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Lot Essay
Edward Calvert (1799–1883) was an English printmaker and painter renowned for his intricate wood engravings, which are considered some of the finest examples of 19th-century printmaking. His work is closely associated with the visionary and pastoral art of the Ancients, a group inspired by William Blake, that included Samuel Palmer and George Richmond, of which Calvert became a key member. They shared a vision of an idyllic, pastoral golden age, blending Christian symbolism with classical themes. He produced his most celebrated works between 1827 and 1831, a period regarded as the pinnacle of his career. During this time, he created exquisite wood and copper engravings characterized by meticulous detail, delicate lines, and symbolic imagery. These works often depicted pastoral scenes imbued with spiritual and allegorical meaning.
These engravings were initially shared only with close friends and were not widely published until 1893, when they were first published posthumously in an edition of 350 copies by his third son, Samuel Calvert. The prints in this edition were machine-printed from photo-process blocks, which reduced their size compared to the original works.
A second, more refined edition was published in 1904 by Carfax & Co. Ltd., titled The Early Engravings of Edward Calvert. This portfolio included eleven proofs on India paper, featuring two copper engravings, seven wood engravings, and two lithographs. The copper engravings and woodcuts were printed from the original plates and blocks, which were then housed in the British Museum. The lithographs included in this edition were printed under Calvert's supervision in 1829 and remained in the family's possession for 75 years. The impressions were noted for their sharpness and fidelity to the original works, surpassing those of the 1893 edition. This edition was limited to just 30 copies, making it exceptionally rare, and very few have remained complete. Together these publications played a crucial role in preserving and disseminating Calvert's visionary art, which had previously been shared only among close friends during his lifetime.
These engravings were initially shared only with close friends and were not widely published until 1893, when they were first published posthumously in an edition of 350 copies by his third son, Samuel Calvert. The prints in this edition were machine-printed from photo-process blocks, which reduced their size compared to the original works.
A second, more refined edition was published in 1904 by Carfax & Co. Ltd., titled The Early Engravings of Edward Calvert. This portfolio included eleven proofs on India paper, featuring two copper engravings, seven wood engravings, and two lithographs. The copper engravings and woodcuts were printed from the original plates and blocks, which were then housed in the British Museum. The lithographs included in this edition were printed under Calvert's supervision in 1829 and remained in the family's possession for 75 years. The impressions were noted for their sharpness and fidelity to the original works, surpassing those of the 1893 edition. This edition was limited to just 30 copies, making it exceptionally rare, and very few have remained complete. Together these publications played a crucial role in preserving and disseminating Calvert's visionary art, which had previously been shared only among close friends during his lifetime.