The Grave, A Poem
Blake, William. Robert Blair
London. Printed by T. Bensley ... for the Proprietor, R. H. Crombie &c. 1808
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A magnificent copy of the large paper proof issue of Blake's illustrations for The Grave in contemporary black morocco by 'Beast' Smith.
These etchings, presented here in the large paper 'proof' issue (the engraved title with the printed text 'Proof Copy R. H. C. Price 5.5.0', 'Davies' mispelled 'Davis' on seven plates and one plate signed 'W. Blake del.'), were the best known designs he made and the chief source of his contemporary fame. The work was issued in several formats (proof, folio and quarto) and was so popular that a second edition was issued only five years later in 1813; further editions followed.
'The groups and single figures on their own basis, abstracted from the general composition, and considered without attention to the plan, frequently exhibit those genuine and unaffected attitudes, those simple graces which nature and the heart alone can dictate, and only an eye inspired by both, discover. Every class of artists, in every stage of their progress or attainments, from the student to the finished master, and from the contriver of ornament, to the painter of history, will find here materials of art and hints of improvement!'. (From Fuseli's appreciation).
'The book [i.e. The Grave], however, was a great success of its kind. Its august patronage tended to mute harsh criticism, and some dissenters even thought that the drawings were literally inspired ... Blake's name was inseparably linked with Blair's Grave throughout the nineteenth century and what general fame he had as an artist was identified with it.' (A Blake Bibliography).
The magnificent contemporary binding for this copy was the work of Samuel Charles 'Beast' Smith, who styled himself C. Smith (as here); the binding was likely executed c.1813 when Smith established his own bindery. Smith, one of a number of binders who worked for William Beckford and one of a number who caused him displeasure, warranted or not, was referred to by Beckford as 'Beast' Smith.
[Blake Books 435A; Blake Bibliography 350A; see 'The Printings of Blake's Designs for Blair's Grave' by Essick and Paley].
These etchings, presented here in the large paper 'proof' issue (the engraved title with the printed text 'Proof Copy R. H. C. Price 5.5.0', 'Davies' mispelled 'Davis' on seven plates and one plate signed 'W. Blake del.'), were the best known designs he made and the chief source of his contemporary fame. The work was issued in several formats (proof, folio and quarto) and was so popular that a second edition was issued only five years later in 1813; further editions followed.
'The groups and single figures on their own basis, abstracted from the general composition, and considered without attention to the plan, frequently exhibit those genuine and unaffected attitudes, those simple graces which nature and the heart alone can dictate, and only an eye inspired by both, discover. Every class of artists, in every stage of their progress or attainments, from the student to the finished master, and from the contriver of ornament, to the painter of history, will find here materials of art and hints of improvement!'. (From Fuseli's appreciation).
'The book [i.e. The Grave], however, was a great success of its kind. Its august patronage tended to mute harsh criticism, and some dissenters even thought that the drawings were literally inspired ... Blake's name was inseparably linked with Blair's Grave throughout the nineteenth century and what general fame he had as an artist was identified with it.' (A Blake Bibliography).
The magnificent contemporary binding for this copy was the work of Samuel Charles 'Beast' Smith, who styled himself C. Smith (as here); the binding was likely executed c.1813 when Smith established his own bindery. Smith, one of a number of binders who worked for William Beckford and one of a number who caused him displeasure, warranted or not, was referred to by Beckford as 'Beast' Smith.
[Blake Books 435A; Blake Bibliography 350A; see 'The Printings of Blake's Designs for Blair's Grave' by Essick and Paley].
[42 leaves; pp. xiv, 36]. Folio. (414 x 332 mm). Frontispiece portrait of Blake by Schiavonetti after T. Phillips, additional etched frontispiece / illustrated title marked 'Proof', printed title with verse by Montgomery verso, leaf with Blake's poem 'To the Queen', 3 leaves with 'List of Subscribers', leaf with Cromek's 'Advertisement', leaf with Fuseli's appreciation and Blair's verse (pp. 36) and 11 plates, all by Schiavonetti after Blake, bound in at rear; plates printed on white laid paper with the watermark 'AUVERGNE', the text on cream wove paper with the watermark 'J WHATMAN 1801' where applicable; sheet size: 402 x 318 mm. Contemporary full straight-grained black morocco by C. Smith with his ticket to front free endpaper verso ('Bound by C. Smith 12 Oxendon Street, Hay Market), boards with elaborate decorative tooling in gilt and large central panel, turn-ins with elaborate tooled borders, green watered silk doublures and endpapers with gilt decorative tooling, a.e.g.
#44730
