Daniel Lelong

First edition of the French translation, one of 75 numbered copies on ivory offset paper, our copy one of the few hors commerce copies numbered in pencil by Antoni Tapies, the only deluxe paper issue.

A very small stain to the upper edge, otherwise a fine copy complete with its illustrated dust jacket.

Illustrated.

Handwritten signature of Antoni Tapies at the colophon.

La Mémoire et la Main [The Memory and the Hand]


Daniel Lelong | Paris 1986 | 24.5 x 33 cm | loose leaves in custom chemise and slipcase
First edition, one of the 120 numbered copies on Muguet paper from the Moulin de Larroque.
Illustrated with 7 original etchings on cut brass by Eduardo Chillida, he frontispiece numbered and signed by Eduardo Chillida.
Rare and beautiful copy.
Handwritten signatures by Edmond Jabès and Eduardo Chillida on the print details page.

First edition on current paper, ours justified off trade colophon.
Nice copy.
Beautiful autograph dated and signed by Gilbert Lascault Marc and Huguette Le Bot: "... these districts with obese jewelers, vegetables, sleepy serpents ..." enriched with a laconic and humorous autograph dedication signed by Pierre Alechinsky: "Au (sic) same, too. "

TàPIES Antoni & LLULL Ramon
LLull-Tàpies Daniel Lelong & Carles Taché, Barcelona 1985, 360 x 500 mm (14 3/16 x 19 11/16 ”), loose leaves, custom box
The very rare first edition of the most important livre d'artiste executed by Antoni Tàpies.
One of 120 numbered copies on vélin d'Arche paper, justified by the artist by hand on the colophon, with 25 original engravings, two signed and justified in pencil by Antoni Tapiès; the only printing after 45 leading copies with a monotype. This copy retains its offprint of the text in French.
Moving autograph inscription signed by Antoni Tapiès with a pencil drawing from the artist's hand – literally! – on which is superimposed a heart, to his close friend and the greatest expert on his work, the writer and essayist Georges Raillard.
Raymond Lull, a 13th century Catalan philosopher and poet, considered the first great Catalan writer, had a major influence on the thinking and work of Antoni Tàpies, who had a number of old and significant works by the mystical thinker in his library. It was in 1973 that Tàpies decided to undertake this monumental work, which he only finished in 1985; it is, at the same time, an homage to a fellow-countryman by a spiritual heir and an examination of their shared metaphysical explorations. This affinity across the centuries between a contemporary artist and a mediaeval writer gives this work – created over 10 years – a particular place within Tàpies' œuvre.
The Catalan artist wanted, in this way, to create a “livre d'artiste” in the fullest sense of the term, starting with the encounter between the book and the object as an aid to literary thinking, by exploiting the full range of expression of the concept of plasticity: line, color, material, and relief, down to the very “size” of the leaves.
More than just a juxtaposition of text and image, Tàpies here establishes a true graphic and written dialogue between the “ravaged clarity” of his work and the “occult wisdom” of Mad Raymond, as Pere Gimeferrer notes in his introduction.
“The meeting of these two worlds – the verbal and the plastic – will allow us to see their revelatory similarities. It is a dialogue between two voices, torches in the sparse and distant silence.”