From “The beginning of the world; twenty-five pictures by Edward Coley Burne-Jones” (British, 1833-1898). The unfinished designs were completed by Stephen Catterson-Smith (Irish, 1849-1912). Publisher: Longmans, Green & co. London. Printed by the Chiswick Press in black on white on hand-made paper with relevant extracts from the Book of Genesis. 1902.
17 Heinrich Hofmann. Gegenwart des Herrn. Gedenke Mein – Bild 14. Original drawing in pencil. Matthew 18:20.
The dimensions of the original image clearly had to be widened to fit a publication. The re-drafter has taken the opportunity to drop the recessed crucifix, no doubt in deference to the any Protestant customer’s sensibilities:
16 Heinrich Hofmann. Heinrich Hofmann. Christi Himmelfahrt. Kommet zu Mir – Bild 14. Original drawing in pencil. Luke 24:50-53.
In this colourisation the chromist, by a limited palette of russet and yellow with some light touches of complementary green and blue-grey, has evoked the golden light of Heaven . . . . .
15 Heinrich Hofmann. Emmaus. Gedenke Mein – Bild 13. Original drawing in pencil. Luke 24:13,15-35.
In the second colourisation the rustic hat of one of the disciples has been replaced by a turban – a nod, perhaps, in the direction of the orientalism of Bible illustrators Tissot, Hole and Copping, all of whom brought first-hand observations of the Holy Land to their work.
14 Heinrich Hofmann. Am Auferstehungs-Morgen. Kommet zu Mir – Bild 13. Original drawing in pencil. John 20:11-18.
In both of these colourisations a limited palette (each at the opposite end of the spectrum) sets the tone of quiet restraint of dawn’s early light – Noli me tangere – in contrast to the garish hues expressing the hands-on grief of the artificially-lit Entombment.
13 Heinrich Hofmann. Grablegung. Gedenke Mein – Bild 12. Original drawing in pencil. John 19_38-42.
In this colourisation the harsh colours and brutal tonal gradations make manifest the pain implicit in Hofmann’s depiction.
12 Heinrich Hofmann. “Kreuziget ihn!!!” Kommet zu Mir – Bild 10. Original drawing in pencil. John 19:5-16.
There’s a lot going on in Hofmann’s drawing. Consider the choices made in the following two colourised simplifications:-
11 Heinrich Hofmann. Das letzte Abendmahl. Kommet zu Mir – Bild 9. Original drawing in pencil. 1 Corinthians 11:23-25.
Note that in the first two colourisations above the original monochrome image is reproduced faithfully. The third re-presentation is probably a rare adaptation on doctrinal grounds: in the original, Jesus and the disciples appear as though receiving Catholic-style Holy Communion. By eliminating the chalice while retaining the basin for foot-washing, the re-drafter has shifted the scene from the Synoptics to the alternatve account of the events in the cenacle in John’s Gospel – with the foot-washing and farewell discourses – perhaps in deference to the Protestant sensibilities of possible customers. Meanwhile, the image remains firmly rooted in the commonality of Scripture – John’s Gospel does not include an account of the Supper itself.
10 Heinrich Hofmann. Die Sünderin. Gedenke Mein – Bild 7. Original drawing in pencil. Luke 7:37-50.
Photogravure made from the original pencil drawing.
Chromolithograph based on re-drawn image derived from the photogravure of the pencil drawing (possibly by Stemler). Here, unusually, colourisation has been used to enhance tonality.
09 Heinrich Hofmann. Der Kinderfreundlich. Gedenke Mein – Bild 5. Original drawing in pencil. Matthew 19:13-15.
In this colourisation particular care and attention has been paid to the flesh colours and tones. This is probably because the chromist would have been aware of one of the most popular prints of the final decade of the 19th century: Prang’s Prize Babies. A chromolithograph is made using anywhere from eight to forty stones, one for each colour: a “chromist” specialized in breaking down the colours needed to re-create the painting in ink. A progressive proof book by Louis Prang (1824-1909) called “Prang’s Prize Babies” had showed the process of chromolithography in creating an image from separate colour stones. After an oil painting by Ida Waugh, the print was sold door-to-door by traveling salesmen and saleswomen. The thirty-eight progressive proof prints using nineteen separate stones to create the final image were printed in a limited edition given to those who sold the most prints, as an encouragement for their successful sales record. This became one of Prang’s most popular prints of the late 1880s. (“Prang’s Prize Babies. How This Picture is Made. An Outline of the Process of Chromolithography . . .” Louis Prang & Co. (Boston, Massachusetts) 1888.)
Prang’s Prize Babies 31st plate 16th colour; 32nd plate 16 colours combined.
Prang’s Prize Babies 35th plate 18th colour; 36th plate 18 colours combined.
Prang’s Prize Babies 37th plate 19th colour; 38th plate 19 colours combined.