236 - Pablo Picasso - Antonin Artaud. *Autre chose que de l’enfant beau*. Paris, Louis Broder, 1957. With a color etching by Picasso. Loose double-page spreads in original cover, linen slipcase, and outer slipcase.

Pablo Picasso - Antonin Artaud. *Autre chose que de l’enfant beau*. Paris, Louis Broder, 1957. With a color etching by Picasso. Loose double-page spreads in original cover, linen slipcase, and outer slipcase. Starting bid time: approx. 3:07 p.m. (schedule subject to change) Collection Miroir du Poète III. — One of 100 copies (total print run 135). - Signed by the artist in the colophon. - Printed on old Japanese paper. - The three texts in this book, the last of which was written in 1947, reflect the despair of a person suffering from schizophrenia. Picasso was a member of the “Association of Friends of the Work of Antonin Artaud,” which was founded in 1946 to finance Artaud’s room and board at a private clinic in Ivry. Picasso’s plays, with their disjointed plots, their sequences arranged without logic, and their characters who act solely on their desires, perfectly correspond to the requirements of Surrealist theater as formulated by Artaud. Picasso also shared Artaud’s ideas about the “necessity of cruelty” [...] and demonstrated that he fully understood the close relationship between violence, aesthetics, and the erotic arousal evoked by cruelty. The etching in the book is the only color print Picasso ever created for a book. (According to Goeppert/Cramer). Goeppert/Cramer 87. - Bloch 824 and livres 80. - LC 2001 78. - Monod 539. - A&B 239 16.8 × 14.7 cm. [36] pages. - Spine of the cloth chemise faded. - Cover has foxing; some pages have a few faint foxing spots. English description: Includes a color etching by Picasso. Loose double sheets in their original wrapper. Together in a cloth chemise and slipcase. Collection Miroir du Poète III. - One of 100 copies (total edition of 135). - Signed by the artist in the print mark. - Printed on antique Japanese paper. - “This book is the third volume in the series ‘Miroir du Poète,’ which was published by Louis Broder. ... Antonin Artaud died on March 4, 1948, in a state of lucid, painful alienation. The three texts in this book, the last of which was written in 1947, reflect the despair and terror of a man who imagines himself to be cruelly persecuted. ... Picasso knew Artaud well. Artaud had played the role of Tiresias in Cocteau’s *Antigone* in 1922, a play for which Picasso had designed the sets (see No. 80). We know that the painter was a member of the “Association of Friends of Antonin Artaud’s Work,” which had been established in 1946 to cover the cost of his room and board at a private clinic in Ivry. Picasso’s plays, with their disjointed stories, their sequences arranged without logic, and their characters who act solely according to their desires, correspond perfectly to the demands of Surrealist theater as formulated by Artaud. Picasso also shared Artaud’s ideas on “the necessity of cruelty”; in his depictions of bulls attacking horses, in the *Minotauromachie* (Bloch 288), in *La Mort de Marat* (see No. 23), in *Guernica*, or in *Femme qui pleure* (Bloch 1333, Z. IX, 73), Picasso demonstrates that he fully understood the close relationship between violence, aesthetics, and the erotic excitement generated by cruelty. This book is illustrated with an engraving made with a burin and drypoint—the only color engraving Picasso ever created for a book. Drawing inspiration from the celluloid engraving for P. A. Benoit’s *Autre chose*, Picasso cut a very small round piece out of the copperplate. This round cutout, which represents a head, remains perfectly white in the printed impressions. Below the tiny white head, surrounded by black, one sees disconnected limbs—which resemble crutches—against a background of pale yellow and green. This figure resembles, to a surprising degree, the one in a drawing by Artaud himself, titled *L’homme et sa douleur* (Goeppert/Cramer, p. 226). “This is the third volume in the *Miroir du Poète* series published by Louis Broder. The three texts by Antonin Artaud that make up this book were written during a period of intense alienation for him, shortly before his death in 1947. The last of these, consequently, reflects the despair and terror of a man who imagines himself to be cruelly persecuted. Picasso shared Artaud’s ideas on “the necessity of cruelty” in his depictions of bulls attacking horses in *Minotauromachy*, *La Mort de Marat*, *Guernica*, and many other works. This illustration is the only color engraving that Picasso ever made for a book.” (Robert Flynn Johnson, in: LC) Back of the chemise is faded. The wrapper is foxed; some pages have minor foxing.