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Bury, Cinétisation, Derrière le miroir (after)
1971

$716

$89520% Off

£536.51

£670.6420% Off

€628.95

€786.1820% Off

CA$1,002.75

CA$1,253.4420% Off

A$1,123.91

A$1,404.8920% Off

CHF 588.38

CHF 735.4820% Off

MX$13,868.43

MX$17,335.5420% Off

NOK 7,391.21

NOK 9,239.0120% Off

SEK 6,957.47

SEK 8,696.8420% Off

DKK 4,691.98

DKK 5,864.9720% Off

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About the Item

Lithograph and cinétisation on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 191, 1971. Published by Aimé Maeght, Éditeur, Paris; printed by Éditions Pierre à Feu, Galerie Maeght, Paris. Excerpted from the volume (translated from French), The illustrations in this issue of "Behind the Mirror" are cinétisations by Pol Bury, shot in the workshops of l'imprimerie Arte, Adrien Maeght. A luxury edition of 150 examples, numbered and signed by the artist was drawn with two cinétisations. 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. POL BURY (1922–2005), as a young artist, born in Belgium and educated in France, Pol Bury met and was influenced by the Surrealist René Magritte. Bury was working as a painter at the time and began to participate in Surrealist group exhibitions. He abandoned painting in 1952, however, after encountering the work of sculptor Alexander Calder. Calder's mobiles, in particular, made a strong impression on Bury, who would go on to become one of the first practitioners of "kinetic" art in the 1960s. Bury emphasizes movement as an essential element of sculpture, stressing that his works are not complete until they are set into motion. His first kinetic pieces, from the 1950s, were weathervane-like sculptures that were activated by the viewer. In the later 60s, he began working in stainless and Cor-Ten steel, producing monumental balls that spun or rolled, columns that rotated, and planes that tilted, all operated by concealed electrical mechanisms. The movement that he assigned to these sculptures was often a slow, often imperceptible action that did not immediately register in the viewer's eye.

Creation Year:

1971

Dimensions:

Height: 15 in (38.1 cm)Width: 22 in (55.88 cm)

Medium:

Lithograph

Movement & Style:

Pop Art

After:

Pol Bury (1922 - 2005, Belgian)

Period:

1970-1979

Condition:

Gallery Location:

Auburn Hills, MI

Reference Number:

By (After) Robert Rauschenberg

Located in Brooklyn, NY

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Category

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Materials

Offset

Rauschenberg-Quote Vintage Pop Art, 1999

$60 Sale Price

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Hommage à San Lazzaro

By Max Bill

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Max Bill (1908-1994) - Hommage à San Lazzaro Lithograph from 1975. Edition 371/575 (Photocopy of the colophone is included). Dimensions of work: 31 x 24 cm. Each copy of this lit...

Category

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Materials

Lithograph

Max Bill
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