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Tàpies, Composition, Derrière le miroir (after)
1974

$716

$1,29544% Off

£536.51

£970.3644% Off

€628.95

€1,137.5544% Off

CA$1,002.75

CA$1,813.6444% Off

A$1,123.91

A$2,032.7844% Off

CHF 588.38

CHF 1,064.1944% Off

MX$13,868.43

MX$25,083.2644% Off

NOK 7,391.21

NOK 13,368.1844% Off

SEK 6,957.47

SEK 12,583.7044% Off

DKK 4,691.98

DKK 8,486.1944% Off

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About the Item

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition, with centerfold, as issued. Notes: From Derrière le miroir, N° 210, 1974. Published by Aimé Maeght, Éditeur, Paris; printed by Éditions Pierre à Feu, Galerie Maeght, Paris. Excerpted from the volume (translated from French), The illustrations, pages 2-7, 10 and 15 of this issue of Derrière le Miroir are original lithographs of Tapies, drawn in the workshops of l'imprimerie Arte, Adrien Maeght. The other illustrations are reproductions of monotypes drawn by the painter. The vélin d'Arches luxury edition is 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. ANTONI TAPIES (1923-2012) was a Spainish painter, sculptor and art theorist. Tàpies was first introduced to Modern Art as he entered secondary school in 1934. He saw a famous Christmas issue of the magazine, D’ací i d’allà, which contained reproductions of works by artists such as Marcel Duchamp, Georges Braque, Wassily Kandinsky and Pablo Picasso. At 17, Tàpies suffered a near-fatal heart attack caused by tuberculosis. He spent two years as a convalescent in the mountains, reading widely and pursuing an interest in art that had already expressed itself when he was in his early teens.

Creation Year:

1974

Dimensions:

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

Medium:

Lithograph

Movement & Style:

Post-War

After:

Antoni Tàpies (1923 - 2012, Spanish)

Period:

1970-1979

Condition:

Gallery Location:

Auburn Hills, MI

Reference Number:

By Antoni Tàpies

Located in Hamburg, DE

"Matiére et Graffiti" is an original etching with aquatintin black adn whtie from 1969 by renowned Spanish artist Antoni Tàpies. It is an edition of 75 (67/75) on Guarro handmade pa...

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Materials

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Matiere et Graffiti - Aquatinta etching modern abstract artwork by Antoni Tàpies, 1969

$2,250

1960s Antoni Tàpies lithograph (derriere le miroir)

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Antoni Tàpies Lithograph c. 1967 from Derrière le miroir: Lithograph in colors; 15 x 22 inches. Very good overall vintage condition; contains center fold-line as originally issued...

Category

1960s Contemporary Abstract Prints

Materials

Lithograph

Antoni Tàpies
1960s Antoni Tàpies lithograph (derriere le miroir), 1967

$380 Sale Price

20% Off

Spanish Artist signed limited edition original art print numbered lithograph n32

By Antoni Tàpies

Located in Miami, FL

Antoni Tapies (Spain, 1923-2012) 'Scotch', 1974 lithograph on paper 35.5 x 24.9 in. (90 x 63 cm.) Edition of 120 Unframed ID: TAP1162-032 Hand-signed by author Cat. Galfetti, nº 393 ...

Category

1970s Abstract Prints and Multiples

Materials

Paper, Lithograph

Antoni Tàpies
Spanish Artist signed limited edition original art print numbered lithograph n32, 1974

$4,000

Tàpies, Composition, Derrière le miroir (after)1974

About the Item

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