This plate from Blake’s Illustrations of the Book of Job (1874 reprint) is broken up into five areas (in addition to its frame) due to the way God, in the center of the image, splits the page. Blake may have chosen this arrangement to accommodate all of the material that he was attempting to explain visually. As usual with this work, Blake surrounded the central image with his own selection of symbolic texts. Among the most beautiful parts of this illustration is the way Blake engraved the four figures at the top of the central image. The plate is intended to portray “when the morning stars sang together,” and in this case, Blake made it almost literal by placing the four figures singing among the stars.
On the left of this image from Blake’s Illustrations of the Book of Job (1874 reprint), Job and his wife are praying. Job has been begging for answers for his questions, specifically three of them: why was he born, how can he be square with God, and will he live again once he dies. Out of a whirlwind, represented by the radiating circles behind him, God comes to respond to Job’s questions.
This sketch, from The Complete Portraiture of William and Catherine Blake, was made of Catherine Blake by Frederick Tatham in 1828. Frederick Tatham was a sculptor and friend of William and Catherine in the last years of their life together. This sketch shows Catherine as an aged woman in the year after Blake’s death in 1827. There are not many portraits of Catherine; however, compared to other images of her, this one makes her look hardened and frail (she was in her 60s at the time). Not available at the William Blake Archive. Consult the book in Schaffer Library for a detailed view of the image.
This sketch of Blake’s wife Catherine, from The Complete Portraiture of William and Catherine Blake, was done in 1803 by William Blake. It is thought that she is shown knitting or sewing. It was drawn by Blake while they were living in Sussex. The same calm presence appears to be evoked in this drawing of Catherine as is evoked in their bedroom scene together. She is idealized as a young woman (she was 40 at the time this sketch was done) who appears to be unaware that Blake is drawing an image of her. Not available at the William Blake Archive. Consult the book in Schaffer Library for a detailed view of the image.
This sketch of Blake from The Complete Portraiture of William and Catherine Blake was done by John Linnell in 1825. Linnell, a close friend and champion of Blake’s work, commissioned many works by Blake and introduced him to many people. Blake was known to visit Linnell’s home at Hampstead Heath many times, especially towards the end of his life. As in many of the other sketches of Blake, he appears to looking out with a skeptical eye. Rarely, if ever, is Blake shown smiling in these sketches. Not available at the William Blake Archive. Consult the book in Schaffer Library for a detailed view of the image.
This portrait of Blake from The Complete Portraiture of William and Catherine Blake was done by John Linnell in 1820. Linnell, a close friend and champion of Blake’s work, commissioned many works by Blake and introduced him to many people. This portrait of Blake is one of the more detailed ones. It shows his age (Blake was in his 60s at the time) and distinct features, such as a Blake’s strong brow. This portrait aligns with other sketches of Blake. Blake is shown looking down, suggesting either contemplation or the stress and tiredness that Blake must have felt, just barely making ends meet for most of his life. Not available at the William Blake Archive. Consult the book in Schaffer Library for a detailed view of the image.
This drawing from The Complete Portraiture of William and Catherine Blake is by Catherine, Blake’s wife, of William. It is important to note that this profile portrait was done in 1828, a year after Blake’s death in 1827. Its date of composition not only implies that Catherine missed Blake, but that she wanted to keep his memory alive by sketching him. It is also a representation of her artistic ability, which appears to be influenced by Blake’s. However, the portrait does not look like many other images of him. Not available at the William Blake Archive. Consult the book in Schaffer Library for a detailed view of the image.
This sketch from The Complete Portraiture of William and Catherine Blake is by William of his wife, Catherine. It appears to be a scene of Catherine sitting on bed getting ready for the day. There is a man lying in the bed next to her, likely Blake. The sketch is very rough and is clearly more of a concept than a detailed portrait of the couple. This intimate scene of the two together in bed expresses how happy they were together. Many sources show how helpful Catherine was to Blake’s works, and this image of a mundane activity emphasizes their closeness. Not available at the William Blake Archive. Consult the book in Schaffer Library for a detailed view of the image.
The woman in this illustration to Hayley’s Triumph of Temper is the protagonist, Serena. Her hands appear to be clasped in prayer as she enters an arch that Hayley describes as “wide and fantastic.” The area is lit, but the left side of the arch reveals some of the “unnumbered phantoms” that Serena must face. The drawing for this engraving by Blake was made by Maria Flaxman.
In this image at the end of Visions of the Daughters of Albion (1959 facsimile), the torso and head of a female, likely Oothoon, is pictured in the midst of clouds and fire over a dark sea. Her blond hair flows in the wind and her arms are spread wide. Beneath her, on a single ice floe floating in the sea, are the daughters of Albion. They each wear a long colorful gown and their legs are contorted against their chests. They hold each other close and stare up at Oothoon. The poem ends, “The Daughters of Albion hear her woes & eccho back her sighs.”
In this illustration at the start of Visions of the Daughters of Albion (1959 facsimile), a woman with her hair tied back kneels on the ground with her hands covering her breasts. She appears to kiss the forehead of a cherub or child. The child’s arms are outstretched in a joyful pose. The only landscape is a small patch of earth that the woman kneels upon and a miniature dark plant in the lower left corner. Behind the woman is a radiant pink sky. The beams extend to the other corners of the plate. The whole effect represents Oothoon’s happy state and prospects before they are destroyed by Bromion.
The frontispiece to Visions of the Daughters of Albion (1959 facsimile) depicts a cave that overlooks a large green field. Within the cave are three human figures, all in chains. To the far right is a man with curly hair whose head is bowed so that his face is not visible. This male is likely Theotormon, the object of Oothoon’s desires. Oothoon herself appears to be fully naked and is chained to the arms of another nude figure. This older male figure is likely Bromion, Oothon’s rapist. Dark clouds in the background surround a setting sun as shadows encroach upon the three prisoners, all bound in their separate, psychological and physical ways.
The majority of this plate from The Marriage of Heaven and Hell (1960 facsimile) is comprised of green text on a white backdrop. In between lines, as well as in margins, there are some miniature illustrations. Blue landscape, whether it be sea or sky, fills much of what would otherwise be blank space. Bordering the words “Proverbs of Hell” are two scenes with human figures. To the left of the title, an old, hunched, male figure is clutching a walking stick. On the right of the title, several human figures are confronted by a snake that appears to be flying through the air. The humans have their arms raised in fright, while the snake bares its fangs in a vicious display. In another miniature scene, a nude male figure has his arms outstretched as if he is mid-movement. At the bottom of the plate, an angel wearing a long yellow robe is playing a trumpet while a large snake-like creature appears to swim alongside the angel.
This photograph of a replica of the type of printing press used by Blake was included with Michael Phillips’s 2016 facsimile of Songs of Innocence and of Experience. It is housed at Oxford University. Phillips used it to print his reproduction.
In the title page for Songs of Experience, included in the combined edition of Songs of Innocence and of Experience (2016 facsimile), an elderly couple appears to have died recently. They lie side by side in a bed with their arms stretched out flat at their sides. At the foot of the bed, on either side, is a woman. Both women appear to be distressed and have their hands in front of them in grief or prayer. The words that comprise the title are surrounded by delicate flowers, as well as two figures with legs extended in a sort of dance pose. The picture juxtaposes joy and agony - surely two key components of ‘experience’.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. Michael Phillips’s black and white impression of this plate, for example, allows some details to emerge that are easier to see without color, such as the date of 1794 on the bedpost and some of the leaves that are hugging the title. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
In this image from the “experience” section of Songs of Innocence and of Experience (2016 facsimile), an old man with a long beard and robe walks through the streets of, presumably, London. He is using a crutch, as well as getting assistance from a small boy. The streets are dim and dirty. A beam of light shines down upon the old man and the boy. In the bottom sector of the plate, a man warms his hands by a raging fire. The smoke billows up into the top half of the plate.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. In this black and white print, for example, the impact of the beam of light is even more prominent. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
A child feeds a small lamb from the palm of his hand in the foreground of this image from Songs of Innocence (2016 facsimile). The two are framed by vines that border the illustration on this plate. Behind them is a field filled with grazing sheep. To the right of the herd is a cottage with a thatched straw roof. Vines surround the bulk of the text on this page, except for the title which appears above the vines in a larger font.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. This uncolored print in green ink from Michael Phillips, for example, can be contrasted with a print using black ink instead. Blake used a variety of ink colors for his prints, which Phillips tested in a variety of ways. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
This copper plate of The Lamb was created by Michael Phillips for his 2016 facsimile of Songs of Innocence and of Experience. It is based upon an exact size photo negative of a Blake print. Theories differ as to how Blake created his own copper printing plates, but the plates would always have taken this form in the end. The text and pictures are “relief etched” in reverse because when inked and pressed on paper, the result would appear in the proper direction. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the item.
A child feeds a small lamb from the palm of his hand in the foreground of this image from Songs of Innocence (2016 facsimile). The two are framed by vines that border the illustration on this plate. Behind them is a field filled with grazing sheep. To the right of the herd is a cottage with a thatched straw roof. Vines surround the bulk of the text on this page, except for the title which appears above the vines in a larger font.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. This uncolored print in black ink from Michael Phillips, for example, can be contrasted with a print using green ink instead. Blake used a variety of ink colors for his prints, which Phillips tested in a variety of ways. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
A male figure takes up the foreground in the frontispiece to Songs of Innocence, included in the combined edition of Songs of Innocence and of Experience (2016 facsimile). He is holding a wooden musical instrument that looks to be some type of flute. He stares at a cherubic figure that is flying above him. Two tall, lush trees frame the illustration on this plate. Behind the male figure are acres of crops or pasture land with grazing sheep. The whole effect is one of sweet, pastoral inspiration.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. For example, here Michael Phillips’s experimentation with Blake’s printing techniques is on show. The black and white image allows for more of the original details and lines to be seen; in most copies they are covered with added color. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
On the combined title pages for Songs of Innocence and Experience (2016 facsimile), two human figures, nude save for branches that act as loincloths, are both positioned horizontally in despairing postures with their faces obstructed from view. The figure on the ground appears to be female, and hovering inches above her is a male figure. Blake scholars theorize that these figures are intended to be Adam and Eve fleeing from the Garden of Eden. They cling to the verdant field beneath them as the sky is streaked with flames. The flames transform into smoke that forms the word “Songs” at the top of the image. Several birds fly throughout the words of the title.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. The obvious difference with this copy, for example, is that it is not colored. Instead, Michael Phillips was testing the printing process by using one color at a time, which later would have been filled in with watercolors. Comparing it to the 1955 version of this image, for example, allows us to analyze almost a “negative” version and different effect of Blake’s work. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
In this image from the “experience” section of Songs of Innocence and of Experience (1991 facsimile), an old man with a long beard and a dirty blue robe walks through the streets of, presumably, London. He is using a crutch, as well as getting assistance from a small boy. The streets are dim and dirty. A beam of light shines down upon the old man and the boy. In the bottom sector of the plate, a man clothed in green warms his hands by a raging fire. The smoke billows up into the top half of the plate.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. Compared to the 1955 reproduction, for example, this image, reproduced from a print made late in Blake’s lifetime, has a more yellow tone, possibly to emphasize the beam of light that is cast over the boy and old man. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
In the title page for Songs of Experience, included in the combined edition of Songs of Innocence and of Experience (1991 facsimile), an elderly couple appears to have died recently. They lie side by side in a bed with their arms stretched out flat at their sides. At the foot of the bed, on either side, is a woman in a softly colored dress. Both women appear to be distressed and have their hands in front of them in grief or prayer. The words that comprise the title are surrounded by delicate pink flowers, as well as two figures with legs extended in a sort of dance pose. The picture beautifully juxtaposes joy and agony - surely two key components of ‘experience’.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. This version of the title page, for example, reproduced from a print made late in Blake’s lifetime, has an even lighter and airier feel than the 1955 version, modeled on a different copy. All the colors are bright pastels, making the image appear peaceful at this time of mourning and agony. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
A male figure takes up the foreground in the frontispiece to Songs of Innocence, included in the combined edition of Songs of Innocence and Experience (1955 facsimile). He is holding a wooden musical instrument that looks to be some type of flute. He stares at a cherubic figure that is flying above him. Two tall, lush trees frame the illustration on this plate. Behind the male figure are acres of crops or pasture land with grazing sheep. The whole effect is one of sweet, pastoral inspiration.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. For example, this image, reproduced from a print made late in Blake’s lifetime, has a lighter and more whimsical coloring compared to the 1955 version, made from a different copy. The figures appear to have a lavender coloring to them and there is a warm, gold aura around each of the figures, making them feel more magical and less like actual people. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.