Handsigned & numbered edition at 50 exemplars only.
This drawing, representing John William Waterhouse’s most famous one, has been presented partially cut for quite a long time.
"THE GIRL OF THE WIND (Study for Boreas) - 1904
From the drawing to its printing, this lithograph has been entirely realized by hand.
With the same technical and artistic constraints, the same moves are made on the very same period machines. Drawing on stone, printing colour by colour on "Marinoni Voirin" lithographic flat press of 1920
Title : "THE GIRL OF THE WIND" (Study for Boreas) - 1904
Technique : Lithograph from an original drawing in red chalk on paper.
Date of the lithograph : 2015
Publisher : FRANCE ART DIFFUSION
Lithography workshop : Atelier A Fleur de Pierre (Paris)
Lithographers : Etienne de Champfleury & Jean-Pierre Stholl
Size : 31,9x24,4 inches / 81x62 cm
Paper : BFK Rives 270g
Signature : Hand-signed & numbered in pencil by the 2 lithographers & the publisher
Dry stamp of the publisher
CERTIFICATE OF AUTHENTICITY
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REMOVAL OF THE DRAWING ON THE STONE AFTER PRINTING
Once the printing of the lithograph is finished, each drawing is systematically destroyed after use.
The lithographer puts down some hydrochloric acid directly on the stone.
Then this stone is grained in order to erase totally the drawing.
Its printing is only issued once and in compliance with the number of expected editions.
THE LITHOGRAPHY AS IT USED TO BE
Design and editing of the lithograph of John William Waterhouse in pictures
The Drawing on the stone
Print of the drawing on a flat machine
(antique lithographic press) Marioni Voirin of 1910
The lithograph : a good turn for an exceptional drawings
Even if John William Waterhouse was one the greater painters of the Victorian period, surprisingly enough not one of his artworks has ever been produced into a lithography before this one.
Nowadays the art-work from Waterhouse has been reproduced to excess : in all the shapes, all the colours, and by using all the modern printing processes.
It is just a kind of “copy/paste” without feeling, and showing no consideration for the artist and his work.
J.W Waterhouse deserved better, much better.
Turning to the lithograph is a way to reconcile the original art work and its reproduction so that Waterhouse would have liked it ; it is a way to go to the heart of his inspiration with the same moves, and with the very same period machines.
It is to see to it that this lithograph belongs to him, so that it may be a link between him and us.
Kind Reminder about the Lithography
Please note that a litho is not a poster or just another art reproduction. When designing a litho, strict technical and artistic standard requirements should be fulfilled.
However, a lot of basic and common reproductions are suddenly becoming lithographs without having the relevant quality. Adapted to fit any case, the word « lithograph » is nowadays used in an attempt to justify, to give credit and therefore to deceive a not well-informed buyer.
Invented at the end of the 18th Century, this technique is indeed a good means of reproduction but above all, it is a creation work.
To take a colourful example, this technique means quite a lot to the reproduction of drawings or paintings as much as the Roll-Royce company means to the car industry or Louis VUITTON to the fine leatherwork.
This is not a matter a chance if all the world’s greatest painters have adopted this technique.
The lithograph is fully hand-made such as a drawing or a painting (lines, shades and colours are drawn in the stone before being hand-printed on the lithographic hand-press).
By this way, the artistic process is preserved whereas it is upset when using the modern printing means that are eventually a simple “copy/paste” without feeling.
You must have understood by now …the lithograph is infinitely more than just a reproduction. Its exceptional design is a masterpiece in its own right.
© François de l'An pour France Art Diffusion