And I only am escaped alone to tell thee - William Blake
Archival giclée
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Description
A powerful engraving from William Blake's Illustrations of the Book of Job, depicting the arrival of the messenger with news of Job's misfortune.
This engraving is the fifth plate from William Blake's Illustrations of the Book of Job, a series produced towards the end of his career. The composition depicts the moment a messenger arrives to inform Job of the destruction of his flocks and servants. Blake employs a distinct visual structure, placing the central narrative scene within a rectangular frame, surrounded by marginal text and symbolic imagery.
In the primary scene, a messenger rushes towards Job and his wife, who sit beneath a tree. The figures are rendered with the muscularity and expressive posture characteristic of Blake's draughtsmanship. The background suggests a turbulent atmosphere, reflecting the sudden calamity described in the biblical text. The surrounding border contains the specific verses from the Book of Job, integrated into the design with calligraphic precision. Above the central image, a small vignette shows a figure ascending into flames, representing the fire of God falling from heaven.
Blake's approach to the Book of Job is highly personal, moving beyond literal interpretation to explore themes of suffering, faith, and divine justice. The engraving technique allows for a high degree of tonal variation, from the deep shadows of the landscape to the clear, precise lines of the figures and lettering. This work demonstrates his mastery of the burin and his ability to synthesise text and image into a cohesive whole. The series is widely regarded as one of his most accomplished graphic projects, showing a mature style that balances classical influence with his own visionary aesthetic. This print offers a clear view of the technical skill involved in his late-period copperplate engravings, where every line serves both a descriptive and a symbolic purpose.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
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To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
And I only am escaped alone to tell thee - William Blake
Artist Biography
William Blake
He married Catherine Boucher in 1782. She was illiterate at the time and signed the marriage register with an X. He taught her to read, write, and engrave, and she became his collaborator for the next forty-five years: mixing paint, operating the printing press, hand-colouring plates, and binding the finished pages into covers.
Their working method was Blake's own invention, revealed to him (he said) in a dream by the spirit of his dead brother Robert. Relief etching reversed the standard printmaking process: instead of cutting lines into copper, Blake wrote and drew on the plate in acid-resistant varnish, then dissolved the surrounding metal with acid, leaving text and image raised. This allowed him to compose poetry and illustration simultaneously on a single plate, print them together, then hand-colour each sheet in watercolour. Every copy was therefore unique. Songs of Innocence and of Experience was produced this way. He sold fewer than thirty copies during his lifetime.
In 1803, he physically threw a soldier named John Schofield out of his garden in Felpham. He was charged with assault and with uttering treasonable expressions against the King. He was acquitted at the Chichester assizes in January 1804.
Newton, painted in 1795, shows the scientist as a young man with the body of a Greek god, bent forward at the bottom of a dark ocean, fixing his gaze on a pair of compasses, measuring and drawing on a scroll that appears to project from his own head. It is a painting about the limits of reason: beautiful, precise, and missing everything beyond the edge of the paper. The Ancient of Days, from the same period, depicts his mythological figure Urizen crouching at the edge of a void, reaching down with a compass to measure the darkness below.
He died on 12 August 1827, working on illustrations for Dante's Divine Comedy. He was buried at Bunhill Fields. The wider recognition came decades later.
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