The Hand of Man.

New York: Hammer Publications, 1981. First edition. One of 300 numbered copies. Folio (19 x 23 inches). Introduction sheet by Carl Sagan and 10 serigraphs of cave art with each print having a leaf of explanatory text. Housed in the original brown box with cover lettering. Pinholes to corners professionally and invisibly repaired. A very good copy. Oddly, only 2 copies recorded by OCLC.The finest and most beautiful reproductions of European cave paintings ever published. Every major continent has cave paintings by prehistoric man and they have long fascinated the modern world. There has been a plethora of books and theories about these cave painting starting from the work of Abbé Henri Breuil and extending to today. Perhaps one of the most finely executed works on the subject is the title offered here. This suite of prints was created in conjunction with an exhibition at Hammer Galleries in NYC in the fall of 1982. Mazonowicz, who lived in Spain, spent time visiting Altamira and Valltorta and Gasulla, and also traveled to the caves of France and the Sahara. He created 20 life sized reproductions of cave paintings, ten of which are included in this portfolio. Titles include: Bowmen and Deer, Two Figures in Finery, Engraved Frieze, Hunter and Ibex, Head of a Horse, Giraffe, Prancing Horse, Crouching Bison, Group of Antelopes, and Helmeted Warrior.Douglas Howcroft Mazonowicz, a graphic artist, helped preserve some of the world's most famous prehistoric cave paintings by recreating them on silk. Born in Swindon, in Wiltshire, England, Mr. Mazonowicz spent 15 years in France, Spain, North Africa and North America seeking prehistoric art. Mazonowicz wrote several books about prehistoric art including: Prehistoric Rock Paintings of Tassili n’ Ajjer (1969); In Search of Cave Art (1973); Voices from the Stone Age (1974), and The Hand of Man (1981). "Mazonowicz photographed the works he reproduced, using a slide projection of the work on drawing paper. Over the slide projection he drew black outline details of the painting. He then began to transfer the image using a silkscreen technique. A new screen was prepared for each color application. Mazonowicz used modern oil based colors instead of the mineral-based colors of the stone age artists. His goal was to faithfully preserve the rock paintings since they are subject to modern day pollution and vandals" (Rogallery).