Exhibitions/ William Blake

William Blake

March 29, 2001–June 24, 2001
Exhibitions are free with Museum admission.

Exhibition Overview

The first major exhibition ever to be held in New York to address all aspects of the work of the important British Romantic painter, printmaker, and poet, William Blake presents more than 175 works drawn from public and private collections in Britain, the United States, and Australia. The broad range of Blake's artistic and poetic vision is represented, with special attention to his innovative printmaking techniques, his visionary imagination, and the implications of his radical politics for his art.

William Blake was born in London in 1757 into a working-class family (his father was a hosier) with strong nonconformist religious beliefs, and was trained as a commercial engraver. Assisted by Catherine Boucher—a grocer's daughter whom he married in 1782—Blake produced a remarkable series of color-printed books using his relief etching process. William Blake never traveled outside of Britain and remained poor all of his life. Aside from a brief period on the southern coast of England (where he worked for the poet William Hayley in Eartham from 1800 to 1803), he spent his entire life in London. At his death in 1827, Blake was mourned by a small group of intimate associates, some of them followers who called themselves the "Ancients"; today, he is celebrated as one of the most original and important artists and poets of the Romantic era.

Arranged thematically, the exhibition begins with an exploration of the artist's lifelong engagement with medieval art. Among the highlights of this section are the vivid early studies of tombs in Westminster Abbey, richly colored in watercolor and gold, the monumental engraving of Chaucer's Canterbury Pilgrims (ca. 1820, Yale Center for British Art), and Blake's imaginative designs for Edward Young's Night Thoughts (1779, The British Museum).

Engravings such as Job (1793, The Keynes Family Trust) and Edward and Elenor (1793, The British Museum), and illuminated books including America, a Prophecy (1793, The British Museum, National Gallery of Art, and the Library of Congress), The Daughters of Albion (1793, Library of Congress), the Book of Thel (1789, The Pierpont Morgan Library), and The Marriage of Heaven and Hell (1790, The Pierpont Morgan Library), among others, reveal the broad scope of Blake's imagination and illustrate his unique iconography. Blake listed them, and more, in his 1793 Prospectus of works offered for sale in his Lambeth workshop. At the time, Lambeth was a poor London neighborhood where Britain's most radical politics found expression in the age of the French and American revolutions. Blake's illustrated books, which have traditionally drawn wide appeal—including The Songs of Innocence and of Experience—are included in this exhibition, interpreted within the context of the political upheavals and social concerns of the era.

Blake's dark prophetic vision is represented by a series of large color prints, ca. 1795–1804. Each of these majestic monoprints is unique, pulled from a design painted on copperplates or millboard, and worked up in pen and ink. Presented without texts, these powerful images take their monumental figures from literary sources such as the Bible, Milton, and Shakespeare, as well as Blake's own imaginative universe.

The Songs of Innocence and of Experience—which contains the celebrated poems The Tyger, London, and The Sick Rose—is the best known of Blake's works. Originally, Blake produced this minute and colorful volume as two separate books; he combined them in 1794, and continued to print copies from the original relief-etched copper plates throughout his life. Blake claimed to have learned this innovative printing technique in a vision—one of many he said he experienced since childhood—of his deceased younger brother, Robert.

In The Songs, as in all of Blake's illuminated books, the artist and poet took unprecedented control over every aspect of production. He composed the poems, drew the designs, transferred each onto the copperplate, exposed the plates to an acid bath, and, with Catherine's assistance, printed the plates using a large rolling press he kept in his home. Blake mixed his own colors and painted each sheet by hand; his wife bound the pages together in boards. In this way, Blake not only saved the expense of a printer, he was able to work discreetly, avoiding the scrutiny of government spies and censors, as well as the very real possibility of imprisonment for publishing seditious material.


The exhibition is supported by The Isaacson-Draper Foundation.

The exhibition was organized by Tate Britain.

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1757
On November 28, William Blake is born in Soho, London, to the haberdasher and hosier, James Blake, and his wife, Catherine; William is the third of their seven children.

1767–68
Blake enters Henry Pars' drawing school in the Strand, London.
Robert Blake, William's favorite brother, is born.

1772–79
Blake trains as an apprentice to the reproductive engraver James Basire (1730–1802), with whom he resides in Lincoln's Inn Fields, London.

1779
Blake is admitted to the Royal Academy Schools (as an engraver), where he meets Thomas Stothard (1755–1834) and John Flaxman (1756–1826).

1780
Blake first exhibits at the Royal Academy.
Blake witnesses the Lord George Gordon "No Popery" riots in London.

1782
On August 18, Blake marries Catherine Butcher, or Boucher (1762–1831), the daughter of an impoverished market gardener.

1783
Blake's Poetical Sketches are printed, financed by the Reverend and Mrs. Harriet Mathew (hostess of a progressive salon), and John Flaxman.

1784
Blake opens a short-lived print shop with James Parker (1750–1805), a fellow apprentice of Basire.

1787
Robert Blake dies, probably of tuberculosis, attended by his brother William.

1788
Blake begins to experiment with relief-etching.

1789
Blake publishes the Songs of Innocence and The Book of Thel.

1790
The Blakes move to 13 Hercules Buildings, Lambeth.

1793
On October 10, Blake publishes a Prospectus advertising ten works available for sale at his house and workshop: two engravings (Job, and Edward and Elenor), six illuminated books of relief etchings (America a Prophecy, Visions of the Daughters of Albion, Book of Thel, The Marriage of Heaven and Hell, Songs of Innocence, and Songs of Experience) and two books of engravings (The History of England [lost], and The Gates of Paradise).

1794
Blake publishes the illuminated books Europe a Prophecy and The First Book of Urizen.

1795
Blake publishes the illuminated books The Book of Los, The Song of Los, and The Book of Ahania.

1795–97
Blake is commissioned by the London bookseller Richard Edwards (1768–1827) to prepare 537 designs for an illustrated edition of Edward Young's Night Thoughts; forty-three of Blake's engraved plates are published in 1797.

1799
Blake receives his first commissions from Thomas Butts (1757–1845), a minor civil servant and Blake's most important patron, for a series of designs from the Bible.

1800
At the invitation of the poet and man of letters William Hayley (1745–1820), the Blakes move to Felpham, on the Sussex coast.

1803
On August 12, Blake confronts Private John Scofield, a drunken soldier loitering on his property in Felpham. Scofield accuses Blake of having cursing the King during their altercation, and Blake is charged with sedition.
In September, the Blakes return to London.

1804
On January 11, Blake is acquitted of the sedition charge in Chichester.
Blake begins work on Milton and Jerusalem.

1805
Blake is commissioned by the London publisher Robert Hartley Cromek (1770–1812) to prepare the designs and engravings for an illustrated edition of Robert Blair's The Grave; the book, with engravings by Louis Schiavonetti (1765–1810) after Blake's designs, is published in 1808.

1808
Blake is commissioned by Thomas Butts to prepare illustrations to Milton's Paradise Lost.

1809–10
Blake holds an exhibition of his own paintings at his brother James's shop, 28 Broad Street, London, which attracts little notice.

1810
Blake publishes the engraving after his painting of Chaucer's Canterbury Pilgrims.

1812
Blake exhibits four works as a member of the Associated Painters in Water Colour, London.

1818
Blake meets his last great patron and friend, the artist John Linnell (1792–1882).

1819
Blake begins to draw "visionary heads" at seances held by the artist and amateur astrologer, John Varley (1778–1842).

1821
The Blakes move to Fountain Court, the Strand, London. Blake's illustrations to Thornton's Virgil, his first wood-engravings, are published.
Blake sells his collection of Old Master prints to Colnaghi's.

1822
Blake is awarded aid in the amount of twenty-five pounds sterling by the Royal Academy to relieve the distress of his poverty.

1823–26
Blake is commissioned by John Linnell to engrave twenty-two designs for The Book of Job.

1824
Blake is commissioned by John Linnell to prepare illustrations to Dante's Divine Comedy; he engraves seven of the 102 watercolor designs.

1827
On August 12, William Blake dies at Fountain Court, London.

  • Unless designated otherwise, all works are by William Blake and are executed on paper.
  • In the case of prints the image size and the size of the support is usually given.
  • Illuminated books are referred to by letter (e.g. 'Copy A') according to the census of Blake Books in G.E. Bentley Jr, Blake Books, Oxford 1972. Plate numbers for the illuminated books are also taken from Bentley 1972 unless otherwise stated.
  • Numbers in square brackets refer to the catalogue number: identical objects in roman, related works in italics.
    1. Joseph of Arimathea among the Rocks of Albion, 1773–79/ca. 1810
      Engraving printed in brown ink; 9 x 4 11/16 in. (22.8 x 11.9 cm), 10 3/8 x 4 11/16 in. (26.5 x 11.9 cm), platemark 10 1/8 x 5 1/2 in. (25.7 x 14 cm)
      Lent by the Syndics of the Fitzwilliam Museum, Cambridge
      [cat. #2, 273]

    2. The Laocoön as Jehovah with Satan and Adam, ca.1820
      Copy A
      Engraving printed in black ink; 15 1/8 x 10 7/8 in. (38.5 x 27.7 cm), platemark 10 7/8 x 9 in. (27.6 x 22.9 cm)
      Lent by the Syndics of the Fitzwilliam Museum, Cambridge
      [cat. #3]
    3. King Sebert, the North Front of his Monument, 1775
      Watercolor, pen and black ink, and shell gold over traces of graphite; 15 3/8 x 11 3/8 in. (39 x 28.9 cm), image 14 1/2 x 11 in. (36.8 x 28 cm)
      Society of Antiquaries of London
      [cat. #5–15]
    4. King Sebert, from the Wall-Painting in the Sedilia above his Monument, 1775
      Watercolor, pen and black ink, and shell gold; 12 3/8 x 4 3/4 in. (31.5 x 12 cm)
      Society of Antiquaries of London
      [cat. #5–15]
    5. Henry III, from the Wall-Painting in the Sedilia above the Monument of King Sebert, 1775
      Watercolor, pen and black ink, and shell gold; 15 5/8 x 10 1/4 in. (39.8 x 26 cm)
      Society of Antiquaries of London
      [cat. #5–15]
    6. Title-page of Robert Blair's "The Grave" (London, 1813)
      Louis Schiavonetti (1765–1810) after William Blake
      Line engraving; 14 1/8 x 23 7/8 in. (36 x 60 cm)
      The Metropolitan Museum of Art, New York; Harris Brisbane Dick Fund, 1917 (17.3.2887)
      [cat. #16]
    7. Death of the Strong Wicked Man, p.12 Robert Blair's "The Grave" (London, 1813)
      Louis Schiavonetti (1765–1810) after William Blake
      Line engraving; 14 1/8 x 23 7/8 in. (36 x 60 cm)
      The Metropolitan Museum of Art, New York; Elisha Whittelsey Fund, 1966 (17.3.2978)
    8. Poetical Sketches. By W.B. (London, 1783)
      Copy X
      Open to pp. 4–5, To Winter, To the Evening Star
      The Pierpont Morgan Library, New York
      [cat. #17] 9–13.
      Designs for Edward Young's "Night Thoughts," 1779
      Pen and black ink and watercolor over graphite; approx. 16 1/2 x 12 3/4 in. (42 x 32.5 cm), cut-out with ruled red ink lines approx. 8 7/8 x 5 7/8 in. (22.5 x 15 cm) framing letterpress page
      The British Museum, London
    9. Night 6, p.36 (lines 692–3): Nature revolves, but Man advances [cat. #30]
    10. Night 6, p.37 (lines 722–3): Here, dormant Matter, waits a call to Life [cat. #31]
    11. Night 7, p. 49 (line 982): So just the Skies, PHILANDER'S Life so pain'd [cat. #33]
    12. Night 7, p.72 (lines 1465–6): Hope, like a Cordial, innocent, tho' strong [cat. #34]
    13. Night 9, p.56 (line 1142): What Knots are ty'd? How soon are they dissolv'd [cat. #36] Edward Young, The Complaint and the Consolation; or, Night Thoughts (London, 1797)
      Open to pp. 42–43, Night III, Title Page, Narcissa
      Promised Gift of Michael E. Hall, Jr.
      [On view, not in catalogue]
    14. The Angel of the Divine Presence Bringing Eve to Adam, ca.1803
      Watercolor, pen and black ink over graphite; 17 7/16 x 13 1/8 in. (41.8 x 32.3 cm)
      Genesis 2: 22
      The Metropolitan Museum of Art, New York; Rogers Fund, 1906 (06.1322.2)
      [cat. #41]
    15. The Angel Gabriel Appearing to Zacharias, ca.1799–1800
      Pen and black ink, tempera and glue size on canvas; 10 1/2 x 15 in. (26.7 x 38.1 cm)
      Luke 1: 5–13
      The Metropolitan Museum of Art, New York; Bequest of William Church Osborn, 1951 (51.30.1)
      [cat. #44]
    16. The Rest on the Flight into Egypt, 1806
      Watercolor, brush and gray wash, and pen and black ink over graphite; 13 13/16 x 14 1/2 in. (34.9 x 36.6 cm)
      Matthew 2: 14
      The Metropolitan Museum of Art, New York; Rogers Fund, 1906 (06.1322.1)
      [cat. #46]
    17. The Parable of the Wise and Foolish Virgins, ca.1805
      Watercolor, brush and gray wash, pen and black ink over graphite; 14 1/8 x 13 1/16 in. (35.6 x 33.1 cm)
      Matthew 25: 1–13
      The Metropolitan Museum of Art, New York; Rogers Fund, 1914 (14.81.2)
      [cat. #49]
    18. The Parable of the Wise and Foolish Virgins, ca.1825
      Watercolor and gouache, pen and black ink; 16 1/8 x 13 7/8 in. (40.9 x 34.6 cm)
      Matthew 25: 1–13
      Private Collection
      [cat. #49]
    19. Christ in the Sepulchre, Guarded by Angels, ca.1805
      Watercolor, pen and black ink over graphite; 17 x 12 1/2 in. (43.2 x 31.7 cm), image approx. 16 1/2 x 11 7/8 in. (42 x 30.2 cm)
      The Victoria & Albert Museum, London
      [cat. #55]
    20. The Four and Twenty Elders casting their Crowns before the Divine Throne, ca.1803–5
      Watercolor over graphite; 13 15/16 x 11 1/2 in. (35.4 x 29.3 cm)
      Revelation 4: 2–11
      Tate; presented by the Executors of W. Graham Robertson through the National Art Collections Fund 1949
    21. The Angel of the Revelation, ca.1803–5
      Watercolor, brush and gray wash, pen and black ink over graphite; 15 7/16 x 10 1/4 in. (39.2 x 26 cm)
      The Metropolitan Museum of Art, New York; Rogers Fund, 1914 (14.81.1)
    22. The Number of the Beast is 666, ca.1805
      Watercolor, pen and black ink and over traces of graphite; 16 1/4 x 13 3/16 in. (41.2 x 33.5 cm)
      Rosenbach Museum & Library, Philadelphia
    23. Chaucer's Canterbury Pilgrims, ca.1820
      Line engraving, third state; 13 3/4 x 37 5/8 in. (34.9 x 95.6 cm)
      Paul Mellon Collection, Yale Center for British Art, New Haven
      [cat. #62]
    24. Dante Alighieri, ca.1800–3
      Pen and ink and tempera on canvas; 16 3/4 x 34 1/2 in. (42.5 x 87.8 cm)
      Manchester City Art Galleries, Manchester
      [cat. #64]
    25. Head of a Damned Soul, Perhaps Ruggieri degli Ubaldini, Archbishop of Pisa, ca.1789–90
      William Blake after Henry Fuseli (1741–1825)
      Etching and engraving printed in black ink; 13 11/16 x 10 6/16 in. (35 x 26.5 cm)
      Inferno 8: 14
      Lent by the Syndics of the Fitzwilliam Museum, Cambridge
      [cat. #65]
    26. The Inscription over Hell-Gate, ca.1824–27
      Pen and black ink and watercolor over graphite and black chalk; 20 3/4 x 14 3/4 in. (52.7 x 37.4 cm)
      Inferno 3: 1–20
      Tate; purchased with the assistance of a special grant from the National Gallery and donations from the National Art Collections Fund, Lord Duveen and others, and presented through the National Art Collections Fund 1919
      [cat. #73]
    27. Cerberus, first version, ca.1824–27
      Pen and black ink and watercolor over graphite; 14 5/8 x 20 3/4 in. (37.2 x 52.8 cm)
      Inferno 6: 12–24
      Tate; purchased with the assistance of a special grant from the National Gallery and donations from the National Art Collections Fund, Lord Duveen and others, and presented through the National Art Collections Fund 1919
      [cat. #75]
    28. The Angel Crossing the Styx, ca.1825
      Pen and black ink and watercolor over graphite; 14 5/8 x 20 3/4 in. (37.2 x 52.7 cm)
      Inferno 8: 67–75; 9: 64–85
      The National Gallery of Victoria, Melbourne; Felton Bequest, 1920
      [cat. #77]
    29. Capaneus the Blasphemer, ca.1825
      Pen and black ink and watercolor; 14 11/16 x 20 3/4 in. (37.3 x 52.7 cm)
      Inferno 14: 46–72
      The National Gallery of Victoria, Melbourne; Felton Bequest 1920
      [cat. #79]
    30. The Symbolic Figure of the Course of Human History Described by Virgil, ca.1825
      Pen and black ink and watercolor over graphite and ?black chalk; 20 3/4 x 14 5/8 in. (52.7 x 37.2 cm)
      Inferno 14: 94–119
      The National Gallery of Victoria, Melbourne; Felton Bequest, 1920
      [cat. #80]
    31. Geryon Conveying Dante and Virgil down towards Malebolge, ca.1825
      Pen and black ink and watercolor over graphite or black chalk; 14 5/8 x 20 3/4 in. (37.1 x 52.7 cm)
      Inferno 17: 1–27, 70–126
      The National Gallery of Victoria, Melbourne; Felton Bequest, 1920
      [cat. #81]
    32. Ascent of the Mountain of Purgatory, ca.1824–27
      Pen and black ink and watercolor over graphite; 20 3/4 x 14 5/8 in. (52.8 x 37.2 cm)
      Purgatorio 4: 31–45
      Tate; purchased with the assistance of a special grant from the National Gallery and donations from the National Art Collections Fund, Lord Duveen and others, and presented through the National Art Collections Fund 1919
      [cat. #84]
    33. Beatrice addressing Dante from the Car, ca.1824–27
      Pen and black ink and watercolor; 14 5/8 x 20 3/4 in. (37.2 x 52.7 cm)
      Purgatorio 29: 92–129; 30: 31–33, 64–81
      Tate; purchased with the assistance of a special grant from the National Gallery and donations from the National Art Collections Fund, Lord Duveen and others, and presented through the National Art Collections Fund 1919
      [cat. #91]
    34. The Recording Angel, ca.1824–27
      Watercolor, pen and black ink over graphite; 20 1/2 x 14 1/8 in. (52 x 36 cm), sight
      Paradiso 19: 79–81, 112–116
      Birmingham Museums & Art Gallery, Great Britain
      [cat. #92]
    35. Dante in the Empyrean, Drinking at the River of Light, ca.1824–27
      Pen and black ink and watercolor over graphite; 20 3/4 x 14 5/8 in. (52.8 x 37.1 cm)
      Paradiso 30: 61–96
      Tate; purchased with the assistance of a special grant from the National Gallery and donations from the National Art Collections Fund, Lord Duveen and others, and presented through the National Art Collections Fund 1919
      [cat. #95]
    36. The Queen of Heaven in Glory
      Pen and black ink and watercolor over graphite and black chalk; 14 5/8 x 20 3/4 in. (37.1 x 52.8 cm)
      Paradiso 30: 97–126; 31: 1–21, 115–142; 32: 1–9
      The National Gallery of Victoria, Melbourne; Felton Bequest, 1920
      [cat. #96]
    37. Cette Figure vous montre Comme on Imprime les planches de taille douce (This figure shows you how to print the plates in soft engraving), 1643
      Abraham Bosse (1602–1676)
      Engraving; 8 1/2 x 12 1/2 in. (21.7 x 31.6 cm)
      The Metropolitan Museum of Art, New York; Rogers Fund, 1922 (22.67.15)
      [cat. #99a] 38–39.
      There is No Natural Religion, ca.1788/ca.1795
      Copy L ca.1788/ca.1795
      Relief etchings printed in light green ink with some color printing in olive brown ink and some black wash; 2 1/8 x 1 5/8 in. (5.4 x 4 cm)
      The Pierpont Morgan Library, New York
    38. Plate 2: Title-page
    39. Plate 10: Application. He who sees the infinite in all things sees God [cat. #107] 40–43.
      Songs of Innocence, 1789
      Plate 3: Title-Page
      [cat. #111]
    40. a) Plate with text and design in stopping-out liquid ready for relief etching made by Michael Phillips from a 1:1 negative taken from Alexander Gilchrist's Life of Blake, 1863
      Copper; 4 7/8 x 2 7/8 x 0.06 in. (12.3 x 7.4 x 0.15 cm)
      Michael Phillips
    41. b) Plate with text relief etched following first bite made by Michael Phillips from a 1:1 negative taken from Alexander Gilchrist's Life of Blake, 1863
      Copper; 4 7/8 x 2 7/8 x 0.06 in. (12.3 x 7.4 x 0.15 cm)
      Michael Phillips
    42. c) Plate with text and design relief etched following second bite made by Michael Phillips from a 1:1 negative taken from Alexander Gilchrist's Life of Blake, 1863
      Copper; 4 7/8 x 2 7/8 x 0.06 in. (12.3 x 7.4 x 0.15 cm)
      Michael Phillips
    43. d) Impression printed from 42 by Michael Phillips
      Blue ink; 7 7/8 x 5 1/2 in. (20 x 14 cm)
      Michael Phillips
    44. Songs of Innocence, 1789
      Copy K 1789
      Plate 3: Title-page
      Relief etching printed in color; approx. 7 1/8 x 5 3/8 in. (18 x 13.6 cm)
      New York Public Library, Astor, Lenox, and Tilden Foundations; The Carl H. Pforzheimer Collection of Shelley and His Circle
      [cat. #111e] 45–46.
      America a Prophecy, 1793
      [cat. #112]
    45. a) Fragment of relief-etched plate for cancelled plate (a)
      Copper; 3 1/8 x 2 1/4 in. (8 x 5.7 cm)
      National Gallery of Art, Washington, D.C.; Rosenwald Collection, 1943
    46. b) Proof impression of cancelled plate (a) 'A Prophecy'
      Relief etching printed in charcoal gray ink; 9 1/4 x 6 5/8 in. (23.5 x 16.7 cm)
      Lessing J. Rosenwald Collection, Library of Congress, Washington, D.C.
    47. America a Prophecy, 1793
      Sketch for a title-page, probably first idea for America ca.1792–93
      Graphite; 15 x 10 3/8 in. (38.1 x 26.3 cm)
      The British Museum, London
      [cat. #114] 48–55.
      America a Prophecy, 1793
      "Lambeth/Printed by William Blake in the year 1793."
      Copy F 1793
      10 of 18 Relief etchings printed in greenish black ink with some white line engraving and some gray wash; approx. 9 x 6 3/4 in. (23 x 17 cm) on 10 leaves 141/4 x 9 1/8 in. (36.2 x 23.3 cm)
      The British Museum, London
      [cat. #124]
    48. Plate 1: Frontispiece
    49. Plate 2: Title-page
    50. Plate 3: A Prophecy
    51. Plate 4: Appear to the Americans
    52. Plate 5: Albion's Angel
    53. Plate 6: The Morning Comes
    54. Plate 8: The Terror Answered
      Also on view, Plate 9: In thunders ends the voice
    55. Plate 10: Thus Wept
      Also on view, Plate 11: Sound! Sound! My loud war-trumpets
    56. Job, a Historical Engraving, 1793
      Line engraving, first state; 16 3/8 x 21 1/2 in. (41.5 x 54.5 cm), platemark 13 1/2 x 19 in. (34.4 x 48.2 cm)
      The Keynes Family Trust, on loan to the Fitzwilliam Museum, Cambridge
      [cat. #122]
    57. Edward & Elenor, 1793
      Line engraving; 16 1/4 x 21 1/8 in. (41.2 x 53.5 cm), platemark 12 1/8 x 18 in. (30.7 x 45.7 cm)
      The British Museum, London
      [cat. #123] 58–59.
      Visions of the Daughters of Albion, 1793
      Copy A 1793
      Plate 1: Frontispiece
      [cat. #119]
    58. a) Relief etching printed in black ink with black tempera color printing, proof impression; 6 5/8 x 4 3/8 in. (16.8 x 11.2 cm)
      The Lessing J. Rosenwald Collection, Library of Congress, Washington, D.C.
    59. b) Relief etching printed in color finished in pen and ink and watercolor; 14 x 10 1/4 in. (35.5 x 26.7 cm), platemark 6 3/4 x 4 3/4 in. (17 x 12 cm)
      Tate; purchased with the assistance of a special grant from the National Gallery and donations from the National Art Collections Fund, Lord Duveen and others, and presented through the National Art Collections Fund 1919 60–62.
      The Book of Thel, 1789
      "The Author & Printer Will.m Blake 1789."
      Copy R 1789
      2 of 8 Relief etchings printed in brown ink finished with pen and ink and watercolor; 12 x 9 1/2 in. (30.4 x 24.1 cm)
      Paul Mellon Collection, Yale Center for British Art, New Haven
      [cat. #126]
    60. Original paper wrapper
    61. Plate 3: Thel, The Daughters of Mne Seraphim
    62. Plate 7: But he that Loves the Lowly
    63. The Book of Thel, 1789
      "The Author & Printer Will.m Blake 1789."
      Copy A 1789–90
      Plate 2: Title-Page
      Relief etchings printed black ink; 6 3/4 x 9 1/2 in. (17.0 x 24.1 cm)
      The Pierpont Morgan Library, New York
    64. The Marriage of Heaven and Hell, 1790
      Copy C 1790
      Plate 14: The Ancient Tradition
      Relief and white line etching printed in green ink with hand coloring; 10 1/2 x 7 1/8 in. (26.9 x 17.9 cm)
      The Pierpont Morgan Library, New York
      [cat. #127] Nude Woman in Flames, ca.1790–93
      Woman Giving Birth to a Child and Two Kissing Running Figures, ca. 1790–93
      Designs for Plate 3: The Eternal Hell
      Watercolor, pen and black ink and over graphite
      Promised Gift of Michael E. Hall, Jr.
      [On view, not in catalogue]
    65. Historia del Testamento Vecchio Dipinta in Roma Nel Vaticano da Raffaelle Di Urbino... Al Sig Annibale Carracci (Rome, 1603)
      Sisto Badalocchio (1581 or 1585–1647) and Giovanni Lanfranco (1582–1647) after Annibale Caracci (1560–1609) after Raphael Santo (1483–1520)
      Open to pl.10, "Gen.[esis]3" ["The Expulsion."] with two graphite drawings by William Blake on inside margin and facing blank leaf, ca.1773
      6 3/4 x 9 1/4 in. (17.3 x 23.4 cm), platemark 5 1/4 x 7 1/8 in. (13.4 x 18.1 cm)
      Collection of Michael Phillips
      [cat. #142]
    66. Milton's Paradise Lost: A New Edition by Richard Bentley, Ed. (London, 1732)
      John Milton (1608–1674) Ed. Richard Bentley (1662–1742)
      With William Blake's annotations
      Open to pp. 398–399
      Collection of Michael Phillips
      [cat. #143]
    67. Songs of Innocence and of Experience, 1794/1795
      Copy B 1794/1795
      Plate 29: General Title-Page
      Relief etching printed in yellow-brown ink, washed with watercolor; 7 5/8 x 5 1/2 in. (19.5 x 14 cm)
      The British Museum, London
      [cat. #144] 68–69.
      Songs of Innocence and of Experience, 1794
      Plate 1: General Title-Page
      [cat. #144]
    68. a) Facsimile relief-etched plate made by Michael Phillips after posthumous copy [b] ca.1831 in Houghton Library, Harvard University
      Copper; 4 3/4 x 2 3/4 x 0.06 in. (11.2 x 7 x 0.15 cm)
    69. b) Impression printed from 68 by Michael Phillips
      Blue ink; 7 7/8 x 4 7/8 in. (20 x 14 cm), platemark 4 3/4 x 2 3/4 x 0.06 in. (11.2 x 7 x 0.15 cm) 70–94.
      Songs of Innocence and of Experience, 1794/ca.1825
      Copy Y ca.1825
      26 of 54 Relief etchings printed in orange-brown ink, heightened with watercolor and shell gold, with hand-painted decorative borders; 6 1/8 x 5 1/2 in. (15.7 x 14.1 cm)
      The Metropolitan Museum of Art, New York; Rogers Fund, 1917 (17.10.1–.54)
      [cat. #298]
    70. Plate 1: Combined Title-page
    71. Plate 2: Frontispiece
    72. Plate 3: Title page
    73. Plates 6: The Echoing Green
    74. Plates 7: The Echoing Green
    75. Plate 9: Little Black Boy
    76. Plate 10: Little Black Boy
    77. Plate 11: The Blossom: Merry Merry Sparrow
    78. Plate 15: Laughing Song
    79. Plate 18: The Divine Image
    80. Plate 25: Infant Joy
    81. Plate 27: On Anothers Sorrow
    82. Plate 28: Frontispiece
    83. Plate 29: Title-page
    84. Plate 30: Introduction: Hear the voice of the Bard
    85. Plate 31: Earth's Answer: Earth rais'd up her head
    86. Plates 34: The Little Girl Lost
    87. Plates 35: The Little Girl Lost/The Little Girl Found
    88. Plate 36: The Little Girl Found
      Also on view—Plate 39: The Sick Rose
    89. Plate 42: The Tyger
    90. Plate 45: The Little Vagabond
    91. Plate 46: London
    92. Plate 47: The Human Abstract: Pity would be no more
    93. Plate 49: A Poison Tree
    94. Plate 54: Voice of the Ancient Bard: Youth of Delight
    95. Manuscript Notebook, ca.1785?–ca.1827?
      William Blake and Robert Blake (1767?–1787)
      58 leaves, open to folios 55v–56, drafts for "London" and "The Tyger", ca.1792–3
      Graphite with some pen and black ink and watercolor; 7 3/4 x 6 1/8 in. (19.6 x 15.7 cm), open 7 3/4 x 12 3/8 in. (19.6 x 31.4 cm)
      The British Library Board, London
      [cat. #162]
    96. Songs of Innocence and of Experience, 1794/1815–26
      Copy T 1794/1815–26
      Plate 42: The Tyger
      Relief etching printed in red-brown ink, washed with watercolor; 7 1/4 x 4 3/4 in. (18.5 x 12 cm)
      The British Museum, London
      [cat. #163] 97–99.
      For Children. The Gates of Paradise, 1793
      3 Etchings and engravings printed in black ink; approx. 3 x 2 1/4 in. (7.6 x 5.7 cm)
      Lent by the Syndics of the Fitzwilliam Museum, Cambridge
      [cat. #130]
    97. I want! I want!
    98. Air
    99. Fire
    100. Manuscript letter, William Blake to Thomas Butts, 16 August 1803
      Open to folios 1v–2, "was very quickly done..."
      7 1/2 x 12 1/4 in. (19.2 x 31 cm)
      The Preston Blake Library, City of Westminster Archives Centre, London
      [cat. #211]
    101. Landscape near Felpham, ca.1800
      Watercolor over graphite; 9 3/8 x 13 1/2 in. (23.7 x 34.3 cm)
      Tate; presented by Mrs. John Richmond 1922
    102. The Spiritual Form of Pitt Guiding Behemoth, ca.1805?
      Tempera heightened with gold on canvas; 29 1/8 x 24 3/4 in. (74 x 62.7 cm)
      Tate; purchased by the National Gallery 1882; transferred to the Tate Gallery 1931
      [cat. #213] 103–105.
      Illustrations to Robert J. Thornton, "The Pastorals of Virgil..." 1821
      [cat. #217]
    103. a) Dr. Robert J. Thornton 1768?–1837
      The Pastorals of Virgil, with a Course of English Reading, Adapted for Schools: In which all the Proper facilities are given, enabling youth to acquire The Latin Language in the Shortest Period of Time. Illustrated by 230 Engravings (3rd edition, London, 1821)
      Vol. 1, open to pl.6–9, facing p.15
      7 3/8 x 4 5/8 x 1 1/4 in. (18.6 x 11.8 x 3 cm)
      The Preston Blake Library, City of Westminster Archives Centre
    104. b) The Blighted Corn, ca.1820
      Graphite, pen and ink and grey wash; approx. 1 5/8 x 3 3/4 in. (4.1 x 9.6 cm)
      Lent by the Syndics of the Fitzwilliam Museum, Cambridge
    105. c) The Blighted Corn, ca.1820–21
      Engraved woodblock, hardwood; 1 1/4 x 2 3/4 x 1 in. (3.4 x 7.2 x 2.2 cm)
      The British Museum, London 106–109.
      Illustrations of The Book of Job, 1823–6/1874
      Plate 2: Satan before the Throne of God
      Job 1: 6–12
      [cat. #218]
    106. Line engraving, second state (on India paper laid onto secondary paper support); approx. 20 x 13 1/2 in. (51 x 34.5 cm), platemark 7 3/4 x 5 15/16 in. (19.7 x 15.1 cm)
      Tate; purchased with the assistance of a special grant from the National Gallery and donations from the National Art Collections Fund, Lord Duveen and others, and presented through the National Art Collections Fund 1919
    107. a) Pen and black ink and watercolor over graphite; 11 11/16 x 8 15/16 in. (29.6 x 22.8 cm)
      The Pierpont Morgan Library, New York
    108. c) Line engraving, proof impression with marginal drawing in graphite, ca.1825–26; 9 3/8 x 7 1/2 in. (23.8 x 19.1 cm), platemark 8 3/8 x 6 5/8 in. (21.3 x 16.8 cm)
      National Gallery of Art, Washington, D.C.; Rosenwald Collection, 1943
    109. d) Copper plate; 8 5/8 x 6 3/4 x 0.06 in. (21.9 x 17.2 x 0.14 cm)
      The British Museum, London
    110. Head of William Blake, 1823/1953
      After James S. Deville (1776–1846)
      Bronze cast of plaster life mask; H. 11 1/2 in. (29.3 cm)
      Trustees of the National Portrait Gallery, London
      [cat. #219]
    111. The Man Who Taught Blake Painting in his Dreams, ca.1819–20
      Graphite; 11 3/4 x 13 5/8 in. (30.0 x 34.5 cm)
      Lent by the Syndics of the Fitzwilliam Museum, Cambridge
      [cat. #220]
    112. Catherine Blake, ca.1805
      Graphite; 11 1/4 x 18 11/16 in. (28.6 x 22.1 cm)
      Tate; bequeathed by Miss Alice G.E. Carthew, 1940
      [cat. #222]
    113. Portrait of the Young William Blake, ca.1827–31
      Catherine Blake (1762–1831)
      Graphite; 6 1/8 x 4 1/8 in. (15.5 x 10.4 cm)
      Lent by the Syndics of the Fitzwilliam Museum, Cambridge
      [cat. #223]
    114. Oberon, Titania and Puck with Fairies Dancing, ca.1785
      Watercolor over graphite; 18 3/4 x 26 5/8 in. (47.5 x 67.5 cm)
      A Midsummer Night's Dream 5.1: 385–416
      Tate; presented by Alfred A. de Pass in memory of his wife Ethel, 1910
      [cat. #227]
    115. The Works of Sir Joshua Reynolds, Knight Edited by Edmund Malone (London, 1798, 3 vols.)
      Sir Joshua Reynolds (1723–1792)
      Vol.1 open to frontispiece and title-page with William Blake's annotations
      The British Library Board, London
      [cat. #233]

      116–117.
      Illustrations to John Gabriel Stedman, Narrative, of a Five Years' Expedition, against the Revolted Negroes of Surinam (London, 1796, 2 vols.)
      William Blake after John Gabriel Stedman (1744–1797)
      [cat. #234]

    116. a) Vol.1, open to p.110, A Negro hung alive by the Ribs to a Gallows, 1791/1792
      Etching and line engraving finished with watercolor; 7 1/8 x 5 1/8 in. (18 x 13 cm), framing lines
    117. b) Vol. 2, open to p.296, The Execution of Breaking on the Rack, 1793
      Etching and line engraving finished with watercolor; 7 x 5 1/8 in. (17.7 x 12.9 cm), framing lines
      The British Library Board, London
    118. The Ghost of a Flea, ca.1819–20
      Tempera heightened with gold leaf on mahogany panel; 8 7/16 x 6 3/8 in. (21.4 x 16.2 cm)
      Tate; bequeathed by W. Graham Robertson 1949
      [cat. #238] 119–123.
      Pity, ca.1795
      [cat. #241]
    119. a) Preliminary sketch, ca.1795
      Graphite; 16 1/2 x 11 1/8 in. (41.8 x 28.4 cm), image approx. 11 5/8 x 11 in. (29.4 x 28 cm)
      The British Museum, London
    120. b) Preliminary sketch, ca.1795
      Graphite; 10 3/4 x 16 5/8 in. (27.2 x 42.2 cm)
      The British Museum, London
    121. c) Watercolor line drawing and washes with color printing, trial proof, ca.1795
      10 7/8 x 14 1/8 in. (27.6 x 35.9 cm), platemark 7 3/4 x 10 3/4 in. (19.6 x 27.4 cm)
      The British Museum, London
    122. d) Color print finished with pen and ink and watercolor, first impression, ca.1795
      21 1/2 x 30 1/2 in. (54.5 x 77.5 cm), platemark 16 3/4 x 21 1/4 in. (42.5 x 53.9 cm)
      Tate; presented by W. Graham Robertson 1939
    123. e) Color print finished with pen and ink and watercolor, second impression, ca.1795
      16 5/8 x 20 3/4 in. (42.1 x 52.8 cm)
      The Metropolitan Museum of Art, New York; Gift of Mrs. Robert W. Goelet, 1958 (58.603)
    124. Satan Exulting over Eve, ca.1795?
      Color print finished in pen and ink and watercolor; 17 1/4 x 21 3/8 in. (43.8 x 54.2 cm), platemark 16 7/8 x 21 in. (42.8 x 53.2 cm)
      Tate; purchased with assistance from the National Heritage Memorial Fund, the Friends of the Tate Gallery, the Essick Foundation, Edwin C. Cohen and other benefactors honouring Martin Butlin, Keeper of the British Collection 1967–89, 1996
      [cat. #243]
    125. God Judging Adam, 1795
      Color-printed relief etching finished in pen and ink and watercolor; 21 1/2 x 30 1/4 in. (54.5 x 77 cm), platemark 17 x 21 1/8 in. (43.2 x 53.5 cm)
      Tate; presented by W. Graham Robertson 1939
      [cat. #244]
    126. God Judging Adam, ca.1795
      Color-printed relief etching finished in pen and ink and watercolor; 16 3/4 x 20 3/4 in. (42.6 x 52.6 cm)
      The Metropolitan Museum of Art, New York; Rogers Fund, 1916 (16.38)
      [cat. #244]
    127. Nebuchadnezzar, 1795/ca.1805
      Color print finished in pen and ink and watercolor; 21 1/2 x 28 1/2 in. (54.5 x 72.5 cm), platemark 17 5/8 x 24 3/8 in. (44.6 x 62 cm)
      Tate; presented by W. Graham Robertson 1939
      [cat. #247]
    128. Sketch for Newton, ca.1795
      Graphite; 8 x 10 3/8 in. (20.4 x 26.2 cm)
      Keynes Family Trust, on loan to the Fitzwilliam Museum, Cambridge
      [cat. #248]
    129. Newton, 1795/ca.1805
      Color print finished in pen and ink and watercolor; 21 1/2 x 30 in. (54.5 x 76 cm), platemark 18 1/8 x 23 5/8 in. (46 x 60 cm)
      Tate; presented W. Graham Robertson 1939
      [cat. #249]
    130. The Night of Enitharmon's Joy (formerly called Hecate), ca.1795
      Color print finished in pen and ink and watercolor; 21 1/2 x 30 1.4 in. (54.5 x 77 cm), platemark 17 1/4 x 22 7/8 in. (43.9 x 58.1 cm)
      Tate; presented by W. Graham Robertson 1939
      [cat. #250]
    131. The Good and Evil Angels 1795/?ca.1805
      Color print finished in pen and ink and watercolor; 21 1/2 x 30 in. (54.5 x 76 cm), platemark 17 1/2 x 23 3/8 in. (44.5 x 59.4 cm)
      Tate; presented by W. Graham Robertson 1939
      [cat. #252]
    132. John Milton, ca.1800–3
      Pen and ink and tempera on canvas; 15 3/4 x 35 3/4 in. (40.1 x 90.9 cm)
      Manchester City Art Galleries, Great Britain
      [cat. #254]
    133. Milton, 1804–10/ca.1818
      Plate 13: Milton Rising up from the Heavens of Albion, second state
      Color-printed relief etching; 8 3/8 x 16 1/16 in. (21.3 x 15.4 cm), platemark 6 1/4 x 4 3/8 in. (16 x 11.1 cm)
      Philadelphia Museum of Art; Gift of Carl Zigrosser
      [cat. #256]
    134. Satan Arousing the Rebel Angels, 1808
      Pen and black ink and watercolor; 20 3/8 x 15 1/2 in. (51.8 x 39.3 cm)
      Paradise Lost 1: 300–334
      The Victoria & Albert Museum, London
      [cat. #258]
    135. Satan, Sin and Death: Satan Comes to the Gates of Hell, ca.1806
      Pen and black ink, liquefied gold and watercolor; 19 1/2 x 15 7/8 in. (49.5 x 40.3 cm)
      Paradise Lost 2: 645–734
      The Huntington Library, Art Collections and Botanical Gardens, San Marino
      [cat. #259]
    136. Christ Offers to Redeem Man, 1808
      Pen and black ink and watercolor; 19 1/2 x 15 1/2 in. (49.6 x 39.3 cm)
      Paradise Lost 3: 222–352
      Museum of Fine Arts, Boston; gift by subscription, 1890
      [cat. #260]
    137. Satan Watching the Endearments of Adam and Eve, 1808
      Pen and black ink and watercolor; 20 x 15 in. (50.7 x 38.2 cm)
      Paradise Lost 4: 325–535
      Museum of Fine Arts, Boston; gift by subscription, 1890
      [cat. #261]
    138. The Rout of the Rebel Angels, 1808
      Pen and black ink and watercolor; 19 3/8 x 15 in. (49.1 x 38.2 cm)
      Paradise Lost 6: 835–866
      Museum of Fine Arts, Boston; gift by subscription, 1890
      [cat. #264]
    139. The Creation of Eve, 1808
      Pen and black ink and watercolor; 19 3/4 x 15 3/4 in. (50.3 x 40 cm)
      Paradise Lost 8: 452–477
      Museum of Fine Arts, Boston; gift by subscription, 1890
      [cat. #265]
    140. The Temptation and Fall of Eve, 1808
      Pen and black ink and watercolor; 19 5/8 x 15 1/4 in. (49.7 x 38.7 cm)
      Paradise Lost 9: 780–784
      Museum of Fine Arts, Boston; gift by subscription, 1890
      [cat. #266]
    141. "Il Penseroso" V: Milton's Mysterious Dream, 1816–20
      Pen and black ink and watercolor; 6 7/8 x 4 7/8 in. (16.3 x 12.4 cm)
      Il Penseroso: 139–140, 145–154
      The Pierpont Morgan Library, New York
      [cat. #271] 142–146.
      Milton a Poem / in 12 Books, 1804/1811
      "The Author / & Printer W Blake / 1804 / To Justify the Ways of God to Man"
      Copy A 1811
      5 of 45 Relief-etched and white line engraved plates printed in black ink finished with watercolor and gray wash; approx. 9 3/8 x 6 7/8 in. (23.7 x 17.6 cm), platemark 6 1/4 x 4 1/2 in. (16 x 11.5 cm)
      The British Museum, London
      [cat. #272]
    142. Plate 1: Title page
    143. Plate 8: Satan, Rintrah, Palamabron
    144. Plate 15: To Annihilate the Self-hood of Deceit
    145. Plate 21: Blake and Los
    146. Plate 36: When on the highest lift
    147. Plate 38: Albion on the Rock, ca.1807–9
      Relief etching with white line engraving, printed in black with some gray wash; 9 1/8 x 6 1/8 in. (23.2 x 15.7 cm), platemark 5 3/8 x 4 1/8 in. (13.5 x 10.5 cm)
      Collection of Robert N. Essick
      [cat. #278]
    148. The Dance of Albion, or Albion Rose, ca.1790/ca.1796
      Color-printed engraving finished with pen and ink and watercolor; 14 1/2 x 10 3/8 in. (36.8 x 26.3 cm), platemark 10 3/4 x 7 7/8 in. (27.2 x 19.9 cm)
      The Huntington Library, Art Collections and Botanical Gardens, San Marino
      [cat. #279, 176]
    149. (Not Exhibited in New York) The [First] Book of Urizen
      Copy B 1794/1796
      Plate 3: Oh! Flames of Furious Desires
      Color-printed relief etching finished with pen and ink and watercolor; 4 x 6 in. (10 x 15 cm), platemark 2 3/8 x 4 in. (6 x 10 cm)
      Keynes Family Trust, on loan to the Fitzwilliam Museum, Cambridge
      [cat. #286] 150–154.
      The [First] Book of Urizen
      Copy C 1794
      5 Relief etchings printed in orange ink, finished with pen and black ink and watercolor; each 10 1/4 x 14 1/4 in. (26.0 x 36.3 cm)
      Paul Mellon Collection, Yale Center for British Art, New Haven
      [cat. #296]
    150. Plate 1: Title page
    151. Plate 3: Lo, a shadow of horror is risen
    152. Plate 7: As the stars are apart from the earth
    153. Plate 10: Bearded man swimming through water
    154. Plate 13: Bearded man squatting in fetters lamenting
    155. The [First] Book of Urizen, 1794
      Copy A 1794
      Plate 11: Los Smitten with Astonishment
      Relief etching printed in orange ink, finished with pen and black ink and watercolor; 10 1/4 x 14 1/4 in. (26.0 x 36.3 cm)
      Paul Mellon Collection, Yale Center for British Art, New Haven
    156. Europe a Prophecy, 1824
      Plate 1: Frontispiece, The Ancient of Days
      Relief etching finished in gold, watercolor and gouache; 9 1/4 x 6 5/8 in. (23.4 x 16.8 cm)
      The Whitworth Art Gallery, The University of Manchester, Great Britain
      [cat. #297] 157–161.
      Europe a Prophecy, 1794
      Copy B 1794
      Relief and white line etchings printed in brown, blue, and green ink, finished with watercolor; each plate approx. 14 11/16 x 10 1/2 in. (37.3 x 26.7 cm), platemark 9 1/8 x 6 5/8 in. (23.3 x 16.8 cm)
      Special Collections Department, Glasgow University Library
      [cat. #299]
    157. Plate 1: The Ancient of Days
    158. Plate 2: Title page
    159. Plate 3: Preludium
    160. Plate 6: The Shrill Winds Wake
    161. Plate 12: Albion's Angel Rose
    162. Enitharmon Descending Over Orc, 1794
      Europe a Prophecy (Copy A) 1794
      Plate (6)7: The Shrill Winds Wake
      Relief etching printed in dark green ink; 13 1/4 x 10 1/4 in. (33.5 x 26 cm), platemark 9 1/8 x 6 1/2 in. (23.3 x 16.4 cm)
      The British Museum, London
      [cat. #283]
    163. Vala, or The Four Zoas, ca.1797–1807
      Manuscript in pen and black ink and graphite, with marginal illustrations in graphite, black chalk, pen and black ink and watercolor; pages 4–5, each approx. 16 1/2 x 12 3/4 in. (42 x 32.5 cm)
      The British Library Board, London
      [cat. #300]
    164. The Song of Los, 1795
      Copy A 1795
      Plate 8: Los Looking Down on the Sun
      8 relief etchings printed printed in olive green ink and opaque colors; 14 3/8 x 10 1/4 in. (34.5 x 25 cm)
      The British Museum, London
      [cat. #301] 165–166.
      The Book of Los, 1795
      Copy A 1795
      Intaglio etching and engraving printed in black ink with planographic color printing, finished in watercolor; approx. 9 3/4 x 11 5/8 in. (24.8 x 29.4 cm), platemark 5 3/8 x 3 7/8 in. (13. 6 x 9.9 cm)
      The British Museum, London
      [cat. #302]
    165. Plate 1: Frontispiece
    166. Plate 2: Title-page
    167. Jerusalem, ca.1804
      Relief etching printed in orange ink; 8 1/4 x 5 7/8 in. (21.1 x 15 cm)
      Plate 1: Frontispiece
      The Metropolitan Museum of Art, New York; Rogers Fund, 1917 (17.3.2978)
      [cat. # 289, 303]
    168. Los and his Spectre, ca.1804–07
      Sketch for Jerusalem, pl. 6
      Graphite; 8 x 6 1/4 in. (20.3 x 15. 9 cm), image 6 1/8 x 3 3/4 in. (15.7 x 9.5 cm)
      National Gallery of Art, Washington, D.C.; Rosenwald Collection, 1943
      [cat. #293] 169–180.
      Jerusalem, 1820
      Copy A 1820
      Relief etchings printed in black ink finished with gray-black wash; approx. 12 7/8 x 10 3/8 in. (32.7 x 26.5 cm), platemark 8 1/4 x 5 7/8 in. (21.1 x 15 cm)
      The British Museum, London
      [cat. #277, 284, 287, 288]
    169. Plate 6: Los and his Spectre
    170. Plate 14: Albion and his Emanation, Jerusalem
    171. Plate 19: Albion Fallen
    172. Plate 25: Albion and his Tormentors
    173. Plate 33: And One stood forth
    174. Plate 41: Albion Brooding
    175. Plate 47: From Camberwell to Highgate
    176. Plate 50: The Atlantic Mountains
    177. Plate 93: Enitharmon
    178. Plate 94: Albion cold lays
    179. Plate 95: Albion Rising
    180. Plate 100: Los, his Spectre and Enitharmon before a Druid Temple
    181. Jerusalem, ca.1826–27
      Copy F ca.1826–27
      Plate 70: And this the form
      Relief etching printed in black ink; 14 5/8 x 10 3/4 in. (37.2 x 27.2 cm)
      The Pierpont Morgan Library, New York