63 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 paperback
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
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
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
179748706London.: R. Noble. 1797. Scarlet morocco-backed contemporary moiré cloth boards gilt titles to front cover and spine. Folio. 415 x 325 mm. Leaf with 'Explanation of the Engravings' recto and verso printed title advertisement pp. iii - viii and 43 leaves with engravings by William Blake surrounding the text; 21 of the leaves retain the publisher's imprints. First edition of Blake's illustrations for Edward Young's Night Thoughts.Night Thoughts is a key work in the Blake canon executed at a crucial point in his career. Sometime in 1795 or 1796 Blake was comissioned by the publisher Richard Edwards to undertake the illustration of each page of Young's bestseller 'Night Thoughts'. It was intended to publish the whole poem of nine nights in installments accompanied by engravings based on Blake's drawings but Edwards went out of business after the first volume consisting of 4 Nights and the project was never completed. 'Blake has undertaken to make designs to encircle the letter press of each page of Young's Night Thoughts Edwards the Bookseller of Bond Street employed him and has had the letter press of each page laid down on a large half sheet of paper. There are about 900 pages - Blake asked 100 guineas for the whole. Edwards said he could not afford to give more than 20 guineas for which Blake agreed. Fuseli understands that Edwards proposes to select about 200 from the whole to have that number engraved by Blake as decorations for a new edition.' Blake Records. R. Noble. hardcover
17971045881797. London: R. Noble 1797. <br /> <br /> 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.<br /> <br /> § 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. unknown
17971045861797. London: R. Noble 1797. <br /> <br /> Large 4to pp. 23/24 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.<br /> <br /> § 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. unknown
17971046161797. London: R. Noble 1797. <br /> <br /> Large 4to pp. 69/70 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.<br /> <br /> § 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. unknown
17971046211797. London: R. Noble 1797. <br /> <br /> 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.<br /> <br /> § 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. unknown
17971046121797. London: R. Noble 1797. <br /> <br /> 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.<br /> <br /> § 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.<br /> <br /> 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. unknown
17971046041797. London: R. Noble 1797. <br /> <br /> Large 4to pp. 39/40 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.<br /> <br /> § 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. unknown
17971045991797. London: R. Noble 1797. <br /> <br /> Large 4to pp. 27/28 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.<br /> <br /> § 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. unknown
17971046221797. London: R. Noble 1797. <br /> <br /> Large 4to pp. 89/90 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.<br /> <br /> § 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. unknown
17971046191797. London: R. Noble 1797. <br /> <br /> 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.<br /> <br /> § 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. unknown
17971046241797. London: R. Noble 1797. <br /> <br /> 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.<br /> <br /> § 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. unknown
17971045851797. London: R. Noble 1797. <br /> <br /> 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.<br /> <br /> § 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. unknown
17971046111797. London: R. Noble 1797. <br /> <br /> Large 4to pp. 55/56 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.<br /> <br /> § 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. unknown
1797007894London: R. Noble for R. Edwards 1797. First Edition. Full Morocco. Very Good. Elephantine folio 44 by 34 cm. viii 2 95 2 pp. 43 of the pages have Blake's expansive charismatic illustrations surrounding the text. Four of these are section heads the balance being border ornamentation but even the latter are far more than merely decorative. The distinctive Blake artwork fires the imagination regardless. In fact the text which is framed with ruled lines seems to cover some of the illustration. Last two pages are the Explanation of the Engravings which are often not present. The full navy blue morocco is fairly heavily rubbed along the edges a bit less so by the joints. Some scattered soiling within but the pages are generally quite clean. There are a few closed tears not of great length and one repaired close tear which was somewhat longer. The Explanation of Engravings leaf has two repaired tears. Notwithstanding these flaws this is an attractive appealing copy. R. Noble for R. Edwards unknown
17951262351795. London: Johnson 1795-94. <br /> <br /> 2 vols. in one 4to xx 218 124 2 directions to binder and advertisement; 2 viii 200 2 directions to the binder lacking the errata and ads pp. With a frontispiece to each volume ten plates in vol. I and 8 in vol. II. Early half calf marbled boards newly rebacked in calf with gilt-lettered label. A very good copy if a little aged -- early manuscript note loosely inserted about the Portland Vase copied from the Morning Chronicle c. 1796.<br /> <br /> § Best edition. 6 plates are engraved by Blake the best known being Fertilization of Egypt and Tornado both after Fuseli. The third edition of part one is the only edition to include the striking Tornado plate. At page 87 appears the enigmatic circular image of an African man in chains titled "Am I not a man and a brother." Bentley 450B and C. Essick William Blake's Commercial Book Illustrations XXI.<br /> The Morning Chronicle was a newspaper founded in 1769 in London. It was notable for having been the first steady employer of essayist William Hazlitt as a political reporter and the first steady employer of Charles Dickens as a journalist. unknown
179143999London: J. Johnson 1791. <p>Darwin Erasmus 1731-1802. The botanic garden: A poem in two parts . . . 4to. xii 214 126 2; 2 ix 197 1pp. General title-leaf misbound before title-leaf to Part II. 20 engraved plates including 5 by William Blake 1757-1827; 2 of the plates are after drawings by John Henry Fuseli 1741-1825. London: J. Johnson 1791. 275 x 207 mm. Half calf gilt marbled boards in period style. Minor foxing and offsetting small marginal stains on two or three plates not affecting the images marginal tears in signature S and one plate repaired but very good. </p> <p> First Edition of Part I; third edition of Part II containing two more plates than the first edition of 1789. Darwin's first major literary work and the chief source of his fame during his lifetime. "The Botanic Garden an annotated scientific poem in Augustan couplets appeared in two parts of which the second The Loves of the Plants 1789 was published before the first The Economy of Vegetation 1791. Darwin decided to publish the second part of the work first because it was better suited 'to entertain and charm.' The first part of the work is more ambitious than the second covering all natural philosophy and embodying many of the researches and inventions of Wedgwood Watt Boulton and others. The design of the totality was Darwin wrote 'To enlist Imagination under the banner of Science . . . to induce the ingenious to cultivate the knowledge of botany . . . and recommending to their attention the immortal works of the celebrated Swedish naturalist-Linnaeus'" Dictionary of Scientific Biography. The Botanic Garden is also important for the five plates in Vol. I engraved by William Blake: four engravings of the Portland vase and the "Fertilization of Egypt" after a design by Fuseli. Keynes Blake 103. King-Hele Erasmus Darwin pp. 97-119. </p> . J. Johnson unknown
17951077691795. London: Boydell and Company c.1795. <br /> <br /> Oblong large folio on wove paper plate mark 583 x 455 mm on sheet 650 x 490 mm. An exceptionally fine dark impression on bright paper with the original wide margins untrimmed. <br /> <br /> § Third and best state of seven see below of the single plate Blake engraved for Hogarth's Works first published by Boydell in 1790 this state appearing in the second undated edition c. 1795. It was the last state of the plate before hands other than Blake touched up the plate. A remarkably crisp and brilliant impression of Blake's richly detailed rendition of Hogarth's painting showing the famous scene in which Macheath the highwayman stands chained under sentence of death between his two lovers the jailer's daughter Lucy Lockit and the lawyer's daughter Polly Peachum. The plate was next used for an 1822 edition by which time several small changes had been made by another engraver. Bentley BB 475 I. Essick CBI XX. unknown