However, unlike ‘Nebuchadnezzar’, where the character of all three known copies is very similar, the Glen Foerd copy of ‘Newton’ is very different, being closer to the Tate Gallery copies of ‘Pity’ and ‘Hecate’, nos.30 and 31. Before the discovery of the 1804 watermark I had assumed that the Tate Gallery copy of the design was the first to be pulled. Tonner, now belongs to the Lutheran Church in America, Glen Foerd at Torresdale, Philadelphia (Butlin 1981, no.307, pl.408). The only other known copy of this print, formerly in the collection of Mrs William T. Listed in Blake's account with Thomas Butts of 3 March 1806, apparently as having been delivered on 7 September 1805, as is the probable companion ‘Nebuchadnezzar’. Mitchell, ‘Metamorphoses of the Vortex: Hogarth, Turner, and Blake’, Richard Wendorf, ed., Articulate Images: The Sister Arts from Hogarth to Tennyson 983 Warner 1984, p.102 Hoagwood 1985, p.69 Baine 1986, p.127, pl.57 Boime 1987, pp.352–5, pl.4.49 Also repr:Figgis 1925, p.75 Mizue, no.812, 1973, ⅔, p.13, colour pl.2 Bindman 1982, p.55, colour pl.VI Morton Paley, review of 1982–3 exhibition, Burlington Magazine, CXXIV, 1982, pp.789–90 Bindman in Blake, XVI, 1982–3, pp.224–5 Essick in Blake, XVI, 1982–3, pp.35–6 Ruth E. in colour Bindman Graphic Works 1978, no.336, repr. Essick, ‘Blake's Newton’, Blake Studies, 111, 1971, pp.149–62, pl.1 Gage in Warburg Journal, XXXIV, 1971, pp.372–7, pl.66b Helmstadter in Blake Studies, V, 1972–3, p.108 Donald Ault, Visionary Physics: Blake's Response to Newton, 1974, pp.2–4, repr. Nurmi, ‘Blake's “Ancient of Days” and Motte's Frontispiece to Newton's Principia’, Pinto 1957, pp.207–16 Blunt 1959, pp.35, 60, pl.30c Paul Miner, ‘The Polyp as a Symbol in the Poetry of William Blake’, Studies in Literature and Language, University of Texas, 11, 1960, pp.198–205 Damon 1965, pp.91, 298–9 Beer 1968, pp.191, 257, pl.48 Keynes Letters 1968, p.118 Raine 1968, 11, pp.64–5, 136, pl.159 Bentley Blake Records 1969, p.573 Kostelanctz in Rosenfeld 1969, p.126 Robert N. Graham RobertsonĮXHIBITED BFAC 1876 (172) Carfax 1906 (29) Tate Gallery 1913 (63) on loan to Tate Gallery 1923–7 BFAC 1927 (54, pl.40) Wartime Acquisitions National Gallery 1942 (11, repr.) Paris, Antwerp (pl.25), Zurich (repr.) and Tate Gallery (repr.) 1947 (36) Romantic Movement Arts Council 1959 (612) Paris 1972 (14, repr.): Hamburg and Frankfurt 1975 (61, repr.) Tate Gallery 1978 (92, repr.) New Haven and Toronto 1982–3 (56b, colour pl.VI) PROVENANCE Thomas Butts Thomas Butts jun.
and inscribed ‘Newton’ below design Watermarked ‘JWHATMAN/1804’ Colour print finished in ink and watercolour 460×600 (18 1/2×23 1/2) on paper approx.
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