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First edition, first printing, presentation copy, inscribed by Miró and the authors to the French philosopher and intellectual Georges Bataille, with a printed card ("Hommage de l'Éditeur") loosely inserted. The three Surrealists have inscribed the first blank: "à georges [sic] Bataille, son ami, l'alli Prevert", together with a small drawing of a man, perhaps a self-portrait; "Cher Bataille, en toute amité de G. Ribemont-Dessaignes", embellished with a sketch of a leaf; and "avec la vieille amité de, Miro [sic]!". The founder of numerous journals and literary groups, Bataille was a key figure in surrealist circles, despite his dislike of surrealism's self-proclaimed founder André Breton. He wrote extensively on eroticism, mysticism, and the irrational, and his friendship was a source of inspiration for Miró, who "diplomatically and artistically navigated between two branches of surrealism - Breton and Bataille - while venturing into commercial galleries and creating theatrical scenery" (Oistenau). Bataille appears in Miró's artwork, including Musique, Seine, Michel, Bataille et Moi (1927), and Bataille's 1929 article "Le Gros Orteil" ("The Big Toe") prompted Miró to fill a large notebook with images of the digit. Cramer 39. Valery Oistenau, "Joan Miro: Painting and Anti-Painting 1927 1937", Brooklyn Rail, 2 Nov. 2008. Quarto. With 160 colour and black-and-white illustrations after artworks by Miró and 8 original colour lithographs, of which 3 fold out, and 2 original lithographs on the dust jacket. Original stiff drab card wrappers. With lithographic dust jacket. Housed in a custom grey card chemise and slipcase. Edges toned, slight lean to spine; spine of unclipped jacket toned, edges a little rubbed, short closed tear at foot of front panel: a near-fine copy in like jacket.
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