Original Hand-colored Lithograph of The Falconer: A Noble of Provence, 1845

About this sheet

This is an original antique print that shows a figure labeled "Noble Provençal," which means "Provençal Noble," referring to a nobleman from Provence, a historical province in southeastern France. The nobleman is portrayed in a striking blue robe with a fur-lined collar and cuffs, indicative of his status and wealth.

In his left hand, he holds a falcon, a bird often used in the sport of falconry, which was a popular pastime among the nobility in medieval Europe. The presence of the falcon suggests not only leisure but also the nobleman's status, as falconry was sometimes reserved for the upper classes. His right hand rests on the hilt of his sword, signaling his readiness to defend his honor or engage in combat if necessary.

On his head, he wears a hat with a large feather, further indicating his noble standing. The hat, along with the rest of his attire, showcases the elaborate fashion of the era.

The title oof the print highlights the subject's regional identity and his participation in the aristocratic tradition of falconry.

More about the vivid colors of this original hand-colored antique print:

Egg whites can be applied as a varnish over pigments to enhance their brightness and to protect the colors. This application could make the colors appear more vivid and also add a slight glossy sheen to the surface of the image.

Egg yolk, on the other hand, was commonly used as a binding agent in paint. It forms the basis of tempera paint, a medium that was widely used before the advent of oil painting. Egg yolk helps to create a durable and long-lasting color that adheres well to various surfaces.

In the context of the print from 1847, it's less likely that egg whites or yolks were used directly on the print, as by that time, commercial printing processes would have been more advanced and less reliant on such manual methods. However, if this print is a representation of an earlier style or is meant to mimic the appearance of hand-painted manuscripts, the original artists might have employed techniques or materials that gave a similar effect to those achieved with egg-based binders and varnishes.