1 088 résultats
1972119524Normal: The American Blake Foundation at Illinois State University 1972. Paperback. xv55p.plates 8.5x11 inches preface illustrated with reproductions of the engravings first paper edition in original pictorial wraps with a small crinkled tear at top of front cover light external soiling. Bears a personal inscription signed by author/bibliographer Easson. The American Blake Foundation at Illinois State University paperback books
1906Embry 115263Charles Scribner's Sons 1906. First U.S. edition. Small inked name and light browning to front free endpaper light rubbing very good to near fine. Blue cloth no dust jacket. Charles Scribner's Sons, 1906. First U.S. edition. hardcover books
2002Embry 192024Huntington Library 2002. First edition first printing. Fine in fine dust jacket in mylar cover. Full page reproductions. Huntington Library, 2002. First edition, first printing. unknown books
2003Embry 165049Princeton University Press 2003. First edition first printing. Fine in fine dust jacket in mylar cover. B&W and color reproductions of works by William Blake. Princeton University Press, 2003. First edition, first printing. unknown books
1893WRCLIT73714London: Bernard Quaritch 1893. Three volumes. Large thick octavo. Original green cloth spines and upper covers elaborately decorated in pictorial gilt after designs by Blake t.e.g. others untrimmed. Portrait facsimiles and plates. Spines somewhat rubbed and dull some shelfwear to joints and lower edges and bumps and wear to fore-tips endsheets a bit foxed and cloth a bit handsoiled some cracking and subtle repairs to inner hinges; still not a wholly disagreeable set of a work particularly susceptible to such issues. First edition. One of five hundred sets comprising the regular paper issue. Controversial in its interpretation of Blake's texts this work nonetheless remains in this issue and binding something of a landmark of 1890s book production. "The enthusiasm and comprehensiveness of this work are of considerable historical importance" - Bentley. Wade quotes Yeats's inscription in his own copy about the nature of this collaboration: "The writing of this book is mainly Ellis's the thinking is as much mine as his. The biography is by him. He re-wrote and trebled in size a biography of mine. The greater part of the 'symbolic system' is my writing; the rest of the book was written by Ellis working over short accounts of the books by me except in the case of the 'literary period' the account of the minor poems & the account of Blake's art theories which are all his own except in so far as we discussed everything together." WADE 218. BENTLEY 369. Bernard Quaritch hardcover books
1893WRCLIT68725London: Bernard Quaritch 1893. Three volumes. Large thick octavo. Original green cloth spines and upper covers elaborately decorated in pictorial gilt after designs by Blake t.e.g. others untrimmed. Portrait facsimiles and plates. Some modest rubbing at extremities but a quite bright sound very good or better set. First edition. One of five hundred sets comprising the regular paper issue. Controversial in its interpretation of Blake's texts this work nonetheless remains in this issue and binding something of a landmark of 1890s book production. "The enthusiasm and comprehensiveness of this work are of considerable historical importance" - Bentley. Wade quotes Yeats's inscription in his own copy about the nature of this collaboration: "The writing of this book is mainly Ellis's the thinking is as much mine as his. The biography is by him. He re-wrote and trebled in size a biography of mine. The greater part of the 'symbolic system' is my writing; the rest of the book was written by Ellis working over short accounts of the books by me except in the case of the 'literary period' the account of the minor poems & the account of Blake's art theories which are all his own except in so far as we discussed everything together." WADE 218. BENTLEY 369. Bernard Quaritch hardcover books
197729157London: The Trianon Press for the Blake Trust 1977. 1st thus. 1 of a total limitation of 562. Handsome olive-colored quarter morocco binding with grey rough-weave cloth boards. Matching cloth slipcase. Spine very lightly sunned. Ex-lib with small stamp in top left corner of p. 7. Withal a Nr Fine copy in a similar slipcase. 155 pp. 60 images. 4to. 11-5/8" x 8-3/8" <br/><br/> The Trianon Press for the Blake Trust hardcover books
19724988.2London: The Trianon Press for the Blake Trust 1972. 1st edition thus. 1 of 616. Quarter sienna-brown morocco marbled boards slipcase. A near fine/fine copy with some slight rubbing to the slipcase at edges. 2 volumes. 20 plates in color collotype and stencil. 4to; 8vo. <br/><br/>A facsimile of the Rosenwald copy in the Library of Congress; description and bibliographical statement by Sir Geoffrey Keynes. Number 313 of those copies numbered 1 to 540. The Trianon Press for the Blake Trust hardcover books
19724988.1London: The Trianon Press for the Blake Trust 1972. 1st edition thus. 1 of 616 cc. Quarter leather binding over marbled paper boards slipcase. Books - Nr Fine. Slipcase - VG some modest wear along edges/edge chip to center divider. 2 volumes 20 plates in color collotype and stencil. 4to. <br/><br/>A facsimile of the Rosenwald copy in the Library of Congress; description and bibliographical statement by Sir Geoffrey Keynes. The Trianon Press for the Blake Trust hardcover books
194135790London 1941. Engraving printed on Rives wove paper watermarked "France". A rich impression in excellent condition. Fifth state of five. Image size: 11 3/4 x 37 inches. Final state of the largest Blake engraving.<br/> <br/>"Every age is a Canterbury Pilgrimage" wrote William Blake 1757-1827 poet and probably the most imaginative and original artist in the history of British art. "We all pass on each sustaining one or other of these characters nor can a child be born who is not one or other of these characters of Chaucer." Working in an archaic style intended to evoke the engravings of Chaucer's time Blake presents us with the cast of Chaucer's Tales as they begin their pilgrimage. Since Blake understood his subject so well and wrote with such elegance we can do no better than to use as a guide his own description of the engraving: "The time chosen is the early morning before sunrise when the jolly company are leaving the Tabarde Inn. The Knight and Squire with the Squire's Yeoman lead the Procession; next follow the youthful Abbess her nun and three priests; her greyhounds attend her. Next follow the Friar and Monk and then the Tapiser the Pardoner and the Sompnour and Manciple. After this 'Our Host' who occupies the centre of the cavalcade and directs them to the Knight as the person who would be likely to commence their task of each telling a tale in their order. After the Host follows the Shipman the Haberdasher the Dyer the Franklin the Physician the Ploughman the Lawyer the Poor Parson the Merchant the Wife of Bath the Miller the Cook the Oxford Scholar Chaucer himself; and the Reev comes as Chaucer has described:- And ever he rode hindermost of the rout." The view is eastward from the Tabard in Southwark across the Bridge from London as Blake conceived it to have been in Chaucer's day. He based his costumes on ancient monuments and other records. "As a literary piece" it has been noted Blake's engraving "has hardly an equal in the whole field of art." The engraving was begun late in 1809 and issued by the artist in October the following year. In his Prospectus for the issue Blake declared that the English nation would 'flourish or decay' according to the recognition they gave him for his year's labor. The printing plate survived and passed after Blake's death through the estate of Blake's wife finding its way to the collection of John Giles. Sold at auction with Giles collection in 1881 the printing plate was purchased by Colnaghi who issued restrikes on laid India paper. By 1940 the plate was in the possession of a New York art dealer who sold it to the wife of noted collector A. Edward Newton for her to present to her husband as a fiftieth anniversary present. After Newton's death the plate was sold with his famed library at auction on 16 April 1941 for the princely sum of $2300 to Charles J. Rosenbloom via his agent at the Parke Bernet sale Philadelphia bookseller Charles Sessler. Before delivering the printing plate to Rosenbloom Sessler had a small number of prints pulled on French hand-made paper. Although Rosenbloom only authorized 35 prints Essick and Young identified at least ninety-one impressions. "Whereas most of the identifiable Colnaghi restrikes were flatly printed the Sessler prints were heavily inked and printed. The plate shows minimal wear and the Sessler prints are generally preferable to Colnaghi's earlier printings -- probably because of better cleaning of the copper and superior presswork" Essick and Young. Rosenbloom donated the plate to Yale University in 1973.<br/> <br/>Robert Essick and Michael Young "Blake's Canterbury Print: The Posthumous Pilgrimage of the Copperplate" in Blake: An Illustrated Quarterly Vol. 15 No. 2 Fall 1981 pp. 78-82; Essick Separate Plates of William Blake XVI. 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
179737372London: R. Noble for Richard Edwards 1797. Large quarto. 16 5/8 x 12 3/4 inches. 4 engraved section titles and 39 pages with engraved border illustrations by William Blake with the letterpress Explanation of the Engravings leaf. Uncut on the fore-edge and lower edge. Minor offsetting as usual. Later half dark green morocco and green moire cloth boards by Riviere & Son spine with raised bands in seven compartments lettered in the second and fourth the others with a repeat decoration in gilt burgundy glazed endpapers top edge gilt.<br/> <br/>A spectacular work illustrated by Blake.<br/> <br/>"Of the merit of Mr. Blake . the editor conceives it to be unnecessary to speak. To the eyes of the discerning it need not be pointed out; and while the taste for the arts of design shall continue to exist the original conception and the bold and masterly execution of this artist cannot be unnoticed or unadmired" advertisement p.viii. Blake originally intended the present work to be the first installment of a much larger illustrated edition of Young's best selling poem. He chose 43 images to engrave from the 537 drawings in watercolour he had made around pages of the first edition of Young's poem inlaid in album sheets. Perhaps baffled by the novelty of Blake's interpretations the public remained unreceptive and the book remains what is essentially a remarkable fragment: a tantalising hint of what might have been. A large copy. Bentley notes that "the paper was only marginally larger than the copperplate and even in untrimmed copies . parts of the platemark may not appear." With the explanation leaf often wanting.<br/> <br/>Bentley Blake Books 515; Bindman Complete Graphic Works of Blake 337-379; Dover 1975; Easson and Essick William Blake Illustrator Vol. I IV; Essick and LaBelle Night Thoughts; Ray The Illustrator and the Book in England 3. R. Noble for Richard Edwards unknown books
19281014918vo. New York: Macmillan Company 1928. 8vo 42pp. Illustrated. Green cloth some soiling to covers. Very good. § First edition. A charming children’s book scarce in the dust-jacket. Bentley BB 270. Macmillan Company hardcover books
1971142738Lawrence KS: The University of Kansas Museum of Art 1971. First edition. Softcover. Exhibition catalog for a show that ran October 17 through November 7 1971 at The Art Gallery of Illinois State University and then November 28 to December 18 1971 at The University of Kansas Museum of Art. Text by Vernon H. Minor. Includes 4 black and white illustrations. A very good copy in stapled wrappers and from the Cranbrook Academy of Art Library with their stamp to the front cover. Otherwise a clean copy. The University of Kansas Museum of Art unknown books
192641708London: E. Benn 1926. First edition edition de luxe printed on Van Gelder paper no. 119 of 100 copies. William Brendon ands Son Limited Printers Plymouth. 82 plates. xiv 140 pp. 1 vols. 4to. Quarter vellum spine and boards. Spine faded. WITHOUT PORTFOLIO. First edition edition de luxe printed on Van Gelder paper no. 119 of 100 copies. William Brendon ands Son Limited Printers Plymouth. 82 plates. xiv 140 pp. 1 vols. 4to. A sumptuous production. E. Benn unknown books
192510256London: Halton & Truscott Smith 1925. First Edition No. 9 of 100 copies signed by the author on the limitation page. With 8 mounted colour plates and numerous illustrations in black and white. 1 vols. 4to. Original original-red batik paper over boards brown pigskin corners and spine gilt spine a little darkened light foxing to free endpapers else fine in a brown cloth protective case and inner wrapper; with the bookplate of Kenneth A. Lohf. First Edition No. 9 of 100 copies signed by the author on the limitation page. With 8 mounted colour plates and numerous illustrations in black and white. 1 vols. 4to. One of 100 Copies. A sumptuous production. Halton & Truscott Smith unknown books
107255N.p.; n.d.: Probably USA: c. 1932-33. 4to 19 manuscript ff. numbered. Enclosed in a blue cloth box bookplates of Kenneth A. Lohf. § An interesting unpublished manuscript written out for Binyon by his wife Cicily probably being the text of an essay or talk given by Binyon while in the US in 1932/33 for the Norton lectures. Hatcher in his biography of Binyon notes a lecture with the exact title as given here. It has never been published. It was last sold at Christie's East Dec 2 1994 lot 20 $550. Probably USA c. 1932-33]. 4to hardcover books
1911221559Liverpool: The Liverpool Booksellers 1911. First edition. 18 pages of text printed rectos only 42 pages of plates. 1 vols. 4to. Bevelled brown cloth. Minor bubbling to cloth else fine. First edition. 18 pages of text printed rectos only 42 pages of plates. 1 vols. 4to. Bentley Blake Books 516 The Liverpool Booksellers unknown books
1926014923London: Chatto & Windus 1926. Octavo. Reprinted from the 1921 Florence plates edited and arranged with a preface by John Sampson 3431pp. beautifully bound by Bayntun in full tan morocco both boards elaborately decorated in gilt raised bands with compartments fully gilt decorated inner gilt dentelles marbled endpapers all edges gilt. A superb copy with joints strengthened. Chatto & Windus unknown books
178531510London: Printed for J. Johnson 1785. A New Edition Corrected. Fourth Edition first was 1774 plates dated 1780. This edition was issued with and without plates. Only one plate is signed Blake. Frontispiece and 3 plates after Stothard engraved by Blake Sharp and Heath 2 plates. 1 vols. 8vo. Contemporary calf brown morocco label. Skilfully rebacked rubbed some light offsetting from plates and light browning at front else a very clean and good copy with the 1797 signature of Richard Garnons Jun on the title. A New Edition Corrected. Fourth Edition first was 1774 plates dated 1780. This edition was issued with and without plates. Only one plate is signed Blake. Frontispiece and 3 plates after Stothard engraved by Blake Sharp and Heath 2 plates. 1 vols. 8vo. Blake's First Commercial Plates. Essick #I Bentley #453 Printed for J. Johnson unknown books
1793259579London: Printed for John Stockdale 1793. First Stockdale edition and first with the Blake plates later issue with short "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. Bound to style in acid-stained calf covers gilt with outer roll border flat spine gilt with red morocco lettering-pieces and volume label a.e.g. Title-pages trimmed with some loss light foxing to some plates. First Stockdale edition and first with the Blake plates later issue with short "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. 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
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
197621637London: Trianon Press for the William Blake Trust 1976. leather_bound. Orig. full brown morocco spine lettered in gilt. Fine in near fine beige basket weave cloth slipcase. Blake William. 62 pages. 30 x 22 cm. Limited edition special copy VIII of XXXII total edition of 438 signed by Geoffrey Keynes in red ink on Lana rag paper. Plates reproduced by collotype in Paris at the workshops of the Trianon Press France under the supervision of Arnold Fawcus. Trianon Press for the William Blake Trust unknown books
186322648London and Cambridge: Macmillan and Co 1863. First edition. Volume I contains Gilchrist's biography of Blake; Volume II prints a selection of Blake's poems and other writings. Fine copy. 2 volumes portrait and illustrations some fold-out marbled endpapers half red morocco and yellow buckram over boards t.e.g. by Sangorski & Sutcliffe half-titles bound in. Fine copy. Macmillan and Co unknown books
108730London: J Johnson 1806. 2 vols. 4to xviii 423 4 index and plate list; iv 419 6 index and plate list pp with 40 hand-coloured plates in both vol I and vol II as called for plus hand-coloured title page to vol I and coloured vignette to both volumes. 16 of the plates and the two title page vignettes are by Blake. Contemporary diamond calf with gilt rules and decoration including to spine with general light wear the front cover of vol I rehinged; internally good some offsetting and spotting to reverse of a few plates occasional mild foxing to margins but generally a good clean copy. § Second edition revised and enlarged very scarce colored. Stedman's account of the slave rebellion in Dutch Guiana 1772-1777 with 40 hand-colored plates 16 by William Blake. A best-seller in its day and translated many times Stedman's narrative was an important resource for the abolitionist movement across Europe even though Stedman himself was not straightforwardly anti-slavery. Stedman based the text on personal diaries he kept on his travels now held by the University of Minnesota albeit with his numerous accounts of sexual liaisons with free and enslaved women reduced and romaticised. Essick writes that "Stedman's narrative of the brutalities of slavery very probably influenced Blake's own anti-slavery position"; Blake's graphic illustrations of abused slaves infused with human dignity undoubtedly influenced the reading public and advanced the abolitionist's cause. Essick William Blake's Commercial Book Illustrations XXXIII. Bentley Blake Books 499. J unknown books
