Each signed, dated and numbered lower right recto by the artist
Portfolio of three original color lithographs drawn by hand and printed from stone by the artist, one print in four parts, the second print in three parts and the third a single print, all three fine, fresh impressions, the full sheets, printed on 300gsm Velin d'Arches paper, each print signed, dated and numbered in pencil on the final sheet, pulled in an edition of 33 examples (there were also 6 artist proofs and 1 Archive proof which is not for sale) printed by the artist with the assistance of Rasmus Urwald, published by World House Editions, South Orange, New Jersey (now Middlebury, Connecticut) and Edition Copenhagen, Copenhagen, in fine condition, contained in a linen-covered portfolio case with colophon/justification page.
Beverly Semmes uses the formal qualities of shape, color, pattern, and texture as a means to explore issues related to the body and social relationships. Though the figure is rarely depicted in her work (and when it is, it is generally obscured or fragmented), there is nevertheless a strong allusion to human presence. She is well known for soft sculptures that exaggerate the forms of clothing—particularly dresses, as seen in Honey—in order to call attention to the role the fashion industry plays in the construction of female identity. These oversized, distorted garments employ a surrealist aesthetic to question feminine stereotypes and ideals. Semmes’ investigations of these issues have expanded into a variety of media in addition to her work in fabric, including photography, ceramics and prints.