Blake William.ABAA
12 380 résultats
réf. 107296London: plates dated 1825 but published 1826. Folio 320 x 254 mm engraved title and 21 plates. Proofs on India paper mounted on handmade paper some leaves watermarked J. Whatman Turkey Mill 1825. Matted a brilliant set with the original printed label preserved. § First edition limited to 150 proof sets 65 sets were also printed on French paper and 100 sets on drawing paper with the word ‘proof’removed. This is the finest set of the proofs I have ever seen and far outshines the other two original printings and the later re-issue. The India paper set is the best printing of these famous plates which comprise Blake’s major single achievement as a printmaker after the illuminated books. Illustrations of the Book of Job was Blake’s last completed prophetic book: the text a series of biblical quotations is above and below each image. “It was produced while Blake was still working on Jerusalem his most obscure book; yet the illustrations are Blake’s most lucid; and they are the supreme example of his reading the Bible in its spiritual sense” S. Foster Damon A Blake Dictionary p. 217. “The modest size of the central panels does not prevent them from ranking with the supreme masterpieces of graphic art” Ray Illustrator and the Book in England #8. [plates dated] 1825 [but published 1826]. Folio unknown books
réf. 123190London: plates dated 1825 but published 1826. Folio 320 x 254 mm engraved title and 21 plates. Proofs on India paper mounted on handmade paper some leaves 2 5 6 11 14 17 18 watermarked J. Whatman Turkey Mill 1825. Gilt-ruled green morocco over thick boards fleurons at the outer corners double-rule inner frame enclosing a bloom roll gilt-ruled spine sewing bands with gilt red morocco onlays thick dark blue endleaves all edges gilt by Riviere: a brilliant set with no foxing at all interleaved with blanks at the time of binding with no offsetting. Lower cover of the binding at some time tied up with string with ensuing indentation. § First edition limited to 150 proof sets 65 sets were also printed on French paper and 100 sets on drawing paper with the word ‘proof’ removed. This is one of finest sets of the proofs I have ever seen and far outshines the other two original printings and the later re-issue. The India paper set is the best printing of these famous plates which comprise Blake’s major single achievement as a printmaker after the illuminated books. Illustrations of the Book of Job was Blake’s last completed prophetic book: the text a series of biblical quotations is above and below each image. “It was produced while Blake was still working on Jerusalem his most obscure book; yet the illustrations are Blake’s most lucid; and they are the supreme example of his reading the Bible in its spiritual sense” S. Foster Damon A Blake Dictionary p. 217. “The modest size of the central panels does not prevent them from ranking with the supreme masterpieces of graphic art” Ray Illustrator and the Book in England #8. Note: as always the first plate after the title-page is misdated 1828. [plates dated] 1825 [but published 1826]. Folio hardcover books
1826réf. 140948122London: Published by the Author 1826. First Edition. Near Fine. First edition of Blake's visionary interpretation of the first of the Poetic Books in the Old Testament. Folio. Engraved title and 21 engravings on drawing paper. Original buff paste board covers with publisher's printed label over quarter brown cloth; cloth perished at spine rebacked. A beautiful copy retaining the original boards housed in a custom clamshell case with spine tooled in gilt. The first edition was printed in a run of 315 copies and issued in three versions: 150 copies on laid India with the word "Proof" printed in the bottom margin of plates 65 copies on French paper with "Proof" and 100 on Whatman paper with the word "Proof" removed from the copper plates but still faintly visible in some pulls. This copy is from the latter which Keynes calls the Ordinary Issue. Two plates with watermark of "J Whatman Turkey Mill 1825" and one watermarked "J Whatman 1825" Plate No. 1 incorrectly dated "1828". Rubbing to covers light soiling light offsetting and subtle repairs to end sheets. Small chip to corner margin of Plate No. 5 far from the engraving. Provenance: armorial bookplate of Frederick Pollock to front pastedown additional mounted printed note from antiquarian bookseller "This book was purchased in 1941 from London whilst the great battle for civilization was in progress. -Francis Edward Ltd." An impressive production hailed by many to be Blake's greatest masterpiece completed just before the end of his life. "The story which Blake called 'Job's Captivity' fascinated him all his life. He alluded to it throughout his drawings and writings made a large separate print of Job in 1793 and then a series of twenty-one designs for his faithful patron Thomas Butts about 1810" Bentley. Blake took the plates from Butts' earlier commissions and began work on a second set for John Linnell his friend and fellow artist in 1821. Hoping to earn his impoverished aging friend much needed income Linnell completely backed the project monetarily while Blake went to task engraving. Only 20 of the 315 sets were sold during Blake's lifetime mostly to members of his inner circle marking this a commercial failure. However the work was widely recognized as an artistic success amongst the nobility and upper gentry with copies purchased for the King's Library and The Royal Academy. Like many artists Blake did not receive proper recognition until after his death. Admired by John Ruskin he writes highly of the artist in his 1857 text The Elements of Drawing that "The Book of Job . is of the highest rank in certain characters of imagination and expression; in the mode of obtaining certain effects of light it will also prove a very useful example to you. In expressing conditions of glaring and flickering light Blake is greater than Rembrandt." Bentley 421A Keynes 55 vi Ray 8. Published by the Author unknown
1821réf. 1071521821. London: 1821. 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. § 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
réf. 107152London: 1821. 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 by Phil Dusel. A very fine set internally perfect. Enclosed in a modern protective box. § 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 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 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 Blake Books 504. Bindman 602-18. Easson and Essick I X. 1821. 2 vols unknown books
1913réf. 35824Various places chiefly United States and Europe 1913. A substantial archive documenting the scientific technical and personal life of Francis Blake Jr. inventor and electrical engineer associated with the early development of the telephone. The material traces Blake’s career from his work with the U.S. Coast and Geodetic Survey through his experimental work on telephone transmission and his later involvement in patent disputes and the business of telephony. "If the Blake name is unrecognizable today this is no reflection of his accomplishments which were significant but of Blake's loathing for publicity and public attention. Ultimately Blake reached the goals he sought and achieved the anonymity he preferred. Whatever lesson that offers us today the significance of Blake's life and his inventions endures. His story is a compelling and fascinating chronicle of unbounded energy independence and genius" Elton W. Hall Francis Blake: An Inventor's Life Massachusetts Historical Society: 2003 p. xi. At a very young age Francis Blake Jr. the youngest of five children born to Francis Blake Sr. an itinerant businessman and Caroline Trumbull Blake was recognized for his high aptitude in science and math. His uncle a Commodore in the U.S. Navy secured for him an appointment to the U.S. Coast and Geodetic Survey where starting at the age of 16 he excelled at triangulation hydrographic work astronomical measurements and the complicated method of determining trans-Atlantic and trans-continental longitude via telegraphy. His work with the U.S.C.G.S. brought him to France Cuba and all over the United States. Blake's fascination with the technical equipment he encountered and the drive to perfect each piece of apparatus developed into a career as an inventor. Leaving the U.S.C.G.S. in 1877 he began working to that end. Blake first learned of Alexander Graham Bell's invention from his Coast supervisor Julius E. Hilgard who had been one of several judges that had awarded Bell a prize at the 1876 Centennial Exhibition. The telegraphic work Blake had done during his years at the Coast Survey had provided him with a highly sophisticated understanding of electricity Hall pp. 71-72. While Bell had been the first to invent the telephone his first apparatus had a significant flaw: while it listened well it could not transmit speech with distinct quality or sufficient volume for communicants to easily understand one another and carry a meaningful conversation. Famed inventor Thomas J. Edison jumped on the opportunity and sold a better transmitter to Western Union which was poised to take the lion's share of the new telephone market. Working from his home workshop however Blake bested both Bell and Edison inventing a transmitter using a carbon microphone and contacts that telephonically produced better sound quality than anything before. The addition of the Blake transmitter would immediately launch Bell Telephone as the gold standard for the next century. The present archive is predominantly comprised of material from his U.S.C.G.S. work as well as the period during and immediately after the invention of his transmitter. Evidenced throughout are two key components of Blake's character: his continual drive for perfection whether related to an invention construction on his estate Keewaydin or the quality of oats delivered from a local merchant; and his firm belief in his own claims whether related to the endless patent infringement litigation which followed his invention to the monies owed to him from a bequest after the death of a relative. Included are several daily manuscript journals and account books a retained carbon copy letterbook from 1881 and numerous books and pamphlets from his own library related to the telephone including Bell's The Telephone: A Lecture Entitled Researches in Electric Telephony . delivered before The Society of Telegraph Engineers October 31st 1877. Other printed material includes Blake's true copy of the seminal 1879 contract between Western Union and Bell Telephone in which the former agreed to withdraw from the telephone business. Significant holdings of Blake material are found in the Massachusetts Historical Society donated by the descendants of Francis Blake Jr. in May 1964. The present archive was part of the Blake family's Dover Massachusetts residence the contents sold at public auction in 2018. An itemized catalogue of the full Francis Blake archive is available upon request. Elton W. Hall Francis Blake: An Inventors Life Massachusetts Historical Society: 2003. unknown
réf. 107341Chichester. Printed by J. Seagrave and sold by him and P. Humphry et al. for W. Blake 1802. Frontispiece 250 x 174 sheet 175 x 160 platemark mm printed in black on wove paper. Recently cleaned trimmed close to the right plate mark but not touching it other margins wide. § Frontispiece to the first edition of the rarest letterpress publication containing engravings by Blake Hayley's Ballads 1802. The frontispiece Adam and the Beasts is one of Blake’s most alluring images. The illustrations were drawn engraved printed and published by Blake himself. The work was a financial disaster and unfortunately Blake had borne most of the publication costs. He was eventually reduced to reusing unsewn sheets of the 1802 Ballads for sketch paper. Geoffrey Keynes writing in 1921 states: “This edition of the ballads is now extremely rare.” Bentley Blake Books 466. Easson and Essick William Blake Book Illustrator vol. 1 VI. Bindman Complete Graphic Works of Blake 385-398. Essick “A Census of Complete Copies of Designs to a Series of Ballads 1802” Blake: An Illustrated Quarterly spring 2000. “This edition of the ballads is now extremely rare...” Bentley unknown books
1826réf. 41830London: William Blake 1826. Folio. 17 x 13 inches. Engraved pictorial title and 21 engraved plates by Blake each being mounted India paper proofs each plate marked "Proof" in the lower right corner on paper watermarked J. Whatman Turkey Mill 1825. Plate No. 1 misdated "1828". Later straight-grained green morocco gilt with Riviere & Sons spine gilt in compartments Blake's renowned engravings for the Book of Job: one of 150 proof sets on India Paper. "The story which Blake called 'Job's Captivity' fascinated him all his life. He alluded to it throughout his drawings and writings made a large separate print of Job in 1793 and then a series of twenty-one designs now in the Morgan Library for his faithful patron Thomas Butts about 1810" Bentley. Blake had completed the designs for what would become his Illustrations for the Book of Job around 1805-1806 for Thomas Butts a clerk to the commissary general of musters who had by then become Blake's major patron. The publication was not conceived of until ten years later when Linnell hoping to provide his ageing friend with a much needed income offered to finance the engraving and printing. The plates were borrowed back from Butts in 1821 and Blake began the arduous task of the engraving. Although the title page is dated 1825 publication was delayed until 1826 and the date amended on a label pasted to the boards in which the plates were issued. This striking work was printed in four different series during the 19th century: a first set of 150 "proof" copies on india paper 1826 to which series the present set belongs; a second set of 65 "proof" copies on French paper 1826; 100 sets on drawing paper with the word "Proof" removed from the plates 1826; and finally 100 sets on India mounted on heavy paper 1874 pulled from the original plates by Linnell. The 1826 India paper proof sets like the present are the best printing of these famous plates being richly inked strong impressions. Damon describes the illustrations as "Blake's most lucid; and they are the supreme example of his reading the Bible in its spiritual sense." Ray adds that they are "supreme masterpieces of graphic art." Ray Illustrator and the Book in England 8; Damon p. 217; Bindman 625-646; Keynes 55; Binyon 105-126; Bentley 421A. William Blake unknown
1839réf. 18535London: 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
1821réf. VBF48BLAKE William The Pastorals of Virgil 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 Thornton. London: F C & J Rivington 1821. 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. 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. Third edition first thus Provenance: George R. Gardner pasted bookplate inside covers F C & J Rivington hardcover books
1826réf. 65634London: William Blake 1826. BLAKE William. Invented & engraved by William Blake 1825. London: Published by the Author and Mr. J. Linnell 1874. One of 100 sets printed on india paper. Folio sheets: 20 x 14 inches; 510 x 350 mm. engravings 8 1/4 x 6 1/2 inches; 209 x 158 mm. Line-engraved title and twenty-one line- and stipple-engraved plates by and after Blake. Also with an additional letterpress title-page not issued with the book. Printed from the original plates. Evidence of the word proof on the lower edge of engravings number 5 7 8 10 11 12 14 18 and 20. Bound in quarter reverse calf over black cloth. Spine lettered and ruled in gilt. With black and red morocco spine labels lettered in gilt. Marbled endpapers. Corners a bit bumped and cloth lightly scuffed. Sheets mounted on stubs. A bit of very light foxing to some of the sheets generally not affecting engravings mainly title-page sheet and sheet of plate 20. Plate 14 with the mounting sheet trimmed at top margin about 1.5 inches not affecting plate. A fine strikingly clean copy of "Blake's most widely known achievement" Keynes. The engravings were commissioned by John Linnell on March 25 1823. Despite the date 1825 on the engravings the plates were not actually issued until March 1826. The entire edition consisted of 315 sets: 150 "Proof" sets on India paper and sixty-five on French paper were printed in March 1826 at which time the word "Proof" was removed from the plates and 100 sets were printed on drawing paper see Bentley. Blake's original copperplates remained in the possession of the Linnell family and as late as 1863 Linnell was offering for sale sets of the India-paper and French-paper issues. By 1874 these must have been sold as a further 100 sets of the engravings were printed at that time the present copy is from this set. No more pulls were taken between 1874 and 1919 when the copperplates were given by Herbert Linnell to the British Museum. Linnell's son wrote "My father considered the plates at the last 1874 were as good as they ever were for the work being cut by a graver and not etched it is durable- and is not worn by the printing as is the case with an etching." Bentley Books p. 523. Bentley 421A. Binyon 105-126. Russell 33. HBS 65634. $32500. William Blake unknown
1826réf. 65634ìBlakeís Most Widely Known Achievementî BLAKE William. Illustrations of the Book of Job. Invented & engraved by William Blake 1825. London: Published by the Author and Mr. J. Linnell 1874. One of 100 sets printed on india paper. Folio sheets: 20 x 14 inches; 510 x 350 mm. engravings 8 1/4 x 6 1/2 inches; 209 x 158 mm. Line-engraved title and twenty-one line- and stipple-engraved plates by and after Blake. Also with an additional letterpress title-page not issued with the book. Printed from the original plates. Evidence of the word proof on the lower edge of engravings number 5 7 8 10 11 12 14 18 and 20. Bound in quarter reverse calf over black cloth. Spine lettered and ruled in gilt. With black and red morocco spine labels lettered in gilt. Marbled endpapers. Corners a bit bumped and cloth lightly scuffed. Sheets mounted on stubs. A bit of very light foxing to some of the sheets generally not affecting engravings mainly title-page sheet and sheet of plate 20. Plate 14 with the mounting sheet trimmed at top margin about 1.5 inches not affecting plate. A fine strikingly clean copy of ìBlakeís most widely known achievementî Keynes. The engravings were commissioned by John Linnell on March 25 1823. Despite the date 1825 on the engravings the plates were not actually issued until March 1826. The entire edition consisted of 315 sets: 150 ìProofî sets on India paper and sixty-five on French paper were printed in March 1826 at which time the word ìProofî was removed from the plates and 100 sets were printed on drawing paper see Bentley. Blakeís original copperplates remained in the possession of the Linnell family and as late as 1863 Linnell was offering for sale sets of the India-paper and French-paper issues. By 1874 these must have been sold as a further 100 sets of the engravings were printed at that time the present copy is from this set. No more pulls were taken between 1874 and 1919 when the copperplates were given by Herbert Linnell to the British Museum. Linnell's son wrote "My father considered the plates at the last 1874 were as good as they ever were for the work being cut by a graver and not etched it is durable- and is not worn by the printing as is the case with an etching." Bentley Books p. 523. Bentley 421A. Binyon 105-126. Russell 33. HBS 65634. $32500 William Blake hardcover books
1825réf. 11080112mo. London: I. Poole 1825. 12mo frontispiece "A Tribute of Regard."; title-page "Remember Me" etc. with 1826 beneath "Christmas Present"; second engraved leaf recto "Calendar and Album 1826." verso January and February next three leaves with the rest of the Calendar; verso of third leaf "The Virgin Child and St. John”; 8 pp. of engraved music; contents and introduction i ii-xxiv; plate "Her screams aroused her servant"; 1 2-336. With the Blake plate at p. 32 and color plates at 42 73 88 89 93 148 149 275 b/w The Storm and 326 color. Publisher’s original printed yellow paper boards no backstrip occasional spotting but a good copy of this fragile booklet in its rarest format preserved in a cloth box. § Second issue of the book no variance in the plate the contents omits the blank leaves and the misnumbered leaves at the end. One of the rarest of all of the plates designed and engraved by Blake here in its rarest format. The plate titled ‘The Hiding of Moses’ was the last plate designed and engraved by Blake himself for a commercial publication; the original drawing ‘Moses placed in the Ark of Bulrushes’ which closely echoes a tempera now untraced that was executed some 25 years earlier is in the Huntington Library. BB #490B. Easson and Essick William Blake Book Illustrator XI recording the Rosenwald proof and 3 copies. Keynes Blake Studies XIX recording 7 variants but not mentioning the 1826 printing. Also see Bentley’s detailed essay and census of copies in “Remember Me! Customs and Costumes of Blake’s Gift Book” University of Toronto Quarterly 80.4 fall 2011: 880-92. I. Poole hardcover books
1881réf. 108279Impression measures 93. London: Colnaghi printing after 5 March 1881. Impression measures 93.9 x 30 cm. printed on laid India paper; recently cleaned. § Final state: it is worth noting that the only difference between the so-called fourth and fifth states is the absence of the scratched dry-point inscriptions clearly visible in a few prints and less and less visible until completely absent by the time Sessler was printing the plate. Instead of “states” the more accurate definitions might be very early to very late 4th state and in that scheme then this print would be well after the early impressions with some or most of the scratched inscriptions visible but before the Sessler printings of the 1940s none of which were on laid India. “‘Chaucers Canterbury Pilgrims’ was one of Blake’s major attempts at building a reputation as a painter-engraver and achieving the sort of critical and financial success that had escaped him for so many years.…” However Blake wasn’t to meet with the critical success he had hoped for and the competition created when Thomas Stothard executed a plate of the same subject caused him to become bitter. “Most contemporary connoisseurs probably found the print old-fashioned and ‘Gothic’ in the pejorative sense.… The record of prices brought by the print at auction indicates that it has attracted strong interest from collectors only in the last few years” Essick pp. 86-88. “It is only in the last two states of the plate that we find Blake’s mature artistry as an original printmaker bringing to his largest and most ambitious single print the same techniques distinguishing his Job and Dante engravings.” Essick Separate Plates of William Blake XVI and see William Blake Printmaker. Colnaghi printing unknown books
réf. 29315London: Jonathan Cape. 1982. First edition first printing. First edition first printing. Signed and inscribed by the illustrator with original drawings across five pages. Publisher's original light grey cloth with gilt titles to the spine in the Quentin Blake illustrated dustwrapper. Illustrated with ink and wash drawings throughout by Quentin Blake. A near fine copy the binding square and firm the cloth and gilt bright with some very light bumping to the spine tips and corner. The contents with the unavoidable toning to the text block are otherwise clean throughout. Complete with the lightly rubbed and creased dustwrapper that is bright and without loss or tears. Not price-clipped £6.50 net to the lower front flap. An exceptional example embellished with original drawings of Sophie and the BFG spanning the front pastedown endpaper and following page and the BFG running over moonlit fields to the rear endpaper and pastedown. Signed and dated 'August 31st 2014' by Quentin Blake on the half title and further inscribed "& new endpapers" on the title page. A beautifully hand-illustrated and unique first edition of Roald Dahl's much-loved 'The BFG'. The story has inspired numerous stage and screen adaptations most notably the 2016 Walt Disney Pictures film directed by Steven Spielberg starring Mark Rylance Ruby Barnhill Penelope Wilton Jemaine Clement Rebecca Hall Rafe Spall and Bill Hader. The Big Friendly Giant first appeared as a character in 'Danny the Champion of the World' 1975 told as a story by Danny's father. This exceptional copy was embellished by Quentin Blake to raise funds at a charity auction held at Sotheby's on 8 December 2014. The auction titled 'First Editions: Redrawn' invited celebrated illustrators and authors to annotate inscribe and re-illustrate their most iconic children's books in support of Blake's charity the House of Illustration which is dedicated to championing illustrators in the UK. Blake's BFG was offered alongside similarly enhanced first editions by Judith Kerr Lauren Child Richard Adams Cressida Cowell Michael Bond and Raymond Briggs. Further details and images for any of the items listed are available on request. All items are catalogued by humans. Lucius Books welcomes direct contact with our customers. London: Jonathan Cape. 1982 hardcover
1833réf. 188645London: Richard Bentley 1833. With an original Quentin Blake dust jacket for "a fascinating book" First edition in English the "First Editions: Re-covered" copy. This copy features a unique dust jacket by Quentin Blake presenting two original drawings. The first shows Quasimodo hanging from a Notre-Dame buttress 130 x 120 mm and the second depicts Quasimodo swinging on a bell 130 x 166 mm. The jacket is signed and dated "Quentin Blake 21 Sept 2017". A charity auction to benefit the House of Illustration was held on 11 December 2017. Book illustrators fashion artists painters and artists were asked to choose a book which appealed to them. A first edition was then obtained and the artist provided a unique dust jacket. Blake had previously illustrated The Hunchback of Notre-Dame for the Folio Society in 1998. Originally published in French in 1831 the first edition in English appeared as number 32 in Bentley's Standard Novels. This was a series of freshly revised texts in affordable editions of major contemporary authors and it did much to introduce high-calibre international writers such as Hugo to British middle-class readers. This copy is bound without the series half-title. The binding however includes lettering-pieces on the spine with "Standard Novels" and "The Hunchback" on separate panels. In a press interview relating to the 2017 auction Quentin Blake stated that The Hunchback of Notre-Dame "is a fascinating book. More exciting than I expected in fact because Hugo had very good ideas about mediaeval and the modern and it's really what this book is about" AFP News. Small octavo 163 x 101 mm. Engraved frontispiece and additional engraved title. Later 19th-century half calf spine lettered in gilt raised bands marbled sides and endpapers marbled edges. With original dust jacket by Quentin Blake signed on front flap. Housed in a black cloth flat-back box by the Chelsea Bindery. Extremities a little rubbed minor abrasions to spine: a near-fine copy in a fine jacket. AFP News 7 December 2017 available online. hardcover
1827réf. 1050781827. London: William Blake 1827. Printed in black ink on thick card. Very finely printed in good condition though trimmed very close to the image at the left and right edges once pasted down and thus with traces of mounting on the verso and pencil notes from an earlier collector c. 1950 image and plate mark exactly as per Essick 1DD. § Blake's last engraving executed for one of his closest friends. "Blake inscribed the plate lower right with his name and age "A Æ 70." He may have sensed that 1827 could well be the last year of his life but took pride in being capable of pursuing his art and craft to the end. Blake was in fact 69 when he died; perhaps he inscribed "70" on the Cumberland card in anticipation of working on it until he turned that age. At least when considered in retrospect this most unusual inscription contributes to the elegiac and prophetic iconography of the design." The images invoke one of Blake's greatest themes-the relationships between time and eternity. Although probably intended as a calling card two books have been located with this card pasted in both written by George Cumberland Jr. Thus it has on occasion been sold as a "bookplate." Examples on card not in Cumberland's book are exceptionally rare and have been presumed to be of the earliest printing and possibly by Blake himself. All other impressions on laid paper most often are posthumous. Thirty-nine examples in all are known to Essick not including examples now untraced of which eight are on card of which one is described as printed in green ink. Essick The Separate Plates of William Blake XXI see entry 1DD for identical measurements but not this copy. Bindman Complete Graphic Works of Blake 654. unknown
1796réf. 1233581796. London: William Miller 1796 etc. 9 titles mostly bound together and the magazine printing present Burger G. A. Blake William illustrator. Leonora also 'Lenore' and 'Lenora'' Eight different printings six in English and two in German as listed below including the edition illustrated by Blake. London: William Miller 1796 etc. 7 titles bound together and the magazine printing present separately. With a frontispiece and 2 illustrations headpiece and tailpiece designed by Blake and engraved by Perry and other illustrations not by Blake as described below. Old calf very worn covers detached preserved in a new box. § Nine printings of Burger's hugely influential poem bound together including the first edition with Blake's illustrations ridiculed in the press upon publication. One of the rarest letterpress books to contain illustrations designed by Blake. Four copies have sold in the last 60 years; none have appeared at auction. No recorded copy has seven versions of the poem bound together let alone the Monthly Magazine printing which preceded them. Although the binding is in very poor condition it was deemed best to keep the "sammelband" in original condition just as it was assembled by the first owner. Contents: 1 Leonora. A Tale. London: William Miller 1796. 8vo viii 13p. Frontispiece after Daniel Chodowiecki engraved by Harding head- and tailpiece by Harding. Interesting early manuscript notes about the book on half-title see below. 8.5 x 5.5 ins. 2 Lenore. Ein Gedicht. London: gedruckt bey S. Gosnell 1796. 8vo 3 4- 14 2p. Not illustrated. 8.5 x 5.5 ins. Text in German. 3 Leonora. A Tale. Translated and altered from the German. by J.T. Stanley. A New Edition. London: printed by S. Gosnell for William Miller 1796. 4to frontispiece by Blake engraved by Perry half-title xi 16p. inserted additional frontispiece by Chodowiecki not called for headpiece and tailpiece by Blake engraved by Perry 16p. 12 x 9 ins. 4 Leonora. Translated from the German. by W.R. Spencer Esq. With Designs by the right Honourable Lady Diana Beauclerc. London: T. Bensley; for J. Edwards and E. and S. Harding 1796. Large 4to 8 3 4-35p. Frontispiece 4 full-page plates 2 headpieces and 2 tailpieces engraved by Bartolozzi Harding etc. Text in German and English. 14.5 x 10.5 ins. 5 Ellenore a Ballad originally written in German. Norwich: John March and sold by J. Johnson 1796. Sm. to 4 14 2 ad.pp. 11 x 9 ins. Not illustrated. 6 Lenore a Tale. Translated from the German. by Henry James Pye. London: for the author and sold by Sampson Low 1796. Sm. 4to 4 1799. 11 x 9 ins. Not illustrated. 7 Lenore. Ein Gedicht. London: gedrucht bey S. Gosnell 1796. Sm. 4to 2 12p. Head- and tail-piece by Harding. 11 x 9 ins. 8-9 Lenora a Ballad from Bürger. Monthly Magazine: London: March 1796. 8vo 89-196 pp. In modern paper wrappers. This copy bears the bookplate of Frederick Collins Wilson "a keen amateur actor at Cambridge playing female roles. a friend of Alfred Austin." Reilly Mid-Victorian Poetry 1860-1879 1999. and another copy in modern brown wrappers. A manuscript note to the half-title of the first book bound here reads: "Dr. Edward Ash of Holles Street Cavendish Square one of the travelling students of physic upon the Radcliffe Foundation at Oxford and who at Gottingen became Master of the German language translated eight stanzas of this poem and showed them to Mr. Stanley: but refusing to compleat the work it was undertaken by Mr. Stanley. Mr. St. communicated his translation from day to day as it advanced to Lady Di. Beauclerc who without disclosing her intention prepared her drawings since published with the work to put £100 in the pocket of Mr. Spencer Ld. Charles Spencer's son then employed in a translation of it. Upon the discovery of this by Mr. Stanley he immediately sent out this publication; and there was a great fracas between the parties." Writer unknown but perhaps Wilson. The year 1796 saw four translations of Burger's "Lenore" one by J. T. Stanley one by H. J. Pye one by William Taylor the Poet Laureate and a fourth by W. R. Spencer with designs by Lady Diana Beauclerc. Blake was commissioned to create three illustrations for the Stanley translation including the famous frontispiece "Lenore clasping her spectral bridegroom." The British Critic for September 1796 spitefully compared Lady Diana's pictures with those of Blake's: "We are highly impressed by the propriety decorum and grace which characterizes all the figures of this elegant artist Lady Beauclerc even those of a preternatural kind; forming a most striking contrast to the distorted absurd and impossible monsters exhibited in the frontispiece to Mr. Stanley's last edition i.e. Blake's design. Nor can we pass by this opportunity of execrating that detestable taste founded on the depraved fancy of one man of genius which substitutes deformity and extravagance for force and expression and draws men and women without skin with their joints all dislocated; or imaginary beings which neither can nor ought to exist." The Analytical Review chimed in with comments including "perfectly ludicrous instead of terrific." According to German language scholar John George Robertson in his "History of German Literature" 1970 "Lenore exerted a more widespread influence than perhaps any other short poem in the literature of the world. . like wildfire this remarkable ballad swept across Europe from Scotland to Poland and Russia from Scandinavia to Italy. The eerie tramp of the ghostly horse which carries Lenore to her doom re-echoed in every literature and to many a young sensitive soul was the revelation of a new world of poetry. No production of the German "Sturm und Drang"-not even Goethe's Werther which appeared a few months later-had such far-reaching effects on other literatures as Bürger's Lenore; it helped materially to call the Romantic movement in Europe to life." It is also seen by some as a foundational book in the literature of vampirism. Bentley BB 440; BBS p. 203 noting that the Nat. Lib. Scotland copy is colored. Easson and Essick WBBI Vol. II XLVI. Bindman Complete Graphic Works of Blake 380-382. At the Vershbow auction two bidders quickly drove the Leonora watercolor of the tailpiece well past the high estimate of $80000. The work sold for a hammer price of $170000 $207750 with the premium. 123358 $29750.separately. With a frontispiece and 2 illustrations headpiece and tailpiece designed by Blake and engraved by Perry and other illustrations not by Blake as described below. Old calf very worn covers detached preserved in a new box. § Eight printings of Burger's hugely influential poem bound together including the first edition with Blake's illustrations ridiculed in the press upon publication. One of the rarest letterpress books to contain illustrations designed by Blake. Four copies have sold in the last 60 years; none have appeared at auction. No recorded copy has seven versions of the poem bound together let alone the Monthly Magazine printing which preceded them. Although the binding is in very poor condition it was deemed best to keep the "sammelband" in original condition just as it was assembled by the first owner. Contents: 1 Leonora. A Tale. London: William Miller 1796. 8vo viii 13p. Frontispiece after Daniel Chodowiecki engraved by Harding head- and tailpiece by Harding. Interesting early manuscript notes about the book on half-title see below. 8.5 x 5.5 ins. 2 Lenore. Ein Gedicht. London: gedruckt bey S. Gosnell 1796. 8vo 3 4- 14 2p. Not illustrated. 8.5 x 5.5 ins. Text in German. 3 Leonora. A Tale. Translated and altered from the German. by J.T. Stanley. A New Edition. London: printed by S. Gosnell for William Miller 1796. 4to frontispiece by Blake engraved by Perry half-title xi 16p. inserted additional frontispiece by Chodowiecki not called for headpiece and tailpiece by Blake engraved by Perry 16p. 12 x 9 ins. 4 Leonora. Translated from the German. by W.R. Spencer Esq. With Designs by the right Honourable Lady Diana Beauclerc. London: T. Bensley; for J. Edwards and E. and S. Harding 1796. Large 4to 8 3 4-35p. Frontispiece 4 full-page plates 2 headpieces and 2 tailpieces engraved by Bartolozzi Harding etc. Text in German and English. 14.5 x 10.5 ins. 5 Ellenore a Ballad originally written in German. Norwich: John March and sold by J. Johnson 1796. Sm. to 4 14 2 ad.pp. 11 x 9 ins. Not illustrated. 6 Lenore a Tale. Translated from the German. by Henry James Pye. London: for the author and sold by Sampson Low 1796. Sm. 4to 4 1799. 11 x 9 ins. Not illustrated. 7 Lenore. Ein Gedicht. London: gedrucht bey S. Gosnell 1796. Sm. 4to 2 12p. Head- and tail-piece by Harding. 11 x 9 ins. 8 Lenora a Ballad from Bürger. Monthly Magazine: London: March 1796. 8vo 89-196 pp. In modern paper wrappers. This copy bears the bookplate of Frederick Collins Wilson "a keen amateur actor at Cambridge playing female roles. a friend of Alfred Austin." Reilly Mid-Victorian Poetry 1860-1879 1999. A manuscript note to the half-title of the first book bound here reads: "Dr. Edward Ash of Holles Street Cavendish Square one of the travelling students of physic upon the Radcliffe Foundation at Oxford and who at Gottingen became Master of the German language translated eight stanzas of this poem and showed them to Mr. Stanley: but refusing to compleat the work it was undertaken by Mr. Stanley. Mr. St. communicated his translation from day to day as it advanced to Lady Di. Beauclerc who without disclosing her intention prepared her drawings since published with the work to put £100 in the pocket of Mr. Spencer Ld. Charles Spencer's son then employed in a translation of it. Upon the discovery of this by Mr. Stanley he immediately sent out this publication; and there was a great fracas between the parties." Writer unknown but perhaps Wilson. The year 1796 saw four translations of Burger's "Lenore" one by J. T. Stanley one by H. J. Pye one by William Taylor the Poet Laureate and a fourth by W. R. Spencer with designs by Lady Diana Beauclerc. Blake was commissioned to create three illustrations for the Stanley translation including the famous frontispiece "Lenore clasping her spectral bridegroom." The British Critic for September 1796 spitefully compared Lady Diana's pictures with those of Blake's: "We are highly impressed by the propriety decorum and grace which characterizes all the figures of this elegant artist Lady Beauclerc even those of a preternatural kind; forming a most striking contrast to the distorted absurd and impossible monsters exhibited in the frontispiece to Mr. Stanley's last edition i.e. Blake's design. Nor can we pass by this opportunity of execrating that detestable taste founded on the depraved fancy of one man of genius which substitutes deformity and extravagance for force and expression and draws men and women without skin with their joints all dislocated; or imaginary beings which neither can nor ought to exist." The Analytical Review chimed in with comments including "perfectly ludicrous instead of terrific." According to German language scholar John George Robertson in his "History of German Literature" 1970 "Lenore exerted a more widespread influence than perhaps any other short poem in the literature of the world. . like wildfire this remarkable ballad swept across Europe from Scotland to Poland and Russia from Scandinavia to Italy. The eerie tramp of the ghostly horse which carries Lenore to her doom re-echoed in every literature and to many a young sensitive soul was the revelation of a new world of poetry. No production of the German "Sturm und Drang"-not even Goethe's Werther which appeared a few months later-had such far-reaching effects on other literatures as Bürger's Lenore; it helped materially to call the Romantic movement in Europe to life." It is also seen by some as a foundational book in the literature of vampirism. Bentley BB 440; BBS p. 203 noting that the Nat. Lib. Scotland copy is colored. Easson and Essick WBBI Vol. II XLVI. Bindman Complete Graphic Works of Blake 380-382. At the Vershbow auction two bidders quickly drove the Leonora watercolor of the tailpiece well past the high estimate of $80000. The work sold for a hammer price of $170000 $207750 with the premium. unknown
1806réf. 1087301806. London: J Johnson 1806. 2 vols. 4to xviii 423 4 index and plate list; iv 419 6 index and plate list pp with 40 hand-coloured plates in both vol I and vol II as called for plus hand-coloured title page to vol I and coloured vignette to both volumes. 16 of the plates and the two title page vignettes are by Blake. Contemporary diamond calf with gilt rules and decoration including to spine with general light wear the front cover of vol I rehinged; internally good some offsetting and spotting to reverse of a few plates occasional mild foxing to margins but generally a good clean copy. § Second edition revised and enlarged very scarce colored. Stedman's account of the slave rebellion in Dutch Guiana 1772-1777 with 40 hand-colored plates 16 by William Blake. A best-seller in its day and translated many times Stedman's narrative was an important resource for the abolitionist movement across Europe even though Stedman himself was not straightforwardly anti-slavery. Stedman based the text on personal diaries he kept on his travels now held by the University of Minnesota albeit with his numerous accounts of sexual liaisons with free and enslaved women reduced and romaticised. Essick writes that "Stedman's narrative of the brutalities of slavery very probably influenced Blake's own anti-slavery position"; Blake's graphic illustrations of abused slaves infused with human dignity undoubtedly influenced the reading public and advanced the abolitionist's cause. Essick William Blake's Commercial Book Illustrations XXXIII. Bentley Blake Books 499. unknown
1827réf. 105078Printed in black ink on thick card. London: William Blake 1827. Printed in black ink on thick card. Very finely printed in good condition though trimmed very close to the image at the left and right edges once pasted down and thus with traces of mounting on the verso and pencil notes from an earlier collector c. 1950 image and plate mark exactly as per Essick 1DD. § Blake’s last engraving executed for one of his closest friends. The images invoke one of Blake’s greatest themes—the relationships between time and eternity. Although probably intended as a calling card two books have been located with this card pasted in both written by George Cumberland Jr. Thus it has on occasion been sold as a “bookplate”. Examples on card not in Cumberland's book are exceptionally rare and have been presumed to be of the earliest printing and possibly by Blake himself. All other impressions on laid paper most often are posthumous. Thirty-nine examples in all are known to Essick not including examples now untraced of which eight are on card of which one is described as printed in green ink. Essick The Separate Plates of William Blake XXI see entry 1DD for identical measurements but not this copy. Bindman Complete Graphic Works of Blake 654. William Blake unknown books
réf. 108730London: J Johnson 1806. 2 vols. 4to xviii 423 4 index and plate list; iv 419 6 index and plate list pp with 40 hand-coloured plates in both vol I and vol II as called for plus hand-coloured title page to vol I and coloured vignette to both volumes. 16 of the plates and the two title page vignettes are by Blake. Contemporary diamond calf with gilt rules and decoration including to spine with general light wear the front cover of vol I rehinged; internally good some offsetting and spotting to reverse of a few plates occasional mild foxing to margins but generally a good clean copy. § Second edition revised and enlarged very scarce colored. Stedman's account of the slave rebellion in Dutch Guiana 1772-1777 with 40 hand-colored plates 16 by William Blake. A best-seller in its day and translated many times Stedman's narrative was an important resource for the abolitionist movement across Europe even though Stedman himself was not straightforwardly anti-slavery. Stedman based the text on personal diaries he kept on his travels now held by the University of Minnesota albeit with his numerous accounts of sexual liaisons with free and enslaved women reduced and romaticised. Essick writes that "Stedman's narrative of the brutalities of slavery very probably influenced Blake's own anti-slavery position"; Blake's graphic illustrations of abused slaves infused with human dignity undoubtedly influenced the reading public and advanced the abolitionist's cause. Essick William Blake's Commercial Book Illustrations XXXIII. Bentley Blake Books 499. J unknown books
1941réf. 35790London 1941. Engraving printed on Rives wove paper watermarked "France". A rich impression in excellent condition. Fifth state of five. Image size: 11 3/4 x 37 inches. Final state of the largest Blake engraving. "Every age is a Canterbury Pilgrimage" wrote William Blake 1757-1827 poet and probably the most imaginative and original artist in the history of British art. "We all pass on each sustaining one or other of these characters nor can a child be born who is not one or other of these characters of Chaucer." Working in an archaic style intended to evoke the engravings of Chaucer's time Blake presents us with the cast of Chaucer's Tales as they begin their pilgrimage. Since Blake understood his subject so well and wrote with such elegance we can do no better than to use as a guide his own description of the engraving: "The time chosen is the early morning before sunrise when the jolly company are leaving the Tabarde Inn. The Knight and Squire with the Squire's Yeoman lead the Procession; next follow the youthful Abbess her nun and three priests; her greyhounds attend her. Next follow the Friar and Monk and then the Tapiser the Pardoner and the Sompnour and Manciple. After this 'Our Host' who occupies the centre of the cavalcade and directs them to the Knight as the person who would be likely to commence their task of each telling a tale in their order. After the Host follows the Shipman the Haberdasher the Dyer the Franklin the Physician the Ploughman the Lawyer the Poor Parson the Merchant the Wife of Bath the Miller the Cook the Oxford Scholar Chaucer himself; and the Reev comes as Chaucer has described:- And ever he rode hindermost of the rout." The view is eastward from the Tabard in Southwark across the Bridge from London as Blake conceived it to have been in Chaucer's day. He based his costumes on ancient monuments and other records. "As a literary piece" it has been noted Blake's engraving "has hardly an equal in the whole field of art." The engraving was begun late in 1809 and issued by the artist in October the following year. In his Prospectus for the issue Blake declared that the English nation would 'flourish or decay' according to the recognition they gave him for his year's labor. The printing plate survived and passed after Blake's death through the estate of Blake's wife finding its way to the collection of John Giles. Sold at auction with Giles collection in 1881 the printing plate was purchased by Colnaghi who issued restrikes on laid India paper. By 1940 the plate was in the possession of a New York art dealer who sold it to the wife of noted collector A. Edward Newton for her to present to her husband as a fiftieth anniversary present. After Newton's death the plate was sold with his famed library at auction on 16 April 1941 for the princely sum of $2300 to Charles J. Rosenbloom via his agent at the Parke Bernet sale Philadelphia bookseller Charles Sessler. Before delivering the printing plate to Rosenbloom Sessler had a small number of prints pulled on French hand-made paper. Although Rosenbloom only authorized 35 prints Essick and Young identified at least ninety-one impressions. "Whereas most of the identifiable Colnaghi restrikes were flatly printed the Sessler prints were heavily inked and printed. The plate shows minimal wear and the Sessler prints are generally preferable to Colnaghi's earlier printings -- probably because of better cleaning of the copper and superior presswork" Essick and Young. Rosenbloom donated the plate to Yale University in 1973. Robert Essick and Michael Young "Blake's Canterbury Print: The Posthumous Pilgrimage of the Copperplate" in Blake: An Illustrated Quarterly Vol. 15 No. 2 Fall 1981 pp. 78-82; Essick Separate Plates of William Blake XVI. unknown books
réf. 106538London: W. Pickering Chancery Lane and W. Newbery 6 Chenies Street Bedford Square 1839. Small 8vo xxi 3 74 pp. Original pebbled plum cloth upper cover lettered in gilt partly worn away as often a very good copy in a variant original binding slightly worn around the edges upper hinge a touch weak internally bright and very attractive. Enclosed in a modern protective box. § First Typographical Issue the issue with the poem “The Little Vagabond” not present - this has long been held to be the first issue see Keynes although others have claimed that it was present but cancelled due to content and thus this is the second issue. Either case is plausible; copies of each issue turn up with about the same frequency which is to say rarely. The preface by J.J. Garth Wilkinson gives a mostly favorable account of Blake’s life in the context of his work and concludes stirringly: “If the volume gives one impulse to the New Spiritualism which is now dawning on the world;-if it leads one reader to think that all Reality for him in the long run lies out of the limits of space and time; and that spirits and not bodies and still less garments are men; if it gives one blow even the faintest to those term-shifting juggleries which usurp the name of “Philosophical Systems” and all the energies of all the forms of genuine Truth must be henceforth expended on these effects it will have done its work in its little day.” Keynes Blake 135 issue without “The Little Vagabond". Bentley Blake Books 171 this issue said by Bentley to have two leaves canceled by the editor out of prudishness. W. Pickering hardcover books
1797réf. 48706London.: 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
1987réf. 1106893 huge black slipcases. Paris: Trianon Press for the Blake Trust 1987. 3 huge black slipcases with contents in various formats see below. In perfect condition as issued. § Edition limited to 365 copies in three different formats and a super de luxe edition limited to 22 sets of which this is #D. The super de luxe issue includes David Bindman ed. William Blake’s Illustrations of the Book of Job: The Engravings and Related Material with Essays Catalogue of States and Printings Commentary on the Plates and Documentary Record by David Bindman Barbara Bryant Robert Essick Geoffrey Keynes and Bo Lindberg. London: The William Blake Trust 1987. The work is housed in four cloth slipcases trimmed in morocco as follows:1. Text volume with the title page and colophon. Contents:Stephen Keynes “Acknowledgments.”Charles Ryskamp “Foreword.”David Bindman and John Commander “Preface.”Geoffrey Keynes “The Development of the Job Designs.”David Bindman “The Book of Job Designs from Butts Series to Final Engravings.”Robert Essick “Blake’s Engravings to the Book of Job: An Essay on Their Graphic Form and Catalogue of States and Printings.”Barbara Bryant “The Job Designs; a Documentary and Bibliographical Record.”Quarter morocco and cover label. In the same slipcase: William Blake’s Illustrations of the Book of Job: The Plates with related designs and with an Introduction and Plate-by-Plate Commentary by Bo Lindberg. Loose in fascicles in a quarter morocco folder quarter morocco clamshell box with cover label.2. Colour Versions of William Blake’s Book of Job Designs from the Circle of John Linnell. With an essay by Bo Lindberg. Text volume quarter morocco with cover label. Quarter-morocco clamshell box with cover label with the following quarter-morocco folders with cover labels as quoted below contents loose:a. “The New Zealand set”b. “The Collins set”c. “The Fitzwilliam plates”3. “Additional Material 1.” Quarter-morocco clamshell box with cover label with the following quarter-morocco folders with cover labels as quoted below contents loose:a. “Pages from the ‘Riches’ sketchbook with colour washes not published”b. “William Blake Illustrations of the Book of Job Alternative printing of the engravings without plate mark”c. “Facsimiles of subjects from the Butts version watercolours printed collotype by Emery Walker for the Pierpont Morgan Library edition 1935”. Two mounted color reproductions.d. “Proofs guides and stencils for colour plates from Colour versions of Blake’s Book of Job designs Trianon Press Paris c. 1974”4. “Additional Material 2.” Quarter-morocco clamshell box with cover label with the following quarter-morocco folders with cover labels as quoted below contents loose:a. “Label printed for original publication March 1826”b. “Colour versions of William Blake’s Book of Job designs from the circle of John Linnell Collins & New Zealand sets & Fitzwilliam plates.” Housed in three paper folders. The same reproductions as those in box 2 above.Bentley BBS pages 198-99. Trianon Press for the Blake Trust hardcover books
