In Solemn Duty: A Canon in Contemplation, Hand-Colored Lithograph, 1847
€ 150
One of a kind: this is the sheet in the photographs. Ships from Langweer, the Netherlands.
Date
1847
Sheet size
27 × 18 cm (10.6 × 7.1 in)
Condition
Good
Reference
BG-13635-19
Condition
Good. Overal very light toning and light soiling but the image itself clean and hand-colored almost 200 years ago and still in expliciet colors. Aged paper with typically warm, yellowish-brown hue, mostly around the edges. Study the image carefully.
About this sheet
The image portrays a figure labeled "Chanoine," which is French for "Canon," referring to a clergy member who is part of a cathedral or a collegiate chapter. The individual is depicted in ecclesiastical robes that reflect his status within the church hierarchy.
The canon is shown wearing a long, pink robe with a decorative stole over it, which is adorned with Christian symbols and patterns indicating his religious office. Over the robe, he wears a black mozzetta, a short cape that is typically worn by higher clergy in the Roman Catholic Church. He also has a white almuce, a fur-trimmed hood or shoulder cape worn by canons, draped over his left arm, and he is holding what appears to be a book of scripture or liturgy.
His head is adorned with a biretta, a square cap with three or four peaks or horns, which is traditionally worn by Roman Catholic clergy. His posture is solemn, and he appears to be in a moment of reflection or prayer.
The title reflects the solemnity of his position and the contemplative nature of his pose.
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.
