Blake, WilliamABAA
18 365 résultats
1780réf. 1240091780. London: Fielding and Walker 1780 and J. Fielding: 1781. Two vols. in one large thick folio vol. 1 frontispiece title page printed in red and black 6 632 pp. with 46 plates including 5 maps and a plan; vol. 2 with title page dated 1781 494 pp. with 33 plates indices etc. 79 of 80 plates in total. Very early calf very worn and rubbed newly consolidated and now stable. Internally very good and the plates in fine condition. § First edition of this version being Blake's first appearance as the sole engraver and in one case the designer and engraver of five plates. Plates 1 2 3 and 5 all engraved and 5 engraved and designed by Blake. See Essick CBI III. Easson and Essick 1 #1 for plate 5. The plates are: 1 Numbers chap. 13 v. 23 in vol. 1; 2 Jonah chap. 3 v. 4; 3 Judith chap. 13 v. 104; Matthew chap. 3 v. 135; Revelations chap. 1 v. 12-13. Plate 5 is signed "d & sc. Blake." Here "d" stands for delineavit as distinct from invenit invented the image. Essick thinks Blake was strongly influenced by an engraving by Picart-see Essick CBI p.22. Blake's wash drawing for pl. 5 is in the British Museum. unknown books
réf. 132768The archive comprises: 1. Sara Eugenia Blake: an etched bookplate Peake 3869: 'Juvenilia H.B. Muir'. One signed copy with the original zinc plate. 2. Sara Eugenia Blake: an etched bookplate depicting a Persian or Mughal figure Peake 3870: 'Indian Man'. Six signed proof copies printed in different coloured inks one extensively hand-coloured with the original zinc plate. 3. Tom R. Bond: a process bookplate Peake 3871: 'Mask' incorrectly dated 1937. One proof copy signed and dated 1933 by the artist and numbered 10/10 plus ten further proof prints on different paper stocks some untrimmed. With the original India ink drawing and process block. 4. Adrian Feint: a process bookplate Peake 3872: 'Desk open window river' 1936. One copy signed by the artist and another on Japanese paper likely a proof. With the original ink drawing and process block. 5. John Barclay Godson: an etched bookplate depicting the devil Peake 3873: 'Devil's face' 1934. One signed remarque proof with a preliminary pencil drawing and the original copper plate. With a list in Harry Muir's hand regarding distribution of copies of the bookplate. 6. John Goodchild: a process bookplate depicting a ship at sea Peake 3874: 'Galleon and seagull' 1932. Four copies two identified as proofs by Harry Muir on the reverse 'Delmonts proof of bookplate. 1st Sept 1932' and 'Hassells proof of bookplate from Delmonts zinc block'. With a preliminary pencil drawing signed by Harry Muir identifying the artist the final large ink drawing 146 × 102 mm with a pencil note to 'Reduce ¼ size' and the original process block. 7. John Goodchild: a process bookplate depicting a one-legged pedlar selling prints Peake 3875: 'Autolycus selling from tray' 1932. With the original process block. 8. John Goodchild: a three-colour linocut and process bookplate Peake 3877: 'Glass enlarging galleon plate' 1943. One copy with the three original blocks two linoleum and one process block. 9. Peter Hosokawa: a bookplate featuring two whales Peake 3878: 'Two whales' 1980. Number 31 of 100 signed copies; printed on blue paper. 10. Jane Hylton: a process bookplate depicting poppy kernels Peake 3879: 'Poppy kernels'. With the original process block heavily tarnished. 11. George David Perrottet: a three-colour linocut bookplate depicting a ship under a crescent moon Peake 3882: 'Sailing ship against crescent moon' 1933. Two copies one untrimmed and signed by the artist. With all three original linoleum blocks plus three process blocks heavily oxidised possibly prepared for Muir's 1942 publication on Perrottet's bookplates. 12. George David Perrottet: a hand-coloured two-colour linocut bookplate for Muir's books by and on John Galsworthy Peake 3880: 'Monkey with orange' 1936. With both original linoleum blocks. 13. George David Perrottet: a two-colour linocut bookplate featuring the exterior of Muir's bookshop Peake 3881: 'H B Muir bookshop' 1939. One signed proof copy on fine paper plus a copy of the standard version. 14. Derek Riley: a woodcut bookplate featuring bookstalls Peake 3883: 'Bookstalls with church tower behind'. One signed proof copy inscribed by the artist 'Opus 22' dated 1980. With the original woodblock. 15. Derek Riley: a woodcut bookplate featuring a tiki Peake 3884: 'New Zealand tiki'. Signed proof copy inscribed by the artist 'Opus 35' dated 1981; mounted in a card bifolium also signed and dated and a copy of the standard version. With the original woodblock. 16. Leslie Victor Smith: an etched bookplate showing maps of Canada and Australia Peake 3885: 'Tree embracing maps of Canada & Australia' 1943. One copy signed by the artist. With the original copper plate and an autograph letter 1943 with the original envelope to Muir from this Canadian artist primarily regarding the bookplate it appears he produced it as a gift without Muir's knowledge and sent him twelve signed proof copies. 17. Eric Thake: a process bookplate for Muir's collection of books on Bligh and the 'Bounty' Peake 3886: 'Three figures from "Bounty" mutiny' giving the date 1947. With two ink drawings a preliminary version and the final version dated '1945-1948' and the original process block. 18. Eric Thake: a process bookplate featuring a chained Pegasus Peake 3887: 'Pegasus' 1933. Number 9 of 15 proof copies signed by the artist plus two further copies one signed. With the original ink drawing and two lists in Muir's hand regarding distribution of the proof copies. 19. Noel Wood: a linocut bookplate Peake 3888: 'Eagle on rock' 1932. One untrimmed remarque proof number 5 of six copies almost certainly printed by the artist two copies of a more crisply-printed version possibly process; one with Muir's annotation on the verso stating that it is a 'Hassell's print'. With a preliminary ink drawing mistakenly giving Muir's middle initial as M not B. 20. John Goodchild: an offset-printed bookplate for Muir's holiday house Petrel Cottage at Encounter Bay Victor Harbor Peake 3876: 'Seagulls' 1938. 21. George David Perrottet possibly: two linoleum blocks for a second bookplate for Petrel Cottage a two-colour linocut very much in the style of Perrottet. This bookplate was apparently never published. Provenance: H.B. Harry Muir 1909-1992 bookseller publisher and bookplate collector; by descent. A quantity. unknown
réf. 6633London: William Blake Trust 2009. Limited Edition. Hardcover. Fine in Fine Slipcase and Fine Portfolio. Limited Edition. Hardcover. "Bound in gilt-lettered quarter deep scarlet calf over black moiré silk covered boards deep scarlet leather label blocked in gilt to the centre of the upper board; 96pp. illustrated throughout with colour and b/w reproductions of Blake's drawings and watercolours. Contents: Morton D. Paley William Blake and Robert Blair's 'The Grave'. Martin Butlin The History of Blake's Illustrations to 'The Grave' and The Newly Discovered Water-colours. Blake's twenty watercolour designs with a Catalogue and illustrated Commentaries by Martin Butlin. Robert Blair's The Grave from Cromek's edition 1808. Schiavonetti's engravings of twelve of Blake's designs from the 1808 edition. Blake's rejected engraving of 'Death's Door'. Printed throughout in black and white and colour on 200 gsm archival acid-free paper. With A portfolio 35x28x2.8 cm bound in maroon calf with tongue-and-strap closure blocked in gold flap blind-embossed with double rule border lined in red; all in close replication of the portfolio made sometime after 1822 to contain: 19 of 20 watercolour inventions by Blake in illustration of Blair's The Grave mounted on thick beige paper within ruled and tinted borders and trimmed to 33.3x26.7 cm; here reproduced in facsimile. One of 36 copies of the Portfolio Plates and Book in cloth-covered double slipcase numbered I-XXXVI." Tight bright and unmarred. Black cloth red leather matching slipcase gilt lettering. Small fo. Illus. color plates. William Blake Trust hardcover
1885réf. 303029Edmonton 1885. No. 39 of 50 copies on Hodgkinson wove paper. William Muir facsimile. Preface and 11 hand-colored plates. 1 vols. 4to. Full dark green levant preserving wrappers with an unrecorded folding announcement from Muir bound in at front. No. 39 of 50 copies on Hodgkinson wove paper. William Muir facsimile. Preface and 11 hand-colored plates. 1 vols. 4to. Bentley 249c unknown
1885réf. 303029Edmonton 1885. No. 39 of 50 copies on Hodgkinson wove paper. William Muir facsimile. Preface and 11 hand-colored plates. 1 vols. 4to. Full dark green levant preserving wrappers with an unrecorded folding announcement from Muir bound in at front. No. 39 of 50 copies on Hodgkinson wove paper. William Muir facsimile. Preface and 11 hand-colored plates. 1 vols. 4to. Bentley 249c unknown books
réf. 6633London: William Blake Trust 2009. Limited Edition. Hardcover. Fine in Fine Slipcase and Fine Portfolio. Limited Edition. Hardcover. "Bound in gilt-lettered quarter deep scarlet calf over black moiré silk covered boards deep scarlet leather label blocked in gilt to the centre of the upper board; 96pp. illustrated throughout with colour and b/w reproductions of Blake's drawings and watercolours. Contents: Morton D. Paley William Blake and Robert Blair's 'The Grave'. Martin Butlin The History of Blake's Illustrations to 'The Grave' and The Newly Discovered Water-colours. Blake's twenty watercolour designs with a Catalogue and illustrated Commentaries by Martin Butlin. Robert Blair's The Grave from Cromek's edition 1808. Schiavonetti's engravings of twelve of Blake's designs from the 1808 edition. Blake's rejected engraving of 'Death's Door'. Printed throughout in black and white and colour on 200 gsm archival acid-free paper. With A portfolio 35x28x2.8 cm bound in maroon calf with tongue-and-strap closure blocked in gold flap blind-embossed with double rule border lined in red; all in close replication of the portfolio made sometime after 1822 to contain: 19 of 20 watercolour inventions by Blake in illustration of Blair's The Grave mounted on thick beige paper within ruled and tinted borders and trimmed to 33.3x26.7 cm; here reproduced in facsimile. One of 36 copies of the Portfolio Plates and Book in cloth-covered double slipcase numbered I-XXXVI." Tight bright and unmarred. Black cloth red leather matching slipcase gilt lettering. Small fo. Illus. color plates. William Blake Trust hardcover books
1886réf. 1229981886. London: Kegan Paul Trench & Co. January 1886 - October 1888 and London: The Chiswick Press January 1889 - October 1892. 4to. 28 volumes illustrated by woodcut and photogravure in the original printed wrappers. Expectable browning to the untrimmed edges and occasional foxing and offsetting; issue no. 9 front wrapper spotted and rear wrapper very creased; issue 12 slight red staining to rear wrapper; issue 21 upper wrapper torn with large loss; issue 28 lower wrapper soiled and with a large chip. Despite the few flaws listed above the overall condition is in general clean and quite beautiful remarkably well-preserved for a large format elegant journal in its original wrappers. All enclosed in two modern cloth boxes. § A complete run of the main series of the Century Guild Hobby Horse the first significant magazine dedicated to the visual arts in England preceding both the The Yellow Book and The Savoy and more egalitarian than either in its mission to create a unified vision of the arts and crafts in Victorian Britain. The quarterly magazine was the collaboration of architects Arthur Mackmurdo and Herbert Horne and the designer Selwyn Image who together formed the small but influential Century Guild of Artists. It featured essays on the fine and decorative arts architecture literature typography book design and collecting along with much original poetry. The Guild members were clearly well-connected particularly with the Pre-Raphaelites and regular contributors included W.M. Rossetti Christina Rossetti and Frederic Shields. Oscar Wilde contributed an essay on Keats May Morris one on embroidery and William Morris' lecture on "The Influence of Building Materials upon Architecture" appeared for the first time in print in its pages. There is an essay by Hubert Parry on English song writing original poetry from Matthew Arnold and Christina Rossetti and several essays by Alfred Pollard on book design. The contributors were particularly interested in the influence of William Blake and different issues featured several very important Muir facsimiles as well as the first typographic printing of The Marriage of Heaven and Hell. A prepublication issue had been printed by George Allen for Mackurdo in 1884. After Mackmurdo and Image stepped away at the end of 1892 the magazine was renamed simply The Hobby Horse and survived for two more years before ending in 1894 the year The Yellow Book first appeared. Neither the prepublication issue nor issues from the later incarnation are included in this series. An ambitious and quite beautiful production suffused with the spirit of the Arts & Crafts movement the issues are finely printed on handmade paper at the Chiswick Press illustrated with woodcut decorations and with photogravures of notable artworks. From the frontispiece art reproduced with the permission of many famous names to the appended directories of recommended craftsmen and women May Morris William Muir W.M. Rossetti among them the issues form a rich record of the thoughts and activities of a fascinatingly intertwined group of artists authors and designers in the act of revolutionizing the visual arts in England. Complete runs like this are very uncommon in institutions and in the trade. unknown
1886réf. 1229981886. London: Kegan Paul Trench & Co. January 1886 - October 1888 and London: The Chiswick Press January 1889 - October 1892. 4to. 28 volumes illustrated by woodcut and photogravure in the original printed wrappers. Expectable browning to the untrimmed edges and occasional foxing and offsetting; issue no. 9 front wrapper spotted and rear wrapper very creased; issue 12 slight red staining to rear wrapper; issue 21 upper wrapper torn with large loss; issue 28 lower wrapper soiled and with a large chip. Despite the few flaws listed above the overall condition is in general clean and quite beautiful remarkably well-preserved for a large format elegant journal in its original wrappers. All enclosed in two modern cloth boxes. § A complete run of the main series of the Century Guild Hobby Horse the first significant magazine dedicated to the visual arts in England preceding both the The Yellow Book and The Savoy and more egalitarian than either in its mission to create a unified vision of the arts and crafts in Victorian Britain. The quarterly magazine was the collaboration of architects Arthur Mackmurdo and Herbert Horne and the designer Selwyn Image who together formed the small but influential Century Guild of Artists. It featured essays on the fine and decorative arts architecture literature typography book design and collecting along with much original poetry. The Guild members were clearly well-connected particularly with the Pre-Raphaelites and regular contributors included W.M. Rossetti Christina Rossetti and Frederic Shields. Oscar Wilde contributed an essay on Keats May Morris one on embroidery and William Morris' lecture on "The Influence of Building Materials upon Architecture" appeared for the first time in print in its pages. There is an essay by Hubert Parry on English song writing original poetry from Matthew Arnold and Christina Rossetti and several essays by Alfred Pollard on book design. The contributors were particularly interested in the influence of William Blake and different issues featured several very important Muir facsimiles as well as the first typographic printing of The Marriage of Heaven and Hell. A prepublication issue had been printed by George Allen for Mackurdo in 1884. After Mackmurdo and Image stepped away at the end of 1892 the magazine was renamed simply The Hobby Horse and survived for two more years before ending in 1894 the year The Yellow Book first appeared. Neither the prepublication issue nor issues from the later incarnation are included in this series. An ambitious and quite beautiful production suffused with the spirit of the Arts & Crafts movement the issues are finely printed on handmade paper at the Chiswick Press illustrated with woodcut decorations and with photogravures of notable artworks. From the frontispiece art reproduced with the permission of many famous names to the appended directories of recommended craftsmen and women May Morris William Muir W.M. Rossetti among them the issues form a rich record of the thoughts and activities of a fascinatingly intertwined group of artists authors and designers in the act of revolutionizing the visual arts in England. Complete runs like this are very uncommon in institutions and in the trade. unknown books
réf. 1228841983. Manchester: Manchester Etching Workshop 1983. 4to 16 hand coloured and one uncoloured facsimile plates each mounted on brown card in a full brown morocco 3-part folding binding with gilt embossed replicas of the "Innocence" and "Experience" title pages as decorations on two of the covers. Fine as issued all in a deep brown cloth folding box. § The colored facsimile volume only as issued. De luxe issue of the limited edition of 40 copies this being #V of V i.e. five copies with an extra plate "Infant Sorrow". Accompanied by Joseph Viscomi's " The Art Of William Blake's Illuminated Prints" as part of the edition but this limited to 200 copies. Bentley Blake Books Supplement 135. Essick Blake Quarterly Summer 1985: "In many ways one of the most accurate facsimiles ever published and beyond question the most accurate hand-colored reproduction of plates from an illuminated book. To my eyes it is also one of the two or three most beautiful facsimiles when considered as a work of graphic art". In this set is a letter from the printer Paul Ritchie stating that there were only five copies thus 4 went to people on the project and this copy to L.G. Bell the late collector of editions of Blake's "Songs unknown
réf. 1228841983. Manchester: Manchester Etching Workshop 1983. 4to 16 hand coloured and one uncoloured facsimile plates each mounted on brown card in a full brown morocco 3-part folding binding with gilt embossed replicas of the "Innocence" and "Experience" title pages as decorations on two of the covers. Fine as issued all in a deep brown cloth folding box. § The colored facsimile volume only as issued. De luxe issue of the limited edition of 40 copies this being #V of V i.e. five copies with an extra plate "Infant Sorrow". Accompanied by Joseph Viscomi's " The Art Of William Blake's Illuminated Prints" as part of the edition but this limited to 200 copies. Bentley Blake Books Supplement 135. Essick Blake Quarterly Summer 1985: "In many ways one of the most accurate facsimiles ever published and beyond question the most accurate hand-colored reproduction of plates from an illuminated book. To my eyes it is also one of the two or three most beautiful facsimiles when considered as a work of graphic art". In this set is a letter from the printer Paul Ritchie stating that there were only five copies thus 4 went to people on the project and this copy to L.G. Bell the late collector of editions of Blake's "Songs unknown books
1915réf. 194155France: 1915-6. Once upon a time I didn't think there was such a place as Hades but sure enough I am in it now A wonderfully presented and moving vignette of service during the First World War. The letters relate the experiences of Lieutenant Jeffrey Blake RFA as he was posted to France betraying a "fatalist" outlook on the horrors of war. The collection includes his commanding officer's letter notifying the family of Blake's death on 18 August 1916. Blake 1891-1916 received his commission in the Royal Field Artillery in 1914. In 1915 he was attached to 2nd London Divisional Ammunition Column 235 Brigade 47th London Division as a forward observation officer at various battles including the Somme. In August 1916 he went missing in action near Martinpuich. Fifteen years later in 1931 his family received notification from the Imperial War Graves Commission of the discovery of his body which they were able to help positively identify via his personal effects. The letters are mostly addressed to his mother with some to his father organised chronologically through his service. He was a lively correspondent with an uncensored perspective on the fighting: "Most interesting and exciting work with the aeroplanes and wireless. The Hun must have known that I was up there. He came over in his aeroplanes and dropped numerous bombs just beside our lines. There is such a thing as getting used to shell fire but very unpleasant when they are close as tremendous pieces fly by you at a terrific rate nevertheless one becomes a fatalist out here" 5 July 1916. On 20 August 1916 Blake's commanding officer Lieutenant Colonel E. C. Massy wrote that "Your son has been missing since the day before yesterday. He went up to observe fire from the front trenches on the 18th inst. with a telephonist named Gr. Bradshaw. At about 3 p.m. he sent Gr. Bradshaw back. Since then nothing has been heard of him". From the estate of Rolling Stones' drummer Charlie Watts. Quarto 270 x 220 mm. Mounted photograph portrait frontispiece hand-painted Royal Artillery badge above calligraphic caption below; 67 letters manuscript in pencil and ink on 149 sides of 140 leaves 250 x 202 mm to 130 x 83 mm tipped-in on stubs 2 loosely inserted manuscript letters 2 loosely inserted typescript reports with original envelope. Near-contemporary dark blue three-quarter morocco by Rivière & Son spine gilt-lettered direct raised bands blue cloth boards marbled endpapers edges untrimmed binder's stamp on front free endpaper verso. Letters well preserved with only a little foxing a few small closed tears at extremities one 95 mm light stains on boards: a very good example. hardcover
1805réf. 1228731805. Chichester: J.Seagrave for Richard Phillips 1805. Small 8vo 6 212 1 indexpp. with 5 plates designed and engraved by Blake. Overall a clean and very pleasing copy in contemporary calf skillfully rebacked retaining the original backstrip and red label. Bookplate of Benjamin Dickinson ink signature of J.W. Dickinson dated Oct. 9th 1824 later bookplate of Walter Hirst. § First edition with plates 1-3 in the first state. An important book in the Blake canon being his second version of the Ballads after the extremely rare 1802 edition see above for the frontispiece. "For this 1805 volume Hayley added twelve ballads to the four first published in 1802. Blake engraved new plates of his designs for three of the 1802 ballads plates 1-3 and both designed and engraved new illustrations for two of the additional ballads plates 4-5. Blake and Phillips were to "go equal shares . . . in the expense and the profits" Blake's letter to Hayley of 22 January 1805 Erdman page 763. Robert Southey's mocking review of Hayley's poems and Blake's illustration to "The Dog" Plate 1 appeared in the Annual Review for 1805." Bentley BB 465. Easson and Essick WBBI Vol. I VIII. Bindman Complete Graphic Works of Blake 403-407. unknown
1805réf. 1228731805. Chichester: J.Seagrave for Richard Phillips 1805. Small 8vo 6 212 1 indexpp. with 5 plates designed and engraved by Blake. Overall a clean and very pleasing copy in contemporary calf skillfully rebacked retaining the original backstrip and red label. Bookplate of Benjamin Dickinson ink signature of J.W. Dickinson dated Oct. 9th 1824 later bookplate of Walter Hirst. § First edition with plates 1-3 in the first state. An important book in the Blake canon being his second version of the Ballads after the extremely rare 1802 edition see above for the frontispiece. "For this 1805 volume Hayley added twelve ballads to the four first published in 1802. Blake engraved new plates of his designs for three of the 1802 ballads plates 1-3 and both designed and engraved new illustrations for two of the additional ballads plates 4-5. Blake and Phillips were to "go equal shares . . . in the expense and the profits" Blake's letter to Hayley of 22 January 1805 Erdman page 763. Robert Southey's mocking review of Hayley's poems and Blake's illustration to "The Dog" Plate 1 appeared in the Annual Review for 1805." Bentley BB 465. Easson and Essick WBBI Vol. I VIII. Bindman Complete Graphic Works of Blake 403-407. unknown books
2003réf. 8260221st Editions Steven Albahari 2003-01-01. Hardcover. Like New. 0x0x0. As new; fine in all aspects. One of 65 copies. A fine copy of the book a fine example of the signed and numbered platinum print. in clamshell as issued. No flaws. oversized and overweight. Please email for photos. 21st Editions, Steven Albahari hardcover
réf. 25671London: Jonathan Cape. 1978. First edition first printing. First edition first printing. Signed by the author. Publisher's original laminated boards. Illustrated in colour by Quentin Blake throughout. An excellent near fine copy the binding square and firm with minor bumping to the spine tips. The contents are clean throughout and without previous owner's inscriptions or stamps. Signed by Roald Dahl in blue ink to the verso of the front endpaper. An important book in Roald Dahl bibliography. The Enormous Crocodile was the first of Dahl's books to be illustrated by Quentin Blake beginning one of the most notable partnerships of author and illustrator in late 20th century children's literature. "The combination of Roald Dahl as storyteller with Quentin Blake as illustrator must be the recipe for a bestseller" - Times Literary Supplement 29 September 1978. 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. 1978 hardcover
réf. 42249Lavenham: The William Blake Trust 2009. Limited edition one of 36 special copies from a total edition of 186 copies. Folio. 95 1 pp. Publisher's wine red half calf over black moiré silk gilt lettered to the spine with a matching gilt lettered label to the upper board slipcase in matching moiré silk. Illustrated in colour and black and white; slipcase also housing a matching red full calf portfolio enclosing a card wallet holding fine reproductions of Blake's original watercolours mounted on card as per the originals. Just some slight dustiness to the slipcase a sumptuous production. An out-of-series set marked as such on the watercolours wallet being John Commander's own copy. Although not inscribed by him directly the set was acquired from Commander's estate. Loosely inserted is a 12 page typescript of a review of the work by his fellow Blake scholar Robert N. Essick with Commander's pencilled annotations at intervals concerning some of Essick's observations. Also enclosed is an original 6" x 4" colour photograph captioned in pencil on the rear "John Commander Bob Essick Detto unknown" dated "October 21 1991". Commander spent his life in publishing and for many years headed the Scolar Press. An expert on Blake he was heavily involved in the refounding of the William Blake Trust and was appointed as secretary and executive director of the organisation. He also wrote about Blake and is credited with the design and production of this work on the verso of the title page. The story of the origins and subsequent disappearance of William Blake's designs for "The Grave" are long and complicated. Blake had been commissioned by Robert Hartley Cromek to produce illustrations for Blair's poem in late 1805 intending for a published edition. Blake assumed he would also be employed to engrave the images and be paid accordingly. However Cromek had other ideas and gave the work to the Italian engraver Luigi or Louis Schiavonetti. Various miscommunications and provocations ensued causing Blake and Cromek to fall out. The published work eventually appeared in 1808 and Cromek passed away four years later at the age of 42. The whereabouts of Blake's designs for the next two decades are broadly known but after their sale in 1836 they completely disappeared. Nineteen of the watercolours in their original red portfolio reproduced faithfully here eventually turned up in Glasgow in 2001. Originally offered for sale together as a collection the ownership passed to a London art dealer who failed to find a buyer. They were subsequently individually lotted up including the case and sold at Sotheby's New York in 2006. Now split between "four different countries and two continents" the auction was the last time the collection was held in one place. Lavenham: The William Blake Trust unknown
1805réf. 1277681805. BLAKE William HAYLEY William. Ballads founded on Anecdotes Relating to Animals with Prints Designed and Engraved by William Blake. London: Richard Phillips 1805. Octavo early 20th-century full blue morocco raised bands elaborately gilt-decorated spine top edge gilt uncut. $6000.Expanded second editionÑthe only obtainable editionÑof this poetry collection with five engravings by William Blake handsomely bound by Bedford.""These Ballads were originally intended to have been issued separately in fifteen quarto parts with numerous illustrations by Blake and for the benefit of the artist. Four parts were issued in 1802 but the series did not meet with success and was discontinued. Later it was arranged to issue them in the present again for Blake's benefit"" Keynes. This 1805 edition is an expanded version with additional poems of the extremely rare 1802 first edition which last appeared at auction 70 years ago. Blake reengraved the first three plates and added two more to illustrated the additional poems. The first three plates are in first state. Easson & Essick 41-44. Bookplates.Fine condition. hardcover
1805réf. 1277681805. BLAKE William HAYLEY William. Ballads founded on Anecdotes Relating to Animals with Prints Designed and Engraved by William Blake. London: Richard Phillips 1805. Octavo early 20th-century full blue morocco raised bands elaborately gilt-decorated spine top edge gilt uncut. $6000.Expanded second editionÑthe only obtainable editionÑof this poetry collection with five engravings by William Blake handsomely bound by Bedford.""These Ballads were originally intended to have been issued separately in fifteen quarto parts with numerous illustrations by Blake and for the benefit of the artist. Four parts were issued in 1802 but the series did not meet with success and was discontinued. Later it was arranged to issue them in the present again for Blake's benefit"" Keynes. This 1805 edition is an expanded version with additional poems of the extremely rare 1802 first edition which last appeared at auction 70 years ago. Blake reengraved the first three plates and added two more to illustrated the additional poems. The first three plates are in first state. Easson & Essick 41-44. Bookplates.Fine condition. hardcover books
1981réf. 86297Centre / Yale University Press. As New. 1981. Hardcover. 0300025505 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - - Corresponds to ISBN: 0300025505. TWO 2 VOLUME SET. Volume 1: Text 668 pages; Volume 2: Illustrations1193 plates. Catalogue Raisonné Catalogue Raisonne Catalog Raisonnee Complete Paintings & Drawings -- with a bonus offer . Centre / Yale University Press hardcover
réf. 51-5393London: Messrs. Boydell & Co. circa 1803-1804 . Folio 31.5 x 43 cm. New half goatskin and marbled boards binding by the artisan binder Sasha Mosalov. 99 engraved plates a few with marginal defects.Provenance: Presentation copy from Hector John Graham-Toler 2nd Earl of Norbury; b. 27 June 1781 d. 3 January 1839. Hector John Graham-Toler 2nd Earl of Norbury was born on 27 June 1781.1 He was the son of John Toler 1st Earl of Norbury and Grace Graham Baroness Norwood of Knockalton. He married Elizabeth Brabazon daughter of William Brabazon and Elizabeth Phibbs on 1 January 1808. He died on 3 January 1839 at age 57 at Durrow Abbey Tullamore County Offaly Ireland shot dead by his butler.OCLC Number : 82919611.Engraved t.p. partly in script signed: Tomkins script.; Halliwell sculptA descriptive index and alphabetical list of the plates are prefixed. More than half the plates which are dated 1791-1803 are by R. Smirke W. Hamilton R. Westall F. Wheatley and James Northcote with a few each by Reynolds Opie Stothard and others. Among the engravers who contributed most work are James Parker Anker Smith and James HealthOn p. 4: Advertisement. Portrait of the late John Boydell . ; speculated imprint date based on his death date London: Messrs. Boydell & Co., circa 1803-1804 hardcover
réf. 130928London: Jonathan Cape 1982. First edition early printing of this Dahl classic which has sold over 20 million copies. Octavo original cloth illustrated by Quentin Blake. Boldly signed by the author on the half-title page "with love Roald Dahl April 1989." Near fine in a near fine dust jacket bookplate. Roald Dahl is now considered one of the most beloved storytellers of the twentieth century. Dahl's ability to twist words into a clever and creative new language is fascinating to children and is evident in BFG. The gruesome descriptions of the horrid giants and the subtle allusions to other stories will entertain children young and old. An animated adaptation was released in theatres in 1987 with David Jason providing the voice of the BFG and Amanda Root as the voice of Sophie. It was also the basis for the 2016 film directed and co-produced by Steven Spielberg written by Melissa Mathison and starring Mark Rylance Ruby Barnhill Penelope Wilton Jemaine Clement Rebecca Hall Rafe Spall and Bill Hader. Jonathan Cape hardcover
1960réf. 136893Los Angeles: Twentieth Century-Fox 1960. Archive of scripts and revision pages for 56 episodes of the detective television series dated variously between 1958 and 1960. Copies belonging to screenwriter Lewis Reed with his manuscript name on the front wrapper of each episode. 36 scripts contain pink blue white and yellow revision pages many bound separately and laid in at the rear. Included are screenplays for nearly half of the 114-episode run of the series starring the sophisticated sharp-dressed jazz-loving private eye Peter Gunn played by Craig Stevens. Probably the only television show to ever rival the best films noir of the big screen with minimalist dialogue and bleak open-ended conclusions that challenge even the best of television today. Creator Blake Edwards would use the success of the series to jump start his film career going on to direct "Breakfast at Tiffany's" 1961 and the "Pink Panther" film series starring Peter Sellers. Noted composer Henry Mancini won an Emmy and two Grammy Awards for the show's well-loved theme song including the first Grammy ever awarded for Album of the Year. Scripts in Very Good to Near Fine condition. Mimeograph on eye-rest green or white stock. Twentieth Century-Fox unknown
1960réf. 136893Los Angeles: Twentieth Century-Fox 1960. Archive of scripts and revision pages for 56 episodes of the detective television series dated variously between 1958 and 1960. Copies belonging to screenwriter Lewis Reed with his manuscript name on the front wrapper of each episode. 36 scripts contain pink blue white and yellow revision pages many bound separately and laid in at the rear. Included are screenplays for nearly half of the 114-episode run of the series starring the sophisticated sharp-dressed jazz-loving private eye Peter Gunn played by Craig Stevens. Probably the only television show to ever rival the best films noir of the big screen with minimalist dialogue and bleak open-ended conclusions that challenge even the best of television today. Creator Blake Edwards would use the success of the series to jump start his film career going on to direct "Breakfast at Tiffany's" 1961 and the "Pink Panther" film series starring Peter Sellers. Noted composer Henry Mancini won an Emmy and two Grammy Awards for the show's well-loved theme song including the first Grammy ever awarded for Album of the Year. Scripts in Very Good to Near Fine condition. Mimeograph on eye-rest green or white stock. Twentieth Century-Fox unknown books
réf. 12702London: Jonathan Cape. 1988. First edition first printing. First edition first printing. Inscribed by the author. Publisher's original red cloth with gilt titles to the spine in dustwrapper. A lovely near fine copy the binding square and firm the cloth and gilt bright and fresh. The contents are clean throughout and without foxing or previous owner's inscriptions or stamps. Complete with the lightly creased dustwrapper which remains without fading loss or tears. A beautiful example of one of Dahl's most popular titles. Housed in a bespoke half morocco solander case. Inscribed by Roald Dahl in black ink on the front free endpaper "Johanna / Love / Roald Dahl". Provenance: Signed by Roald Dahl for the previous owner at Waterstones in Bath 1988. 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. 1988 hardcover
réf. 16423London: Jonathan Cape. 1980. First edition first printing. First edition first printing. Signed by the author and the illustrator. Publisher's original red cloth with gilt titles to the spine in dustwrapper. An excellent very near fine copy the binding square and firm with a hint of bumping at the spine tips. The contents are clean throughout and without previous owner's inscriptions or stamps. Complete with the lightly spine faded dustwrapper which remains without loss or tears and retains the correct £3.50 net publisher's price to the front flap. A lovely copy. Inscribed by the author in black ink on the half title "Best wishes / Roald Dahl / 7 March 1981 underlined" inscribed by the illustrator in black ink on the title page "Best wishes from / Quentin Blake / Dec 1983". 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. 1980 hardcover
