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972 “William Blake and His Circle” PART IV CATALOGUES of Exhibitions,734 Sales,735 and Bibliographies 1780 The Exhibition of the Royal Academy, M.DCC.LXXX. The Twelfth (1780) <BB> B. Anon. "Catalogue of Paintings Exhibited at the Rooms of the Royal Academy", Library of the Fine Arts, III (1832), 345-58 (1780) <Toronto>. In 1780, the Blake entry is reported as "W Blake.--315. Death of Earl Goodwin" (p. 353). REVIEW Candid [i.e., George Cumberland], Morning Chronicle and London Advertiser, 27 May 1780 (includes a criticism of “the death of earl Goodwin, by Mr. Blake”) <BB #1336> 734 Some exhibitions apparently were not accompanied by catalogues and are knownonly through press-notices of them. 735 See G.E. Bentley, Jr, Sale Catalogues of Blake’s Works 1791-2013 put online on 21 Aug 2013 [http://library.vicu.utoronto.ca/collections/special collections/bentley blake collection/in]. It includes sales of contemporary copies of Blake’s books and manuscripts, his watercolours and drawings, and books (including his separate prints) with commercial engravings. After 2012, I do not report sale catalogues which offer unremarkable copies of books with Blake's commercial engravings or Blake's separate commercial prints. 972 973 “William Blake and His Circle” 1784 The Exhibition of the Royal Academy, M.DCC.LXXXIV. The Sixteenth (London: Printed by T. Cadell, Printer to the Royal Academy) <BB> Blake exhibited “A breach in a city, the morning after a battle” and “War unchained by an angel, Fire, Pestilence, and Famine following”. REVIEW referring to Blake Anon., "The Exhibition. Sculpture and Drawing", Morning Chronicle and London Advertiser, Thursday 27 May 1784, p. [3] <British Library>.In the Royal Academy exhibition, Blake in his War, Fire and Famine, outdoes most of the strange flights in our memory--Sir Richard Blackmore's impressions on an other sense, Rending our ears asunder With gun, drum, trumpet, blunderbuss and thunder,736 or perhaps, not going out of the art, for allusion, like Fuseli, but with the additional aggravation of an infuriating bend sinister. It is quoted by John Baird, "Blake's Painting at the Royal Academy, 1784: A Reference", Notes and Queries, CCXXXVIII [NS XL] (1993), 458. 1785 736 Pope, "First Satire of Second Book of Horace Imitated" (1734), ll. 25- 26. 973 974 “William Blake and His Circle” The Exhibition of the Royal Academy, M.DCC.LXXXV. The seventeenth (London: Printed by T. Cadell, Printer to the Royal Academy) <BB> REVIEWS referring to Blake Anon., Morning Chronicle and Daily Advertiser, 28 April 1785 (Blake is mentioned in a selective list of exhibitors) <BB #815> Anon., “Exhibition of the Royal Academy. (Concluded)”, Daily Universal Register, 23 May 1785 (“607. Gray’s Bard, W. Blake, appears like some lunatic, just escaped from the incurable cell of Bedlam. In respect of his other works, we assure this designer, that grace does not consist in the sprawling of legs and arms”) <BBS> 1788 Egerton's Theatrical Remembrancer (1788) <not in BB, BBS, BIQ (1992 ff.)> B. Re-issued as The Theatrical Remembrancer (1788) <BB #522A> "The Theatrical Remembrancer would appear to be a reissue of Egerton's Theatrical Remembrancer, also 1788. The title page, leaf [a1], in the reissue is probably a cancellans"737 1791 737 Robert N. Essick, "Blake in the Marketplace, 2013", Blake, XLVII, 3 (Winter 2013-2014). 974 975 “William Blake and His Circle” [William]Richardson’s738 Catalogue. A Large and Curious Collection of English and Foreign Portraits, Topography and Historical Pr nts [sic], by Ancient and Modern Masters; Drawings, Books, and Books of Prints, Now Selling, with the Prices Affixed to Each ... Catalogues to be had, One Shilling each (London, 1791) <Princeton> “Beggar’s Opera, Act 3d. fine – Blake [£]1 1 0” 1791 December 7 J. TODD's | CATALOGUE | OF | ANCIENT and MODERN | Books, Prints, & Books of Prints, | FOR THE YEAR 1791. | [including] Lavater's Eᶘᶘays on Phyᶘiog- | nomy, 16 Numbers - 10 13 0 ... | Which will begin to be ᶘold extremely Cheap, at the Prices printed in the | CATALOGUE, on TUESDAY the 7th of December, 1790. | By J. TODD, | BOOKSELLER, STATIONER, AND PRINT-SELLER, | In STONEGATE, YORK. | ... | CATALOGUES, Price 6d. may be had of Mr. BALDWIN, Bookᶘeller, Pater- | noᶘter-Row, London, and at the Place of Sale. 129 "Beggar's Opera, as originally performed in 1727, after Hogarth, by Blake -- -- 0 12 6" [1798?] A Catalogue of Prints Published by J.R. Smith (c. 1798) <BB> It is reproduced in Ellen G. D'Oench, "Copper into Gold": Prints by John Raphael Smith 1751-1812 (1999). 1799 February 18 plus 18 days 738 “At Mr. Richardʄon’s Print Warehouʄe, Clements-Inn, Fore-gate, near Temple-Bar”. 975 976 “William Blake and His Circle” [William] Richardson,739 Portraits, India Drawings, &c. A Catalogue of a Genuine and Valuable Collection of English and Foreign Portraits, India Drawings, &c. ... Which Will Be Sold by Auction (London, 1799) <Princeton> Seventh Day 94 “Five [prints]—Gin Lane, Beggar’s Opera, Shrimps, &c.” [£1.7.6] 101 “One—the Beggar’s Opera, by Blake—proof –“ [£1.13.6] 1800 February 24 and 12 following days (Sunday excepted) [February 24-March 1, 3-8, 10-11] §Mr. Jeffrey,740 A Catalogue of a Large, Extensive, and Valuable Parcel of Books, in Every Science, and in Most Languages; Being the Genuine Library of George Galwey Mills, Esq. (Gone to the West Indies) Removed from Slaughter-House, In the County of Gloucester Amongst which are All the fine Editions of the Greek, Latin, English, Italian, and French Classics. -- A most extensive Collection of English History, Chronicles, and Topography -- Books of Prints -- Natural History -- Manuscripts on Vellum -- Philosophical Transactions, fine Set -- and the Collections of the most celebrated Societies of Europe. In superb and elegant bindings (London, 1800) 457[a] "Young's Night Thoughts, finely printed, folio, 739 ”At His House, No. 31, the Corner of Villiers-Street, in the Strand”. 740 Jeffrey was "at No. 11 Pall-Mall". 976 977 “William Blake and His Circle” 1797" [10s]741 [1807] Cuthell742 and Martin, A | CATALOGUE | OF | BOOKS, | FOR THE YEAR | 1807, | IN VARIOUS LANGUAGES, | AND | CLASSES OF LITERATURE; | ON SALE, FOR READY MONEY, By CUTHELL & MARTIN, | MIDDLE ROW, HOLBORN. | - | LIBRARIES PURCHASED. | - | _ÉÇwÉÇM | PRINTED BY E. BLACKADER, TOOK'S COURT, | CHANCERY LANE. | - | Price Two Shillings <Bodley> Folio 15 "Stuart's Antiquities of Athens, 3 vol. half bound, 16l 16s" 16 "Another copy, 3 vol. ʄplendidly bound in ruʄʄia, 24l 1762, &c." 60 "Vetuʄta Monumenta, 3 vol. half bound Lond. 1747 &c." Quarto 128 "Cumberland's Thoughts on Outline", "with 24 plates, boards, 14s 1796" 129 "Another copy, handʄomely bound in calf, 1l 1s 1796" 741 Wayne C. Ripley, "New Night Thoughts Sightings", Blake, XLVII, 3 (Winter 2013-14), who first reported the Jeffrey catalogue, speculates that the lack of reference to illustrations may imply that this copy of Night Thoughts (1797) had no plate, like the unique copy described in G.E. Bentley, Jr, "Young's Night Thoughts (London: R. Edwards, 1797): A New Unillustrated State" Blake, XIV (1980), 34-35. Ripley notes that lot 352, apparently in this Jeffrey sale, was Junius, Stat nominis umbra (London: T. Bensley, 1796-97), inscribed "1796 B[ough]t. of Edwards". 742 John Cuthell (d. 1818). 977 978 “William Blake and His Circle” 133 "Lavater's Essays on Physiognomy, illustrated by 800 engravings by Holloway, tranʄlated by Dr. Hunter, 5 vol. original impreʄʄions, an early ʄubʄcribers copy, handʄomely bound in ruʄʄia, with gilt leaves, 28l" 134 "Lavater's Eʄʄays on Phyʄiognomy, with engravings by Holloway, vol. 1, fine impreʄʄions boards, 1l 11s 6d" 960 "Young's Night Thoughts, beautifully printed, with engravings round the letter preʄʄ, part I, all that was ever published, 15s -- 1797" Quarto 2454 "Darwin's Botanic Garden, plates, elegantly bound in ruʄʄia, with gilt leaves, 1l 16s -- 1791" 2554 "Hunter's Journal of the Tranʄactions in New South Wales, plates, elegantly bound in ruʄʄia, gilt leaves, 2l 2s 1793" 2639 "Lavater's Eʄʄays on Phyʄiognomy, 5 vol. first impreʄʄions of the plates, handʄomely bound in ruʄʄia, gilt leaves, 28l 1789" 2840 "Stedman's Account of Surinam, 2 vol. plates, elegantly bound, 6l 6s -- 1796" 2841 "Another copy, 2 vol. large paper, with coloured plates, boards, 8l 8s" 2842 "Another copy, 2 vol. large paper, the plates plain, but firʄt impreʄʄions, elegantly bound in calf, with gilt leaves, 9l 9s" 3061 "Cumberland's Thoughts on Outline Sculptures, 978 979 “William Blake and His Circle” plates, elegantly bound, 1l 1s 1796" Octavo 4806 "Gay's Fables, plates, boards, 5s 6d -- 1793" 4807 "Gay's Fables, printed on royal paper, fine impreʄʄsions of the plates, elegantly bound, 18s -- 1793" 4809 "Gay's Fables, Stockdale's edit. 2 vol. plates, boards, 1l 1s" 4810 "Another copy, 2 vol. superbly bound, 1l 1s 6d" 4818 "Hayley's Life of Cowper, 4 vol. portrait, new and elegantly bound, 2l 6s" 4937 "Hoole's Ariosto's Orlando Furioso, 5 vol. large paper, boards, 2l 5s -- 1799" 4938 "Another copy, 5 vol. newly and superbly bound, 3l 10s 1799" 4939 "Hoole's Orlando Furioso, reduced into 24 books, by himself, 2 vol. new and neat, 13s -- 1791" 4940 "Another copy, 2 vol. elegantly bound, 14s -- 1791" 5639 "Shakʄspeare's Plays, from the text of George Steevens, by Alexander Chalmers, 9 vol. boards, 2l 18s 1805" 5640 "Another copy, 9 vol. with fine engravings by Fuʄeli, boards, 4l 6s -- 1805" 5641 "Another copy, 10 vol. printed on fine thick paper, with fine impreʄʄions of the plates, boards, 8l 8s -- 1805" 5642 "Another copy, 10 vol. printed on fine super royal paper, firʄt impreʄʄions of the plates, boards, 9l 16s 1805" 5732 "Scott's (John) Poetical Works, portrait and plates 979 980 “William Blake and His Circle” by Bartolozzi and others, elegantly bound, 10s 6d 1786" 5733 "Another copy, elegantly bound, with gilt leaves, 12s 1786" Duodecimo and Octodecimo 9669 "Ellis, Specimens of the Early English Poets, neat, 9s 1790" 9670 "Another copy, elegantly bound, with gilt leaves, 12s.
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    Thanks for Coming: Four Archival Collections and the Counterculture Introduction Douglas Field, Senior Lecturer in Twentieth Century American Literature, University of Manchester, UK. Email: [email protected] According to Richard Neville, founder of OZ, the most notorious magazine of the 1960s, “That unpopular label, Underground, embraces hippies, beats, mystics, madness, freaks, Yippies, crazies, crackpots, communards and anyone who rejects rigid political ideology.”1 And while the Beat Generation had challenged mainstream 1950s US culture and consciousness, the moniker Underground emerged in the early 1960s, followed by the term “counter culture” towards the end of the decade.2 According to the British polymath Jeff Nuttall, “duplicated magazines and home movies” defined the Underground, which began, he claims, in New York around 1964.3 1 Richard Neville, Play Power: Exploring the International Underground (New York: Random House, 1970), 18. 2 Theodore Roszak, The Making of a Counter Culture: Reflections on the Technocratic Society & Its Youthful Opposition (New York: Anchor Books, 1969). 3 Jeff Nuttall, Bomb Culture, ed. and introd. Douglas Field and Jay Jones (London: Strange Attractor, 2018), 174. Counterculture Studies 3(1) 2020 1 During the 1960s, British and North American counter-cultural activists forged extensive national and global networks through the publication of Underground newspapers, beginning with Village Voice, which was co-founded by Normal Mailer in 1955. Notable Underground newspapers included Los Angeles Free Press (1964) and International Times (IT), a London-based publication that became Europe’s first underground newspaper in 1966. The Underground Press Syndicate (UPS), later known as the Alternative Press Syndicate (APS) was also formed that year, encouraging wider distribution of articles by enabling participating members to freely reprint content.
  • The British Underground Press, 1965-1974: the London Provincial Relationship, and Representations of the Urban and the Rural

    The British Underground Press, 1965-1974: the London Provincial Relationship, and Representations of the Urban and the Rural

    THE BRITISH UNDERGROUND PRESS, 1965-1974: THE LONDON­ PROVINCIAL RELATIONSHIP, AND REPRESENTATIONS OF THE URBAN AND THE RURAL. Rich�d Deakin r Presented as part of the requirement forthe award of the MA Degree in Cultural, Literary, andHistorical Studies within the Postgraduate Modular Scheme at Cheltenham and Gloucester College of Higher Education June 1999 11 DECLARATIONS This.Dissertation is the product of my own work and is. not the result of anything done in collaboration. I agreethat this. Dissertationmay be available forreference and photocopying,. at the discretion of the College. Richard Deakin 111 ABSTRACT Whateverperspective one takes, contradictions in the relationship between the capital and the provinces have always been evident to some extent, and the British undergroundpress of the late 1960s and early 1970s is no exception. The introductoryfirst chapter will definethe meaning of the term 'underground' in this context, and outline some of thesources used and the methodologies employed. Chapter Two will show how the British underground press developed froman alternative coterie of writers, poets, and artists - often sympathisers of the Campaign forNuclear Disarmament movement. It will also show how having developed from roots that were arguably provincial the undergroundadopted London as its base. The third chapter will take a more detailed look at the background of some London and provincial underground publications andwill attempt to see what extent the London undergroundpress portrayed the provinces, and vice-versa. In Chapter Four actual aspects of lifein urbanand rural settings, such as communes, squats, and pop festivals,will be examined in relation to the adoption of these lifestylesby the wider counterculture and how they were adapted to particular environments as part of an envisioned alternativesociety.