THE PRICE OF FAME
- Munch, Tiger and Bear
- Dürer, Five Lansquenets
- Bonnard, Dans la Rue
- Vuillard, La Couturiére
- Bellows, The Hold-Up
- Magritte, Oreille-Cloche
- Canaletto, Landscape
- Cezanne, Self-Portrait at the Easel
- Matisse, Repos du Modèle
- Pissarro, Rue Saint-Romaine
- Tiepolo, Three Soldiers
- Rouault, L’Enfant de la Balle
- Toulouse-Lautrec, Yvette
- Jongkind, Jetée en Bois
- after Brueghel, Saint Jerome
- Blake, And My Servant Job
- Chagall, Le Vixe
- Piranesi, The Villa Albani
- after Rubens, St. Mary Magdalene
- Millet, La Fileuse Auvergnate
- Beckmann, Jacob Wrestles
- Corot, Environs de Rome
- Tissot, Le Matin
- Whistler, Little Dorothy
- Géricault, Cheval Anglais
- Ostade, The Barn
- Hogarth, A Chorus of Singers
- Watteau & Thomassin, Femme
- Goya, Nanny’s Boy
- Palmer, Herdsman’s Cottage
- Delacroix, Arabes d’Oran
- Sloan, Fifth Avenue Critics
- after Boucher, The Snare
- after da Vinci, Caricature Head
- Baskin, Bird-Man
- after Turner, In the Campagna
- after Raphael, A Muse
- Kirchner, Railway Curve
- Daumier, Eh, Eh ? Petit Gredin…
- Robert, Le Poteau
- Rowlandson, Wood Nymphs
- Doré, Lapplander Peasants
- van Dyck, Portrait of Brueghel
- after Constable, Mill Stream
- Rosa, Woman Walking to the Left
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16. William Blake (1757-1827) And My Servant Job Shall Pray for You |
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(click on image to print)
And My Servant Job Shall Pray for You
Engraving, 1825, Plate XVIII from The Book of Job, 217 x 169 mm., Binyon 123 iii/iii. Fine, sharp impression on chine-appliqué with large, full margins, probably from the edition of 215 published in 1874 (the papers used for the two editions were the same and it is often impossible to distinguish them). The engravings of The Book of Job, though not the most technically advanced, and hardly the most expensive of Blake’s works, were his crowning achievement as a print maker. As he was considered mad by most of his contemporaries, with both his literary and artistic work largely ignored, the initial edition of 100 which he published himself must have seemed a risky venture for a sixty-eight-year-old artist. Whatever the contemporary results were, posterity has proved him right, prescient and a great master.
