Very nice etching on the theme of cats.

Nice size, well framed.

It's a superb work that will please all cat lovers.

Signed bottom right

Numbered 88/150

Dimension with frame: 85cm x 70cm (33'' x 27.5'')

Poster dimension: 47cm x 62cm

This is a large etching and is heavy due to the frame and glass.

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MOREH MORDECAI, a drypoint engraver, his favorite theme is a bestiary of imaginary animals, most often depicted injured, crucified, to denounce the cruelty and injustice of Man. He also uses mixed media and paints in tempera with several layers of oil paint, in the manner of the Old Masters. His life and work are also marked by incessant spiritual research.

In the years 1978-80, Moreh worked on mixed media miniatures in color depicting imaginary animals metamorphosing into plants, musical instruments or totems, which gave Bestiary of the 7th Day or Moreh's microfauna.

The original drawings were presented at the 1980 FIAC, at the Grand Palais, in Paris

In 1981, the Haifa Museum of Art exhibited his drawn and engraved work depicting imaginary animals, and Michèle Broutta inaugurated her gallery with a retrospective of his graphic work from 1960 to 1981. Édouard Roditi interviewed him in More Dialogues on Art. In 1983, the Galerie Michèle Broutta published Entre le rêve et l'éveil (Between Dream and Awakening), which brought together 48 mixed media works on paper as well as six of his poems; this work was also published in Italian by the Galleria Don Chisciotte.

Moreh continued to travel through European zoos in 1982, and made his first drawings of rhinoceroses in the zoos of Hamburg and Amsterdam. At the end of 1983, he completely changed his subject and moved from imaginative small-format subjects to larger mixed-media works of still lifes, often combined with an animal. Pomegranates and irises that the artist picked in his family's garden — then settled in Jerusalem — were his favorite subjects. He received the Wizo prize in Paris.

Moreh participated again in FIAC in 1985 with a solo exhibition of this last series thanks to the Galerie Michèle Broutta. The same year, Mordecaï Moreh wrote the chapter on drypoint in the work La Gravure en Taille-douce. He presented paintings for the Art and Alchemy exhibition at the Venice Biennale. Moreh began several series of large-format paintings, on subjects ranging from imaginary gardens to processions and carnivals.

In 1988, injured in the leg and in the hospital, Moreh had to give up painting for a while. He decided to return to the Cirque and Don Giovanni series, but in mixed media. The following year, he exhibited large-format paintings in Les Jardins initiatiques at the Contrast Gallery in Brussels.

In 1990, Moreh had a solo exhibition at the "SAGA" exhibition, at the Grand Palais in Paris, which included four rhinoceroses.

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