Georges Braque Art

Georges Braque, French (1882 - 1963) - La Theogonie D'Hesiode Vallier 20L, Year: 1955, Medium: Etching on Hollande Van Gelder, Image Size: 14.25 x 11.75 inches, Size: 21 x 15 in. (...

" 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'oeuvre gravé: catalogue raisonné , Flammarion, Paris 1982, p.241, n.72. Georges Braque  (1882-1963) was a French Fauve painter who began to rethink his own painting style after admiring Picasso’s  Les Demoiselles...

"L'oiseau de sables" ("Bird of the Sands") is an original signed lithograph by Georges Braque executed in 1962. It is 37 of an edition of 125. The work is one of five lithographs cre...

Lithograph, 1962 Handsigned by the artist in pencil and numbered 27/75 Publisher : XXe Siècle (Paris) Printer : Mourlot (Paris) Catalog : Vallier 178 / Sauret 117 53.00 cm. x 41.50 c...

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, French (1882 - 1963) - La Theogonie D'Hesiode Vallier 20K, Year: 1955, Medium: Etching on Hollande Van Gelder, Image Size: 14.25 x 11.75 inches, Size: 21.25 x 15 in...

Georges Braque, French (1882 - 1963) - Le Soleil Des Eaux (Vallier 47), Year: 1949, Medium: Etching on BFK Rives, Image Size: 7.25 x 6 inches, Size: 11 x 8.75 in. (27.94 x 22.23 cm)...

Georges Braque, French (1882 - 1963) - from La Theogonie d'Hesiode, Vallier 20A, Year: 1932, Medium: Etching on Arches, Image Size: 14.5 x 11.75 inches, Size: 19 x 14.75 in. (48.26 ...

Toreros seek to elicit inspiration and art from their work. Their intentions are not to deliberately cause harm the bull, but create an emotional connection with the crowd through th...

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...

Artist: Georges Braque Medium: Original lithograph Title: Grecian Urn Year: 1959 Framed Size: 20 1/8 x 16 5/8 inches Sheet Size: 15 x 11 inches Signed: Uns...

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 19/75 Publisher : Edwin Engelberts (Genève) Catalog : Mourlot 127 38.00 cm. x 28.00 cm. 14.96 in. x 11.02 in. (paper...

Braque, Georges. DERNIERES MESSAGES - GALERIE MAEGHT POSTER. Color Lithograph, 1960. 27 3/4 x 16 3/4 inches. In excellent condition.

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, 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

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

"Braque Graveur" is an original color lithograph poster signed with initials by the artist Georges Braque. It depicts a moth or butterfly landed on a black abstract form. There are b...

The bird is Georges Braque's calling card. When the 70-year-old artist was commissioned to create monumental decorations for the Louvre, he chose the bird as his subject. This winged animal appears again and again in his oeuvre, but its representation is noteworthy in this print. To those who would say that Braque is not a draftsman, Dora Vallier writes, "for [him], drawing is not a means of giving outward appearance to forms but of showing what lies within." Along the same lines, Braque himself says, "Forget things, only remember their relationship." These two statements encourage thoughtful viewing. Coming back to its nest and hatched egg, a great black bird is hardly visible against the dark green of its home and the brown leaves behind. Rather than spend time on the details, Braque emphasizes the spatial arrangement of the scene. Everything is compressed down to one level; the curtain of heart-shaped leaves blends together as it falls toward the nest. Braque sees how the tree, nest and bird interrelate, and this entwined relationship is what he chooses to show. Created circa 1950, this original color etching is hand-signed by Georges Braque (Argentueil, Val-d'Oise, 1882 - Paris, 1963) in pencil in the lower right margin and numbered 281/300 in pencil in the lower left margin. The edition was printed by Atelier Krommelinck, Paris on Rives paper, and published by Maeght, Paris. Catalogue Raisonné: Georges Braque The Green Nest (Le nid...

Georges Braque L'oiseau de sables (Bird of the Sands) is one of five prints that the artist produced for the illustrated book Braque Lithographe. The image is dominated by a gold and cream colored bird in flight, encircled by a painterly golden ring. Created in 1962, this color lithograph is hand-signed by Georges Braque (Argentueil, Val-d’Oise, 1882 – Paris, 1963) in pencil in the lower right. Numbered '32' from an edition of 125, printed by Mourlot Paris and Published by André Sauret. Georges Braque Bird...

Extremely detailed and brilliantly colored, Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) creates this still life full of vigor and warmth. Adding a unique, organic quality to the...

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...

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...

Utilizing cool shades of grays, blues, and greens, Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) depicts the calm before the storm. A peaceful rowboat rests on the shore beneath a...

Georges Braque Si je mourais là-bas (If I Died There) (Vallier 181), 1962 Wood engraving printed in blue, on Japon paper Hand signed lower right Edition IV / X lower left Printed by...

The rich blue color bursts from the page in Georges Braque Untitled (Fleur Tombe), 1962, overtaking the black lettering and white background. Drawn onto the title page of the book “Braque Le goût de notre temps” by Albert Skira this hand applied watercolor is striking. In several strong stokes, a flower is presented with its blue petals seeming to float down the page until almost reaching the bottom.  The delicate blue touches the page which in turn lights up with brilliant flowers. The petals are slightly smudged, and you can see the brushstrokes that Braque applied to the page. PArt of what makes this unique watercolor so wonderful is that the viewer can so clearly see and feel the hand of the artist. Caught in between the flower and falling petals is the black hand...

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

Braque Le Signe (The Sign), 1954 is an intricate and mysterious piece. This work comes from a period in Braque’s life in which he became considerably more in...

Georges Braque Page 63 from Si je mourais la-bas, 1962, captures the heart of many with its poignant and inspiring shade of cobalt blue. Rendered on cris...

Combining the organic with the technical, Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) depicts a plough against a background of graphing squares. The plough appears as if in wate...

As black remnants of flora float on top of green patches of murky water, a sense of frenzied movement overtakes this small composition. Stark black lines crisscross as if done in cha...

Created to accompany poetry in the book Si je mourais la-bas by Guillaume Apolliaire, this lovely woman detailed in a soft delicate profile we can only a...

A leaf rests on the sheet in Georges Braque Le Feuille Morte from Lettera Amorosa, 1963 as a testament to the beauty found in the cycle of nature. As gorgeous pink and brown tones wi...

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

This abstract Georges Braque Le tir à l'arc (The Archery), 1960 toys with repetitive motifs that vary ever so slightly. Four white, rectangular figures arranged in a square formation...

Famed printer Mourlot describes the years-long development of this collaboration between the poet René Char and the artist; the project grew from an "Understanding between Georges Br...

Provenance: “John Richardson: A Scholar Collects” was a sale held at Sothebys in December 2020. A unique collection of more than 50 paintings, works on paper, sculptures, and prints ...

"Nature morte: la musique" (Still life: the music) by Georges Braque from Guillaume Apollinaire's “Si je mourais là-bas” (If I die there). The portfolio was published on the occasion...

Colour Lithograph "Le soleil" (The sun) by George Braque from 1963 from “Lettera amorosa”: 1. Book with a text by René Char and 22 colour lithographs as well as 5 + 2 smaller litho...

Colour Lithograph "Théière grise" (Gray Tea Pot) by Georges Braque from 1947. The total edition comprises approx. 80 copies. The present copy is signed and numbered below the ima...

Etching "Théogonie II" by Georges Braque from 1949. The edition comprises 90 copies. The present copy is numbered in pencil below the platemark on the left, signed on the right, ...

Etching and aquatint in colour "Char noir (Char V)" (Black Chariot, Chariot V) by Georges Braque from 1958. The edition on BFK RIVES comprises approx. 75 copies. The present copy...

Lithograph in colours "Le poète" (The poet) by Georges Braque from 1958 for "Cinq poésies en hommage à Georges Braque" (Five poems in honour of Georges Braque) by René Char. The boo...

Etching in Brown and Black "Théogonie I" by Georges Braque from 1949. The edition comprises approx. 30 copies. The present copy is numbered in pencil below the platemark on the l...

Colour aquatint with embossing ""Feuillage en couleurs" (Colourful Leaves) by Georges Braque from 1956. The edition on BFK RIVES cromprises approx. 80 copies. The present copy is ...

Colour Lithograph "Profil" (profile) by George Braque from 1963 from “Lettera amorosa”: 1. Book with a text by René Char and 22 colour lithographs as well as 5 + 2 smaller lithogra...

Colour Lithograph "Métamorphosis" (metamorphosis) by George Braque from 1963 from “Lettera amorosa”: 1. Book with a text by René Char and 22 colour lithographs as well as 5 + 2 sma...

Colour Lithograph "Les volubilis" by George Braque from 1963 from “Lettera amorosa”: 1. Book with a text by René Char and 22 colour lithographs as well as 5 + 2 smaller lithographe...

Colour Lithograph "Les deux Iris bleus" (The two blue irises) by George Braque from 1963 from “Lettera amorosa”: 1. Book with a text by René Char and 22 colour lithographs as well ...

Colour Lithograph "Giroflée bleue" (The blue violet) by George Braque from 1963 from “Lettera amorosa”: 1. Book with a text by René Char and 22 colour lithographs as well as 5 + 2 ...

Colour Lithograph "Fleurs de l'air" (Flowers of the air) by George Braque from 1963 from “Lettera amorosa”: 1. Book with a text by René Char and 22 colour lithographs as well as 5 + ...

Colour Lithograph "Deux fleurs violettes" (Two violet flowers) by George Braque from 1963 from “Lettera amorosa”: 1. Book with a text by René Char and 22 colour lithographs as well...

"Poissons volants bleus" (Blue flying fish) by Georges Braque from Guillaume Apollinaire's “Si je mourais là-bas” (If I die there). The portfolio was published on the occasion of Geo...

"Oiseau de nuit noir" (Bird of the black night) by Georges Braque from Guillaume Apollinaire's “Si je mourais là-bas” (If I die there). The portfolio was published on the occasion of...

The present etching is numbered ‘29/50’ lower left and signed ‘G. Braque’ lower right. Also watermarked ‘ARC’ lower right. Sheet size: 56,8 x 38,1 cm Plate size: 34,5 x 21,8 cm L...

"Bouquet: Fleurs bleues" by Georges Braque from Guillaume Apollinaire's "Si je mourais là-bas" (If I die there). It is the 14th panel of the suite. The present woodcut on japon nac...

Fascinated by an experience in the Camargue bird sanctuary in 1955, the bird became a symbol of freedom and harmony for Georges Braque. ‘I now only draw birds, after my still lifes h...

Fascinated by an experience in the Camargue bird sanctuary in 1955, the bird became a symbol of freedom and harmony for Georges Braque. ‘I now only draw birds, after my still lifes h...