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NEWSLETTER

TATE BLAKE EXHIBITION

The Blake exhibition at the Tate Gallery, London, is scheduled to open 9 March 1978 and to close 21 May. There will be a large fully illustrated catalogue comprising the (approximately) 340 works on exhibit, among them the following: examples of Blake’s work for Basire; all five versions of “Pestilence” (c. 1779-1805), together with “Pestilence—the death of the first born” from Boston; three versions of “The Ancient of Days” to show variations in coloring; three of the touched proofs of the title-page of Europe, including the newly discovered example from the Pierpont Morgan Library; an unpublished watercolor of a serpent; several rare

THE TATE GALLERY
                        	LONDON
engravings, including both states of the large, early Job engraving, the little known first state of the Laocoön engraving (see Bindman, Blake 39), the unique engraving of “Death’s Door,” the monochrome engraving of “Lucifer and the Pope in Hell,” and both states of “Mirth”; examples of all twelve compositions from the series of large color prints of 1795 together with the preliminary drawings and small print of “Pity” and all the known versions of “God judging Adam”; illustrations from Young’s Night Thoughts and Gray’s Poems; examples of the Biblical illustrations for Butts, both in tempera and watercolor, including all four of the related watercolors showing the Beasts of the Apocalypse; examples from the Butts and Linnell series of Job illustrations; four of the tempera paintings from Blake’s exhibition of 1809 and an unpublished hand-colored copy of the Canterbury Pilgrims engraving; a good selection of Blake’s illustrations to Milton, including all but one of the large 1808 Paradise Lost series, the three late versions (1822) of the same series, the later Comus series and the complete L’Allegro and Il Penseroso; “Churchyard Spectres frightening a Schoolboy” (sic); examples of the Visionary Heads; the Virgil woodcuts together with two drawings; a selection of late tempera paintings, including the Arlington Court picture; and nineteen of the Dante watercolors, including eleven from the National Gallery of Victoria. Blake’s illuminated books are represented by a selection of individual pages from the books themselves and by examples of the separately issued color prints from the Small and Large Books of Designs.

Print Edition

  • Publisher
  • Department of English, University of New Mexico
  • Albuquerque, NM, USA
    • Editors
    • Morris Eaves
    • Morton D. Paley
    • Bibliographer
    • Thomas Minnick
    • Associate Editor for Great Britain
    • Frances A. Carey
    • Production Office
    • Morris Eaves
    • Morton D. Paley
    • Thomas L. Minnick
    • Frances A. Carey
    • Editorial Assistants
    • Michael Hays
    • Lynn Goldstein
    • Marietta Barnes
    • Contributors
    • G. E. Bentley, Jr.
    • Robert N. Essick
    • W. J. T. Mitchell
    • Edward J. Rose
    • Corlette Walker

    Digital Edition

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    • Morris Eaves, University of Rochester
    • Robert Essick, University of California, Riverside
    • Joseph Viscomi, University of North Carolina at Chapel Hill
    • Managing Editor
    • Joe Fletcher
    • Assistant Editor Editor
    • Michael Fox
    • Previous Project Manager and Technical Editor
    • William Shaw
    • Adam McCune
    • Managing Editor Blake/An Illustrated Quarterly
    • Sarah Jones
    • Project Director and Assistant Project Manager
    • Grant Glass
    • Project Coordinator, University of Rochester:
    • Eric Loy
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    • Additional Transcription:
    • Adam McCune
    • Jennifer Park
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    • Rachael Isom
    • Mary Learner
    • Adam McCune
    • Ashley Reed
    • Jennifer Park
    • Scott Robinson
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    • Joseph Ryan
    • William Shaw
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    • Project Assistants:
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    • Rachael Isom,
    • Mary Learner,
    • Jennifer Park,
    • Ashley Reed,
    • Adair Rispoli,
    • Scott Robinson
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    • Use Restrictions
    • Copyright © 2019 Blake/An Illustrated Quarterly, all rights reserved. Items in this digital edition may be shared in accordance with the Fair Use provisions of U.S. copyright law. Redistribution or republication on other terms, in any medium, requires express written consent from the editors and advance notification of the publisher. Permission to reproduce the graphic images in this digital edition rests with the owning institutions.