Search

Perhaps the astute members of Swann’s Prints and Drawings Department, Todd Weyman, Sybil Rodgers, and Nigel Freeman, had some other “William Blake” in mind. (...) Maggs, April online cat., from the collections of Ruthven Todd and Douglas Cleverdon with the latter’s bookplate, contemporary half calf worn (£600); same copy and price, June cat. 1288, #43. (...) Los Angeles Book Fair, with the plate for p. 27 repeated on the usually unillustrated p. 29 (probably just a printer’s error), lacking the “Explanation” leaf, minor spotting on some pls., fly-title to Night the Second in the 2nd st., slightly trimmed, from the collections of Ruthven Todd and Douglas Cleverdon, contemporary morocco ($18,150); same copy, March cat. 1286, #40 (£11,000); same copy and price, June cat. 1288, #40.

Readers interested in the full pictorial evidence supporting the views expressed here are encouraged to consult the online version, which was designed by Todd Stabley, Multimedia Consultant, Center for Instructional Technology, University of North Carolina at Chapel Hill. (...) Phillips claims that, in two-pull color printing, Blake may not have passed “the plate and impression through the rollers a second time,” but printed by “carefully applying pressure with the tips of his finger” (Phillips 102) or “by using the palm of his hand” (Phillips in Hamlyn and Phillips 106). Ruthven Todd also argued that Blake’s color prints did not require a press, believing, incorrectly, that the colors would have been badly smeared had they gone under the rollers (37).

—Backscheider’s report on current research includes brief reviews of Carretta’s George III and the Satirists (571-72), Todd’s Sign of Angellica (587, very briefly, but favorably), Fox’s collection Teaching Eighteenth-Century Poetry (590), and Conger’s anthology of essays on Sensibility in Transformation (601). 17.

.), Christ Appearing to the Apostles (Rosenwald Collection, National Gallery of Art), and Hecate (National Gallery of Scotland). 5 For descriptions of Blake’s color-printing technique, see Ruthven Todd, “The Techniques of William Blake’s Illuminated Printing,” The Visionary Hand: Essays for the Study of William Blake’s Art and Aesthetics, ed.

“By rejecting [Ruthven] Todd’s theory of transferred texts,” Viscomi himself recognizes that he is remediating “the nineteenth-century theory [of Blake’s technique], in which a ‘preliminary drawing’ of a plate, or ‘illustrated song,’ is reproduced in ‘facsimile’ by being redrawn directly on the plate with the same tools used to execute the originals” (26). 13.

In 1802, supervised by Rev. Henry John Todd, the work traveled from Ashridge House to Bridgewater House, London, for rebinding. (...) Paul’s, 1 Aug. 1809; then as frontispiece to Henry J. Todd, Illustrations of the Lives and Writings of Gower and Chaucer (London: Rivingtons et al., 1810).