This sketch from The Complete Portraiture of William and Catherine Blake is by William of his wife, Catherine. It appears to be a scene of Catherine sitting on bed getting ready for the day. There is a man lying in the bed next to her, likely Blake. The sketch is very rough and is clearly more of a concept than a detailed portrait of the couple. This intimate scene of the two together in bed expresses how happy they were together. Many sources show how helpful Catherine was to Blake’s works, and this image of a mundane activity emphasizes their closeness. Not available at the William Blake Archive. Consult the book in Schaffer Library for a detailed view of the image.
The woman in this illustration to Hayley’s Triumph of Temper is the protagonist, Serena. Her hands appear to be clasped in prayer as she enters an arch that Hayley describes as “wide and fantastic.” The area is lit, but the left side of the arch reveals some of the “unnumbered phantoms” that Serena must face. The drawing for this engraving by Blake was made by Maria Flaxman.
In this image at the end of Visions of the Daughters of Albion (1959 facsimile), the torso and head of a female, likely Oothoon, is pictured in the midst of clouds and fire over a dark sea. Her blond hair flows in the wind and her arms are spread wide. Beneath her, on a single ice floe floating in the sea, are the daughters of Albion. They each wear a long colorful gown and their legs are contorted against their chests. They hold each other close and stare up at Oothoon. The poem ends, “The Daughters of Albion hear her woes & eccho back her sighs.”
In this illustration at the start of Visions of the Daughters of Albion (1959 facsimile), a woman with her hair tied back kneels on the ground with her hands covering her breasts. She appears to kiss the forehead of a cherub or child. The child’s arms are outstretched in a joyful pose. The only landscape is a small patch of earth that the woman kneels upon and a miniature dark plant in the lower left corner. Behind the woman is a radiant pink sky. The beams extend to the other corners of the plate. The whole effect represents Oothoon’s happy state and prospects before they are destroyed by Bromion.
The frontispiece to Visions of the Daughters of Albion (1959 facsimile) depicts a cave that overlooks a large green field. Within the cave are three human figures, all in chains. To the far right is a man with curly hair whose head is bowed so that his face is not visible. This male is likely Theotormon, the object of Oothoon’s desires. Oothoon herself appears to be fully naked and is chained to the arms of another nude figure. This older male figure is likely Bromion, Oothon’s rapist. Dark clouds in the background surround a setting sun as shadows encroach upon the three prisoners, all bound in their separate, psychological and physical ways.
The majority of this plate from The Marriage of Heaven and Hell (1960 facsimile) is comprised of green text on a white backdrop. In between lines, as well as in margins, there are some miniature illustrations. Blue landscape, whether it be sea or sky, fills much of what would otherwise be blank space. Bordering the words “Proverbs of Hell” are two scenes with human figures. To the left of the title, an old, hunched, male figure is clutching a walking stick. On the right of the title, several human figures are confronted by a snake that appears to be flying through the air. The humans have their arms raised in fright, while the snake bares its fangs in a vicious display. In another miniature scene, a nude male figure has his arms outstretched as if he is mid-movement. At the bottom of the plate, an angel wearing a long yellow robe is playing a trumpet while a large snake-like creature appears to swim alongside the angel.
This photograph of a replica of the type of printing press used by Blake was included with Michael Phillips’s 2016 facsimile of Songs of Innocence and of Experience. It is housed at Oxford University. Phillips used it to print his reproduction.
In the title page for Songs of Experience, included in the combined edition of Songs of Innocence and of Experience (2016 facsimile), an elderly couple appears to have died recently. They lie side by side in a bed with their arms stretched out flat at their sides. At the foot of the bed, on either side, is a woman. Both women appear to be distressed and have their hands in front of them in grief or prayer. The words that comprise the title are surrounded by delicate flowers, as well as two figures with legs extended in a sort of dance pose. The picture juxtaposes joy and agony - surely two key components of ‘experience’.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. Michael Phillips’s black and white impression of this plate, for example, allows some details to emerge that are easier to see without color, such as the date of 1794 on the bedpost and some of the leaves that are hugging the title. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
In this image from the “experience” section of Songs of Innocence and of Experience (2016 facsimile), an old man with a long beard and robe walks through the streets of, presumably, London. He is using a crutch, as well as getting assistance from a small boy. The streets are dim and dirty. A beam of light shines down upon the old man and the boy. In the bottom sector of the plate, a man warms his hands by a raging fire. The smoke billows up into the top half of the plate.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. In this black and white print, for example, the impact of the beam of light is even more prominent. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
A child feeds a small lamb from the palm of his hand in the foreground of this image from Songs of Innocence (2016 facsimile). The two are framed by vines that border the illustration on this plate. Behind them is a field filled with grazing sheep. To the right of the herd is a cottage with a thatched straw roof. Vines surround the bulk of the text on this page, except for the title which appears above the vines in a larger font.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. This uncolored print in green ink from Michael Phillips, for example, can be contrasted with a print using black ink instead. Blake used a variety of ink colors for his prints, which Phillips tested in a variety of ways. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
This copper plate of The Lamb was created by Michael Phillips for his 2016 facsimile of Songs of Innocence and of Experience. It is based upon an exact size photo negative of a Blake print. Theories differ as to how Blake created his own copper printing plates, but the plates would always have taken this form in the end. The text and pictures are “relief etched” in reverse because when inked and pressed on paper, the result would appear in the proper direction. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the item.
A child feeds a small lamb from the palm of his hand in the foreground of this image from Songs of Innocence (2016 facsimile). The two are framed by vines that border the illustration on this plate. Behind them is a field filled with grazing sheep. To the right of the herd is a cottage with a thatched straw roof. Vines surround the bulk of the text on this page, except for the title which appears above the vines in a larger font.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. This uncolored print in black ink from Michael Phillips, for example, can be contrasted with a print using green ink instead. Blake used a variety of ink colors for his prints, which Phillips tested in a variety of ways. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
A male figure takes up the foreground in the frontispiece to Songs of Innocence, included in the combined edition of Songs of Innocence and of Experience (2016 facsimile). He is holding a wooden musical instrument that looks to be some type of flute. He stares at a cherubic figure that is flying above him. Two tall, lush trees frame the illustration on this plate. Behind the male figure are acres of crops or pasture land with grazing sheep. The whole effect is one of sweet, pastoral inspiration.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. For example, here Michael Phillips’s experimentation with Blake’s printing techniques is on show. The black and white image allows for more of the original details and lines to be seen; in most copies they are covered with added color. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
On the combined title pages for Songs of Innocence and Experience (2016 facsimile), two human figures, nude save for branches that act as loincloths, are both positioned horizontally in despairing postures with their faces obstructed from view. The figure on the ground appears to be female, and hovering inches above her is a male figure. Blake scholars theorize that these figures are intended to be Adam and Eve fleeing from the Garden of Eden. They cling to the verdant field beneath them as the sky is streaked with flames. The flames transform into smoke that forms the word “Songs” at the top of the image. Several birds fly throughout the words of the title.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. The obvious difference with this copy, for example, is that it is not colored. Instead, Michael Phillips was testing the printing process by using one color at a time, which later would have been filled in with watercolors. Comparing it to the 1955 version of this image, for example, allows us to analyze almost a “negative” version and different effect of Blake’s work. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
In this image from the “experience” section of Songs of Innocence and of Experience (1991 facsimile), an old man with a long beard and a dirty blue robe walks through the streets of, presumably, London. He is using a crutch, as well as getting assistance from a small boy. The streets are dim and dirty. A beam of light shines down upon the old man and the boy. In the bottom sector of the plate, a man clothed in green warms his hands by a raging fire. The smoke billows up into the top half of the plate.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. Compared to the 1955 reproduction, for example, this image, reproduced from a print made late in Blake’s lifetime, has a more yellow tone, possibly to emphasize the beam of light that is cast over the boy and old man. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
In the title page for Songs of Experience, included in the combined edition of Songs of Innocence and of Experience (1991 facsimile), an elderly couple appears to have died recently. They lie side by side in a bed with their arms stretched out flat at their sides. At the foot of the bed, on either side, is a woman in a softly colored dress. Both women appear to be distressed and have their hands in front of them in grief or prayer. The words that comprise the title are surrounded by delicate pink flowers, as well as two figures with legs extended in a sort of dance pose. The picture beautifully juxtaposes joy and agony - surely two key components of ‘experience’.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. This version of the title page, for example, reproduced from a print made late in Blake’s lifetime, has an even lighter and airier feel than the 1955 version, modeled on a different copy. All the colors are bright pastels, making the image appear peaceful at this time of mourning and agony. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
A male figure takes up the foreground in the frontispiece to Songs of Innocence, included in the combined edition of Songs of Innocence and Experience (1955 facsimile). He is holding a wooden musical instrument that looks to be some type of flute. He stares at a cherubic figure that is flying above him. Two tall, lush trees frame the illustration on this plate. Behind the male figure are acres of crops or pasture land with grazing sheep. The whole effect is one of sweet, pastoral inspiration.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. For example, this image, reproduced from a print made late in Blake’s lifetime, has a lighter and more whimsical coloring compared to the 1955 version, made from a different copy. The figures appear to have a lavender coloring to them and there is a warm, gold aura around each of the figures, making them feel more magical and less like actual people. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
On the combined title page for Songs of Innocence and of Experience (1991 facsimile), two human figures, nude save for branches that act as loincloths, are both positioned horizontally in despairing postures with their faces obstructed from view. The figure on the ground appears to be female, and hovering inches above her is a male figure. Blake scholars theorize that these figures are intended to be Adam and Eve fleeing from the Garden of Eden. They cling to the verdant field beneath them as the sky is streaked with flames. The flames transform into smoke that forms the word “Songs” at the top of the image. Several birds fly throughout the words of the title.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. For example, this image, reproduced from a print made late in Blake’s lifetime, appears brighter and more fluid compared to the 1955 version, made from a different copy. This image has more distinct, bright yellows that give the flames more clarity. There is also a border around this plate, unlike in the 1955 version, which has no border. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
In this image from the “experience” section of Songs of Innocence and of Experience (1983 facsimile), an old man with a long beard and robe walks through the streets of, presumably, London. He is using a crutch, as well as getting assistance from a small boy. The streets are dim and dirty. A beam of light shines down upon the old man and the boy. In the bottom sector of the plate, a man clothed in green warms his hands by a raging fire. The smoke billows up into the top half of the plate.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. Compared to the 1955 reproduction, for example, this “London” utilizes more of the open space. The text is wrapped with a border instead of filled in with color. The scene at the top is also less colorful than the 1955 version; there is also less emphasis on the beam of light. These differences reflect differences in the original copies by Blake that were used as models for each of the two facsimiles.
A child feeds a small lamb from the palm of his hand in the foreground of this image from Songs of Innocence included in the combined edition with Songs of Experience (1983 facsimile). The two are framed by vines that border the illustration on this plate. Behind them is a field filled with grazing sheep. To the right of the herd is a cottage with a thatched straw roof. Vines surround the bulk of the text on this page, except for the title which appears above the vines in a larger font.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. This uncolored proof in black ink from the Manchester Workshop, for example, allows us to appreciate details that are harder to see when the ink color is more muted or when watercolors are added later. This print also shows what the effect would be if the borders of the copper printing plate were also inked (or not wiped free of ink) before being pressed onto the paper. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
A child feeds a small lamb from the palm of his hand in the foreground of this image from Songs of Innocence (1983 facsimile). The two are framed by thick vines that border the illustration on this plate. Behind them is a field filled with grazing sheep. To the right of the herd is a cottage with a thatched straw roof. Trees give the cottage shade from the sun. Vines surround the bulk of the text on this page, except for the title which appears above the vines in a larger font.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. This image of The Lamb, for example, almost gives the impression of a rainbow. Each of the colors seamlessly blends together creating a colorful and thick border around the text. The text is printed in a brown ink that blends in with the trees and lambs.
This version of the title page for Songs of Experience, included in the combined edition of Songs of Innocence and of Experience (1983 facsimile), is a simple impression of the title with a few leaves above it, without the rest of the images or colors found in copies made by Blake. The Manchester Workshop edition used specially created paper for their project, which is effective in showing the deep impression left by an uninked plate. This paper, however, is generally thought to be thicker than paper that would have been used by Blake. Not available at the William Blake Archive; consult the book in Schaffer Library for a detailed view of the image.
In the title page for Songs of Experience, included in the combined edition of Songs of Innocence and of Experience (1983 facsimile), an elderly couple appears to have died recently. They lie side by side in a bed with their arms stretched out flat at their sides. At the foot of the bed, on either side, is a woman in a blue or green dress. Both women appear to be distressed and have their hands in front of them in grief or prayer. The words that comprise the title are surrounded by delicate pink flowers, as well as two figures with legs extended in a sort of dance pose. The picture beautifully juxtaposes joy and agony - surely two key components of ‘experience’.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies. This image has more brown and green hues compared to the 1955 reproduction, for example. It also utilizes more of the white space around the title, lacking some of the color of the 1955 copy. These differences reflect differences in the original copies by Blake that were used as models for each of the two facsimiles. The muted colors of the 1983 reproduction also show off the homemade paper created for this project.
A male figure takes up the foreground in the frontispiece to Songs of Innocence, included in the combined edition of Songs of Innocence and of Experience (1955 facsimile). He is holding a wooden musical instrument that looks to be some type of flute. He stares at a cherubic figure that is flying above him. Two tall, lush trees frame the illustration on this plate. Behind the male figure are acres of crops or pasture land with grazing sheep. The whole effect is one of sweet, pastoral inspiration.
The coloring and impact of this image should be compared to that of other reproductions in the library’s collections, made by different hands or from different original copies.