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17811079388vo. London: Joseph Johnson 1781. 8vo xxxiv 405 1 ads pp. With a frontispiece and 3 engraved plates after Stothard one by William Blake. Later polished calf gilt-panelled backstrip gilt edges joints scuffed frontispiece and t/p soiled. Ink signature at front of William Enfield tipped in. § 6th edition the second to have this plate which is dated 1780 -- this copy with the plate facing p. 289 engraved by Blake. This was Blake’s first commercial engraving first put in the 1774 edition. Enfield was a Unitarian minister and this anthology of literary extracts intended to teach proper elocution to young people was extremely influential. See Essick William Blake’s Commercial Book Illustrations 1. Bentley Blake Books 453 B. Joseph Johnson unknown books
1968032598Cleveland: Century Books. 1968. Paperback original. Two titles: one for the cover; one for the title page. Subtitled: "Swinging Set's Newest Rage." Near fine. Unless otherwise noted our first editions are first printings. First Edition. Softcover. Near Fine. Century Books paperback books
1972121507Metuchen: The Scarecrow Press 1972. Hardcover. 292p. ex library with the usual sins. Includes a very useful annotated bibliography. The Scarecrow Press hardcover books
20122289184Hodder 2012. 1st Printing. Trade Paperback. Very Good. 1st printing. Faint crease to spine. 2012 Trade Paperback. The fourth book of the DEATH OF ROME SAGA is a must-read for those who loved the heroism of Gladiator and Spartacus. Hodder paperback books
1974139505Los Angeles: Embassy Pictures 1974. Vintage oversize double weight borderless still photograph from the 1974 film based on the 1971 novel by Evelyn Anthony. Shot struck and mounted by the film's still photographer Bob Willoughby with holograph notation on the verso in his hand. Full provenance available. <br/><br/>After studying with Saul Bass at the Kann Institute of Art in Los Angeles photographer Robert Willoughby began working for magazines such as "Life" "Look" and "Harper's Bazaar" in the late 1940s. He spent the next 20-plus years as a set photographer for every major studio and magazine with his images seen in print literally every week of his career. Willoughby's photographs are in the permanent collections of ten museums including The National Portrait Galleries in Washington DC and London the Bibliotheque Nationale de France The Museum of Modern Art and The Tate Modern. <br/><br/>11 x 14 inchescm. Near Fine. Embassy Pictures unknown books
1973131474London: AVCO Embassy Pictures 1973. Draft script for the 1974 film. From the collection of still photographer Bob Willoughby. Rainbow copy with blue pink and white leaves. Included are six vintage black-and-white reference still photographs from the film. <br/><br/>Bob Willoughby 1927-2009 studied with Saul Bass at the Kann Institute of Art in Los Angeles worked as a photographer for magazines such as "Life" "Look" and "Harper's Bazaar" and as a set photographer for every major studio documenting some of most important films of the era and creating intimate portraits of some of Hollywood's greatest celebrities. <br/><br/>Willoughby moved his family to County Cork Ireland in 1972 working on only a handful of films through the late 1970s and early 1980s this was one of his final films though he would continue to photograph exhibit and publish books for the remainder of his life. <br/><br/>Based on Evelyn Anthony's 1971 novel about a woman on holiday in the Caribbean who meets a handsome Russian. Judith Farrow Andrews meets Feodor Sverdlov Sharif and together they visit all the beautiful spots on the island but Judith's ties to the British government and Feodor's to the Russian government cause problems for their romance. An underrated but serious look at espionage in the Cold War. <br/><br/>Set in Barbardos and shot on location there and in London and Paris. <br/><br/>Yellow titled wrappers marked copy No. 122. Title page present dated April 1973 with credits for screenwriter Edwards. 127 leaves mimeograph duplication with pink and blue undated revision pages throughout. Pages Near Fine wrapper Very Good bound internally with two silver brads. Stills Near Fine. AVCO Embassy Pictures unknown books
197315217Sausalito CA: Tiburon House 1973. First Edition. Wraps. Very good . 12mo. Illustrated wraps. Mild handling wear. Crease across rear cover. Overall sound clean. <br/><br/>Sleaze. Jean Lincoln is drawn into an affair with her teen-age gardener. Uncommon. 191pp. Tiburon House paperback books
19511005924to. London: Arts Council of Great Britain 1951. 4to 32 pp. 13 collotype plates one folding. Paper covers lightly soiled and darkened. Very good. § Bentley Blake Books 663. Arts Council of Great Britain unknown books
19471008068vo. Woodstock VT: The Elm Street Press October 1947. 8vo 108pp. Illustrations from Blake’s engravings on pages 72-75. Illustrated wrappers with chipping to spine and creasing to front and back. Pages with some browning to edges. Internally very good. § The Elm Street Press unknown books
1939115642Toledo Ohio: The Toledo Museum of Art 1939. Softcover. Good- green sticker on front cover; spine lettering; pencil marking on first page. Blue hard-stock cover; gold lettering on front and spine; 336 pp; profusely illustrated with bw plates. An overview of European bw paintings that can be found at the Toledo Museum of Art; this particular publication is fully illustrated and contains many famous Italian paintings. The Toledo Museum of Art unknown books
19511318035London: William Hodge and Company 1951. Hardcover. Octavo; G/Poor; Hardcover with DJ; Spine red with gold print; DJ spine missing front and rear of DJ are detached from each other peripheral tanning tears to front top edge and to flap corners creasing shelfwear; Boards in red cloth with gold print mild wear to corners and spine caps; Text block has remainder of torn away label on front flyleaf slight age-toning to paper; xiii 278 pages illustrated b&w plates. 1318035. FP New Rockville Stock. William Hodge and Company hardcover books
199514249Self-published 1995. Hardcover. Fine. A crisp lovely copy of the 1995 stated 1st edition. Virtually pristine in its pictorial laminate boards. Tall quarto 314 pgs. dozens and dozens of black-and-white photos thruout. The chapter headings: Historical Background; The Development of the Steel Pan; The Social Political and Educational Environment in Trinidad and Tobago; The Culture of Steel Pan Music; and The Steel Pan Family. <br/><br/> Self-published hardcover books
108768Chichester: J. Seagrave for T. Cadell and W. Davies 1803. Small 8vo xii 165 pp with 6 plates designed by Maria Flaxman and engraved by Blake. A poor copy 4 of the plates in good condition but an extensive stain from pages 1 to 40 affects an oval area of about 1 cm x 2 cm to the left of the first plate at page 2 and a decreasing area up to page 40. There are also two small stains to the edge of plate 5 on the lower left margin one just intruding into the print area. Old mottled calf decorated and gilt ruled spine generally distressed and with darker 2 cm band across the front cover possibly a old damp stain. § First edition with Blake’s plates. DNB notes: “Possibly his greatest achievement however was his didactic poem Triumphs of Temper 1781 which ‘was to reform the entire feminine mind of England by the advice’ Bishop 53. This allegorical work aspired in rhyming couplets to teach young women the virtues of a pleasant nature. Its advice was heeded by some: Emma Hamilton thanked Hayley ‘for the lessons she had learnt from the poem’ p.Jaffe Drawings by George Romney 1978 44 and asked Romney to inform Hayley that his poem ‘made me Lady H. … for Sir W. minds more temper than beauty’ ibid. Triumphs of Temper ran into fourteen editions and proved to be the most durable of all his publications.†Bentley BB 471. Essick William Blake’s Commercial Book Illustrations XLIII. J. Seagrave unknown books
1817105709Sm. Chichester: William Mason for T. Cadell and W. Davies 1817. Sm. 8vo xii 166 pp. With a color-printed frontispiece by Brown after Romney. Slightly later polished calf gilt backstrip richly gilt marbled edges signature at front of H. Cotes dated 1821. Ink corrections to the text perhaps by Cotes. § A beautiful copy handsomely bound with the frontispiece printed in five colors. Friedman Color Printing in England #31. The Vershbow copy with bookplate. DNB notes: “Possibly his greatest achievement however was his didactic poem Triumphs of Temper 1781 which ‘was to reform the entire feminine mind of England by the advice’ Bishop 53. This allegorical work aspired in rhyming couplets to teach young women the virtues of a pleasant nature. Its advice was heeded by some: Emma Hamilton thanked Hayley ‘for the lessons she had learnt from the poem’ P. Jaffe Drawings by George Romney 1978 44 and asked Romney to inform Hayley that his poem ‘made me Lady H. … for Sir W. minds more temper than beauty’ ibid. Triumphs of Temper ran into fourteen editions and proved to be the most durable of all his publications.†William Mason for T. Cadell and W. Davies unknown books
1803104400Roy. Chichester: J. Seagrave for T. Cadell and W. Davies 1803. Roy. 8vo 9.5 x 5.75 ins. xii 165 pages. With 6 engraved plates by William Blake after Maria Flaxman. Later half green morocco gilt top other edges untrimmed an excellent copy with wide margins. § A large-paper copy unusually clean and with fine dark impressions of the plates. First edition of Blake’s engravings after these dreamy and slightly surreal illustrations. Bentley Blake Books 471A. Essick William Blake’s Commercial Book Illustrations XLIII. DNB notes of Hayley: “Possibly his greatest achievement however was his didactic poem Triumphs of Temper 1781 which ‘was to reform the entire feminine mind of England by the advice’ Bishop 53. This allegorical work aspired in rhyming couplets to teach young women the virtues of a pleasant nature. Its advice was heeded by some: Emma Hamilton thanked Hayley ‘for the lessons she had learnt from the poem’ P. Jaffe Drawings by George Romney 1978 44 and asked Romney to inform Hayley that his poem ‘made me Lady H. … for Sir W. minds more temper than beauty’ ibid. Triumphs of Temper ran into fourteen editions and proved to be the most durable of all his publications.†J. Seagrave for T. Cadell and W. Davies unknown books
19701008034to. Chicago: University of Chicago 1970. 4to 44pp. Illustrated including an image on page 29 from William Blake’s Marriage of Heaven and Hell as performed at Rockefeller Chapel by The Cain Company of the University of Chicago. Red printed wrappers. Very good. § University of Chicago unknown books
196321079New Brunswick: Rutgers 1963. hardcover. very good/very good. Illustrated. ix 370pp. 8vo red cloth. New Brunswick: Rutgers University Press 1963. A very good copy in a very good dust wrapper.<br/><br/> Rutgers unknown books
1963005873New Brunswick: Rutgers University Press 1963. xiv 370p. b/w illus. slightly chipped dj. Rutgers University Press unknown books
195409298New York: Harper & Brothers 1954. First Edition. Near Fine/About Fine. octavo 244 pages; first edition stated; pictorial dust jacket with price of $2.75 on front flap. Owner name and date on FFEP. <br/><br/> Harper & Brothers unknown 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
1784108760Engraved by Blake after Collings. London: Harrison and Co. 1784. Engraved by Blake after Collings. Full margins folded as usual. A little soiled but a good strong impression. § Bentley BB 513 Essick William Blake's Commercial Book Illustrations XIV pp 36-38. Harrison and Co unknown books
17841046722 vols. London: Harrison and Co. 1784–1785. 2 vols. in one 8vo 1-9 10-485 1; 1-5 6-193 1 pp. With a folding frontispiece second version and numerous folding engraved plates of which 5 are engraved by Blake one after Stothard and four after Samuel Collings. Contemporary marbled boards modern-calf backstrip and tips a very good set with good margins around the plates: rare. § Only edition. "These are the only caricature prints engraved by Blake. The graphic style is appropriately broad and rugged particularly in the barnyard scene. 'Fun I love but too much fun is of all things most loathsom' Blake to Trusler 1799. Blake may have felt that the great rage for caricature prints in the 1790s was a hindrance to the sale of his own original graphic works." Essick CBE p. 37. Bentley Blake Books 513. Essick William Blake’s Commercial Book Illustrations XVI. Harrison and Co hardcover books
17841017082 vols. London: Harrison and Co. 1784–1785. 2 vols. 8vo 2 485 1; 193 1 pp. With a folding frontispiece second version and numerous folding engraved plates including 5 by Blake one after Stothard and four after Samuel Collings. Contemporary calf somewhat worn and vol. I lacking backstrip label. Withal a good set very rare. § Only edition. "These are the only caricature prints engraved by Blake. The graphic style is appropriately broad and rugged particularly in the barnyard scene. 'Fun I love but too much fun is of all things most loathsom' Blake to Trusler 1799. Blake may have felt that the great rage for caricature prints in the 1790s was a hindrance to the sale of his own original graphic wqorks." Essick CBE p. 37. Bentley Blake Books 513. Essick William Blake’s Commercial Book Illustrations XVI. Harrison and Co 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
