Blake, WilliamBiblio.com
18 317 résultats
réf. 1077748182. London: March 8 1828 i.e 1825 but published 1826. Single leaf recently cleaned. § First edition one of 100 sets printed directly onto Whatman wove with the word "proof" removed. Bentley Blake Books 421A. Bindman Complete Graphic Works of Blake 625-641C. unknown
1983réf. 5241New York: Farrar Straus Giroux 1983. Numbered. Hardcover. Very Good/Good. Limited First American Edition of this now famous Roald Dahl classic. This is copy #31 of a limited run of 300 copies. This copy signed by both author Roald Dahl and longtime collaborator Quentin Blake. Housed in original bright yellow slipcase which has some wear and mild staining on back side. The book is in very good shape and carries a personal gift inscription on the FFEP from 1987 stating 'To Grant with love Mom'. Signed in felt marker by Dahl and Blake on limited edition page. Farrar Straus Giroux hardcover
1826réf. 1233531826. 1826. Folio single sheet 16 1/4 x 11 image inc. platemark 8 1/4 x 6 1/2 ins. Fine. § First edition from the printing of 65 sets with the word "Proof" on French wove paper. A fine impression of one of the most affecting plates in this series in which Job laments his unfortunate existence while his friends bear witness to his grief in silence Job 3:3. Illustrations of the Book of Job was Blake's last completed prophetic book. "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. Bentley Blake Books 421A. Bindman Complete Graphic Works of Blake 625-641C. Provenance: Sotheby's May 4& 5 1983. unknown books
réf. 1246368182. London: March 8 1828 i.e 1825 but published 1826. Single leaf recently cleaned. § First edition one of 100 sets printed directly onto Whatman wove with the word "proof" removed. Bentley Blake Books 421A. Bindman Complete Graphic Works of Blake 625-641C. unknown books
réf. 1077748182. London: March 8 1828 i.e 1825 but published 1826. Single leaf recently cleaned. § First edition one of 100 sets printed directly onto Whatman wove with the word "proof" removed. Bentley Blake Books 421A. Bindman Complete Graphic Works of Blake 625-641C. unknown books
réf. 1246378182. London: March 8 1828 i.e 1825 but published 1826. Single leaf recently cleaned. § First edition one of 100 sets printed directly onto Whatman wove with the word "proof" removed. Bentley Blake Books 421A. Bindman Complete Graphic Works of Blake 625-641C. unknown books
réf. 70297Guildford: Genesis Publications 1991. LIMITED EDITION SIGNED by Eric Clapton and Peter Blake. No.2387 of 3000 copies. Slim Quarto with colour plates and illustrations. Book and scrapbook with additional material. Original green morocco boards gilt edges together with a laminated stage pass guitar picks and a pack of guitar strings plus limited double CD '24 Nights' the whole contained in custom-made clamshell box with card tray. A superb production as expected from Genesis the pioneers of high quality art-rock publications. Fine throughout. 24 Nights is a unique collaboration between Eric Clapton Peter Blake and Derek Taylor. Issued to commemorate Eric Clapton's record 24-night performance at the Royal Albert Hall in 1991. Peter Blake's scrapbook is a collection of pencil sketches charcoal drawings and montages showing Eric and the band during rehearsals and performances. Blake was the Associate Artist of the National Gallery and is probably best known for his graphic cover of The Beatles' 'Sergeant Pepper' album cover. A vast selection of original memorabilia from the concert tour including back stage passes hotel room lists Polaroid photographs seating plans set lists laminates and sheet music are reproduced in the scrapbook many of them tip-ins pasted in by hand. The scrapbook is accompanied by a commentary book by Derek Taylor. Taylor attended rehearsals in Dublin performances at the Royal Albert Hall and the after-show party. His account provides a unique insight into the backstage and on-the-road world of Eric Clapton and his band. A former publicist for the Beatles' Apple Corps as well as the Mamas and Papas The Beach Boys and The Byrds Taylor was one of the most influential music industry professionals of the time. His commentary offers the reader a rare opportunity to experience an insider's perspective on the man who is universally recognised as the world's greatest blues guitarist labelled 'God' during his time with John Mayall Cream and Blind Faith in the mid to late sixties. A very early pop title from Genesis who have published well in excess of 80 music books; preceded only by I Me Mine 1980 Fifty Years Adrift 1984 Twenty Years Ago Today 1987 Songs by George Harrison 1987 and Blinds and Shutters 1990. Guildford: Genesis Publications, 1991 unknown
1925réf. 1277651925. BLAKE William. The Writings of William Blake. Edited in Three Volumes by Geoffrey Keynes. WITH: WILSON Mona. The Life of William Blake. London: Nonesuch Press 1925-27. Together four volumes. Quarto original half vellum marbled boards uncut and unopened. $1850.Limited Nonesuch Press edition of Blake's Writings number 943 of 1575 copies printed on Vidalon handmade paper the first complete edition of the poet's writings. Together with Mona Wilson's important Life of William Blake number 376 of 1480 copies.This is the first attempted collection of Blake's prose and the first edition to contain all of his poetry and prose. It includes many previously unpublished and important letters and fragments and draws on the poet's annotations and manuscripts to present corrected texts of numerous poems. Keynes arranges Blake's writings chronologically so the reader can clearly see how his mythic system evolved. Contains over 80 plates reproducing Blake's paintings and engravings. Wilson's Life printed in like format with an additional 24 tipped-in collotypes is still considered the standard biography. ""I have always regarded her book as the most important biographical account of Blake to have appeared since the second edition of Gilchrist's Life in 1880"" Keynes. The Nonesuch Press was founded in 1923 with the intent to make books ""for those among collectors who also use books for reading"" Ransom 169. Bentley 2981. Bookplates; owner penciled annotations on rear pastedowns of The Life and Volume I of The Writings.Interiors clean and fine. Spines slightly darkened as often; a touch of rubbing to corners. A handsome set in near-fine condition. hardcover
1925réf. 1277651925. BLAKE William. The Writings of William Blake. Edited in Three Volumes by Geoffrey Keynes. WITH: WILSON Mona. The Life of William Blake. London: Nonesuch Press 1925-27. Together four volumes. Quarto original half vellum marbled boards uncut and unopened. $1850.Limited Nonesuch Press edition of Blake's Writings number 943 of 1575 copies printed on Vidalon handmade paper the first complete edition of the poet's writings. Together with Mona Wilson's important Life of William Blake number 376 of 1480 copies.This is the first attempted collection of Blake's prose and the first edition to contain all of his poetry and prose. It includes many previously unpublished and important letters and fragments and draws on the poet's annotations and manuscripts to present corrected texts of numerous poems. Keynes arranges Blake's writings chronologically so the reader can clearly see how his mythic system evolved. Contains over 80 plates reproducing Blake's paintings and engravings. Wilson's Life printed in like format with an additional 24 tipped-in collotypes is still considered the standard biography. ""I have always regarded her book as the most important biographical account of Blake to have appeared since the second edition of Gilchrist's Life in 1880"" Keynes. The Nonesuch Press was founded in 1923 with the intent to make books ""for those among collectors who also use books for reading"" Ransom 169. Bentley 2981. Bookplates; owner penciled annotations on rear pastedowns of The Life and Volume I of The Writings.Interiors clean and fine. Spines slightly darkened as often; a touch of rubbing to corners. A handsome set in near-fine condition. hardcover books
réf. 140945032New York: Viking Kestrel 1988. First American Edition. Hardcover. Near Fine. Advance reading copy of the first American edition and uncommon in this format. Bound in publisher's original yellow wraps printed in black. Near Fine with light soiling light wear and light toning to wraps several stray ink marks to the textblock edge. Contents toned. The beloved young adult novel that inspired a film adaptation in 1996 illustrated by Quentin Blake. Viking Kestrel hardcover
réf. 140943860London: Jonathan Cape 1980. First Edition. Near Fine. Advance uncorrected proof of the first edition. Bound in publisher's red wraps printed in black. Near Fine with light edge wear fading and tiny scrape to spine "Sept/Oct 80" penned to top margin of front cover light foxing. A rare format. Jonathan Cape unknown
réf. 140945032New York: Viking Kestrel 1988. First American Edition. Hardcover. Near Fine. Advance reading copy of the first American edition and uncommon in this format. Bound in publisher's original yellow wraps printed in black. Near Fine with light soiling light wear and light toning to wraps several stray ink marks to the textblock edge. Contents toned. The beloved young adult novel that inspired a film adaptation in 1996 illustrated by Quentin Blake. Viking Kestrel hardcover books
réf. 140943860London: Jonathan Cape 1980. First Edition. Near Fine. Advance uncorrected proof of the first edition. Bound in publisher's red wraps printed in black. Near Fine with light edge wear fading and tiny scrape to spine "Sept/Oct 80" penned to top margin of front cover light foxing. A rare format. Jonathan Cape unknown books
1857réf. 336986Ohio: J. & H. Miller 1857. First Edition; First Printing. Hardcover. Good in boards. Front and rear hinges repaired and held with adhesive. Spine crown and heel repaired and held with glue. Light foxing throughout text block. J. & H. Miller hardcover
1793réf. 259455London: Printed for John Stockdale 1793. First Stockdale edition and first with the Blake plates first issue with the long 's' throughout. 2 engraved title-pages with vignette "Gay Monument" frontispiece and 68 illustrations including 12 etchings by William Blake. ii xii 225; ii vii 188 pp. 2 vols. 8vo 10-3/8 x 6-3/4 inches. Contemporary full straight-grained red morocco covers stamped in gilt with outer roll border flat spines divided into 6 compartments 2 with title and volume number the rest gilt with small tool a.e.g. marbled endpapers. Light wear to extremities some foxing to title-pages. Bookplate of Frasier W. McCann. First Stockdale edition and first with the Blake plates first issue with the long 's' throughout. 2 engraved title-pages with vignette "Gay Monument" frontispiece and 68 illustrations including 12 etchings by William Blake. ii xii 225; ii vii 188 pp. 2 vols. 8vo 10-3/8 x 6-3/4 inches. A tall copy in contemporary binding of the Stockdale edition of Gay's Fables with 12 engravings by Blake who freely adapted his source material. Ray considers this one of the best examples of Blake's work as a reproductive engraver. Bentley & Nurmi 371A; Ray England 1; Essick William Blake's Commercial Book Illustrations XXVI Printed for John Stockdale unknown
1808réf. 951London: T. Bensley for R. H. Cromek 1808. First Edition. William Blake. 1st edition 4to 337 x 270mm xiv 36 4. of Blake's illustrations for Blair's 1743 poem. Portrait frontispiece after Phillips etched title page 11 plates by Luigi Schiavonetti engraved after Blake's designs. One of about 590 copies published by subscription. Some foxing particularly concentrated at the portrait and etched title page else very good in 20th century 1/2 calf and marbled boards. In October 1805 Blake was commissioned by the publisher Cromek to prepare 40 drawings for the poem. Disagreements between Blake and Comek about the artistic direction led to hiring Schiavonetti for the engraving. Bentley Blake Books 435B. Bindman Complete Graphic Works of Blake 465-476. Keynes 81. Ray 6. T. Bensley for R. H. Cromek unknown
1984réf. 87851London: Quartet Books 1984. First Edition stated Presumed first printing limited to only 10000 copies. Hardcover. Very good/Very good. Rebecca Blake Photographer. The format is approximately 1125 inches by 13.5 inches. DH has slight wear and soiling. Unpaginated. Preface Nocturnes Fairy Tales Night visions Forbidden Dreams Virgins and Vampires Index. Afterword. Profusely illustrated in color. Signed and dated on the title page after the verso. Concept by David Leddick. Design by Vincent Gagliostro. Preface by Lina Wertmuller. This is an oversized book and if sent outside of the United States will require additional shipping charges. Seventy-eight fashion photographs combine eroticism violence surrealism and a sense of mystery. Passion glamour eroticism irony these are Rebecca Blake's obsessions document here in seventy-eight photographs that sear--and chill--with a dry-ice intensity. While issuing form the concerns and conventions of fashion photography Blake's work transcends that or any other genre sometimes achieving the character of the psychological portrait sometimes that of the cinematographic tableau. Always sumptuous--never more so that when they flirt with the violent the gritty the ambiguous these images are of a complexity that rewards and occasionally defies multiple viewings. Rebecca Blake was an acclaimed music video/commercial director and fashion photographer perhaps best known for her collaborations with music artist Prince. Born in Antwerp Belgium Blake came to the United States at a young age and her European roots are evident in her work and aesthetics. She attended the prestigious High School for Music and Art as a piano major before attending New York University where she earned her Bachelor’s Degree studying music and art history. After graduating college Blake quickly established a career as a successful commercial photographer working with some of the world’s most prestigious fashion and beauty brands: Estee Lauder Revlon Elizabeth Arden Yves St. Laurent and Clairol among others. In 1977 she was hired by director Irvin Kershner to work closely with both himself and actress Faye Dunaway as special photographic consultant on the feature film The Eyes of Laura Mars which starred Dunaway as a New York fashion photographer who has premonitions of murders. At the same time Blake was commissioned by Columbia Pictures to create a series of erotic photographs which were featured in the film alongside work by German fashion photographer Helmut Newton. Blake quickly moved into directing commercials for clients such as L’Oréal Pantene Revlon Shiseido Victoria’s Secret Guess Maybelline Citroen and Volkswagen. Over the course of her career Blake worked with an extensive list of the top models musicians and actors of our time: Angelina Jolie Claudia Schiffer Kate Moss Cindy Crawford Hallie Berry Jessica Lange Monica Bellucci John Travolta Christie Brinkley U2 Duran Duran Debbie Harry Sheena Easton Sheila E. Michael Bolton KISS George Benson Pattie La Belle Stephanie Seymour Lauren Hutton Paulina Porizkova Brooke Shields Grace Jones Vanessa Williams John Malkovich Kevin Kline Darryl Hall and Luis Miguel among others. Blake was a trailblazer in many ways being one of the handful of women who were able to break into the traditional “boy’s club” of advertising and music video production at a time when females were relegated to lesser roles. Blake’s photography is in the permanent collections of the International Center of Photography The Brooklyn Museum and The Mellon Collection of Surreal Art. Her work has been exhibited at The Rizzoli Gallery Nikon House The Hastings Gallery The Witkin Gallery and The Light Gallery among others. I. Quartet Books hardcover
1893réf. 1270451893. London: Quaritch 1893. Large 4to xxi pp. text 54 leaves printed in outline in reddish brown. Original half hardgrain morocco first blank and title-page foxed otherwise internally a very fine copy with some light wear to the backstrip. § A very scarce companion volume to the colored version both issued by Quaritch at the same time. Bentley Blake Books 173. Bookplate at the front of Pickford Waller and in the back that of Harris Elliott Kirk. unknown
réf. 1081121987. Paris: Trianon Press for the Blake Trust 1987. 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. § 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
1935réf. 79441935. New York: Pierpont Morgan Library 1935. Large 4to text illustrations including 63 color facsimile plates in six fascicles in original wrappers with labels; near fine copy small stain to one wrapper enclosed in the original blue cloth box rather worn. § A magnificent production showing for the first time the three colored sets done by Blake and the drawings for the smaller set as well as reproducing in fine facsimile the proof issue of the first printing. Issued in a small edition and hard to find in good condition. Bentley BB 374. "The 134 plates of this excellent edition include Blake's pencil drawings and watercolors and proofs of his engravings. For the genesis of Job it is of crucial importance." Despite the Trianon Press edition of 1987 this edition is still a necessity as it reproduces in color a set not reproduced in color in the Trianon edition. unknown
1886réf. 302951London: Kegan Paul Trench and Co 1886. Folding facsimile of the Blake broadside by William Muir. With explanatory note by Herbert Gilchrist at pp. 159-60. 1 vols. 4to. Blake plate folded fine. Volume bound in contmporary quarter brown morocco and cloth marbled endsheets t.e.g. Minor rubbing to joints. Very good. Folding facsimile of the Blake broadside by William Muir. With explanatory note by Herbert Gilchrist at pp. 159-60. 1 vols. 4to. First volume of the Hobby Horse publication of the influential Century Guild. Notable for the fine facsimile of the rare Blake broadside Little Tom the Sailor. The ballad is by William Hayley and in the autumn of 1800 Blake engraved the two images on pewter. The broadside was "Printed for & Sold by the Widow Spicer of Folkstone for the benefit of her orphans". The facsimile is uncredited but is by William Muir. Bentley 407b Kegan, Paul, Trench and Co unknown
1968réf. 1075951968. 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 flaked. § 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. "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
réf. 1268401972. 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 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 #125. 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. unknown
réf. 1077171972. 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 copy 387. 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. unknown
1948réf. 16214Unknown. 1948. First edition. Matted and framed original artwork for The Case of the Dangra Millions Sexton Lake Library book number 189. 18 1/2" X 17 3/8" in total size. Depicts in full color a man with a gun hiding behind a door who has just knocked unconscious a listener at the door with the butt end of the pistol while a young woman and her male companion look on. Colorful and attractive. Unknown. unknown
