Restrike from fragment of cancelled plate for "A Prophecy"

The Restrike from fragment of cancelled plate for "A Prophecy" by William Blake, created in 1793, offers a rare and unique insight into the artist's highly experimental printing methods. Classified strictly as a print, this piece utilized relief etching, a labor-intensive technique fundamental to Blake’s self-publishing endeavors that allowed him to integrate text and image seamlessly. The specific nature of this impression stems from its unusual technical execution: the image was pulled on a colored background, made by rolling up the other side of the plate with inks and then running it through the press. This resulted in a subtle, ghost-like transfer of texture and faint outline, distinct from impressions taken from the deeply etched face of the plate.

Dating from the period 1776 to 1800, this fragment relates directly to Blake’s early illuminated books, embodying the visionary, spiritual, and politically charged themes common in his British artistic output. The work is derived from a plate that had been cancelled—meaning the copper matrix was intentionally defaced or cut, often to prevent later unauthorized printings. A restrike, therefore, is an impression taken from this damaged or fragmented remnant, which serves as historical evidence of the plate’s evolution and subsequent mutilation. Blake, known equally as a poet, painter, and printmaker, frequently manipulated his materials to achieve specific visual and textural effects, ensuring no two copies of his illuminated works were identical.

This distinct example of Blake’s revolutionary approach to printing experimentation is held within the esteemed collection of the National Gallery of Art. The complexity of its production highlights why Blake’s unique methods stand apart in the history of British prints. Though this specific restrike is a unique physical object, the underlying structure of Blake’s original works often enters the public domain, allowing scholars and enthusiasts worldwide to study the intricate evolution of his graphic techniques.