Maternité. Mother and Child. by Gino Severini, 1883-1966

Gino Severini, 1883-1966
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Maternité. Mother and Child.

Stencil print in colours. 1930. Signed in full in pencil. Inscribed by Severini: Epreuve d'artiste pour l'album Fleurs et Masques - Artist's Proof for the Flowers and Masks album'. Also dedicated in pencil by Severini: 'A Georges Allié souvenir très cordial de son ami'. Very rare
signed proof before the edition of 125 for the series 'Fleurs et Masques'. Issued by Etchells and MacDonald 1930.
Note: Stencils printed by J.Saudre Paris under Severini's supervision.
Ref: Meloni - Severini Opera Grafica no 70.

Extremly fine impression with excellent colours. On smooth pale cream japan-type paper. Excellent condition; unrubbed print surface. With small margins (?as presented by Severini
as it fitted the origial frame). Sheet: 14 1/4 x 9 1/8ins. Image: 13 1/4 x 8 1/2ins (338x217mm).

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An extremely rare signed and dedicated proof of one of the most beautiful images in Severini?s series of 1930 ?stencil-print? compositions ?Fleurs et Masques?. (The edition was issued unsigned).

Severini had been one of the founders of the Italian Futurist movement in the first decade of the century, together with Ball and Boccioni, for example. Around 1906 he went to Paris and joined the growing cubist-inspired movement of the Section d?Or working with such painters as Gris and Marcoussis. At the end of the decade he met both Carra and De Chirico and they determined to form the group ?Valori Plasticci - Plastic Values? which extolled the basis of classical form liked to a definition of plane and space developed from cubism. In many ways the stencil prints of the ?Fleurs et Masques? series sum up this most important and beautiful movement in Italian 20th century art.

Severini?s stencil prints typify the short-lived interest in this medium in the late 1920?s and early 1930?s in Paris. Artists like Picasso, Miro and Gleizes (see nos. 46, 38, 22 in this catalogue) had been looking for a print medium which would brilliant master printers, like J.Saudre and xxxxxxxxxxxx who had started in the commercial field realised that ?stencil? printing, or pochoir, could be used to create just these qualities for artists. In their studios Picasso, Gleizes, Miro and Severini, for example, created some of the most individual allow the creation of absolute clarity of form and surface together with purity of colour tone. One or two print images of the first half of the 20th century.