Lithograph on vélin d'Arches paper. Inscription: Unsigned and unnumbered. Paper Size: 20 x 26 inches. Excellent condition. Notes: From the folio, Fauves, VII, Collection Pierre Levy, 1972; published by Fernand Mourlot, Paris; printed by Mourlot Frères, Paris, November 24, 1972. Excerpted from the folio, This album, The seventh in a series dedicated to Mr. Pierre Lévy's collection, was printed in M examples on Arches vélin. Printing was finished on November 24, 1972 by Mourlot for reproductions of the paintings of the Fauves and by Fequet and Baudier for typography. Fernand Mourlot, Paris 1972. MAURICE MARINOT (1882–1960) was a French artist. He was a painter considered a member of Les Fauves, and then a major artist in glass. Marinot's father was a bonnet maker. Maurice did poorly in school, but convinced his parents to send him to the École des Beaux-Arts in 1901 to train as a painter under French painter, Fernand Cormon. He left art school after his work wasn't accepted by the standards of the day. In 1905 he returned to Troyes, where he stayed for the rest of his life. In 1911 he visited his first glass shop, owned by his friends, the Viard brothers. He fell in love with the contrasts between colors, hot and cold, the play of light and fire. He began designing bowls, vases and bottles which his friends made, then he painted enamels on the surface. In 1912 he had his first exhibition and by 1913 critics were praising his work, saying “It has been a long time since an innovation of such great importance has come to enrich the art of glass” (Leon Rosenthal, Gazette des Beaux-Arts, 1913). From that year he stopped exhibiting his paintings. The Viard brothers give Marinot his own bench and a set of tools, so he learned quickly how to blow glass. In 1923 he stopped using enamels, and explored the use of bubbles, metal leaf, and colored glass. His production process was “Long and fraught with danger” and one piece could take as long as a year to reach his standards. The Viard Glassworks closed in 1937. Marinot was ill, and never touched glass again, though he did continue to paint. In the 1944 Allied bombing of Troyes there was direct hit on his studio, destroying over 2,500 paintings, thousands of drawings, and much of his glass. His sister's extensive collection was not damaged.