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Pierre Tal-CoatPierre Tal-Coat, Bird and Its Shadow, from Derriere le Miroir, 19641964
1964
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About the Item
This exquisite lithograph by Pierre Tal-Coat (1905–1985), titled Oiseau et son ombre (Bird and Its Shadow), originates from the 1964 folio Derriere le Miroir, Nos. 144–145–146, L’Hommage a Georges Braque (Tribute to Georges Braque). Published by Maeght Editeur, Paris, under the direction of Aime Maeght, and printed by Mourlot Freres, Paris, this composition exemplifies Tal-Coat’s lyrical abstraction and meditative engagement with the natural world. In Oiseau et son ombre, the artist evokes the tension between presence and reflection, capturing the delicate balance between motion and stillness through gestural, organic form and restrained color. The result is a poetic interpretation of nature seen through the lens of modern abstraction.
Executed on velin paper, this lithograph measures 15 x 11 inches (38.1 x 27.9 cm). Signed in the plate and unnumbered, as issued. The edition exemplifies Tal-Coat’s expressive command of texture and movement within a refined compositional framework.
Artwork Details:
Artist: Pierre Tal-Coat (1905–1985)
Title: Oiseau et son ombre (Bird and Its Shadow), from Derriere le Miroir, Nos. 144–145–146, L’Hommage a Georges Braque (Tribute to Georges Braque), 1964
Medium: Lithograph on velin paper
Dimensions: 15 x 11 inches (38.1 x 27.9 cm)
Inscription: Signed in the plate and unnumbered, as issued
Date: 1964
Publisher: Maeght Editeur, Paris
Printer: Mourlot Freres, Paris
Condition: Well preserved, consistent with age and medium
Provenance: From the 1964 folio Derriere le Miroir, Nos. 144–145–146, published by Maeght Editeur, Paris
Notes:
Excerpted from the folio (translated from French): Taken from this special issue of “Behind the Mirror,” CCCL examples on velin de Rives were numbered, constituting the original edition of L’Hommage a Georges Braque. These deluxe examples also included an etching based on Trois oiseaux sur fond violet. The lithographs for this issue were printed in the ateliers of Maeght Editeur, Levallois. The text was printed by Fequet et Baudier, typographers. Finished printing May 13, 1964.
About the Publication:
Derriere le Miroir (translated as "Behind the Mirror") was an iconic French art periodical published from 1946 to 1982 by Maeght Editeur, one of the most influential art publishers of the 20th century. Founded by Aime Maeght in Paris, the publication was conceived as a visual and literary collaboration between leading modern artists, poets, and critics. Each issue functioned as both an exhibition catalogue and a work of art in itself—featuring original lithographs printed directly from the artists' stones or plates, alongside essays, poems, and critical commentary. Over the course of 36 years, Derriere le Miroir produced more than 250 issues and showcased an extraordinary roster of artists including Henri Matisse, Marc Chagall, Joan Miro, Georges Braque, Alexander Calder, Fernand Leger, Pierre Bonnard, Alberto Giacometti, Eduardo Chillida, Ellsworth Kelly, Francis Bacon, Paul Rebeyrolle, Claude Garache, Antoni Tapies, Bram van Velde, Pierre Alechinsky, Pol Bury, Shusaku Arakawa, and Gerard Titus-Carmel. Printed in the ateliers of Mourlot, Arte, and Imprimerie Moderne du Lion, the periodical set new standards for quality in color lithography, combining fine art printing with elegant typography and poetic text. Beyond its visual brilliance, Derriere le Miroir also became a cultural chronicle of postwar European modernism. Each issue coincided with exhibitions held at Galerie Maeght, providing a collectible and widely accessible record of groundbreaking shows. Its integration of image, text, and philosophy created a dialogue between art and literature that elevated the modern art book to new aesthetic heights. Today, Derriere le Miroir remains one of the most sought-after and historically significant art publications, prized by collectors and scholars alike for its craftsmanship, influence, and its role in defining the visual language of 20th-century modernism. The Maeght Foundation in Saint-Paul-de-Vence continues to honor this legacy through exhibitions and archival preservation of the series, affirming Derriere le Miroir's enduring place in the history of modern art and fine art publishing.
About the Artist:
Pierre Tal-Coat (1905–1985) was a French painter and printmaker celebrated for his dynamic abstractions that bridge nature, gesture, and pure emotion. Emerging from the School of Paris, Tal-Coat began his career in the 1930s as a figurative artist before developing a distinctive abstract language rooted in the rhythms of the natural world. His paintings evoke movement and atmosphere through layered textures, spontaneous brushwork, and earthy tonal harmonies, capturing the vitality of landscapes and organic forms. Deeply engaged with the postwar avant-garde, Tal-Coat’s work aligns with the revolutionary spirit of modern masters such as Pablo Picasso, Henri Matisse, Alexander Calder, Marc Chagall, Salvador Dali, Joan Miro, Georges Braque, Wassily Kandinsky, Marcel Duchamp, and Man Ray—artists who, like Tal-Coat, redefined the boundaries between representation and abstraction. Over his prolific career, he exhibited internationally and collaborated with leading galleries including Galerie Maeght, where his works appeared alongside those of Miro, Chagall, and Calder. Today, his art is represented in major museums such as the Centre Pompidou, the Musee d’Art Moderne de Paris, and the Tate. The highest price ever paid for a Pierre Tal-Coat artwork at auction is approximately $430,000 USD, achieved in 2011 at Christie’s Paris for Etude pour le Polder (1961).
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- Creator:Pierre Tal-Coat (1905 - 1985, 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: LU1465216842942
Pierre Tal-Coat
Pierre Tal-Coat (1905–1985) was a French artist considered to be one of the founders of Tachisme, a French style of abstract painting popular in the 1940s and 1950s often considered to be the European equivalent to abstract expressionism. It was part of a larger postwar movement known as Art Informel, which abandoned geometric abstraction in favor of a more intuitive form of expression, similar to action painting. He was friends with such notables as Gertrude Stein, Ernest Hemingway, Giacometti, Balthus and Artaud. In 1963 he collaborated alongside Joan Miro and Ubac in the creation of the Maeght foundation.
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