Um Ihren Kaufauftrag zu ändern,
wenden Sie sich an das Auktionshaus.
The reserve price is the minimum price accepted by the seller. Bidders cannot see this price. To win an item, you must place the highest bid and meet or exceed the reserve price.
Die Anmeldungen für diese Auktion sind geschlossen. Sie können kein Gebot abgeben.
Die umgerechneten Beträge dienen nur zu Informationszwecken. Verbindlich ist ausschließlich die vom Auktionshaus für den Verkauf festgelegte Währung. Sie können eine andere Währung auswählen, indem Sie in Ihrem Profil die Seite „Einstellungen“ aufrufen.
Gebühren einschließlich der Gebühren des Auktionshauses und der Plattform. Weitere Informationen finden Sie in den Allgemeinen Verkaufsbedingungen des Auktionshauses.
Henri MICHAUX. *Sifflets dans le temple* with an illustration by Bernal. Paris, GLM, 1936. Large 8vo, two-tone box in two shades of green, untrimmed, original orange paper cover preserved, slipcase (Hélène Segal). First edition printed in a run of 70 numbered copies on tinted Normandy vellum, plus a few unsold copies on the same paper, including this unnumbered copy. A drawing by Luis Gonzalez Bernal (1908–1939) reproduced in line art within the text: a Spanish painter notably supported by Jules Supervielle—for whom he designed the sets of the play *Bolivar*—he arrived in Paris in 1929 and frequented the Surrealist group. With this drawing created for *Sifflets dans le temple*, “he thus became the first painter whose image accompanied a text by Michaux, in the very same year that Michaux published his first illustrated collection of his own drawings, *Entre centre et absence*” (Michaux, Œuvres complètes I, Pléiade, p. 1384). Autograph signed on the title page: To Jean Cassou his friend H. Michaux Two handwritten corrections in ink within the text. An early admirer of Michaux’s work, Jean Cassou (1897–1986) noted as early as 1928, “in his first poetry column for *Les Nouvelles littéraires*, ‘the impression of absolute singularity,’ the great erudition and great humor in Michaux” (Jean-Pierre Martin, p. 720). Henri Michaux would later reconnect with him through Jacques-Olivier Fourcade, for whom he served as a literary advisor. Their friendship endured, and in 1965, it was once again Jean Cassou who initiated the retrospective dedicated to the poet at the Musée d’Art Moderne de la Ville de Paris. He was to the visual arts what Paulhan was to literature—a kind of watchman, a counterpoint. In 1936, when Michaux dedicated his *Sifflets dans le temple* to him, Cassou had just been promoted to editor-in-chief of the journal *Europe*. From the Jacques Matarasso Library (Catalog II, 1994, no. 148). (Imbert, no. 72.—Coron, Les éditions GLM, bibliography, no. 95.)
Lieferung ist optional. Sie können sich für das Lieferunternehmen Ihrer Wahl entscheiden. Der angezeigte Preis beinhaltet weder Zuschlag noch Aufgeld.