VILLENA, Henrique de AragonLivre Rare Book
6 507 résultats
réf. 17960Madrid, Antonio Marin, 1766.
1966réf. 103358Paris N.R.F. 1966 328x255mm 37pp., 7 feuillets non chiffrés, une planche hors-texte, plein maroquin rouge, titre doré au dos, couvertures et dos conservés, étui (D. Mitterrand).Edition originale illustrée de dessins dans le texte d'André Masson. Un des 20 exemplaires réimposés sur Japon Impérial (n°19), premier papier comportant une eau-forte d'André Masson numérotée et signée (Saphire 71).Envoi autographe signé d’Aragon à Colette et Jacques Duhamel, ministre des affaires culturelles de 1971 à 1973 dans les gouvernements Chaban-Delmas et Pierre Messmer.On joint deux lettres tapuscrites signées de Pablo Neruda, adressées à Jacques Duhamel:-L’une datée du 26 octobre 1971 remerciant le Ministre de ses félicitation suite à l’attribution du Prix Nobel qu’il obtint le 21 du même mois.-L’autre datée du 12 février 1973 lui expliquant les raisons de l’abandon de son poste d’Ambassadeur du Chili et son départ de la France.(103358)
1947réf. 104416Paris 1947 10 Paris, Le cercle des arts de l'Union de la jeunesse républicaine de France, 1947-1952, formats et présentations divers.Publication artisanale, dirigée par F.Giusti, entièrement manufacturée par de jeunes artistes et des étudiants en art appartenant à v l'Union de la jeunesse républicaine de France proche du parti communiste français, TRAITS paraît à des dates difficiles à déterminer. Ses huit premiers numéros sont présentés dans des chemises aux couvertures illustrées notamment de bois gravés et de collages. Louis Aragon, Paul Colin, Gimond, Francis Jourdain, Fernand Léger, Marcel Lods, André Marchand, Matisse, Léopoldo Mendez, Henry Moore, Paul Nelson, Richard J. Neutra, Auguste Perret, Paul Eluard, Marcel Gromaire, Le Corbusier, Pablo Picasso, Candido Portinari, Marc Saint-Saëns y collaborèrent. (104416)
1950réf. 872201950. Fine. It has to be said that we are publishing here this masterpiece deliberately ignored by those who write literary history and which makes existentialist teeth grind or simply spoilt teeth as an example sure that it will not be in vain. s. d. circa 1950 21 x 30 cm une page sur un feuillet Autograph manuscript by Louis Aragon one page in blue ink on a leaf. Precious study by Louis Aragon accompanying the serial publication in Les Lettres Françaises of Marceline Desbordes-Valmore's novel L'Atelier d'un peintre 1833. Aragon rehabilitates the female poet-novelist canceled from the history of literature and snubbed by Existentialists placing her in the tradition of socialist realism. Autograph manuscript by Louis Aragon one page in blue ink on one leaf. Numerous crossed out words and rewritings. Slight rusting due to a paper clip slight shadows of an ink transfer from another page. Published in Les Lettres Françaises episode 16 23 February 1950. In 1949 Aragon chose to publish 'L'Atelier d'un peintre' serially with his own comments. The Cold War made socialist realism the official literary genre for Communist cultural policy: 'For Aragon reading Marceline Desbordes-Valmore is above all reading the history of a generation of a people. More precisely he made Marceline an incarnation of the unfinished Republic of a world still under construction and one that was tending towards freedom. To understand Marceline Aragon invites us to 'date her writings' and not be content to confine her to a single period of her life but to try to find an explanation for her stances which were as different as the regimes during the gestation of the Republic in the nineteenth century'. Aghbarian Lina 'Aragon éditeur de Marceline Desbordes-Valmore' Recherches croisées Aragon - Elsa Triolet no. 14. Of all his comments accompanying 'L'Atelier d'un peintre' this is one of his most polemical: Aragon opposes the Surrealists by contesting Lautréamont's distate of the Romantics with whom Desbordes-Valmore was associated. The writer criticizes the hasty rejection of her work which nevertheless has counterparts in modern literature: 'The Atelier that Aragon reopens with the publication of this novel to rework it to reveal it to give it a second life closer to his own concerns after having disentangled it from its time and emptied it of its Romantic religiosity to lay bare its richness which lies in the feminist cause defended by Marceline Desbordes-Valmore . . For her Ondine the literary character was a transposition of the missing child her son the son of Henri de Latouche her lover. Ondine is thus three times hybrid androgynous real and imaginary daughter and mother at the same time and Léonard her inverted double the one she would have liked to be in order to succeed in the forbidden world of painting. Aragon doubles androgyny with homosexuality as seen in Yorick's phrase 'Talma doubles my existence'. Among other allusions he refers to Henri Miller's Sexus an allusion is made about this work in this manuscript Aragon cultivates the theme of duality on which the whole novel is built. Without abandoning the imaginary world of the novel he seeks to bring out the realistic side of this romantic novel hidden in the shadow of the lyrical novel. In a word Aragon reverses the order of the foreground and background: the romanticism of Marceline Desbordes-Valmore's novel becomes secondary and the historical background takes precedence' ibid. 'We have now come to the night scene in the Place Vendôme which is one of the most intense the most beautiful minutes of the novel of the other century. I know that not everyone will agree. It's come to my attention that there are people who are superbly distracted from L'Atelier d'un peintre and find it wrong that we should publish a story in which there is absolutely nothing of what THEY are looking for in novels and it's possible that those who c unknown
réf. 15172Paris, 1919 - 1920. 12 numéros brochés, couvertures jaunes.
1946réf. 0123With an Important Inscription by Aragon Explicating the History of the Text Aragon Louis 1897-1982. La Naissance de la Paix par Rene Descartes: ballet danse au chateau royal de Stockholm le jour de la naissance de Sa Majeste 1649. Paris: Bibliotheque Francaise pour les amis de l'auteur J. Dumoulin 1946. Copy #128 of 300 signed by Aragon. In addition this copy bears a full-page inscription Aragon. 4to. Original wrappers glassine. 34p. plus colophon. With an inscription which reveals the bibliographic history of the original translation: "Your father has requested that I write a poem on the dance for you. It is not possible because I am incapable but this book is on dance. It is a description of a ballet by Rene Descarte written in 1649 for the birthday of the Queen of Sweden. There must be a manuscript in Stockholm but I based my writing on a manuscript which existed before the war in the Bibliotheque Nationale which has since vanished. Here I have expanded the text with comments. For precious Sandra for when she is a big girl who will charm the world with her dancing. Signed Aragon 18 June 1977." When Rene Descartes was 54 he went to Stockholm at the invitation of Queen Christina. It is said that because Descartes refused to dance at a court ball Queen Christina charged him with writing the verses for a court ballet La Naissance de la Paix. The ballet was composed for performance on 8 December 1649 the 23rd birthday of the Queen. It celebrates the Peace of Westphalia at the end of the Thirty Years' war which was more or less won by Sweden. According to a recent study by Richard Watson "the evidence of Descartes' authorship is virtually nonexistent. Almost certainly the ballet was written by Helie Poirier a professional writer of French verse." References: Watson Richard A. Descartes's Ballet 2007. Dumoulin books
1932réf. 48563Paris.: Bureau d'Editions et de Diffusion. 1932. Original publisher's tan printed wrappers stapled as issued titles and illustration in black to front cover advertisements to rear. Small 4to. 230 x 184 mm. Leaf with title eight leaves with caricature vignettes by Georges Adam and verse by Aragon recto only two per page final leaf with achevé d'imprimer. André Breton's copy of this very scarce plaquette destined for the children of workers and noted for its virulent 'anticlérical anticapitaliste anticolonialiste antipatriotique' sentiments.This rare pamphlet by Louis Aragon was intended for the children of the exploited masses and as noted by Pierre Juquin was 'anticlérical anticapitaliste anticolonialiste antipatriotique'.Aragon had thrown himself into anti-clericalism after his break with Surrealism and wrote the verses accompanied by Adam's caricatures in Russia. The pamphlet was printed on the presses of 'L'Imprimerie Centrale'.'Pour faire oublier la Commune / Le Sacré-Coeur a vu le jour. / Un beau soir il aura son tour / Ce gâteau blanc comme lune!' From the text.Also included inserted loose is André Breton's membership card filled out in his own hand in black ink giving his address in rue Fontaine and signed beneath for the 'Union Fédérale des Libres-Penseurs Revolutionnaires de France'. A bifolium of blue card the front cover features the vignette of the 'Union' which matches the vignette for Aragon's plaquette. The membership card features Marx's famous slogan 'La Religion c'est l'opium du Peuple!' and a quotation from Lenin as well as fifteen stamps of the Union indicating membership or attendance at meetings nine dated '1932' and three dated '1931' and inscribed 'Octobre' 'Novembre' 'Décembre'.Aragon's plaquette is scarce: we locate copies at the Bibliothèque Nationale in France the Bibliothèque Génève in Switzerland as well as copies at Syracuse Duke Yale Bowdoin and the University of California in the US. Bureau d'Editions et de Diffusion. unknown
1942réf. 373129Neuchâtel: Éditions de la Baconn¡ère 1942. First edition no. 1993 of the trade issue edition of 4080. Frontispiece portrait of Aragon after a drawing by Matisse. 55 1 8 pp. 8vo. Decorative purple and black morocco boards stamped in silver on spine original wrappers bound in signed Leroux at front turn-in. Fine. Flannel-lined chemise. First edition no. 1993 of the trade issue edition of 4080. Frontispiece portrait of Aragon after a drawing by Matisse. 55 1 8 pp. 8vo. This long-form Aragon poem divided into seven sections was the third iteration of Éditions de la Baconniere's "rouge" series "Les poètes de Cahiers du Rhône" notable for their red wrappers and limited issue. This copy is further distinguished by a custom morocco binding n purple and black morocco by the celebrated book artist Georges Leroux who had been a poet prior to becoming a binder in 1959 A pencil note on an interior page cites a 1914 Pablo Picasso painting titled "Tête" but the design does not correspond to work of that title or imagery from that period. Instead it very closely resembles Picasso's 1958 painting "Tête de femme" - subsequently reworked as a series of linocut prints of the same name in 1962 - a timeframe which also aligns more closely with the start of Leroux's bookbinding career. A gorgeous example of French bespoke binding by a master of the craft. Éditions de la Baconn¡ère unknown
1955réf. 2213Pierre Seghers, Paris 1955. Un volume in-8 (21,3 x 11,3) broché sous cartonnage de papier marbré de l’éditeur, 70 pages, étiquette de papier bleu, portant le titre, contrecollée au dos, étui éditeur. Édition originale. 1/99 ex. num. sur vélin de Rives, le n° 5. - 5 SUPERBES GRAVURES SUR CUIVRE DE HANS BELLMER à la pointe-sèche et au burin. - Tirage total à 106 : 1 ex. unique, 6 Japon, 99 vélin de Rives + 7 H.C. L'exemplaire porte UN TRÈS BEL ENVOI À L'ENCRE DE JOYCE MANSOUR sur un feuillet liminaire. Référence : Mandiargues, Hans Bellmer, Œuvre gravé, 31-33, reproduit. -- ENGLISH DESCRIPTION: Hans BELLMER - MANSOUR, Joyce : JULES CÉSAR. With 5 etchings by Hans Bellmer (1955). Pierre Seghers, Paris 1955. A volume 8° (21.3 x 11.3) in the publisher's marbled paperboard cover, 70 pages, blue paper label, bearing the title, laminated on the back, in the publisher's slipcase. First edition, first printing. 5 SUPERB ORIGINAL ETCHINGS BY HANS BELLMER with drypoint and chisel. Edition: 1/99 ex. number on Rives vellum (n°5) (total print run of 106: 1 unique, 6 Japan, 99 Rives vellum + 7 H.C.). L'un des ouvrages illustrés par Hans Bellmer parmi mes préférés ! Cet exemplaire avec une belle dédicace manuscrite de Joyce Mansour. One of my favorites… and more and more, so since meeting him is rare… With a dedicace in ink by Joyce Mansour. Reference: Mandiargues, Hans Bellmer, engraved works, 31-33, reproduced.
1944réf. 80668Sous étui bordé. Reliure plein maroquin grenat. Dos lisse avec auteur et titre dorés. Tranches dorées sur témoins. Couverture et dos conservés. Reliure signée P.-L. MARTIN, 1967.
1931réf. 49605Paris: Editions surrealistes Les Editions Denoel et Steele 1931. Hardcover. Fine. 4to pp. 83 5 errata leaf tipped in at end. Full leather design binding with original wrappers bound in with cancel slip over publisher's imprint on the title page and upper cover of the original red paper wrapper. The work is a collection of poems by Louis Aragon published in 1931. A radical turning point in his career marking the end of his Surrealist phase and his full commitment to communist political engagement. The collection comprises thirteen long poems characterized by violent imagery and destruction. It opens with the well known and highly politicized poem Front rouge which calls for the violent overthrow of capitalism and celebrates proletarian revolution. A couple of pamphlets relating to "Front Rouge" are loosely inserted. Finely bound by Georges Leroux in full grey morocco with gilt spine lettering and thick sculpted black leather onlays depicting oppressive figures marked with red inlays to their heads above figures without red inlays. A striking design binding in fine condition. Housed in a red card chemise with a felt-lined interior together within a matching red card slipcase. From a total edition of 1015 copies this being no. 675. Editions surrealistes [Les Editions Denoel et Steele] hardcover
réf. 10080NORD-SUD. Collection suivie du n° 1 (mars 1917) au n° 14 (avril 1918). Ne manquent donc que les deux derniers numéros (n° 15 et 16) pour le complètement. Les 12 livraisons sont en très bon état. Le n° 13 est bien complet des deux planches hors texte de Georges Braque ; le n° 14 est bien complet des deux planches hors texte de Fernand Léger (ces deux numéros sont les seuls à proposer des illustrations). /// N.B. Le n° 3 est ici dans sa variante optimale, comprenant bien le texte de Pierre Reverdy, " Sur le Cubisme ", suivi de de sa traduction en anglais par Léonce Alexandre-Rosenberg, " On Cubism " (quatre pages, numérotées I à IV, greffées au centre du fascicule). Le " reprint " de Jean-Michel Place reproduit bien ces quatre pages de traduction, manifestement ajoutées postérieurement, mais sans les annoncer au sommaire. Dans le cas de notre exemplaire, cette " augmentation " est mentionnée au sommaire figurant sur la couverture : les exemplaires " ordinaires " annoncent deux textes de Pierre Reverdy (" Matin " et " Une Nuit dans la plaine ") ; notre exemplaire " augmenté " annonce bien " Sur le Cubisme " en plus des deux autres textes. A noter : " Sur le Cubisme " avait déjà paru dans le n° 1 de NORD-SUD, mais sans la traduction de Léonce Rosenberg. /// Une telle collection est aujourd'hui très difficile à réunir.
1948réf. 87239s. d. [avril 1948] | 21 x 30 cm | 4 pages sur 4 feuillets
réf. 25602Sans lieu ni éditeur [Paris, René Bonnel], 1928, in-4, broché, couverture rouge rempliée, étui de l'éditeur, 85 p.Édition originale. Illustrée de 5 eaux-fortes érotiques d'André MASSON dont le frontispice et 4 hors-texte. 1/125 ex. num. sur vergé d'Arches à la forme. Bel exemplaire.
1945réf. 64157s. d. [1944-1945] | 19.80 x 26.50 cm | une feuille sous étui-chemise
1948réf. 872391948. Fine. ""Nose in the air arms flying with nonchalance with joy as Willy Ronis says. black shoes a large hat a wasp waist skirt in the wind and not the slightest idea what all this could be for but all the sunshine of late April in the veil. and like Paris absurdly inimitable."" s. d. avril 1948 21 x 30 cm 4 pages sur 4 feuillets Exceptional complete autograph manuscript by Louis Aragon. 4 pages in pencil on 4 leaves numbered in his hand. Discrete trace of rust discharge on the first leaf and on the verso of the last. Horizontal fold across all leaves. The article would be published under the title ""L'Art de prendre une photo pour Les Lettres Françaises"" Regards May 14 1948. Aragon accompanies the great Willy Ronis during a photographic session for a fashion portrait for Les Lettres Françaises. Following in Ronis's footsteps as he directs his spinning model the writer takes us through four pages across an enchanting Paris where popular life and worldly elegance intermingle. ""The aim was to illustrate Le Nez au vent by Louis Chéronnet. The column's theme was: The Elegance of Paris is moving westward and more specifically focused on avenue Montaigne"" begins Aragon in his chronicle. For the duration of a day the writer documents with fascination the photographer's work in one of his favorite settings: the streets of Paris. Several tableaux unfold in succession in the Montorgueil quarter at the milliner's in Ronis's studio on avenue Montaigne at the Théâtre des Champs-Elysées. The key word for both Aragon and Ronis is movement. Photography is not static nor are Aragon's impressions. We jump like the model in the photographer's shots from one place to another. The portrait of the elegant woman expands under the writer's pen to her surroundings to the bubbling life of Paris that stops for an instant to contemplate the model's silhouette animated by the photographer's instructions. Sixty years later Ronis would remember that memorable day: ""Aragon had a very beautiful regard for photography. He knew what an image was. Elsa too. He had me work when he founded and directed Les Lettres françaises. I did several reports for him. The first small report was in 1947 or 48 a report on fashion on avenue Montaigne. Aragon came with me we had chosen a model. I was a bit intimidated by Aragon it was my first contact with him. I wanted to get the maximum from my model I was working very hard because I was nervous. Seeing me work amused him so much that he didn't write the report about the model but about me working. I had seen him quite many times afterward we used the familiar form with each other."" Willy Ronis interview in Libération September 14 2009 Their militant paths crossed on numerous occasions - Ronis contributed through his photographs to witness the social revolts that shook the 1930s while Aragon devoted many articles to them. In 1949 the photographer would follow the commemorative day of the Oradour-sur-Glane tragedy in which nearly 400 artists participated at Aragon's initiative. He would also be the author of beautiful portraits of the Aragon-Triolet couple. Excerpts from the manuscript: Willy Ronis had arranged to meet me at 10:30 at the corner of rue Tiquetonne and rue Montorgueil. Apparently he was photographing athletes there. Ah! it was that restaurant where in the past we used to go eat with Vaillant-Couturier and there were Action Française types who would shoot daggers at us with their eyes. Instead of athletes Willy was there in his velvet jacket with his spectacles taking shots left and right at the counter of a couple of lovers. Sweet the lovers. The little one especially. Perhaps it's a sport. . There is nothing more solemn than Caroline Reboux. It is the temple of hats. If he lived in our times this is where Aristotle would write. Caroline Reboux herself made the bonnets for Nana and Eugénie de Montijo; at her place Bel-Ami would twist h unknown
1939réf. 1435-2Paris, NRF, Gallimard, 1939. in-4 broché, 70 pages, couverture imprimée. ÉDITION ORIGINALE de ce recueil contenant : "Trois chevaux aigus. Nous sommes. Nulle rupture. À l'ombre de ma porte. Poème perpétuel. L'or et l'eau froide. Trois poèmes inachevés. Les vainqueurs d'hier périront". Tirage : 5 Japon nacré et 15 vergé d'Arches numérotés et signés + les exemplaires non numérotés sur vélin du Marais (tirage probable à 500 ex.). Le notre, sur vélin du Marais est accompagné DES 4 SUPERBES LITHOGRAPHIES ORIGINALES DE MAX ERNST TIRÉES EN NOIR À PLEINE PAGE SUR VERGÉ DE HOLLANDE (seuls les 20 premiers exemplaires en grand papier contiennent ces lithographies). - Note bibliographique et historique : Max Ernst avait prévu une série de douze lithographies, mais seules quatre d’entre elles furent publiées dans l’édition de luxe à petit nombre. Un an plus tôt, en 1938, désapprouvant ses positions trotskystes, Éluard avait rompu avec Breton : À sa suite Max Ernst quitte le groupe surréaliste outré d’avoir à subir l’exigence de « saboter la poésie de Paul Éluard par tous les moyens » (in Centre Georges Pompidou, Paul Éluard et ses amis peintres, 1982, p.109).
1945réf. 641571945. Fine. s. d. 1944-1945 19.80 x 26.50 cm une feuille sous étui-chemise Exceptionally rare autograph satirical poem by Louis Aragon entitled Distiques pour une Carmagnole de la Honte written between September 1944 and February 1945. 26 lines penned in black ink on a single leaf with a note from the author in blue ink at the foot of the page. Our manuscript belongs to a group of thirteen poems composed during the first half of 1945 intended for publication in a poetry anthology Aragon published by Pierre Seghers in Paris Collection Poètes daujourdhui no. 2 20 July 1945. It was sent by Aragon as a working copy to his editor and friend Claude Roy. This autograph poem is the only known manuscript of the Distiques with neither manuscript nor proofs held in the extensive Triolet-Aragon archives at the Bibliothèque nationale de France. The autograph poem is housed in a midnight blue half-morocco folder with patterned paper boards beige lambskin doublures and a matching morocco-edged slipcase. Binding signed by Thomas Boichot. A true historical document and scathing indictment of the collaborators who sought refuge in Sigmaringen Aragons Distiques were composed during the winter of 19441945 following the publication of Musée Grévin. A quintessential example of Aragons resistance poetry this octosyllabic and ten-line verse composition denounces in no uncertain terms the leaders of the Vichy regime and their most ardent supporters. Sarcasm insult and invective fuel a vengeful poetry reminiscent of the fiery tone of Front Rouge which marked his break with surrealism. Yet the poems tone remains brisk and lively: the residents of Sigmaringen castle sing dance and play and Aragon concludes with a rousing quatrain: « Ah ça ira ça ira Les Pétain Laval tous à la lanterne Ah ça ira ça ira ça ira Les Pétain Laval tous on les pendra » borrowed from the revolutionary anthem « Ah ça ira ça ira ça ira Les aristocrates à la lanterne. Ah ! ça ira ça ira ça ira ! Les aristocrates on les pendra. » Despite numerous appeals to flee France at the outbreak of war Aragon chose to remain going underground with Elsa Triolet after serving bravely during the German offensive. The Occupation marked a period of intense activity for the writer who clandestinely published his collections of resistance poetry Le Crève-cur 1941 Les Yeux dElsa 1942 Le Musée Grévin 1943 La Diane française 1944 and under various pseudonyms poems and responses to collaborationists in the Lettres Françaises. At the same time he was commissioned by the Communist Party to rally writers and intellectuals in the southern zone where he founded a branch of the Comité National des Écrivains bringing together Stanislas Fumet Auguste Anglès Henry Malherbe and Jean Prévost. Aragons example proved that in times of war poetry could itself be a form of resistance a refusal to yield. As Claude Roy recipient of the manuscript later remarked: « La parole dAragon sélevait avec une violence et une aisance qui se répercutaient dun bout de la France à lautre. » « Ça doit avoir de la dégaine/Le château de Siegmaringen/On sy retrouve entre félons/Sous les lustres du grand salon » Aragon wrote two poems about Sigmaringen the former Swabian stronghold of the Hohenzollern family which hosted Pétain and his entourage after their flight from Vichy and Belfort. As Allied forces advanced and on orders from the Reich the Marshal and his supporters set up a puppet government there in September 1944 later replaced by the Gouvernemental Delegation for the Defence of French Interests in Germany during the wars final months. Aragon dedicates a distich to Laval who had been ousted from power by this new structure: « Laval a lair bien embêté / Dêtre en disponibilit頻. Notably Aragon adds an e to Sigmaringen likely a sardonic play on the Nazi salute Sieg Heil. For nearly eight months until April 1945 this extraterritorial enclave shelter hardcover
1948réf. 87160s. d. [1948] | 21 x 30 cm | 8 pages et demi sur 9 feuillets
1929réf. 2190S.l.n.e. (Bruxelles, Editions de la Revue Variétés, 1929). Un volume petit in-4 broché (30 x 22 cm), 28 pages sur 14 feuillets non paginés, couverture gris souris imprimé du titre "1929" sur le premier plat. Édition originale illustré de QUATRE PHOTOGRAPHIES PORNOGRAPHIQUE PAR MAN RAY titrées "Printemps , Été, Automne, Hiver" et contrecollées. La plaquette est divisée en deux semetres de l'année : les poèmes du premier semestre (janvier à juin) sont de Péret ceux du second (juillet à décembre) d'Aragon. Une particularité inhabituelle pour ce type de publication, les auteurs et le photographe ont nommément signé leurs œuvres. Exemplaire sur vélin de Montval numéroté au composteur (n° 211), conservé dans sa condition d'origine en excellent état (marge inférieure empoussiérée comme souvent). Photographies et informations supplémentaires sur demande. - — — ENGLISH: "1929". S.l.n.e. (Brussels, Editions de la Revue Variétés, 1929). A paperback 4vo volume (30 x 22 cm), 28 pages on 14 unpaginated sheets, gray soft cover printed with the title "1929" on the front. First edition illustrated with FOUR PORNOGRAPHIC PHOTOGRAPHS BY MAN RAY titled "Spring, Summer, Autumn, Winter" and sticked. The booklet is divided into two semesters of the year: the poems of the first semester (January to June) are from Péret those of the second (July to December) from Aragon. An unusual feature for this type of publication is the authors and the photographer have signed their works by name (printed). Our copy on Montval paper is numbered in the composter (no. 211), preserved in its original condition in excellent condition (lower margin dusty as often). Photographs and additional information on request.
1948réf. 871601948. Fine. ""Pour moi l'amitié des assasins n'est pas l'amitié . tant pis si l'on me juge esclave et qu'on me juge sans coeur !"" For me the friendship of assassins is not friendship . too bad if I am judged a slave and judged heartless! s. d. 1948 21 x 30 cm 8 pages et demi sur 9 feuillets Exceptional autograph manuscript by Louis Aragon entitled ""Chronique de la pluie et du beau temps pour Europe mai"". 8 and a half pages in blue ink on 9 uniformly browned leaves. Numerous deletions and rewritings. Published in Europe no 29 May 1948 and does not appear in the book collecting these chronicles E.F.R. 1979. Superb nine-page militant profession of faith published in the anti-fascist literary review Europe. Aragon finds himself courted after the war in the name of ""friendship"" and ""freedom"" by various reviews but categorically refuses to publish alongside writers with Pétainist tendencies. The writer delivers his impressions after a radio interview in Belgium and meditates on ""two abstract monsters: freedom and friendship"" perverted at will in this early Cold War period when Sovietism becomes - to his great dismay - the new fascism. Very attached to the unified discourse advocated by communism which he calls ""national truth"" this notion serves as the guiding thread of his chronicle. Aragon writes in the midst of the Kravchenko affair and remains convinced by Sovietism which remains for him the great victor over Nazism. As a great literary witness to the suffering endured during the Occupation he is alarmed by the editorial choices of reviews seeking to obtain contributions from him: one shamelessly publishes a text by Montherlant totally oblivious to the Parisian martyrs during the war while the other affectionately justifies the allegiances of many French people to Marshal Pétain. It is also the occasion for a long and beautiful analysis of the idea of nation by Aragon who is unquestionably the national poet of this century. We find there in his inspired tirades the Aragonian ideal of healthy emulation among nations turned toward progress. Beautiful pages by Aragon in the midst of the crystallization of the Eastern and Western blocs. Aragon's ambition is to honor the memory of the Resistance by choosing to ""trust words when they are used for peace"". ""La Nation qui me paraît aujourd'hui encore être le groupe le plus étendu qui puisse se porter garant d'une vérité . la radio peut et doit transmettre à son public la vérité nationale . 'Qu'entendez-vous concrètement par vérité nationale ' Me demande-t-il comme il m'aurait sûrement demandé : qu'entendez-vous en disant qu'il fait grand jour en plein midi si je l'avais dit. C'est là le mécanisme des interviews. J'ai donc pris deux exemples concrets pour expliquer à quoi sert le maniement des abstractions. Deux cas récents où j'ai eu à me mesurer avec deux monstres abstraits : la liberté et l'amitié. La liberté d'abord. On sait comment les pires ennemis de la liberté font usage d'un livre qui s'appelle : J'ai choisi la liberté donnant le bénéfice d'un préjugé favorable de ce mot à tous ceux qui trahissent leur pays quand c'est pour choisir le système capitaliste . . Une revue qui s'édite à Montréal m'avait récemment écrit pour me demander ma collaboration. Son directeur littéraire faisait appel à l'homme libre l'italique est sienne que je suis. Cette façon de distinguer par la typographie en moi la possibilité d'être parfois un homme libre parfois non m'avait un peu inquiété. J'ai voulu voir sa revue . Mon Dieu le fait que ce numéro s'ouvre par un texte de M. de Montherlant me laisse libre de ne pas parler du contexte. On sait et j'imagine que M. Victor Barbeau de Montréal n'ignore pas que M. de Montherlant est sur la liste des écrivains avec lesquels les membres du Comité National des Ecrivains se refusent à collaborer. Ce qui doit sans doute m'expliquer pourquoi M. Barbeau s'adresse en moi à l'homme libre : c'est- unknown
1948réf. 328702Paris: Gallimard 1948. First. hardcover. fine. Small 8vo full garnet crushed levant both covers decorated with important design of stars and gold white and blue fillets leading toward a central abstract figure gilt over uncut edges by P.L. Martin original wrappers bound in. Morocco edged chemise and slipcase. Paris: Gallimard FRS Limited First Edition. Fine. Number IV of only 14 large-paper copies on papier velin de Hollande in a handsome binding by one of the great modern masters. Gallimard unknown
1959réf. N - 2026 - 13Contrastes 13 Aquarelles Gouache Lavis Crayon. Edition Au Vent d'Arles Paris 1959. Preface by Louis Aragon. Large portfolio with 13 pochoirs realized by Daniel Jacomet after Leger art works. Limited and numbered edition of 300 copies in Arabic 20 out of commerce in Roman numbered HC I to HC XX printed in Richard de Bass paper especially watermarked for this edition. Loose as issued and collected in the original pictorial cloth portfolio folder with Leger artwork. Published after Leger with the supervision of Nadia Leger Ref. Monod 7049. Au Vent d'Arles
réf. 23806[La Chapelle-Réanville, The Hours Press], 1928. In-4, non paginé, broché, couverture originale imprimée (marges et dos de la couverture légèrement insolés).
1944réf. 79256Gallimard | Paris 1944 | 14.50 x 21 cm | broché
