Etching on vélin du Lana Papiers Spéciaux pur fil paper. Paper Size: 10.0625 x 8.25 inches. Excellent condition. Inscription: Unsigned and unnumbered, as issued. Notes: From the album, Du cubisme, 1947. Published by Compagnie Française des Arts Graphiques, Paris; printed by Thirot, Le Maître-Imprimeur, Paris, July 3, 1947. Excerpted from the album (translated from French), Du cubisme...was completed to print on July 3, 1947 by R. Girard & Cie for the typography and by the Compagnie Française des Arts Graphiques for the plates in copperplate engraving, le maître, Thirot being presser. Du cubisme was completed to print on July 1, 1947. The draw includes: No. I. example on papier d'Auvergne with some states and two suites of the plates. No. II to XX. examples on papier d'Auvergne with two suites of the boards. No. XXI to XXXV. examples on papier d'Auvergne with a suite of plates. No. XXXVI to CDXXXV. examples on papier pur fil Lana. In addition, XX examples were printed on papier Lana, numbered in Roman numerals for the Dépôt Légal and collaborators. ALBERT GLEIZES (1881-1953) was a French artist, theoretician, philosopher, a self-proclaimed founder of Cubism and an influence on the School of Paris. Albert Gleizes and Jean Metzinger wrote the first major treatise on Cubism, Du "Cubisme", 1912. Gleizes was a founding member of the Section d'Or group of artists. He was also a member of Der Sturm, and his many theoretical writings were originally most appreciated in Germany, where especially at the Bauhaus his ideas were given thoughtful consideration. Gleizes spent four crucial years in New York, and played an important role in making America aware of modern art. He was a member of the Society of Independent Artists, founder of the Ernest-Renan Association, and both a founder and participant in the Abbaye de Créteil. Gleizes exhibited regularly at Léonce Rosenberg's Galerie de l’Effort Moderne in Paris; he was also a founder, organizer and director of Abstraction-Création. From the mid-1920s to the late 1930s much of his energy went into writing, e.g., La Peinture et ses lois (Paris, 1923), Vers une conscience plastique: La Forme et l’histoire (Paris, 1932) and Homocentrisme (Sablons, 1937). Gleizes exhibited at the 1910 Salon d'Automne with the same artists, followed by the first organized group showing by Cubists, in Salle 41 of the 1911 Salon des Indépendants (La Femme aux Phlox (Woman with Phlox)) together with Metzinger, Delaunay, Le Fauconnier and Léger. The result was a public scandal which brought Cubism for the first time to the attention of the general public—in contrast, Picasso and Braque were exhibiting in a private gallery and selling to a small circle of connoisseurs.