blake william illustrator (23 Ergebnisse)

Zustand: Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

paperback. Zustand: Good. Good condition with wear and markings. Looks like an interesting title!

Hardcover. Zustand: VERY GOOD. Zustand des Schutzumschlags: NONE. Pages are clean, unmarked, and tight; beautifully-marbled cover is clean and sturdy.

Hardcover. Zustand: Brand New. Blake, William (illustrator). 128 pages. 6.49x4.13x6.50 inches. In Stock.

Paperback. Zustand: Brand New. 101 pages. 7.00x4.50x0.25 inches. In Stock.

Paperback. Zustand: Brand New. Blake, Quentin (illustrator). 32 pages. 10.00x9.25x0.25 inches. In Stock.

Paperback. Zustand: Brand New. Blake, William (illustrator). 296 pages. 8.25x5.50x0.75 inches. In Stock.

Hardcover. Zustand: Fine. New York: Heritage Press (1961). Hardcover with slipcase. In fine condition. Slight fading on spine and prior owner's nameplate on frontend paper. An otherwise clean, tight copy. Slipcase has shelfware and rubbing. Shipped in well-padded box. Smoke-free shop.

Hardcover. Zustand: Fine. New York: Heritage Press (1954). Hardcover with slipcase. In fine condition. Slight fading on spine. An otherwise clean, tight copy. Slipcase has some shelfware, fading, and stains. Shipped in well-padded box. Smoke-free shop.

Hardcover. Zustand: Very Good. Zustand des Schutzumschlags: Good. Beautifully illustrated selection of songs from William Blake illustrated by Harold Jones. [40] p. : ill. (some col.) ; 22 cm. Pictorial boards, unclipped dust jacket (now in a removable protective sleeve). Slight shelf wear to jacket edges, couple of small closed tears, small loss to head of spine, 1958 gift inscription on front free endpaper, tight and square binding. Photographs available on request. All books dispatched same or next working day in robust packaging.

William Blake (illustrator). CONDITION: Fine. Leather bindings pristine, gilt bright, contents immaculate, no signs of handling or wear. Solander box likewise fine. Clean, bright, and unmarked throughout. An exceptional copy of one of the Folio Society's grandest limited editions. DESCRIPTION: Complete two-volume set: Volume I (Large Folio): The Poems of Thomas Gray. This facsimile edition of the poems of Thomas Gray has been reproduced from the originals held at the Yale Center for British Art, New Haven, Connecticut, USA, by Dot Gradations, Wickford, Essex, and printed by Appl, Wemding, Germany, on Natural Evolution paper. It has been bound by Zanardi, Padova, Italy, in Nigerian goatskin leather with cloth sides printed and blocked with a design by David Eccles based on William Blake's original drawing; the endleaves are of Curious Metallics gold leaf backed with Nettuno Carruba. The edition consists of 1000 numbered copies for sale to members of The Folio Society and 20 lettered copies which are not for sale. Volume II (Smaller Quarto): Commentary by Irene Tayler. Provides scholarly and interpretive notes on Gray's verse and Blake's visual interpretations. Both volumes printed at The Folio Society and bound by Lachenmaier, Reutlingen, Germany. Numbered on colophon page (this copy no. 313 of 1,000). Originally issued at £495. Due to the heavy weight and large dimensions of this set, extra shipping charges may apply. Happy to provide you with a quote.

SECOND ISSUE (1912), dated from adverts at rear, 8vo, 210 x 155 mm, 8¼ x 6 inches, red cloth, gilt lettered upper cover and spine, repeat colour plate mounted on upper cover, gilt decoration and rules to spine, plain endpapers, pages: xvii, (3), 49 + 16. 12 beautiful colour plates by Appleton. Decorated title page printed red and grey, grey decorated borders to all text pages. Book leaning very slightly, spine very slightly faded, spine gilt slightly dull, tiny 'crush' to head of spine, tiny bump to top corner of lower cover, neat name and date 1918 on front endpaper. Occasional very slight pale foxing, not affecting plkates. A very good copy. The first issue was published by Herbert & Daniel undated in 1911 in cream cloth gilt with no coloured onlay and with illustrated endpapers. It was republished by Simpkin Marshall circa 1920. MORE IMAGES ATTACHED TO THIS LISTING, ALL ZOOMABLE, FURTHER IMAGES ON REQUEST. POSTAGE AT COST.

Full leather bounds stamped in gilt. Spine with 4 raised bands, gilt lettering. All edges gilt. Orange moire pasted and free endpapers. , John Milton (9 December 1608 ? 8 November 1674) was an English poet, polemicist, and civil servant. His 1667 epic poem Paradise Lost was written in blank verse and included 12 books, written in a time of immense religious flux and political upheaval. It addressed the fall of man, including the temptation of Adam and Eve by the fallen angel Satan, and God's expulsion of them from the Garden of Eden. Paradise Lost elevated Milton's reputation as one of history's greatest poets. He also served as a civil servant for the Commonwealth of England under its Council of State and later under Oliver Cromwell., Size : 8vo.(260 x 170 mm), 313 pp. Fine example of this leatherbound collector?s edition copy of Milton?s famous work, illustrated by Blake.

Pp., Hardcover/Pappeinband. Zustand: Gut. 255 S. : zahlr. Ill. ; 33 cm Schutzumschlag, guter bis sehr guter Zustand, Handschriftliche Zahl auf Innenseite des hinteren Buchdeckels 4B Sprache: Deutsch Gewicht in Gramm: 2124.

Marbled boards. Zustand: Very Good. William Blake (illustrator). First Edition. The 1808 1st edition, with William Blake's 11 celestial plates and L. Schiavonetti's engraved portrait of Blake (at the frontispiece), his etched title page and his additional engravings suffused with Blake's drawings. Solid and VG in its contemporary-to-the-period marbled boards and more recent professional re-backing along the spine. Folio, published by R.H. Cromek of London. "These designs by Blake are considered his best-known work and his most forcible and poetic thinking on the subject of death" (Bentley, 435B).

First Edition. 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, (2)p. 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 B?rger. 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, with[ou]t 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 B?rger?s Lenore; it helped mater.

Zustand: Near Fine. First edition in English. Three folio volumes bound in five (12 7/8 x 10 1/4 inches; 327 x 260 mm). [ii, half-title, verso blank], [ii, vignette title-page, verso blank], [ii, translator's preface], [vi, advertisement], [iv, contents], [x, list of subscribers], [ii, dedication], [vi, author's preface], [ii, French translators' preface], [3]-280; [iii]-xii]; [1-3], 4-238; [1, half title vol II. part II, verso blank], [239]-444; [iii-iv, title-page, verso blank], [v]-xii, contents, [1]-252; [2, half title vol III. part III], 253-437, [1, blank], [1]-xi index, [1, blank] pp. Complete with 174 engraved plates after Rubens, Fuseli, Bartlozzi and Blake. Bound ca. 1830 in full dark green diced calf, covers with double ruled gilt line and decorative corner-pieces in gilt. Spines with five raised bands, elaborately tooled in gilt, two brown morocco labels lettered in gilt. Gilt ruled board edges and turn-ins, marbled endpapers, all edges gilt. With the engraved armorial bookplate of Viscount Birkenhead on front paste-down of each volume. Some light foxing and offsetting throughout but still an incredible set of this landmark work. Near Fine. Johann Caspar Lavater (1741 - 1801) "was the last and most influential of the descriptive physiognomists, a class of pseudo-scientists who attempted to ascertain character on the basis of physical features.Von der Physiognomik [1772], an unillustrated two-volume book, was Lavater's first work on the subject; this was later expanded, with the help of Goethe, into the four-volume Physiognomische Fragmente (1775 - 1778), and further perfected in a French translation, Essais sur la physiognomie [1781].supervised by Lavater himself. Lavater's physiognomy differed from those of his predecessors in that he paid special attention to the structure of the head, particularly the forehead - a form of psychological indexing that exerted some influence on the development of phrenology and brain localization theories in the early nineteenth century. Lavater's work also influenced artists of the period, both in the overall creation of portraits, and in the use of his physiognomical theories to construct individual faces in historical paintings" (Norman Library). Among the portraits included in Essays on Physiognomy are those of Descartes, Locke, Milton, Newton, Vesalius, Voltaire, and George Washington. Osler 3178. Near Fine.

William Blake (illustrator). First Edition. 1st edition, quarto, (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 ¾ 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.

Zustand: Near Fine. First edition. Quarto (pages 275 x 340mm): [xvi], 36, [4, prospectus]; complete with the engraved frontis of Blake, engraved title page and eleven other plates engraved by Louis Schiavonetti after illustrations by William Blake. Handsomely bound in early 20th century full calf with rules stamped in black and a blue morocco spine label. Illustrated title trimmed a little tightly, no loss to the illustration. A clean and attractive copy internally with all plates retaining their tissue guards. With the armorial bookplate of C. E. Richardson, motto: virtute aquiritus honos. Housed in a custom slipcase. A blank verse poem, The Grave was the work for which Scottish writer Robert Blair was most renowned. "In October 1805, William Blake was commissioned by the engraver and would-be publisher Robert H. Cromek to prepare forty drawings illustrating the popular "graveyard" school poem first published in 1743. In Cromek's first prospectus of November 1805, Blake is named as both the designer and engraver of fifteen designs.In a second prospectus, also from November 1805, Cromek announced that Luigi Schiavonetti would engrave twelve designs for the new edition. Blake had lost the lucrative commission to engrave his own designs; and his relationship with Cromek descended into anger and argument. In spite of their disagreement, Cromek included a portrait of Blake as a frontispiece to the volume, published in 1808. Cromek promoted the book aggressively and the illustrations to The Grave became Blake's best known work through much of the nineteenth century" (William Blake Archive). Near Fine.

Chichester: J. Seagrave, 1803-04. 3 vols., 4to, (10, table of contents), [iii]-xiii, [1]-413; (8), [1]-424; (2), [1-iii], iv-xxxi, 416, (4), (6), [1]-122, (24) pp. With 5 plates and an engraving in the text, one designed and engraved by Blake, the others engraved by Blake after other artists. Original polished brown half calf, marbled paper over boards. Backstrips of each volume with two black morocco labels lettered in gilt. Hinges and joints of vol. III just starting. Some spotting and foxing along edges of text blocks and within the text itself, sometimes within the image. Minor rubbing and wear at extremities. Armorial bookplate of the Corbollis family on front pastedown of each volume. Excellent, original copies in fantastic overall condition. ? Second edition, final state of the ?Weatherhouse? plate designed by Blake. Hayley?s position as the most respectable and considerable literary figure who had known Cowper made him the inevitable choice to write the definitive work. Blake was living with his wife at Felpham and she helped him make and print the engravings for their old friend and patron Hayley, however ?the plates for vols i-ii are much more clearly and darkly printed in the second edition (so indicated on the title pages) than the first. Perhaps many of the lines were cut more deeply when the plates were converted in their second states, but more careful inking and printing could account for the considerable tonal differences. One hesitates to blame Mrs. Blake for the poor impressions of the first states, but that may indeed be the case? (Essick, William Blake?s Commercial Book Illustrations, 86). Bentley, Blake Books, 468 A. Easson & Essick I, VII.

First Edition. Chichester: Printed by J. Seagrave; for J. Johnson. 1803-1806. 4 vols. (including Supplementary Pages) in three, 4to, pp. [i-iii]-xii, not including (8) -- ?Contents,? bound after title-page, [1]-413; (8), [1]-422; (4), xxxi, [1]-416; (4), [1]-122, (24), with five plates and an engraving in the text by William Blake, second state of those in Vols. I and II (no second state for those in Vol. III), top cover of Vol. II with worm track, frontispiece to Vol. II slightly foxed, occasional browning in Vol. III and a worm track in the upper margin of the first few leaves, bound without half-titles, contemporary mottled calf, gilt borders to front and back covers, flat spines (not green) gilt in compartments with red lettering pieces in the second and fifth, a bit rubbed and worn, joints tender, the upper cover of Vol. III nearly detached; original blue silk bookmarks in all three vols., ownership inscription in each vol. of Charlotte Beatty, that in the third vol. dated 1805. Good. ? First edition, and second state of the ?Weatherhouse? plate, the only illustration in the book designed and engraved by Blake, of which only a few examples are known in the first state. This plate, here present in a very good impression with the imprint quite clear, is almost always in the second state; three or four copies are known in the first state. The other 5 plates are engraved by Blake after designs by others. Hayley?s position as the most respectable and considerable literary figure who had known Cowper made him the inevitable choice to write the definitive work. Blake was living with his wife at Felpham and she helped him make and print the engravings for their old friend and patron Hayley. Pencil inscription to front free endpaper reads: ?These three volumes were obtained from the family of the Rev. Wm Bull of Newport Pagnell, Friend of Cowper and Newton [see DNB]. Charlotte Beatty was the original owner of the books and she was a friend of this circle, and also well-known in that area, where alms houses were named in her honour.? Keynes, Grolier, 124; Bentley 468A; Essick XLIV (note that the entry in Easson and Essick (IV) is totally superseded by Essick?s new research in the Commercial Book Illustrations).

Chichester: J. Seagrave, 1803-04. 3 vols., 4to, (2), xii, (8), 413; (4), 424; (6), xxxi, 416 pages. With 5 plates and an engraving in the text, one designed and engraved by Blake, the others engraved by Blake after other artists. Old diaper calf rebacked, new labels, a good set. ? Second edition, final state of the ?Weatherhouse? plate designed by Blake. Hayley?s position as the most respectable and considerable literary figure who had known Cowper made him the inevitable choice to write the definitive work. Blake was living with his wife at Felpham and she helped him make and print the engravings for their old friend and patron Hayley. Bentley, Blake Books, 468 A. Easson & Essick I, VII. Bound in at the end is another book entitled: Cowper, Illustrated by a Series of Views, in, or near, The Park of Weston-Underwood, Bucks. London: 1803, published by Vernor and Hood and with an engraved title and 12 plates by Storer and Greig. This added text has nothing to do with Blake and only relates to William Cowper.