Lithograph on vélin Chiffon de Mandeure paper. Paper size: 10 x 7.475 inches. Excellent condition. Unsigned and unnumbered, as issued. Notes: From the album, Lithographies et Eaux-Fortes Originales, Livres Illustres Originaux Affiches Derrière le miroir, 1966. Published by Maeght Éditeur, Paris, and Redfern Gallery, London; printed by Éditions Pierre à Feu, Galerie Maeght, Paris, November 22, 1966. Excerpted from the album (translated from French), The original lithographs of Miró, Calder, Ubac, Tal-Coat, Chillida, Steinberg, and Kelly were executed especially for this album and printed on the presses of l'atelier Arte. Chagall's original lithograph was printed in l'atelier Mourlot. The edition is limited to MD examples on Chiffon de Mandeure. Finished printing on November 22, 1966 for Maeght Éditeur and The Redfern Gallery. 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. ALBERTO GIACOMETTI (1901-1966) was a Swiss sculptor, painter, draftsman and printmaker. Beginning in 1922, he lived and worked mainly in Paris but regularly visited his hometown Borgonovo to see his family and work on his art. In 1922, he moved to Paris to study under the sculptor Antoine Bourdelle, an associate of Rodin. It was there that Giacometti experimented with Cubism and Surrealism and came to be regarded as one of the leading Surrealist sculptors. Among his associates were Miró, Max Ernst, Picasso, Bror Hjorth, and Balthus.