This is a rare color illustration by Jean Gradassi pulled from Mémoires du Cardinal Dubois book.
Illustrated on color by Gradassi, published in Paris, by Edmond Vairel, circa 1950.
Original book was 4 volumes in-4° in leaves, under covers, folder and original case.
Published in 1050 copies.Paper with border measures 10″ x 7.5″. Image measures 7″ x 5″.
Beautiful vibrant colors with incredible detail! Produced on Lana paper.
In excellent condition, comes unframed. Comes with a gallery certificate of authenticity.
Jean Gradassi illustrator, painter and French miniaturist, was born in Antibes on 8 April 1907 and died on April 1989.
From an early age, he already knows the adventure, following his father, a career officer in many garrisons in metropolitan and North Africa. This taste for travel and knowledge led him to observe and sketch the world and, at age 18, he contracted his first engagement. It begins with North Africa and Black Africa, but especially Asia which attracts. So he left for the Far East and is assigned to China where he will bring lasting memories (especially Chinese life, very colorful, animated by a multiplicity of trades, crafts and the number of characters incalculable and typical) that will cause him to miniature art.
Returning to France, he can devote himself entirely to his Violon d’Ingres, the illustration. History buff he specializes in the difficult art, for which the study of civil and military costume, architecture, period furniture, are an essential foundation for his artistic creation, where every detail is worth examining the microscope.
After thirty-five years of creative art and illustrations, with a monastic discipline, he is sixty illustrated editions, a total of over a hundred volumes, an edition as may be from one to several volumes, eg: Rabelais, 5 volumes – Shakespeare, 12 volumes). When you know how meticulous attention to detail and how each architecture, each suit, each character is developed and how “mastery” in the color he manages to live all these scenes and lively spiritual, one is transported to admiration for his art. Hundreds of people come together and compete against a background of old houses from all periods: either inside a castle with its lords and gentle ladies, or a public place teeming with a sprained disparate, or a tournament, a battle scene with his warriors “taken from life,” the Middle Ages saw through his talent more beautiful than our dreams, colorful, grandiose and, sometimes, malicious and mocking.
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