Breton, Andre; Eluard, PaulBiblio.com
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1990098531Atlas 1990. First Edition. Softcover. Near Fine Condition. Near Fine 1st ed Atlas Limited Edition paperback highly regarded English edition. Shop label to lower rear cover bright and unmarked throughout. Quantity Available: 1. Shipped Weight: Under 2kg. Category: Art & Design; ISBN: 0947757228. ISBN/EAN: 9780947757229. 84cxrarebooks is the trading name of Cambridge-based bookseller Marino Guida with 25 years experience in the trade. We guarantee the condition of all our books. Further images or a short video presentation of any book can be arranged on request. We send tax-free and tariff-free to EU US/Canada and Australia/NZ with insurance included for peace of mind. Inventory No: 098531. 9780947757229 Atlas paperback
193025360Paris: Editions Surrealistes Chez Jose Corti. 1930. First Edition; First Printing. Softcover. Red wraps a little rubbing to joints and small starts at joint ends but a very nice looking copy of this important experimental work an attempt to simulate various mental disorder an effort to bring latent content to the fore by poetic means.; Small 4to 9" - 11" tall; 124 pp . Editions Surrealistes Chez Jose Corti paperback
19302504Paris: Surréalistes 1930. First edition. Original wrappers. Good. FIRST EDITION ASSOCIATION COPY SIGNED AND INSCRIBED BY ANDRÉ BRETON. Written within the span of only three weeks during the summer of 1930 André Breton and Paul Éluard's L'Immaculée Conception is a quintessential example of the Surrealist practice of automatic writing. While Surrealism today may at first evoke painters such as René Magritte and Salvador Dalí Surrealism was demarcated by its founders namely Breton as an experiment as much if not more in language and literature as the visual arts. Thus the process of automatic writing which he developed across his lifetime sits at the heart of the first Surrealist Manifesto 1924-and L'Immaculée Conception represents a pinnacle automatic text executed by two of the major Surrealist vanguards themselves.<br /> <br /> In a 1961 interview with Judith Jasmin Breton maintained that the mission of Surrealism has been the same since 1924 and that Surrealism continues to be defined as:<br /> <br /> "automatisme psychique pur par lequel on se proposait d'exprimer par écrit ou de tout autre manière le véritable mécanisme de la pensée. Il s'agissait d'une dicté de la pensée en dehors de tout contrôle-et ceci était très important-de tout contrôle exercé par la raison et en dehors de toute préoccupation esthétique ou morale." Breton 1961<br /> <br /> pure psychic automation by which one proposes to express in writing or any other manner the true mechanism of thought. It was a dictation of thought beyond any control-and this was very important-any control exercised by reason and beyond any aesthetic or moral concern.<br /> <br /> Barring re-reading and editing the authors consequently forbade themselves "d'apprecier encours de route le produit de cette activité" from appreciating en route the product of this activity Breton 1961. At times losing "syntactical clarity" and "grammatical intelligibility" L'Immaculée Conception interrogates what it means to be human and divine and tackles sacred Christian doctrine in a meeting of Breton's and Éluard's characteristic wits Conley p. 607. Skirting all censorship and demonstrating an intelligence defiantly detached from the human faculties of reason and logic L'Immaculée Conception reinforces the Surrealist style of surprise and inverted expectation.<br /> <br /> This first edition copy is signed by André Breton to Monique Fong a.k.a. Monique Fong Wust with the following inscription:<br /> <br /> "'Le rosier d'écume de mer' à Monique Fong avec les affectueux compliments d'André Breton"<br /> <br /> "'The sea-foam rose' to Monique Font with the affectionate compliments of André Breton"<br /> <br /> In this personalised message Breton quotes from the penultimate chapter's final section "L'idée du devenir":<br /> <br /> "Si c'était à recommencer si c'était à recommencer. Le rosier d'écume de mer est debout à côté de moi dans ce portrait poétiquement définitif" Breton and Éluard p. 110<br /> <br /> If I had to star over if I had to start over. the sea-foam rose stands at my side in this poetically-definitive portrait.<br /> <br /> A Surrealist writer and intellectual closely connected with many other prominent champions of the movement Fong Wust first met Breton at a party hosted by Claude Lévi-Strauss and would later maintain a lifelong correspondence with Marcel Duchamp-documenting much of the movement's aims ambitions and successes.<br /> <br /> The book is number 179 of 2000 copies printed on hand-made paper from Sorel-Moussel. Formerly "la véritable capitale du papier" the true capital of paper Sorel-Moussel is a village in northern France renown for its paper mills constructed in 1814 and operated by famed printer Firmin Didot which ceased production in the later half of the twentieth century Cathelinais p. 5.<br /> <br /> <br /> References:<br /> <br /> André Breton "Le sel de la semaine" interview by Judith Jasmin Radio-Canada 27 February 1961 <br /> <br /> C. Cathelinais "L'ancienne papeterie devenue entrepôt abritera une turbine électrique" Paris-Normande 26 February 1987<br /> <br /> Katharine Conley "Writing the Virgin's Body: Breton and Eluard's Immaculée Conception" The French Review 67.4 1994 600-608<br /> <br /> <br /> BRETON ANDRÉ and ÉLUARD PAUL. L'Immaculée Conception. Paris: Surréalistes 1930. Quarto 7¼ x 9¼ inch; 184 x 235 mm number 179 of 2000 copies printed on papier impondérable hand-made in Sorel-Moussel; pp. 130; originals wrappers glassine; housed in a custom presentation box. Front wrapper detached but held snugly under glassine text block with splits. Fading to spine and perimeter of wrapper.<br /> <br /> RARE SIGNED AND WITH AN INTERESTING ASSOCIATION. Surréalistes unknown
1930937Paris: Editions Surréalistes chez José Corti 1930. Bel exemplaire. In-4° 130 pp vignette sur le titre par Dali. Broché couverture rouge de l'éditeur. Édition originale. Tirage limité n° 1239 sur papier impondérable des papeteries Sorel-Moussel surrealismePoëzie Editions Surréalistes, chez José Corti unknown
71-3285Paris: 1937. 8vo. 190 pp. Soft cover. Exemplaire 351 de 1200. ages partially uncut. Text in French. Very Good spine and covers sunned. Paris: 1937. paperback
19362608Paris: GLM 1936. First edition thus. 38 pp. folding frontispiece. Original printed wrappers. Minor toning else fine.<br /> <br /> One of 100 numbered copies of a total edition of 115 copies of the edition de tête. Folding frontispiece illustration by Dalí. After reading Paul Valéry's "Notes on Poetry" in Les Nouvelles littéraires in 1929 Breton and Eluard's snide rejoinder appeared in the final issue of La Révolution Surréaliste. Their "'rewriting' of his pronouncements 'corrected' Valéry's entire rationalist system with wry irreverence- 'three parts humor one part indignation' said Maxime Alexandre" Polizzotti p. 327. This is the first separate publication adding an extra aphorism and epigraphs from Ducasse and Breton and Eluard themselves. GLM unknown
1990152759London: Atlas Press 1990. Trade Paperback. Very Good. Light wear to cover. Interior pages clean and unmarked; tight binding. 124 pages. Translated by Jon Graham; Frontispiece by Salvador Dali; Introduction by Antony Melville. Keywords: Andre Breton Poems Poetry Surrealism Collaboration Automatic Writings Conception Interuterine Life Death Original Judgement Possessions Atlas Press paperback
57591Eds Seghers 1968 In-8 95pp. Nb-0260 unknown
30870Paris Éditions Surréalistes 20 avril 1930. 1 vol. 195 x 290 mm de 52 p. Broché non coupé. . Edition originale. Un des 250 exemplaires sur Lafuma-Navarre n° 55. . D'Avignon en avril 1930 Paul Eluard écrit à Gala : « Nous avons fait Breton Char et moi un assez long livre de trente très beaux poèmes que l'imprimeur de Char nous fait pour rien à 200 exemplaires ». Les poèmes furent conçus durant une période difficile pour André Breton et Paul Éluard autant sur le plan intellectuel qu'affectif au moment où les deux poètes retrouvent René Char nouvellement rallié au surréalisme dans le Vaucluse à la toute fin de l'hiver 1930. Ensemble ils composent ce mythique recueil à trois mains : « Ce furent des semaines de ferveur poétique. À la fin de ces vacances provençales l'amitié était scellée et Char se joignit à Breton et Eluard qui rejoignaient Paris le manuscrit de » Ralentir Travaux » dans leurs bagages » afin de les confier à l'imprimeur de Char qui n'est autre que José Corti. Une recontre détaillée dans Provisoirement Définitif où l'éditeur décrit ce moment et ce recueil comme « l'une des illustrations les plus lumineuses de la volonté de mise en commun de la pensée un des axes majeurs du projet surréaliste . où la partie de chacun . est mêlée comme le sable à la chaux ». Le livre sera finalement tiré à 300 exemplaires : 8 exemplaires sur Japon ancien et non les 8 Chine annoncés 20 exemplaires sur papier de couleurs 22 sur Hollande et 250 sur Lafuma-Navarre. Bel exemplaire. Paris, Éditions Surréalistes, (20 avril) 1930. 1 vol. (195 x 290 mm) de [52] p. Broché, non coupé. unknown
32420Paris Éditions Surréalistes 20 avril 1930. 1 vol. 205 x 290 mm non paginé. Broché sous doubles couvertures. . Edition originale. Un des 20 exemplaires sur papier de couleurs - celui-ci jonquille n° 290 - tirage de tête après les 8 exemplaires sur Japon ancien. D'Avignon en avril 1930 Paul Eluard écrit à Gala : « Nous avons fait Breton Char et moi un assez long livre de trente très beaux poèmes que l'imprimeur de Char nous fait pour rien à 200 exemplaires ». Les poèmes furent conçus durant une période difficile pour André Breton et Paul Éluard autant sur le plan intellectuel qu'affectif au moment où les deux poètes retrouvent René Char nouvellement rallié au surréalisme dans le Vaucluse à la toute fin de l'hiver 1930. Ensemble ils composent ce mythique recueil à trois mains : « Ce furent des semaines de ferveur poétique. À la fin de ces vacances provençales l'amitié était scellée et Char se joignit à Breton et Eluard qui rejoignaient Paris le manuscrit de » Ralentir Travaux » dans leurs bagages » afin de les confier à l'imprimeur de Char qui n'est autre que José Corti. Une recontre détaillée dans Provisoirement Définitif où l'éditeur décrit ce moment et ce recueil comme « l'une des illustrations les plus lumineuses de la volonté de mise en commun de la pensée un des axes majeurs du projet surréaliste . où la partie de chacun . est mêlée comme le sable à la chaux ». Le livre sera finalement tiré à 300 exemplaires : 8 exemplaires sur Japon ancien et non les 8 Chine annoncés 20 exemplaires sur papier de couleurs 22 sur Hollande et 250 sur Lafuma-Navarre. Rare tirage en bonne condition une décoloration en marge supérieure de première couverture. Paris, Éditions Surréalistes, (20 avril) 1930. 1 vol. (205 x 290 mm) non paginé. Broché, sous doubles couvertures. unknown
25130Paris Editions Surréalistes 20 avril 1930. 1 vol. 284 x 202 mm de 56 p. Broché. . Édition originale. Un des 20 exemplaires sur papier de couleurs n° 300 - celui-ci vert d'eau. . D'Avignon en avril 1930 Paul Éluard écrit à Gala : « Nous avons fait Breton Char et moi un assez long livre de trente très beaux poèmes que l'imprimeur de Char nous fait pour rien à 200 exemplaires ». Le livre sera finalement tiré à 300 exemplaires. Dans son ouvrage Provisoirement Définitif José Corti relate l'époque de la création de Ralentir Travaux : « Ce furent des semaines de ferveur poétique. À la fin de ces vacances provençales l'amitié était scellée et Char se joignit à Breton et Éluard qui rejoignaient Paris le manuscrit de Ralentir Travaux dans leurs bagages ». Ce recueil à trois mains est l'une des illustrations les plus lumineuses de la volonté de « mise en commun » de la pensée un des axes majeurs du projet surréaliste. Corti parlera de « mosaïque plutôt que d'amalgame » pour ce collectif où « la partie de chacun . est mêlée comme le sable à la chaux ». Très rare tirage sur papier de couleurs en parfaite condition. De la bibliothèque Paul Destribats Christies 2019 I - n° 294. Paris, Editions Surréalistes, (20 avril) 1930. 1 vol. (284 x 202 mm) de 56 p. Broché. unknown
19443018Toulouse: Librairie Silvio Trentin 1944. First edition. In origianl paper. In fine condition. With an original photo mounted inside. With an original photo mounted inside. First edition. In origianl paper. 4 p. <p><br /> First exhibition catalogue of Bellmer illustrated with and original photo with Paul Eluard’s text.<br /> <p><p><br /> Extremely scarce.<br /> <p>. Librairie Silvio Trentin unknown
2005192113London: Atlas Press 2005. First edition thus. Softcover. 154 pages. Bellmer's classic book translated from the German by Malcolm Green. Features some poems by Paul Eluard. Includes 15 color photographs 10 black and white images and a a few line drawings. A very near fine copy in wrappers and in a very near fine cardstock slipcase. Surprisingly uncommon. Atlas Press unknown
193918486GLM 1939. Limited Edition. Hardcover. vg. 1/1300 numbered copies printed on vellum. 12mo. 153pp. Previous owners inscription on one of the front free page signed by Jaqueline. Vralon leather binding with gilt lettering to spine and embossed decoration gilt and green honeycomb pattern to boards. Colorfully decorated turquoise endpapers. Original wrappers bound in. Top edge gilt. Frontispiece. Magnificent collection of the works of Charles Pierre Baudelaire 1821 – 1867 one of the most influential French poets of the nineteenth century. His claim to fame is especially his first collections of poems "Les Fleurs du Mal" The Flowers of Evil included here where the principal themes were sex and death. He was also a magnificent translator: His translations of Edgar Allen Poe are delightful to read. Printed on high quality vellum paper. <br /> Minor browning to title page and wrappers. Owner's writing to contemporary free front endpaper. Otherwise clean and tight. In French. Very good condition. GLM hardcover
1940121984Wolf 1940. Paperback. Very Good. #26 of 297 on Velin de Luxe total limitation is 400 softcover in original glassine jacket with Masson's initials to limitation page. Text is in French illustrated throughout including image tipped into front cover. Tight and unmarked with dime sized blemish to rear cover and last 2 pages. oversized and overweight. Please email for photos. Wolf paperback
1940388263Rouen: Wolf 1940. Softcover. Very Good. First edition. Quarto. Green wrappers with applied illustration. Copy number 254 of 297 on velin de Luxe initialed by Masson. Small nicks and tears spine sunned and with small chips at the extremities an about very good copy in chipped original unprinted glassine. Uncommon tribute volume with text by his famous artist contemporaries. Wolf unknown
1968TN240315Arts Council of Great Britain London 1968. 1st Edition. SOFTCOVER. Landscape 4to in colour printed stiff glossy card covers 99pp on glossy art paper plates etc. __CONDITION : An extremely well preserved FINE very clean and tight unmarked and barely read copy covers very slightly tanned. . . . . . . . . . . . . . To see more of our Art Monographs etc type DbbARTIST in the Keywords search box __We always ship in PROTECTIVE CARD PARCELS Arts Council of Great Britain, London paperback
196122137Paris: Seghers 1961. Fine. Seghers Paris 1961 14 x 22.50 cm broché Reprint published in 2000 numbered copies. Folded cover illustrated by Picasso. Light rubbing to covers. Seghers unknown
20012091202133207882Editions Mango 2001. Soft Cover. Fine. Volume: 1 Editions Mango paperback
193481109Paris: Albert Skira 1934. Fine. Albert Skira Paris 1934 24.50 x 31 cm broché First edition. Minor rubbing to the spine and along the edges of the covers otherwise a pleasing clean copy. Cover illustrated by Marcel Duchamp. Literary and artistic contributions by Pierre Mabille Brassaï Paul Eluard Ambroise Vollard Antoine de Saint-Exupéry Charles-Ferdinand Ramuz Salvador Dali Pierre Courthion Louise de Vilmorin André Breton Pierre-Jean Jouve Benjamin Péret Gisèle Prassinos Hans Bellmer Léon-Paul Fargue Stéphane Mallarmé Paul Klee Yves Tanguy Wassily Kandinsky Paul Cézanne. Albert Skira unknown
69-4655Cambridge Massachusetts: Exact Change 1990. 8vo. Softcover with dust jacket. 52 pp. No Plates. Very Good. Cambridge, Massachusetts: Exact Change, 1990 paperback
193691033Paris: GLM 1936. Fine. GLM Paris mai 1936 à mars 1939 14.2 x 19.7 cm 9 volumes brochés sous étui First edition and complete run of the 9 G.L.M. cahiers issued between May 1936 and March 1939. A few spines slightly faded as is often the case; otherwise a pleasing copy complete with its original publishers slipcase in full grey boards with red printed title label pasted to the spine. With numerous contributions by most of the Surrealist poets writers and artists including: André Breton René Char Paul Éluard Philippe Soupault René Crevel Valentine Penrose Federico García Lorca Pablo Neruda Michel Leiris Max Ernst Man Ray and André Masson as well as several spiritual forebears of Surrealism such as Franz Kafka Lewis Carroll and Raymond Roussel. GLM hardcover
1990930393<p>Translated by Jon Graham. Frontispiece by Salvador Dali. Operating out of the Surrealist headquarters at 42 rue Fontaine in Paris Breton and Éluard embarked on this automatic writing project in 1930; it was finally released in this lovely English edition 60 years later by pataphysics enthusiasts Atlas Press. 'If all that remained of the Surrealist movement were the pages of The Immaculate Conception' wrote Maurice Nadeau 'man alerted could not turn away from the astounding mystery of his condition.' </p><p>Tight uncreased spine. Clean unmarked interior. Minor shelf-wear. Price to back cover has been blacked out. 121 pp. Featured Rare & Collectible.</p> Atlas Press paperback
19191334Paris: S.n. 1919. First edition. Printed on one side. Two on gray-green and one on light green paper. Each in excellent condition. First edition. Printed on one side. Two on gray-green and one on light green paper. ca. 105 × 70 mm. <p><br /> Three leaflets of the series of the “Papillons Dadaâ€.<br /> <p><br /> <p><br /> Texts are attributed to Tristan Tzara and Paul Eluard and they were issued by the Paris Dada group in December 1919 in only 1000 copies. The “Papillons Dada†was an ephemeral series of four broadsides intended for use as small posters and as leaflets for general distribution the first such use of leaflets as a form of advertisement in the artistic field and one that would be significant for the Dada movement and later the Surrealists.<br /> <p>. [S.n.] unknown
194789033New York: Philosophical Library 1947. First American Edition. Quarto. Red cloth hardcover; 168pp. Numerous halftone illustrations accompanied by Eluard's verse commentary. Typical sun-fading to board edges else a tight Near Fine copy. In the original dustwrapper sunned at margins foxed on rear panel with a few chips and closed tears; Very Good. Philosophical Library unknown
