William Blake, Printmaker. 9th – 30th January, 2015.
Sanders of Oxford ANTIQUE PRINTS & MAPS 104 High Street, Oxford. OX1 4BW info@sandersofoxford.com - 01865 242590 - www.sandersofoxford.com
To coincide with the major William Blake exhibition at the Ashmolean Museum Sanders of Oxford present an outstanding collection of engravings by William Blake. The prints in this exhibition were predominantly produced towards the end of Blake’s career and are regarded as his masterpieces of intaglio engraving. Exquisite prints from Blake’s The Book of Job, Dante’s Divine Comedy and rare impressions from Thorntons The Pastorals of Virgil will be on display and available to purchase. Alongside these are a small collection of Blake’s earlier commercial prints including his largest and finest reproductive engraving of William Hogarth’s Beggar’s Opera, Act III and two striking plates from Erasmus Darwin’s Botanic Garden; Tornado and Fertilisation of Egypt. Engraving is Eternal work; … I curse & bless Engraving alternately, because it takes so much time & is so untractable, tho’ capable of such beauty & perfection. William Blake, 1804.
The earliest works in this exhibition date from the end of the 18th Century and illustrate Blake’s ability as a reproductive engraver. His largest and most refined commercial print was commissioned by John Boydell c.1788, after William Hogarth’s painting of a performance of John Gay’s The Beggar’s Opera, first performed at Lincoln’s Inn Fields in 1728. This print is regarded as the high point in Blake's career as a commercial engraver. Coupled with this are Blake’s two engraved designs after Fuseli for Erasmus Darwin’s scientific poem The Botanic Garden. These prints are a clear example of Blake’s early antiquarian engraving style, an inheritance from his apprenticeship under James Basire. Tornado and Fertilisation of Egypt act as a good reference to examine the development and maturity of Blake’s printmaking technique with his later plates for The Book of Job and Dante’s Divine Comedy. The small engravings for Thornton’s Virgil are now recognised as some of the most significant wood engravings in the history of British art and their influence can be traced from Calvert and Palmer right up to the present day. The two examples shown here were printed for John Linell Jnr. or his brother James circa May 1892. From a group of impressions recently discovered in England and believed to have been formerly in the possession of John Linell’s great grandson. The engravings for Blake’s The Book of Job exhibited were commissioned by the painter John Linell in 1823 and are from the one hundred sets printed on wove Whatman paper, with the word proof removed, published in March 1826. After years of working within reproductive conventions, the twenty two plates engraved for The Book of Job display a new found freedom and
refinement in Blake’s printmaking technique. These plates were executed with the engraving tool alone without the use of preliminary etched outlines. The border designs were added after the central panels were almost complete, utilising a conventional decorative element of contemporary book illustration to introduce further graphic and iconographic dimensions. 1 The series firmly established Blake’s position in the history of printmaking. At the age of 67 Blake embarked upon an ambitious project to illustrate Dante’s Divine Comedy, again at the request of John Linell. Blake proceeded to create over one hundred preparatory drawings but only began work on seven of the engraving plates from the Inferno. These plates remained unfinished and were not published until after Blake’s death by Linell in 1838, followed by a small print run c.1892. A further edition, which is regarded to consist of very poor impressions, was printed in the 1950’s following the sale of the plates to Lessing J.Rosenwald in America. At the recommendation of Blake scholar Ruthven Todd, Rosenwald had the plates cleaned and reprinted in August 1968; the prints in this exhibition are from this final definitive edition of twenty-five. Todd’s comparisons of these impressions with those from Blake’s life time concluded; “There can be no doubt that these prints are more brilliant and show far more detail than any I have so far gathered for comparison.”. 2 The original copper plates are now held in the National Gallery of Art, Washington, DC.
1 2
Essick, Robert N, William Blake Printmaker, Princeton University Press, Princenton, 1980. p.240. Todd, Ruthven, Blake’s Dante Plates, Book Collecting & Library Monthly, London, 1968
1. William Blake after William Hogarth [Beggar’s Opera, Act III.] Copper engraving [Published July 1, 1790 by J. & J. Boydell, Cheapside & at the Shakespeare Gallery, Pall Mall.] [c.1795 impression] Image 395 x 539 mm, Sheet 440 x 588 mm This is the largest and finest of Blake's reproductive prints and is regarded as the high point in Blake's career as a commercial engraver. The print was commissioned by John Boydell c.1788 after Hogarth’s painting of a performance of John Gay’s The Beggar’s Opera, first performed at Lincon’s Inn Fields in 1728. An inscription below the first published state of this print read: When my hero in court appears, &tc. / From the Original Picture in the Collection of His Grace, the Duke of Leeds. Condition: Clean, rich impression, trimmed to image an laid to album page Framed. [36303] £400
2. William Blake after Henry Fuseli Fertilisation of Egypt Copper engraving and etching London, Published Dec.r 1st. 1791 by J.Johnson, St.Pauls Church Yard. Image 195 x 153 mm, Sheet 279 x 209 mm From the third edition of Erasmus Darwin’s Botanic Garden, illustrating Canto 3, The Economy of Vegetation. The God Anubis with the head of a dog prays to the star Sirius for rain, the winged figure of Jupiter Pluvius appears in the background between the legs of Anubis. Blake directly copied his original drawing onto the printing plate resulting in the print being in reverse to his preparatory study. Russell 1912.79a Condition: Light foxing and staining to margins, not affecting image. Framed. [36179] £580
3. William Blake after Henry Fuseli Tornado Copper engraving and etching London, Published Aug.t 1st. 1795 by J.Johnson, St.Pauls Church Yard. Image 212 x 170 mm, Sheet 278 x 212 mm From the third edition of Erasmus Darwin’s Botanic Garden. This illustration was added to The Botanic Garden for the 1795 edition. A bearded nude male figure, embodying the "Tornado", entwined in a winged dragon or serpent, grasping a lightning bolt. Russell 1912.79b; Keynes 1921.108; Esson & Essick 1972.XXXVI; Bentley 1977.450c Condition: Light foxing and staining to margins, not affecting image. Framed. [36178] £580
Thornton’s Virgil Two wood engravings on Chine appliqué for Thornton’s Virgil. Printed for John Linell Jnr. or his brother James circa May 1892. From a group of impressions recently discovered in England and believed to have been formerly in the possession of John Linell’s great grandson. These small engravings for Thornton’s Virgil are now recognised as some of the most significant wood engravings in the history of British art and their influence can be traced from Calvert and Palmer right up to the present day.
4. William Blake A fond desire strange lands and swains to know... Wood engraving 1821 [1892 impression] Image 38 x 74 mm, Sheet 195 x 281 mm A fond desire strange lands and swains to know. Ah me! that ever I should covet wo. Binyon 145; Bindman 610; Bentley 504. Mounted. [36157] £1,250
5. William Blake Thine ewes will wander... Wood engraving 1821 [1892 impression] Image 34 x 74 mm, Sheet 195 x 281 mm Thine ewes will wander; and the heedless lambs, in loud complaints, require their absent dams. Binyon 140; Bindman 605; Bentley 504. Mounted. [36156] ÂŁ1,250
6. William Blake The Wood Engravings of William Blake for Thornton's Virgil 1821 Wood engraving [1821] British Museum Publications Ltd 1977 Each sheet 120 x 150 mm, Box 305 x 198 mm A complete set of 17 wood engravings, printed in 1977 by Iain Bain and David Chambers at the British Museum. Numbered 20 out of 135 on the interior of the box and in the Introduction booklet (the total edition was 150 but 15 were not for sale). Each print on Japanese Hosho paper and inserted loose into a card folder printed with text relating to each image, together with a Prospectus booklet, printed by Iain Bain and David Chambers at the British Museum. [36155] ÂŁ3,750
The Book of Job
7. William Blake [The Book of Job. Plate 1] Thus did Job continually Copper engraving London. Published as the Act directs. March 8: 1828. by Willm Blake N3 Fountain Court Strand Image 180 x 149 mm, Plate 197 x 164 mm One of 100 impressions on wove Whatman paper with the word proof removed. The date 1828 engraved in error. Binyon 106 state ii/ii; Bindman 626; Bentley 421. Framed. [36007] ÂŁ2,850
8. William Blake [The Book of Job. Plate 3] The Fire of God is fallen from Heaven Copper engraving London. Published as the Act directs. March 8: 1825. by Willm Blake No3 Fountain Court Strand Image 194 x 153 mm, Plate 213 x 168 mm One of 100 impressions on wove Whatman paper with the word proof removed. Binyon 108 state iii/iii; Bindman 628; Bentley 421. Framed. [36009] ÂŁ2,850
9. William Blake [The Book of Job. Plate 4] And I only am escaped alone to tell thee. Copper engraving London. Published as the Act directs. March 8: 1825. by Willm Blake No3 Fountain Court Strand Image 194 x 151 mm, Plate 213 x 168 mm One of 100 impressions on wove Whatman paper with the word proof removed. Binyon 109 state ii/ii; Bindman 629; Bentley 421. Framed. [36010] ÂŁ2,850
10. William Blake [The Book of Job. Plate 5] Then went Satan forth from the presence of the Lord Copper engraving London. Published as the Act directs. March 8: 1825. by Willm Blake No3 Fountain Court Strand Image 194 x 151 mm, Plate 215 x 168 mm One of 100 impressions on wove Whatman paper with the word proof removed. Binyon 110 state iii/iii; Bindman 630; Bentley 421. Framed. [36011] ÂŁ2,850
11. William Blake [The Book of Job. Plate 6] And smote Job with sore Boils from the sole of his foot to the crown of his head Copper engraving London. Published as the Act directs. March 8: 1825. by Willm Blake No3 Fountain Court Strand Image 197 x 151 mm, Plate 215 x 168 mm One of 100 impressions on wove Whatman paper with the word proof removed. Binyon 111 state ii/ii; Bindman 631; Bentley 421. Framed. [36012] ÂŁ2,850
12. William Blake [The Book of Job. Plate 8] Let the Day perish wherein I was Born Copper engraving London. Published as the Act directs. March 8: 1825. by Willm Blake No3 Fountain Court Strand Image 197 x 149 mm, Plate 215 x 178 mm One of 100 impressions on wove Whatman paper with the word proof removed. Binyon 113 state ii/ii; Bindman 633; Bentley 421. Framed. [36014] ÂŁ2,850
13. William Blake [The Book of Job. Plate 11] With Dreams upon my bed thou scarest me & affrightest me with Visons Copper engraving London. Published as the Act directs. March 8: 1825. by Willm Blake No3 Fountain Court Strand Image 194 x 149 mm, Plate 213 x 168 mm One of 100 impressions on wove Whatman paper with the word proof removed. Binyon 116 state v/v; Bindman 636; Bentley 421. Framed. [36015] ÂŁ2,850
14. William Blake [The Book of Job. Plate 16] Thou hast fulfilled the Judgment of the Wicked Copper engraving London. Published as the Act directs. March 8: 1825. by Willm Blake No3 Fountain Court Strand Image 184 x 149 mm, Plate 198 x 163 mm One of 100 impressions on wove Whatman paper with the word proof removed. Binyon 121 state iii/iii; Bindman 641; Bentley 421. Framed. [36017] ÂŁ2,850
15. William Blake [The Book of Job. Plate 17] I have heard the with the hearing of the Ear but now my Eye seeth thee Copper engraving London. Published as the Act directs. March 8: 1825. by Willm Blake No3 Fountain Court Strand Image 197 x 150 mm, Plate 216 x 168 mm One of 100 impressions on wove Whatman paper with the word proof removed. Binyon 122 state ii/ii; Bindman 642; Bentley 421. Framed. [36018] ÂŁ2,850
16. William Blake [The Book of Job. Plate 18] Also the Lord accepted Job Copper engraving London. Published as the Act directs. March 8: 1825. by Willm Blake No3 Fountain Court Strand Image 197 x 149 mm, Plate 215 x 170 mm One of 100 impressions on wove Whatman paper with the word proof removed. Binyon 123 state iii/iii; Bindman 643; Bentley 421. Framed. [36046] ÂŁ2,850
17. William Blake [The Book of Job. Plate 19] Every one also gave him a piece of Money Copper engraving London. Published as the Act directs. March 8: 1825. by Willm Blake No3 Fountain Court Strand Image 194 x 150 mm, Plate 215 x 169 mm One of 100 impressions on wove Whatman paper with the word proof removed. Binyon 124 state iv/iv; Bindman 644; Bentley 421. Framed. [36048] ÂŁ2,850
Divine Comedy
18. William Blake Ciampolo tormented by the Devils Copper engraving 1827 [Hoehn 1968 impression] Image 240 x 337 mm Dante's Divine Comedy, Plate 2. A fine strong impression from the final edition of 25 printed in 1968. Binyon 128 state ii/ii; Bindman 648; Bentley 448 Framed. [36145] ÂŁ2,650
19. William Blake The Devils Fighting Copper engraving 1827 [Hoehn 1968 impression] Image 243 x 337 mm Dante's Divine Comedy, Plate 3. A fine strong impression from the final edition of 25 printed in 1968. Binyon 129 only state; Bindman 649; Bentley 448 Framed. [36153] ÂŁ2,300
20. William Blake The Serpent attacks Buoso de' Donati Copper engraving 1827 [Hoehn 1968 impression] Image 243 x 337 mm Dante's Divine Comedy, Plate 5. A fine strong impression from the final edition of 25 printed in 1968. Binyon 131 only state; Bindman 651; Bentley 448 Framed. [36151] ÂŁ2,650
21. William Blake The Alchemists and Forgers Copper engraving 1827 [Hoehn 1968 impression] Image 243 x 337 mm Dante's Divine Comedy, Plate 6. A fine strong impression from the final edition of 25 printed in 1968. Binyon 132 state ii/ii; Bindman 652; Bentley 448 Framed. [36147] ÂŁ2,300
22. William Blake Dante strikes against Bocca degli Abbati Copper engraving 1827 [Hoehn 1968 impression] Image 243 x 337 mm Dante's Divine Comedy, Plate 7. A fine strong impression from the final edition of 25 printed in 1968. Binyon 133 only state; Bindman 653; Bentley 448 Framed. [36152] ÂŁ2,300
Sanders of Oxford ANTIQUE PRINTS & MAPS 104 High Street, Oxford. OX1 4BW info@sandersofoxford.com - 01865 242590 - www.sandersofoxford.com