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Librería: John Windle Antiquarian Bookseller, ABAA, San Francisco, CA, Estados Unidos de America
Chicago: O'Hara, 1972 4to, xx, 71 pp. With 16 color plates and 116 illustrations. Original blue cloth, illustrated dust-jacket. Fine. § Introductory handbook to the facsimile of Blake's watercolors for Gray's poems. Bentley, Blake Books, 385.
Librería: John Windle Antiquarian Bookseller, ABAA, San Francisco, CA, Estados Unidos de America
London: Trianon Press, 1978. Oblong folio, unlettered quarter morocco, cloth, worn. § The Trianon Press mock-up for the published edition which was limited to 376 copies. The first accurate reproduction of Blake's seven engravings for the Divine Comedy, first published in 1838. This new edition has an introduction and commentary by Geoffrey Keynes; three facsimiles of early states, and monochrome reproductions of Blake's watercolor designs for the plates. Bentley, Blake Books Supplement, 208.
Librería: John Windle Antiquarian Bookseller, ABAA, San Francisco, CA, Estados Unidos de America
London: Trianon Press, 1976. 4to, 5 color plates and commentary. Quarter brown morocco, slipcase. A fine copy. § Regular copy #166. Limited to 538 copies including 32 de luxe copies numbered I-XXXII, 480 regular copies numbered 1-480, and 26 copies lettered A-Z reserved for the Trustees of the William Blake Trust and the publishers. Bentley, BBS, p. 62.The Book of Los is the companion volume to the Book of Ahania. "The poem opens with a lamentation by "Eno aged Mother" over the loss of Edenic pleasures through Urizenic error and the world it creates. The narrative then centers on Los's anguished responses to that world, including his transformation of the void into matter and his binding of Urizen. The five plates ofThe Book of Loswere etched in intaglio and printed in 1795. There is only one complete copy (A, British Museum), plus a separate impression of Plate 4. The designs on Plates 1-3 and 5 were color printed from the surfaces of copperplates bearing only etched outlines of the pictorial motifs." (The Blake Archive) (6288).
Librería: John Windle Antiquarian Bookseller, ABAA, San Francisco, CA, Estados Unidos de America
London: Trianon Press: 1977. 4to, 155 pp., 51 plates. Original quarter brown morocco, slipcase. Fine as issued. § Limited to 562 copies. This is copy 67. The definitive work on all known portraits of Mr. and Mrs. Blake. Not in Bentley BB or supplement.
Publicado por London: Published by The Trianon Press for The William Blake Trust, London, 1970, 1970
Librería: David Brass Rare Books, Inc., Calabasas, CA, Estados Unidos de America
All Religions Are One [TRIANON PRESS, The]. BLAKE, William. All Religions Are One. London: Published by The Trianon Press for The William Blake Trust, 1970. One of 600 numbered copies (this copy being No. 9), out of a total edition of 662 copies. Quarto (11 3/4 x 9 in; 298 x 230 mm). (28) pp. Ten color plates. Original quarter green morocco over marbled boards. Fine. In the original marbled board slipcase. The plates were reproduced in Paris in the workshops of Trianon Press (France) by the collotype process, with some water-color washes added by hand. The editorial matter was printed by the Imprimerie Darantiere, Dijon, and binding was by Engel, Malakoff, and the hand-made slip-case by Adine, Paris. With a description and bibliographical history by Geoffrey Keynes.
Publicado por London: Published by The Trianon Press for The William Blake Trust, London, 1977, 1977
Librería: David Brass Rare Books, Inc., Calabasas, CA, Estados Unidos de America
Complete Portraiture of William & Catherine Blake [TRIANON PRESS, The]. [BLAKE, William]. KEYNES, Geoffrey. The Complete Portraiture of William & Catherine Blake. London, Published by The Trianon Press for The William Blake Trust, 1977. One of 600 numbered copies (this copy being No. 135), out of a total edition of 662 copies. Quarto (11 3/8 x 8 1/4 in; 290 x 210 mm). 154 p. Ten color plates. Original quarter brown morocco over cloth boards. Fine. In the original cloth slipcase.
Año de publicación: 1964
Librería: Maggs Bros. Ltd ABA, ILAB, PBFA, BA, London, Reino Unido
Ejemplar firmado
by Geoffrey Keynes. Printed in colour. One of 525 copies signed by Keynes. 4to., original morocco-backed marbled boards, slipcase. London and Paris, the Trianon Press. Spine faded, otherwise fine.
Publicado por London: Published by The Trianon Press for The William Blake Trust, 1969, 1969
Librería: David Brass Rare Books, Inc., Calabasas, CA, Estados Unidos de America
With the Celebrated Design "The Ancient of Days" [TRIANON PRESS, The]. BLAKE, William. Europe a Prophecy. London: The Trianon Press for the William Blake Trust, 1969. One of 480 numbered copies (this copy being No. 375), out of a total edition of 526 copies. Quarto (13 11/16 x 10 1/4 in; 345 x 260 mm). (48) pp. Seventeen color facsimile plates reproduced from the edition of 1794. Original quarter brown morocco over marbled boards. Fine. In the original marbled board slipcase. Includes the four stanza poetical "preface" telling how a Fairy sang a song to Blake abut the five senses of man, which Blake omitted from most copies. "Foster Damon has suggested that Blake [did so] because he identified in it too plainly the sense of touch with sexual pleasure, even though he did not directly name it in the first stanza" (Keynes). The illuminated pages were reproduced in Paris by the collotype and stencil process in the workshops of Trianon Press (France) and M. Crampe. The editorial matter was printed by the Imprimerie Darantiere, Dijon, and the binding was by Engel, Malakoff. With a description and bibliographical statement by Geoffrey Keynes.
Publicado por Clairvaux, Jura, France: Published by The Trianon Press for The William Blake Trust, London, 1974, 1974
Librería: David Brass Rare Books, Inc., Calabasas, CA, Estados Unidos de America
With Plates from the Lord Cunliffe Copy And Four Facsimile Proofs of Four Prints Not Found in the Earlier Trianon Edition. [TRIANON PRESS, The]. BLAKE, William. Jerusalem. The Emanation of the Giant Albion. London: The Trianon Press for The William Blake Trust, 1974. One of 500 numbered copies (this copy being No. 326), out of a total edition of 558 copies. Folio (14 7/16 x 10 1/4 in; 365 x 260 mm). (72) pp. Twenty-five color plates, eight proofs, and commentary at the end. Original quarter brown morocco over hand-marbled paper boards. Fine. In the original marbled board slipcase. The Trianon Press' 1950 facsimile edition of Blake's Jerusalem used the Stirling copy (1820), the only one known to have been completed in color by Blake. For the edition under notice, Trianon used the copy if Lord Cunliffe, an earlier version (1818) which contained twenty-five colored plates noted for the delicacy of their water-color washes and printed in a light red-brown ink. There were other variations of significance in these plates sufficient for Trianon to issue this later edition which is supplemented by facsimiles of proofs of four prints from Jerusalem from approximately the same date and executed in a similar style, from the Preston collection. The plates were reproduced in Paris in the workshops of Trianon Press (France) by the collotype and hand-stencil process. The editorial matter was printed by the Imprimerie Darantiere, Dijon, and binding was by Reliural, Paris, and the hand-made slip-case by Adine, Paris. With a commentary and bibliographical history by Geoffrey Keynes.
Librería: John Windle Antiquarian Bookseller, ABAA, San Francisco, CA, Estados Unidos de America
London: Trianon Press, 1974. Folio, 25 color plates, 8 proofs, and commentary at the end. Original quarter brown morocco, slipcase, fine. § Limited to 500 copies, of which this is No. 289. Jerusalem is the longest of Blake's prophetic books and tells of the fall of Albion, Blake's embodiment of man, or the Western World. This is the facsimile of Lord Cunliffe's copy and Kerrison Preston's proofs; the coloring differs markedly from the Stirling copy also published in facsimile by Trianon. "The long list of color facsimiles produced by the Trianon Press under Arnold Fawcus for the William Blake Trust were above all objects of beauty, recreating as near to perfection as possible Blake's original achievements." (Martin Butlin) Bentley, Blake Books, A82.
Librería: John Windle Antiquarian Bookseller, ABAA, San Francisco, CA, Estados Unidos de America
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.
Librería: John Windle Antiquarian Bookseller, ABAA, San Francisco, CA, Estados Unidos de America
London: Trianon Press, 1970. 4to, with 10 facsimile leaves, 5 pp. commentary by Sir Geoffrey Keynes, plus 32 pp. of the progressive collotype printings. Full green morocco, near fine with green marbled slipcase. § Copy III of 36 de luxe copies. The total edition was of 662 copies including 36 de luxe copies numbered I-XXXVI, 600 regular copies numbered 1-600, and 26 copies lettered A-Z reserved for the trustees of the William Blake Trust and the publishers. Bentley, Blake Books, 5. All Religions are One (c. 1788) is "a small tractate, perhaps Blake's first experiment in his illuminated printing, [it] exists in only one copy. It affirms that the Imagination 'is the true man'. and thus early Blake had completed his revolutionary theory of the nature of man and proclaimed the unity of all true religions." (Damon, Blake Dictionary).
Librería: John Windle Antiquarian Bookseller, ABAA, San Francisco, CA, Estados Unidos de America
London: Trianon Press, 1957. Folio, with 9 color plates and 156 illustrations. Original quarter morocco, a superb copy virtually mint, preserved in a quarter blue morocco box lettered in gilt. § Copy #219 of an edition limited to 20 de luxe and 460 regular copies. A very scarce book in good let alone fine condition as the size of the book and the fact that it was not issued with a box or even a slipcase means most copies are more or less worn. This was the first time that Blake's biblical illustrations had been brought together. The catalogue raisonné was compiled by Sir Geoffrey Keynes and comprises virtually every Biblical painting by Blake in existence. "The Bible had an enormous influence on Blake's work as both artist and poet. Among his many and complex responses to that text is a group of paintings he created for his patron Thomas Butts, beginning in 1799. Most were executed in that year and the next, but at least three were probably completed while Blake was in Felpham, 1802 and 1803. Fifty-three of these "cabinet paintings" (as small works of this type were called in Blake's time) have been recorded. Only thirty are now traceable, seven based on the Old Testament and the remainder on the New.The medium of these paintings, now generally called "tempera," is water-based with a glue and/or gum binder. Blake applied his pigments in multiple layers, including intervening applications of transparent glue or gum. Outlines were often reinforced with black ink and the finished compositions glazed with glue. Blake was probably trying to create jewel-like paintings; in hisDescriptive Catalogueof 1809, he compared them to "enamels" and "precious stones" (Erdman page 531). He never used the word "tempera" but called his medium "fresco"?a term that recalls Renaissance wall paintings?and claimed that he had invented the new genre of "portable Fresco" (Exhibition of Paintings in Fresco, Erdman pages 527), an alternative to paintings in oil. Most were executed on canvas, but three are on copper and one (The Agony in the Garden) is on tinned iron. Bentley, BB, 681.
Librería: John Windle Antiquarian Bookseller, ABAA, San Francisco, CA, Estados Unidos de America
London: Trianon Press, 1968. 4 vols., 8vo and 12mo, Vol. I (8vo), [i-vii]-viii, 50, (4) pp., Vol. II (12mo), [2] pp., 22 plates, Vol. III [4] pp., 31 plates, Vol. IV (12mo), [2] pp., 10 plates, negative and copper plate. Original tan morocco, (volume 4 in brown cloth, as issued), cloth slipcase, gilt lettering to backstrips of all three volumes. Backstrips slightly flaked. § Copy #14, with the first three volumes bound in morocco. From an edition of 726 total copies including 700 numbered 1 to 700, of which the first 50 have additional material and are in a special binding, and 26 reserved copies lettered A-Z. Volume I is an introductory volume, followed by three volumes of plates. "In about 1818 Blake revisedFor Children: The Gates of Paradise, giving the work the new title ofFor the Sexes: The Gates of Paradiseand adding three new text plates at the end (Plates 19-21). All twenty-one plates are intaglio etchings/engravings. Plates 19-20 contain brief interpretive statements keyed by number to the preceding design plates. The final plate is addressed to Satan as the "God of This [fallen] World." (Blake Archive). Bentley, BB, 48.
Librería: John Windle Antiquarian Bookseller, ABAA, San Francisco, CA, Estados Unidos de America
Paris: Trianon Press for the Blake Trust, 1987. 22 separate plates, approx. 15.75 x 12.25 inches (30 x 31 cm) each, printed in color on Arches, housed in a tri-fold paper folder. Very good condition. § The New Zealand Set are careful watercolor copies of the central designs of the original engravings, produced by the circle of John Linnell, presented here in faithful facsimile. Butlin noted in the Blake Quarterly: "The long list of color facsimiles produced by the Trianon Press under Arnold Fawcus for the William Blake Trust were above all objects of beauty, recreating as near to perfection as possible Blake's original achievements.".
Librería: John Windle Antiquarian Bookseller, ABAA, San Francisco, CA, Estados Unidos de America
London: Trianon Press, [1951]. 4to, (6), ix text, and 100 color plates. Original blue cloth, folding box repaired, very good. § Limited to 516 copies, this is #351. The first of the magnificent series of facsimiles by the Trianon Press of Blake's illuminated books, edited by Geoffrey Keynes. Bentley, Blake Books, 78. Butlin noted in the Blake Quarterly: "The long list of color facsimiles produced by the Trianon Press under Arnold Fawcus for the William Blake Trust were above all objects of beauty, recreating as near to perfection as possible Blake's original achievements.".
Librería: John Windle Antiquarian Bookseller, ABAA, San Francisco, CA, Estados Unidos de America
London: Trianon Press, [1951]. 4to, (6), ix text, and 100 color plates. Original blue cloth, prospectus loosely inserted, folding box, very good. § Limited to 516 copies, this is #419. The first of the magnificent series of facsimiles by the Trianon Press of Blake's illuminated books, edited by Geoffrey Keynes. Bentley, Blake Books, 78. Butlin noted in the Blake Quarterly: "The long list of color facsimiles produced by the Trianon Press under Arnold Fawcus for the William Blake Trust were above all objects of beauty, recreating as near to perfection as possible Blake's original achievements.".
Librería: John Windle Antiquarian Bookseller, ABAA, San Francisco, CA, Estados Unidos de America
London: Trianon Press, 1965. 4to, 8 plates, (5) pp. text, plus the extra materials. Full brown morocco, marbled paper-covered slipcase, gilt lettering to backstrip. A fine copy. § De luxe copy #XII of 20 copies with a suite of progressive states of one plate, an original guide-sheet and stencil etc. Edition limited to 426 copies, including 20 de luxe copies numbered I-XX, 380 regular copies numbered 1-380, and 26 copies lettered A-Z reserved for Mr. Lessing Rosenwald, the Library of Congress, the Trustees of the William Blake Trust, and the publishers. One of the more difficult Trianon Press books to find. This edition reproduces the second Rosenwald copy, copy "O," (both) at the Library of Congress. Bentley, Blake Books, 26. "The first, the simplest, and the most charming of the prophetic books. best understood as a rewriting of Milton's Comus.".
Librería: John Windle Antiquarian Bookseller, ABAA, San Francisco, CA, Estados Unidos de America
London: Trianon Press, 1974. Folio, 25 color plates, 8 proofs, and commentary at the end, eight color facsimile trial proofs, twelve pages of text plus an extra suite of fourteen states of plate B, collotype proofs, and a matching guide-sheet and stencil. Original full brown morocco, slipcase. As new. § De luxe copy #VI of 32 with extra material, proofs, stencil etc. Limited to 558 copies including 32 de luxe copies numbered I-XXXII, 500 regular copies number 1-500, and 26 regular copies lettered A-Z reserved for the Trustees of the William Blake Trust and the publishers. This is a combined facsimile of Lord Cunliffe's copy (copy B) and Kerrison Preston's proofs; the coloring differs markedly from the Stirling copy (copy E) which was the first Trianon Press Blake facsimile published in 1951 (see above). Bentley, BB, A82.
Librería: John Windle Antiquarian Bookseller, ABAA, San Francisco, CA, Estados Unidos de America
London: Trianon Press, 1969. Folio, 17 color plates, 9 pp. of commentary plus extra material. Full brown morocco over boards with slipcase. Fine. § One of the rarest de luxe editions. One of 20 deluxe copies with additional proof sheets, progressive plates, original stencil, etc.; this copy is inscribed "special publisher's copy." Limited to 526 copies including 20 de luxe copies numbered I-XX, 480 regular copies numbered 1-480 and 25 copies lettered A-Z reserved for Mrs Landon Thorne, Lord Cunliffe, the Trustees of the William Blake Trust and the publishers. Bentley, BB, 34. Bentley, BB, 34: "reproduces copy B (pl. 2, 6, 13-15, 17-18), copy G (pl. 1, 4-5, 7-12,16) and copy K (pl. 3). Bentley, Blake Books, 34. The frontispiece ("The Ancient of Days") is surely Blake's most famous single image. "Europe [Lambeth 1794] is a sequel to and sometimes bound up with America. The other two continents appear in The Song of Los. 12 copies are known." (Damon, Blake Dictionary).