Georges Braque, Astre et Oiseau (Star and Bird) I, 1958-59
|Artist:||Georges Braque (1882 - 1963)|
|Title:||Astre et Oiseau (Star and Bird) I, 1958-59|
|Medium:||Color Lithograph on Arches paper|
|Image Size:||12 1/2 x 10 3/4 in (32 cm x 27 cm)|
|Sheet Size:||20 3/4 in x 17 1/2 in (52.9 cm x 44.5 cm)|
|Framed Size:||28 9/16 in x 27 in (72.5 cm x 68.6 cm)|
|Edition:||Numbered from the edition of 75 in pencil in the lower left; published by Maeght, Paris, printed by Mourlot, Paris.|
|Signature:||This work is hand-signed by Georges Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) in pencil in the lower right.|
|Condition:||This work is in excellent condition.|
|Have One To Sell?|
Historical Description of this artwork
Braque Astre et Oiseau (Star and Bird) I, 1958-59 is a darling image of a bird in flight. The bird motif frequently appears in Braque’s works. For the artist, the bird is a poetic display of innocence and freedom. In this lithograph, a giant white dove is seen in mid-flight. Its wings are spread wide, dramatically illustrating its fluid movement. The bird is in a flattened form reminiscent of Braque’s Cubist beginnings. Located directly in front of the bird is a pale full moon that looms prominently in front of the image. Behind the bird are rich shades of blue and black, signifying the night sky. The white dove contrasts dramatically against its darkened background. Framing this scene are black lines aligning to encase the image in a rectangular frame. It is as if the artist hoped to give us a brief snapshot of a passing moment in the night. Viewers cannot help but wonder of the bird’s final destination and its eventual fate. This enigmatic piece is a visual puzzle in itself.
Created in 1958-1959, this color lithograph on Arches paper is hand-signed by Georges Braque (Argenteuil-sur-Seine, 1882- Paris, 1963) in pencil in the lower right; numbered from the edition of 75 in pencil in the lower left; published by Maeght, Paris, printed by Mourlot, Paris.
Catalogue Raisonné & COA:
Braque Star and Bird (Astre et Oiseau) I, 1958-1959 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the final sale of the work).
1) Vallier, Dora, Braque: The Complete Graphics, 1982. Listed and illustrated as catalogue raisonné no. 129
2) A Certificate of Authenticity will accompany this work.
About the Framing:
Framed to museum-grade, conservation standards, Braque Star and Bird (Astre et Oiseau) I, 1958-1959 is presented in a complementary moulding and finished with silk-wrapped mats and optical grade Plexiglas.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
You may also like
- Still Life with Apples, 1956 Georges Braque Hand Signed Color Lithograph for saleREQUEST PRICE/SUBMIT BEST OFFERW-5757
- Oiseaux (Birds), 1962 Georges Braque Color Lithograph on Arches paperREQUEST PRICE/SUBMIT BEST OFFERW-5744
- Les Champs, 1962 Georges Braque Original Hand Signed Color Lithograph for saleSOLDItem # 3030
- L’Etang from Lettera amorosa, 1963 Georges Braque Original Hand Signed Color Lithograph for saleREQUEST PRICE/SUBMIT BEST OFFERItem # 4429
- Ciel Gris I (Gray Sky I), 1959 Georges Braque Original Color LithographREQUEST PRICE/SUBMIT BEST OFFERItem # 4189
We have openings for a few new members each day. Members receive exclusive offers on our entire inventory. Join Now!
Considered one of the most important artists of the 20th Century, Braque's prints, lithographs, etchings, aquatints
and paintings are dynamic. Never the same style or interpretation, his still
lifes, birds and flowers speak to change and sentiment.
Sell Your Braque
Sell your Braque fine art with us. We offer free evaluations.
Artistic Styles of Braque
Picasso Cubism, Cubist 20th Century French Modern Master
Georges Braque Complete Biography
News About Braque
Picasso, Braque, and the Development of the Cubist Style
Masterworks Fine Art strives to be the best source of fine art for our clients and collectors all over the world. We also want to be an educational resource to the artcommunity. We have educational fine art material for students and researchers, and we will continue to donate fine art to charities. You can see some of our donationsmade by Masterworks Fine Art. We believe the most direct way to accomplish this is byestablishing a lifetime of personal and professional relationships with our clients. More About Us »
Georges Braque Biography
Georges Braque was born 1882, in Argenteuil-sur-Seine, France. He grew up in Le Havre and studied evenings at the Ecole des Beaux-Arts from about 1897 to 1899. He left for Paris to study under a master decorator and received his craftsman certificate in 1901. From 1902 to 1904 he painted at the Académie Humbert in Paris, where he met Marie Laurencin and Francis Picabia. By 1906, Braque’s work was no longer Impressionist but Fauve in style and after spending that summer in Antwerp, he showed his Fauve work the following year in the Salon des Indépendants in Paris.
His first solo show was at Daniel-Henri Kahnweiler’s gallery in 1908 and in 1909, Pablo Picasso and Braque worked together in developing Cubism. By 1911, their styles were extremely similar and in 1912 they started to incorporate collage elements into their paintings and to experiment with the papier collé (pasted paper) technique. Their artistic collaboration lasted until 1914 when Braque left to serve in the French army during World War I and was subsequently wounded.
After World War I Braque’s work changed and became freer and less schematic. In 1922 he did an exhibition at the Salon d’Automne in Paris where his fame continued to grow. By the end of the decade, he had returned to a more realistic interpretation of nature, although certain aspects of Braque’s Cubism always remained present in his work. His first important retrospective took place in 1933 at the Kunsthalle Basel, and he won First Prize at the Carnegie International, Pittsburgh, in 1937.
During World War II, Braque remained in Paris. His paintings at that time, primarily still lifes and interiors, became more somber. In addition to paintings, he also made etchings, lithographs, engravings, prints and sculpture. From the late 1940s, he treated various recurring themes, such as birds, ateliers, landscapes, and seascapes. In 1954, he designed stained-glass windows for the church of Varengeville. During the last few years of his life, he continued to paint, make lithographs, and design jewelry, dying in 1963 in Paris.
In 1912, Braque and fellow cubist Pablo Picasso began experimenting with new possibilities for cubism. Together they invented a technique titled papier collés in which a collage was made by adhering paper to a flat mount. Unlike other works in the collage medium, papier collés signify the exclusive use of paper rather than non-paper components. Braque took a step even further by adhering cut-up advertisements onto the canvas. The first work using this technique was Fruit Dish and Glass, 1912. For Fruit Dish and Glass, Braque was inspired after purchasing a roll of faux bois paper that resembled oak paneling. Braque first cut the paper and began to organize the strips into various compositions. What ensued is a beautiful and textural visual puzzle. A similar work, titled Bottle, Glass , and Pipe (Violette de Parme), 1914 is currently in the collection of the Metropolitan Museum in New York. His collage technique has also inspired artists like Henri Matisse.
Georges Braque’s painting style is best characterized by its ability to constantly evolve. His earliest works tended towards Impressionism. However, in 1905 he adopted the Fauvist style after meeting Henri Matisse. The Fauves painted in bright colors in order to illicit emotional responses, earning them the title that translates to mean “beasts”. An example of Braque’s painting within this genre is his famous Landscape at La Ciotat, 1907 at the MOMA in New York. Nevertheless, his venture into Fauvism was short lived and in 1908 he began to show new interest in geometry and flattened perspectives. In 1909, his friendship with Picasso led to the development of Cubism. During this period, they painted side by side, producing paintings with monochromatic colors and interlacing forms. For the two artists, the summer of 1911 was exceptionally productive. They painted together in the French Pyrenees, producing paintings that were almost impossible to distinguish from each other. His best known paintings from this period are his still lifes Violin and Candlestick, 1910 and Man with a Guitar, 1911. Both paintings are held in the collections of MOMA. His paintings are regularly valued millions at auction, with the record amount earning$9.5 million in 1986.
Braque began creating prints as early as 1907. The first series from this period were the ten Cubist prints, modeled after his paintings. These prints are increasingly rare, few collectors have been able to reconstruct the series in its entirety. In these earlier stages of his printmaking, Braque mainly practiced etching. However, he ventured into lithography in 1921, creating his first lithograph Nature morte III (Verre et Fruits) , 1921. He became quite adept with the medium and clearly favored creating images of still life. These early lithographs exemplified Braque’s painterly approach to printmaking. Braque became even more involved with printmaking in the 1930s. During this time, his subjects were influenced heavily by surrealism and automatism. A prime example of this period is La Théogonie d’ Hesiode (Hesido’s Theogony), 1932. The prints of this volume were commissioned by Ambroise Vollard, and represented a milestone for both the artist and for the practice of printmaking. Braque continued to make illustrated books. In 1962, he worked with renowned printmaker Aldo Crommelynck on a series of etchings and aquatints to accompany a book of poems titled L’ordre des oiseaux. By the last decade of his life, Braque had created 300 compositions, of which nearly 200 were for illustrated books. His prints are fully documented within the catalogue raisonné Braque: The Complete Graphics by Dora Vallier.
Braque first came upon lithography in 1921. The medium fascinated him as it was less demanding as a technique than etching. Lithography was also more alike to painting, especially in its chromatic possibilities. Despite their similarities, Braque did not copy his lithographs after his paintings. Instead, he chose to only extract the subject matter and the format from his paintings. His most dedicated period to lithograph lasted from 1945 to the end of his life. His later lithographs showcase deliberately thick strokes which tended towards visual intensity rather than accuracy. For some of his lithographs in the Lettera Amorosa, 1963 suite, as many as 13 colors were layered in succession.