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Expert Claude Oterelo Vendredi 5 mars 2021 The Packengers 93 CONTACT Odile CAULE tél. +33 (0)1 47 70 48 90 - [email protected] Pour accéder à la page web de notre vente veuillez scanner ce QR Code ART ET LITTÉRATURE DU XXE SIÈCLE AVANT-GARDES ENSEMBLES CONSACRÉS À ANTONIN ARTAUD, RENÉ CHAR, HENRI MICHAUX PIERRE RESTANY ET LES NOUVEAUX RÉALISTES DESSINS PAR SALVADOR DALI AUTOGRAPHES ET MANUSCRITS - ÉDITIONS ORIGINALES REVUES – DESSINS ET TABLEAUX - PHOTOGRAPHIES VENDREDI 5 MARS 2021 PARIS - HÔTEL DROUOT - SALLE 2 - 14H EXPERT Claude OTERELO Membre de la Chambre Nationale des Experts Spécialisés 5, rue La Boétie - 75008 Paris - Tél. : +33 (0)6 84 36 35 39 [email protected] EXPOSITION PRIVÉE À l’étude sur rendez-vous EXPOSITIONS PUBLIQUES Hôtel Drouot - salle 2 Mercredi 3 et jeudi 4 mars de 11h à 18h et vendredi 5 mars de 11h à 12h Téléphone pendant l’exposition +33 (0)1 48 00 20 02 5, rue La Boétie - 75008 Paris - tél. +33 (0)1 47 42 78 01 [email protected] - www.binocheetgiquello.com o.v.v. agrément n°2002 389 - Commissaire-priseur habilité pour la vente : Alexandre Giquello 105 1 ALEJANDRO Ramon. L’INVENTION DU COROSSOL. HUILE SUR TOILE SIGNÉE. Paris, 1989. 39 x 55 cm, sous encadrement. Huile sur toile signée au recto, titrée, datée, signée au verso par Ramon Alejandro représentant une femme nue dans un décor tout à fait représentatif de l’univers d’Alejandro. Œuvre importante de Ramon Alejandro reproduite en couverture de l’ouvrage de Jacobo Machover, Memoria de siglos. Madrid, 1991 ; en frontispice de l’ouvrage de Orlando Gonzales Esteva Cuerpos en Bandeja. Mexico, 1998 ; et reproduit dans Antonio José Ponte, Ramon Alejandro, 1999. 3 000/ 4 000 € 1 2 ARAGON Louis. FEU DE JOIE. Paris, Au Sans Pareil, 1920. In-12, broché. Édition originale du premier livre de Louis Aragon, illustré d’un bois de Pablo Picasso. - ARAGON Louis. LES AVENTURES DE TÉLÉMAQUE. Paris, NRF, 1922. In-12, broché. Édition originale illustrée du portrait de l’auteur LITHOGRAPHIÉ PAR ROBERT DELAUNAY. - SADOUL Georges. THÈME ASTRAL DE LOUIS ARAGON, à l’encre et au crayon. 26,5 x 20,5 cm. 400/500 € 3 [ARAGON Louis]. LES PLAISIRS DE LA CAPITALE Paris la nuit ses bas-fonds ses jardins secrets. Berlin [Paris], 1923. Petit in-8, broché, sous emboîtage titré. Édition originale rare limitée à 200 exemplaires. 300/400 € 4 ARAGON Louis. LE MOUVEMENT PERPÉTUEL. Paris, Gallimard, 1926. In-4, couverture imprimée, broché (quelques taches à la couverture). Édition originale illustrée par Max Morise. Un des 170 exemplaires numérotés sur vergé d’Arches, beau papier après 6 japon et 10 hollande, portant imprimé : Je dédie ce livre à la poésie et merde pour ceux qui le liront. CET EXEMPLAIRE PORTE SUR LA QUATRIÈME DE COUVERTURE CETTE PENSÉE D’ALFRED JARRY AUTOGRAPHIÉE PAR LOUIS ARAGON : Le bain n’est pas un exercice Alfred Jarry. 600/800 € 5 [ARCHITECTURE]. MENDELSOHN Erich. AMERIKA Bilderbuch Eines Architekten. Berlin, Rudolf Mosse, 1926. In-folio, cartonnage imprimé de l’édition. Édition originale allemande illustrée de 77 photographies représentant des buildings de New York, Chicago, Buffalo et Detroit. 300/400 € 4 3 6 [ARTAUD Antonin]. ARTAUD AU COLLÈGE DU SACRÉ- CŒUR DE MARSEILLE. TROIS PHOTOGRAPHIES. 1910. 12 x 17 et 11,5 x 15,5 cm. Photographie représentant Antonin Artaud en classe de deuxième primaire. Deux photographies sont identiques. - ARTAUD AU COLLÈGE DU SACRÉ-CŒUR DE MARSEILLE. Photographie. 1911. 11,5 x 15 cm. Photographie représentant Artaud en classe de troisième primaire. 300/400 € 7 7 [ARTAUD Antonin]. PORTRAIT D’ANTONIN ARTAUD. PHOTOGRAPHIE ORIGINALE. Paris, [1926]. 11 x 8 cm. Tirage argentique d’époque. - PORTRAIT D’ANTONIN ARTAUD À MARSEILLE. [1902]. PHOTOGRAPHIE. 11 x 8 cm - ARTAUD EN FAMILLE. PHOTOGRAPHIE. Bannières de Bigorre. [1905]. 11 x 8 cm 600/800 € 8 ARTAUD Antonin. L’OMBILIC DES LIMBES. Paris, NRF, 1925. In-12, broché. Édition originale tirée à 793 exemplaires numérotés illustrés d’un portrait de l’auteur par André Masson. - ARTAUD Antonin. CORRESPONDANCE AVEC JACQUES RIVIÈRE. Paris, N.R.F., 1927. In-12, broché. Édition originale tirée à 620 exemplaires numérotés, illustrés d’un portrait de l’auteur par Jean de Bosschere. 300/400 € 9 9 [ARTAUD Antonin]. ARTAUD DANS LE FILM JEANNE D’ARC. [1928]. TROIS PHOTOGRAPHIES ORIGINALES. 9 x 11, 5 cm et 6,5 x 9,5 cm. 3 Photographies originales représentant Artaud dans le film de Dreyer Jeanne d’Arc. - ARTAUD Antonin. LE THÉÅTRE D’ALFRED JARRY. PHOTOGRAPHIE. 1930. 12 x 16,5 cm. Photographie représentant Artaud dans diverses postures dans un montage d’Elie Lotar. 300/400 € 11 4 10 10 ARTAUD Antonin. POUR LISE. POÈME AUTOGRAPHE SIGNÉ. Dimanche 25 août 1935. 3 pages in-4 à l’encre bleue sur vélin mauve. Superbe poème célébrant Lise Deharme, d’une facture étonnante, plutôt classique, tranchant avec la violence de ses textes de cette époque. Dans une posture proche du troubadour, il célèbre « sa dame » de façon lyrique et comme apaisé : « Je veux faire briller dans ton immense bague blanche/qui fait de ta main une eau dormante/un regard enfin prisonnier/et qui se donne enfin/comme une âme marine offerte au feu premier/d’un soleil engourdi dans les glaces polaires/enfin pour mieux marquer dans ces jours de colère/l’apaisement venu de tes cils clandestins, je veux faire tomber la rosée du matin/dans ce trou d’améthyste où murmure sans fin/un poète enivré par son âme lunaire…» Deux années plus tard Artaud jettera un sort à Lise Deharme dans un style d’une rare violence. Ce poème inédit du vivant d’Antonin Artaud fut conservé par Lise Deharme qui le communiquera pour la publication du tome I des Œuvres complètes. LES POÈMES AUTOGRAPHES D’ANTONIN ARTAUD SONT D’UNE GRANDE RARETÉ, surtout de cette époque [1935], Artaud n’écrivant plus de poèmes depuis 1927. 12 000/15 000 € 11 [ARTAUD Antonin]. MALAUSSENA Georges. PORTRAIT D’ANTONIN ARTAUD. DESSIN ORIGINAL À L’ENCRE DE CHINE SIGNÉ. 1935. 32 x 25 cm (quelques déchirures dans une marge et rousseurs). Beau portrait d’Antonin Artaud réalisé par son beau-frère Georges Malaussena. 500/600 € 5 12 12 ARTAUD Antonin. LETTRE AUTOGRAPHE SIGNÉE À ANNE MANSON. [Septembre 1937]. 6 pages in-12 à l’encre (quelques taches). Superbe lettre d’Antonin Artaud à son amie proche Anne Manson qu’il connut en 1936. « Je prêcherai le retour du Christ des Catacombes qui sera le retour du Christianisme dans les catacombes. Le catholicisme visible pour cause d’idolâtrie est le pape actuel condamné à mort comme traître et comme simoniarque… songez à ma haine de la chair, venez me rejoindre en Irlande au mois d’octobre mais d’ici-là je vous jure qu’il ne s’agira plus de la guerre d’Espagne ni des batailles en Méditerranée. Je tiens le bâton même de Jésus-Christ et c’est Jésus-Christ qui me commandit [sic] tout ce que je vais faire et l’on verra que son enseignement était fait pour des brèves métaphysiques et non pour des idiots. Tu es une héroïne Anne et je t’embrasse au-dessus de la vie. Artaud. Répondez tout de suite ». L’on joint une transcription dactylographiée de la lettre par Anne Manson. 4 000/5 000 € 13 [ARTAUD Antonin]. MANSON Anne. DEUX LETTRES DACTYLOGRAPHIÉES SIGNÉES ADRESSÉES AU DIRECTEUR DE LA REVUE LA RUE. NOTE DACTYLOGRAPHIÉE RELATIVE À LA LETTRE ADRESSÉE PAR ARTAUD, ET IMPORTANT TAPUSCRIT DE 9 PAGES AVEC QUELQUES CORRECTIONS RELATIVES À SA RENCONTRE AVEC ARTAUD, ET UN TÉLÉGRAMME D’ANNE MANSON À LA REVUE LA RUE. « J’ai connu Artaud en 36… il m’avait fixé rendez-vous dans un atelier de la rue Schoelcher qui lui avait été prêté pour quelques mois, un grand atelier vide avec pour tout ameublement une couchette un chapeau mexicain pendu au mur et un masque qui fut longtemps l’objet de discussions passionnées entre Artaud et le docteur Mardrus, Artaud assurant que ce masque mystérieux était un dédoublement de lui-même et prenait fréquemment sa place dans son lit. Artaud tardait à venir, l’heure passait. Je décidai de partir lorsque je rencontrai dans l’escalier une sorte de roi mendiant, au costume râpé, à l’allure magnifique qui m’arrêta pour me ramener chez lui… méfiez vous me dit Artaud aucun ne mérite la confiance il n’y a de fréquentables là-bas que les indiens. Le fait est qu’Artaud avait mené au Mexique une vie difficile. Nourri par ci par là d’un sandwich au camembert, don d’une restauratrice marseillaise, il avait vendu jusqu’à ses derniers costumes et même ses chaussures pour acheter l’indispensable drogue quand il partira après quelques semaines de séjour vers le Nord au pays des Taharumaras (les hommes aux pieds véloces) pour y connaître l’aventure du peyotl auprès des sorciers indiens ou y rechercher les traces des grands symboles ésotériques, il gagnera ce pays de montagne à cheval, vêtu d’un vieux costume de toile trop large prêté par ses amis et chaussé de sandales de tennis percées…. 100 fois au cours de notre amitié, je me suis aperçu que cet homme, dont les violences épouvantaient, ne se fâchait souvent que par amitié déçue, par un besoin d’affection orgueilleusement refoulé qui le poussa parfois à feindre l’extravagance ou la folie pour mieux dissimuler ses sentiments… Malheureusement beaucoup de choses que je possédais et notamment d’assez curieux talismans qu’il avait dessinés, chiffrés et brûlés sur place ont disparu au cours de l’exode.» REMARQUABLE TÉMOIGNAGE 500/600 € 6 14 ARTAUD Antonin.
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  • History of a Natural History: Max Ernst's Histoire Naturelle

    History of a Natural History: Max Ernst's Histoire Naturelle

    HISTORY OF A NATURAL HISTORY: MAX ERNST'S HISTOIRE NATURELLE, FROTTAGE, AND SURREALIST AUTOMATISM by TOBIAS PERCIVAL ZUR LOYE A THESIS Presented to the Department of Art History and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2010 --------------_._--- 11 "History of a Natural History: Max Ernst's Histoire Naturelle, Frottage, and Surrealist Automatism," a thesis prepared by Tobias Percival zur Loye in partial fulfillment of the requirements for the Master of Arts degree in the Department of Art History. This thesis has been approved and accepted by: Date Committee in Charge: Dr. Sherwin Simmons, Chair Dr. Joyce Cheng .Dr. Charles Lachman Accepted by: Dean of the Graduate School III An Abstract of the Thesis of Tobias Percival zur Loye for the degree of Master of Arts in the Department of Art History to be taken June 2010 Title: HISTORY OF A NATURAL HISTORY: MAX ERNST'S HISTOIRE NATURELLE, FROTTAGE, AND SURREALIST AUTOMATISM Approved: When Andre BreJon released his Manifesto ofSurrealism in 1924, he established the pursuit of psychic automatism as Surrealism's principle objective, and a debate concerning the legitimacy or possibility of Surrealist visual art ensued. In response to this skepticism, Max Ernst embraced automatism and developed a new technique, which he called frottage , in an attempt to satisfy Breton's call for automatic activity, and in 1926, a collection of thirty-four frottages was published under the title Histoire Naturelle. This thesis provides a comprehensive analysis of Histoire Naturelle by situating it in the theoretical context of Surrealist automatism and addresses the means by which Ernst incorporated found objects from the natural world into the semi-automatic production of his frottages.
  • Drawing Surrealism CHECKLIST

    Drawing Surrealism CHECKLIST

    ^ Drawing Surrealism CHECKLIST EILEEN AGAR Argentina, 1899–1991, active England Ladybird , 1936 Photograph with gouache and ink 3 3 29 /8 x 19 /8 in. (74.3 x 49.1 cm) Andrew and Julia Murray, Norfolk, U.K. Philemon and Baucis , 1939 Collage and frottage 1 1 20 /2 x 15 /4 in. (52.1 x 38.7 cm) The Mayor Gallery, London AI MITSU Japan, 1907–1946 Work , 1941 Sumi ink 3 1 10 /8 x 7 /8 in. (26.4 x 18 cm) The National Museum of Modern Art, Tokyo GUILLAUME APOLLINAIRE Italy, 1880–1918, active France La Mandoline œillet et le bambou (Mandolin Carnation and Bamboo), c. 1915–17 Ink and collage on 3 pieces of paper 7 1 10 /8 x 8 /8 in. (27.5 x 20.9 cm) Musée national d’art moderne, Centre Georges Pompidou, Paris, Purchase 1985 JEAN (BORN HANS) ARP Germany, 1886–1966, active France and Switzerland Untitled , c. 1918 Collage and mixed media 1 5 8 /4 x 11 /8 in. (21 x 29.5 cm) Mark Kelman, New York Untitled , 1930–33 Collage 1 5 6 /8 x 4 /8 in. (15.6 x 11.8 cm) Private collection Untitled , 1940 Collage and gouache 1 1 7 /4 x 9 /2 in. (18.4 x 24.1 cm) Private collection JOHN BANTING England, 1902–1972 Album of 12 Blueprints , 1931–32 Cyanotype 1 3 3 Varying in size from 7 3/4x 6 /4 in. (23.5 x 15.9 cm.) to 12 /4 x 10 /4 in. (32.4 x 27.3 cm) Private collection GEORGES BATAILLE France, 1897–1962 Untitled Drawings for Soleil Vitré , c.