細節
BLAKE, William. Jerusalem The Emanation of The Giant Albion. 1804. Printed by W. Blake, Sth Molton St. [London: 1818-1820].
320 x 250mm. (12½ x 9¾ in.). 100 relief etchings with white-line engraving, printed in black, frequent additions of black and grey wash with occasional touches of ink and white heightening by the artist; on rectos only of 100 leaves of wove paper, watermarked J Whatman 1818, 1819 or 1820. The plates (25 to each chapter), incorporating illustration and text, measure 225 x 164mm., 220 x 170mm., and somewhat smaller, and are foliated in ink in Blake's hand; he has altered in manuscript the catchword of plate 70 from His to And. (Slight original paper faults causing a marginal crease in plates 3 and 83, in the latter case just touching the image, but the book is IN ORIGINAL, COMPLETE AND EXTREMELY FINE CONDITION, the paper remarkably fresh.)
BINDING
Bound ca. 1824 for John Linnell. Thin parchment over pasteboard, flat spine gilt-tooled in compartments with dark blue morocco gilt lettering piece (the plates, which do not form a codex, skilfully reglued into the casing, resewn with original stab-holes partly visible, and rebacked at the British Museum in 1926 in white morocco, the original backstrip and lettering piece laid down). The earliest surviving binding on any copy of Jerusalem.
PROVENANCE
This was the first complete copy of Jerusalem (Bentley's Copy C) to be sold by Blake, perhaps preceded by the coloured set of Chapter 1 only (Copy B).
1. John Linnell (1792-1882), eminent portrait and landscape painter, admirer and friend of Blake's and the first great collector of his work. He bought Jerusalem in three or four instalments, first Chapter 2 (plates 26-50, 1818 watermarks only) on 30th December 1819 for 14 shillings, the "Balance" (presumably Chapter 4, plates 76-100, 1820 watermarks only) on 4th February 1821 for 15 shillings; see Bentley, Blake Records, pp. 581, 585. During the course of 1820 he must have acquired Chapters 1 and 3 (1818-1820 watermarks) at similar prices.
2. Herbert Linnell, John's grandson (by bequest). Sold at Christie's, "Catalogue of the John Linnell Collection of highly important works of William Blake Obtained direct from the Artist", 15th March 1918, lot 194, 85 gns. to
3. Francis Edwards, booksellers, perhaps in partnership with the dealer James Tregaskis, who sold the book for (155/7s/4d. to
4. Frank Rinder, who paid in War Bonds and by cheque on 2nd April 1918. He lent it in 1927 to the Burlington Fine Arts Club for the Blake Centenary Exhibition (no. 88 in the catalogue). His widow lent it in 1947 to the British Council for a travelling exhibition to Paris-Antwerp-Zurich and finally London (Tate Gallery no. 41), and allowed the Trianon Press to publish a facsimile of the Rinder copy for the William Blake Trust (printed in Paris, 1953).
5. By descent to the present owner
PRINTING HISTORY
Blake's prophetic books, and Jerusalem especially, may be described as the earliest and greatest of all "livres d'artiste" (with the possible exception of Delacroix's Faust), while fusing the content of text and pictures to a far greater extent. The complexity of the plot and ideas in Jerusalem finds a curious reflection in that of the book's production history. The importance of illustration to text in Blake's writing is expressed by their extraordinary physical integration, which the artist achieved in the etching and engraving of his copperplates. Such a combination of different elements created from a single imaginative source is perhaps unique in the history of art and literature. In his illustrated books Blake broke with tradition by abandoning the intaglio process for working and printing metal plates. His adoption of relief etching and white-line engraving to integrate text and illustration recalls xylography and 15th-century metalcuts, but the technical difficulties involved in executing 100 large copper plates that allow modulation in inking and pressure, and thus the accomplishment of the desired artistic effects, were enormous; in their resolution is Blake's unsurpassed mastery displayed.
Jerusalem is the last, longest and greatest of Blake's prophetic books in "illuminated printing". The artist-poet began the work in 1804, but most of the etching was probably done after the final printing of Milton in 1815. He started printing the first two chapters of Jerusalem in 1818 and continued to print, alter, reorder, and in one case colour -- but rarely to sell -- sets of plates until the end of his life; several sets were printed posthumously and sold by Blake's executor, Frederick Tatham. The coloured Hanrott-Cunliffe copy of Chapter 1 was printed first (1818), immediately followed by the complete Ottley-British Museum (not sold until Blake's death) and Linnell-Rinder sets (1818-20). The Hooper-Harvard and Stirling-Mellon copies were printed next (1820 watermarks only), with a number of plates in Chapter 2 reordered; both remained unsold and Blake only finished the illumination of the latter shortly before he died. The Toovey-Morgan set (1824 and 1826 watermarks) is the last copy printed by Blake, for which he reverted to the original plate order.
The evidence of numerous deletions and insertions in the plates -- words and lines scratched out, changed, or painted over -- is witness to Blake's continuous creative process, even as he was printing the work and after. The extent and significance of the deletions and alterations were brilliantly investigated by David V. Erdman, whose article ("The Suppressed and Altered Passages in Blake's Jerusalem," Studies in Bibliography (1964), pp. 1-54) presents the analysis and reconstruction with a clarity that is rare in Blake studies.
The B.M. and Rinder copies were the first complete sets produced by Blake and no doubt printed simultaneously. As they chronologically form a natural pair, it is instructive to compare them. Since Blake never stopped experimenting and one of the sets was pre-sold to Linnell, it would be surprising if there had not been considerable differences. Between them, the impressions of some plates show more or less black and white contrast in the illustrations or greater modulation in the range of greys; the effect of the white line is sometimes enhanced or obscured from one impression to the other, and entire areas change aspect through a variation in inking. The Rinder copy has the most significant additions in pen and ink, washes in various tones (e.g. plate 46) and portions heightened in white. (The green tinting in plate 16 of this copy has been noticed and commented upon by several connoisseurs, but is probably accidental.) The fact that one of the sets in the making was reserved for John Linnell and delivered in chapter units of twenty-five plates may account for the highly finished state of the black-and-white "illumination" in the Rinder copy.
TEXT AND ILLUSTRATION
Every page of Jerusalem has a different, and always striking, design, which only becomes fully intelligible through close study of the text. The program of illustration comprised 6 full-page pictures (including title), 46 plates with large pictures at the head and/or foot of the page (often forming the dominant part of the design), 14 plates with interlinear pictures and 15 with smaller ones in the right-hand margins; 19 plates have mostly text with very little ornament, Blake's calligraphy fulfilling a decorative as well as its textual function. "Aesthetic as well as schematic considerations may have influenced the decision to delete all text from Plate 1, to make it a silent and sombre frontispiece to the series continuing in 26, 51, 76, 100 [the four chapter frontispieces]" (Erdman art. cit p. 8-9.
In his address "To the Public" (plate 3) Blake wrote [his cancellations bracketed]:
Reader! [lover] of books! [lover] of heaven,
And of that God from whom [all books are given],
Who in mysterious Sinais awful cave
To Man the wond'rous art of writing gave.
Again he speaks in thunder and in fire!
Thunder of Thought, & flames of fierce desire:
Even from the depths of Hell his voice I hear,
Within the unfathomd caverns of my Ear.
Therefore I print; nor vain my types shall be:
Heaven, Earth & Hell, henceforth shall live in harmony.
(Blake often used the word type or stereotype to describe the relief copperplate, which in his hands was not immutable.)
There is extensive literature on the obscure symbolism of the poem. A detailed discussion is found in Joseph Wicksteed's commentary volume to the facsimile edition of the copy here offered for sale (Trianon Press 1953). However, clearer and more concise is S. Foster Damon's account in A Blake Dictionary, the ideals and symbols of William Blake (London 1973), pp. 208-213, from which we quote three short paragraphs (the numbers refer to the plates and lines):
The dream-plot of Jerusalem is so complex, so interrupted by laments, colloquies, repetitions, and seemingly unrelated episodes, that the basic structure was not discovered until Dr. Karl Kiralis analyzed it in a brilliant study (ELH, Vol. XXIII, June 1956). The tale proceeds not by action but by the sequence of ideas. Chapter i describes the Fall of Man into "the sleep of Ulro"; the remaining three chapters descibe his "passage through Eternal Death! and ... the awaking to Eternal Life" (J 4:1). These three are addressed respectively to the Jews, the Deists, and the Christians; they analyze man's progress through Experience until he reaches the Truth. They correspond to Blake's threefold division into "the Three Regions immense of Childhood, Manhood, & Old Age [maturity]" (14:25; 98:33). The Jewish religion is that of the Moral Law and the Angry God; it pertains to the childhood of the human race and of the individual as well. The Deist religion, that of young manhood, retains the Moral Law, but substitutes Nature for God. The Christian religion, that of maturity, is particularly plagued by the errors of sex -- the false ideal of chastity, which produces the spiritual dominion of woman. Eventually all these errors are worked out, and the final truth is obtained in the recovery to man of his perfect balance of faculties and the fullness of power, and in his eternal union with God.
"Jerusalem" is both the first and the last word of the poem, indicating that Blake was concerned, first and last, with Liberty. It is the ideal for the individual and also for society, for on Liberty is based the Brotherhood of Man, without which Man cannot exist. It is "the Divine Appearance" (33:52); it is the true religion (57:10); without it, "Man Is Not" (96:16).
CENSUS
At least 6 copies (including one of Chapter 1 only) were printed by Blake. The Felix Isman copy (Copy G) is probably a ghost. A number of proof impressions -- single or in pairs printed recto/verso -- survive in over a dozen locations, but have been excluded from this census. THE RINDER COPY IS THE LAST COMPLETE SET REMAINING IN PRIVATE HANDS, and it is likely that no opportunity of acquiring one will occur again. Blake found it exceedingly difficult to sell the book, and after his death in 1827 the remaining copies and the original copper plates passed to his wife, Catherine, and on her death to Frederick Tatham (1805-78), who had supported her in the last years. Tatham arranged to have three further copies of Jerusalem printed ca. 1831-32. Since then the copper plates have been lost. We list the locations of extant copies in their probable chronological order of printing (followed by Bentley's designation and order). Only two changes of ownership have taken place since Bentley's census of 1977, neither through the open market.
1. Copy B: Cambridge, Fitzwilliam Museum (on deposit from Lord Cunliffe). Chapter 1 only, 25 plates printed not before 1818 (watermark dates), brownish red ink. Coloured by Blake and sold to P. A. Hanrott not after 1821.
2. Copy C: England, descendant of the late Frank Rinder, Esq.
3. Copy A: London, British Museum Print Room. Printed in 1818-20 (watermark dates), black ink. Bought by William Young Ottley in 1827.
4. Copy D: Cambridge, Mass., Harvard University, Houghton Library. Printed not before 1820 (watermark dates), black ink. Bought by the American collector, Edwin William Hooper ca. 1880.
5. Copy E: New Haven, Conn., Yale University, British Art Center (Paul Mellon Collection). Printed not before 1820 (watermark dates), orange ink. Illuminated by Blake over an extended period of time. Acquired by Frederick Tatham from Catherine Blake ca. 1831; Christie's sales 6th November 1863, lot 263 for 48 gns. (Daniels) and 1st June 1887, lot 255 for (166 (Quaritch); purchased ca. 1893 by Archibald Stirling.
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6. Copy H: Cambridge, Fitzwilliam Museum. Printed not before 1831-32 (watermark dates), reddish brown ink. Bought in 1833 from Tatham by Samuel Boddington; 1912 gift to the Fitzwilliam from Charles Fairfax Murray.
7. Copy I: Washington, D.C., Library of Congress. Printed not before 1831-32 (watermark dates), reddish brown ink. Bought at auction in 1852 by R. M. Milnes, in 1903 by W. A. White; purchased in 1929 through Rosenbach by Lessing Rosenwald, who presented it to LC.
8. Copy J: New Haven, Conn., Yale University, Beinecke Library. Printed not before 1831 (watermark dates), reddish brown ink. Bought by James Vine, his sale at Christie's 24 April 1838; in this century the American collectors, Cortlandt Bishop and lastly Charles J. Rosenbloom.
No copy has appeared at auction since this one at the Linnell sale in 1918, and the last one handled in the trade was the Stirling copy sold to Mellon through Scribner's of New York in 1952.
LITERATURE (not fully cited in the description)
Ruthven Todd, "The Techniques of William Blake's Illuminated Printing," Print VI (1948), no. 1, pp. 53-56.
G. Keynes and E. Wolf 2nd, William Blake's Illuminated Books: A Census (1953)
G. E. Bentley, Jr., Blake Records (1969)
G. E. Bentley, Jr., Blake Books. Annotated Catalogues of William Blake's Writings (1977)
G. E. Bentley, Jr., editor. William Blake's Writings, vol. I (1978) M. Butlin, William Blake (Tate Gallery 1978)
M. D. Paley, William Blake (1978)
D. Bindman and D. Toomey, The Complete Graphic Works of William Blake (1978)
320 x 250mm. (12½ x 9¾ in.). 100 relief etchings with white-line engraving, printed in black, frequent additions of black and grey wash with occasional touches of ink and white heightening by the artist; on rectos only of 100 leaves of wove paper, watermarked J Whatman 1818, 1819 or 1820. The plates (25 to each chapter), incorporating illustration and text, measure 225 x 164mm., 220 x 170mm., and somewhat smaller, and are foliated in ink in Blake's hand; he has altered in manuscript the catchword of plate 70 from His to And. (Slight original paper faults causing a marginal crease in plates 3 and 83, in the latter case just touching the image, but the book is IN ORIGINAL, COMPLETE AND EXTREMELY FINE CONDITION, the paper remarkably fresh.)
BINDING
Bound ca. 1824 for John Linnell. Thin parchment over pasteboard, flat spine gilt-tooled in compartments with dark blue morocco gilt lettering piece (the plates, which do not form a codex, skilfully reglued into the casing, resewn with original stab-holes partly visible, and rebacked at the British Museum in 1926 in white morocco, the original backstrip and lettering piece laid down). The earliest surviving binding on any copy of Jerusalem.
PROVENANCE
This was the first complete copy of Jerusalem (Bentley's Copy C) to be sold by Blake, perhaps preceded by the coloured set of Chapter 1 only (Copy B).
1. John Linnell (1792-1882), eminent portrait and landscape painter, admirer and friend of Blake's and the first great collector of his work. He bought Jerusalem in three or four instalments, first Chapter 2 (plates 26-50, 1818 watermarks only) on 30th December 1819 for 14 shillings, the "Balance" (presumably Chapter 4, plates 76-100, 1820 watermarks only) on 4th February 1821 for 15 shillings; see Bentley, Blake Records, pp. 581, 585. During the course of 1820 he must have acquired Chapters 1 and 3 (1818-1820 watermarks) at similar prices.
2. Herbert Linnell, John's grandson (by bequest). Sold at Christie's, "Catalogue of the John Linnell Collection of highly important works of William Blake Obtained direct from the Artist", 15th March 1918, lot 194, 85 gns. to
3. Francis Edwards, booksellers, perhaps in partnership with the dealer James Tregaskis, who sold the book for (155/7s/4d. to
4. Frank Rinder, who paid in War Bonds and by cheque on 2nd April 1918. He lent it in 1927 to the Burlington Fine Arts Club for the Blake Centenary Exhibition (no. 88 in the catalogue). His widow lent it in 1947 to the British Council for a travelling exhibition to Paris-Antwerp-Zurich and finally London (Tate Gallery no. 41), and allowed the Trianon Press to publish a facsimile of the Rinder copy for the William Blake Trust (printed in Paris, 1953).
5. By descent to the present owner
PRINTING HISTORY
Blake's prophetic books, and Jerusalem especially, may be described as the earliest and greatest of all "livres d'artiste" (with the possible exception of Delacroix's Faust), while fusing the content of text and pictures to a far greater extent. The complexity of the plot and ideas in Jerusalem finds a curious reflection in that of the book's production history. The importance of illustration to text in Blake's writing is expressed by their extraordinary physical integration, which the artist achieved in the etching and engraving of his copperplates. Such a combination of different elements created from a single imaginative source is perhaps unique in the history of art and literature. In his illustrated books Blake broke with tradition by abandoning the intaglio process for working and printing metal plates. His adoption of relief etching and white-line engraving to integrate text and illustration recalls xylography and 15th-century metalcuts, but the technical difficulties involved in executing 100 large copper plates that allow modulation in inking and pressure, and thus the accomplishment of the desired artistic effects, were enormous; in their resolution is Blake's unsurpassed mastery displayed.
Jerusalem is the last, longest and greatest of Blake's prophetic books in "illuminated printing". The artist-poet began the work in 1804, but most of the etching was probably done after the final printing of Milton in 1815. He started printing the first two chapters of Jerusalem in 1818 and continued to print, alter, reorder, and in one case colour -- but rarely to sell -- sets of plates until the end of his life; several sets were printed posthumously and sold by Blake's executor, Frederick Tatham. The coloured Hanrott-Cunliffe copy of Chapter 1 was printed first (1818), immediately followed by the complete Ottley-British Museum (not sold until Blake's death) and Linnell-Rinder sets (1818-20). The Hooper-Harvard and Stirling-Mellon copies were printed next (1820 watermarks only), with a number of plates in Chapter 2 reordered; both remained unsold and Blake only finished the illumination of the latter shortly before he died. The Toovey-Morgan set (1824 and 1826 watermarks) is the last copy printed by Blake, for which he reverted to the original plate order.
The evidence of numerous deletions and insertions in the plates -- words and lines scratched out, changed, or painted over -- is witness to Blake's continuous creative process, even as he was printing the work and after. The extent and significance of the deletions and alterations were brilliantly investigated by David V. Erdman, whose article ("The Suppressed and Altered Passages in Blake's Jerusalem," Studies in Bibliography (1964), pp. 1-54) presents the analysis and reconstruction with a clarity that is rare in Blake studies.
The B.M. and Rinder copies were the first complete sets produced by Blake and no doubt printed simultaneously. As they chronologically form a natural pair, it is instructive to compare them. Since Blake never stopped experimenting and one of the sets was pre-sold to Linnell, it would be surprising if there had not been considerable differences. Between them, the impressions of some plates show more or less black and white contrast in the illustrations or greater modulation in the range of greys; the effect of the white line is sometimes enhanced or obscured from one impression to the other, and entire areas change aspect through a variation in inking. The Rinder copy has the most significant additions in pen and ink, washes in various tones (e.g. plate 46) and portions heightened in white. (The green tinting in plate 16 of this copy has been noticed and commented upon by several connoisseurs, but is probably accidental.) The fact that one of the sets in the making was reserved for John Linnell and delivered in chapter units of twenty-five plates may account for the highly finished state of the black-and-white "illumination" in the Rinder copy.
TEXT AND ILLUSTRATION
Every page of Jerusalem has a different, and always striking, design, which only becomes fully intelligible through close study of the text. The program of illustration comprised 6 full-page pictures (including title), 46 plates with large pictures at the head and/or foot of the page (often forming the dominant part of the design), 14 plates with interlinear pictures and 15 with smaller ones in the right-hand margins; 19 plates have mostly text with very little ornament, Blake's calligraphy fulfilling a decorative as well as its textual function. "Aesthetic as well as schematic considerations may have influenced the decision to delete all text from Plate 1, to make it a silent and sombre frontispiece to the series continuing in 26, 51, 76, 100 [the four chapter frontispieces]" (Erdman art. cit p. 8-9.
In his address "To the Public" (plate 3) Blake wrote [his cancellations bracketed]:
Reader! [lover] of books! [lover] of heaven,
And of that God from whom [all books are given],
Who in mysterious Sinais awful cave
To Man the wond'rous art of writing gave.
Again he speaks in thunder and in fire!
Thunder of Thought, & flames of fierce desire:
Even from the depths of Hell his voice I hear,
Within the unfathomd caverns of my Ear.
Therefore I print; nor vain my types shall be:
Heaven, Earth & Hell, henceforth shall live in harmony.
(Blake often used the word type or stereotype to describe the relief copperplate, which in his hands was not immutable.)
There is extensive literature on the obscure symbolism of the poem. A detailed discussion is found in Joseph Wicksteed's commentary volume to the facsimile edition of the copy here offered for sale (Trianon Press 1953). However, clearer and more concise is S. Foster Damon's account in A Blake Dictionary, the ideals and symbols of William Blake (London 1973), pp. 208-213, from which we quote three short paragraphs (the numbers refer to the plates and lines):
The dream-plot of Jerusalem is so complex, so interrupted by laments, colloquies, repetitions, and seemingly unrelated episodes, that the basic structure was not discovered until Dr. Karl Kiralis analyzed it in a brilliant study (ELH, Vol. XXIII, June 1956). The tale proceeds not by action but by the sequence of ideas. Chapter i describes the Fall of Man into "the sleep of Ulro"; the remaining three chapters descibe his "passage through Eternal Death! and ... the awaking to Eternal Life" (J 4:1). These three are addressed respectively to the Jews, the Deists, and the Christians; they analyze man's progress through Experience until he reaches the Truth. They correspond to Blake's threefold division into "the Three Regions immense of Childhood, Manhood, & Old Age [maturity]" (14:25; 98:33). The Jewish religion is that of the Moral Law and the Angry God; it pertains to the childhood of the human race and of the individual as well. The Deist religion, that of young manhood, retains the Moral Law, but substitutes Nature for God. The Christian religion, that of maturity, is particularly plagued by the errors of sex -- the false ideal of chastity, which produces the spiritual dominion of woman. Eventually all these errors are worked out, and the final truth is obtained in the recovery to man of his perfect balance of faculties and the fullness of power, and in his eternal union with God.
"Jerusalem" is both the first and the last word of the poem, indicating that Blake was concerned, first and last, with Liberty. It is the ideal for the individual and also for society, for on Liberty is based the Brotherhood of Man, without which Man cannot exist. It is "the Divine Appearance" (33:52); it is the true religion (57:10); without it, "Man Is Not" (96:16).
CENSUS
At least 6 copies (including one of Chapter 1 only) were printed by Blake. The Felix Isman copy (Copy G) is probably a ghost. A number of proof impressions -- single or in pairs printed recto/verso -- survive in over a dozen locations, but have been excluded from this census. THE RINDER COPY IS THE LAST COMPLETE SET REMAINING IN PRIVATE HANDS, and it is likely that no opportunity of acquiring one will occur again. Blake found it exceedingly difficult to sell the book, and after his death in 1827 the remaining copies and the original copper plates passed to his wife, Catherine, and on her death to Frederick Tatham (1805-78), who had supported her in the last years. Tatham arranged to have three further copies of Jerusalem printed ca. 1831-32. Since then the copper plates have been lost. We list the locations of extant copies in their probable chronological order of printing (followed by Bentley's designation and order). Only two changes of ownership have taken place since Bentley's census of 1977, neither through the open market.
1. Copy B: Cambridge, Fitzwilliam Museum (on deposit from Lord Cunliffe). Chapter 1 only, 25 plates printed not before 1818 (watermark dates), brownish red ink. Coloured by Blake and sold to P. A. Hanrott not after 1821.
2. Copy C: England, descendant of the late Frank Rinder, Esq.
3. Copy A: London, British Museum Print Room. Printed in 1818-20 (watermark dates), black ink. Bought by William Young Ottley in 1827.
4. Copy D: Cambridge, Mass., Harvard University, Houghton Library. Printed not before 1820 (watermark dates), black ink. Bought by the American collector, Edwin William Hooper ca. 1880.
5. Copy E: New Haven, Conn., Yale University, British Art Center (Paul Mellon Collection). Printed not before 1820 (watermark dates), orange ink. Illuminated by Blake over an extended period of time. Acquired by Frederick Tatham from Catherine Blake ca. 1831; Christie's sales 6th November 1863, lot 263 for 48 gns. (Daniels) and 1st June 1887, lot 255 for (166 (Quaritch); purchased ca. 1893 by Archibald Stirling.
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6. Copy H: Cambridge, Fitzwilliam Museum. Printed not before 1831-32 (watermark dates), reddish brown ink. Bought in 1833 from Tatham by Samuel Boddington; 1912 gift to the Fitzwilliam from Charles Fairfax Murray.
7. Copy I: Washington, D.C., Library of Congress. Printed not before 1831-32 (watermark dates), reddish brown ink. Bought at auction in 1852 by R. M. Milnes, in 1903 by W. A. White; purchased in 1929 through Rosenbach by Lessing Rosenwald, who presented it to LC.
8. Copy J: New Haven, Conn., Yale University, Beinecke Library. Printed not before 1831 (watermark dates), reddish brown ink. Bought by James Vine, his sale at Christie's 24 April 1838; in this century the American collectors, Cortlandt Bishop and lastly Charles J. Rosenbloom.
No copy has appeared at auction since this one at the Linnell sale in 1918, and the last one handled in the trade was the Stirling copy sold to Mellon through Scribner's of New York in 1952.
LITERATURE (not fully cited in the description)
Ruthven Todd, "The Techniques of William Blake's Illuminated Printing," Print VI (1948), no. 1, pp. 53-56.
G. Keynes and E. Wolf 2nd, William Blake's Illuminated Books: A Census (1953)
G. E. Bentley, Jr., Blake Records (1969)
G. E. Bentley, Jr., Blake Books. Annotated Catalogues of William Blake's Writings (1977)
G. E. Bentley, Jr., editor. William Blake's Writings, vol. I (1978) M. Butlin, William Blake (Tate Gallery 1978)
M. D. Paley, William Blake (1978)
D. Bindman and D. Toomey, The Complete Graphic Works of William Blake (1978)