Artist's copy with Atelier Corneille stamp on the back, in a beautiful varnished solid wood frame installed by the painter. Rare edition of 18 copies - Artist's copy EA Inspired by the calligraphy the painter discovered in the desert in the early 1950s: tiffinar (Berber script). In these signs we can make out a horseman, a snake, an insect or a lizard, open reading on signs that suggest images. Varnishes left on the copper plate for longer create cracks, like fissures on stones. The technique was invented and used in Stanley William Hayter's studio, and widely used by Joan Miro in the 1940s. ‘Tademait taught me a lot. An infernal sun moulds each stone, moulds and sculpts. The sun, sand and wind transform a beer bottle into a milky-white Sumerian statue in two days. The sun also shatters the stones, cutting them into pieces and hurling them in all directions, all the while maintaining a powerful order. It was only later that I noticed that these stones were covered with a layer of soot, while inside they were pure white, like the overcooked crust and crumb of a loaf of bread.’ ‘De Tademait of de weelderige eentonigheid’ [The Tademait or Lush Monotony], Tijd en mens, No. 14, 1953 Original engraving by the painter Guillaume Corneille (1922-2010), born in Liège of Dutch parents, founding member of the Cobra movement, created for the Musée de poche editions, 1960, referenced under number 75 of the catalogue raisonné of Donkersloot's graphic works. Total dimensions : 57 x 51 cm - 1960 - Printed by Leblanc - Paris Dimensions of the work inside the passe partout : 27,5 x 21 cm Signed and dated in graphite by the artist's hand Faded paper due to age. Minor wear to frame. Secure shipping with insurance by UPS