THE LAST SUPPER - CHROMOLITHOGRAPHIC RELIGIOUS PRINT, CIRCA 1880-1920

A FINELY EXECUTED CHROMOLITHOGRAPHIC REPRODUCTION OF LEONARDO DA VINCI'S ICONIC COMPOSITION, RENDERED IN RICH JEWEL TONES AND METICULOUS DETAIL CHARACTERISTIC OF LATE 19TH AND EARLY 20TH CENTURY PRINTING TECHNOLOGY. THE PRINT CAPTURES THE DRAMATIC MOMENT OF CHRIST'S ANNOUNCEMENT OF HIS BETRAYAL, WITH THE TWELVE APOSTLES ARRANGED IN ANIMATED CONVERSATION AROUND THE LONG TABLE, THEIR EXPRESSIONS AND GESTURES CONVEYING SHOCK, DENIAL, AND SORROW.

COMPOSITION AND ARTISTIC MERIT:
THE COMPOSITION DEMONSTRATES MASTERFUL SPATIAL RECESSION, WITH THE CENTRAL FIGURE OF CHRIST IN RED AND BLUE ROBES COMMANDING THE COMPOSITION FROM THE TABLE'S CENTRE. THE ARCHITECTURAL SETTING FEATURES CLASSICAL ELEMENTS INCLUDING A COFFERED CEILING AND ARCHED DOORWAY OPENING TO A DISTANT LANDSCAPE, CREATING ATMOSPHERIC DEPTH. THE ARTIST HAS RENDERED EACH APOSTLE WITH INDIVIDUAL CHARACTERISATION—SOME LEANING FORWARD IN ENGAGEMENT, OTHERS RECOILING OR GESTURING IN RESPONSE TO CHRIST'S WORDS. THE DRAPERY IS RENDERED WITH CAREFUL ATTENTION TO LIGHT AND SHADOW, AND THE STILL LIFE ELEMENTS ON THE TABLE—BREAD, WINE VESSELS, AND SCATTERED OBJECTS—ARE DEPICTED WITH NATURALISTIC PRECISION.

TECHNICAL EXECUTION:
THE CHROMOLITHOGRAPHIC PROCESS HAS CAPTURED SUBTLE GRADATIONS OF COLOUR AND TONE. THE FLESH TONES ARE WARM AND MODULATED, THE FABRICS SHOW CONVINCING TEXTURE THROUGH LAYERED PRINTING, AND THE BACKGROUND ARCHITECTURE RECEDES APPROPRIATELY THROUGH ATMOSPHERIC PERSPECTIVE. THE COLOUR PALETTE IS SOPHISTICATED, EMPLOYING WARM OCHRES AND SIENNAS IN THE ARCHITECTURAL ELEMENTS, DEEP CRIMSONS AND ULTRAMARINE BLUES IN THE DRAPERY, AND COOL GREENS AND GREYS IN THE DISTANT LANDSCAPE VISIBLE THROUGH THE WINDOW.

CONDITION: THE PRINT IS IN GOOD CONDITION FOR ITS AGE. THE PAPER SHOWS NATURAL PATINA CONSISTENT WITH OVER A CENTURY OF STORAGE AND DISPLAY. COLOURS REMAIN VIBRANT AND WELL-SATURATED. MINOR FOXING SPOTS ARE PRESENT, PARTICULARLY TO THE MARGINS, WHICH IS ENTIRELY NORMAL FOR PERIOD CHROMOLITHOGRAPHIC PRINTS ON WOOD-PULP PAPER. NO TEARS, CREASES, OR SIGNIFICANT DAMAGE IS EVIDENT. THE PRINT WOULD BENEFIT FROM PROFESSIONAL FRAMING WITH ACID-FREE MATERIALS AND UV-PROTECTIVE GLAZING TO PRESERVE THE COLOURS FOR FUTURE GENERATIONS.

PROVENANCE: PRIVATE EUROPEAN COLLECTION. THIS PRINT EXEMPLIFIES THE HIGH-QUALITY RELIGIOUS CHROMOLITHOGRAPHY THAT WAS PRODUCED FOR DOMESTIC DEVOTIONAL DISPLAY THROUGHOUT THE LATE VICTORIAN AND EDWARDIAN PERIODS, WHEN SUCH PRINTS WERE STANDARD FIXTURES IN HOMES OF FAITH ACROSS EUROPE AND NORTH AMERICA.

CHROMOLITHOGRAPHIC REPRODUCTIONS OF THE LAST SUPPER FROM THIS PERIOD REMAIN HIGHLY COLLECTIBLE, PARTICULARLY EXAMPLES DEMONSTRATING THE TECHNICAL QUALITY AND COLOUR VIBRANCY EVIDENT IN THIS LOT. SUCH PRINTS REPRESENT AN IMPORTANT CHAPTER IN THE HISTORY OF ART REPRODUCTION AND THE DEMOCRATISATION OF ACCESS TO MASTERWORKS PRIOR TO MODERN PHOTOGRAPHIC REPRODUCTION.

Approximately 100 Pieces

Condition: Good - Refer To Images

11649+59

Location of item: 60 Marple Avenue, Villawood, NSW, Australia

LLOYDS VERIFIED We take immense pride in offering you this genuine item, which exemplifies exceptional quality. It is important to note that while this is an authentic product, in rare cases provenance may be unknown or aftermarket items may have been added to enhance its overall appeal and uniqueness. We value transparency and strive to provide you with accurate information, ensuring that you are fully informed about the product you are considering. Rest assured, our commitment to offering genuine products remains unwavering, and we are dedicated to your utmost satisfaction with your purchase.