1 990 résultats
1952réf. 52661Armand Henneuse | Paris 1952 | 14 x 19.50 cm | relié sous chemise et étui
1936réf. 53047GLM | Paris 1936 | 12.50 x 17 cm | broché
1922réf. 61537Librairie Six | Paris 1922 | 19 x 25.50 cm | relié
1934réf. 166323New 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. "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. 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. 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
1934réf. 166323New 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. "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. 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. 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 books
1919réf. 1334Paris: 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. Three leaflets of the series of the “Papillons Dada”. 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. . [S.n.] unknown
1956réf. 2198Paris, Albin Michel, 1956. Un volume in-8 (203 x 135 mm) broché, couverture illustrée imprimée. ÉDITION ORIGINALE. EXEMPLAIRE DE TÊTE COMPRENANT LA LITHOGRAPHIE ORIGINALE JUSTIFIÉE À 40 EX. ET SIGNÉE PAR JOAN MIRÓ. - TIRAGE : un des 37 exemplaires de tête sur vélin du marais (+ 3 nominatifs, soit 40 ex), celui-ci n° 14, les seuls à comporter la lithographie. - ILLUSTRATION : une lithographie originale en couleurs signée de Joan Miró ; 8 reproductions photographiques. ÉTAT DE NEUF, non coupé. RARISSIME. Bibliographie: Malet-Cramer, Miró, n° 35. - ENGLISH: PÉRET, Benjamin, and Joan MIRÓ: Anthologie de l’amour sublime (Anthology of Sublime Love). Paris, Albin Michel, 1956. One volume (203 x 135 mm), paperback, illustrated printed cover. HEAD COPY INCLUDING THE ORIGINAL LITHOGRAPHY JUSTIFIED 14/40 AND SIGNED BY JOAN MIRÓ. ORIGINAL FIRST EDITION. - EDITION: one of the 37 head copies on vellum of the marsh, this one n° 14, the only ones to include the lithograph.(+ 3 added nominative copies hc). - ILLUSTRATION: an original lithograph in colors numbered 14/40 and signed by Joan Miró; 8 photographic reproductions. NEW CONDITION, uncut. Very scarce. Bibliography: Malet-Cramer, Miró, n° 35.
1930réf. 1389de la main à la main, s.l. 1930. 1 volume in-4 (270 x 215 mm) broché sous couverture rouge (279 x 220 mm) imprimée du titre en noir sur le premier plat uniquement, 35 pp. + 2 fnch. Seconde édition, (en partie originale), du premier recueil de poèmes de René Char augmentée de cinq nouveaux, les quatorze originaux étant ici modifiés. Avec une illustration hors-texte du peintre catalan Francesc Domingo imprimée en noir. Aussi rare que la première (26 ex.) celle-ci a été tirée "qu'on le veuille ou non" à 39 exemplaires hors-commerce le 5 Février 1930 : 5 Vergé d'Arches + 7 sur Guérimand vert d'eau + 27 sur couché Prioux. Au colophon on lit : " Il est réconfortant de savoir que les imbéciles n'en sauront rien ". Celui-ci 1 DES 7 EXEMPLAIRES SUR PAPIER VERT, numéroté et justifié à l'encre par René Char "EXEMPLAIRE D'ANDRÉ BRETON". Sur le faux-titre, René Char a ajouté de sa plume "Pour distraire Madame Marcelle Ferry, cet ARSENAL, René Char". Le recueil est dédié à Paul Eluard.
1935réf. 4171Paris: 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
1937réf. 1704521937. 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
1937réf. 1704521937. 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 books
1922réf. 61537Paris: 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
1952réf. 52661Paris: 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
1936réf. 53047Paris: 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
1944réf. 3018Toulouse: 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. First exhibition catalogue of Bellmer illustrated with and original photo with Paul Eluard’s text. Extremely scarce. . Librairie Silvio Trentin unknown
1935réf. 162888Paris: Editions G. L. M. 1935. One of the iconic French photobooks of the 1930s First and limited edition number 695 of 1175 copies one of the most important works in the photobook canon. "Although Man Ray participated in and produced hundreds of fruitful collaborative works in his life Facile must be ranked among the most successful. The book combines Paul Éluard's love poems to his wife Nusch with Man Ray's photographs of her in an extremely elegant design integrating Man Ray's solarized superimposed double-exposed and negative images into the page spreads in a way that makes image and text appear to intimately embrace. It is a fluent but not at all facile collaboration between the poet the photographer the model and muse and the publisher Guy Lévis Mano. Nusch Éluard had become one of Man Ray's most important models. and was also one of Picasso's favourites. She had just married Éluard the previous year. The Éluards remained in Paris throughout World War II and were very active in the Resistance. In 1943 they were forced to hide out in the Saint-Alban psychiatric hospital where weakened and demoralized Nusch Éluard died of exhaustion in 1946. In Facile she lives" Levi Strauss p. 86. Quarto. With 12 heliogravure images. Original photographic wrappers signatures unbound as issued. Housed in a custom grey cloth solander box. Wrappers lightly creased at edges very faint scratches to front cover contents lightly toned still fresh. A near-fine copy. Parr & Badger I pp. 104-5; David Levi Strauss "Man Ray Facile" in Andrew Roth ed. The Book of 101 Books: Seminal Photographic Books of the Twentieth Century 2001; see also Renée Riese Hubert Surrealism and the Book 1988 pp. 73-83. hardcover
1922réf. 21228Paris, Librairie Six, 1922. In-8 broché de 43-[1] pages.
1959réf. 1719Alès, PAB, 1959. Un volume In-8° (232 x 175 mm), broché, couverture de papier bleu orné de papiers découpés (pour chaque exemplaire l'artiste a fait un découpage particulier et dessiné les étoiles à l'encre de Chine). 2 POINTES SÈCHES ORIGINALES EN BLEU, hors-texte à pleine page. Édition originale de ce court et spirituel poème pour enfant. Édition totale à 35 exemplaires + 5 HC, celui-ci bien signé à l'encre par l'auteur, l'artiste et l'éditeur au colophon.
1935réf. 151223Paris: Editions G.L.M. 1935. This small photobook has come to be regarded as one of the iconic French photobooks of the 1930s First and limited edition number 851 of 1175 copies. One of the most important works in the photobook canon: "Although Man Ray participated in and produced hundreds of fruitful collaborative works in his life Facile must be ranked among the most successful. The book combines Paul Éluard's love poems to his wife Nusch with Man Ray's photographs of her in an extremely elegant design integrating Man Ray's solarized superimposed double-exposed and negative images into the page spreads in a way that makes image and text appear to intimately embrace. It is a fluent but not at all facile collaboration between the poet the photographer the model and muse and the publisher Guy Lévis Mano. Nusch Éluard had become one of Man Ray's most important models. and was also one of Picasso's favourite models. She had just married Éluard the previous year. The Éluards remained in Paris throughout World War II and were very active in the Resistance. In 1943 they were forced to hide out in the Saint-Alban psychiatric hospital where weakened and demoralised Nusch Éluard died of exhaustion in 1946. In Facile she lives" Roth. Quarto. With 12 heliogravure images by Ray. Original photographic wrappers with unbound signatures. Housed in a black cloth flat-back box by the Chelsea Bindery. Wrapper edges slightly rubbed with a couple of small creases to head of spine. Parr & Badger I pp. 104-05 "this small photobook has come to be regarded as one of the iconic French photobooks of the 1930s by virtue of its inclusion in many exhibitions devoted to the Surrealist movement"; Roth 101 pp. 86-87; see also Renée Riese Hubert Surrealism and the Book 1988 pp. 73-83. hardcover
réf. EXE-754Paris, Gonon, 1917. In-8°, reliure de demi-maroquin noir à bandes; plats de papier verni noir recouverts d'un décor mosaïqué de pièces de papier cuivré et marbré et d'un quadrillage de bandes de papier glacé blanc; non rogné; tête dorée; couverture et dos conservés , chemise et étui (P.L.Martin, 1959). Edition Originale. Illustré d’une bois gravé de André Deslignères. Tiré à 206 exemplaires, celui-ci LE NUMÉRO 4 DES 6 DE TÊTE SUR VIEUX JAPON. Exemplaire enrichi de CINQ ÉTATS DE LA GRAVURE supplémentaires, dont 3 signés.
1927réf. 2199Paris, Éditions surréalistes, 1927. In-8 (22,8 x 16,8 cm), box crème, sur les plats décor de grandes lettres (DORMIR) en relief de même box, ponctué d'étoiles stylisées de différentes tailles en box vert, rouge et ivoire, titre à l'œser violine au premier plat, auteur et artiste au second, dos muet, tête rognée, doublures bord à bord de box crème, boîte de peau velours gris perle, couvertures et dos conservés, coffret avec le dos en box crème titré à l'œser (F. Brindeau - 2010). ÉDITION ORIGINALE illustrée de 14 dessins d'Yves Tanguy, dont la couverture reprise en page de titre et 3 hors-texte. - 14 DESSINS EN NOIR D'YVES TANGUY REPRODUITS, DONT LA COUVERTURE, LA PAGE DE TITRE ET LES 3 HORS TEXTE AQUARELLÉS PAR L'ARTISTE LUI-MÊME. Tirage à 210 exemplaires signés à l'encre par l'auteur et l'illustrateur Celui-ci un des 20 sur papier de Hollande (n° 26), second papier après 10 Japon, les seuls avec la couverture, la page de titre et les 3 hors-texte rehaussés à l'aquarelle par l'artiste (avec 5 Chine nominatifs). Élégante et virtuose reliure de François Brindeau. - Bibliographie : Monod, 8959. Peyré, Peinture et poésie, n° 28, p. 233. From Manet to Hockney 80. Castleman 179. Andel, Avant Garde Page Design 421. Superbe et très rare exemplaire. Photographies supplémentaires de l'ouvrage sur demande. ENGLISH DESCRIPTION :[TANGUY, Yves - PÉRET, Benjamin."Dormir dormir dans les pierres" (Sleeping sleeping in the stones). Paris, Éditions surréalistes, 1927. In-8 (22.8 x 16.8 cm), cream box, on the covers decorated with large embossed letters (DORMIR) from the same box, punctuated with stylized stars of different sizes in green, red and ivory box, title with a purple oeser on the first cover, author and artist on the second, blank spine, cropped head, edge to edge cream box linings, pearl gray velvet skin box, preserved covers and spine, box with cream box spine titled to the oeser (F. Brindeau - 2010). First edition illustrated with 14 drawings by Yves Tanguy, including the cover on the title page and 3 out of text. - 14 DRAWINGS IN BLACK BY YVES TANGUY, INCLUDING THE COVER, THE TITLE PAGE AND THE 3 IN-TEXT WATERCOLORED BY THE ARTIST HIMSELF. Edition of 210 copies signed in ink by the author and the illustrator. This one of 20 on Holland paper (n° 26), second paper after 10 Japan, the only ones with the cover, the title page and the 3 insets enhanced in watercolor by the artist (with 5 nominative China). First edition,first printing. Elegant and virtuoso binding by François Brindeau. Bibliography: Monod, 8959. Peyré, Painting and poetry, no. 28, p. 233. From Manet to Hockney 80. Castleman 179. Andel, Avant Garde Page Design 421. Superb and very rare copy. Additional photographs of the book on request.
1956réf. N - 2024 - 114Paul 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. Louis Broder
1956réf. N - 2024 - 114Paul 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. Louis Broder books
1935réf. Eluard6ÉLUARD Paul 1895-1952 Autograph poem signed " Paul Eluard " N.p.n.d 2 p. in-folio on thin green paper Some slight browning on margins Bespoke framing Complete manuscript of one of the four poems published in Facile 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 A LA FIN DE L'ANNÉE DE JOUR EN JOUR PLUS BAS IL ENFOUIT SA CHALEUR COMME UNE GRAINE. " I Nous avançons toujours Un fleuve plus épais qu'une grasse prairie Nous vivons d'un seul jet Nous sommes du bon port Le bois qui va sur l'eau l'arbre qui file droit Tout marché de raison bâclé conclu s'oublie Où nous arrêterons-nous Notre poids immobile creuse notre chemin Au loin les fleurs fanées des vacances d'autrui Un rien de paysage suffisant Les prisons de la liberté s'effacent Nous avons à jamais Laissé derrière nous l'espoir qui se consume Dans une ville pétrie de chair et de misère De tyrannie La paupière du soleil s'abaisse sur ton visage Un rideau doux comme ta peau Une aile salubre une végétation Plus transparente que la lune du matin Nos baisers et nos mains au niveau de nous-mêmes Tout au-delà ruiné La jeunesse en amande se dénude et rêve L'herbe se relève en sourdine Sur d'innocentes nappes de petite terre Premier dernière ardoise et craie Fer et rouille seul à seule Enlacés au rayon debout Qui va comme un aveu Écorce et source redressée L'un à l'autre dans le présent Toute brume chassée Deux autour de leur ardeur Joints par des lieues et des années Notre ombre n'éteint pas le feu Nous nous perpétuons. " " II Au-dessous des sommets Nos yeux ferment les fenêtres Nous ne craignons pas la paix de l'hiver Les quatre murs éteints par notre intimité Quatre murs sur la terre Le plancher le plafond Sont des cibles faciles et rompues À ton image alerte que j'ai dispersée Et qui m'est toujours revenue Un monotone abri Un décor de partout Mais c'est ici qu'en ce moment Commencent et finissent nos voyages Les meilleures folies C'est ici que nous défendons notre vie Que nous cherchons le monde Un pic écervelé aux nuages fuyants au sourire éternel Dans leurs cages les lacs au fond des trous la pluie Le vent sa longue langue et les anneaux de la fraîcheur La verdure et la chair des femmes au printemps La plus belle est un baume elle incline au repos Dans des jardins tout neufs amortis d'ombres tendres Leur mère est une feuille Luisante et nue comme un linge mouillé Les plaines et les toits de neige et les tropiques luxueux Les façons d'être du ciel changeant Au fil des chevelures Et toujours un seul couple uni par un seul vêtement Par le même désir Couché aux pieds de son reflet Un couple illimité. Paul Eluard " This poem entitled À la fin de l'année de jour en jour plus bas il enfouit sa chaleur comme une graine 66 lines long and in two parts appears between L'Entente and Facile et bien. 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. 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. About Facile Pierre Emmanuel writes in Le Je universel chez Paul Éluard 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 Facile'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… " The handwritten poems of this collection one of the most emblematic of the poet are rare. Bibliography: Facile – Poèmes de Paul Éluard / Photographies de Man Ray – G.L.M Paris 1935 Paul Éluard – Œuvres complètes – Tome 1 éd. Marcelle Dumas et Lucien Scheler Pléiade p. 462 – 464 Provenance: Christian Genet Collection
1920réf. 92144Proverbe | Paris 1er février 1920 - 1er juillet 1921 | 14 x 22.5 cm & 20,8 x 27,5 | 5 fascicules sur feuillets double et 1 feuillet recto-versos