André Verdet (1913-2004)     Nadine (Abstract Composition)    Linocut and photogravure, 1967  Signed and dated in ink.  An impression with the image printed on the left and a poem by Verdet titled 'Nadine' on the right.  The black form and the text has been created using a  photogravure. The colours of the image were added using a linoblock.  This is a composition that the artist experimented with many times using the same two shades of blues and the black form in the centre. The black can be read as the central subject or as negative space.  Note: Bernadette Wilde, better known by her artist name Nadine Vivier, became André Verdet's lifelong companion from 1965 until his death in 2004. An artist in her own right, Nadine inspired Verdet's most beautiful love poems, which he often dedicated to her. She began her own artistic practise in 1971 and in the early 90s undertook a series of works called 'Oiseaux de Lune' (Moon Bird). Verdet referred to her as Nadine Vivier of the birds.  Image Size : 50 x 33cm (19.7 x 13in) Sheet Size : 51.8 x 66.9cm (20.4 x 26.3in)  £400
       
     
  André Verdet (1913-2004)     Le Messager    Linocut printed in colour, 1970  Signed and dated in pencil.  Inscribed 'H.C.' (hors de commerce) and titled 'Le Messager'.  A proof outside the edition of 100.  Image Size : 67.3 x 32cm (26.5 x 12.6in) Sheet Size : 74.4 x 39cm (29.3 x 15.4in)   Note : Verdet's linocuts and wider work in various media often portray figures from mythology or from classic literature.  £400
       
     
  André Verdet (1913-2004)     Pur Profil de L'aimée - The True Profile of the Beloved    Linocut printed in colours, 1972  An interesting set of five items showing the development and realisation of this linocut subject. This set is comprised of two preparatory drawings and two painted colour trials of the subject; two of which include the frame of the final state and the final state of the linocut subject.  1) Drawing A preparatory drawing in pencil on a piece of tracing paper. This drawing is without the frame element found in the final state.  Image size: 54.5 x 50cm (21.46 x 19.69 ins) Sheet size: 54.5 x 50cm (21.46 x 19.69 ins)  2) Painting A painting with colour variants of the final state of the linocut subject, without the frame. Painted in red, white and yellow.  Watermark: J - Annonay  Image size: 35.5 x 25cm (13.98 x 9.84 ins) Sheet size: 35.5 x 25cm (13.98 x 9.84 ins)  3) Painting Signed and dated. (Verdet has incised his signature whilst the green paint was wet rather than writing over the paint)  A painting of the subject with the correct colours of the linocut subject including the frame. Painted in orange, white, yellow and dark green.  Image size: 30.5 x 22.5cm (12.01 x 8.86 ins) Sheet size: 30.5 x 22.5cm (12.01 x 8.86 ins)  4) Drawing A preparatory drawing in pencil on a piece of tracing paper. The subject has been drawn first on the recto in pencil, the outline of the figure and shadow have been drawn over in blue pencil. The subject was then carefully traced in pencil on the verso. This drawing includes the frame element that is found in the final linocut subject.  Image size: 53.5 x 33.7cm (12.01 x 8.86 ins) Sheet size: 53.5 x 33.7cm (12.01 x 8.86 ins)  5) Linocut printed in colours Signed, dated and titled 'Pur Profil de l'aimée' in pencil.  An impression printed in green, orange and yellow on Arches, outside the signed and numbered edition of 150 on Arches. Printed by Imprimerie Arnéra.  Annotated, 'H.C', in pencil.  Watermark: Arches  Image size: 50 x 34 cm (19.69 x 13.39 ins) Sheet size: 66 x 50.5 cm (25.98 x 19.88 ins)  £800
       
     
  André Verdet (1913-2004)     Pomone    Linocut printed in colours, 1972  Signed, dated and titled 'Pomone', in pencil.  'Epreuve d'artiste' outside the signed and numbered edition of 175 on Arches. Printed by Imprimerie Arnéra.  Watermark: Auvergne  Image Size : 50.2 x 30cm (19.8 x 11.8in) Sheet Size : 65 x 50cm (25.6 x 19.7in)   Note:  Verdet's linocuts and wider work in various media often portray figures from mythology or from classic literature. This subject depicts Pomona the ancient Roman goddess of fruitful abundance. The goddess 'Pomone' is also the title of the first French opera, written by  Robert Cambert. The partially surviving opera traces the unrequited love of Vertumnus, who attempts to get a kiss from Pomone through various disguises, eventually disguising himself as Beroé, Pomone's old nurse.This disguise succeeds as he knows Pomone would not deny a kiss for her old nurse. This subject is most likely depicting a scene from the opera, as the composition appears to have two figures and an emphasis on the lips of the female figure on the left of the subject.  £400
       
     
  André Verdet (1913-2004)     Le Saint Michel de l'observatoire    Linocut printed in black, 1965  Signed and dated in pencil.  An impression printed in black on 'offset fort' paper from outside the signed and numbered edition of 150. Printed by Imprimerie Arnéra.  Watermark: Arches  Image Size : 57 x 38cm (22.4 x 15in) Sheet Size : 57 x 39.8cm (22.4 x 15.7in)   £120       
       
     
  André Verdet (1913-2004)     Composition    Linocut printed in colours, 1963  Signed and dedicated in blue biro.  An impression printed in black, blue and aqua from outside the signed and numbered edition of 50. Printed by Imprimerie Arnéra.  Image Size : 32.2 x 24.3cm (12.7 x 9.6in) Sheet Size : 59.8 x 38cm (23.5 x 15in)   £200    
       
     
  André Verdet (1913-2004)     Monochrome Abstract (Untitled)    Various media  A set of four items. This set is comprised of two working proofs, 'la mise' and an impression of the final state of the linocut subject.  1) Linocut printed in black  An impression thinly printed in black. This impression varies slightly from the composition of the final state; in that positions of the tear drop and the three circles are reversed.  It is unlikely that a separate linoleum block was cut in order for this experimental colour trial to be printed. Therefore one possible means of reversing the location of the uninked tear drop and three circles would be to place cut outs of these shapes onto the paper that is due to be printed on. Therefore the linoleum block would remain uncut but inked all over in black and following a successful press, the card cut outs can be removed from the sheet. This allows for the areas of paper to show through; essentially like a reversed stencil process.  Stamped in ink on the verso, 'Imprimerie Arnéra Archives / Non signé' in black ink.  2) Linocut printed in black  An impression thinly printed in black. The areas of thin printing have been circled with pen on the recto and pencil on the verso, perhaps as a means of creating the 'mise'.  Stamped in ink on the verso, 'Imprimerie Arnéra Archives / Non signé' in black ink.  3) La Mise  'La mise' of the linoleum block. During the printing process, some parts of linoleum blocks that are very soft tend to give way, consequently the areas of the image relating to the worn parts of the block no longer print. To remedy to this issue the printer, Hidalgo Arnéra, would make a so-called 'mise'.  'La mise' consists of cutting the image from one impression, and then pasting on top or underneath it small paper cut outs of the shape of the worn out parts of the block. Mr Arnéra would then place the 'mise' under the linoleum block to lift up its worn parts and proceed with printing. Incredible as it sounds, such a slight difference in thickness did make a difference to the printing.  Stamped in ink on the verso, 'Imprimerie Arnéra Archives / Non signé' in black ink.  4) Linocut printed in black  An impression of the final state, probably using the 'mise' as there are no thinly printed areas.  Stamped in ink on the verso, 'Imprimerie Arnéra Archives / Non signé' in black ink.   Note  This working group comes from the Archives the 'Imprimerie Arnéra', Vallauris.  A very interesting example of the way in which the master printer, Hidalgo Arnéra, made sure large linocut plates would print evenly. He also employed the same method with some of Picasso's linocuts.  Image Size : 80 x 58cm (31.5 x 22.8in) Sheet Size : 86 x 63cm (33.9 x 24.8in)   £350    
       
     
  André Verdet (1913-2004)    Cosmogonie (Untitled)   Various media, 1964-65  An interesting set of four sheets showing the development and realisation of this linocut subject. This set is comprised of a signed and dedicated painting of the subject, two working proofs of the linocut and a impression of the final state of the linocut subject.  1) Painting Signed and dedicated in pencil.  A painting with the correct colours for the final state of the linocut subject, though the composition varies slightly from that of the linocut, it may have been used as a preparatory impression for this subject.   Dedicated by the artist, "Amicalement / Pour Arnéra au témoignage de son beau travail", in pencil  Watermark: Vidallon les Annonay  Image size: 50 x 36.5cm (19.69 x 14.37 ins) Sheet size: 50 x 36.5cm (19.69 x 14.37 ins)  2) Linocut printed in colours An impression printed in blue and light blue. The central area of the subject printed in light blue has been crossed out with pencil.  Image size: 50.7 x 37cm (19.96 x 14.57 ins) Sheet size: 51 x 38cm (20.08 x 14.96 ins)  3) Linocut printed in colours An working proof of the final state printed in black, blue and light blue. The central area of the subject printed in light blue is thinly printed.  Image size: 50.7 x 37cm (19.96 x 14.57 ins) Sheet size: 51 x 38cm (20.08 x 14.96 ins)  4) Linocut printed in colours Signed and dated in pencil.  An impression printed in black, blue and light blue from outside the signed and numbered edition of 100.  Watermark: Rives  Image size: 50 x 37cm (19.69 x 14.57 ins) Sheet size: 51 x 38cm (20.08 x 14.96 ins)  £700  
       
     
  André Verdet (1913-2004)     Nadine (Abstract Composition)    Linocut and photogravure, 1967  Signed and dated in ink.  An impression with the image printed on the left and a poem by Verdet titled 'Nadine' on the right.  The black form and the text has been created using a  photogravure. The colours of the image were added using a linoblock.  This is a composition that the artist experimented with many times using the same two shades of blues and the black form in the centre. The black can be read as the central subject or as negative space.  Note: Bernadette Wilde, better known by her artist name Nadine Vivier, became André Verdet's lifelong companion from 1965 until his death in 2004. An artist in her own right, Nadine inspired Verdet's most beautiful love poems, which he often dedicated to her. She began her own artistic practise in 1971 and in the early 90s undertook a series of works called 'Oiseaux de Lune' (Moon Bird). Verdet referred to her as Nadine Vivier of the birds.  Image Size : 50 x 33cm (19.7 x 13in) Sheet Size : 51.8 x 66.9cm (20.4 x 26.3in)  £400
       
     

André Verdet (1913-2004)

Nadine (Abstract Composition)

Linocut and photogravure, 1967

Signed and dated in ink.

An impression with the image printed on the left and a poem by Verdet titled 'Nadine' on the right.

The black form and the text has been created using a  photogravure. The colours of the image were added using a linoblock.

This is a composition that the artist experimented with many times using the same two shades of blues and the black form in the centre. The black can be read as the central subject or as negative space.

Note:
Bernadette Wilde, better known by her artist name Nadine Vivier, became André Verdet's lifelong companion from 1965 until his death in 2004. An artist in her own right, Nadine inspired Verdet's most beautiful love poems, which he often dedicated to her. She began her own artistic practise in 1971 and in the early 90s undertook a series of works called 'Oiseaux de Lune' (Moon Bird). Verdet referred to her as Nadine Vivier of the birds.

Image Size : 50 x 33cm (19.7 x 13in)
Sheet Size : 51.8 x 66.9cm (20.4 x 26.3in)

£400

  André Verdet (1913-2004)     Le Messager    Linocut printed in colour, 1970  Signed and dated in pencil.  Inscribed 'H.C.' (hors de commerce) and titled 'Le Messager'.  A proof outside the edition of 100.  Image Size : 67.3 x 32cm (26.5 x 12.6in) Sheet Size : 74.4 x 39cm (29.3 x 15.4in)   Note : Verdet's linocuts and wider work in various media often portray figures from mythology or from classic literature.  £400
       
     

André Verdet (1913-2004)

Le Messager

Linocut printed in colour, 1970

Signed and dated in pencil.

Inscribed 'H.C.' (hors de commerce) and titled 'Le Messager'.

A proof outside the edition of 100.

Image Size : 67.3 x 32cm (26.5 x 12.6in)
Sheet Size : 74.4 x 39cm (29.3 x 15.4in)

Note: Verdet's linocuts and wider work in various media often portray figures from mythology or from classic literature.

£400

  André Verdet (1913-2004)     Pur Profil de L'aimée - The True Profile of the Beloved    Linocut printed in colours, 1972  An interesting set of five items showing the development and realisation of this linocut subject. This set is comprised of two preparatory drawings and two painted colour trials of the subject; two of which include the frame of the final state and the final state of the linocut subject.  1) Drawing A preparatory drawing in pencil on a piece of tracing paper. This drawing is without the frame element found in the final state.  Image size: 54.5 x 50cm (21.46 x 19.69 ins) Sheet size: 54.5 x 50cm (21.46 x 19.69 ins)  2) Painting A painting with colour variants of the final state of the linocut subject, without the frame. Painted in red, white and yellow.  Watermark: J - Annonay  Image size: 35.5 x 25cm (13.98 x 9.84 ins) Sheet size: 35.5 x 25cm (13.98 x 9.84 ins)  3) Painting Signed and dated. (Verdet has incised his signature whilst the green paint was wet rather than writing over the paint)  A painting of the subject with the correct colours of the linocut subject including the frame. Painted in orange, white, yellow and dark green.  Image size: 30.5 x 22.5cm (12.01 x 8.86 ins) Sheet size: 30.5 x 22.5cm (12.01 x 8.86 ins)  4) Drawing A preparatory drawing in pencil on a piece of tracing paper. The subject has been drawn first on the recto in pencil, the outline of the figure and shadow have been drawn over in blue pencil. The subject was then carefully traced in pencil on the verso. This drawing includes the frame element that is found in the final linocut subject.  Image size: 53.5 x 33.7cm (12.01 x 8.86 ins) Sheet size: 53.5 x 33.7cm (12.01 x 8.86 ins)  5) Linocut printed in colours Signed, dated and titled 'Pur Profil de l'aimée' in pencil.  An impression printed in green, orange and yellow on Arches, outside the signed and numbered edition of 150 on Arches. Printed by Imprimerie Arnéra.  Annotated, 'H.C', in pencil.  Watermark: Arches  Image size: 50 x 34 cm (19.69 x 13.39 ins) Sheet size: 66 x 50.5 cm (25.98 x 19.88 ins)  £800
       
     

André Verdet (1913-2004)

Pur Profil de L'aimée - The True Profile of the Beloved

Linocut printed in colours, 1972

An interesting set of five items showing the development and realisation of this linocut subject. This set is comprised of two preparatory drawings and two painted colour trials of the subject; two of which include the frame of the final state and the final state of the linocut subject.

1) Drawing
A preparatory drawing in pencil on a piece of tracing paper. This drawing is without the frame element found in the final state.

Image size: 54.5 x 50cm (21.46 x 19.69 ins)
Sheet size: 54.5 x 50cm (21.46 x 19.69 ins)

2) Painting
A painting with colour variants of the final state of the linocut subject, without the frame. Painted in red, white and yellow.

Watermark: J - Annonay

Image size: 35.5 x 25cm (13.98 x 9.84 ins)
Sheet size: 35.5 x 25cm (13.98 x 9.84 ins)

3) Painting
Signed and dated. (Verdet has incised his signature whilst the green paint was wet rather than writing over the paint)

A painting of the subject with the correct colours of the linocut subject including the frame. Painted in orange, white, yellow and dark green.

Image size: 30.5 x 22.5cm (12.01 x 8.86 ins)
Sheet size: 30.5 x 22.5cm (12.01 x 8.86 ins)

4) Drawing
A preparatory drawing in pencil on a piece of tracing paper. The subject has been drawn first on the recto in pencil, the outline of the figure and shadow have been drawn over in blue pencil. The subject was then carefully traced in pencil on the verso. This drawing includes the frame element that is found in the final linocut subject.

Image size: 53.5 x 33.7cm (12.01 x 8.86 ins)
Sheet size: 53.5 x 33.7cm (12.01 x 8.86 ins)

5) Linocut printed in colours
Signed, dated and titled 'Pur Profil de l'aimée' in pencil.

An impression printed in green, orange and yellow on Arches, outside the signed and numbered edition of 150 on Arches. Printed by Imprimerie Arnéra.

Annotated, 'H.C', in pencil.

Watermark: Arches

Image size: 50 x 34 cm (19.69 x 13.39 ins)
Sheet size: 66 x 50.5 cm (25.98 x 19.88 ins)

£800

  André Verdet (1913-2004)     Pomone    Linocut printed in colours, 1972  Signed, dated and titled 'Pomone', in pencil.  'Epreuve d'artiste' outside the signed and numbered edition of 175 on Arches. Printed by Imprimerie Arnéra.  Watermark: Auvergne  Image Size : 50.2 x 30cm (19.8 x 11.8in) Sheet Size : 65 x 50cm (25.6 x 19.7in)   Note:  Verdet's linocuts and wider work in various media often portray figures from mythology or from classic literature. This subject depicts Pomona the ancient Roman goddess of fruitful abundance. The goddess 'Pomone' is also the title of the first French opera, written by  Robert Cambert. The partially surviving opera traces the unrequited love of Vertumnus, who attempts to get a kiss from Pomone through various disguises, eventually disguising himself as Beroé, Pomone's old nurse.This disguise succeeds as he knows Pomone would not deny a kiss for her old nurse. This subject is most likely depicting a scene from the opera, as the composition appears to have two figures and an emphasis on the lips of the female figure on the left of the subject.  £400
       
     

André Verdet (1913-2004)

Pomone

Linocut printed in colours, 1972

Signed, dated and titled 'Pomone', in pencil.

'Epreuve d'artiste' outside the signed and numbered edition of 175 on Arches. Printed by Imprimerie Arnéra.

Watermark: Auvergne

Image Size : 50.2 x 30cm (19.8 x 11.8in)
Sheet Size : 65 x 50cm (25.6 x 19.7in)

Note: Verdet's linocuts and wider work in various media often portray figures from mythology or from classic literature. This subject depicts Pomona the ancient Roman goddess of fruitful abundance. The goddess 'Pomone' is also the title of the first French opera, written by  Robert Cambert. The partially surviving opera traces the unrequited love of Vertumnus, who attempts to get a kiss from Pomone through various disguises, eventually disguising himself as Beroé, Pomone's old nurse.This disguise succeeds as he knows Pomone would not deny a kiss for her old nurse. This subject is most likely depicting a scene from the opera, as the composition appears to have two figures and an emphasis on the lips of the female figure on the left of the subject.

£400

  André Verdet (1913-2004)     Le Saint Michel de l'observatoire    Linocut printed in black, 1965  Signed and dated in pencil.  An impression printed in black on 'offset fort' paper from outside the signed and numbered edition of 150. Printed by Imprimerie Arnéra.  Watermark: Arches  Image Size : 57 x 38cm (22.4 x 15in) Sheet Size : 57 x 39.8cm (22.4 x 15.7in)   £120       
       
     

André Verdet (1913-2004)

Le Saint Michel de l'observatoire

Linocut printed in black, 1965

Signed and dated in pencil.

An impression printed in black on 'offset fort' paper from outside the signed and numbered edition of 150. Printed by Imprimerie Arnéra.

Watermark: Arches

Image Size : 57 x 38cm (22.4 x 15in)
Sheet Size : 57 x 39.8cm (22.4 x 15.7in)

£120

 

 

  André Verdet (1913-2004)     Composition    Linocut printed in colours, 1963  Signed and dedicated in blue biro.  An impression printed in black, blue and aqua from outside the signed and numbered edition of 50. Printed by Imprimerie Arnéra.  Image Size : 32.2 x 24.3cm (12.7 x 9.6in) Sheet Size : 59.8 x 38cm (23.5 x 15in)   £200    
       
     

André Verdet (1913-2004)

Composition

Linocut printed in colours, 1963

Signed and dedicated in blue biro.

An impression printed in black, blue and aqua from outside the signed and numbered edition of 50. Printed by Imprimerie Arnéra.

Image Size : 32.2 x 24.3cm (12.7 x 9.6in)
Sheet Size : 59.8 x 38cm (23.5 x 15in)

£200

 

  André Verdet (1913-2004)     Monochrome Abstract (Untitled)    Various media  A set of four items. This set is comprised of two working proofs, 'la mise' and an impression of the final state of the linocut subject.  1) Linocut printed in black  An impression thinly printed in black. This impression varies slightly from the composition of the final state; in that positions of the tear drop and the three circles are reversed.  It is unlikely that a separate linoleum block was cut in order for this experimental colour trial to be printed. Therefore one possible means of reversing the location of the uninked tear drop and three circles would be to place cut outs of these shapes onto the paper that is due to be printed on. Therefore the linoleum block would remain uncut but inked all over in black and following a successful press, the card cut outs can be removed from the sheet. This allows for the areas of paper to show through; essentially like a reversed stencil process.  Stamped in ink on the verso, 'Imprimerie Arnéra Archives / Non signé' in black ink.  2) Linocut printed in black  An impression thinly printed in black. The areas of thin printing have been circled with pen on the recto and pencil on the verso, perhaps as a means of creating the 'mise'.  Stamped in ink on the verso, 'Imprimerie Arnéra Archives / Non signé' in black ink.  3) La Mise  'La mise' of the linoleum block. During the printing process, some parts of linoleum blocks that are very soft tend to give way, consequently the areas of the image relating to the worn parts of the block no longer print. To remedy to this issue the printer, Hidalgo Arnéra, would make a so-called 'mise'.  'La mise' consists of cutting the image from one impression, and then pasting on top or underneath it small paper cut outs of the shape of the worn out parts of the block. Mr Arnéra would then place the 'mise' under the linoleum block to lift up its worn parts and proceed with printing. Incredible as it sounds, such a slight difference in thickness did make a difference to the printing.  Stamped in ink on the verso, 'Imprimerie Arnéra Archives / Non signé' in black ink.  4) Linocut printed in black  An impression of the final state, probably using the 'mise' as there are no thinly printed areas.  Stamped in ink on the verso, 'Imprimerie Arnéra Archives / Non signé' in black ink.   Note  This working group comes from the Archives the 'Imprimerie Arnéra', Vallauris.  A very interesting example of the way in which the master printer, Hidalgo Arnéra, made sure large linocut plates would print evenly. He also employed the same method with some of Picasso's linocuts.  Image Size : 80 x 58cm (31.5 x 22.8in) Sheet Size : 86 x 63cm (33.9 x 24.8in)   £350    
       
     

André Verdet (1913-2004)

Monochrome Abstract (Untitled)

Various media

A set of four items. This set is comprised of two working proofs, 'la mise' and an impression of the final state of the linocut subject.

1) Linocut printed in black

An impression thinly printed in black. This impression varies slightly from the composition of the final state; in that positions of the tear drop and the three circles are reversed.

It is unlikely that a separate linoleum block was cut in order for this experimental colour trial to be printed. Therefore one possible means of reversing the location of the uninked tear drop and three circles would be to place cut outs of these shapes onto the paper that is due to be printed on. Therefore the linoleum block would remain uncut but inked all over in black and following a successful press, the card cut outs can be removed from the sheet. This allows for the areas of paper to show through; essentially like a reversed stencil process.

Stamped in ink on the verso, 'Imprimerie Arnéra Archives / Non signé' in black ink.

2) Linocut printed in black

An impression thinly printed in black. The areas of thin printing have been circled with pen on the recto and pencil on the verso, perhaps as a means of creating the 'mise'.

Stamped in ink on the verso, 'Imprimerie Arnéra Archives / Non signé' in black ink.

3) La Mise

'La mise' of the linoleum block. During the printing process, some parts of linoleum blocks that are very soft tend to give way, consequently the areas of the image relating to the worn parts of the block no longer print. To remedy to this issue the printer, Hidalgo Arnéra, would make a so-called 'mise'.

'La mise' consists of cutting the image from one impression, and then pasting on top or underneath it small paper cut outs of the shape of the worn out parts of the block. Mr Arnéra would then place the 'mise' under the linoleum block to lift up its worn parts and proceed with printing. Incredible as it sounds, such a slight difference in thickness did make a difference to the printing.

Stamped in ink on the verso, 'Imprimerie Arnéra Archives / Non signé' in black ink.

4) Linocut printed in black

An impression of the final state, probably using the 'mise' as there are no thinly printed areas.

Stamped in ink on the verso, 'Imprimerie Arnéra Archives / Non signé' in black ink.

Note
This working group comes from the Archives the 'Imprimerie Arnéra', Vallauris.

A very interesting example of the way in which the master printer, Hidalgo Arnéra, made sure large linocut plates would print evenly. He also employed the same method with some of Picasso's linocuts.

Image Size : 80 x 58cm (31.5 x 22.8in)
Sheet Size : 86 x 63cm (33.9 x 24.8in)

£350

 

  André Verdet (1913-2004)    Cosmogonie (Untitled)   Various media, 1964-65  An interesting set of four sheets showing the development and realisation of this linocut subject. This set is comprised of a signed and dedicated painting of the subject, two working proofs of the linocut and a impression of the final state of the linocut subject.  1) Painting Signed and dedicated in pencil.  A painting with the correct colours for the final state of the linocut subject, though the composition varies slightly from that of the linocut, it may have been used as a preparatory impression for this subject.   Dedicated by the artist, "Amicalement / Pour Arnéra au témoignage de son beau travail", in pencil  Watermark: Vidallon les Annonay  Image size: 50 x 36.5cm (19.69 x 14.37 ins) Sheet size: 50 x 36.5cm (19.69 x 14.37 ins)  2) Linocut printed in colours An impression printed in blue and light blue. The central area of the subject printed in light blue has been crossed out with pencil.  Image size: 50.7 x 37cm (19.96 x 14.57 ins) Sheet size: 51 x 38cm (20.08 x 14.96 ins)  3) Linocut printed in colours An working proof of the final state printed in black, blue and light blue. The central area of the subject printed in light blue is thinly printed.  Image size: 50.7 x 37cm (19.96 x 14.57 ins) Sheet size: 51 x 38cm (20.08 x 14.96 ins)  4) Linocut printed in colours Signed and dated in pencil.  An impression printed in black, blue and light blue from outside the signed and numbered edition of 100.  Watermark: Rives  Image size: 50 x 37cm (19.69 x 14.57 ins) Sheet size: 51 x 38cm (20.08 x 14.96 ins)  £700  
       
     

André Verdet (1913-2004)

Cosmogonie (Untitled)

Various media, 1964-65

An interesting set of four sheets showing the development and realisation of this linocut subject. This set is comprised of a signed and dedicated painting of the subject, two working proofs of the linocut and a impression of the final state of the linocut subject.

1) Painting
Signed and dedicated in pencil.

A painting with the correct colours for the final state of the linocut subject, though the composition varies slightly from that of the linocut, it may have been used as a preparatory impression for this subject. 

Dedicated by the artist, "Amicalement / Pour Arnéra au témoignage de son beau travail", in pencil

Watermark: Vidallon les Annonay

Image size: 50 x 36.5cm (19.69 x 14.37 ins)
Sheet size: 50 x 36.5cm (19.69 x 14.37 ins)

2) Linocut printed in colours
An impression printed in blue and light blue. The central area of the subject printed in light blue has been crossed out with pencil.

Image size: 50.7 x 37cm (19.96 x 14.57 ins)
Sheet size: 51 x 38cm (20.08 x 14.96 ins)

3) Linocut printed in colours
An working proof of the final state printed in black, blue and light blue. The central area of the subject printed in light blue is thinly printed.

Image size: 50.7 x 37cm (19.96 x 14.57 ins)
Sheet size: 51 x 38cm (20.08 x 14.96 ins)

4) Linocut printed in colours
Signed and dated in pencil.

An impression printed in black, blue and light blue from outside the signed and numbered edition of 100.

Watermark: Rives

Image size: 50 x 37cm (19.69 x 14.57 ins)
Sheet size: 51 x 38cm (20.08 x 14.96 ins)

£700