Henri Michaux: Peintures et Dessins, 1946 – Numbered copy of the first edition

Among the publications that marked the history of French post-war art publishing, Henri Michaux's Peintures et Dessins occupies a singular position. Published in 1946 by Éditions du Point du Jour under the editorial direction of René Bertelé and printed by E. Aulard, the volume represents the first systematic attempt to document the pictorial activity of an author already celebrated as a poet but still little known as a visual artist. The copy examined here, number 333 from an edition of 900 copies on Rives B.F.K. paper, is presented in a later full black morocco binding with red label on the spine and gilt titling, preserved in the original cream cardboard slipcase.

Bibliographic notes

The first edition of Peintures et Dessins was conceived as a visual manifesto of Michaux's aesthetic at a crucial moment in his artistic evolution. The quarto-format volume features an avant-propos by the author and légendes extracted from his poetic work, accompanying photographic reproductions of drawings and gouaches created between the 1930s and mid-1940s. The choice of Rives B.F.K. paper, produced by the Arjomari-Prioux mills and prized for its fine grain and chromatic rendering, testifies to the editorial attention devoted to the project. The edition of 900 numbered copies positions the work in an intermediate range between the livre d'artiste proper and the critical documentation volume intended for wider circulation. René Bertelé, a central figure in Parisian post-war publishing, had already collaborated with Michaux on previous publications for Gallimard and GLM, consolidating a relationship of trust reflected in the volume's typographic care.

Provenance & condition

The copy presents itself in excellent condition. The later black morocco binding, executed with artisanal mastery, replaces the original publisher's wrappers without altering the volume's bibliographic integrity. The red spine label with gilt titling constitutes a sober yet effective decorative element, in keeping with the taste of reliure française of the period. The original cream cardboard slipcase, rarely preserved in market copies, represents a valuable element that enhances the documentary worth of the ensemble. The interior is fresh, without foxing, stains or browning, with intact margins and sharp photographic reproductions. The manuscript numbering "333/900" appears at the colophon, confirming the authenticity of the edition. No traces of previous bibliographic ownership or bookplates are evident, suggesting provenance from a private collection attentive to conservation.

Market value

The valuation of €850-1,350 for this copy reflects several market factors. First editions of Michaux, especially those documenting his pictorial activity, have registered growing interest over the past two decades, parallel to the critical revaluation of Art Brut and artistic experiences at the margins of official Surrealism. Peintures et Dessins constitutes an indispensable bibliographic reference point for scholars and collectors of Michaux's work, positioning itself among the most sought-after titles after Meidosems (1948) and Mouvements (1951). The presence of the original publisher's slipcase and the optimal state of conservation justify positioning in the medium-high range of the valuation bracket. Comparable copies have appeared at Parisian auctions by Artcurial and Piasa over the past five years, with results ranging between €700 and €1,500, depending on condition and the presence of accessory elements. The specialist antiquarian market, represented by dealers such as Librairie Nicaise in Paris, quotes similar copies in standard condition between €900 and €1,200, whilst copies with period bindings or distinguished provenances can exceed €2,000.

Why it matters

The importance of Peintures et Dessins transcends its bibliographic value to engage aesthetic and theoretical questions of broader scope. Henri Michaux (1899-1984), Belgian poet naturalised French, embodied like few others the figure of the total artist, for whom the distinction between writing and graphic sign represented an artificial boundary to be overcome. The 1946 volume documents a crucial phase of this research, when Michaux was elaborating an autonomous visual language composed of gestural signs, stains and traces that anticipate European Art Informel and dialogue with the experiences of American Abstract Expressionism. The poetic légendes accompanying the images do not function as explanatory captions but establish a relationship of resonance and counterpoint, suggesting open interpretative pathways. For collectors interested in the intersection between poetry and visual arts in the twentieth century, this volume represents a strategic acquisition, capable of documenting a seminal moment in the dissolution of boundaries between artistic languages. Its presence in a specialised library attests not only to an interest in Michaux but to a broader sensibility towards the boundary experiences that redefined the status of the artwork in the post-war period.