Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 8

Seyed M. S. Edalatpour
Mr. Thirteen (the insignificance of the significant)

1995

About the Item

"Mr. Thirteen" is an etching, engraving and drypoint created in 1995, edition: 12 signed in pencil. The print has an embossed chop in the lower right corner, a capital P in a circle indicating that it was printed by Pratt Contemporary Art, Kent, England. This image was issued with a series of 12 small heads titled "One of Twelve". These intaglio prints are based on a sculpture featuring disembodied heads. The Thirteenth creates a different proportional system and it is suggestive of the multitude, the plurality and the insignificance of the significant. This is an installation of thirteen heads, twelve of which are identical in dimension and the thirteenth head is much larger. The installation is designed in accordance with geometrical rules. Twelve and the 13th began with twelve blocks of stone, identical in dimension. Within the square block exists a perfect sphere. The sphere, the desired sphere, it is the reflection of a point, a point with no dimension. The journey from one to twelve is an investigation into the desired Sphere. The possibilities of the form are investigated, the many faces of the sphere. ’O Lord how marvellous is Thy face Thy face, which a young man, if he strove to imagine it, would conceive as a youth's; a full-grown man, as manly; an aged man as an aged man's! Who could imagine this sole pattern, most true and most adequate, of all faces - of all even as of each - this pattern so very perfectly of each as if it were of none other? He would have to go beyond all forms of faces, and all likenesses and all figures. And how could he imagine a face when he must go beyond all faces, and all likenesses and figures of all faces and all concepts which can be formed of a face, and all colour, adornment and beauty of all of all faces? Wherefore he that goeth forward to behold Thy face, so long as he formeth any concept, thereof, is far from Thy face. For all concept of a face falleth short, Lord, of Thy face, and all beauty which can be conceived is less than the beauty of Thy face; every face hath beauty yet none is beauty's self, but Thy face, Lord, hath beauty and this having is being. 'Tis therefore Absolute Beauty itself, which is the form that giveth being to every beautiful form. 0 face exceedingly comely, whose beauty all things to whom it is granted to behold it, suffice not to admire! In all faces is seen the Face of faces, veiled, and in a riddle; howbeit unveiled it is not seen, until above all faces a man enter into a certain secret and mystic silence where there is no knowledge or concept is the state below which Thy face entereth when he goeth beyond all knowledge or concept of a face. This mist, cloud, darkness, or ignorance into which he that seeketh Thy face 'entereth when he goeth beyond all knowledge or concept is the state below which Thy face cannot be found except veiled; but that very darkness revealeth Thy face there, beyond all veils.’² Twelve is a number, perhaps of a significant value. Any given number is the smaller sum of its proceeding one. Twelve as significant as it may be, it is not more so than the thirteenth. The shock of displacement was the driving force in Seyed Edalatpour's early work. He found the act of building on a shifting sand a bewildering experience. As a result he framed his practice as research-driven and project-based. The first instance was "Geographical Transformation" in 1987, which became a journey of discovery, gave birth to the idea of self-contained and informed him of the possibility of a path ahead. He then investigated the structure of such possibility in "Self-functional Architecture" where, by the process of de-construction and re-construction, he examined the cultural mechanism in the act of making. "Cannons of Gods", "Zekr", "Farsh", "Twelve and the 13th", " 99names of Gods", "Square" and "Cheheltan" were further studies where Edalatpour sought to strengthen the foundation of his practice. Since 2010, Edalatpour has been working predominantly with wood as a choice material, and examining the condition of man in his current post-existentialist status. In "Circus", Edalatpour's deep affection for man becomes apparent and indeed it is clear that such arrival is the result of his pervious quests but the man he portrays in "Circus" is far from the ancient gods he so admired. He is caught in between inevitabilities.
More From This SellerView All
  • Man with Outstretched Arms
    By Maurice Pasternak
    Located in New Orleans, LA
    Maurice Pasternak has created a portrait of his signature figure with outstretched arms. He moves images around on the paper to create a sense of mystery and drama. This impression ...
    Category

    Late 20th Century Surrealist Portrait Prints

    Materials

    Mezzotint

  • Settling II Homage to the Mezzotint (Self Portrait of Artist with his Tools)
    By Francisco Souto
    Located in New Orleans, LA
    Francisco Souto has created his self portrait working on the plate of a mezzotint. This is impression #14 from an edition of only 23. Souto received a BFA from Herron School of Art ...
    Category

    Early 2000s American Modern Portrait Prints

    Materials

    Mezzotint

  • Mlle. Celine and Escort (Celine is a dancer former mistress of Mister Rochester)
    By Fritz Eichenberg
    Located in New Orleans, LA
    Fritz Eichenberg did some original wood engravings for "Jane Eyre." Céline Varens was Adèle's mother and Mr. Rochester's former mistress. A French opera dancer, Céline pretended to ...
    Category

    Late 20th Century American Modern Figurative Prints

    Materials

    Wood, Engraving

  • Georgiana and Eliza (cousins of Jane Eyre)
    By Fritz Eichenberg
    Located in New Orleans, LA
    Fritz Eichenberg did some original wood engravings for Jane Eyre. This is an image featuring Georgiana And Eliza. As children, Eliza and Georgiana Reed, alon...
    Category

    Late 20th Century American Modern Figurative Prints

    Materials

    Wood, Engraving

  • Untitled (Portrait of a young woman - wife of the artist)
    By Francisco Souto
    Located in New Orleans, LA
    This is a self portrait of a young woman who is the wife of the artist. Francisco Souto was born in Venezuela, and received a BFA from Herron School of Art and a MFA from The Ohio ...
    Category

    Early 20th Century American Modern Portrait Prints

    Materials

    Mezzotint

  • One of Twelve XI (etchings of one of 12 heads based on monumental sculpture)
    By Seyed M. S. Edalatpour
    Located in New Orleans, LA
    "One of Twelve XI" is an etching, 1995, 4 3/4 x 4 3/4, edition: 24, signed in pencil. The print has an embossed chop in the lower right corner, a capital P in a circle indicating th...
    Category

    1990s Post-Modern Portrait Prints

    Materials

    Etching

You May Also Like
  • Salvador Dali - La Fontaine Portrait - Handsigned Engraving
    By Salvador Dalí­
    Located in Collonge Bellerive, Geneve, CH
    Salvador Dali - La Fontaine Portrait - Handsigned Engraving 1974 Hand signed by Dali Edition: /250 The dimensions of the image are 22.8 x 15.7 inches on 31 x 23.2 inch paper Referenc...
    Category

    1970s Surrealist Figurative Prints

    Materials

    Drypoint, Aquatint

  • Trajan - Drypoint Etching attr. to Salvador Dalì - 1973
    By Salvador Dalí­
    Located in Roma, IT
    Trajan is an original contemporary artwork realized in 1973. Black and white drypoin etching. Hand signed on the lower margin. Numbered on the lower left. Edition of 216/261. Ref...
    Category

    1970s Surrealist Figurative Prints

    Materials

    Drypoint, Etching

  • HAMLET SUITE
    By Salvador Dalí­
    Located in Aventura, FL
    This rare 10 piece series from 1973 is Dali's interpretation of Shakespeare's drama Hamlet. Dali paid homage to Shakespeare in several other works but this suite is considered to be ...
    Category

    1970s Surrealist Figurative Prints

    Materials

    Lithograph, Engraving, Aquatint, Paper

  • The Box at 'Faustus'
    By Diana Thorne
    Located in Storrs, CT
    The Box at 'Faustus'. 1929. Drypoint. 11 x 8 7/8. Edition 100, #39. Signed, titled, and numbered in pencil. A rich impression printed on the full sheet of pale blue/green-toned wove paper. Signed in pencil. A tongue-in-cheek image of the devil in the opera box...
    Category

    1920s American Modern Portrait Prints

    Materials

    Etching, Drypoint

  • Portrait of James McBey.
    By Walter Tittle
    Located in Storrs, CT
    James McBey. 1931. Drypoint. 8 7/8 x 5 7/8 (sheet 11 1/2 x 9 ). An extremely rich impression with drypoint burr, printed by the artist on cream wove paper. Signed in the plate lower ...
    Category

    1930s American Modern Portrait Prints

    Materials

    Drypoint, Etching

  • Below Stairs.
    By Edmund Blampied
    Located in Storrs, CT
    Below Stairs. 1930-31. Drypoint. Appleby 143. 10 1/4 x 7 3/4 (sheet 15 3/4 x 10 1/8). Edition 100, #31. A very rich, tonal impression on cream-colored laid paper. Unobtrusive soiling in the top left- and lower-left hand margins, just below the platemark; and light mat line just outside the platemark. . Signed and numbered in ink. Housed in a 20 x 16-inch archival mat, suitable for framing. A charming discussion between the chef and a scullery maid in a "Downtown Abbey...
    Category

    1930s Modern Figurative Prints

    Materials

    Drypoint, Etching

Recently Viewed

View All