455 résultats
1808123898Single plate. London: Cadell and Davis 1808. Single plate etching on wove unwatermarked paper cleaned and in fine condition. § From the first 4to edition this is one of the most powerful plates in the series. Bentley Blake Books 435b. Cadell and Davis unknown books
1808123894Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper cleaned and in fine condition. § From the first 4to edition. Bentley Blake Books 435b. Cadell and Davies unknown books
1808110744Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper trimmed to the image. § From the first 4to edition. Bentley Blake Books 435b. Cadell and Davies unknown books
1808107320Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper trimmed to the image recently cleaned. § From the first 4to edition. Bentley Blake Books 435 A. Cadell and Davies unknown books
1808123892Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper full margins cleaned. § From the first 4to edition. Bentley Blake Books 435b. Cadell and Davies unknown books
1808107328Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper margins slightly soiled image clean. § From the first 4to edition. Bentley Blake Books 435 A. Cadell and Davies unknown books
1808123900Single plate. London: Cadell and Davis 1808. Single plate etching on wove unwatermarked paper cleaned and in fine condition. § From the first 4to edition this is one of the best known plates in the series. Bentley Blake Books 435b. Cadell and Davis unknown books
1813109208Single plate. London: R. Ackermann 1813. Single plate etching on wove unwatermarked paper recently cleaned. § From the second 4to edition this is one of the best known plates in the series. It was designed by Blake and engraved by Luigi Schiavonetti. Bentley Blake Books 435 B."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 R. Ackermann unknown books
1808123895Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper cleaned and in fine condition. § From the first 4to edition. Bentley Blake Books 435b. Cadell and Davies unknown books
1808107772Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper trimmed to the image recently cleaned. § From the first 4to edition. Bentley Blake Books 435 A. Cadell and Davies unknown books
1808107322Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper margins slightly soiled and worn image clean. § From the first 4to edition. Bentley Blake Books 435 A. Cadell and Davies unknown books
1808107319Single plate. London: Cromek 1808. Single plate etching on wove unwatermarked paper margins slightly soiled and worn image clean. § From the first 4to edition this is one of the most famous plates in the series. Bentley Blake Books 435 A. Cromek unknown books
1808123897Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper cleaned and in fine condition. § From the first 4to edition. Bentley Blake Books 435b. Cadell and Davies unknown books
1808123901Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper cleaned and in fine condition. § From the first 4to edition. Bentley Blake Books 435b. Cadell and Davies unknown books
1808107323Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper margins slightly soiled and worn image clean. § From the first 4to edition. Bentley Blake Books 435b. Cadell and Davies unknown books
1808107325Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper margins slightly soiled and worn image clean. § From the first 4to edition. Bentley Blake Books 435 A. Cadell and Davies unknown books
1808123896Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper cleaned and in fine condition. § From the first 4to edition. Bentley Blake Books 435b. Cadell and Davies unknown books
1808123889Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper cleaned and in fine condition. § From the first 4to edition. Bentley Blake Books 435b. Cadell and Davies unknown books
1813109308e. London: Bensley for Ackermann 1813 i.e. 1870. 4to 2 liv 42 pp. With a portrait frontispiece etched title and 11 plates all with tissue guards. Blind-stamped black cloth rebacked with black cloth lettered in gilt. § Third quarto edition printed from the same plates as the 1813 edition but actually issued by or for John Camden Hotten in 1870. Of this version Essick wrote: “I've also seen the true 1813 text and plates in a very similar cloth binding with just a few differences in the blind stamping but very much the same style and period. My theory on that is that Camden Hotten who produced the 1870 issues not only got the copperplates from Ackermann with the Spanish inscriptions for de Mora but also some remainders of the impressions and letterpress and bound these up in a slightly different just the blind stamping and perhaps the cloth color or weave fashion. He removed the Spanish on the coppers and had an engraver restore the 1813 English inscriptions then printed for both the portfolio and the 1870 issue of the text with the engravings. Bentley lists the 1870 issue in Blake Books but I don't believe he lists the portfolio issue of the plates only. I have a vague recollection however that he did note it in one of his later checklists of publications in the Blake Quarterly.†Bentley Blake Books 435E. Bensley for Ackermann hardcover 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
1813107840e. London: Bensley for Ackermann 1813 i.e. 1870. 4to plates only without the Frontispiece Death’s Door and The Soul’s Reunion with the Body i.e. etched title and 9 plates. As issued in the original pebbled brown cloth portfolio lettered in gilt occasional foxing or oxidization an adequate copy. Includes 22 newspaper clippings from the 10s 20s 30s and 40s all related to Blake a brochure for Cambridge University Press’s An Island in the Moon facsimile a brochure for Scolar Press’s The Grave facsimile and a few other articles. § Third quarto edition printed from the same plates as the 1813 edition but actually issued by or for John Camden Hotten in 1870. Bentley Blake Books 435e. Bensley for Ackermann hardcover books
1808123893Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper full margins cleaned some residual soiling in the margins and a few flecks in the image. § From the first 4to edition this is one of the most powerful images in the series. It was designed by Blake and engraved by Luigi Schiavonetti. Bentley Blake Books 435 A."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 Cadell and Davies unknown books
1808107321Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper margins slightly soiled and worn image clean. § From the first 4to edition this is one of the best known plates in the series. It was designed by Blake and engraved by Luigi Schiavonetti. Bentley Blake Books 435 A. Cadell and Davies unknown books
1808123891Single plate. London: Cadell and Davies 1808. Single plate etching on wove unwatermarked paper full margins cleaned. § From the first 4to edition. One of Blake's most memorable images. It was designed by Blake and engraved by Luigi Schiavonetti. Bentley Blake Books 435b."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 Cadell and Davies unknown books
1808109096London: Printed by T. Bensley for R.H. Cromek 1808. Rare first edition subscriber's copy of Robert Blair`s famous poem which initiated a fashion for mortuary poems illustrated with 11 etchings by William Blake. Quarto bound in three quarters morocco marbled endpapers with the famous engraved frontispiece portrait of William Blake after the painting by Phillips engraved title page with 11 additional plates engraved by Louis Schiavonetti after Blake's drawings designed at the request of Cromek. With the poem dedicated to the Queen by Blake list of subscribers four-page prospectus for the Procession of Chaucer`s Pilgrims to Canterbury by Thomas Stothard at rear. In very good condition. Ownership inscription. Rare and desirable. In October 1805 Blake was commissioned by the engraver and would-be publisher Robert H. Cromek to prepare 40 drawings for Robert Blair's Grave from which Cromek planned to select twenty for this deluxe edition of the poem. While The Grave originally appeared in 1743 this 1808 edition was to become famous for its illustrations demonstrating "the rare imaginative power of William Blake" Magnusson 162. A dispute over a preliminary etching "in white-line" called "Death's Door" which Cromek rejected resulted in Blake's being prevented from engraving his own designs so the 12 drawings eventually selected were rendered by Louis Schiavonetti "with a mingled grace and grandeur which won for them a wider popularity. Never has the theme of death been handled in pictorial art with more elevation and beauty" DNB. Printed by T. Bensley for R.H. Cromek unknown books
