Paul Eluard, Man RayBiblio.com
187 résultats
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
3523Zürich Galerie Zur Stockeregg 1989. 4° 49 Bl. 45 tlw. farb. Abb. Kart. Tadellos. Jubiläumsband mit aufwendig reproduzierten Aufnahmen zum zehnjährigen Bestehen einer der wichtigsten Photogalerie der «Galerie Zur Stockeregg» von Kaspar M. Fleischmann. Eine kurze Geschichte der klassischen Photographie mit 45 weltberühmten Aufnahmen von Fox Talbot Julia M. Cameron Stieglitz Atget Edward Steichen Edward S. Curtis Heinrich Kühn Paul Strand Edward Weston Imogen Cunningham Kertesz Man Ray Erwin Blumenfeld Moholy-Nagy Brassai Herbert Bayer Robert Frank Josef Sudek. - Wurde in einer Auflage in Höhe von 2000 Ex. gedruckt. Text in Dt./Englisch. 010 Zürich, Galerie Zur Stockeregg, 1989 unknown
19845619Tokyo: Mainichi Shinbunsha 1984. First edition. soft cover. Very Good. 28 cm; 163 pages mostly illustrations some in color. Text primarily in Japanese with essay "Objects of Critical Reflexion" by Rosalind E. Krauss in English and Japanese and some text in French. Bound in illustrated wraps. Crease mark on spine else fine. <br /><br />Catalog of an exhibition held at Odakyu Grand Gallery Tokyo August 10-22 1984 and subsequently at four other locations in Japan. Includes bibliographical references pages 148-160. Mainichi Shinbunsha paperback
16-3192New York: The Letter Edged in Black Press 1968. Index only 23 x 16 cm. Useful for someone who has all or some of the prints from this portfolio. New York: The Letter Edged in Black Press, 1968. unknown
1989560444New York: Kent Fine Art 1989. Softcover. Fine. First edition. Quarto. 85pp. Light wear a sticker shadow on the rear cover just about fine. Fully illustrated. "Artist's book compiled by Richard Prince." Works by Richard Artschwager Troy Brauntch Francis Picabia Sigmar Polke Richard Prince Man Ray Gerhard Richter Cindy Sherman and Andy Warhol. From a run of 2742 copies. Kent Fine Art unknown
194827491Behrman House Inc. Very Good in Very Good dust jacket. 1948. First Edition; First Printing. Hard Cover. SIGNED and inscribed on the half title page by Corinne Chochem. ; Tight and clean. Solid binding. A touch of light shelf wear to dustjacket with a couple of short tears along the edges and mild spotting to top of text block otherwise in Very Good condition and now protected in a new Mylar cover. ; Foreword by Darius Milhaud. Photographs by Slavko Vorkapich. Music arranged by Trudi Rittman. Poems by Alfred Hayes. The portrait of the author at the end of the book is by Man Ray who on several occasions photographed Corinne Chochem. ; 12.10 X 9.20 X 0.50 inches; Signed by Author . Behrman House, Inc. hardcover
192491867Paris: Nrf 1924. Fine. Nrf Paris 1924 13.50 x 19 cm broché First edition one of 535 numbered copies on Navarre laid paper the only issue together with 10 copies on Japan paper. Illustrated with a portrait of the author as frontispiece by Man Ray. A fine copy despite a small minor tear at the head of the spine. Signed autograph inscription by Jacques Baron: "" à Jeanne Pierre et Jacques et X Collet. De tout coeur. Vraiment. Jacques."" Nrf unknown
192448244Paris: Nrf 1924. Fine. Nrf Paris 1924 13.50 x 19 cm broché First edition one of 535 numbered copies on laid Navarre with 10 single draw Japan. Precious and beautiful autograph signed by the author ""Jeanine and Raymond Queneau. Brotherhood friendly sic and everything. Jacques. This April 19 1935 in their home in Neuilly says Neu Neu for ladies"" enriched this handwritten quatrain: ""Hi shadows today / Ravissant the wall in a dream / If going from friend to friend / De as a naked Eve songs."" Illustrated book with a portrait of auterur frontispiece by Man Ray. Beautiful specimen. Nrf unknown
1987234272Ravenna: Essegi 1987. Brossura wrappers. Molto buono Very Good. Testo di Michel Butor. Fotografie in bianco e nero di Maxime Godard. Traduzione di Graziella Borghesi. Edizione in italiano e francese. Cm 22x22. pp. 36. Molto buono Very Good. Prima edizione italiana First Italian Edition. <em>"Al ritorno dagli Stati Uniti Man Ray e Juliet si trasferiscono nel loro <strong>atelier al 2 bis di rue Fé";rou a Parigi</strong> nel maggio 1951. Man Ray muore il 18 novembre 1976. Juliet tenne lo studio fino al gennaio 1990 il ritratto con la scopa nello studio vuoto fu scattato durante la sua ultima visita il 7 gennaio 1990; morì negli Stati Uniti un anno dopo. Sono sepolti nel cimitero di Montparnasse a Parigi.<br /><br /><strong>Le foto dello studio sono state scattate nel 1984 e nel 1985</strong>. Desidero ringraziare Vilbrès Rabboni e Dino Gavina i miei amici italiani che hanno favorito il mio incontro con Juliet nel 1983 Graziella Borghesi la mia compagna che ha condiviso questi momenti di amicizia con Juliet e Michel Butor per la complicità" del loro lavoro e la condivisione degli incontri dal 1984". dal testo di Maxime Godard.</em> Essegi, unknown
191744879Paris: Georges Crès & Cie 1917. Fine. Georges Crès & Cie Paris 1917 22 x 27 cm relié L'Enfantement du mort. Miracle en pourpre noir et or Georges Crès & Cie Paris 1917 22 x 27 cm Bradel bindingFirst edition one of 23 numbered copies on Japon impérial the tirage de tête. Elegant Bradel binding in half khaki embossed leather over paper boards with moiré effect gilt spirals by Goy & Vilaine illustrated covers preserved gilt moiré effect spirals to edges of covers top edge gilt. Autograph inscription from Marcel l'Herbier. With two original illustrations by Marcel Féguide. This copy is complete with its photographic portrait of the author by Man Ray. A very rare work printed in three colors and finished on the 18 April 1917 the 990th day of the war. Georges Crès & Cie hardcover
1995002394Milan: Gio Marconi Gallery 1995. Book. Near Fine. No Binding. Cardboard box 13x9x3 cm. containing a booklet with 35 reproductions of photographs and a collection of 9 facsimile copies taken from photographic contact prints carried out by Man Ray in 1937 from the original negatives. The prints measure approx. 86 x 66 cm. and are individually stored in transparent paper sachets. The box set was issued in a limited edition of 1000 on the occasion of the exhibition 'La Mode au Congo" held in the Gio Marconi Gallery in 1995. This is number 822. The box has light wear and a bit of soiling contents are fine. Rare object. . Gio Marconi Gallery unknown
1937001889HHParis France: GLM 1937. First Edition. Fine. A fine copy issued originally unbound now stapled in it's original outer black wrapper. 12 half tone plates in excellent condition and five sheets of text by Andre Brenton. A Nice Copy. GLM unknown
199874076Paris: Centre Georges Pompidou/Seuil 1998. First edition. 4to. 257 pp w/biography & list of illustrations. Fine in fine dust jacket. Paris: Centre Georges Pompidou/Seuil unknown
193790937GLM 1937. Fine. GLM 1937 16.2 x 25.2 cm En feuilles ENGLISH DESCRIPTION ON DEMAND Edition originale pour laquelle il n'a pas été tiré de grands papiers. Préface d'André Breton intitulée ""Convulsionnaires"" composée d'aphorismes et imprimée sur papier vélin crème. Illustrée de 12 photographies légendées par Man Ray imprimées sur papier couché jaune paille. Couverture bleu Klein parfaitement conservée sous chemise noire à fenêtre et à un rabat. Exemplaire en superbe état de ce célèbre ""livre de dialogues"" surréaliste de Man Ray préfacé par André Breton.   ""Dans cet ouvrage surréaliste il n’y a donc pas seulement un dialogue surprenant et énigmatique entre les photographies et leurs légendes mais aussi entre les artistes André Breton et Man Ray. . Ce qu’il Man Ray veut c’est créer du chaos psychique et aviver l’imagination du lecteur-spectateur. Dans ce livre de dialogue le photographe apparaît comme une lanterne magique qui accentue l’énigme en l’éclairant."" Wouter Marinissen La lanterne magique: Man Ray et l’éclairage de l’énigme dans La Photographie n’est pas l’art Le magicien-photographe rassemble ici douze chefs-d'oeuvre parmi lesquels figurent de saisissants portraits féminins répondant aux désirs surréalistes de Breton dans la préface dont celui de se transformer en femme : ""Je voudrais pouvoir changer de sexe comme de chemise"". Le Sex-Appeal tout en transparences ""l'une des photographies préférées de Man Ray selon le Musée national d'Art Moderne s'accompagne de visages énigmatiques et glamour Miriam Hopkins et Plein air artistique qui s'oppose à la photographie Vide-air utilitaire représentant l'Empire State Building. Plusieurs clichés naissent de la luminosité même comme son Cahier acheté à un mendiant combinant prise de vue solarisée et photogramme inversé :""Le gros plan sur le carnet dégageant de leur contexte et de toute échelle de mesure les motifs réticulés du papier de la reliure oblige à une autre perception de l'objet : vue au microscope ou nébuleuse lointaine il prend une dimension sur-réelle par le simple fait du cadrage et du grossissement."" Bibliothèque nationale de France. D'autres vues mettant en scène des animaux aux légendes contradictoires et provocantes éveillent le psyché du spectacteur : la chaotique colonie de fourmis intitulée Cerveau bien ordonné l'accouplement de grenouilles par photomontage qui devient Quand la nature fait des machines et la rayographie d'une chauve-souris proclamant même avec arrogance sa nature reproductible et commerciale dans son titre Photographie intégrale et cent pour cent automatique. La série s'achève avec le très surréaliste autoportrait du buste de Man Ray affublé de lunettes-grille intitulé Dans les yeux des autres : ""Cela signifie-t-il que Man Ray considère ce portrait à lunettes comme ce qu'il donne à voir à autrui et qui constitue un double masque puisqu'il est inspiré d'un masque de plâtre et que les yeux sont rendus quasiment invisibles par un accessoire aussi spectaculaire "" Agnès Vinas. Précieux manifeste de Man Ray anticonformiste oscillant entre apologie et dérision dont le titre ironique La Photographie n'est pas l'art introduit l'œuvre d'un artiste qui a contribué à établir la photographie comme un art.   GLM unknown
2009091500Fotohof 2009. Soft cover. Fine. Facsimile reprint of the original 1937 edition. Total of 15 loose sheets eight with a Man Ray photograph with caption three with Breton text and title and colophon sheet. Sheets are housed in blue printed folder and all housed in de-cut paper cover. Fine <br/> <br/> Fotohof paperback
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
194791779Paris: Editions Cahier d'art 1947. Fine. Dora Maar Signs Her Own Work Editions Cahier d'art Paris 1947 18.50 x 24.50 cm broché First edition which supposedly had an issue of 500 numbered copies. Gallimard donated the paper required for the production of this book but only 258 copies could be printed rather than the 500 announced in the justification from a note by Paul Éluard. A slight crease to the covers slight marginal sunning primarily affecting the rear cover. Illustrated with 11 photographs of Nusch Éluard by Man Ray and Dora Maar. Le temps déborde is a collection of eleven poems published in 1947 a few months after the sudden and unexpected death of Paul Éluards wife Nusch. A poignant ode to their seventeen years of life together the work is illustrated with striking portraits of Nusch. This exceptional copy is signed by Dora Maar beneath or directly on each of her five photographs. We are aware of only one other copy signed by the photographer and none signed by Man Ray. A rare and beautiful copy. In 1965 paying tribute to his friend Aragon recalled his discovery of this masterpiece: He signed it with an invented name Didier Desroches because he had killed Paul Éluard. I let him talk. What he had shown me of Didier was of a confounding beauty. This slender book which was to appear as the work of an unknown to say merely that in my eyes it surpasses everything Éluard ever signed with his own name is to say too little. I thought so then and I think so today. The attribution of each photograph in the collection to either Man Ray or Dora Maar has long been a source of confusion. Strangely the question seems to attract little scholarly attention: as Mary Ann Caws notes Dora Maars portraits of the Surrealists muse were originally attributed to Man Ray since they were so clearly superb in their construction and realization These photographing women: The scandal of genius Angels of anarchy: women artists and surrealism 2009. This misattribution was also a consequence of the systematic erasure of Dora Maars photographic work which she abandoned at Picassos request. The two series by Dora Maar and Man Ray are further entwined by their shared style and by both artists fascination with Nusch. Audacious framing and subtle interplay of shadow and light reflect the two Surrealist photographers formal innovation. Beyond aesthetic alchemy the three of them were very close at the time of these photographs 1935-1938. For several years they all took part with their partners Ady Fidelin and Paul Eluard in late-summer gatherings in the rustic village of Mougins overlooking Cannes at the invitation of Picasso where they indulged in role play identity and couple exchanges Alicia Ortiz Dujovne Dora Maar. Some of the collections illustrations are well known: Man Rays Nusch with mirror his diptych with her eyes closed and open and the celebrated portrait by Dora Maar illustrating the poem LExtase with her carefully lit face floating in darkness supported only with her fingers an elusive expression in her eyes. In one unforgettable version of the same image Les années vous guettent The years lie in wait. Maar superimposes a silvery spiders web over Nuschs features Louise Baring Dora Maar: Paris in the time of Man Ray Jean Cocteau and Picasso. The resonance of the photograph is all the more powerful since Nusch died early of a heart attack just on the day she was to lunch with Dora Maar for whom it was an irreparable loss. Mary Ann Caws For other photographs attribution had remained uncertain notably the portrait of Nusch bare-breasted and draped in foliage illustrating En vertu de lamour: the absence of a signature supports the attribution to Man Ray. A sublime poetic and artistic tribute featuring the finest portraits of Nusch central figure in Man Ray and Éluards shared imagery and graceful model for Dora Maars most accomplished portraits at last restored to their right Editions Cahier d'art unknown
1993182589Kyoto: Gingami shobo 1993. Signed limited edition number 16 of 20 copies signed by the author additionally with a presentation inscription from the author on the half-title "For Roger Wicker. Thank you very much. Teruo Ishihara. September 27 1993." This attractive publication by a leading Japanese collector of Man Ray art and archives is accompanied by a selection of material sent by Ishihara to Wicker concerning other exhibitions of the artist in Japan. Wicker was the proprietor of Berkeley's Turtle Island Book Shop. Loosely inserted in the catalogue is a typed letter signed from Ishihara dated the same day as the presentation thanking Wicker for helping him source material related to Man Ray. The related ephemera includes Ishihara's 1994 folding change of address notice number 2 of 20 signed copies with a laid-down colour photograph a typed letter signed with eight colour photographs of a December 1996 exhibition in Nagoya a further typed letter signed two loose exhibition photographs assorted flyers and a booklet for the 1987 show at Kodama Gallery Osaka. Items from Ishihara's collection appeared in "Man Ray of Our Affections: An Exhibition Celebrating the 135th Anniversary of His Birth" 11 January - 23 March 2025 Tokyo Fuji Art Museum. Quarto 32 pp. With 16 colour photographs laid down on folding card leaves 2 colour photographs laid down on acetate leaf; title page guarded with acetate with laid-down photograph pink paper silhouette of hand and arm and printed title label; bound-in colour bifolium advert for 1991 exhibition; in-text explanatory keys identifying exhibits in photographs. Text in Japanese. Original green card wrappers front cover with window looking through to title page. Sunning to spine of catalogue light general creasing: a fine collection. unknown
196991841Vence: Galerie Alphonse Chave 1969. Fine. ""Without the Signature the Painting Is Worth Nothing"" Galerie Alphonse Chave Vence 1969 20.3 x 25.5 cm En feuilles sous couverture First edition one of 500 copies of this catalogue for the exhibition Les invendables The Unsellables featuring 40 drawings and paintings at the Galerie Alphonse Chave. Illustrated with 5 full-page black lithographs and 6 tipped-in colour plates. In his characteristically provocative style Man Ray opens with a preface mocking collectors' tendency to purchase names on canvas rather than the artworks themselves. Among the pieces selected for this book are several examples from his series of automatic paintings called ""Peintures naturelles "" including the cover created without the use of a brush. Among the other artworks one can find subtle allusions to famous painters: a Déjeuner sur l'herbe a markedly Picassian Centaure disjointed marionette figures Antipolis evoking the compositional language of de Chirico and an Observatoire reminiscent of a Braque still life. Galerie Alphonse Chave unknown
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
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
196691822Paris: Jean Petithory 1966. Fine. Man Ray shoots Surrealist Mannequins Jean Petithory Paris 1966 26.5 x 30.2 cm Relié sous étui First edition one of 37 numbered copies ours one of a few hors commerce copies for collaborators and friends signed by Man Ray on the justification. 15 photographs on watermarked vélin Montgolfier mounted on guards each bearing Man Rays printed studio stamp Épreuve originale atelier Man Ray Paris. The copy exceptionally contains the original subscription prospectus and an invitation to the book launch exhibition opening night organised by Simone Loliée. Publishers binding by the renowned bookbinder Mercher bearing his signature in the negative of the photographic paper on each endpaper and pastedown flat black shagreen spine title author and date stamped in gilt lengthwise photographic boards with gilt background after an original composition by Man Ray specially designed for this work original wrappers preserved black paper slipcase. Illustrated with 15 original photographic prints of the mannequins photographed by Man Ray at the 1938 International Exhibition of Surrealism. The mannequins had been transformed by Man Ray himself Salvador Dalí Oscar Dominguez Marcel Duchamp Max Ernst Espinoza Maurice Henry Marcel Jean Léo Malet André Masson Sonia Mossé Joan Miró Wolfgang Paalen Kurt Seligmann and Yves Tanguy. They were presented within a Surrealist staging by Marcel Duchamp and lighting designed by Man Ray himself. During the 1930s the European Surrealists had a fetishistic interest in simulated woman-female mannequins that they transformed into playful sculptural works of art. In 1938 Man Ray photographed a series of their work at the Exposition Internationale du Surréalisme presented in the unsettling half-light of the Galerie des Beaux-Arts on the rue du Faubourg Saint-Honoré. Visitors walking down a corridor on the Rue Surréaliste saw a series of dressmakers mannequins inhabitants of a dreamlike Paris scantily clad or adorned with a jumble of incongruous objects and flanked by street signs bearing highly symbolic names: some real such as the Rue des Vieilles Lanternes where Gérard de Nerval took his own life or the Rue Vivienne where Lautréamont once lived alongside invented ones such as the Rue aux Lèvres the Rue de Tous-les-Diables and the Rue de la Transfusion-de-Sang. The installations of this first international Parisian Surrealist exhibition organised by André Breton and Éluard marked a decisive moment in the history of the movement. For the first time the event dispensed with a straightforward retrospective of individual artists in favour of a series of phantasmagorical stagings live performances and ephemeral artworks prefiguring the modern concepts of installation and happening. Nearly 3000 visitors are said to have thronged to this 1938 Paris exhibition by the light of electric torches: One has the feeling of leaning over certain exhumed walls and of being the first to decipher their signs. Jean Fraysse Le Figaro littéraire 29 January 1938. From Hausmanns sculpture and de Chiricos paintings to the works of Hans Bellmer the mannequin had long occupied a central place in the Dada and Surrealist artistic vocabulary and was cited in Bretons 1924 Manifeste. These woman-objects staged in the spirit of the Musée Grévin offered infinite possibilities for the transformation of the body and the exploration of the unconscious. Some have remained enduringly celebrated such as Le Bâillon vert à bouche de pensée André Massons mannequin enclosed in a birdcage or Duchamps considered the only three-dimensional version of his alter ego Rrose Sélavy taking the form of a man cross-dressed as a woman in the style of Claude Cahun. The mannequin of lesbian artist Sonia Mossé friend of Artaud and photographed by Man Ray with Nusch is her only known artwork and the sole mannequin in the installation created by a woman artist. Man Ray had incorporated Jean Petithory hardcover
1929628758<p>Paris: Henri Broca 1929. 174 pp. 22.5 x 18 cm. Stiff white paper wrappers with red and black lettering and illustrated plate on cover. Soil and some splitting to paper of spine with moderate soil and rubbing to covers. Diagonal creasing to bottom corner of front cover. Age toning light soil and some light bumps to edges of text block. Mild age toning thrroughout interior. Binding sound. . Soft Cover. Good.</p> Henri Broca paperback
201194895Skira. New. 2011. Hardcover. 8857209741 . FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 328 pages; 369 illustrations including 149 in color. -- with a bonus offer-- . Skira hardcover
