Auburn Hills, MI
Details
- Dimensions
- 11ʺW × 0.01ʺD × 15ʺH
- Styles
- Postmodern
- Frame Type
- Unframed
- Art Subjects
- Landscape
- Styled After
- Saul Steinberg
- Period
- Mid 20th Century
- Item Type
- Vintage, Antique or Pre-owned
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- Materials
- Lithograph
- Paper
- Condition
- Good Condition, Unknown, Some Imperfections
- Color
- Blue
- Condition Notes
- Good Good less
- Description
-
Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 157, 1966. …
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Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 157, 1966. Published by Aimé Maeght, Éditeur, Paris; printed by Éditions Pierre à Feu, Galerie Maeght, Paris. Excerpted from the volume (translated from French), This issue of "Behind the Mirror" includes a luxury edition printed on vélin de Lana, and limited to 150 examples, numbered and signed by the artist. Excerpted from a Christie’s, New York lot essay, The life span of Derrière le Miroir was thirty-five years. Publication began in 1946. Aimé Maeght, initiator of Derrière le Miroir, had already made few attempts to start publications illustrated with fine printed lithographs in colours in the years prior to the launch of Derrière le Miroir. The name, Derrière le Miroir was suggested by Jacques Kober, manager of Galerie Maeght. The gallery had opened in 1945; the first number of Derrière le Miroir was released a year later. For this first issue Geer van Velde was invited to create lithographs to illustrate the publication. The lithographs in the first issue was printed by Mourlot, Paris. The first three issues of Derrière le Miroir were unsuccessful for Maeght as far as the edition size—the initial print-runs were far too large. From 30,000 for the first issue, the number was taken down to 10,000 for numbers two and three, until Derrière le Miroir number four was published in an edition of 1500. Maeght instituted a policy whereby unsold issues were recycled and used for the fabrication of new paper for the coming editions—this served to both conserve resources and also usually result in ultimate edition sizes far less than 1,500. With number four, the permanent format for Derrière le Miroir was established. Lithographs in colours were key; text was limited to comments on the featuring artist's exhibition taking place in the Galerie Maeght, and this catalogue format was defining to Derrière le Miroir. Galerie Maeght took on the leading role in Paris and presented all main artists including Braque, Matisse, Chagall, Léger, Bonnard, Chillida and many more. So too did Derrière le Miroir. The idea of a magazine was meanwhile still on the mind of Aimé Maeght. He found an insert as a solution. Two, and later four, pages of art review were inserted from 1952 onwards. In 1968 this find had ripened to independency and the dream of Aimé Maeght was now a tangible fact named l'Art vivant. Derrière le Miroir was on it's own again. Over 250 issues in a row. At that point publisher Aimé Maeght wished to make a mark with the publication of an hommage to all who once contributed to the magazine which came in the form of issue number 250, but was delayed by the death of Aimé Maeght. It was published after number 253 in 1982 and became a tribute to Aimé and Marguérite Maeght and 35 years of friendship with artists and poets. The era of Derrière le Miroir was closed with that final publication.
SAUL STEINBERG (1914-1999 ) Romanian-American cartoonist and illustrator best known for his iconic contributions to The New Yorker magazine. As synonymous with illustration as Picasso is with cubism, Steinberg’s drawing style is characterized by a playful, childlike-doodle quality while also maintaining an elegant deftness that succinctly described a wide range of subjects. His quirky, sharply observed sketches, at times reminiscent of Dada art, also crossed over into the fine arts world. Saul Steinberg made drawings and sculptures that established him as an acute visual chronicler of the modern American psyche. From the single, unbroken flourishes of his smaller cartoons to the dense detail seen in his New York cityscapes, the lines in Steinberg’s illustrations are famously emotive. less
Auburn Hills, MI
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