Robert Combas (1957) - L’ivresse de Noé






Held senior specialist role at Finarte for 12 years, specialising in modern prints.
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Robert Combas, L’ivresse de Noé, 1995, aquatint with collage and drawing, edition 52/100, hand-signed, on 500 g paper (70 x 90 cm), framed in a black American-style caisse américaine (frame 82 x 102 cm), in excellent condition with certificate of authenticity.
Description from the seller
Each work in this series is unique due to Robert Combas's direct manual intervention on the photograph glued to the center of the composition.
Technique: Aquatint, collage, drawing, embossing
Support: 500 g Rives paper
Pagination: 52/100
Signature: Handwritten signature
Paper dimensions: 70x90cm
Frame dimensions: 82x102cm
Year: 1995
Frame: American black wooden box with floating subject
Excellent condition
Authentication: Work sold with certificate of authenticity.
UPS 48H
- Professional packaging
Assurance
In this energetic and overflowing work, Robert Combas revisits the biblical episode of Noah’s drunkenness with his own pictorial language: a profusion of lines, raw theatrics, and taut irony. Between sacred and profane, myth and excess, he distorts the ancient narrative into a free, saturated, intensely living aesthetics. A strong example of the narrative vitality of free figuration.
Seller's Story
Each work in this series is unique due to Robert Combas's direct manual intervention on the photograph glued to the center of the composition.
Technique: Aquatint, collage, drawing, embossing
Support: 500 g Rives paper
Pagination: 52/100
Signature: Handwritten signature
Paper dimensions: 70x90cm
Frame dimensions: 82x102cm
Year: 1995
Frame: American black wooden box with floating subject
Excellent condition
Authentication: Work sold with certificate of authenticity.
UPS 48H
- Professional packaging
Assurance
In this energetic and overflowing work, Robert Combas revisits the biblical episode of Noah’s drunkenness with his own pictorial language: a profusion of lines, raw theatrics, and taut irony. Between sacred and profane, myth and excess, he distorts the ancient narrative into a free, saturated, intensely living aesthetics. A strong example of the narrative vitality of free figuration.
