After World War II, following
on his collaboration with Ambroise Vollard, Georges Braque began to work with Aimé Maeght, who had just opened his gallery in Paris. With newfound ardour,
he explored his fondest themes in producing a variety of high-quality
prints, the most important of which focused on the still-life through
the simplified forms and refined textures that could be derived from the various media. **
In the present case, he used multiple zinc plates (since cancelled), ostensibly following Pissarro's recherches, to give a refined grain to to the print ground.
* Vallier's dimensions
however are somewhat approximative, as she gives 347 mm for plate width, which does not concord.
** It is worthwhile here, from the strict viewpoint of simplification of form, to
compare Braque's printmaking endeavours with those of both
Ellworth Kelly and later Donald Sultan...