Materials & Techniques: line engraving / Creator Gender: male / Subject Terms: religious and mythological subject

Print made by William Blake, 1757–1827

For the Sexes: The Gates of Paradise, Title Page (Plate 1)

1826

Print made by William Blake, 1757–1827

"I want! I want!" (Plate 11)

1826

Print made by William Blake, 1757–1827

"My son! my Son!" (Plate 10)

1826

Print made by William Blake, 1757–1827

"Help! Help!" (Plate 12)

1826

Print made by William Blake, 1757–1827

Aged Ignorance (Plate 13)

1826

Print made by William Blake, 1757–1827

"Does thy God O Priest take such vengeance as this?" (Plate 14)

1826

Print made by William Blake, 1757–1827

"Fear & hope are -- Vision" (Plate 15)

1826

Print made by William Blake, 1757–1827

"The Traveller hasteth in the Evening" (Plate 16)

1826

Print made by William Blake, 1757–1827

Death's Door (Plate 17)

1826

Print made by William Blake, 1757–1827

"I have said to the Worm: Thou art my mother & my sister" (Plate 18)

1826

Print made by William Blake, 1757–1827

"He meets his Saviour in the Grave..." (Plate 20)

1826

Print made by William Blake, 1757–1827

"I found him beneath a Tree" (Plate 3)

1826

Print made by William Blake, 1757–1827

Alas! (Plate 9)

1826

Print made by William Blake, 1757–1827

'Emblem of that which shall awake the dead' (Page 19)

1797

Print made by William Blake, 1757–1827

'O treacherous conscience! while she seems to sleep" (Page 27)

1797

Print made by William Blake, 1757–1827

'Tis greatly wise to talk with our past hours' (Page 31)

1797

Print made by William Blake, 1757–1827

'Like that, the dial speaks; and points to thee' (Page 33)

1797

Print made by William Blake, 1757–1827

'Swift on his downy pinion flies from woe' (Page 1)

1797

Print made by William Blake, 1757–1827

'Teaching, we learn; and giving, we retain' (Page 35)

1797

Print made by William Blake, 1757–1827

'Love, and love only, is the loan for love' (Page 37)

1797

Print made by William Blake, 1757–1827

'Angels should paint it, angels ever there' (Page 40)

1797

Print made by William Blake, 1757–1827

'One radiant mark, – the death-bed of the just' (Page 41)

1797

Print made by William Blake, 1757–1827

'As if the sun could envy, check'd his beam' (Page 49)

1797

Print made by William Blake, 1757–1827

'His hand the good man fastens on the skies' (Page 86)

1797

Print made by William Blake, 1757–1827

Night the First. On Life, Death and Immortality; Title Page

1797

Print made by William Blake, 1757–1827

'Oft bursts my song beyond the bounds of life' (Page 16)

1797

Print made by William Blake, 1757–1827

Night the Second. On Time, Death, and Friendship; Title Page (Page 17)

1797

Print made by William Blake, 1757–1827

'We censure nature for a span too short' (Page 23)

1797

Print made by William Blake, 1757–1827

'Time, in advance, behind him hides his wings' (Page 24)

1797

Print made by William Blake, 1757–1827

'Behold him, when past by; what then is seen' (Page 25)

1797

Print made by William Blake, 1757–1827

'Measuring his motions by revolving spheres' (Page 26)

1797

Print made by William Blake, 1757–1827

Night the Third. Narcissa; Title Page

1797

Print made by William Blake, 1757–1827

'The vale of death! that hush'd cimmerian vale' (Page 54)

1797

Print made by William Blake, 1757–1827

'Ungrateful, shall we grieve their hovering shades' (Page 55)

1797

Print made by William Blake, 1757–1827

'Trembling each gulp, lest death should snatch the bowl' (Page 57)

1797

Print made by William Blake, 1757–1827

'This King of Terrors is the Prince of Peace' (Page 63)

1797

Print made by William Blake, 1757–1827

'What, though my soul fantastick measures trod' (Page 4)

1797

Print made by William Blake, 1757–1827

The Christian Triumph; Title Page

1797

Print made by William Blake, 1757–1827

'Till death, that mighty hunter, earths them all' (Page 70)

1797

Print made by William Blake, 1757–1827

'Draw the dire steel? – ah no! – the dreadful blessing' (Page 73)

1797

Print made by William Blake, 1757–1827

'The Sun beheld it – No, the shocking scene' (Page 75)

1797

Print made by William Blake, 1757–1827

'The thunder, if in that the Almighty dwells' (Page 80)

1797

Print made by William Blake, 1757–1827

'But for the blessing wrestle not with heaven' (Page 88)

1797

Print made by William Blake, 1757–1827

'Is lost in love! thou great Philanthropist' (Page 87)

1797

Print made by William Blake, 1757–1827

'That touch, with charm celestial heals the soul' (Page 90)

1797

Print made by William Blake, 1757–1827

'When faith is virtue, reason makes it so' (Page 92)

1797

Print made by William Blake, 1757–1827

'If angels tremble, 'tis at such a sight' (Page 93)

1797

Print made by William Blake, 1757–1827

'Till at Death's toll, whose restless iron tongue' (Page 7)

1797

Print made by William Blake, 1757–1827

'The goddess bursts in thunder and in flame' (Page 95)

1797

Print made by William Blake, 1757–1827

'Death! great proprietor of all! 'tis thine' (Page 8)

1797

Print made by William Blake, 1757–1827

'Disease invades the chastest temperence' (Page 10)

1797

Print made by William Blake, 1757–1827

'Its favours here are trials, not rewards' (Page 12)

1797

Print made by William Blake, 1757–1827

'The present moment terminates our sight' (Page 13)

1797

Print made by William Blake, 1757–1827

'The longest night though longer far, would fail' (Page 15)

1797

Print made by William Blake, 1757–1827

"To The Accuser who is The God of This World..." (Plate 19)

1826

Print made by William Blake, 1757–1827

Frontispiece, "What is Man!" (Plate 2)

1826

Print made by William Blake, 1757–1827

Water (Plate 4)

1826

Print made by William Blake, 1757–1827

Earth (Plate 5)

1826

Print made by William Blake, 1757–1827

Air (Plate 6)

1826

Print made by William Blake, 1757–1827

Fire (Plate 7)

1826

Print made by William Blake, 1757–1827

"At length for hatching ripe he breaks the shell" (Plate 8)

1826

James Henry Watt, 1799–1867

St. Cecilia

1834

Print made by George Cooke, 1781–1834

Florence, from the Chiesa al Monte

1820

Print made by Edward Goodall, 1795–1870

St. Julienne's Chapel

1834

Print made by Edward Goodall, 1795–1870

The Nile

1839

Print made by George Cooke, 1781–1834

Florence, from the Chiesa al Monte

1820

Print made by George Cooke, 1781–1834

Florence, from the Chiesa al Monte

1820

Print made by William Faithorne, ca. 1620–1691

The Betrayal of Christ

1653

Print made by John Alexander, 1686–before 1768

Lot and His Family

ca. 1718

Print made by Edward Goodall, 1795–1870

Dido Building Carthage

between 1859 and 1861

Print made by James Baylis Allen, 1803–1876

Temple of Jupiter Panhellenius

between 1859 and 1861

Print made by James Baylis Allen, 1803–1876

Decline of Carthage

between 1859 and 1861

Print made by Robert Brandard, 1805–1862

The Bay of Baiæ, Apollo and the Sibyl

between 1859 and 1861

Print made by Thomas Abiel Prior, 1809–1886

The Golden Bough

1875

Print made by James Tibbits Willmore, 1800–1863

Mercury and Argus

between 1859 and 1861

Print made by Edward P. Brandard, 1819–1898

Apollo and Daphne in the Vale of Tempe

between 1859 and 1861

Print made by James Baylis Allen, 1803–1876

Phryne Going to the Bath as Venus

between 1859 and 1861

Print made by James Basire II, 1769–1822

Vol. 6, Plate XXXI: A Continuation, as it is Presumed, of the Story of Antiochus. The Story of Abimelech

1842

James Basire II Vol. 6, Plate XXX: The Story, as it is Presumed, of Joab and Abner. The Martyrdom of the Mother and her Seven Sons, and the Sacrifice of Antiochus.

Print made by James Basire II, 1769–1822

Vol. 6, Plate XXX: The Story, as it is Presumed, of Joab and Abner. The Martyrdom of the Mother and her Seven Sons, and the Sacrifice of Antiochus

1842

Print made by James Basire II, 1769–1822

Vol. 6, Plate XXXIII: The Captivity of Jehoiachin King of Israel. Continuation of the Story, of the Captivity of the Jews

1842

Print made by James Basire II, 1769–1822

Vol. 6, Plate XXXII: The Story of Hezekiah

1842

Print made by James Basire II, 1769–1822

Vol. 6, Plate XXXVI: Continuation of the Acts of the Maccabees. The Battle of Judas Maccabeus with Timotheus and the Fall of Maspha

1842

Print made by James Basire II, 1769–1822

Vol. 6, Plate XXXV: Continuation as it is Presumed of the Miracles of Elisha, and the Famine of Samaria. The Acts of Judas Maccabeus

1842

Print made by James Basire II, 1769–1822

Vol. 6, Plate XXXIV: The Story of Elijah and Ahaziah. The Miracles of Elisha

1842

Print made by George Vertue, 1684–1756

Bookplate: The Spalding Gentlemen's Society

1746

Print made by Peeter Clouwet, 1629–1670

Carolus Scribanius

ca. 1635

Print made by Lucas Vorsterman I, 1595–1675

Isabella Clara Eugenia

ca. 1635

Print made by Pieter de Jode II, ca. 1606–1674

Ferdinandus Austriacus

ca. 1635

Print made by Thomas Chambars, ca. 1724–1789

Mrs. Quarrington as St. Agnes

ca. 1787

Print made by James Tibbits Willmore, 1800–1863

Mercury and Argus

1841

Print made by James Tibbits Willmore, 1800–1863

Mercury and Argus

1841

Print made by John Cousen, 1804–1880

Mercury and Herse

1842

Pieter S. van der Gunst, 1659–c. 1724

Thomas Cranmer

undated

William Woollett, 1735–1785

Ceyx and Alcyone

1769

Print made by unknown artist

The Double Deliverance, 1588–1605

1621

Print made by Placido Columbani, born ca. 1744, active 1801

At Naples

undated

Print made by Placido Columbani, born ca. 1744, active 1801

At the City of Albano

undated

Print made by Placido Columbani, born ca. 1744, active 1801

At Naples

undated

Print made by Placido Columbani, born ca. 1744, active 1801

At the City of Albano

undated

Print made by Placido Columbani, born ca. 1744, active 1801

At the Minerva at Rome

undated

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Materials & Techniques line engraving

Creator Gender male

Subject Terms religious and mythological subject

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Materials & Techniques line engraving

Creator Gender male

Subject Terms religious and mythological subject

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