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Braque, Composition, Hésiode, Théogonie, Derrière le miroir (after)
1954

About the Item

Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Unsigned and unnumbered, as issued. Notes: From the folio, Derrière le miroir, Hésiode, Théogonie, Eaux-fortes de Georges Braque, N° 71-72, 1954. Published by Aimé Maeght, Éditeur, Paris; printed by Éditions Pierre à Feu, Galerie Maeght, Paris, 1954. Excerpted from the folio (translated from French), This edition of the Théogonie of Hésiode is composed of capitales Europe corps XVI. The non-text engravings were executed in 1932 by Georges Braque at the request of d'Ambroise Vollard. The cover the frontispiece the head of the chapter and the cul-de-lamp were engraved by Georges Braque in 1953. Each cover was varnished by the artist. Printing was finished in Paris on the presses of Fequet et Baudier on Monday, January 10, 1955. It was drawn on papier d'Auvergne à la main, CL examples, numbered, all signed by Georges Braque. The original size is 45 x 35 cm. The binding for Georges Braque's "Théogonie" was made by Madame Claude Stably. Each box consists of an original collage executed with torn and glued papers obtained by the so-called "à la cuve" process. The spontaneous graphics of these papers is due to the use and dosage of the different products that are added to the couleur à huile: alcool, essence, fiel de bœuf, vernis, gomme adragante, etc. The color then moves on the water, creating sporadic archipelagos of unusual beauty, caught on the fly by dipping the paper quickly into the tank. Madame Claude Stably won the 2ème prix de la Reliure Originale, 1954. Additional notes: 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. GEORGES BRAQUE (1882-1963) was a major 20th-century French painter, collagist, draughtsman, printmaker and sculptor. His most notable contributions were in his alliance with Fauvism from 1905, and the role he played in the development of Cubism. Braque's work between 1908 and 1912 is closely associated with that of his colleague Pablo Picasso. Their respective Cubist works were indistinguishable for many years, yet the quiet nature of Braque was partially eclipsed by the fame and notoriety of Picasso. In 2013, the painting, Paysage à la Ciotat by Braque sold at Sotheby’s for $15.8 million USD, setting the world record for the artist.

Creation Year:

1954

Dimensions:

Height: 15 in (38.1 cm)Width: 11 in (27.94 cm)

Medium:

Lithograph

Movement & Style:

Cubist

After:

Georges Braque (1882 - 1963, French)

Period:

1950-1959

Condition:

Gallery Location:

Auburn Hills, MI

Reference Number:

$716 Sale Price

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1940s Cubist Abstract Prints

Materials

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Braque, Composition, Hésiode, Théogonie, Derrière le miroir (after)
1954

About the Item

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