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Blake William. Trianon Press.
The Gates of Paradise. For Children. For the Sexes.
4 vols. London: Trianon Press 1968. 4 vols. 8vo and 12mo Vol. I 8vo i-vii-viii 50 4 pp. Vol. II 12mo 2 pp. 22 plates Vol. III 4 pp. 31 plates Vol. IV 12mo 2 pp. 10 plates negative and copper plate. Original tan morocco volume 4 in brown cloth as issued cloth slipcase gilt lettering to backstrips of all three volumes. Backstrips slightly rubbed. § From an edition of 726 total copies this de luxe copy unnumbered out of series including 700 numbered 1 to 700 of which the first 50 have additional material and are in a special binding. Volume I is an introductory volume followed by three volumes of plates. Bentley Blake Books 48. Trianon Press hardcover books
Riferimento per il libraio : 107595
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Blake William. Trianon Press.
The Gates of Paradise. For Children. For the Sexes.
4 vols. London: Trianon Press 1968. 4 vols. 8vo and 12mo Vol. I 8vo i-vii-viii 50 4 pp. Vol. II 12mo 2 pp. 22 plates Vol. III 4 pp. 31 plates Vol. IV 12mo 2 pp. 10 plates negative and copper plate. Original tan morocco volume 4 in brown cloth as issued cloth slipcase gilt lettering to backstrips of all three volumes. Backstrips slightly rubbed. § From an edition of 726 total copies including 700 numbered 1 to 700 of which the first 50 have additional material and are in a special binding. This is copy number 14 with the first three volumes bound in leather instead of the usual cloth. Volume I is an introductory volume followed by three volumes of plates. Bentley Blake Books 48. Trianon Press hardcover books
Riferimento per il libraio : 110682
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Blake William. Trianon Press.
Water-Colour Designs For The Poems Of Thomas Gray. A Facsimile with Introduction and Commentary by Sir Geoffrey Keynes.
3 volumes. London: Trianon Press 1972. 3 volumes folio with 116 color facsimile leaves reproduced by collotype and hand-stencil color the text of the poems reproduced from copper-plate with 3 additional printings to reproduce Blake’s pencillings and the tone of the paper. Marbled boards morocco backstrips slipcases backstrips stained slipcases worn internally a fine set as issued. § Edition limited to 518 copies in all including 100 copies for Paul Mellon personally of which 12 copies were a super de luxe issue in three volumes with extra material 36 copies were a de luxe issue also with extra material but in sheets unbound18 copies were hors commerce contents unrecorded and 352 copies either bound in 3 volumes in slipcases or as a single set of the loose sheets in a box. This is copy #37.The 116 water-color illustrations to Thomas Gray's poems are among Blake's major achievements as an illustrator. They were commissioned in 1797 by Blake's friend the sculptor John Flaxman as a gift for his wife Ann to whom Blake addressed the poem that ends the series. The commission may have been inspired by the Flaxmans' seeing Blake's water-color designs to Edward Young's Night Thoughts begun in 1795. The Gray illustrations follow the same basic format. Blake cut windows in large sheets of the same type of Whatman paper used for the Night Thoughts illustrations and mounted in these windows the texts of Gray's poems from a 1790 octavo edition published by John Murray leaving out some prefatory materials fly-titles the notes and the 7 engraved illustrations. Blake then drew and colored his designs surrounding the letterpress texts. On blank versos near the beginning of each poem and in one case on a separate piece of paper pasted over letterpress text Blake inscribed with pen and ink either titles for each design or quotations from the poem to indicate the passage illustrated. On most text pages Blake also drew a pencil cross left of the first line of the illustrated passage. He numbered most leaves consecutively in pen and ink beginning a new sequence for each of the 13 poems.Blake conceived of his work as an illustrated book rather than a series of unbound designs as indicated by his offsetting Gray's texts above and to the right left on versos from the middle of each leaf—then the convention for all letterpress books. Although listed by William Michael Rossetti in his catalogue of Blake's drawings and paintings published in the 1863 and 1880 editions of Alexander Gilchrist's Life of William Blake the Gray illustrations were virtually unknown until their rediscovery by Herbert Grierson in 1919.The Trianon Press reproductions are recognized as the finest examples of the art of facsimile reproduction; working from the originals in Paul Mellon’s collection each leaf is faithfully hand-colored through stencils to achieve an astonishing exactitude. The Times Literary Supplement stated that nothing like these books had ever been printed before and that it was highly unlikely that they could be printed again. Bentley Blake Books 385. Trianon Press hardcover books
Riferimento per il libraio : 110681
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Blake William. Trianon Press.
Water-Colour Designs For The Poems Of Thomas Gray. A Facsimile with Introduction and Commentary by Sir Geoffrey Keynes.
Folio. London: Trianon Press 1972. Folio with 116 color facsimile leaves reproduced by collotype and hand-stencil color the text of the poems reproduced from copper-plate with 3 additional printings to reproduce Blake’s pencillings and the tone of the paper. Original sheets marbled boards morocco backstrip lettered in giltquarter brown morocco box. § Edition limited to 518 copies in all including 100 copies for Paul Mellon personally of which 12 copies were a super de luxe issue in three volumes with extra material 36 copies were a de luxe issue also with extra material but in sheets unbound18 copies were hors commerce contents unrecorded and 352 copies either bound in 3 volumes in slipcases or as a single set of the loose sheets in a box. This is #370.The 116 water-color illustrations to Thomas Gray's poems are among Blake's major achievements as an illustrator. They were commissioned in 1797 by Blake's friend the sculptor John Flaxman as a gift for his wife Ann to whom Blake addressed the poem that ends the series. The commission may have been inspired by the Flaxmans' seeing Blake's water-color designs to Edward Young's Night Thoughts begun in 1795. The Gray illustrations follow the same basic format. Blake cut windows in large sheets of the same type of Whatman paper used for the Night Thoughts illustrations and mounted in these windows the texts of Gray's poems from a 1790 octavo edition published by John Murray leaving out some prefatory materials fly-titles the notes and the 7 engraved illustrations. Blake then drew and colored his designs surrounding the letterpress texts. On blank versos near the beginning of each poem and in one case on a separate piece of paper pasted over letterpress text Blake inscribed with pen and ink either titles for each design or quotations from the poem to indicate the passage illustrated. On most text pages Blake also drew a pencil cross left of the first line of the illustrated passage. He numbered most leaves consecutively in pen and ink beginning a new sequence for each of the 13 poems.Blake conceived of his work as an illustrated book rather than a series of unbound designs as indicated by his offsetting Gray's texts above and to the right left on versos from the middle of each leaf—then the convention for all letterpress books. Although listed by William Michael Rossetti in his catalogue of Blake's drawings and paintings published in the 1863 and 1880 editions of Alexander Gilchrist's Life of William Blake the Gray illustrations were virtually unknown until their rediscovery by Herbert Grierson in 1919.The Trianon Press reproductions are recognized as the finest examples of the art of facsimile reproduction; working from the originals in Paul Mellon’s collection each leaf is faithfully hand-colored through stencils to achieve an astonishing exactitude. The Times Literary Supplement stated that nothing like these books had ever been printed before and that it was highly unlikely that they could be printed again. Bentley Blake Books 385. Trianon Press hardcover books
Riferimento per il libraio : 110461
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Blake William. Trianon Press.
Water-Colour Designs For The Poems Of Thomas Gray. A Facsimile with Introduction and Commentary by Sir Geoffrey Keynes.
3 volumes. London: Trianon Press 1972. 3 volumes folio with 116 color facsimile leaves reproduced by collo-type and hand-stencil color the text of the poems reproduced from copper-plate with 3 additional printings to reproduce Blake's pencillings and the tone of the paper. Marbled boards morocco backstrips slipcases a very good set as issued. § Limited to 220 copies thus; 100 copies were issued unbound in Port-folio and 36 de luxe copies with extra material. The 116 water-color illustrations to Thomas Gray's poems are among Blake's major achievements as an illustrator. They were commissioned in 1797 by Blake's friend the sculptor John Flaxman as a gift for his wife Ann to whom Blake addressed the poem that ends the series. The commission may have been inspired by the Flaxmans' seeing Blake's water-color designs to Edward Young's Night Thoughts begun in 1795. The Gray illustrations follow the same basic format. Blake cut windows in large sheets of the same type of Whatman paper used for the Night Thoughts illustrations and mounted in these windows the texts of Gray's poems from a 1790 octavo edition published by John Murray leaving out some prefatory materials fly-titles the notes and the 7 engraved illustrations. Blake then drew and colored his designs surrounding the letterpress texts. On blank versos near the beginning of each poem and in one case on a separate piece of paper pasted over letterpress text Blake inscribed with pen and ink either titles for each design or quotations from the poem to indicate the passage illustrated. On most text pages Blake also drew a pencil cross left of the first line of the illustrated passage. He numbered most leaves consecutively in pen and ink beginning a new sequence for each of the 13 poems.Blake conceived of his work as an illustrated book rather than a series of unbound designs as indicated by his offsetting Gray's texts above and to the right left on versos from the middle of each leaf—then the convention for all letterpress books. Although listed by William Michael Rossetti in his catalogue of Blake's drawings and paintings published in the 1863 and 1880 editions of Alexander Gilchrist's Life of William Blake the Gray illustrations were virtually unknown until their rediscovery by Herbert Grierson in 1919.The Trianon Press reproductions are recognized as the finest examples of the art of facsimile reproduction; working from the originals in Paul Mellon’s collection each leaf is faithfully hand-colored through stencils to achieve an astonishing exactitude. The Times Literary Supplement stated that nothing like these books had ever been printed before and that it was highly unlikely that they could be printed again. Bentley Blake Books 385. Trianon Press hardcover books
Riferimento per il libraio : 9106
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BLAKE William
All Religions are One. [With a Bibliographical Statement by Geoffrey Keynes]. 600 COPIES WERE PRINTED
Roy. 8vo., First Edition thus, on watermarked rag paper, with 10 splendid collotype reproductions in the text; marbled boards, green morocco back lettered in gilt, a very good, clean copy housed in publisher's marbled board slip-case. EDITION LIMITED TO 600 NUMBERED COPIES (THIS COPY NO. 391).
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Blake, W ; Trianon Press
Book of Los
Trianon Press Paris first edition 1976. One of 480 numbered ordinary copies from a total edition of 538. Quarter-morocco and marbled boards 4to. 5 facsimile plates 8 pp. From the Commentary: "The Book of Los was the first of the two small books executed by Blake mainly as etchings on copper to be printed as ordinary intaglio plates. The Book of Ahania was the companion volume. The title-pages of both books were dated by Blake 1795 so that they were probably the last ones to be produced in his Lambeth house. Each book exists in only a single copy. For this facsimile direct collotype negatives in the size of the originals were made from the volume in the British Museum. A proof printing was done from these and each plate was then expertly coloured in the Museum to make a faithful replica of the original. The direct collotype negatives were subsequently used again for the printing of the present facsimile the replicas being used as colour-guides for cutting the stencils and for colouring the plates." The book was printed "on Arches pure rag paper made to match the paper used by Blake. Copy no. X a misnumbering as roman numerals were reserved for the 32 special copies this being one of 480 numbered copies from a total edition of 538. Very Good in Very Good slipcase. Trianon Press, Paris, first edition, 1976 hardcover
Riferimento per il libraio : BIBLIO-57445
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Blake, William (Trianon Press)
All Religions are One
1970. London: Trianon Press 1970. <br /> <br /> 4to with 10 facsimile leaves 5 pp. commentary by Sir Geoffrey Keynes plus 32 pp. of the progressive collotype printings. Full green morocco near fine with green marbled slipcase. <br /> <br /> § Copy III of 36 de luxe copies. The total edition was of 662 copies including 36 de luxe copies numbered I-XXXVI 600 regular copies numbered 1-600 and 26 copies lettered A-Z reserved for the trustees of the William Blake Trust and the publishers. Bentley Blake Books 5. All Religions are One c. 1788 is "a small tractate perhaps Blake's first experiment in his illuminated printing it exists in only one copy. It affirms that the Imagination 'is the true man'. and thus early Blake had completed his revolutionary theory of the nature of man and proclaimed the unity of all true religions." Damon Blake Dictionary. unknown
Riferimento per il libraio : 107369
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Blake, William (Trianon Press)
All Religions are One
1970. London: Trianon Press 1970. <br /> <br /> 4to 10 facsimile leaves and 5 pp. of commentary. Original full green morocco backstrip slightly faded as usual slipcase.<br /> <br /> § Edition de luxe this being copy h.c. ii limited to 36 copies specially bound with extra suites of the plates of an edition in all of 662 copies. Bentley Blake Books 5. All Religions are One c. 1788 is "a small tractate perhaps Blake's first experiment in his illuminated printing it exists in only one copy. It affirms that the Imagination 'is the true man'. and thus early Blake had completed his revolutionary theory of the nature of man and proclaimed the unity of all true religions." Damon Blake Dictionary. unknown
Riferimento per il libraio : 104777
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Blake, William Trianon Press
Illustrations of the Book of Job The New Zealand Set
1987. Paris: Trianon Press for the Blake Trust 1987. <br /> <br /> 22 separate plates approx. 15.75 x 12.25 inches 30 x 31 cm each printed in color on Arches housed in a tri-fold paper folder. Very good condition. <br /> <br /> § The New Zealand Set are careful watercolor copies of the central designs of the original engravings produced by the circle of John Linnell presented here in faithful facsimile. Butlin noted in the Blake Quarterly: "The long list of color facsimiles produced by the Trianon Press under Arnold Fawcus for the William Blake Trust were above all objects of beauty recreating as near to perfection as possible Blake's original achievements.". unknown
Riferimento per il libraio : 108112
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Blake, William Trianon Press
Jerusalem. The Emanation of the Giant Albion
1974. London: Trianon Press 1974. <br /> <br /> Folio 25 color plates 8 proofs and commentary at the end eight color facsimile trial proofs twelve pages of text plus an extra suite of fourteen states of plate B collotype proofs and a matching guide-sheet and stencil. Original full brown morocco slipcase. As new. <br /> <br /> § De luxe copy #XXVI of 32 with extra material proofs stencil etc. Limited to 558 copies including 32 de luxe copies numbered I-XXXII 500 regular copies number 1-500 and 26 regular copies lettered A-Z reserved for the Trustees of the William Blake Trust and the publishers. This is a combined facsimile of Lord Cunliffe's copy copy B and Kerrison Preston's proofs; the coloring differs markedly from the Stirling copy copy E which was the first Trianon Press Blake facsimile published in 1951 see above. Jerusalem is the longest of Blake's prophetic books and tells of the fall of Albion Blake's embodiment of man or the Western World. Bentley BB A82. unknown
Riferimento per il libraio : 126961
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Blake, William (Trianon Press)
Jerusalem. The Emanation of the Giant Albion
1974. London: Trianon Press 1974. <br /> <br /> Folio 25 color plates 8 proofs and commentary at the end. Original quarter brown morocco slipcase fine. <br /> <br /> § Limited to 500 copies of which this is No. 289. Jerusalem is the longest of Blake's prophetic books and tells of the fall of Albion Blake's embodiment of man or the Western World. This is the facsimile of Lord Cunliffe's copy and Kerrison Preston's proofs; the coloring differs markedly from the Stirling copy also published in facsimile by Trianon. "The long list of color facsimiles produced by the Trianon Press under Arnold Fawcus for the William Blake Trust were above all objects of beauty recreating as near to perfection as possible Blake's original achievements." Martin Butlin Bentley Blake Books A82. unknown
Riferimento per il libraio : 125249
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Blake, William Trianon Press
Jerusalem. The Emanation of the Giant Albion
1951. London: Trianon Press 1951. <br /> <br /> 4to 6 ix text and 100 color plates. Original blue cloth folding box repaired very good.<br /> <br /> § Limited to 516 copies this is #351. The first of the magnificent series of facsimiles by the Trianon Press of Blake's illuminated books edited by Geoffrey Keynes. Bentley Blake Books 78. Butlin noted in the Blake Quarterly: "The long list of color facsimiles produced by the Trianon Press under Arnold Fawcus for the William Blake Trust were above all objects of beauty recreating as near to perfection as possible Blake's original achievements.". unknown
Riferimento per il libraio : 125255
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BLAKE, William TRIANON PRESS
Jerusalem. The Emanation of the Giant Albion.
London: printed in Paris at the Trianon Press for the Trustees of the William Blake Trust 1974. Limited to 32 deluxe copies with extra material proofs stencil etc. 25 colour plates printed using the collotype and hand-stencil method 8 proofs and commentary by Geoffrey Keynes at the end 8 colour facsimile trial proofs 12 pages of text plus an extra suite of 14 states of plate C & D with a matching guide-sheet and pochoir stencil. Folio original full brown morocco in the original morocco edged marbled paper covered slipcase. Very slight fading to spine otherwise extremely good.The longest of Blake’s prophetic books which tells of the fall of Albion Blake’s embodiment of man or the Western World. Six copies were printed between 1820 & 1827 and a further 4 copies were printed posthumously. This is the facsimile of Lord Cunliffe’s copy copy B and Kerrison Preston’s proofs; the colouring differs markedly from the Stirling copy which was the first Trianon Press Blake facsimile published in 1950.Bentley Blake Books A82. One of only 32 deluxe copies printed in Paris at the Trianon Press for the Trustees of the William Blake Trust unknown
Riferimento per il libraio : 3584
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BLAKE, William TRIANON PRESS
The Book of Ahania.
London: Trianon Press 1973. No.243 of 808 copies. 4to 6 colour facsimile plates reproduced in Paris at the Trianon Press using the collotype and hand-stencil process one black and white illustration plus 5 pp. of commentary by Geoffrey Keynes. 4to. original quarter dark blue morocco marbled paper covered boards in the original marbled paper covered slipcase. A very good bright copy. Booklabel of Elaine Klemen.A facsimile of the only known copy of The Book of Ahania which was owned by Lessing Rosenwald. The original frontispiece was supplied for this facsimile by its owner Geoffrey Keynes. <br>The Book of Ahania continues the story of the Book of Urizen. As Keynes writes: “Ahania the feminine Emanation of Urizen signifies Pleasure in Blake’s system.the poem begins with.a new character Fuzon who.signifies Passion.Fuzon attacks Urizen.with a fiery globe.Urizen was sorely wounded in the loins and.in his agony at losing his source of pleasure he seized on Ahania calling her Sin.Urizen seeks vengeance on Fuzon creating in the process the Serpent of Materialismâ€. Bentley <em>Blake Books</em> A15 Trianon Press hardcover
Riferimento per il libraio : 3550
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BLAKE, William TRIANON PRESS
The Book of Los.
London: Printed at the Trianon Press for the Trustees of The William Blake Trust 1976. No. 156 of 480 ordinary copies in addition there were 32 deluxe copies and 26 copies for the Trustees and publishers. 5 colour facsimile plates made using the collotype and hand-stencil process at the Trianon Press in Paris. Printed on Arches pure rag paper to match the paper used by Blake. 4to. quarter brown morocco marbled paper boards in a marbled paper covered slipcase. Very good.The companion volume to the <em>Book of Ahania </em>printed by Blake in Lambeth in 1795.<em> </em>A facsimile of the only known copy of <em>The Book of Los</em> in the British Museum.<br>In his commentary Geoffrey Keynes writes: “the philosophic message of this small book is hidden in apocalyptic verbiage calculated to puzzle Blake’s small audience. Blake seems to have sensed this obscurity as soon as it was completed and as far as is known he never made another copy.or referred to it.â€<br>Bookplate of Alexander Stone on front pastedown. Bentley <em>Blake Books</em> supplement p. 62. Printed at the Trianon Press for the Trustees of The William Blake Trust hardcover
Riferimento per il libraio : 3552
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Blake, William (Trianon Press)
The Book of Los
1976. London: Trianon Press 1976. <br /> <br /> 4to 5 color plates and commentary. Quarter brown morocco slipcase. A fine copy.<br /> <br /> § Regular copy #166. Limited to 538 copies including 32 de luxe copies numbered I-XXXII 480 regular copies numbered 1-480 and 26 copies lettered A-Z reserved for the Trustees of the William Blake Trust and the publishers. Bentley BBS p. 62.<br /> <br /> The Book of Los is the companion volume to the Book of Ahania. "The poem opens with a lamentation by "Eno aged Mother" over the loss of Edenic pleasures through Urizenic error and the world it creates. The narrative then centers on Los's anguished responses to that world including his transformation of the void into matter and his binding of Urizen. The five plates of The Book of Los were etched in intaglio and printed in 1795. There is only one complete copy A British Museum plus a separate impression of Plate 4. The designs on Plates 1-3 and 5 were color printed from the surfaces of copperplates bearing only etched outlines of the pictorial motifs." The Blake Archive 6288. unknown
Riferimento per il libraio : 5540
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Blake, William Keynes, Geoffrey (Trianon Press)
The Complete Portraiture of William and Catherine Blake
1977. London: Trianon Press: 1977. <br /> <br /> 4to 155 pp. 51 plates. Original full brown morocco slipcase. A fine copy.<br /> <br /> § #5 of 36 de luxe copies signed by Keynes of a total edition of 562 copies. The definitive work about and reproducing all known portraits of Mr. and Mrs. Blake. Not in G.E. Bentley's Blake Books or its supplement. unknown
Riferimento per il libraio : 107381
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Blake, William Keynes, Geoffrey (Trianon Press)
The Complete Portraiture of William and Catherine Blake
1977. London: Trianon Press: 1977. <br /> <br /> 4to 155 pp. 51 plates. Original quarter brown morocco slipcase. Fine as issued. <br /> <br /> § Limited to 562 copies. This is copy 67. The definitive work on all known portraits of Mr. and Mrs. Blake. Not in Bentley BB or supplement. unknown
Riferimento per il libraio : 5339
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Blake, William (Trianon Press)
The Gates of Paradise. For Children. For the Sexes
1968. London: Trianon Press 1968. <br /> <br /> 4 vols. 8vo and 12mo Vol. I 8vo i-vii-viii 50 4 pp. Vol. II 12mo 2 pp. 22 plates Vol. III 4 pp. 31 plates Vol. IV 12mo 2 pp. 10 plates negative and copper plate. Original tan morocco volume 4 in brown cloth as issued cloth slipcase gilt lettering to backstrips of all three volumes. Backstrips slightly flaked.<br /> <br /> § Copy #14 with the first three volumes bound in morocco. From an edition of 726 total copies including 700 numbered 1 to 700 of which the first 50 have additional material and are in a special binding and 26 reserved copies lettered A-Z. Volume I is an introductory volume followed by three volumes of plates. <br /> <br /> "In about 1818 Blake revised For Children: The Gates of Paradise giving the work the new title of For the Sexes: The Gates of Paradise and adding three new text plates at the end Plates 19-21. All twenty-one plates are intaglio etchings/engravings. Plates 19-20 contain brief interpretive statements keyed by number to the preceding design plates. The final plate is addressed to Satan as the "God of This fallen World." Blake Archive. Bentley BB 48. unknown
Riferimento per il libraio : 107595
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BLAKE, William TRIANON PRESS
There is No Natural Religion.
London: printed in Paris at the Trianon Press for the William Blake Trust 1972. No. VI of 50 de luxe copies. 21 plates - 20 plates reproduced by colour collotype with water-color washes by hand through stencil and one engraving; together with a set of plates showing progressive stages of the collotype and hand stencil process with guide sheet and stencil. Edition de luxe limited to 50 copies with additional proof sheets progressive plates and original stencil etc. 2 vols. 4to and small 4to. full brown morocco in original marbled paper covered slipcase. Near fine prospectus inserted loose.The text is a clear statement of Blake’s beliefs regarding the nature of man. The full book only came to light in 1953 and this is the first reproduction of the text. Such maxims are included as “Man’s desires are limited by his perceptions none can desire what he has not perciev’d sic†and “If any could desire what he is incapable of possessing despair must be his eternal lotâ€.Bentley <em>Blake Books </em>202. One of only 50 de luxe copies with additional material printed in Paris at the Trianon Press for the William Blake Trust unknown
Riferimento per il libraio : 3555
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BLAKE, William TRIANON PRESS
There is No Natural Religion.
London: printed in Paris at the Trianon Press for the William Blake Trust 1972. Letter L of 26 copies reserved for the Trustees of the William Blake Trust and teh Publishers. 21 plates - 20 plates reproduced by colour collotype with water-color washes by hand through stencil and one engraving. 2 vols. 4to and small 4to. quarter brown morocco with marbled paper covered boards in original marbled paper covered slipcase. A very good copy.The text is a clear statement of Blake’s beliefs regarding the nature of man. The full book only came to light in 1953 and this is the first reproduction of the text. Such maxims are included as “Man’s desires are limited by his perceptions none can desire what he has not perciev’d sic†and “If any could desire what he is incapable of possessing despair must be his eternal lotâ€.Bentley <em>Blake Books </em>202. printed in Paris at the Trianon Press for the William Blake Trust hardcover
Riferimento per il libraio : 6961
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Blake, William (Trianon Press)
Water-Colour Designs For The Poems Of Thomas Gray. A Facsimile with Introduction and Commentary by Sir Geoffrey Keynes
1972. London: Trianon Press 1972. <br /> <br /> 3 volumes folio with 116 color facsimile leaves reproduced by collotype and hand-stencil color the text of the poems reproduced from copper-plate with 3 additional printings to reproduce Blake's pencillings and the tone of the paper. Marbled boards morocco backstrips slipcases a fine set as issued.<br /> <br /> § Edition limited to 518 copies in all including 100 copies for Paul Mellon personally of which 12 copies were a super de luxe issue in three volumes with extra material 36 copies were a de luxe issue also with extra material but in sheets unbound18 copies were hors commerce contents unrecorded and 352 copies either bound in 3 volumes in slipcases or as a single set of the loose sheets in a box. This is copy #125.<br /> <br /> The 116 water-color illustrations to Thomas Gray's poems are among Blake's major achievements as an illustrator. They were commissioned in 1797 by Blake's friend the sculptor John Flaxman as a gift for his wife Ann to whom Blake addressed the poem that ends the series. The commission may have been inspired by the Flaxmans' seeing Blake's water-color designs to Edward Young's Night Thoughts begun in 1795. The Gray illustrations follow the same basic format. Blake cut windows in large sheets of the same type of Whatman paper used for the Night Thoughts illustrations and mounted in these windows the texts of Gray's poems from a 1790 octavo edition published by John Murray leaving out some prefatory materials fly-titles the notes and the 7 engraved illustrations. Blake then drew and colored his designs surrounding the letterpress texts. On blank versos near the beginning of each poem and in one case on a separate piece of paper pasted over letterpress text Blake inscribed with pen and ink either titles for each design or quotations from the poem to indicate the passage illustrated. On most text pages Blake also drew a pencil cross left of the first line of the illustrated passage. He numbered most leaves consecutively in pen and ink beginning a new sequence for each of the 13 poems.<br /> <br /> Blake conceived of his work as an illustrated book rather than a series of unbound designs as indicated by his offsetting Gray's texts above and to the right left on versos from the middle of each leaf-then the convention for all letterpress books. Although listed by William Michael Rossetti in his catalogue of Blake's drawings and paintings published in the 1863 and 1880 editions of Alexander Gilchrist's Life of William Blake the Gray illustrations were virtually unknown until their rediscovery by Herbert Grierson in 1919.<br /> <br /> The Trianon Press reproductions are recognized as the finest examples of the art of facsimile reproduction; working from the originals in Paul Mellon's collection each leaf is faithfully hand-colored through stencils to achieve an astonishing exactitude. The Times Literary Supplement stated that nothing like these books had ever been printed before and that it was highly unlikely that they could be printed again. Bentley Blake Books 385. unknown
Riferimento per il libraio : 126840
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Blake, William (Trianon Press)
Water-Colour Designs For The Poems Of Thomas Gray. A Facsimile with Introduction and Commentary by Sir Geoffrey Keynes
1972. London: Trianon Press 1972. <br /> <br /> Folio with 116 color facsimile leaves reproduced by collotype and hand-stencil color the text of the poems reproduced from copper-plate with 3 additional printings to reproduce Blake's pencillings and the tone of the paper. Original sheets marbled boards morocco backstrip lettered in giltquarter brown morocco box.<br /> <br /> § Edition limited to 518 copies in all including 100 copies for Paul Mellon personally of which 12 copies were a super de luxe issue in three volumes with extra material 36 copies were a de luxe issue also with extra material but in sheets unbound18 copies were hors commerce contents unrecorded and 352 copies either bound in 3 volumes in slipcases or as a single set of the loose sheets in a box. This is copy 387. <br /> <br /> The 116 water-color illustrations to Thomas Gray's poems are among Blake's major achievements as an illustrator. They were commissioned in 1797 by Blake's friend the sculptor John Flaxman as a gift for his wife Ann to whom Blake addressed the poem that ends the series. The commission may have been inspired by the Flaxmans' seeing Blake's water-color designs to Edward Young's Night Thoughts begun in 1795. The Gray illustrations follow the same basic format. Blake cut windows in large sheets of the same type of Whatman paper used for the Night Thoughts illustrations and mounted in these windows the texts of Gray's poems from a 1790 octavo edition published by John Murray leaving out some prefatory materials fly-titles the notes and the 7 engraved illustrations. Blake then drew and colored his designs surrounding the letterpress texts. On blank versos near the beginning of each poem and in one case on a separate piece of paper pasted over letterpress text Blake inscribed with pen and ink either titles for each design or quotations from the poem to indicate the passage illustrated. On most text pages Blake also drew a pencil cross left of the first line of the illustrated passage. He numbered most leaves consecutively in pen and ink beginning a new sequence for each of the 13 poems.<br /> <br /> Blake conceived of his work as an illustrated book rather than a series of unbound designs as indicated by his offsetting Gray's texts above and to the right left on versos from the middle of each leaf-then the convention for all letterpress books. Although listed by William Michael Rossetti in his catalogue of Blake's drawings and paintings published in the 1863 and 1880 editions of Alexander Gilchrist's Life of William Blake the Gray illustrations were virtually unknown until their rediscovery by Herbert Grierson in 1919.<br /> <br /> The Trianon Press reproductions are recognized as the finest examples of the art of facsimile reproduction; working from the originals in Paul Mellon's collection each leaf is faithfully hand-colored through stencils to achieve an astonishing exactitude. The Times Literary Supplement stated that nothing like these books had ever been printed before and that it was highly unlikely that they could be printed again. Bentley Blake Books 385. unknown
Riferimento per il libraio : 107717
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Blake, William (Trianon Press)
Water-Colour Designs For The Poems Of Thomas Gray. A Facsimile with Introduction and Commentary by Sir Geoffrey Keynes
1971. London: Trianon Press 1971. <br /> <br /> Small folio 72 pages with 16 color facsimile leaves suites of progressive plates and 116 monochrome illustrations. Marbled boards morocco backstrip slipcase. Signed by Keynes. A fine copy as issued.<br /> <br /> § Limited to 28 copies so inscribed and signed by Geoffrey Keynes this particular volume is labeled no. 2. This is the de luxe edition of the trade version of the Gray issued by the Trianon Press in 1972 using 8-color printing. Although the three-volume folio edition is a magnificent piece of book making this version is more accessible and easier to use and enjoy and the quality of the color printing is Trianon Press at its best. <br /> <br /> The 116 water-color illustrations to Thomas Gray's poems are among Blake's major achievements as an illustrator. They were commissioned in 1797 by Blake's friend the sculptor John Flaxman as a gift for his wife Ann to whom Blake addressed the poem that ends the series. The commission may have been inspired by the Flaxmans' seeing Blake's water-color designs to Edward Young's Night Thoughts begun in 1795. The Gray illustrations follow the same basic format. Blake cut windows in large sheets of the same type of Whatman paper used for the Night Thoughts illustrations and mounted in these windows the texts of Gray's poems from a 1790 octavo edition published by John Murray leaving out some prefatory materials fly-titles the notes and the 7 engraved illustrations. Blake then drew and colored his designs surrounding the letterpress texts. On blank versos near the beginning of each poem and in one case on a separate piece of paper pasted over letterpress text Blake inscribed with pen and ink either titles for each design or quotations from the poem to indicate the passage illustrated. On most text pages Blake also drew a pencil cross left of the first line of the illustrated passage. He numbered most leaves consecutively in pen and ink beginning a new sequence for each of the 13 poems.<br /> <br /> Blake conceived of his work as an illustrated book rather than a series of unbound designs as indicated by his offsetting Gray's texts above and to the right left on versos from the middle of each leaf-then the convention for all letterpress books. Although listed by William Michael Rossetti in his catalogue of Blake's drawings and paintings published in the 1863 and 1880 editions of Alexander Gilchrist's Life of William Blake the Gray illustrations were virtually unknown until their rediscovery by Herbert Grierson in 1919.<br /> <br /> The Trianon Press reproductions are recognized as the finest examples of the art of facsimile reproduction; working from the originals in Paul Mellon's collection each leaf is faithfully hand-colored through stencils to achieve an astonishing exactitude. The Times Literary Supplement stated that nothing like these books had ever been printed before and that it was highly unlikely that they could be printed again. Bentley Blake Books 385. unknown
Riferimento per il libraio : 102882
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Boekhoff, Hermann / Joop, Gerhard / Winzer, Fritz (Hrsg.)
Paläste, Schlösser, Residenzen. Zentren europäischer Geschichte
Erlangen, Karl Müller Verlag, 1986, Auflage: Sonderausgabe. Leinen, gebunden; blauer, goldgeprägter, illustrierter Einband, mit farbig illustriertem Schutzumschlag / Anz. Seiten: 367 / 25,5 x 30,5 cm / mit 180 teils doppelseitigen Farbtafeln und zahlreichen Abbildungen im Text / Zustand: gut, leichte Gebrauchsspuren; Schutzumschlag geringfügig berieben und etwas gebräunt, Widmung auf Vorsatz
Riferimento per il libraio : 68394
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BRICOLE, M. Prosper / M. Charles Baudelaire / Fernand Fleuret
DISCOURS PRONONCÉ À L'ACADÉMIE FRANCAISE PAR M. PROSPER BRICOLE POUR LA RÉCEPTION DE M. CHARLES BAUDELAIRE ET RECUEILLI PAR FERNAND FLEURET. - One of 10 copies on 'Japon nacré'.
Paris, Éditions du Trianon, MCMXXXII (1932). Frontispice-plate in original-etching with aquatinta, 89 (1) pages on thick uncut Japan-paper. - Publisher's Japan-paper-wraps with blue-grey dustjacket; 8vo.(ca. 17,5 x 11 cm).
Riferimento per il libraio : 2004270356xbvk
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CHAMPIGNEULLE, Bernard.
Versailles et les Trianons.
in-12, 128 pp., abdt illustre (heliogravures), carte, broche, couverture illustree. Tres bel exemplaire. [GE-4]
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Christian BAULEZ
VERSAILLES - VISITE du PETIT TRIANON et du HAMEAU de la REINE
Un ouvrage de 56 pages, format 140 x 210 mm, illustré, broché couverture couleurs, publié en 1996, Editions d'Art Lys, bon état
Riferimento per il libraio : LFA01bd7
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CZAKO, ETIENNE.
LA VERITE SUR LES DELIBERATIONS PRELIMINAIRES DU TRAITE DU TRIANON.
Editions Danubia , Budapest: 1934. In-12 (20 X 13 cm), broché . 93 pp. non coupées.
Riferimento per il libraio : 410
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Cécile BERLY
Le VERSAILLES de MARIE-ANTOINETTE
Un ouvrage de 112 pages, format 170 x 220 mm, illustré, broché couverture couleurs rempliée, publié en 2013, Editions Artlys, bon état
Riferimento per il libraio : LFA-126749271
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DE NOLHAC Pierre
Versailles et la cour de France
10 volumes in 8 demi-chagrin bleu à nerfs et à coins, titre, caissons, filets dorés. Filet à froid sur les plats, tête dorée, non rogné. Les deux plats de couverture et dos conservés. Illustrations à pleine page. Louis CONARD éditeur .Edition originale. 1) La création de Versailles faux titre, titre, 309 pages, 1 page de table 25 mai 1925. 2) Versailles résidence de Louis XIV faux titre, frontispice, titre, 269 pages, 1 page de table des matières 25 octobre 1925. 3) Versailles au XVIIIème siècle faux-titre, titre, 365 pages, 25 octobre 1926. 4) Trianon faux-titre, titre 309 pages, 15 juin 1927. 5) Louis XV et marie Leczinska. Faux-titre, titre, 342 pages, 20 janvier 1928. 6) Louis XV et madame de POMPADOUR. Faux-titre, titre, 333 pages 15 août 1928. 7) Marie Antoinette dauphine. Taux titre, titre, 331 pages, 20 mars 1929. 8) La reine Marie Antoinette 192. 9) Madame POMPADOUR et la politique Faux-titre, titre, 339 pages. 30 septembre 1930. 10) L’art à Versailles Faux-titre, titre, 288 pages, 1 page de table. 15 décembre 1930. Complet, quelques petites traces de manipulation à quelques coiffes, sans gravité, sinon bele ensemble, bien relié, avec les couvertures et dos conservés.
Riferimento per il libraio : 11272
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de Nolhac Pierre
Versailles et la cour de France. Trianon
Louis Conard, Libraire-Editeur Paris, 1927, in-8 broché, 309pp.-1f. Illustrations en noir hors-texte. Bon exemplaire sur papier vergé. Un tout petit manque en pied du dos sinon très bon état.
Riferimento per il libraio : 16681
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DROGUET, Vincent; SALMON, Xavier et VERON-DENISE, Daniele.
COLLECTION DES DUCS DE MECKLEMBOURG-SCHWERIN. ANIMAUX D'OUDRY.
Paris, Reunion des Musees Nationaux, 2003 Broche, couverture carton illustree en couleurs, 215 x 280mm., 208pp., illustration profonde en couleurs et en n/b. ISBN 2711845826.
Riferimento per il libraio : 23821
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Edouard THIERRY - Henry TRIANON
Sous les rideaux contes d'un soir
Paris: A. BelinLachapelle 1834. Fine. A. Belin Lachapelle Paris 1834 13 x 21.50 cm relié First edition. Half burgundy Russia morocco binding with corners smooth spine decorated with a cartouche arabesques and gilt fillets gilt date at foot very light traces of rubbing without significance to joints gilt fillet frames on marbled paper boards marbled endpapers and pastedowns top edge gilt bookplate pasted on pastedown elegant romantic pastiche binding signed by Pagnant. Work illustrated with an engraving as frontispiece representing Maximilien de Robespierre. Rare and handsome copy attractively bound in a signed binding by Pagnant. A. BelinLachapelle hardcover
Riferimento per il libraio : 55893
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Elsie de Wolfe, Personally SIGNED NOTE, , Elsie de Wolfe Signature ON NOTEPAGE SIGNED Elsie de Wolfe Mendl,, Villa Trianon, , VE
Interior Decorator & Socialite Elsie de Wolfe Signature ON NOTEPAGE SIGNED Elsie de Wolfe Mendl Villa Trianon VERSAILLES 1936 She was Born December 20 186523 July 12 1950 was an American actress interior Decorator
UNBOUND Piece of Paper Signature on page of Elsie de Wolfe. Signature and paper are in GOOD condition heavy glue mounting stains on back of page. SIGNED NOTE Elsie de Wolfe Signature ON NOTEPAGE SIGNED Elsie de Wolfe Mendl Villa Trianon VERSAILLES 1936 IN BLUE INK She was Born December 20 186523 July 12 1950 was an American actress interior decorator nominal author of the influential 1913 book The House in Good Taste4 and a prominent figure in New York Paris and London society. According to The New Yorker "Interior Design as a profession was invented by Elsie de Wolfe."5 During her married life the press usually referred to her as Lady Mendl. De Wolfe's 1926 marriage to diplomat Sir Charles Mendl was page-one news in the New York Times. Shortly after her marriage she scandalized French diplomatic society when she attended a fancy-dress ball dressed as a Moulin Rouge dancer and made her entrance turning handsprings In 1926 the New York Times described de Wolfe as "one of the most widely known women in New York social life" and in 1935 as "prominent in Paris society." Her morning exercises were famous. In her 1935 autobiography de Wolfe wrote that her daily regimen at age 70 included yoga standing on her head and walking on her hands. Signed by Author. Unbound. paperback
Riferimento per il libraio : 26758
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Ernest Jaime
Palais et jardins de Versailles et de Trianon. 26 vues, dessinées d'après nature par Jaime. Gravées par Best et Hotelin
Versailles, Brunox [1867],26 pl. ; In-8° obl.pleine percaline noire dec.editeur,interieur frais - bon etat d'ensemble
Riferimento per il libraio : 20229
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Exhibition catalogue. Trianon Press.
An Exhibition of the Illuminated Books of William Blake Poet Printer Prophet. Arranged by the William Blake Trust. A Commemorative Handbook with a study by Geoffrey Keynes and a foreword by Lessing J. Rosenwald.
4to. Paris: Trianon Press 1964. 4to 56 pp. with a frontispiece and 15 color plates. Original color-printed wrappers covered in mylar some browning to wrappers sale slip from Bridge Books slipped in. § The original 1964 catalogue. Bentley BB 688. Trianon Press unknown books
Riferimento per il libraio : 101594
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Exhibition catalogue. Trianon Press.
An Exhibition of the Illuminated Books of William Blake Poet Printer Prophet. Arranged by the William Blake Trust. A Commemorative Handbook with a study by Geoffrey Keynes and a foreword by Lessing J. Rosenwald.
4to. Paris: Trianon Press 1964. 4to 56 pp. with a frontispiece and 15 color plates. Original color-printed wrappers covered in mylar. Wrappers slightly browned and curled; very good. § The original 1964 catalogue. Bentley BB 688. Trianon Press unknown books
Riferimento per il libraio : 101231
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FUSTER Charles
L'Année fleurie. Poésies de Charles Fuster. Illustrations L. Trianon
HENRY 0 Paris, éd. Henry, A la pensée - in4 (27x 18.5 cm), cousu, cordon et ruban - couverture illustré gaufrée poussiéreuse - 28pp + 1 double page buvard au centre (rousseurs à cette page) - 1 page par mois avec 1 poésie en vis à vis en bel état et 1 page "notes" + 1 page "adresses" ces deux pages ont été écrites sur qq lignes
Riferimento per il libraio : EB7-155
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FUSTER Charles
L'Année fleurie. Poésies de Charles Fuster. Illustrations L. Trianon
HENRY 0 Paris, éd. Henry, A la pensée - in4 (27x 18.5 cm), cousu, cordon et ruban - couverture illustré gaufrée poussiéreuse - 28pp + 1 double page buvard au centre (rousseurs à cette page) - 1 page par mois avec 1 poésie en vis à vis en bel état et 1 page "notes" + 1 page "adresses" ces deux pages ont été écrites sur qq lignes
Riferimento per il libraio : EB7-155
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G. Van der Kemp - J. Levron
Versailles Trianons couverture de Chapelain-Midy orné de 184 photographie
ARTHAUD 1957 237 pages in8. 1957. broché. 237 pages. Ouvrage illustré sur le château de Versailles et ses dépendances (Trianon) publié dans la collection 'Les Beaux pays' par Arthaud. Il contient 184 héliogravures et une couverture de Chapelain-Midy
Riferimento per il libraio : 13901
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Gallwitz, Prof. Dr. Klaus, Friedhelm Hütte und Dr. Marie-Theres Suermann
Zeitgenössische Kunst in der Deutschen Bank Frankfurt
Stuttgart: Ernst Klett Verlag, 1989. 28 cm ; kart.
Riferimento per il libraio : 95152
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GIRARD (Georges). - [DUPANLOUP]. - [MICHELET Jules].
Discours prononcé à l'Académie Française par Mgr. DUPANLOUP pour la réception de M. J. MICHELETL et recueilli par Georges GIRARD. Réceptions Posthumes
Paris, Editions du Trianon, Collection Réceptions posthumes, (N° 5) 1932. In-12, broché, couverture bleu imprimée et rempliée, planche en frontispice (gravure de Joseph Hémard), non coupé, 79 pp. Edition originale tirée à 885 ex. Un des 800 n° sur papier d'Auvergne, fait à la main. Cinquième volume de la collection.
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GIRARD (Georges). - [DUPANLOUP]. - [MICHELET Jules].
Discours prononcé à l'Académie Française par Mgr. DUPANLOUP pour la réception de M. J. MICHELETL et recueilli par Georges GIRARD. Réceptions Posthumes
Paris, Editions du Trianon, Collection Réceptions posthumes, (N° 5) 1932. In-12, broché, couverture bleu imprimée et rempliée, planche en frontispice (gravure de Joseph Hémard), non coupé, 79 pp.
Riferimento per il libraio : 29270
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Goncourt Edmondo e Giulio De
Maria Antonietta
Mm 155x225 Brossura editoriale di pagine 293 con 6 tavole fuori testo, sovraccoperta figurata. Opera in buone condizioni. Spedizione in 24 ore dalla conferma dell'ordine.
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Guerinet, Armand (Hrsg.)
L'Architecture Francaise. Monuments historiques depuis le XIe siècle jusqu'a nos jours. 2° Série: Intérieurs.
Paris. 2° Folio, Halbleinen
Riferimento per il libraio : 95406
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HARPAIN K. & TRIANON
Programme officiel du Trianon. Saison 1926-27
MIRANDA. 1926. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 34 pages. Quelques illustrations et photos en noir et blanc. Encarts publicitaire.. . . . Classification Dewey : 792-Théâtre
Riferimento per il libraio : RO80003421
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HARPAIN K. & TRIANON
Programme Officiel du Trianon. Saison 1930-31
MIRANDA. 1930. In-12. Broché. Bon état, Couv. légèrement passée, Dos satisfaisant, Intérieur frais. 36 pages. Quelques portraits en bleu et blanc dans le texte et hors-texte.. . . . Classification Dewey : 792-Théâtre
Riferimento per il libraio : RO80003422
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Henry TRIANON
Oeuvres Completes De Xenophon.
Hardcover. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; N/A hardcover
Riferimento per il libraio : ria9781019422632_inp ISBN : 1019422637 9781019422632
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