Seen
Not described yet.
Of
No subject recorded yet.
Means
No reading yet.
Rights
- Credit
- Yale Center for British Art, Paul Mellon Collection
- Licence
- PDM-1.0
- Evidence
- manifests.collections.yale.edu: Copyright Statement=Public Domain on ycba object 3e527560-5e24-42e4-9e06-d4c17ab96682 (https://manifests.collections.yale.edu/v2/ycba/obj/3511); Image Use Rights=No Copyright: You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission. (CC0 1.0) (read 2026-09-16)
- Record
- https://collections.britishart.yale.edu/catalog/tms:3511
- IIIF
- manifest

Also by William Blake
17







Within fifty years of 1804 to 1820
3211







Also at Yale Center for British Art
13







Similar picturesFound by visual likeness
4 picturesVisual resemblances suggested by the model. A match does not establish a shared subject or historical connection.




In the stacks
Not yet checked2Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.
At the end of last century a sort of revival took place under Thomas Bewick and his school, which led, not to a revival of the firm and open linear drawing of the designers of the early printers, but rather to a search after extra fineness and qualities of tone and colour, hitherto associated with steel or copper-plate. This tendency or aim of the engravers, however, only served to put the woodcut out of relation with the type, and the type itself grew uglier, and was hardly considered as part
0.70Of the Decorative Illustration of Books Old and New
When he came to embody his own thoughts and dreams, he recurred quite spontaneously to the methods of the maker of the MS. books. He became his own calligrapher, illuminator and miniaturist, while availing himself of the copper-plate (which he turned into a surface printing block) and the printing press for the reproduction of his designs, and in some cases for producing them in tints. His hand-coloured drawings, the borderings and devices to his own poems, will always be things by themselves. His treatment of the resources of black and
0.68