William Blake and His Circle: A Checklist of Publications and Discoveries in 2010
G. E. Bentley, Jr.’s William Blake and His Circle (1992-), a cumulation (by permission) from Blake, is now accessible at the web site of the library of Victoria University in the University of Toronto. He hopes by this time next year (i.e., July 2012) to see in print The Edwardses of Halifax: The Making and Selling of Beautiful Books in London and Halifax 1749-1826 by William, John, Richard, Thomas, and Specially James Edwards, the Medicean Bookseller, with Catalogues of Their Publications, 2 vols. (Toronto: University of Toronto Press, 2012).
Addenda and corrigenda to Blake Records, 2nd ed. (2004), now appear online. They are updated yearly in conjunction with the publication of the checklist.
Blake Publications and Discoveries in 2010
The non-English languages recorded for Blake studies in 2010 are Croatian, Danish, Estonian, French, German, Greek, Italian, Japanese, Macedonian, Norwegian, Polish, Portuguese, Romanian, Serbian, Slovenian, Spanish, and Swedish. In addition, note the number of works published abroad in English: in Denmark, Germany, India, and Japan.
The most exciting discovery was the copy of The Mystical Initiations; or, Hymns of Orpheus, translated by Thomas Taylor (1787), with annotations newly identified as Blake’s by Philip and Joseph Cardinale.  This provides a short but fascinating marginalium by Blake and extensive markings of the text, chiefly underlining. The learned and tendentious Platonist Thomas Taylor has been fairly reliably associated with Blake in anecdotes  and more speculatively as a major source for his ideas.  The discovery of Blake’s annotations to the Hymns of Orpheus, the only direct evidence that he had read Taylor, will justify a new investigation of the association and connection of Taylor and Blake.
Blake’s long-lost letter of 7 August 1804, known previously only through catalogue snippets, was acquired in 2009 by Robert N. Essick and masterfully published in full in 2010 by Mark Crosby and Essick in Blake. It is an important letter, and the essay about it records a number of significant discoveries related only rather distantly to the text.
The perennial popularity of Songs of Innocence and of Experience is demonstrated by newly recorded editions of 1988 (in Macedonian), 2009 (in Spanish), and 2010. And Blake’s reviving reputation in the years before Gilchrist’s epoch-marking biography is indicated by newly recorded printings of poems in 1839, 1845, 1861, and 1862.
Blake’s Art/Commercial Engravings
One of Blake’s largest paintings, an inn sign made in 1812 for Chaucer’s Tabard or Talbot Inn in Southwark, was for the first time identified and reproduced in 2010.  Alas, under outdoor exposure for two-thirds of a century the picture deteriorated so extensively that at the end of its lifetime its features were virtually indistinguishable, and when the building ceased to be an inn the sign was probably abandoned. The inn sign, as recorded in contemporary engravings, is disconcertingly different from Blake’s familiar heroic art, and most Blake students are likely to be made uneasy by it if not incredulous of its connection with Blake.
Beginning about 1800, Blake made a number of miniatures for Hayley and his friends, but some have been lost.  Mark Crosby and Robert N. Essick identified for the first time prints of Blake’s lost miniatures of Romney in the European Magazine (1803) and Hayley’s Life of Romney (1809).  The evidence is so plain that it is difficult to understand why they were not identified long ago. This increases by a third the number of Blake’s miniatures which have been reproduced.
Catalogues and Bibliographies
Newly recorded here are dealers’ catalogues of 1843, 1864, 1878, 1879, and 1883 (2), which help to establish the provenances of numbers of Blake’s works.
There were modest exhibitions in 2010 of Blake’s works at the E. J. Pratt Library of Victoria University in the University of Toronto and at the Morgan Library and Museum. The Morgan’s formidable publicity machine secured numerous reviews and notices.
Criticism, Biography, and Scholarly Studies
Two of the workhorses of Blake scholarship are worthily represented here in Robert N. Essick, “Blake in the Marketplace, 2009,” and G. E. Bentley, Jr., “William Blake and His Circle: A Checklist of Publications and Discoveries in 2009” (see Blake 43.4 and 44.1 in Part VI).
A surprising number of papers on Blake were published in collections of essays: in Blake; Queer Blake, ed. Helen P. Bruder and Tristanne Connolly; Interfaces; Blake in Our Time, ed. Karen Mulhallen; Romanticism and Its Legacies, ed. Ralla Guha Niyogi; Editing and Reading Blake, ed. Wayne C. Ripley and Justin Van Kleeck; and Tate Papers.
Among the more permanently valuable of these essays are Angus Whitehead’s “Mark and Eleanor Martin, the Blakes’ French Fellow Inhabitants at 17 South Molton Street, 1805-21” (see Blake 43.3 in Part VI) and his “‘Went to see Blake—also to Surgeons college’: Blake and George Cumberland’s Pocketbooks” (see Blake in Our Time, under Mulhallen in Part VI). Whitehead is making wonderful discoveries about Blake’s biographical context.
Two other essays in Blake in Our Time are particularly valuable. In 1983, Joseph Viscomi and Thomas V. Lange first reported that two prints in America (B) were not Blake’s originals but imitations  so skillful that they had been taken as genuine by generations of Blake scholars. In his festschrift essay, “Two Fake Blakes Revisited; One Dew-Smith Revealed,” Viscomi demonstrates with his customary brilliance that the inserted plates are photolithographic facsimiles (not fakes) made between 1874 and 1878 by A. G. Dew-Smith (1848-1903) to perfect his copy. This is a fascinating conclusion to a bizarre story. In “William Blake and Chichester,” Morton Paley, following Thomas Wright (1929), argues plausibly that “the foundations of his [Blake’s] four-gated city [of Golgonooza] lay in Chichester.”
According to a “Thought du jour” in the Globe and Mail [Toronto] 13 Jan. 2010: L6, “‘There is no mistake so great as the mistake of not going on.’—William Blake.” This phrase is not used in Blake’s writings or conversations, and I do not know why it should be foisted on Blake.
* * * * * * * * *
The annual checklist of scholarship and discoveries concerning William Blake and his circle records publications and discoveries for the current year (say, 2010) and those for previous years which are not recorded in Blake Books, Blake Books Supplement, and “William Blake and His Circle.” Installments of “William Blake and His Circle” are continuations of Blake Books and Blake Books Supplement, with similar principles and conventions.
I have made no systematic attempt to record audio books  and magazines, blogs,  broadcasts on radio and television, calendars,  CD-ROMs, chinaware, coffee mugs,  comic books, computer printouts (unpublished), conferences, e-mails, festivals and lecture series, furniture, jewelry,  lectures on audiocassettes, lipstick, manuscripts, microforms, mosaics, movies, murals, music, notebooks (blank), pageants, performances, pillows, playing cards, podcasts,  poems about Blake, portraits, postcards, posters and pictures,  recorded readings and singings,  refrigerator magnets, stained-glass windows, stamps (postage and rubber), stickers, sweatshirts, T-shirts,  tattoos, tiles, typescripts (unpublished), video recordings, and web sites.
I take Blake Books and Blake Books Supplement, faute de mieux, to be the standard bibliographical books on Blake,  and have noted significant differences from them.
The organization of Division I of the checklist is as in Blake Books:
This division is organized by individual (say, William Hayley or John Flaxman), with works by and about Blake’s friends and patrons, living individuals with whom he had significant direct and demonstrable contact. It does not include important contemporaries with whom Blake’s contact was negligible or nonexistent, such as John Constable and William Wordsworth and Edmund Burke.
Reviews, listed here under the book reviewed, are only for works which are chiefly about Blake, not for those with only, say, a chapter on Blake. Note that Blake Books and Blake Books Supplement normally do not include reviews.
Research for this checklist was carried out particularly in the libraries of the University of Toronto and Victoria University in the University of Toronto, Google Books, WorldCat, and Copac, and, for works published in Japan, CiNii (National Institute of Informatics Scholarly and Academic Information Navigator), the National Diet Library online catalogue, Komaba Library and the General Library of the University of Tokyo, and the National Diet Library.
I should be most grateful to anyone who can help me to better information about the unseen (§) items reported here, and I undertake to thank them prettily in person and in print.
For many kinds of favors I thank Noriaki Abe (Subun-So Book Store, Tokyo), Sandra Burgess (collections manager, Harriet Beecher Stowe Center), Professor Robert N. Essick,  Professor Alexander Gourlay, Sandra Ho (media relations manager, Morgan Library), Mary Lynn Johnson (for funky Blake jewelry), Sarah Jones (for superb fact-checking and editing), Stephen Massil, Dr. Jeffrey Barclay Mertz, Professor Morton Paley, Ivana Bancevic Pejovic (for a surprising number of works in Serbian), and Tom Simpson (rare book cataloguer, E. J. Pratt Library, Victoria University in the University of Toronto).
Symbols* Works prefixed by an asterisk include one or more illustrations by Blake or depicting him. If there are more than 19 illustrations, the number is specified. If the illustrations include all those for a work by Blake, say Thel or his illustrations to L’ Allegro, the work is identified.
§ Works preceded by a section mark are reported on second-hand authority.
Works in Japanese
In books printed in the traditional Japanese format, the Japanese characters are printed in vertical columns, the columns are read from top to bottom and from the righthand column to those on the left. The pages are numbered from the righthand end of the book. Text in European characters in such books is of course printed and read horizontally from left to right, but the pagination, following the Japanese format, seems to be backward (see Kobayashi in Part VI).
Works in Serbian
Note that the poet’s names are given variously (e.g., Blejk, Blejka, Blejku, Blejkova, Blejkovom) because of the seven different cases in Serbian.
Table of Collections
Table of Watermarks
JWLetter, 7 Aug. 1804 (see Letters, below).
America (1793)Copy B
Binding: America (B, printed 1795), probably then lacking pls. 4 and 9, was stabbed through three holes 6.5 and 7.7 cm. apart apparently with Europe (C, printed 1794); America (B) was separated from Europe (C) by 1799 (when it was inscribed to C. H. Tatham) and probably sewn through three new stabholes 10.7, 12.9 cm. apart; it was presumably in this state, or possibly unstitched, when sold “unbound” in 1874; by 1878 it was “BOUND BY F. BEDFORD” in citron morocco and, after being bound thus, excellent photolithographic facsimiles of pls. 4 and 9  (probably copied by its owner, A. G. Dew-Smith, from copy F in the British Museum), marked “F” (?for “Facsimile”), were tipped in at the appropriate places to perfect the copy. 
Binding: Thel (J) and Visions (G) were bound by C. Lewis according to the 1864 Quaritch catalogue but by Hering according to the 1880 Christie catalogue and the Quaritch catalogues of Aug. and Oct. 1883 (see Part IV) and 1896.
History: Offered with Visions (G) by Quaritch in 1864 for £15.15.0 (see Part IV); … offered in his catalogues of Aug. and Oct. 1883 for £85 (see Part IV).
A Descriptive Catalogue (1809)Copy F
History: Offered by Quaritch in Oct. 1883 for £10.10.0 (see Part IV).
Edition§Europa: en profetia. Trans. Peter Glas. Lund: Bakhåll, 1994. In Swedish.
The First Book of Urizen (1794)
Edition§The First Book of Urizen. [Whitefish]: Kessinger Publishing, 2010. 28 pp.; ISBN: 9781161463293.
For Children: The Gates of Paradise (1793)Copy F <see Blake (2010)>
History: Perhaps “Blake’s Engravings” for which Flaxman paid 4s. in Oct. 1795  were For Children plus an extra print. In “To the Public” (1793), For Children is priced at 3s.
For the Sexes: The Gates of Paradise (?1826)Copy G
History: Offered by Quaritch in 1864 for £6.15.0 (see Part IV).
An Island in the Moon (?1784)It was reproduced in the William Blake Archive in 2010.
Edition*An Island in the Moon. William Blake Archive. Ed. Morris Eaves, Robert N. Essick, and Joseph Viscomi. 2010. <http://www.blakearchive.org>.
EditionJerusalem. Ed. E. R. D. Maclagan and A. G. B. Russell. 1904. <BB #77> B. §The Prophetic Books of William Blake: Jerusalem. Ed. E. R. D. Maclagan. [Whitefish]: Kessinger Publishing, 2010. Legacy Reprint Series. 152 pp.; ISBN: 9781163448021. C. §Jerusalem the Emanation of the Giant Albion. [Whitefish]: Kessinger Publishing, 2010. 72 pp.; ISBN: 9781161437607.
“Joseph of Arimathea among the Rocks of Albion” (1773)Copy L
History: Offered by Quaritch in Aug. and Oct. 1883 for £4 (see Part IV).
(Ph) Transcribed from a photograph
† A wax seal is on the letter. Wax seals are recorded only on Blake’s letters of 1 Apr., 6 May, 22 Sept. 1800, 7, 19 Oct. 1801, 25 Apr., 16 Aug., 13 Dec. 1803, 27 Jan., 31 Mar., 22 June, 7 Aug., 4 Dec. 1804, 22 Mar., 11 Dec. 1805, [?May 1809]. The only seals which are fairly clear are on 19 Oct. 1801 (an owl), and 27 Jan., 7 Aug. 1804 (a classical head, perhaps Jupiter).
The Marriage of Heaven and Hell (?1790)Copies B and E
They were reproduced in the William Blake Archive in 2010.
Editions*The Marriage of Heaven and Hell [F]. 1868. <BB #99>
In “Very Important New Books” (added to works published by John Camden Hotten, 1868 ff.) is an advertisement for “Original Edition of Blake’s Works.”
NOTICE.—Mr. Hotten has in preparation a few facsimile copies (exact as to paper, printing—the water-colour drawings being filled in by an artist) of the Original Editions of the Books written and Illustrated by William Blake. As it is only intended to produce—with utmost care—a few examples of each work, Mr. Hotten will be glad to hear from any gentleman who may desire to secure copies of these wonderful books. The first volume, “Marriage of Heaven and Hell,” 4to, is now being issued, price 30s., half morocco. [quotation from Charles Lamb]No other facsimile was issued in this series.
In Quaritch’s New Catalogue of Miscellaneous Works (1876), lot , the [Camden Hotten] facsimile is dated “(1871) Only 100 copies of this facsimile were printed, and of these only 25 copies were coloured.”
ReviewAnon., North American Review 108, no. 223 (Apr. 1869): 641-46 (with two others) (the Camden Hotten facsimile was “made from a fine copy in the possession of Lord Houghton” [F]; “the artist by whom the hand-work in the fac-simile was executed has lately died”).
A murky black-and-white reproduction of copy D with facing transcriptions and no other added text besides the 2010 title page.
Milton (1804[-11])Copy D
It was reproduced in the William Blake Archive in 2010.
EditionsMilton. Ed. E. R. D. Maclagan and A. G. B. Russell. 1907, 1973. <BB #119, BBS p. 102> C. §Milton: The Prophetic Books of William Blake. Ed. E. R. D. Maclagan. [Whitefish]: Kessinger Publishing, 2010. Legacy Reprint Series. 82 pp.
“The Order in which the Songs of Innocence and Experience ought to be paged” (?after 1818)History: Sold by §Puttick and Simpson, 3-4 July 1863 (“Blakiana, The Life of William Blake in MS., extracted from Allan Cunningham, with curious plates, drawings, and scraps”) for £15.15.0;  offered by Quaritch in 1864, lot 6521 (see Part IV), including “14 portraits of the artist; his friends, and contemporaries” (among which is “Thomas Hayley, an Original Drawing, by W. Blake”) and the huge “Canterbury Pilgrims” print; … offered by Quaritch in Oct. 1883 for £80 (see Part IV).
“Pickering [Ballads] Manuscript” (?after 1807)
Edition§The Pickering Manuscript. [Whitefish]: Kessinger Publishing, 2010. 24 pp.; ISBN: 9781161473339.
Poetical Sketches (1783)
Facsimile Pages <see BB p. 345>
The clearest type differences between the original and the type-facsimile are the omission of the catchword (“THE” for “THE | COUCH OF DEATH”) at the foot of p. 59 and the misprint “honſte-ſeeming” for “honeſt-ſeeming” on p. 65 (“Samson”) of the facsimile.
In the facsimile leaves is a watermark “MICHALLET” (not present in copy K), and the vertical chain lines are 2.8 cm. apart, as in the original paper. However, the chain lines are much fainter in the facsimile than in the original, and the facsimile paper seems to be a trifle thicker. In copy K, the same thicker paper is used for the blank leaves adjacent to the text.
EditionPoetical Sketches. Ed. Richard Herne Shepherd. 1868. <BB #129> B. §N.p.: BiblioBazaar, 2009. 5.8" x 8.8", 110 pp.; ISBN: 9781117078304.
ReviewAnon., North American Review 108, no. 223 (Apr. 1869): 641-46 (with two others).
Songs of Innocence (1789)Copy B
History: Acquired by “R H Clarke,”  who signed the first flyleaf.
EditionsSongs of Innocence. Preface by Thomas Seccombe. . <BB #153> B. §[Charleston]: Nabu Press, 2010. 126 pp.; ISBN: 9781176728851.
Songs of Innocence and of Experience (1794[-1831])Copy G
History: Copies G and N were listed in Quaritch’s Catalogue of Books, in All Classes of Literature (1860), lot 5400, “2 vols. in 1, 4to. 40 most remarkable engravings, half red morocco, uncut, £8.10s,” bound up with The World Turned Upside Down (1822); after the leaves of copy N were separated, copy G was offered by Quaritch in A New Catalogue of English Books (1875), lot 9426 (small octavo, “15 plates of 17 poems … printed in colours on thick paper, on one side only, hf. calf,” with a list of the poems, £25).
Editions§Songs of Innocence, Songs of Experience. New York and London: G. P. Putnam’s Sons, Knickerbocker Press, [c. 1903]. Ariel Booklets no. 150. 9.5 x 13.9 cm., 86 pp. (plus 6-pp. list of Ariel Booklets). 
Includes “A Cradle Song” from Blake’s Notebook.
Visions of the Daughters of Albion (1793)Copies E and I
They were reproduced in the William Blake Archive in 2010.
Editions*Visions of the Daughters of Albion, copy E. William Blake Archive. Ed. Morris Eaves, Robert N. Essick, and Joseph Viscomi. 2010. <http://www.blakearchive.org>.
Blake’s Works Reprinted in Conventional Typography before 1863
1839“Introduction” to Innocence, “Laughing Song,” “Nurse’s Song” (Innocence), “The Lamb,” “The Little Black Boy,” “A Cradle Song,” “The School Boy,” “On Anothers Sorrow,” plus a passage from Thel. Anon. “Blake’s Poetry.” Monthly Magazine (1839) <BBS pp. 342-43>
1845§“The Lamb.” The Churchman’s Companion in the Closet; or, A Complete Manual of Private Devotions. Ed. Francis Edward Paget. New York: D. Appleton and Co., 1845. B. §New York: Stanford & Swords, 1853. C. §Stanford and Delisser, 1858. D. §New York: H. B. Durand, 1862.
1861§“The Lamb.” Light for Early Days. London: S. M. Haughton; Wertheim & Co.; Book Society, 1861. 6-7. B. §London: Darton & Hodge, .
1862§“The Lamb.” A Poetical Reading-Book. Ed. W. M‘Gavin. Glasgow, 1862. 7.
* * * * * * * * *
ReviewJames Rovira, College Literature 36.4 (2009) <Blake (2010)§> (“By all standards this is the best edition of Blake available on the market today” [i.e., in print]).
A unique, very Blakean watercolor “Title Page by Wm Muir” was commissioned and paid for (£1.5.0, June 1889), presumably by “HENRY MARTIN GIBBS | of Barrow Court Flax Bourton | Co. Somerset”, whose bookplate appears in the volume, to accompany Muir’s facsimiles of Innocence, Experience, Visions, Thel, Marriage, Milton, There is No Natural Religion, Gates of Paradise, and Urizen, bound by Zaehnsdorf (1890, £7.10.0).  It omits America, Europe, The Song of Los, On Homer, and “Little Tom.”
1. A watercolor title page by William Muir … [+]
ReviewAnon., Athenæum no. 3153 (31 Mar. 1888): 410 (Europe “has been facsimiled in an admirable manner” by Muir; “Blake could not possibly have understood what he wrote, and probably did not intend to mean anything”).
ReviewAnon., Athenæum no. 3170 (28 July 1888): 137.
The anonymous print in 1818 and 1823 (image 7.3 x 5.5 cm.), described in BB merely as “crude,” differs from that in 1828 (image 7.1 x 4.4 cm.); in 1818, 1823 the girls follow the boys, while in 1828 the boys follow the girls. 
C is a digital reproduction of the 1911 edition.
The text volume, *William Blake: Songs of Innocence and of Experience (1794): A Note on Production, consists of Anon., [introduction] in the third person (5-8) and Michael Phillips, “A Note on Production” (9-34), with sections on “Relief Etching” (18-22), “Printing the Facsimile” (23-24), “Ink” (25-26), “Paper” (27-30), and “Wrappers” (31), most of it “abstracted” (33) from his “The Printing of Blake’s America a Prophecy,” Print Quarterly 21 (2004) <Blake (2005)>. The plates were printed by “Dennis Hearne at Flying Horse Editions.” The facsimile “volume” consists of a folded unmarked leaf with string through three stabholes plus 18 unsewn reproductions.
ReviewRobert N. Essick (see Blake 44.3 in Part VI).
ReviewAnon., North American Review 108, no. 223 (Apr. 1869): 641-46 (with two others).
In 2010 the archive added 39 illustrations to the Bible (20 watercolors and 19 temperas), An Island in the Moon, Milton (D) (all four copies are now reproduced in the archive), Visions (E, I), and Marriage (B, E).
“A List of Books Published by Chatto & Windus” (London, Dec. 1874)  advertises
Blake’s Works. Messrs. Chatto & Windus have in preparation a series of Reproductions in Facsimile of the Works of William Blake, including the “Songs of Innocence and [of] Experience,” “The Book of Thel,” “America,” “The Vision[s] of the Daughters of Albion,”  “The Marriage of Heaven and Hell,” “Europe, a Prophecy,” “Jerusalem,” “Milton,” “Urizen,” “The Song of Los,” &c. These Works will be issued both coloured and plain. (36)
The same works were named and a quotation from Charles Lamb added in “A List of Books Published by Chatto and Windus” (n.d.)  and in the Chatto & Windus “List of Books” (Oct. 1876),  omitting the Lamb quotation.
This seems to be the Works by William Blake, reproduced from copies of Blake’s poems in the British Museum. However, there are important differences. Works by William Blake omits Milton, Jerusalem, The Marriage of Heaven and Hell, and “&c,” it was not colored, and the individual poems were not separately issued in “a series.” Marriage was probably omitted because it had been reproduced in 1868 by John Camden Hotten, whose stock was taken over by Chatto & Windus.  Further, the Chatto & Windus lists do not suggest that the work was “for Private Circulation.” And after 1876 “Blake’s Works” no longer appeared in Chatto & Windus lists, though Swinburne’s William Blake: A Critical Essay (London: Chatto & Windus, 1868) was advertised in all these lists.
Chatto & Windus had 100 sets of “Blake reproductions” printed on 17 Nov. 1877 and bound on 26 Jan. 1878 <BBS p. 169>. Plainly the Works by William Blake dated 1876 was not ready for distribution until 1878.
Jerusalem was probably omitted because an uncolored facsimile was published by John Pearson in 1877 <BBS p. 88>.
Note the *prospectus for The Poetic Books of William Blake, Collected, and Their Myth and Meaning Explained by Edwin John Ellis and William Butler Yeats (London: Quaritch, 1891) <National Library of Ireland>.
Vol. 1: The Prophetic Books: Vala, or The Four Zoas/Cărţile profetice: Vala sau Cei patru Zoa; vol. 2: The Illuminated Prophetic Books: Milton/Cărţile profetice iluminate: Milton.
BibleIn 2010, 39 illustrations to the Bible (20 watercolors and 19 temperas) were reproduced in the William Blake Archive.
Blair, Robert, The Grave (1805)
Edition*William Blake’s Watercolour Inventions in Illustration of The Grave by Robert Blair. Ed. Martin Butlin. 2009. <Blake (2010)>
ReviewRobert N. Essick (see Blake 44.3 in Part VI).
Part III: Commercial Engravings 
Illustrations of the Book of Job (1826 …)
EditionsCoutts, Francis. The Heresy of Job: With the Inventions of William Blake. 1907. <BB #427> B. §[Whitefish]: Kessinger Publishing, 2010. 196 pp.; ISBN: 9781120888532.
It includes reproductions of “proof” impressions of all Blake’s prints save the title page. 
Includes full-size reproductions of the 22 engravings.
Blair, Robert, The Grave (1808, 1813, , 1926)The Grave, a Poem. [c. 1879]. <BBS p. 201>
New Location: Victoria University in the University of Toronto.
Editions§The Grave: A Poem Illustrated by Twelve Etchings. [Whitefish]: Kessinger Publishing, 2010. 26 pp.; ISBN: 9781161364095.
Sales, etc., 1808-1830s 
Anon., “New Works Published in Edinburgh,” Scots Magazine, and Edinburgh Literary Miscellany 70 (Sept. 1808): 683.
Anon., “List of Works Recently Published,” Eclectic Review 4, part 2 (Oct. 1808): 950 (under “Poetry”). <Harvard>
Anon., “Quarterly List of New Publications, from October 1808 to January 1809,” Edinburgh Review 13, no. 26 (Jan. 1809): 500 (under “Arts, Fine”), 508 (under “Poetry”).
A Catalogue of the … Library of John Leigh Philips, Esq. Deceased … Sold by Auction, by Messrs. Winstanley & Taylor, 17 Oct. 1814 and 8 days (Manchester, 1814) (lot 1400: 1808, £1.18.0 to Brook). <Harvard>
A Catalogue of a Miscellaneous Collection of Books, New and Second Hand, on Sale, at the Prices Affixed, by John and Arthur Arch, No. 61, Cornhill, London. 1815. <Bodleian>
Thomas Edwards’s catalogue (1815) (lots 218, 527 ).
“Mr. Ackermann Begs leave to solicit the Attention ….” List of publications added to William Warden, Letters Written on Board His Majesty’s Ship the Northumberland, and at Saint Helena; in Which the Conduct and Conversations of Napoleon Buonaparte, and His Suite, during the Voyage, and the First Months of His Residence in That Island, Are Faithfully Described and Related, 3rd ed. (London: Published for the Author, by R. Ackermann, 1816) (“First Edition, with proof Impressions of the plates. Atlas 4to. Boards, 3l. 13s. 6d. N. B. A few Copies only left of this Edition”). <Michigan> 
A General Catalogue of Books, Now on Sale, by Lackington, Hughes, Harding, Mavor, and Jones, part 2 (1817) (lot 9916 ). <British Library>
A Catalogue of Old Books (London: Longman, Hurst, Rees, Orme, and Brown, 1817) (lot 4902 [1808, £1.10.0]).
Lackington, Hughes, Harding, Mavor, and Jones’s General Catalogue of Books … for the Year 1819 (lot 183 [1808, “gilt leaves”]). <Bodleian, British Library, Harvard>
Catalogue of Books for 1821 (R. Ackermann, 1821) (as in his 1815 catalogue, below).
[Thomas] Edwards’s Catalogue (Halifax, 1821) (lot 314 [1808, £3.3.0]). <BBS p. 284> <Bodleian>
Catalogue of the Valuable Library of Benjamin Heath Malkin, Esq. LL.D. … Sold … by Mr. Evans, 22 Mar. 1828 and 6 days (lot 237 [1808 sold for 7s. 6d.]). <British Library>
Catalogue of the Library of David Constable … Which Will Be Sold by Auction, by D. Speare … on Wednesday, Nov. 19. and Twenty-One Following Lawful Days (Edinburgh, 1828) 75 (lot 1370). <Michigan>
Ackermann prospectus (?1813) (“large Elephant Quarto” £2.12.6, “Quarto Atlas” £3.13.6). 
A Catalogue of Books … Property of John Leigh Philips, 11 Nov. 1814 (lot 709 is 3 prints including “Wm. Blake, Engraver, by Schiavonetti, India paper, proof”  [Ford, 15s.]). <Harvard>
Catalogue of Books, for 1815 (R. Ackermann, 1815) (1808 “proof impressions of the plates, atlas 4to, £3.13.6—A few copies only left of this edition”; 2nd ed. (1813), elephant quarto, £2.12.6). 
“Books Published by R. Ackermann.” List of publications added to Frederic Shoberl, A Historical Account … of the House of Saxony … (London: R. Ackermann, 1816). <Michigan>
A Catalogue of a Very Extensive and Valuable Miscellaneous Collection of Books from the North of England [Edwards of Halifax] … Sold by Auction, by Mr. Saunders, 30 Mar. 1818 and 15 days (lots 949-50 [£1.5.0 and £1.6.0]). <Harvard>
A Catalogue of Books for 1818 … on Sale by James Eastburn & Co. (New York, May 1818) 10 (“with proof impressions of the plates,” $15). <New York Public Library>
“Works of Art, Published by R. Ackermann.” List of publications added to Fredrick Accum, A Practical Treatise on Gas-Light, 4th ed. (London: R. Ackermann, 1818) (“Printed on large Elephant Quarto. 2l. 12s. 6d. extra boards.—A few Copies on Quarto Atlas, 3l. 13s. 6d.”).
Catalogue of an Extensive Collection of Books in Every Department of Ancient and Modern Literature, for Sale by M. Carey and Son (Philadelphia, 1818) (“Elephant 4to. with proofs. $15”). <New York Public Library>
London Catalogue (1818, 1831) lists Murray as publisher. <BB p. 533>
Friedrich Adolf Ebert, Allgemeines Bibliographisches Lexikon, vol. 1 (1821) (in German) (no. 2454). <BB #535> <Taylor Institution, Oxford>
“Ackermann’s List of Works.” Added to the Edinburgh Review 36 (Oct. 1821-Feb. 1822). <Stanford>
A Catalogue of Books, … Now on Sale, for Cash, … by James Eastburn (New York, May 1822) (lot 17, “with proof impressions of the plates, elephant, boards, $15”). <Harvard>
“Books, &c. Published by R. Ackermann.” Added to Dr. F. A. Krummacher, Parables, trans. from the German by Frederic Shoberl (London: R. Ackermann, 1824) and to William Combe, Letters between Amelia in London and Her Mother in the Country (London: R. Ackermann, 1824). <Princeton>
A Catalogue of Books … by Rivingtons and Cochran (1824) (lots 292, 11795). <BB #536>
Christie sale of William Sharp, 18-19 Feb. 1825 (lot 16, with Portraits of British Poets no. 1, £1.13.0). <British Museum>
A Catalogue of the … Library of the Late Henry Fuseli, Sotheby, 22-25 July 1825 (lot 123 [“rare, proofs,” 9s. 6d.]). <British Library, British Museum, Royal Academy>
“New Works Published by R. Ackermann.” Added to Asiatic Costumes; A Series of Forty-Four Coloured Engravings, from Designs Taken from Life (London: R. Ackermann, 1828) (£2.2.0). <Bodleian>
Chaucer, Geoffrey, The Prologue and Characters of Chaucer’s Pilgrims (1812)
NoticeAnon., “Monthly List of Publications,” British Critic 39 (Feb. 1812): 211 (“The Prologue and Characters of Chaucer’s Pilgrims, with a Frontispiece, representing Part of the Group setting out from the Talbot Inn, Southwark. By Mr. William Bake [sic]. 2s. 6d.”). <Harvard>
Newly Recorded Title
§European Magazine, and London Review 43 (Apr. 1803)
The oval frontispiece of “George Romney, Esq.r” engraved by William Ridley of Romney’s self-portrait probably derives from Blake’s miniature copied from the self-portrait for Hayley, not from Romney’s original (then belonging to Hayley, now in the National Portrait Gallery, London). The evidence is persuasively laid out by Mark Crosby and Robert N. Essick, “‘the fiends of Commerce’” (see Blake 44.2 in Part VI).
Flaxman, John, Compositions from … Hesiod (1817, 1870)New Location: Morgan Library and Museum.
Notice Anon., “Literary Intelligence,” Scots Magazine and Edinburgh Literary Miscellany 78 (May 1816): 373-74.
Flaxman, John, The Iliad of Homer (1805, 1870)New Location: Morgan Library and Museum.
Hayley, William, Ballads (1805)New Location: National Library of Denmark.
Hayley, William, Designs to a Series of Ballads (1802)
Sales of all four ballads Evans, sale of Hayley’s library, 13 Feb. 1821 and 12 following days, lot 1636, “Hayley’s Ballads, with Blake’s Designs, 4 Numbers, 1802” (4s. 6d. to “Smith”), and lot 1637, 3 numbers (“Rivington,” 3s. 6d.), perhaps the copy in the National Library of Wales, “the only traced copy with 3 ballads.”
Sotheby, 29 Nov.-9 Dec. 1843, “second portion” of the library of Archdeacon Francis Wrangham, lot 557 (30 Nov.), “Blake (W.) Designs to a series of Ballads written by W. Hayley, plates, 4 parts Chichester, 1802” (“Evans,” 13s.).
Sotheby, 29-30 Jan. 1878, sale of the library of Albert George Dew-Smith (collector and photographer, 1848-1903), lot 197 (29 Jan.), “Blake (W.) Designs to a Series of Ballads written by W. Hayley, with the Ballads annexed, fine impressions of the plates, green morocco extra, g. e. Chichester, 1802” (£9 to “Jones”); perhaps this is the Essick copy in green morocco, all edges gilt.
Hayley, William, The Life of George Romney (1809)
Ordinary copies of Hayley’s Romney have a printed spine label reading “LIFE | OF | G. ROMNEY | — | HAYLEY” <Essick>, but that on large-paper copies reads “HAYLEY’S | LIFE | of | ROMNEY. | Illustrated | WITH | TWELVE PLATES | BY | CAROLINE WATSON ” <Essick>, though she engraved only 7 of them.
Newly Recorded Engraving after Blake
In Caroline Watson’s frontispiece of three self-portraits of Romney, the small oval one at bottom representing Romney wearing a hat is probably copied from Blake’s lost miniature (Mark Crosby and Robert N. Essick, “‘the fiends of Commerce’” [see Blake 44.2 in Part VI] 64).
Hayley, William, The Triumphs of Temper (1803, 1807)
The two versions of The Triumphs of Temper dated 1807, each called the “Thirteenth Edition,” are typographically identical except for the title pages.  The one without the Blake prints is the second state of the thirteenth edition, not a new edition.
Malkin, Benjamin Heath, A Father’s Memoirs of His Child (1806)
Edition§A Father’s Memoirs of His Child. [Charleston]: Nabu Press, 2010. 246 pp.; ISBN: 9781178413212.
Rees, Abraham, The Cyclopædia (1802-20)
Pl. 3, “GEM Engraving” “Engraved by W. Blake & W. Lowry” and “Drawn by Farey,” representing Jupiter Serapis, was “copied after pl. 2 in Lorenz Natter, A Treatise on the Ancient Method of Engraving on Precious Stones (London: for the author, 1754).” 
Remember Me! (1824, 1825)See the cumulative table.
ReviewsAnon., Mirror of Literature, Amusement, and Instruction 4, supplementary no. 116 ([4 Dec. 1824]): 413 (“This is another of those annual volumes to which Mr. Ackermann’s work has given rise. … Remember Me does not rest its claims to support on its superior graphic embellishments or good poetry, but to its botanical embellishments, which to say the truth, are very prettily coloured”). <New York Public Library>
Anon., Monthly Critical Gazette 2, no. 8 (1 Jan. 1825): 187 (“‘Remember Me’ differs very considerably from any of its rival cotemporaries [but it doesn’t say how]. Its engravings, principally of flowers, are very beautiful”). <Bodleian>
Robert N. Essick, “Blake in the Marketplace, 2010,” Blake 44.4 (spring 2011): 141, suggests that the hand of Blake’s apprentice Thomas Owen may be found in the anonymous Salzmann prints dated Oct. 1790 to Mar. 1791: “They are technically quite simple, in comparison with Blake’s other etchings/engravings of the period, and contain awkward patches ….”
Stedman, John Gabriel, Narrative, of a Five Years’ Expedition … (1796, 1806, 1813)1796 New Location: National Library of Sweden.
Blake’s engraving of “The Skinning of the Aboma Snake” was copied in A General Collection of the Best and Most Interesting Voyages and Travels in All Parts of the World; Many of Which Are Now First Translated into English. Digested on a New Plan, by John Pinkerton … Illustrated with Plates, vol. 14 (London: Longman, Hurst, Rees, Orme, and Brown, and Cadell and Davies, 1813) at p. 257 <Victoria University in the University of Toronto>.
2. “The Skinning of the Aboma Snake” … [+]
Virgil, Pastorals (1821)
Reviews, noticesAnon., “New Books Published in February,” Monthly Magazine 51, no. 351 (1 Mar. 1821): 167 (“highly pleasing and instructive”).
Anon., “Literary and Scientific Intelligence,” Edinburgh Magazine 8 (Apr. 1821): 378. <Bodleian>
Anon., “Quarterly List of New Publications, from March to July 1821,” Edinburgh Review 35, no. 71 (July 1821): 519.
Wollstonecraft, Mary, Original Stories from Real Life (1791, 1796)
EditionMary Wollstonecraft’s Original Stories with Five Illustrations by William Blake with an Introduction by E. V. Lucas. 1906, 1977. <BB #514C, BBS p. 269> C. §Original Stories. With Five Illustrations by William Blake with an Introduction by E. V. Lucas. [Memphis]: General Books, 2010. 132 pp.; ISBN: 9781152567252.
Young, Edward, Night Thoughts (1797)New Location: National Library of Denmark.
Sales and collection records, 1798-1840 
A Catalogue of Rare, Splendid, and Valuable Books, in Every Branch of Polite Literature; Including the Entire Libraries of the Rev. Harvey Spragg … also of the Rev. Henry Putman …. The Sale Will Begin on February 19, 1798, by John White, Bookseller, at Horace’s Head, in Fleet-Street, London (1798) (lot “1217 Young’s Night Thoughts, a magnificent edition, with Engravings from Drawings by Blake, 5l 5s to subscribers, when completed, boards — — — 1797”). <Bodleian> †
Anon., “A Correct List of New Publications,” Monthly Magazine 5, no. 32 (June 1798): 455 (“Young’s Night Thoughts, decorated with appropriate Designs, by Mr. Blake, Part 1. 1l. 1s. Robson”).
§Englische Blätter [English Leaves], ed. L[udwig] Schubart (Erlangen, in der Waltherschen Kunst- und Buchhandlung, 1798) (the catalogue entries are in English, the commentaries in German: “Young’s Night Thoughts, decorated with appropriate Designs, by Mr. Blake, Part. I.”). †
A Catalogue of Valuable Books, in Various Languages, and in Every Class of Literature: Which Are to Be Sold, at the Prices Affixed to Each Article, by Thomas Payne, Bookseller (London, 1799) (lot “777 Young’s Night Thoughts, with engravings round each page from the designs of Blake, 2 numbers, boards, — 1797 & 98”). <Bodleian> †
A Catalogue of Books, in Every Department of Literature …Now on Sale by John White (London, Mar. 1801) 50 (lot “1227 Young’s Night Thoughts, a magnificent edition, with Engravings from Drawings by Blake, boards, 5l 5s — 1797,” listed under folio). †
A List of Books, for Sale at W[illiam Nelson] Gardiner’s, 48, Pall-Mall, at the Ready Money Prices Affixed (London: Printed by J. Barker, 1808) 40 (lot “860 Young’s Night Thoughts, curious cuts, by Blake, boards, 1l 5s 1797”). <Bodleian> †
§A Catalogue of Books, in English, Greek, Latin, French and Italian Literature, with a Few Articles in the Spanish, Portuguese, German, Russian, and Dutch Languages for Sale at W. Gardiner’s, 48, Pall-Mall, at the Ready Money Prices Affixed (London: Printed by J. Barker, 1809) (all details as in 1808, above). †
1810. A Catalogue of a Small Collection of Ancient and Modern Books, Selected with the Greatest Care, and Containing Many Curious and Rare Articles, for Sale at W. Gardiner’s, 48, Pall-Mall, at the Ready Money Prices Affixed (London: Printed by J. Barker, 1810) 47, 80 (lot “691 Young’s Night Thoughts, curious cuts, by Blake, boards, £1 5s — — 1796”; lot “1213 Young’s Night Thoughts, with Engravings by Mr. Blake, fol. boards, £1 5s — — 1797 This is one of the most singular and eccentric works that ever appeared”). <Bodleian> †
§A Catalogue (Part the First for 1810) of a Curious and Valuable Collection of Books, in Various Languages and Classes of Literature and Including Also a Small but Select Collection of Oriental Manuscripts: Which Are Now Selling for Ready Money at the Prices Affixed by W[illiam] Ford (Manchester: Printed by C. Wheeler and Son, 1810) (“Night Thoughts on Life, Death and Immortality, with the singular designs round the margins by BLAKE, calf cleg. ib. …”). <Bodleian> †
A Catalogue (Part the Second for 1810-11) of a Curious and Valuable Collection of Books, in Various Languages and Classes of Literature … Which Are Now Selling, for Ready Money, at the Prices Affixed to Each Article by W. Ford, Bookseller (Manchester: Printed by C. Wheeler and Son, 1811) (lot “15431 Young’s Complaint, and the Consolation; or Night thoughts with Blake’s singular designs round the text. ib. [London] 1797.—Blair’s Grave, with engravings from the designs of Blake. large paper. eleg. bd. in blue mor. &c. 8l 8s. ib. 1808”). <Bodleian> †
Temple of the Muses, Finsbury Square. Lackington, Allen, & Co’s General Catalogue, for the Year 1811 (lot “264 Young’s Night Thoughts, finely printed, with curious plates, designed and etched by Blake, first 4 Books, bds. 2l. 10s. 1797”; “6569 Young’s Night Thoughts, (first four nights of) finely printed, with marginal plates, from designs by Blake, bds. 2l. 10s.”). <Bodleian> †
Lackington, Allen, and Co’s General Catalogue of Books, for the Year 1815 (1815) (lot 119, “finely printed, with curious plates, designed and etched by Blake,” £2.2.0). <Huntington>
Librorum Impressorum, Qui in Museo Britannico Adservantur, Catalogus, vol. 7 (London, 1819) n. pag. (“YOUNG (edw.) d.d. … The Complaint and the Consolation or Night Thoughts, with marginal Designs by Mr. Blake. fol. Lond. 1797”). <New York Public Library> †
§E. and A. Evans, Bookseller’s and Printseller’s Catalogue (London, 1820) (lot “421 Blake (Wm.) Illustrations of Young’s Night Thoughts, 4to. bds. 30s. — 1797”; “566 Young’s Night Thoughts, with numerous fine plates by William Blake, fol. Bds. 1l. 1s. — — 1797”). †
Friedrich Adolf Ebert, Allgemeines Bibliographisches Lexikon, vol. 1 (1821) (in German). <BB #535> <Taylor Institution, Oxford>
[Thomas] Edwards’s Catalogue (Halifax, 1821) (lot 16 [“many fine plates by Blake,” gilt edges, £2.2.0]). <BBS p. 284>
A Catalogue of … Books, (Selected from the Stock in Trade) of Mr. Thomas Edwards … Auction, by Messrs. Thomas Winstanley & Co. … Manchester (May 1826) (lots 1076 [Blake’s Night Thoughts drawings] and 1224 [half bound, blue russia]). <BB #538> <Bodleian>
The English Portion of the Library of the Ven. Francis Wrangham (1826) 626 (“Young’s Night Thoughts I-IV [i.e., part 1] with Marginal Engravings by W. Blake 1797,” listed under quartos). <BBS p. 284> <New York Public Library>
A Catalogue of the … Library of the Late George Edward Griffiths, Esq. …. Together with … the Property of a Well Known Amateur of the Fine Arts [Thomas Griffiths Wainewright] (Aug. 1831) (lot 1746). <Blake (2002)>
Catalogue of the Fifth and Concluding Portion of the Valuable and Extensive Library of P. A. Hanrott, Esq. …Which Will Be Sold by Auction, by Mr. Evans (Mar. 1834) (lot “1245 Young’s Night Thoughts, plates by Blake,—1797”). <Harvard>
William Thomas Lowndes, The Bibliographer’s Manual of English Literature …, vol. 2 (London: William Pickering, 1834) 1999 (Edward Young, “The Complaint or Night Thoughts. … With marginal Designs by Blake. London, 1797. fol. Some copies have coloured plates”). <Harvard>
No. XIX. London, 1836. A Select Catalogue of Books, Forming Part of the Stock of Francis MacPherson, 4 Middle Row, Holborn (“Young’s Night Thoughts; with marginal Designs by Blake. Folio, boards, 1l. 11s. 6d.—1797”).
Catalog von Kunstsachen und Büchern welche in der Anstalt für Kunst und Literatur (R. Weigel) in Leipzig vorräthig oder durch dieselbe besorgt werden, part 7 (Leipzig, 1838) 23 (in German) (lists Young’s Night Thoughts by Blake). <Fogg Art Museum>
Hume, David, The History of England
(London: Robert Bowyer, 1793-1806) <BBS p. 278>
An advertisement for a prospectus (dated 2 Jan. 1792) for Bowyer’s edition of Hume’s History of England appeared in the Oracle for 30 Jan. 1792. The work was to appear “in Numbers,” “Superbly Ornamented,” but there is no indication of how many numbers or engravings. The “Gentlemen … actually Engaged” include “W. Blake” among engravers. 
Lot 336 is “Blake (William) Poetical Sketches Privately printed, 1783 *** Contains King Edward the Third, a Drama” [6d. to the dealer Rodd]. This may be copy Q, though it could equally well be K, M, or V-Y.  The catalogue was discovered by Robert N. Essick in 2010 while he was browsing in the Huntington stacks.
6521 “Blakiana.” Ms. life of Blake “extracted from Cunningham’s Lives … Illustrated with numerous specimens of his works … including portions of his ‘Songs of Innocence and Experience;’ ‘Book of Ahania;’ ‘Europe, a Prophecy;’ ‘Books of Thel and Urizen;’ ‘[For the Sexes: The] Gates of Paradise;’ ‘The Elements’ [?For the Sexes pls. 4-7 (“Water,” “Earth,” “Air,” “Fire”)]; ‘Canterbury Pilgrimage,’ the large and scarce print, etc. in all 114 plates, some duplicates in different states and tinted by the artist: also 14 portraits of the artist; his friends, and contemporaries, including a portrait of Thomas Hayley, an Original Drawing, by W. Blake: a Manuscript Index to the Songs of Innocence, believed to be in the autograph of the artist: list of Original Drawings and Sketches sold by auction in 1862 [perhaps the Sotheby sale of 29 Apr. 1862, Blake lots 158-202 <BB #565>], with the prices realised, etc. in 1 vol. impl. 4to. hf. bound, crimson morocco. … £21.”
6522 Thel [J], motto, title, and 6 designs; Visions [G], 11 designs; “in one volume, roy. 4to. olive morocco, gilt edges, by C. Lewis, £15. 15s,” “The cuts in both pieces coloured in the artist’s peculiar style.”
6523 Dante, 7 prints.
9032 “BLAKE (William) [For the Sexes:] The Gates of Paradise [G], impl. 4to. large paper, hf. morocco, gilt top, uncut, £6. 15s. Consisting of twenty engraved leaves, the first being the title with an etching headed ‘for the Sexes,’ …. The second is the frontispiece …,” “2 leaves containing an epilogue … ‘To the Accuser ….’”
1878 29 JanuarySotheby sale of A. G. Dew-Smith, 29-30 Jan. 1878.
The sale included America (B), Visions (N), and Blake’s copy of Swedenborg’s Divine Love and Divine Wisdom (1788).
Review§Academy (9 Feb. 1878) (Visions [N] sold for £30 and America [B] for £16.5.0).
12893 Eleven letters from Blake to Hayley, 26 Nov. 1800-4 June 1805, £52.10.0.
12894 “A Projected Work: Original Design (considerably different from the published engraving):
3. Bernard Quaritch, Catalogue of English Literature … [+]
13842 Blake drawings, “the Butts collection,” 26 paintings, 3 vols. (2 folio, 1 royal octavo), “red morocco extra, with flaps like portfolios,” £1,200.
It consists of:Comus, 8 designs “mounted to the size of 11 in. by 8½ in.” [Butlin #528].
Paradise Lost, 9 designs “mounted to the size of 28 in. by 20 in.” [Butlin #536 3-9, 11-12].
Biblical designs, “mounted to the size of 22 in. by 17½ in.,” viz. “Famine” [Butlin #196]; “Plague” [Butlin #193]; “Pestilence” [Butlin #442]; “Moses and the Bronze Serpent” [Butlin #447]; “Golia[t]h and David meeting” [Butlin #457]; “The King of Babylon moving to Hell” [Butlin #467]; “The Whirlwind, Ezekiel’s Vision” [Butlin #468]; “The Woman caught in adultery” [Butlin #486]; “Abraham about to sacrifice Isaac” [Butlin #109] with, around the margins, heads of [various] [Butlin #84].
4. Bernard Quaritch, Catalogue of Some More Works on the Fine Arts … [+]
13844 “Joseph of Arimathea among the Rocks of Albion” [L] (1773), “this is one of the Gothick Artists …,” 10" x 5½", £4.
13845 Thel [J] and Visions [G] bound together, colored, “olive morocco extra, gilt edges, by Hering,” £85, “fetched, 1881, [a]t Christies £85 and was priced by the dealer who bought it £105.”
13846 “Chaucers Canterbury Pilgrims,” £7.10.0.
13847 Forty-five engravings “from the Flaxman collection,” “including some early pieces of 1800 [perhaps Hayley’s “Little Tom” (1800) or his Essay on Sculpture (1800)], the Portraits of Mr. and Mrs. William Cowper [presumably Blake’s engravings for Hayley’s Cowper (1803), frontispiece of Cowper after Romney in vol. 1 or the frontispiece after Lawrence in vol. 2, plus “Mrs COWPER | Mother of the Poet” in vol. 1, at p. 4],”  £3.16.0.
10249 Three drawings for Songs: “Introduction” to Innocence, “The Shepherd” (frontispiece to Innocence), and “An ideal Hell” [Butlin #217], “From the Collection of a friend of Blake’s,” £10.
10250 Songs [U] from the Beckford collection, £170.
10251 America [R], £36.
10252 The manuscript of Cunningham’s Life of Blake with 103 engravings, with a manuscript index to the Songs, £80.
10253 Young’s Night Thoughts (1797), £12.
10254 Blair, The Grave (1808), £5.5.0.
10255 Dante proofs with “2 portraits of Dante and MS. descriptions added,” £10.10.0 [I have no other record of this].
10256 Job (1825), £16.16.0.
10257 Works (1876), £4.4.0.
10258 “A Collection of  Books illustrated with Blake’s Plates,” £28.
10259 Gilchrist (1880), 35s.
12295 Descriptive Catalogue [F], “green morocco extra, from Beckford’s library, £10.10s.”
13842 Drawings from the Butts collection: Comus, Paradise Lost, the Bible, £1,200.
13843 Tatham collection, 40 drawings on 23 leaves, £36.
13844 “Joseph of Arimathea” [L], £4.
13845 Thel [J] bound with Visions [G], £85.
13846 “Chaucers Canterbury Pilgrims” (1810), 37" x 22", £7.10.0.
13847 Forty-five engravings “from the Flaxman collection,” £3.16.0.
13848 Gilchrist (1880), 35s.
1890 23 April–1 May[Sotheby] Catalogue of a Portion of the Important Library of Thomas Gaisford, Esq. <BB #585>
The Thomas Gaisford whose bookplate is in America (B), Thel (C), Europe (E), Urizen (C), Poetical Sketches (N), Innocence (H), Songs (M), Visions (I), and Young’s Night Thoughts (1797) (colored copy G) is not the Greek scholar (1779-1855), as in the BB index, but his son with the same name (b. 1816). 
1983*Robert N. Essick. The Separate Plates of William Blake: A Catalogue. 1983. <BBS p. 301>
For addenda, see Blake 43.4 in Part VI.
1991*Robert N. Essick. William Blake’s Commercial Book Illustrations. 1991. <BBS p. 310>
For addenda, see Blake 43.4 in Part VI.
2009 20 April–4 October*Martin Myrone, ed. Seen in My Visions: A Descriptive Catalogue of Pictures. 2009. <Blake (2010)>
ReviewsRobin Blake, “William Blake at Tate Britain,” Financial Times 25 Apr. 2009 <Blake (2010)§> (“the Tate’s tribute to the most lovable of all English artists … is rather melancholy, and very touching”).
*Tom Lubbock, “William Blake: The Art of a ‘lunatic’?” Independent [London] 27 Apr. 2009 <Blake (2010)§> (largely about Robert Hunt’s review).
*Alexander Gourlay (see Blake 43.3 in Part VI).
§*Andrew Lambirth, Art Book 17.2 (2010): 73-74.
2009 11 September–2010 3 JanuaryWilliam Blake’s World: “A New Heaven Is Begun.” Morgan Library and Museum, New York. <Blake (2010)>
Reviews *Evan Mantyk, “Blake’s Anti-Atheism on Display at Morgan Library,” Epoch Times 10 Sept. 2009 <http://www.theepochtimes.com>.
*Lance Esplund, “Artist as Oracle: The Morgan’s exhibition of the work of William Blake reminds us of the artist’s many gifts,” City Arts 15 Sept. 2009 <http://cityarts.info>.
*Jill Krementz, “Photo Journal: William Blake’s World,” New York Social Diary 15 Sept. 2009 <http://www.newyorksocialdiary.com> (32 reproductions).
*Anon., AO Art Observed 17 Sept. 2009 <http://artobserved.com>.
*Beatrice V. Thornton, “William Blake at the Morgan Library,” Magazine Antiques 17 Sept. 2009 <http://www.themagazineantiques.com>.
Arielle Concilio, “William Blake and the Imagination at the Morgan Library and Museum,” Columbia Daily Spectator 22 Sept. 2009 <http://blogs.columbiaspectator.com/spectacle> [arts blog].
*Drew Toal, “William Blake’s World: ‘A New Heaven Is Begun,’” Time Out New York 24-30 Sept. 2009 <http://newyork.timeout.com>.
*Anon., “William Blake’s World: ‘A New Heaven Is Begun’ at the Morgan Library,” artrepublic.com Sept. 2009 <http://www.artrepublic.com>.
Anon., “Blake Illuminations at Morgan,” Northport Journal 8 Oct. 2009.
*Anon., Week 16 Oct. 2009 <http://theweek.com>.
*Graham Fuller, “Extreme Blake,” Arts Desk 18 Oct. 2009 <http://www.theartsdesk.com>.
*World Journal 24 Oct. 2009 <http://www.worldjournal.com> (in Japanese).
*Thomas Micchelli, “William Blake’s World: ‘A New Heaven Is Begun,’” Brooklyn Rail Oct. 2009 <http://www.brooklynrail.org>.
*Marjorie Welish, “Extreme Art: The creative talent of William Blake and eighteenth-century French drawings are at the Morgan Library,” New York Observer 9 Nov. 2009.
*Chloe Malle, “William Blake’s Heavenly Imagination,” Daily Beast 12 Nov. 2009 <http://www.thedailybeast.com>.
*Anon., “William Blake @ the Morgan: Tyger, Tyger!” eCognoscente [New York] Nov. 2009 <http://www.ecognoscente.com>.
*Greta Berman, “William Blake: Praise the Lord with Stringed Instruments,” Juilliard Journal 25.3 (Nov. 2009).
*Peggy Roalf, “William Blake: Sympathy for the Devil,” Design Arts Daily 8 Dec. 2009 <http://www.ai-ap.com/dart>.
*Menachem Wecker, “Did William Blake Know Hebrew?” Jewish Daily Forward 11 Dec. 2009 <Blake (2010), under Wecker in Part VI) (also at <http://www.forward.com>).
*Michaelanthony Mitchell, “William Blake at the Morgan,” Mapcidy 18 Dec. 2009 <http://www.mapcidy.com>.
*Morton D. Paley (see Blake 43.4 in Part VI).
*Anon., ArtMagick (date unknown) <http://www.artmagick.com>.
Richard Goodman, Fine Books and Collections (date unknown), 5 pp.
2009 12 September–2010 3 JanuaryMichael Phillips and the Infernal Method of William Blake. Cornell Fine Arts Museum, Rollins College.
ReviewJames Rovira (see Blake 44.3 in Part VI).
2010 19 June–10 July*William Blake: Engravings for the Book of Job and Other Prints. Larkhall Fine Art Ltd. (Bath).
Exhibition with only an invitation card.
The exhibition focuses particularly on works acquired since the gift (2005) of the Bentley Collection of Blake and his contemporaries (see the Victoria University exhibition of 30 Oct.-15 Dec. 2006 <Blake (2007)>), including the extra-illustrated Bray, Life of Thomas Stothard (1851) (see pp. 13, 22, 24-25), Diario de los niños (1839-40) (pp. 16-17), Varley, Zodiacal Physiognomy (1828) (pp. 18-19), Stothard, “The Fall of Rosamond” (1783) (pp. 22-23), Watteau, “Morning [and] Evening Amusement” (1782) (pp. 26-28), Morland, “The Idle Laundress” and “The Industrious Cottager” (pp. 29-31), “Chaucers Canterbury Pilgrims” (1810) (pp. 34, 36-37), “Spring” (pp. 46-47), and Remember Me! (1824, two copies, one with the rare color-printed slipcase) (pp. 52-55). Marriage (M) is reproduced entire.
The undated draft letter by William Hayley addressed to “Dear Poet & Philosopher” (laid into a copy of Hayley’s Triumphs of Temper ) was almost certainly sent to Erasmus Darwin, not “to William Blake” (p. 21). The letter recommends “my excellent friend Flaxman who is just returned [in 1794] from Rome” as a sculptor for a monument to Wedgwood (Flaxman’s monument to Wedgwood is in Stoke-on-Trent church).
The exhibition and catalogue were associated with Blake in Our Time: A Symposium Celebrating the Future of Blake Studies and the Legacy of G. E. Bentley Jr (28 Aug. 2010), organized by Karen Mulhallen, and the launch of Blake in Our Time: Essays in Honour of G. E. Bentley Jr, ed. Karen Mulhallen (see Part VI).
Podcasts in video and audio of the symposium and still photos of the exhibition are available online <http://library.vicu.utoronto.ca/blake_in_our_time/podcasts.html>. The symposium part consists of:Karen Mulhallen. “Welcome and Introductions.”
Robert N. Essick. “Collecting Blake.” (About great collectors of the past, not about his own major collection.)
Joseph Viscomi. “Recovering the Earliest Versions of Blake’s Oddest Book.” (About The Song of Los.)
Mary Lynn Johnson. “Blake’s Pictures at ‘The Salterns’ and How Captain Butts Challenged His Sister’s Inheritance.”
Angus Whitehead. “Blake and George Cumberland’s ‘Pocketbooks.’”
John E. Grant. “Songs for Thomas Butts: Visions of the ‘Title Page,’ ‘Earth’s Answer’ and ‘The Tyger.’”
Dennis Read. “Disputing the Sins of His Father: Thomas Cromek contra Gilchrist.”
Garry Leonard. “Without Contraries Is No Progression: Did Blake Invent Modernist Cinema?”
Stephen Nachmanovitch. “Job Returns—A Music and Multimedia Meditation on Blake’s Illustrations of the Book of Job.” (Introduced by Brian Corman.)
Mark Crosby. “Blake’s Seal[s].” (The images with which he sealed his letters.)
Keri Davies. “Brother Blake and Sister Blake and the Lost Moravian History of William Blake’s Family.”
Susanne Sklar. “The Mouth of a True Orator: Jerusalem’s Operating Instructions.”
5. Remember Me! Blake in Our Time: A Keepsake Book … [+]
Newly Recorded TitleTitle page: THE | MYSTICAL INITIATIONS; | OR, | HYMNS | OF | ORPHEUS | TRANSLATED FROM THE ORIGINAL | GREEK: | WITH A PRELIMINARY DISSERTATION | ON THE | Life and Theology of Orpheus; | BY | THOMAS TAYLOR. | [Greek motto] | LONDON, | PRINTED for the Author, | And ſold by T. Payne and Son, at the Mews-gate; L. | Davis, Holborn; B. White and Son, Fleet-ſtreet; and | G. Nichol, Strand. 1787. 
Location: Bodleian Library, Arch. H e.181.
History: Offered “newly bound in calf ” at £2.2.0 in Bernard Quaritch’s Catalogue (no. 414) (London, Feb. 1928);  “Bt. from Quaritch” (according to an inscription on the front pastedown) by the Bodleian Library, where it was stamped 29 Sept. 1928. Its Blake associations were first noticed by Philip Cardinale in 2001 and recorded by Philip and Joseph Cardinale in Blake 44.3 (winter 2010-11): 84-102, the source of almost all the information here.
Binding: Bound, probably in 1928, in brown calf.
Annotations and underlinings: There are annotations on pp. vii-viii and 69, corrections of printer’s errors on pp. 89 and 225, and underscoring and sidebars on pp. iv-v, vii-viii, 1-3, 5-6, 9-10, 14-15, 19-22, 26-28, 30, 44-47, 68, 70-72, 75-76, 78-79, 84, and 97. “All the handwriting and most of the underlining … appear in orange-brown ink; some underlining and markings are in a darker, brown-black shade of ink. Pencil marks appear on pages 14, 30, 44, 68, 70, and 97” (Cardinale and Cardinale 85). The only extensive note says:
There is no instance of a poet writing good Eng.Handwriting: Minute comparison with An Island in the Moon (?1784-85) strongly suggests that the hand which wrote the annotations in Taylor’s book is that of William Blake, and the two inks used in underlining are much like those Blake used. The identification of Blake as the creator of the pencil marks is much more speculative but still plausible.
There were reviews in Critical Review 63 (June 1787): 401-06; Town and Country Magazine 19 (July 1787): 293; European Magazine, and London Review 12 (July 1787): 18-19 (5s.; “Mr. Taylor hath displayed no common erudition”; “we warmly recommend the ‘Dissertation’”; “though Mr. Taylor may not be ranked very high as a poetical translator, he may be placed in no inferior station among the proficients in abstruser literature”); Monthly Review 79 (Aug. 1788): 133-42.
Bible§The Bible in Miniature, or a Concise History of the Old and New Testaments. London: E. Newbery, 1780.
A copy is inscribed in ink in “the same juvenile hand” on the front and rear pastedowns “a a Blake” and “W Blake.” Robert N. Essick, to whom the work was offered in Nov. 2010 by Maggs, concludes that it is “very unlikely that these inscriptions … are by the poet and artist.”  Let us assume charitably that they are by one of the host of contemporary individuals named “William Blake” or “W. Blake.” 
For a revised version of chapter 4, see Blake’s Margins, below.
It consists of chapters on Blake’s annotations to (1) Lavater, Aphorisms (7-27); (2) Swedenborg, Heaven and Hell, Divine Love, and Divine Providence (28-60); (3) Watson, Apology (61-80); (4) Bacon, Essays (81-96); (5) Dante, Inferno, trans. Boyd (97-108); (6) Reynolds, Discourses (109-38); (7) Spurzheim, Insanity (139-49); (8) Berkeley, Siris (150-59); (9) Wordsworth, Poems and preface to The Excursion (160-76); (10) Thornton, Lord’s Prayer (177-92); plus (11) “Addendum” (193-94) and (12) “A Note on Blake’s Reading” (195-97).
Earlier versions of chapter 6 appeared as “Revisiting Reynold[s]’s Discourses and Blake’s Annotations,” Blake in His Time, ed. Robert N. Essick and Donald Pearce (1978) <BBS pp. 466-68> and in his Antithetical Essays in Literary Criticism and Liberal Education (1990) <BBS p. 330>.
ReviewsJason Whittaker, Zoamorphosis: The Blake 2.0 Blog <http://zoamorphosis.com> 16 Feb. 2010 (“there is little that is specifically new or innovative,” but it is useful on the context).
§Morton D. Paley, New Books on Literature 19 <http://www.nbol-19.org> 22 May 2010.
Shirley Dent, Times Literary Supplement 2 July 2010: 26-27 (with another) (it is his “close and unswerving attention to what Blake has to say” that makes the book “so rewarding”).
The attack in the Cheltenham Examiner, 4 Sept. 1839, assumes that the new edition of Blake’s Songs is “a fair specimen of what ‘Swedenborgianism’ truly is.” A reply by “A Swedenborgian” is in the issue for 18 Sept., but it does not point out “that Swedenborg and his doctrines are in no degree answerable for the phantasies and absurdities of Blake,” whose “childish” poems should be called “Songs of Silliness and Diseased Perception.”
Mostly quotation from “a writer, who knew them intimately” [Cunningham ¶10]; Blake died in 1828 and “she died a few years afterwards.”
The Tate “unveiled Monday eight ‘powerful’ etchings by … William Blake, which lay undiscovered for decades before turning up at a second-hand book sale” “tucked inside a railway timetable in a box of books.” They were bought by the Tate for £441,000 with the help of the Art Fund. The vendor “has asked to remain anonymous.” They “will go on public display” at the Tate in July and will then “travel to the Pushkin State Museum of Fine Art in Moscow in November 2011 for the exhibition William Blake and British Visionary Art.”
An obituary consisting mostly of a list of monuments. “His illustrations of Hesiod were made after his return to England. The original drawings remain in the possession of his sisters; and engravings from them, by W. Blake, were published in 1816 [i.e., 1817]” (273).
A collection of notes about Blake’s poems from Wikipedia.
They are from the Small Book of Designs (B).
It consists of entries from Wikipedia.
This appeared, seemingly word for word, in the Standard [London] 18 Aug. 1827.
It consists of entries from Wikipedia.
The first edition of the Dictionnaire (1767) had no Blake entry. The entry in the 1789 edition is the same as those in 1791 and 1809, “except for minor differences in punctuation and spelling,” according to Robert N. Essick, “Blake in the Marketplace, 2010,” Blake 44.4 (spring 2011): 125.
The *painting (1812) is the inn sign, perhaps 6' x 8', for the courtyard of the Talbot (formerly Tabard) Inn in Southwark representing “Chaucer and his merry Company setting out [from the inn] on their journey” to Canterbury. The sign, visible for 60 years, was repeatedly described and ascribed to Blake in the nineteenth century, but has been forgotten since then. Another painting hung “over the gateway” representing Chaucer may also have been by Blake.
6. Anonymous woodcut, probably designed and engraved by Thomas Prattent, of “The Talbot Inn” … [+]
ReviewMark Lussier, University of Toronto Quarterly 79.1 (winter 2010): 427-28 (with its “superb introduction,” written in an “engaging style,” “Bentley’s William Blake’s Conversations will join his other foundational works in exerting an enabling influence on future research”).
Volume 43, number 3 (winter 2009-10)Angus Whitehead. “Mark and Eleanor Martin, the Blakes’ French Fellow Inhabitants at 17 South Molton Street, 1805-21.” 84-95. (Wonderfully rich “new information concerning Martin, his wife, his nationality, and his trade” .)
Reviews*Alexander Gourlay. William Blake’s 1809 Exhibition, Tate Britain, 20 Apr.-4 Oct. 2009; Martin Myrone, ed., Seen in My Visions: A Descriptive Catalogue of Pictures. 96-100. (The exhibition “is no more successful than the original … in communicating Blake’s ideas” .)
Nancy M. Goslee. Matthew J. A. Green, Visionary Materialism in the Early Works of William Blake (2005). 100-04. (“The struggle to understand his study is well worth the time” .)
Minute ParticularsMorton D. Paley. “‘And the sun dial by Blake’ (Butlin #374A).” 105-06. (About a lost drawing by Blake.)
G. E. Bentley, Jr. “Blake Copperplates in the Thomas Ross Archive.” 107-08. (The copperplates in the archive of the print-publishing firm of Thomas Ross are almost certainly copies of Blake’s plates, not the originals.)
Wayne C. Ripley. “The Early Marketing of The Grave in London and Boston.” 109-10. (About puffs by Cromek in Universal Magazine [July 1806], Monthly Magazine [Aug. 1806], and Monthly Anthology [Oct. 1806].)
Nelson Hilton. “Waxed in Blake.” 110-11. (The first stanza of Bob Dylan’s “Gates of Eden” strongly recalls Marriage pls. 17-18.)
Volume 43, number 4 (spring 2010)*Robert N. Essick. “Blake in the Marketplace, 2009.” 116-48. (Enormously impressive, comprehensive, and detailed. It includes an “Appendix: New Information on Blake’s Engravings” for his The Separate Plates of William Blake  and William Blake’s Commercial Book Illustrations  .)
Review*Morton D. Paley. William Blake’s World: “A New Heaven Is Begun,” Morgan Library and Museum, 11 Sept. 2009-3 Jan. 2010. 149-51. (A “major exhibition”; “Although there is no catalogue, the entire exhibition is posted on the Morgan web site” .)
Remembrance“Karl Kroeber, 1926-2009.” 151. (Reprinted from Philip Petrov, “Karl Kroeber, or Living and Dying in the Present,” Columbia Spectator 12 Nov. 2009: 4.)
NewsletterAnon. “Conference in Oxford … and in Toronto.” 151. (Blake, Gender, and Sexuality in the Twenty-First Century is organized by Helen Bruder and Tristanne Connolly, 15-16 July 2010, at St. Aldate’s Church, Oxford, and Blake in Our Time, organized by Karen Mulhallen, “will celebrate the future of Blake studies and the legacy of G. E. Bentley, Jr., on 28 August 2010 at Victoria University in the University of Toronto.”)
Volume 44, number 1 (summer 2010)G. E. Bentley, Jr., with the assistance of Hikari Sato for Japanese publications. “William Blake and His Circle: A Checklist of Publications and Discoveries in 2009.” 4-48. (The 269 previously unrecorded references to Blake before 1863 helped swell the checklist to fill the whole issue, and even so the introduction was severely curtailed, some entries were conflated or postponed, and the customary “Addenda and corrigenda to Blake Records, 2nd ed. (2004), … now appear on the journal’s web site …. They will be updated yearly” . The most remarkable discovery [by David Alexander] is the apprenticeship record  of Thomas Owen to William Blake .)
Volume 44, number 2 (fall 2010)*Mark Crosby and Robert N. Essick. “‘the fiends of Commerce’: Blake’s Letter to William Hayley, 7 August 1804.” 52-72. (Blake’s newly discovered letter is reproduced, transcribed, and most impressively annotated.)
ReviewJason Whittaker. Nicholas M. Williams, ed., Palgrave Advances in William Blake Studies (2006). 73-75. (It “offers a fairly comprehensive view of critical approaches to Blake in the early twenty-first century” .)
Minute Particular*Paul Miner. “Blake’s Design of Nebuchadnezzar.” 75-78. (One source of Marriage pl. 24, first suggested by Frederick York Powell, “Blake’s Etchings,” Academy 7 [16 Jan. 1875]: 66, but later ignored, is probably in le Sieur de Royaumont [Nicolas Fontaine], The History of the Old and New Testament [1691, 1701, 1703, 1705, etc., in English, 1670 in French].)
Volume 44, number 3 (winter 2010-11)*Philip J. Cardinale and Joseph R. Cardinale. “A Newly Discovered Blake Book: William Blake’s Copy of Thomas Taylor’s The Mystical Initiations; or, Hymns of Orpheus (1787).” 84-102. (An admirably argued demonstration that the annotations in a copy of Taylor’s book in the Bodleian are in a hand “strikingly similar” to that in An Island in the Moon [?1784-85], and the extensive underlinings and sidebars in similar inks are probably also by Blake. Color versions of pp. vii-viii are reproduced in the digital edition of the article.)[e]
Reviews*Robert N. Essick. Martin Butlin, ed., William Blake’s Watercolour Inventions in Illustration of The Grave by Robert Blair (2009); Michael Phillips, ed., Songs of Innocence and of Experience: A Portfolio of Eighteen Facsimile Impressions (2009). 103-10. (“The reproductions of the twenty Grave watercolors are excellent” , and the Flying Horse edition “is certainly a handsome object” .)
James Rovira. Michael Phillips and the Infernal Method of William Blake, Cornell Fine Arts Museum, Rollins College, 12 Sept. 2009-3 Jan. 2010. 110-11. (The exhibition included Phillips’s reproductions of copperplates and prints from them of Songs [18 plates and prints], America pl. 1, Europe , and “inking daubers, historical pigments …”; “Illustrations of the exhibition and of some of the Phillips copperplates and impressions …”)[e]
It was published in her book (see below).
Apparently derived from her thesis (see above).
A philosophical consideration of Blake and John Locke.
The prints are from the Small Book of Designs (B).
There are some queer uses of “queer” here.Helen P. Bruder and Tristanne Connolly. “Introduction: ‘What is now proved was once, only imagin’d.’” 1-20. (“Blake’s queer themes are striking and abundant” .)
Helen Kidd. “Pansexuality (Regained).” 21-22. (A poem.)
1. Christopher Z. Hobson. “Blake and the Evolution of Same-Sex Subjectivity.” 23-39. (About “ideas of same-sex subjectivity” .)
2. Richard C. Sha. “Blake and the Queering of Jouissance.” 40-49. (About “jouissance, meaning enjoyment” , i.e., masturbation.)
3. *Peter Otto. “Drawing Lines: Bodies, Sexualities and Performance in The Four Zoas.” 50-62. (About Swedenborg and the illustrations on Four Zoas pp. 40, 112.)
4. Elizabeth C. Effinger. “Anal Blake: Bringing Up the Rear in Blakean Criticism.” 63-73.
5. *Martin Myrone. “The Body of the Blasphemer.” 74-86. (About Blake’s picture of the stoning of the blasphemer.)
6. Jason Whittaker. “Trannies,  Amputees and Disco Queens: Blake and Contemporary Queer Art.” 87-96.
7. Helen P. Bruder. “‘Real Acting’: ‘Felpham Billy’ and Grayson Perry Try It On.” 97-115. (About the “Pickering Manuscript” and Felpham; Perry is a “peerless transvestite” .)
8. Tristanne Connolly. “‘Fear not / To unfold your dark visions of torment’: Blake and Emin’s Bad Sex Aesthetic.” 116-39. (Tracey Emin is an artist and poet.)
9. Bethan Stevens. “‘Woes & … sighs’: Fantasies of Slavery in Visions of the Daughters of Albion.” 140-52.
10. Caroline Jackson-Houlston. “‘The lineaments of … desire’: Blake’s Visions of the Daughters of Albion and Romantic Literary Treatments of Rape.” 153-62.
11. *Steve Clark. “‘Yet I am an identity / I wish & feel & weep & groan’: Blake’s Sentimentalism as (Peri)Performative.” 163-85.
12. David Fallon. “‘By a False Wife Brought to the Gates of Death’: Blake, Politics and Transgendered Performances.” 186-98.
13. Mark Crosby. “‘No Boys Work’: Blake, Hayley and the Triumphs of (Intellectual) Paiderastia.” 199-208. (About Hayley’s teaching boys such as the sons of the Earl of Egremont and E. G. Marsh, as well as Blake.)
14. Susan Matthews. “‘Hayley on his Toilette’: Blake, Hayley and Homophobia.” 209-20. (About “Blake’s use of the satirical figure of the effeminate man in post-1800 references to William Hayley” .)
15. Keri Davies. “‘My little Cane Sofa and the Bust of Sappho’: Elizabeth Iremonger and the Female World of Book-Collecting.” 221-35.
ReviewMax Fincher, Times Literary Supplement 6 Aug. 2010: 26 (Blake as “a queer icon”).
The work consists of notes, doodles, and echoes of Blake’s designs from “The Ancient of Days” to Dante. It originated in a symposium on his seventieth birthday, 18 Oct. 2008, and an exhibition 17 Oct. 2008-25 Jan. 2009 at Neue Galerie Graz, Austria.
An extract from Burdett’s William Blake (1926) <BB #1316>.
The wood engraving of “Death’s Door” (11.3 x 17.4 cm.), signed “L. Chapon” (i.e., Léon Louis Chapon [1836-1918]), is not noted in BB.  The work seems to consist of individually paginated chapters first issued separately.
Mary K. Greer’s Tarot Blog <http://marygreer.wordpress.com>, 9 Sept. 2010, announces the “Revised Edition of the William Blake Tarot.” The 2010 edition is said to have better colors, etc. Ed Buryn, “my ex-husband,” created it, but Mary Greer had a lot to do with the original.
The German translation §Die Lieder des Mr. Blake, trans. Ursula Wulfekamp (Berlin: List, 2008) <Blake (2010)>, has also appeared under the title §Das Mädchen mit den funkelnden Augen (Berlin: List, 2010).
“This article situates his [Blake’s] time in the Abbey in the context of his apprenticeship before offering a few examples of how the Gothic aesthetic resonates in his later works” (162). It is part of an issue “In Celebration of Richard Gough (1735-1809)” (118-224).
Blake’s “London,” which today he might call “New York,” “reveals us to ourselves” as “mentally imprisoned.” (By 2 Nov. 2010 there had been 11 online responses—to the politics, not to Blake.)
“Emersonian self-reliance, when read through this Blakean lens, needs serious consideration …” (91).
Particularly concerned with “the early history of physiognomy in England, Lavater’s reception and his English connections” (348).
For a revised version of Hazard Adams, “Revisiting Reynold[s]’s Discourses and Blake’s Annotations,” see Adams, Blake’s Margins, above.
Reviews, announcements, etc. (1863 ed.)Anon., London Review of Politics, Society, Literature, Art, and Science 7, no. 176 (14 Nov. 1863): 519-20 (“really first-rate”).
Anon., “Miscellanea,” American Literary Gazette and Publishers’ Circular [Philadelphia] 2, no. 3 (1 Dec. 1863): 83 (under “Novelties in English Literature” is “the late Alexander Gilchrist’s ‘Life of William Blake,’ which has been ready for some months, and deferred until the reading season set in, has appeared at last”).
Anon., “William Blake the Artist,” Bookseller: A Handbook of British and Foreign Literature (10 Dec. 1863): 709-10. <Michigan>
Anon., “Reviews and Notices of Books,” Lancet no. 2103 (19 Dec. 1863): 705-07 (“some of the productions of William Blake were in their sublimity of conception almost superhuman … we are of the bewitched …,” but “he really was insane” ).
Anon., Westminster Review 81, no. 159 (Jan. 1864): 46-54 (quotes “My Silks,” “The Voice of the Devil,” and “The Little Boy Lost”).
Anon., “Pictor Ignotus,” Illustrated Magazine ns 24 (1867): 19-28 (mostly paraphrase). <Bodleian>
“Sartre’s The Emotions provides a useful framework for understanding” Blake’s modern critics (460 [abstract]).
See also his Vizije (Part I, Section B).
ReviewNancy M. Goslee (see Blake 43.3, above).
Parts of chapter 3, “Charity” (84-110), are revised from “From Donation to Demand?” Blake and Conflict, ed. Haggarty and Jon Mee (2009) <Blake (2010)>.
For a revised version of chapter 6, “From Donation to Demand? Almsgiving and the ‘Annotations to Thornton,’” see Haggarty, Blake’s Gifts, above.
It was published in separate chapters as
They were bought for £441,000 with the aid of the Art Fund.
About prints from the Small Book of Designs (B).
Number 30 (spring 2010): Blake Intempestif/Unruly Blake
Ed. Jean-Marie Fournier and Maurice GérachtJean-Marie Fournier. “Presentation.”
Martin Myrone. “Blake’s Unruly Art History: The Case of the 1809 Exhibition.” 7-20.
Michael Phillips. “‘printing in the infernal method.’” 21-34.
Andrew Lincoln. “Blake’s Innocence Reconsidered.” 35-46.
Pierre-Yves Courdert [i.e., Coudert]. “Enclosure and Expansion: Blake, Science, and the Body.” 47-56.
Laurent Châtel. “W. B. & W. B.: ‘A Long Story’—Sublime Congruences between Gray, Beckford and Blake.” 57-74.
Christian La Cassagnère. “The Sublimity of the Tyger.” 75-84.
B. Eugene McCarthy. “Reading Blake: A Case for Memorization.” 85-90.
Steve Shepherd. “Songs of Innocence and of Experience: Blake into Rock.” 91-104.
Michael Phillips. “A Note on the Facsimile of William Blake’s Songs of Innocence and of Experience.” 105-10.
Martin Postle. “‘Sir Joshua and his Gang’: Blake, Reynolds and the Royal Academy.” 111ff.
Only 150 copies of the issue were printed, each with an impression from Michael Phillips’s facsimiles  of Blake’s copperplates of Songs pls. 1, 3-4, 8, 12, 18-19, 24, 27, 29-30, 33, 37-38, 42, 46.
A recorded conversation (1990) with Paolozzi (1924-2005).
Short biographies for a juvenile audience.
“Whereas Milton concerns itself with the annihilation of authorial Selfhood, Jerusalem … [focuses] on the self-annihilation of the reader” (175).
Portions of the “Introduction” (1-20), “The Marriage of Heaven and Hell: Dialogue and ‘Imposition’” (chapter 2, 59-95), “The [First] Book of Urizen: The Problem of Authorial Selfhood” (chapter 3, 97-133), “Milton: The Annihilation of Authorial Selfhood” (chapter 4, 135-73), and “Jerusalem: The Reader and Self-Annihilation” (chapter 5, 175-211) are revised from his “‘Self-Annihilation’ and Dialogue in Blake’s Creative Process: Urizen, Milton, Jerusalem” (1994) (see below). Chapter 3 is revised from his “Printed Performance and Reading The Book[s] of Urizen” (1999) <Blake (2003)>.
For “a revised version,” see his Blake on Language, Power, and Self-Annihilation, above.
“Through self-annihilation, Blake attempts to undo the oppression of monologism” (9).
Revised portions appear in several chapters of his Blake on Language, Power, and Self-Annihilation, above.
On the relationship between the language of paradox and the language of poetry, especially in “The Tyger” and The Marriage of Heaven and Hell.
“The urgency of his polemic all but defies us to feel the impress of his exaltation” (2009, p. 86).
The prints [from the Small Book of Designs (B)] were found in “an Edwardian international train timetable”; “a book lover bought them at a sale in north London in 1978.”
“This is a revised version of the oral report … to the International Conference ‘Blake in the Orient’ [2003 <Blake (2004)>] ….”
Artistic exercises in response to Blake by 14 artists.
On the context of Lucy Hooper’s poem.
ReviewJackie DiSalvo, Science and Society 73.1 (2009): 144-46 <Blake (2010)§> (“his study sounds a cautionary note for radicalism based on a politics of individual rights”).
Malmberg, one of Sweden’s foremost art critics, argues that gold in the illuminated books is, in M. H. Abrams’s sense, both mirror and lamp. Contrasting the use of gold in a medieval illumination on the one hand and in an early painting by Ingres on the other, Malmberg shows that gold often does not have symbolic meaning in Blake’s works (he adduces the gold in the Jerusalem pl. 59 design, where the daughters labor at wheels, “Terrible their distress”), but is there for its own sake, its own existence, and that, while it may have symbolic meaning at times, there are important places where gold=gold.
Well informed, cautious, and judicious.Karen Mulhallen. “Introduction.” 3-15. (“G. E. Bentley Jr almost single-handedly shifted the focus of Blake criticism from formalism and symbolism to the ‘Minute Particulars’ of Blake’s life and work” .)
Part One: “Every Minute Particular Is Holy”: Materials1. Robert N. Essick. “Collecting Blake.” 19-34. (A masterful survey of the “symbiotic relationship” between Blake collecting and Blake scholarship.)
2. *Joseph Viscomi. “Two Fake Blakes Revisited; One Dew-Smith Revealed.” 35-78. (A brilliant demonstration that America [B] pls. 4, 9 are photolithographic facsimiles [not fakes] made between 1874 and 1878 by A. G. Dew-Smith [1848-1903], an admirable photographer and commercial lithographer, and each marked by him “F” [?for “Facsimile”] to perfect his copy.)
3. *Joyce H. Townsend and Bronwyn A. Ormsby. “Blake’s Painting Materials, Technical Art History, and the Legacy of G. E. Bentley Jr.” 79-92. (“This paper discusses the motives that inspired our research into … Blake’s output, the way it developed, and its findings in the context of other technical studies on Blake” .)
Part Two: “For Friendship’s Sake”: Friends and Patrons4. David Bindman. “New Light on the Mathews: Flaxman and Blake’s Early Gothicism.” 95-104. (Inscriptions by A. S. Mathew on early Flaxman drawings of Gothic subjects, especially for Chatterton, “strongly suggest that Mathew was directly involved in Flaxman’s early attempts at illustrating Chatterton” .)
5. *Mark Crosby. “‘a Ladys Book’: Blake’s Engravings for Hayley’s The Triumphs of Temper.” 105-30. (“Blake’s six plates were not reprinted in the second thirteenth edition” [i.e., the second state of the thirteenth edition], partly because the copperplates had become very worn .)
6. Mary Lynn Johnson. “More on Blake’s (and Bentley’s) ‘White Collar Maecenas’: Thomas Butts, His Wife’s Family of Artisans, and the Methodist Withams of St. Bartholomew the Great.” 131-64. (A densely factual and original essay only occasionally related to Blake. The parents of Thomas Butts were married by John Wesley.)
7. Angus Whitehead. “‘Went to see Blake—also to Surgeons college’: Blake and George Cumberland’s Pocketbooks.” 165-200. (On 3 June 1820 George Cumberland “Went to see Blake” and perhaps took him “to introduce [him?] to Mr [William] Clift,” the distinguished curator of the Hunterian Museum in the Royal College of Surgeons, and to discuss with Clift the purchase of a fossil.)
8. *Martin Butlin. “George Richmond, Blake’s True Heir?” 201-12. (Richmond is Blake’s artistic heir, especially in his Creation of Light .)
Part Three: “What I Both See and Hear”: Architecture and Industry9. *Morton D. Paley. “William Blake and Chichester.” 215-32. (“The foundations of his [Blake’s] four-gated city [of Golgonooza] lay in Chichester” .)
10. Keri Davies. “William Blake and the Straw Paper Manufactory at Millbank.” 233-61. (The first European straw paper mill was built at Millbank in 1801 by Matthias Koops [who had been declared bankrupt in 1790] and was declared bankrupt in 1803, which ruined Richard Twiss [d. 1821], who owned Blake’s For Children.)
Jerome McGann. “Epilogue: A Memorable Fancy.” 262-64. (The Prolific Giant in Marriage pls. 16-17 is GEB, or rather “all those books and essays turned out from his Printing House in Hell: clearing away rubbish, building and decorating immense bibliographical palaces …” .)
*Robert Brandeis. “Appendix: William Blake in Toronto: The Bentley Collection at Victoria University Library.” 265-72. (The essay “outline[s] the extent of the [Bentleys’ bibliophilic] infection and its ultimate successful ‘comforting cure’” in giving the collection to the Victoria University Library .)
For the associated exhibition and symposium, see Remember Me! under 2010 in Part IV.
It includes:Subir Dhar. “Blake’s London and the Metaphysics of Closure.”
Malobika Sarkar. “William Blake: A Composer of Melodies As Well.”
Abhishek Sarkar. “Blake’s Thel: The Feminine Mystique.”
Gwee Li Sui. “Who Won the Battle of Ideas between Newton and Blake?”
On Blake’s “prophetic politics” as seen in America, The Book of Los, and Jerusalem (174-75).
Most of Phillips’s “A Note on Production” in *Songs of Innocence and of Experience: A Portfolio of Eighteen Facsimile Impressions (2009) (see Part I, Section B) is “abstracted” from his 2004 essay.
“Blake’s psychology of subjectivity is astute, innovative, and complex” (xi). “A portion” of chapter 2, “Wordsworth, Plato, and Blake,” had appeared as “Wordsworth’s Ghosts and the Model of the Mind,” European Romantic Review 9.2 (spring 1998): 293-301, and another portion, revised here, had been printed as “Swerving Neo-Platonists,” Wordsworth Circle 37.1 (winter 2006): 31-38.
ReviewShirley Dent, Times Literary Supplement 2 July 2010: 26-27 (with another) (“the acuity of these readings is undermined by the jarring addition of twentieth-century theorists”).
Wayne C. Ripley. “Introduction: Editing Blake.” 35 paragraphs. (“The first task of every editor has been to remediate” Blake’s work. Many of the contributors to the volume “have … worked as project assistants to the Blake Archive and received their graduate training from its editors.”)
David Fuller. “Modernizing Blake’s Text: Syntax, Rhythm, Rhetoric.” 25 paragraphs. (A sound and responsible essay.)
*Mary Lynn Johnson. “Contingencies, Exigencies, and Editorial Praxis: The Case of the 2008 Norton Blake.” 23 paragraphs. (An “anecdotal case history” of the fundamentally redesigned Norton edition of Blake, which “is the product of trade-offs” [¶3, 1].)
Justin Van Kleeck. “Editioning William Blake’s VALA/The Four Zoas.” 83 paragraphs. (A responsible, reliable, and judicious summary of the problems in editing Vala.)
W. H. Stevenson. “The Ends of Editing.” 48 paragraphs. (“In all this, the editor must keep head above water” [¶48].)
*Rachel Lee and J. Alexandra McGhee. “‘The productions of time’: Visions of Blake in the Digital Age.” 46 paragraphs. (The essay, about Blake’s “hybridity,” “documents our experiences editing Blake’s … Island in the Moon … in the William Blake Archive” [¶11, 7].)
*Wayne C. Ripley. “Delineation Editing of Co-Texts: William Blake’s Illustrations.” 35 paragraphs. (“Social-text editing provides the most appropriate editorial model for Blake’s illustrations of other authors.” With examples from Young’s Night Thoughts  and Blair’s Grave , he wants to show “the social realities of these works” [¶5, 35].)
ReviewsAriel Hessayon, English Historical Review 124, no. 506 (2009): 195-96 <Blake (2010)§> (“a careful and balanced reconstruction of an important aspect of Blake’s world”).
Jeremy Tambling, Journal for Eighteenth-Century Studies 32.1 (2009): 123-24 <Blake (2010)§> (a “useful book”).
§John Ruff, Christianity and Literature 59.2 (2010): 347-51.
Review§Christopher Burdon, Literature and Theology 23.4 (2009): 481-82.
On the nature of Christian prophecy, beginning with William Blake, Joanna Southcott, and Richard Brothers.
Concerns “William Blake’s creative and commercial positioning relative to late-eighteenth-century galleries, exhibition culture and artistic spectacle.”
The poets represent Islam, Hinduism, Buddhism, and Christianity.
Tate Papers [Tate’s Online Research Journal]
Number 14 (autumn 2010)
Blake’s 1809 Exhibition*David Blayney Brown and Martin Myrone. “William Blake’s 1809 Exhibition.” 12 paragraphs. (Mostly a herald for the prophets who follow.)
*Susan Matthews. “An Alternative National Gallery: Blake’s 1809 Exhibition and the Attack on Evangelical Culture.” 28 paragraphs. (Blake in the context of James Barry, An Account of a Series of Pictures in the Great Room of the Society of Arts, Manufactures, and Commerce, at the Adelphi  and Barry’s support for Mary Wollstonecraft; she deals especially with Blake’s The Penance of Jane Shore.)
*Philippa Simpson. “Lost in the Crowd: Blake and London in 1809.” 30 paragraphs. (Some of Blake’s ideas about the “Rubbish of the Continent brought here by Ignorant Picture dealers” [“Public Address,” Notebook p. 24] were shared by other artists.)
*Konstantinos Stefanis. “Reasoned Exhibitions: Blake in 1809 and Reynolds in 1813.” 26 paragraphs. (About retrospective catalogues such as Blake’s Descriptive Catalogue and the British Institution’s Catalogue of Pictures by the Late Sir Joshua Reynolds Exhibited by the Permission of the Proprietors in Honour of the Memory of That Distinguished Artist, and for the Improvement of British Art [London, 1813]. “Descriptive catalogue” was the current term for what the French called catalogue raisonné or reasoned catalogue.)
All the papers were given at the symposium Appealing to the Public: William Blake in 1809, Tate Britain, Sept. 2009.
“Illuminated Poems” consists of reproductions on glossy paper of (1) Blake’s America copperplate fragment  with one sentence of text saying that “now, in 1947, an experimenting poet [Todd] and two artists [S. W. Hayter  and Joan Miró] have rediscovered Blake’s antique printing method and are making Illuminated Poems” (72); (2) “The Engraver for Bill Hayter,” with decorations which look like Aboriginal designs (73); (3) “The Glass Tower,” undecorated (74); (4) “An Alien World for Dolores Miró,” with curious unsigned pasted-on colored designs [by her father, Joan Miró] (75).
According to “The Tale of the Contents” (56), from which the title derives, Todd “is preparing a new book William Blake, The Mental Prince.  He has written a full account of Blake’s method that will be printed in a technical magazine.” 
An interview: “If Blake had been my age in the 1970s, he would have been on the punk scene, without a doubt.”
A comic book or “graphic novel.”
A biographical account, partly a review of Swinburne; “Blake was crazy.”
About “how Blake points to the problem of perceiving motion” (498 [abstract]).
“Huxley steers a surprising course back to Blake as a catalysing figure” (43).
Foreword by Nelson Hilton.
Includes a section on “Blake’s ‘Contempt & Abhorrence’ of Bacon, Locke, and Newton.”
Barry, James (1741–1806)*Dunne, Tom, and William L. Pressly, eds. James Barry, 1741-1806: History Painter. Farnham: Ashgate, 2010. xix, 268 pp.; ISBN: 9780754666349.
William L. Pressly. “Foreword: Barry Studies from a Bicentennial Perspective.”
Tom Dunne. “Introduction: James Barry’s ‘Moral Art’ and the Fate of History Painting in Britain.”
David H. Solkin. “From Oddity to Odd Man Out: Contesting James Barry’s Critical Legacy, 1806-66.”
Martin Myrone. “James Barry’s ‘Hairbreadth Niceties’: Risk, Reward and the Reform of Culture around 1770.”
Fionnuala McManamon. “James Barry: A History Painter in Paris in the 1760s.”
Margaret W. Lind. “‘Glowing Thoughts on Glowing Canvas’: James Barry’s Venus Rising from the Sea.”
Martin Postle. “Barry, Reynolds and the British School.”
Asia Haut. “Barry and Fuseli: Milton, Exile and Expulsion.”
*David Bindman. “The Politics of Envy: Blake and Barry.”
John Barrell. “Reform and Revolution: James Barry’s Writings in the 1790s.”
Liam Lenihan. “History Painting and Aesthetics: Barry and the Politics of Friendship.”
Michael Phillips. “No. 36 Castle Street East: A Reconstruction of James Barry’s House, Painting and Printmaking Studio, and the Making of The Birth of Pandora.”
William L. Pressly. “Crowning the Victors at Olympia: The Great Room’s Primary Focus.”
Daniel R. Guernsey. “Barry’s Bossuet in Elysium: Catholicism and Counter-Revolution in the 1790s.”
David G. C. Allan. “‘A Monument to Perpetuate his Memory’: James Barry’s Adelphi Cycle Revisited.”
Cumberland, George (1754–1848)
Lewina the Maid of Snowdon. A Tale (1793)
A Poem on the Landscapes of Great-Britain (1793)
ReviewAnon., “Domestic Literature. For the Year 1793,” New Annual Register … for the Year 1793 (1794): 194-277. <Harvard>
“Lewina, the Maid of Snowdon, a Tale, and a Poem on the Landscapes of Great Britain, by George Cumberland,” are productions of very different merits. The former is simple, and occasionally pathetic and interesting, but frequently insipid and unpoetical. The latter, which is far from being faultless in point of diction and rhyme, discovers considerable powers of description, and liveliness of fancy; and shews that the author possesses a sensible, cultivated mind. With greater attention to correctness, and to avoid too familiar and prosaic phraseology, the author may rise to eminence in descriptive poetry. These poems are elegantly printed, and are accompanied with etchings by the author, from his own original drawings. (271-72)
Palmer, Samuel (1805–81)§Shaw-Miller, Simon, and Sam Smiles, eds. Samuel Palmer Revisited. Farnham: Ashgate, 2010. xv, 167 pp.; ISBN: 9780754667476.
Sam Smiles and Simon Shaw-Miller. “Preface.”
William Vaughan. “Introduction.”
William Vaughan. “Samuel Palmer’s Houndsditch Days.”
Greg Smith. “Ancients and Moderns: Samuel Palmer and the ‘progress of water colours,’ 1822-1833.”
Martin Postle. “‘This very unstudent-like student’: Palmer and the Education of the Artist.”
Christiana Payne. “‘Dreaming of the marriage of the land and sea’: Samuel Palmer and the Coast.”
Paul Goldman. “Samuel Palmer: Poetry, Printmaking and Illustration.”
Sam Smiles. “From the Valley of Vision to the M25: Samuel Palmer and Modern Culture.”
Simon Shaw-Miller. “Palmer and the Dark Pastoral in English Music of the Twentieth Century.”
Stedman, John Gabriel (1744-97)§Senior, Emily. “‘Perfectly Whole’: Skin and Text in John Gabriel Stedman’s Narrative of a Five Years Expedition against the Revolted Negroes of Surinam.” Eighteenth-Century Studies 44.1 (2010): 39-56.
1. BR(2) 736, 742.
2. BR(2) 736, I am sorry to say.
5. The books include reprints.
6. One hundred reviews in BB were published before 1863.
7. The miscellaneous sources include the Essick collection, the online versions of the Times [London] and the New York Times, reviews in Philological Quarterly (1925-69), and reviews in Blake before 1992, when I began reporting reviews in this checklist.
8. The author is often given as “William Blake, Jr. PhD,” but it is not clear whether the oddity originates with the publisher or with the agency such as Google Books which is reporting it.
10. BR(2) 414, 500, 530.
11. See especially George Mills Harper, The Neoplatonism of William Blake (Chapel Hill: University of North Carolina Press, 1961) and Kathleen Raine, Blake and Tradition (Princeton: Princeton University Press, 1968).
13. Blake’s known miniatures are:
15. Lange, “Two Forged Plates in America Copy B,” and Viscomi, “Facsimile or Forgery? An Examination of America, Plates 4 and 9, Copy B,” Blake 16.4 (spring 1983): 212-18, 219-23.
16. Such as Ross Woodman, Jung and Blake (Carpinteria [California]: Pacifica Graduate Institute, 2009); Stephen Critchlow, Robert Glenister, and Michael Maloney [readers], The Great Poets: William Blake (Naxos AudioBooks, 2007).
18. Such as §Art of Imagination: William Blake 2010 calendar (N.p.: Amber Lotus, 2009).
25. Except for the states of the prints for Blake’s commercial book engravings, where the standard authority is Robert N. Essick, William Blake’s Commercial Book Illustrations (Oxford: Clarendon Press, 1991). Significant further details, especially about collations, are given in Roger R. Easson and Essick, William Blake Book Illustrator: A Bibliography and Catalogue of the Commercial Engravings, vol. 1: Plates Designed and Engraved by Blake (Normal: American Blake Foundation, 1972); vol. 2: Plates Designed or Engraved by Blake 1774-1796 (Memphis: American Blake Foundation, 1979); vol. 3 never appeared. The standard authority for prints issued separately is Essick, The Separate Plates of William Blake: A Catalogue (Princeton: Princeton University Press, 1983).
26. There is nothing in Blake Books and Blake Books Supplement corresponding to Division II.
27. Especially for his “Blake in the Marketplace, 2010” typescript, despite its distressing entries for “not in BB or BBS.” Essick’s discoveries were communicated to me in Dec. 2010 and printed in Blake 44.4 (spring 2011): 116-42.
28. While pls. 4 and 9 were missing, the prints were numbered 2-16 in pencil by an unknown hand on pls. 2-3, 5-8, 10-18 below the bottom-left platemark. (BBS p. 54n23 erroneously describes the first numeration as “Blake’s page-numbers.”) Pls. 1-18 (including the facsimile pls. 4 and 9) were later correctly numbered 1-18 at the top-right corner of the leaf by a Quaritch assistant.
29. The new information here about numeration and facsimiles derives from Joseph Viscomi, “Two Fake Blakes Revisited” (see Blake in Our Time, under Mulhallen in Part VI). BBS p. 54 suggests erroneously that pls. 4 and 9 were added after 1878.
31. BR(2) 758. Flaxman was in Italy 1787-94 when For Children was published.
32. According to Mark Crosby and Robert N. Essick, “‘the fiends of Commerce’” (see Blake 44.2 in Part VI) 54, “A large watermark in the center of the full sheet shows a shield with a horn within, the shield surmounted by a crown and with a finial at its lower termination. Below these motifs is an elaborate JW cipher that identifies the paper as Whatman …. The chain lines are 2.4 cm. apart.”
33. It was first(?) printed in the account of “the collection of Blake’s works in Mr. Macgeorge’s possession,” Thomas Mason, Public and Private Libraries of Glasgow (Glasgow: Thomas D. Morison, 1885) 291-93.
34. Not “Charlot” (a publisher, not a place) as in BB #111B.
35. The title page is dated “MCMXXIII,” but the colophon (p. 65) says it was printed “a Abbeville, le XXX Novembre MCMXXII.”
36. Anon., “Fine Arts Record,” Fine Arts Quarterly Review 1 (Oct. 1863): 434-35. Geoffrey Keynes, Engravings by William Blake: The Separate Plates: A Catalogue Raisonné
(Dublin: Emery Walker, 1956) 6, says George A. Smith (who sold the
collection in 1880) collected the contents of the volume “about 1853,”
and Keynes, A Bibliography of William Blake (New York: Grolier
Club, 1921) 319, cites “a prefatory note signed ‘G. A. S. 1855’” (which
is not now with the collection). However, the references in Puttick and
Simpson (1863) and Quaritch (1864) contradict this history for the
37. BB p. 405, silently following Geoffrey Keynes and Edwin Wolf, 2nd, William Blake’s Illuminated Books: A Census (New York: Grolier Club, 1953), identifies R. H. Clarke as “the son of Hayley’s friend J. S. Clarke [1765?-1834].” However, Stephen Massil of the Garrick Club Library (London) tells me that R. H. Clarke does not appear in the will of James Stanier Clarke or in that of his widow. The identification of the Blake collector as the son of J. S. Clarke therefore seems implausible. He is probably Robert Henry Clarke (1818-1906), son of Henry and Margaret Clarke, baptized Mar. 1818 at Manchester Square Wesleyan Church, St. Marylebone, recorded as “clerk in stationers” in the 1881 census, and buried Jan. 1906 at Camberwell Old Cemetery.
38. The information is from Essick, “Blake in the Marketplace, 2010,” Blake 44.4 (spring 2011): 131.
39. The complete set of Muir facsimiles was offered by John Windle, Mar. 2010; the prices and dates here derive from an inventory, presumably by Gibbs, which accompanies the volume.
40. Details of the prints were first reported in Essick, “Blake in the Marketplace, 2010,” Blake 44.4 (spring 2011): 126-27.
41. Essick, “Blake in the Marketplace, 2010,” Blake 44.4 (spring 2011): 131.
42. It is bound at the end of Charles Wareing Bardsley, English Surnames: Their Sources and Significations, 2nd ed. (London: Chatto & Windus, 1875) <Virginia> and More Puniana; or, Thoughts Wise and Other-Why’s, ed. Hon. Hugh Rowley (London: Chatto & Windus, 1875).
43. Note that the erroneous singular “Vision” is found in both the Chatto & Windus list and in Works by William Blake.
44. It is bound with Edward Lee Childe, The Life and Campaigns of General Lee (London: Chatto & Windus, 1875) <Michigan> and with other Chatto & Windus publications of 1875 and 1876.
45. Bound with [William Hurrell Mallock], The New Republic (London: Chatto & Windus, 1877) <Harvard> and other Chatto & Windus publications. It does not appear in “A List of Books Published by Chatto & Windus” (May 1874) bound with [John Camden Hotten], The Slang Dictionary (London: Chatto & Windus, 1874) <Michigan> or in Chatto & Windus lists after 1877.
46. Morton D. Paley, “John Camden Hotten, A. C. Swinburne, and the Blake Facsimiles of 1868,” Bulletin of the New York Public Library 79 (1976) <BBS p. 598>. Chatto & Windus published a transcription of Marriage with an introduction by Francis Griffin Stokes in 1911.
47. From 2010 I record pre-1863 references to separately issued prints.
48. The information derives from Essick, “Blake in the Marketplace, 2010,” Blake 44.4 (spring 2011): 131.
49. The sales records specify Blake, 12 or 13 engravings or etchings, Schiavonetti, quarto, and £2.12.6 for both 1808 and 1813 editions, unless otherwise noted. The quarto is sometimes qualified as “royal” (Eclectic Review, Edinburgh Review), “atlas” (Ackermann ?1813, 1815, 1816, 1818, 1824, 1828), “elephant” (Ackermann 1815, 1816, Eastburn 1818, Carey 1818, Ackermann 1821-22, Eastburn 1822, Ackermann 1824), or “large elephant” (Ackermann ?1813, 1818).
50. Biographie universelle, ancienne et moderne, vol. 41 (Paris: L. G. Michaud, 1825) 124, lists Blair’s Grave (1813) in the entry on Schiavonetti. Ideen zur Kunst-Mythologie,
ed. Julius Sillig, vol. 2 (Dresden: in der Arnoldischen Buchhandlung,
1836) 506n (in German), also refers to the 1813 edition (“der geistvolle
Zeichner Blake in seinen Kupfern zu Blairs Grave …”) and describes
three scenes. <Michigan>
51. See BB p. 533.
52. A copy with “proofs on India paper, russia” was listed in the Catalogue of the Splendid, Choice, and Curious Library of P. A. Hanrott, Esq. Part the First … Sold by Auction, by Mr. Evans, 16 July 1833 and 11 days, lot 630 (to “Anh[?]” for £2.6.0). <British Library>
53. The title given in the Ackermann list (1815) for the “First Edition” (1808)—“with Biographical Accounts of Blair, Schiavonetti, and Cromek”—is in fact that of the 1813 second edition (“to which is added a life of the author”), and BB p. 533 mistakenly associates the advertisement with the second edition.
54. Advertisements and notices are included only when they specify “engraved by J. Blake.”
55. The information derives from Essick, “Blake in the Marketplace, 2010,” Blake 44.4 (spring 2011): 142.
57. Essick, “Blake in the Marketplace, 2010,” Blake 44.4 (spring 2011): 142.
58. Records marked † are also reported in Wayne C. Ripley, “Printed References to and Known Prices of Blake’s Night Thoughts, 1796-1826,” Blake 43.2 (fall 2009): 72-75. The unseen (§) entries derive from him.
59. The advertisement was pointed out to me by Mark Crosby. Advertisements in the Oracle for 13-14 Jan. and 6 Feb. were already recorded.
60. Copy Y is the newly recorded copy owned by Robert N. Essick.
61. The other prints might have included some from Flaxman’s Naval Pillar (1799), 3 pls., Homer, Iliad (1805), 3 pls., and Hesiod (1817), 37 pls.
63. Reviews of the exhibition only (there was no catalogue), omitting mere notices.
64. My transcription derives from the copy in the Rylands Library, University of Manchester, via Eighteenth Century Collections Online, not from the copy in the Bodleian.
65. It does not appear in Quaritch’s Catalogue (no. 410) (Oct. 1927), which lists many other books by Taylor, suggesting that it was newly acquired by Quaritch in 1928. The Quaritch catalogue does not mention the annotations.
66. Essick, “Blake in the Marketplace, 2010,” Blake 44.4 (spring 2011): 125.
67. See “‘My Name is Legion: for we are many’: ‘William Blake’ in London 1740-1830,” BR(2) 829-45.
68. A “tranny” is apparently a transvestite.
69. Essick, “Blake in the Marketplace, 2010,” Blake 44.4 (spring 2011): 130.
70. First reported in Essick, “Blake in the Marketplace, 2010,” Blake 44.4 (spring 2011): 130.
71. The contents page says that the America copperplate “etched in 1893 [i.e., 1793]” is in “the Rosenwald Collection in the Library of Congress.” Note America, foreword by Ruthven Todd (1947) <BB #8>.
72. S. W. Hayter, New Ways of Gravure (1949) <BB #1815> is partly about Todd and Miró.
73. The galley proofs of Todd’s never-published “William Blake: A Mental Prince” (London: Phoenix House, 1947) are with his papers in the Brotherton Library of Leeds University <BBS p. 661>.
74. “The Techniques of William Blake’s Illuminated Painting,” Print (1948) and Print Collector’s Quarterly (1948) <BB #2853, Blake (2009)>.