Douglas Percy Bliss Collection

Robinson Crusoe, chapbook cut, 18th century (1964). A print from A History of Wood Engraving, by Douglas Percy Bliss, Spring Books, London, 1964. (Colorised black and white print)

Illustration from the Kelmscott Press edition of the Works of Geoffrey Chaucer, 1896 (1964). Printed in Hammersmith, London, 1896. The Kelmscott Press was founded by William Morris in 1891

Maximilian I, Holy Roman Emperor, 1559 (1964). Maximilian (1459-1519) was Holy Roman Emperor from 1493-1519. He established the Habsburg dynasty as a European power

Aristotle and Phyllis, 1513 (1964). Aristotle seduced and humiliated by Phyllis after he objected to her distracting his pupil, Alexander, from his studies

Bewitched Groom (Sleeping Groom and a Sorceress), 1544 (1964). A print from A History of Wood Engraving, by Douglas Percy Bliss, Spring Books, London, 1964

Detail from the Apocalypse, 1498 (1964). A print from A History of Wood Engraving, by Douglas Percy Bliss, Spring Books, London, 1964

The Bride, the Daughter of Joy and their dead Selves, 1486 (1964). From Antoine Verards edition of Danse Macabre (Dance of Death), Paris, 1485

The Doctor and the Lover with their dead Selves, 1485 (1964). From Antoine Verards edition of Danse Macabre (Dance of Death), Paris, 1485

Christ before Pilate, 1488 (1964) From Leven ons Heeren, a Dutch translation of Vita Christi (Life of Christ) by the 14th century theologian Ludolph of Saxony, published in Delft, 1488

Title page to the Libre de les Dones of Cardinal Ximenes, Barcelona, 1495, (1964)
Title page to the Libre de les Dones of Cardinal Ximenes, 1495 (1964). Printed in Barcelona. A print from A History of Wood Engraving, by Douglas Percy Bliss, Spring Books, London, 1964

Title page to the Aureum Opus, 1515 (1964). Printed by Diego de Gumiel, Valencia, 1515. A print from A History of Wood Engraving, by Douglas Percy Bliss, Spring Books, London, 1964

Spanish caravel, 1439 (1964). An illustration from the Libre de Cosolat tractat dels fets maritims, Barcelona, 1439. A print from A History of Wood Engraving, by Douglas Percy Bliss, Spring Books

Venetian woodcut, c1500 (1964). An illustration from Luigi Pulcis Driadeo d Amore. A print from A History of Wood Engraving, by Douglas Percy Bliss, Spring Books, London, 1964

The Lover in the Wood, 1499 (1964). From the Hypnerotomachia Poliphili (Poliphilos Strife of Love in a Dream), a romance attributed to Francesco Colonna, printed in Venice in 1499

Thais and the youth, 1487 (1964). From Aesopus Fabulae, Venice, 1487. A print from A History of Wood Engraving, by Douglas Percy Bliss, Spring Books, London, 1964

The wife of Xanthus asleep, 1485 (1964). From Francesco del Tuppos translation of Aesops Fables, Naples, 1485. A print from A History of Wood Engraving, by Douglas Percy Bliss, Spring Books, London

Bathsheba, 1498 (1964). The Book of Samuel describes how Bathsheba, the wife of Uriah the Hittite, was seduced by King David after he saw her bathing from the roof of his palace

Death of Penthesilea, 1484 (1964). From Jacques Milets L istoire de la Destruction de Troye la Grant (Story of the Destruction of Troy), Paris, 1484

Illustration from Boethius De Consolatione Philosophiae, 1498 (1964)
Illustration from Boethius De Consolatione Philosophiae (Consolation of Philosophy), 1498 (1964). Printed in Paris by Jean de Vingle

Theatre, 1493 (1964). From the edition of the comedies of the Roman playwright Terence printed by Jean Trechsel of Lyons. A print from A History of Wood Engraving, by Douglas Percy Bliss

Adam and Eve, 1505 (1964). from Antoine Verards Bible en Francoys, A print from A History of Wood Engraving, by Douglas Percy Bliss, Spring Books, London, 1964

Illustration from Le Proprietaire des Choses, 1500 (1964). Printed in Paris by Duvost. A print from A History of Wood Engraving, by Douglas Percy Bliss, Spring Books, London, 1964

Initial Q, 1490 (1964). From the Recueil des Hystoires Troyennes, printed by Michel Topie and Jacques Heremberck. A print from A History of Wood Engraving, by Douglas Percy Bliss, Spring Books

Scene from the Schatzbehalter, 1491 (1964). The book was published in Nuremberg in 1491. The woodcuts were by Michael Wohlgemuth, the teacher of Albrecht Durer

Janissaries, 1486 (1964). From Bernhard von Breydenbachs Peregrinationes in Montem Syon (Travels in Mount Syon), 1486. Janissaries were soldiers that made up the bodyguard

Moses praying for the victory of Israel, 1480 (1964). From the Cologne Bible. A print from A History of Wood Engraving, by Douglas Percy Bliss, Spring Books, London, 1964

Woman and peacock, 1475 (1964). From Johann Zainers edition of Aesops Fables, Ulm, 1475. A print from A History of Wood Engraving, by Douglas Percy Bliss, Spring Books, London, 1964

Nero and Poppaea, 1479 (1964). Poppaea Sabina was the wife of the Roman Emperor Nero. From Anton Sorgs edition of Giovanni Boccaccio s, De Mulieribus Claris (On Famous Women), Ulm, 1479

Temptation to Avarice, c1465 (1964). From the Ars Moriendi (The Art of Dying), a 15th century guide to how to die a good death

Temptation to Impatience, c1465 (1964). From the Ars Moriendi (The Art of Dying), a 15th century guide to how to die a good death

The Nativity, c1503 (1964)
The Nativity, c1503, (1964). A print from A History of Wood Engraving, by Douglas Percy Bliss, Spring Books, London, 1964

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Douglas Percy Bliss was a renowned artist and illustrator, known for his captivating works that spanned across various centuries and themes. In 1964, he delved into the world of historical ballads with "The Royal Martyrdom, " a haunting depiction that transported viewers back to the year 1648. Through his masterful brushstrokes, Bliss captured the raw emotions and tragic fate of those involved in this tumultuous period. Continuing his exploration of literature, Bliss turned to another iconic tale in "Robinson Crusoe. " With a nod to the 18th-century chapbook cut style, he brought this beloved story to life once again. His attention to detail and ability to convey depth made each character leap off the page. Bliss's talent extended beyond storytelling as seen in his work on Geoffrey Chaucer's masterpiece. The Kelmscott Press edition of Chaucer's Works showcased Bliss's skillful illustrations that perfectly complemented these timeless tales from 1896. Intrigued by history and its darker aspects, Bliss also ventured into French popular woodcuts used for illustrating murders circa 1840. These chilling images provided an eerie glimpse into crime scenes while highlighting Bliss's versatility as an artist. Delving even further back in time, Maximilian I, Holy Roman Emperor became one of Bliss's subjects. Through careful study and artistic interpretation, he captured the essence of this influential figure from 1559 with remarkable accuracy. Bliss also explored classical themes such as Aristotle and Phyllis from 1513—a captivating portrayal showcasing their complex relationship through vivid colors and intricate details. Additionally, "Bewitched Groom" depicted a sleeping groom ensnared by a sorceress' enchantment in 1544—an enchanting yet foreboding scene brought to life by Bliss's imaginative vision. Venturing into religious imagery prevalent during medieval times, Bliss drew inspiration from works like "Detail from the Apocalypse" in 1498.