Then Went Satan Forth from the Presence of the Lord? The Book of Job No. 5 by William Blake, 1757-1827

William Blake, 1757-1827
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Then Went Satan Forth from the Presence of the Lord? The Book of Job No. 5

Original engraving in black ink. 1824/25. With the engraved signature in the plate: 'W Blake inventor & sculp.'. With Blake's address and the publication date 1825. First issue 1825. No 5 in the series; The Book of Job. From the edition of 100 on Whatman paper. (See below). There were also 65 'proofs' on French wove & 150 'proofs' on chine applique.
Ref: Binyon-Blake Engravings 110. Bindman-Blake no 630 (5)

Beautiful first issue impression with sparkling line. On pale cream wove paper; watermark Whatman Turkey Mill 1825. Excellent condition. 1 1/4 - 1 1/2ins margins. Sheet: 11 1/4 x 9 1/8ins. Plate: 8 1/2 x 6 5/8ins (216x169mm)

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An extremely fine first issue impression with beautiful crisp line on the characteristic paper with the J Whatman Turkey Mill 1825 watermark.

The engravings for the Book of Job are one of the greatest triumphs of Blake?s art. The extraordinary visionary concept, the integration of central image, text quotations and expressive decorative borders, and the sheer genius of the handling of the curl and flow of the forms, the incision of the line and the creation of the mysterious qualities of light and shadow, make them amongst the outstanding masterworks of English printmaking and of the whole history of engraving.

In 1823 John Linnell, Blake?s friend, patron and mentor, commissioned him to make a second series of water-colours on the theme of the Job Bible story. Shortly afterwards he also suggested that he should make engravings of his compositions. Blake was extremely enthusiastic about the idea, and worked on them with passionate dedication so that they were completed in two years. They were first issued in March 1825, as above.

Blake?s fascination with the Job theme lay in his vision that it encapsulated the whole dilemma of mankind; the inward struggle between good and evil. He used the images, with his symbolism of good on the right side and evil on the left, to express his own struggle through physical and mental suffering towards an understanding of God