Paul ELUARDBiblio.com
388 résultats
193931<p>Rare and extraordinary double-sided Surrealist binding by Georges Hugnet executed for his own library.<br /><br />He later gave it to Robert Altmann.<br /><br />At the beginning Georges Hugnet mounted a long autograph note offering first-hand details about his production of Surrealist bindings:<br /><br />"This 'book-object' invented for the personal copy of Chanson complète that Paul Éluard had given me is the last I ever made in my workshop on rue de Buci with the help of my bookbinder assistant Louis Christy who died in October 1940. Since then I have never executed any others; the Nazi occupation extinguished this vein in me.<br /><br />Here is the list of 'book-objects' that I still have in my library:<br /><br />Comte de Lautréamont Les Chants de Maldoror 1934<br />G.H. Onan 1934<br />Paul Éluard Défense de savoir 1934<br />André Breton L'Air de l'eau 1935<br />Paul Éluard Facile 1935<br />Hans Bellmer Die Puppe 1935<br />Hans Bellmer a collection of original black-and-white and colour photographs of Bellmer's dolls<br />Raymond Roussel Locus Solus 1937<br /><br />In total between 1934 and 1939 I composed around twenty 'book-objects' which at the time were housed in the libraries of Mme Lise Deharme and Peggy Guggenheim Messrs. Paul Éluard André Breton Robert Valançay P. Bomsel etc. as well as in my own. My 'book-objects' exist only in a single copy with the exception of Défense de savoir which I reproduced in order to offer it to Paul Éluard who desired it and another set of original photographs of Hans Bellmer's dolls commissioned from me after seeing my copy by Robert Valançay.<br /><br />Paris 25 October 1964<br />Georges Hugnet<br /><br />I am happy that the only 'book-object' I can still dispose of enters your library my dear Robert Altmann."<br /><br />Extraordinary "book-object" by Georges Hugnet in one of the 20 copies of Chanson complète illustrated with four lithographs by Max Ernst.<br /><br />Chanson complète is the fourth collaboration between Max Ernst and Paul Éluard following Répétitions Les Malheurs des immortels and Au défaut du silence. It was produced at a time when Éluard had recently been excluded from the Surrealist group by Breton due to his Stalinist positions and several critics have seen in it an act of solidarity by the painter.<br /><br />The volume contains fourteen poems and four lithographs. These are frottage-based works in which the artist's familiar universe reappears: birds animals vegetal forms and female bodies particularly eroticised in the third plate.<br /><br />For this final binding of his invention intended for his personal library Georges Hugnet deployed his full talent in the field. It is imbued with a diffuse eroticism. The hair-like fur framing the algae—or coral—on a pink ground inevitably evokes a female sexual form. One thinks of Étant donnés Marcel Duchamp's final work where a female body is similarly revealed within an ovoid black form.<br /><br />Georges Hugnet's extensive note highlights the rarity of the "book-objects" he created. "The bindings of Georges Hugnet—which are rather ghostly constructions around books—prepare and dress them for the greatest ball of their life" wrote Benjamin Péret in no. 10 of Minotaure Winter 1937.<br /><br />These creations represent both the culmination of "artistic" binding and its ironic subversion. The binding whose execution Hugnet entrusted to his friend Louis Christy a self-taught bookbinder close to the Surrealists who said he had 'made himself among masters who barely knew their craft' becomes a kind of "mental object." It is no longer decoration but the creation of a unique object "the book fulfils its purpose" as he said fully belonging to Surrealist production.<br /><br />Among the "book-objects" mentioned but not precisely listed in Hugnet's note one may also cite Herbe à la lune by Valentine Penrose.<br /><br />Robert Altmann to whom Hugnet gave this copy was the director of the Brunidor publishing house based in New York and later Paris specialising in illustrated books with engravings.<br /><br />Provenance: Jean-Paul Kahn collection.</p> Gallimard
29784Paris GLM 24 octobre 1935. 1 vol. 185 x 240 mm non paginé. Broché. . Édition originale. Illustrée de 12 photographies rayogrammes de Man Ray en héliogravure. Un des 25 premiers exemplaires sur japon celui-ci hors commerce. Envoi signé : « à Edouard de Rouvre avec mes très vives sympathies. Paul Éluard. » . Ouvrage culte des surréalistes Facile forme selon Parr et Badger un parfait ménage à trois en unissant la poésie la photographie et la typographie l'ensemble célébrant l'amour et le corps de Nusch. Réunis autour de cinq poèmes et douze photographies Paul Éluard Man Ray et Guy Levis Mano créent un jalon de l'édition illustrée marquant le réveil de l'érotisme dans l'art des années 1930 où dans les nus de Man Ray le corps n'apparaît jamais dans sa totalité selon un procédé propre à l'Homme-Lumière. La tête entière ne se montre qu'une seule fois ; les yeux jamais. « C'est en raison de l'intégration des images au texte que cet ouvrage a été fondamental pour le modernisme et une source d'inspiration pour des générations de graphistes » Parr & Badger. Précieux exemplaire offert sans doute au sortir de la guerre à un jeune homme prometteur âgé d'une vingtaine d'année : Evrard de Rouvre. Petit-fils de Charles Bourlon de Rouvre qui lui légua une fortune considérable le jeune homme fonde à vingt et un ans les Éditions Vrille en 1944. Le premier livre publié est son propre recueil de poèmes Instant dont Éluard put avoir eu connaissance ; vient ensuite la revue Vrille dont le premier numéro « La peinture et la littérature libres » est illustré par Oscar Dominguez : il réunit des textes et oeuvres de Georges Bataille Henri Michaux Max Ernst Pablo Picasso Salvador Dalí qu'il voit défiler dans sa galerie d'antiquités Présence des arts du 38 avenue Pierre-Ier-de-Serbie. Curieux politiques grands industriels et collectionneurs s'y presseront des années durant. La bibliophilie ne lui était pas étrangère : sa bibliothèque - dispersée en deux vacations 1979 et 1980 - ne contient que des livres choisis voire somptueux en grands papiers et belles reliures. Éluard y est le poète le plus représenté. Cet exemplaire de Facile n'y figure pas conservé par de Rouvre dans le dernier pré-carré de collection : quelques ouvrages parmi les plus rares qui seront cédés à l'amiable à quelques collectionneurs choisis. Éluard s'est étrangement trompé sur le prénom - ce ne sera ni le premier ni le dernier - en orthographiant Evrard « Edouard » le cas étant connu pour d'autres exemplaires. De Rouvre connaîtra par la suite une longue carrière de producteur de cinéma tout en poursuivant la direction de nombreuses autres sociétés. Il meurt tragiquement en 1979 assassiné par son majordome. Les exemplaires sur japon de Facile sont d'une grande rareté. Les exemplaires hors commerce n'ont pas été pourvus de la photographie originale solarisée réservée et jointe aux exemplaires de tête. On trouve néanmoins certains exemplaires qui la possèdent mais le plus souvent en tirage tardif voire non signé - sauf exemplaires prestigieux ceux d'Eluard et Nusch notamment. Boulestreau Le Photopoème « Facile » : un nouveau livre dans les années 1930 Mélusine pp. 163-177 ; Picaud Des livres rares depuis l'invention de l'imprimerie 1941 Ex. n° 1 de G. Lévis Mano ; Roth The Book of 101 Books Seminal Photographic Books of the Twentieth Century pp. 86-87 ; Sinibaldi - Couturier Regards sur un siècle de photographie à travers le livre 48 ; Leclair - Née Dictionnaire Char Classiques Garnier 2015 pp. 203-205. Paris, GLM, (24 octobre) 1935. 1 vol. (185 x 240 mm), non paginé. Broché. unknown
19532243Paris: Pierre Seghers and Imprimerie Union 1953. Folded concertina made up of three sheets assembled and attached to the back with strips of cloth. Original hangers attached to verso. With the publisher's original rhodoïd case. A gorgeous fine copy bright and fresh. Now housed in a custom clamshell box.<br /> <br /> Eluard wrote the poem during the German occupation of France in 1942; it was originally published in the clandestine book of poetry Poésie et vérité 1942 and later printed in leaflet form and parachuted over occupied territories by the thousands by the British Royal Air Force. Liberté became a symbol of the Résistance under the oppression of Vichy and the German occupation. Eluard himself said of his stirring ode to freedom “I thought of revealing at the end the name of the woman I loved and for whom this poem was intended. But I quickly realized that the only word I had in mind was the word Liberté. Thus the woman I loved embodied a desire greater than her. I confounded it with my most sublime aspiration and this word Liberté was itself in my whole poem only to eternalize a very simple will very daily very apt that of freeing oneself from the occupation.â€<br /> <br /> This edition was commissioned as a tribute to Eluard just after his death. The publisher Pierre Seghers asked Léger to illustrate the poem and he designed this remarkable “poème-objet†in tribute to his friend. The bright pochoirs were printed by Albert Jon. A total of 212 copies were printed with twelve on canvas hand-illustrated by Léger himself; 200 on Auvergne paper and an additional twenty-six lettered copies “tirés pour les divers artisans de ce poème-objet.†This is letter ‘A’ of the twenty-six copies complete with the publisher’s rhodoïd case which is lettered on the spine. The case is rare and not often seen. Also included is the original invitation card for the presentation of the book on October 23 1953 at the Galerie Louis Carré. An exceptional copy of a talismanic and beautiful object a high spot of twentieth century printing and publishing.<br /> <br /> Saphire Fernand Léger. L’Œuvre gravé p. 300. Pierre Seghers and Imprimerie Union unknown
20266Paris Éditions surréalistes 15 octobre 1930. 7 plaquettes de 16 p. et 15 p. réunies en 1 vol. 65 x 105 mm. Veau naturel teinté et estampé d'une eau-forte originale dans les tons rose jaune et bleu pastel inspirée des caractères typographiques de la page de titre contreplats bord-à-bord du même décor titre au palladium sur le premier plat gardes de chèvre velours vert d'eau tranches dorées à l'or blanc par Jean-Luc Bongrain chemise et étui bordés reliure signée de Louise Bescond - titr. Claude Ribal 2025. . Édition originale. Un des 30 exemplaires sur chine n° 27. Envoi signé : « Exemplaire d'Yves Tanguy son vieil ami fidèle Paul Éluard ». À la suite sont reliés un exemplaire sur papier d'édition et un jeu d'exemplaire sur papiers de couleurs saumon vert jaune rose puis un exemplaire de la plaquette qui servit de modèle à Paul Éluard pour composer la maquette : Victor Hugo Lettre à Lord Palmerston publiée à Jersey en 1854. Soit un ensemble de sept plaquettes. . Précieux exemplaire d'Yves Tanguy celui qu'Éluard qualifiait de « druide : le guide du temps des druides du gui ». Les vers d'À toute épreuve seront à nouveaux éparpillés dans La Vie immédiate - recueil dans lequel Éluard lui écrira un fameux poème « Un soir tous les soirs et ce soir comme les autres » : le peintre lui donnera en retour une fantastique eau-forte qui accompagnera les dix premiers exemplaires de tête. Certains poèmes avaient été publiés en 1929 dans le n° 12 de La Révolution surréaliste tandis que d'autres paraissaient dans le hors-série de la revue Variétés sous-titré « Le surréalisme en 1929 ». Ils sont assemblés ici pour la première fois dans cette plaquette-manifeste dont la présentation emprunte sciemment aux tracts hugoliens de l'exil : les exemplaire d'A toute épreuve sont suivi de la Lettre à Lord Palmerston Jersey 1854 modèle avéré de la maquette d'À toute épreuve. Ce rapprochement est documenté par une note autographe de Valentine Hugo rappelant qu'en 1930 elle remit à Éluard un exemplaire de la plaquette de Victor Hugo : le format et la couleur un papier bleu lui « donna l'idée d'éditer ainsi À toute épreuve » vente Geneviève et Jean-Paul Kahn Mille nuit de rêves IV n° 164 La plaquette d'Hugo à l'allure de tract ressemblait aux extraits des Châtiments L'Expiation Joyeuse Vie À l'obéissance passive et Nox que Victor Hugo fit imprimer entre 1852 et 1853 à Jersey dans lesquels il fustigeait Napoléon III. Leur petit format destiné à être introduits clandestinement en France par courrier permis à ces brûlots de se diffuser efficacement. Parmi elles la fameuse Lettre à Lord Palmerston : cette plaquette imprimée en 1854 sur les presses de l'Imprimerie universelle à Jersey est une protestation contre l'exécution de John Charles Tapner par pendaison le 10 février 1854 à Guernesey. Cette exécution eut lieu en dépit des protestations des habitants mais la diatribe du poète en exil qui s'inscrivait dans son combat contre la peine capitale connut un tel retentissement que Tapner fut le dernier condamné à mort sur l'île. La conjonction d'un grand papier sur Chine avec l'inscription à Tanguy la suite des tirages sur papiers de couleurs l'adjonction de la plaquette de Victor Hugo et la délicate reliure de Louise Bescond placent cet exemplaire parmi les tous premiers au rang des exemplaires de référence de À toute épreuve. Si ce n'est au premier rang. Celui de la collection Trutat qui se trouve à la Bibliothèque nationale de France également relié comprend les tirages de la plaquette sur les différents papiers - sauf le Chine - et il est également suivi de la Lettre à Lord Palmerston ; cette plaquette est également jointe à l'ensemble cité de la la collection Geneviève et Jean-Paul Kahn lequel ne contenait que les version sur papier blanc rose et jaune - également sans le tirage de tête sur Chine. Concernant les exemplaires sur Chine seuls deux autres sont connus avec envoi : celui de Nusch qui vient seul sans autre version avec cet envoi : « à la belle petite Nusch son amant Paul E. » BnF RES 8-Z Trutat-13 et celui pour Paul Bonet exemplaire n° 5 Carnets 694 avec cet envoi : « Exemplaire Paul Bonet et le plus beau des exemplaires Paul Éluard ». Il vient seul également sans les autres versions sur papiers de couleurs. Paul Bonet a relié dans des décors approchants deux autres exemplaires sur Chine sans envoi : un en maroquin exemplaire n° 19 Carnets 811 un autre en box exemplaire n° 4 absent des Carnets. Il semble n'exister relié par van de Walle qu'un seul autre exemplaire sur Chine avec les papiers de couleurs : le n° 7 Christie's Destribats V n° 71. Lequel vient sans envoi. Une version recopiée du manuscrit reliée par Paul Bonet Carnets 204A a été donnée à René Char mais sans aucune version imprimée du texte jointe. Magnifique exemplaire. Paris, Éditions surréalistes, (15 octobre) 1930. 7 plaquettes de [16 p.] et 15 p. réunies en 1 vol. (65 x 105 mm). Veau natur unknown
19352245Paris: Editions GLM 1935. First edition. Unbound folded gatherings laid into publisher’s photographically illustrated wrapper as issued. Some creasing to the front cover at the spine as often seen slight rubbing to head and tail of spine. Interior clean and bright. Housed in a custom chemise and slipcase with title printed on front cover of chemise and displayed through cut-outs on the slipcase. Binder’s signature within the chemise dated 1988.<br /> <br /> Of a total edition of 1225 copies this is one of 200 roman-numeraled hors commerce copies. Signed on the half-title by both Eluard and Man Ray and inscribed to Léon Pierre-Quint the literary director and editor of the major surrealist publishing house Editions du Sagittaire and friend and biographer to Proust and Gide. Although not an uncommon book the hors commerce copies are less seen and it is very rare to find it signed by both authors.<br /> <br /> Facile is one of the most beautiful and influential books of the twentieth century the very definition of a fusion of word and image. The heliogravure images of Eluard’s wife Nusch “solarized nudes drift across the pages as if in a dream.†Light shadow curves and the purity of the verse all combine. “The two arts poetry and photography have established themselves as communicating vessels where communication through love leads without effort to universal harmony…. From cover to cover the book points to a single universe expressed by two different languages. The poem is made up of images and the images coalesce into a poem…. The directness of the poet’s voice makes the woman present a presence intensified by but hardly originating in the photographs. This immediacy in no way weakens the dream quality so pronounced in this collaborative work.†Hubert<br /> <br /> Roth The Book of 101 Books 86-87. Parr & Badger The Photobook vol. I 105. Logan Artists’ Books in the Modern Era 184. Castleman A Century of Artists’ Books 183. Renée Riese Hubert Surrealism and the Book 73-83. Caron De Goya à Max Ernst 290-297. Andel Avant-Garde Page Design 339. Perpetual Motif: The Art of Man Ray 221. Editions GLM 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
192092144Paris: Proverbe 1920. Fine. Complete copy of this iconic Dada journal with its subscription leaflet Proverbe Paris 1er février 1920 - 1er juillet 1921 14 x 22.5 cm & 208 x 275 5 fascicules sur feuillets double et 1 feuillet recto-versos An exceptionally rare complete collection in six issues of this important Dada journal including the very rare sixth no. of July 1921 entitled ""Invention et proverbe"". Contributions by Paul Eluard André Breton Céline Arnauld Tristan Tzara Philippe Soupault Louis Aragon Jean Cocteau Francis Picabia Jean Paulhan Maurice Raynal Georges Ribemont-Dessaignes Jacques-Emile Blanche Théodore Fraenkel among others. One of the most significant Dada journals published at the height of the movement with its very rare subscription leaflet. Undoubtedly the finest example of poetic parody conceived by the Dadaists as a radical response to the conventionalized atrophy of lan-guage and morality. ""These journals DdO4H2 ; M'amenez-y ; Proverbe and Z represent the specific product of the 1920 Dadaist frenzy. The most interesting of them standing clearly apart from the rest was unquestionably Proverbe which claimed to 'exist only to justify words'"" Michel Sanouillet Dada à Paris ""Thus through the alchemy of Eluard's editorial choices Proverbe became a genuinely Dada journal: consistently innovative exploring the diverse possibilities of language 'justifying' words that is calling them into question inventing its own idiom and more distinctively still indicting conventional syntax through aphorisms. These aphorisms according to Michel Leiris's phrase rhyme falsely: commonplaces caught in everyday speech i.e. 'it means what it means' no. 2; nonsense phrases; sayings taken from Dadaist writings such as Tzara's 'My name is now you' no. 3; sentences of zero denotation such as 'With DADA every day rendez-vous anywhere' no. 4. In Dépaysement de l'aphorisme Marie-Paule Berranger compiled an exhaustive inventory of all the verbal operations proposed by the contributors to Proverbe ranging from the inversion of stereotypes to the portmanteau proverb the commonplace taken at face value the deflating riddle and the redefinition of grammatical rules: all ultimately underscoring the paradox of language. But to focus solely on this aspect is to overlook much else that the publication contains beyond sententious wordplay. Eluard while testing the effect of his own poems clearly took great pleasure in composing these explosive pages and wrote in another journal: 'Proverbe resembles the piers of a demolished bridge' Henri Béhar Dada Circuit total p. 302. A rare complete copy of this ephemeral and incandescent publication: ""of all the Dada journals the one that made the most coherent contribution to the problem of language"" Tristan Tzara. Dada exhibition Centre Pompidou 2005-2006 pp. 830-833. Proverbe unknown
193748609Paris.: G. L. M. Guy Lévis Mano. 1937. Loose as issued poster and invitation original publisher's orange glazed paper wrappers stitched as issued with illustration by Picasso printed titles and advertisments in black to covers. Folio. 502 x 325 mm. 12mo. 184 x 138 mm. 16mo. 138 x 104 mm. Poster of cream paper glazed red / orange recto and with Picasso's illustration from 'Grand Air' and printed text in black the title above and conference details beneath the invitation a bifolium of thick cream wove paper Picasso's illustration at left with printed details of the conference at right in black the catalogue on cream wove paper leaf with definition of 'Surréalisme' from the 1924 manifesto and list of conferences recto verso with advertisement for works by Eluard leaves with quotations by Eluard regarding poetry quotations from various Surrealist-approved poets 'Signe ce que tu approuves' inserted leaves of grey paper with advertisements for publications by GLM central spread with 'Programme' and final leaf with advertisments. The very rare poster by Picasso together with the catalogue and the invitation - also with the same image by Picasso - for Paul Eluard's 1937 conference 'Avenir de la Poésie'.Paul Eluard's conference 'Avenir de la Poésie' Future of Poetry was held on October 2nd 1937 at the Comédie des Champs-Elysées 15 Avenue Montaigne the 'Salon Dada' in 1921 had been held at number 13 at 16.15 p.m. as part of the Exposition Internationale 1937. It seems surprising at least with hindsight to imagine that a Surrealist conference might occur under such an umbrella but the Surrealists were nothing if not serious and Eluard's devotion to poetry cannot be questioned or underestimated.'Avenir de la Poésie' saw Eluard as well as a number of actors close to the Surrealists Michèle Alfa Marcel Herrand who had participated at the dada evening 'Le Coeur à Barbe' in 1921 Jean Marchat Jean-Louis Barrault and Sylvain Itkine whose group 'Le Diable Ecarlate' featured extensively in the Exposition reading poems. The list of poets is comprehensive and included Petrus Borel Charles Baudelaire Gérard de Nerval Germain Nouveau the Comte de Lautréamont Isidore Ducasse Rimbaud Charles Cros Jarry Apollinaire Reverdy Breton Henri Michaux Tzara Péret René Char Eluard himself and Picasso.The poster invitation and catalogue all feature to the front cover a reproduction of the engraved collaboration between Picasso and Eluard 'Grand Air'. The very rare print 'Grand Air' was issued - a few proofs aside - only with the ten copies of the édition de tête of Eluard's verse collection 'Les Yeux Fertiles'. Eluard and Picasso had each contributed to 'Grand Air' Eluard a poem of eighteen lines and Picasso the pictorial frame: at right a nude female minotaur a mask opposite at left out of which the minotaur seems to have snatched the left eye above a rocky landscape with a reclining smoking figure with cat beneath; that the cat appears to be suckling three small black fish underlines the essential Surrealism of the whole.'Le pain est plus utile que la poésie. Mais l'amour au sens complet humain du mot l'amour-passion n'est pas plus utile que la poésie.' Paul Eluard. For the material presented here Eluard's central verse has been replaced with the title of the conference 'Avenir de la Poésie' with his retained signature beneath while the entirety of Picasso's framing is present and the image is attributed to him for the catalogue and invitation at lower left. Details of the conference are printed above and beneath for the catalogue and poster and facing the illustration on the invitation.The poster is not described by Christophe Czwiklitzer in his 1968 'Catalogue Raisonné des Affiches de Pablo Picasso'. The first 'original' poster listed an original lithograph is from 1948 while the first 'exécutées par différents procédés de reproduction' is from 1939.While the catalogue 'Avenir de la Poésie' is rare and the invitation rarer still we trace no other examples of the poster in any collection public or private. G. L. M. (Guy Lévis Mano). unknown
1935Eluard6<p><strong>ÉLUARD Paul 1895-1952</strong></p><p>Autograph poem signed " Paul Eluard "<br />N.p.n.d 2 p. in-folio on thin green paper<br />Some slight browning on margins<br />Bespoke framing</p><p><strong>Complete manuscript of one of the four poems published in <em>Facile</em> a masterpiece of surrealism testifying to the artistic emulation between Paul Éluard his wife Nusch and Man Ray to whom she serves as a model</strong></p><p>A LA FIN DE L'ANNÉE DE JOUR EN JOUR PLUS BAS IL ENFOUIT SA CHALEUR COMME UNE GRAINE.</p><p><em>" I</em><br /><em>Nous avançons toujours</em><br /><em>Un fleuve plus épais qu'une grasse prairie</em><br /><em>Nous vivons d'un seul jet</em><br /><em>Nous sommes du bon port<br /></em><br /><em>Le bois qui va sur l'eau l'arbre qui file droit</em><br /><em>Tout marché de raison bâclé conclu s'oublie</em><br /><em>Où nous arrêterons-nous</em><br /><em>Notre poids immobile creuse notre chemin<br /></em><br /><em>Au loin les fleurs fanées des vacances d'autrui</em><br /><em>Un rien de paysage suffisant</em><br /><em>Les prisons de la liberté s'effacent</em><br /><em>Nous avons à jamais</em><br /><em>Laissé derrière nous l'espoir qui se consume</em><br /><em>Dans une ville pétrie de chair et de misère</em><br /><em>De tyrannie<br /></em><br /><em>La paupière du soleil s'abaisse sur ton visage</em><br /><em>Un rideau doux comme ta peau</em><br /><em>Une aile salubre une végétation</em><br /><em>Plus transparente que la lune du matin<br /></em><br /><em>Nos baisers et nos mains au niveau de nous-mêmes</em><br /><em>Tout au-delà ruiné</em><br /><em>La jeunesse en amande se dénude et rêve</em><br /><em>L'herbe se relève en sourdine</em><br /><em>Sur d'innocentes nappes de petite terre</em><br /><em>Premier dernière ardoise et craie</em><br /><em>Fer et rouille seul à seule</em><br /><em>Enlacés au rayon debout</em><br /><em>Qui va comme un aveu</em><br /><em>Écorce et source redressée</em><br /><em>L'un à l'autre dans le présent</em><br /><em>Toute brume chassée</em><br /><em>Deux autour de leur ardeur</em><br /><em>Joints par des lieues et des années<br /></em><br /><em>Notre ombre n'éteint pas le feu</em><br /><em>Nous nous perpétuons. "</em></p><p><em>" II</em><br /><em>Au-dessous des sommets</em><br /><em>Nos yeux ferment les fenêtres</em><br /><em>Nous ne craignons pas la paix de l'hiver<br /></em><br /><em>Les quatre murs éteints par notre intimité</em><br /><em>Quatre murs sur la terre</em><br /><em>Le plancher le plafond</em><br /><em>Sont des cibles faciles et rompues</em><br /><em>À ton image alerte que j'ai dispersée</em><br /><em>Et qui m'est toujours revenue<br /></em><br /><em>Un monotone abri</em><br /><em>Un décor de partout<br /></em><br /><em>Mais c'est ici qu'en ce moment</em><br /><em>Commencent et finissent nos voyages</em><br /><em>Les meilleures folies</em><br /><em>C'est ici que nous défendons notre vie</em><br /><em>Que nous cherchons le monde<br /></em><br /><em>Un pic écervelé aux nuages fuyants au sourire éternel</em><br /><em>Dans leurs cages les lacs au fond des trous la pluie</em><br /><em>Le vent sa longue langue et les anneaux de la fraîcheur</em><br /><em>La verdure et la chair des femmes au printemps</em><br /><em>La plus belle est un baume elle incline au repos</em><br /><em>Dans des jardins tout neufs amortis d'ombres tendres</em><br /><em>Leur mère est une feuille</em><br /><em>Luisante et nue comme un linge mouillé<br /></em><br /><em>Les plaines et les toits de neige et les tropiques luxueux</em><br /><em>Les façons d'être du ciel changeant</em><br /><em>Au fil des chevelures</em><br /><em>Et toujours un seul couple uni par un seul vêtement</em><br /><em>Par le même désir</em><br /><em>Couché aux pieds de son reflet<br /></em><br /><em>Un couple illimité.</em><br /><em>Paul Eluard "</em></p><p>This poem entitled <em>À la fin de l'année de jour en jour plus bas il enfouit sa chaleur comme une graine</em> 66 lines long and in two parts appears between <em>L'Entente</em> and <em>Facile et bien.</em></p><p>An icon art book first published on October 24 1935 by printer-publisher Guy Levis Mano Easy was printed in 24 copies on Imperial Japan paper. This was followed by 200 non-commercial copies on vellum and a limited edition of 1250 copies.<br />Born from an artistic collaboration between Man Ray Paul Eluard and his wife Nusch the book magnifies the body of the latter by the word of the poet and the light of the photographer. After his collection Au default du silence in which Gala was omnipresent Éluard composed these four poems evoking Nusch echoed by a subtle set of layout twelve photographs by Man Ray representing Nusch completely naked. His body never appears in its entirety according to a process specific to the Man-Light. The book contributed to the awakening of eroticism in the art of the 30s.</p><p>About <em>Facile</em> Pierre Emmanuel writes in <em>Le Je universel chez Paul Éluard</em> G.L.M 1948: "Identical to oneself in its inexhaustible creation of self woman is also like the sign or better: the condition of the identity of all things. It would be necessary to quote almost entirely some of <em>Facile</em>'s poems to give the right idea of the "understanding" that is established between feminine eroticism and the fertilizing energies of the earth – between the gestures of the woman and the movements of the human destiny… "</p><p>The handwritten poems of this collection one of the most emblematic of the poet are rare.</p><p><u>Bibliography:</u><br /><em>Facile – Poèmes de Paul Éluard / Photographies de Man Ray</em> – G.L.M Paris 1935<br /><em>Paul Éluard</em> – Œuvres complètes – Tome 1 éd. Marcelle Dumas et Lucien Scheler Pléiade p. 462 – 464</p><p><u>Provenance:</u><br />Christian Genet Collection</p>
192047900Paris. 1920 - 1921. Single printed folded sheets as issued. 6 issues. 221 x 139 mm. Issue no. 4 with a printed illustration 'Machine de bon mots' after a drawing by Francis Picabia and the printed stamp in red on outer unprinted wrapper: 'PROVERBE / n'existe que pour / justifier les mots.' A rare complete and unsophisticated set of this Paris dada periodical.Edited by poet Paul Eluard the focus of 'Proverbe' is far more seriously linguistic although it retains the playfulness to be expected from dada than many other periodicals of the period. Although the typical elements of dada typography are present - the variable font different register differing colours the ruling and the use of different angles of printing to the plane of the page - here it is the word that reigns. In fact only one of the issues is in any sense illustrated: issue 4 contains a reproduction of a drawing by Picabia the 'Machine de bon mots' but even here Picabia's concern is at least as semantic as visual.The first article of the first issue makes the aim of 'Proverbe' clear: 'Syntaxe' by Jean Paulhan with its urge to reinvigorate language is followed by pieces by Phillipe Soupault Tristan Tzara an aperçu by the Marquis de Sade and an editorial page of aphorisms mottoes advertisements and instructions. Perhaps the most memorable of these latter is the reassuring announcement concerning Picabia's '391': '391 ne contient pas d'arsenic. On peut le prendre en toute sécurité et en secret sans rien changer à ses habitudes.'The second issue saw the arrival of additional contributors and the editorial board of Louis Aragon André Breton Paul Eluard Jean Paulhan Francis Picabia Maurice Raynal and Philippe Soupault was expanded to include Georges Ribemont-Dessaignes. Issue 4 - the only illustrated issue - was printed on the recto only of the sheet but with an excised circular hole Picabia again incorporated into the issue and titled 'Bracelet de la Vie'.The contributions for issue five were published anonymously while issue 6 printed after a delay of nearly a year was titled additionally 'L'Invention' and gives only the initials readily identifiable of each of the contributors. On the final page of issue 6 the contributors are listed as: 'la Canule de verre Rides propres la Nourrice des étoiles le Grand serpent de terre le Mandarin citron l'Homme à vapeur la Pissotière à musique et l'Homme à la tête de perle'.'Je m'appelle maintenant tu. Tzara fou vierge. / Tristan Tzara est un idiote vierge. Francis Picabia. / Et il n'y aura jamais de faux Dada. Paul Eluard.' Proverbe No. 3 1920.' . a delicious melange of quotations from Picabia Paulhan Aragon Dermée and others . '. Ex-Libris Cat. 2. unknown
1956N - 2024 - 114<p>Paul Eluard. Louis Broder Paris 1956. In Octavo 8x73/8 in. Loose as issued in original wrappers in Montval laid paper chemise and slipcase in blue satin. One of 100 numbered copies on Rive wove paper. Signed on the justification page by all the artists with exception of Léger Laurens and Tanguy. The book is a tribute to Paul Eluard who died in 1952 and includes a collection of 12 poems printed with Eluard s handwriting in facsimile and 16 prints that accompany the poems by: Picasso 2 etchings Braque etching Leger lithograph Ernst etching Beaudin drypoint Chagall etching Masson etching Arp woodcut Dominguez drypoint Miro etching Giacometti etching Villon etching Laurens woodcut Hugo drypoint Tanguy etching. Beautiful rare edition. Complete and in very good conditions: Slipcase and Hard chemise in blue satins with some discolorations and light wears. Inside in excellent conditions except for a small and pale stain on the poem Les yeux fertiles and one on the poem Defense de savoir two very small and pale stains on Chagall lithograph and light offprint on the poem Exemples Imbécile habitant.</p> Louis Broder
195148786Paris.: Cercle d'art. 1951. Original publisher's printed wrappers with titles to front cover in black. 4to. 285 x 228 mm. With original lithograph by Picasso and 29 lithographs after Picasso drawings printed by Mourlot. The édition de tête with Picasso's original lithograph.From the edition limited to 150 copies with the original lithograph; this copy exceptionally signed by Picasso in pencil and with the collector's mark WDB.The book published the 29 drawing Picasso made of variations on the theme of peace for the 30th Anniversary of the French Communist Party.Mourlot 203; Cramer 62. Cercle d'art. unknown
192261537Paris: Librairie Six 1922. Fine. Librairie Six Paris 1922 19 x 25.50 cm relié The first edition on simili-Japon paper. Bradel grey cloth binding navy blue cloth band with authors and title blindstamped to edge of upper board upper cover preserved at end. With 21 collages by Max Ernst. A very good and rare copy. Librairie Six hardcover
195252661Paris: Armand Henneuse 1952. Fine. Armand Henneuse Paris 1952 14 x 19.50 cm relié sous chemise et étui First edition one of 15 numbered copies on chiffon Auvergne paper tirage de tête. Spectacularly bound in black calf by Pierre-Lucien Martin the covers inlaid with white and grey calf with a geometric decoration of gilt fillets making perspective shapes endpapers and pastedowns of Auvergne paper the delicate Auvergne paper covers and back preserved top edge gilt. Slipcase with black paper flaps lined with grey felt and with a spine of rhodoid plastic small crack to head trimmed with black calf and with a brown paper interior. This copy is enriched with a manuscript sheet bearing six fragments of poems chosen and copied out by Paul Eluard which had appeared in Poésie et vérité Poetry and Truth ten years before. A magnificent copy remarkably bound in decorated black calf by Pierre-Lucien Martin. Armand Henneuse unknown
193653047Paris: GLM 1936. Fine. Offered to the friend beyond words companion of all wars and of loves as well GLM Paris 1936 12.50 x 17 cm broché First edition one of 100 numbered copies on vellum ours unnumbered the only deluxe papers after 15 copies on Japon. Illustrated with a frontispiece drawing by Salvador Dalí. Precious signed autograph presentation from Paul Eluard to René Char : « Exemplaire de mon ami René Char. Paul Eluard. » It was in 1929 that René Char first discovered the verse of Paul Eluard. Captivated the young twenty-two-year-old poet from L'Isle decided to send him a copy of his collection Arsenal inscribing it with the following dedication: « à Paul éluard enfin. L'Isle 17 septembre 1929. » His elder responded kindly a few weeks later: « Cher Monsieur n'est-il pas possible que nous nous connaissions mieux Ne pensez-vous pas venir à Paris Je serais heureux de vous dire combien j'aime vos poèmes tout ce si beau livre. » The young Char elated set off for the first time to meet his « substitute brother » Laurent Greilsamer René Char Perrin 2012 and soon decided to move to Paris to join his new companions Aragon Breton and Eluard placing himself under the Surrealist banner. Eluard abandoned by Gala who left him for Dalí offered Char to live in his apartment on rue Becquerel. The two bachelors soon engaged Odette a young maid who was more than agreeable: « Char enjoyed this refined service but was nevertheless surprised by the marked kindness of this pretty brunette. One day he took her in his arms. The young beauty smiled yielded and proved herself expert. That evening René recounted his adventure to Eluard who the next morning had his breakfast served in bed and invited Odette to join him. A temporary trio was thus formed. » op. cit. Char and Eluard now inseparable shared a taste for revelry and frenetic seduction roaming the Parisian boulevards in search of adventure. Thus on the evening of 21 May 1930 they met a destitute actress and trapeze artist: Nusch. « Eluard decided to take her back like a precious parcel to rue Becquerel. But it would take all the friendship of Char and his powers of persuasion to convince the young woman to stay giving Eluard the timeall the timeto fall in love. » op. cit. Char thus played the role of mediator enabling Eluard to win the great love of his life who died prematurely in 1946 of a cerebral haemorrhage. Despite several passing quarrelsnever over women but always over ideasthe two poets maintained a strong bond of friendship and intellect until the end of Eluard's life. « Je suis vieux René par instants à force de ne plus aimer la vie. Je vis par devoir. Mais je t'aime profondément comme je t'ai toujours aimé : ne te choque de rien ; venant de moi tout est pour moi affection et admiration. . Quelle preuve de plus peux-tu en avoir que je te dise que tu es le seul homme à qui je pourrais avouer ce grand vide que je porte en moi et devant qui je pourrais pleurer autant que j'en ai toujours envie. » GLM hardcover
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
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
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
30428S.l.n.d. circa 1951. 9 pages 1/2 en 10 f. 210 x 270 mm à l'encre et au stylo bille sur papier « Montévrain - extra strong ». Manuscrit autographe. . L'amitié entre Paul Éluard et Pablo Picasso fut immense. Si il se connaissaient depuis 1916 c'est en 1935 que leur amitié - au moment où s'étiole celle liant le peintre à André Breton - se renforce pour n'être plus jamais démentie sans ombre ni faille. Quinze ans plus tard le 18 octobre 1951 Paul Éluard donne à Londres une conférence en l'honneur de son grand ami lequel va fêter une semaine plus tard le 25 octobre ses soixante-dix ans : « J'imagine facilement que l'on vient de publier le cent soixante et onze millième articles et le mille deux centième livres sur Picasso que l'on en est à sa millionième photographie et que son nom est devenu un mot commun . On n'a jamais parlé d'un peintre vivant comme on parle de Picasso. Et pourtant cet homme de 70 ans peut être considéré comme le plus jeune artiste de son temps. Commencée il y a plus d'un demi-siècle son oeuvre continue à se montrer la plus vivace du monde elle continue à surprendre à indigner et heureusement aussi à susciter l'admiration et l'enthousiasme. . La vérité sur laquelle Picasso s'appuie c'est sa propre jeunesse. . Et aujourd'hui nous ne commémorons pas Picasso nous l'inaugurons. Sa force sera grande son génie va s'épanouir. Demain ne réalisera pas la promesse d'hier mais la promesse du lendemain suivant. Ce perpétuel enfant ce nouveau Faust et ce nouveau Don Juan se promet de séduire de méduser . Que fait Picasso aujourd'hui Une chèvre. Pour ses côtes il a pris des branches pour ses mamelles deux marmites pour ses cornes un guidon de bicyclette. Et la chèvre commence à vivre. Et Picasso est né ». La complicité fraternelle entre le peintre et le poète qu'Éluard qualifie de « sublime » dans une dédicace à Picasso ne prend fin qu'au décès du poète le 18 novembre 1952 : un an et un mois jour pour jour après cette conférence. Le manuscrit à l'encre bleu nuit ou au stylo bleu présente de nombreuses et importantes ratures et corrections. Un fragment en a été publié sous le titre « Le plus jeune artiste du monde » à la une du numéro des Lettres françaises du 25 octobre 1951 lui aussi consacré au peintre catalan avec une photographie par Man Ray surplombée en lettres capitales d'un large « PICASSO A 70 ANS ». Une double page est consacrée au peintre. Le texte de la conférence dans son intégralité est inédit. Ce sera le dernier texte d'Éluard consacré à son ami : les deux hommes venaient d'achever l'édition du Visage de la paix un recueil de 29 poèmes illustré d'une lithographie de Picasso. Éluard lui avait consacré dès 1944 un premier hommage aux Éditions des trois collines à Genève : À Pablo Picasso pour la collection « Les Grands peintres et leurs amis ». Le poète avait alors réuni tous les textes écrits sur son ami depuis la conférence « Je parle de ce qui est bien » : « En janvier 1936 à Barcelone lors de l'exposition organisée par ADLAN Amics de l'Art Nou en hommage à Picasso qui n'avait jamais été exposé en Espagne depuis 1900 Éluard joue le rôle d'ambassadeur itinérant du peintre ; il donne une conférence dans cette ville qui est radiodiffusée avant d'aller porter la bonne parole à Madrid. » Emmanuel Guigon directeur du musée Picasso de Barcelone dans la préface au catalogue Picasso - Éluard 2020. L'artiste traversait alors une grave crise : séparé d'Olga il s'est arrêté de peindre et s'est mis à écrire des poèmes. Entre les deux hommes tout converge alors : un même goût pour la poésie et une même vision de la création artistique. Leur amitié seize années durant jusqu'à la mort du poète va engendrer des oeuvres communes : la première sera Les Yeux fertiles parue en 1936 où les dessins de l'un répondent aux poèmes de l'autre. Un remarquable hommage du poète à son ami peintre. Ancienne collection Jacques Millot Paris Bibliothèque du Professeur Millot Ader 15 juin 1991 n° 66. S.l.n.d. [circa 1951]. 9 pages 1/2 en 10 f. (210 x 270 mm) à l'encre et au stylo bille sur papier « Montévrain - extra stron unknown
193788877Paris: Cahiers d'art 1937. Fine. Complete issue featuring Joan Miró's striking original stencil Cahiers d'art Paris 1937 25 x 32 cm broché First edition featuring the celebrated original color stencil ""Aidez l'Espagne!"" printed on Arches paper by Joan Miró. With literary contributions by Christian Zervos on Pablo Picasso's ""Guernica"" as well as texts by Jean Cassou Georges Duthuit Pierre Mabille Michel Leiris Paul Éluard René Char. Illustrated with numerous reproductions of works by Pablo Picasso and Joan Mirós ""Le faucheur"". Some rubbing and small tears to the spine as often a vertical crease to the rear wrapper otherwise a fresh and well-preserved copy. Cahiers d'art unknown
1934166323New York and Hartford CT: Random House / James Thrall Soby 1934. Softcover. Second Edition. INSCRIBED by Man Ray just above the table of contents: "À Noma / ma mie / mon amie bien aimée / Man Ray" "To Noma / my girlfriend / my darling friend / Man Ray". Text in French and English.<br /> <br /> "Noma" is likely Noma Copley born Norma Rathner a jewelry designer and person of note in French surrealist circles. Copley married her husband William to whom she was introduced by Ray in 1953 and their estate in Longpont-sur-Orge was a gathering space for avant-garde artists and writers in the interwar period. Noma served as a muse and close friend to Ray for many years. <br /> <br /> A groundbreaking photography album considered one of the definitive works on May Ray featuring over 100 pages of the artist's photographs and "rayographs" alongside essays by his contemporaries. <br /> <br /> Very Good plus in wrappers with a white comb binding. Moderate discoloration along the binding with light creasing and rubbing on the wrappers. Housed in a custom quarter-leather pictorial clamshell box. Random House / James Thrall Soby unknown
1943164927Paris: Les Éditions du Chéne 1943. With original self portrait drawn by Chagall First edition first printing inscribed by the artist in French with an original self portrait drawing "A mademoiselle Paulette Carlier Souvenir de Marc Chagall Vence 1951". Quarto. 16 tipped in colour plates after paintings by Chagall. Original illustrated wrappers lettering to front cover in black and grey. Housed in a red cloth flat-back box with black leather label. Spine split otherwise a bright copy. hardcover
192288277Paris: Au sans pareil 1922. Fine. Au sans pareil Paris avril 1922 14 x 22.50 cm agrafé First edition of this pamphlet with contributions by Éluard Tzara Marcel Duchamp under his pseudonym Rrose Sélavy Benjamin Péret Erik Satie Philippe Soupault Georges Ribemont-Dessaignes Vincente Huidboro Walter Serner Matthew Josephson Théodore Fraenkel. Three copies found in institutions BnF Thomas J. Watson Library Princeton University Library Ryerson & Burnham Libraries - Art Institute of Chicago. Cover designed by Ilia Zdanevich Iliazd on a motif created out of 19th-century woodcuts: The cover of Le Coeur à barbe is an emblematic image of the Dada aesthetic where old engravings are combined with words to create visual puns and unpredictable associations. Princeton University Museum. Extremely rare copy in excellent condition of the only published issue of this famous Dada journal - Tristan Tzara's counterattack to André Breton's criticism in the March 2 1922 issue of Comdia. Coeur à barbe : journal transparent is an eight-page pamphlet on pink paper decorated with ready-made vignettes produced by Tzara and his group. Dada was in the process of splitting acrimoniously a process accelerated by a planned Paris Congress against which the invectives published in Le Coeur à barbe are directed. While Breton was impatient to break away from Dadaism Tzara was determined to carry on. The Congress was to bring together the main avant-garde groups including the cubists and purists Ozenfant and Le Corbusier and had been dubbed by Breton Congrès pour déterminer les directives et la défense de l'Esprit moderne. For a brief period Tzara found himself pitted against Breton and Picabia who had rallied and published another short-lived journal La Pomme des pins in March 1922. Ribemont-Dessaignes Eluard Soupault Satie and Rrose Sélavy among others joined Tzara. Most of the brochure deals with the immediate incidents surrounding plans for the Congress which never took place. Tzara had originally planned to call his little magazine L'Oeil à poils. A ""barbe"" can mean 'uncut' like the pages of luxury poetry books Ades Dawn The Dada reader: a critical anthology 2006 p. 316. Au sans pareil unknown
1928Elu1<p><strong>ÉLUARD Paul 1895-1952</strong></p><p>Autograph letter signed " Votre Eluard " to Joë Bousquet<br />Arosa 4 Nov. 1928 4 p. in-4°<br />Stamped and postmarked autographed envelope<br />Some tiny spots one word crossed off in Bousquet's hand<br />Pencil annotations by Lucien Scheler</p><p><strong>Magnificent letter by Éluard enriched with three autograph poems featured in his collection <em>L'Amour la Poésie</em></strong></p><p><strong><u>One of the poet's major works dedicated to his wife Gala who was then on the verge of leaving him for Salvador Dalí</u></strong></p><p><strong><em>"Such strikingly new concordances that I'm startled with a kind of dread by their appearance of eternity"</em></strong><br /><strong>— Jacques Rèce <em>Variété</em> on <em>L'Amour la Poésie</em></strong></p><p><em>" Mon bien cher ami voici les poèmes promis. De la 2e partie la manière noire<br /><strong>Ce livre aurait 5 parties :</strong></em><br /><strong><em>Premièrement</em></strong><br /><strong><em>Seconde Nature</em></strong><br /><strong><em>Comme une image</em></strong><br /><strong><em>Défense de savoir 1</em></strong><br /><strong><em>Défense de savoir 2</em></strong></p><p><strong><em>Le tout : L'AMOUR LA POÉSIE</em></strong><br /><strong><em>Et dédié à Gala</em></strong></p><p><strong><em>Aucun poème n'a de titre. Environ 100 poèmes. Mais de jour en jour mon corps mange ma tête. J'ai hâte de partir d'ici. Trop de nerfs trop de cauchemars.</em></strong><br /><em>Peut-être puisque vous ne m'avez pas dit si vous avez un gramophone détestez-vous la musique. Mais soyez certain que ce que je vous aurai conseillé n'a avec celle-ci que de mauvais rapports.</em><br /><em>Ce que vous me dites sur la lâcheté de Paulhan</em> le nom a été caviardé au stylo rouge peut-être de la main de Bousquet lui-même pour ne pas de compromettre <em>ne m'étonne pas.</em><br /><em>Nous voudrions déjà être à Carcassonne. Je vous fais adresser le Tanguy de Nelli.</em><br /><em>Je voudrais écrire des chansons et c'est drôle je n'ai jamais eu si peu envie de chanter. Avez-vous fini par obtenir l'Histoire de l'Œil Si oui vous dites publiquement ce que vous en pensez. </em><em>Et vous êtes le seul.</em><br /><em>Votre Eluard "</em></p><p>The letter is enriched with three autograph poems by Éluard annotated XXIX XXXV and XXXVII</p><p><em>" XXXV Seconde nature "</em> on top of first page</p><p><em>" Ils n'animent plus la lumière</em><br /><em>Ils ne jouent plus avec le feu</em><br /><em>Pendus au mépris des victoires</em><br /><em>Et limitant tous leurs semblables</em><br /><em>Criant l'orage à bras ouverts</em><br /><em>Aveugles d'avoir sur la face</em><br /><em>Tous les yeux comme des baisers</em><br /><em>La face battue par les larmes</em><br /><em>Ils ont capturé la peur et l'ennui</em><br /><em>Les solitaires pour tous</em><br /><em>Ont séduit le silence</em><br /><em>Et lui font faire des grimaces</em><br /><em>Dans le désert de leur présence. "</em></p><p><em>" XXIX Seconde nature "</em> on se separate sheet</p><p><em>" Toutes les larmes sans raison</em><br /><em>Toute la nuit dans ton miroir </em><br /><em>La vie du plancher au plafond</em><br /><em>Tu doutes de la terre et de ta tête </em><br /><em>Dehors tout est mortel </em><br /><em>Pourtant tout est dehors </em><br /><em>Tu vivras de la vie d'ici</em><br /><em>Et de l'espace misérable </em><br /><em>Qui répond à tes gestes</em><br /><em>Qui placarde tes mots </em><br /><em>Sur un mur incompréhensible </em></p><p><em>Et qui donc pense à ton visage "</em></p><p><em>" XXXVII Seconde nature "</em> on another separate sheet</p><p><em>" A genoux la jeunesse à genoux la colère </em><br /><em>L'insulte saigne menaces ruines</em><br /><em>Les caprices n'ont plus leur couronne les fous </em><br /><em>Vivent patiemment dans le pays de tous. </em></p><p><em>Le Chemin de la mort dangereuse est barré</em><br /><em>Par des funérailles superbes</em><br /><em>L'épouvante est polie la misère a des charmes</em><br /><em>Et l'amour prête à rire aux innocents obèses.</em></p><p><em>Agréments naturels éléments en musique </em><br /><em>Virginités de boue artifices de singe </em><br /><em>Respectable fatigue honorable laideur </em><br /><em>Travaux délicieux où l'oubli se repaît. </em></p><p><em>La souffrance est là par hasard </em><br /><em>Et nous sommes le sol sur quoi tout est bâti</em><br /><em>Et nous sommes partout </em><br /><em>Où se lèvent le ciel des autres</em></p><p><em>Partout où le refus de vivre est inutile "</em></p><p>L'Amour la Poésie anticipates the end of the poet's relationship with Gala. He dedicates it to her with these words: "To Gala / This endless book."<br />At the time the poet's wife and muse — then openly the mistress of Max Ernst — meets Salvador Dalí. She leaves Éluard for the Surrealist painter at the very beginning of 1929.<br />Paul Éluard as Gala prepared to leave him said to her:<br />"Your hair slips into the abyss that justifies our separation."</p><p><u>The collection ultimately comprises only three parts:</u><br />– <em>First of All</em> <em>Premièrement</em><br />– <em>Second Nature</em> <em>Seconde Nature</em><br />– <em>Like an Image</em> <em>Comme une image</em><br />The three poems presented here by Éluard to Bousquet are taken from the second part of the collection <em>Second Nature</em>. A complete manuscript of this section is preserved in the copy of <em>L'Amour la Poésie</em> held at the Saint-Denis Museum no. 26 in the catalogue of the exhibition <em>Paul Éluard</em> Saint-Denis 1963.<br />The last two parts — <em>Défense de savoir 1 & 2</em> mentioned by Éluard — were eventually compiled into a separate volume under that very title.<br />Speaking of the collection Éluard once said:<br />"The title was given to me by my daughter in 1928 she was 10 years old. I had asked her after modestly reading her a few of the poems."</p><p>1 – A short novel by Georges Bataille. Published clandestinely in 1928 under the pseudonym Lord Auch it recounts the sexual experiences of two adolescents and their growing perversity.</p><p><u>Bibliography:</u><em><br />Œuvres complètes</em> I ed. Marcelle Dumas and Lucien Scheler Pléiade edition in the section <em>Seconde Nature</em>:<br />– Poem XXXVII I p. 243 also reproduced in <em>Poésie</em> 1929 vol. VII p. 139<br />– Poem XXIX II pp. 243–244<br />– Poem XXXV XX p. 253</p>
