DOCSLIB.ORG

Tate's Spoilation Report

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tate's Spoilation Report Phase 4 - List of works with incomplete provenance during the period 1933 - 1945 ABBOTT, Lemuel Francis (1760-1803) Portrait of the Engraver Francesco Bartolozzi , No date Oil paint on canvas 756 x 676 mm Presented by Mrs M. Bernard 1968 T01067 Provenance: • …; Mrs M Bernard, by 1968 Questions in the operative period: No published provenance pre-1968 AGASSE, Jacques Laurent (1767-1849) Two Hunters with a Groom (circa 1805) Oil on canvas 638 x 759 mm Presented by Paul Mellon through the British Sporting Art Trust 1979 T02350 Provenance: • …; reportedly bought by Oscar Johnson (d.1968), before 1963 • Oscar & Peter Johnson Ltd • From whom purchased by Paul Mellon 1968 • Presented by Paul Mellon, 1979 Questions in the operative period: No information on whereabouts prior to acquisition by Oscar Johnson ALKEN, Henry Thomas (1785-1851) The Belvoir Hunt: Jumping into and out of a Lane (circa 1830-40) Oil on canvas 451 x 648 mm Presented by Paul Mellon through the British Sporting Art Trust 1979 T02353 Provenance: • …; Arthur Ackermann and Son Ltd • From whom purchased by Paul Mellon 1964 Questions in the operative period: No information on whereabouts prior to acquisition by Ackermann and Son Ltd ALKEN, Henry Thomas (1785-1851) The Belvoir Hunt: The Meet (circa 1830-40) Oil on canvas 451 x 648 mm Presented by Paul Mellon through the British Sporting Art Trust 1979 T02352 Provenance: • …; Arthur Ackermann and Son Ltd • from whom purchased by Paul Mellon 1964 Questions in the operative period: No information on whereabouts prior to acquisition by Ackermann and Son Ltd ALKEN, Henry Thomas (1785-1851) The Belvoir Hunt: Full Cry (circa 1830-40) Oil on canvas 451 x 648 mm Presented by Paul Mellon through the British Sporting Art Trust 1979 T02354 Provenance: • …; Arthur Ackermann and Son Ltd • from whom purchased by Paul Mellon 1964 Questions in the operative period: No information on whereabouts prior to acquisition by Ackermann and Son Ltd ALKEN, Henry Thomas (1785-1851) The Belvoir Hunt: The Death (circa 1830-40) Oil on canvas 451 x 648 mm Presented by Paul Mellon through the British Sporting Art Trust 1979 T02355 Provenance: • …; Arthur Ackermann and Son Ltd • from whom purchased by Paul Mellon 1964 Questions in the operative period: No information on whereabouts prior to acquisition by Ackermann and Son Ltd ANSDELL, Richard (1815-1885) A Ploughing Match , No date Oil paint on canvas 781 x 1346 mm Purchased 1935 N04798 Provenance: • …; acquired 1935 Questions in the operative period: No early history yet traced BARENGER, James (1780-1831) Jonathan Griffin, Huntsman to the Earl of Derby's Staghounds (1813) Oil on canvas 1016 x 1270 mm Presented by Paul Mellon through the British Sporting Art Trust 1979 T02356 Provenance: • …; anon. sale Christie’s 17 March 1967 (167) • Bought Betts • Arthur Ackermann and Son Ltd, exhibited 1967 • From whom purchased by Paul Mellon 1967 Questions in the operative period: No information on whereabouts prior to 1967 BARRET, George (1767-1842) Landscape with a Bridge, No date Watercolour and graphite on paper 498 x 670 mm Purchased 1974 T01860 Provenance • …; Spink by 1973 Questions in the operative period: No source or date of acquisition by Spink BATEMAN, James (1815-1849) Highland Scene (1844) Oil on wood 203 x 254 mm Presented anonymously in memory of Mrs M. Bernard 1981 T03210 Provenance: • ...; Montague Bernard Esq. • Presented to Tate by M. Bernard, Esq. in memory of Mrs M. Bernard 1981 Questions in the operative period: No source or date of acquisition by Montague Bernard Esq. BEAUMONT, George Howland (1753-1827) Landscape (c. 1795) Oil paint on paper 133 x 159 mm Purchased 1969 T01148 Provenance • …; R. B. Beckett Questions in operative period No source or date of acquisition by Beckett Additional information R. B. Beckett (1891-1973) was editor of Constable’s letters. BEECHEY, Sir William (1753-1839) Portrait of Sir Francis Ford's Children Giving a Coin to a Beggar Boy (exhibited 1793) Oil on canvas 1805 x 1500 mm Purchased with assistance from the National Art Collections Fund 1993 T06734 Provenance: • Painted for Sir Francis Ford (1758-1801) • With his daughter, Caroline and her husband John Hyde at Syndale, Kent, by 1838 • …; ? Colville Hyde sale, Christies, London, 2 March 1922 • …; with Scott & Fowles, New York • …; John M. Schiff (1904-1987), New York • His sale, Sotheby’s New York 10 January 1991 • Bought by the Dover Street Gallery London • By whom sold to the Tate in 1993 Questions in the operative period: Uncertain identification in Colville Hyde sale, Christies 2 March 1922 Uncertain whether Scott & Fowles acquired it at 1922 sale Uncertain whether Schiff acquired it from Scott & Fowles Additional information John M. Schiff’s father Mortimer L. Schiff (1877-1931), successful banker and collector, owned two other Beecheys which he lent to an exhibition in New York in 1912. This painting was illustrated in an (undated) advertisement, held in the Witt Library, for Scott & Fowles the art gallery owned by E. J. Rousuck and active c.1905-43. after BLAKE, William (1757-1827) David Delivered out of Many Waters , No date Graphite and watercolour on paper Bequeathed by Miss Alice G.E. Carthew 1940 N05197 Provenance • …; Miss Alice G.E. Carthew by 1940 Questions in the operative period: No source or date of acquisition by Carthew Additional information Miss Alice G. E. Carthew (b.1868), who bequeathed a large number of works, was collecting by 1911. This work is believed to be a late copy, perhaps by the donor herself. after BLAKE, William (1757-1827) The Raising of Lazarus, No date Watercolour and graphite on paper Bequeathed by Miss Alice G.E. Carthew 1940 N05199 Provenance • …; ?Carfax and Co. by 1906 • Miss Carthew, ?after 1914 Questions in the operative period: Uncertain date of acquisition by Carthew Additional information Miss Alice G. E. Carthew (b.1868), who bequeathed a large number of works, was collecting by 1911. BLAKE, William (1757-1827) Age Teaching Youth (c.1785-90) 108 x 80 mm Bequeathed by Miss Alice G.E. Carthew 1940 N05183 Provenance: • ? Mrs Blake • ? Frederick Tatham • ? sold Sotheby's 29 April 1862 (possibly? in 185, 2 items ‘in colours’, 15/- bought Harvey • with Harvey by 1863 • George A. Smith • sold Christie's 16 July 1880 (102) 14/- • bought J. Pearson • ? U.S. collection, by 1905 • Miss Carthew Questions in the operative period: Uncertain date of acquisition by Carthew Additional information Miss Alice G. E. Carthew (b.1868), who bequeathed a large number of works in 1940, was collecting by 1911 BLAKE, William (1757-1827) First Book of Urizen pl. 21 1796, c.1818 Etching with paint, watercolour and ink on paper 270 x 184 mm Purchased with funds provided by the Art Fund, Tate Members, Tate Patrons, Tate Fund and individual donors 2009 T12999 Provenance: • Inherited by Catherine Blake, the artist’s widow (d.1831) • By whom given to Frederick Tatham, at an unknown date • … purchased by a private collector at a second-hand book sale in north London c.1970 Questions in the operative period: No ownership history between Tatham and c.1970 Additional information Checked with Art Loss Register BLAKE, William (1757-1827) The Book of Thel pl. 6 1796, c.1818 Etching with paint, watercolour and ink on paper 260 x 186 mm Purchased with funds provided by the Art Fund, Tate Members, Tate Patrons, Tate Fund and individual donors 2009 T13000 Provenance: • Inherited by Catherine Blake, the artist’s widow (d.1831) • By whom given to Frederick Tatham, at an unknown date • … purchased by a private collector at a second-hand book sale in north London c.1970 Questions in the operative period: No ownership history between Tatham and c.1970 Additional information Checked with Art Loss Register BLAKE, William (1757-1827) The Marriage of Heaven and Hell pl. 16 1796, c.1818 Etching with paint, watercolour and ink on paper 259 x 187 mm Purchased with funds provided by the Art Fund, Tate Members, Tate Patrons, Tate Fund and individual donors 2009 T13001 Provenance: • Inherited by Catherine Blake, the artist’s widow (d.1831) • By whom given to Frederick Tatham, at an unknown date • … purchased by a private collector at a second-hand book sale in north London c.1970 Questions in the operative period: No ownership history between Tatham and c.1970 Additional information Checked with Art Loss Register BLAKE, William (1757-1827) First Book of Urizen pl. 6 1796, c.1818 Etching with paint, watercolour and ink on paper 250 x 187 mm Purchased with funds provided by the Art Fund, Tate Members, Tate Patrons, Tate Fund and individual donors 2009 T13002 Provenance: • Inherited by Catherine Blake, the artist’s widow (d.1831) • By whom given to Frederick Tatham, at an unknown date • … purchased by a private collector at a second-hand book sale in north London c.1970 Questions in the operative period: No ownership history between Tatham and c.1970 Additional information Checked with Art Loss Register BLAKE, William (1757-1827) First Book of Urizen pl. 10 1796, c.1818 Etching with paint, watercolour and ink on paper 266 x 185 mm Purchased with funds provided by the Art Fund, Tate Members, Tate Patrons, Tate Fund and individual donors 2009 T13003 Provenance: • Inherited by Catherine Blake, the artist’s widow (d.1831) • By whom given to Frederick Tatham, at an unknown date • … purchased by a private collector at a second-hand book sale in north London c.1970 Questions in the operative period: No ownership history between Tatham and c.1970 Additional information Checked with Art Loss Register BLAKE, William (1757-1827) First Book of Urizen pl. 11 1796, c.1818 Etching with paint, watercolour and ink on paper 257 x 184 mm Purchased with funds provided by the Art Fund, Tate Members, Tate Patrons, Tate Fund and individual donors 2009 T13004 Provenance: • Inherited by Catherine Blake, the artist’s widow (d.1831) • By whom given to Frederick Tatham, at an unknown date • … purchased by a private collector at a second-hand book sale in north London c.1970 Questions in the operative period: No ownership history between Tatham and c.1970 Additional information Checked with Art Loss Register BLAKE, William (1757-1827) First Book of Urizen pl.
Load more

Recommended publications
  • William Blake PART I
    126 Of the fifty-three more-or-less complete copies of Blake's writings in private hands, only one has moved to a public collection: VICTORIA UNIVERSITY IN THE UNIVERSITY OF TORONTO. This is Songs of Innocence and of Experience (i), a posthumous copy watermarked with fragments of J WHATMAN | 1831, lacking ten of fifty-four prints. A curious feature of copy i is that one print (pl. 23) is watercoloured (see Illus. 1A), perhaps by Catherine Blake (d. 18 October 1831 [BR (2) 546]) or Frederick Tatham who printed the posthumous copies of Blake's works in Illuminated Printing. The colouring is distinct from the colour-printed copy of the same etching in VICTORIA UNIVERSITY IN THE UNIVERSITY OF TORONTO. The public appearance of Songs (i) has permitted the correction of minor errors in the account of it in Blake Books. COPIES UNTRACED America (S), Book of Thel (S), Descriptive Catalogue (V), Europe (N), First Book of Urizen (K), For Children (F), Poetical Sketches (Q), Songs of Innocence and of Experience (CC, q), "To the Public", Visions (S) are untraced. Six of these ten untraced copies in Illuminated Printing - - America (S), Book of Thel (S), Europe (N), First Book of Urizen (K), For Children (F), and Visions (S) -- have not been recorded since they were sold for the Flaxman family in 1862. Some or all the untraced copies may have been destroyed. Division I: William Blake PART I 126 127 ORIGINAL EDITIONS, FACSIMILES,93 REPRINTS, AND TRANSLATIONS Section A: Original Editions TABLE OF COLLECTIONS ADDENDA Biblioteca La Solana ILLUMINATED WORK: For Children: The Gates of Paradise, pl.
    [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]
  • Lowell Libson Limited
    LOWELL LI BSON LTD 2 0 1 0 LOWELL LIBSON LIMITED BRITISH PAINTINGS WATERCOLOURS AND DRAWINGS 3 Clifford Street · Londonw1s 2lf +44 (0)20 7734 8686 · [email protected] www.lowell-libson.com LOWELL LI BSON LTD 2 0 1 0 Our 2010 catalogue includes a diverse group of works ranging from the fascinating and extremely rare drawings of mid seventeenth century London by the Dutch draughtsman Michel 3 Clifford Street · Londonw1s 2lf van Overbeek to the small and exquisitely executed painting of a young geisha by Menpes, an Australian, contained in the artist’s own version of a seventeenth century Dutch frame. Telephone: +44 (0)20 7734 8686 · Email: [email protected] Sandwiched between these two extremes of date and background, the filling comprises Website: www.lowell-libson.com · Fax: +44 (0)20 7734 9997 some quintessentially British works which serve to underline the often forgotten international- The gallery is open by appointment, Monday to Friday ism of ‘British’ art and patronage. Bellucci, born in the Veneto, studied in Dalmatia, and worked The entrance is in Old Burlington Street in Vienna and Düsseldorf before being tempted to England by the Duke of Chandos. Likewise, Boitard, French born and Parisian trained, settled in London where his fluency in the Rococo idiom as a designer and engraver extended to ceramics and enamels. Artists such as Boitard, in the closely knit artistic community of London, provided the grounding of Gainsborough’s early In 2010 Lowell Libson Ltd is exhibiting at: training through which he synthesised
    [Show full text]
  • Issues) and Begin JOYCE H
    AN ILLUSTRATED QUARTERLY * > f-s m Blake and the In-Laws • Sentimentalism in The Four Zoas • Blake's Palette? VOLUME 39 NUMBER 2 FALL 2005 &Uk e AN ILLUSTRATED QUARTERLY www.blakequarterly.org VOLUME 39 NUMBER 2 FALL 2005 CONTENTS Articles Minute Particular "Tenderness & Love Not Uninspird": Blake's Only Surviving Palette? Blake's Re-Vision of Sentimentalism in The Four Zoas By Joyce H. Townsend, Bromvyn Ortnsbw By Justin Van Kleeck 60 lulia Jonsson, and Mark Evans 100 "/ also beg Mr Makes acceptance of my wearing apparel": The Will of Henry Banes, Landlord of 3 Fountain Court, Strand, the Last Residence of William and Catherine Blake By Angus Whitehead 78 ADVISORY BOARD G. E. Bentley, Jr., University of Toronto, retired Nelson Hilton, University of Georgia Martin Butlin, London Anne K. Mellor, University of California, Los Angeles Detlef W. Dorrbecker, University of Trier Joseph Viscomi, University of North Carolina at Chapel Hill Robert N. Essick, University of California, Riverside David Worrall, The Nottingham Trent University Angela Fsterhammer, University of Western Ontario CONTRIBUTORS David Worrall, Faculty of Humanities, The Nottingham Trent University, Clifton Lane, Nottingham NGl 1 8NS U.K. Email: [email protected] JUSTIN VAN KLEECK ([email protected]), still a graduate stu- dent at t h e University of Virginia, is probably off rambling in the woods somewhere near Charlottesville. ANGUS WHITEHEAD ([email protected]) is a doc- INFORMATION toral student based at the Centre for Eighteenth Century Studies, Department of English and Related Literature, Uni- versity of York. His thesis explores the residences, fellow in- MAKE/AN ILLUSTRATED QUARTERLY is published under the sponsor- habitants, neighbors, friends and milieus of William and ship of the Department of English, University of Rochester.
    [Show full text]
  • After Palmer: a Pastoral Miscellany Trained Originally As an Art Historian, Sculptress and Graphic Illustrator at St
    After Palmer: A Pastoral Miscellany Trained originally as an art historian, sculptress and graphic illustrator at St. Martin’s and at Cambridge, Julia Korner, L.S.I.A.D., left Christie’s auctioneers in 1997 after nearly 20 years in the field as a paintings specialist, with extensive knowledge of Old Masters, of British and Victorian and of European and American paintings of the 18th, 19th and 20th Century. In 1987 she set up the Maritime Department, the Frame sales, the Aeronautical Department and finally the Polar Sales and Exploration & Travel. At the same time, she was involved in the conservation of paintings, and the production and conservation of classic gilt and gesso frames and sculpture, all in her own studios. She set up her own business in 1997 to assist clients with all aspects of their collections. She also advises museums and private clients on conservation. She lectures for NADFAS, Christie’s Education, The Sotheby’s Institute, The National Maritime Museum and to Art Societies and has acted as a valuer for antiques’ road shows both at home and abroad. Julia Korner is an elected member of the British Antique Dealers’ Association and LAPADA - the Association of Professional Art and Antiques Dealers; the British Association of Paintings Conservator-Restorers, the Company of Arts Scholars, Dealers and Collectors, the Institute of Conservation, the International Institute for Conservation, the Fine Art Trade Guild, the Maritime Information Association, the Museums Association, and the Conservation Consortium Cover illustration: No. 7. Samuel Palmer, R.W.S (1805-1881), ‘The Forester’s Horn’ Fine Art Consultant, Maritime Specialist & Lecturer Conservation of Paintings, Frames and Sculpture After Palmer: A Pastoral Miscellany Julia Korner The River House, 52 Strand on the Green, London W4 3PD, United Kingdom (By appointment only) Tel: +44 (0)20 8747 1652 Mob: 07771 713980 Fax: +44 (0)20 8742 7419 E-mail: [email protected] www.juliakorner.com ARTISTS’ INDEX 1 Joshua Cristall, P.O.W.S.
    [Show full text]
  • William Blake's Printed Paintings
    Joseph Viscomi WILLIAM BLAKE’S PRINTED PAINTINGS Methods · Origins · Meanings Appendices One and Two Paul Mellon Centre for Studies in British Art, 2021 Distributed by Yale University Press New Haven and London i Appendices 1. Blake Redefines Fresco 2. Monoprints after Blake’s Death, 1827-1863 Abbreviations Notes Works Cited ii Blake Redefines Fresco frescos, including “THE ANCIENT BRITONS . the Figures full as large as Life” (E 526) and “Two Pictures, representing grand “Blake applied the term fresco to his own pictures in a somewhat un- Apotheoses of NELSON and PITT” (E 527). The advertisement usual sense. According to the literal meaning of the word, he cannot be of “A Descriptive Catalogue” notes that in the “Exhibition will said to have ever painted a fresco in his life.” be seen real Art, as it was left us by Raphael and Albert Durer, (Dante Rossetti, Life I 368) Michael Angelo, and Julio Romano; stripped from the Ignorances of Rubens and Rembrandt, of Titian and Correggio; BY WILLIAM In May 1809, Blake issued an advertisement for an exhibition BLAKE.” It describes the catalogue as “containing Mr. B.’s and another advertisement for the exhibition’s catalogue. In the Opinions and Determinations on Art,” all “very necessary to former, he confidently asserted that be known by Artists and Connoisseurs of all Ranks,” and that Fresco Painting is properly Miniature, or Enamel Painting; every “These Original Conceptions on Art” are “by an Original Artist” thing in Fresco is as high finished as Miniature or Enamel, although in (E 528). Blake articulates concisely the premise, motivation, and Works larger than Life.
    [Show full text]
  • Victorian Painting- a General Perspective
    458 Iulian Boldea (Coord.) Globalization and National Identity. Studies on the Strategies of Intercultural Dialogue HISTORY AND CULTURAL MENTALITIES SECTION VICTORIAN PAINTING- A GENERAL PERSPECTIVE Lavinia Hulea Lecturer, PhD, University of Petroșani Abstract: History acknowledges art as an essential element of a culture, in close connection with the living standard of the individuals. Apparently, art reveals a paradoxical statute: while its expressiveness is indeed direct, its meaning frequently refuses transparence and turns ambiguity into a main feature of a large number of art works. Considered, at turns, as an artist’s individual expression, as a mirror of a certain milieu, or as communication, implying artist and audience, as well, art seems to encompass personal space to the extent to which it approaches social environment. Nineteenth-century British art, and more specifically, British painting, displaying a variety of subjects and styles, either of classical descent or attempting at bringing forth new developments, may be seen as the setting that brought together a wide range of artistic options, which concerned both imagery and forms. From battlefield scenes provided by the Napoleonic or Greek wars to subjects inspired by the Industrial Revolution and foreign countries to portraits, genre and landscape painting, the vast subject matter was approached in varied forms by the different artistic movements and styles of the period. Keywords: art, Victorian painting, artistic movements, style, subject As Geraldine Pelles makes it explicit in Art, Artists and Society: Origins of Modern Dilemma; Painting in England and France, 1750-1850, art is widely perceived as an opponent to technology (which, at its turn, is assumed to oppose to human values), owing to its being the expression of the free will and of spontaneous conduct, capable of releasing energies so constantly censured both out of constraint or out of self-criticism, or owing to its being a device to be handled by power entities in order to “raise the spiritual tone of the community”.
    [Show full text]
  • Issues) and Begin with the Summer Issue
    4 V AN ILLUSTRATED QUARTERLY L' ' VOLUME 22 NUMBER 1 SUMMER 1988 BLAKE/AN ILLUSTRATED QUARTERLY SUMMER 1988 CONTRIBUTORS SHELLEY M. BENNETT is Associate Curator of British and Continental Art of the Henry E. Huntington Art Gallery. MARTIN BUTLIN is Keeper of the Historic British Col• lection at the Tate Gallery in London. £%Ue AETHELRED ELDRIDGE lives at Golgonooza-on-the- Ohio, in Millfield, Ohio. AN ILLUSTRATED QUARTERLY VOLUME 22 NUMBER 1 SUMMER 1988 ROBERT N. ESSICK, Professor of English, University of California, Riverside, collects and writes about Blake. MICHAEL FERBER, Associate Professor of English, CONTENTS University of New Hampshire, Durham, is the author of 4 Blake in the Marketplace, 1987 The Social Vision of William Blake (Princeton, 1985). by Robert N. Essick NELSON HILTON, Review Editor for Blake, is still re• adjusting from his complete reading of Donald Auk's MINUTE PARTICULARS Narrative Unbound. 16 "Under the Hill" ANNE K. MELLOR, Professor of English, University of by Nelson Hilton California, Los Angeles, is the author of Mary Shelley: 17 Footnotes on the Huntington Blakes Her Life, Her Fiction, Her Monsters (Methuen Press) and by Martin Butlin Romanticism and Feminism (Indiana UP), both appear• ing in 1988. DISCUSSION JANET WARNER, Professor of English, teaches at Glen- 19 Reply to Morris Eaves' Review of The Dick and Jane don College, York University, and is the author oi Blake by Aethelred Eldridge and the Language of Art. She is currently writing a book on Emily Carr (1871-1945), a Canadian painter and REVIEWS writer. 20 Raymond Lister, Paintings of Samuel Palmer and JOSEPH WITTREICH is Distinguished Professor of En• Paintings of William Blake, reviewed by Shelley glish at The Graduate Center, City University of New Bennett York, and author oi Feminist Milton (Cornell UP, 1987).
    [Show full text]
  • The Last Years of Catherine Blake Man’S Fictionalized Life, Voices for Catherine Blake: a Gather- Ing (2000), Observed
    A rtI cleIn the last two decades interest in and recognition of cath- erine’s position in Blake’s life and work have grown. In 1993 Joseph Viscomi asserted her integral role in all aspects of Blake’s bookmaking projects.4 In 2004 she was given her own “an excellent saleswoman”: entry in the new edition of the Oxford Dictionary of National Biography.5 eugenie r. Freed, in her review of Barbara lach- The last Years of catherine Blake man’s fictionalized life, Voices for Catherine Blake: A Gather- ing (2000), observed: By Angus Whitehead like many of those interested in Blake’s work, I do feel the need to know a great deal more about catherine Blake, an unsung heroine who has yet to be acknowledged as the cou- 6 IogrAphIcAl information concerning any period of rageous woman of many parts that she had to be in real life. B the life of catherine Sophia Blake, née Boucher (cover illus.), remains lamentably sparse. however, few twenty-first- As this essay will demonstrate, scholars have yet to exhaust century scholars would agree with Mona Wilson’s comment, all avenues in reclaiming historical information concerning made about 1927, that “there is little independent record of the life of Blake’s wife. hitherto, the final four years of her life catherine Blake, nor is it needed.”1 For the four years fol- (1827-31) have received negligible attention from Blake’s bi- lowing Blake’s death, catherine was the custodian and sales- ographers. only g. e. Bentley, Jr., has attempted a detailed woman of a varied and substantial collection of her husband’s chronological reconstruction of where catherine lived during works, as well as his drawing, painting, engraving, and print- those years.
    [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]
  • William Blake and His Circle
    William Blake and His Circle APPENDIX Blake Records Second Edition (2004) ADDENDA AND CORRIGENDA1017 The most extensive and important discoveries of contemporary references to William Blake and his relations since the Second Edition of Blake Records went to press concern the Moravian faith of his mother before he was born1018 and the Will and family of his wife’s brother-in-law Henry Banes after his death.1019 See also the apprenticeship of Thomas Owen to William Blake in June 1788. P. xii For "Lisson Grove, west of the map" and "No. 20 (1828- 130)" READ: 1017 The information about Walkeringham and the Moravians in these Addenda was first recorded in Keri Davies, “William Blake in Contexts: Family, Friendships, and Some Intellectual Microcultures of Eighteenth- and Nineteenth- Century England”, Surrey Ph.D., 2003, of which he generously sent me a copy. The discovery of the Blake connection with the Moravians was made by Dr Keith Schuchard in June 2001 and published in Keri Davies and Marsha Keith Schuchard, “Recovering the Lost Moravian History of William Blake’s Family”, Blake, XXXVIII (2004), 36-43 – apparently omitting the references below dated 6 Feb, 13 Aug 1750, 12, 28 Sept, 20, 23 Nov, 4, 11, 18 Dec 1751. (When I examined the Archive in the 1960s, we did not know that Blake’s mother had first married Thomas Armitage, and the connection with Blake was therefore invisible.) For wonderfully generous help when my wife and I worked in the Moravian Church Archives in 5-7 Muswell Hill, London, in May 2004 I am deeply indebted to the archivist Lorraine Parsons.
    [Show full text]
  • Always in Paradise
    C A T A L O G U E 6 5 W I L L I A M B L A K E Always in Paradise J O H N W I N D L E A N T I Q U A R I A N B O O K S E L L E R 49 Geary Street, Suite 233, San Francisco, California 94108 (415) 986-5826 | johnwindle.com | [email protected] “I have very little of Mr. Blake’s company; he is always in Paradise...” -Catherine Blake C A T A L O G U E 6 5 WILLIAM BLAKE Always in Paradise A Catalogue of Artwork and Books by and about Blake and his Circle JOHN WINDLE ANTIQUARIAN BOOKSELLER San Francisco 2017 TERMS: All items are guaranteed as described and may be returned within 5 days of receipt only if packed, shipped, and insured as received. Payment in US dollars drawn on a US bank, including state and local taxes as ap- plicable, is expected upon receipt unless otherwise agreed. Institutions may receive deferred billing and duplicates will be considered for credit. References or advance payment may be requested of anyone ordering for the first time. Postage is extra and will be via UPS. PayPal, Visa, MasterCard, and American Express are gladly accepted. Please also note that under standard terms of business, title does not pass to the purchaser until the purchase price has been paid in full. ILAB dealers only may deduct their reciprocal discount, provided the account is paid in full within 30 days; thereafter the price is net.
    [Show full text]