£1,500.00
incl. VAT

Comosition, 1974

etching and aquatint

signed, numbered and dated

an edition of 99

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Comosition, 1974

£1,500.00 incl. VAT

etching and aquatint

signed, numbered and dated

an edition of 99


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£0.00
Sold

Rond bleu

etching and aquatint

signed and numbered

an edition of 99

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Rond bleu

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etching and aquatint

signed and numbered

an edition of 99


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£0.00
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Glissement

etching and aquatint

signed and numbered

an edition of 99

76 x 60 cm

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Glissement

£0.00 Sold

etching and aquatint

signed and numbered

an edition of 99

76 x 60 cm


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£1,000.00
incl. VAT

Apparition Tardive, 1970

etching and aquatint

signed and numbered

an edition of 99

76 x 60

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Apparition Tardive, 1970

£1,000.00 incl. VAT

etching and aquatint

signed and numbered

an edition of 99

76 x 60


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£1,000.00
includ. VAT

Yellow composition, c. 1975

etching and aquatint

signed and numbered

an edition of 99

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Yellow composition, c. 1975

£1,000.00 includ. VAT

etching and aquatint

signed and numbered

an edition of 99


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£0.00
sold

Composition, Black and White, 1978

etching and aquatint

signed and numbered

an edition of 99

60 x 76 cm

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Composition, Black and White, 1978

£0.00 sold

etching and aquatint

signed and numbered

an edition of 99

60 x 76 cm


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Piza was born in Sao Paulo, where he received his first training. He moved to Paris in 1955 and worked in the studio of the master of colour etching, Johnny Friedlaender. Piza soon became expert in all the techniques of etching and aquatint, using sugar-lift extensively, but he experimented in various ways to make his work more sculptural and three dimensional. He abandoned traditional etching techniques and, using very thick copper plates, he devised his unique "gouge" technique by incising his designs into his plates with hammers and various shaped chisels. The precision required is exact as his grooves need to be precisely deep and wide enough to hold his hand-made special inks. Because of the depths of the grooves, the direction of the wiping directly affects the final impression. Each impression of his prints requires at least 30 minutes between colours in order for the plate to be re-inked and wiped, and he has to use cold plates in order for the inks not to dry out. The process of producing each impression is a time consuming and laborious process of colaboration between Piza and his printers. His work has met with great success and is shown in major public collections world-wide, including MOMA in New York, the Bibliotheque Nationale and the Musé d’Art Nationale (Centre Pompidou) in Paris. He has been awarded numerous prizes, notably for etching, at the 1959 Sao Paolo Biennale and at Documenta Kassel in 1959.

Chisels used for the gouging
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Composition, rouge, 1978

etching and aquatint

signed and numbered

an edition of 99

80 x 60 cm

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Composition, rouge, 1978

£0.00 sold

etching and aquatint

signed and numbered

an edition of 99

80 x 60 cm


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£0.00
sold

Composition, Bleu, 1978

etching and aquatint

signed and numbered

an edition of 99

76 x 60 cm

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Composition, Bleu, 1978

£0.00 sold

etching and aquatint

signed and numbered

an edition of 99

76 x 60 cm


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