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Georges Braque, The Black Bird on Brown Background, 1965 (after)
1965

$1,996

$2,49520% Off

£1,548.02

£1,935.0220% Off

€1,760.07

€2,200.0920% Off

CA$2,847.90

CA$3,559.8720% Off

A$3,108.23

A$3,885.2920% Off

CHF 1,632.52

CHF 2,040.6520% Off

MX$37,750.84

MX$47,188.5520% Off

NOK 20,485.02

NOK 25,606.2720% Off

SEK 19,224.62

SEK 24,030.7820% Off

DKK 13,143.29

DKK 16,429.1120% Off

About the Item

This exquisite lithograph after Georges Braque (1882–1963), titled L’Oiseau Noir sur Fond Brun (The Black Bird on Brown Background), from the folio Les Peintres mes amis (The Painters My Friends), originates from the 1965 edition published by Editions d'art Les Heures Claires, Paris, and printed by Atelier Crommelynck, Paris, May 20, 1965. L’Oiseau Noir sur Fond Brun (The Black Bird on Brown Background) reflects Braque’s mature synthesis of Cubism and poetic abstraction, transforming the image of a bird into a symbol of freedom, balance, and harmony. The work exemplifies his lifelong exploration of spatial rhythm and compositional equilibrium, rendered with profound simplicity and depth. Executed as a lithograph on grand velin d'Arches paper, this work measures 15 x 11 inches. Signed in the plate and unnumbered as issued. The edition exemplifies the exceptional standards of Editions d'art Les Heures Claires, Paris, and the master craftsmanship of Atelier Crommelynck, Paris. Artwork Details: Artist: After Georges Braque (1882–1963) Title: L’Oiseau Noir sur Fond Brun (The Black Bird on Brown Background), from the folio Les Peintres mes amis (The Painters My Friends), 1965 Medium: Lithograph on grand velin d'Arches paper Dimensions: 15 x 11 inches (38.1 x 27.94 cm) Inscription: Signed in the plate and unnumbered as issued Date: 1965 Publisher: Editions d'art Les Heures Claires, Paris Printer: Atelier Crommelynck, Paris Catalogue raisonne reference: Monod, Luc. Manuel de l’amateur de livres illustres modernes, 1875–1975. Ides et Calendes, 1992, illustration 11485. Condition: Well preserved, consistent with age and medium Provenance: From the folio Les Peintres mes amis (The Painters My Friends), published by Editions d'art Les Heures Claires, Paris; printed by Atelier Crommelynck, Paris, May 20, 1965 Notes: Excerpted from the folio (translated from the folio), The lithographs by Derain and Van Dongen were printed by Lucien Detruit. Those by Dufy, Matisse, Chagall, Dunoyer de Segonzac, Cavailles, Terechkovitch, and Carzou were printed by Mourlot Freres. Those by Picasso and Buffet were printed by P.-J. Ballon. The lithograph by Miro was printed in the workshop Arte, which also printed, in phototype, the frontispiece. The etchings by Villon and Zadkine were printed by Manuel Robbe. That by Braque was printed by A. and P. Crommelynck. The wood engravings and printing of the illustrations by Vlaminck, Rouault, Pascin, and Utrillo were done by Raymond Jacquet. The texts by Andre Warnod, collected by his daughter Jeanine Warnod, were hand-set in De Roos type, size 24, and printed in Paris on the presses of Daragnes. Printing completed on May 20, 1965. Justification of the edition, III examples on large velin d'Arches containing the original copper plates inked for one intaglio illustration; a proof on silk of two lithographs; the four wood-engraved illustrations, mounted; a color separation of one lithograph; and a complete suite of the illustrations on Arches—numbered I to III. XVI examples on large velin d'Arches containing a proof on silk of two lithographs; the four wood-engraved illustrations, mounted; a color separation of one lithograph; and a complete suite of the illustrations on Arches—numbered IV to XIX. XXI examples on large velin d'Arches containing a proof on silk of two lithographs; the four wood-engraved illustrations, mounted; and a complete suite of the illustrations on Arches—numbered XX to XL. XL examples on large velin d'Arches containing a complete suite of the illustrations on Arches—numbered XLI to LXXX. CLXX examples on large velin d'Arches—numbered LXXXI to CCL. About the Publication: The folio Les Peintres mes amis (The Painters My Friends), published in Paris in 1965 by Editions d'art Les Heures Claires, stands among the most ambitious postwar French printmaking collaborations. Conceived as a celebration of modern art’s greatest masters, the volume unites original graphic works by Braque, Derain, Terechkovitch, Cavailles, Dunoyer de Segonzac, Dufy, Vlaminck, Matisse, Picasso, Chagall, Villon, Zadkine, Miro, and others, alongside critical essays by Andre Warnod. Each plate was executed under the supervision of Paris’s foremost ateliers—Mourlot Freres, Lucien Detruit, P.-J. Ballon, Manuel Robbe, Raymond Jacquet, and Crommelynck—representing the finest techniques of lithography, etching, and woodcut. This luxurious folio exemplifies the artistry and craftsmanship of mid-20th-century French printing, merging text, image, and handcraft into a unified artistic statement. A triumph of the livre d’artiste tradition, it remains a vital record of the enduring creative dialogue between the painters, printers, and publishers who defined the visual culture of their time. About the Artist: Georges Braque (1882–1963) was a French painter, printmaker, sculptor, and collagist whose visionary innovations and lifelong pursuit of balance, structure, and poetic form made him one of the most influential figures in 20th-century art. Born in Argenteuil-sur-Seine and raised in Le Havre, Braque began as a decorative painter before studying at the Ecole des Beaux-Arts and the Academie Humbert in Paris, where he absorbed the vibrant colorism of the Fauves and the structural logic of Paul Cezanne. His encounter with Pablo Picasso in 1907 led to one of the most groundbreaking collaborations in art history—the invention of Cubism—a movement that redefined visual perception by fragmenting form, rejecting single-point perspective, and reconstructing reality into a multidimensional experience. Between 1908 and 1914, Braque and Picasso revolutionized painting through Analytical Cubism, a style characterized by muted palettes, overlapping planes, and a focus on underlying structure rather than surface appearance. In 1912, Braque pioneered papier colle, the first use of collage in fine art, incorporating wallpaper and printed paper into his compositions and forever changing the relationship between art and the material world. After World War I, he returned to painting with renewed sensitivity, developing a lyrical and introspective form of Synthetic Cubism distinguished by harmony, rhythm, and a meditative sense of stillness. His still lifes, musical instruments, and interior scenes became metaphors for balance and contemplation, uniting intellect and emotion in perfect equilibrium. Immersed in the Parisian avant-garde, Braque worked alongside and exchanged ideas with Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, each of whom shared his passion for redefining the boundaries of modern art. His innovations in form, collage, and spatial construction deeply influenced later artists, including Jean Dubuffet, Nicolas de Stael, Henry Laurens, Ellsworth Kelly, Richard Diebenkorn, and Jasper Johns, shaping the course of postwar abstraction and modern design. In 1961, Braque became the first living artist to have a solo exhibition at the Louvre, a recognition of his monumental impact on modern aesthetics. His works are now housed in major museums worldwide, including the Museum of Modern Art in New York, the Tate Modern in London, and the Centre Pompidou in Paris, and remain sought after for their intellectual depth and timeless serenity. His highest auction record was achieved by Paysage a la Ciotat, which sold for $15.8 million at Sotheby’s, New York, in 2013, reaffirming Georges Braque’s legacy as one of the founding architects of Cubism and a master whose art continues to define the modern age. After Georges Braque L’Oiseau Noir sur Fond Brun (The Black Bird on Brown Background), Braque Les Peintres mes amis (The Painters My Friends), Braque Les Heures Claires, Braque Atelier Crommelynck, Braque grand velin d'Arches, Braque collectible print.

Creation Year:
1965
Dimensions:
Height: 15 in (38.1 cm)Width: 11 in (27.94 cm)
Medium:
Lithograph
Movement & Style:
Modern
After:
Georges Braque (1882 - 1963, French)
Period:
1960-1969
Condition:
Gallery Location:
Southampton, NY
Reference Number:
1stDibs: LU1465215295782

Category

1950s Cubist Prints and Multiples

Materials

Lithograph

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$200 Sale Price

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Category

1950s Abstract Abstract Prints

Materials

Lithograph

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Located in Fairfield, CT

Medium: Lithograph on vélin paper, hinged on archival support sheet, as issued Year: 1968 Paper Size: 13 x 16 inches; image size: 9.375 x 13.75 inches Inscription: Signed in the plat...

Category