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William Blake

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Checklist of Works on Display in "William Blake" at The Metropolitan Museum of Art

  • 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

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