Thy Sons and Daughters Were Eating and Drinking Wine (The Book of Job) - William Blake
Archival giclée
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Description
A dramatic engraving from William Blake's Illustrations of the Book of Job, depicting the collapse of the house of Job's children.
This engraving is the third plate from William Blake's Illustrations of the Book of Job, a series completed towards the end of his life. The composition depicts the moment of catastrophe described in the biblical text, where a great wind strikes the house of Job's eldest son, resulting in the death of his children. Blake presents this scene with characteristic intensity, placing a dark, winged figure of Satan above the collapsing structure. The architecture is shown in a state of violent disintegration, with heavy stone pillars falling amidst the figures below.
Blake employs a dense, cross-hatched technique to create deep shadows and a sense of chaotic movement. The figures are rendered with the muscular, elongated proportions typical of his later work, reflecting his interest in classical forms filtered through a personal, visionary lens. The surrounding border contains further text and decorative elements, a hallmark of Blake's integrated approach to word and image. The scene captures the tension between divine power and human suffering, a recurring theme throughout his artistic output. By focusing on the physical collapse of the house, Blake emphasises the suddenness of the tragedy. The contrast between the dark, swirling clouds and the stark, white figures creates a dramatic visual rhythm that draws the eye across the plate. This work demonstrates his technical mastery of the burin and his ability to translate complex theological narratives into powerful, singular images. It remains a significant example of his late-career focus on biblical subjects, executed with a precision that belies the emotional turbulence of the subject matter.
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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.
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Specific Features
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- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
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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
Thy Sons and Daughters Were Eating and Drinking Wine (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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