I Have Heard Thee (The Book of Job) - William Blake
Archival giclée
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Description
A powerful engraving from William Blake's Illustrations of the Book of Job, depicting a moment of divine revelation through precise line work.
This engraving is plate 17 from William Blake's Illustrations of the Book of Job, a series produced towards the end of his career. Blake, a visionary poet and printmaker, worked on these designs for several years, culminating in this set of twenty-two engravings published in 1825. The composition depicts a moment of divine revelation, where the figure of Job, having endured immense suffering, experiences a direct encounter with the divine presence.
Blake employs a distinct visual language, characterised by strong outlines and a dramatic use of light and shadow. The central figure of the deity, radiating light, stands over the kneeling Job, who is accompanied by his wife. The surrounding text, integrated into the design, provides scriptural context, reflecting Blake's personal interpretation of the biblical narrative. The lower section features an open book and a reclining figure, further grounding the scene in a literary and contemplative space. The precision of the line work demonstrates Blake's technical mastery of the burin, a skill he refined throughout his life as an engraver.
This work reflects the artist's preoccupation with spiritual themes and his rejection of conventional artistic norms. By combining text and image, Blake creates a unified experience that invites the viewer to engage with the narrative on multiple levels. The stark contrast between the illuminated central figures and the darker, more grounded elements creates a sense of spiritual weight. This print remains a significant example of Blake's late style, where his technical control and imaginative vision reach a state of equilibrium. It offers a window into the artist's complex theological views and his ability to translate abstract concepts into tangible, visual form through the medium of copperplate engraving.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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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
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Care & Cleaning
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
I Have Heard Thee (The Book of Job) - 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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