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Hans Bellmer LES QUATRE FILLES Hand Signed Limited Edition Etching

$999.99 $399.99

This is an original hand signed drypoint etching by Hans Bellmer titled “LES QUATRE FILLES”. 

Description

This is an original hand signed drypoint etching by Hans Bellmer titled “LES QUATRE FILLES”. 

This surrealist erotic image has female nudes composed of bricks and sticks, and one form made up entirely of hands.

Produced on arches vellum paper. Hand Signed by Bellmer in the lower right bottom of image. Published in 1970 by Georges Visat

Image Measures 12¾” x 16″. Paper measures 20″ x 26″. This piece is numbered from an edition of 100. 

In mint condition, comes unframed. Comes with a certificate of authenticity.

Born: 1902, Upper Silesia, Germany. Died: 1975, Paris, France. Hans Bellmer was an established painter and graphic designer, best known for the life-sized pubescent female dolls he produced in the mid-1930s after the rise to power of the Nazi Party in 1933. He initiated his doll project to oppose the fascism of the Nazi Party by declaring that he would make no work that would support the German state. Represented by mutated forms and unconventional poses, his dolls were directed specifically at the cult of the perfect body then prominent in Germany. His work was declared ‘degenerate’ and he fled Germany to France. His work was welcomed in the Parisian art culture of the time because of the references to female beauty and the sexualization of the youthful form. Bellmer’s 1934 book Die Puppe (The Doll), produced and published privately in Germany, contains ten black-and-white photographs of Bellmer’s first doll arranged in a series of tableaux vivants. Bellmer also created erotic drawings and etchings. He is most commonly thought of as a surrealist photographer. Bellmer worked until death, constantly fascinated with erotic images and possibilities. Major retrospective exhibition at the Centre National d’Art Contemporain, Paris 1971-72. 

Source: Ronald Alley, Catalogue of the Tate Gallery’s Collection of Modern Art, Tate Gallery and Sotheby Park-Bernet, London 1981, pp. 44-45.

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