1. William Blake, Industrious Cottager. Stipple and line engraving after George Morland, color printed. Platemark 27.3 x 30.5 cm. (all measurements are of platemarks unless otherwise specified), 1788. Collection of Robert N. Essick.

2. William Blake, Industrious Cottager. Stipple and line engraving after George Morland, color printed. Platemark 27.3 x 30.5 cm., 1788. Collection of Robert N. Essick. Detail showing the blending and overlapping of colors.

3. Elisha Kirkall, The Holy Family. Mezzotint and chiaroscuro, 29.5 x 40.0 cm., 1724. Yale Center for British Art, Paul Mellon Collection.

4. John Baptist Jackson, Descent from the Cross, after Rembrandt. Chiaroscuro woodcut, 35.5 x 27.8 cm., 1738. Yale Center for British Art, University Art Gallery Collection, Gift of Ralph Kirkpatrick.

5. Jacques Christophe Le Blon, Van Dyck Self Portrait. Three-color mezzotint, 61.2 x 36.0 cm., c. 1720s. Yale Center for British Art, Paul Mellon Collection.

6. William Blake, There is No Natural Religion copy C, plate a4. Relief etching, 5.2 x 4.2 cm., etched 1788, color printed c. 1794. Lessing J. Rosenwald Collection, Library of Congress. Rudimentary color printing is present on the left hip and thigh of the standing figure.

7. William Blake, The First Book of Urizen copy C, plate 18. Relief etching, 15.0 x 10.9 cm., etched 1794, color printed and finished in watercolors and pen and ink 1794. Yale Center for British Art, Paul Mellon Collection.

8. William Blake, “Nurses Song” (Experience). Relief etching, 11.1 x 6.9 cm., etched 1794, color printed and finished in watercolors and pen and ink 1794. Songs of Innocence and of Experience copy E, 1789/1794, with additional washes c. 1806. Huntington Library.

9. Jacques Christophe Le Blon, Van Dyck Self Portrait. Three-color mezzotint, 61.2 x 36.0 cm., c. 1720s. Yale Center for British Art, Paul Mellon Collection. Detail, top right corner, showing evidence of the second printing in the form of a fine line along the right margin, created by one plate extending past another.

10. Jacques Christophe Le Blon, Narcissus. Three-color mezzotint 56.3 x 42.0 cm., c. 1720s. Yale Center for British Art, Paul Mellon Collection. Detail, bottom right corner, showing evidence of the second printing in the form of a fine line along the bottom margin, created by one plate extending past another.

11. Jacques Fabian Gautier D’Agoty. Myologie complette en couleur et grandeur naturelle, Paris: Gautier, 1746, plate 3. Three-color mezzotint, 40.2 x 32.3 cm. Huntington Library. Detail, top right corner, showing evidence of second plate and one of four pinholes.

12. Jacques Fabian Gautier D’Agoty, Observations sur l’histoire naturelle, sur la physique et sur la peinture, 6 vols., Paris 1752-55, Tortuise, Observation XII. Three-color mezzotint, 20.5 x 14.6 cm. Yale Center for British Art, Paul Mellon Collection. Detail, bottom right corner, showing evidence of second plate.

13. Louis Bonnet, Head of a Young Girl Turned toward the Left. Two-color stipple, 27.9 x 21.3 cm., 1774. Yale Center for British Art, Paul Mellon Collection.

14. Louis Bonnet, Head of a Young Girl Turned toward the Left. Two-color stipple, 27.9 x 21.3 cm., 1774. Yale Center for British Art, Paul Mellon Collection. Detail, bottom left corner, showing the platemarks of two plates and a pinhole in the framing line.

15. Elisha Kirkall, The Holy Family. Mezzotint and chiaroscuro, 29.5 x 40.0 cm., 1724. Yale Center for British Art, Paul Mellon Collection. Detail of bottom left corner, showing tonal block extending past image.

16. John Baptist Jackson, Descent from the Cross, after Rembrandt. Chiaroscuro woodcut, 35.5 x 27.8 cm., 1738. Yale Center for British Art, University Art Gallery Collection, Gift of Ralph Kirkpatrick. Detail, bottom left corner, showing yellow tonal block extending below the outline of the key block.

17. John Baptist Jackson, Holy Family and Four Saints, after Veronese. Chiaroscuro woodcut, 56.0 x 34.5 cm., 1739. Yale Center for British Art, Paul Mellon Collection. Detail, bottom right corner, showing yellow tonal block extending below the outline of the key block.

18. “Infant Sorrow.” Line block cast from electrotype, 11.1 x 7.0 cm., printed 2001 by authors. Detail of text. Plate was printed twice and is slightly out of focus in text.

19. “Infant Sorrow.” Line block cast from electrotype, 11.1 x 7.0 cm., printed 2001 by authors. Detail of illustration. Plate was printed twice and is slightly out of focus.

20. “Infant Sorrow.” Line block cast from electrotype, 11.1 x 7.0 cm., printed 2001 by authors. Plate was printed twice and appears perfectly registered to the naked eye—but see illustration 21.

21. “Infant Sorrow.” Line block cast from electrotype, 11.1 x 7.0 cm., printed 2001 by authors. Detail. Image in illustration 20 looks fine to the naked eye, but when magnified it reveals ghosting around the letters created by one plate printed on top of itself.

22. “Infant Sorrow.” Line block cast from electrotype, 11.1 x 7.0 cm., printed 2001 by authors. First impression of five from a plate inked once in black ink. Detail. Magnification of the letters of a plate printed once reveals sharp forms and the absence of ghosting.

23. William Blake, “The Fly.” Relief etching, 11.8 x 7.3 cm., etched 1794, color printed and finished in watercolors and pen and ink 1794. Songs of Innocence and of Experience copy G, 1794. Collection of Robert N. Essick. Detail of the letters of a plate color printed by Blake reveals sharp forms and the absence of ghosting.

24. William Blake, “Nurses Song” (Experience). Relief etching, 11.1 x 6.9 cm., etched 1794, color printed and finished in watercolors 1794. Songs of Innocence and of Experience copy F, 1789/1794. Yale Center for British Art, Paul Mellon Collection. Detail of top right corner showing embossment of wiped border.

25. William Blake, The Marriage of Heaven and Hell copy F, plate 21. Relief etching, 15.3 x 10.8 cm., 1790, color printed and finished in watercolors and pen and ink c. 1794. Pierpont Morgan Library, New York. PML 63935. Detail of embossment of relief lines into the paper, caused by pressure sufficient to print from the shallows and relief simultaneously, and of the fine white lines between shallows and relief lines caused by the paper not picking up the color from the escarpments between relief plateaus and etched valleys.

26. “Infant Sorrow.” Line block cast from electrotype, 11.1 x 7.0 cm., printed 2001 by authors. Detail. Plate was printed twice, first with ink and then without ink; the second printing shows up under magnification as a slightly embossed halo around inked areas.

27a. William Blake, “The Lamb.” Relief etching, 11.9 x 7.7 cm., etched 1789, printed and finished in watercolors 1789. Songs of Innocence copy G, 1789. Yale Center for British Art, Paul Mellon Collection. Detail of bottom margin showing traces of ink on and along border wiped of ink.

27b. William Blake, “The Lamb.” Relief etching, 11.9 x 7.7 cm., etched 1789, printed and finished in watercolors 1789. Songs of Innocence copy G, 1789. Yale Center for British Art, Paul Mellon Collection. Detail of right margin showing traces of ink on and along border wiped of ink.

28. “Infant Sorrow.” Line block cast from electrotype, 11.1 x 7.0 cm., printed 2001 by authors. Detail. Text of third impression printed from a plate inked once in black ink is light and more reticulated than normal but perfectly legible and acceptable.

29. William Blake, The First Book of Urizen, plate 25, relief etching, 16.3 x 10.3 cm., etched 1794, proof impression color printed 1794, touched with yellow watercolors. Beinecke Rare Books and Manuscript Library, Yale University. Detail, showing image printed in colors and before being finished in watercolors and pen and ink, and showing the white lines along the escarpments between shallows and relief areas.

30. William Blake, The First Book of Urizen, plate 25, relief etching, 16.3 x 10.3 cm., etched 1794, proof impression color printed 1794. Keynes Collection, Fitzwilliam Museum. Second impression from plate that produced the Beinecke Library impression (illus. 29) without its being re-inked or recolored. Detail. The colors replicate those in the first impression but are lighter and thinner, and the white lines along the escarpments between shallows and relief areas are more pronounced.

31. William Blake, The First Book of Urizen copy C, plate 24, relief etching, 15.0 x 10.4 cm., etched 1794, color printed and finished in watercolors and pen and ink 1794. Yale Center for British Art, Paul Mellon Collection.

32. William Blake, The First Book of Urizen copy F, plate 24. Relief etching, 15.0 x 10.4 cm., etched 1794, color printed and finished in watercolors and pen and ink 1794. Typ 6500 42F, Department of Printing and Graphic Arts, Houghton Library, Harvard College Library.

33. William Blake, “Nurses Song” (Experience). Relief etching, 11.1 x 6.9 cm., etched 1794, color printed and finished in watercolors and pen and ink 1794. Songs of Innocence and of Experience copy E, 1789/1794, with additional washes added c. 1806. Huntington Library. Detail of top left border showing two plate border lines.

34a-b. (a, top) William Blake, Europe a Prophecy copy H, plate 1. Relief etching, 23.4 x 16.7 cm., etched 1794, printed 1795. Typ 6500 41 (A) F, Department of Printing and Graphic Arts, Houghton Library, Harvard College Library. Detail showing that the fine white lines between shallows and relief lines were caused by the inking dabber accidentally depositing ink in the shallows and the paper not picking up the ink from the escarpments between relief plateaus and etched valleys.
(b, bottom) William Blake, Europe a Prophecy, plate 1. Relief etching, 23.4 x 16.7 cm., etched 1794, printed c. 1794. Yale Center for British Art, Paul Mellon Collection. Detail of the same section of the plate as illustration 34a, but the shallows of this impression were not accidentally blemished with ink and hence the white line escarpments defined by the blemished and relief areas are absent.

35. William Blake, Europe a Prophecy copy H, plate 4. Relief etching, 23.6 x 17.1 cm., etched 1794, printed 1795. Typ 6500 41 (A) F, Department of Printing and Graphic Arts, Houghton Library, Harvard College Library. Detail of white escarpments in the bushes caused by ink in the shallows that printed with the relief areas in one pull.

36. William Blake, The First Book of Urizen copy D, plate 1. Relief etching, 14.9 x 10.3 cm., etched 1794, color printed and finished in watercolors and pen and ink 1794. British Museum. Detail showing printed colors painted over inked relief lines of tree branches, with colors spilling over on both sides of the relief lines.

37. William Blake, The First Book of Urizen copy C, plate 24. Relief etching, 15.0 x 10.4 cm., etched 1794, color printed and finished in watercolors and pen and ink 1794. Yale Center for British Art, Paul Mellon Collection. Detail of right side of the plate showing traces of color spilling over from relief areas into margin.

38. William Blake, The First Book of Urizen copy F, plate 24. Relief etching, 15.0 x 10.4 cm., etched 1794, color printed and finished in watercolors and pen and ink 1794. Typ 6500 42F, Department of Printing and Graphic Arts, Houghton Library, Harvard College Library. Detail of left side of the plate showing traces of color spilling over from relief areas into margin.

39. William Blake, America a Prophecy copy H, plate10. Relief etching, 23.5 x 16.7 cm., etched 1793, printed 1793. British Museum. Detail of bottom right corner, showing droplets of ink spilling over into margin (similar to that seen in some color prints) and white space between relief areas and shallows that were accidentally inked. The fine white line at the bottom is the sharp edge of the plate and the ink below the line is from the side of the plate, which was picked up either because the paper was especially damp and supple or the printing pressure was substantial enough to force the paper around the side of the plate.

40. William Blake, Europe a Prophecy copy H, plate 1. Relief etching, 23.4 x 16.7 cm., etched 1794, printed 1795. Typ 6500 41 (A) F, Department of Printing and Graphic Arts, Houghton Library, Harvard College Library. Detail of bottom edge of plate showing traces of ink spilling over from relief areas, similar to the effect in some color prints, but not indicative of two pulls from the plate.

41a. William Blake, title plate, Songs of Experience. Relief etching, 12.4 x 7.2 cm., etched 1794, color printed and finished in watercolors 1794. Songs of Innocence and of Experience copy T¹, 1794. National Gallery of Canada, Ottawa.

41b. William Blake, title plate, Songs of Experience. Relief etching, 12.4 x 7.2 cm., etched 1794, color printed and finished in watercolors 1794. Songs of Innocence and of Experience copy T¹, 1794. National Gallery of Canada, Ottawa. Detail of pillars and figures, with gray color applied to paper to cover date.

42. William Blake, The Song of Los copy E, plate 1. Relief etching, 23.4 x 17.3 cm., etched 1795, color printed and finished in watercolors 1795. Huntington Library. Detail of opaque colors that appear color printed but were applied to the impression over the printed colors.

43. William Blake, “The Fly.” Relief etching, 11.8 x 7.3 cm., etched 1794, color printed and finished in watercolors 1794. Songs of Innocence and of Experience copy F, 1789/1794. Yale Center for British Art, Paul Mellon Collection. Detail of gray opaque colors applied to the impression over printed colors. Copy F was printed in the same session as copy T¹.

44a. William Blake, The First Book of Urizen copy D, plate 1. Relief etching, 14.9 x 10.3 cm., etched 1794, color printed and finished in watercolors 1794. British Museum. Detail showing that ink mixes with or shows through colors printed on top of it, but is covered by colors brushed over it on the impression. Printed colors are reticulated, but colors applied to the impression, like the gray between the tablets and above the figure's head, are flatter and smoother and have more opacity.

44b. William Blake, The First Book of Urizen copy D, plate 1. Relief etching, 14.9 x 10.3 cm., etched 1794, color printed and finished in watercolors 1794. British Museum. Detail showing that the texture of colors applied to the paper (the brush marks defining the edges of the knees) is smooth while the texture of printed colors is reticulated. Ink mixes with the colors printed on top of it, but opaque colors applied to the impression cover the ink more thoroughly than colors printed with and over the ink.

45. “Infant Sorrow.” Line block cast from electrotype, finished in watercolors, 11.1 x 7.0 cm., from facsimile of Songs of Innocence and of Experience copy B (1789/1794). Manchester Etching Workshop, 1983. The look and feel of printed colors are replicated by opaque colors added to the impression while the ink was still tacky.

46a. William Blake, Experience title plates of Songs of Innocence and of Experience copies F (top) and T¹ (bottom). Yale Center for British Art, Paul Mellon Collection (copy F) and National Gallery of Canada, Ottawa (copy T¹). Details of pillars and figures in the two impressions, showing that they share the same pattern of printed colors around the date. This shared pattern indicates that the two impressions were printed in the same session. The white escarpments, visible in the copy F impression, were painted over in the copy T¹ impression in the same gray color used to paint out the date.

46b. William Blake, Experience title plate of Songs of Innocence and of Experience copy G. Detail of pillars and figures, showing the same pattern of printed colors as the impressions in copies F and T¹. Collection of Maurice Sendak.

47. William Blake, title plate, Songs of Experience. Relief etching, 12.4 x 7.2 cm., etched 1794, color printed and finished in watercolors 1794. Songs of Innocence and of Experience copy T¹, 1794. National Gallery of Canada, Ottawa. Detail of pillars and figures, computer enhanced by changing the contrast and midtones to reveal the escarpments and other unprinted areas before they were painted over. This pattern of color printing matches what we see in the Songs of Innocence and of Experience copy F (illus. 46a) and copy G (illus. 46b) impressions, both printed in the same session with this copy T1 impression.

48. William Blake, title plate, Songs of Experience. Relief etching, 12.4 x 7.2 cm., etched 1794, color printed and finished in watercolors 1794. Songs of Innocence and of Experience copy T¹, 1794. National Gallery of Canada, Ottawa. Detail of top left corner of sheet showing two specks in the paper and one of three stab holes for the binding, but no pinhole.

49. Title plate, Songs of Innocence. Line block cast from electrotype, 12.0 x 7.4 cm., printed with bottom sheet to register plate to paper. Manchester Etching Workshop, 1983.

50. “The Lamb.” Line block cast from electrotype, 11.9 x 7.7 cm., finished in watercolors, from facsimile of Songs of Innocence and of Experience copy B (1789/1794). Manchester Etching Workshop, 1983. The plate is symmetrically aligned to paper wider than Blake’s.

51. William Blake, “The Lamb.” Relief etching, 11.9 x 7.7 cm., etched 1789, printed and finished in watercolors 1789. Songs of Innocence copy G, 1789. Yale Center for British Art, Paul Mellon Collection. The image is too low on the page.

52. William Blake, “The Shepherd.” Relief etching, 11.1 x 6.9 cm., etched 1789, printed and finished in watercolors 1789. Songs of Innocence copy G, 1789. Yale Center for British Art, Paul Mellon Collection. The image is too low on the page and slants to the left.

53. William Blake, “The Little Boy Lost.” Relief etching, 11.8 x 7.2 cm., etched 1789, printed and finished in watercolors 1789. Songs of Innocence copy G, 1789. Yale Center for British Art, Paul Mellon Collection. The image is too low on the page, slants to the left, and is off center too far toward the spine.

54. William Blake, “The Fly.” Relief etching, 11.8 x 7.3 cm., etched 1794, color printed and finished in watercolors 1794. Songs of Innocence and of Experience copy F, 1789/1794. Yale Center for British Art, Paul Mellon Collection. The mat surrounding the image compensates for its poor alignment to the sheet of paper.

55. William Blake, “The Fly.” Relief etching, 11.8 x 7.3 cm., etched 1794, color printed and finished in watercolors 1794. Songs of Innocence and of Experience copy F, 1789/1794. Yale Center for British Art, Paul Mellon Collection. With the mat lifted, the image can be seen to be too low on the page.

56. William Blake, “The Little Girl Lost.” Relief etching, 11.2 x 6.6 cm., etched 1789, printed and finished in watercolors 1789. Songs of Innocence and of Experience copy F, 1789/1794. Yale Center for British Art, Paul Mellon Collection. The mat surrounding the image compensates for its poor alignment to the sheet of paper.

57. William Blake, “The Little Girl Lost.” Relief etching, 11.2 x 6.6 cm., etched 1789, printed and finished in watercolors 1789. Songs of Innocence and of Experience copy F, 1789/1794. Yale Center for British Art, Paul Mellon Collection. Under the mat, the image can be seen to be too low on the page and to slant to the left.

58. William Blake, frontispiece and title plate, Songs of Innocence. Relief etchings, 11.0 x 7.0 cm. and 12.0 x 7.4 cm., etched 1789, finished in watercolors 1789. Songs of Innocence and of Experience copy F, 1789/ 1794. Yale Center for British Art, Paul Mellon Collection. Under the mat, the sheets are adjusted to make the poorly registered images appear aligned.

59. William Blake, frontispiece and title plate, Songs of Innocence. Relief etchings, 11.0 x 7.0 cm. and 12.0 x 7.4 cm., etched 1789, finished in watercolors 1789. Songs of Innocence and of Experience copy F, 1789/ 1794. Yale Center for British Art, Paul Mellon Collection. Images are matted to be displayed as aligned facing pages.

60. William Blake, “Earth’s Answer.” Relief etching, 11.7 x 7.2 cm., etched 1794, printed and finished in watercolors and pen and ink c. 1825. Songs of Innocence and of Experience copy Z, c. 1825. Library of Congress. Detail, showing misalignment of plate to paper and pen and ink over text. The text slants dramatically to the left, but the edges of the plate look more evenly aligned to the sheet because Blake has painted new edges on the impression to disguise the printed ones, as can be seen most clearly along the upper right margin and the top margin on the left.

61. William Blake, “Laughing Song.” Relief etching, 11.1 x 6.7 cm., etched 1789, printed and finished in watercolors and pen and ink c. 1818. Songs of Innocence and of Experience copy V, c. 1818. Pierpont Morgan Library, New York. PML 62442. Detail, bottom half of plate and frame, showing pencil and pen framing lines and wash.

62. Title plate, Songs of Innocence. Line block cast from electrotype, 12.0 x 7.4 cm., printed with bottom sheet to register plate to paper. Manchester Etching Workshop, 1983. Detail, showing bold guide lines and traces of ink along side of plate from previous position of the plate on the bottom sheet.

63. William Blake, “Holy Thursday” (Experience). Relief etching, 11.3 x 7.3 cm., etched 1794, color printed and finished in watercolors 1794. Songs of Innocence and of Experience copy E, 1789/1794, with additional washes c. 1806. Huntington Library. Detail of text that printed well in yellow ochre ink.

64. William Blake, “The Tyger.” Relief etching, 11.0 x 6.3 cm., etched 1794, color printed and finished in watercolors 1794. Songs of Innocence and of Experience copy E, 1789/1794, with additional washes c. 1806. Huntington Library. Detail of text very poorly printed and gone over completely in pen and ink. Note the displacement between the lightly printed "C" of "Could" (line 4 of the text) and the over-writing in pen and ink.

65. William Blake, “Nurses Song” (Experience). Relief etching, 11.1 x 6.9 cm., etched 1794, color printed and finished in watercolors and pen and ink 1794. Songs of Innocence and of Experience copy E, 1789/1794, with additional washes c. 1806. Huntington Library. Detail of top left corner, showing flecks of yellow ochre ink on top of green color, proving that the yellow ochre was printed second.

66. William Blake, “Nurses Song” (Experience). Relief etching, 11.1 x 6.9 cm., etched 1794, color printed and finished in watercolors and pen and ink 1794. Songs of Innocence and of Experience copy E, 1789/1794, with additional washes c. 1806. Huntington Library. Detail of top left corner, electronically changing yellow ochre ink to red on computer, using Adobe Photoshop software, to make it easier to see that the yellow ochre ink lies on top of the green.

67. Title plate, Songs of Innocence. Line block cast from electrotype, detail of top of plate, 5 x 7.5 cm., printed 2001 by authors. The word “Songs” was printed twice, first in green and second in yellow ochre, but the green appears to be on top of the yellow ochre and hence printed second. Recreates the illusion occurring in “Nurses Song” of Songs copy E (see illus. 8).

68. William Blake, “Nurses Song” (Experience). Relief etching, 11.1 x 6.9 cm., etched 1794, color printed and finished in watercolors and pen and ink 1794. Songs of Innocence and of Experience copy E, 1789/1794, with additional washes c. 1806. Huntington Library. Detail of the word “play” in line 7, showing traces of the first, faint printing of the text in yellow ochre just above the second printing of the word.

69. William Blake, “Nurses Song” (Experience). Relief etching, 11.1 x 6.9 cm., etched 1794, color printed and finished in watercolors and pen and ink 1794. Songs of Innocence and of Experience copy E, 1789/1794, with additional washes c. 1806. Huntington Library. Detail of faint traces of yellow ochre ink from first printing strengthened and brought out by oversaturating the pigments on a computer using Adobe Photoshop software.

70. William Blake, “Nurses Song” (Experience). Relief etching, 11.1 x 6.9 cm., etched 1794, color printed and finished in watercolors and pen and ink 1794. Songs of Innocence and of Experience copy E, 1789/1794, with additional washes c. 1806. Huntington Library. Detail of the word “play” in line 7, with traces of the text printed just above the word changed to red on a computer using Adobe Photoshop software to make those traces easily visible.

71. “The Human Abstract.” Line block cast from electrotype, 11.2 x 6.6 cm., color printed à la poupée in 2001 by authors, before watercolors. Detail of top right corner.

72. “The Human Abstract.” Line block cast from electrotype, 11.2 x 6.6 cm., color printed à la poupée in 2001 by authors, before watercolors. Detail of top right corner, second impression pulled from the plate without its being re-inked or recolored; the colors and ink are lighter and thinner than the first pull (illus. 71).

73. “The Human Abstract.” Line block cast from electrotype, 11.2 x 6.6 cm., color printed à la poupée in 2001 by authors, before watercolors. Detail of top right corner, third impression pulled from the plate without its being re-inked but with colors replenished. The text is very light, analogous to those in Songs of Innocence and of Experience copy E that needed to be rewritten in pen and ink. The colors are strong. The contrast between the strong color and illegibly light text is analogous to the condition of “Nurses Song” in copy E as initially printed (see illus. 68).

74. William Blake, The Song of Los copy E, plate 6. Relief etching, 23.2 x 13.6 cm., etched 1795, color printed and finished in watercolors 1795. Huntington Library. Detail of colors and ink printed à la poupée and blending together.

75. William Blake, “The Lilly.” Relief etching, 11.0 x 7.0 cm., etched 1794, color printed and finished in watercolors 1794. Songs of Innocence and of Experience copy E, 1789/1794, with additional washes c. 1806. Huntington Library. Detail of the green color and yellow ochre ink mixing in text and tendrils as they do in “Nurses Song” in copy E—characteristic of à la poupée printing.

76. The Marriage of Heaven and Hell, plate 10. Relief etching, 15.2 x 10.0 cm., etched and color printed à la poupée by J. Viscomi in 1978. Relief-etched plate on the bed of the press and impression before watercolors and pen and ink finishing.