Description
René Quillivic (1879-1969) Ma mère (French version). 1913. Woodcut. 255 x 405 [330 x 430]. Very fine proof on thin japanese paper, with the inscription in French in the upper left corner, signed and dated in pencil in the lower right corner of the subject. Minimal foxing. Full margins. Very rare. Stamp R. T. stamp on mount. In another version, a bowl rests on the table and the engraved Breton inscription reads: "marie / bren / eol / gannet / e ker- / eval / maro / er vorch' / e mab da viken" ("Marie Breneol, born in Kereval, died in the village, her son for life"). The artist used the same drawing and transferred it to another block of wood to give our version. "A friend of the artist, the Quimper-born critic Charles Chassé [...] dates these early works to 1912, and gives as the first engraving the portrait of the artist's mother seated beside a table, wearing Cap-Sizun costume. The print, reproduced by The Studio magazine in 1919, is remarkable for its gravity, its balance, and its dramatic use of the unmixed opposition of the black of the ink and the white of the sheet, which probably indicates a knowledge of Vallotton's woods". (P. Le Stum, "René Quillivic (1879-1969), graveur sur bois", in Nouvelles de l'Estampe, 2015, n° 253, p. 38-49).
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René Quillivic (1879-1969) Ma mère (French version). 1913. Woodcut. 255 x 405 [330 x 430]. Very fine proof on thin japanese paper, with the inscription in French in the upper left corner, signed and dated in pencil in the lower right corner of the subject. Minimal foxing. Full margins. Very rare. Stamp R. T. stamp on mount. In another version, a bowl rests on the table and the engraved Breton inscription reads: "marie / bren / eol / gannet / e ker- / eval / maro / er vorch' / e mab da viken" ("Marie Breneol, born in Kereval, died in the village, her son for life"). The artist used the same drawing and transferred it to another block of wood to give our version. "A friend of the artist, the Quimper-born critic Charles Chassé [...] dates these early works to 1912, and gives as the first engraving the portrait of the artist's mother seated beside a table, wearing Cap-Sizun costume. The print, reproduced by The Studio magazine in 1919, is remarkable for its gravity, its balance, and its dramatic use of the unmixed opposition of the black of the ink and the white of the sheet, which probably indicates a knowledge of Vallotton's woods". (P. Le Stum, "René Quillivic (1879-1969), graveur sur bois", in Nouvelles de l'Estampe, 2015, n° 253, p. 38-49).
