REF : JUILL-OFF-27
Only 1 in stock
Signed and numbered print, limited to 300 copies, by André Juillard: Drawings (sketches).
Visual paying tribute to several mythical heroes drawn by André Juillard in series such as Blake and Mortimer, Les 7 Vies de l'Epervier, and Plume au vent.
Medium: Arches vellum paper.
Dimensions: 30 x 40 cm.
Frame option :
Quality wooden frame flat profile width 2.5 cm matt black color with smooth texture.
Made in France.
Blake and Mortimer is a Belgian comic series created by Edgar P. Jacobs in 1946. It features the adventures of two main characters, Philip Mortimer and Captain Francis Blake, as well as many other secondary characters. The series takes place mainly in the early 20th century and is known for its scientific and historical realism. Philip Mortimer is a renowned scientist, specializing in physics and chemistry, while Captain Francis Blake is a British army officer. The two men are great friends and often work together to solve scientific mysteries or criminal plots. The series was first published in 1946 with the album "The Case of the Collar," which featured the first showdown between Mortimer and Blake against a common enemy, Colonel Olrik. Since then, many other albums have been published, following the adventures of Mortimer and Blake around the world. Some of the most famous albums in the series include "The Mystery of the Great Pyramid," "The Three Formulas of Professor Sato," and "The Yellow Mark." Jacobs also created many other secondary characters for the series, such as Professor Sato, a brilliant Japanese scientist, and Ernie, Mortimer's loyal assistant. The series has been hugely successful in Belgium and has been translated into many languages worldwide. In addition to its scientific and historical realism, the series is also known for its thrilling plot and quality artwork. After Edgar P. Jacobs's death in 1987, several writers and artists have succeeded him in continuing the Blake and Mortimer series. Among the writers who have contributed to the series are Yves Sente, Jean Van Hamme, Jean-Luc Fromental, and Ted Benoît. As for the artists, they include André Juillard, Bob De Moor, Bruno Melliti, Étienne Schréder, René Sterne, Chantal De Spiegeleer, Antoine Aubin, Peter van Dongen, Teun Berserik, and Christian Cailleaux. Each of these authors brought their own vision and unique style to the series, while respecting the legacy left by Jacobs. The series has continued to be a great success with fans and has been published in many countries around the world.
André JUILLARD is a French writer and cartoonist. He graduated from the Ecole Nationale Supérieure des Arts Décoratifs and, in parallel, he took drawing classes, oriented comics, taught in Vincennes (between 1972 and 1973), by Druillet, Mézières and Giraud! He published his first drawing in 1974 in Formula 1.
During the 1970s, although he published many historical comics (mainly in Fleurus), they met with little success. It is in Pif Gadget that Hide (on Patrick Cothias scenarios) is published starting in 1980. After Pif’s change of formula, both authors take back their rights to the series and take it to Circus. To adapt to the more adult audience of the new publication, both authors modify their series and now call it The 7 Lives of the Hawk. The albums, published from 1983 onwards, met with immediate success.
Critical recognition increased with the release of Le Cahien Bleu. Screenwriter and cartoonist, he abandons the historical comic to place his story in the contemporary world and manages, by its very precise division, to bring an astonishing modernity to his story.
After the 7 volumes of the 7 Lives of the Hawk, he continues, always with Cothias the adventure with Feather to the Wind (which is a sequel to the Hawk) in 4 volumes. He then takes the masterpiece of Jacobs: Blake and Mortimer (alongside Yves Sente. The 7 albums they will produce will be a public success. He also works with Christin for the Lena series, before publishing one-shot such as Mezek (with Yann) or Double 7.
The classicism of Juillard’s drawing, mixed with a purification of the line that is asserted over the years, its vast compositions and full of details just as its infinitely cinematic close-ups impose it as one of the best draftsmen (and illustrators) of its generation.