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Creator:
Print made by William Blake, 1757–1827, British
Title:

Jerusalem, Plate 25, "And there was heard...."

Additional Title(s):

Plate 25: "And There Was Heard a Great Lamenting in Beulah"

Part Of:

Collective Title: Jerusalem: The Emanation of The Giant Albion, Bentley Copy E

Date:
1804 to 1820
Medium:
Relief etching printed in orange with pen and black ink, watercolor, and gold on moderately thick, smooth, cream wove paper
Dimensions:
Sheet: 13 1/2 x 10 3/8 inches (34.3 x 26.4 cm) and Plate: 8 3/4 x 6 3/8 inches (22.2 x 16.2 cm)
Credit Line:
Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
B1992.8.1(25)
Classification:
Prints
Collection:
Prints and Drawings
Subject Terms:
branches | intestines | literary theme | men | moon | nudes | religious and mythological subject | roots | stars | stone | sun | tears | text | women
Access:
Accessible by request in the Study Room [Request]
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Link:
https://collections.britishart.yale.edu/catalog/tms:3454
Export:
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In April 1827, a few months before his death, Blake wrote to his friend George Cumberland: “The last work I produced is a Poem entitled Jerusalem the Emanation of the Giant Albion. . . . One I have finished. It contains 100 plates but it is not likely that I shall get a Customer for it.” “Jerusalem” was the culmination of Blake’s series of great prophetic books, and he had been at work on it from 1804 on, the date on the title page. Of the five known complete copies of the book, four are printed in black ink and uncolored; the copy to which Blake refers as “finished” is the Mellon copy, printed in red-orange ink and lavishly hand-colored in watercolor with touches of gold paint. At Blake’s death, this deluxe copy passed to his widow, Catherine, from whom it was obtained by Frederick Tatham, who, in a twenty-four-page biographical sketch of Blake in manuscript that he attached to the copy, described it as containing “some of the most noble conceptions possible to the mind of man”. The poem, divided into four chapters, tells of the fall of man, represented by Albion, and his ultimate redemption. This plate is the final image of the first chapter. It shows the fallen Albion being disemboweled.

John Baskett, Paul Mellon's Legacy: a Passion for British Art: Masterpieces from the Yale Center for British Art, , Yale Center for British Art, New Haven, CT, 2007, pp. 276-77, no. 74, pl. 74, N5220 M552 P38 2007 OVERSIZE (YCBA)

Suzy Halimi, La nuit dans l'Angleterre des Lumières, Presses Sorbonne Nouvelle, Paris, 2008, p. 275, fig. 1, PN56.N5 N855 2008 (YCBA)

William Blake : Visionary, The J. Paul Getty Museum, Los Angeles, p. 148, pl. 105, NJ18.B57 A12 2020 OVERSIZE (YCBA)


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