English artist William Blake (b.1757) trained under James Basire, and studied for a short time at the Royal Academy of London. William Blake's watercolor paintings, such as Angel of the Revelations (Book of Revelations Chapter 10), were his own interpretations of scenes from the Bible. His early critics mocked William Blake's paintings for sale, believing that he was insane because he claimed he had visions and could speak to angels.
William Blake's art prints were revered for the unique use of mixed medium; he would first do a watercolor painting and then pen and ink were used, or vice versa. Although he is best-known for his poetry, William Blake's watercolor paintings became popular after his death and are even displayed in the Metropolitan Museum of Art. Browse sensational religious paintings online at Invaluable and purchase one that speaks to your spiritual side.
[FINE PRESS BOOKS]. [BLAKE, William, (1757-1827), illustrator]. YOUNG, Edward (1683-1765). Night Thoughts. London: The Folio Society, 2005. 2 volumes, elephant folio. 537 color facsimile reproductions of original watercolors by Blake at margins. Original publisher’s navy Nigerian goatskin over pictorial cloth stamped in silver foil designed by David Eccles based on William Blake’s original drawings, navy morocco title label to upper covers by Smith Settle of Otley. –– [Issued with]: HAMLYN, Robin. Commentary. 8vo. Publisher’s gray–blue cloth, printed title label to upper cover still sealed in publisher's shrinkwrap. Together, 3 volumes housed in oversized Solander box with spine label. LIMITED EDITION, number 538 of 1000 copies of the first complete color facsimile of all 537 of Blake’s watercolor illustrations. Originally commissioned in 1795 by the London publisher Richard Edwards for a new edition of Edward Young’s masterpiece, The Complaint; or, Night Thoughts on Life, Death, & Immortality, issued in nine parts between 1742 and 1745. The complete poem was never published by Edwards and only 43 of the watercolors were used in the 1797 edition.
Attributed to William Blake (London 1757-1827), and Follower The Agony in the Garden pen, black ink and watercolour on wove paper, with a landscape study verso in monochrome wash 18.5 x 25cm (7 5/16 x 9 13/16in).
WILLIAM BLAKE (LONDON 1757-1827). The Grave: The soul hovering over the body reluctantly parting with life. pencil, pen and black ink and watercolour on paper6 ¼ x 9 in. (15.8 x 22.6 cm.).
WILLIAM BLAKE (BRITISH 1757-1827)EUROPE A PROPHECY: TITLE PAGE (RECTO); JERUSALEM: PLATE 24 TRIAL PROOF (VERSO)Relief etching printed in blue grey, finished in pencil, pen and black ink and watercolour with inscriptions (lower left and lower right, on the mount)23.8 x 17.3cm (9¼ x 6¾in.)Provenance:John Linnell (1792-1882)His sale; Christie's, London, 15 March 1918, lot 176 (22 gns to Tregaskis)Mrs (Lady) D.Y. Cameron by 1921, Bequeathed by her husband, Sir D.Y. Cameron (1865-1945) toDavid Lindsay, 28th Earl of Crawford, 11th Earl of Balcarres (1900-1975), Balcarres House, FifeAnd thence by descentExhibited:London, Burlington Fine Arts Club, Blake Centenary Exhibition, 1927, no. 82.Japan, Tokyo, Institute of Art Research, English Water-Colour Paintings, October 1929, illustrated in catalogue pls. 22a and bEdinburgh, National Library of Scotland, William Blake Loan Exhibition, 1969, in no. 44London, Tate Gallery, William Blake, 1978, no. 69, illustrated.Oxford, Ashmolean Museum, William Blake: Apprentice and Master, 4 December 2014-1 March 2015, no. 134 Literature:W. M. Rossetti, 'Annotated Catalogue of Blake's Pictures and Drawings,' in A. Gilchrist, Life of William Blake, London 1863, II, p. 202, no. 14; also enlarged edition, London, 1880, vol. II, p. 208, no. G. Keynes, A Bibliography of William Blake, New York, 1921, p. 141, illustrated pl. 17G. Keynes and E. Wolf 2nd, William Blake's Illuminated Books, A Census, New York, 1953,, p. 77D.V. Erdman, The Illuminated Blake, New York, 1974, illustrated p. 397G.E. Bentley Jr, Blake Books, Oxford, 1977, pp. 149, 162D. Bindman, Blake as an Artist, London, 1977, p. 80, illustrated pl. 65M.D. Paley William Blake, Oxford, 1978, p. 31M. Butlin, The Paintings and Drawings of William Blake, New Haven and London, 1981, p. 149, no. 272William Blake developed a unique printing technique of 'Illuminated printing' as he called it, which allowed him to combine words and pictures on the page. By writing and drawing on copper plates with acid-repelling ink, Blake created a relief image. The plate was then dipped in acid to create what was essentially the opposite of a traditional engraving. The technique allowed the verses to appear to be handwritten, in a style that seemed more like it had been drawn and painted than printed.In 1790, Blake moved to Lambeth, where he produced a trilogy of illuminated books called the Continental Prophecies that addressed the revolutionary spirit of his age as embodied by the American and French revolutions. Europe, published in 1794, was the second of these books along with America and The Song of Los. Rather than examining the New World, this Continental Prophecy looked eastward to cultures subjected to the strictures of authority as embodied by the legalistic and despotic figure of Urizen, who, despite his godlike appearance, represents tyranny. The frontispiece of Europe is one of Blake's best-known images, also known as The Ancient of Days, it depicts Urizen dividing the Depths with a compass.The present sheet, dated by Butlin, loc.cit. to circa 1815-1820 is the title page of Europe and is printed in blue-grey, with watercolour colouring the serpent and the foreground and round the initial letter 'E' of 'Europe'. The outlines, much of the word 'Europe' and the first three letters of 'PROPHECY' have been gone over in black ink. The remainder of the title has gone as the words are devoured in flame. In this reworking of the printed edition, Blake has added a figure, absent from the engraving, struggling with the serpent, by partly utilising the strokes at the end of 'PROPHECY' for the face which was completed in pencil and pen.[1] On the reverse of the present work is a trial proof of plate 24 from Jerusalem printed in brown and black and coloured in watercolour, Butlin, loc.cit. suggests that both sides of the paper were first used for trial proofs from their respective books, before being reworked by hand. The rampant serpent, which dominates the title page, serves to announce the advent of Orc, who embodies a spirit of revolution, upon Europe. Bindman, loc.cit., notes that in the present work, a youthful figure, identified tentatively as Los, appears to be trying to hold the serpent down as it rises up. Los in his earthly and fallen state is the embodiment of human creativity and inspiration. Bindman continues that, the motif as printed with the rampant snake alone ... opens the book with a confrontation between the opposing forces of Urizen and Orc, the Old Order is threatened by the New. The present work expounds Blake's thinking of the precarious co-existence of Urizen and Orc. Paley notes that this reworking of the title page shows Blake's 'increasing disquietude about the principle of revolutionary energy, represented by Orc, all suggesting the loss of the human aspect of revolution to the will-to-power and at the end of the poem Los 'called all his sons to the strife of blood.' The present work was not intended as a trial revision for a new printing, but as a graphic comment, a private statement by Blake on the failure of the phrophecy of an English revolution, see Erdman, loc.cit.The present drawing was formerly in the collection of the artist Sir D.Y. Cameron, R.A. (1865-1945) and was also in the collection of John Linnell (1792-1882), an important patron to Blake in the last years of his life, commissioning a set of engravings illustrating the Book of Job, and buying Blake's watercolours executed for Milton's Paradise Regained. Linnell also introduced him to Samuel Palmer (1805-1881) and a new generation of English artists, who became devotees of Blake known as 'The Ancients'. The present work has not been seen on the auction market since Linnell's sale in 1918. [1] For other reworked title pages of Europe, see Butlin, op.cit., nos. 273, 274, 274A
William Blake (British, 1757-1827), Thenot Remonstrates with Colinet; Colinet's Journey Milestone Marked LXII Miles to London, a pair, woodcuts, probably published by Nonesuch Press, 1937, 3 by 7.5cm, unframed (2)
WILLIAM BLAKE (1757-1827). Illustrations of the Book of Job. Plates 19,7 x 16,5 cm. (7 ¾ x 6 ½ in.) (and similar)Sheets 41 x 31,5 cm. (16 7/8 x 12 ¼ in.) (and similar)Overall 43,8 x 34 x 1 cm. (17 ¼ x 13 ¼ x 1/2 in.) (book).
WILLIAM BLAKE (LONDON 1757-1827). The Grave: The Reunion of the Soul and the Body. pencil, pen and black ink and watercolor9 ¼ x 6 7/8 in. (23.7 x 17.5 cm).
William Blake 1757 - 1827 Illustrations of the Book of Job (Binyon 105-126; Bindman 625-646; Bentley 421) the complete set, comprising twenty-two line-engravings on chine collé, mounted on wove paper 1825 very good post-proof impressions, individually matted and housed in an attractive brown buckram folding-case with a facsimile of the original binding label on the cover, from the edition of 100 re-issued in 1874 each sheet (overall): approx. 505 by 345 mm. 19⅞ by 13⅝ in.
Sepia on paper Dimensions:51 x 37 cm Source: Collection of Cyril Dohar-Craig Benson, New York Acquired in 2022 by Yaakov Markash, Tel Aviv-Yafo Condition: For a detailed condition report, please contact: info@hammersite.com
William Blake (1757-1827), British JERUSALEM, THE EMANATION OF THE GIANT ALBION, 1974 In-four (375 x 267 mm), pub. Trianon Press, Paris, 1974, illustrated with 25 colour plates, 8 proofs, commentary, eight colour facsimile trial proofs, complete with twelve pages of text plus an extra suite of fourteen states of plate B, collotype proofs, and a matching guide-sheet and stencil, numbered 70 to colophon, from the edition totalling 500, bound in Morrocon brown leather with marbled cover, all undermarbled slipcover 14.75 x 10.5 in — 37.5 x 26.7 cm Estimate: $300—400 CAD
William Blake (1757-1827) Illustrations of the Book of Job. Complete set of 22 engravings on India appliqué, 1823-25. Edition of 100, printed in 1874. Published by J. Linnell, London. Bindman 625-646. With the original printed publisher's label.
William Blake (1757-1827) Illustrations of the Book of Job The complete set of 22 engravings including the title-page, circa 1823-25, on India applique paper on wove paper, some watermarked 'Whatman / Turkey Mill 1825', early impressions from the first edition with the word proof on each plate, from an edition of circa 150, platemarks each approx. 220 x 170 mm (8 5/8 x 6 3/4 in), sheets each approx. 434 x 335 mm (17 1/8 x 13 1/4 in), co-published by the artist and John Linnell, London, 1825-26, (framed) Literature: Binyon 105-126; Essick 625-646 ⁂ Prints include: Title-Page; 1) Job and his Family; 2) Satan before the Throne of God; 3) The Destruction of Job's Sons; 4) The Messengers tell Job of his Misfortunes; 5) Satan going forth from the Presence of the Lord; 6) Satan smiting Job with Boils; 7) Job's Comforters; 8) Job's Despair; 9) The Vision of Eliphaz; 10) Job rebuked by his Friends; 11) Job's Evil Dreams; 12) The Wrath of Elihu; 13) The Lord answering Job out of the Whirlwind; 14) The Creation; 15) Behemoth and Leviathan; 16) The Fall of Satan; 17) The Vision of God; 18) Job's Sacrifice; 19) Job accepting Charity; 20) Job and his Daughters; 21) Job and his Wife restored to Prosperity.
William Blake (British 1757-1827) Illustrations of the Book of Job, Plate 10: "The Just Upright Man is Laughed to Scorn" Engraving on paper, dated 1825 in plate, published 1826. Job mocked by his companions, with inscriptions above and below. Published London, March 8, 1825. 8 1/4" x 6 1/2" Provenance: Kennedy Galleries, Inc., New York, March 9, 1971
William Blake (British 1757-1827) Illustrations of the Book of Job, Plate 11: "With Dreams upon my Bed thou scarest me & affrightest me with Visions" Engraving on paper, dated 1825 in plate, published 1826. Depicting Job in torment, surrounded by visions of Satan and monstrous forms. With extensive biblical inscriptions in margins. Published London, March 8, 1825. 8 1/4" x 6 1/2" Provenance: Kennedy Galleries, Inc., New York, March 9, 1971
William Blake (British 1757-1827) Illustrations of the Book of Job, Plate 16: "Thou hast fulfilled the Judgment of the Wicked" Engraving on paper, dated 1825 in plate, published 1826. Depicting Satan cast down from heaven before the throne of God, with Job below. With scriptural inscriptions in margins. Published London, March 8, 1825. 8 1/4" x 6 1/2" Provenance: Kennedy Galleries, Inc., New York, March 9, 1971
Property of a gentleman William Blake (London 1757 - 1827) St. Paul Shaking off the Viper Pen and black ink with black, grey, red and yellow washes over pencil; signed with the artist's initials and inscribed in black ink, lower right: WB inv / Acts XXVIII c 4 v 474 by 384 mm
TWO ENGRAVINGS INCLUDING BY WILLIAM BLAKE Including a color engraving frontispiece of Atlas from a composite atlas by Frederik de Wit, circa 1682, and a William Blake (English, 1757-1827) engraved illustration for John Stedman Including: etching by William Blake for Stedman, circa 1792. Both unframed.
WILLIAM BLAKE (1757-1827). Mr. Cumberland. Plate: 1 3/8 x 3 ¼ in. (35 x 83 mm.)Sheet: 3 7/8 x 6 ¼ in. (98 x 159 mm.)Overall: 10 x 8 x ½ in (254 x 203 x 13 mm.).
WILLIAM BLAKE (1757-1827). Illustrations to Dante’s Divine comedy. Each Plate: 11 x 14 in. (279 x 356 mm.)Largest Sheet: 14 5/8 x 18 in. (371 x 457 mm.).
WILLIAM BLAKE (1757-1827). Oberon and Titania on a Lily. pencil, pen and black ink and watercolor with scratching out on paper8 1/8 x 6 1/8 in. (20.8 x 15.5 cm.).
WILLIAM BLAKE (1757-1827). The First Book of Urizen: Plate 3: 'O flames of furious desire'; subsidiary.... colour-printed relief etching and pencil, finished in pen and ink and watercolour, heightened with touches of bodycolour (recto)2 3/8 x 3 ¾ in. (6 x 9.5 cm.).
WILLIAM BLAKE (1757-1827). 'With Songs the Jovial Hinds Return from Plow'. pencil, pen and black ink and grey wash on paper1 ½ x 3 3/8 in. (3.9 x 8.6 cm.).
WILLIAM BLAKE (1757-1827). Paolo and Francesca. pencil, on paper, unidentified watermark and the date ‘1815 [?]’ (last digit obscure)8 ¼ x 13 ¼ in. (21 x 34.8 cm.).
WILLIAM BLAKE (1757-1827). The Bed of Death (recto); and A subsidiary sketch of a figure in a.... pencil, pen and grey ink and grey wash, fragmentary watermark, on laid paper5 ¾ x 5 1/8 in. (14.7 x 13.2 cm.).
Acquaforte su carta vergellata. mm 200x150. Foglio: mm 385x294. Edizione probabilmente collocabile nella seconda ristampa di 65 copie poichè mancante della velina applicata (tipica dei primi 150 esemplari) ma comprensiva dell'iscrizione "proof" in lastra in basso a sinistra (rimossa nelle ultime 100 copie in carta Giappone). Tavola n. 3 di 22.
Blake, William (1757-1827) Illustrations of the Book of Job. Invented & Engraved by William Blake. London: William Blake, 1825. Folio, one of 100 copies printed on Whatman paper with 1825 watermark without "Proof" in the plates; entirely engraved throughout, consisting of an engraved title page and 21 full-page plates, complete; bound in original limp wrappers with original publisher's label on front cover (large chip to bottom outside corner tacked back in place with archival document tape, loss to terminal edge of corner); housed in custom folding buckram chemise and slipcase; ex libris Henry Hayward with engraved bookplate; 14 3/4 x 10 3/4 in. Blake began contemplating the Book of Job, notions of evil and God, and making ink studies inspired by Job as early as 1785. The project blossomed into a suite of 19 watercolors originally commissioned by Thomas Butts (1757-1845) and executed circa 1805. These original paintings are currently held at the Morgan. Another set, created for John Linell around 1821 (and held at the Fogg) is somewhat derivative of the Butts set. Linell traced Blake's lines, and Blake added watercolor. It was at this juncture that Blake added two new images to the set: The Vision of Christ, and Job & his Daughters. Linell also commissioned Blake to publish the Job suite as a set of engravings, as we see here. Blake's engravings, carved by him directly into the copperplates, differ from the original paintings. The compositions are surrounded by swirling masses of complex line and engraved text. 315 copies were produced, but only 20 were sold in Blake's lifetime. This project was the last he completed before his death. His illustrations for Dante's Divine Comedy were left unfinished. Although not a commercial success at the time, Blake did receive positive critical reception for his work. Ruskin wrote, " The Book of Job, engraved by himself, is of the highest rank in certain characters of imagination and expression; in the mode of obtaining certain effects of light it will also prove a very useful example to you. In expressing conditions of glaring and flickering light, Blake is greater than Rembrandt." (Quoted from Elements of Drawing.)
William Blake (English, 1757-1827), With Dreams Upon My Bed, circa 1825. Engraving on cream wove paper, plate 11 from Illustrations of the Book of Job, without watermark. This impression, with wide margins, is part of Blake's celebrated series that blends poetry and visual art. The central scene features intricate details, symbolic imagery, and biblical passages with annotations in Blake's distinctive style. Published in 1825 by "W. Blake Invent et Sculpt," as indicated in the lower margin. Presented matted under glass in a wooden frame, with a framer's stamp on the verso. Created with SnapGenie Work Size: 9 x 7 in. Dimensions: 15.2 X 12.75 X .75 in. Condition: Good overall antique condition with mild age-related toning and slight rippling to the paper. This condition statement reflects opinion, not fact. Bidders are encouraged to inspect in person or by agent. Estate fresh to the market. Shipping: Hill Auction Gallery offers in-house ground contiguous USA domestic shipping, excluding New Mexico, for $95 plus insurance. Gallery will refer third party shippers for international buyers. Purchaser pick up available upon request. Local Delivery: Florida door-to-door hand delivery service available for this lot; contact Toti@Zemaqua.com for an estimate.
Oil on panel 1 of 6 illustrations painted by the artist for the series 'King Lear' Signed on the back 'The Bush Family' Dimensions without frame: 61.5 x 72.5 cm Dimensions with frame: 80 x 93 cm Source: Private collection, Israel Condition: For a detailed condition report, please contact us at info@hammersite.com
European School, 19th century- Portrait of a gentleman, half-length, wearing a blue jacket and white waistcoat and stock; watercolour on ivory, oval, inscribed 'W. Blake' (lower right), bears label inscribed 'BLAKE WILLIAM / LONDRES: 1757-1827. / refs SCHIDLOF [?] 93.' attached to the reverse, 6.5 x 5 cm. Ivory submission reference: XFGWUQSN Provenance: Private Collection, UK.
Follower of William Blake, British 1757-1827- Studies of visionary heads (recto & verso); black chalk on paper, double-sided, 26 x 19.7 cm. (unframed). Note: The present work exhibits a similarity to Blake's 'Visionary Heads', a series of drawings created by the artist in the company of the astronomer and watercolourist John Varley (1778-1842). Blake's drawings depict figures, many of whom were historical, Biblical, or mythological, who appeared to the artist in visions during meetings with Varley. The clean, curved lines, used to sharply delineate the present figure's profile, is typical of Blake's drawings.
William Blake (British 1757-1827), 'What! Shall we receive Good at the hand of God & shall we not also receive evil', proof, engraving with aquatint, with hand colouring, published March 8 1825, 21.5 x 16cm. Framed and glazed. Under glass, light foxing/discolouration, would benefit from a clean.
![[FINE PRESS BOOKS]. [BLAKE, William, (1757-1827), illustrator]. YOUNG, Edward (1683-1765). Night Thoughts. London: The Folio Society, 2005.](https://image.invaluable.com/housePhotos/Potter_Potter/27/814827/H4052-L440236437.jpg)
