Materials & Techniques: wove paper / Date: 1792 / Work Type: intaglio print

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

'O treacherous conscience!' (Page 27)

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

'And vapid; sense and reason shew the door' (Page 72)

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

Night the Third. Narcissa; Title Page

ca. 1797

Print made by William Blake, 1757–1827

'Where sense runs savage broke from reason's chain' (Page 46)

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

'Swift on His Downy Pinion Flies from Woe' (Page 1)

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

'Disease invades the chastest temperence' (Page 10)

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

The Christian Triumph; Title Page

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Print made by William Blake, 1757–1827

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

ca. 1797

Thomas Trotter, ca. 1750–1803

Jonathan Shipley, Bishop of St. Asaph

1792

Francis Legat, 1755–1809

"King Lear", Act V, Scene III

1792

Peltro W. Tomkins, 1760–1840

Sir Andrew Aguecheek, Sir Toby Belch and the Clown - "Twelfth Night", Act II, Scene III

1792

James Fittler, 1758–1835

'The Gamester,' Act V, Scene IV

1792

Christian von Mechel Welgelegen: Vue de la Facade de la Maison de Campagne nommee Welgelegen au Bois de Harlem, Appartenante a Mr. Henry Hope d'Amsterdam

Christian von Mechel, 1737–1817

Welgelegen: Vue de la Facade de la Maison de Campagne nommee Welgelegen au Bois de Harlem, Appartenante a Mr. Henry Hope d'Amsterdam

1792

Christian von Mechel Welgelegen: Vue Perspective de la Maison de Campagne nommee Welgelegen au Bois de Harlem, Appartenante a Mr. Henry Hope d'Amsterdam

Christian von Mechel, 1737–1817

Welgelegen: Vue Perspective de la Maison de Campagne nommee Welgelegen au Bois de Harlem, Appartenante a Mr. Henry Hope d'Amsterdam

1792

Print made by Francesco Bartolozzi, 1728–1815

Funeral Card of Sir Joshua Reynolds

1792

Print made by John Browne, 1741–1801

Evening

ca. 1797

unknown artist

The Bank

1792

Francesco Bartolozzi, 1728–1815

Ticket for the Brandenbourg House Masquerade

ca. 1797

William Ellis, 1747–1810

Beddington

1792

Print made by John Jones, ca. 1745–1797

Queen Philippa Interceding for the Brave citizens of Calais

1792

Print made by John Thomas Smith, 1766–1833

The Savoy in 1650

1792

Print made by John Jones, ca. 1745–1797

John the Second Surrendering to Denis de Morbec

1792

Print made by John Browne, 1741–1801

Moon-Light

ca. 1797

Print made by John Browne, 1741–1801

Evening

ca. 1797

Print made by Francesco Bartolozzi, 1728–1815

Mrs. Lenox

1792

Print made by Francesco Bartolozzi, 1728–1815

Miss Price

1792

Francesco Bartolozzi, 1728–1815

Ticket for the Benefit of Mr. Dragonetti

1792

Thomas Ryder, 1746–1810

The Murder of James I, King of Scotland

1792

Print made by John Chapman, active ca. 1792–1823

Angelica Kauffmann

undated

John Eginton, active 1763–1800

The Affectionate Daughter

1792

Print made by W. Pyott, active late 18th century

The Benevolent Effects of Abolishing Slavery, or the Planter instructing his Negro

1792

Print made by William Ellis, 1747–1810

Clapham

1792

Print made by Francesco Bartolozzi, 1728–1815

Katherine Bertie (nee Willoughby), Duchess of Suffolk

1792

Print made by Francesco Bartolozzi, 1728–1815

Princess Charlotte Augusta Matilda

ca. 1797

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Materials & Techniques wove paper

Date 1792

Work Type intaglio print

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Materials & Techniques wove paper

Date 1792

Work Type intaglio print

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