lamdha books -
Catalogue of books on William Blake

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Bindman, David
Blake as an Artist
Phaidon Press, Oxford, Oxfordshire, UK, 1977.
Quarto; hardcover; brown boards with gilt spine-titling; 256pp., with 72pp. of monochrome and full-colour plates. Mildly toned text block edges. Fine in like dustwrapper now professionally protected by superior non-adhesive polypropylene film. David Bindman's account of Blake's artistic career is clear and thorough; tracing the artist's development through apprenticeship as engraver to his illuminated book creations, paintings, and illustrations to Dante in his later years. The author traces the artist's ideas as they are gradually developed through his art and explores in depth the effects, personal and professional, of influential contemporaries such as Flaxman and Fuseli. A scholarly monograph reinforced with nearly two hundred illustrations.
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Blake, William (G.E. Bentley, ed)
William Blake's Writings - 2 Volumes Vol. I: Engraved and Etched Writings; Vol. II: Writings in Conventional Typography and in Manuscript
Oxford University Press, Oxford, Oxfordshire, UK, 2001.
Two volumes, octavo; hardcovers; 1820pp. [745pp. + 1075pp.], many monochrome illustrations and maps. Dustwrappers. Remainder. New.
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Butlin, Martin
The Paintings and Drawings of William Blake - Two volumes Text and Plates
Yale University Press, New Haven CT, 1981.
Two large hardcover quarto volumes; green cloth boards with gilt spine titling and borders, pale green endpapers; 668pp.+ 1193 plates and illustrations in colour and monochrome. Minor wear; spotting to text block edges and a few small marks on title page of Plates volume. Illustrated black dustwrappers with mild rubbing. Near fine otherwise and wrappers now professionally protected by superior non-adhesive polypropylene film. This is the first complete catalogue of the paintings, watercolours, drawings, and colour prints of one of the greatest and the most widely studied artists of the English-speaking world. Also included are works attributed to William's brother Robert and his wife Catherine. This monumental study will become a standard and indispensable work of reference for anyone interested in William Blake's art or poetry.
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Butlin, Martin
William Blake
Tate Gallery Publications Department, London, 1978.
Quarto; paperback, with illustrated wrappers; 164pp., mainly monochrome illustrations. Text block edges spotted and scuffing to cover with minimal edgewear. Very good. Exhibition catalogue.
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Butlin, Martin (ed.)
Samuel Palmer The Sketchbook of 1824
Thames & Hudson Ltd., London, 2005.
Landscape octavo; hardcover, quarter-bound in cloth with gilt spine titles and decorated boards; 221pp. No dustwrapper as issued. Remainder. New. Child prodigy Samuel Palmer was just fourteen years old when he first exhibited at London's Royal Academy in 1819. A delicate and withdrawn child, he experienced intense and disturbing visions as a boy, while developing a love of the Bible and poetry that remained a lifelong inspiration for his art. Influenced by William Blake and John Linnell, he became the most visionary and mystical landscape painter of the Romantic era in England.
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Davis, Michael
William Blake A New Kind of Man
Paul Elek Ltd., London, 1977.
Octavo; hardcover, with gilt spine-titling; 181pp., with 40pp. of full-colour and monochrome plates. Minor wear; near fine in like dustwrapper, now professionally protected by superior non-adhesive polypropylene film. This account of Blake's life, with many quotations from his vivid and poignant letters and memorable aphorisms, is interwoven with an exposition of his developing creative vision, seen in his artistic, religious, philosophical, political and sexual ideas, his championship of oppressed children, women, and every sort of slave to 'civilization', his compelling myths and expressions of truths about humanity; in his lyric poems and richly illuminated prophetic books, his prose and drama; and in his pencil drawings and colour prints, including his profoundly original illustrations of the works of Dante, Chaucer, Milton and Gray.
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Heppner, Christopher
Reading Blake's Designs
The Press Syndicate of the University of Cambridge, Cambridgeshire, UK, 1995.
Quarto; paperback, with illustrated wrappers; 302pp., many colour and monochrome illustrations and 8pp. of full-colour plates. Small mark on upper text block edge; slightly rubbed cover with light edge and corner wear. Very good to near fine. In this innovative study, Christopher Heppner constructs a new assessment and interpretation of Blake as illustrator of texts other than his own. Such topics as Blake's handling of human figures and the signifying power of their gestures, his relationship to Michelangelo, and his attitude towards perspective and the conventions of pictorial representation are brought to bear on the 1795 colour prints, the illustrations to Edward Young's Night Thoughts, and the illustrations to the Bible. Heppner concludes with an extended reading of The Sea of Time and Space which differs markedly from previous approaches to the work. Many illustrations, including a colour-plate section, accompany this new interpretation of a complex artist.
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Hunter, Capt. John
An Historical Journal of the Transactions at Port Jackson and Norfolk Island Including the Journals of Governors Phillip and King, Since the Publication of Phillip's Voyage. With an Abridged Account of the New Discoveries in the South Seas. By John Hunter Esqr. Post Captain in His Majesty's Navy. To Which is prefixed A Life of the Author, And Illustrated with a Map of the Country by Lieut. Dawes And Other Embellishments.
John Stockdale, London, 1793.
Octavo; hardcover, half-bound in calf with marbled boards, with gilt spine titles on red morocco labels between five raised bands decorated in gilt; 538pp. [2 Blank + xxivpp. + 17-525pp. + 1p. (advert) + 2 Blank], on laid paper with marbled edges, with a monochrome engraved portrait frontispiece, an illustrated title page ("Captain Hunter offering fish to an Aboriginal Woman"), a folding chart of New South Wales and a folding plate likewise. Moderate wear; boards and edges rubbed; joints scraped; crackling to the spine leather; spine head lightly pulled; light scattered foxing and mild offset throughout; some toning to the map edges; previous owner's ink inscription to the front pastedown. Very good. Originally published in a quarto format in 1793, a decision was made to release a smaller version of the Journal later in the same year, which was intended "sufficiently [to] gratify the curiosity of those who may not have leisure to peruse, or are not desirous of purchasing, the quarto edition". The second issue required some re-thinking of the original format and the engraved title page was printed slightly too large for the new layout and had to be trimmed before insertion, as is the case here. This condensed version of the original release is far scarcer than the quarto issue and, like the original, contains a plate depicting a group of aborigines - "A Family of New South Wales" - which was engraved by William Blake after a sketch by Governor King. Blake has idealised the features of the figures giving them a dignity absent from King's plain sketch, which is in the collection of the Sydney's Mitchell Library. (Ferguson 153; Wantrup 14a). This copy of the work was previously owned by Sir Joseph Palmer Abbott, the distinguished Australian politician and solicitor.
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Lister, Raymond
Infernal Methods A Study of William Blake's Art Techniques
G. Bell & Sons Ltd., London, 1975.
Octavo; hardcover, with gilt spine-titling; 102pp., with 52pp. of monochrome and full-colour plates, along with some line drawings. Minor bumps to the upper board edges and corners; an old sticker stain on the front free endpaper; text block edges spotted and toned. Dustwrapper shows minor shelfwear; now professionally protected by superior non-adhesive polypropylene film. Very good. Blake, unlike many of his artistic contemporaries, despised oil painting and preferred to work in other mediums. In fact, his detestation of oil painting grew more intense as he grew older, claiming that oil "deadens every colour it is mixed with, at its first mixture, and in a little time becomes a yellow mask over all that it touches". In this work Raymond Lister closely examines the various techniques which Blake used in his creative works, revealing a virtuosity of practise as well as some astounding technical innovations, heretofore unrecognised.
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Peacock, Carlos
Samuel Palmer Shoreham and After
John Baker, London, 1968.
Quarto hardcover; blue boards with gilt spine titling and upper board insignia; 144pp., colour and monochrome plates and illustrations. Owner's name. Offsetting to endpapers and pastedowns with a few scattered spots otherwise. Small scrapes on dustwrapper front where stickers have been removed with general rubbing and a few scratches, mild wear to edges. Very good with wrapper now professionally protected by superior non-adhesive polypropylene film. Appreciation of Samuel Palmer is almost invariably limited to his 'Shoreham Period', from 1826-33 when as a young man strongly influenced by William Blake, he produced his imaginative and mystical paintings. But Carlos Peacock believes that much of the work of his later and middle years is of no less consequence. 'I feel', he says, 'that many of the things that followed Shoreham - for instance the studies for some of the etchings, done towards the end of his life - combine the poetic vision of the Shoreham period with a breadth and freedom of style acquired by years of professional experience.' This biography is the first to survey as a whole the output of Samuel Palmer and to question the widely held belief that after a brief flowering his vision faded.
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Schuchard, Marsha Keith
William Blake's Sexual Path to Spiritual Vision
Inner Traditions, Rochester VT, 2008.
Octavo; paperback; 399pp. Remainder. New. William Blake has long been treasured as an artist and poet whose work was born out of authentic spiritual vision. The acutely personal, almost otherworldly look of his artwork, combined with its archetypal casting and depth of emotion, transcend societal conventions and ordinary experience. But much of the overtly sexual work has been destroyed or altered, deemed too heretical by conservative elements among the mystic Moravians and Swedenborgians, whose influence on Blake has been uncovered only recently. The author's investigation into the radical psychosexual spiritual practices surrounding William Blake, which includes new archival discoveries of Blake family documents, reveals that Moravian and Swedenborgian erotic and visionary experimentation fuelled much of Blake's creative and spiritual life. Drawing also upon modern art restoration techniques, Marsha Keith Schuchard shows that Blake and his wife, Catherine, were influenced by secret kabbalistic and tantric rituals designed to transcend the bonds of social convention. Her exhaustive research provides a new context for understanding the mystical practices at the heart of Blake's most radical beliefs about sexualized spirituality and its relation to visionary art.
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Tayler, Irene
Blake's Illustrations to the Poems of Gray
Princeton University Press, Princeton, NJ, USA, 1971.
Quarto; hardcover, with gilt spine-titling on a black label; 169pp., colour frontispiece and 117pp. of monochrome plates. Previous owner's and retailer's bookplates on front pastedown; lightly toned and spotted upper text block edge. Price-clipped dustwrapper with edges worn and scraped, especially at spine extremities and corners; rubbed rear panel and some light scraping along upper flap turn; now professionally protected by superior non-adhesive polypropylene film. Very good to near fine. The 116 watercolours created for Thomas Gray's poems are among Blake's greatest achievements. They were commissioned around 1797 by Blake's friend the neoclassical sculptor John Flaxman, as a gift for his wife, Ann. Following Flaxman's death in 1826, the watercolours were auctioned and soon came into the possession of the eccentric millionaire William Beckford, who left his library to his daughter, wife of the 10th Duke of Hamilton. But, when the library was sold in 1882, the Gray illustrations were missing and it was not until 1919 that the scholar and literary critic Professor Herbert Grierson announced their discovery during the demolition of Hamilton Palace in Scotland. Irene Tayler's analysis here is the first substantial study since the illustrations were rediscovered. Not only are the individual works of art explored but also their importance is discussed for an understanding of Blake's aesthetic theories and as documents in the history of his own artistic development.
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