Paul Delvaux, Construction d'un Temple en Ruine, Plate No. 9, Etching, 1973

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Construction d’un temple – Plate n. 9 is a b/w original etching realized in 1972 (as stated on plate on … Read more Construction d’un temple – Plate n. 9 is a b/w original etching realized in 1972 (as stated on plate on the lower right margin) by Paul Delvaux. from the collection “ Construction d’un temple en ruine à la déesse Vanadé ”, this complex artwork originated from the collaboration of four years between the French author and member of the Nouveau-Roman movement Alain Robbe-Grillet (1922-2008), and the Belgian artist Paul Delvaux (1897-1994). First, Robbe-Grillet wrote a text, to which Delvaux then replied with a wonderful engraving; Robbe-Grillet then responded with a second text. This is how the building blocks for this beautiful collection came together: it was then built 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 the “Richard Bas ” watermark (on the lower left margin). This enchanting artwork depicts a crowded urban scene, with women portrayed in typical dresses of the early 20th century, though still resembling ancient Greek statues. A very enigmatic composition, hard to explain. 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 fostered by Mira Jacob , a private collector of Symbolist and Surrealist paintings. She was the one who encoraged Paul Delvaux during their first meeting in 1965 to begin making lithographs. For this collection, the Belgian artist produced a wide variety of engravings, some of which are dry-points. Paul Delvaux (1897-1994) Famous for his artworks presenting female nudes as cold marble statues in a dreamlike world, Delvaux’s works are sometimes considered theaters of courtesans. In our case, the female figures are often depicted in the foreground. Oblong Shape: This edition from Fequet and Baudrier is exciting due to its oblong shape. The text was hand-set by François Da Ros, who produced numerous editions for Fequet and Baudrier between 1964-1978. Da Ros was later appointed Master-Typographer. The engravings were printed on Piero Crommelynck ’s engraving press, one of Picasso’s favorite engravers. 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. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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