Gino Severini, ‘The Cyclist | Le Cycliste’, 1956, Gilden's Art Gallery

This original lithograph in colours is hand signed in pencil by the artist "Gino Severini" at the lower right margin.
It is also hand numbered in pencil "83/150" at the lower left margin.
This lithograph was printed by Michael Cassé, Paris and published in a limited edition of 150 signed and numbered impressions by L'Oeuvre Gravee, Paris-Zurich, in 1956.
A few artists proofs were printed aside the regular edition.
The paper bears the BFK Rives watermark and the publisher's dry stamp at the lower left corner.


  • Meloni, Francesco, 1982. "Gino Severini: Tutta L’Opera Grafica". Reggio Emilia: Prandi.
    Reference: Meloni 31.
  • Piero Pacini, "Gino Severini", Sadea/Sansoni, Florence, 1966, illustrated on table 69;
  • Piero Pacini, "La Sala Gino Severini" nel Museo dell'Accademia di Cortona, Grafiche Calosci, Cortona, 1972, page 35 and following pages, no. 24;
  • "Severini e Cortona", a cura di Aldo e Jolanda Quinti, Officina, Rome, 1976, page 139, no. 24;
  • Piero Pacini, "Gino Severini. Disegni e Incisioni", La Nuova Italia, Florence, 1977, illustrated on table 59.


  • "L'Incisione artistica italiana d'oggi", Palazzo della Ragione, Padova, 26 May -23 June 1963;
  • "Gino Severini", Musee National d'Arte Moderne, Paris, July - October 1967, no. 182;
  • "VII Biennale dell'Incisione Italiana Contemporanea", introduction of Roberto Salvini, Opera Bevilacqua La Masa, Venice, 1-30 June 1968, page 86 and following pages, no. 19, illustrated on table 97/m;
  • "Gino Severini en Suisse", presentation by Charles Journet and Pierre Fasel, Chateau de Romont, Romont, 15 June - 1 September 1974, no. 14

Condition: Very good condition.

About Gino Severini

While closely associated with the Futurist movement, Gino Severini’s artistic style metamorphosed several times throughout his career. He is best known for using color to accentuate contrasts and emphasize his compositions’ musicality, which owes to his study of complementary colors and early adoption of Divisionism. Upon moving to Paris, Severini’s paintings became increasingly abstract as he embraced Synthetic Cubism—essentially constructing a composition out of fragments of objects—drawing influence from Pablo Picasso and Georges Braque, as well as the writer Guillaume Apollinaire, whose company he kept. Around 1916 his emphasis shifted from deconstructing forms to imposing geometric order on his compositions, and he would later experiment with a Neoclassical figurative style, producing mosaics, murals, and frescos, as well as designing sets and writing. A frequent theatergoer, Severini often painted still lifes with musical instruments and scenes from the Commedia dell’Arte.

Italian, 1883-1966, Cortona, Italy