Little Engravings Classical & Contemporary Number II. William Blake Being All His Woodcuts Photographically Reproduced In Facsimile [In Original And In Enlarged Seize]. At The Sign Of The Unicorn Cecil Court St. Martin's Lane London MDCCCCII [1902].

Little Engravings Classical & Contemporary Number II. William Blake Being All His Woodcuts Photographically Reproduced In Facsimile [In Original And In Enlarged Seize]. With An Introduction By Laurence Binyon. Thomas Sturge Moore, Ed. At The Sign Of The Unicorn Cecil Court St. Martin's Lane London MDCCCCII [1902]. New Edition Printed In Font-Type "Wm Blake". Illustrated With 30 Plates. Provided With 2 Frontispieces By Caitlin Hackett "Inspired Of William Blake". 2021 Bergen auf Rügen BaRB Verlag Uwe Löb. = Löb Library Volume LL 181. Editor/Herausgeber: Uwe Löb 47 p. 30 plates. Hardcover. paper: 80g/qm. book size: 21.5x30cm. Umweltpapier premiumweiss und klimaneutral. Photographer Filip Peña Cabrera 2021 Illustrated with two designs by Caitlin Hackett to William Blake`s Poems: Original canvas "Night" a 11" by 14" piece drawn in ballpoint pen, watercolor, colored pencil and metallic gold acrylic on paper. Inspired by William Blake`s poem "Night" 2014. Original canvas "The Crow Wished Everything Was Black, The Owl, That Everything was White" a 11" by 15" commission painting based on the line from William Blake`s poem "The Marriage of Heaven and Hell" 2014. William Blake; being all his woodcuts photographically reproduced in facsimile by Blake, William, 1757-1827; Binyon, Laurence, 1869-1943; Philips, Ambrose, 1674-1749 Publication date 1902 Topics Blake, William, 1757-1827 Publisher London: At the Sign of the Unicorn Illustrating the English imitation of the First Eclogue of Virgil, by Ambrose Philips. Originally designed and engraved by Blake for R. J. Thornton's School Virgil. "Beside their aboriginal and intuitive expressiveness, these woodcuts possess another source of charm, - in the poetical and pictorial richness of their subject matter, which offered no temptation to allegory, yet appealed to the artist's faith and native delight in Arcadian simplicity. The motives were simple and highly congenial, and in realising them Blake seems to have drawn on the happy and serene memories of his stay at Felpham, on the Sussex coast, the only years of his life not spent in London, and among the happiest he ever spent. Of all his productions these seem the most satisfying ; and in the history of wood- engraving they are numbered among the precious and far too rare examples of work in which the graving tool has been the direct instrument of an artist's thought, and the woodblock the recipient of his immediate inspiration. Series title also at head of titlepage Each plate preceded by leaf with descriptive text Title within line border. Editor/Herausgeber: Uwe Löb