Collection
William Blake
Explore curated art prints selected for distinctive homes and considered interiors.
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When the morning stars sang together - William BlakePrint · Framed
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Job Confessing His Presumption to God - William BlakePrint
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Christ as the Redeemer of Man - William BlakePrint
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The Great Red Dragon and the Woman Clothed in Sun - William BlakePrint
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A white haired man in a long, pale robe who flees from us with his hands raised - William BlakePrint
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Naomi entreating Ruth and Orpah to return to the land of Moab - William BlakePrint
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Andrew, Simon Peter Searching for Christ - William BlakePrint
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Newton - William BlakePrint
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The Vestibule of Hell - William BlakePrint
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The Temptation and Fall of Eve - William BlakePrint
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Raphael Warns Adam and Eve - William BlakePrint
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The Ghost of a Flea - William BlakePrint
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The Angels Appearing to the Shepherds - William BlakePrint
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The Last Judgement - William BlakePrint
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Milton's Mysterious Dream - William BlakePrint
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The Dream of Comus - William BlakePrint
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Night Startled by the Lark - William BlakePrint
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The Descent of Christ - William BlakePrint
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Antaeus setting down Dante and Virgil in the last circle of hell - William BlakePrint
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The Wandering Moon - William BlakePrint
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The Ancient of Days - William BlakePrint
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The First Temptation - William BlakePrint
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The Nativity - William BlakePrint
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The Spirit of Plato - William BlakePrint
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Artist Biography
William Blake
Blake saw angels in a tree when he was about eight years old, at Peckham Rye in south London. Bright angelic wings, he said, bespangling every bough like stars. When he reported this at home, his father nearly beat him for lying. His mother intervened. He was never sent to school. He later said he was grateful for this, having been spared being flogged into following the style of a fool.
He married Catherine Boucher in 1782. She was illiterate at the time and signed the marriage register with an X. He taught her to read, write, and engrave, and she became his collaborator for the next forty-five years: mixing paint, operating the printing press, hand-colouring plates, and binding the finished pages into covers.
Their working method was Blake's own invention, revealed to him (he said) in a dream by the spirit of his dead brother Robert. Relief etching reversed the standard printmaking process: instead of cutting lines into copper, Blake wrote and drew on the plate in acid-resistant varnish, then dissolved the surrounding metal with acid, leaving text and image raised. This allowed him to compose poetry and illustration simultaneously on a single plate, print them together, then hand-colour each sheet in watercolour. Every copy was therefore unique. Songs of Innocence and of Experience was produced this way. He sold fewer than thirty copies during his lifetime.
In 1803, he physically threw a soldier named John Schofield out of his garden in Felpham. He was charged with assault and with uttering treasonable expressions against the King. He was acquitted at the Chichester assizes in January 1804.
Newton, painted in 1795, shows the scientist as a young man with the body of a Greek god, bent forward at the bottom of a dark ocean, fixing his gaze on a pair of compasses, measuring and drawing on a scroll that appears to project from his own head. It is a painting about the limits of reason: beautiful, precise, and missing everything beyond the edge of the paper. The Ancient of Days, from the same period, depicts his mythological figure Urizen crouching at the edge of a void, reaching down with a compass to measure the darkness below.
He died on 12 August 1827, working on illustrations for Dante's Divine Comedy. He was buried at Bunhill Fields. The wider recognition came decades later.
He married Catherine Boucher in 1782. She was illiterate at the time and signed the marriage register with an X. He taught her to read, write, and engrave, and she became his collaborator for the next forty-five years: mixing paint, operating the printing press, hand-colouring plates, and binding the finished pages into covers.
Their working method was Blake's own invention, revealed to him (he said) in a dream by the spirit of his dead brother Robert. Relief etching reversed the standard printmaking process: instead of cutting lines into copper, Blake wrote and drew on the plate in acid-resistant varnish, then dissolved the surrounding metal with acid, leaving text and image raised. This allowed him to compose poetry and illustration simultaneously on a single plate, print them together, then hand-colour each sheet in watercolour. Every copy was therefore unique. Songs of Innocence and of Experience was produced this way. He sold fewer than thirty copies during his lifetime.
In 1803, he physically threw a soldier named John Schofield out of his garden in Felpham. He was charged with assault and with uttering treasonable expressions against the King. He was acquitted at the Chichester assizes in January 1804.
Newton, painted in 1795, shows the scientist as a young man with the body of a Greek god, bent forward at the bottom of a dark ocean, fixing his gaze on a pair of compasses, measuring and drawing on a scroll that appears to project from his own head. It is a painting about the limits of reason: beautiful, precise, and missing everything beyond the edge of the paper. The Ancient of Days, from the same period, depicts his mythological figure Urizen crouching at the edge of a void, reaching down with a compass to measure the darkness below.
He died on 12 August 1827, working on illustrations for Dante's Divine Comedy. He was buried at Bunhill Fields. The wider recognition came decades later.
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