113 résultats
1796177280London: W. Wilson 1796. Softcover. Poor- Sold as a reference copy only spine missing covers stained and significant wear foxing throughout. Missing plate 24. Tan cardboard wraps 2 preliminary leaves iii 52 pages l leaves 24 plates. Some of the plates were engraved by William Blake from designs by Cumberland. Page 49-52: "A numerical catalogue of above six hundred subjects from engraved stones almost all of which are from the finest antiques; selected with care for the use of artists from Mr. Tassies' cabinet consisting of above sixteen thousand impressions; all or any part of which are sold at his house in Leicester-Fields in sulpher casts mounted and numbered according to his descriptive catalogue at fourpence each."Art Instruction/Technique or Conservation. W. Wilson unknown books
1796177280London: W. Wilson 1796. Softcover. Poor- Sold as a reference copy only spine missing covers stained and significant wear foxing throughout. Missing plate 24. Tan cardboard wraps 2 preliminary leaves iii 52 pages l leaves 24 plates. Some of the plates were engraved by William Blake from designs by Cumberland. Page 49-52: "A numerical catalogue of above six hundred subjects from engraved stones almost all of which are from the finest antiques; selected with care for the use of artists from Mr. Tassies' cabinet consisting of above sixteen thousand impressions; all or any part of which are sold at his house in Leicester-Fields in sulpher casts mounted and numbered according to his descriptive catalogue at fourpence each."Art Instruction/Technique or Conservation. W. Wilson paperback
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
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
17841266411784. London: Harrison and Co. 1784-1785. <br /> <br /> 2 vols. in one 8vo 1-9 10-485 1; 1-5 6-193 1 pp. Lacking the folding frontispiece but with the 4 other plates engraved by Blake after Samuel Collings. Contemporary half morocco with pebbled cloth boards. A neatly restored copy plates with some closed tears and repairs.<br /> <br /> § Only edition quite scarce. "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. unknown
17841046721784. London: Harrison and Co. 1784-1785. <br /> <br /> 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. <br /> <br /> § 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. unknown
17841087601784. London: Harrison and Co. 1784. <br /> <br /> Engraved by Blake after Collings. Full margins folded as usual. A little soiled but a good strong impression.<br /> <br /> § One of five plates Blake engraved for The Wit's Magazine. Bentley BB 513 Essick William Blake's Commercial Book Illustrations XIV pp 36-38. unknown
1792104007C. Cooke. London. 1792. C. Cooke. No date c.1792. Early edition. Elephant folio. Pagination: vi 7-723 plus 1 directions to binder page. Frontis. with small tear to outer margin 59 plates as called for including the 3 engraved by William Blake opposite pages 13 65 and 76. Two engraved maps lacks the folding plan of Jerusalem. Bound in full contemporary brown calf rebacked with origianl spine laid down and retains the original marbled endpapers. Boards worn and rubbed inner hinges visible but sound small tears to outer margins of a couple of plates. Endpapers lightly stained along hinges pages browned. Generally a sound copy. hardcover
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
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
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. Essick #I Bentley #453 Printed for J. Johnson unknown
17801240091780. London: Fielding and Walker 1780 and J. Fielding: 1781. <br /> <br /> Two vols. in one large thick folio vol. 1 frontispiece title page printed in red and black 6 632 pp. with 46 plates including 5 maps and a plan; vol. 2 with title page dated 1781 494 pp. with 33 plates indices etc. 79 of 80 plates in total. Very early calf very worn and rubbed newly consolidated and now stable. Internally very good and the plates in fine condition.<br /> <br /> § First edition of this version being Blake's first appearance as the sole engraver and in one case the designer and engraver of five plates. Plates 1 2 3 and 5 all engraved and 5 engraved and designed by Blake. See Essick CBI III. Easson and Essick 1 #1 for plate 5. The plates are: 1 Numbers chap. 13 v. 23 in vol. 1; 2 Jonah chap. 3 v. 4; 3 Judith chap. 13 v. 104; Matthew chap. 3 v. 135; Revelations chap. 1 v. 12-13. Plate 5 is signed "d & sc. Blake." Here "d" stands for delineavit as distinct from invenit invented the image. Essick thinks Blake was strongly influenced by an engraving by Picart-see Essick CBI p.22. Blake's wash drawing for pl. 5 is in the British Museum. unknown
1795140940833London: J. Johnson 1795. First Edition. Very Good. First Edition in English of Catullus' complete works side by side with the original Latin. xxxvi 223 3; iv 236 2 pp. Contemporary full calf edges ruled in gilt spine elaborately stamped in gilt with black title label and red numerical label. Complete in two volumes. Includes both half-titles and William Blake's two engraved frontispieces foxed in vol. I offset to the title page in vol. II strengthened joints not rebacked. Occasional light penciled "Xs" to margins easily erasable; offsetting to endpapers; a few dog-eared pages; Very Good. Rare.<br /> <br /> The first attempt to translate the entire body of work of the licentious witty Latin poet of the late Roman era Catullus 84 BC-54 BC into English around 116 poems. None other than visionary English poet artist and printmaker William Blake designed the frontispieces. J. Johnson unknown books
17911077541791. London: 1791. <br /> <br /> Single sheet 175 x 261 sheet 134 x 177 image mm being a good impression of the plate extracted from the book; recently cleaned.<br /> <br /> § A famous image with familiar Blake themes including the raging horse a maiden laid out on a rock a terrified figure tearing her hair etc. Essick Commercial Book Illustrations XLIX. unknown
17881107522 prints. London: J.R. Smith 1788. 2 prints images 21 x 26 cms. with full margins and imprints. Well printed in brown ink cleaned and titles mounted below the prints in very good condition. § Second state of The Idle Laundress third state of Industrious Cottager good impressions. These two prints were designed to be issued together but they are extremely rarely found so. I have had two copies of the first plate third state and one copy of any state of the second plate. The first is known in one copy of the first state and Essick records only two copies of the second state BM and Keynes; Essick has the third state printed in 1803. The second plate is known in one copy each of the first and second states and 4 copies of the third state. Essick The Separate Plates of William Blake XXX and XXXI. J.R. Smith 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
1797105075Large 4to. London: R. Noble 1797. Large 4to pp. 9/10 with a full-page engraving by Blake surrounding the letterpress text. A loose sheet fore-edges untrimmed some still with deckle minimal trimming to top and bottom edges. Only five leaves in the book have engravings recto and verso. § First edition perfect for display or for teaching as the leaves are quite sturdy and can be carefully handled or matted for framing. Blake virtually in a frenzy completed 537 watercolor designs when he was commissioned to illustrate Young’s masterpiece. The publisher only issued the first four ‘Nights’and had Blake engrave and partially etch 43 plates to test the market. The response must have been poor since no further engravings were requested of Blake. Ironically today the poet Young once compared with Shakespeare and Milton is forgotten save for this edition. Bentley Blake Books 515. Essick and LaBelle Night Thoughts Dover 1975. Ray The Illustrator and the Book in England 1790-1914 3. R. Noble unknown books
1797104588Large 4to. London: R. Noble 1797. Large 4to pp. 87/88 with 2 full-page engravings by Blake surrounding the letterpress text. A loose sheet fore-edges untrimmed some still with deckle minimal trimming to top and bottom edges. Only five leaves in the book have engravings recto and verso. § First edition perfect for display or for teaching as the leaves are quite sturdy and can be carefully handled or matted for framing. Blake virtually in a frenzy completed 537 watercolor designs when he was commissioned to illustrate Young’s masterpiece. The publisher only issued the first four ‘Nights’and had Blake engrave and partially etch 43 plates to test the market. The response must have been poor since no further engravings were requested of Blake. Ironically today the poet Young once compared with Shakespeare and Milton is forgotten save for this edition. Bentley Blake Books 515. Essick and LaBelle Night Thoughts Dover 1975. Ray The Illustrator and the Book in England 1790-1914 3. R. Noble unknown books
1797104621Large 4to. London: R. Noble 1797. Large 4to pp. 85/86 with a full-page engraving by Blake surrounding the letterpress text. A loose sheet fore-edges untrimmed some still with deckle minimal trimming to top and bottom edges. Only five leaves in the book have engravings recto and verso. § First edition perfect for display or for teaching as the leaves are quite sturdy and can be carefully handled or matted for framing. Blake virtually in a frenzy completed 537 watercolor designs when he was commissioned to illustrate Young’s masterpiece. The publisher only issued the first four ‘Nights’and had Blake engrave and partially etch 43 plates to test the market. The response must have been poor since no further engravings were requested of Blake. Ironically today the poet Young once compared with Shakespeare and Milton is forgotten save for this edition. Bentley Blake Books 515. Essick and LaBelle Night Thoughts Dover 1975. Ray The Illustrator and the Book in England 1790-1914 3. R. Noble unknown books
1797104612Large 4to. London: R. Noble 1797. Large 4to pp. 57/58 with a full-page engraving by Blake surrounding the letterpress text. A loose sheet fore-edges untrimmed some still with deckle minimal trimming to top and bottom edges. § First edition perfect for display or for teaching as the leaf is quite sturdy and can be carefully handled or matted for framing. The leaf is from from "Narcissa" the third night of Young's poem and the illustration shows a party of drinkers under a looming figure clutching a spear.Blake virtually in a frenzy completed 537 watercolor designs when he was commissioned to illustrate Young’s masterpiece. The publisher only issued the first four ‘Nights’ and had Blake engrave and partially etch 43 plates to test the market. The response must have been poor since no further engravings were requested of Blake. Ironically today the poet Young once compared with Shakespeare and Milton is forgotten save for this edition. Bentley Blake Books 515. Essick and LaBelle Night Thoughts Dover 1975. Ray The Illustrator and the Book in England 1790-1914 3. R. Noble unknown books
1797104619Large 4to. London: R. Noble 1797. Large 4to pp. 75/76 with a full-page engraving by Blake surrounding the letterpress text. A loose sheet fore-edges untrimmed some still with deckle minimal trimming to top and bottom edges. Only five leaves in the book have engravings recto and verso. § First edition perfect for display or for teaching as the leaves are quite sturdy and can be carefully handled or matted for framing. Blake virtually in a frenzy completed 537 watercolor designs when he was commissioned to illustrate Young’s masterpiece. The publisher only issued the first four ‘Nights’and had Blake engrave and partially etch 43 plates to test the market. The response must have been poor since no further engravings were requested of Blake. Ironically today the poet Young once compared with Shakespeare and Milton is forgotten save for this edition. Bentley Blake Books 515. Essick and LaBelle Night Thoughts Dover 1975. Ray The Illustrator and the Book in England 1790-1914 3. R. Noble unknown books
1797104624Large 4to. London: R. Noble 1797. Large 4to pp. 93/94 with a full-page engraving by Blake surrounding the letterpress text. A loose sheet fore-edges untrimmed some still with deckle minimal trimming to top and bottom edges. Only five leaves in the book have engravings recto and verso. § First edition perfect for display or for teaching as the leaves are quite sturdy and can be carefully handled or matted for framing. Blake virtually in a frenzy completed 537 watercolor designs when he was commissioned to illustrate Young’s masterpiece. The publisher only issued the first four ‘Nights’and had Blake engrave and partially etch 43 plates to test the market. The response must have been poor since no further engravings were requested of Blake. Ironically today the poet Young once compared with Shakespeare and Milton is forgotten save for this edition. Bentley Blake Books 515. Essick and LaBelle Night Thoughts Dover 1975. Ray The Illustrator and the Book in England 1790-1914 3. R. Noble unknown books
1797104625Large 4to. London: R. Noble 1797. Large 4to pp. 95/96 with a full-page engraving by Blake surrounding the letterpress text. A loose sheet fore-edges untrimmed some still with deckle minimal trimming to top and bottom edges. Only five leaves in the book have engravings recto and verso. § First edition perfect for display or for teaching as the leaf is quite sturdy and can be carefully handled or matted for framing. Blake virtually in a frenzy completed 537 watercolor designs when he was commissioned to illustrate Young’s masterpiece. The publisher only issued the first four ‘Nights’ and had Blake engrave and partially etch 43 plates to test the market. The response must have been poor since no further engravings were requested of Blake. Ironically today the poet Young once compared with Shakespeare and Milton is forgotten save for this edition. Bentley Blake Books 515. Essick and LaBelle Night Thoughts Dover 1975. Ray The Illustrator and the Book in England 1790-1914 3. R. Noble unknown books
1797104585Large 4to. London: R. Noble 1797. Large 4to pp. 15/16 with 2 full-page engravings by Blake surrounding the letterpress text. A loose sheet fore-edges untrimmed some still with deckle minimal trimming to top and bottom edges. Only five leaves in the book have engravings recto and verso. § First edition perfect for display or for teaching as the leaves are quite sturdy and can be carefully handled or matted for framing. Blake virtually in a frenzy completed 537 watercolor designs when he was commissioned to illustrate Young’s masterpiece. The publisher only issued the first four ‘Nights’and had Blake engrave and partially etch 43 plates to test the market. The response must have been poor since no further engravings were requested of Blake. Ironically today the poet Young once compared with Shakespeare and Milton is forgotten save for this edition. Bentley Blake Books 515. Essick and LaBelle Night Thoughts Dover 1975. Ray The Illustrator and the Book in England 1790-1914 3. R. Noble unknown books