Lithography on Arches paper Titled: Brassée sismographique, 1972

Original limited edition fine art print by Pierre Alechinsky and Christian Dotremont; Titled: Brassée sismographique, 1972

Lithography in colors on Velin Arches paper signed by Christian Dotremont and Pierre Alechinsky in lower right and justified H.C (Hors commerce). One of an edition of 500 signed and numbered lithographs and a few HC.

Remark! : Also a few artist proofs which were used as part of the Placards series.

Center black and white logogram by Christian Dotremont with text, drawings and remarks by Pierre Alechinsky all around

Dimensions: Paper: 85 x 61 cm. – 33.5 x 24 in.

Image: 72 x 52 cm – 28.25 x 20.5 in.

With original wooden frame: 100 x 75.5 cm – 39.5 x 29.75 in.

Work is framed in its original frame (wood) used during the exhibition: Typography of the dialogue from 2002 to 2003 National Museum of Fine Arts of Quebec. (This example)

Printer: Imprimerie Arte Paris

Editor: Aimé Maeght, Paris

Catalogue raisonnée: Rivière 513.

Riviere, Yves. Pierre Alechinsky: Les estampes de 1946 à 1972. 1973, Paris, Yves Riviere, pp.190-191, illustrated in color.

Condition: Some browning on the paper edges, frame bears time ware, but overall in good vintage condition.

Price: contact gallery CAD (Canadian dollars)


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Pierre ALECHINSKY (1927) – Christian DOTREMONT (1922 – 1979)

Text reads: (Logogram)

brasse sismographique de gouffre au fur et démesure de nuit à caresses de colère d’encre  va-et-vient de caprices de montée striante de roche de stratigraphie de souffles vers le haut d’astres de matin brusquement créé réel mais de toutes formes soulevés de source encore se démultipliant de surgir abruptement mais déjà vers le jour se multipliant de vivre de visage en vision de soleil en perle de serpentement en fête de nature d’herbe en gerbe de volcan en roseaux jusqu’à l’océan si pimpant d’un ciel en lancement de terre jusqu’au cri si vivace d’un arbre et déjà pourtant menacé d’une forme de mort que la vie même refuse par une nuit nouvelle vers le haut du même gouffre non moins peuplé de fables vivaces à même tout désespoir de source de condition de vivre et quotidiennement revivre vers le matin revenant réel créé vers le premier cri à resurgir à même toutes formes et toutes couleurs si ardentes toujours qu’elles nous jettent devenir

Other references:

Literature:

Drucker, Johanna, William H. Gass and Cornelia Homburg (essay.) The Dual Muse: The Writer as Artist, The Artist as Writer, 1997, Amsterdam and Philadelphia, John Benjamins Publishing Company, p.20, illustrated in color (another example.)

Lambert, Jean-Clarence: COBRA. 1983, New York, Abbeville Press, p.244, illustrated full-page in color (another example.)

Exhibited:

New York, Guggenheim Museum, Pierre Alechinsky: Margin and Center, January, 1987, catalogue, p.132, no.93, illustrated in black & white (another example.)

Liége, Belgium, Musée d’Art Moderne, Cobra Revisited, 09 April – 31 May 1993, catalogue, p.261, no.23, illustrated in color (another example.)

Amstelveen, Cobra Museum voor Moderne Kunst, De Taal van Cobra, 08 November 1995 – 31 September 2002, catalogue, p.256, no.191, illustrated in color (another example)

St. Louis, Washington University Gallery of Art, The Dual Muse: The Writer as Artist, The Artist as Writer, 07 November – 21 December 1997 (another example.)

Date: