284 - André Masson - Jean Paulhan. *Les Hain-Teny*. Original etchings by André Masson. Paris, Les Bibliophiles de l’Union française, 1956. Includes ten color aquatint etchings, one of which is on the cover. Loose double sheets in the original cover, the painted half-parchment slipcase, and the outer slipcase.

André Masson - Jean Paulhan. *Les Hain-Teny*. Original etchings by André Masson. Paris, Les Bibliophiles de l’Union française, 1956. Includes ten color aquatint etchings, one of which is on the cover. Loose double sheets in the original cover, the painted half-parchment slipcase, and the outer slipcase. Auction start time: approx. 3:39 p.m. (schedule subject to change) One of 100 subscription copies for members of the Paris Bibliophiles Association (total print run: 116). - Signed in the colophon by the artist, the author, and the president of the Bibliophile Association. - Printed on Auvergne handmade paper by Richard de Bas at Fequet et Baudier, Paris, with the book club’s dry stamp. - As a young man, Jean Paulhan went to Madagascar to teach and was fascinated by the indigenous Malagasy poems, the “Hain-Teny,” which he translated into French. These haiku-like, yet also sonnet-like verses, which are more folksy than formal in their poetics, may be difficult to understand, but they are often sensual, as Paulhan characterized the selection for this edition in his foreword. Paulhan divided this work into several sections or moods, for each of which he created an aquatint etching as well as a main illustration. This edition was published at a time when Masson had spent the previous five years in Provence, where he had been intensively engaged in color lithography. With the help of printer Jacques Frélaut, he created several relief plates that were inked in all colors simultaneously. Masson and Frélaut developed this technique, in which each individual layer (usually three in this case) had a different texture. The result is a richness that is not only visual but also tactile; for when one reads Hain-Teny’s provocative work and touches the illustrations, one perceives a subtle sensuality in the textures—ranging from smooth to rough—and in the raised and recessed areas. (cf. Saphire/Cramer). Saphire/Cramer 36. - Monod 8907. - ABF, p. 338. - A&B 197 44.0 : 34.0 cm. 84, [10] pages. - Waterstains throughout. English description: “Jean Paulhan went to teach in Madagascar as a young man and became fascinated with the native Malagasy poems called Hain-Teny. He set about translating them into French. These lines—which resemble both haiku and sonnets, and are more popular than formal in their poetics—may be obscure but are often sensual, as Paulhan described the selection for this edition in his preface. Paulhan divided the present Hain-Teny—just a selection from a vast collection—into sections or moods, for each of which Masson created an aquatint illumination as well as a major illustration. Masson had spent the previous five years in Provence, immersed in color lithography. Masson and Frélaut developed this technique, in which each separate layer (usually three here) had a different texture. The result is a richness that is not only visual but also tactile; for when one reads the provocative *Hain-Teny* and touches the illustrations, one perceives a subtle sensuality in the textures—ranging from smooth to rough—and in the ridges and depressions. In short, it is a tropical experience that the reader cannot begin to imagine from the flat reproductions at hand.” (Saphire/Cramer, p. 100). Widespread foxing throughout.