Blake, WilliamBiblio.com
18 288 résultats
réf. 4643Clairvaux: Trianon Press 1976. Hardcover. NF. . Near Fine. Copy XIV of 32 copies published by Trianon Press for the William Blake Trust in London. An edition of 538 copies 32 copies roman numeral numbering bound in full morocco each with a set of plates showing the progressive stages of collotype and hand-stencil process with a guide sheet and stencil. Another 480 numbered copies and 26 copies A - Z reserved for Trustees of The William Blakce Trust and the publishers. Near fine book with some sunning of the spine but boards and internally book is in fine condition. NF Slipcase. Edition marked with beautiful copper plate in the back. Provenance: From the Library of Naim Attallah CBE. Trianon Press hardcover
1926réf. Blake1926BLAKE William The Poems in English by JOHN MILTON in two volumes here bound together. London: Nonesuch Press 1926. Fine reproduction of Blake drawings to accompany this text. Royal 8vo viii 283-vii 357pp; full vellum with gilt-titled spine original acetate paper dust-jacket. As one might expect the vellum binding is opening cockling. One of 90 copies on Oxford India Paper this being copy 30. With a holograph letter from Francis Meynell dated August 21 1926 on Nonesuch Press stationery referring to the India Paper Milton commenting it would have been better had the top edge been rough-gilt. With a newspaper clipped book review for the two volume Milton laid inside. Nonesuch Press hardcover
1926réf. Blake1926BLAKE William The Poems in English by JOHN MILTON in two volumes here bound together. London: Nonesuch Press 1926. Fine reproduction of Blake drawings to accompany this text. Royal 8vo viii 283-vii 357pp; full vellum with gilt-titled spine original acetate paper dust-jacket. As one might expect the vellum binding is opening cockling. One of 90 copies on Oxford India Paper this being copy 30. With a holograph letter from Francis Meynell dated August 21 1926 on Nonesuch Press stationery referring to the India Paper Milton commenting it would have been better had the top edge been rough-gilt. With a newspaper clipped book review for the two volume Milton laid inside. Nonesuch Press hardcover books
1813réf. 82288London:: Printed by T. Bentley for R. Ackermann 1813. Second edition. contemporary half morocco and marbled boards; gilt paneled spine; top edge gilt. Elegant but faint old ink ownership signature on flyleaf; ink name on blank at rear and bookplate on the rear pastedown. The frontispiece portrait of William Blake and the illustrated title page are foxed with an offset shadow of the portrait onto the title page opposite. Only two leaves of the text are uniformly tanned. The full page engravings are clean and undamaged. An attractive copy . Folio. Portrait added engraved title page and eleven full-page engravings after William Blake. . With an introductory poem by William Blake "To the Queen" Printed by T. Bentley for R. Ackermann, hardcover
1784réf. 1266411784. London: Harrison and Co. 1784-1785. 2 vols. in one 8vo 1-9 10-485 1; 1-5 6-193 1 pp. Lacking the folding frontispiece but with the 4 other plates engraved by Blake after Samuel Collings. Contemporary half morocco with pebbled cloth boards. A neatly restored copy plates with some closed tears and repairs. § Only edition quite scarce. "These are the only caricature prints engraved by Blake. The graphic style is appropriately broad and rugged particularly in the barnyard scene. 'Fun I love but too much fun is of all things most loathsom' Blake to Trusler 1799. Blake may have felt that the great rage for caricature prints in the 1790s was a hindrance to the sale of his own original graphic works." Essick CBE p. 37. Bentley Blake Books 513. Essick William Blake's Commercial Book Illustrations XVI. unknown
1784réf. 1266411784. London: Harrison and Co. 1784-1785. 2 vols. in one 8vo 1-9 10-485 1; 1-5 6-193 1 pp. Lacking the folding frontispiece but with the 4 other plates engraved by Blake after Samuel Collings. Contemporary half morocco with pebbled cloth boards. A neatly restored copy plates with some closed tears and repairs. § Only edition quite scarce. "These are the only caricature prints engraved by Blake. The graphic style is appropriately broad and rugged particularly in the barnyard scene. 'Fun I love but too much fun is of all things most loathsom' Blake to Trusler 1799. Blake may have felt that the great rage for caricature prints in the 1790s was a hindrance to the sale of his own original graphic works." Essick CBE p. 37. Bentley Blake Books 513. Essick William Blake's Commercial Book Illustrations XVI. unknown books
1984réf. 90838Quartet Books Ltd. Very Good in Very Good dust jacket. First Edition. Hardcover. First edition of 10000. Black cloth boards with lettering in blind. Photographic jacket. Signed by Blake on the title paged and dated 1984. Rebecca Blake was born in Antwerp Belgium and came to the United States when she was five years old. She received her bachelor's degree from New York University where she studied English literature music and art history. As a photographer she specialized in fashion beauty and protrait projects. Her photographs are included in several permanent collections including The International Center of Photography and the Brooklyn Museum. A tight and clean copy. Jacket with rubbing and toning and minor shelfwear. Interior pages unmarked. Photos upon request. International shipping billed at cost. Please note that the buyer is responsible for any customs duties tariffs or import fees levied by the destination country.; Folio 13" - 23" tall; 126 pages; Signed by Author . 1984. 070432475X . Quartet Books Ltd hardcover
1798réf. 1006531798. London: J. Johnson 1798. All 4 full-page copperplate engravings after Fuseli signed by Blake as the engraver. Matted good impressions of the plates complete with the imprints untrimmed. § One of Blake's scarcer works seldom seen in the trade or at auction; there was also a volume on English history published in the same year. We have had one other copy in the last seven years and one other separate set of the plates. The plates are strong and lively renditions of moments such as the death of Cleopatra; with the recent discovery of an original drawing by Fuseli for Allen's English History now in the Essick Collection we now are quite sure that the illustrations for both volumes were drawn by Fuseli. Bentley BB 416. Essick CBI XXXVII. unknown
1969réf. 14163London: Published by the Trianon Press for the William Blake Trust 1969. With 17 colour plates reproduced from the original edition of 1794 each watermarked with Blake’s initials. Illustrated with water-colour washes added to partial colour printing. Original quarter brown morocco over marbled boards in the original marbled slipcase. The illuminated pages were reproduced in Paris on rag paper specially manufactured to match the paper used by Blake. A fine copy of a beautiful facsimile. Limited edition number 71 of 480 copies. Published by the Trianon Press for the William Blake Trust unknown
1797réf. 1045881797. London: R. Noble 1797. Large 4to pp. 87/88 with 2 full-page engravings by Blake surrounding the letterpress text. A loose sheet fore-edges untrimmed some still with deckle minimal trimming to top and bottom edges. Only five leaves in the book have engravings recto and verso. § First edition perfect for display or for teaching as the leaves are quite sturdy and can be carefully handled or matted for framing. Blake virtually in a frenzy completed 537 watercolor designs when he was commissioned to illustrate Young's masterpiece. The publisher only issued the first four 'Nights'and had Blake engrave and partially etch 43 plates to test the market. The response must have been poor since no further engravings were requested of Blake. Ironically today the poet Young once compared with Shakespeare and Milton is forgotten save for this edition. Bentley Blake Books 515. Essick and LaBelle Night Thoughts Dover 1975. Ray The Illustrator and the Book in England 1790-1914 3. unknown
1797réf. 1045861797. London: R. Noble 1797. Large 4to pp. 23/24 with 2 full-page engravings by Blake surrounding the letterpress text. A loose sheet fore-edges untrimmed some still with deckle minimal trimming to top and bottom edges. Only five leaves in the book have engravings recto and verso. § First edition perfect for display or for teaching as the leaves are quite sturdy and can be carefully handled or matted for framing. Blake virtually in a frenzy completed 537 watercolor designs when he was commissioned to illustrate Young's masterpiece. The publisher only issued the first four 'Nights'and had Blake engrave and partially etch 43 plates to test the market. The response must have been poor since no further engravings were requested of Blake. Ironically today the poet Young once compared with Shakespeare and Milton is forgotten save for this edition. Bentley Blake Books 515. Essick and LaBelle Night Thoughts Dover 1975. Ray The Illustrator and the Book in England 1790-1914 3. unknown
1797réf. 1045851797. London: R. Noble 1797. Large 4to pp. 15/16 with 2 full-page engravings by Blake surrounding the letterpress text. A loose sheet fore-edges untrimmed some still with deckle minimal trimming to top and bottom edges. Only five leaves in the book have engravings recto and verso. § First edition perfect for display or for teaching as the leaves are quite sturdy and can be carefully handled or matted for framing. Blake virtually in a frenzy completed 537 watercolor designs when he was commissioned to illustrate Young's masterpiece. The publisher only issued the first four 'Nights' and had Blake engrave and partially etch 43 plates to test the market. The response must have been poor since no further engravings were requested of Blake. Ironically today the poet Young once compared with Shakespeare and Milton is forgotten save for this edition. Bentley Blake Books 515. Essick and LaBelle Night Thoughts Dover 1975. Ray The Illustrator and the Book in England 1790-1914 3. unknown
1927réf. 15514London: Nonesuch Press 1927. First Edition Thus Limited Edition. Hardcover. Very Good bound in 1/4 vellum and marbled paper-covered boards with gilt titles on spine. Owner bookplate inside front cover of three Writings volumes. No markings to text. Small 4to 11"h x 8"w. Personal copy set of author Robertson Davies with his bookplate inside front panel on Life volume and on front end page of Writings volumes. Nonesuch Press hardcover
réf. 1028821971. London: Trianon Press 1971. 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. § 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. 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
1969réf. 14163London: Published by the Trianon Press for the William Blake Trust 1969. With 17 colour plates reproduced from the original edition of 1794 each watermarked with Blake’s initials. Illustrated with water-colour washes added to partial colour printing. Original quarter brown morocco over marbled boards in the original marbled slipcase. The illuminated pages were reproduced in Paris on rag paper specially manufactured to match the paper used by Blake. A fine copy of a beautiful facsimile. Limited edition number 71 of 480 copies. Published by the Trianon Press for the William Blake Trust unknown books
réf. 1028821971. London: Trianon Press 1971. 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. § 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. 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 books
1798réf. 1006531798. London: J. Johnson 1798. All 4 full-page copperplate engravings after Fuseli signed by Blake as the engraver. Matted good impressions of the plates complete with the imprints untrimmed. § One of Blake's scarcer works seldom seen in the trade or at auction; there was also a volume on English history published in the same year. We have had one other copy in the last seven years and one other separate set of the plates. The plates are strong and lively renditions of moments such as the death of Cleopatra; with the recent discovery of an original drawing by Fuseli for Allen's English History now in the Essick Collection we now are quite sure that the illustrations for both volumes were drawn by Fuseli. Bentley BB 416. Essick CBI XXXVII. unknown books
1797réf. 1045881797. London: R. Noble 1797. Large 4to pp. 87/88 with 2 full-page engravings by Blake surrounding the letterpress text. A loose sheet fore-edges untrimmed some still with deckle minimal trimming to top and bottom edges. Only five leaves in the book have engravings recto and verso. § First edition perfect for display or for teaching as the leaves are quite sturdy and can be carefully handled or matted for framing. Blake virtually in a frenzy completed 537 watercolor designs when he was commissioned to illustrate Young's masterpiece. The publisher only issued the first four 'Nights'and had Blake engrave and partially etch 43 plates to test the market. The response must have been poor since no further engravings were requested of Blake. Ironically today the poet Young once compared with Shakespeare and Milton is forgotten save for this edition. Bentley Blake Books 515. Essick and LaBelle Night Thoughts Dover 1975. Ray The Illustrator and the Book in England 1790-1914 3. unknown books
1797réf. 1045861797. London: R. Noble 1797. Large 4to pp. 23/24 with 2 full-page engravings by Blake surrounding the letterpress text. A loose sheet fore-edges untrimmed some still with deckle minimal trimming to top and bottom edges. Only five leaves in the book have engravings recto and verso. § First edition perfect for display or for teaching as the leaves are quite sturdy and can be carefully handled or matted for framing. Blake virtually in a frenzy completed 537 watercolor designs when he was commissioned to illustrate Young's masterpiece. The publisher only issued the first four 'Nights'and had Blake engrave and partially etch 43 plates to test the market. The response must have been poor since no further engravings were requested of Blake. Ironically today the poet Young once compared with Shakespeare and Milton is forgotten save for this edition. Bentley Blake Books 515. Essick and LaBelle Night Thoughts Dover 1975. Ray The Illustrator and the Book in England 1790-1914 3. unknown books
1797réf. 1045851797. London: R. Noble 1797. Large 4to pp. 15/16 with 2 full-page engravings by Blake surrounding the letterpress text. A loose sheet fore-edges untrimmed some still with deckle minimal trimming to top and bottom edges. Only five leaves in the book have engravings recto and verso. § First edition perfect for display or for teaching as the leaves are quite sturdy and can be carefully handled or matted for framing. Blake virtually in a frenzy completed 537 watercolor designs when he was commissioned to illustrate Young's masterpiece. The publisher only issued the first four 'Nights' and had Blake engrave and partially etch 43 plates to test the market. The response must have been poor since no further engravings were requested of Blake. Ironically today the poet Young once compared with Shakespeare and Milton is forgotten save for this edition. Bentley Blake Books 515. Essick and LaBelle Night Thoughts Dover 1975. Ray The Illustrator and the Book in England 1790-1914 3. unknown books
1775réf. 1087571775. London: T. Payne 1775/1776. 3 vols 4to xx 516; 2 vi 535; viii 602 pp with 31 engravings on the 30 listed plates. A very good and attractive set in clean condition bound in original calf with gilt decorated rules to covers and gilt decoration to spine panels with six compartments and red and black labels. § Second edition of Vol. 1 and 2 1775 and only edition of Vol. 3 1796. The three maps are lacking. All other illustrations are present in good condition but including usual offsetting and a few showing minor mottling and browning. Plate XI stated in the List of Plates to be a Bartolozzi engraved plate designed by Cypriani from an original onyx Camaio by the Greek artist Tryphon is the correct plate although in fact it bears no plate No. and the imprint "G. B. Cipriani Del I.K. Sherwin Sculp." Although Bartolozzi normally signs his studio's plates J. K. Sherwin was an apprentice of Bartolozzi's and presumably was allowed to sign his engraving in this instance. The plate's design matches "The Marriage of Eros and Psyche" from Tryphon's Camaio in the Duke of Marlborough's Collection see e.g Wikipaedia: "The Marlborough Gem". Bentley BB 439. Essick CBI p. 117 entry C. unknown
1775réf. 1087571775. London: T. Payne 1775/1776. 3 vols 4to xx 516; 2 vi 535; viii 602 pp with 31 engravings on the 30 listed plates. A very good and attractive set in clean condition bound in original calf with gilt decorated rules to covers and gilt decoration to spine panels with six compartments and red and black labels. § Second edition of Vol. 1 and 2 1775 and only edition of Vol. 3 1796. The three maps are lacking. All other illustrations are present in good condition but including usual offsetting and a few showing minor mottling and browning. Plate XI stated in the List of Plates to be a Bartolozzi engraved plate designed by Cypriani from an original onyx Camaio by the Greek artist Tryphon is the correct plate although in fact it bears no plate No. and the imprint "G. B. Cipriani Del I.K. Sherwin Sculp." Although Bartolozzi normally signs his studio's plates J. K. Sherwin was an apprentice of Bartolozzi's and presumably was allowed to sign his engraving in this instance. The plate's design matches "The Marriage of Eros and Psyche" from Tryphon's Camaio in the Duke of Marlborough's Collection see e.g Wikipaedia: "The Marlborough Gem". Bentley BB 439. Essick CBI p. 117 entry C. unknown books
1962réf. 45234New York: Basic Books 1962. Very Good. New York: Basic Books 1962. First American Edition of the Dorothy L. Sayers translation. Three volumes; octavos; publisher's black cloth spines titled in black red and gilt housed in original paper-covered slipcase with printed paper paste-on to upper panel; black and white plates by William Blake throughout. Spines quite sunned as is often the case and titling rather scratched slipcase a bit rubbed and dust-soiled else a Very Good internally clean and sound set. Basic Books unknown
1962réf. 45234New York: Basic Books 1962. Very Good. New York: Basic Books 1962. First American Edition of the Dorothy L. Sayers translation. Three volumes; octavos; publisher's black cloth spines titled in black red and gilt housed in original paper-covered slipcase with printed paper paste-on to upper panel; black and white plates by William Blake throughout. Spines quite sunned as is often the case and titling rather scratched slipcase a bit rubbed and dust-soiled else a Very Good internally clean and sound set. Basic Books unknown books
1793réf. 1229111793. London: John Stockdale 1793. 2 vols. royal 8vo xi 225; vii 187 1 advertisement pp. Engraved title to each part frontispiece to vol. I and 70 plates including 12 by Blake. Full contemporary calf rebacked a bit scuffed and untidy but quite sound internally good despite the usual browning and offsetting. § First edition with Blake's plates. The plates in this famous edition are free adaptations from the designs of Kent Wootton and Gravelot who illustrated the earlier printings of Gay's Fables. William Blake completely redesigned and redrew the 12 images for which he is responsible and is listed among the subscribers to the edition as are the other engravers who worked on this project. Blake engraved the plates opposite pp. 1 29 59 73 99 109 125 133 and 181 in volume one; and those opposite pp. 1 105 and 145 in volume two. The first issue is easily identified because it uses the long "s" throughout and the second does not. Bentley Blake Books 460A. Essick William Blake's Commercial Book Illustrations XXVI. Ray The Illustrator and the Book in England 1. Note that in the list of subscribers there is a "Mr. Blake". Very few books are known to have been subscribed to by Blake. unknown
