Sunday, 19 November 2017
Bernard-Romain Julien’s lithograph, “Cours Elementaire, Plate Number 147”, c1864
Bernard-Romain Julien (1802–1871)
“Cours Elementaire, Plate Number 147”, c1864, published by François Delarue (fl.1850s– 1860s) and printed by Ernest Gambart (1814–1902) & Co.
Note: my attribution of the date for this print is based on the address of the publisher. Delarue moved from his earlier address (8 rue Larrey, Paris) in 1852 to the address shown on this print (18, Rue Jean Jacques Rousseau, Paris) in 1864.
Lithograph on wove paper
Size: (sheet) 28.2 x 36 cm
Numbered at the upper left corner: “No. 147”
Signed in the plate at lower left.
Lettered: (lower left) “Paris (Mon. Aumont) FRANÇOIS DELARUE, r.JJ.Rousseau 18.”; (lower centre) “Cours Elementaire / Lith. Par Julien.”; (lower right) “London, E. GAMBART & Co. __ Imp. Fois. Delarue, Paris.”
Condition: well-printed impression laid on a support sheet of fine washi paper. There are a few (two?) restored holes that are now difficult to see otherwise the sheet is in excellent condition (i.e. there are no tears, abrasions, stains or foxing).
I am selling this masterfully executed lithograph from Julien’s instructional studies designed to be exemplary academic drawings for students to study and copy, for [deleted] including postage and handling to anywhere in the world.
If you are interested in purchasing this remarkably fine study of a priest, please contact me (firstname.lastname@example.org) and I will send you a PayPal invoice to make the payment easy.
Although I have no doubt that Julien’s lithographs were originally printed in large numbers to satisfy the 19th century market for beautifully executed academic studies—probably every reputable art academy would have had many folios of them—the fact is that they are now amazingly rare. After all, institutions are famous for dumping teaching aids when they have become redundant or tattered. Certainly, prints from the series that are even moderately fresh looking (i.e. those that are not charcoal spotted, pencil annotated, creased, torn, pin-holed or showing significant signs of handling) are seldom seen on the market. Mindful that the bulk of Julien’s lithographs are in some way soiled and distressed, finding an exceptional impression like this is most unusual.