Andrew, Simon Peter Searching for Christ - William Blake
Archival giclée
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Description
A visionary watercolour by William Blake, depicting a biblical encounter with ethereal figures in a balanced, symmetrical composition.
This work by William Blake depicts a scene of spiritual encounter, rendered with the artist's characteristic focus on visionary experience. Blake, a poet and painter, often explored biblical narratives through a personal lens, prioritising symbolic weight over strict anatomical accuracy. In this composition, two figures stand centrally, flanked by ethereal, winged beings that hover in the upper register. The figures of Andrew and Simon Peter are depicted in simple, flowing robes, their postures suggesting a state of reverence or discovery.
The colour palette is restrained, relying on soft washes of ochre, muted rose, and pale blue to define the forms. Blake employs fine ink lines to delineate the contours of the figures and the delicate features of the angels, while the watercolour provides a translucent quality to the garments and the surrounding atmosphere. The background remains minimal, featuring a suggestion of a distant townscape under a pale sky, which keeps the focus firmly on the interaction between the human and the divine.
Blake's approach to this subject reflects his interest in the spiritual dimensions of the New Testament. The symmetry of the composition, with the two angels mirroring the positions of the two men, creates a sense of balance and order. The work is part of a larger series of biblical illustrations that demonstrate Blake's unique visual language, where the physical world is always permeable to the supernatural. The figures possess a weightless quality, typical of his later watercolours, where the boundaries between the earthly and the celestial are blurred. This print captures the quiet intensity of the moment, inviting contemplation of the narrative through Blake's distinctively linear and expressive style.
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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
Andrew, Simon Peter Searching for Christ - 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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