William blake illust (3 Ergebnisse)
Weitere BilderOn the Morning of Christ's Nativity : Milton's Hymn with Illustrations by William Blake [SIGNED]
John Milton / William Blake (Illust.) / Geoffrey Keynes (Ed.)
Sprache: Englisch
Verlag: Cambridge University Press, Cambridge, 1923
- Hardcover
- Erstausgabe
- Signiert
Anbieter: Tarrington Books, Tarrington, HEF, Vereinigtes KönigreichTarrington Books
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Gebraucht - Gut
EUR 240,47
EUR 21,01 VersandVersand von Vereinigtes Königreich nach USAAnzahl: 1 verfügbar
In den WarenkorbHardback. Printed pages: 32. Zustand: Very Good Plus. Zustand des Schutzumschlags: Good. 1st Edition. Dust jacket: Original glassine jacket with old paper repairs to ends of spine. Plus the original printed jacket with loss to foot of spine, old paper repairs to head and foot of spine. A few short tears to ends of rear cover. Pr…eserved in a removable jacket protector. Overall jacket condition is Good Plus. Book: Limited edition of 150 copies, this copy inscribed 'out of series'. Quarter vellum with green buckram boards. Top page edge gilt. Printed on handmade paper with hand printed endpapers. Slight residue to verso of front free endpaper where a previous owner's tipped in bookplate has been removed, otherwise in excellent condition throughout. Signed by Geoffrey Keynes to the first blank in his customary brown ink and inscribed to John Lawson. Lawson was a renowned bookseller and lifelong friend of Keynes. . Overall book condition is Very Good Plus. Size: 9 x 11.5 inches (22 x 29 cm). Signed by Author.
Weitere BilderVerlag: Luke Hansard for J. Johnson & Th. Payne, London, 1806
- Hardcover
Anbieter: Arader Books, New York, NY, USAArader Books
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Gebraucht - Befriedigend
EUR 5.992,42
Versand gratisVersand innerhalb von USAAnzahl: 1 verfügbar
In den WarenkorbHardcover. Zustand: Good. Second. Second edition corrected. Two volumes. London: Luke Hansard for J. Johnson & Th. Payne, 1806. Quarto (10" x 8 1/8", 255mm x 205mm). [Full collation available.] With 81 engraved plates in toto by Blake, Bartolozzi, Barlow et al., of which 4 are folding. Bound in contemporary half calf over marble…d boards (vol. I re-backed, with the original back-strips laid down). On the spine, five panels. Author and title gilt to the second panel, number gilt to the fourth. All edges of the text-block speckled brown. Vol. I re-backed, with the original back-strips laid down (end-papers renewed); vol. II strengthened at the head and tail (end-papers renewed). The hinges of vol. II splitting, with some peeling of the calf and craquelure along the spine. Tanned, with passages of foxing and offsetting at the plates. Tanning to the lower fore-corner of vol. II 3A1-3B1 including two plates. A graphite marginalium to p. 222 of vol. I, and a graphite circle to the title-page of vol. II. John Gabriel Stedman (1744-1797) was born to a Scotsman in the Austrian Netherlands, and followed his father into military service in the Dutch States Army. In 1772 he was dispatched to Surinam (Suriname in Dutch; formerly Dutch Guiana) immediately north of Brazil in the face of a long-simmering conflict between the Dutch colonists and "maroons" (from the Spanish "cimmarón," wild), self-liberated enslaved Africans who built communities throughout the Caribbean. Stedman served several tours 1773-1777 and kept a journal that provided the basis for the Narrative, first published 1796, as well as sketchbooks translated into engraving by William Blake, Francesco Bartolozzi, John Barlow and others (under the auspices of the radical liberal publisher Joseph Johnson). Stedman's interest is broad, including history and natural history, and the Narrative is one of the early Anglophone accounts of a place long celebrated for its biodiversity, stretching back to Maria Sibylla Merian, who published her dissertation on the metamorphosis of Surinamese insects based on a research expedition 1699-1701. Although the text shows Stedman defending the enslavement of Africans, his frank accounts of their brutal treatment provided the basis for the illustrations and the use of the book by abolitionists keen to see slavery stopped. The illustrations by Blake were long used to highlight the urgent need for the abolition of slavery. Abbey, Travel 719; Bentley, Blake Books 499; Sabin 91075.
Weitere BilderVerlag: Robert Noble for Richard Edwards, London, 1797
- Hardcover
- Erstausgabe
Anbieter: Arader Books, New York, NY, USAArader Books
Verkäufer/-in kontaktierenVerkäufer/-in mit 5 SternenZustand: Gebraucht - Gut
EUR 21.149,73
Versand gratisVersand innerhalb von USAAnzahl: 1 verfügbar
In den WarenkorbNo binding. Zustand: Very Good. First edition. Large Quarto (16 3/16" x 12 3/8", 410mm x 315mm): 54 leaves, pp. i-iii (title, blank, advertisement) iv-viii, [2] (Night the first, on life, death and mortality, blank) 1-16 17-18 (Night the second on time, death and friendship, blank) 19-42 43-44 (Night the third, Narcissa, blank)…45-63 64-66 (blank, The Christian triumph, blank) 67-95 [3] (blank, 2pp. explanation of the engravings). With 4 engraved subtitle-pages and 39 engravings bordering the text. Disbound. Presented in a custom chemise within a portfolio of quarter mottled calf over grey card (16 7/8" x 13 ¼", 428mm x 336mm). On the spine, "Young's / night / thoughts / Blake" gilt to a black morocco lettering piece. Date gilt to the heel. Pinholes and facsimile repairs along the left margin throughout. Occasional pale foxing, soiling to the extremities, and cockling. Repaired horizontal tear from the fore-margin to leaf 10. Repaired tear to the lower fore-corner of leaf 35. Horizontal tear extending from fore-edge of leaf 49. Dampstain to the upper edge of pp. 51 Watermark of J. Whatman to leaf 35 and 48. Leaf of "Explanation of the engravings" inlaid. In 1797, the bookseller Richard Edwards published the first installment of his new edition of Edward Young's Night Thoughts. A poem in nine parts, the work had already seen many iterations since its initial release between 1742 and 1745. Edwards promoted his unique edition with a titillating prospectus, describing it as "part the first of a splendid edition of this favourite work, elegantly printed, and illustrated with forty very spirited engravings from original drawings by BLAKE." Described as "the most grandiose engraving project of Blake's lifetime" (Bentley & Nurmi, p. 4), the impression was instantly scarce. William Blake (1757-1827) spent nearly two years illustrating the complete Night Thoughts; creating a watercolor design in the margins of every page, amounting to 537 illustrations in total. This was the largest commercial endeavor for which Blake was ever employed. Edwards began the project by having the pages from the first and second editions of the poem glued into windows cut into large leaves of Whatman wove paper. These text pages were positioned slightly off-center to create a lower margin greater than the upper and an outer margin greater than the inner (Bentley notes that the paper was "only marginally larger than the copperplate, and even in untrimmed copies, parts of the platemarks may not appear"). Blake was paid the paltry sum of twenty guineas for his watercolors, presumably because he expected to receive a great deal more for engraving them. Of 537, only 43 were engraved for the first run of the Edwards edition, which spanned four "Nights" of the poem. Despite much anticipation, the project was a complete commercial failure, and no further volumes were released. The flop of the project may have been one of the reasons why Blake decided, in 1800, to move from London to the village of Felpham on the Sussex coast and place himself under the patronage of William Hayley. Today, the vast majority of Blake's Night Thoughts illustrations remain unpublished. The cost of the project, which involved the separate printing of the text and the plates, was evidently too great, and the illustrations were perhaps too lewd for contemporary tastes (Pilkington notes that the work's only impression on the public was to startle the pious with unexpectedly "naked groups"). Additionally, Young's words and Blake's pictures were often in tension with one another. The generality of Young's diction gave Blake considerable freedom in illustrating it, and Blake's ideological supplementals become apparent even with a cursory glance. When Young wrote Night Thoughts in the middle of the XVIIIc, he considered that he was offering "plain truths" with which his readers would agree that reason is man's dominant faculty and rigid moral laws provide punishment for sin. When Blake illustrated the poem fifty years later, it was precise.
