Georges Braque Art

Etching, 1962 Handsigned by the artist in pencil and numbered 60/90 Publisher : Maeght (Paris) Catalog : Vallier 172 55.00 cm. x 42.00 cm. 21.65 in. x 16.54 in. (paper) 23.00 cm. x ...

Lithograph, 1956 Handsigned by the artist in pencil and numbered 26/95 Publisher : Maeght (Paris) Catalog : [Maeght n.1016 Vallier p.293] 55.00 cm. x 112.50 cm. 21.65 in. x 44.29 in...

Etching, 1959 Handsigned by the artist in pencil and numbered 49/60 Publisher : Maeght (Paris) Printer : Crommelynck et Dutrou (Paris) Catalog : Vallier 139 47.00 cm. x 36.00 cm. 18...

Théière et Citron by Georges Braque (1882-1963) Oil on panel 22.5 x 25 cm (8 ⅞ x 9 ⅞ inches) Signed lower left, G. Braque Executed in 1947 Provenance: Perls Galleries, New York Fuji...

Etching, 1962 Handsigned by the artist in pencil and annotated HC Edition : 130 + H.C. Publisher : Au Vent d'Arles Printer : Crommelynck, Paris Catalog : [Vallier 182] 42.30 cm. x 53...

Etching, 1958 Signed on the plate Publisher : Maeght (Paris) 18.00 cm. x 21.50 cm. 7.09 in. x 8.46 in. (paper) 11.00 cm. x 13.00 cm. 4.33 in. x 5.12 in. (image) Original Etchin Ne...

Georges Braque's 1955 lithography titled "Le Bouquet," part of the Edition Verve collection and printed on Arche paper, stands as a testament to the artist's enduring fascination wit...

Original lithograph, printed in an edition of 75, numbered and signed by the artist. Number 64/75. 44x52.5cm Publication: Maeght, Paris Printing: Mourlot, Paris Ref: Vallier 129/130,...

" Migration " is an etching realized by  Georges Braque  in 1962. The print is hand signed and numbered. This is an edition of 90 prints. Bibliography: D. Vallier,  Braque : l'oeuvr...

Etching with drypoint, 1912, on Arches wove paper, a fine impression printing with plate tone and much burr, hand signed and numbered. Eiditon of 50 prints (there were also ten  hors...

Etching, burin and Aquatint. Edition of 50 prints, numbered and hand signed. Rare and in very good conditions. Bibliography: G. Bloch, Picasso: Catalog of the Printed Graphic work 1...

Hand signed and numbered. Edition of 150 prints. 

Aquatint, 1955 Handsigned by the artist in pencil and annotated HC Printer : Crommelynck (Paris) 50.50 cm. x 66.00 cm. | 19.88 in. x 25.98 in. (paper) 48.00 cm. x 29.00 cm. | 18.9 in...

Georges Braque (1882-1963) Hesiod's theogony : Artémis Original etching, 1932 Hand signed in pencil Numbered /50 copies On Hollande vellum size 49 x 38.5 cm (c. 19 x 15 in) Publishe...

Georges Braque (1882-1963) Hesiod's theogony : Gaia & Ouranos Original etching, 1932 Hand signed in pencil Numbered /50 copies On Hollande vellum size 49 x 38.5 cm (c. 19 x 15 in) P...

Georges Braque (1882-1963) Hesiod's theogony : Pegasus Original etching, 1932 Hand signed in pencil Numbered /50 copies On Hollande vellum size 49 x 38.5 cm (c. 19 x 15 in) Publishe...

Georges Braque (1882-1963) Hesiod's theogony : the divinity and the dove Original etching, 1932 Hand signed in pencil Numbered /50 copies On Hollande vellum size 49 x 38.5 cm (c. 19...

Lithograph, 1959 Handsigned by the artist in pencil and numbered 256/300 Publisher : Maeght (Paris) Printer : Mourlot (Paris) Catalog : Maeght 1031 Vallier p. 295 54.50 cm. x 76.00 c...

Lithograph, 1963 Handsigned by the artist in pencil and annotated HC 3/4 Publisher : Edwin Engelberts (Genève) Printer : Mourlot (Paris) Catalog : Vallier 187 Mourlot 121 37.80 cm. ...

Etching, 1956 Handsigned by the artist in pencil and numbered 155/300 Publisher : Guy Spitzer (Paris) 48.00 cm. x 65.00 cm. | 18.9 in. x 25.59 in. (paper) 24.00 cm. x 35.00 cm. | 9.4...

Lithograph, 1959 Handsigned by the artist in pencil and numbered 75/300 Catalog : Vallier p.294 Maeght n°1029 45.50 cm. x 55.00 cm. | 17.91 in. x 21.65 in. (paper) 32.00 cm. x 38.00 ...

Villa Medici - Da Braque a Tàpies. Mostra di opere incise originali edite da Maeght. Dicembre 1968 Lithographic poster Includes a Certificate of Authenticity

Lithograph, 1960 Handsigned by the artist in pencil Edition : 80 Publisher : Louis Broder, Paris Printer : Desjobert, Paris Catalog : [Vallier 153 p.219-220] 17.00 cm. x 11.00 cm. ...

Lithograph, 1963 Handsigned by the artist in pencil and numbered 52/75 Publisher : Edwin Egelberts (Genève) Printer : Mourlot (Paris) Catalog : Vallier 187 38.00 cm. x 28.00 cm. 14....

Wood engraving, 1962 Handsigned by the artist in pencil and numbered 37/70 Publisher : Louis Broder, Paris Printer : Féquet et Baudier, Paris Catalog : Vallier n° 181 p. 254 46.00...

Etching and aquatint, 1950 Handsigned by the artist in pencil and numbered 83/200 Publisher : Maeght (Paris) Printer : Aldo Commelynck (Paris) Catalog : Maeght 1020 45.00 cm. x 64.00 cm. 17.72 in. x 25.2 in. (paper) 26.00 cm. x 49.00 cm. 10.24 in. x 19.29 in. (image) This horizontal print...

Lithograph, 1960 Handsigned by the artist in pencil and numbered 30/150 Publisher : Editions Jean-Paul Loriot Printer : Mourlot, Paris Catalog : [Vallier p. 298] 67.00 cm. x 51.00 cm...

Engraving, 1958 Handsigned by the artist in pencil and annotated "Epreuve artiste" 22.00 cm. x 32.00 cm. 8.66 in. x 12.6 in. (paper) 11.00 cm. x 13.00 cm. 4.33 in. x 5.12 in. (imag...

Lithograph, 1961 Handsigned by the artist in pencil Publisher : Nouveau Cercle parisien du Livre (Paris) Printer : Mourlot (Paris) Catalog : Vallier 171 The work we propose is one of the four lithographs taken from the illustrated book "Descente aux Enfers" written by Marcel Jouhandeau and published by the Nouveau Cercle Parisien du Livre in 1961. The novelist retraces the itinerary of his return to his native town, Guéret, through encounters with the people he knew as a child. Anxiety intrudes as he ventures into this place, the first theater of his inspiration. Between nostalgia, melancholy and hope, the novel echoes the personal torments of the author, torn between his homosexuality and his Catholic education. If God seems to haunt him, introspection and morality obsess him: "If man does not understand hell, it is because he has not understood his own heart...". The image of a flight of birds as created by Braque might seem dissonant with Jouhandeau's text. However, for Braque the bird is not an imitation of the animal but a form that conveys a meaning, it is a sign, as he reminds us: "We must not imitate what we want to create. It is then that this bright orange bird flight...

Georges BRAQUE Tribute to Cezanne : the Apples, c. 1955 Lithograph and stencil (Jacomet workshop) Printed signature in the plate On light vellum 39...

This sublime poster was made by Georges Braque 🇫🇷 (1882-1963) for his 1961 exhibition at the Galliera Museum (Fashion Museum of the City of Paris). The Salon des Peintres témoins de leur temps is a show that was held every year between 1951 and 1983, first at the Museum of Modern Art of the city of Paris and then in the Palais Galliera. Initiated by the painter Isis Kischka, the salon des peintres témoins de leurs temps is one of the most visited salons of the time, bringing together a hundred artists per edition while organizing around various themes over the years. Braque is a major figure of modern art in the world. Along with Pablo Picasso, he was one of the initiators of Cubism, a pictorial movement based on the decomposition and geometrisation of forms. In 1917, he created a series of breathtaking paintings. His paintings are divided into a series of themes: the figure, the still life and the studio. It was in 1953, when he was at the peak of his career, that he completed "The Birds", this magnificent work which is featured on the poster. This work, composed of three canvases...

GEORGES BRAQUE 1882-1963 Argenteuil-sur-Seine, 1882-1963 Paris (French) Title: The Equinox L’Equinoxe, 1962 Technique: Original Hand Signed and Numbered Lithograph in Colours on ...

Georges BRAQUE Bouquet of flowers, 1961 Original lithograph in six colors (Mourlot workshop) Printed signature in the plate On vellum 34 x 26 cm (c. 13 x 10 inch) REFERENCE : Catal...

Georges BRAQUE Bird with star, 1952 Lithograph in colors Signed in the plate Edition of 400 copies On vellum size 38 x 28 cm (c. 15 x 11 in) REFERENCE : Catalog raisonne Orozco #LO...

Lithograph, 1963 Handsigned by the artist in pencil and numbered 19/75 Publisher : Edwin Engelberts (Genève) Catalog : Mourlot 127 38.00 cm. x 28.00 cm. 14.96 in. x 11.02 in. (paper...

Lithograph, 1962 Handsigned by the artist in pencil and nunmbered 30/75 Publisher : Maeght (Paris) Printer : Maeght (Paris) Catalog : [Vallier 177] 54.00 cm. x 80.00 cm. 21.26 in. x...

Georges Braque - rare unique ceramic plate titled, “Hecate” (1962). Hecate was the Greek goddess of the moon and one of the main deities worshipped in Athenian households as a protective goddess who bestowed prosperity and daily blessings on the family. In “Metamorphoses de Braque” Rapael de Cuttolo describes how Braque became involved with Greek Mythology which was an important part of his oeuvre. The artist made numerous Lithographs and gouaches illustrating these subjects. In 1961 as a “Hommage to Braque” his jewels were presented at an exhibition at La Galerie Mollien du Musee du Louvre., and again, in 1965, at another special exhibition in New York. On page 121 it describes how Armand Israel, Georges Israel...

GEORGES BRAQUE 1882-1963 Argenteuil-sur-Seine, 1882-1963 Paris (French) Title: Still Life on a Table (Paris 1910) Nature morte sur une table (Paris 1910), 1910-11 Technique: Ori...

GEORGES BRAQUE 1882-1963 Argenteuil-sur-Seine, 1882-1963 Paris (French) Title: Nude Study (Nude) Etude de nu (Nu), 1907-08/53 Technique: Original Hand Signed and Numbered Etchin...

Paris: The Chauldron from Derriere Le Miroir no. 155 is a mixed lithograph realized by George Braque in 1965. The artwork is from the art magazine Derriere Le Miroir. Printed by Ate...

Poisson, Georges Braque, Fish, Sculpture, Bronze, 1940's, Postwar, Valsuani Ed. 6/6 pcs Signed and numbered underneath : 6/6, cire perdue, C.Valsuani fondeur. Certificate of authent...

Georges BRAQUE Still Life with Glass and Pipe, 1959 Original etching with aquatint Printed signature in the plate Numbered / 350 On vellum 30 x ...

Untitled is an original lithograph realized by Georges Braque in 1959. Includes a passepartout: cm 39 x 35. Image dimension: cm 21 x 18. Print on color paper. The artwork is from ...

Image dimensions: 30.5 x 20 cm. Bouquet is a beautiful colored lithograph on paper, realized by the Cubist artist, Georges Braque (Argenteuil, 1882 – Paris, 1963). Unsigned. From “Carnets Intimes” realized in 1955. Printed by Mourlot and published in the Revue Verve...

Georges Braque - Original Lithograph 1963 Dimensions: 32 x 24 cm Andre Sauret, Monte Carlo The father of Cubism Three Cubist that distinguishes art historian periods were initiated and developed by Georges Braque: The Cubist Cézanne (1907-1909), Executive (1909-1912) and synthetic (1912-1922). Post-Impressionist and fawn, Braque no longer adheres to the contingency of a decorative way or the other. Cézanne’s paintings exhibited at the Grand Palais during the retrospective of 1907 are a revelation: Cézanne sought and invented a pictorial language. In his footsteps, Braque went to the South with the reasons of the Master. He returned with Estaque landscapes and surprising Ciotat it keeps Cezanne geometric model and retains the “passages” continuity from one surface to another to create the sensation of “turning around” of the object represented. But he wants to go after the consequences of the vision of Cezanne. In his paintings Houses in L’Estaque (1908) it simplifies the volumes of houses, neglects detail by removing doors and windows: the plastic rhythm that builds the table. Large Nude , a masterpiece of the period, can be considered the first work of Cézanne cubism . Systematizing and deepening Braque discoveries open the door analytical cubism. In 1909, his painting became more cerebral than sensual. The pattern is recreated in the two-dimensionality of the canvas, leaving aside any illusionistic perspective. In Still Life with Violin, objects are analyzed facets according to their characteristic elements, each facet referring to a particular view of the object. There are so many facets of points selected view: Table reflects the knowledge of the object and the ubiquity of the eye. Moreover, Braque is looking for the essence of the objects in the world rather than their contingency, which explains the absence of light source and use of muted colors (gray, ocher), contingent aspects of the object . But formal logic has stepped facets, erased any anecdote to the object and ultimately led to his painting a hermetic more marked on the edge of abstraction (see the series of Castle Roche-Guyon ). Braque, anxious to keep the concrete and refusing at all costs that the logic of Cubism takes the paintings to abstract, reintroduced signs of reality in his paintings in 1912 marks the beginning of Synthetic Cubism. Historians speak of “signs of real” rather than reality because what interests Braque, this is not to put reality into a table, but to create a painting which, by its language, refers to the real. To do this, he invented two major techniques XX th century inclusions and contributions. The inclusions consist of painting objects that have no real depth, materials (wallpaper in Nature morte aux playing cards faux wood is a pictorial inclusion) or letters (calligraphic inclusion in Portuguese ), made first brush and a few months later stencil. Contributions are defined in contrast with the collage on canvas of foreign materials: glued or sand paper, sawdust, etc.. Regarding the collages, Braque used for the first time in September 1912 a piece of adhesive paper imitating faux wood Compote and Glass , then the packet envelope of tobacco Bock in 1912-1913, or an advertisement in Damier , 1913). Inputs and inclusions refer to an external object in the table, without “emulate” this object. Away from their appearances, objects are represented in closest essence of the objects in the real world sense. This is also the time of Synthetic Cubism that Braque invented paper sculpture. There are, unfortunately, and no one is living proof of a photograph makes it possible to realize: Paper and paperboard. Métamorphoses period(1961-1963). In 1961, Georges Braque worked on a Greek head for the Louvre, which obsesses him, and he wishes to free his mind. He tried several times to bring out the paint and the result was unsatisfactory. He thinks the ultimate metamorphosis its Greek head projected in three dimensions. He calls in his studio of Baron Heger Loewenfeld, master lapidary, and he communicates his enthusiasm during the “fateful encounter.” Nine months later, in honor of the eighty years of Georges Braque, Heger Loewenfeld offers the Master of the ring Circe: the famous Greek head finally exorcised, carved in an onyx. Braque Loewenfeld then asked to identify other issues that haunt him. From dated and signed by Georges Braque, Heger gouaches Loewenfeld shapes works in the fields of jewelery, lapidary art...

Lithograph by Georges Braque. Still life. Signed on plate. Framed

Georges BRAQUE Bouquet of flowers, 1961 Original lithograph in six colors Handsigned in pencil by the artist Edition of 125 copies Frontispiece for the book "Braque lithographe" (on...

GEORGES BRAQUE 1882-1963 Argenteuil-sur-Seine, 1882-1963 Paris Title: The Dance, 1934 Technique: Original Hand Signed Etching with Aquatint on paper Paper...

Georges Braque - Birds - Original Lithograph Published in the deluxe art review, XXe Siecle 1958 Dimensions: 32 x 24 cm Publisher: G. di San Lazzaro. Unsigned and unumbered as issued

Lithograph, 1960 38.00 cm. x 25.00 cm. 14.96 in. x 9.84 in. (paper) 38.00 cm. x 25.00 cm. 14.96 in. x 9.84 in. (image) Annoted "EA" Handsigned by the artist in pencil Ref : LCD3390

Hand signed and numbered. Edition of 125 prints. Ref.: Catalogue D.Vallier pag.284 Passepartout included : 69 x 49 cm Very good conditions. Georges Braque (Argenteuil, 1882 – Paris...

Georges Braque - Original Lithograph 1963 Dimensions: 32 x 24 cm Andre Sauret, Monte Carlo The father of Cubism Three Cubist that distinguishes art historian periods were initiated and developed by Georges Braque: The Cubist Cézanne (1907-1909), Executive (1909-1912) and synthetic (1912-1922). Post-Impressionist and fawn, Braque no longer adheres to the contingency of a decorative way or the other. Cézanne’s paintings exhibited at the Grand Palais during the retrospective of 1907 are a revelation: Cézanne sought and invented a pictorial language. In his footsteps, Braque went to the South with the reasons of the Master. He returned with Estaque landscapes and surprising Ciotat it keeps Cezanne geometric model and retains the “passages” continuity from one surface to another to create the sensation of “turning around” of the object represented. But he wants to go after the consequences of the vision of Cezanne. In his paintings Houses in L’Estaque (1908) it simplifies the volumes of houses, neglects detail by removing doors and windows: the plastic rhythm that builds the table. Large Nude , a masterpiece of the period, can be considered the first work of Cézanne cubism . Systematizing and deepening Braque discoveries open the door analytical cubism. In 1909, his painting became more cerebral than sensual. The pattern is recreated in the two-dimensionality of the canvas, leaving aside any illusionistic perspective. In Still Life with Violin, objects are analyzed facets according to their characteristic elements, each facet referring to a particular view of the object. There are so many facets of points selected view: Table reflects the knowledge of the object and the ubiquity of the eye. Moreover, Braque is looking for the essence of the objects in the world rather than their contingency, which explains the absence of light source and use of muted colors (gray, ocher), contingent aspects of the object . But formal logic has stepped facets, erased any anecdote to the object and ultimately led to his painting a hermetic more marked on the edge of abstraction (see the series of Castle Roche-Guyon ). Braque, anxious to keep the concrete and refusing at all costs that the logic of Cubism takes the paintings to abstract, reintroduced signs of reality in his paintings in 1912 marks the beginning of Synthetic Cubism. Historians speak of “signs of real” rather than reality because what interests Braque, this is not to put reality into a table, but to create a painting which, by its language, refers to the real. To do this, he invented two major techniques XX th century inclusions and contributions. The inclusions consist of painting objects that have no real depth, materials (wallpaper in Nature morte aux playing cards faux wood is a pictorial inclusion) or letters (calligraphic inclusion in Portuguese ), made first brush and a few months later stencil. Contributions are defined in contrast with the collage on canvas of foreign materials: glued or sand paper, sawdust, etc.. Regarding the collages, Braque used for the first time in September 1912 a piece of adhesive paper imitating faux wood Compote and Glass , then the packet envelope of tobacco Bock in 1912-1913, or an advertisement in Damier , 1913). Inputs and inclusions refer to an external object in the table, without “emulate” this object. Away from their appearances, objects are represented in closest essence of the objects in the real world sense. This is also the time of Synthetic Cubism that Braque invented paper sculpture. There are, unfortunately, and no one is living proof of a photograph makes it possible to realize: Paper and paperboard. Métamorphoses period(1961-1963). In 1961, Georges Braque worked on a Greek head for the Louvre, which obsesses him, and he wishes to free his mind. He tried several times to bring out the paint and the result was unsatisfactory. He thinks the ultimate metamorphosis its Greek head projected in three dimensions. He calls in his studio of Baron Heger Loewenfeld, master lapidary, and he communicates his enthusiasm during the “fateful encounter.” Nine months later, in honor of the eighty years of Georges Braque, Heger Loewenfeld offers the Master of the ring Circe: the famous Greek head finally exorcised, carved in an onyx. Braque Loewenfeld then asked to identify other issues that haunt him. From dated and signed by Georges Braque, Heger gouaches Loewenfeld shapes works in the fields of jewelery, lapidary art...

Lithograph on Japan Paper, 1961 handsigned by the artist in pencil 23 x 19 cm (image) - 32 x 25 cm (sheet) very good condition LCD2804

Lithograph, 1961 handsigned by the artist in pencil 27 x 20 cm (image) - 32 x 25 cm (sheet) References catalogue Vallier 171 Mourlot 78 very good condition LCD2805

Lithograph, 1958 Handsigned by the artist in pencil and numbered 21/75 Publisher : Maeght (Paris) Printer : Mourlot (Paris) Catalog : Vallier, p.178 Arches paper A lithograph by one...

One of the main motifs in Georges Braques late printmaking oeuvre is the bird. By depicting the bird as itself or the flight of birds, Braque found what he called the "still life of ...

One of the main motifs in Georges Braques late printmaking oeuvre is the bird. By depicting the bird as itself or the flight of birds, Braque found what he called the "still life of ...

One of the main motifs in Georges Braques late printmaking oeuvre is the bird. By depicting the bird as itself or the flight of birds, Braque found what he called the "still life of ...