Blake William.ABAA
18 344 résultats
18881223864to. Edmonton: William Muir 1888. 4to intaglio title page iv text prologue 18 leaves with Muir's black and white intaglio engraved plates sewed. with 25 leaves including the preliminary and final blank. Original wrappers upper cover lettered in manuscript and signed and numbered by Muir. with 1 leaf signed and numbered by Muir. Dark green straight grain morocco panelled in gilt gilt top backstrip lettered in gilt slightly worn but internally perfect. § The "Gates" is copy #17 signed by Muir. The facsimile is convincing enough that plates from it have been offered as originals on occasion. Bentley BB 249m. "There is No Natural Religion" is copy #4 and includes “ All Religions are One†and Muir's own version of the missing plate b5. Essick notes: There is No Natural Religion. The "Preface" dated 1886 indicates that the facsimile is based on plates "in the British Museum copy A and from some papers in my own possession copy L." Upper wrapper present. "On Homer's Poetry" is a single leaf #4 signed by Muir. Bentley BB 249 h. William Muir unknown books
18081078254to. London: Bensley for Cromek 1808. 4to xiv 36 4 pp. With a portrait frontispiece after Phillips etched title page and 11 plates engraved by Luigi Schiavonetti after Blake’s designs. Original drab gray boards printed paper label on upper cover preserved in a red cloth box worn. The finest copy we have ever seen. § First quarto edition of exceptional rarity in boards as issued. A completely untrimmed copy thus with the title-page uncropped. Bentley Blake Books 435B. Bindman Complete Graphic Works of Blake 465-476."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 Bensley for Cromek hardcover books
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
18011227331801. London : Dalla Stamperia di Gul. Bulmer 1801. <br /> <br /> Thick 4to 2 1 1-721 pp. Printed in English and Italian. Contemporary red straight-grained goatskin flat spine banded with double gilt rules single gilt rule to the margins of the boards all edges gilt some foxing to the preliminaries binding repaired and refurbished still showing some scratches and stains but still an attractive copy.<br /> <br /> § Only edition of absolute rarity three copies recorded none at auctionone in the marketplace bought by Yale. Maggs wrote of this copy: "Written by an associate of William Blake this is a profoundly eccentric production full of the revolutionary spirit of the times combining mysticism philosophy electricity and magnetism. One of an unknown number of copies privately printed for the author without a title page by George Bulmer all of them intended for presentation to the author's friends this copy bearing the 19th Century ownership inscription 'Girdlestone' for whose identity there are several candidates none completely convincing.<br /> <br /> It is in two parts the first "An Investigation into Principles" written in English is a series of reflections on the nature of elements gravitation "the pressure of the general ethereal fluid against our orb" time "Look for time in the vast expanse Eternity will start to view and time revolve no more" tides earthquakes and the lack of salt in rain when raised into the sky by waterspouts it is sweetened by the action of electricity. His logic is baffling at times demonstrating the wisdom of a forward five year old or of an experienced haschischan : for instance he observes that gravity isn't all that Newton cracked it up to be since water "from a known principle in hydraulics" rises to the top of mountains which truth he derives from the fact that rivers never run dry. "On the Barleycorn" is a dialogue between Mata and Ata based on a conversation with George Finch Earl of Winchilsea concerning wisdom folly genius reason the individuality and the faculty of the soul.<br /> <br /> The second part is titled "On the Soul. On Magnetism. Magnetic Productions." and comprises the transcripts of Avena's automatic writings see below in Italian many with English introductions and some untranscribed writings dismissed as "too confused to merit attention". There are a total 51 sessions in the first year dated to "Alessandria 1796" 52 in the second year and 27 in the third and last year. The last two years have almost no English narrative.<br /> <br /> In researching this book we Maggs rely heavily on the intoxicating and brilliant essay by Marsha Schuchard "Blake's Healing Trio: Magnetism Medicine and Mania" published in Blake an Illustrated Quarterly Vol 23 Issue 1 which explores Blake's relationship with the "eclectic network of illuminés which included Swedenborgians Freemasons and Cabalists who shared his interest in animal magnetism spirit-communication and erotic trances". George Baldwin was one of these and is included as "Baldwin of Egypt's Lake" in a vicious later 1808 - 1811 poem attacking their lack of commitment to his studies.<br /> <br /> Baldwin born in 1744 was an author and diplomat who became very wealthy in the later years of the 18th century establishing trade links for the East India Company with Egypt owning a monopoly of the British trade route through Suez demonstrating remarkable prescience about the importance to British trade of this route to the east. He was British Consul-General in Egypt from 1786 to 1796 in which position he warned the British Government of French plans to take over Egypt a warning which was largely ignored. When the French invaded Egypt in 1798 he left the country for Italy leaving behind substantial property in Alexandria which was seized by the French. He was of considerable help in the planning of the British counter invasion returning to Egypt in 1801 with the British forces and claimed the credit for the decision to breach the canal in Alexandria and flood Lake Mareotis to hinder French navigation which played a significant role in the recapture of Egypt - this is what Blake refers to when he mentions "Baldwin of Egypt's Lake." It is attractive to think of a time in which a man could be a senior servant of the state as well as indulging in such arcane personal tastes.<br /> <br /> Baldwin's wife Jane Malpass a famous Greek beauty sat for her portrait to Sir Joshua Reynolds and to Richard Cosway who introduced Baldwin to English devotees who believed in healing by magnetism which although he was a popular figure in English society made him the subject of some ridicule. Some Blake scholars believe that Jane Malpass is one of the figures in Blake's 'Vala' manuscript. Baldwin had come across what he claimed were many cures in Egypt using magnetism and experimented on himself with he said considerable success. His Magus so to speak was an itinerant poet one Cesare Avena di Valdieri who passed on his gifts to Baldwin during magnetic sleep. The 'Principles' begins in English with a history of the development of Animal Magnetism then turns to Italian and intertwines the further exploration of the theme with the story of Baldwin's 'contact' with the spirit of his lost first love through the mediumship of Valdieri in a magnetised trance. Both Blake and Baldwin believed that the same Muse that dictated spirit writings to them also inspired Milton in the writing of 'Paradise Lost'. <br /> <br /> Baldwin was in London from 1781-6 where he must have first encountered the English school of Animal Magnetism a fashionable science begun largely by Franz Anton Mesmer who was for a while very successful as a practitioner in London society. It is highly likely that Baldwin made the acquaintance of Blake during these years. Mesmer was soon eclipsed by his disciple Dr. John Bonniot de Mainaduc who became a very rich man treating the great and the good of British society from Royalty downwards. Mainaduc published in 1798 a series of lectures with a frontispiece by Cosway where much of the phraseology bears a striking resemblance to the writings of Blake. Baldwin was back in Egypt in 1786 from where he ordered many publications on Animal Magnetism and on his interest in 'native' medicines with their use of magic and trance states. He set himself up as a practitioner and claimed much success as a healer - it is thought that a drawing from Blake's notebooks showing a cloaked man wearing a turban treating a young crippled girl represents Baldwin. Baldwin even claimed to be able to heal the plague rife in Egypt at the time mainly by the use of massage with olive oil. <br /> <br /> This publication originated with Baldwin's meeting with Valdieri and his consequent magnetisation of the poet who poured forth the verse printed here dictated to him by spirits. In 1797 Baldwin was visited in Egypt by the art connoisseur Thomas Hope a devotee of Animal Magnetism. The copy of this book in Emory University Library is inscribed to Hope's brother Henry a wealthy banker and disciple of Mainaduc. The inscription reads 'To Henry Hope Esq from his humble servant George Baldwin author of the English part of this work and editor only of the Italian'. Baldwin himself categorises the principles of the title as 'the discovery of a spiritual influence on the physical temperature of man'.<br /> <br /> Worldcat reports only two copies in institutions worldwide Emory University and the University of Chicago but a deeper poke reveals a mis-catalogued copy in the British Library. Not in Crabtree Animal Magnetism early hypnotism and psychical research an annotated bibliography. 1766-1925."<br /> <br /> DNB notes: "Baldwin was welcomed into London society as an exotic newcomer. He was described by Wright as 'lolling on oriental cushions amid strange hangings' T. Wright Life of William Blake 1929 2.31 and had some interesting pictures to share. Baldwin became intrigued by Cosway's keen interest in the therapeutic powers of magnetism as expounded by John de Mainauduc. Baldwin's presence was noted in William Blake's lines:<br /> Cosway Frazer and Baldwin of Egypt's lake<br /> Fear to associate with Blake<br /> This life is a warfare against evils<br /> They heal the sick he Blake casts out devils."<br /> Bentley BBS 495 p. 404. unknown
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
17911269381791. London: printed for J. Johnson 1791. <br /> <br /> 12mo xii 177 3ads pp with 6 plates by William Blake after his own designs each signed by Blake. Old half red morocco scuffed but sound some browning and rubbing. The Buxton Forman copy with his large bookplate and manuscript notes in pencil. Other illegible early notes partially erased.<br /> <br /> § 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 third state the only state to have every plate signed by Blake with notable variations from the first and second states. The Buxton Forman copy initialed by him in pencil with his shelf mark. According to Bob Essick this is the only copy known to him with the third state plates in the first edition -- they are usually found in the 1796 edition only.<br /> <br /> 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. <br /> <br /> Windle Bibliography of Mary Wollstonecraft A3b. Bentley Blake Books 514A. Easson and Essick vol. I no. III. unknown
132768The archive comprises: <p>1. Sara Eugenia Blake: an etched bookplate Peake 3869: 'Juvenilia H.B. Muir'. One signed copy with the original zinc plate. <p>2. Sara Eugenia Blake: an etched bookplate depicting a Persian or Mughal figure Peake 3870: 'Indian Man'. Six signed proof copies printed in different coloured inks one extensively hand-coloured with the original zinc plate. <p>3. Tom R. Bond: a process bookplate Peake 3871: 'Mask' incorrectly dated 1937. One proof copy signed and dated 1933 by the artist and numbered 10/10 plus ten further proof prints on different paper stocks some untrimmed. With the original India ink drawing and process block. <p>4. Adrian Feint: a process bookplate Peake 3872: 'Desk open window river' 1936. One copy signed by the artist and another on Japanese paper likely a proof. With the original ink drawing and process block. <p>5. John Barclay Godson: an etched bookplate depicting the devil Peake 3873: 'Devil's face' 1934. One signed remarque proof with a preliminary pencil drawing and the original copper plate. With a list in Harry Muir's hand regarding distribution of copies of the bookplate. <p>6. John Goodchild: a process bookplate depicting a ship at sea Peake 3874: 'Galleon and seagull' 1932. Four copies two identified as proofs by Harry Muir on the reverse 'Delmonts proof of bookplate. 1st Sept 1932' and 'Hassells proof of bookplate from Delmonts zinc block'. With a preliminary pencil drawing signed by Harry Muir identifying the artist the final large ink drawing 146 × 102 mm with a pencil note to 'Reduce ¼ size' and the original process block. <p>7. John Goodchild: a process bookplate depicting a one-legged pedlar selling prints Peake 3875: 'Autolycus selling from tray' 1932. With the original process block. <p>8. John Goodchild: a three-colour linocut and process bookplate Peake 3877: 'Glass enlarging galleon plate' 1943. One copy with the three original blocks two linoleum and one process block. <p>9. Peter Hosokawa: a bookplate featuring two whales Peake 3878: 'Two whales' 1980. Number 31 of 100 signed copies; printed on blue paper. <p>10. Jane Hylton: a process bookplate depicting poppy kernels Peake 3879: 'Poppy kernels'. With the original process block heavily tarnished. <p>11. George David Perrottet: a three-colour linocut bookplate depicting a ship under a crescent moon Peake 3882: 'Sailing ship against crescent moon' 1933. Two copies one untrimmed and signed by the artist. With all three original linoleum blocks plus three process blocks heavily oxidised possibly prepared for Muir's 1942 publication on Perrottet's bookplates. <p>12. George David Perrottet: a hand-coloured two-colour linocut bookplate for Muir's books by and on John Galsworthy Peake 3880: 'Monkey with orange' 1936. With both original linoleum blocks. <p>13. George David Perrottet: a two-colour linocut bookplate featuring the exterior of Muir's bookshop Peake 3881: 'H B Muir bookshop' 1939. One signed proof copy on fine paper plus a copy of the standard version. <p>14. Derek Riley: a woodcut bookplate featuring bookstalls Peake 3883: 'Bookstalls with church tower behind'. One signed proof copy inscribed by the artist 'Opus 22' dated 1980. With the original woodblock. <p>15. Derek Riley: a woodcut bookplate featuring a tiki Peake 3884: 'New Zealand tiki'. Signed proof copy inscribed by the artist 'Opus 35' dated 1981; mounted in a card bifolium also signed and dated and a copy of the standard version. With the original woodblock. <p>16. Leslie Victor Smith: an etched bookplate showing maps of Canada and Australia Peake 3885: 'Tree embracing maps of Canada & Australia' 1943. One copy signed by the artist. With the original copper plate and an autograph letter 1943 with the original envelope to Muir from this Canadian artist primarily regarding the bookplate it appears he produced it as a gift without Muir's knowledge and sent him twelve signed proof copies. <p>17. Eric Thake: a process bookplate for Muir's collection of books on Bligh and the 'Bounty' Peake 3886: 'Three figures from "Bounty" mutiny' giving the date 1947. With two ink drawings a preliminary version and the final version dated '1945-1948' and the original process block. <p>18. Eric Thake: a process bookplate featuring a chained Pegasus Peake 3887: 'Pegasus' 1933. Number 9 of 15 proof copies signed by the artist plus two further copies one signed. With the original ink drawing and two lists in Muir's hand regarding distribution of the proof copies. <p>19. Noel Wood: a linocut bookplate Peake 3888: 'Eagle on rock' 1932. One untrimmed remarque proof number 5 of six copies almost certainly printed by the artist two copies of a more crisply-printed version possibly process; one with Muir's annotation on the verso stating that it is a 'Hassell's print'. With a preliminary ink drawing mistakenly giving Muir's middle initial as M not B. <p>20. John Goodchild: an offset-printed bookplate for Muir's holiday house Petrel Cottage at Encounter Bay Victor Harbor Peake 3876: 'Seagulls' 1938. <p>21. George David Perrottet possibly: two linoleum blocks for a second bookplate for Petrel Cottage a two-colour linocut very much in the style of Perrottet. This bookplate was apparently never published. Provenance: H.B. Harry Muir 1909-1992 bookseller publisher and bookplate collector; by descent. A quantity. unknown
144317London: 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. Fine in a near fine dust jacket. Housed in a custom half morocco clamshell box made by the Harcourt Bindery. 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
17801240091780. London: Fielding and Walker 1780 and J. Fielding: 1781. <br /> <br /> Two vols. in one large thick folio vol. 1 frontispiece title page printed in red and black 6 632 pp. with 46 plates including 5 maps and a plan; vol. 2 with title page dated 1781 494 pp. with 33 plates indices etc. 79 of 80 plates in total. Very early calf very worn and rubbed newly consolidated and now stable. Internally very good and the plates in fine condition.<br /> <br /> § First edition of this version being Blake's first appearance as the sole engraver and in one case the designer and engraver of five plates. Plates 1 2 3 and 5 all engraved and 5 engraved and designed by Blake. See Essick CBI III. Easson and Essick 1 #1 for plate 5. The plates are: 1 Numbers chap. 13 v. 23 in vol. 1; 2 Jonah chap. 3 v. 4; 3 Judith chap. 13 v. 104; Matthew chap. 3 v. 135; Revelations chap. 1 v. 12-13. Plate 5 is signed "d & sc. Blake." Here "d" stands for delineavit as distinct from invenit invented the image. Essick thinks Blake was strongly influenced by an engraving by Picart-see Essick CBI p.22. Blake's wash drawing for pl. 5 is in the British Museum. unknown
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
6633London: William Blake Trust 2009. Limited Edition. Hardcover. Fine in Fine Slipcase and Fine Portfolio. Limited Edition. Hardcover. "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." Tight bright and unmarred. Black cloth red leather matching slipcase gilt lettering. Small fo. Illus. color plates. William Blake Trust hardcover
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. Bentley 249c unknown
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
18051228731805. Chichester: J.Seagrave for Richard Phillips 1805. <br /> <br /> Small 8vo 6 212 1 indexpp. with 5 plates designed and engraved by Blake. Overall a clean and very pleasing copy in contemporary calf skillfully rebacked retaining the original backstrip and red label. Bookplate of Benjamin Dickinson ink signature of J.W. Dickinson dated Oct. 9th 1824 later bookplate of Walter Hirst.<br /> <br /> § First edition with plates 1-3 in the first state. An important book in the Blake canon being his second version of the Ballads after the extremely rare 1802 edition see above for the frontispiece. "For this 1805 volume Hayley added twelve ballads to the four first published in 1802. Blake engraved new plates of his designs for three of the 1802 ballads plates 1-3 and both designed and engraved new illustrations for two of the additional ballads plates 4-5. Blake and Phillips were to "go equal shares . . . in the expense and the profits" Blake's letter to Hayley of 22 January 1805 Erdman page 763. Robert Southey's mocking review of Hayley's poems and Blake's illustration to "The Dog" Plate 1 appeared in the Annual Review for 1805." Bentley BB 465. Easson and Essick WBBI Vol. I VIII. Bindman Complete Graphic Works of Blake 403-407. unknown
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
20038260221st Editions Steven Albahari 2003-01-01. Hardcover. Like New. As new; fine in all aspects. One of 65 copies. A fine copy of the book a fine example of the signed and numbered platinum print. in clamshell as issued. No flaws. oversized and overweight. Please email for photos. 21st Editions, Steven Albahari hardcover
1935355490723672London: Collins Crime Club 1935. First Edition. Hard Cover. Dust Jacket. London: Published for THE CRIME CLUB LTD. by W. Collins Sons & Co Ltd 1935. First UK Edition in First Issue dustwrapper priced 7/6 net to the spine in the 'formal' font as opposed to the 'handwritten' style which is also noted. Publisher's orange boards lettered in black to the spine and front board. Boards exceptionally bright and clean. Just a hint of spine fade to the head and tail of the spine matching chips in the dustwrapper. Overall a near fine copy with offsetting/toning to both sets of end-papers. The VG dustwrapper has 6 mm of loss at the head of the spine and the slightest of further loss to the corners of the front panel. The dustwrapper has a long closed tear to the front panel that has been stabilised on the verso and has a small repaired chip to the bottom/middle of the front panel both undertaken by a skilled paper conservationist. There is a before-and-after photograph showing this repair. NB: The 7/6 font on this copy accords with that held in the British Library which supports its first issue status. "A quintessential Golden Age mystery complete with boys' boarding school upper class eccentric detective man torn between love and honour and a pivotal cricket match" GoodReads. Published in 1935 while he was a schoolmaster himself this is the first detective novel by Cecil Day-Lewis the noted man of letters who went on to become Englands poet laureate. The first of the 16 Nicholas Strangeways mysteries. Photographs/scans available upon request. Collins Crime Club hardcover
25671London: Jonathan Cape. 1978. First edition first printing. First edition first printing. Signed by the author. Publisher's original laminated boards. Illustrated in colour by Quentin Blake throughout. An excellent near fine copy the binding square and firm with minor bumping to the spine tips. The contents are clean throughout and without previous owner's inscriptions or stamps. Signed by Roald Dahl in blue ink to the verso of the front endpaper. An important book in Roald Dahl bibliography. The Enormous Crocodile was the first of Dahl's books to be illustrated by Quentin Blake beginning one of the most notable partnerships of author and illustrator in late 20th century children's literature. "The combination of Roald Dahl as storyteller with Quentin Blake as illustrator must be the recipe for a bestseller" - Times Literary Supplement 29 September 1978. Further details and images for any of the items listed are available on request. Lucius Books welcomes direct contact with our customers. London: Jonathan Cape. 1978 hardcover
