Skip to main content
Want more images or videos?
Request additional images or videos from the seller
1 of 12

Braque, Oiseaux, Verve: Revue Artistique et Littéraire (after)

1955

About the Item

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition with centerfold, as issued. Notes: From the volume, The Intimate Sketchbooks of G. Braque, Verve: Revue Artistique et Littéraire, Vol. VIII, N° 31-32, 1955. Published by Éditions de la revue Verve, Paris in collaboration with Harcourt Brace and Company, New York; and printed by Mourlot Frères, Paris, September 20, 1955. Excerpted from the volume on the background of this and the other works set forth therein, The illustrations in this volume are reproduced from the sketch-books—carnets de travail—which Georges Braque has been keeping up for thirty years and more, and which constitute a daily record of fragments of the visible world that have caught his attention and ideas for paintings that have occurred to him. In fact the only difference between these sketch-books and the diaries kept by so many writers is that here the entries are not written but take the form of gouache or watercolor sketches. Hitherto Braque has always refused to make public these albums, which he takes with him wherever he goes and which comprise the bulk of his work as a draftsman. Now at long last he has authorized the reproduction of a number of pages of these albums, selected by himself with our co-operation. GEORGES BRAQUE (1882-1963) was a major 20th-century French painter, collagist, draughtsman, printmaker and sculptor. His most notable contributions were in his alliance with Fauvism from 1905, and the role he played in the development of Cubism. Braque's work between 1908 and 1912 is closely associated with that of his colleague Pablo Picasso. Their respective Cubist works were indistinguishable for many years, yet the quiet nature of Braque was partially eclipsed by the fame and notoriety of Picasso.
  • Creation Year:
    1955
  • Dimensions:
    Height: 13.25 in (33.66 cm)Width: 20.75 in (52.71 cm)
  • Medium:
  • Movement & Style:
  • After:
    Georges Braque (1882 - 1963, French)
  • Period:
  • Condition:
  • Gallery Location:
    Auburn Hills, MI
  • Reference Number:
    1stDibs: LU1465214152852
More From This SellerView All
  • The Bird, School Prints, Georges Braque
    By Georges Braque
    Located in Auburn Hills, MI
    Lithograph on English cartridge paper. Inscription: Unsigned and unnumbered, as issued. Good Condition; never framed or matted. Notes: Published by School Prints Ltd., London; Printe...
    Category

    1940s Modern Landscape Prints

    Materials

    Lithograph

  • Bonnard, Composition (Terrasse 54), Pierre Bonnard Correspondences (after)
    By Pierre Bonnard
    Located in Auburn Hills, MI
    Lithograph on Velin d'Arches paper, mounted on supporting sheet by the publisher, as issued. Inscription: Signed in the plate and unnumbered, as issued. Good condition. Notes: From t...
    Category

    1940s Modern Landscape Prints

    Materials

    Lithograph

  • Mourlot, Composition, De Goupil a Margot, Histoires de Bêtes (after)
    By Maurice Mourlot
    Located in Auburn Hills, MI
    Lithograph in colors on Grand Vélin Blanc paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, de Goupil a Margot, Histoires De Bêtes et Lithographies Originales de Maurice Mourlot, 1948. Published by Henri Kaeser, Éditeur, Lausanne; printed by Mourlot Frères, Paris, March, 1948. Excerpted from the volume (translated from French), This edition of "de Goupil a Margot" by Louis Pergaud, produced under the direction of Henri Kaeser, was completed to be printed on the presses of l'imprimerie centrale de Lausanne, in March, One Thousand Nine Hundred and Forty-Eight. The lithographs are by Maurice Mourlot. They were shot on the presses of Mourlot Frères in Paris. Justification of the draw—this edition was drawn on Grand Vélin White, has MMM examples numbered from I to MMM. MAURICE MOURLOT (1906-1983) was a French painter, lithographer, engraver and draughtsman. His brother, Fernand Mourlot (1895-1988), was the director of the l’imprimerie lithographique Mourlot. Maurice is the youngest of a family of nine children. His father, Jules Mourlot, a printer-lithographer, noticed his youngest son's talent as a drawing very early on and reported several of his drawings on lithographic stone. Although admitted to the Estienne school...
    Category

    1940s Modern Landscape Prints

    Materials

    Lithograph

  • Mourlot, Composition, De Goupil a Margot, Histoires de Bêtes (after)
    By Maurice Mourlot
    Located in Auburn Hills, MI
    Lithograph in colors on Grand Vélin Blanc paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, de Goupil a Margot, Histoires De Bêtes et Lithographies Originales de Maurice Mourlot, 1948. Published by Henri Kaeser, Éditeur, Lausanne; printed by Mourlot Frères, Paris, March, 1948. Excerpted from the volume (translated from French), This edition of "de Goupil a Margot" by Louis Pergaud, produced under the direction of Henri Kaeser, was completed to be printed on the presses of l'imprimerie centrale de Lausanne, in March, One Thousand Nine Hundred and Forty-Eight. The lithographs are by Maurice Mourlot. They were shot on the presses of Mourlot Frères in Paris. Justification of the draw—this edition was drawn on Grand Vélin White, has MMM examples numbered from I to MMM. MAURICE MOURLOT (1906-1983) was a French painter, lithographer, engraver and draughtsman. His brother, Fernand Mourlot (1895-1988), was the director of the l’imprimerie lithographique Mourlot. Maurice is the youngest of a family of nine children. His father, Jules Mourlot, a printer-lithographer, noticed his youngest son's talent as a drawing very early on and reported several of his drawings on lithographic stone. Although admitted to the Estienne school...
    Category

    1940s Modern Landscape Prints

    Materials

    Lithograph

  • Mourlot, Composition, De Goupil a Margot, Histoires de Bêtes (after)
    By Maurice Mourlot
    Located in Auburn Hills, MI
    Lithograph in colors on Grand Vélin Blanc paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, de Goupil a Margot, Histoires De Bêtes et Lithographies Originales de Maurice Mourlot, 1948. Published by Henri Kaeser, Éditeur, Lausanne; printed by Mourlot Frères, Paris, March, 1948. Excerpted from the volume (translated from French), This edition of "de Goupil a Margot" by Louis Pergaud, produced under the direction of Henri Kaeser, was completed to be printed on the presses of l'imprimerie centrale de Lausanne, in March, One Thousand Nine Hundred and Forty-Eight. The lithographs are by Maurice Mourlot. They were shot on the presses of Mourlot Frères in Paris. Justification of the draw—this edition was drawn on Grand Vélin White, has MMM examples numbered from I to MMM. MAURICE MOURLOT (1906-1983) was a French painter, lithographer, engraver and draughtsman. His brother, Fernand Mourlot (1895-1988), was the director of the l’imprimerie lithographique Mourlot. Maurice is the youngest of a family of nine children. His father, Jules Mourlot, a printer-lithographer, noticed his youngest son's talent as a drawing very early on and reported several of his drawings on lithographic stone. Although admitted to the Estienne school...
    Category

    1940s Modern Landscape Prints

    Materials

    Lithograph

  • Mourlot, Composition, De Goupil a Margot, Histoires de Bêtes (after)
    By Maurice Mourlot
    Located in Auburn Hills, MI
    Lithograph in colors on Grand Vélin Blanc paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From the volume, de Goupil a Margot, Histoires De Bêtes et L...
    Category

    1940s Modern Landscape Prints

    Materials

    Lithograph

You May Also Like
  • Haystack
    By Thomas Hart Benton
    Located in London, GB
    A fine impression of this very popular image with full margins (smaller on top and bottom) published by Associated American Artists.
    Category

    1930s American Modern Landscape Prints

    Materials

    Lithograph

  • Herring Gulls
    By Jamie Wyeth
    Located in Missouri, MO
    Jamie Wyeth "Herring Gulls" 1978 Color Lithograph Signed Lower Right Numbered Lower Left 149/300 Born in 1946, James Browning Wyeth came of age when the meaning of patriotism was clouded by the traumas of the Vietnam War and the scandals of Watergate. Working in an era of turmoil and questioning of governmental authority, he did art that encompassed both marching off to war and marching in protest. One of James's early masterworks, Draft Age (1965) depicts a childhood friend as a defiant Vietnam-era teenager resplendent in dark sunglasses and black leather jacket in a suitably insouciant pose. Two years later Wyeth painstakingly composed a haunting, posthumous Portrait of President John F. Kennedy (1967) that seems to catch the martyred Chief Executive in a moment of agonized indecision. As Wyeth Center curator Lauren Raye Smith points out, Wyeth "did not deify the slain president, [but] on the contrary made him seem almost too human." Based on hours of study and sketching of JFK's brothers Robert and Edward - documented by insightful studies in the exhibition - the final, pensive portrait seemed too realistic to family members and friends. "His brother Robert," writes Smith in the exhibition catalogue, "reportedly felt uneasy about this depiction, and said it reminded him of the President during the Bay of Pigs invasion." In spite of these misgivings, James's JFK likeness has been reproduced frequently and is one of the highlights of this show. The poignancy, appeal and perceptiveness of this portrait, painted when the youngest Wyeth was 21 years old, makes one wish he would do more portraits of important public figures. James himself feels he is at his best painting people he knows well, as exemplified by his vibrant Portrait of Jean Kennedy Smith (1972), which captures the vitality of the slain President's handsome sister. He did paint a portrait of Jimmy Carter for the January 1977 man-of-the-year cover of Time magazine, showing the casually dressed President-elect as a straightforward character posed under a flag-draped water tower next to the family peanut plant in Plains, Ga. James recalls that Carter had one Secret Service agent guarding him as he posed outdoors, a far cry from the protection our Chief Executives require today. As a participating artist in the "Eyewitness to Space" program organized by the National Aeronautics and Space Administration in collaboration with the National Gallery of Art in the late 1960s, Wyeth deftly recorded in a series of watercolors his eyewitness observations of dramatic spacecraft launchings and more mundane scenes associated with the space program. Commissioned by Harper's Magazine to cover the 1974 congressional hearings and trials of Watergate figures, James Wyeth executed a series of perceptive and now evocative sketches that recall those dark chapters in our history. Memorable images include a scowling John Ehrlichman, a hollow-eyed Bob Haldeman, an owlish Charles Colson, a focused Congressman Peter Rodino, a grim visaged Father/ Congressman Robert Drinan, and vignettes of the press and various courtroom activities. An 11-by-14-inch pencil sketch of the unflappable Judge John Sirica is especially well done. These "images are powerful as historical records," observes Smith, "and as lyrically journalistic impressions of events that changed the nation forever." Wyeth's sketch of early-morning crowds lined up outside the Supreme Court building hoping to hear the Watergate case, with the ubiquitous TV cameramen looking on, is reminiscent of recent scenes as the high court grappled with the Bush-Gore contest. The Wyeth family penchant for whimsy and enigmatic images is evident in Islanders (1990), showing two of James's friends, wearing goofy hats, sitting on the porch of a small Monhegan Island (Me.) cottage draped with a large American flag. Mixing the serious symbolism of Old Glory with the irreverent appearance of the two men, James has created a puzzling but interesting composition. Painting White House...
    Category

    1970s American Modern Animal Prints

    Materials

    Paper, Lithograph

  • Nebraska Evening
    By Thomas Hart Benton
    Located in London, GB
    A fine impression with good margins published by Associated American Artists.
    Category

    1940s American Modern Landscape Prints

    Materials

    Lithograph

  • Original "Speedy Travel, German Federal Railroad" vintage travel poster, train
    Located in Spokane, WA
    Original “Speedy Travel, German Federal Railroad” vintage travel poster. The DB stands for the Deutsche Bundesbahn. Archivally linen-backed in very good condition and ready to fra...
    Category

    1950s American Modern Animal Prints

    Materials

    Lithograph

  • Prehistoric Sighting Pacific Ocean (Goblin Sharks?)
    Located in New Orleans, LA
    This is a single color lithograph created by Matthew Roath as part of Tamarind Institute PTP. The Collaborating printer isAndreea Cristina Mateescu....
    Category

    21st Century and Contemporary American Modern Landscape Prints

    Materials

    Lithograph

  • Original "The Ships Are Coming" vintage American poster with an Eagle.
    By James Henry Daugherty
    Located in Spokane, WA
    Original: THE SHIPS ARE COMING vintage poster. Artist: James H. Daugherty (1889-1974) Publisher: U.S. Shipping Board, Emergency Fleet Corporation, Publication Section, Philadelphia, 1917. Poster showing a giant eagle...
    Category

    1910s American Modern Animal Prints

    Materials

    Lithograph

Recently Viewed

View All