André Beaudin (1895-1980)

Tériade (1897-1983) Efstratios Eleftheriades, known to all simply as 'Tériade', was born to an industrial family on the island of Lesbos (Mytilène), Greece in 1897. After a traditional upbringing on this idyllic island, in a large villa bordered by olive groves on the outskirts of the capital Mytilini, he moved to Paris in 1915 to study Law. However, he soon became bored by his studies, preferring to spend his time visiting the Louvre and the few small commercial galleries in the city and also spending many hours in the cafes frequented by artists and the literati, including Le Dôme, La Coupole, La Rotonde and others. This was a period when it was nothing to spend hours in a café discussing wide ranges of subjects with anyone who happened to come in. During this period he developed strong relationships with those leading artists with whom he would work closely for the rest of his life. Tériade's first professional involvement in the art world was as a critic and he soon became an important voice behind the modern art movements. In 1926 he joined his fellow countryman Christian Zervos on his newly founded Cahiers d'Art, and was put in charge of the modern section of the journal that was devoted to the 'universality of the plastic arts'. From 1928 he also became a regular contributor to the arts column of the national daily paper L'Intransigeant. He often wrote with his friend Maurice Reynal under the pseudonym Les Deux Aveugles and was responsible for outstanding reviews on the advances of Cubism. Terminating his collaboration on Cahiers d'Art in 1931 he joined forces with Albert Skira and began to issue fine illustrated books and to publish the Minotaure magazine, the leading voice of the Surrealist Movement. Tériade was the artistic editor and Skira the managing editor. In 1935 with Raynal, Michel Leiris and others, he established La Bête noire, described in the founders' opening statement, as 'an activist newspaper of art and literature...directed against those who have deserted the modern spirit'. Finally, in 1937, having by now finished his commitment to Minotaure, Tériade turned to the founding and furthering of his own publishing ventures, and Verve was born. The following pages are a testament to his extraordinary achievement between 1937 when he produced the first issue of the Revue Verve and 1975 when his final livre d'artiste by Miró, L'Enfance d'Ubu, was published. All the works are the result of the closest collaboration between Tériade and the leading artists of the day whom he inspired and helped to create some of the finest illustrated books this century. Tériade was honoured with a major exhibition of all his published works at the Grand Palais in Paris in 1973. The exhibition catalogue Hommage à Tériade (Michel Anthonioz ed., Centre National d'Art Contemporain, Paris, 1973) has been a source of much information in compiling the present catalogue. Christie's is now honoured to have the opportunity to exhibit all Tériade's works in both Paris and London and to be able to offer them at auction in London on Friday 30 June. The auction is the result of an act of extreme generosity on the part of Madame Alice Tériade, the publisher's widow who is to donate the proceeds of the sale to the Institut Gustave-Roussy in Villejuif, near Paris. The Institut Gustave-Roussy was founded in 1934 (originally as L'Institut du Cancer) and is based in Villejuif, near Paris. It ranks among the leading centres in Europe for the research into cancer, and relies for much of the resources for its continued expansion and research projects on the generosity of private and corporate gifts. SRT Hommage à Tériade L'histoire de l'art n'est pas seulement celle des artistes. Elle est aussi faite par quelques fortes personnalités qui servent de cristallisateurs aux créateurs. On associe communément écrivains et éditeurs. Très rares sont ceux qui furent associés aux peintres et aux sculpteurs. A bien des égards, l'oeuvre de Tériade est exceptionnelle. Ayant eu la chance de le rencontrer dans les années 1970, de préparer la grande exposition d'Hommage à Tériade qui fut présentée d'abord à Paris, au Grand Palais, puis dans les principales villes d'Europe et au Japon, j'ai été profondément marqué par lui. Pour préparer l'exposition et le catalogue qui l'accompagnait, j'ai passé de longs moments en sa compagnie et recueilli ses pensées au cours d'entretiens toujours fertiles en intuitions et anecdotes sur les grands artistes de ce siècle qu'il avait intimement connu. Plus tard, je me suis servi de ces souvenirs dans l'Album Verve, ouvrage que j'ai consacré à cette extraordinaire revue où se retrouvèrent, par lui réunis, les poètes et les peintres qui étaient ses amis. Tériade connaissait et vivait la peinture 'de l'intérieur'. Il y songeait sans cesse, avec une sensibilité et une intelligence toujours en éveil. D'abord commentateur, il innove en donnant la parole aux artistes: ses interviews parues dans l'Intransigeant constituent aujourd'hui un exceptionnel témoignage de la réflexion des plus grands créateurs de notre temps. Mais c'est en devenant éditeur, et notamment à travers les 'livres de peintres', préparés avec une infinie patience et beaucoup d'amour, qu'il donne vraiment sa mesure. Deux de ces ouvrages au moins sont aujourd'hui entrés dans la légende de l'Art Moderne: Jazz de Matisse et Daphnis et Chloé de Chagall. Avec le recul - plus de vingt ans déjà, depuis l'Hommage du Grand Palais et de la Royal Academy - on voit mieux se dégager le caractère de chefs d'oeuvre de ces deux monuments qui sont beaucoup plus que des ouvrages de bibliophile. Il est grand temps aujourd'hui de reconnaître que sans Tériade, ces livres n'auraient pas vu le jour. Il a participé très étroitement à la gestation, à la naissance et à la réalisation de ces ensembles exceptionels où le texte et l'image se répondent comme dans les correspondances baudelairiennes. Tériade fut au départ des vingt-six 'livres de peintres' ici présentés, mais il le fut aussi à chacune des étapes, grâce à la complicité et à la confiance que lui accordaient les artistes. Je tiens à souligner ici ce rôle éminent qui ne fut pas seulement celui d'un 'passeur' mais aussi celui d'un associé solide et exigeant. Tériade a beaucoup reçu des artistes, parce qu'il leur avait beaucoup demandé. Les livres qu'il a édités, et dont les artistes sont bien sûr les auteurs, il les 'voyait' comme le romancier voit ses personnages. Quand je l'ai rencontré, il venait d'achever avec Miró l'enchanteur Ubu aux Baléares, suite très personnelle donnée à Ubu Roi et à L'Enfance d'Ubu. Il m'accueillit à la Villa Natacha, son jardin d'eden, avec son épouse Alice, avec une générosité et une attention que je n'ai jamais oubliées. C'est pour moi aujourd'hui un grand bonheur de pouvoir tenter de transmettre aussi fidèlement que possible cette passion tranquille qui l'animait. Mais si l'hommage qui lui est rendu à Londres est aujourd'hui possible, c'est grâce à la fidélité sans faille de Madame Alice Tériade. Partageant tout avec lui du vivant de son mari, elle a su continuer l'oeuvre avec un courage et un enthousiasme inépuisables. Depuis la disparition de Tériade, elle n'a cessé de multiplier les initiatives pour que soit connue et reconnue l'oeuvre de celui que Jean Leymarie appelait si justement 'un des bergers secrets de la Beauté'. En présentant cette vente de sa collection complète, Madame Tériade réalise le voeu de son mari: il avait souhaité que, le jour venu, celle-ci l'organisât. Grâce à son action, les expositions, les thèses, les articles et les livres sur Tériade se multiplient à travers le monde. Les musées qu'il avait crées dans son île natale de Mytilini s'enrichissent et s'embellissent. En rendant hommage à Tériade, c'est aussi de ce merveilleux dévouement dont je voudrais témoigner. Grâce à elle, et grâce à tous ceux qui ont organisé cette exposition et cette vente, Tériade demeure vivant. La fidélité, malgré les ravages du temps, n'est-elle pas l'une des plus belles parts de l'homme? Michel Anthonioz Hommage à Tériade The History of Art is not only made by artists, it is also made by powerful individuals who give form to a creator's genius. Usually one associates publishers with writers; it is very rare to associate them with painters or sculptors. In this respect, Tériade's work is exceptional. He made a very deep impression on me when I had the good fortune to meet him when preparing the Hommage à Tériade exhibition in the 1970's, which was shown first at the Grand Palais in Paris, and then in the main cities in Europe and Japan. During this time I spent many hours in his company. His conversation was rich with anecdotes of all the greatest artists this century and he provided me with a unique insight into the lives of these artists whom he had known so intimately. I was later to record his memories in the Album Verve, a work which I dedicated entirely to this extraordinary journal in which he brought together the painters and poets who were his friends. Painting was Tériade's consuming passion. As a critic, he was the first person to give a voice to the artist, and his interviews which appeared in L'Intransigeant provide us with a unique testimony of the innermost thoughts of the greatest artists of our time. It was as the publisher of the livres de peintres, however, that Tériade showed his own creative genius. At least two of these works have become legends in the history of Modern Art: Jazz by Matisse and Daphnis and Chloé by Chagall. It is now more than twenty years since the Hommage exhibition at the Grand Palais and the Royal Academy, and over the years the importance of these two masterpieces has become increasingly evident. It is time that we recognized that without Tériade, none of these books would ever have seen the light of day. He worked very closely with each artist, and was the demanding partner in the relationship, during the conception, birth and production of each of these exceptional ensembles in which text and image converse with each other in the same way as in Baudelaire's Correspondances. If Tériade received a great deal from the artists, it is because he asked a great deal from them. He saw in his mind the books he planned to publish in the same way that the novelist sees his characters. When I first met him, he had just completed with Miró the enchanting Ubu aux Baléares, his own personal sequel to Jarry's Ubu Roi which the artist had illustrated some years before. He welcomed me with his wife Alice at the Villa Natacha, his Garden of Eden, with a kindness that I have never forgotten. It is a great joy for me now to have the opportunity to try and convey, as faithfully as possible, the quiet passion that fired him. But this 'Homage to Tériade', which is now taking place in London would not have been possible without the enduring loyalty of Madame Alice Tériade. She shared everything with her husband during his lifetime, and since his passing, has worked tirelessly to encourage a greater knowledge and understanding of the work of this man whom Jean Leymarie called so aptly 'un des bergers secrets de la Beauté'. By offering the complete work of Tériade for sale, Madame Tériade is fulfilling her husband's strongest wish. It is entirely due to her that exhibitions, books, articles and theses about Tériade are growing in number across the world and that the museums which he established in his native island of Lesbos are flourishing. As well as paying my own homage to Tériade, I would like to acknowledge his wife's extraordinary devotion. It is because of her, and all those that have organised this exhibition and sale, that Tériade lives on. And after all, isn't faithfulness one of mankind's finest virtues? (a translation of the text by M. Anthonioz) FRIDAY 30 JUNE AT 11.00AM PRECISELY

細節

André Beaudin (1895-1980)

Gérard de Nerval, Sylvie, Tériade, Paris, 1960 (Strachan, The Artist and the Book, p. 325)

lithographs printed in colours, 1960, on Arches, title, text, justification and set of 24 full-page lithographs and fourteen lithographs on the title pages, signed in pen and black ink on the justification, copy number IX from the hors commerce edition of 20 (the total edition was 180), the full sheets as published, in fresh condition, loose in paper wrapper with title on front, within green paper-covered boards and slipcase, gilt title on spine
overall S. 352 x 270mm.

拍品專文

Beaudin's illustrations to Gérard de Nerval's Sylvie epitomize the artist's refinement of colour and design. Black lines of eloquent simplicity combine with typical passages of greens, blues, pinks and grey.

Tériade was an ardent supporter of Beaudin, publishing a monograph on the artist in 1961 (see lot 633).