{"product_id":"theorbes-et-belieres-sebastian-matta-s-surrealist-livre-d-artiste","title":"Théorbes et Bélières — Sebastian Matta’s Surrealist Livre d’Artiste","description":"\u003cdiv style=\"max-width:580px; width:56%; min-width:320px; margin:40px auto; font-family:Georgia, 'Times New Roman', serif; color:#222; font-size:16px; line-height:1.65;\"\u003e\n  \u003cdiv style=\"font-size:30px; line-height:1.15; color:#8b1e1e; margin-bottom:12px;\"\u003e\n    \u003cstrong\u003eSEBASTIAN MATTA\u003c\/strong\u003e\n  \u003c\/div\u003e\n  \u003cdiv style=\"font-size:22px; line-height:1.3; margin-bottom:8px;\"\u003e\n    \u003cstrong\u003eMichel Fardoulis-Lagrange\u003cbr\u003e\n    \u003cem\u003eThéorbes et Bélières\u003c\/em\u003e\u003c\/strong\u003e\n  \u003c\/div\u003e\n  \u003cdiv style=\"font-size:17px; margin-bottom:30px;\"\u003e\n    Bernard Dumerchez Éditeur, 1994\u003cbr\u003e\n    \u003cstrong\u003eCopy XXIII\/XXX · One of thirty copies reserved for the author · Signed by Matta and Fardoulis-Lagrange · Original Etching\u003c\/strong\u003e\n  \u003c\/div\u003e\n\n  \u003cdiv style=\"color:#8b1e1e; font-size:18px; margin-top:28px; margin-bottom:8px;\"\u003e\n    \u003cstrong\u003eDESCRIPTION\u003c\/strong\u003e\n  \u003c\/div\u003e\n  \u003cp\u003e\n    Michel Fardoulis-Lagrange’s \u003cem\u003eThéorbes et Bélières\u003c\/em\u003e, illustrated with an\n    \u003cstrong\u003eoriginal colour etching by Sebastian Matta\u003c\/strong\u003e and four typographical\n    vignettes by the artist.\n  \u003c\/p\u003e\n  \u003cp\u003e\n    Published by Bernard Dumerchez at Creil and registered for \u003cem\u003edépôt légal\u003c\/em\u003e in\n    \u003cstrong\u003eFebruary 1994\u003c\/strong\u003e, some weeks before the author’s death; \u003cem\u003eLe Monde\u003c\/em\u003e\n    published Patrick Kéchichian’s obituary of him on 29 April that year. Printed on\n    \u003cstrong\u003e250 gsm white Vélin d’Arches\u003c\/strong\u003e from the Arjo-Wiggins mills, loose sheets as\n    issued in the original printed wrapper, in its glassine jacket.\n  \u003c\/p\u003e\n  \u003cp\u003e\n    This is \u003cstrong\u003ecopy XXIII\/XXX\u003c\/strong\u003e, one of only thirty Roman-numeral copies\n    specifically \u003cstrong\u003ereserved for the author, Michel Fardoulis-Lagrange\u003c\/strong\u003e.\n    The justification is numbered \u003cstrong\u003eXXIII\/XXX in manuscript\u003c\/strong\u003e and\n    \u003cstrong\u003esigned in pencil by both Michel Fardoulis-Lagrange and Sebastian Matta\u003c\/strong\u003e.\n  \u003c\/p\u003e\n  \u003cp\u003e\n    The etching serves as \u003cstrong\u003efrontispiece, facing the title\u003c\/strong\u003e, which reads:\n    \u003cem\u003eMichel Fardoulis-Lagrange · Théorbes et Bélières · gravure originale de Sebastian\n    Matta · Bernard Dumerchez Editeur\u003c\/em\u003e. The copperplate was pulled by the\n    \u003cstrong\u003eAtelier Dupont-Visat\u003c\/strong\u003e, Paris, with letterpress typography by the\n    Imprimerie ukrainienne. A copy of the edition is held by the Bibliothèque nationale de\n    France in its \u003cstrong\u003eRéserve des Livres rares\u003c\/strong\u003e (shelfmark RES G-Z-531).\n  \u003c\/p\u003e\n  \u003cp style=\"margin-left:18px; font-style:italic; color:#444;\"\u003e\n    “Toute apparition devient le fruit des lieux inondés et l’alerte est donnée par des\n    saisons parvenues à satiété.”\u003cbr\u003e\n    \u003cspan style=\"font-style:normal; font-size:14px;\"\u003e— the opening sentence, p. 7\u003c\/span\u003e\n  \u003c\/p\u003e\n\n  \u003cdiv style=\"color:#8b1e1e; font-size:18px; margin-top:32px; margin-bottom:8px;\"\u003e\n    \u003cstrong\u003eTHE EDITION\u003c\/strong\u003e\n  \u003c\/div\u003e\n  \u003cp\u003e\n    The colophon of the present copy sets out the edition in full:\n  \u003c\/p\u003e\n  \u003cp style=\"margin-left:18px; font-size:15px; line-height:1.55; color:#3b342b; border-left:2px solid #cfc7ba; padding-left:14px;\"\u003e\n    \u003cem\u003eIl a été tiré de cet ouvrage cent vingt quatre exemplaires sur Vélin d’Arches blanc\n    250 gr. des papeteries Arjo-Wiggins illustrés d’une eau-forte originale et de quatre\n    vignettes typographiques de Sebastian Matta, répartis comme suit :\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\n    \u003cem\u003etrente exemplaires numérotés de I à XXX réservés à l’auteur\u003cbr\u003e\n    trente exemplaires numérotés de E.A 1 à E.A. 30 réservés à l’artiste\u003cbr\u003e\n    trente neuf exemplaires numérotés de 1 à 39 réservés à l’éditeur\u003cbr\u003e\n    et vingt cinq exemplaires hors commerce numérotés de HC 1 à HC 25 réservés aux\n    collaborateurs et au dépôt légal.\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\n    \u003cem\u003eTous les exemplaires sont signés par l’auteur et l’artiste, l’ensemble constituant\n    l’édition originale de\u003c\/em\u003e THÉORBES ET BÉLIÈRES \u003cem\u003ede Michel Fardoulis-Lagrange.\u003c\/em\u003e\n  \u003c\/p\u003e\n  \u003cp\u003e\n    That is: \u003cstrong\u003e30 copies I–XXX\u003c\/strong\u003e for the author; \u003cstrong\u003e30 copies E.A. 1–30\u003c\/strong\u003e\n    (\u003cem\u003eépreuves d’artiste\u003c\/em\u003e) for the artist; \u003cstrong\u003e39 copies 1–39\u003c\/strong\u003e for the\n    publisher; and \u003cstrong\u003e25 copies HC 1–25\u003c\/strong\u003e, \u003cem\u003ehors commerce\u003c\/em\u003e, for\n    collaborators and legal deposit — \u003cstrong\u003e124 in all, every one signed by both hands\u003c\/strong\u003e.\n  \u003c\/p\u003e\n  \u003cp\u003e\n    The edition was divided at issue into four expressly designated series. The present copy is\n    one of the thirty Roman-numeral copies reserved for Fardoulis-Lagrange.\n  \u003c\/p\u003e\n  \u003cp\u003e\n    The colophon designates the complete group as the \u003cem\u003eédition originale\u003c\/em\u003e of this\n    bibliophile edition; the text itself had previously appeared, under the same title, in the\n    Paris review \u003cem\u003ePo\u0026amp;sie\u003c\/em\u003e no. 19 (1981) — an issue that also carried Hölderlin,\n    Rilke, Jacques Roubaud, Andrea Zanzotto and Jacques Réda — and was afterwards taken up\n    into \u003cem\u003eLes Enfants d’Édom\u003c\/em\u003e (José Corti, 1996).\n  \u003c\/p\u003e\n\n  \u003cdiv style=\"color:#8b1e1e; font-size:18px; margin-top:32px; margin-bottom:8px;\"\u003e\n    \u003cstrong\u003eMICHEL FARDOULIS-LAGRANGE\u003c\/strong\u003e\n  \u003c\/div\u003e\n  \u003cp\u003e\n    Michel Fardoulis-Lagrange (Cairo 1910 – Paris 1994) was born into the Greek community\n    of Cairo, schooled at the lycée français, and published his first stories in Greek in the\n    reviews of Alexandria; he turned to writing in French only in 1936. Vincent Teixeira,\n    who has devoted two university studies to him, calls him one of the most extraordinary\n    stylists of the French language — a writer who would rewrite a single page as many as\n    eighty times — and titles his 2004 essay, exactly, “cet inconnu majeur.”\n  \u003c\/p\u003e\n  \u003cp\u003e\n    He was close to Michel Leiris and to Georges Bataille, who sheltered him at Vézelay in\n    1943 and whose circle he had joined the year before; imprisoned in La Santé for a year\n    under the Occupation, he went on writing there, and later devoted a book to the\n    friendship, \u003cem\u003eG.B. ou un ami présomptueux\u003c\/em\u003e (Le Soleil Noir, 1969). In 1945 he\n    founded, with Jean Maquet — and, on Dominique Rabourdin’s account, with his wife\n    Francine — the review \u003cem\u003eTroisième Convoi\u003c\/em\u003e, whose five issues (1945–1951) carried\n    Antonin Artaud, Georges Bataille, Yves Bonnefoy, René Char, Georges Henein, Jean Paulhan\n    and Henri Michaux, with plates by Brauner, Duchamp, Hérold and Ubac.\n  \u003c\/p\u003e\n  \u003cp\u003e\n    Leiris gave his work one of its earliest serious critical treatments, “Michel\n    Fardoulis-Lagrange et le roman poétique,” collected in \u003cem\u003eBrisées\u003c\/em\u003e. Éric Losfeld\n    called him “un écrivain superbe, de la veine de Gracq ou de Mandiargues,” known “que de\n    mille personnes et encore.” His work has since been the subject of dedicated monographs\n    from L’Harmattan and of university studies in France and Japan.\n  \u003c\/p\u003e\n\n  \u003cdiv style=\"color:#8b1e1e; font-size:18px; margin-top:32px; margin-bottom:8px;\"\u003e\n    \u003cstrong\u003eSEBASTIAN MATTA AND THE ETCHING\u003c\/strong\u003e\n  \u003c\/div\u003e\n  \u003cp\u003e\n    Roberto Sebastián Matta Echaurren (1911–2002) — “Sebastian Matta” on this book’s title\n    page — left Le Corbusier’s atelier in 1937 to join the Surrealist movement, and from 1938\n    painted what he called “inscapes” or “psychic morphologies”: structures for interior\n    rather than observed space. The Peggy Guggenheim Collection records that his painting of\n    the 1940s “anticipated many innovations of Abstract Expressionism and influenced many\n    artists of the so-called New York School,” among them his friends Arshile Gorky and\n    Robert Motherwell. Marcel Duchamp called him the most profound painter of his generation.\n    The Museum of Modern Art gave him a retrospective in 1957 and the Centre Pompidou in\n    1985; he received Chile’s National Prize for Art in 1990.\n  \u003c\/p\u003e\n  \u003cp\u003e\n    The frontispiece is an \u003cstrong\u003eoriginal colour etching\u003c\/strong\u003e — an intaglio print with a\n    clear plate mark, not a reproduction. Three flame-like upright figures rise through a\n    ground of deep teal and blue-green, their bodies flushed with ochre and crimson and\n    incised throughout with fine scratched line; a scatter of small reserved white points\n    hangs across the upper field. It is characteristic late Matta: the human figure dissolved\n    into energy and vector.\n  \u003c\/p\u003e\n  \u003cp\u003e\n    The four \u003cem\u003evignettes typographiques\u003c\/em\u003e are equally the artist’s own, and each is given\n    a page to itself — spare black line-and-dot compositions in which small prismatic volumes\n    cluster and radiate outward, closer to Matta’s drawn cosmologies than to any conventional\n    printer’s ornament.\n  \u003c\/p\u003e\n\n  \u003cdiv style=\"color:#8b1e1e; font-size:18px; margin-top:32px; margin-bottom:8px;\"\u003e\n    \u003cstrong\u003eCOLLABORATIONS ACROSS THREE DECADES\u003c\/strong\u003e\n  \u003c\/div\u003e\n  \u003cp\u003e\n    \u003cem\u003eThéorbes et Bélières\u003c\/em\u003e is the third documented Fardoulis-Lagrange–Matta book\n    project in a sequence extending from 1964 to 1994 — and the two men worked in both\n    directions.\n  \u003c\/p\u003e\n  \u003cp\u003e\n    A letter from Matta to Fardoulis-Lagrange of 1963 survives in the writer’s papers at the\n    Bibliothèque littéraire Jacques-Doucet, Paris (MFL C 99). The following year Matta\n    illustrated him in \u003cem\u003eLes Voix\u003c\/em\u003e (Georges Visat \u0026amp; Le Point Cardinal, 1964) with\n    ten original colour etchings with aquatint and embossing together with a blind-relief\n    plate — eleven in all — in an edition signed by both men. That book is today in the Art\n    Institute of Chicago, and nine of its signed plates are in the Museum of Fine Arts,\n    Houston.\n  \u003c\/p\u003e\n  \u003cp\u003e\n    Then the direction reversed. Around 1969–70 Fardoulis-Lagrange wrote \u003cem\u003eSur Matta\u003c\/em\u003e\n    for Pierre Belfond, accompanied in the limited edition by two original colour prints by\n    Matta. In the documentation for its own 1985 Matta retrospective, the Centre Pompidou\n    lists that book as one of only four monographs on Matta — alongside Roland Sabatier’s\n    catalogue raisonné of the engraved work.\n  \u003c\/p\u003e\n  \u003cp\u003e\n    The 1994 etching was pulled by the Atelier Dupont-Visat: the third documented appearance\n    of the Visat name in the production history of their joint books. Seen against\n    \u003cem\u003eLes Voix\u003c\/em\u003e and \u003cem\u003eSur Matta\u003c\/em\u003e, the 1994 volume can be situated within the\n    broader twentieth-century tradition of the \u003cem\u003elivre de dialogue\u003c\/em\u003e, bringing writer and\n    artist together once more in a bibliophile edition. Éditions Dumerchez placed it within\n    its bibliophile \u003cem\u003eGrand Papier\u003c\/em\u003e production.\n  \u003c\/p\u003e\n\n  \u003cdiv style=\"color:#8b1e1e; font-size:18px; margin-top:32px; margin-bottom:8px;\"\u003e\n    \u003cstrong\u003ePUBLICATION DETAILS\u003c\/strong\u003e\n  \u003c\/div\u003e\n  \u003cp\u003e\n    Michel Fardoulis-Lagrange\u003cbr\u003e\n    \u003cem\u003eThéorbes et Bélières\u003c\/em\u003e\u003cbr\u003e\n    Original colour etching and four typographical vignettes by Sebastian Matta\u003cbr\u003e\n    Bernard Dumerchez éditeur, B.P. 356 — 60312 Creil Cedex, France\u003cbr\u003e\n    \u003cem\u003eDépôt légal\u003c\/em\u003e, February 1994 · Éditeur 037 · Imprimé en France\u003cbr\u003e\n    Folio, sheets 337 × 280 mm · 16, [6] pp., loose sheets as issued in stiff printed wrappers\u003cbr\u003e\n    Typography: Imprimerie ukrainienne, Paris · Intaglio: Atelier Dupont-Visat, Paris\u003cbr\u003e\n    Published at 1 600 F\u003cbr\u003e\n    ISBN 2-904925-36-8\n  \u003c\/p\u003e\n\n  \u003cdiv style=\"color:#8b1e1e; font-size:18px; margin-top:32px; margin-bottom:8px;\"\u003e\n    \u003cstrong\u003eLITERATURE\u003c\/strong\u003e\n  \u003c\/div\u003e\n  \u003cp style=\"font-size:14px; line-height:1.5;\"\u003e\n    \u003cstrong\u003eThe book and its predecessors.\u003c\/strong\u003e Bibliothèque nationale de France,\n    \u003cem\u003eCatalogue général\u003c\/em\u003e, notice FRBNF35700325 (BnF copy: Réserve des Livres rares,\n    RES G-Z-531). — \u003cem\u003ePo\u0026amp;sie\u003c\/em\u003e, no. 19 (Paris, 1981), for the first appearance of the\n    text. — Michel Fardoulis-Lagrange, \u003cem\u003eLes Enfants d’Édom\u003c\/em\u003e (Paris: José Corti, 1996),\n    in which the text was subsequently collected. — Art Institute of Chicago, \u003cem\u003eThe Voice\n    (Les Voix)\u003c\/em\u003e, acc. 2014.500. — Museum of Fine Arts, Houston, plates from \u003cem\u003eLes\n    Voix\u003c\/em\u003e, acc. 75.332.1–.9. — Fine Arts Museums of San Francisco, sheets from \u003cem\u003eLes\n    Voix\u003c\/em\u003e. — Bibliothèque littéraire Jacques-Doucet, Fonds Michel Fardoulis-Lagrange,\n    MFL C 99.\n  \u003c\/p\u003e\n  \u003cp style=\"font-size:14px; line-height:1.5;\"\u003e\n    \u003cstrong\u003eOn Matta.\u003c\/strong\u003e Centre Georges Pompidou \/ Musée national d’art moderne,\n    \u003cem\u003eMatta\u003c\/em\u003e, exhibition documentation (Paris, 1985), listing Fardoulis-Lagrange’s\n    \u003cem\u003eSur Matta\u003c\/em\u003e among the monographs on the artist. — Roland Sabatier, \u003cem\u003eMatta.\n    Catalogue raisonné de l’œuvre gravé (1934–1974)\u003c\/em\u003e (Stockholm: Sonet \/ Paris: G. Visat,\n    1975). — Germana Ferrari, \u003cem\u003eMatta. Index dell’Opera Grafica dal 1969 al 1980\u003c\/em\u003e\n    (Viterbo: Staderini, 1980).\n  \u003c\/p\u003e\n  \u003cp style=\"font-size:14px; line-height:1.5;\"\u003e\n    \u003cstrong\u003eOn Fardoulis-Lagrange.\u003c\/strong\u003e Michel Leiris, “Michel Fardoulis-Lagrange et le\n    roman poétique,” in \u003cem\u003eBrisées\u003c\/em\u003e (Paris: Mercure de France, 1966). — Anne Mounic,\n    \u003cem\u003eLa Parole obscure: Recours au mythe et défi de l’interprétation dans l’œuvre de Michel\n    Fardoulis-Lagrange\u003c\/em\u003e (Paris: L’Harmattan). — Valéria Vanguelov, \u003cem\u003eMemorabilia, récit\n    des origines de l’œuvre de Michel Fardoulis-Lagrange\u003c\/em\u003e (Paris: L’Harmattan, 2003). —\n    Vincent Teixeira, “Michel Fardoulis-Lagrange, cet inconnu majeur,” \u003cem\u003eBulletin of the\n    Central Research Institute, Fukuoka University\u003c\/em\u003e 4\/4 (2004), pp. 71–89. — Éric Bourde,\n    “Fardoulis-Lagrange et Bataille,” \u003cem\u003eRalentir travaux\u003c\/em\u003e 15 (autumn 1999), pp. 43–46. —\n    Dominique Rabourdin, “Troisième Convoi, 1945–1951,” \u003cem\u003eLa Revue des revues\u003c\/em\u003e 37 (2005).\n    — Marina Galletti, “I ‘voyageurs’ del «Troisième Convoi»,” in \u003cem\u003eNarrazione e\n    rappresentazione nel Novecento\u003c\/em\u003e (Venice: Marsilio, 2001).\n  \u003c\/p\u003e\n\n  \u003cdiv style=\"color:#8b1e1e; font-size:18px; margin-top:32px; margin-bottom:8px;\"\u003e\n    \u003cstrong\u003eCOLLECTING INTEREST\u003c\/strong\u003e\n  \u003c\/div\u003e\n  \u003cp\u003e\n    Matta and Surrealism · modern and post-war prints · the \u003cem\u003elivre d’artiste\u003c\/em\u003e and\n    \u003cem\u003elivre de dialogue\u003c\/em\u003e · French avant-garde literature and the post-war reviews ·\n    signed and limited editions · contemporary French fine-press and bibliophile production.\n  \u003c\/p\u003e\n\n  \u003cdiv style=\"color:#8b1e1e; font-size:18px; margin-top:32px; margin-bottom:8px;\"\u003e\n    \u003cstrong\u003eCONDITION\u003c\/strong\u003e\n  \u003c\/div\u003e\n  \u003cp\u003e\n    Very good. Loose sheets as issued in the original printed wrapper, preserved in its\n    glassine jacket; the glassine creased and lightly rubbed at the edges and extremities, as\n    visible in the photographs, the printed wrapper beneath clean and unmarked. The Matta\n    etching is a strong, fresh impression with clear plate mark and unfaded colour. The\n    manuscript numbering and both pencil signatures are crisp. Light tan toning to the\n    fore-edges of the sheets; text and plate otherwise clean throughout.\n  \u003c\/p\u003e\n\u003c\/div\u003e","brand":"Atelier Zweig Rare Books","offers":[{"title":"Default Title","offer_id":47298704179388,"sku":null,"price":1650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0736\/1285\/3436\/files\/1300870.jpg?v=1787158986","url":"https:\/\/atelierzweig.com\/products\/theorbes-et-belieres-sebastian-matta-s-surrealist-livre-d-artiste","provider":"Atelier Zweig Rare Books","version":"1.0","type":"link"}