William BLAKE Rare Books and First Editions at Bauman Rare Books

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WILLIAM BLAKE

Found 22 books(s). Showing results 1 thru 22.

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"THE DOG HER ORDER UNDERSTOOD, OR SEEM'D TO UNDERSTAND, IT WAS HIS GLORY TO MAKE GOOD AFFECTION'S KIND COMMAND"

(BLAKE, William) HAYLEY, William. Ballads. London, 1805.

Expanded second edition—the only obtainable edition—of this poetry collection, with five engravings by William Blake, handsomely bound by Bedford. $6000.

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"RANKING WITH THE SUREME MASTERPIECES OF GRAPHIC ART"

(BLAKE, William) BINDMAN, David, editor. Williiam Blake's Illustrations of the Book of Job. London, 1987.

Limited first edition, copy number 6 out of 250 copies (from a total edition of 387 copies), with a facsimile of a proof copy of the engravings and color facsimiles of the three known earlier sets of Job drawings by Blake, plus an extensive apparatus of notes and commentary. $4750.

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"LITTLE LAMB, WHO MADE THEE?"

BLAKE, William. Songs of Innocence and Experience. Manchester, 1983.

Limited edition, number 10 of only 40 copies, of this beautiful reproduction in the original size of Blake’s famous illuminated book, with 19 plates, 16 of which are hand-colored, with an accompanying framed piece of two separate impressions of the plate "The Lamb," done in 1863 and 1983. $4500.

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WITH FIVE PLATES ENGRAVED BY WILLIAM BLAKE

(BLAKE, William, engraver) DARWIN, Erasmus. The Botanic Garden. London, 1791, 1791. Two volumes in one.

First edition of Part I, third edition of Part II, of Erasmus Darwin's chief poetical work, illustrated with two engraved frontispieces and 18 plates, one from a painting by Henry Fuseli— five engraved by William Blake. $3300.

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“HEAR THE VOICE OF THE BARD! WHO PRESENT, PAST, & FUTURE, SEES”

(BLAKE, William) YEATS, William Butler, and ELLIS, Edwin John. Works of William Blake. London, 1893. Three volumes.

Limited first Ellis and Yeats edition of Blake’s writings and artwork, one of only 500 copies, with portrait frontispieces and numerous plates, in the beautiful elaborately gilt publisher's binding. $2800.

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GILCHRIST’S IMPORTANT LIFE OF WILLIAM BLAKE

(BLAKE, William) GILCHRIST, Alexander. Life of William Blake. London, 1880. Two volumes.

Preferred second edition of this important early biography, profusely illustrated with photolithographic plates after Blake, frontispiece portrait and folding frontispiece of the Canterbury pilgrims. With three prints taken from original woodblocks and 16 impressions from Blake’s original electrotype plates. In beautiful elaborate publisher's gilt binding. $2500.

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“HEAR THE VOICE OF THE BARD! WHO PRESENT, PAST, & FUTURE, SEES”

BLAKE, William. The Writings of William Blake. WITH: Wilson's Life of Blake. London, 1925-27. Together four volumes.

Limited Nonesuch Press edition of Blake's Writings, number 943 of 1575 copies printed on Vidalon handmade paper, the first complete edition of the poet's writings. Together with Mona Wilson's important Life of William Blake, number 376 of 1480 copies. $1850.

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LAVISH TRIANON PRESS LIMITED EDITION FACSIMILE OF BLAKE'S THE BOOK OF URIZEN

BLAKE, William. The Book of Urizen [facsimile]. London, 1958.

Fine Trianon Press limited edition facsimile, number 70 of 480 copies (from a total edition of only 526), on Arches paper, finely reproducing in color the 27 leaves of Blake's vibrantly illuminated poem. Printed for The William Blake Trust from the Lessing J. Rosenwald copy in the Library of Congress, with bibliographical note by Blake expert Geoffrey Keynes. $1800.

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"THE RARE IMAGINATIVE POWER OF WILLIAM BLAKE"

(BLAKE, William) BLAIR, Robert. Grave. London, 1870.

Third edition of Blair's singular poetic achievement, with splendid engraved frontispiece portrait of William Blake and 12 engraved plates rendered by Shiavonetti after Blake's original designs, including the engraved title page. $1650.

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LAVISH TRIANON PRESS LIMITED EDITION FACSIMILE OF ALTERNATIVE COLORED VERSIONS OF THE FIRST 25 PLATES OF BLAKE'S JERUSALEM

BLAKE, William. Jerusalem: The Emanation of the Giant Albion [facsimile]. London, 1974.

Fine Trianon Press limited edition facsimile, number 199 of only 500 copies (from a total edition of only 558), of alternative colored versions of the first 25 plates of Blake's Jerusalem. A fine copy, with publisher's prospectus (two copies) laid in. $1500.

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"THE UNDERTAKING AND THE DIFFICULTIES WERE ENORMOUS AND THE ACCOMPLISHMENT SPLENDID"

(BLAKE, William) KEYNES, Geoffrey. Bibliography of William Blake. New York, 1921.

Limited first edition, one of 250 copies printed at the Chiswick Press, London for the esteemed Grolier Society of New York, with four color plates, 36 monochrome, and 12 in-text illustrations. $1400.

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FINE TRIANON PRESS LIMITED FACSIMILE EDITION OF WILLIAM BLAKE'S ILLUMINATED MASTERPIECE, AMERICA

BLAKE, William. America: a Prophecy [facsimile]. London, 1963.

Fine Trianon Press limited edition facsimile of one of William Blake's first illuminated books, number 325 of 480 copies (from a total edition of only 526) on Arches paper, finely reproducing in color the 18 leaves of Blake's illustrated poem. Printed for The William Blake Trust from trustee Paul Mellon's original 1793 volume, one of only four colored copies extant. With bibliographical note by Blake expert Geoffrey Keynes. $1250.

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"TRULY MY SATAN THOU ART BUT A DUNCE"

BLAKE, William. Gates of Paradise. London, 1968. Three volumes.

Limited edition, number 448 of 700 copies (out of a total of 726 copies), of these facsimiles of the two versions of Blake's Gates of Paradise, with a separate volume of commentary and reproductions of Blake's preliminary sketches. $1200.

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TRIANON PRESS FACSIMILE OF BLAKE'S ILLUMINATED THE BOOK OF AHANIA

BLAKE, William. The Book of Ahania [facsimile]. London, 1973.

Limited edition of the renowned Trianon Press facsimile of Blake's illuminated poem The Book of Ahania, number 303 of 750 copies (from a total edition of 808) on Arches paper, finely reproducing in color the six leaves of Blake's book. Printed for The William Blake Trust from the single extant copy in Lessing J. Rosenwald's collection, now in the Library of Congress, with bibliographical note by Blake expert Geoffrey Keynes. $1000.

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"ONE OF THE MOST REMARKABLE ACHIEVEMENTS IN THE HISTORY OF ART AND LETTERS"

(BLAKE, William) KEYNES, Geoffrey. William Blake: Poet, Printer, Prophet. London and Paris, 1964.

Signed limited first edition of Geoffrey Keynes lovely illustrated study of William Blake's visionary Illuminated Books, number 65 of 525 copies signed by Keynes and bound in half morocco, with 32 color plates. $850.

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"THE MOST POWERFUL AND MOVING OF THE SYMBOLIC BOOKS"

BLAKE, William. Visions of the Daughters of Albion [facsimile]. London, 1959.

Fine Trianon Press limited edition facsimile of one of William Blake's "most powerful" symbolic books, number 18 of 400 copies (from a total edition of only 446) on Arches paper, finely reproducing in color the 11 leaves of Blake's lovely illuminated poem. Printed for The William Blake Trust from Lord Cunliffe's original 1793 volume. With bibliographical note by Blake expert Geoffrey Keynes. $850.

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TRIANON PRESS FACSIMILE OF BLAKE'S ILLUMINATED THE BOOK OF LOS

BLAKE, William. The Book of Los [facsimile]. London, 1976.

Limited edition of the renowned Trianon Press facsimile of Blake's illuminated poem The Book of Los, number 171 of 480 copies (from a total edition of 538) on Arches paper, finely reproducing in color the five leaves of Blake's poem. Printed for The William Blake Trust from the single extant copy in the British Museum, with bibliographical note by Blake expert Geoffrey Keynes. $850.

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FINE TRIANON PRESS FACSIMILE OF BLAKE'S ILLUMINATED THE SONG OF LOS

BLAKE, William. The Song of Los [facsimile]. London, 1975.

Limited edition of the renowned Trianon Press facsimile of Blake's etched book The Song of Los, number 52 of 400 copies (from a total edition of 458) printed on Arches paper, finely reproducing in color the eight leaves of Blake's illuminated poem. Printed for The William Blake Trust from the Lessing J. Rosenwald copy, with bibliographical note by Blake expert Geoffrey Keynes. $850.

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"ONE OF THE MORE SUCCESSFUL OF BLAKE'S BOOKS"

BLAKE, William. The Book of Thel. London, 1965.

Fine Trianon Press limited edition facsimile of one of William Blake's illuminated books, number 353 of 380 copies (from a total edition of only 426) on Arches paper, finely reproducing in color the eight leaves of Blake's lovely illuminated poem. Printed for The William Blake Trust from the Lessing J. Rosenwald copy now in the Library of Congress. With bibliographical note by Blake expert Geoffrey Keynes. $750.

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FINE TRIANON PRESS LIMITED FACSIMILE EDITION OF ONE OF WILLIAM BLAKE'S FIRST ILLUMINATED BOOKS, THERE IS NO NATURAL RELIGION

BLAKE, William. There Is No Natural Religion [facsimile]. London, 1971. Two volumes.

Fine Trianon Press limited edition facsimile of one of William Blake's first illuminated books, number 352 of 540 copies (from a total edition of only 616) on Arches paper, finely reproducing in color the 12 leaves of Blake's pioneering little volume. Printed for The William Blake Trust from two copies in the renowned collection of Lessing J. Rosenwald, now in the Library of Congress. With bibliographical note by Blake expert Geoffrey Keynes. $750.

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FINE TRIANON PRESS LIMITED FACSIMILE EDITION OF ONE OF WILLIAM BLAKE'S FIRST ILLUMINATED BOOKS, ALL RELIGIONS ARE ONE

BLAKE, William. All Religions Are One [facsimile]. London, 1970.

Fine Trianon Press limited edition facsimile of one of William Blake's first illuminated books, number 509 of 600 copies (from a total edition of only 662) on Arches paper, finely reproducing in color the ten leaves of Blake's pioneering little volume. Printed for The William Blake Trust from the copy at the Huntington Library, completed with the title page in the collection of Geoffrey Keynes. With bibliographical note by Blake expert Geoffrey Keynes. $750.

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"WITHOUT UNCEASING PRACTISE NOTHING CAN BE DONE PRACTISE IS ART IF YOU LEAVE OFF YOU ARE LOST"

(BLAKE, William) KEYNES, Geoffrey. William Blake's Laocoon. London, 1976.

Limited first edition, number 234 of 380 copies (from a total edition of 438), with 11 plates. $700.

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Aquatint Copperplate process by which the plate is “bitten” by exposure to acid. By changing the areas of the plate that are exposed and the length of time the plate is submerged in the acid bath, the engraver can obtain fine and varying shades of gray that closely resemble watercolor washes. Although the name contains the word “tint”, this is a black-and-white printing process; aquatint plates can often be hand colored, however.
Armorial Used to describe a binding bearing the coat of arms of the original owner, or with bookplates incorporating the owner’s arms.
Association Copy copy that belonged to someone connected with the author or the contents of a book.
Boards Hard front and rear covers of a bound book which are covered in cloth, leather or paper. “Original boards” refers to cardboard-like front and back boards, from about 1700 to 1840, used as temporary protection for books before their purchasers would have them bound. Of particular value to collectors as evidence of a very early form of the book.
Book-Plate Label, generally affixed to the front pastedown, identifying a book’s owner.
Broadside Sheet printed on one side, typically for public display, usually larger than folio size (a folio being a broadside-size sheet printed on both sides and folded once, to make four pages).
Calf Binding material made from cowhide—versatile, durable, usually tan or brown in color, of smooth texture with no or little apparent grain. Readily marbled (“tree calf”), mottled, diced, colored, polished, tooled in gilt or blind, even scented (known as “russia”). Reverse calf, with a distinctive suede-like texture, is occasionally used.
Chromolithograph Lithograph printed in colors, typically three or more.
Collation Process by which the contents of a book are inspected for completeness, checking against internal evidence, the table of contents and/or plate list, and reference works. Also a shorthand bibliographical description of a book’s composition by its leaves and signatures, rather than its pages. A-C, for example, would indicate a quarto volume composed of three signatures or gatherings of eight pages each for a total of 24 pages.
Colophon Printed note at the end of a text containing information about the printing of the book.
Doublure Pastedowns made not of paper but of leather, for decorative purposes.
Duodecimo (12MO) Smaller than an octavo, typically less than six inches tall; smaller formats, such as 24mo and 32mo, are uncommon.
Edition Print-run from a single setting of type without substantial change. Depending on demand, any number of printings can be made from a setting of type For example, a first printing might consist of 1000 copies, followed by a second printing of 2500 copies; in which case the book would have a first edition, first printing of 1000 copies, and a first edition, second printing of 2500 copies.
Endpapers Extra leaves—plain, colored or decorated—with which a bookbinder covers the insides of the book’s boards, therefore not part of the actual text block. The part of the leaf pasted to the inside of the front board is the front “pastedown,” while the other part of the leaf that forms the first page of the book is the “front free endpaper”; the same applies to the rear pastedown and rear free endpaper.
Engraving Illustration produced by carving lines into a metal plate. This is an intaglio process, in which ink is poured over the plate, then wiped from the surface, leaving ink only in the recesses made by the engraver’s tools. The image is then transferred by pressing thick dampened paper against the metal plate with great force—requiring engravings to be printed on a separate stock and separate press from any text.
Errata List of mistakes and corrections noted after printing, often compiled on a separate sheet or slip and inserted into the text block.
Flyleaves Additional blank leaves following or preceding the endpapers.
Folio Book composed of sheets that are folded once and printed on both sides, making two leaves and four pages. Typically above 14 inches tall. Oblong folios are produced the same way but bound at the short edge, producing a book typically more than 14 inches deep.
Fore-Edge Edge of the book furthest from the spine. Occasionally the text of a book will be put into a specialized book press and painted, often with a scene from the book or a landscape, so that the painting is invisible when the book is closed but visible when somebody bends the text and fans the pages—known as a fore-edge painting.
Foxing Light brown spots that naturally appear on some papers due to oxidation as they age.
Frontispiece An illustration facing the title page of a book.
Gathering Single sheet of paper that has been printed and folded to form the pages required by the book’s format. A single gathering of a quarto book, then, would be a sheet folded twice, containing four leaves, eight pages of text.. Gatherings are identified by a letter, symbol or number in the lower margin of the first page (the “signature”) to make it easy for the printer to stack them in proper order for sewing.
Gilt Edges The three exposed edges of a book have been smoothed and gilded.
Half Title Leaf preceding the title page that bears the book’s title, originally used to identify the unbound text block. The book’s binder would often remove and discard the half title at the time of binding. Remaining half-titles are therefore of interest to collectors.
Illuminated Decorated by hand. Typically early printed books and especially manuscripts.
Imprint Satement of place, publisher and date of publication on a book’s title page.
Incunable From the cradle of printing, i.e., any book printed before 1501.
Issue A group of books issued by the publisher as a discrete unit. At times, issue refers to timing, such as the “first issue” being offered to the public at an earlier date than the “second issue.” At other times, it refers to specially planned different batches, such as the “trade issue” (widely available) in opposition to a “signed limited issue” (limited to a small amount of copies differing somehow from the trade issue and not widely available).
Japanese Vellum Expensive handmade paper often used in deluxe editions.
Lithograph Illustration produced by transferring an image drawn on a carefully prepared stone to paper. The process allowed illustrations to more closely resemble the original drawings, paintings or sketches, as it gave the lithographer a freedom of line impossible to achieve in earlier intaglio and relief processes. It does not require the same sort of pressure as an engraving to transfer the image, but still has to be printed on separate stock from the text
Marginalia Handwritten notes made in the margins by a previous owner.
Mispaginated Printer’s error in pagination, typically skipping, transposing or repeating page numbers. Not uncommon in older, larger books, it is not considered a defect, so long as all integral leaves are present.
Modern Recently accomplished, when used to describe a book’s binding that is not the original casing. Some books bound recently are bound using techniques, tools and styles of the period of the book’s original issue; when done well this is called a period-style binding, a term that implies “modern” as well.
Morocco Binding material made from goatskin—versatile, durable, with a distinctive pebbled texture and visible grain. Readily stretched (“straight-grain”), crushed (flattened smooth), tooled in gilt or blind, inlaid with leathers of different colors. So-called because much of the raw material originally came from the tanneries of North Africa (other types of goatskin bindings denoting regions of origin include levant, turkey, niger).
Offset The unintended transfer of ink from one printed page to an adjacent page.
Period-Style binding executed with materials, tools and techniques to approximate the look of a contemporary binding from the period of the book’s publication. The term implies that the binding is modern, or recent, unless otherwise specified.
Plate Full-page illustration printed separately from but bound with the text.
Point Variation in text, illustration, design or format that allows a bibliographer to distinguish between different editions and different printings of the same edition, or between different states or issues of the same printing.
Presentation Copy Book given as a gift by its author, illustrator or publisher. Sometimes refers to a volume given by a notable donor.
Provenance History of a particular copy of a book.
Raised Bands Horizontal protruding strips found on the spine of a book.
Reback To supply a worn binding with a new spine, usually made of the same material as the rest of the binding and decorated to match. When feasible the binder may preserve the original spine and affix it to the new material, described as “rebacked with the original spine laid down.”
Recase To reattach a text block to its binding when it has become loose from its covers.
Recto The front side of a leaf. The back side is known as the “verso.”
Trade Edition Printing or printings of a book made available for purchase by the general public on publication day (as opposed to a limited edition, often available only by subscription).
Uncut When the edges of the text block (most apparent at the fore and lower edges) have not been trimmed to a uniform size, and are therefore characterized by a ragged or deckle edge. A book may be uncut but opened—i.e., with a paper-knife—but all unopened books (see below) are by nature uncut as well.
Unopened When the folds of the sheets of paper making up the text block have not been trimmed away or opened with a paper-knife. While this makes it impossible to read all of the pages, it also indicates a probability that the text block has not been altered since leaving the printer.
Vellum Binding material made from specially treated calfskin—durable, with a distinctive ivory color and smooth appearance. Can be tooled in gilt or blind. So-called Japan vellum (or Japon) is a type of thick paper that has been polished smooth and given a glossy finish to resemble vellum.
Verso The back or reverse side of a leaf or page. (See “recto.”)
Woodcut Illustration or textual decoration made by cutting away from the surface of a block of wood until the reverse of the image is left in relief; this is then inked and pressed to the paper to leave the image. The woodblock, or multiple blocks, can be fit into the page along with the type, allowing text and illustrations to be printed in the same print run and share the same page (not possible with engravings, which require thicker, damp paper and much more force; nor with lithographs, which require a different printing process altogether). Woodcuts preceded moveable type and are the earliest known printing technology.
Wood-Engraving Engraving made with the graver or burin on the cross-section of a piece of boxwood; the harder wood and finer tools allow for more delicate, finely detailed images, while the block can still be set in the page alongside text and printed on the same stock as the text. While much older, wood engravings enjoyed an important renaissance in the late eighteenth century through Thomas Bewick and continued in popularity thorugh the nineteenth century.
Wormhole Tiny pinhole-sized trails left by bookworms as they eat through a text block. Much more common in older books printed on handmade papers with a high rag content than in books printed on manufactured papers made from wood pulp with a higher acidic content.
Wrappers Paper coverings—plain, marbled or printed—attached by stitches, staples or glue to a text block to identify it and afford it some protection (though much more fragile than a binding in plain, cloth or leather-covered boards). More typical of slim and/or inexpensive volumes such as pamphlets. “Self wrappers” are leaves, blank or printed, that are integral to the text block, conjugate with other leaves and from the same stock. “Original wrappers,” those attached at the time of issue, are scarce and extremely desirable to most collectors.