Lucas van Leyden

Pantagruel, Joan Miro's A Toute Epreuve , Picasso's Vollard Suite , Marc Chagall's Poemes and monotypes, Dunoyer de Segonzac's Georgics and Henry Moore's Elephant Skulls . Although he did not draw himself, and so played no part in making the reproductions after artists' paintings on which the Lacouriere Atelier thrived, Frelaut was a brilliant toolmaker and gready facilitated the work of those artists who drew their own prints. His role in a collaboration often led him to make a particular device to help an artist during his initial experiments. For Soulages, for example, he made a tool with a part borrowed from a fire extinguisher. For Hartung, he fashioned a set of tools from ivory toothbrush handles he had purchased in the flea-market. For Picasso, whose Tauromaquia he had to print in the very damp basement of the artist's house, he invented a set of small brushes out of a broom, to whisk up the dust in the resin box. For Henry Moore who, for 50 years, had drawn with his pencil lying almost flat, Frelaut adapted a dental pick to provide the artist with an engraving tool raked at an angle. Frelaut became Chef d'atelier in 1957, when the workshop was renamed the Atelier Lacouriere-Frelaut. Towards the

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