Build the wall set
Art, frame, light and hanging gear, picked together. Choose a size and finish; the wall preview shows exactly what you're getting. One button sends the whole kit to your Amazon cart.

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How big can you print it?
Standard frame sizes, turned to match the artwork. "Crops" is how much of the picture you lose filling that frame edge to edge — or keep it all and let a mat take up the difference.
| Frame | Effective dpi | Verdict | Crops |
|---|---|---|---|
| 8 × 10 in | 371 | Gallery sharp | 6% |
| 11 × 14 in | 265 | Sharp up close | 8% |
| 12 × 16 in | 231 | Sharp up close | 12% |
| 16 × 20 in | 185 | Poster sharp | 6% |
| 18 × 24 in | 154 | Poster sharp | 12% |
| 24 × 36 in | 103 | Fine across a room | 22% |
| 30 × 40 in | 92 | Too soft | 12% |
The ticket
Songs of Innocence and of Experience, Shewing the Two Contrary States of the Human Soul: Combined Title-page is a print by William Blake (British, London 1757–1827 London), dated [1789–94] printed ca. 1825. Relief etching printed in orange-brown ink and hand-colored with watercolor and shell gold. Size on the museum record: Plate: 4 7/16 × 2 13/16 in. (11.2 × 7.1 cm) Sheet: 6 3/16 x 5 9/16 in. (15.7 x 14.1 cm). The Metropolitan Museum of Art holds it in its Drawings and Prints collection — Rogers Fund, 1917.
In The Met's records, Songs of Innocence and of Experience, Shewing the Two Contrary States of the Human Soul: Combined Title-page is a relief etching printed in orange-brown ink and hand-colored with watercolor and shell gold credited to William Blake. The museum dates it [1789–94] printed ca. 1825; it sits in the Drawings and Prints department as accession 17.10.1. Spend a minute with the composition before choosing a size: notice where the eye lands first and where it rests. The Met's scan measures 3,168 × 3,710 pixels, which prints about 10.6 × 12.4 in at 300 dpi and 21.1 × 24.7 in at a still-comfortable 150 dpi. Its tall proportions suit a hallway, a narrow wall or the gap beside a door, and the set builder shows how much each standard frame would crop. Its warm reds and oranges suit walnut or gold, which deepen the glow instead of washing it out. Line work lives on contrast. Print it on smooth bright paper and give it a wider frame or mat so the fine marks are not swallowed. Light it from above with a soft warm bulb, hang the centre of the picture near 57 inches, and it will read as intended instead of as decoration.
The Met released its scan under CC0, which means no permission, no fee and no credit line required. That file is 3,168 × 3,710 pixels — 11.8 megapixels — good for a gallery-sharp print up to 10.6 × 12.4 in. That is bigger than the print itself, which measures about 2.8 × 4.4 in — the file holds more detail than you can see standing in front of the original.Line work lives or dies on contrast. Print it on a smooth, bright paper and give it a wide mat: small graphic work drowns in a thin frame and a big empty border makes it look like it came out of a print room drawer.
On the receipt
- Artist
- William Blake
- Date
- [1789–94] printed ca. 1825
- Medium
- Relief etching printed in orange-brown ink and hand-colored with watercolor and shell gold
- Size
- Plate: 4 7/16 × 2 13/16 in. (11.2 × 7.1 cm) Sheet: 6 3/16 x 5 9/16 in. (15.7 x 14.1 cm)
- Museum
- The Met · Drawings and Prints
- Accession
- 17.10.1
- License
- Public domain · CC0 1.0
- Source
- Museum record ↗
More William Blake
All 14 →
Angel of the Revelation (Book of Revelation, chapter 10)ca. 1803–5Free · sharp to 8.1 × 12.1 in at 300 dpi, uncropped
Angel of the Divine Presence Bringing Eve to Adam (The Creation of Eve: "And She Shall be Called Woman) (recto); Sketch for the same (verso)ca. 1803Free · sharp to 9.8 × 12.2 in at 300 dpi, uncropped
God Judging Adamca. 1795Free · sharp to 13.3 × 10.9 in at 300 dpi, uncropped
Pityca. 1795Free · sharp to 12.3 × 9.8 in at 300 dpi, uncropped