"Gelinotte" 1960, color lithograph, full margins, 9" x 13"; 225x350mm. Signed and numbered in pencil, lower margin. Arches watermark. Printed by Mourlot, Paris. Published by Maeght, Paris. A very good impression [Vallier 149].
Georges Braque first engaged in lithography in 1921, enticed by the broad possibilities offered by the medium. Lithography, though requiring drawing, is more aligned with painting and color. Braque's early lithographs echo the color schemes of his paintings, employing browns, blacks and yellows. After a hiatus from lithography, Braque resumed the process from 1945 until his death. Unlike his etchings and earlier lithographs, Braque restrains stone grain from his lithographs, focusing on color with strokes deliberately thickened and massive to have an impact on color. His strokes are 'painted strokes' modeled on painting, not drawing.
Braque used flat tint in his lithographs, and, in order to handle the legibility of the flat tint, he made use of pure colors. He embraced a chromatic range much brighter than that of his paintings; in spite of the persistence of certain subdued harmonies (black/brown; dark blue/gray), violets, yellows, bright reds and ultramarine. At the same time, he attempted to enrich the flat tint or enrich color saturation by means of chromatic superimposition. Hence, the large number of impressions required - 12 colors were successively applied to 'Gelinotte' (Mourlot states that this lithograph was "in the workshop for several years" and that it is comprised "of a dozen colors") - in some of his lithographs. The eye does not distinguish these once the work is completed but perceives them as pure intensity - from Vallier.
"Gelinotte" is in a Roma 'Museo" Renaissance black 28 7/8" x 33 5/8" frame with an intense red and brown over a gold base patina; with colors echoing those in the lithograph. The outer camel linen, middle Beveled Accent ivory black and inner 8-ply khaki mats are acid and lignin free and protected with Acrylite-AR OP3 (UV) by CYRO ......... $5,500.00
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