Andre BRETON - Paul ELUARDBiblio.com
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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
57591Eds Seghers 1968 In-8 95pp. Nb-0260 unknown
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
1955186690Paris: Berggruen & Cie 1955. Paperback. VG- light shelfwear but pages are clear and clean. Color illustrated wraps with black lettering; unpaginated illustrated throughout in bw and color. Text in French. Introductory poem by Jacques Prevert. With a facsimile of the letter is from Paul Klee to Paul Eluard. Berggruen & Cie paperback
1955194033Paris: Berggruen & Cie 1955. Paperback. Good Wraps are edgeworn and smudged; front cover and spine strip are pulling away from the spine; textblock edges are foxed and smudged; first and second pages have light smudging at the top; textblock looks to be starting at the bottom end. Color illustrated wraps with black lettering; unpaginated illustrated throughout in bw and color. Text in French. Introductory poem by Jacques Prevert. With a facsimile of the letter is from Paul Klee to Paul Eluard. Berggruen & Cie paperback
1937003896Paris: G.L.M. 1937. Paperback. Fine. 16 p.; 14 cm. Brown wrapper with black wrapper title; publication information on back wrapper. Wrapper included in page count. In a glassine cover. Text of a lecture delivered in London on June 24 1936 at the London International Surrealist Exhibition. The poet Paul Eluard 1895-1952 was one of the organizers of the conference held from June 11 to July 4 1936. G.L.M. was the press of Guy Levis Mano. In Fine Condition: clean and bright. G.L.M. paperback
194391824Robert J. Godet 1943. Fine. Robert J. Godet 1943 23 x 28 cm broché First edition illustrated with 6 original lithographs by Pablo Picasso one of 500 numbered copies on Lafuma paper. A pleasing copy complete with its ""prière d'insérer"" written by Paul Eluard. Robert J. Godet unknown
27412Paris Les Cahiers d'Art Christian Zervos 1942. 1 vol. 175 x 230 mm non paginé de 10 f. et 1 planche. Broché chemise et étui demi-maroquin noir Semet et Plumelle. Edition originale. Frontispice gravé par Henri Laurens. Un des 53 exemplaires sur vélin d'Arches n° 42 signé par Éluard et Laurens. . Rien ne permet de dater avec certitude la composition ni la publication de cet ensemble de 7 poèmes souvent tenu sur la foi de l'achevé d'imprimer fallacieux du 3 avril 1942 de Poésie et Vérité 1942 dans lequel il est repris et de la présence attestée d'Éluard à Vézelay chez les Zervos au premier trimestre 1942 pour avoir été publié par les éditions Cahiers d'art à ce moment-là voire dès le mois de janvier. Il est cependant peu probable que La Dernière Nuit ait été composé avant juin 1942 et en tout cas édité avant l'été. Jean-Charles Gateau affirme sans citer de sources Paul Éluard ou le frère voyant p. 277 que ce serait en réaction aux exécutions les 23 et 30 mai des trois communistes fondateurs en février 1941 de La Pensée libre clandestine Georges Politzer Jacques Solomon et Jacques Decour ce dernier aussi à l'origine des Lettres françaises avec Jean Paulhan qu'Éluard aurait publié fin juin ce livre. Dans les deux lettres qu'il adresse à Louis Parrot les 20 et 28 août pour le prier de trouver un éditeur suisse à une série de poèmes « sous le titre Poésie et Vérité 1942 » dont il établit l'ordre il parle d'ailleurs des « 7 poèmes de la dernière nuit qui vont paraître dans Poésie 42 » ce qui ne sera pas le cas dont « Seghers a une bonne copie » Scheler p. 148-152 et non de la publication aux Cahiers d'art sans doute parce qu'il sait que son correspondant n'en dispose pas. À cette date en tout cas l'ouvrage a déjà paru comme l'attestent les envois du 9 juillet à Max Jacob sur les épreuves et du 1er août à Francis Poulenc sur son exemplaire vente Ader du 20 juin 2017 lot 194. Il existe même un bon à tirer daté du 4 avril 1942 signé par Éluard sur la page de titre corrigée du livre après laquelle ont été reliés les poèmes manuscrits d'« Écris plus vite » les épreuves corrigées de leur publication dans Messages et ceux de La Dernière Nuit seuls publiés comme tels in fine « Surréalisme et poésie contemporaine » coll. Yves Breton Hôtel Drouot 1954 n° 140. Les poèmes au ton offensif sont clairement dirigés contre l'occupant : « Des hommes vont venir qui n'ont plus peur d'eux-mêmes / Car ils sont sûrs de tous les hommes / Car l'ennemi à figure d'homme disparaît. » Le refus fondateur d'Éluard ouvrant la voie à la résistance littéraire clandestine en son adéquat exemplaire n° 42. Paris, [Les Cahiers d'Art, Christian Zervos], 1942. 1 vol. (175 x 230 mm) non paginé de [10] f. et 1 planche. Broché, chemise unknown
46866Gallimard - édition originale In-8 318pp. pages non coupées unknown
20012091202133207882Editions Mango 2001. Soft Cover. Fine. Volume: 1 Editions Mango paperback
2221087798.Gmass_market. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. unknown
193448185Paris: Gallimard 1934. Fine. Gallimard Paris 1934 12 x 19 cm broché First edition one of 1450 numbered copies on vélin d'Arches paper the only large paper copies after 50 on pur fil. Handsome autograph inscription signed by Paul Eluard to his friend Léo Malet. Spine slightly and insignificantly sunned. Gallimard unknown
1975319861975. Paris Editions Jean-Michel Place 1980. Un fort vol. au format in-4 297 x 208 mm non paginÂŽ. Reliure d'ÂŽdition de pleine percaline satinÂŽe cerise sous jaquette illustrÂŽe. Reprint de cette cÂŽlÂbre revue ; agrÂŽmentÂŽe de nombreuses illustrations. ''La RÂŽvolution surrÂŽaliste sera pendant cinq annÂŽe le creuset dans lequel vont se fondre les grands thÂmes de ce mouvement trÂs connu et toujours trÂs mystÂŽrieux le surrÂŽalisme. C'est l'incitation ˆ la vie dangereuse la sagesse de l'Orient l'engagement poÂŽtique la libÂŽration sexuelle l'amour la femme''. Dos et marge gauche du premier plat insolÂŽs. Infime altÂŽration affectant la coiffe supÂŽrieure de la jaquette. Du reste trÂs belle condition. b42961 unknown
1932586318Paris: Editions des Cahiers Libres 1932. Softcover. Fair. First edition. Octavo. 170 3pp. Wrappers and spine are clumsily repaired with cellotape small tears and nicks at the extremities a fair only copy. Ownership signature of Norman Macleod on front wrap partially covered by tape. Inscribed by the author on the half-title: "a Norman Macleod homage Paul Eluard. Editions des Cahiers Libres unknown
1980624319Baton Rouge: Louisiana State University Press 1980. Hardcover. Fine/Very Good. First bilingual edition. Translated with an Introduction by Marilyn Kallet. Parallel text in French in English. Fine very good dust jacket with a few tiny tears and light toning on the spine and rear panel. Inscribed by translator Kallet to Donald Justice: "For Donald Justice with great admiration Marilyn Kallet. Louisiana State University Press hardcover
1980300450Louisiana State University Press 1980. Cloth. Near Fine/Very Good. One of France's major poets text in French and English unmarked back panel of dustjacket discoloured 91pp NF/VG. <br/> <br/> Louisiana State University Press hardcover
2006Q-0976844931Commonwealth Books Black Widow 2006-07-19. Paperback. New. In shrink wrap. Looks like an interesting title! Commonwealth Books, Black Widow paperback
194939175Paris: Maeght 1949. A STUNNING AND IMPORTANT LIVRE DE PEINTRE. The first edition of Eluard's text illustrated with 87 ORIGINAL COLOR ETCHINGS BY ROGER CHASTEL. From a total edition of 196 numbered copies this is one of 148 on extremely fine Lana wove paper. Folio. Loose as issued in original wraps. FINE AND BRIGHT WITH NO DEFECTS. In this original lightly worn board chemise and slipcase. The Artist & the Book 55; Strachan pp. 116-118 and 328; Chapon pp. 172-175. A PRISTINE COPY OF A RARE BEAUTIFUL AND IMPORTANT BOOK ONE OF THE TRULY GREAT MODERN BESTIARIES. <br/><br/> Maeght paperback
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
1950018439Trianon Press Grey Falcon Press 1950. 1st Edition . Soft cover. Near Fine/Near Fine. 1st Edition Soft cover. Softcover in illustrated wraps with glassine dust jacket. First Bilingual Edition. 93 pages illustrated with an original Marc Chagall color lithograph frontispiece plus nine block-printed black and white plates and additional in-text illustrations. A LIMITED EDITION OF 1500 copies 750 published by Trianon in the UK 750 by Gray Falcon in the US this is #1312 by Gray Falcon Press. Book Condition: spine ends slightly rubbed some pages uncut all in really nice condition with no marks to illustrations. a few tiny chips to the Glassine cover. <br/> <br/> Trianon Press, Grey Falcon Press, paperback
1950RM6Phila Pa: The Grey Falcon Press 1950. Boards. Very Good in Very Good dust jacket. Illustrated by Marc Chagall. limited edition number 1266 out of 750-1500 printed by the Grey Falcon press cover wrap chipping aloing spine yellowing binding very good pages very clean 92 pgs.; 8vo - over 7¾" - 9¾" tall. The Grey Falcon Press unknown
195061094Bordas. 1950. Paperback. Very Good- in Very Good- dust jacket. Softcover in illustrated wraps with glassine dust jacket which is torn at upper and lower spine with small areas of loss spine also sunned corners bumped; binding is tight but the original Marc Chagall colour lithograph frontispiece is loose and laid in; pages are unmarked with nine block-printed black and white plates and text in French.; 8.9 x 0.25 x 11.25 inches; 49 pages . Bordas paperback
195020-12701Grey Falcon Press 1950-01-01. Paperback. Good. Good condition with wear and markings. Grey Falcon Press paperback
ZD-O4NN-2DEXPaperback. Very Good. Limited Edition Philadelphia: Gray Falcon Press & Trianon Press London 1950. Softcover in illustrated wraps with glassine dust jacket. First Bilingual Edition. 93 pages illustrated with an original Marc Chagall color lithograph frontispiece plus nine block-printed black and white plates and additional in-text illustrations. A LIMITED EDITION OF 1500 copies 750 published by Trianon in the UK 750 by Gray Falcon in the US this is #985 by Gray Falcon Press. Very good condition partially un-opened with minor shelf-wear and yellowing to jacket; no owner marking NOT EX-LIBRARY. eb paperback
