A co-founder of Cubism, Georges Braque initially worked in a Fauvist style under the influence of Henri Matisse before embracing the style of Matisse’s great rival, Picasso. Born in 1882 in France, Braque moved to Paris at age seventeen where he found work as a decorative painter, a skill he had learned from his father. By 1904 he was able to establish his own studio and pursue painting full-time, and he exhibited several Fauvist canvases in his first exhibition at the Salon des Indépendants of 1906. A year later, however, he had a transformational experience visiting the studio of Pablo Picasso, where he saw the seminal 1907 painting Les Demoiselles d’Avignon, now in the collection of the Museum of Modern Art, New York. From that point forward, Braque abandoned Fauvism, and established a close friendship with Picasso. It was also at this time that he began experimenting with other mediums, such as collage, drawing, and, later, sculpture. When the First World War broke out in 1914, Braque was sent to the front, where he was wounded; he would not resume painting again until 1917. He continued to favor still lifes, but expanded his treatment of them by focusing more on line, and varied his employment of color between subdued and richer, more vibrant color schemes. The interrogation of texture and the tactility of objects was still a paramount artistic imperative in his work, but his approach to either of them continually evolved over the course of his career. Although Braque had a major retrospective in Basel, Switzerland, in 1933, which helped garner him international attention, he never attained the fame of Picasso and other modern masters. It was not until a major retrospective was held at the Louvre in 1962, the year before his death that Braque truly began to gain the recognition he rightfully deserved. In the intervening years, his reputation as a modern master has grown exponentially, with nearly all leading art institutions treasuring his work within their collections; some of these include the Museum of Modern Art, New York; the Centre Pompidou, Paris; the Art Institute of Chicago; and the Los Angeles County Museum of Art.

Georges Braque

Nude Study (Nude) | Etude de nu (Nu), by <a href="https://www.sothebys.com/en/search?query=Georges+Braque&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Georges Braque</a>, 1907-08, published 1953.<ul><li>Georges Braque(French, 1882-1963).</li><li>Etching on Auvernge Laid paper.</li><li>Hand-signed and numbered.</li><li>This work is presented unframed.</li></ul> This original etching is hand signed in pencil by the artist "G Braque" at the lower right margin. It is also hand numbered in pencil from the edition of 25, at the lower left margin. The work was printed by Visat, Paris and published by Maeght Éditeur, Paris in 1953. Braque etched the plate in 1907-08 making only a few trial proofs. The edition of 25 was published in 1953 along with an edition of 30 on Rives wove paper. One of the early trial proofs from 1907-08 is held in the collection of the Bibliothèque nationale de France in Paris and bears a handwritten inscription from Braque to the institution. This is the first print created by Georges Braque. The plate was etched by the artist between 1907-08 and it is contemporary with a drawing with a similar composition which was held in the Collection of Douglas Cooper.

Nude Study (Nude) | Etude de nu (Nu)

Limited edition de tête copy of Derrière le Miroir No. 166.<ul><li>Georges Braque (French).</li><li>Paris:&nbsp;Maeght,&nbsp;1967.</li><li>Large 4to.</li><li>Number 12 of 150 copies on vélin de Lana.&nbsp;</li><li>Includes 4 original lithographs by Braque, including one double page, three additional color plates, and 8 photographic plates of Braque at work.</li><li>Loose as issued in wrappers.</li><li>In chemise and paper-over-boards slipcase.</li></ul>

Derrière le Miroir 166

The Dance, by <a href="https://www.sothebys.com/en/search?query=georges+braque&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Georges Braque</a>, 1934.<ul><li>Georges Braque (French, 1882-1963).</li><li>Etching with acquatint on paper.</li><li>Hand signed.</li><li>Part of an edition of 250.</li><li>This work is presented unframed.</li></ul> The etching was created for the book Georges Braque by Carl Einstein, and was published in 1934 by Chroniques du Jour, Paris and A. Zwemmer, London and E. Weyne, New York. Carl Einstein (26 April 1885 – 5 July 1940), born Karl Einstein, was an influential German Jewish writer, art historian, and critic. Regarded as one of the first critics to appreciate the development of Cubism, as well as for his work on African art and influence on the European avant-garde, Einstein was a friend and colleague of such figures as George Grosz, Georges Braque, Pablo Picasso and Daniel-Henry Kahnweiler. His work combined many strands of both political and aesthetic discourse into his writings, addressing both the developing aesthetic of modern art and the political situation in Europe.

The Dance

Birds in Flight [Oiseaux en Vol], by <a href="https://www.sothebys.com/en/search?query=Georges+Braque&amp;pfilters.dateRange=upcoming" rel="noopener noreferrer" target="_blank">Georges Braque</a>, 1961.<ul><li>Georges Braque (French, 1882-1963).</li><li>Lithograph in colors on Arches Wove paper.</li><li>Hand-signed and numbered.</li><li>Edition 75/75.</li><li>This work is presented unframed.</li></ul> This original lithograph in colors is hand signed in pencil by the artist "G. Braque" at the lower right margin.&nbsp;It is also hand numbered in pencil from the edition of 75, at the lower left margin.&nbsp; It was printed and published by Maeght Éditeurs, Paris in a limited edition of 75 signed and numbered impressions in 1960.&nbsp;The bird is a recurrent motif in Braque's oeuvre being a symbol of freedom and peace, especially after the Second World War.&nbsp;At the very end of his life, the artist painted birds repeatedly, as the perfect motif of his obsession with space and movement.&nbsp;

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