DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.31843#0057
CATALOGUE OF BLAKE’S ENGRAVED DESIGNS
PORTRAIT OF RlCHARD II FROM HIS MONUMENT.
Head and bust in an oval; front view.
(Engraved surface) i3f x io| in.
Sepulchral Monuments, Plate LXIII, Vol. I, Part 2, p. 163.
7‘ PoRTRAIT OF ANNE QuEEN OF RlCHARD II FROM HER MONUMENT.
Head and bust in an oval; front view.
(Engraved surface) 13! xioj in.
Sepulchral Monuments, Plate LXIV, Vol. I, Part 2, p» 167.
8. Edward and Elenor.
A composition with many figures. In the centre Queen Eleanor
sucks the poison from Edward’s wound. They are seated under a
canopy. At the right are six women, two of whom kneel before the
Queen, and behind them an old man holds the arrow. At the e t
is a group of princes and soldiers, and a page holding the King^s
sword and shield. Below William Blake. Edward and Elenor. Pub-
lished 18th Au[gust, 1793 : i]3 Hercules Buildings, Lamheth.
I2ixi8i in.
See reproduction, Plate 3. . .
Blake used the back of an impression of this print to write pages o
The Four Zoas on. He cut the impression in two and left a gap m
the middle. This is the only copy I have seen of Edward and Elenor,
and was the only copy known to Mr. Russell when he wrote his
catalogue. The year of the date is on the piece which is missing, but,
as Mr. Russell says, the Lambeth address proves that it is 1793. when
Blake moved to Hercules Buildings. This print is announce y
Blake in his prospectus of October, 1793, issued from the Lambet
address. It must, however, from the style, date from many years
earlier. The drawing is obviously a companion in date to the Penance
of Jane Shore and the Ordeal of Queen Emma, both now in the Graharn
Robertson collection. The style of the engraving also is quite early.
It is a work of the end of the apprenticeship period, though apparently
only published in 1793.
The MS. of The Four Zoas, containing this engravmg, is now m
the British Museum.
9* Glad Day. Signed and dated W. B. inv. 1780.
9‘l x 7! in.
See reproduction, Plate 4.
37
PORTRAIT OF RlCHARD II FROM HIS MONUMENT.
Head and bust in an oval; front view.
(Engraved surface) i3f x io| in.
Sepulchral Monuments, Plate LXIII, Vol. I, Part 2, p. 163.
7‘ PoRTRAIT OF ANNE QuEEN OF RlCHARD II FROM HER MONUMENT.
Head and bust in an oval; front view.
(Engraved surface) 13! xioj in.
Sepulchral Monuments, Plate LXIV, Vol. I, Part 2, p» 167.
8. Edward and Elenor.
A composition with many figures. In the centre Queen Eleanor
sucks the poison from Edward’s wound. They are seated under a
canopy. At the right are six women, two of whom kneel before the
Queen, and behind them an old man holds the arrow. At the e t
is a group of princes and soldiers, and a page holding the King^s
sword and shield. Below William Blake. Edward and Elenor. Pub-
lished 18th Au[gust, 1793 : i]3 Hercules Buildings, Lamheth.
I2ixi8i in.
See reproduction, Plate 3. . .
Blake used the back of an impression of this print to write pages o
The Four Zoas on. He cut the impression in two and left a gap m
the middle. This is the only copy I have seen of Edward and Elenor,
and was the only copy known to Mr. Russell when he wrote his
catalogue. The year of the date is on the piece which is missing, but,
as Mr. Russell says, the Lambeth address proves that it is 1793. when
Blake moved to Hercules Buildings. This print is announce y
Blake in his prospectus of October, 1793, issued from the Lambet
address. It must, however, from the style, date from many years
earlier. The drawing is obviously a companion in date to the Penance
of Jane Shore and the Ordeal of Queen Emma, both now in the Graharn
Robertson collection. The style of the engraving also is quite early.
It is a work of the end of the apprenticeship period, though apparently
only published in 1793.
The MS. of The Four Zoas, containing this engravmg, is now m
the British Museum.
9* Glad Day. Signed and dated W. B. inv. 1780.
9‘l x 7! in.
See reproduction, Plate 4.
37