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Pierre PallutSans titre, L'Hommage à Georges Braque, Derrière le miroir1964
1964
$716
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£540.05
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€623.76
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CA$1,003.17
CA$1,253.9620% Off
A$1,115.46
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CHF 583.96
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NOK 7,338.09
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About the Item
Lithograph on vélin paper. Paper Size: 15 x 11 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the folio, Derrière le miroir, L'Hommage à Georges Braque, N° 144-145-146, 1964. Published by Aimé Maeght, Éditeur, Paris; printed by les ateliers de Maeght Éditeur, Levallois, May 13, 1964. Excerpted from the folio (translated from French), It was taken from this special issue of "Behind the Mirror", CCCL examples on vélin de Rives, numbered, which constitute the original edition of L'Hommage à Georges Braque. These head examples also include an gravure à l'eau-forte based on the "Trois oiseaux sur fond violet". The lithographs of this issue were drawn in les ateliers de Maeght Éditeur, in Levallois. The texts were printed on the presses of Fequet et Baudier, typographers. Finished printing on May 13, 1964. 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.
PIERRE PALLUT (1918-1999) was a French painter and printmaker. Early in his career, Pallut worked as an assistant in the ateliers de la Grande Chaumière in Paris. Upon his return from the war in 1940, he discovered the work of Van Gogh and Gauguin; however, it was Renoir and Bonnard that became his major influences. In Paris, he exhibited at the ephemeral Salon des Moins de Trente Ans, at the Salon d'Automne of which he was appointed a member in 1938, at the Salon de Mai. In 1946-47, he participated in the group "Le Noir est une couleur", presented at the Maeght gallery in Paris by Jacques Kober. During that time, he became personally acquainted with Braque, Matisse, Bonnard, Manessier, Rouault, and Geer Van de Velde. In 1946, the Prix de la Jeune Peinture, awarded for the first time, was awarded to Pierre Pallut. Also for his first award, the Fénéon Prize was awarded to him in 1949. Pallut collaborated with Braque on the construction of the three ceilings of the Salle des Etrusques at the Louvre Palace. From 1962, he exhibited at the Salon des Réalités Nouvelles where he became a member in 1967. He also participated in other group exhibitions abroad: "French Art" in Warsaw in 1948; "French Art" in Charlottenborg in 1950; "Twelve French Painters" Twelve American Painters" in New York; "Young Painters" in 1952 in Aberdeen, Edinburgh, Glasgow; in 1964 and 1966, Biennale of Menton; in 1965, "Hommage à Braque" in Paris.
- Creator:Pierre Pallut (1918 - 1999, French)
- Creation Year:1964
- Dimensions:Height: 15 in (38.1 cm)Width: 11 in (27.94 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Southampton, NY
- Reference Number:1stDibs: LU1465216842842
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Located in Southampton, NY
Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 144-145-146, 1964. Published by Aimé Maeght, Éditeur, P...
Category
1960s Modern Abstract Prints
Materials
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