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Berto Lardera
Italian-French, 1911-1989

Berto Lardera Italian-French, 1911-1989

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Open a larger version of the following image in a popup: Berto Lardera, <i>Humain Sur-Humain</i>, 1959
Open a larger version of the following image in a popup: Berto Lardera, <i>Humain Sur-Humain</i>, 1959
Open a larger version of the following image in a popup: Berto Lardera, <i>Humain Sur-Humain</i>, 1959
Open a larger version of the following image in a popup: Berto Lardera, <i>Humain Sur-Humain</i>, 1959
Open a larger version of the following image in a popup: Berto Lardera, <i>Humain Sur-Humain</i>, 1959

Berto Lardera Italian-French, 1911-1989

Humain Sur-Humain, 1959
Etching with aquatint and carborundum
30 x 22 in | 76.2 x 55.9 cm
Edition 25 of 150
Signed, dated, and numbered in pencil
$1,750
Berto Lardera, <i>Humain Sur-Humain</i>, 1959
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Further images

  • (View a larger image of thumbnail 1 ) Berto Lardera, <i>Humain Sur-Humain</i>, 1959
  • (View a larger image of thumbnail 2 ) Berto Lardera, <i>Humain Sur-Humain</i>, 1959
  • (View a larger image of thumbnail 3 ) Berto Lardera, <i>Humain Sur-Humain</i>, 1959
  • (View a larger image of thumbnail 4 ) Berto Lardera, <i>Humain Sur-Humain</i>, 1959
  • (View a larger image of thumbnail 5 ) Berto Lardera, <i>Humain Sur-Humain</i>, 1959
COA issued by Collette Gallery
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About the Work


Humain Sur-Humain (Human Superhuman) is an etching created in 1959 by Roberto (Berto) Lardera. Although primarily known as a sculptor, Lardera produced a significant collection of monumental works using rough-cut, thick metal planes to form jagged, abstract figures. For this etching, he utilized a similar approach by cutting thick iron plates into two-dimensional intaglio shapes. He then pulled the etching using a mixture of oxblood and navy aquatint combined with metalized carborundum. The result is a "sculptural" print that effectively replicates the appearance of the artist's patinated steel sculptures on paper.


This work was printed on Arches wove paper by the renowned gravure specialist Atelier Lacourière-Frélaut in Paris, although the publisher remains unknown. The etching has been restored by a professional from the American Institute for Conservation (AIC) to restore the original brightness of the Arches paper. For more information, please contact the gallery.

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