Morris Eaves is co-editor (with Morton Paley, University of California, Berkeley) of Blake/An Illustrated Quarterly. In The Counter-Arts Conspiracy: Art and Industry in the Age of Blake, and subsequent essays, he has explored Blake's theories of art in their historical contexts, including the histories of visual art, commerce, and technology. His current project, Posterity, is a speculative study of editorial theory and practice in terms of the audience's historical power to preserve, alter, and abandon its objects of interest.

Robert N. Essick, a major collector of Blake's work, has spent much of his career expanding and correcting the knowledge of Blake as an artist. William Blake Printmaker was the first reliable and comprehensive account of a fundamental but neglected dimension of Blake's career. Subsequent writings, such as Essick's catalogues raisonnes of Blake's separate plates and commercial engravings, have been models of their kind, not only accurate and complete but also well-informed by the critical and analytical methods of contemporary art history.

Joseph Viscomi's experience as a printmaker and curator served him well in Blake and the Idea of the Book, a study of the production, editing, and dating of the illuminated books that overturned much of the conventional wisdom about Blake's illuminated-book medium. The second volume of this project, The Caves of Heaven and Hell: Reading the Illuminated Books, is now in progress. Other writings on Blake include studies on the evolution of The Marriage of Heaven and Hell and on Blake's market and reputation in the mid-nineteenth century.

Eaves, Essick, and Viscomi worked together on two volumes of the six-volume Blake Trust edition of Blake's illuminated books.