Then went Satan forth from the presence of the Lord - William Blake
Archival giclée
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Description
A detailed engraving from William Blake's Illustrations of the Book of Job, depicting the departure of Satan from the presence of the Lord.
This engraving is plate 5 from William Blake's Illustrations of the Book of Job, a series of twenty-two prints produced between 1823 and 1826. Blake, a visionary poet and printmaker, returned to the biblical narrative of Job late in his career, creating some of his most technically refined work. The composition is divided into two distinct registers. The upper section depicts a celestial scene where a bearded, enthroned figure representing the Lord is surrounded by a host of angels. Below, the earthly realm shows Job and his wife seated, while Satan, depicted as a dark, muscular figure, departs to inflict suffering upon them.
The print is framed by a decorative border containing further text and serpentine motifs, a signature element of Blake's illuminated books. His line work is precise and controlled, utilising cross-hatching to create depth and shadow within the figures and the swirling clouds. The contrast between the divine light above and the sombre, grounded reality of the human figures below reflects the thematic tension of the Book of Job. Blake's interpretation moves beyond literal illustration, offering a personal theological commentary on the nature of faith, suffering, and divine justice. The inclusion of text within the image area integrates the narrative directly into the visual experience, a technique Blake refined throughout his career. This print is a fine example of his mastery of the burin and his ability to convey complex spiritual concepts through classical figure drawing and symbolic imagery.
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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
Then went Satan forth from the presence of the Lord - 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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