Chromolithograph, copy after Christ as pilgrim received by two Dominicans , Fra Angelico in the Museo di San Marco (Florence)
Chromolithograph
1891 (made)
1891 (made)
| Artist/Maker | |
| Place of origin |
Object Type
This is a type of print called a chromolithograph, another word for a colour lithograph and often used to describe reproductive prints. A chromolithograph is produced by applying the design to be printed onto a stone with a greasy chalk. The surface of the stone is then moistened. As grease and water do not combine, the parts already drawn upon repel the water and the untouched parts absorb it. Greasy ink is passed over the surface. The wet parts reject the ink while the greasy parts attract it. The paper on which the image is to be printed is placed on the surface and together they are passed through a press. One stone is used for each colour.
This print was produced for the Arundel Society. The subjects, to be reproduced for subscribers to the Society, were chosen by a council who favoured Italian decorative and narrative fresco cycles of the 14th, 15th and 16th centuries. Artists were employed to copy these works of art. The watercolours they produced were examined and selected by the council and then forwarded to the printers.
Ownership & Use
Subscribers to the Arundel Society were drawn from many walks of life. By the time of the Society's eventual closure in 1897 over 200,000 chromolithographs had been circulated. Regular members would have been in possession of a large number of prints and for this reason many examples found their way into school rooms, churches and village halls where they can still be found today.
This is a type of print called a chromolithograph, another word for a colour lithograph and often used to describe reproductive prints. A chromolithograph is produced by applying the design to be printed onto a stone with a greasy chalk. The surface of the stone is then moistened. As grease and water do not combine, the parts already drawn upon repel the water and the untouched parts absorb it. Greasy ink is passed over the surface. The wet parts reject the ink while the greasy parts attract it. The paper on which the image is to be printed is placed on the surface and together they are passed through a press. One stone is used for each colour.
This print was produced for the Arundel Society. The subjects, to be reproduced for subscribers to the Society, were chosen by a council who favoured Italian decorative and narrative fresco cycles of the 14th, 15th and 16th centuries. Artists were employed to copy these works of art. The watercolours they produced were examined and selected by the council and then forwarded to the printers.
Ownership & Use
Subscribers to the Arundel Society were drawn from many walks of life. By the time of the Society's eventual closure in 1897 over 200,000 chromolithographs had been circulated. Regular members would have been in possession of a large number of prints and for this reason many examples found their way into school rooms, churches and village halls where they can still be found today.
Object details
| Categories | |
| Object type | |
| Title | Chromolithograph, copy after Christ as pilgrim received by two Dominicans , Fra Angelico in the Museo di San Marco (Florence) (generic title) |
| Materials and techniques | Chromolithograph on paper |
| Brief description | Chromolithograph, copy after Christ as pilgrim received by two Dominicans , Fra Angelico in the Museo di San Marco (Florence), Wilhelm Greve from a watercolour by Emilio Costantini, Arundel Society chromolithograph, 1891, Arundel Society. |
| Physical description | The image shows Christ dressed as a pilgrim carrying a pilgrim's staff. Opposite stand two Dominican Friars. In original black frame |
| Dimensions |
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| Marks and inscriptions |
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| Gallery label | Christ being received as a pilgrim by two Domincans, Fra Angelico
(Museo di San Marco, Florence)
Published 1891 by Wilhelm Greve, Berlin
Chromolithograph in a contemporary frame
Lent by Miss Helen Mitchell
[displayed together with the original waterolour E.11-1995]
The 1880s were a period of recession for the Society and the amount of work being copied was gradually cut down. It was felt that with over two hundred watercolours on exhibition in the Society's rooms the number of commissions could be limited to those copies which were to be issued as annual publications. However, within a year this economy was abandoned as the Council believed that it restricted the influence of the Society. |
| Credit line | Given by Miss Helen Mitchell |
| Object history | This print belonged to the donor's father who was a vicar (possibly Canon J.T. Mitchell of St. Bridget's Church in Liverpool). The fresco from which this print has been taken is in the Cloister, San Marco, Florence, Italy |
| Historical context | The Arundel Society, founded in 1848 was named after Thomas Howard, second Earl of Arundel and Surrey (1548-1646), the great connoisseur and collector. Its aim was to promote a greater knowledge of art through the publication of literary works and reproductions of works of art. Italian decorative and narrative fresco cycles of the fourteenth, fifteenth and sixteenth centuries predominated but classical art was included in the plans from the outset and some examples of the work of Northern European artists were added later. The subjects were selected by a Council consisting of people influential in the art world, including John Ruskin, the renowned author and art critic. The emphasis, in keeping with wider current thinking, was on providing instruction rather than enjoyment. The prospectus issued in 1849 stated that 'in their execution, that manner will be preferred which most truthfully expresses the original, rather than that which presents the greatest attraction to the eye'. By the time of the Society's closure in 1897 over two hundred chromolithographs had been circulated. Regular members would have been in possession of a large number of prints and for this reason many examples found their way into school rooms, churches and village halls. |
| Subjects depicted | |
| Summary | Object Type This is a type of print called a chromolithograph, another word for a colour lithograph and often used to describe reproductive prints. A chromolithograph is produced by applying the design to be printed onto a stone with a greasy chalk. The surface of the stone is then moistened. As grease and water do not combine, the parts already drawn upon repel the water and the untouched parts absorb it. Greasy ink is passed over the surface. The wet parts reject the ink while the greasy parts attract it. The paper on which the image is to be printed is placed on the surface and together they are passed through a press. One stone is used for each colour. This print was produced for the Arundel Society. The subjects, to be reproduced for subscribers to the Society, were chosen by a council who favoured Italian decorative and narrative fresco cycles of the 14th, 15th and 16th centuries. Artists were employed to copy these works of art. The watercolours they produced were examined and selected by the council and then forwarded to the printers. Ownership & Use Subscribers to the Arundel Society were drawn from many walks of life. By the time of the Society's eventual closure in 1897 over 200,000 chromolithographs had been circulated. Regular members would have been in possession of a large number of prints and for this reason many examples found their way into school rooms, churches and village halls where they can still be found today. |
| Associated objects |
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| Bibliographic reference | 'A Study of the Arundel Society 1848-1897'; Tanya Ledger; PhD thesis; St Hilda's College, Oxford; 1978 |
| Collection | |
| Accession number | E.136-1998 |
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| Record created | February 17, 2009 |
| Record URL |
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