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July 1923]—this reference, like numbers of others here, derives from a clipping in the Ruthven Todd Collection in Leeds University Library. According to another account, in his latter years, “He would be dressed in a coat, green with age, a pair of shabby trousers, a high wide-brimmed top hat, a pair of old white canvas shoes, and a big red scarf round his neck.

Receipt to Thomas Butts for six shillings, from the collection of Ruthven Todd (see Bentley, Blake Records, p. 575). SNY, 23 May 79, #1 illus. ($2500). (...) From the collections of Greville Macdonald, Ruthven Todd, and David Tunick. CL, 4 July 79, #173 illus.

Rosenwald,” but no such print has been located in the Rosenwald Collection, now divided between the Library of Congress and the National Gallery of Art, Washington. Ruthven Todd, in his 1942 edition of Gilchrist’s Life, also refers to an impression in the Rosenwald Collection, but his statement may be based only on the entry in the Philadelphia catalogue. 30 29. (...) Alexander Gilchrist, Life of William Blake, ed. Todd (London: J.M. Dent and Sons; New York: E. P. (...) Rosenwald” is retained, with some rewording, in the revised edition of 1945 (381). Todd also refers to “a copy of this rejected plate ... in the collection of Mr.

9 Blake knew himself to be a creator of all three. 7 Life of William Blake, ed. Ruthven Todd (London: J. M. Dent, rev. ed., 1945) 297. 8 Blake Records 347, from a letter to Samuel Palmer dated 15 August 1827. 9 E 147.

As the ark of Noah and of Osiris the moon was, says Bryant, symbolic of renewal and birth: “The Ark was certainly looked upon as the womb of nature; and the descent from it as the birth of the world.”15 Both this positive value of the Ark, and the general association of the ark with the crescent moon discussed above, were accepted and elaborated by Blake in Jerusalem.16 10 John Adlard, The Sports of Cruelty (London: Cecil and Amelia Woolf, 1972), p. 66. 11 Ruthven Todd, Tracks in the Snow (N. Y.: Charles Scribner’s and Sons, 1947), pp. 47-50. 12 Jacob Bryant, Analysis of Antient Mythology (London: J.

The introduction offers many similarly stimulating comments, for example on “the conceptual implications of stippled lines” (12) as used in Blake’s engravings after Flaxman’s Hesiod compositions, before Essick summarizes the influence of Blake’s career as a copy engraver on the formation of those of the artist’s ideas that were given expression in his “more private and more important endeavours” (13). 11 Following a suggestion first made by the late Ruthven Todd, Essick had previously discussed the case of Blake’s engravings after Fuseli—and what there appears to be “an unusual amount of responsibility for the completion of the design, not merely its translation to copper” (7)—in Essick 1980 (n. 7) 51-52.

Receipts signed by Blake (see illus. 1) Payer Date Sum Location of MS Thomas Butts 9 Sept 1806 £6.6.0 Huntington 21 21 The MS, which had been owned by Ruthven Todd, was sold from Marvin Sadik Fine Arts, Catalogue 1 (April 1998) to John Windle and by him to the Huntington Library in May 1998, with funds provided by Robert N.

There were 433 internet resources, including Carl Zigrosser’s correspondence with Ruthven Todd, T. Edward Hanley, G. E. Bentley, Jr., Mrs.