![[MATISSE] — Stéphane MALLARMÉ (1842-1898). Poésies. Lausanne: Albert Skira, 1932. Grand in-4 (327 x 245 mm). 29 eaux-fortes originales d’Henri Matisse dont 23 hors texte et 6 vignettes tirées sur les presses de Lacourière. Reliure mosaïquée signée de Paul Bonet, datée 1954, maroquin cyclamen foncé, plats ornés d’un motif central de box jaune et blanc, jeu d’arabesques composé de filets dorés courbes se prolongeant au dos lisse, doublure et gardes de daim jaune, tranches dorées, couverture imprimée et dos conservés, chemise et étui assortis,.](https://www.christies.com/img/LotImages/2016/PAR/2016_PAR_14627_0080_000(matisse_stephane_mallarme_poesies_lausanne_albert_skira_1932_grand_in-092428).jpg?w=1)
Details
[MATISSE] — Stéphane MALLARMÉ (1842-1898). Poésies. Lausanne: Albert Skira, 1932. Grand in-4 (327 x 245 mm). 29 eaux-fortes originales d’Henri Matisse dont 23 hors texte et 6 vignettes tirées sur les presses de Lacourière. Reliure mosaïquée signée de Paul Bonet, datée 1954, maroquin cyclamen foncé, plats ornés d’un motif central de box jaune et blanc, jeu d’arabesques composé de filets dorés courbes se prolongeant au dos lisse, doublure et gardes de daim jaune, tranches dorées, couverture imprimée et dos conservés, chemise et étui assortis,.
Tirage limité à 145 exemplaires. Un des 95 sur vélin, celui-ci le n° 107.
Second ouvrage illustré issu des presses du jeune éditeur Albert Skira (après son magnum opus en collaboration avec Pablo Picasso pour illustrer Ovide) mais le "premier projet d'illustration de tout un ouvrage par Matisse" (Bogousslavsky, De Parallèlement à Chanson complète, p. 322).
“Matisse describes his approach to this, his first book (with original plates): ‘Etchings with a regular outline, very slender, without shading, which leave the page almost as white as before the printed impression. The design fills the unmargined page, for the design is not, as usual, massed toward the center, but radiating over the whole sheet. The rectos carrying the plates are placed opposite the versos bearing the text… The problem was then to balance the two pages – one white, that of the etching and one relatively black, that of the typography. I obtained that result by modifying my arabesque so that the attention of the spectator would be drawn again to the white page as much as to the promise of the reading of the text” (Garvey 196).
TRÈS BEL EXEMPLAIRE. From Manet to Hockney 95; Duthuit 5; Bonet Carnets 1055.
Tirage limité à 145 exemplaires. Un des 95 sur vélin, celui-ci le n° 107.
Second ouvrage illustré issu des presses du jeune éditeur Albert Skira (après son magnum opus en collaboration avec Pablo Picasso pour illustrer Ovide) mais le "premier projet d'illustration de tout un ouvrage par Matisse" (Bogousslavsky, De Parallèlement à Chanson complète, p. 322).
“Matisse describes his approach to this, his first book (with original plates): ‘Etchings with a regular outline, very slender, without shading, which leave the page almost as white as before the printed impression. The design fills the unmargined page, for the design is not, as usual, massed toward the center, but radiating over the whole sheet. The rectos carrying the plates are placed opposite the versos bearing the text… The problem was then to balance the two pages – one white, that of the etching and one relatively black, that of the typography. I obtained that result by modifying my arabesque so that the attention of the spectator would be drawn again to the white page as much as to the promise of the reading of the text” (Garvey 196).
TRÈS BEL EXEMPLAIRE. From Manet to Hockney 95; Duthuit 5; Bonet Carnets 1055.
Special notice
Artist's Resale Right ("droit de Suite").
If the Artist's Resale Right Regulations 2006 apply to this lot, the buyer also agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
Further details
Limited edition of 145 numbered copies. This copy n° 107 is one of 95 printed on wove paper signed by Matisse. Mosaic binding by Paul Bonet.
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