Richard MORTENSEN (1910-1993) Yellow tone, 1957 Exceptional and unique suite of 91 gouache and graphite drawings on heavy paper, after the eponymous libretto by Vassily KANDINSKY (1866-1944) imagined in 1909 Our set, totalling 103 plates distributed in two drawing boxes, is presented in chronological order of the tableaux and scenes of the play, each sheet bearing in the lower right-hand margin a numbering reference allowing it to be situated in the course of the play, and in the lower left-hand margin, indications of timing, indicating the exposure time of each scene: n° I, I bis, I ter, II, II bis, III, IV, V bis (black), VI bis, VI bis (2), VI ter, VII 2, VII 3, VII 4, VII 5, VIII 0, VIII bis, VIII ter, VIII quater, VIII quater (2), IX, IX bis, IX ter, IX quater, X, XI, XI bis, XII, XIII, XIV, XVI, XVI bis, XVII, XVIII, XVIII bis, XIX, XX, XXI, XXII, XXIII bis, XXIII quater, XXIV, XXIV bis (black), XXV, XXVI, XXVI bis, XXVII bis, XVIII, (without number, black), XXIX, XXX, XXXI, XXXI bis, XXXII, XXXIII bis, XXXVI (black), XXXVII, XXXVIII, XXXIX, XL, XLI, XLII, XLII bis (black), XLIII, XLIII bis (black), XLIV, XLIV bis, XLIV ter, XLIV quater, XLV 1, XLV 2, XLV 4, XLV 5 (black), XLV 6, XLV 7, XLV 8, XLV 9 XLV 10 (black), XLVI B, XLVI C, XLVI D, XLVI E, XLVI F, XLCI G, XLVI H, XLVII, XLVII bis (black), XLVIII, XLIX, (without number, black), L, LI (black), LII, LIII, LIV, LV, LVI, LVII, LVIII, LIX, LX, without number (black and fine) The 12 plates of caesura simply marked "black" (V bis, XXIV bis, without number between XXVIII and XIX, XXXVI, XLII bis, XLIII bis, XLV 5, XLV 10, XLVII bis, without number between XLIX and L, LI, and the last one) are in fact blank sheets and do not present any drawing work H. 33 cm - L. 50 cm (each leaf) DV This collection is completed by a small study in pastel, a tracing paper and templates in cut cardboard used for the realization of the gouaches, a few sheets of handwritten notes relating to the duration of the exhibition of the plates and a handwritten document taking back by the drawing the 4 plates in possession of Nina Kandinsky (n° V, VII, XXVII, XLVI A), all four preserved today in the graphic art cabinet of the Pompidou Center, following the bequest of Nina Kandinsky in 1981 In addition, we enclose an important folder of archives relating to the stagings of Jacques Polieri (1928-2011) including : Various handwritten documents and a printed prospectus relating to the first representation of Sonorité Jaune, at the time of the 3rd Musical Festivals in Sainte-Baume-en Provence on August 6, 1975 . An original typescript of 14 pages, with corrections, detailing the staging of the 6 tableaux of Sonorité jaune . An original annotated typescript of 3 pages, project for the score of Sonorité jaune, with precise timing . A set of 17 handwritten sheets in blue ballpoint pen with numerous sketches detailing very precisely the staging effects for the second tableau . Two copies of a typescript entitled: "Sonorité Jaune, Notes manuscrites de Kandinsky", (6 pages) . Various proofs (some with corrections) of the presentation booklet of the play with a text by Frank Popper, "Kandinsky, une rencontre", a presentation of the characters and an extract from the second painting of Sonorité jaune, a text by Jacques Polieri on the Kaleidoscope theater, another on Sonorité Jaune, a biographical presentation of Vassily Kandinsky and one by Jacques Polieri . A copy of a handwritten note from Nina Kandinsky stating: "Kandinsky was a man of heart. He would have liked "Sonorité jaune" to be presented in Paris on a gala evening, for the benefit of a message of hope. . Two copies of a typed text of 2 pages Kandinsky-Polieri, a strange meeting, by Alain Charbonnel, in preamble to the world premiere of Sonorité jaune, on March 4, 1976 at the Théâtre des Champs-Elysées . 4 large posters (H. 100 cm - W. 70 cm) illustrated with a black drawing after Kandinsky, for the two performances of the play at the auditorium of Prato (Italy) on September 20 and October 1, 1977 Provenance : Collection Jacques Polieri His estate Works in connection : The Musée National d'Art Moderne, Centre Pompidou, holds 4 gouaches from our suite, returned to the national collections following the bequest of Nina Kandinsky in 1981 (n° V, VII, XXVII, XLVI A) Sonorité jaune belongs to a group of pieces designed for the Scène by Kandinsky in 1909. If the painter, then a convinced Wagnerian, dreamed of a monumental art, mixing painting, music, dance, theater and literature, captivated by the theory of colors, he intended above all to propose a sensory experience, a journey to another world by removing an aspect of reality that would raise the attention