M.C. Escher (1898-1972) - Enveloppe (1955)





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Author: Maurits Cornelis Escher (1898-1972)
Title: Enveloppe (1955)
Size: 55 x 65cm
Copyright: The M.C. Escher Company - Baarn - The Netherlands.
Offset print, made on 180g matt paper. Displays a vivid and sharp image quality.
Just the right size to frame. Impressive effect when framed.
Shipping in a rigid tube via certified express mail.
It is possible to collect more than one object, from the same auction, in the same shipment.
Escher was inspired by H. G. Wells’s 1897 novel The Invisible Man. In the novel the invisible man can only be seen through the bandages that cover him, and Escher adapts this idea by making the figure female.
Escher describes the work as:
“Like the spiral rind of a fruit, like a hollow fragmentary sculpture, a female image floats through space. The effect of depth is reinforced by a layer of clouds receding toward the horizon.”
There’s another engraving related to Rind, called Bond of Union (April 1956), in which Escher “adds a man,” forming a pair with the female figure. This solved a “problem” that had bothered him in Omhulsel / Rind: in that work the ends of the bandage-like ribbons are visible instead of forming a continuous loop. (
Author: Maurits Cornelis Escher (1898-1972)
Title: Enveloppe (1955)
Size: 55 x 65cm
Copyright: The M.C. Escher Company - Baarn - The Netherlands.
Offset print, made on 180g matt paper. Displays a vivid and sharp image quality.
Just the right size to frame. Impressive effect when framed.
Shipping in a rigid tube via certified express mail.
It is possible to collect more than one object, from the same auction, in the same shipment.
Escher was inspired by H. G. Wells’s 1897 novel The Invisible Man. In the novel the invisible man can only be seen through the bandages that cover him, and Escher adapts this idea by making the figure female.
Escher describes the work as:
“Like the spiral rind of a fruit, like a hollow fragmentary sculpture, a female image floats through space. The effect of depth is reinforced by a layer of clouds receding toward the horizon.”
There’s another engraving related to Rind, called Bond of Union (April 1956), in which Escher “adds a man,” forming a pair with the female figure. This solved a “problem” that had bothered him in Omhulsel / Rind: in that work the ends of the bandage-like ribbons are visible instead of forming a continuous loop. (
