MALRAUX (André). Set of 7 mock-ups with layout... - Lot 100 - Osenat

Lot 100
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MALRAUX (André). Set of 7 mock-ups with layout... - Lot 100 - Osenat
MALRAUX (André). Set of 7 mock-ups with layout indications and autograph corrections, and one set of proofs, covering the entire second edition of his major collection of essays on art, Les Voix du silence. Approximately 1130 pp. of mock-ups with mounted blue monochrome illustrations, and 640 pp. of illustrated proofs printed in blue. BOOKS & AUTOGRAPHS THURSDAY, APRIL 29, 2021 123EACH MASTERPIECE IS PRESENTED AS AN ENTIRE VOLUME: the double pages have been mounted from printed proofs of the text, cut out and laminated so as to provide the necessary space for the reproductions, themselves_x0002_laminated. The corrections concern the substance of the text, or are intended to amend the style, qualify the ideas, modify the examples... On this capital collection of essays tracing the artistic epic of humanity, of which André Malraux gave two successive editions under different titles, see above n° 99. Le Musée imaginaire - FIRST MAQUETTE, 122 pp, numbered 1 to 46 and 48 to 123, some butterflies added. The layout instructions are very specific and generally particular, but sometimes general: "Never shift this layout by more than one line. If necessary, take the next page as it should be, and indicate the break: I will change the text. - SECOND MAQUETTE, 126 pp. with some reproductions removed. The Metamorphoses of Apollo - FIRST MASK, 144 pp. numbered 124 to 129 and 131 to 268. Artistic Creation - FIRST MAQUETTE, 194 pp. numbered 269 to 462. - SECOND MAQUETTE, 194 pp. numbered 269 to 462. La Monnaie de l'absolu - FIRST MAQUETTE, 174 pp. numbered 463 to 601 and 601 to 616 and 616 to 636. - SECOND MAQUETTE, 178 pp. numbered 465 to 605 and 601 to 637. The Voices of Silence - "BLUE" (BLUE MONOCHROMIC ILLUSTRATION PROOFS), 640 pp, printed on the front, facing mount with spine to spine pastedown, a few color printed plates added, a black printed proof of the headband mounted at the head. The volume contains all four essays: I, Le Musée imaginaire (pp. 1-126) , II, Les Métamorphoses d'Apollon (pp. 127-270) , III, La Création artistique (pp. 271-464) , IV, La Monnaie de l'absolu (pp. 465-640) THIS IS A RICH TESTIMONY OF A THOUGHT IN PERPETUAL EVOLUTION, THROUGH THE SUCCESSIVE VERSIONS OF ITS WRITING. The drafts for the Pléiade edition all differ in their text from the final version. The paragraphs on Rubens, the Jesuits and Baroque art offer an interesting example: the first mock-up of the Musée imaginaire contains a new printed version with variants, itself with autograph corrections added (pp. 87-88). The second mock-up includes a major change (pp. 89-90), with the central printed passage taking up the corrected version of the previous mock-up but again undergoing a reworking: "Rubens painting for himself is less tragic, but more painterly still. Clouds, flying saints, extravagant foreshortenings, end up being nothing more than rich brushstrokes. But the interruption of the pictorial world ["plastic" corrected to "pictorial"] destroys the theatrical world, because it destroys the less dramatic illusion, but rejects the opera for a maddening fairy tale. While it conquers Europe, the baroque covers smother under Neapolitan flons the exalting and often torn hymn of its birth: it is the Roman baroque, which wants to cover the Last Judgement. True drama, and the rich brushstrokes of true painting, would destroy the theatrical world, because they would destroy illusion. "Furthermore, several reproductions and framings differ from the definitive edition. Finally, the blue proofs still contain minute and final textual variations (p. 90).
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