Wood engraving of a stormy night with a blasted tree (left) and a crescent moon (right), the sixth in his famous series of Virgil designs first published in Robert John Thornton, The Pastorals of Virgil (1821). This impression printed no earlier than fall 1825 after John Linnell acquired the wood blocks. Single print on thin India paper, mounted, matted, and framed.

Wood engraving of a stormy night with a blasted tree (left) and a crescent moon (right), the sixth in his famous series of Virgil designs first published in Robert John Thornton, The Pastorals of Virgil (1821).  This impression printed no earlier than fall 1825 after John Linnell acquired the wood blocks.  Single print on thin India paper, mounted, matted, and framed.
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London: 1821 (i.e. c. 1830s or later?). Single print on thin India paper, mounted and framed. Blake created 17 woodcuts for this volume (as well as 10 other plates, of which he engraved six) which were not well received; nor were they well treated by the publisher who cut down the blocks and printed them poorly. Only a few proofs before they were trimmed are now extant. These blocks have remained amongst the most influential woodcuts in the history of British art and their influence can be seen from Calvert and Palmer all the way up to the present day. The blocks were saved by Linnell and were printed not long after Blake's death as separate impressions (perhaps by Calvert), and again in 1977 as a set by Iain Bain. Any impressions are now very hard to find. Most Linnell impressions are darkly printed; some are over inked. This a good one.For a fuller discussion, see Essick's masterly monograph A Troubled Paradise... (San Francisco: John Windle, 1999). Bentley, Blake Books, 504. Bindman 602-18. Easson and Essick I, X. “They are visions of little dells and nooks and corners of paradise, models of the exquisitest pitch of intense poetry... such a mystic and dreamy glimmer as penetrates the inmost soul” Samuel Palmer. (Item Id: 108592)

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