Louis ARAGON - (Marceline DESBORDES-VALMORE)Livre Rare Book
Martin I de Aragon "el Humano"Biblio.com
El breviario de Martín de Aragón
2010Best.-Nr. 81721España: Lampreave s. XV - 2010. Lampreave unknown
6.644 Ergebnisse
1950Best.-Nr. 87220s. d. [circa 1950] | 21 x 30 cm | une page sur un feuillet
2010Best.-Nr. 81721España: Lampreave s. XV - 2010. Lampreave unknown
1944Best.-Nr. 87421s. l. Aurillac: Les Editions de MinuitComité national des écrivains 1944. Fine. Les Editions de Minuit Comité national des écrivains s. l. Aurillac circa aout 1944 13.50 x 19 cm broché First deluxe edition of this masterpiece of Resistance literature one of 100 numbered copies on coated paper the only deluxe copies. A small fold at the foot of the first cover also affecting the following leaves minute foxing in the right margin of the first cover. First published probably simultaneously in the northern zone as a leaflet by ""Les éditions de Minuit"" and in the southern zone as a handmade brochure the cover was wallpaper inaugurating the famous ""Bibliothèque française"" this long poem would subsequently appear for the first time in volume form in October 1943 before it was decided to finally produce a deluxe edition sold for 100 francs instead of 10 francs for the ordinary edition ""intended to honor the financial contributions of Resistance bibliophiles."" Le Musée Grévin considered upon its publication as ""Les Châtiments of 1943"" Les étoiles Dec. 1943 no. 14 would remain with Paul Éluard's Liberté ""one of the masterpieces of clandestine literature."" In L'Intelligence en guerre published in 1945 Louis Parrot would write about it: « ce poème traversé d'images éblouissantes est en même temps qu'une condamnation sans appel des traîtres une prière un acte de fois envers leurs malheureuses victimes. Il peint en termes vengeurs les misérables qui les livrèrent aux bourreaux et évoque le visage de tant de femmes françaises torturées. » This pivotal poem is indeed one of the very first public evocations and the first literary one of the Auschwitz camp: « Aux confins de Pologne existe une géhenne dont le nom siffle et souffle une affreuse chanson. Ausschwitz ! Ausschwitz ! Ausschwitz ! ô syllabes sanglantes ! Ici l'on vit ici l'on meurt à petit feu. On appelle cela l'exécution lente. Une part de nos curs y périt peu à peu ». Exceptional copy printed on fine paper a true act of war whose perilous operation to procure luxury paper in a France where the Nazis controlled printing paper production through the Comité d'organisation des industries arts et commerces du livre COIACL can only be imagined. Les Editions de MinuitComité national des écrivains unknown
Best.-Nr. 21880Paris, Gallimard, 1944. In-4, 519 pp., broché, couverture originale imprimée (frottements, dos lavé).
Best.-Nr. 17960Madrid, Antonio Marin, 1766.
1966Best.-Nr. 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)
1947Best.-Nr. 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)
1950Best.-Nr. 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
Best.-Nr. 15172Paris, 1919 - 1920. 12 numéros brochés, couvertures jaunes.
1630Best.-Nr. 8926Napoles: Lázaro Scorrigio 1630. Hardcover Tapa dura. 213x157mm. 8½x6¼". Napoles Lázaro Scorrigio 1630. 2 obras en un volumen. En 4º 213 x 157mm. -I: 8 152 pp. -II: 20 1991 pp. Reencuadernado en pergamino de época guardas renovadas. Primera edición del "Espejo del Duque de Alcalá" y segunda edición la primera 1628 del "Exemplar de la constante paciencia" las dos obras de la constancia política y educación de príncipes de Francisco Lanario y Aragón duque de Carpiñano. Estos tratados posiblemente contratados por el Conde Duque de Olivares se encargaron para refutar las tesis de fray Juan de Santa María y su Tratado de la República. Lázaro Scorrigio hardcover
1932Best.-Nr. 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
1942Best.-Nr. 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
1942Best.-Nr. 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 books
1955Best.-Nr. 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.
1929Best.-Nr. CARROLLL008490The Hours Press Chapelle-R�anville - Eure. 1929. First edition in French. Quarto. Unpaginated. Red boards printed in black. The translator's two-page introductory text is printed in red. Out of a total edition of 360 copies signed by the translator this is one of 300 numbered copies.Presentation copy from the translator inscribed on the first blank: ''� Louis Hay - qui me met dans l'obligation de continuer au jeu du Boojum lequel est de longtemps mort mais j'esp�re bient�t moi aussi - amicalement Aragon.'' The recipient was a French literary theorist and one of the founders of genetic criticism. In 1976 he established the Centre d'Analyse des Manuscrits under the aegis of the Centre National de Recherche Scientifique to which Aragon bequeathed his archive together with that of his wife Elsa Triolet.Some rubbing to spine. Very good. The Hours Press, Chapelle-R�anville - Eure. hardcover
1944Best.-Nr. 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.
1950Best.-Nr. Aragon3ARAGON Louis 1897-1982 Autograph letter signed "Aragon" to the "Red duchess" Elisabeth de Clermont-Tonnerre N.p.n.d 1950 1 p. in-4to Violent reproaches of Louis Aragon against Thomas Mann – The poet explains his hostility to the idea of meeting the German writer then on an official visit to Paris " Excusez-moi Madame de ne pas vouloir déjeuner avec Thomas Mann dont la conduite pendant la guerre le pacifisme d'entre deux guerres et la signature au bas de l'ignoble manifeste contre les exécutions en Russie ne peuvent pas me rendre plus aimable la détestable littérature. Très respectueusement Aragon " Thomas Mann officially received in Paris in May 1950 At the beginning of May 1950 Thomas Mann had begun a European lecture tour. On May 12 he arrived in Paris accompanied by his wife Katia. At the "Ritz" where his French publishing house has booked a suite they receive a very warm welcome. If during his stay in Paris which must have lasted a few days Thomas Mann could not see André Gide himself he spoke with Jean Schlumberger who had created with Gide La Nouvelle Revue Française. In the quick note he wrote for the bookseller Martin Flinker Mann mentions the "incredible beauty" of the capital of France and a French civilization at the "forefront of progress"… while confiding to his Journal his great fatigue and the aversion he felt for "the French linguistic sphere". He is indeed irritated by interviews that he considers malicious – such as that of Dominique Arban for Le Figaro who asks the author of Doctor Faustus if judging by his book it is possible to imagine a new Germany in which would have disappeared "the vertigo of obedience and blood". The interviewers' reminder of Paul Olberg's letter published in the Swiss newspaper Volksrecht also disturbs him to the highest degree. The Swedish journalist had indeed asked Thomas Mann how "he who had fought without concession Nazi Germany had been able to accept in 1949 the invitation of a regime that of the GDR which trampled underfoot with the same brutality freedom and humanity". Thomas Mann sensitive to communist propaganda At the end of the Second World War – after the election in 1945 of Harry Truman as President of the United States and until 1949 – Thomas Mann was sensitive like many intellectuals of the time to stalinist propaganda that presented the United States as an imperialist power ready to trigger a new conflict – and the USSR as concerned only with peace and the happiness of the peoples. Thus in March 1949 he supported the initiative of Harvard professor Harlow Shapley to convene in New York a world peace conference – directed against the Atlantic Pact finally signed on April 4 1949 – in which 24 delegates from communist countries participated in which Thomas Mann saw only "pure idealists". He telegraphed Dean Acheson the U.S. Secretary of State and father of the Marshall Plan to reconsider his ban on allowing other delegates from communist countries to enter American territory. Silent about the deportations and mass executions ordered by Stalin he does not miss an opportunity to protest against McCarthyism and "anti-communist hysteria" driven to this by his son Klaus and daughter Erika. Thomas Mann still enthusiastically accepted the invitations – issued by the newly formed Federal Republic and the other part of Germany that would proclaim itself the "Democratic Republic" – to preside over the ceremonies given in July/August 1949 for the bicentenary of Goethe's birth first in Frankfurt West and Weimar East. Flattered by the honors that are rendered he wants to believe that it is only literature and does not want to see the instrumentalization to which he is the object of the communist leaders. Thomas Mann disappoints the Communists and abjures politics But soon after sensitive to criticism and becoming more far-sighted he refused to participate in the "World Congress of Supporters of Peace" which took place in Paris from 20 to 23 April 1949 under the patronage of Picasso with his famous "dove" and Aragon. Louis Aragon's refusal to see Thomas Mann on the occasion of his official visit to Paris in May 1950 was thus explained by the hope aroused in the communist camp by some of his statements. The most prestigious German writer of the time an emeritus fighter of fascism since his American exile fundamentally hostile to the western part of Germany which he thought had not really got rid of Nazism represented a vector of propaganda of the highest order for the ideologues of communism. The spite felt by Louis Aragon and others following the defection of Thomas Mann is commensurate with their disappointment. The many criticisms that Thomas Mann unleashed in the West helped to make him fully aware of the role that was intended to make him assume; this is how he declined the invitation to the 2nd Peace Congress organized in London from 13 to 19 November 1950. The English government banned Pierre Cot and Louis Aragon from entering British territory. The non-admitted delegates finally met in Warsaw. The organizers claim to have received a message of encouragement from Thomas Mann and even to have elected him to the office of the organization – which he firmly denies. In a scathing denial Thomas Mann says "he no longer wants to do anything with politics". All relations are permanently cut off.
1931Best.-Nr. 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
1943Best.-Nr. B-2022-0939Paris: Martin Fabiani 1943. Preface Matisse-en-France by Louis Aragon. Limited numbered edition in 950 copies of which this is copy N 404. Loose as issued in the original publisher's lace-up hard chemise. Illustrated by Matisse with an original linocut on a black background in frontispiece three lithographs and 158 reproductions of drawings in full page and hors-texte. Ref: C. Duthuit Les Livres Illustres No. 9.; Monod 7847.Chemise is missing spine and is detached some of the reproductions are lightly tanned but linocut is in very good condition. Martin Fabiani Editeur
1943Best.-Nr. B-2022-0939Paris: Martin Fabiani 1943. Preface Matisse-en-France by Louis Aragon. Limited numbered edition in 950 copies of which this is copy N 404. Loose as issued in the original publisher's lace-up hard chemise. Illustrated by Matisse with an original linocut on a black background in frontispiece three lithographs and 158 reproductions of drawings in full page and hors-texte. Ref: C. Duthuit Les Livres Illustres No. 9.; Monod 7847.Chemise is missing spine and is detached some of the reproductions are lightly tanned but linocut is in very good condition. Martin Fabiani Editeur books
Best.-Nr. 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.
1948Best.-Nr. 87239s. d. [avril 1948] | 21 x 30 cm | 4 pages sur 4 feuillets
Best.-Nr. 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.
1945Best.-Nr. 64157s. d. [1944-1945] | 19.80 x 26.50 cm | une feuille sous étui-chemise
1948Best.-Nr. 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
