Blake William.ABAA
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1964123975Slim 12mo. Northampton MA: Gehenna Press 1964. Slim 12mo 16pp. With 6 wood-engravings 4 printed on Japan tissue all being versions of Blake's face. Original marbled wrappers printed label on upper cover mint as issued. Loosely inserted is the business card for Louis Smith of Smith Glass and Mirror in Northampton with a fine woodcut of a rooster signed by Baskin in pencil. The company is still in business in Northampton. § Limited to 500 copies but surely fewer than that this is number 26. There were also 25 de luxe copies with an extra suite of the plates. Only two copies are recorded as having sold in the last 30 years and this is the only copy we have ever seen. The letter is classic Blake to his great patron: "I hear a voice you cannot hear that says I must not stay I see a hand you cannot see that beckons me away. Naked we came here naked of Natural things & naked we shall return; but while clothed with the Divine Mercy we are richly clothed in Spiritual & suffer all the rest gladly."Bentley Blake Books 94. Gehenna Press hardcover books
1780110666Single plate. London: Harrison and co. 1780-81. Single plate 10 x 7.5 ins. A little browned around the edges very good. § First edition thus issued originally in parts and perhaps thus of great rarity. The last copy to change hands was in 1993 when Essick bought his copy; he has not recorded another copy in the marketplace since. That rarity is born out by ESTC which records 4 copies in all two at the BL seriously imperfect one in Oxford Queen’s College and one in North America Bentley Blake Collection at Victoria University. It is noteworthy for the profusion of illustrations from classical sources and in the five plates engraved by Blake he shows his knowledge of the work of Rubens and Raphael most likely from reproductions in earlier illustrated books. See Essick CBI VI. Bentley Blake Books 419. Darlow and Moule 1273. Harrison and co unknown books
19265129Small 4to. London: Frederick Hollyer 1926. Small 4to title 10 leaves. Original quarter cloth brown boards lettered in black. Fine. § Limited apparently to a small number of copies of which some were colored. This copy inscribed by Ann Hollyer as a gift is stated to be a trial or proof copy though without any evidence. Bentley Blake Books 4 and Blake Books Supplement p.52. Frederick Hollyer hardcover books
1963123968Folio. London: Trianon Press 1963. Folio 18 color facsimile leaves and 8 pp of commentary by Sir Geoffrey Keynes. Very fine in quarter blue morocco over blue marbled boards in slipcase. § Limited to 480 copies this is #38. Bentley BB A9. “America was the first of Blake’s books to name a place Lambeth in the imprint. which was an act of defiant courage. for the first time he designated one of his books as “a prophecyâ€. he concentrated particularly on the dramatic events in Boston. Blake continued his tale in Europe and then to make the cycle of continents complete he wrote “Africa†and “Asiaâ€giving a general title of all four: The Song of Los.†Damon Blake Dictionary. Trianon Press hardcover books
19471088478vo. New York: United Book Guild 1947. 8vo 8; Half-titlewith colour frontispiece of Thiralatha from "Visions of the Daughters of Albion" tipped-in Title page and 3pp foreword by Ruthen Todd 18 pp : lithographs in dark green ink printed on yellow paper. Very good in quarter red cloth over black boards with a further colour plate tipped onto the front cover. The "A" issue of this edition preferable to the "B" edition without the foreword and publication imprint. § An odd reproduction printed on yellow paper with a color plate from ‘Visions’ on the upper cover and another color plate tipped in opposite the title-page. Bentley BB 8A. United Book Guild hardcover books
19471091778vo. New York: United Book Guild 1947. 8vo 8; Half-titlewith colour frontispiece of Thiralatha from "Visions of the Daughters of Albion" tipped-in Title page and 3pp foreword by Ruthen Todd 18 pp : lithographs in dark green ink printed on yellow paper. Very good in quarter red cloth over black boards with a further colour plate tipped onto the front cover. The "A" issue of this edition preferable to the "B" edition without the foreword and publication imprint. § An odd reproduction printed on yellow paper with a color plate from ‘Visions’ on the upper cover and another color plate tipped in opposite the title-page. Bentley Blake Books 8A. United Book Guild hardcover books
107865New York: 1947. 8vo 19 pp. Woodblock prints on yellow paper. Quarter red cloth black paper boards. Illustration affixed to front. Very good. § An odd reproduction printed on yellow paper with a color plate from ‘Visions’ on the upper cover and another color plate tipped in opposite the title-page. Bentley BB 8B the first ‘A’ issue had an introduction by Ruthven Todd and a title-page. 1947]. 8vo hardcover books
1974Embry 97064The American Blake Foundation 1974. Facsimile reprint one of 474 copies signed by the author of the introduction G. E. Bentley. Gutters lightly browned a few tiny spots to cover else fine. Rose cloth no dust jacket. The American Blake Foundation, 1974. Facsimile reprint, one of 474 copies signed by the author of the introduction, G. E. Bent hardcover books
19741088514to. Normal Illinois: The American Blake Foundation 1974. 4to 21 pp and 18 facsimile plates in black and white. Near fine in illustrated red wrappers and an additional loose set of the 18 facsimilies and the Check-List of Secondary Materials in English which accompanies Easson's Editorial Comments and Bentley's Introduction. All in the original illustrated envelope Blake Packet 1 published in 1976 by the American Blake Foundation addressed to Joseph Holland. § Trade edition reproducing copy E with additional material; see Bentley BB B9. The American Blake Foundation unknown books
19491089238vo. Bournemouth: Bournemouth Arts Club 1949. 8vo 12pp with decorated card wrappers printed in red and black. Very good with rear cover slightly dusted. § From the inside rear cover of the catalogue it appears the compiler was Kerrison Preston. Bentley BB 658. Bournemouth Arts Club unknown books
10915620 postcard reproductions of Blake's 16 and Palmer's 4 pictures and drawings from various galleries many from the Tate plus a few from The Fitzwilliam Museum and one from Boston. § unknown books
1968Embry 95594Grossman Publishers 1968. One of 100 copies signed by the illustrator and with a original signed wood engraving laid in. Lower corners lightly bumped else fine in near fine publisher's slipcase with one seam starting. Wood engravings by Leonard Baskin. Morocco backed boards. Grossman Publishers, 1968. One of 100 copies signed by the illustrator and with a original signed wood engraving laid in. hardcover books
19685371Slim tall 8vo. Bronxville: Valenti Angelo 1968. Slim tall 8vo 9pp. Original pink boards printed label. § Limited to 35 copies this one of a very few in boards as most copies were sewn in blue wrappers Bentley Blake Books 224 not noting limitation. Auguries of Innocence is a poem from one of William Blake's notebooks now known as The Pickering Manuscript. It is assumed to have been written in 1803 but was not published until 1863 in the companion volume to Alexander Gilchrist's biography of William Blake. Valenti Angelo hardcover books
19831088544to. New York: Dover 1983. 4to 47pp with 35 colored illustrations. Near fine in original illustrated wrappers. Contains text version and brief commentary plus facsimiles of copy M of America and B G and K of Europe. § First Dover edition. Reproduces copy M of America and copies B G and K to create a ‘complete’ Europe; with very brief commentary and a complete transcription of the text. Not in Bentley. Dover unknown books
102895London: Sotheby Wilkinson and Hodge 1903. 8vo title-page and 4 pages of text. Original printed wrappers a bit worn. § A sale of the first order of importance though only comprising 18 lots. Each lot is priced; the highest price was £5600 for the Illustrations of the Book of Job watercolors; followed by £1960 for the watercolors to Milton’s Allegro and Il Penseroso. Virtually all the illuminated books are present. Bentley Blake Books 596. A scarce catalogue. Sotheby unknown books
102896London: Sotheby Wilkinson and Hodge 1903. 8vo title-page and 4 pages of text. Original printed wrappers in later cloth-backed marbled boards. § A sale of the first order of importance though only comprising 42 lots of which 23 were from the Butts collection comprising 18 original drawings 4 printed proofs and a bill from Blake to Butts. The remaining lots were from the Gilchrist collection. Bentley Blake Books 598. A scarce catalogue. Sotheby hardcover books
1881108279Impression measures 93. London: Colnaghi printing after 5 March 1881. Impression measures 93.9 x 30 cm. printed on laid India paper; recently cleaned. § Final state: it is worth noting that the only difference between the so-called fourth and fifth states is the absence of the scratched dry-point inscriptions clearly visible in a few prints and less and less visible until completely absent by the time Sessler was printing the plate. Instead of “states†the more accurate definitions might be very early to very late 4th state and in that scheme then this print would be well after the early impressions with some or most of the scratched inscriptions visible but before the Sessler printings of the 1940s none of which were on laid India. “‘Chaucers Canterbury Pilgrims’ was one of Blake’s major attempts at building a reputation as a painter-engraver and achieving the sort of critical and financial success that had escaped him for so many years.…†However Blake wasn’t to meet with the critical success he had hoped for and the competition created when Thomas Stothard executed a plate of the same subject caused him to become bitter. “Most contemporary connoisseurs probably found the print old-fashioned and ‘Gothic’ in the pejorative sense.… The record of prices brought by the print at auction indicates that it has attracted strong interest from collectors only in the last few years†Essick pp. 86-88. “It is only in the last two states of the plate that we find Blake’s mature artistry as an original printmaker bringing to his largest and most ambitious single print the same techniques distinguishing his Job and Dante engravings.†Essick Separate Plates of William Blake XVI and see William Blake Printmaker. Colnaghi printing unknown books
1970108882Large 8vo. New York: Dover 1970. Large 8vo xiv 184pp with 92 illustrations. Near fine in original illustrated wrappers. § A combination though not complete of the 1927 and 1956 editions of the drawings from Nonesuch. Bentley BB 405. Dover unknown books
19261015468vo. New York: William Edwin Rudge 1926. 8vo 16 leaves unpaginated. Gray paper covered boards. Paper label affixed to front cover. Boards worn. Very good. § Limited edition of 200 copies. Bentley BB 252B. William Edwin Rudge hardcover books
19261015478vo. New York: William Edwin Rudge 1926. 8vo 16 leaves unpaginated. Gray paper covered boards. Top portion of spine missing. Paper label affixed to front cover. Boards worn. Glassine wrapper. Very good. § Limited edition of 200 copies. William Edwin Rudge hardcover books
19841015268vo. Madrid: Swan 1984. 8vo 141pp. with 28 full-color plates. Illustrated wrappers with minor soiling. Very good. § First edition. Bentley BBS p.76 Swan unknown books
19841015258vo. Madrid: Swan 1984. 8vo 141pp. with 28 full-color plates. Illustrated wrappers edges curled with minor soiling. Very good. § First edition. Bentley BBS p.76 Swan unknown books
1975123980Oblong 12mo. San Francisco: Thomas Ingmire 1975. Oblong 12mo 11pp. With a hand-drawn gold initial letter on the cover and on the title-page. Original rust wrappers fine. § Limited to "300" copies of which 40 were hand-bound and maybe 100 copies completed in all -- exceptionally scarce and beautiful -- we have had one copy in the last 30 years. Ingmire here reproduces his calligraphic version of Blake’s famous poem printed found in the "Notebook" 1787-1818. Thomas Ingmire was the first American to be elected a Fellow of the prestigious Society of Scribes and Illuminators London. A vivid expression of the modern calligraphy movement his work can be found in public and private collections around the world; it is the subject of Michael Gullick's Words of Risk: The Art of Thomas Ingmire 1989 and codici 1: a teacher's notebook on modern calligraphy & lettering art 2003. His teaching experience and influence extends throughout the United States to Canada Europe Australia Japan and Hong Kong. Thomas Ingmire unknown books
1969123970Folio. London: Trianon Press 1969. Folio 17 colour and one monochrome facsimile leaves and 9 pp of commentary by Sir Geoffrey Keynes. Very fine in quarter brown morocco over marbled boards in slipcase as issued. § Limited to 526 copies this is copy #313. The frontispiece “The Ancient of Days†is surely Blake’s most famous single image. "The second of Blake's "Continental Prophecies" preceded by America and followed by The Song of Los Europe presents in mythopoeic form the fundamental philosophical positions in conflict in Blake's revolutionary era. Historical events are reconfigured into their universalized representations through Blake's own cast of characters including Enitharmon the female personification of fallen nature and history Orc the spirit of revolt and Los and Urizen the "Eternals" who would become central to Blake's mythic system of the "Zoas." These contending forces lead beyond political revolution to an apocalypse of biblical scope." The William Blake Archive. At the end is reproduced an extra etched leaf of text that Blake only included in two copies which tell of a fairy that Blake caught who sang him a song about the five senses of man.Europe survives in only fourteen known copies few complete all but one held by institutions. The remarkable Blake Trust Trianon Press facsimiles hand-colored using pochoir with extraordinary fidelity are for most of us the nearest possible thing to handling the original book. Martin 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.†Bentley Blake Books 34. Trianon Press hardcover books
1881110436Archival inkjet print. London: Colnaghi printing after 5 March 1881. Archival inkjet print 93.9 x 30 cm. printed by E.M. Ginger of 42-Line in Oakland CA. Framed. § Fine facsimile print of William Blake’s Canterbury Pilgrims 5th and final state. The reproduction by 42-Line is so good it is virtually indistinguishable from an original print.“‘Chaucers Canterbury Pilgrims’ was one of Blake’s major attempts at building a reputation as a painter-engraver and achieving the sort of critical and financial success that had escaped him for so many years.…†However Blake wasn’t to meet with the critical success he had hoped for and the competition created when Thomas Stothard executed a plate of the same subject caused him to become bitter. “Most contemporary connoisseurs probably found the print old-fashioned and ‘Gothic’ in the pejorative sense.… The record of prices brought by the print at auction indicates that it has attracted strong interest from collectors only in the last few years†Essick pp. 86-88. Blake made substantial changes in the fourth and fifth states of this famous plate and “it is only in the last two states of the plate that we find Blake’s mature artistry as an original printmaker bringing to his largest and most ambitious single print the same techniques distinguishing his Job and Dante engravings.†Essick Separate Plates of William Blake XVI and see William Blake Printmaker. Colnaghi printing unknown books
