Details — Click to read
The artist appears to have attacked the ground with a roulette and scraper before applying a very gestural mark with stop-out vanish and biting the plate deeply. During Ferron’s thirteen-year stay in Paris from 1953 she spent some time at Atelier 17, like so many Canadian artists, and this print, made many years later, reflects that influence.
A fine, rich impression on cream wove paper with full margins.