1 088 résultats
17911073126 copperplate engraving plates complete. London: Printed for J. Johnson 1791. 6 copperplate engraving plates complete 133 x 74 mm. or so trimmed retaining the top edge text but lacking the imprint below the footer title. Cleaned in very good condition. § First edition second state of plates 1 and 2; a very attractive set of these plates designed and engraved by Blake for Johnson. William Blake’s characteristic illustrations reminiscent in iconography to his designs for his own Songs of Innocence 1789. 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
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
1971101288Small 8vo. London: University Tutorial Press 1971. Small 8vo xx 66pp. Full cream cloth with lettering to front and backstrip. Very good. § Reprint first published in 1958. Bentley BBS p. 135 H. University Tutorial Press hardcover books
108857London: Kegan Paul Trench and Co. 1888. 4to pp 81-12 with a William C. Ward frontispiece and other illustrations as called for. Includes "Three of the Illustrations to the Pastorals of Virgil by William Blake" at p 108 facsimilied by William Muir but uncredited by kind permission of H.H. Gilchrist. Very Good with dusty edges and discoloration to outer wrappers as usual and dusty edges to uncut pages throughout. § Bentley BB 249 h. Kegan Paul unknown books
1963110688Folio. London: Trianon Press 1963. Folio 18 color facsimile leaves 8 pages commentary. Full blue morocco contents a bit foxed slipcase. § Edition de luxe #19 of an edition limited to 20 copies with additional proof sheets progressive plates original stencil etc. “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. One of the rarest Trianon Press publications and the first de luxe edition we’ve seen in many years. Bentley Blake Books A9. Trianon Press unknown books
198710811222 separate plates. Paris: Trianon Press for the Blake Trust 1987. 22 separate plates approx. 15.75 x 12.25 inches 30 x 31 cm each printed in color on Arches housed in a tri-fold paper folder. Very good condition. § The New Zealand Set are careful watercolor copies of the central designs of the original engravings produced by the circle of John Linnell presented here in faithful facsimile. Butlin noted in the Blake Quarterly: “The long list of color facsimiles produced by the Trianon Press under Arnold Fawcus for the William Blake Trust were above all objects of beauty recreating as near to perfection as possible Blake’s original achievements.†Trianon Press for the Blake Trust unknown books
1987107738Paris: Trianon Press for the Blake Trust 1987 Publisher’s proofs in a box including three copies of vol. 2 in variant bindings one copy of vol. 1 black and white reproductions and a suite of progressive proofs of plate 2. All within a quarter morocco box with gilt backstrip and marbled boards. § A unique publisher’s proof set lacking the rest of the text. A complete set would include:The de luxe issue includes David Bindman ed. William Blake’s Illustrations of the Book of Job: The Engravings and Related Material with Essays Catalogue of States and Printings Commentary on the Plates and Documentary Record by David Bindman Barbara Bryant Robert Essick Geoffrey Keynes and Bo Lindberg. London: The William Blake Trust 1987. Colophon verso of the title page: “In addition to the 387 copies of William Blake’s Illustrations of the Book of Job and Colour versions of Blake’s Book of Job designs issued and published by the William Blake Trust five copies containing extra material have been specifically made up for those most closely concerned with bringing the publication to completion. This copy is for Robert Essick.†The work is housed in four cloth slipcases trimmed in morocco as follows:1. Text volume with the title page and colophon quoted above. Contents:Stephen Keynes “Acknowledgments.â€Charles Ryskamp “Foreword.â€David Bindman and John Commander “Preface.â€Geoffrey Keynes “The Development of the Job Designs.â€David Bindman “The Book of Job Designs from Butts Series to Final Engravings.â€Robert Essick “Blake’s Engravings to the Book of Job: An Essay on Their Graphic Form and Catalogue of States and Printings.â€Barbara Bryant “The Job Designs; a Documentary and Bibliographical Record.â€Quarter morocco and cover label. In the same slipcase: William Blake’s Illustrations of the Book of Job: The Plates with related designs and with an Introduction and Plate-by-Plate Commentary by Bo Lindberg. Loose in fascicles in a quarter morocco folder quarter morocco clamshell box with cover label.2. Colour Versions of William Blake’s Book of Job Designs from the Circle of John Linnell. With an essay by Bo Lindberg. Text volume quarter morocco with cover label. Quarter-morocco clamshell box with cover label with the following quarter-morocco folders with cover labels as quoted below contents loose:a. “The New Zealand setâ€b. “The Collins setâ€c. “The Fitzwilliam platesâ€3. “Additional Material 1.†Quarter-morocco clamshell box with cover label with the following quarter-morocco folders with cover labels as quoted below contents loose:a. “Pages from the ‘Riches’ sketchbook with colour washes not publishedâ€b. “William Blake Illustrations of the Book of Job Alternative printing of the engravings without plate markâ€c. “Facsimiles of subjects from the Butts version watercolours printed collotype by Emery Walker for the Pierpont Morgan Library edition 1935â€. Two mounted color reproductions.d. “Proofs guides and stencils for colour plates from Colour versions of Blake’s Book of Job designs Trianon Press Paris c. 1974â€4. “Additional Material 2.†Quarter-morocco clamshell box with cover label with the following quarter-morocco folders with cover labels as quoted below contents loose:a. “Label printed for original publication March 1826â€b. “Colour versions of William Blake’s Book of Job designs from the circle of John Linnell Collins & New Zealand sets & Fitzwilliam plates.†Housed in three paper folders. The same reproductions as those in box 2 above.Materials added to box 4 by Essick:i. Xerox of the typescript of Lindberg’s commentary.ii. Xerox of the typescript of Lindberg’s essay on the New Zealand set.iii. Xerox of the typescript of Keynes’ introductory essay.iv. A set of loose Job reproductions housed in a paper folder inscribed in pencil as follows: “This set of proofs was given to me by John Commander Secretary of the Trust to help with my preparation of the catalogue of the states of the Job plates. It contains unpublished materials. R. N. Essick Summer 1983.â€Acquired Aug. 1987 from the William Blake Trust gift. BBS pages 198-99 this issue not recorded. For proofs of Essick’s essay see under Blake Trust/Trianon Press Facsimiles Production Materials.Idem. Trade issue housed as above but in cloth slipcases boxes and bindings. Two slipcases with contents as in the first two slipcases above. Colophon verso of the title page: “This publication of William Blake’s Illustrations of the Book of Job is limited to 387 copies: 22 copies lettered A-V contain additional material and are specially bound; 250 copies numbered 1-250; 50 copies numbered i-l; 65 copies numbered I-LXV are reserved by The William Blake Trust. This is copy 171â€. Acquired May 1987 from the William Blake Trust gift. BBS pages 198-99. Trianon Press for the Blake Trust hardcover books
19651047324to. London: Trianon Press 1965. 4to 8 plates 5 pp. text plus the extra materials. Full brown morocco marbled paper-covered slipcase gilt lettering to backstrip. A fine copy. § Edition limited to 426 copies de luxe issue being copy XII of XX copies with a suite of progressive states of one plate an original guide-sheet and stencil etc. One of the more difficult Trianon Press books to find. Bentley Blake Books 26. “The first the simplest and the most charming of the prophetic books. best understood as a rewriting of Milton’s Comus.†Trianon Press unknown books
19681075944 vols. London: Trianon Press 1968. 4 vols. 8vo and 12mo Vol. I 8vo i-vii-viii 50 4 pp. Vol. II 12mo 2 pp. 22 plates Vol. III 4 pp. 31 plates Vol. IV 12mo 2 pp. 10 plates negative and copper plate. Original tan morocco volume 4 in brown cloth as issued cloth slipcase gilt lettering to backstrips of all three volumes. Backstrips slightly rubbed. § From an edition of 726 total copies this is the de luxe advance publisher’s copy including 700 numbered 1 to 700 of which the first 50 have additional material and are in a special binding. Volume I is an introductory volume followed by three volumes of plates. Bentley Blake Books 48. Trianon Press hardcover books
19681075954 vols. London: Trianon Press 1968. 4 vols. 8vo and 12mo Vol. I 8vo i-vii-viii 50 4 pp. Vol. II 12mo 2 pp. 22 plates Vol. III 4 pp. 31 plates Vol. IV 12mo 2 pp. 10 plates negative and copper plate. Original tan morocco volume 4 in brown cloth as issued cloth slipcase gilt lettering to backstrips of all three volumes. Backstrips slightly rubbed. § From an edition of 726 total copies this de luxe copy unnumbered out of series including 700 numbered 1 to 700 of which the first 50 have additional material and are in a special binding. Volume I is an introductory volume followed by three volumes of plates. Bentley Blake Books 48. Trianon Press hardcover books
19681106824 vols. London: Trianon Press 1968. 4 vols. 8vo and 12mo Vol. I 8vo i-vii-viii 50 4 pp. Vol. II 12mo 2 pp. 22 plates Vol. III 4 pp. 31 plates Vol. IV 12mo 2 pp. 10 plates negative and copper plate. Original tan morocco volume 4 in brown cloth as issued cloth slipcase gilt lettering to backstrips of all three volumes. Backstrips slightly rubbed. § From an edition of 726 total copies including 700 numbered 1 to 700 of which the first 50 have additional material and are in a special binding. This is copy number 14 with the first three volumes bound in leather instead of the usual cloth. Volume I is an introductory volume followed by three volumes of plates. Bentley Blake Books 48. Trianon Press hardcover books
19721106813 volumes. London: Trianon Press 1972. 3 volumes folio with 116 color facsimile leaves reproduced by collotype and hand-stencil color the text of the poems reproduced from copper-plate with 3 additional printings to reproduce Blake’s pencillings and the tone of the paper. Marbled boards morocco backstrips slipcases backstrips stained slipcases worn internally a fine set as issued. § Edition limited to 518 copies in all including 100 copies for Paul Mellon personally of which 12 copies were a super de luxe issue in three volumes with extra material 36 copies were a de luxe issue also with extra material but in sheets unbound18 copies were hors commerce contents unrecorded and 352 copies either bound in 3 volumes in slipcases or as a single set of the loose sheets in a box. This is copy #37.The 116 water-color illustrations to Thomas Gray's poems are among Blake's major achievements as an illustrator. They were commissioned in 1797 by Blake's friend the sculptor John Flaxman as a gift for his wife Ann to whom Blake addressed the poem that ends the series. The commission may have been inspired by the Flaxmans' seeing Blake's water-color designs to Edward Young's Night Thoughts begun in 1795. The Gray illustrations follow the same basic format. Blake cut windows in large sheets of the same type of Whatman paper used for the Night Thoughts illustrations and mounted in these windows the texts of Gray's poems from a 1790 octavo edition published by John Murray leaving out some prefatory materials fly-titles the notes and the 7 engraved illustrations. Blake then drew and colored his designs surrounding the letterpress texts. On blank versos near the beginning of each poem and in one case on a separate piece of paper pasted over letterpress text Blake inscribed with pen and ink either titles for each design or quotations from the poem to indicate the passage illustrated. On most text pages Blake also drew a pencil cross left of the first line of the illustrated passage. He numbered most leaves consecutively in pen and ink beginning a new sequence for each of the 13 poems.Blake conceived of his work as an illustrated book rather than a series of unbound designs as indicated by his offsetting Gray's texts above and to the right left on versos from the middle of each leaf—then the convention for all letterpress books. Although listed by William Michael Rossetti in his catalogue of Blake's drawings and paintings published in the 1863 and 1880 editions of Alexander Gilchrist's Life of William Blake the Gray illustrations were virtually unknown until their rediscovery by Herbert Grierson in 1919.The Trianon Press reproductions are recognized as the finest examples of the art of facsimile reproduction; working from the originals in Paul Mellon’s collection each leaf is faithfully hand-colored through stencils to achieve an astonishing exactitude. The Times Literary Supplement stated that nothing like these books had ever been printed before and that it was highly unlikely that they could be printed again. Bentley Blake Books 385. Trianon Press hardcover books
1972110461Folio. London: Trianon Press 1972. Folio with 116 color facsimile leaves reproduced by collotype and hand-stencil color the text of the poems reproduced from copper-plate with 3 additional printings to reproduce Blake’s pencillings and the tone of the paper. Original sheets marbled boards morocco backstrip lettered in giltquarter brown morocco box. § Edition limited to 518 copies in all including 100 copies for Paul Mellon personally of which 12 copies were a super de luxe issue in three volumes with extra material 36 copies were a de luxe issue also with extra material but in sheets unbound18 copies were hors commerce contents unrecorded and 352 copies either bound in 3 volumes in slipcases or as a single set of the loose sheets in a box. This is #370.The 116 water-color illustrations to Thomas Gray's poems are among Blake's major achievements as an illustrator. They were commissioned in 1797 by Blake's friend the sculptor John Flaxman as a gift for his wife Ann to whom Blake addressed the poem that ends the series. The commission may have been inspired by the Flaxmans' seeing Blake's water-color designs to Edward Young's Night Thoughts begun in 1795. The Gray illustrations follow the same basic format. Blake cut windows in large sheets of the same type of Whatman paper used for the Night Thoughts illustrations and mounted in these windows the texts of Gray's poems from a 1790 octavo edition published by John Murray leaving out some prefatory materials fly-titles the notes and the 7 engraved illustrations. Blake then drew and colored his designs surrounding the letterpress texts. On blank versos near the beginning of each poem and in one case on a separate piece of paper pasted over letterpress text Blake inscribed with pen and ink either titles for each design or quotations from the poem to indicate the passage illustrated. On most text pages Blake also drew a pencil cross left of the first line of the illustrated passage. He numbered most leaves consecutively in pen and ink beginning a new sequence for each of the 13 poems.Blake conceived of his work as an illustrated book rather than a series of unbound designs as indicated by his offsetting Gray's texts above and to the right left on versos from the middle of each leaf—then the convention for all letterpress books. Although listed by William Michael Rossetti in his catalogue of Blake's drawings and paintings published in the 1863 and 1880 editions of Alexander Gilchrist's Life of William Blake the Gray illustrations were virtually unknown until their rediscovery by Herbert Grierson in 1919.The Trianon Press reproductions are recognized as the finest examples of the art of facsimile reproduction; working from the originals in Paul Mellon’s collection each leaf is faithfully hand-colored through stencils to achieve an astonishing exactitude. The Times Literary Supplement stated that nothing like these books had ever been printed before and that it was highly unlikely that they could be printed again. Bentley Blake Books 385. Trianon Press hardcover books
197291063 volumes. London: Trianon Press 1972. 3 volumes folio with 116 color facsimile leaves reproduced by collo-type and hand-stencil color the text of the poems reproduced from copper-plate with 3 additional printings to reproduce Blake's pencillings and the tone of the paper. Marbled boards morocco backstrips slipcases a very good set as issued. § Limited to 220 copies thus; 100 copies were issued unbound in Port-folio and 36 de luxe copies with extra material. The 116 water-color illustrations to Thomas Gray's poems are among Blake's major achievements as an illustrator. They were commissioned in 1797 by Blake's friend the sculptor John Flaxman as a gift for his wife Ann to whom Blake addressed the poem that ends the series. The commission may have been inspired by the Flaxmans' seeing Blake's water-color designs to Edward Young's Night Thoughts begun in 1795. The Gray illustrations follow the same basic format. Blake cut windows in large sheets of the same type of Whatman paper used for the Night Thoughts illustrations and mounted in these windows the texts of Gray's poems from a 1790 octavo edition published by John Murray leaving out some prefatory materials fly-titles the notes and the 7 engraved illustrations. Blake then drew and colored his designs surrounding the letterpress texts. On blank versos near the beginning of each poem and in one case on a separate piece of paper pasted over letterpress text Blake inscribed with pen and ink either titles for each design or quotations from the poem to indicate the passage illustrated. On most text pages Blake also drew a pencil cross left of the first line of the illustrated passage. He numbered most leaves consecutively in pen and ink beginning a new sequence for each of the 13 poems.Blake conceived of his work as an illustrated book rather than a series of unbound designs as indicated by his offsetting Gray's texts above and to the right left on versos from the middle of each leaf—then the convention for all letterpress books. Although listed by William Michael Rossetti in his catalogue of Blake's drawings and paintings published in the 1863 and 1880 editions of Alexander Gilchrist's Life of William Blake the Gray illustrations were virtually unknown until their rediscovery by Herbert Grierson in 1919.The Trianon Press reproductions are recognized as the finest examples of the art of facsimile reproduction; working from the originals in Paul Mellon’s collection each leaf is faithfully hand-colored through stencils to achieve an astonishing exactitude. The Times Literary Supplement stated that nothing like these books had ever been printed before and that it was highly unlikely that they could be printed again. Bentley Blake Books 385. Trianon Press hardcover books
19701079804to. London: Trianon Press 1970. 4to 10 facsimile leaves and 5 pp. of commentary. Original quarter green morocco backstrip browned marbled boards with slipcase. § 351 of 662 copies including 36 de luxe copies numbered I-XXXVI 600 regular copies numbered 1-600 and 26 copies lettered A-Z reserved for the trustees of the William Blake Trust and the Publishers. This is copy 351. Bentley Blake Books 5. All Religions are One c. 1788 is “a small tractate perhaps Blake’s first experiment in his illuminated printing it exists in only one copy. It affirms that the Imagination ‘is the true man’. and thus early Blake had completed his revolutionary theory of the nature of man and proclaimed the unity of all true religions.†Damon Blake Dictionary. Trianon Press hardcover books
19511091744to. London: Trianon Press 1951. 4to 6 ix text and 100 color plates. Original blue cloth folding box worn very good. § Limited to 516 copies. The first of the magnificent series of facsimiles by the Trianon Press of Blake’s illuminated books edited by Geoffrey Keynes. Bentley Blake Books 78. Butlin noted in the Blake Quarterly: “The long list of color facsimiles produced by the Trianon Press under Arnold Fawcus for the William Blake Trust were above all objects of beauty recreating as near to perfection as possible Blake’s original achievements.†Trianon Press hardcover books
19671239694to. London: Trianon Press 1967. 4to 50 color plates 13 pp. of printed text. Original quarter brown morocco slipcase a fine copy in virtually flawless condition. § Limited to 426 copies this is #368. The second-longest and penultimate of Blake’s illuminated books exceptionally rich with numerous full-page plates. Keynes notes in the introduction: "This epic as a whole contains many passages of exceptional beauty and provides numerous clues useful for the elucidation of Blake's symbolism and philosophy". Bentley Blake Books 120. Trianon Press unknown books
19721029344to. London: Trianon Press 1972. 4to xx 71 pp. With 16 color plates and 116 illustrations. Original blue cloth illustrated dust-jacket. § Introductory handbook to the facsimile of Blake’s watercolors for Gray’s poems. Bentley Blake Books 385. Trianon Press hardcover books
197662884to. London: Trianon Press 1976. 4to 5 color plates and commentary and progressive states of the plates and an original copper plate etc. Full brown morocco slipcase. As new. § Copy # VII of XXXII de luxe copies in an edition limited to 512 copies in all. The companion volume to the Book of Ahania. One copy of The Book of Los is known. Bentley Blake Books supplement p. 62. Trianon Press unknown books
19751231508vo xxvii xxviii. London & New York: Oxford University Press 1975. 8vo: xxvii xxviii 27 pp. Title-page in sepia and 27 plates including title-page in color in double-page spreads alternating with those bearing notes to the plates. Original blue cloth with lettering in silver to backstrip original blue cloth slip case with illustrations tipped onto top and bottom covers. § Trade edition in the best binding also issued without slipcase and in paperback. Plates printed in 6 and 7-color offset by Fernand Chenot Imprimerie Modern du Lion Paris on paper especially manufactured to match the tint of that used by Blake. Bentley Blake Books Supplement p. 100. Oxford University Press hardcover books
19751075898vo xxvii xxviii. Designed by Arnold Fawcus and produced by The Trianon Press Paris. London & New York: Oxford University Press 1975. 8vo: xxvii xxviii 27 pp. Title-page in sepia and 27 plates including title-page in color in double-page spreads alternating with those bearing notes to the plates. Paper covered boards in slipcase fine. § Trade edition German language edition. Plates printed in 6 and 7-color offset by Fernand Chenot Imprimerie Modern du Lion Paris on paper especially manufactured to match the tint of that used by Blake. Bentley Blake Books Supplement p. 100. Oxford University Press hardcover books
19751075858vo xxvii xxviii. London & New York: Oxford University Press 1975. 8vo: xxvii xxviii 27 pp. Title-page in sepia and 27 plates including title-page in color in double-page spreads alternating with those bearing notes to the plates. Original blue cloth with lettering in silver to backstrip original blue cloth slip case with illustrations tipped onto top and bottom covers. § Trade edition in the best binding also issued without slipcase and in paperback. Plates printed in 6 and 7-color offset by Fernand Chenot Imprimerie Modern du Lion Paris on paper especially manufactured to match the tint of that used by Blake. Bentley Blake Books Supplement p. 100. Oxford University Press hardcover books
19491015448vo. London: The Grey Walls Press 1949. 8vo 64pp. Brown printed boards in illustrated dust-jacket chipped. Very good. § Crown Classics. Bentley BB 286. The Grey Walls Press hardcover books
194710884812mo. London: Falcon Press 1947. 12mo vi pp 54 facsimile pages in black and white. Original two-tone cloth in blue with green spine with decorated paper label: pages slightly dusty to edges with dust-jacket printed in red and black foxed at front and back edges and spine defective in central portion. § Bentley BB 186. Todd was a Blake scholar highly regarded by Bentley and others. He edited the excellent Everyman edition of Gilchrist’s “Lifeâ€. Falcon Press hardcover books
107152London: 1821. 2 vols. small 8vo xii -vii/viii 12 xxiv -i/iv 214; I 215-592 pp. With an engraved frontispiece to each volume and 230 illustrations including 17 woodcuts and 6 engraved plates by Blake and four other designs by Blake engraved by others. Original full rose sheep backstrips lettered in gilt slight wear to joints vol. 1 invisibly repaired by Phil Dusel. A very fine set internally perfect. Enclosed in a modern protective box. § Presentation copy inscribed by Thornton to his daughter. A very fine copy of a scarce work in any condition as it was issued for use in schools; the impressions of the woodcuts in this copy are the richest I have ever seen. Blake contributed 17 woodcuts to this volume as well as 10 other plates of which he engraved six which were not well received; nor were they well treated by the publisher who cut down the blocks and printed them poorly. Only a few proofs before they were trimmed are now extant. These blocks have remained amongst the most influential woodcuts in the history of British art and their influence can be seen from Calvert and Palmer all the way up to the present day. The blocks were saved by Linnell and were printed not long after Blake's death as separate impressions perhaps by Calvert and again in 1977 as a set by Iain Bain. Any impressions are now very hard to find. For a full discussion of this wonderful book see Essick's masterly monograph A Troubled Paradise. San Francisco: John Windle 1999. Bentley Blake Books 504. Bindman 602-18. Easson and Essick I X. 1821. 2 vols unknown books
