539 résultats
1973102497Luciano Anselmino; Studio Marconi. As New. 1973. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - - VOLUME 2 TWO OF 2 VOLUMES. Corresponds to second volume of ASIN: B0007AR7RW. Volume 1 has 152 pages; Volume 2 has 108 pages. I II One 1 Catalogue Raisonne Catalog Raisonné Complete Works Catalogo Ragionato Catalogo delle Opere L'Opera Completa Raisonnee Emmanuel Radnitzky -- with a bonus offer . Luciano Anselmino; Studio Marconi hardcover
196948795Vence.: Galerie Alphonse Chave. 1969. Loose as issued in original publisher's printed thick paper wrappers with flaps colour titles to front cover. 4to. 280 x 230 mm. Half-title title with monochrome lithograph of a 1914 Man Ray self-portrait as frontispiece verso leaf with introductory text by Man Ray and reproductions of original works by Man Ray including four further monochrome lithographs and six tipped-in illustrations in colour final leaf with justification and achevé d'imprimer.Original collage by Man Ray of an original signed and numbered photograph tipped onto sandpaper 6 tipped-in colour images and 3 monochrome images. A presentation copy of the deluxe issue of Man Ray's catalogue with the original signed collage.From the edition limited to 500 copies with this one of 50 on 'beau papier' a smooth laid paper signed and numbered by Man Ray to the justification; also included inserted loose is the original collage signed and numbered from the edition of 50 in black ink.Man Ray's presentation is in pencil to the half-title: 'au Dr. Marcel Zara / bien cordialement / Man Ray'.Man Ray's original collage features an original monochrome photograph 138 x 100 mm with a small stamp at lower left mounted to a sheet of fine sandpaper 239 x 178 mm; the photograph is signed by Man Ray at lower right in black ink and the stamp is numbered also in black ink from the edition of 50 copies.'LES INVENDABLES. Pourquoi Car c'est le nom qui est à vendre. San la signature le tableau ne vaut rien. Il faut prendre l'un et l'autre . Il y a ceux qui retournent le tableau pour voir si c'est de la bonne toile de lin fin . Le peintre tient son bâton à poils comme le barbier son blaireau le musicien son archet le soldat sa mitraillette c;est ainsi qu'ils tiennent leur sexe pour faire pipi ou pour faire l'amour . La vérité Il n'y a plus subversif que la vérité . Man Ray'. Man Ray's introductory text. Galerie Alphonse Chave. unknown
193721205811937. Paris: Jeanne Bucher 1937 4to. Original pictorial red and white wrappers lettered in red to spine; pp. 176 30 with pictorial title and 66 full-page illustrations by Man Ray; pages partially uncut; very minor creasing to lower corners and spine a little frayed otherwise near fine copy; author's presentation inscription to half-title 'a Georges Mouton tres amicalement Paul Eluard' see below.First edition number 319 of 650 copies printed on Chester verge of a total edition of 675 copies presented by Eluard to the Surrealist writer Georges Mouton. Les mains libres is the second collaborative work between Man Ray a pioneer of the Surrealist movement and Paul Eluard poet and one of the movement's founders. During the 1930s Man Ray made numerous drawings in Paris and the South of France. He shared them with Eluard who requested to keep them temporarily. Adhering to the Surrealist tradition the poet 'illustrates' the images not the opposite: upon Man Ray's return Eluard had paired each drawing with a poem. This collaboration resulted in the publication of Les mains libres featuring fifty-four illustrations by Man Ray facing as many poems by Eluard and three appendices 'Sade' 'Portraits' and 'Details' which include Man Ray's portraits of Pablo Picasso Andre Breton and Eluard. Provenance: This copy was presented by Eluard to the writer Goerge Mouton. Connected to Surrealist circles in the 1930s Mouton was a member of the Contre-Attaque group led by Georges Bataille and Andre Breton during 1935-1936. unknown
19351730881935. MAN RAY. Facile. With poetry by Paul Eluard. Illustrated with photographs by Man Ray. 8vo. original printed wrappers in a new cloth folding box Paris: Edition G.L.M. 1935. One of Man Ray and Eluard most successful collaborations. Facile is illustrated with Man Ray's splendid photographs of nudes which have been sensuously interwoven into the text. This is arguably one of the loveliest photographically illustrated livres de peintres and despite the large edition 1225 copies is now quite scarce. A Century of Artists Books 183. hardcover
186304James Thrall Soby Hartford Connecticut 1934 In-4 carré ( 384 X 312 mm ), broché par spirale en bakélite blanche sous couverture illustrée en couleurs. Portrait de MAN RAY par PICASSO en frontispice. 104 héliogravures hors-texte de MAN RAY dédié à son amie et muse Joella BAYER, fille de la poétesse et artiste Mina LOY et épouse du designer et photographe Herbert BAYER, dont le portrait apparaît dans le livre ( planche 47 ). Livre photographique de MAN RAY composé de photographies et de rayographies "sensuelles, souvent oniriques". dédié à Joella BAYER. Avec des textes en anglais et en français de Man Ray, Paul Eluard, André Breton et Tristan Tzara et en anglais et en allemand de Rrose Selavy ( Marcel Duchamp ). EDITION ORIGINALE et PREMIER TIRAGE de la première monographie de MAN RAY considérée comme l'un des livres de photographie les plus influents et les plus importants du XXe siècle ( Sanford ROTH "Le livre des 101 livres" pages 80/81 ). Très rare sans mention d'édition ["Les exemplaires avec la page de titre originale sont extrêmement rares" ( D. Levy Srauss dans "ROTH" )], et dans un état aussi exemplaire, Il manque 2 dents à la fragile reliure spirale de bakélite blanche, qui est quand même en bel état.
A-71923-2<p>Accordion fold artist's book featuring one multiple by Man Ray a blue baguette bread on the front cover held by a green ribbon to close the book. Also included on the book ten silkscreen after the artist Revolving Doors installation in colors three reproductions in colors and a three folded poster in colors. This artist's book was published by Galerie Alexandre Iolas in Paris as an exhibition catalogue for the exhibition Man Ray in 1973-1974. The blue baguette depicted on the cover was an original piece that Man Ray made in 1958 using stale bread painted blue. He later replaced it with a plaster version as the original was eaten by mice.</p> Galerie Alexandre Iolas
1968100144New York The Letter Edged in Black Press, 1968. 1968 6 17.8 x 27.9 cm. New York, The Letter Edged in Black Press, 1968. Six portefeuilles 178 x 279 mm, présentés dans leurs emballages postaux d’origine, contenant chacun un sommaire, pour un total de 73 multiples originaux.
19351634Livre Édition: 381/1020 Photographies de Man Ray
19372467<p>Paris Éditions GLM 1937. MAN RAY. La Photographie n'est pas L'Art. Paris: Éditions GLM 1937. Slim octavo 17 loose leaves in original flexible blue cloth portfolio original black die-cut wrapper. First edition of this landmark treatise with 12 full-page halftones of Man Ray's distinctive photographs 'regarded by some as amongst the greatest of the 20th century' Parr & Badger. Jean Cocteau called him 'the poet of the darkroom.' 'It was with Man Ray's arrival in Paris in the summer of 1921 when Dada was at its height that photographic experimentation temporarily leaderless after the disastrous war took a decisive new direction' Frizot 442. 'Man Ray's work introduced a particular note to Dadaism since he used photography and recognized early on that this medium could reproduce the effects of object-based art in two-dimensional form. Photography was in a position to preserve the ordinary and to unleash surreal effects' Icons of Photography 26. 'Although he incorporated photography into his Dadaist practice much of his photographic activity was given over to conventional portrait and fashion commissions. This rankled with him and 'photography is not an art' was a constant theme in his work. La Photographie n'est pas L'Art is one of the most enigmatic yet advanced of all his books. It can be taken as a summation of his experiments in photography and might be said to be his photographic swansong' Parr & Badger 108-09. With text by André Breton. See Roth 80-81 86-87. Interior and images fine. Only light sunning to cover through aperture in wrapper. A fine copy. Scarce. Bauman quote In a contemporary clam shell box in blue cloth.</p> GLM
193388275Le Phare de Neuilly | Neuilly-sur-Seine S.d. [1933] | 18.20 x 25.10 cm | 3 volumes brochés
1948119735Beverly Hills CA: Copley Galleries 1948. First Edition. First Edition. One of 500 copies issued. INSCRIBED by the author and artist on the front endpaper: "For Charlotte Bebe and Louis Barron. Cordially Man Ray Hollywood 1949." An exceptional avant-garde association and in one of the strangest alphabet books ever published. <br/><br/>Around this time the Barrons were beginning to experiment with committing electronic sounds as music to magnetic tape and were ultimately not only pioneers in that field inventors. One year after the date of this inscription they would compose their first piece "Heavenly Menagerie" and they would go on to produce the first electronic film score for the seminal 1956 science fiction film "Forbidden Planet" credited as "tonalities" rather than "music" at the time due to union rules. The Barrons' earliest compositions were slow and laborious as their early work preceded the digital age and involved building circuits and tape splicing to create even the smallest sequences of sound. In the decades that followed electronic composition has become a worldwide phenomenon in every musical category. A tremendous association between pioneers in two major fields of twentieth century artistic endeavor.<br/><br/>Near Fine in illustrated cloth covered boards with no dust jacket as issued. Copley Galleries unknown books
192148774Paris.: Au Sans Pareil. 1921 12 Janvier. Folio. 277 x 212 mm. Drop-head title and printed text recto and verso in French with typical dada typography manicules and type variation imprint and list of signatories at foot of verso. A very fine example never folded of this scarce iconoclastic and blasphemous dada manifesto an excellent specimen of dada typography.Tzara's 1921 restatement of dada had a very serious purpose: to reinvigorate and revitalise dada. Tzara was to some extent successful and dada continued albeit with the same troubles that prompted the issue of this manifesto. The document is an outstanding example of the typographical caprice and linguistic inventiveness that made dada so intriguing and appealing. The use of various other schools of art Cubism Expressionism Simultaneism Futurism Unanism Neo-Claissicism Ultraism Creationism Vorticism and Imagism to underline dada's point or rather its lack thereof is classic. Tzara's most iconoclastic and blasphemous slogans were taken up by Van Doesburg for his own later dada poster produced in conjunction with Schwitters 'kleine dada soirée': 'DADA EXISTE DEPUIS TOUJOURS / LA SAINTE VUERGE DÉJÀ FUT DADAÎSTE!'This manifesto was truly international as noted at the head of the sheet: 'Les Signataires de ce manifeste habitent la France l'Amérique l'Espagne l'Allemagne l'Italie la Suisse la Belgique etc. mais n'ont aucune nationalité.'The signatories as listed were: 'E. Varèse Tr. Tzara Ph. Soupault Soubeyran J. Rigaut G. Ribemont-Dessaignes M. Ray sic F. Picabia B. Péret C. Pansaers R. Huelsenbeck J. Evola M. Ernst P. Eluard Suz. Duchamp M. Duchamp Crotti G. Cantarelli Marg. Buffet Gab. Buffet A. Breton Baargeld Arp W. C. Aresnberg L. Aragon.''In 1921 Tristan Tzara found himself battling to sustain Dada's declining popularity. Aesthetic political and social differences among the movement's most prominenet members shook Dada at the doundation. In line with Dada's emphasis on easy distribution Tzara created this one-page flyer presenting a condensed more direct iteration of the Dada Manifesto . The text's inconsistent typefaces orientation and size embody the disorientation and randomness at the heart of the Dadaist philosophy.' From the catalogue of the Art Institute of Chicago.'Dada fait ici le choix d'une composition graphique et d'une typographie affranchies des traditions use de termes saugrenus n'ayant aucun lien logique entre eux recourt aux antonymes «oui = non» aux répétitions «jamais jamais jamais» s'autointerroge «Que fait DADA» affirme et se contredit dans le même temps . La mise en page les différentes tailles de caractères et les polices d'écriture confèrent à l'ensemble un rythme singulier fait d'accélérations de ralentissements de pauses autant d'éléments qui construisent un parcours de lecture heurté discontinu à l'issue duquel renaîtra peut-être un «homme nouveau» purgé de tout espèce de culture.' Anne Delebaree writing in 'Petits Papiers des Avant-Gardes: La Collection Paul Desrtribats'.Destribats Tracts 132 / 133; Ades 8.45; Pompidou 326 / 327. Au Sans Pareil. unknown
193388275Neuilly-sur-Seine: Le Phare de Neuilly 1933. Fine. One of the rarest and most iconic Surrealist magazines Le Phare de Neuilly Neuilly-sur-Seine S.d. 1933 18.20 x 25.10 cm 3 volumes brochés First edition of this important and very rare magazine complete with 4 issues in 3 volumes. Complete collection of this luxurious Surrealist magazine edited and funded by Lise Deharme and characterized by its emphasis on photography. Covers illustrated by Man Ray illustrations in black. Contributions by Salvador Dali Hans Arp Dora Maar Oscar Dominguez Brassaï Lee Miller Jacques Lacan James Joyce Georges Ribemont-Dessaignes Ilarie Voronca Nathalie Barney Benjamin Fondane Pierre Drieu La Rochelle Alejo Carpentier Eugène Jolas Lise Hirtz Lise Deharme Raymond Queneau Claude Sernet Roger Vitrac Robert Desnos Jean Follain Léon-Paul Fargue Pierre Keffer Jacques Baron Gottried Benn Céline Arnauld Monny de Boully Georgette Camille André de Richaud Jules Supervielle Claire Goll Paul Laforgue David Herbert Lawrence Marcel Jouhandeau Paul Dermée Jean Painlevé Nadar Pétrus Borel and Stendhal. Sunned spine on the No. 3/4 issue. Spine-ends and corners slightly rubbed otherwise a wonderfully preserved copy. A very fine example of this rare avant-garde magazine which ""came into being over the course of a few dinners that brought together the dissidents of Surrealism and other poets in this hospitable abode of Lise Deharme. Robert Desnos provided the title. Georges Ribemont-Dessaignes was the editor. Man Ray had designed the cover: a silhouette of a lighthouse against a photographic background of sailing boats. . It contains curiosities: a tale by Petrus Borel a photo by Nadar popular songs an investigation into the neurosis of war epitaphs taken from a cemetery of animals. Among other curiosities a sonnet by the famous psychoanalyst Jacques Lacan. It is entitled Hiatus irrationalis."" Jacques Baron Cahiers de l'Herne Raymond Queneau p. 333. Le Phare de Neuilly unknown
20958Dessins de Chas Laborde gravés sur bois par Robert Dill. P., Editions de la Banderole, *Collection d'Œuvres Originales*, 1920, in-12, relié demi-maroquin brique à coins, tête dorée, couv et dos conservés, dos à 5 nerfs, tête dorée, non rogné (Marcel Day), 150 p. Edition originale num. sur Lafuma teinté. Exceptionnel exemplaire enrichi de 10 dessins originaux à l’encre de Pierre Mac Orlan montés sur onglets ou contrecollés sur papier blanc, tous en début de volume, ainsi que d’une PHOTOGRAPHIE ORIGINALE de MAN RAY en tirage argentique d’époque, format 9,8 × 7,4.Les dessins ont été reproduits dans des ouvrages illustrés par Mac Orlan comme *Les Pattes en l’air* (1911), les *Contes de la pipe en terre* (1914), *U-713 ou les Gentilshommes d’infortune* (1917) ou encore dans des revues et plus probablement dans La Baïonnette. La photographie de Man Ray date du tout début des années 20. Elle est prise en buste, Mac Orlan est élégamment vêtu et porte un nœud papillon.
29081Paris circa 1950. 1 tirage sur carte d'après-guerre signé « Man Ray » à la mine de plombe en angle inférieur droit. . L'épreuve est signée Man Ray à la mine de plomb en angle inférieur droit et contient au dos la mention de la main de Char « René Crevel ». Ce tirage constitue l'un de ceux que Man Ray a fourni dans les années 50-60 à ses amis proches. Un tirage figurait dans la vente Breton 2003 n° 5106 identique à celui-ci – sans être signé. C'est la seule épreuve signée connue : ce tirage constitue l'un de ceux que Man Ray a fourni dans les années 1950-1960 à ses amis proches. Un tirage figurait dans la vente Breton 2003 n° 5106 identique à celui-ci - mais non signé. Notre épreuve est celle de René Char avec une note au verso de la main du poète. Le suicide de Crevel le frappa douloureusement. Des années plus tard il avouera : « Je n'ai pu depuis la mort de ce frère précieux relire un seul de ses ouvrages. C'est dire combien je m'ennuie de lui de l'éclat de sa présence des conquêtes de sa pensée dont il était prodigue. C'est l'homme parmi ceux que j'ai connus qui donnait le mieux et le plus vite l'or de sa nature. Il ne partageait pas il donnait. » Toutes les autres épreuves recensées de ce portrait iconique sont vierges de la signature de Man Ray et souvent dans des tirages tardifs réalisés par Gassman. Lorsque Pierre Paraf le directeur de La République rend hommage à René Crevel dont le suicide vient d'être découvert il évoque un artiste « dont les généreuses indignations étaient servies par un âpre talent satirique ». L'écrivain et poète surréaliste de la première heure mais exclu du mouvement en 1935 et membre critique du Parti communiste depuis 1922 s'est donné la mort à son domicile ne laissant qu'une note pour sa maîtresse la comtesse argentine Tota Cuevas de Vera : « Prière de m'incinérer. Dégoût. » Peut-être celui d'une France bourgeoise et parlementaire de la IIIe République qu'il méprisait l'une et l'autre telle qu'il la décrivait avant sa mort dans les colonnes de Comoedia : « Vice en pantoufle adultères rondouillards mesquinerie lésine sourire faussement bonhomme au fond positivisme insensible jusqu'à la minute catastrophique où alors la terreur pousse les esprits soi-disant libres à remettre Dieu à la mode à s'en tirer par une assurance sur la vie et sur la mort. Tous ces symptômes d'ailleurs accusent une maladie qui pour être celle de la Troisième République ne date point d'hier. » René Crevel consacre un article à Man Ray dès 1925 qu'il présente comme l'auteur d'une chasse miraculeuse et comme un sorcier un « chasseur du mystère » Crevel « Le Miroir aux objets » L'Art vivant n° 14 15 août 1925. Man Ray tire ce portait sept ans plus tard. Il sera utilisé bien plus tard pour la couverture de la biographie de Michel Carassou et également par Claude Courtot pour le frontispice de son René Crevel aux « Poètes d'aujourd'hui » chez Seghers 1969 une image dont Marie Laurencin témoigna de son extraordinaire justesse avec ses « cheveux jamais pareils et son visage changeant d'adolescent rieur et malheureux ». Jean-Claude Vrain dans son catalogue de Portraits d'écrivains datait ce portrait de 1932 : « Ce très beau portrait tranche avec la plupart des photographies de René Crevel que nous possédons. L'écrivain y fait moins dandy sa mise est moins élégante. Il apparaît ici sous un aspect beaucoup plus ‘terrien' en bras de chemise le col déboutonné. Son visage moins angélique que d'habitude mais toujours d'un aspect poupin exprime une détermination et une force que l'on retrouve dans certains de ses textes les plus virulents comme Le Clavecin de Diderot » n° 307 du catalogue. La version proposée non signée était également un tirage tardif des années 1970 par Pierre Gassman. Le Centre Pompidou conserve le négatif de la photo qui a servi à ce recadrage sous la cote AM 1995-281 524. Provenance : René Char [Paris, circa 1950]. 1 tirage sur carte, d'après-guerre, signé « Man Ray » à la mine de plombe en angle inférieur droit. unknown
193229081Seule épreuve signée connue par Man Ray [Paris, circa 1950]. 1 tirage sur carte, d'après-guerre, signé « Man Ray » à la mine de plombe en angle inférieur droit. L'épreuve est signée Man Ray à la mine de plomb en angle inférieur droit et contient au dos la mention, de la main de Char, «René Crevel».
19292190S.l.n.e. (Bruxelles, Editions de la Revue Variétés, 1929). Un volume petit in-4 broché (30 x 22 cm), 28 pages sur 14 feuillets non paginés, couverture gris souris imprimé du titre "1929" sur le premier plat. Édition originale illustré de QUATRE PHOTOGRAPHIES PORNOGRAPHIQUE PAR MAN RAY titrées "Printemps , Été, Automne, Hiver" et contrecollées. La plaquette est divisée en deux semetres de l'année : les poèmes du premier semestre (janvier à juin) sont de Péret ceux du second (juillet à décembre) d'Aragon. Une particularité inhabituelle pour ce type de publication, les auteurs et le photographe ont nommément signé leurs œuvres. Exemplaire sur vélin de Montval numéroté au composteur (n° 211), conservé dans sa condition d'origine en excellent état (marge inférieure empoussiérée comme souvent). Photographies et informations supplémentaires sur demande. - — — ENGLISH: "1929". S.l.n.e. (Brussels, Editions de la Revue Variétés, 1929). A paperback 4vo volume (30 x 22 cm), 28 pages on 14 unpaginated sheets, gray soft cover printed with the title "1929" on the front. First edition illustrated with FOUR PORNOGRAPHIC PHOTOGRAPHS BY MAN RAY titled "Spring, Summer, Autumn, Winter" and sticked. The booklet is divided into two semesters of the year: the poems of the first semester (January to June) are from Péret those of the second (July to December) from Aragon. An unusual feature for this type of publication is the authors and the photographer have signed their works by name (printed). Our copy on Montval paper is numbered in the composter (no. 211), preserved in its original condition in excellent condition (lower margin dusty as often). Photographs and additional information on request.
192801_0722<p>An original vintage gelatin silver print framed of Schiaparelli Aspirin Necklace photographed by Man Ray for Elsa Triolet jewelry designer and companion to Louis Aragon French surrealist poet and one of the leading voices in the French surrealist movement. Titled in pencil on verso. Image measures 3 1/4" x 2 1/2" frame measures 15" x 12". Excellent condition.</p><p>From 1928 to 1930 the Russian writer Elsa Triolet designed necklaces that her companion Louis Aragon co-founder of the surrealist magazine <i>Littérature</i> proposed to Elsa Schiaparelli. Man Ray photographed the most famous of these pieces the aspirin necklace composed of porcelain beads with a shape similar to that of aspirin tablets. Read more at: https://www.schiaparelli.com/en/21-place-vendome/schiaparelli-and-the-artists/elsa-triolet/schiaparelli-aspirin-necklace/</p><p><b> Price includes discount </b><br /></p>
192531775Paris: Librairie Stock 1925. First edition. Man Ray. Folio 22 leaves printed recto only with photogravure frontispiece by Man Ray. Loose as issued in printed wrappers. The frontispiece has left a transfer on the colophon leaf as is usual. A fine unopened copy. Housed in a newly made chemise of paper over boards with a morocco spine titled in silver ink housed in a matching paper over boards slipcase. For Cocteau the Angel Heurtebise was both his guardian and a demon; written during a feverish period of seven days this is one of his best known poems ".Your beauty angel of white lead caught in a photograph by an explosion of magnesium." from an English translation. Jean Cocteau collaborated on many photographically illustrated editions this was the first. This photogravure from a Rayogram is one of Man Ray's most subtle and beautiful. <br/><br/>Of a total edition of 300 numbered copies 25 were printed on Whatman 25 were printed on Hollande Van Gelder and 250 were printed on Vélin D'Arches. This is copy number 47<br/>printed on Hollande Van Gelder. Additionally this copy is SIGNED by Cocteau with his customary five point star and the following "Viens au ralenti folle etoile" slow down crazy star. <br/><br/> Librairie Stock hardcover books
19354171Paris: GLM 1935 Quarto 24.5x18 cm. wrappers 201pp. loose as issued. No. 791 of 1000 copies on velin of 1220 overall. A very successful collaboration of poet and photographer with extraordinary sensuous photos of Eluards wife Nusch coupled with page design incorporating the poetry cycle therein. It is rightly acclaimed as one of the greatest surrealist publications. This is a fine crisp copy in custom clambshell box bearing hand-tooled leather spine. Paris: GLM paperback
19371704521937. MAN RAY. Les Mains Libres. By Paul Eluard. 208 pp. with 66 reproductions of drawings by Man Ray. 4to 280 x 225 mm. bound in the original illustrated wrappers in a new slipcase with morocco backed chemise. Paris: Editions Jeanne Bucher 1937. A pristine copy of this celebrated collaboration between Man Ray and Paul Eluard inscribed by Man Ray to Souzouki. Man Ray had moved to Paris in 1921 and in the 1930s was one of André Breton's surrealist circles. Unlike most illustrated books where the pictures illustrate the text this book uses the poems to illustrate the drawings which are important documents of Man Ray's non-photographic output. One of 650 printed on Chester Vergé of a total edition of 675 copies. From Manet to Hockney 104. unknown
19341688961934. MAN RAY. Man Ray: Photographs 1920-1934. By Andre Breton and others. Paris. Illustrations after photographs by Man Ray throughout. 4to. original wrappers spiral bound preserved in a recent linen cloth box. Hartford: James Thrall Soby n.d. First Edition stated second edition on title-page but only one edition was in fact published. An exceptional copy of the classic compilation of Man Ray's work Inscribed by Man Ray to Chilean photographer Jorge Opazo. In addition to the text by Breton there are contributions by Paul Eluard Rose Selavy Marcel Duchamp and Tristan Tzara. Man Ray himself provided an introduction and Picasso a portrait of Man Ray. The tendency of the spiral bindings to disintigrate have made this a scarce book and in this copy the spiral binding is still intact. There is slight soiling to the rear cover which is white and a few insignificant internal marks which in no way detract from the desirability of this copy. Roth The Book of 101 Books pp. 80-81. hardcover books
19342198Hartford: James Thrall Soby 1934. First edition. Publisher's plastic comb binding stiff wrappers. Minor vertical crease to front cover light chipping to outer edge. Upper and lower portions of the front cover coming loose from the binding but the cover is still held firmly. Internally clean and bright. Now housed in a custom clamshell box.<br /> <br /> The very rare first issue. As Roth describes the publisher "attempted to generate demand where none existed by suggesting the edition had sold out. After replacing the title pages of these copies- presumably a healthy percentage of the run whose sales had in fact been slow to none- with one stating 'deuxième edition' second edition he returned them for sale. Copies with the original title page are exceedingly rare."<br /> <br /> Man Ray's first monograph with texts in English and French by Duchamp Tzara Eluard Breton and Man Ray himself. Frontispiece portrait of Man Ray by Picasso. Contains 104 heliogravure images. "Part art part illustration the book was meant to be an inventory of his work a kind of grand promotional catalogue. Man Ray's album was a virtuoso presentation of modern European-style photography. Close-up views distorted angles double exposures night photography negative prints rayographs still lifes nudes portraits fashion photographs and even a painting. were reproduced. Intended for an American more than a European audience the album was Man Ray's means of presenting his career to a homeland that had rarely seen his work." Perpetual Motif: The Art of Man Ray pp. 35-39 Roth pp. 80-81. James Thrall Soby unknown
1970YQV-26Sérigraphie originale en noir (592 × 330 mm) sur plaque d’Altuglass (675 × 415 mm) ; signée « Man Ray » au burin sur la plaque, en bas à droite.
193724615Paris: GLM 1937. Light crease to the top edge of the plates else fine in wrappers black cutout wrapper. The Frary copy sold at Christie's on April 10 2008. Housed in a custom clamshell box. First Edition. Octavo. SIGNED by Man Ray. Twelve halftone plates and five sheets of text by André Breton unbound as issued laid into blue wrappers and an outer black wrapper with a cutout window often missing or damaged. Described by Parr as "Duchampian ready-mades." Parr / Badger v1 108-109. Paris: GLM unknown books