PropertyValue
?:P102_has_title
?:P104_is_subject_to
?:P12i_was_present_at
?:P138i_has_representation
is ?:P140_assigned_attribute_to of
?:P1_is_identified_by
?:P24i_changed_ownership_through
?:P2_has_type
?:P30i_custody_transferred_through
?:P39i_was_measured_by
?:P43_has_dimension
?:P45_consists_of
?:P46i_forms_part_of
?:P48_has_preferred_identifier
?:P50_has_current_keeper
?:P52_has_current_owner
?:P55_has_current_location
?:P62_depicts
?:P65_shows_visual_item
?:P70_is_documented_in
?:P70i_is_documented_in
?:PX_curatorial_comment
  • In about 1795 the London bookseller Richard Edwards commissioned William Blake to provide illustrations for a deluxe edition of Edward Young’s “Night Thoughts”. A standard edition of the poem was taken apart and the pages mounted on large sheets of paper on which Blake drew and colored his designs. Blake created 537 illustrations on 269 sheets (now in the British Museum, London), only a fraction of which were actually published. With the model of Blake’s watercolors for “Night Thoughts” in mind, Blake’s friend John Flaxman commissioned a set of watercolor illustrations of the poems of Thomas Gray as a birthday gift for his wife, Ann, known as Nancy. Again the pages of a standard edition of the poems were mounted on large sheets, perhaps left over from the earlier project, on which Blake created his watercolor illustrations. Unlike his illustrations to “Night Thoughts”, these 116 watercolors on fifty-eight sheets (all now in the Paul Mellon Collection, YCBA) were never intended for publication. On each of the pages of text Blake marked with a graphite “X” the lines that he intended to illustrate. The three pages displayed in the 2007 YCBA “Legacy Exhibition” convey something of the range and variety of Blake’s responses to Gray’s poetry. “The Bard” was a seminal text of Romantic nationalism. Based on the traditional account of the killing of the Celtic minstrel-poets by Edward I after his conquest of Wales, the poem is the lament of the lone surviving bard and his curse on Edward and his descendants. Blake himself identified with the bard, writing in the Introduction to the Songs of Experience: “Hear the voice of the Bard!” For the opening of Gray’s poem, Blake produced one of the most powerful designs in the set. Departing from his standard practice, he chose to illustrate a line later in the poem. He marked a double “X” in the upper left of the letterpress page, which corresponds to the similarly marked line, “And weave with bloody hands the tissue of thy line,” several pages further on. The figure of the bard plucks the bloody strands from which he will weave Edward’s fate. The strands at the same time suggest the harp with which the bard traditionally accompanied his songs.
?:PX_curatorial_comment
  • In about 1795 the London bookseller Richard Edwards commissioned William Blake to provide illustrations for a deluxe edition of Edward Young’s “Night Thoughts”. A standard edition of the poem was taken apart and the pages mounted on large sheets of paper on which Blake drew and colored his designs. Blake created 537 illustrations on 269 sheets (now in the British Museum, London), only a fraction of which were actually published. With the model of Blake’s watercolors for “Night Thoughts” in mind, Blake’s friend John Flaxman commissioned a set of watercolor illustrations of the poems of Thomas Gray as a birthday gift for his wife, Ann, known as Nancy. Again the pages of a standard edition of the poems were mounted on large sheets, perhaps left over from the earlier project, on which Blake created his watercolor illustrations. Unlike his illustrations to “Night Thoughts”, these 116 watercolors on fifty-eight sheets (all now in the Paul Mellon Collection, YCBA) were never intended for publication. On each of the pages of text Blake marked with a graphite “X” the lines that he intended to illustrate. The three pages displayed in the 2007 YCBA “Legacy Exhibition” convey something of the range and variety of Blake’s responses to Gray’s poetry. “The Bard” was a seminal text of Romantic nationalism. Based on the traditional account of the killing of the Celtic minstrel-poets by Edward I after his conquest of Wales, the poem is the lament of the lone surviving bard and his curse on Edward and his descendants. Blake himself identified with the bard, writing in the Introduction to the Songs of Experience: “Hear the voice of the Bard!” For the opening of Gray’s poem, Blake produced one of the most powerful designs in the set. Departing from his standard practice, he chose to illustrate a line later in the poem. He marked a double “X” in the upper left of the letterpress page, which corresponds to the similarly marked line, “And weave with bloody hands the tissue of thy line,” several pages further on. The figure of the bard plucks the bloody strands from which he will weave Edward’s fate. The strands at the same time suggest the harp with which the bard traditionally accompanied his songs.
?:PX_display_wrap
  • Alternate title :: The Bard Weaving Edward's Fate, From 'The Bard: A Pindaric Ode', a poem by Thomas Gray
  • Bibliograpic reference ::
  • Bibliograpic reference :: Arnold Fawcus, Unknown Watercolours by William Blake, Illustrated London News, vol. 259, No. 6881, December 25, 1971, pp. 45-46, 49-51, Available online: Illus London News Hist. Archiv
  • Bibliograpic reference :: Colin Cross, Blake revealed, William Blake : Discovery of a Masterwork, Observer, vol. 12, November 21, 1971, pp. 19-23, V 1245 , Detached from Observer colour magazine
  • Bibliograpic reference :: John Baskett, Paul Mellon's legacy, a passion for British art : masterpieces from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 2007, pp. 275-76, no. 71, pl. 71, N5220 M552 P38 2007 OVERSIZE (YCBA)
  • Bibliograpic reference :: John Russell, Blake the Craftsman, Art, Sunday Times, Issue no. 7749, December 12, 1971, p. 27, Available online : Sunday Times Digital Archive
  • Bibliograpic reference :: Patrick Noon, A Princely Amateur, Paul Mellon and his Collection of British Drawings, Master Drawings, vol. 38, no. 3, Master Drawings Association, Inc., Fall, 2000, pp. 340-42;, fog. 3, NC1 M37 (YCBA) , Another copy available as item VF 2329
  • Bibliograpic reference :: Yale Center for British Art, Wales, New Haven, 2014, p. 21, V2519 (YCBA)
  • Component of series :: The Poems of Thomas Gray
  • Dimension height :: 41.9cm
  • Dimension width :: 32.4cm
  • Exhibition :: An American's Passion for British Art - Paul Mellon's Legacy
  • Exhibition :: Art in Focus : Wales
  • Exhibition :: Paul Mellon's Legacy : A Passion for British Art
  • Exhibition :: The Human Form Divine - William Blake from the Paul Mellon Collection
  • Located in :: New Haven
  • Located in :: Not on view
  • Located in :: YCBA, 222, C 44, Sh- 3
  • Located in :: Yale Center for British Art
  • Object type :: drawing
  • Object type :: watercolor
  • Subject Concept :: armor
  • Subject Concept :: bard
  • Subject Concept :: beard
  • Subject Concept :: crown (costume component)
  • Subject Concept :: feather
  • Subject Concept :: horse (animal)
  • Subject Concept :: knights (landholders)
  • Subject Concept :: lance
  • Subject Concept :: leaf
  • Subject Concept :: literary theme
  • Subject Concept :: man
  • Subject Concept :: men
  • Subject Concept :: religious and mythological subject
  • Subject Concept :: robe
  • Subject Concept :: ropes
  • Subject Concept :: spear
  • Subject Concept :: text
  • Subject Concept :: trees
  • Subject Concept :: vines
  • Subject Concept :: women
?:PX_display_wrap
  • ...
?:PX_has_credit_line
  • Yale Center for British Art, Paul Mellon Collection
?:PX_has_main_representation
?:label
  • The Poems of Thomas Gray, Design 55, "The Bard."
?:type