The Christian Triumph - William Blake
Archival giclée
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Description
A fine engraving by William Blake from his 1797 series illustrating Edward Young's Night Thoughts, depicting a central figure of Christ with attendant angels.
This engraving is a plate from William Blake's ambitious project to illustrate Edward Young's poem, Night Thoughts. Published in 1797, the series represents a significant collaboration between the poet, the publisher Richard Edwards, and the artist. Blake produced a series of watercolour designs, which were then etched and engraved to accompany the text. This specific composition, titled The Christian Triumph, depicts a central figure of Christ ascending, surrounded by a radiant light that dominates the upper portion of the page. Two angels kneel in the lower corners, their forms bowed in reverence.
Blake employs a linear style, characteristic of his training and his preference for clear outlines over painterly effects. The composition relies on the contrast between the stark white of the paper and the fine, controlled lines of the engraving. The figure of Christ is rendered with anatomical precision, his arms outstretched to mirror the expansive light behind him. The surrounding clouds and rays of light are created through delicate hatching and cross-hatching, techniques that demonstrate the technical skill required for late eighteenth-century book illustration.
Unlike many of his contemporaries who focused on atmospheric depth, Blake maintains a flat, graphic quality that keeps the focus on the symbolic nature of the scene. The text, integrated into the design, serves as a visual element that balances the composition. This work reflects the intersection of literature and visual art in the late Georgian period, where the printed page became a site for personal interpretation of religious and philosophical texts. The print offers a clear example of Blake's approach to narrative illustration, where the physical form of the figures conveys the emotional weight of the subject matter without the need for complex perspective or colour.
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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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Manufacturing
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
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
The Christian Triumph - 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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