Construction d'un Temple en ruine - Plate n.6,
1972
Paul Delvaux
Print : dry point, etching
40.2 x 52.7 x 0.1 cm 15.8 x 20.7 x 0 inch
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About the artwork
Type
Numbered and limited to 187 copies
Signature
Not Signed
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Medium
Dimensions cm • inch
40.2 x 52.7 x 0.1 cm 15.8 x 20.7 x 0 inch Height x Width x Depth
Support
Framing
Not framed
Tags
Artwork sold in perfect condition
Artwork location: Italy
Construction d’un temple – Plate n.6 is a b/w original etching and dypoint realized in 1972 (as it is reported on plate on the lower-right margin) by Paul Delvaux.
From the collection “Construction d’un temple en ruine à la déesse Vanadé” came into being from the collaboration of four years between the French author and a memeber of the Nouveau-Roman, Alain Robbe-Grillet (1922-2008), and the Belgian artist Paul Delvaux (1897-1994). Firstly Robbe-Grillet wrote a text, to which Delvaux then replied witha wonderful engraving, Robbe-Grillet then responded with a second text. This is how the building blocks for this beautiful artist's book came together, upon which it was then constructed like a temple.
The book was printed in an edition of 187 copies, of which only 40 contain the illustrations by Paul Delvaux. Our copy is unnumbered and printed on “Arches” ivory colored paper with the Bateau Lavoir watermark (on the lower right corner), and “Richard Bas” watermark (on the lower left margin).
Image dimensions: 31.3 x 44.3 cm
This beautiful artwork representing a woman looking at another woman pictured like ancient Greek marble statue in a port. An enigmatic composition hard to explain, but technically this artwork is realized with a fresh line and with a vibrant black ink.
In excellent conditions: as good as new.
Le Bateau Lavoir
Published in 1975 by the Parisian "Le Bateau Lavoir", the commission of this edition was provided by Mira Jacob, a private collector of symbolist-surrealist painting. She was the one who encoraged Paul Delvaux during their fisrt meeting in 1965 to start making lithographs. For this book the Belgian artist produced a number of engraving, some of with are dry-points.
Paul Delvaux (1897-1994)
Best-Known for his atworks with female nudes pictured as cold marble statues in a dreamlike world, Delvaux’s works are sometimes referred to as a theatre of courtesans. In our case, the female figures are often pictured in the foreground.
Oblong:
This editin from Fequet and Baudrier is striking due to its oblong shape. The text wash and-set by Francois Da Ros, who produced numerous editions for Fequet and Budrier between 1964-1978. Da Ros was later appointed as the master-typographer. The engravings were printed on Piero Crommelynck’s engraving press, who was one Picasso’s favourite engraver.
Bibliography: Bénézit 4-424
References:
-Z. Barthelman, Paul Delvaux: Odysse van een droom. Sint-Idesbald, Paul Delvaux Stichting, 2007;
-Collection Mira Jacob Galerie le Bateau-Lavoir. Paris, Sotheby’s, 2004;
-Virginie Devillers, Paul Delvaux: Le théatre des figures. Bruxelles, Editions de l’Université de Bruxelles, 1992;
-Hommage à Piero Crommelynck, in: Nouvelles de l’estampe, 178 (2001), p. 72-77;
-Christian Milat, Robbe-Grillet: Romancier alchimiste. Ottawa, David, 2001;
-Marcel Paquet, Paul Delvaux et l’essence de la peinture. Paris, Edition de la Différence, 1982.
Read more
From the collection “Construction d’un temple en ruine à la déesse Vanadé” came into being from the collaboration of four years between the French author and a memeber of the Nouveau-Roman, Alain Robbe-Grillet (1922-2008), and the Belgian artist Paul Delvaux (1897-1994). Firstly Robbe-Grillet wrote a text, to which Delvaux then replied witha wonderful engraving, Robbe-Grillet then responded with a second text. This is how the building blocks for this beautiful artist's book came together, upon which it was then constructed like a temple.
The book was printed in an edition of 187 copies, of which only 40 contain the illustrations by Paul Delvaux. Our copy is unnumbered and printed on “Arches” ivory colored paper with the Bateau Lavoir watermark (on the lower right corner), and “Richard Bas” watermark (on the lower left margin).
Image dimensions: 31.3 x 44.3 cm
This beautiful artwork representing a woman looking at another woman pictured like ancient Greek marble statue in a port. An enigmatic composition hard to explain, but technically this artwork is realized with a fresh line and with a vibrant black ink.
In excellent conditions: as good as new.
Le Bateau Lavoir
Published in 1975 by the Parisian "Le Bateau Lavoir", the commission of this edition was provided by Mira Jacob, a private collector of symbolist-surrealist painting. She was the one who encoraged Paul Delvaux during their fisrt meeting in 1965 to start making lithographs. For this book the Belgian artist produced a number of engraving, some of with are dry-points.
Paul Delvaux (1897-1994)
Best-Known for his atworks with female nudes pictured as cold marble statues in a dreamlike world, Delvaux’s works are sometimes referred to as a theatre of courtesans. In our case, the female figures are often pictured in the foreground.
Oblong:
This editin from Fequet and Baudrier is striking due to its oblong shape. The text wash and-set by Francois Da Ros, who produced numerous editions for Fequet and Budrier between 1964-1978. Da Ros was later appointed as the master-typographer. The engravings were printed on Piero Crommelynck’s engraving press, who was one Picasso’s favourite engraver.
Bibliography: Bénézit 4-424
References:
-Z. Barthelman, Paul Delvaux: Odysse van een droom. Sint-Idesbald, Paul Delvaux Stichting, 2007;
-Collection Mira Jacob Galerie le Bateau-Lavoir. Paris, Sotheby’s, 2004;
-Virginie Devillers, Paul Delvaux: Le théatre des figures. Bruxelles, Editions de l’Université de Bruxelles, 1992;
-Hommage à Piero Crommelynck, in: Nouvelles de l’estampe, 178 (2001), p. 72-77;
-Christian Milat, Robbe-Grillet: Romancier alchimiste. Ottawa, David, 2001;
-Marcel Paquet, Paul Delvaux et l’essence de la peinture. Paris, Edition de la Différence, 1982.
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Presentation
Paul Delvaux is a painter of Belgian origin born in Antheit in 1897 and died in Furnes in 1994. With his long career, he will alternate between post-impressionist, expressionist and surrealist styles. He studied drawing and painting at the Royal Academy of Fine Arts in Brussels, where he then told for teachers the Symbolist painter Jean Delville and the painter Constant Montald. Paul Delvaux paints women, men and ephebes. He paints nudes, cityscapes, people in costume, and sometimes all three at the same time. Static, frozen, the characters in his painting are introduced gently into the painting, crystallized within an environment that is itself stationary. In Delvaux's universe, time stands still, losing all control over the elements. The beautiful is obvious, imposed with genius by this talented artist. Around 1930, he was inspired by the Foire du Midi in Brussels and the Spitzner museum to represent scenes with medical influences, a perhaps involuntary nod to his best friend Emile Salkin with whom he used to train. drawing skeletons. In 1938, success smiled on him, since he participated in the surrealists exhibition in Paris. From 1920 to 1924, Delvaux was mainly inspired by stations and railways to paint. At the same time, he had a systematic habit of destroying his paintings each time he changed the theme. Later, Delvaux signed large mural compositions, including those of the Palais des Congrès in Brussels, the Institute of Zoology in Liège and the Casino-Kursal in Ostend. In 1958, he and his students produced The Literary Map of Belgium as part of the Universal Exhibition. Correspondent of the Royal Academy of Belgium since 1956, he officially became a member in 1958. In Saint-Idesbald, a private museum is dedicated to Paul Delvaux, and contains the most important collection of his works.
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