"To the Christians..." (Plate 77), William Blake

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Rights

Credit
Yale Center for British Art, Paul Mellon Collection
Licence
PDM-1.0
Evidence
manifests.collections.yale.edu: Copyright Statement=Public Domain on ycba object 3e527560-5e24-42e4-9e06-d4c17ab96682 (https://manifests.collections.yale.edu/v2/ycba/obj/3511); Image Use Rights=No Copyright: You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission. (CC0 1.0) (read 2026-09-16)
Record
https://collections.britishart.yale.edu/catalog/tms:3511
IIIF
manifest
"To the Christians..." (Plate 77), William Blake
"To the Christians..." (Plate 77) — William Blake1804 to 1820

Also by William Blake

17
Songs of Experience: The School Boy, William Blake
Songs of Experience: The School BoyWilliam Blake[1789] printed ca. 1825Metropolitan Museum of Art, New York, NY
Songs of Experience: The Little Girl Found (second plate), William Blake
Songs of Experience: The Little Girl Found (second plate)William Blake[1789] printed ca. 1825Metropolitan Museum of Art, New York, NY
Songs of Experience: The Little Girl Lost, William Blake
Songs of Experience: The Little Girl LostWilliam Blake[1789] printed ca. 1825Metropolitan Museum of Art, New York, NY
Songs of Experience: The Little Girl Lost (second plate); The Little Girl Found, William Blake
Songs of Experience: The Little Girl Lost (second plate); The Little Girl FoundWilliam Blake[1789] printed ca. 1825Metropolitan Museum of Art, New York, NY
God Judging Adam, William Blake
God Judging AdamWilliam Blakeca. 1795Metropolitan Museum of Art, New York, NY
'Behold him, when past by; what then is seen' (Page 25), William Blake
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Songs of Experience: A Little Girl Lost, William Blake
Songs of Experience: A Little Girl LostWilliam Blake[1794] printed ca. 1825Metropolitan Museum of Art, New York, NY
Songs of Experience: To Tirzah, William Blake
Songs of Experience: To TirzahWilliam Blake[1794] printed ca. 1825Metropolitan Museum of Art, New York, NY

Within fifty years of 1804 to 1820

3211
Abigail Chesebrough (Mrs. Alexander Grant), Joseph Blackburn
Abigail Chesebrough (Mrs. Alexander Grant)Joseph Blackburn1754The Art Institute of Chicago
The Sacrifice of Isaac, Francesco Guardi
The Sacrifice of IsaacFrancesco Guardi1754Cleveland Museum of Art
Les quatre saisons, François Boucher, French, 1703–1770
Les quatre saisonsFrançois Boucher, French, 1703–1770ca. 1754–86Cooper Hewitt, Smithsonian Design Museum
L'Hyver, François Boucher, French, 1703–1770
L'HyverFrançois Boucher, French, 1703–1770ca. 1754–86Cooper Hewitt, Smithsonian Design Museum
L’ESTÉ, François Boucher, French, 1703–1770
L’ESTÉFrançois Boucher, French, 1703–1770ca. 1754–86Cooper Hewitt, Smithsonian Design Museum
L'Automne, François Boucher, French, 1703–1770
L'AutomneFrançois Boucher, French, 1703–1770ca. 1754–86Cooper Hewitt, Smithsonian Design Museum
Hermann Fictulds Abhandlung von der Alchymie und derselben Gewissheit, Fictuld, Hermann
Hermann Fictulds Abhandlung von der Alchymie und derselben GewissheitFictuld, Hermann1754Stiftung der Werke von C.G.Jung, Zürich
Curieuse und ganz neue Art zu Punctiren, Unknown
Curieuse und ganz neue Art zu PunctirenUnknown1754Stiftung der Werke von C.G.Jung, Zürich

Also at Yale Center for British Art

13
The Angel appearing to the shepherds, the visitation, and the annunciation: a sheet of notes for a proposed decorative scheme with 3 sketches of paintings for overdoors, Sir James Thornhill
The Angel appearing to the shepherds, the visitation, and the annunciation: a sheet of notes for a proposed decorative scheme with 3 sketches of paintings for overdoorsSir James ThornhillundatedYale Center for British Art
Sketch for 'The Last Supper,' St. Mary's, Weymouth, Sir James Thornhill
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The Beggar's Opera, William Hogarth
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Self-Portrait, William Hogarth
Self-PortraitWilliam Hogarthca. 1735Yale Center for British Art
Mary Hogarth, William Hogarth
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The Adoration of the Magi, Arthur Pond
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The Last Supper, Francesco Bartolozzi
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Similar picturesFound by visual likeness

4 pictures

Visual resemblances suggested by the model. A match does not establish a shared subject or historical connection.

"They saw their Wheels rising up poisonous..." (Plate 43), William Blake
"They saw their Wheels rising up poisonous..." (Plate 43)William Blake1804 to 1820Yale Center for British Art
0.92
"The Feminine separates from the Masculine..." (Plate 90), William Blake
"The Feminine separates from the Masculine..." (Plate 90)William Blake1804 to 1820Yale Center for British Art
0.90
Page of Text, Printed on Recto and Verso, Marie F. Lattré, French, active eighteenth century
Page of Text, Printed on Recto and VersoMarie F. Lattré, French, active eighteenth century1751Cooper Hewitt, Smithsonian Design Museum
0.84
Songs of Experience: Earth's Answer, William Blake
Songs of Experience: Earth's AnswerWilliam Blake[1794] printed ca. 1825Metropolitan Museum of Art, New York, NY
0.83

In the stacks

Not yet checked
2

Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.

  1. The Bases of Design · Walter Crane

    At the end of last century a sort of revival took place under Thomas Bewick and his school, which led, not to a revival of the firm and open linear drawing of the designers of the early printers, but rather to a search after extra fineness and qualities of tone and colour, hitherto associated with steel or copper-plate. This tendency or aim of the engravers, however, only served to put the woodcut out of relation with the type, and the type itself grew uglier, and was hardly considered as part
    0.70
  2. Of the Decorative Illustration of Books Old and New · Walter Crane

    When he came to embody his own thoughts and dreams, he recurred quite spontaneously to the methods of the maker of the MS. books. He became his own calligrapher, illuminator and miniaturist, while availing himself of the copper-plate (which he turned into a surface printing block) and the printing press for the reproduction of his designs, and in some cases for producing them in tints. His hand-coloured drawings, the borderings and devices to his own poems, will always be things by themselves. His treatment of the resources of black and
    0.68

Next

Made in the nineteenth century, like "To the Christians..." (Plate 77).

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