DOCSLIB.ORG

Francis Douce, George Cumberland and William Blake at the Bodleian Library and Ashmolean Museum

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Francis Douce, George Cumberland and William Blake at the Bodleian Library and Ashmolean Museum ARTICLE “Undisturbed above once in a Lustre”: Francis Douce, George Cumberland and William Blake at the Bodleian Library and Ashmolean Museum Joan K. Stemmler Blake/An Illustrated Quarterly, Volume 26, Issue 1, Summer 1992, pp. 9-18 Summer 1992 BLAKE/ANILLUSTRATED QUARTERLY 9 "Undisturbed above once in a Lustre": Francis Douce, George Cumberland and William Blake at the Bodleian Library and Ashmolean Museum by Joan K. Stemmler hen Francis Douce died on 5 The Marriage of Heaven and Hell Socially, Douce's family was more WApril 1834, he bequeathed to Copy B with the separate plate, "Our highly placed than that of the middle- the Bodleian Library almost all the End is come," and The Book of Thel class Cumberland or the artisan Blake. printed books, coins, prints, and Copy I, plus the Descriptive Catalogue All three were younger sons, a position manuscripts he had collected.1 Sir Copy H and a third state of the Canter affecting their education and income: Frederic Madden believed that in bury Pilgrims; a 1794 purchase which in the 1770s, Douce was admitted as "leaving them to the Bodleian he con- will be discussed below has not been an attorney of the King's Bench, Cum- signs them to neglect and oblivion!" previously noted, Blake's For Child berland worked at the Royal Exchange where they would "sleep on ... undis- ren: the Gates of Paradise. Douce like- Assurance Office in London, finally turbed above once in a lustre by some wise collected some of Cumberland's earning £60 per annum,13 and Blake prying individual of antiquarian books, but more important is the re- served his apprenticeship with James celebrity."2 On the 150th anniversary velation of the way Douce used Cum- Basire, the engraver for the Society of of the bequest, an exhibition and berland as one of his resources for Antiquaries. Cumberland was admit- catalogue celebrated the rich deposit, information about the visual arts. ted as a student at the Royal Academy now divided between the Bodleian Campbell Dodgson called Douce a bib- in 1772, an expression of his true inter- Library and the Ashmolean Museum. liophile and collector of woodcuts of ests.14 In their third decade, the three Through Douce's antiquarian ac- advanced taste.8 I suggest that Cum- men approached the world of books tivities, he met and corresponded with berland, in his appreciation of early and prints from different directions. a number of similarly-minded in- woodcuts and the work of Giulio di Douce was said to have made his first dividuals; the letters were bequeathed Antonio Bonasonec and in his advo- purchase of an antique coin at age 10.15 to the British Museum and in 1930 cacy of Blake, both personally and Elected as a Fellow of the Society of given to the Bodleian Library.3 Of in- through his books, played a role in Antiquaries by 1779, he tried to devote terest to this art historian was a pattern forming that taste. This essay also of- himself to literary and antiquarian pur- revealed in these sources of direct and fers corroborating information to that suits as much as possible. Blake was indirect contacts between Douce and recently published by Joseph Viscomi.10 said to have frequented print-shops the life-long friends, George Cumber- With his suggestion that Isaac D'Israeli, and auction sales as a boy. He aspired land and William Blake. Although I a close friend and correspondent of to be a painter and poet: his first ex- was well acquainted with Cumber- Douce, bought in 1834 part of George hibition at the Royal Academy was re- land4 and Blake, Douce's connections Romney's collection of books in illu- viewed by Cumberland. Upon the death with these men were only marginally minated printing by Blake, Viscomi of his father in 1784, he went into a known to me5 until I explored selected focuses interest on new ways of un- brief partnership with James Parker as sections of the Bodleian catalogues, derstanding how Blake's books were an engraver and printseller, after which Douce's collected letters, his note- produced and collected, illuminating he began to make his own books and books, especially his "Collecta," his the "tenuousness of our assumptions reproductive engravings for others. portfolios and his lists and notes relat- regarding patronage and the earliest Cumberland had an omnivorous in- ing to proposed publications in the modes by which illuminated books terest in learning and in writing; by archives at the Ashmolean Museum.6 were produced and disseminated."11 1780 he reported to his brother that he This paper will show when and how In the Douce bequest, a hitherto un- had met some "Geniuses and Men of these three individuals, first only published network of relationships re- Science.",6 By 1784, he knew and wrote loosely connected through location and veals more information about practices on behalf of the sculptor, Thomas developing common interests, finally of selling and collecting books and Banks, and through him met Richard came into closer contact by the 1800s. prints during the late eighteenth and Cosway, and, later, Thomas Johnes and Though we know that in Douce's col- early nineteenth centuries. Home Tooke.17 In 1784, Cumberland lection at his death there were two Douce and Blake were both bom in came into a £300 inheritance, releasing books of illuminated printing by Blake, 1757, Cumberland three years earlier.12 him from his fourteen years of "ser- 10 BLAKE/AN ILLUSTRATED QUARTERLY Summer 1992 vitude" at the Royal Exchange.18 from the catalogue.28 Blake, working By 6 August 1792, Twiss is in Paris Devoting himself to experiments in in London all this time, publishes in buying for Douce.39 However, in a has- printing and practical ways of self- 1789 The Songs of Innocence and The tily scrawled letter of 25 August 1792, publishing, he probably shared this Book ofThel; by 1790, his imagination Twiss recounts his relief at his escape knowledge with Blake. Traveling se- fired by the Revolution, he finishes from Paris, with his head still affixed to veral times to the continent, Cumber- some plates of his Marriage of Heaven his body and not on a pike: "The Lord land met Baron de Murr in Nuremberg and Hell. By 1795 he makes eight have mercy on the two thousand and the librarian of the Grand Duke of more books, prints color-prints, and English now in Paris!"40 Blake's close Tuscany in Florence, experiences he does much reproductive engraving. In associates, the Swiss artist, Henry Fu- later recorded in his book Thoughts on the same year, Richard Edwards, the seli, and Joseph Johnson, the publish- Outline of 1796.19 Settling in Italy by younger brother of the booksellers, er and bookseller, plan to go to France 1788, away from the "cold weather asks Blake to make drawings and en- as well in the same year, but are de- and cold receptions" given to his un- gravings for an edition of Young's terred by the events of the Terror. The orthodox family in England,20 he cul- Night Thoughts. name Fuseli is mentioned in connec- tivated friends like John Irvine in that Cumberland also publishes three tion with another facet of Douce's in- "school of real students in sculpture books:29 he mentions on 17 January terest in natural science: Twiss had and painting" in Rome.21 He established 1792 that he has laid his work before begun sending to Douce unhatched lifelong relationships with dealers and "one of our first rate London Collec- pupae, describing in detail the butter- gem-cutters of Rome, collecting gems, tors, a Dignitary of high literary char- flies which would emerge, including books, prints and information. acter who unites to a great fortune information on mounting the speci- Douce began in 1779 a correspon- great knowledge in all that is worth mens. Among the books about which dence with Richard Twiss, a wealthy knowing or having" and has had it he tells Douce is one by Fuseli's bro- older fellow antiquary, traveler and approved.30 The work, Some Anecdotes ther, "'Fuesleis [sic] les insectes de la miscellaneous writer, from which we of the life offulio Bonasoni, published Suisse', 4l°, with 55 Col.d plates."41 On gain an insight into Douce's early con- by 17 February 1793,31 is dedicated to 2 September 1794, Twiss mentions cern with collecting.22 Twiss mentions Sir William Hamilton who may have "the book of directions for insects from in 1788 Mr. Edwards, Mr. Raspe, Mr. been the "London Collector." By 6 Johnson" at St. Paul's Churchyard, in- Marchand, bookseller, cataloguer and March over half these books were sold.32 dicating that Douce already has it.42 gem-cutter respectively,23 as men in Douce purchases Cumberland's Despite these indications that Douce whom Douce would take an interest. Bonasoni by November 1793, as we had a marginal knowledge of Fuseli The Edwards brothers, James and John, know from a letter of thanks from and Johnson, figures well known to opened their Pall Mall book-shop in Andrew Lumisden, who borrowed the Blake, the first mention of the name of 1784. Jean Hagstrum suggests that Blake book of Douce: "I return you, with Blake in connection with that of Douce probably knew the shop and that he many thanks, Cumberland's anecdotes occurs in a letter from Twiss to Douce may have seen there medieval prayer of the life of Bonasoni."33 Cumberland on 13 September 1794.43 Blake had books, like the Bedford Book of visits Johnes, a patron of Banks and printed For Children: Gates of Para Hours.24 In 1788, Blake is said to have Stothard, between May and July 1794, dise, "Published by William Blake #13 discovered how to print illuminated and dedicates in 1796 a "really beautiful Hercules Building Lambeth and J.
Load more

Recommended publications
  • Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
    MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as
    [Show full text]
  • William Blake 1 William Blake
    William Blake 1 William Blake William Blake William Blake in a portrait by Thomas Phillips (1807) Born 28 November 1757 London, England Died 12 August 1827 (aged 69) London, England Occupation Poet, painter, printmaker Genres Visionary, poetry Literary Romanticism movement Notable work(s) Songs of Innocence and of Experience, The Marriage of Heaven and Hell, The Four Zoas, Jerusalem, Milton a Poem, And did those feet in ancient time Spouse(s) Catherine Blake (1782–1827) Signature William Blake (28 November 1757 – 12 August 1827) was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, Blake is now considered a seminal figure in the history of the poetry and visual arts of the Romantic Age. His prophetic poetry has been said to form "what is in proportion to its merits the least read body of poetry in the English language".[1] His visual artistry led one contemporary art critic to proclaim him "far and away the greatest artist Britain has ever produced".[2] In 2002, Blake was placed at number 38 in the BBC's poll of the 100 Greatest Britons.[3] Although he lived in London his entire life except for three years spent in Felpham[4] he produced a diverse and symbolically rich corpus, which embraced the imagination as "the body of God",[5] or "Human existence itself".[6] Considered mad by contemporaries for his idiosyncratic views, Blake is held in high regard by later critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings William Blake 2 and poetry have been characterised as part of the Romantic movement and "Pre-Romantic",[7] for its large appearance in the 18th century.
    [Show full text]
  • Bibliomania: the Felicitous Infection and the Comforting Cuirei G.E
    Bibliomania: The Felicitous Infection and the Comforting CuireI G.E. Bentley, Jr2 For fifty-six years, from 19yo to zoo6, I acquired books, prints, and drawings by William Blake and his friends, such as the writer and artist George Cumberland, the sculptor John Flaxman, the book-illustrator Thomas Stothard, and the sensational painter Henry Fuseli. I felt myself to be not so much the owner of these works as their custodian. I thought of them not as "mine" but as "ours." My dearest wish was to make the collection sufficiently coherent and rewarding that it would be attractive as a whole to a serious research library. My wife, Beth, egged me on, but she was not a collector. She is an accumulator. It's not that she buys things recklessly. It's just that, once something has entered the orbit of our household, it can never escape again. Beth's gravitational field is too strong. Oriental carpets, glass bottles, old children's books, handsome furniture, plastic bags, jade plants, beautiful boxes, scrap paper, handsome drinking glasses, and dolls; they don't so much get chosen - in our house they just seem to happen. She only gradually discovered that she was a book-collector. She had a collection of cook-books from 1·785;my favourite recipe was for Turtle Soup, which began: "Take one two hundred pound turtle." She went from reading Jane Austen yearly to acquiring contemporary editions ofJane Austen. This is not so difficult, as there are only six Jane Austen novels and only nine contemporary editions of them.
    [Show full text]
  • William Blake and His Poem “London”
    ISSN 1799-2591 Theory and Practice in Language Studies, Vol. 3, No. 9, pp. 1610-1614, September 2013 © 2013 ACADEMY PUBLISHER Manufactured in Finland. doi:10.4304/tpls.3.9.1610-1614 William Blake and His Poem “London” Changjuan Zhan School of Foreign Languages, Qingdao University of Science and Technology, Qingdao, Shandong, China Abstract—This paper gives a detailed introduction to William Blake, a versatile poet, dramatist, artist, engraver, and publisher; and the most original romantic poet as well as painter and printmaker of the 18th century. Then his works are also introduced according to time order among which two of his collections of poems, i.e. “the songs of innocence” and “the songs of experiences” are given special attention. The features and comments on his works are introduced and demonstrated in his most famous poem “London”, from “the songs of experiences”. The paper analyzes the various technical features in this poem respectively—key image and three encounters around which the whole poem is centered; symbolism and capitalization which are used a lot in it; the choice and repetition of words which enhance the theme of the poem; and the rhyme and rhythm which give the poem a musical pattern. And then a conclusion is made that through these features, William Blake did achieve an overall impact which convey the horror and injustice that was London. Index Terms—William Blake, London, technical features, image, capitalization, repetition, rhyme and rhythm I. AN INTRODUCTION TO WILLIAM BLAKE A. William Blake’s Life William Blake was a versatile poet, dramatist, artist, engraver, and publisher.
    [Show full text]
  • William Blake Large Print Guide
    WILLIAM BLAKE 11 September 2019 – 2 February 2020 LARGE PRINT GUIDE Please return to the holder CONTENTS Room 1 ................................................................................3 Room 2 ..............................................................................44 Room 3 ............................................................................ 105 Room 4 ............................................................................ 157 Projection room ............................................................... 191 Room 5 ............................................................................ 195 Find out more ..................................................................254 Credits .............................................................................256 Floor plan ........................................................................259 2 ROOM 1 BLAKE BE AN ARTIST Entering the room, clockwise Quote on the wall The grand style of Art restored; in FRESCO, or Water-colour Painting, and England protected from the too just imputation of being the Seat and Protectress of bad (that is blotting and blurring) Art. In this Exhibition will be seen real Art, as it was left us by Raphael and Albert Durer, Michael Angelo, and Julio Romano; stripped from the Ignorances of Rubens and Rembrandt, Titian and Correggio. William Blake, ‘Advertisement’ for his one-man exhibition, 1809 4 WILLIAM BLAKE The art and poetry of William Blake have influenced generations. He has inspired many creative people, political radicals
    [Show full text]
  • Blake's Poetry and Designs
    A NORTON CRITICAL EDITION BLAKE'S POETRY AND DESIGNS ILLUMINATED WORKS OTHER WRITINGS CRITICISM Second. Edition Selected and Edited by MARY LYNN JOHNSON UNIVERSITY OF IOWA JOHN E. GRANT UNIVERSITY OF IOWA W • W • NORTON & COMPANY • New York • London Contents Preface to the Second Edition xi Introduction xiii Abbreviations xvii Note on Illustrations xix Color xix Black and White XX Key Terms XXV Illuminated Works 1 ALL RELIGIONS ARE ONE/THERE IS NO NATURAL RELIGION (1788) 3 All Religions Are One 5 There Is No Natural Religion 6 SONGS OF INNOCENCE AND OF EXPERIENCE (1789—94) 8 Songs of Innocence (1789) 11 Introduction 11 The Shepherd 13 The Ecchoing Green 13 The Lamb 15 The Little Black Boy 16 The Blossom 17 The Chimney Sweeper 18 The Little Boy Lost 18 The Little Boy Found 19 Laughing Song 19 A Cradle Song 20 The Divine Image 21 Holy Thursday 22 Night 23 Spring 24 Nurse's Song 25 Infant Joy 25 A Dream 26 On Anothers Sorrow 26 Songs of Experience (1793) 28 Introduction 28 Earth's Answer 30 The Clod & the Pebble 31 Holy Thursday 31 The Little Girl Lost 32 The Little Girl Found 33 vi CONTENTS The Chimney Sweeper 35 Nurses Song 36 The Sick Rose 36 The Fly 37 The Angel 38 The Tyger 38 My Pretty Rose Tree 39 Ah! Sun-Flower 39 The Lilly 40 The Garden of Love 40 The Little Vagabond 40 London 41 The Human Abstract 42 Infant Sorrow 43 A Poison Tree 43 A Little Boy Lost 44 A Little Girl Lost 44 To Tirzah 45 The School Boy 46 The Voice of the Ancient Bard 47 THE BOOK OF THEL (1789) 48 VISIONS OF THE DAUGHTERS OF ALBION (1793) 55 THE MARRIAGE OF HEAVEN AND HELL (1790) 66 AMERICA A PROPHECY (1793) 83 EUROPE A PROPHECY(1794) 96 THE SONG OF Los (1795) 107 Africa 108 Asia 110 THE BOOK OF URIZEN (1794) 112 THE BOOK OF AHANIA (1794) 130 THE BOOK OF LOS (1795) 138 MILTON: A POEM (1804; c.
    [Show full text]
  • 2015 · Maastricht TEFAF: the European Fine Art Fair 13–22 March 2015 LONDON MASTERPIECE LONDON 25 June–1 July 2015 London LONDON ART WEEK 3–10 July 2015
    LOWELL LIBSON LTD 2 015 • New York · annual exhibition British Art: Recent Acquisitions at Stellan Holm · 1018 Madison Avenue 23–31 January 2015 · Maastricht TEFAF: The European Fine Art Fair 13–22 March 2015 LONDON MASTERPIECE LONDON 25 June–1 July 2015 London LONDON ART WEEK 3–10 July 2015 [ B ] LOWELL LIBSON LTD 2 015 • INDEX OF ARTISTS George Barret 46 Sir George Beaumont 86 William Blake 64 John Bratby 140 3 Clifford Street · Londonw1s 2lf John Constable 90 Telephone: +44 (0)20 7734 8686 John Singleton Copley 39 Fax: +44 (0)20 7734 9997 Email: [email protected] John Robert Cozens 28, 31 Website: www.lowell-libson.com John Cranch 74 John Flaxman 60 The gallery is open by appointment, Monday to Friday The entrance is in Old Burlington Street Edward Onslow Ford 138 Thomas Gainsborough 14 Lowell Libson [email protected] Daniel Gardner 24 Deborah Greenhalgh [email protected] Thomas Girtin 70 Jonny Yarker [email protected] Hugh Douglas Hamilton 44 Cressida St Aubyn [email protected] Sir Frank Holl 136 Thomas Jones 34 Sir Edwin Landseer 112 Published by Lowell Libson Limited 2015 Richard James Lane 108 Text and publication © Lowell Libson Limited Sir Thomas Lawrence 58, 80 All rights reserved ISBN 978 0 9929096 0 4 Daniel Maclise 106, 110 Designed and typeset in Dante by Dalrymple Samuel Palmer 96, 126 Photography by Rodney Todd-White & Son Ltd Arthur Pond 8 Colour reproduction by Altaimage Printed in Belgium by Albe De Coker Sir Joshua Reynolds 18 Cover: a sheet of 18th-century Italian George Richmond 114 paste paper (collection: Lowell Libson) George Romney 36 Frontispiece: detail from Thomas Rowlandson 52 William Turner of Oxford 1782–1862 The Sands at Barmouth, North Wales Simeon Solomon 130 see pages 116–119 Francis Towne 48 Overleaf: detail from William Turner of Oxford 116 John Robert Cozens 1752–1799, An Alpine Landscape, near Grindelwald, Switzerland J.M.W.
    [Show full text]
  • 1. Methods of Holding and Using the Burin (Figs. 4-5); the Type of Lines and Hatching Used to Delineate and Model Forms (Figs
    Untitled Document 1. Methods of holding and using the burin (Figs. 4-5); the type of lines and hatching used to delineate and model forms (Figs. 6-11); cross-section of a plate showing types and depths of lines and burrs (Figs. 12-13). Encylopédie, 1767. http://sites.unc.edu/viscomi/webpage_illus/illuminated_printing/illus1.htm [1/14/2004 12:48:06 AM] Untitled Document 2. Facsimile of The Marriage of Heaven and Hell plate 10, executed as an etching, 15.3 x 10.1 cm; the design cut through the ground with a needle. http://sites.unc.edu/viscomi/webpage_illus/illuminated_printing/illus2.htm [1/14/2004 12:48:24 AM] Untitled Document 3. Tools and materials of etching: etching ground and dabber, taper for smoking plates, plate with melted ground, charcoal brazier, various tipped needles, stop-out varnish, brush, and shells. Encylopédie, 1767. http://sites.unc.edu/viscomi/webpage_illus/illuminated_printing/illus3.htm [1/14/2004 12:48:26 AM] Illuminating Printing William Blake’s Illuminated Printing Joseph Viscomi * If a method of Printing which combines the Painter and the Poet is a phenomenon worthy of public attention, provided that it exceeds in elegance all former methods, the Author is sure of his reward. —Blake, Prospectus, October 1793 On 12 April 1827, shortly before he died, Blake wrote to George Cumberland thanking him for trying to sell copies of Blake's illuminated books and his recently published engraved illustrations to the Book of Job. Blake had first executed the Job illustrations as watercolor drawings for Thomas Butts around 1805, followed by a duplicate set for John Linnell, who commissioned him to engrave the series in 1823.
    [Show full text]
  • ABOUT the POET and HIS POETRY William Blake
    ABOUT THE POET AND HIS POETRY William Blake William Blake was born in London on November 28, 1757, to James, a hosier, and Catherine Blake. Two of his six siblings died in infancy. From early childhood, Blake spoke of having visions—at four he saw God ―put his head to the window‖; around age nine, while walking dathrough the countryside, he saw a tree filled with angels. Although his parents tried to discourage him from ―lying," they did observe that he was different from his peers and did not force him to attend conventional school. He learned to read and write at home. At age ten, Blake expressed a wish to become a painter, so his parents sent him to drawing school. Two years later, Blake began writing poetry. When he turned fourteen, he apprenticed with an engraver because art school proved too costly. One of Blake‘s assignments as apprentice was to sketch the tombs at Westminster Abbey, exposing him to a variety of Gothic styles from which he would draw inspiration throughout his career. After his seven-year term ended, he studied briefly at the Royal Academy. In 1782, he married an illiterate woman named Catherine Boucher. Blake taught her to read and to write, and also instructed her in draftsmanship. Later, she helped him print the illuminated poetry for which he is remembered today; the couple had no children. In 1784 he set up a printshop with a friend and former fellow apprentice, James Parker, but this venture failed after several years. For the remainder of his life, Blake made a meager living as an engraver and illustrator for books and magazines.
    [Show full text]
  • Article
    CHECKLIST William Blake and His Circle: A Checklist of Publications and Discoveries in 2009 G. E. Bentley, Jr., Hikari Sato Blake/An Illustrated Quarterly, Volume 44, Issue 1, Summer 2010, pp. 1, 4- 48 A R T I c L E Commercial Engravings Previously unknown works with engravings after Blake's designs were first recorded in 2009: the Diamond Bible (1832- William Blake and His Circle: 34, 1836-37, 1840) with a copy of Blake's engraving of "Job and His Family"; Diario de los ninos (1839-40) with copies of A Checklist of Publications and Blake's Blair designs via Mora's Meditaciones poeticas; and a Discoveries in 2009 new printing (1835) of Stuart and Revett's Antiquities of Ath- ens. The most remarkable is Diario de Los ninos, only the sec- ond time designs by Blake were lithographed (the first was BY G. E. BENTLEY, JR. "Enoch" [1807]) and the first printing-by almost a century- of anything concerned with Blake in Mexico. WITH THE ASSISTANCE OF HIKARI SATO Catalogues and Bibliographies FOR JAPANESE PUBLICATIONS A marvelous new resource is J. R. de J. Jackson, Bibliography Editors' note: Addenda and corrigenda to Blake Records, 2nd of Romantic Poetry 1770-1835, which is online at the Univer- ed. (2004), which have traditionally formed an appendix to sity of Toronto Library <http://jacksonbibliography.library. this article, now appear on the journal's web site <http://www. utoronto.ca>. Phase 1, which is up and running, presents blakequarterly.org>. They will be updated yearly. 17,160 entries for 1798-1835. Phase 2, "in an advanced state of preparation;' will add 5,359 entries for 1770-97.
    [Show full text]
  • Prints on Display: Exhibitions of Etching and Engraving in England, 1770S-1858
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2018 Prints on Display: Exhibitions of Etching and Engraving in England, 1770s-1858 Nicole Simpson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2501 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] PRINTS ON DISPLAY: EXHIBITIONS OF ETCHING AND ENGRAVING IN ENGLAND, 1770S-1858 by NICOLE SIMPSON A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 NICOLE SIMPSON All Rights Reserved ii Prints on Display: Exhibitions of Etching and Engraving in England, 1770s-1858 by Nicole Simpson This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Date Katherine Manthorne Chair of Examining Committee Date Rachel Kousser Executive Officer Supervisory Committee: Patricia Mainardi Diane Kelder Cynthia Roman THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Prints on Display: Exhibitions of Etching and Engraving in England, 1770s-1858 by Nicole Simpson Advisor: Katherine Manthorne During the long nineteenth century, in cities throughout Europe and North America, a new type of exhibition emerged – exhibitions devoted to prints. Although a vital part of print culture, transforming the marketing and display of prints and invigorating the discourse on the value and status of printmaking, these exhibitions have received little attention in existing scholarship.
    [Show full text]
  • Blake and His Circle
    William Blake and His Circle DIVISION II: Blake’s Circle DIVISION II BLAKE'S CIRCLE Note that Essick's "Blake in the Marketplace” regularly lists sales of pictures &c, by Barry, Basire, Calvert, Flaxman, Fuseli, Linnell, Mortimer, Palmer, Richmond, Romney, and Stothard. CATALOGUES 1989 June 15-September 24 §Narrative Image--Book Illustrations in the 19th Century. Tochigi Prefectural Museum of Fine Arts, Utsonomiya, 15 June-30 July 1989, and Machida City Museum of Graphic Arts, 13 August-24 September 1989. It includes prints after Flaxman and Fuseli, one of them engraved by Blake. 1991 The Painted Word: British History Painting, 1750-1830, ed. Peter Canon-Brookes (1991) REVIEW G.E. Bentley, Jr, Blake, XXVII, 3 (Winter 1993-94), 79-80 (an important visual and verbal "record of what Blake and his leading contemporaries ... thought was the noblest form of visual art" [p. 79]) 1992 November 11-December 3 2929 2930 William Blake and His Circle DIVISION II: Blake’s Circle English Romantic Landscape: John Linnell and Contemporaries. Autumn 1992 Catalogue 60 [of] Martyn Gregory (London: Martyn Gregory Gallery, 1992) P.R.M.C., "Introduction" (pp. 2-3); the 17 paintings, all reproduced, include John Linnell (No. 6-10), his son William Linnell (No. 11-12), John Linnell and Samuel Palmer (No. 13), and James Ward (No. 15-17). 1993 January 15-April 12, May 9-July 25 Andrew Wilton and Anne Lyles. The Great Age of British Watercolours 1750-1880. [Exhibited 15 January-12 April 1993 at the] Royal Academy of Arts [London] and [9 May-25 July 1993 at] The National Gallery of Art [Washington, D.C.] (Munich: Prestel-Verlag, 1993) It consists mostly of 226 fine colour reproductions.
    [Show full text]