171 - Henri MICHAUX. *Vigies sur cible*. Etchings by Matta. Paris, Édition du Dragon, 1959. In-4, tab-bound, marbled gray sheepskin, mosaic decoration featuring a houndstooth pattern in the center of each cover with wooden and leather inlays, marbled gray sheepskin linings, green deerskin endpapers, untrimmed, covers and spine preserved (Monique Mathieu, 2010).

Henri MICHAUX. *Vigies sur cible*. Etchings by Matta. Paris, Édition du Dragon, 1959. In-4, tab-bound, marbled gray sheepskin, mosaic decoration featuring a houndstooth pattern in the center of each cover with wooden and leather inlays, marbled gray sheepskin linings, green deerskin endpapers, untrimmed, covers and spine preserved (Monique Mathieu, 2010). Illustrated edition featuring 9 original color etchings by Roberto Matta, including 2 printed on the same sheet. Limited edition of 99 copies. One of 8 copies containing 7 rejected black-and-white plates, the 9 color engravings, and a black-and-white suite, signed by the poet and the painter (no. II). The black-and-white suite includes 8 of the 9 engravings. Large original drawing by Matta, half-page in size, on the endpaper. Graphite and pastel, with an autograph inscription signed in pencil: “a Sireno and a si reine, vigiles en cible.” Matta, May ’77 (20 years later). The book bears witness to the friendship between the poet and the Chilean painter. They had met through *Poésie pour pouvoir*, the “book with nails,” of which Roberto Matta wished to acquire a copy (see no. 158). The gallery owner René Drouin, who was distributing the book, suggested that the painter meet its author: “Between Matta and Michaux, a bond formed immediately—both emotional and intellectual. Michaux was charmed by Matta, and Matta was captivated by Michaux. What particularly dazzled Henri Michaux was Roberto’s way of speaking—that speed, the prodigious volcano of that exuberant speech bursting with wordplay, that way of mixing French, Italian, and Spanish within a single sentence on the spot—that comical and virtuosic pidgin” (Jean-Pierre Martin, *Henri Michaux*, p. 468). For Yves Peyré, in 1959, “Michaux, whom one rightly assumes is not inclined to readily embark on a collaboration with anyone other than himself, offers the exception that proves the rule. A book then pairs him with Matta, *Vigies sur cibles*, and immediately it becomes clear that this is a partnership anything but fortuitous. The collaboration becomes a cause for celebration; the duo presents itself as a mirror image of one another. Such a volume makes a significant contribution to the dialogue between painting and poetry—it is subtle, direct, and all the more moving.” A bold, decorated binding by Monique Mathieu, created in 2010. The rest of the work was bound as a separate volume in supple black calfskin with a mosaic design on the covers. The entire set is housed in a black slipcase designed by Monique Mathieu. (Imbert, no. 208.—Peyré, *Peinture et poésie*, p. 157.)