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Watercolour, ink, chalk and graphite on paper. verso: graphite on paper | Tate | paper unique watercolour ink chalk graphite | 7011781 7008136 7002445 7008591 | null | 38 | false | artwork | A Figure Bowing before a Seated Old Man with his Arm Outstretched in Benediction Indecipherable | A Figure Bowing before a Seated Old Man with his Arm Outstretched in Benediction. Verso: Indecipherable Sketch | Prints and Drawings Rooms | [] | 0 | Creative Commons CC BY-NC-ND 4.0 DEED | 5 | prints_and_drawings | [
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] | 266 | <a href="https://www.tate.org.uk/art/artists/robert-blake-38" aria-label="More by Robert Blake" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Robert Blake</a> | 92 1050 5734 272 195 1134 694 5731 | Presented by Mrs John Richmond 1922 | Tate | false | [
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"content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-a-figure-bowing-before-a-seated-old-man-with-his-arm-outstretched-in-benediction-a00001\" title=\"View the details of this artwork\"><span>A00001</span></a> <b>A Figure Bowing Before a Seated Old Man with his Arm Outstretched in Benediction</b> (recto)\n<br/><b>Indecipherable Sketch</b> (verso)\n<br/></p>\n<p><span>A00001</span> / B R9\n<br/>Recto: pen, wash, black chalk and pencil; Verso: pencil; on paper 393×422 (15 7/8×16 15/16); the paper has been cut irregularly at the left, narrowing to 220 (8 3/4) and, before starting the drawing, the artist added 90 (3 1/4) at the right Presented by Mrs John Richmond 1922\n<br/>PROVENANCE Mrs Blake; Frederick Tatham; his brother-in-law George Richmond, sold Christie's 29 April 1897 (in 147 with 22 other items; see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-st-christopher-copy-from-an-engraving-verso-part-of-a-face-copy-from-a-plaster-cast-a00045\" title=\"View the details of this artwork\"><span>A00045</span></a>) £2.10.0.bt Dr Richard Sisley; his daughter Mrs John Richmond\n<br/>LITERATURE Butlin 1981, p.623 no.R9, pls.1189 and 1190\n<br/></p>\n<p>The attribution to Robert Blake was made by Sir Geofrey Keynes in a letter of 23 October 1926. The fragment on the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/r/recto-verso\" title=\"Glossary definition for 'Recto / Verso'\"><span>recto</span></a> is close in style and general arrangement to ‘A Druid Ceremony’ in the Keynes collection (Butlin 1981, no.R3, pl.1182). The <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/paper\" title=\"Glossary definition for 'Paper'\"><span>paper</span></a> has been cut roughly to follow the back of the stooping figure on the left, then diagonally up towards the upper edge; there was originally at least one standing figure behind the stooping one.\n<br/>\n<br/>This work was formerly inventoried by the Tate Gallery as no.3694 ii.</p>\n<p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\n<br/></p>\n",
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Graphite on paper | Tate | paper unique graphite | 7011781 7008136 7002445 7008591 | null | 38 | false | artwork | Two Drawings Frightened Figures Probably Approach Doom | Two Drawings of Frightened Figures, Probably for ‘The Approach of Doom’ | Prints and Drawings Rooms | [] | 0 | Creative Commons CC BY-NC-ND 4.0 DEED | 5 | prints_and_drawings | [
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] | 267 | <a href="https://www.tate.org.uk/art/artists/robert-blake-38" aria-label="More by Robert Blake" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">Robert Blake</a> | 177 273 544 31 2815 451 799 97 2653 | Presented by Mrs John Richmond 1922 | Tate | false | [
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"content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-two-drawings-of-frightened-figures-probably-for-the-approach-of-doom-a00002\" title=\"View the details of this artwork\"><span>A00002</span></a> <b>Two Groups of Frightened Figures, Probably for ‘The Approach of Doom’</b>\n<br/></p>\n<p>A 00002 / B R7\n<br/>Pencil, each approx. 95×55 (3 5/8×2 1/4), on paper, cut irregularly, 311×212 (12 1/4×8 5/16); the paper has been folded horizontally between the two drawings\n<br/>Presented by Mrs John Richmond 1922\n<br/>PROVENANCE Mrs Blake; Frederick Tatham; his brother-in-law George Richmond, sold Christie's 29 April 1897 (in 147 with 22 other items; <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-st-christopher-copy-from-an-engraving-verso-part-of-a-face-copy-from-a-plaster-cast-a00045\" title=\"View the details of this artwork\"><span>A00045</span></a>) £2.10.0 bt Dr Richard Sisley; his daughter Mrs John Richmond\n<br/>LITERATURE Butlin 1981, pp.622–3 no.R7, pl.1178\n<br/></p>\n<p>Two <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawings</span></a> of a group of three frightened figures. In the lower drawing the position of the head of the left-hand figure has been altered or an additional head added to enlarge the group to four.\n<br/>\n<br/>A similar group, though more extended, appears in the more finished pen and wash drawing known as ‘The Approach of Doom’ (Butlin 1981, no.R2, pl.1181). The Tate's drawing is presumably the first stage in the evolution of the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/c/composition\" title=\"Glossary definition for 'Composition'\"><span>composition</span></a>.\n<br/>\n<br/>This work was formerly inventoried by the Tate Gallery as no.3694 ix.</p>\n<p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\n<br/>\n<br/></p>\n",
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Graphite on paper. verso: graphite on paper | Tate | paper unique graphite | 7011781 7008136 7002445 7008591 | null | 38 | false | artwork | Preaching Warning An Old Man Enthroned Between Two Groups Figures by William Blake | The Preaching of Warning. Verso: An Old Man Enthroned Between Two Groups of Figures, by ?William Blake | [] | 1,785 | Creative Commons CC BY-NC-ND 4.0 DEED | 5 | [
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"content": "<div class=\"text\">\n<p>Blake’s younger brother Robert also aspired to be an artist, and probably attended the Royal Academy schools as well. Very few of his drawings are known. However, this design suggests a similar interest in big gestures and simplified compositions.</p>\n</div>\n",
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"content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-preaching-of-warning-verso-an-old-man-enthroned-between-two-groups-of-figures-by-a00003\" title=\"View the details of this artwork\"><span>A00003</span></a> <b>The Preaching of Warning</b> (recto)\n<br/>Possibly by William Blake: <b>An Old Man Enthroned between Two Groups of Figures</b> (verso)\n<br/></p>\n<p>A 00003 / B R6\n<br/>Pencil 342×466 (13 5/16×18 3/4)\n<br/>Inscribed on recto by Frederick Tatham ‘These sublime lines by William Blake - The preaching of warning - vouched by Fred<sup>k</sup>. Tatham’ b.r.\n<br/>Presented by Mrs John Richmond 1922\n<br/>PROVENANCE Mrs Blake; Frederick Tatham; his brother-in-law George Richmond, sold Christie's 29 April 1897 (in 147 with 22 other items; see no.2) £2.10.0 bt Dr Richard Sisley; his daughter Mrs John Richmond\n<br/>LITERATURE Butlin 1981, p.622 no.R6, pls.1179 and 1180\n<br/></p>\n<p>Despite Tatham's attribution to William Blake, Sir Geoffrey Keynes suggested that the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> might be by Robert in a letter of 23 October 1926. The <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/r/recto-verso\" title=\"Glossary definition for 'Recto / Verso'\"><span>recto</span></a> is close in style and apparent subject to the ‘Druid Grove’ in the Keynes collection (Butlin 1981, no.R4, colour pl.176).\n<br/>\n<br/>The drawing on the verso seems to depict a ruler enthroned with two seated counsellors on the left while four other figures converse in a huddle on the right. The style of the right-hand group of figures is much more relaxed than in most works thought to be by Robert, though those on the left are close to <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-two-drawings-of-frightened-figures-probably-for-the-approach-of-doom-a00002\" title=\"View the details of this artwork\"><span>A00002</span></a> and <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-six-drawings-of-figures-with-outstretched-arms-a00004\" title=\"View the details of this artwork\"><span>A00004</span></a>.\n<br/>\n<br/>This work was formerly inventoried by the Tate Gallery as no.3694 x.</p>\n<p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\n<br/></p>\n",
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Graphite on paper | Tate | paper unique graphite | 7011781 7008136 7002445 7008591 | null | 38 | false | artwork | Six Drawings Figures with Outstretched Arms | Six Drawings of Figures with Outstretched Arms | Prints and Drawings Rooms | [] | 0 | Creative Commons CC BY-NC-ND 4.0 DEED | 5 | prints_and_drawings | [
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"content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-six-drawings-of-figures-with-outstretched-arms-a00004\" title=\"View the details of this artwork\"><span>A00004</span></a> <b>Six Drawings of Figures with Outstretched Arms</b> (recto and verso)\n<br/></p>\n<p>A 00004 / B R8\n<br/>Pencil, each approx. 150×95 (6×3 3/4), on paper 395×319 (15 9/16×12 9/16); the paper has been folded twice, once in each direction Watermarked ‘PRO PATRIA’ and ‘GR’ Inscribed on recto by Frederick Tatham ‘William Blake vouched by Frederick Tatham’ b.r.\n<br/>Presented by Mrs John Richmond 1922\n<br/>PROVENANCE Mrs Blake; Frederick Tatham; his brother-in-law George Richmond, sold Christie's 29 April 1897 (in 147 with 22 other items; see no.2) £2.10.0 bt Dr Richard Sisley; his daughter Mrs John Richmond\n<br/>LITERATURE Butlin 1981, p.623 no.R8, pls.1187 and 1188\n<br/></p>\n<p>Similar to <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-two-drawings-of-frightened-figures-probably-for-the-approach-of-doom-a00002\" title=\"View the details of this artwork\"><span>A00002</span></a> above. The upper half of the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/r/recto-verso\" title=\"Glossary definition for 'Recto / Verso'\"><span>recto</span></a> contains a single <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> of two figures. At first both held their arms out before them but the artist subsequently raised the arms of the right-hand figure to a more upright position.\n<br/>\n<br/>The <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/paper\" title=\"Glossary definition for 'Paper'\"><span>paper</span></a> was then folded vertically as well as horizontally, dividing each side into four sections. The two new sections on the recto and three of those on the verso (excluding the lower right-hand section which is blank) were then filled with separate drawings, all facing in different directions but showing similar figures, singly or in pairs, full-length or head-and-shoulders only, raising or holding out their arms. In each case the gesture is stressed by the figures' exaggeratedly long index fingers.\n<br/>\n<br/>This work was formerly inventoried by the Tate Gallery as no.3694 xiv.</p>\n<p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\n<br/>\n<br/></p>\n",
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"content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-circle-of-the-lustful-francesca-da-rimini-the-whirlwind-of-lovers-a00005\" title=\"View the details of this artwork\"><span>A00005</span></a> [from] <b>Illustrations to Dante's <i>Divine Comedy</i>: Engravings</b> 1826–7/1892</p>\n<p>A 00005–11 [<span>A00005</span>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-striking-against-bocca-degli-abati-a00011\" title=\"View the details of this artwork\"><span>A00011</span></a>; <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-and-virgil-penetrating-the-forest-n03351\" title=\"View the details of this artwork\"><span>N03351</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-in-the-empyrean-drinking-at-the-river-of-light-n03370\" title=\"View the details of this artwork\"><span>N03370</span></a>; <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-circle-of-the-lustful-francesca-da-rimini-the-whirlwind-of-lovers-t01950\" title=\"View the details of this artwork\"><span>T01950</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-striking-against-bocca-degli-abati-t01956\" title=\"View the details of this artwork\"><span>T01956</span></a>; complete]\n<br/>\n<br/>Seven line engravings on india paper laid on drawing paper, each approx. 240×335 (9 1/2×13 1/4)\n<br/>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\n<br/>PROVENANCE John Linnell; his heirs, sold Christie's 15 March 1918 (in 148, with the 102 watercolour illustrations to Dante) £7,665 bt Martin for the donors\n<br/>LITERATURE Russell <i>Engravings</i>\n1912, pp.115–8 no.34; Keynes <i>Bibiliography</i> 1921, pp.182–5 no.56; Keynes <i>Engravings</i> 1950, pp.16–17; Roe 1953, pp.4–6, 41–2, 65, 96, 97, 108, 110, 116–7, 127–8, series repr. pls.10E, 41E, 42E, 51E, 53E, 58E and 65E; Keynes <i>Writings</i> 1957, pp.873, 876–7, 879; Ruthven Todd, <i>Blake's Dante Plates</i>, 1968 (reprinted with additions from <i>Book Collecting & Library Monthly</i>, VI, 1968, pp.164–71, itself based on a letter to <i>The Times Literary Supplement</i> 29 August 1968, p.928); Bentley <i>Blake Records</i> 1969, pp.315–6; Bentley <i>Blake Books</i> 1977, pp.544–6 no.448; Bindman <i>Graphic Works</i> 1978, p.487 nos.647–53, series repr.plus full-size details; Essick <i>Printmaker</i> 1981, pp.78–9, 250–4\n<br/></p>\n<p>This is the first of two sets in the Tate Gallery of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> taken from the original plates. Altogether four printings have been done, two while the plates belonged to the Linnell family and two while they belonged to Lessing J. Rosenwald. In a ‘List of John Linnell Senior's Letters and Papers’ (in the Ivimy Collection) Linnell's son John Linnell Jr wrote that, following a few proofs taken by Blake himself, his father had ‘had India proofs taken (all disposed of)’; the accounts and day books of Dickson & Ross show that this was in 1838. John Linnell Jr goes on to say that after his father's death fifty further copies, in ‘india on <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/paper\" title=\"Glossary definition for 'Paper'\"><span>paper</span></a>’, were printed by Holdgate; the draft of a letter from the same writer to Bernard Quaritch of 6 May 1892 (also in the Ivimy Collection) implies that this second printing was about to be made. As all of the 1838 printing was ‘disposed of’ it was presumably one of the later series that was acquired for the Tate Gallery in the Linnell sale of 1918. Of what seem to be Blake's original proofs there is a complete set of one <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/proof\" title=\"Glossary definition for 'Proof'\"><span>proof</span></a> for each <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/c/composition\" title=\"Glossary definition for 'Composition'\"><span>composition</span></a> in the British Museum and individual proofs elsewhere. The plates have passed, with the Rosenwald Collection, to the National Gallery of Art, Washington.\n<br/>\n<br/>The subject of each <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraving</span></a> was identified on a label pasted to the cover of the 1838 issue that reads as follows:\n<br/></p>\n<p>BLAKE'S ILLUSTRATIONS OF DANTE. /<i>Seven Plates, designed and engraved by</i> W. BLAKE, <i>Author of ‘Illustrations of / the Book of Job,’ &c. &c.</i> /Price £2.2s. India Paper./—/ PLATE I./ ... and like a corse fell to the ground./ HELL; Canto v.line 137. / PLATE II./....seiz'd on his arm, / And mangled bore away the sinewy part. / HELL; Canto xxii. line 70. / PLATE III./ .... so turn'd / His talons on his comrade. / HELL; Canto xxii. line 135./ PLATE IV. / ...lo! a serpent with six feet / Springs forth on one, / HELL; Canto xxv. line 45./ PLATE V. / He ey'd the serpent and the serpent him. / HELL; Canto xxv. line 82. / PLATE VI. /... Then two I mark'd, that sat Propp'd gainst each other, /HELL; Canto xxix, line 71. / PLATE VII./ ‘Wherefore dost bruise me?’ weeping he / exclaim'd. /HELL; Canto xxxii.line 79. / CARY'S DANTE.\n<br/></p>\n<p>The first record of Blake working on the engravings comes in a letter by him to Linnell of 2 July 1826, in which he wrote that he was coming to stay with him in Hampstead bringing, ‘besides our necessary change of apparel, Only My Book of Drawings from Dante & one Plate shut up in the Book’. On 25 April 1827 Blake wrote to Linnell to say that ‘I have Proved the Six Plates, & reduced the Fighting devils for the Copper’. Blake's death on 12 August 1827 prevented any further work on the engravings, and ‘The Baffled Devils Fighting’ is noticeably incomplete; Blake might, of course, have intended to work further on the other plates as well.\n<br/>\n<br/>These engravings were formerly inventoried as nos.3371 i–viii.\n<br/>\n<br/><span>A00005</span> <b>The Circle of the Lustful: Francesca da Rimini (‘The Whirlwind of Lovers’)</b>\n<br/></p>\n<p>Inscribed ‘The Whirlwind of Lovers from Dantes Inferno Canto V’ in mirror-writing, b.r.\n<br/>Engraving 243×335 (9 9/16×13 3/16); platemark 276×353 (10 7/8×13 7/8)\n<br/>\n<br/><i>Inferno</i> V, 25–45, 127–142. Dante swoons at Virgil's feet on seeing the ill-starred lovers Paolo and Francesca da Rimini. They also appear, reunited, above Virgil in a glory of light. The original <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/watercolour\" title=\"Glossary definition for 'Watercolour'\"><span>watercolour</span></a> is in the City Muscum and Art Gallery, Birmingham (Butlin 1981, no.812 <i>10</i>, repr. Roe 1953, Klonsky 1980 and Gizzi 1983, all as pl.10).\n<br/></p>\n<p><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\n<br/></p>\n",
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"content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-ciampolo-the-barrator-tormented-by-the-devils-a00006\" title=\"View the details of this artwork\"><span>A00006</span></a> [from] <b>Illustrations to Dante's <i>Divine Comedy</i>: Engravings</b> 1826–7/1892</p>\n<p>A 00005–11 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-circle-of-the-lustful-francesca-da-rimini-the-whirlwind-of-lovers-a00005\" title=\"View the details of this artwork\"><span>A00005</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-striking-against-bocca-degli-abati-a00011\" title=\"View the details of this artwork\"><span>A00011</span></a>; <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-and-virgil-penetrating-the-forest-n03351\" title=\"View the details of this artwork\"><span>N03351</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-in-the-empyrean-drinking-at-the-river-of-light-n03370\" title=\"View the details of this artwork\"><span>N03370</span></a>; <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-circle-of-the-lustful-francesca-da-rimini-the-whirlwind-of-lovers-t01950\" title=\"View the details of this artwork\"><span>T01950</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-striking-against-bocca-degli-abati-t01956\" title=\"View the details of this artwork\"><span>T01956</span></a>; complete]\n<br/>\n<br/>Seven line engravings on india paper laid on drawing paper, each approx. 240×335 (9 1/2×13 1/4)\n<br/>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\n<br/>PROVENANCE John Linnell; his heirs, sold Christie's 15 March 1918 (in 148, with the 102 watercolour illustrations to Dante) £7,665 bt Martin for the donors\n<br/>LITERATURE Russell <i>Engravings</i>\n1912, pp.115–8 no.34; Keynes <i>Bibiliography</i> 1921, pp.182–5 no.56; Keynes <i>Engravings</i> 1950, pp.16–17; Roe 1953, pp.4–6, 41–2, 65, 96, 97, 108, 110, 116–7, 127–8, series repr. pls.10E, 41E, 42E, 51E, 53E, 58E and 65E; Keynes <i>Writings</i> 1957, pp.873, 876–7, 879; Ruthven Todd, <i>Blake's Dante Plates</i>, 1968 (reprinted with additions from <i>Book Collecting & Library Monthly</i>, VI, 1968, pp.164–71, itself based on a letter to <i>The Times Literary Supplement</i> 29 August 1968, p.928); Bentley <i>Blake Records</i> 1969, pp.315–6; Bentley <i>Blake Books</i> 1977, pp.544–6 no.448; Bindman <i>Graphic Works</i> 1978, p.487 nos.647–53, series repr.plus full-size details; Essick <i>Printmaker</i> 1981, pp.78–9, 250–4\n<br/></p>\n<p>This is the first of two sets in the Tate Gallery of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> taken from the original plates. Altogether four printings have been done, two while the plates belonged to the Linnell family and two while they belonged to Lessing J. Rosenwald. In a ‘List of John Linnell Senior's Letters and Papers’ (in the Ivimy Collection) Linnell's son John Linnell Jr wrote that, following a few proofs taken by Blake himself, his father had ‘had India proofs taken (all disposed of)’; the accounts and day books of Dickson & Ross show that this was in 1838. John Linnell Jr goes on to say that after his father's death fifty further copies, in ‘india on <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/paper\" title=\"Glossary definition for 'Paper'\"><span>paper</span></a>’, were printed by Holdgate; the draft of a letter from the same writer to Bernard Quaritch of 6 May 1892 (also in the Ivimy Collection) implies that this second printing was about to be made. As all of the 1838 printing was ‘disposed of’ it was presumably one of the later series that was acquired for the Tate Gallery in the Linnell sale of 1918. Of what seem to be Blake's original proofs there is a complete set of one <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/proof\" title=\"Glossary definition for 'Proof'\"><span>proof</span></a> for each <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/c/composition\" title=\"Glossary definition for 'Composition'\"><span>composition</span></a> in the British Museum and individual proofs elsewhere. The plates have passed, with the Rosenwald Collection, to the National Gallery of Art, Washington.\n<br/>\n<br/>The subject of each <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraving</span></a> was identified on a label pasted to the cover of the 1838 issue that reads as follows:\n<br/></p>\n<p>BLAKE'S ILLUSTRATIONS OF DANTE. /<i>Seven Plates, designed and engraved by</i> W. BLAKE, <i>Author of ‘Illustrations of / the Book of Job,’ &c. &c.</i> /Price £2.2s. India Paper./—/ PLATE I./ ... and like a corse fell to the ground./ HELL; Canto v.line 137. / PLATE II./....seiz'd on his arm, / And mangled bore away the sinewy part. / HELL; Canto xxii. line 70. / PLATE III./ .... so turn'd / His talons on his comrade. / HELL; Canto xxii. line 135./ PLATE IV. / ...lo! a serpent with six feet / Springs forth on one, / HELL; Canto xxv. line 45./ PLATE V. / He ey'd the serpent and the serpent him. / HELL; Canto xxv. line 82. / PLATE VI. /... Then two I mark'd, that sat Propp'd gainst each other, /HELL; Canto xxix, line 71. / PLATE VII./ ‘Wherefore dost bruise me?’ weeping he / exclaim'd. /HELL; Canto xxxii.line 79. / CARY'S DANTE.\n<br/></p>\n<p>The first record of Blake working on the engravings comes in a letter by him to Linnell of 2 July 1826, in which he wrote that he was coming to stay with him in Hampstead bringing, ‘besides our necessary change of apparel, Only My Book of Drawings from Dante & one Plate shut up in the Book’. On 25 April 1827 Blake wrote to Linnell to say that ‘I have Proved the Six Plates, & reduced the Fighting devils for the Copper’. Blake's death on 12 August 1827 prevented any further work on the engravings, and ‘The Baffled Devils Fighting’ is noticeably incomplete; Blake might, of course, have intended to work further on the other plates as well.\n<br/>\n<br/>These engravings were formerly inventoried as nos.3371 i–viii.</p>\n<p></p>\n<p><span>A00006</span> <b>Ciampolo the Barrator Tormented by the Devils</b>\n<br/>\n<br/>Engraving 240×338 (9 7/16×13 5/16); platemark 380×356 (11×14)\n<br/></p>\n<p><i>Inferno</i> XXII, 31–42, 70–72. Ciampolo was a servant of King Thibaut II of Navarre. Blake illustrates the particular moment when the devil Libicocco tears at his arm; the devil behind on the right is Ciriatto. The original <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/watercolour\" title=\"Glossary definition for 'Watercolour'\"><span>watercolour</span></a> is in the Fogg Art Museum, Harvard University (Butlin 1981, no.812 <i>41</i>, repr. Roe 1953, pl.41, Klonsky 1980, pl.43 and Gizzi 1983, pl.43).</p>\n<p></p>\n<p><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\n<br/>\n<br/></p>\n",
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support: 272 × 348 mm
support, secondary: 409 × 564 mm | <p>A ‘barrator’ sells political power or favour for money. Dante describes Ciampolo being punished for this sin by devils called the ‘Malebanche’ (Evil Claws). Blake, however, gives the devils the faces of respectable gentlemen, using elegant sticks and hooks to tear at Ciampolo. Their humanisation and sophistication may add a sinister edge to their unpleasantness, suggesting the hidden side of ostensibly upright members of society.</p><p><em>Gallery label, March 2011</em></p> | 1,919 | A00006 | {
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"content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-baffled-devils-fighting-a00007\" title=\"View the details of this artwork\"><span>A00007</span></a> [from] <b>Illustrations to Dante's <i>Divine Comedy</i>: Engravings</b> 1826–7/1892</p>\n<p>A 00005–11 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-circle-of-the-lustful-francesca-da-rimini-the-whirlwind-of-lovers-a00005\" title=\"View the details of this artwork\"><span>A00005</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-striking-against-bocca-degli-abati-a00011\" title=\"View the details of this artwork\"><span>A00011</span></a>; <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-and-virgil-penetrating-the-forest-n03351\" title=\"View the details of this artwork\"><span>N03351</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-in-the-empyrean-drinking-at-the-river-of-light-n03370\" title=\"View the details of this artwork\"><span>N03370</span></a>; <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-circle-of-the-lustful-francesca-da-rimini-the-whirlwind-of-lovers-t01950\" title=\"View the details of this artwork\"><span>T01950</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-striking-against-bocca-degli-abati-t01956\" title=\"View the details of this artwork\"><span>T01956</span></a>; complete]\n<br/>\n<br/>Seven line engravings on india paper laid on drawing paper, each approx. 240×335 (9 1/2×13 1/4)\n<br/>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\n<br/>PROVENANCE John Linnell; his heirs, sold Christie's 15 March 1918 (in 148, with the 102 watercolour illustrations to Dante) £7,665 bt Martin for the donors\n<br/>LITERATURE Russell <i>Engravings</i>\n1912, pp.115–8 no.34; Keynes <i>Bibiliography</i> 1921, pp.182–5 no.56; Keynes <i>Engravings</i> 1950, pp.16–17; Roe 1953, pp.4–6, 41–2, 65, 96, 97, 108, 110, 116–7, 127–8, series repr. pls.10E, 41E, 42E, 51E, 53E, 58E and 65E; Keynes <i>Writings</i> 1957, pp.873, 876–7, 879; Ruthven Todd, <i>Blake's Dante Plates</i>, 1968 (reprinted with additions from <i>Book Collecting & Library Monthly</i>, VI, 1968, pp.164–71, itself based on a letter to <i>The Times Literary Supplement</i> 29 August 1968, p.928); Bentley <i>Blake Records</i> 1969, pp.315–6; Bentley <i>Blake Books</i> 1977, pp.544–6 no.448; Bindman <i>Graphic Works</i> 1978, p.487 nos.647–53, series repr.plus full-size details; Essick <i>Printmaker</i> 1981, pp.78–9, 250–4\n<br/></p>\n<p>This is the first of two sets in the Tate Gallery of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> taken from the original plates. Altogether four printings have been done, two while the plates belonged to the Linnell family and two while they belonged to Lessing J. Rosenwald. In a ‘List of John Linnell Senior's Letters and Papers’ (in the Ivimy Collection) Linnell's son John Linnell Jr wrote that, following a few proofs taken by Blake himself, his father had ‘had India proofs taken (all disposed of)’; the accounts and day books of Dickson & Ross show that this was in 1838. John Linnell Jr goes on to say that after his father's death fifty further copies, in ‘india on <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/paper\" title=\"Glossary definition for 'Paper'\"><span>paper</span></a>’, were printed by Holdgate; the draft of a letter from the same writer to Bernard Quaritch of 6 May 1892 (also in the Ivimy Collection) implies that this second printing was about to be made. As all of the 1838 printing was ‘disposed of’ it was presumably one of the later series that was acquired for the Tate Gallery in the Linnell sale of 1918. Of what seem to be Blake's original proofs there is a complete set of one <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/proof\" title=\"Glossary definition for 'Proof'\"><span>proof</span></a> for each <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/c/composition\" title=\"Glossary definition for 'Composition'\"><span>composition</span></a> in the British Museum and individual proofs elsewhere. The plates have passed, with the Rosenwald Collection, to the National Gallery of Art, Washington.\n<br/>\n<br/>The subject of each <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraving</span></a> was identified on a label pasted to the cover of the 1838 issue that reads as follows:\n<br/></p>\n<p>BLAKE'S ILLUSTRATIONS OF DANTE. /<i>Seven Plates, designed and engraved by</i> W. BLAKE, <i>Author of ‘Illustrations of / the Book of Job,’ &c. &c.</i> /Price £2.2s. India Paper./—/ PLATE I./ ... and like a corse fell to the ground./ HELL; Canto v.line 137. / PLATE II./....seiz'd on his arm, / And mangled bore away the sinewy part. / HELL; Canto xxii. line 70. / PLATE III./ .... so turn'd / His talons on his comrade. / HELL; Canto xxii. line 135./ PLATE IV. / ...lo! a serpent with six feet / Springs forth on one, / HELL; Canto xxv. line 45./ PLATE V. / He ey'd the serpent and the serpent him. / HELL; Canto xxv. line 82. / PLATE VI. /... Then two I mark'd, that sat Propp'd gainst each other, /HELL; Canto xxix, line 71. / PLATE VII./ ‘Wherefore dost bruise me?’ weeping he / exclaim'd. /HELL; Canto xxxii.line 79. / CARY'S DANTE.\n<br/></p>\n<p>The first record of Blake working on the engravings comes in a letter by him to Linnell of 2 July 1826, in which he wrote that he was coming to stay with him in Hampstead bringing, ‘besides our necessary change of apparel, Only My Book of Drawings from Dante & one Plate shut up in the Book’. On 25 April 1827 Blake wrote to Linnell to say that ‘I have Proved the Six Plates, & reduced the Fighting devils for the Copper’. Blake's death on 12 August 1827 prevented any further work on the engravings, and ‘The Baffled Devils Fighting’ is noticeably incomplete; Blake might, of course, have intended to work further on the other plates as well.\n<br/>\n<br/>These engravings were formerly inventoried as nos.3371 i–viii.\n<br/>\n<br/><span>A00007</span> <b>The Baffled Devils Fighting</b>\n<br/>\n<br/>Engraving 242×334 (9 1/2×13 3/16); platemark 280×357 (11×14)\n<br/>EXHIBITED Tate Gallery 1978 (326, repr.)\n<br/></p>\n<p><i>Inferno</i> XXII, 133–140. After Ciampolo's escape the devils Alichino and Calabrina fall to fighting each other while their companions watch from the shore; Dante and Virgil retire in the distance. The original <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/watercolour\" title=\"Glossary definition for 'Watercolour'\"><span>watercolour</span></a> is in the City Museum and Art Gallery, Birmingham (Butlin 1981, no.812 <i>42</i>, repr.Roe 1953, pl.42, Klonsky 1980, pl.44 in colour and Gizzi 1983, pl.44).</p>\n<p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\n<br/>\n<br/></p>\n",
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support, secondary: 410 × 564 mm | <p>In April 1827, Blake wrote to John Linnell, ‘I am too much attach’d to Dante to think much of anything else. I have... reduced the [drawing of] the Fighting devils ready for the Copper’. This is the image printed from Blake’s ‘copper’. Ciampolo, condemned to hell for accepting bribes, has escaped the clutches of the devils, causing one devil to turn ‘his talons on his comrade. O’er the dyke in grapple close they joine’d... and in the boiling lake both fell’.</p><p>This was the last of the seven Dante engravings which Blake worked on. It remained unfinished at his death.</p><p><em>Gallery label, September 2004</em></p> | 1,919 | A00007 | {
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"content": "<p>Agnolo Brunelleschi was a thief whose punishment was to be attacked for all eternity by a serpent. Their two bodies merge into one another, so that Brunelleschi’s appearance befits his sin. \n<br/>\n<br/>Blake shows the moment at which the serpent begins to inhabit Brunelleschi’s body, as its jaws engulf his head and it sinks its claws into his skin. \n<br/></p>\n",
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"content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-six-footed-serpent-attacking-agnolo-brunelleschi-a00008\" title=\"View the details of this artwork\"><span>A00008</span></a> [from] <b>Illustrations to Dante's <i>Divine Comedy</i>: Engravings</b> 1826–7/1892</p>\n<p>A 00005–11 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-circle-of-the-lustful-francesca-da-rimini-the-whirlwind-of-lovers-a00005\" title=\"View the details of this artwork\"><span>A00005</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-striking-against-bocca-degli-abati-a00011\" title=\"View the details of this artwork\"><span>A00011</span></a>; <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-and-virgil-penetrating-the-forest-n03351\" title=\"View the details of this artwork\"><span>N03351</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-in-the-empyrean-drinking-at-the-river-of-light-n03370\" title=\"View the details of this artwork\"><span>N03370</span></a>; <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-circle-of-the-lustful-francesca-da-rimini-the-whirlwind-of-lovers-t01950\" title=\"View the details of this artwork\"><span>T01950</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-striking-against-bocca-degli-abati-t01956\" title=\"View the details of this artwork\"><span>T01956</span></a>; complete]\n<br/>\n<br/>Seven line engravings on india <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/paper\" title=\"Glossary definition for 'Paper'\"><span>paper</span></a> laid on <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> paper, each approx. 240×335 (9 1/2×13 1/4)\n<br/>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\n<br/>PROVENANCE John Linnell; his heirs, sold Christie's 15 March 1918 (in 148, with the 102 watercolour illustrations to Dante) £7,665 bt Martin for the donors\n<br/>LITERATURE Russell <i>Engravings</i>\n1912, pp.115–8 no.34; Keynes <i>Bibiliography</i> 1921, pp.182–5 no.56; Keynes <i>Engravings</i> 1950, pp.16–17; Roe 1953, pp.4–6, 41–2, 65, 96, 97, 108, 110, 116–7, 127–8, series repr. pls.10E, 41E, 42E, 51E, 53E, 58E and 65E; Keynes <i>Writings</i> 1957, pp.873, 876–7, 879; Ruthven Todd, <i>Blake's Dante Plates</i>, 1968 (reprinted with additions from <i>Book Collecting & Library Monthly</i>, VI, 1968, pp.164–71, itself based on a letter to <i>The Times Literary Supplement</i> 29 August 1968, p.928); Bentley <i>Blake Records</i> 1969, pp.315–6; Bentley <i>Blake Books</i> 1977, pp.544–6 no.448; Bindman <i>Graphic Works</i> 1978, p.487 nos.647–53, series repr.plus full-size details; Essick <i>Printmaker</i> 1981, pp.78–9, 250–4\n<br/></p>\n<p>This is the first of two sets in the Tate Gallery of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> taken from the original plates. Altogether four printings have been done, two while the plates belonged to the Linnell family and two while they belonged to Lessing J. Rosenwald. In a ‘List of John Linnell Senior's Letters and Papers’ (in the Ivimy Collection) Linnell's son John Linnell Jr wrote that, following a few proofs taken by Blake himself, his father had ‘had India proofs taken (all disposed of)’; the accounts and day books of Dickson & Ross show that this was in 1838. John Linnell Jr goes on to say that after his father's death fifty further copies, in ‘india on <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/paper\" title=\"Glossary definition for 'Paper'\"><span>paper</span></a>’, were printed by Holdgate; the draft of a letter from the same writer to Bernard Quaritch of 6 May 1892 (also in the Ivimy Collection) implies that this second printing was about to be made. As all of the 1838 printing was ‘disposed of’ it was presumably one of the later series that was acquired for the Tate Gallery in the Linnell sale of 1918. Of what seem to be Blake's original proofs there is a complete set of one <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/proof\" title=\"Glossary definition for 'Proof'\"><span>proof</span></a> for each <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/c/composition\" title=\"Glossary definition for 'Composition'\"><span>composition</span></a> in the British Museum and individual proofs elsewhere. The plates have passed, with the Rosenwald Collection, to the National Gallery of Art, Washington.\n<br/>\n<br/>The subject of each <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraving</span></a> was identified on a label pasted to the cover of the 1838 issue that reads as follows:\n<br/></p>\n<p>BLAKE'S ILLUSTRATIONS OF DANTE. /<i>Seven Plates, designed and engraved by</i> W. BLAKE, <i>Author of ‘Illustrations of / the Book of Job,’ &c. &c.</i> /Price £2.2s. India Paper./—/ PLATE I./ ... and like a corse fell to the ground./ HELL; Canto v.line 137. / PLATE II./....seiz'd on his arm, / And mangled bore away the sinewy part. / HELL; Canto xxii. line 70. / PLATE III./ .... so turn'd / His talons on his comrade. / HELL; Canto xxii. line 135./ PLATE IV. / ...lo! a serpent with six feet / Springs forth on one, / HELL; Canto xxv. line 45./ PLATE V. / He ey'd the serpent and the serpent him. / HELL; Canto xxv. line 82. / PLATE VI. /... Then two I mark'd, that sat Propp'd gainst each other, /HELL; Canto xxix, line 71. / PLATE VII./ ‘Wherefore dost bruise me?’ weeping he / exclaim'd. /HELL; Canto xxxii.line 79. / CARY'S DANTE.\n<br/></p>\n<p>The first record of Blake working on the engravings comes in a letter by him to Linnell of 2 July 1826, in which he wrote that he was coming to stay with him in Hampstead bringing, ‘besides our necessary change of apparel, Only My Book of Drawings from Dante & one Plate shut up in the Book’. On 25 April 1827 Blake wrote to Linnell to say that ‘I have Proved the Six Plates, & reduced the Fighting devils for the Copper’. Blake's death on 12 August 1827 prevented any further work on the engravings, and ‘The Baffled Devils Fighting’ is noticeably incomplete; Blake might, of course, have intended to work further on the other plates as well.\n<br/>\n<br/>These engravings were formerly inventoried as nos.3371 i–viii.\n<br/>\n<br/><span>A00008</span> <b>The Six-footed Serpent Attacking Agnolo Brunelleschi</b>\n<br/>\n<br/>Engraving 246×340 (9 11/16×13 3/8); platemark 280×356 (11×14)\n<br/></p>\n<p><i>Inferno</i> XXV, 49–78. Cianfa de' Donati, in the guise of a six-footed serpent, attacks Agnolo Brunelleschi and their two bodies merge into one; their fellow Florentines Puccio Scanciato and Buoso degli Abati or de' Donati stand on the right. The finished <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/watercolour\" title=\"Glossary definition for 'Watercolour'\"><span>watercolour</span></a> is in the National Gallery of Victoria, Melbourne (Butlin 1981, no.812 <i>51</i>, repr. Roe 1953, pl.51, Klonsky 1980, pl.54 and Gizzi 1983, p.62 in colour).</p>\n<p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\n<br/>\n<br/></p>\n",
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support, secondary: 409 × 564 mm | <p>Agnolo Brunelleschi was a thief whose punishment was to be attacked for all eternity by a serpent. Their two bodies merge into one another, so that Brunelleschi’s appearance befits his sin.</p><p>Blake shows the moment at which the serpent begins to inhabit Brunelleschi’s body, as its jaws engulf his head and it sinks its claws into his skin.</p><p><em>Gallery label, March 2011</em></p> | 1,919 | A00008 | {
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"content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-serpent-attacking-buoso-donati-a00009\" title=\"View the details of this artwork\"><span>A00009</span></a> [from] <b>Illustrations to Dante's <i>Divine Comedy</i>: Engravings</b> 1826–7/1892</p>\n<p>A 00005–11 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-circle-of-the-lustful-francesca-da-rimini-the-whirlwind-of-lovers-a00005\" title=\"View the details of this artwork\"><span>A00005</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-striking-against-bocca-degli-abati-a00011\" title=\"View the details of this artwork\"><span>A00011</span></a>; <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-and-virgil-penetrating-the-forest-n03351\" title=\"View the details of this artwork\"><span>N03351</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-in-the-empyrean-drinking-at-the-river-of-light-n03370\" title=\"View the details of this artwork\"><span>N03370</span></a>; <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-circle-of-the-lustful-francesca-da-rimini-the-whirlwind-of-lovers-t01950\" title=\"View the details of this artwork\"><span>T01950</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-striking-against-bocca-degli-abati-t01956\" title=\"View the details of this artwork\"><span>T01956</span></a>; complete]\n<br/>\n<br/>Seven line engravings on india paper laid on drawing paper, each approx. 240×335 (9 1/2×13 1/4)\n<br/>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\n<br/>PROVENANCE John Linnell; his heirs, sold Christie's 15 March 1918 (in 148, with the 102 watercolour illustrations to Dante) £7,665 bt Martin for the donors\n<br/>LITERATURE Russell <i>Engravings</i>\n1912, pp.115–8 no.34; Keynes <i>Bibiliography</i> 1921, pp.182–5 no.56; Keynes <i>Engravings</i> 1950, pp.16–17; Roe 1953, pp.4–6, 41–2, 65, 96, 97, 108, 110, 116–7, 127–8, series repr. pls.10E, 41E, 42E, 51E, 53E, 58E and 65E; Keynes <i>Writings</i> 1957, pp.873, 876–7, 879; Ruthven Todd, <i>Blake's Dante Plates</i>, 1968 (reprinted with additions from <i>Book Collecting & Library Monthly</i>, VI, 1968, pp.164–71, itself based on a letter to <i>The Times Literary Supplement</i> 29 August 1968, p.928); Bentley <i>Blake Records</i> 1969, pp.315–6; Bentley <i>Blake Books</i> 1977, pp.544–6 no.448; Bindman <i>Graphic Works</i> 1978, p.487 nos.647–53, series repr.plus full-size details; Essick <i>Printmaker</i> 1981, pp.78–9, 250–4\n<br/></p>\n<p>This is the first of two sets in the Tate Gallery of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> taken from the original plates. Altogether four printings have been done, two while the plates belonged to the Linnell family and two while they belonged to Lessing J. Rosenwald. In a ‘List of John Linnell Senior's Letters and Papers’ (in the Ivimy Collection) Linnell's son John Linnell Jr wrote that, following a few proofs taken by Blake himself, his father had ‘had India proofs taken (all disposed of)’; the accounts and day books of Dickson & Ross show that this was in 1838. John Linnell Jr goes on to say that after his father's death fifty further copies, in ‘india on <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/paper\" title=\"Glossary definition for 'Paper'\"><span>paper</span></a>’, were printed by Holdgate; the draft of a letter from the same writer to Bernard Quaritch of 6 May 1892 (also in the Ivimy Collection) implies that this second printing was about to be made. As all of the 1838 printing was ‘disposed of’ it was presumably one of the later series that was acquired for the Tate Gallery in the Linnell sale of 1918. Of what seem to be Blake's original proofs there is a complete set of one <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/proof\" title=\"Glossary definition for 'Proof'\"><span>proof</span></a> for each <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/c/composition\" title=\"Glossary definition for 'Composition'\"><span>composition</span></a> in the British Museum and individual proofs elsewhere. The plates have passed, with the Rosenwald Collection, to the National Gallery of Art, Washington.\n<br/>\n<br/>The subject of each <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraving</span></a> was identified on a label pasted to the cover of the 1838 issue that reads as follows:\n<br/></p>\n<p>BLAKE'S ILLUSTRATIONS OF DANTE. /<i>Seven Plates, designed and engraved by</i> W. BLAKE, <i>Author of ‘Illustrations of / the Book of Job,’ &c. &c.</i> /Price £2.2s. India Paper./—/ PLATE I./ ... and like a corse fell to the ground./ HELL; Canto v.line 137. / PLATE II./....seiz'd on his arm, / And mangled bore away the sinewy part. / HELL; Canto xxii. line 70. / PLATE III./ .... so turn'd / His talons on his comrade. / HELL; Canto xxii. line 135./ PLATE IV. / ...lo! a serpent with six feet / Springs forth on one, / HELL; Canto xxv. line 45./ PLATE V. / He ey'd the serpent and the serpent him. / HELL; Canto xxv. line 82. / PLATE VI. /... Then two I mark'd, that sat Propp'd gainst each other, /HELL; Canto xxix, line 71. / PLATE VII./ ‘Wherefore dost bruise me?’ weeping he / exclaim'd. /HELL; Canto xxxii.line 79. / CARY'S DANTE.\n<br/></p>\n<p>The first record of Blake working on the engravings comes in a letter by him to Linnell of 2 July 1826, in which he wrote that he was coming to stay with him in Hampstead bringing, ‘besides our necessary change of apparel, Only My Book of Drawings from Dante & one Plate shut up in the Book’. On 25 April 1827 Blake wrote to Linnell to say that ‘I have Proved the Six Plates, & reduced the Fighting devils for the Copper’. Blake's death on 12 August 1827 prevented any further work on the engravings, and ‘The Baffled Devils Fighting’ is noticeably incomplete; Blake might, of course, have intended to work further on the other plates as well.\n<br/>\n<br/>These engravings were formerly inventoried as nos.3371 i–viii.\n<br/>\n<br/><span>A00009</span> <b>The Serpent Attacking Buoso Donati</b>\n<br/>\n<br/>Engraving 241×335 (9 1/2×13 3/16); platemark 280×354 (11×13 15/16)</p>\n<p>EXHIBITED Tate Gallery 1978 (327, repr.) <i>Inferno</i> XXV, 79–93. For the finished <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/watercolour\" title=\"Glossary definition for 'Watercolour'\"><span>watercolour</span></a> in the Tate Gallery see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-serpent-attacking-buoso-donati-verso-a-man-with-a-transparent-hood-over-his-head-n03361\" title=\"View the details of this artwork\"><span>N03361</span></a>.\n<br/></p>\n<p><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\n<br/>\n<br/></p>\n",
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] | accessioned work | 1 | William Blake | image: 242 × 336 mm
support: 274 × 347 mm
support, secondary: 387 × 522 mm | <p>This print illustrates lines from Canto 25 of Dante’s Inferno. It shows a thief named Cavalcanti in the guise of a serpent ‘all on fire’. He is preparing to attack another thief, Buoso de’ Donati. The serpent and Donati eye each other while ‘One from the wound, the other from the mouth Breath’d a thick smoke, whose vap'ry columns join’d’.</p><p>In the next scene, which Blake also illustrated, Donati is transformed into a serpent and Cavalcanti into a man. Their punishment is to suffer this transformation from man to snake and back again for eternity.</p><p><em>Gallery label, August 2004</em></p> | 1,919 | A00009 | {
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Line engraving on paper | Tate | paper print line engraving | 7011781 7008136 7002445 7008591 | null | 39 | false | artwork | Pit Disease Falsifiers | The Pit of Disease: The Falsifiers | [] | 1,826 | Creative Commons CC BY-NC-ND 4.0 DEED | 4 | [
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] | 1,505 | 1826–7, reprinted 1892 | <a href="https://www.tate.org.uk/art/artists/william-blake-39" aria-label="More by William Blake" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">William Blake</a> | 175 93 716 6442 1356 2484 178 519 799 97 636 1642 58 480 195 98 597 563 14745 1357 167 | Purchased with the assistance of a special grant from the National Gallery and donations from the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a>, Lord Duveen and others, and presented through the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 1919 | Tate | false | [
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"content": "<div>\n This <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraving</span></a>, showing a scene from Canto 29 of Dante’s Inferno, reproduces the original <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/watercolour\" title=\"Glossary definition for 'Watercolour'\"><span>watercolour</span></a>. </div>\n<div>\n<br/> </div>\n<div>\n Blake’s <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>print</span></a> can also be compared with John Flaxman’s interpretation of the scene, which is shown in a display case in the centre of the room. Flaxman’s <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/c/composition\" title=\"Glossary definition for 'Composition'\"><span>composition</span></a> focuses almost exclusively on the sinners themselves, with Dante and Virgil only just seen in the top right corner. Blake’s illustration seems more other-worldly, especially the bridge of petrified figures on the left, which may represent Fallen Man. \n<br/> </div>\n",
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"content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-pit-of-disease-the-falsifiers-a00010\" title=\"View the details of this artwork\"><span>A00010</span></a> [from] <b>Illustrations to Dante's <i>Divine Comedy</i>: Engravings</b> 1826–7/1892</p>\n<p>A 00005–11 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-circle-of-the-lustful-francesca-da-rimini-the-whirlwind-of-lovers-a00005\" title=\"View the details of this artwork\"><span>A00005</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-striking-against-bocca-degli-abati-a00011\" title=\"View the details of this artwork\"><span>A00011</span></a>; <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-and-virgil-penetrating-the-forest-n03351\" title=\"View the details of this artwork\"><span>N03351</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-in-the-empyrean-drinking-at-the-river-of-light-n03370\" title=\"View the details of this artwork\"><span>N03370</span></a>; <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-circle-of-the-lustful-francesca-da-rimini-the-whirlwind-of-lovers-t01950\" title=\"View the details of this artwork\"><span>T01950</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-striking-against-bocca-degli-abati-t01956\" title=\"View the details of this artwork\"><span>T01956</span></a>; complete]\n<br/>\n<br/>Seven line engravings on india paper laid on drawing paper, each approx. 240×335 (9 1/2×13 1/4)\n<br/>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\n<br/>PROVENANCE John Linnell; his heirs, sold Christie's 15 March 1918 (in 148, with the 102 watercolour illustrations to Dante) £7,665 bt Martin for the donors\n<br/>LITERATURE Russell <i>Engravings</i>\n1912, pp.115–8 no.34; Keynes <i>Bibiliography</i> 1921, pp.182–5 no.56; Keynes <i>Engravings</i> 1950, pp.16–17; Roe 1953, pp.4–6, 41–2, 65, 96, 97, 108, 110, 116–7, 127–8, series repr. pls.10E, 41E, 42E, 51E, 53E, 58E and 65E; Keynes <i>Writings</i> 1957, pp.873, 876–7, 879; Ruthven Todd, <i>Blake's Dante Plates</i>, 1968 (reprinted with additions from <i>Book Collecting & Library Monthly</i>, VI, 1968, pp.164–71, itself based on a letter to <i>The Times Literary Supplement</i> 29 August 1968, p.928); Bentley <i>Blake Records</i> 1969, pp.315–6; Bentley <i>Blake Books</i> 1977, pp.544–6 no.448; Bindman <i>Graphic Works</i> 1978, p.487 nos.647–53, series repr.plus full-size details; Essick <i>Printmaker</i> 1981, pp.78–9, 250–4\n<br/></p>\n<p>This is the first of two sets in the Tate Gallery of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> taken from the original plates. Altogether four printings have been done, two while the plates belonged to the Linnell family and two while they belonged to Lessing J. Rosenwald. In a ‘List of John Linnell Senior's Letters and Papers’ (in the Ivimy Collection) Linnell's son John Linnell Jr wrote that, following a few proofs taken by Blake himself, his father had ‘had India proofs taken (all disposed of)’; the accounts and day books of Dickson & Ross show that this was in 1838. John Linnell Jr goes on to say that after his father's death fifty further copies, in ‘india on <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/paper\" title=\"Glossary definition for 'Paper'\"><span>paper</span></a>’, were printed by Holdgate; the draft of a letter from the same writer to Bernard Quaritch of 6 May 1892 (also in the Ivimy Collection) implies that this second printing was about to be made. As all of the 1838 printing was ‘disposed of’ it was presumably one of the later series that was acquired for the Tate Gallery in the Linnell sale of 1918. Of what seem to be Blake's original proofs there is a complete set of one <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/proof\" title=\"Glossary definition for 'Proof'\"><span>proof</span></a> for each <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/c/composition\" title=\"Glossary definition for 'Composition'\"><span>composition</span></a> in the British Museum and individual proofs elsewhere. The plates have passed, with the Rosenwald Collection, to the National Gallery of Art, Washington.\n<br/>\n<br/>The subject of each <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraving</span></a> was identified on a label pasted to the cover of the 1838 issue that reads as follows:\n<br/></p>\n<p>BLAKE'S ILLUSTRATIONS OF DANTE. /<i>Seven Plates, designed and engraved by</i> W. BLAKE, <i>Author of ‘Illustrations of / the Book of Job,’ &c. &c.</i> /Price £2.2s. India Paper./—/ PLATE I./ ... and like a corse fell to the ground./ HELL; Canto v.line 137. / PLATE II./....seiz'd on his arm, / And mangled bore away the sinewy part. / HELL; Canto xxii. line 70. / PLATE III./ .... so turn'd / His talons on his comrade. / HELL; Canto xxii. line 135./ PLATE IV. / ...lo! a serpent with six feet / Springs forth on one, / HELL; Canto xxv. line 45./ PLATE V. / He ey'd the serpent and the serpent him. / HELL; Canto xxv. line 82. / PLATE VI. /... Then two I mark'd, that sat Propp'd gainst each other, /HELL; Canto xxix, line 71. / PLATE VII./ ‘Wherefore dost bruise me?’ weeping he / exclaim'd. /HELL; Canto xxxii.line 79. / CARY'S DANTE.\n<br/></p>\n<p>The first record of Blake working on the engravings comes in a letter by him to Linnell of 2 July 1826, in which he wrote that he was coming to stay with him in Hampstead bringing, ‘besides our necessary change of apparel, Only My Book of Drawings from Dante & one Plate shut up in the Book’. On 25 April 1827 Blake wrote to Linnell to say that ‘I have Proved the Six Plates, & reduced the Fighting devils for the Copper’. Blake's death on 12 August 1827 prevented any further work on the engravings, and ‘The Baffled Devils Fighting’ is noticeably incomplete; Blake might, of course, have intended to work further on the other plates as well.\n<br/>\n<br/>These engravings were formerly inventoried as nos.3371 i–viii.</p>\n<p></p>\n<p><span>A00010</span> <b>The Pit of Disease: The Falsifiers</b>\n<br/>\n<br/>Engravings 243×340 (9 1/4×13 3/8); platemark 276×353 (10 7/8×13 7/8)</p>\n<p><i>Inferno</i> XXIX, 46–84 and XXX, 49–99. For the finished watercolour in the Tate Gallery see <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-pit-of-disease-the-falsifiers-n03362\" title=\"View the details of this artwork\"><span>N03362</span></a>.</p>\n<p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\n<br/>\n<br/></p>\n",
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] | accessioned work | 1 | William Blake | image: 242 × 339 mm
support: 271 × 349 mm
support, secondary: 410 × 562 mm | <p>This engraving, showing a scene from Canto 29 of Dante’s Inferno, reproduces the original watercolour.</p><p>Blake’s print can also be compared with John Flaxman’s interpretation of the scene, which is shown in a display case in the centre of the room. Flaxman’s composition focuses almost exclusively on the sinners themselves, with Dante and Virgil only just seen in the top right corner. Blake’s illustration seems more other-worldly, especially the bridge of petrified figures on the left, which may represent Fallen Man.</p><p><em>Gallery label, August 2004</em></p> | 1,919 | A00010 | {
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] | 1,506 | 1826–7, reprinted 1892 | <a href="https://www.tate.org.uk/art/artists/william-blake-39" aria-label="More by William Blake" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">William Blake</a> | 177 92 716 1356 2484 799 97 2489 1394 884 133 58 195 110 2653 557 73 1357 271 77 | Purchased with the assistance of a special grant from the National Gallery and donations from the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a>, Lord Duveen and others, and presented through the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 1919 | Tate | false | [
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"content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-striking-against-bocca-degli-abati-a00011\" title=\"View the details of this artwork\"><span>A00011</span></a> [from] <b>Illustrations to Dante's <i>Divine Comedy</i>: Engravings</b> 1826–7/1892</p>\n<p>A 00005–11 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-circle-of-the-lustful-francesca-da-rimini-the-whirlwind-of-lovers-a00005\" title=\"View the details of this artwork\"><span>A00005</span></a>-<span>A00011</span>; <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-and-virgil-penetrating-the-forest-n03351\" title=\"View the details of this artwork\"><span>N03351</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-in-the-empyrean-drinking-at-the-river-of-light-n03370\" title=\"View the details of this artwork\"><span>N03370</span></a>; <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-circle-of-the-lustful-francesca-da-rimini-the-whirlwind-of-lovers-t01950\" title=\"View the details of this artwork\"><span>T01950</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-dante-striking-against-bocca-degli-abati-t01956\" title=\"View the details of this artwork\"><span>T01956</span></a>; complete]\n<br/>\n<br/>Seven line engravings on india paper laid on drawing paper, each approx. 240×335 (9 1/2×13 1/4)\n<br/>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\n<br/>PROVENANCE John Linnell; his heirs, sold Christie's 15 March 1918 (in 148, with the 102 watercolour illustrations to Dante) £7,665 bt Martin for the donors\n<br/>LITERATURE Russell <i>Engravings</i>\n1912, pp.115–8 no.34; Keynes <i>Bibiliography</i> 1921, pp.182–5 no.56; Keynes <i>Engravings</i> 1950, pp.16–17; Roe 1953, pp.4–6, 41–2, 65, 96, 97, 108, 110, 116–7, 127–8, series repr. pls.10E, 41E, 42E, 51E, 53E, 58E and 65E; Keynes <i>Writings</i> 1957, pp.873, 876–7, 879; Ruthven Todd, <i>Blake's Dante Plates</i>, 1968 (reprinted with additions from <i>Book Collecting & Library Monthly</i>, VI, 1968, pp.164–71, itself based on a letter to <i>The Times Literary Supplement</i> 29 August 1968, p.928); Bentley <i>Blake Records</i> 1969, pp.315–6; Bentley <i>Blake Books</i> 1977, pp.544–6 no.448; Bindman <i>Graphic Works</i> 1978, p.487 nos.647–53, series repr.plus full-size details; Essick <i>Printmaker</i> 1981, pp.78–9, 250–4\n<br/></p>\n<p>This is the first of two sets in the Tate Gallery of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>prints</span></a> taken from the original plates. Altogether four printings have been done, two while the plates belonged to the Linnell family and two while they belonged to Lessing J. Rosenwald. In a ‘List of John Linnell Senior's Letters and Papers’ (in the Ivimy Collection) Linnell's son John Linnell Jr wrote that, following a few proofs taken by Blake himself, his father had ‘had India proofs taken (all disposed of)’; the accounts and day books of Dickson & Ross show that this was in 1838. John Linnell Jr goes on to say that after his father's death fifty further copies, in ‘india on <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/paper\" title=\"Glossary definition for 'Paper'\"><span>paper</span></a>’, were printed by Holdgate; the draft of a letter from the same writer to Bernard Quaritch of 6 May 1892 (also in the Ivimy Collection) implies that this second printing was about to be made. As all of the 1838 printing was ‘disposed of’ it was presumably one of the later series that was acquired for the Tate Gallery in the Linnell sale of 1918. Of what seem to be Blake's original proofs there is a complete set of one <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/proof\" title=\"Glossary definition for 'Proof'\"><span>proof</span></a> for each <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/c/composition\" title=\"Glossary definition for 'Composition'\"><span>composition</span></a> in the British Museum and individual proofs elsewhere. The plates have passed, with the Rosenwald Collection, to the National Gallery of Art, Washington.\n<br/>\n<br/>The subject of each <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engraving</span></a> was identified on a label pasted to the cover of the 1838 issue that reads as follows:\n<br/></p>\n<p>BLAKE'S ILLUSTRATIONS OF DANTE. /<i>Seven Plates, designed and engraved by</i> W. BLAKE, <i>Author of ‘Illustrations of / the Book of Job,’ &c. &c.</i> /Price £2.2s. India Paper./—/ PLATE I./ ... and like a corse fell to the ground./ HELL; Canto v.line 137. / PLATE II./....seiz'd on his arm, / And mangled bore away the sinewy part. / HELL; Canto xxii. line 70. / PLATE III./ .... so turn'd / His talons on his comrade. / HELL; Canto xxii. line 135./ PLATE IV. / ...lo! a serpent with six feet / Springs forth on one, / HELL; Canto xxv. line 45./ PLATE V. / He ey'd the serpent and the serpent him. / HELL; Canto xxv. line 82. / PLATE VI. /... Then two I mark'd, that sat Propp'd gainst each other, /HELL; Canto xxix, line 71. / PLATE VII./ ‘Wherefore dost bruise me?’ weeping he / exclaim'd. /HELL; Canto xxxii.line 79. / CARY'S DANTE.\n<br/></p>\n<p>The first record of Blake working on the engravings comes in a letter by him to Linnell of 2 July 1826, in which he wrote that he was coming to stay with him in Hampstead bringing, ‘besides our necessary change of apparel, Only My Book of Drawings from Dante & one Plate shut up in the Book’. On 25 April 1827 Blake wrote to Linnell to say that ‘I have Proved the Six Plates, & reduced the Fighting devils for the Copper’. Blake's death on 12 August 1827 prevented any further work on the engravings, and ‘The Baffled Devils Fighting’ is noticeably incomplete; Blake might, of course, have intended to work further on the other plates as well.\n<br/>\n<br/>These engravings were formerly inventoried as nos.3371 i–viii.\n<br/>\n<br/><span>A00011</span> <b>Dante Striking Against Bocca degli Abati</b>\n<br/>\n<br/>Engraving 236×340 (9 5/16×13 3/8); platemark 277×353 (10 7/8×13 7/8)\n<br/>\n<br/><i>Inferno</i> XXXII, 70–96. Dante stumbles against Bocca degli Abati, who betrayed the Guelfs at the battle of Montaperti, among the figures frozen in the Circle of Traitors. The finished <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/watercolour\" title=\"Glossary definition for 'Watercolour'\"><span>watercolour</span></a> is in the City Museum and Art Gallery, Birmingham (Butlin 1981, no.812 <i>65</i>, repr. Roe 1953, pl.65, Klonsky 1980, pl.68 in colour and Gizzi 1983, pl.68).</p>\n<p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\n<br/>\n<br/></p>\n",
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"content": "<p>This illustrates verses 1-3 of chapter 1 of the Old Testament Book of Job. Job is prosperous and pious. However, he is guided by the books of the Law which lie open before him. The instruments which should be used for praising the Lord hang silent above him. Satan tells the Lord that Job's piety stems from his material prosperity. Satan is allowed to test Job by destroying this prosperity. Job's subsequent trials which make him recognize his error of being pious only according to the law, are depicted in Blake's set of Job <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a>. Blake's interest in depicting Job's trials is paralleled by his later exploration of Dante's experiences in the illustrations to the Divine Comedy. Some of these are included in this display.</p>",
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"content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-job-and-his-family-a00012\" title=\"View the details of this artwork\"><span>A00012</span></a> [from] <b>Illustrations to <i>The Book of Job</i>: Engravings</b>\n1823–6/1874 [<span>A00012</span>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-job-and-his-family-restored-to-prosperity-a00032\" title=\"View the details of this artwork\"><span>A00032</span></a>; <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-title-page-of-the-book-of-job-t05845\" title=\"View the details of this artwork\"><span>T05845</span></a>; complete]\n<br/></p>\n<p>A 00012–32 /-\n<br/>Twenty-two line engravings on india paper laid on drawing paper approx. 510×345 (20×13 1/2)\n<br/>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\n<br/>PROVENANCE John Linnell; his heirs, sold Christie's 15 March 1918 (183) £33.12.0.bt Martin for the donors\n<br/>LITERATURE Gilchrist 1863, 1, pp.283–4, 297; Wicksteed 1910 and 1924; Russell <i>Engravings</i> 1912, 102–15 no.33: Keynes <i>Bibliography</i> 1921, pp.179–82 no.55: Binyon and Keynes 1935, series repr. vol.VI; Keynes <i>Engravings</i> 1950, pp.16–17, series repr.pls. 42–68; Keynes <i>Writings</i> 1957, pp.869–70, 872, 874, 876–7; S. Foster Damon, <i>Blake's Job</i> 1966, series repr.; Bentley <i>Blake Records</i> 1969, pp.234 n.i, 277–397 <i>passim</i>, 586–605; Andrew Wright <i>Blake's Job: A Commentary</i> 1972, series repr.; Lindberg 1973, pp.24–32, 40–52, 167–76, 183–352 nos.0A–21A, series repr.; Bentley <i>Blake Books</i> 1977, pp.517–24 no.421; Bindman <i>Graphic Works</i> 1978, pp.486–7 nos.625–46, series repr.; Mitchell 1978, pp.41–2; Essick <i>Printmaker</i> 1981, pp.92, 105, 220, 234–50, 252; Robert N. Essick, ‘Blake's Engravings to the Book of Job; An Essay on their Graphic Form with a Catalogue of their States and Printings’ in David Bindman, ed., <i>William Blake's Illustrations of the Book of Job</i> 1987, pp.35–101.\n<br/></p>\n<p>John Linnell, who had commissioned the second set of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/watercolour\" title=\"Glossary definition for 'Watercolour'\"><span>watercolour</span></a> illustrations to the Book of Job in 1821, entered into a formal agreement with Blake for the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a> on 25 March 1823: Linnell was to pay Blake £5 a plate or £100 for the set, and in addition he agreed to give Blake an extra £100 if the profits of the work made this possible. The agreement was for twenty engravings though in the event twenty-one subjects were engraved together with a title-page. On 5 March 1825 Linnell went with Blake to the printer J. Lahee to see proofs being taken. The series is dated 8 March 1825 but the final engravings do not seem actually to have been ready until the end of March 1826 (Bentley 1969, pp.277, 300 and 327). At this time 215 sets of engravings marked ‘<a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/proof\" title=\"Glossary definition for 'Proof'\"><span>Proof</span></a>’ were issued; these should be distinguished from the working proofs, on some of which Blake tried out designs for the borders. The word ‘Proof’ was then deleted (traces can be seen on <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-satan-before-the-throne-of-god-a00013\" title=\"View the details of this artwork\"><span>A00013</span></a>) and a further 100 sets were printed on <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/paper\" title=\"Glossary definition for 'Paper'\"><span>paper</span></a>. According to John Linnell Jr, writing to Bernard Quaritch on 6 May 1892, Linnell, after the 1826 printing, ‘put the plates away, & they were never again used after this time until the year 1874. At this time my father...had one hundred copies printed from the plates upon India paper’. Although the distinctive cover is now missing, it seems that the Tate Gallery's copies of the engravings are from this 1874 printing. The original plates were given by Herbert Linnell to the British Museum <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>Print</span></a> Room on 28 May 1919.\n<br/>\n<br/>Each engraving is inscribed ‘W Blake inv. & sculp’. In addition each is inscribed in the lower margin with variations of the text ‘London. Published as the Act directs March 8:1825 by William Blake No3 Fountain Court Strand’; the first actual design (<span>A00012</span>) is mistakenly dated with the year 1828 and ‘Will<sup>m</sup>’ is sometimes substituted for ‘William’, while the punctuation is also slightly varied.\n<br/>\n<br/>More importantly, the borders of each design bear a number of inscriptions taken from the Bible or with variations of biblical texts. These add a verbal gloss to the designs which in themselves embody Blake's critical reaction to the original story as set out in the Old Testament. The fullest analysis is in Lindberg though Wicksteed, Damon 1966 and Wright also contain full commentaries. Blake's interpretation of his text is only given in summary form in this catalogue.\n<br/>\n<br/>These engravings were formerly inventoried as nos.3372 i–xxii. The new inventory numbers omit the title-page.\n<br/>\n<br/><span>A00012</span> <b>Job and his Family</b>\n<br/>\n<br/>Line engraving 184×150 (7 1/4×5 7/8); platemark 198×164 (7 13/16×6 7/16)</p>\n<p>Inscribed ‘W Blake inv & sculp’ b.r., ‘London. Published as the Act directs. March 8:1828 [sic]. by Will Blake N3 Fountain Court Strand’ below, ‘1’ t.r., and with texts given below.\n<br/></p>\n<p>Illustration no.1: Job, i, 1–3. Blake quotes as main title, ‘Thus did Job continually’ from Job, i, 5. What Job did was to pray the words inscribed above: ‘Our Father which art in Heaven/hallowed be thy Name’ (Matthew, vi, 9; Luke, xi, 2). Blake stresses the negative quality of this prayer by quoting below, ‘The Letter Killeth/The Spirit giveth Life’ (II Corinthians, iii, 6) followed by ‘It is Spiritually Discerned’ (I Corinthians, ii, 14). The scene is set for the whole series by the straightforward quotation from Job, i, 1–2, ‘There was a Man in the/Land of Uz whose Name/was Job. & that Man/was perfect & upright/& one that feared God/& eschewed Evil & there/was born unto him Seven/Sons & Three Daughters’.\n<br/>\n<br/>To add to the negative impact of this design Blake shows musical instruments hanging unplayed on the tree, the sun setting while the moon rises, and the sheep fast asleep. For a recent discovery that suggests, however, that even as late as the final state of this engraving the negative impact of the inscription was much less evident see the introduction to this section, p.185.</p>\n<p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\n<br/></p>\n",
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] | accessioned work | 1 | William Blake | image: 184 × 150 mm | <p>This illustrates verses 1-3 of chapter 1 of the Old Testament Book of Job. Job is prosperous and pious. However, he is guided by the books of the Law which lie open before him. The instruments which should be used for praising the Lord hang silent above him. Satan tells the Lord that Job's piety stems from his material prosperity. Satan is allowed to test Job by destroying this prosperity. Job's subsequent trials which make him recognize his error of being pious only according to the law, are depicted in Blake's set of Job engravings. Blake's interest in depicting Job's trials is paralleled by his later exploration of Dante's experiences in the illustrations to the Divine Comedy. Some of these are included in this display.</p><p><em>Gallery label, August 2004</em></p> | 1,919 | A00012 | {
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] | 1,508 | 1825, reprinted 1874 | <a href="https://www.tate.org.uk/art/artists/william-blake-39" aria-label="More by William Blake" data-gtm-name="header_link_artist" data-gtm-destination="page--artist">William Blake</a> | 117 5733 67 1402 135 93 6548 6907 6904 18 1556 2488 38705 708 166 1340 1341 15799 133 480 195 98 9326 3405 1566 52 1342 266 12705 5731 167 | Purchased with the assistance of a special grant from the National Gallery and donations from the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a>, Lord Duveen and others, and presented through the <a href="/search?gid=999999968" data-gtm-name="tombstone_link_bequest" data-gtm-destination="list-page--search-results">Art Fund</a> 1919 | Tate | false | [
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"content": "<p><a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-satan-before-the-throne-of-god-a00013\" title=\"View the details of this artwork\"><span>A00013</span></a> [from] <b>Illustrations to <i>The Book of Job</i>: Engravings</b>\n1823–6/1874 [<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-job-and-his-family-a00012\" title=\"View the details of this artwork\"><span>A00012</span></a>-<a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-job-and-his-family-restored-to-prosperity-a00032\" title=\"View the details of this artwork\"><span>A00032</span></a>; <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-title-page-of-the-book-of-job-t05845\" title=\"View the details of this artwork\"><span>T05845</span></a>; complete]\n<br/></p>\n<p>A 00012–32 /-\n<br/>Twenty-two line engravings on india paper laid on drawing paper approx. 510×345 (20×13 1/2)\n<br/>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\n<br/>PROVENANCE John Linnell; his heirs, sold Christie's 15 March 1918 (183) £33.12.0.bt Martin for the donors\n<br/>LITERATURE Gilchrist 1863, 1, pp.283–4, 297; Wicksteed 1910 and 1924; Russell <i>Engravings</i> 1912, 102–15 no.33: Keynes <i>Bibliography</i> 1921, pp.179–82 no.55: Binyon and Keynes 1935, series repr. vol.VI; Keynes <i>Engravings</i> 1950, pp.16–17, series repr.pls. 42–68; Keynes <i>Writings</i> 1957, pp.869–70, 872, 874, 876–7; S. Foster Damon, <i>Blake's Job</i> 1966, series repr.; Bentley <i>Blake Records</i> 1969, pp.234 n.i, 277–397 <i>passim</i>, 586–605; Andrew Wright <i>Blake's Job: A Commentary</i> 1972, series repr.; Lindberg 1973, pp.24–32, 40–52, 167–76, 183–352 nos.0A–21A, series repr.; Bentley <i>Blake Books</i> 1977, pp.517–24 no.421; Bindman <i>Graphic Works</i> 1978, pp.486–7 nos.625–46, series repr.; Mitchell 1978, pp.41–2; Essick <i>Printmaker</i> 1981, pp.92, 105, 220, 234–50, 252; Robert N. Essick, ‘Blake's Engravings to the Book of Job; An Essay on their Graphic Form with a Catalogue of their States and Printings’ in David Bindman, ed., <i>William Blake's Illustrations of the Book of Job</i> 1987, pp.35–101.\n<br/></p>\n<p>John Linnell, who had commissioned the second set of <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/w/watercolour\" title=\"Glossary definition for 'Watercolour'\"><span>watercolour</span></a> illustrations to the Book of Job in 1821, entered into a formal agreement with Blake for the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/e/engraving\" title=\"Glossary definition for 'Engraving'\"><span>engravings</span></a> on 25 March 1823: Linnell was to pay Blake £5 a plate or £100 for the set, and in addition he agreed to give Blake an extra £100 if the profits of the work made this possible. The agreement was for twenty engravings though in the event twenty-one subjects were engraved together with a title-page. On 5 March 1825 Linnell went with Blake to the printer J. Lahee to see proofs being taken. The series is dated 8 March 1825 but the final engravings do not seem actually to have been ready until the end of March 1826 (Bentley 1969, pp.277, 300 and 327). At this time 215 sets of engravings marked ‘<a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/proof\" title=\"Glossary definition for 'Proof'\"><span>Proof</span></a>’ were issued; these should be distinguished from the working proofs, on some of which Blake tried out designs for the borders. The word ‘Proof’ was then deleted (traces can be seen on <span>A00013</span>) and a further 100 sets were printed on <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/d/drawing\" title=\"Glossary definition for 'Drawing'\"><span>drawing</span></a> <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/paper\" title=\"Glossary definition for 'Paper'\"><span>paper</span></a>. According to John Linnell Jr, writing to Bernard Quaritch on 6 May 1892, Linnell, after the 1826 printing, ‘put the plates away, & they were never again used after this time until the year 1874. At this time my father...had one hundred copies printed from the plates upon India paper’. Although the distinctive cover is now missing, it seems that the Tate Gallery's copies of the engravings are from this 1874 printing. The original plates were given by Herbert Linnell to the British Museum <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/p/print\" title=\"Glossary definition for 'Print'\"><span>Print</span></a> Room on 28 May 1919.\n<br/>\n<br/>Each engraving is inscribed ‘W Blake inv. & sculp’. In addition each is inscribed in the lower margin with variations of the text ‘London. Published as the Act directs March 8:1825 by William Blake No3 Fountain Court Strand’; the first actual design (<span>A00012</span>) is mistakenly dated with the year 1828 and ‘Will<sup>m</sup>’ is sometimes substituted for ‘William’, while the punctuation is also slightly varied.\n<br/>\n<br/>More importantly, the borders of each design bear a number of inscriptions taken from the Bible or with variations of biblical texts. These add a verbal gloss to the designs which in themselves embody Blake's critical reaction to the original story as set out in the Old Testament. The fullest analysis is in Lindberg though Wicksteed, Damon 1966 and Wright also contain full commentaries. Blake's interpretation of his text is only given in summary form in this catalogue.\n<br/>\n<br/>These engravings were formerly inventoried as nos.3372 i–xxii. The new inventory numbers omit the title-page.\n<br/>\n<br/><span>A00013</span> <b>Satan before the Throne of God</b>\n<br/>\n<br/>Line engraving 197×151 (7 3/4×5 15/16); platemark 217×169 (8 9/16×6 5/8)</p>\n<p>Inscribed ‘WBlake inv & sc’ b.l., ‘London Published as the Act directs March 8:1825. by Will<sup>m</sup> Blake N3 Fountain Court Strand’ below, ‘2’ t.r., and with texts given below; traces of the former inscription ‘Proof’ can still be seen b.r.\n<br/></p>\n<p>Illustration no.2: Job, i, 6–12. Blake's main title applies to the lower part of the <a class=\"glossarylinktopopup\" data-gtm-destination=\"article-page\" data-gtm-name=\"body_text_link\" href=\"http://www.tate.org.uk/learn/online-resources/glossary/c/composition\" title=\"Glossary definition for 'Composition'\"><span>composition</span></a> showing Job and his Family: ‘When the Almighty was yet with me. When my Children/were about me’ (Job, xxix, 5). Below this a subsidiary text describes what is happening in the upper half of the composition: ‘There was a day when the Sons of God came to present themselves before the Lord & Satan came also among them/to present himself before the Lord’ (Job, i, 6). Above there are further inscriptions: ‘I beheld the Ancient of Days’ (condensed from Daniel, vii, 9); ‘Hast thou considered my Servant Job’ (Job, i, 8; God the Father is pointing out Job as an example to Satan); ‘The Angel of the Divine Presence’ (Isaiah lxiii), and the Hebrew for ‘The Lord is King’ (Psalms, x, 16, xlvii, 7, and xcvii). These inscriptions are flanked by two more: ‘I shall see God’ (based on Job, xix, 26) and ‘Thou art our Father’ (Isaiah, lxiii, 16, and lxiv, 8). Flanking all these inscriptions, and broken by them, is the single sentence ‘We shall awake up/in thy Likeness’ (a rewording of Psalms, xvii, 15).\n<br/>\n<br/>God the Father, apart from his somewhat spikey hair which anticipates the horrific vision of <a class=\"acno-pop\" data-gtm-destination=\"page--artwork\" data-gtm-name=\"body_text_link\" href=\"https://www.tate.org.uk/art/artworks/blake-the-wrath-of-elihu-a00023\" title=\"View the details of this artwork\"><span>A00023</span></a>, is given the same likeness as Job. Satan, on the other hand, is shown as a physically ideal, young man, surrounded by flames in which appear images of the heads of Job and of his wife.\n<br/>The lower part of the composition is developed, in reverse, from the large watercolour of ‘Enoch walked with God (?)’ of <i>c.</i>1780–5 in the Cincinnati Art Museum (Butlin 1981, no.146, colour pl.181). This drawing has also been identified as showing Job in prosperity.</p>\n<p>\n<br/><b>Published in:</b>\n<br/>Martin Butlin, <i>William Blake 1757-1827</i>, Tate Gallery Collections, V, London 1990\n<br/>\n<br/></p>\n",
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