WILLIAM BLAKE (1757-1827)
WILLIAM BLAKE (1757-1827)
WILLIAM BLAKE (1757-1827)
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WILLIAM BLAKE (1757-1827)

'With Songs the Jovial Hinds Return from Plow'

Details
WILLIAM BLAKE (1757-1827)
'With Songs the Jovial Hinds Return from Plow'
pencil, pen and black ink and grey wash on paper
1 ½ x 3 3⁄8 in. (3.9 x 8.6 cm.)
Provenance
The artist, from whom acquired by
John Linnell (1792-1882) (†); Christie’s, London, 15 March 1918, lot 205 (part) (108 gns to Parsons).
Anonymous sale; American Art Association, 22 April 1924, lot 69 (part) ($1,625 to the Brick Row Bookshop, New York).
Russell G. Pruden by 1927, New Haven, by whom given to his brother-in-law
Edmund Astley Prentis, New York.
Anonymous sale; Sotheby's, New York, 17 June 1992, lot 133.
with Justin Schiller, New York.
Literature
A. Keynes, Pencil Drawings of William Blake, London, 1927, no. 54 xix, illustrated.
M. Butlin, The Paintings and Drawings of William Blake, New Haven and London, 1981, p. 535, no. 769, 19, pl. 1013.
R. N. Essick, Blake in the Marketplace, 1992, in Blake, an Illustrated Quarterly, vol. 26, no. 4, 1993, pp. 142-3, fig. 5, illustrated.
Exhibited
Philadelphia, ‘Works of William Blake selected from Collections in the United States’, 1939, no. 137, reproduced, lent by Russell G. Pruden.

Brought to you by

Nathalie Ferneau
Nathalie Ferneau Head of Sale, Junior Specialist

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Lot Essay

The present work is one of a group of twenty drawings for Dr Robert Thornton’s 3rd edition of ‘Pastorals of Virgil…Adapted for Schools’, published in 1821; this drawing was plate 19.

Dr. Thornton was John Linnell’s doctor and it was through the latter that he was introduced to Blake in September 1818. Blake was working on the illustrations for the scheme by September 1820. Dr. Thornton however, was not happy with Blake’s work and intended to scrap his involvement in the project. However ‘a chance conversation with Sir Thomas Lawrence, James Ward, John Linnell and others at Mr. Ader’s prevented him from having them all recut’. When they were published, Thornton added the disclaimer that ‘they display less of art than genius, and are much admired by some eminent painters’. The engravings were too large for the page and had to be slightly cropped. The plates for the scheme were in Linnell’s collection and are now in the British Museum.

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