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152
MIRÓ Joan (1893-1983). QUENEAU Raymond.
The item was sold for 19 500 €
Fees include commission and taxes.
MIRÓ Joan (1893-1983). QUENEAU Raymond.
SET comprising 21 letters or cards (mostly L.A.S.) from Joan MIRÓ to Raymond Queneau and his wife Janine, and 10 autograph MANUSCRIPTS by Raymond QUENEAU on Miró, 1939-1975| all mounted on tabs on strong vellum paper, and bound in an in-folio volume, red half-chagrin, smooth spine, lined slipcase
A fascinating collection of letters and manuscripts testifying to the mutual friendship and admiration between Miró and Queneau.
Queneau always confessed his fascination for the "pictorial writing" of
Miró, whom he had known since the 1920s, when they both joined surrealism. In his incisive texts on Miró, he endeavoured to decipher the painter's work, to identify his codes, probing the "trap" of humour and subjecting the combinatory grammar of the works to a fine analysis. Miró maintained a deep and trusting friendship with
Queneau, whose texts shed light on his work. The meeting of poetry and painting, this collection also bears witness to "a profoundly human and emotional relationship" (Dominique Charnay) between the two.
Correspondence from Miró to Raymond and Janine Queneau.
21 letters or cards, 1939-1975, including 11 L.A.S. "Miró" (one "Joan"), 6 postcards a.s., one L.S., one business card a.s., and 2 vernissage cards a.s, most with envelope or address| several also signed by his wife Pilar (and their daughter Dolores)| about 26 pages in various formats.
Varengeville 11 October 1939, Miró worries about his friend who has been mobilised: "We often think of the lovely days we spent together and hope that we will all be able to see each other again very soon"... 19 February 1940: "I hope you can keep out of the cold and don't suffer too much. The winter here has been very hard too. Apart from that we are all well, the little one is delighted to stay in the country, and I am working a lot"... 1951, to Janine Queneau, about her collection Adieu chansons. Montroig, August 6: "I will be happy to make a drawing [...] for your poems, so full of grace and spirit. He asks for the dimensions of the booklet... 26 August, he sends Seghers the drawing: "I think it is in the spirit of your writings"... September 8, he wants to give her the drawing| she should ask for it as soon as the book is published, so that "it doesn't drag on at the printing house"... October 31: "When I came back from the Balearic Islands, I found your beautiful book, I read the poems, they are full of real sensitivity, I am happy to have made this little drawing of you. The book is very well done, only Seghers should have warned me that he was thinking of doing a lithographic reproduction on the luxury copies, I would have done it myself on a special paper, because the lines on the red paper do not have the same intensity, necessarily, as the original drawing. I'm getting ready to start a winter campaign and work hard, and once I've got everything going, I'm going to make a trip to Paris. Tell Raymond that I reread his books this summer and that I am very excited about them.
Paris, April 1, 1954, to Janine: "Your poems have touched me deeply, I find them very direct, extremely sensitive in their true sensibility, the one that springs from popular images, without any fuss. Paris 19 May 1954, to Raymond, thanking him for his article [for the Venice Biennale]: "it is very lively and very sensitive"
Palma de Mallorca 19 September 1960, to Queneau about the preparation of Album 19 (Maeght, 1962). "I am very happy and proud that you have agreed to write a text for the Album de lithos. I have already signed the "bons à tirer", according to what Dupin tells me, the printing has begun and he will show you the proofs. It is also very important that he shows you the model for the slipcase and explains how I designed it, not forgetting the little red and black leather ball that swings. I have a suggestion for you. In order to avoid a break between your text and my lithos, I thought it would be good to add to the latter, and to insert some small lithos, as you did with the signs inscribed in the text you wrote for the monograph published by Skira. What do you think?"... March 26, 1961: "My dear Raymond, I find your text very good. The idea that you suggested to do it in manuscript with drawings by me seems excellent. This would take away the cold and dogmatic side of the typography and would go better with the conception of the album"... 1972, during Janine's illness and death (July 18). 1.VII: "It is with all my heart, my dear Raymond, that I wish you good courage to overcome these bad moments and especially not to let yourself be defeated"... 30.VII : " Your letter announcing that Janine had left us was a very hard blow for us. We were already expecting it, but the realisation of this reality was a great blow.
SET comprising 21 letters or cards (mostly L.A.S.) from Joan MIRÓ to Raymond Queneau and his wife Janine, and 10 autograph MANUSCRIPTS by Raymond QUENEAU on Miró, 1939-1975| all mounted on tabs on strong vellum paper, and bound in an in-folio volume, red half-chagrin, smooth spine, lined slipcase
A fascinating collection of letters and manuscripts testifying to the mutual friendship and admiration between Miró and Queneau.
Queneau always confessed his fascination for the "pictorial writing" of
Miró, whom he had known since the 1920s, when they both joined surrealism. In his incisive texts on Miró, he endeavoured to decipher the painter's work, to identify his codes, probing the "trap" of humour and subjecting the combinatory grammar of the works to a fine analysis. Miró maintained a deep and trusting friendship with
Queneau, whose texts shed light on his work. The meeting of poetry and painting, this collection also bears witness to "a profoundly human and emotional relationship" (Dominique Charnay) between the two.
Correspondence from Miró to Raymond and Janine Queneau.
21 letters or cards, 1939-1975, including 11 L.A.S. "Miró" (one "Joan"), 6 postcards a.s., one L.S., one business card a.s., and 2 vernissage cards a.s, most with envelope or address| several also signed by his wife Pilar (and their daughter Dolores)| about 26 pages in various formats.
Varengeville 11 October 1939, Miró worries about his friend who has been mobilised: "We often think of the lovely days we spent together and hope that we will all be able to see each other again very soon"... 19 February 1940: "I hope you can keep out of the cold and don't suffer too much. The winter here has been very hard too. Apart from that we are all well, the little one is delighted to stay in the country, and I am working a lot"... 1951, to Janine Queneau, about her collection Adieu chansons. Montroig, August 6: "I will be happy to make a drawing [...] for your poems, so full of grace and spirit. He asks for the dimensions of the booklet... 26 August, he sends Seghers the drawing: "I think it is in the spirit of your writings"... September 8, he wants to give her the drawing| she should ask for it as soon as the book is published, so that "it doesn't drag on at the printing house"... October 31: "When I came back from the Balearic Islands, I found your beautiful book, I read the poems, they are full of real sensitivity, I am happy to have made this little drawing of you. The book is very well done, only Seghers should have warned me that he was thinking of doing a lithographic reproduction on the luxury copies, I would have done it myself on a special paper, because the lines on the red paper do not have the same intensity, necessarily, as the original drawing. I'm getting ready to start a winter campaign and work hard, and once I've got everything going, I'm going to make a trip to Paris. Tell Raymond that I reread his books this summer and that I am very excited about them.
Paris, April 1, 1954, to Janine: "Your poems have touched me deeply, I find them very direct, extremely sensitive in their true sensibility, the one that springs from popular images, without any fuss. Paris 19 May 1954, to Raymond, thanking him for his article [for the Venice Biennale]: "it is very lively and very sensitive"
Palma de Mallorca 19 September 1960, to Queneau about the preparation of Album 19 (Maeght, 1962). "I am very happy and proud that you have agreed to write a text for the Album de lithos. I have already signed the "bons à tirer", according to what Dupin tells me, the printing has begun and he will show you the proofs. It is also very important that he shows you the model for the slipcase and explains how I designed it, not forgetting the little red and black leather ball that swings. I have a suggestion for you. In order to avoid a break between your text and my lithos, I thought it would be good to add to the latter, and to insert some small lithos, as you did with the signs inscribed in the text you wrote for the monograph published by Skira. What do you think?"... March 26, 1961: "My dear Raymond, I find your text very good. The idea that you suggested to do it in manuscript with drawings by me seems excellent. This would take away the cold and dogmatic side of the typography and would go better with the conception of the album"... 1972, during Janine's illness and death (July 18). 1.VII: "It is with all my heart, my dear Raymond, that I wish you good courage to overcome these bad moments and especially not to let yourself be defeated"... 30.VII : " Your letter announcing that Janine had left us was a very hard blow for us. We were already expecting it, but the realisation of this reality was a great blow.