455 résultats
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
18031241491803. Chichester: J. Seagrave for T. Cadell and W. Davies 1803. <br /> <br /> Large 8vo 22.7 x 14.2 cm. xii 165 pages. With 6 engraved plates by William Blake after Maria Flaxman. Contemporary mottled calf gilt titled backstrip marbled edges minor rubbing to backstrip and corners faint darkening to preliminary & final leaves otherwise an excellent copy with wide margins.<br /> <br /> § 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 by Maria Flaxman.<br /> Provenance: Brackenburn book label of Hugh Walpole and book label of Pamela and Raymond Lister. Bentley Blake Books 471A. Essick William Blake's Commercial Book Illustrations XLIII. unknown
18031044001803. Chichester: J. Seagrave for T. Cadell and W. Davies 1803. <br /> <br /> Roy. 8vo 9.5 x 5.75 ins. xii 165 pp. 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.<br /> <br /> § 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 BB 471A. Essick CBI 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.". unknown
181777638London:: Longman Hurst Rees Orme & Brown 1817. First edition. publisher's cloth-backed boards with printed paper label on front cover. Plate 8 is partially detached and plates 24 and 25 are entirely detached without damage to edges. Contents otherwise fine. The boards and printed paper label are dust-soiled and lightly worn. Oblong folio. Engraved from the Compositions of John Flaxman. Engraved by William Blake. Title leaf and 37 plates. . Longman, Hurst, Rees, Orme & Brown, hardcover
18081238961808. London: Cadell and Davies 1808. <br /> <br /> Single plate etching on wove unwatermarked paper cleaned and in fine condition.<br /> <br /> § From the first 4to edition. Bentley Blake Books 435b. unknown
18131092111813. London: Ackermann 1813. <br /> <br /> Single plate etching on wove unwatermarked paper recently cleaned.<br /> <br /> § From the second 4to edition. Bentley Blake Books 435D. unknown
18081073251808. London: Cadell and Davies 1808. <br /> <br /> Single plate etching on wove unwatermarked paper margins slightly soiled and worn image clean. <br /> <br /> § From the first 4to edition. Bentley Blake Books 435 A. unknown
183918535London: William Pickering 1839. First letterpress edition of Blake’s best-loved works which had been available previously only in the poet’s privately printed and unobtainable hand-painted and engraved editions. Edited with a lengthy 18-page preface by the Swedenborgian James John Garth Wilkinson 1812-1899 who used Charles Augustus Tulk’s copy of the illuminated first edition c.1795-1807 to make his selection. This edition appears in two issues with and without a poem entitled “The Little Vagabond†at page 71. The poem was reportedly canceled by the editor out of prudishness. It is not present in this copy. No priority between the two issues has been established. Keynes 135; Bentley & Nurmi 161B; Bentley Blake Books 171 The English poet and dramatist John Drinkwater’s copy with his ownership signature dated 1923 on the front free endpaper and his bibliographical annotations beneath in pencil and his delightful little gilt embossed leather bookplate on the front endsheet. The book also bears the engraved bookplate of Elizabeth Walbridge on the front endsheet. Elizabeth Walbridge was married to S. Cornell Walbridge a major figure in the glass industry in Toledo Ohio aka “Glass City†and an avid book collector in the early years of the Twentieth Century. There is also a contemporary ownership signature on the front free endpaper that is difficult to decipher: possibly “Miss Mare or Miss Marie†and the remnant of a red wax seal beneath the tipped-in Walbridge bookplate. Head and tail of spine very slightly worn spine faintly sunned with covers fading slightly toward the margins otherwise a remarkably attractive and clean copy of this rare and important edition. 8vo original plum cloth. Head and tail of spine very slightly worn spine faintly sunned with covers fading slightly toward the margins otherwise a remarkably attractive and clean copy of this rare and important edition. William Pickering unknown
188618677<p>Book Condition: Poor. Some pages torn but all content seems intact. Very yellowed. Binding cover coming loose/frayed. <br />See photos.</p> WM B. Blake Publisher hardcover
18081073231808. London: Cadell and Davies 1808. <br /> <br /> Single plate etching on wove unwatermarked paper margins slightly soiled and worn image clean. Framed.<br /> <br /> § From the first 4to edition. Designed by Blake and engraved by Luigi Schiavonetti to Blake's indignation. A glorious image. Bentley Blake Books 435b. unknown
187922609London: Chapman and Hall 1879. First Edition. 8vo pp. 264. 32. Bound in publisher's cloth spine tender a very good copy. A discussion of the history and ceremonies of masonry. Chapman and Hall unknown books
1895001225London: Seeley. GOOD book. TEG. Gilt lettered marroon cloth. Bevelled boards. 1895. Hardcover. GOOD book. Bright & tight. Cover extrems worn some plate margins foxed o/w VG inside. . Frontis struck from an original Blake etching copyright Mar 8 1825 by Will Blake N3 Fountain Court Strand. Titled in the etching "When the morning stars sang together and all the Sons of God shouted for Joy" titled below the etching "The Sons of God. Design fromn the book of Job." Tho struck 70 years later image still bright & clear. There's no evidence the plate was reworked. The last section on Davis has 4 steel engravings by him. . Seeley hardcover
189432183AB1894. Original / First Edition. 21 Volumes bound in seven Volumes. London Seeley and Co. 1894-1896. Quarto 19.2 cm wide x 27.2 cm high. c. 1600 pages with a total of 37 Etchings / Engravings. Hardcover / All Volumes in their original very decorative Art Nouveau-Bindings with gilt lettering and ornament on spine and frontcover. All Bindings in protective Collectors-Mylar. Excellent actually stunning condition with only minor signs of wear and occasional foxing to some of the illustrations only. One layer loosened in the 1895-Volume. This collection of 21 Volumes Bound in seven Volumes includes: 1. 1894 - Annual Volume One 3 Volumes in 1: I. William Sharp - "Fair Women In Painting and Poetry" With Etchings by Alma-Tadema / Sir Peter Lely / Daniel Mytens etc. II. C.J.Cornish - "The New Forest" Illustrated by Lancelot Speed Alexander Ansted and John Fullwood III. Walter Armstrong - "Thomas Gainsborough" _______________________________________________________ 2. 1894 Annual Volume Two - 3 Volumes in 1: I. P.G.Hamerton - "The Etchings of Rembrandt" With Plates Etched in Facsimile by Amand Durand The four wonderful Rembrandt-Etchings are: a. Rembrandt with the Broad Hat and Embroiderd Mantle b. The Rat Killer c. Johannes Lutma d. Rembrandt's Mother seated looking to the right II. Rev. W.K.R.Bedford - "MALTA and the Knights Hospitallers" With Plates etched: a. "Isola Point" - Etched by A. Ansted b. "Rabato Gozo" - Drawn by T.H.Crawford and Engraved by Walter L. Colls c. "Citta Vecchia" - Etched by A. Ansted from a drawing by Edward Lear d. "Chapel of our Lady of Philermos" - Engraved by Walter L. Colls III. A.H. Church - "Josiah Wedgwood - Master-Potter" His Precursors / His Early Years / As Master-Potter / His Ceramic Improvements / His Invention of the "Jasper" Body / The Barberini or Portland Vase / Cameo His Cameos Medallions and Plaques / His Portrait Cameos / Vases in the Jasper Body / Miscellaneous Productions in Jasper / Later Years / Position as an Art-Potter / Collections and Collectors // Illustrations in the Wedgwood-Volume include: 1. Portland Vase / 2. Plaque Sacrifice of Iphigenia / 3. Two Medallions A Zephyr / 4. Medallion Portrait of Flaxman __________________________________________________ 3. 1895 - Annual Volume One - 3 Volumes in 1: I. C.J.Cornish - "The Isle of Wight" a. With an original etching by John Fullwood: "Freshwater Gate" Frontispiece b. With an original etching after E.Duncan: "Isle of Wight - The Fleet leaving Portsmouth" c. With an original etching by John Fullwood: "Bonchurch" d. With an original etching by Thomas Huson: "Sandown Bay" Also includes several text-illustrations of the Isle of Wight II. Julia Cartwright - "Raphael in Rome" III. L.Binyon - "Dutch Etchers" _____________________________________________________ 4. 1895 - Annual Volume Two - 3 Volumes in 1: I. Julia Cartwright Mrs. Henry Ady - "The Early Work of Raphael" Illustrated II. Walter Armstrong - "The Art of William Quiller Orchardson" WIth original engravings and text-illustrations III. George Grahame - "Claude Lorrain - Painter & Etcher" Illustrated _______________________________________________________ 5. 1895 - Annual Volume Three - 3 Volumes in 1: I. Richard Garnett - "William Blake - Painter and Poet" With an etching "The Sons of God" and several illustrations also in colour: a. "The Sons of God" From the Book of Job b. "The Lamb and Infant Joy" from Songs of Innocence c. "The Fly and the Tiger" From Songs of Experience d. "The Book of Thel Title-page in two facsimiles by W.Griggsl e. "America" With 19 further text-illustrations by William Blake including a rare portrait of Blake II. Olivier Georges Destree - "The Renaissance of Sculpture in Belgium" Illustrated III. W.H.James Weale - "Gerard David - Painter and Illuminator" Illustrated ______________________________________________________________________ 6. 1895 - Annual Volume Four - 3 Volumes in 1: I. W.J.Loftie - "Whitehall" With many interesting historical illustrations on Whitehall and Scotland-Yard II. Professor Anderson - "Japanese Wood-Engravings" Illustrated beautifully some in colour after Utagawa Toyokuni Utamaro Katsugawa Shuncho etc. III. Claude Phillips - Antoine Watteau Illustrated _______________________________________________________________ 7. 1896 - Annual Volume - 3 Volumes in 1: I. Claude Phillips - The Picture Gallery of Charles I. Illustrated II. Cecilia Waern - "John La Farge - Artist and Writer" Illustrated with a stunning engraving of "Prosperitas" an illustration of "The Wolf Charmer" etc. etc. III. Richard Garnett - Richmond on The Thames Illustrated with stunning engravings by a. John Fullwood "Richmond Hill" - Engraving b. Clough Bromley "The Thames from Buccleugh Gardens" - Engraving c. T.Huson "The View from Richmond Hill" - Engraving d. T.Huson "Richmond Bridge" - Engraving and many text-illustrations "The Portfolio" was a British monthly art magazine published in London from 1870 to 1893. It was founded by Philip Gilbert Hamerton and promoted contemporary printmaking especially etching and was important in the British Etching Revival. Early contributors included Francis Turner Palgrave 18241897 and Sidney Colvin 18451927. The mid-nineteenth century in France and Britain saw a rise in the interest in etching. Hamerton had spent the 1860s in France with his French wife Eugénie. The impetus for the launch of The Portfolio came in the wake of the foundation in Paris of the Société des aquafortistes in 1862 and to a lesser extent from the longer established Etching Club from 1838. Etchings by many French etchers such as Paul Rajon 18431888 and Alfred Brunet-Debaines 18451939 were a marked feature of the publication. Indeed The Standard remarked in 1874 that the publication's "speciality as probably most people know is the etchings with which it is adorned." Rajon published twelve etchings in the periodical before his untimely death. The New York Times lavished praise on the publication when in 1875 it remarked that it could not "eulogize too highly the merits of this periodical in all its departments. It is without question the most beautiful in regard to illustration which emanates from the press." The late nineteenth-century British author George Gissing wrote in his diary for December 1895 sic. that he took the magazine for his son because of its good pictures. In a survey of the etching revival in 1878 the Magazine of Art highlighted the centrality of Hamerton and his monthly magazine which had "so ably and unceasingly pleaded the cause of etching" in Britain. Wikipedia ______________________________________________________________________ Philip Gilbert Hamerton 10 September 1834 4 November 1894 was an English artist art critic and author. He was a keen advocate of contemporary printmaking and most of his writings concern the graphic arts. He was an important theorist of the English Etching Revival. Hamerton was born at Laneside a hamlet near Shaw and Crompton Lancashire England. His mother died giving birth to him and his father died ten years later. When he was about five he was sent to live with his two aunts at an estate called the Hollins1 on the edge of Burnley where he attended Burnley Grammar School. Hamerton's first literary attempt a volume of poems was unsuccessful leading him to devote himself for a time entirely to landscape painting; he camped out in the Scottish Highlands where he eventually rented the former island of Inistrynich in Loch Awe upon which he settled with his wife Eugénie Gindriez the daughter of a French republican magistrate in 1858. Discovering after a time that he was more suited to art criticism than painting he moved to Sens and later to Autun3 where he produced his Painter's Camp in the Highlands 1863 which was very successful and prepared the way for his standard work on Etching and Etchers 1866. In the following year he published Contemporary French Painters and in 1868 a continuation Painting in France after the Decline of Classicism. He had by now become art critic to the Saturday Review which necessitated frequent visits to England forcing him to give it up. He proceeded in 1870 to establish and edit an art journal of his own The Portfolio a monthly periodical each number of which included of a monograph upon some artist or group of artists often written by him. The journal championed printmaking especially etching. He selected and wrote the accompanying text for Etchings by French and English Artists London: Seeley 1874 which included work by Alphonse Legros and Léon Gaucherel. The discontinuation of his painting gave him time for writing and he successively produced The Intellectual Life 1873 perhaps the best known and most valuable of his writings; Round my House 1876 notes on French society by a resident; and Modern Frenchmen 1879 admirable short biographies. He also wrote two novels Wenderholme 1870 and Marmorne 1878. In 1884 Human Intercourse another volume of essays was published and shortly afterwards Hamerton began his autobiography which he brought down to 1858. In 1882 he issued a finely illustrated work on the technique of the great masters of various arts under the title of The Graphic Arts and three years later another splendidly illustrated volume Landscape which traces the influence of landscape upon the mind of man. His last books were: Portfolio Papers 1889 and French and English 1889. In 1891 he removed to Villa Clématis in the Parc des Princes district of Boulogne-Billancourt in the southwest suburbs of Paris. He died there suddenly on 4 November 1894 aged sixty occupied to the last with his labours on The Portfolio and other writings on art. In 1897 'Philip Gilbert Hamerton: an Autobiography 18341858; and a Memoir by his wife 18581894' was published. Wikipedia hardcover
189322803London: Lawrence & Bullen; New York: Charles Scribner's Sons 1893. First Yeats edition. Frontispiece portrait. 1 vols. Sm. 12mo. Original bue-green cloth with the gilt decoration of "The Muses' Library." Cloth quite rubbed some soiling light marginal browning of text with the initials and engraved card of Genevieve F. Winterbotham dated 1901. First Yeats edition. Frontispiece portrait. 1 vols. Sm. 12mo. NCBEL 3:1921 Lawrence & Bullen; New York: Charles Scribner's Sons unknown books
1885RO60073737Walter Scott. 1885. In-18. Relié. Etat d'usage, Coins frottés, Manque en coiffe de tête, Intérieur acceptable. 282 pages. Bandeaux, lettrines et culs-de-lampe ornés en noir et blanc. Page de titre et pages du texte encadrés de filets rouges.. . . . Classification Dewey : 420-Langue anglaise. Anglo-saxon
18931011331893. London: Lawrence and Bullen the Muses' Library 1893. <br /> <br /> 12mo liii 251 pp. Frontispiece portrait. Original quarter parchment green boards gilt top a very good copy. Bookplate of Robert Peel Sheldon. <br /> <br /> § Deluxe edition limited to 200 copies on hand-made paper. First edition thus an important edition bringing the two poets together in the same year that Yeats edited Blake's entire canon with Ellis. Bentley Blake Books 293. unknown
189320476London:: Lawrence & Bullen 1893. original gilt cloth. Former owner's blind-embossed name stamp in the upper corner of each title page; a few ink notes and underlining; light rubbing to the cloth at extremities and tanning to the spine. 12mo. Edited by W. B. Yeats. Wade 219; ordinary issue. The Muses' Library. Lawrence & Bullen, hardcover
1893985N21London: Lawrence and Bullen 1893. Hardback. Good. 7" by 4.5". John Linnell. A limited edition of The Poems of William Blake a comprehensive collection of the romantic giant's work. Edited by acclaimed Irish poet W.B. Yeats. A limited edition of The Poems of William Blake edited by huge Blake admirer and acclaimed Irish poet W.B. Yeats. Published in 1893 by Lawrence and Bullen. This particular edition is no.69 out of 200 copies to be printed on large handmade paper.Quarter white parchment in the publisher's original green cloth. A frontispiece of Blake by John Linnell.Despite not receiving great critical acclaim during his life William Blake was one of the most influential poets in English History. A key figure within the 19th century Romantic movement Blake inspired huge swathes of poets including W.B. Yeats who would later become a very successful poet himself and win the 1923 Nobel Prize in Literature. This particular collection contains over 100 of Blake's poems and have been separated into each of his books including Songs of Experience and Songs of Innocence. Quarter white parchment in the publisher's original green cloth. Externally mostly smart with fading to the spine and the occasional mark heavier towards spine and extremities. A spot to bottom edge of both boards. Offsetting to end papers. Internally firmly bound. Pages are generally bright and clean with the occasional mark and spot to leaf extremities. The odd pencil annotation. Good Lawrence and Bullen hardcover
180510791510 volumes. London: C and J. Rivington 1805. 10 volumes royal 8vo with a portrait frontispiece of Shakespeare and 37 separate engravings after drawings by Fuseli by Neagle Cromek Rhodes Dodley and two by William Blake. Original calf rather worn with some hinges cracked. Gilt on raised backstrip also rather worn. Volume 1 has some cracking to spine. Some spotting. Volume 1 has one minor worm hole on the lower margin the goes through a number of pages to the rear pastedown. Volume 3 has a small worm hole that goes through the entire lower margin of the book and becomes two holes that continues to the back pastedown. Volume 9 has some minimal worming at the rear pastedown. The text in all volumes is unaffected. Volumes 1 and 3 have a few untrimmed pages. Each volume has a bookplate from the previous owner Henry Frederick Thistlethwayte at front. Volume 1 is inscribed with with a note from Thistlethwayte to his son Alfred. The plates are fine impressions. § Large-paper issue of the best illustrated collection of Shakespeare’s plays save only the elephant-folio Boydell. This was one of Fuseli’s major projects as a book-illustrator and it succeeds brilliantly; the engravings are dramatic and rich and in this edition well printed. Blake engraved two plates after Fuseli for the book his only illustrations of Shakespeare. Vol. VII for King Henry VIII and vol. X for Romeo and Juliet. There was a nine-volume small-paper issue with greatly inferior printing of text and plates but as Bentley observed “the ten-volume edition is considerably more elegantâ€. Bentley 498. Essick William Blake’s Commercial Book Illustrations XLVII. C and J. Rivington unknown books
1805107268King Henry VIII. London: Rivington and 40 other booksellers 1805. King Henry VIII. Single plate some toning and spotting but very good condition. § One of two illustrations engraved by Blake after Fuseli from the best illustrated collection of Shakespeare’s plays save only the elephant-folio Boydell perhaps and quite rare. Rivington [and 40 other booksellers] unknown books
18051079151805. London: C. and J. Rivington 1805. <br /> <br /> 10 volumes royal 8vo with a portrait frontispiece of Shakespeare and 37 separate engravings after drawings by Fuseli by Neagle Cromek Rhodes Dodsley and two by William Blake. Original calf rather worn with some hinges cracked. Gilt on raised backstrip also rather worn. Volume 1 has some cracking to spine. Some spotting. Volume 1 has one minor worm hole on the lower margin the goes through a number of pages to the rear pastedown. Volume 3 has a small worm hole that goes through the entire lower margin of the book and becomes two holes that continues to the back pastedown. Volume 9 has some minimal worming at the rear pastedown. The text in all volumes is unaffected. Volumes 1 and 3 have a few untrimmed pages. Each volume has a bookplate from the previous owner Henry Frederick Thistlethwayte at front. Volume 1 is inscribed with a note from Thistlethwayte to his son Alfred. The plates are fine impressions. <br /> <br /> § Large-paper issue of the best illustrated collection of Shakespeare's plays save only the elephant-folio Boydell. This was one of Fuseli's major projects as a book-illustrator and it succeeds brilliantly; the engravings are dramatic and rich and in this edition well printed. Blake engraved two plates after Fuseli for the book. Vol. VII for King Henry VIII and vol. X for Romeo and Juliet. There was a nine-volume small-paper issue with greatly inferior printing of text and plates but as Bentley observed "the ten-volume edition is considerably more elegant." Bentley 498. Essick CBI XLVII. unknown
1900634620Edson & Irish 1900. First Edition. Wraps. Good. A Scarce Pacific Northwest poetry publication; published in New Whatcom which today is Bellingham WA. 28pp. in red handsewn wraps. Water damage along the spine top corner chipped else a Good copy. Carrie Blake Morgan was the older sister to the better known Norhtwest poet and writer Ella Higginson who encouraged her to write and had this her first collection of poetry published. She's also a notable Oregon pioneer having come out west on the Oregon Trail in 1864. Poems in this collection such as The Path of Gold To a Mountain and The Old Emigrant Road have poetic connections to her experiences as a young woman in the west. SMITH 7001. Edson & Irish unknown
1821VBF48<p><b>BLAKE</b> William</p><p><i><b>The Pastorals of Virgil</b></i> With a course of English Reading adapted for Schools . enabling youth to acquire the Latin Language in the shortest period of time. Edited by Robert John <b>Thornton</b>. </p><p>London: F C & J Rivington 1821. </p><p>Two volumes illustrated with engraved frontispieces 230 illustrations: of which William Blake has contributed 17 original woodblock designs for the First Eclogue six copperplates of Classical poets and philosophers all of which he also engraved and with four additional Blake designs engraved by other hands. These are WILLIAM BLAKE's only woodcut designs and have remained amongst the most influential woodcuts in the history of British art. Their influence can be seen in the prints of Edward Calvert and Samuel Palmer. The original blocks survive and are preserved in the British Library London last restruck in 1977 by Iain Bain.</p><p>8vo. xii -vii/viii 12 xxiv -i/iv 214 pp. i 215-592 pp. plates erratic preliminaries nonetheless complete as matching collations in both Keynes and Easson/Essick; matching contemporary sheep leather possibly as published.</p><p>Third edition first thus</p><p>Provenance: George R. Gardner pasted bookplate inside covers</p> F C & J Rivington hardcover books
18211228771821. London: 1821. <br /> <br /> 2 vols. small 8vo xii -vii/viii 12 xxiv -i/iv 214 pp; 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. Retrospective early 19th century full calf red labels by Court Benson. <br /> <br /> § A very good copy of a scarce work in any condition as it was issued for use in schools. 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 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. unknown
18211071521821. London: 1821. <br /> <br /> 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. A very fine set internally perfect. Enclosed in a modern protective box.<br /> <br /> § 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 see below 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 also see below and again in 1977 as a set by Iain Bain see below. 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 BB 504. Bindman 602-18. Easson and Essick I X. unknown
