Frontispiece for America a Prophecy - William Blake
Archival giclée
Frames arrive ready to hang
Secure checkout
Made to order
Description
A haunting relief etching by William Blake, serving as the frontispiece to his 1793 prophetic book, depicting a bowed, winged figure beside a mother and child.
This print serves as the frontispiece to William Blake's 1793 prophetic book, 'America a Prophecy'. The composition presents a stark, allegorical scene that reflects the artist's preoccupation with political revolution and spiritual liberation. On the left, a massive, winged figure sits in a hunched, dejected posture, its head bowed and wings partially furled. This figure is often interpreted as a representation of the oppressive forces of the old world or the fallen state of humanity. To the right, a woman sits upon a stone structure, cradling a small child. Their forms are rendered with the muscular, elongated anatomy characteristic of Blake's figures. The background features heavy, swirling clouds and a rugged, architectural element, suggesting a landscape of desolation. The print employs Blake's signature relief etching technique, which allowed him to integrate text and image on the same copper plate. The application of watercolour adds a layer of atmospheric depth, with cool blue and green tones dominating the palette. Blake's work often defies conventional classification, blending classical influences with his own idiosyncratic mythology. In this specific image, the contrast between the monumental, suffering figure and the human pair creates a tension that permeates the entire volume. The print is a fine example of the artist's ability to convey complex political and theological ideas through visual metaphor. It remains a significant piece within his larger body of illuminated books, demonstrating his technical skill as both a printmaker and a visionary poet. The work invites contemplation of the cyclical nature of history and the human capacity for endurance amidst upheaval.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
Shipping
We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Frontispiece for America a Prophecy - William Blake
Our Features
Designed for Lasting Impact
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Why Choose Us ?
Damage-free delivery guarantee
Fast Shipping
Museum-Quality Materials
Artist Biography
William Blake
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.
You May Also Like