GEORGE BRAQUE

The "first living artist" exhibited at THE LOUVRE: L'ATELIER DE BRAQUE (Paris 1961 retrospective).

The (original stone lithograph) being offered for sale here was in this(historic) exhibition!The price is (5k firm).

(Museum Series #290 Still Life) represented the painting (Verre Et Compotier 1931) in the exhibition. The listing as #30 in the (Paris 1961) exhibition catalogue is only a (black & white stock photograph of the painting).

Seven (7) paintings in the (1961) exhibition catalogue;were in fact represented in the actual exhibition by (7) graphic pieces of original printwork!

MUSEUM SERIES #290 Still Life-orig/litho

George Braque created this lithograph (1) specifically to represent the painting VERRE ET COMPOTIER (1931) in the (Paris 1961 retrospective) L'ATELIER DE BRAQUE, held at THE LOUVRE.

This was the first exhibition held at THE LOUVRE for a living artist. The show came about largely because the (museum community) in Paris had overlooked George Braque for other accolades that should have been accorded him earlier!

The actual lithograph really should be seen to appreciate the ( visual impact ) this piece has! (5k firm)
If you concider that you would like to inspect the actual work? jleary@ca.rr.com

The designation #290 is the series number,not an edition number.


This is the painting the lithograph represented in the exhibition.

Listing photo below is from the exhibition catalogue; L'ATELIER DE BRAQUE-2nd Edition (1961).
The title;NATURE MORTE: POIRE ET POMMES ( is a descriptive part of the official title).

Official listing title for all exhibitions/publications/business purposes;
VERRE ET COMPOTIER
1931
Poires et pommes
Nature morte brune

This fact coorborates; Braque's (original legatee) CLAUDE LAURENS in the catalogue ORANGERIE DES TUILERIES listing the work shown in the 1961 exhibition as a (repr.), confirming that (Museum Series # 290 Still Life, the lithograph) was in the (1961) exhibition not the actual painting!

The(actual) painting has never been (officially) listed in any publication other than as VERRE ET COMPOTIER.

Tribute to HENRI LAURENS ( ink & brush )

Reference (link); Stroke Boundary Analysis for The Identification of Drawing Tools-Paul Kammerer-Vienna University of Technology

Signatures (ink & brush) "CALLIGRAPHY"

George Braque did many different things through-out his carreer with his signature, in signing his graphic work.

(Hence the rare artistic and permanent style of ink & brush)

MUSEUM SERIES #290 Still Life ( ink & brush )

Modern Classics Inc. New York (gallery owners)

The time lines clearly indicates these three entities are the same company!

Active; 8 years and 7 months---Inactive; 3 years and 3 weeks
Active;6 years and 4 months---Inactive; 3 years and 4 months
Active;6 years and 8 months---

Claude Laurens (catalogue listings)

The image below is pieced together (different pages,same catalogue) in order to be concise and display 1 page rather than 4 pages.

The image below is from the same catalogue;Claude Laurens (George Braque's original legatee) headed the committee that organized the catalogue.This book is a very detailed publication (not all catalogues are this exhaustive).It lists each exhibition the paintings were in, every book the paintings are reproduced in, also the book clarifies whether or not a reproduction was exhibited rather than the actual painting.This catalogue is authoritative!

The email below (corroborates) the above information; confirmation that #30 in the (Paris 1961 retrospective) L'ATELIER DE BRAQUE at THE LOUVRE was not the actual painting, but a reproduction. A word of (caution) here! Do not misunderstand the word reproduction. It is not synonymous with shoddy work. Least-wise not at the THE LOUVRE!

Classic-up from the Basement

Classic up from the basement! Seen here are the results of (very many rainy seasons) in Los Angeles. A (mineral rock) formed between the (mat & frame), creating an (indentation) in the mat. Minerals, given time and the proper conditions, form solid deposits.The formation process of pearls within oysters; describes best the formation of this particular mineral rock. The (frame and mat) were assembled very tightly together.It took many,many,many seasons of microscopic minerals (seeping in and drying out) to form the large deposits I found! There was a lot of rock formation on the mat, most was scraped off. I did not think it necessary to leave it all there to demonstrate the fact.The art work itself was not at all affected.