Philippe SOUPAULTBiblio.com
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198086791s. l.: S. n. 1980. Fine. S. n. s. l. s. d. ca 1980 14.50 x 21 cm 1 page Manuscript note with corrections by Philippe Soupault 22 lines in purple ink on a sheet bearing at the top this inscription: ""p.14 bis"" recalling the creation on May 18 1917 at the Théâtre du Châtelet in Paris of the famous ballet Parade by Sergei Diaghilev's Ballets Russes on a text by Jean Cocteau music by Erik Satie and scenography by Pablo Picasso. This work being inspired by Georges Seurat's painting Circus Sideshow. The co-author with André Breton of the surrealist manifesto ""Les champs magnétiques"" relegates the ballet to the rank of distraction for rear-guard shirkers completely unconscious of the historical stakes of the moment: ""C'était l'année de la bataille de Verdun le Tout-Paris les snobs et les embusqués parlaient d'un ballet ""russe"" intitulé Parade 1 dont Erik Satie disait : ""Picasso a créé les décors et les costumes et j'ai composé la musique et Cocteau a écrit trois lignes. Et Parade est de Cocteau."""" It was the year of the Battle of Verdun all of Paris the snobs and draft dodgers were talking about a ""Russian"" ballet titled Parade 1 of which Erik Satie said: ""Picasso created the sets and costumes and I composed the music and Cocteau wrote three lines. And Parade is by Cocteau."". Philippe Soupault is outraged by such indifference to the fate of the valorous Poilus in the trenches: ""Tandis qu'on applaudissait Parade j'entendais mes voisins revivre leurs cauchemars. On annonçait dans les communiqués des ""duels d'artillerie"". Plus de trois cents mille morts de chaque côté. Comment comme je le fis ne pas se révolter Le souvenir de cette révolte surgit en moi en prononçant le nom de Cocteau."" While they were applauding Parade I heard my neighbors reliving their nightmares. The communiqués announced ""artillery duels"". More than three hundred thousand dead on each side. How as I did not to revolt The memory of this revolt surges in me upon pronouncing Cocteau's name. Fascinating and acerbic memories from the last living historical surrealist concerning the revolutionary ballet ""Parade"" likening it to a preoccupation of idle bourgeois neglecting the hecatombs of the Great War. S. n. unknown
198086825s. l.: S. n. 1980. Fine. S. n. s. l. s. d. ca 1980 14.50 x 21 cm 1 page Autograph note with deletions by Philippe Soupault 18 lines in purple ink on a sheet discussing the different attitudes of his surrealist friends toward love. Some deletions and a cigarette burn hole on the sheet. All the surrealists did not adopt the same behavior regarding the amorous feelings that moved them: ""Nous étions très discrets en ce qui concernait nos expériences amoureuses. Sauf bien entendu Louis qui nous tenait régulièrement au courant de ses amours. . Mes amis Tzara Breton et moi-même nous tenions à garder nos secrets."" ""We were very discreet regarding our amorous experiences. Except of course Louis who regularly kept us informed of his loves. My friends Tzara Breton and myself insisted on keeping our secrets."" He also reveals the importance of feelings in surrealism and the central place of Woman: ""En vérité l'amour et ses conséquences jouaient un grand rôle dans notre vie. Les femmes étaient toujours respectées jusqu'à l'adoration et nul d'entre nous n'aurait osé se moquer de nos inclinations même si elles étaient fugitives."" ""In truth love and its consequences played a great role in our life. Women were always respected to the point of adoration and none of us would have dared mock our inclinations even if they were fleeting."" Interesting memories from the last living historical surrealist concerning the loves of the surrealists and their veneration for Woman. S. n. unknown
feb84328Used. For more details please contact me unknown
feb46126Used. For more details please contact me unknown
198086763s. l.: S. n. 1980. Fine. S. n. s. l. s. d. ca 1980 14.50 x 21 cm 1 page Autograph manuscript note by Philippe Soupault 20 lines in purple ink on a leaf bearing at the head this inscription: ""J.B."" drawing the portrait of Jacques Baron. The co-author with André Breton of the surrealist manifesto ""Les champs magnétiques"" shares with us all his sympathy for Jacques Baron one of the most unrecognized figures of surrealism: ""Quand je vis Jacques Baron pour la première fois je fus surpris par sa jeunesse. Il aimait sourire. Un grand naturel et une franchise qui plaisait mais inquiétait parfois. Il avait le sens de la camaraderie et je ne l'ai jamais entendu dire du mal de personne."" When I saw Jacques Baron for the first time I was surprised by his youth. He liked to smile. A great naturalness and frankness that pleased but sometimes worried. He had a sense of camaraderie and I never heard him speak ill of anyone. Philippe Soupault also seems to appreciate Jacques Baron for his detachment and free spirit unlike certain orthodox surrealists who followed the movement unwaveringly: ""Il disparut pendant un certain temps pour devenir marin puis fidèlement retrouva ses amis surréalistes et la poésie."" He disappeared for a certain time to become a sailor then faithfully found his surrealist friends and poetry again. Interesting memories from the last living historical surrealist for once gracious with one of his former companions. S. n. unknown
198086753s. l.: S. n. 1980. Fine. S. n. s. l. s. d. ca 1980 14.50 x 21 cm 1 page Manuscript note by Philippe Soupault 22 lines in mauve ink on a sheet headed with this inscription: ""Les séances"" devoted to the famous ""sleep"" sessions conducted in André Breton's studio consisting of oneiric writings or texts dictated by a dreamer. The manuscript notes contain three deletions and corrections. Philippe Soupault considers his attempts questionable and even labels them as imposture distancing himself from any active participation in these practices: ""Neither Aragon nor I participated actively in the experiments called sleep sessions while Breton accepted with great interest Crevel's suggestion to engage in experiments he had discovered among friends. One had to fall asleep and recount what 'one saw'."" He recalls the results that were not always convincing: ""Crevel Desnos and Péret 'fell asleep' and despite his efforts Breton could not manage to fall asleep. Listening to the accounts of these sessions I could not help thinking that the 'sleepers' did not hesitate to simulate in order to make themselves interesting."" to such an extent that the intransigent leader of surrealism interrupted them: ""Breton realized the danger of one-upmanship and especially of Desnos's exaltation. He ceased attempting new sleep experiments."" Interesting recollections from the last living historical surrealist often harsh toward his former or new companions. S. n. unknown
198086790s. l.: S. n. 1980. Fine. S. n. s. l. s. d. ca 1980 14.50 x 21 cm 1 page Manuscript note with crossed-out passages by Philippe Soupault 22 lines in purple ink on a sheet bearing at the top this inscription: ""B.P."" narrating Benjamin Péret's encounter with surrealism. The co-author with André Breton of the surrealist manifesto ""Les champs magnétiques"" tells us with a touch of nostalgia of Benjamin Péret's arrival in the surrealist adventure: ""André Breton fut bien étonné de recevoir la visite d'une 'dame' qui lui tendit un n° de la revue Littérature. Elle lui demanda d'aider son fils Benjamin qui voulait venir à Paris pour devenir écrivain. Quelques temps après cette démarche Benjamin Péret arriva à Paris et fut accueilli par Breton."" André Breton was quite astonished to receive a visit from a 'lady' who handed him an issue of the journal Littérature. She asked him to help her son Benjamin who wanted to come to Paris to become a writer. Some time after this approach Benjamin Péret arrived in Paris and was welcomed by Breton. He depicts the character of the newcomer: ""A cette époque Péret était timide inquiet et dévoué. Il admirait sans réserves et respectueusement André Breton et ses amis. Il était obéissant."" At that time Péret was shy anxious and devoted. He admired unreservedly and respectfully André Breton and his friends. He was obedient. and emphasizes his devotion to the group of disrespectful and disruptive surrealists: ""Lors du procès Maurice Barrès il accepta le rôle ingrat et dangereux du soldat inconnu venu témoigner en allemand."" During the Maurice Barrès trial he accepted the thankless and dangerous role of the unknown soldier who came to testify in German. Interesting recollections from the last living historical surrealist reminiscing tenderly about one of his former companions. S. n. unknown
201283629Paris: Gallimard 2012. Fine. Gallimard Paris 2012 14 x 20.50 cm broché Edition from the same year as the first. A tiny stain to the upper right corner of the first cover. Handsome copy complete with its wraparound band ""Prix interallié 2012"". Autograph inscription dated and signed by Philippe Djian to a man named Franklin. Gallimard unknown
198086752s. l.: S. n. 1980. Fine. S. n. s. l. s. d. ca 1980 14.50 x 21 cm 1 page Manuscript note by Philippe Soupault 24 lines in mauve ink on a sheet headed with this inscription: ""Note p.57"" concerning André Breton and the numerous letters he received. The co-author with André Breton of the surrealist manifesto ""Les champs magnétiques"" shows little kindness toward those who seized upon and hastened to publish part of his deceased friend's correspondence: ""At the end of his life Breton agreed to let M. Sanouillet who published a university thesis 'Dada à Paris' a questionable thesis illustrated with numerous errors publish the letters he had addressed to Tzara and Picabia enthusiastic letters which may surprise admirers of the correspondents."" even betraying the wishes of the pope of surrealism: ""Breton demanded that his correspondence very voluminous should only be consulted and published fifty years after his death."" Philippe Soupault faithful to the author of Nadja will not be confronted with this situation: ""As for myself I think this requirement will have no consequences since all the letters the author of Mont de Piété had addressed to me were stolen and destroyed."" Interesting recollections from the last living historical surrealist often harsh toward his former or new companions. S. n. unknown
200212433NAP<p>This set of 2-volumes is in very good condition. There are no markings in the book. Dust jacket very good; very very minor signs of shelf/edge wear. No slip case. 2002. Ships within 24 hours.</p> The Museum of Modern Art, New York hardcover
RGW19669LIthograph on chine colle from ' Vues pittoresques de l'Italie dessinees d'apres nature' a little soiling in margins Possibly Jules Coignet is portraying himself at work. Lake Fucino was drained in the second half of the 19th century and is now a fertile valley. unknown
RGW19664LIthograph on chine colle from ' Vues pittoresques de l'Italie dessinees d'apres nature' a little soiling in margins Jules Coignet a member of the Barbizon school was influenced by Constable to experiment with painting out of doors. Salerno is an important town in the Campania. unknown
1020272678.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1017830991.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
45231328like new. unknown
2010Q-1849180326Cinebook Ltd 2010-08-16. Paperback. New. In shrink wrap. Looks like an interesting title! Cinebook, Ltd paperback
1748599-6Used - Good. Pages intact with minimal writing/highlighting. The binding may be loose and creased. Dust jackets/supplements are not included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good. unknown
1750111394London: J. & J. Rivington 1751; 1750. Leather_bound. Very good . 191; 148 p. 18 cm. Full leather binding is softened at spine head and rear corners slightly bumped. Bookplate of former owner and some pencil notations on front endpapers. <br/><br/>The first work in this book is a guide to Latin language pronunciation the main author being Philippe Labbe 1607-1667 a French Jesuit writer on historical geographical and philological issues. The second part of the book is on the Greek language compiled by Ludolf Kuster 1670-1716 German philologist. J. & J. Rivington hardcover
201365302France: Editions Atlas 2013. Paperback Quarto. Paperback. Very good. illustrated wraps 181 183 pp illustrated papered case with chips on top edge text in french. Editions Atlas paperback
20142-271012694XESF Editeur 2014. Paperback. New. 448 pages. French language. 9.29x6.22x1.02 inches. ESF Editeur paperback
2012H-289-103LA BAGNOLE 2012. Good. Former library book. Ammareal gives back up to 15% of this item's net price to charity organizations. LA BAGNOLE unknown
BN107116LA BAGNOLE. 100 pas de géant <br/><br/>100 pas de géant LA BAGNOLE unknown
2322616109.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
20082-2718411902Arnette Blackwell 2008. Paperback. New. 365 pages. French language. 7.95x5.83x0.71 inches. Arnette Blackwell paperback
3764361328.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
