Herbert Grierson Collection

Title Page of the Geneva Bible, 1614, (1943). Creator: Unknown
Title Page of the Geneva Bible, 1614, (1943). The " Geneva" version of the Bible is significant because it was the first mechanically printed

Lord Byron as a Boy, 1799, (1943). Creator: Thomas Lawrence
Lord Byron as a Boy, 1799, (1943). Portrait of a child, possibly British poet George Gordon Byron (1788-1824). From " The English Bible", by Sir Herbert Grierson. [Collins, London, 1943]

William Tyndale, (1943). Creator: Unknown
William Tyndale, (1943). Undated portrait of a man, previously believed to be English translator and martyr William Tyndale (c1494-1536). Tyndale set out to translate the Bible into common English

The Sluggard, 19th century, (1943). Creator: Henry Fitzcook
The Sluggard, 19th century, (1943). A scruffy man lounges against a wall. His overgrown garden is full of thistles, and the church spire in the distance is choked with ivy

John Ruskin, 1879, (1943). Creator: Hubert von Herkomer
John Ruskin, 1879, (1943). Portrait of English author and critic John Ruskin (1819-1900). Ruskin was a leading art and social critic, author, poet and artist of the Victorian period

The Just Upright Man Is Laughed To Scorn, c1825, (1943). Creator: William Blake
The Just Upright Man Is Laughed To Scorn, c1825, (1943). Biblical scene, illustration to the Book of Job: Job laments the fact that, even though he has understanding and is morally upright

Bunyans Cottage, Elstow, Bedford, 1943. Creator: Henry Stannard
Bunyans Cottage, Elstow, Bedford, 1943. House lived in by John Bunyan (1628-1688), an English nonconformist preacher and writer

John Milton, (1943). Creator: George Vertue
John Milton, (1943). Portrait of English writer and poet John Milton (1608-1674) aged 62 in 1670, according to the Latin inscription

James I, 1620, (1943). Creator: Unknown
James I, 1620, (1943). Portrait of James I and VI (1566-1625), King of England and Scotland. James sponsored the publication of the King James Version of the Bible

The Resurrection, 1483, (1943). Creator: Unknown
The Resurrection, 1483, (1943). Christ rising from his tomb after being crucified. Page from the " Golden Legend", a collection of hagiographies compiled c1260 by Jacobus de Varagine

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Herbert Grierson: A Journey Through Time In the vast realm of art and literature, Herbert Grierson's name resonates as a connoisseur of history and culture. As we delve into his world, we discover captivating pieces that have left an indelible mark on our collective consciousness. The journey begins with the Title Page of the Geneva Bible from 1614. This enigmatic creation, its creator shrouded in mystery, serves as a portal to bygone eras. Grierson's fascination with historical artifacts is evident in his meticulous preservation of this masterpiece. Lord Byron as a Boy transports us to 1799 through Thomas Lawrence's skilled brushstrokes. The portrait captures the essence of young Byron, hinting at the poetic genius that would later captivate generations. Grierson recognized the significance of this piece and ensured its preservation for posterity. William Tyndale emerges from obscurity through an unknown artist's depiction in 1943. Tyndale's pioneering translation work laid the foundation for English literature and language itself. Grierson understood Tyndale's immense contribution and sought to honor him by safeguarding this artwork. Henry Fitzcook’s The Sluggard takes us back to the 19th century—a cautionary tale against laziness immortalized by Grierson’s discerning eye for detail. This painting reminds us that time is precious; it urges us not to squander it but instead embrace life’s opportunities with fervor. Elijah Restoring the Widow’s Son by Ford Madox Brown showcases biblical resurrection powerfully depicted in 1943—an artistic marvel preserved under Grierson’s watchful gaze. It reminds us that hope can be found even amidst despair, inspiring countless souls throughout centuries. John Ruskin comes alive through Hubert von Herkomer’s brushwork in 1879—a testament to Ruskin’s influence on art criticism during his time.