Le Corbusier
Nature morte, Opus 4 - Hand signed, 1930-47
Engraving on wove paper
Sheet: 41.5 x 32.6 cm
Signed and inscribed
£ 4,250.00
A working studio proof outside the edition of 100. Signed and inscribed 'Bon á tirer / Le Corbusier / le 10 juillet 65' This piece is a working studio proof,...
A working studio proof outside the edition of 100.
Signed and inscribed 'Bon á tirer / Le Corbusier / le 10 juillet 65'
This piece is a working studio proof, complete with inky fingerprints on the back of the sheet! The plate is offset at an angle, as the print was a practice proof and never intended for exhibition.
After displaying a youthful talent as a draughtsman, Crommelynck began an apprenticeship with Roger Lacourière, the master printer who had printed Picasso's Vollard Suite in the 1930s. In 1949, Picasso himself asked Crommelynck to rework one of his engravings, as he had become dissatisfied with Lacourière's work. Aldo's innovative approach delighted the artist, and from that moment on the eighteen year-old became Picasso's preferred printer. In 1953, he established his own print workshop with the help of his brothers Piero and Milan. They moved to the South of France in 1963 to be closer to Picasso, and for the next decade worked almost exclusively on the avalanche of etchings he produced in his final years.
Following Picasso's death in 1973, Aldo moved back to Paris, where he was sought out by artists such as Richard Hamilton, David Hockney and Jim Dine. In 1985, Aldo moved to the United States and opened a workshop in New York, where he enjoyed great success. George Condo, Jean Michel-Basquiat and Yoko Ono all flocked to his side to learn intaglio printing from the Master. He was awarded the Grand Prix National des Métiers d'Art in 1989.
To be able to lay claim to an artwork with such illustrious provenance and such an intimate connection to the artists who created it is a once in a lifetime opportunity.
Signed and inscribed 'Bon á tirer / Le Corbusier / le 10 juillet 65'
This piece is a working studio proof, complete with inky fingerprints on the back of the sheet! The plate is offset at an angle, as the print was a practice proof and never intended for exhibition.
In addition to his work as an architect, Le Corbusier was also an avid printmaker. Always in search of artistic perfection, it was only natural that he should seek out Crommelynck, the finest intaglio printer the world had to offer. Le Corbusier had himself been educated as an engraver at the art school of La Chaux-de-Fonds in Switzerland, he wrote that “…tapestries, drawings, paintings, sculptures, books, houses and town plans are, as far as I am personally concerned, one and a same manifesto of an inspiring harmony right in the middle of a new industrialised society.”
After displaying a youthful talent as a draughtsman, Crommelynck began an apprenticeship with Roger Lacourière, the master printer who had printed Picasso's Vollard Suite in the 1930s. In 1949, Picasso himself asked Crommelynck to rework one of his engravings, as he had become dissatisfied with Lacourière's work. Aldo's innovative approach delighted the artist, and from that moment on the eighteen year-old became Picasso's preferred printer. In 1953, he established his own print workshop with the help of his brothers Piero and Milan. They moved to the South of France in 1963 to be closer to Picasso, and for the next decade worked almost exclusively on the avalanche of etchings he produced in his final years.
Following Picasso's death in 1973, Aldo moved back to Paris, where he was sought out by artists such as Richard Hamilton, David Hockney and Jim Dine. In 1985, Aldo moved to the United States and opened a workshop in New York, where he enjoyed great success. George Condo, Jean Michel-Basquiat and Yoko Ono all flocked to his side to learn intaglio printing from the Master. He was awarded the Grand Prix National des Métiers d'Art in 1989.
To be able to lay claim to an artwork with such illustrious provenance and such an intimate connection to the artists who created it is a once in a lifetime opportunity.