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The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
Titlepage from The Parable of the Prodigal Son - James Tissot
Regular price
$220.00 NZD
Sale price
$220.00 NZD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
An etching by James Tissot, this title page introduces his series on the Parable of the Prodigal Son, featuring the biblical text presented on an open book.
This etching by James Tissot serves as the title page for his series depicting the biblical narrative of the Prodigal Son. Tissot, a French artist who spent a significant portion of his career in London, produced this work during his transition towards religious subjects. The composition presents an open book, its pages filled with the text from the Gospel of St. Luke, detailing the four stages of the parable: The Departure, In Foreign Climes, The Return, and The Fatted Calf. The artist employs a precise, linear technique characteristic of his printmaking practice. The book appears to rest on a flat surface, with its pages splayed open and held by thin, trailing ribbons that extend beyond the margins of the text block. Tissot includes his signature, the date, and his London address at 17 Grove End Road, St. John's Wood, in the lower right corner, grounding the work in his specific historical and geographical context. The monochromatic palette relies on the contrast between the dark, etched lines of the text and the lighter paper ground, creating a sense of physical presence for the book itself. Unlike his later, more expansive religious cycles, this early series demonstrates Tissot's interest in narrative structure and the integration of text with image. The work reflects the Victorian fascination with biblical illustration and the technical capabilities of the etching medium. By presenting the narrative arc directly on the title page, Tissot invites the viewer to engage with the sequence of events before examining the individual plates that follow. The attention to the texture of the paper and the weight of the book suggests a focus on the object as a tangible vessel for the story, rather than a purely decorative element.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Complete The Look
Titlepage from The Parable of the Prodigal Son - James Tissot
Regular price
From $130.00 NZD
Sale price
From $130.00 NZD
Regular price
Fine Art Framed / A4 (21x29.7 cm) / Black frame
Artist Biography
James Tissot
Tissot's real name was Jacques Joseph. He adopted James at eleven, out of admiration for English culture, which turned out to be prescient: he spent the most productive decade of his career in London, painting the English upper classes with a precision they found both flattering and uncomfortable.
He grew up in the port city of Nantes, the son of a milliner and dressmaker. His mother's trade shows in the paintings: nobody in nineteenth-century art rendered fabric, lace, ribbons and the cut of a sleeve with more attention than Tissot. He studied in Paris under Hippolyte Flandrin and exhibited at the Salon from 1859, shifting quickly from medieval subjects to modern life.
He fought in the Franco-Prussian War and was implicated in the Paris Commune of 1871, though the extent of his involvement remains unclear. What is clear is that he left Paris in a hurry after Bloody Week and turned up in London, where his detailed paintings of Victorian society made him wealthy within a few years. The English liked his work because it showed them as they wished to be seen: well-dressed, leisured, and slightly mysterious. The sexual tension in many of his compositions, the glances exchanged between men and women across the rigid codes of Victorian propriety, is always present and never explicit.
He drew caricatures for Vanity Fair under the pseudonym Coide. He was also a serious collector of Japanese art, and the influence of Japanese composition and textile patterns runs through his work alongside the European tradition.
In London he began a relationship with Kathleen Newton, an Irishwoman who became his constant model and companion until her death from tuberculosis in 1882. He returned to Paris after she died and spent his final years painting a monumental series of 350 gouaches illustrating the life of Christ, based on research trips to the Middle East.
He grew up in the port city of Nantes, the son of a milliner and dressmaker. His mother's trade shows in the paintings: nobody in nineteenth-century art rendered fabric, lace, ribbons and the cut of a sleeve with more attention than Tissot. He studied in Paris under Hippolyte Flandrin and exhibited at the Salon from 1859, shifting quickly from medieval subjects to modern life.
He fought in the Franco-Prussian War and was implicated in the Paris Commune of 1871, though the extent of his involvement remains unclear. What is clear is that he left Paris in a hurry after Bloody Week and turned up in London, where his detailed paintings of Victorian society made him wealthy within a few years. The English liked his work because it showed them as they wished to be seen: well-dressed, leisured, and slightly mysterious. The sexual tension in many of his compositions, the glances exchanged between men and women across the rigid codes of Victorian propriety, is always present and never explicit.
He drew caricatures for Vanity Fair under the pseudonym Coide. He was also a serious collector of Japanese art, and the influence of Japanese composition and textile patterns runs through his work alongside the European tradition.
In London he began a relationship with Kathleen Newton, an Irishwoman who became his constant model and companion until her death from tuberculosis in 1882. He returned to Paris after she died and spent his final years painting a monumental series of 350 gouaches illustrating the life of Christ, based on research trips to the Middle East.
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Canvas
From $130
Hand-stretched canvas with neat gallery-wrapped edges, giving the artwork surface texture and depth. Arrives ready to hang.
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