet stencil and copperplate and a set of extra plates showing progressive stages of the collotype and hand-stencil process from a total edition of 538 copies printed on Arches pure rag paper made to match the paper used by Blake. Blake scholar Geoffrey Keynes 1887-1982 the brother of John Maynard provides a commentary and bibliographical history. "The Book of Los was the first of the two small books executed by Blake mainly as etchings on copper to be printed as ordinary intaglio plates. The Book of Ahania was the companion volume. The title-pages of both books were dated by Blake 1795 so that they were probably the last ones to be produced in his Lambeth house. Each book exists in only a single copy. The Book of Los. has been since 1866 in the British Museum" Keynes. Only one copy of the Book of Los is known. These beautifully produced facsimiles of Blake are now highly regarded in their own right. Large quarto. Colour plates reproducing the original Book of Los. Original tan full morocco spine lettered in gilt. With the original handmade marbled slipcase. A few light marks to covers a few spots to fore-edge an excellent copy. unknown
196414781London: Collins 1964. A first edition first printing published by Collins Crime Club in 1964. A very good/near fine book with some spotting to the top edge some off-setting to the front endpaper. Inscribed on the front endpaper by Day Lewis: 'Nan/with love/CDL'. In a very good clipped wrapper with wear to the edges and corners. The recipient was Minnie Bowler nanny to Cecil Day Lewis's children Daniel and Tamsin. Exceptionally rare warm inscription Collins unknown
