[Hans Bellmer, Salvador Dali, Max Ernst, Rene Magritte, Francis Picabia, Yves Tanguy] [Surrealism]Biblio.com
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1963réf. 171640Paris: Galerie André François Petit 1963. Vintage catalog for the landmark 1963 exhibition. Illustrated in black-and-white and color. Very Good plus in saddle-stapled wrappers with light foxing to the first pages and wrapper versos. Galerie André François Petit unknown
réf. 117780Paris Librairie Gallimard 1924-1929. . Periodical 12 issues in 11 vols.; 293 x 202 mm 11½ x 8 in; illustrated with halftone reproductions of photographs and artwork; wire-stitched photo-illustrated wrappers with black text nos. 1-5 are red and 6-12 are white occasional light handling light wear to spines occasional light marking and minor foxing oxidation to staples no.12 with more foxing and marking to lower side along spine a very good set in a custom chemise and slipcase; various paginations. A scarce complete set of the first and most famous surrealist journal. A scarce complete set of the first and most famous surrealist journal whose first issue marks the official birth of the movement. Contributors include Louis Aragon André Breton René Char René Crevel Giorgio de Chirico Robert Desnos Paul Éluard Max Ernst Man Ray André Masson Joan Miró Francis Picabia Pablo Picasso and Yves Tanguy. Paris, Librairie Gallimard, 1924-1929. unknown
1947réf. 179710New York: 1947. An original brochure for this classic surrealist film. It features items from each of the film's collaborators: Max Ernst Fernand Leger Man Ray Marcel Duchamp Alexander Calder and the director Hans Richter. Richter began the project in 1944 after receiving a $6000 grant from Peggy Guggenheim. In an interview with the New York Times Richter stated "I started the picture as an adventure. But I knew one thing that was important. That is in cinematography we have scratched only the surface of the art and that there are thousands of other possibilities in film. I felt that both modern art and the movies are an expression of our time and that it would be interesting to combine the two." Octavo. Photographic portraits and reproductions from the film in the text throughout. Original green wrappers printed in black after a design by Max Ernst. A fine copy. Ezra Goodman "Musical Fantasy Filmed in Manhattan Loft" New York Times 11 April 1948. unknown
1949réf. 87656Paris: Gallimard 1949. Second edition in same year as first. 12mo 16.5cm. Original printed wrappers; 1082pp. A very fresh copy with just a bit of toning to spine; text entirely unopened pages uncut; Near Fine and unusual thus. Text entirely in French. Gallimard unknown
1955réf. 87650Paris: Flammarion 1955. First Edition. First printing. 12mo 19cm. Printed card wrappers; 2344pp. Bright well-preserved copy with little indication of use - the wrappers remain vividly colored; the text is unopened pages uncut but does exhibit some of the expected toning to paper at margins; Very Good or better. Laid in is an announcement for a lecture by Alquié undated "La Conception Surréaliste de L'Amour". GERSHMAN p.1. Flammarion unknown
1947réf. 88266Paris: Sagittaire 1947. First French Edition. First Impression regular issue. Octavo 18.5cm; original printed card wrappes; 67-2226pp. From the library of noted poet translator and anthropologist Nathaniel Tarn 1928-2024 with 7 lines of penciled notes on rear wrapper and some light pencil markings in text. Light wear to extremities gentle sunning to spine mild dust-soil to wrappers with some of the usual tanning to text edges; Very Good. A significant surrealist text about the discovery of love through loss written while Breton and his third wife Elisa were self-exiled in Canada. Portions of the work were originally published in New York. 88266. Sagittaire unknown
1955réf. 88267Paris: Gallimard 1955. First Edition Thus. First Impression regular issue. Octavo 18.75cm; original printed card wrappers; 910-2071 8pp black & white plates. Light wear to extremities some trivial dust-soil subtle tanning to text edges; Near Fine. New edition of this key Surrealist work originally published in 1932 in which Breton explores the connection between the dream world and the waking world and how the techniques of surrealism could lead to recovery from despondency. 88267. Gallimard unknown
1947réf. 86427Paris: Éditions Surréalistes 1947. First Edition. Octavo. Staple-bound wrappers; 14pp; photographic frontispiece and terminal ad leaf on glossy paper; overprinted in red on front cover and title page. Covers toned as usual; text mildly aged but remains supple and free of soil. Very Good. The frontispiece photograph is attributed to Man Ray from his series of photographs of the ruins of De Sade's chateau in Provence. Important post-war manifesto of the "Cause" group breaking the Surrealists' connection to all political parties and especially denouncing the Stalinization of the Communists. According to Gershman the text was written by Henri Pastoureau. Signed in type at conclusion of text by 48 members including Breton Alexandrian Bellmer Baskine and others. GERSHMAN Bibliography of the Surrealist Movement in France p.56. Éditions Surréalistes unknown
1938réf. 87425Paris: Éditions Denoël 1938. First Edition. First printing. Octavo 23cm. Printed paper wrappers; 261pp. Text mostly unopened. Fading to spine with scuffing to publisher's price-sticker; expected toning to text; still a tight lightly worn copy Very Good. Text entirely in French. There was no numbered issue. Quite presentable copy of Calas' first surrealist work written shortly after his relocation to Paris from his native Athens. Foyers d'Incendie "Hearths of Arson" based in large part on Calas' reading of Trotsky's theoretical works on the role of literature in revolution won high praise from André Breton and would become one of the great forgotten texts of Marxist Surrealism never being reprinted in French and translated into only a few languages. Calas would later move to the U.S. where he collaborated with Charles Henri Ford on the American surrealist journal View. GERSHMAN p.12. Éditions Denoël unknown
1948réf. 87424Paris: Éditions du Sagittaire 1948. First Edition. Trade issue after 587 numbered copies in various limitations. 12mo. Printed glossy-paper wrappers; 1125pp. A clean tight well-preserved copy in the original wrappers with expected toning to text; Very Good. The full-page lithographic illustrations by Masson being on better paper are clean and free of marginal darkening. Text entirely in Frenc; the text includes Breton's preace to Aimée Césaire's "Cahier d'un retour au pays natal." GERSHMAN p.9. Éditions du Sagittaire unknown
1952réf. 87538Paris: Soleil Noir / Presses du Livre Français 1952. First Edition. Trade issue after 50 copies on Alfa. 12mo. Original printed wrappers; 1271pp; illus frontispiece and five unnumbered leaves of plates. Slight toning to spine else a tight Near Fine copy; the text is completely unopened i.e. pages are uncut clean and supple with practically no toning to the margins. Prospectus and order form laid-in. Text entirely in French. Premier issue of Di Dio's short-lived surrealist quarterly which ended after the double issue 3/4 in early 1953. Contributors include Antonin Artaud Aimé Cesaire Julien Gracq Philippe Dechartre others. Illustrations by Max Ernst Paul Klee Vasily Kandinsky etc. Uncommon especially in this condition. Soleil Noir / Presses du Livre Français unknown
1985réf. 63685New York NY & Washington DC: Corcoran Gallery of Art & Abbeville Press 1985. 4to. 9.75 x 12.5 in. 243 1 pp. Colour frontisp. with photo illustrations some folding double-page throughout. Red publisher’s cloth gilt lettering w/ d.j. NF/NF copy from the library of Los Angeles photographer Bill Bronstein b. 1949. First edition of this nicely illustrated analysis examining that photography lies at the core of surrealism and surrealist art examining the works of Hans Bellmer Boiffard Andre Breton Salvador Dali Marcel Duchamp Magritte Man Ray and others. Corcoran Gallery of Art & Abbeville Press, hardcover
réf. 28668Paris 28 mai 1960. 4 p. en 1 f. 250 x 320 mm plié impression en noir sur papier de couleur saumon. . Tract illustré d’un dessin d’Alfred Kubin et signé conjointement par le mouvement surréaliste et le mouvement Phases rédigé par Legrand et Jaguer en mai 1960. . L'un des tout derniers tracts surréalistes Tir de barrage vise l'exposition « Anti-procès » organisée par Alain Jouffroy et Jean-Jacques Lebel à la galerie des Quatre-Saisons. Il existe pour ce tract un tirage à 20 exemplaires signés et imprimés sur beau papier. Ancienne trace de trombone. [Paris], 28 mai 1960. 4 p. en 1 f. (250 x 320 mm) plié, impression en noir sur papier de couleur (saumon). unknown
1950réf. 20415AB1950. Paris Editioons du Sagittaire 1950 23 : 15 cm. 1 leaf 226 pages with many dual-tone and b/w illustrations 6 leaves advertisment. Half calf original coloure wrappers bound in. SURREALIST ALMANAC OF THE HALF CENTURY - Calendar of the World Tour of Tolerable Inventions by André Breton and Benjamin Péret. First edition text in French. unknown
réf. 78411A collection artwork artist books and letters sent from artist Mark Ryden to fellow artist Patrick Eddington. Mark Ryden b.1963 is a painter and graduate of Art Center College of Design in Pasadena. He is considered to be part of the Lowbrow or pop surrealist art movement and was dubbed "the god-father of pop surrealism" by Interview magazine. In 2015 Artnet named Ryden and his wife painter Marion Peck the king and queen of Pop Surrealism. Patrick Eddington 1953-2016 was a beloved high school art teacher and artist who worked at Salt Lake City's Highland High School. He earned his BFA and Masters in Education from the University of Utah. Eddington created numerous etchings prints and paintings some of which are now held in the Henry Miller Estate Collection and the Miriam Patchen Collection. Eddington was the co-owner and operator of the publishing company Green Cat Press which focused on publishing literary broadsides as well as art prints. Eddington carried on extensive correspondence throughout his life with a staggering number of writers and visual artists. His charming and persuasive letters convinced many to engage him in lengthy correspondences. Eddington was also a generous gift-giver and was eager to forge connections among the writers and artists that he knew and admired Utah's Art Magazine website "A Passion for Arts and Letters. And Cats. Remembering Pat Eddington" April 5 2016. unknown
réf. 69-1683Iowa City: Dada/Surrealism The University of Iowa 1988. 8vo. circa 148 pp. Soft Cover Very Good B&W Plates. Iowa City: Dada/Surrealism, The University of Iowa, 1988 paperback
réf. 69-1699Iowa City: Dada/Surrealism The University of Iowa 1985. 8vo. circa 190 pp. Soft Cover Very Good B&W Plates. Iowa City: Dada/Surrealism, The University of Iowa, 1985 paperback
1991réf. 27282New York:: Thames & Hudson 1991. First Printing of the First Edition. A Fine copy in a Fine dust jacket. The author provides a narrative history of the Surrealist movement of the 1920's in Paris and an analysis of the major Surrealist literature accented by Parisian photographs by Micahel Woods. Uncommon in the hardcover. Thames & Hudson, hardcover
1975réf. 27168New York:: Macmillan 1975. First Printing of the First US Edition. A Fine copy in a Fine uinclipped dust jacket. Thirion a French revolutionary was a prominent member of the French avant-garde involved in the Marxist-surrealist movement in Paris after World War I. His fellow "revolutionaries" included the likes of Breton Aragon Dali Miro and Giacometti. Thiron joined the Communist party in 1925 and he joined the surrealist movement in 1928. He was a friend of Louis Aragon and Georges Sadoul and was active with the surrealists between 1928 and 1934. During the Second World War he joined the Gaullist resistance. Thiron's autobiography captures the lost period between the wars and the rise in ideological disputes that followed; it is the journal of one man's devotion and disillusionment when the world was changing in revolutionary ways. Macmillan, unknown
1950réf. 9830Munich West Germany 1950. Four original ink drawings on paper various sizes roughly 14x10" up to 20x14". Two are dated "24 X 50" and perhaps from a series with roman numerals IV and V. Another is dated "20 XII 50" and the last simply dated 52. Some light foxing and a few faint stains and smudges corners occasionally bumped. Residue from old adhesive on back of one of the larger images the two smaller pieces matted. Generally very good. A cohesive group of four surrealist ink drawings by Rolf Engler active in West Germany in the early 1950s as both painter and experimental filmmaker associated with the Munich film industry. The drawings dated across the years 1950-1952 fall squarely within the period of Engler's work on the animated short Der Traum in Tusche A Dream in Ink 1952 an abstract animated film employing fluid ink imagery and experimental animation to explore the psychological devastation of war lingering guilt and unresolved trauma through dreamlike and nightmarish forms. The Harvard Film Archive described the work as "an animated fantasy film with nightmarish aspects including not overly allegorical references to the more recent past made by a genius of the FRG animation art." Der Traum in Tusche received a prestigious Bundesfilmpreis in 1953 and was later screened at the Locarno International Film Festival and other such events. Though we have not been able to view the film the present drawings exhibit the same visual language described: surreal figures distorted anatomy and shifting dreamlike forms rendered in bold ink line and fluid drawing techniques that formed the basis of Engler's experimental animated work. Two pieces bear Roman numeral notation suggesting a conceptual or sequential framework consistent with animation-adjacent production methods. We find it very likely these drawings were either used or heavily influential in Traum in Tusche or other projects of Engler's from this time period. We find documents and scripts by Engler held in the Landesrchive in Nordrhein-Westfalen though we have not been able to find examples of his artwork. A rare surviving group of works on paper from the formative years of postwar German experimental animation preserving the hand of an elusive but historically important mid-century artist and filmmaker. . unknown
1957réf. 32435Paris: Le Surréalisme même 1957. A remarkably well-preserved specimen; minor bump to upper corner else fine. Bifolium sheet 10.5 inches. Questionnaire from the editors of the post-War Surrealist organ Le Surréalisme même soliciting insights into the phenomenon of striptease in response to Roland Barthes' essay on the matter in Mythologies. With separate sets of questions posed to the questionnaire's male and female recipients including Balthus George Bataille Hans Bellmer Roger Caillois Leonora Carrington Jacques Lacan Meret Oppenheim and Alain Robbe-Grillet. Paris: Le Surréalisme, même unknown
1924réf. 2729Paris: Imprimerie Croutzet et Depost 1924. First edition. Original wrappers. Very Good. FIRST EDITION of Roche's surreal dadaist roman à clef exposing the misogynistic world of the French avant-garde. With annotations likely in Roche's hand. Like too many women artists of the early twentieth century French writer and artist Juliette Roche 1884 - 1980 has been long overshadowed by her male contemporaries. Roche came of age amidst leading artistic and literary salons of early 20th century Paris. She studied at Académie Ranson then considered the absolute best art school in Paris and was an early adopter of Cubism. However she is most closely associated with Dadaism. Despite Dada being a movement of absolute rebellion it harbored the normalized misogyny of the early twentieth century. Roche's most explicit critique of this discrepancy of rebellion vs repression can be found in La Minéralisation de Dudley Craving Mac Adam her groundbreaking novella. Part satire and part Dada nonsense the thinly veiled roman à clef is a prime example of the daring poetic style that Roche developed while living in New York during World War I. Having watched artistic vanguards come and go in Paris' salons and exhibitions Roche observed the New York City hijinks of Francis Picabia French 1879 - 1953 and Marcel Duchamp 1887 - 1968 with a level of detachment that alluded their American peers. She had close access to Picabia perhaps too close: in 1917 he and his wife Gabrielle Buffet-Picabia moved into an apartment directly beneath one Roche shared with her husband Albert Gleizes a French artist and philosopher who helped popularize Cubism on the Upper West Side. While Roche admired Picabia's iconoclasm she was disturbed by the misogyny she saw in works like his manometres where woman as 'la machine' was at best a manipulable object at worst the butt of a private joke. If taking Roche's ambivalence towards and her neighborly proximity to Picabia into consideration the novella could be inspired in part by an age-old story: pure contempt of one's neighbor. The novella is an indirect indictment of certain illicit behaviors Roche found annoying and dangerous. She synthesizes her fellow expatriates' personalities and physical traits to create the decadent Mac'Adam and the men he encounters on the day of his demise. Picabia becomes Mac'Adam. Swiss writer and boxer Arthur Craven 1887 - 1918 lends his name to the protagonist while becoming Lloyd Willow. Juliette Roche herself appears as Juliette Granite a play on words since roche means rock in French. Roche spins the narrative in poetic and surreal fragments at turns absurd and others told in a stream-of-consciousness style. La Minéralisation moves beyond conventional storytelling to allow readers into the minds of her characters through rich interior monologues revealing in each case her estimation of the particular model's idiosyncrasies. Roche seemed to find the antics of the all-male world of the Dadaists to be too limited and they're wickedly satirized among these pages. Written in ink on the first page is "Publié dans 'La Vie des Lettres' en 1921 / New York 1918" and there are a few words written on page 20 in the same hand. It appears to be Roche's handwriting from the few samples we've seen but we can't guarantee it. Paris: Imprimerie Croutzet et Depost 1924. Thin octavo 33pp terminal blank original printed wrappers stapled as issued; custom box. Small tear and split at top of spine; a near-fine extremely well-preserved copy. EXCEEDINGLY RARE: We can find records of no other copies that have been on the market. References: Burke Carolyn "Recollecting Dada: Juliette Roche." Women in Dada: Essays on Sex Gender and Identity edited by Naomi Sawelson-Gorse MIT Press 1998 557. Imprimerie Croutzet et Depost unknown
1936réf. 2345Paris: Jeanne Bucher 1936. First edition. Original wrappers. Very Good. FIRST EDITION THE PRINTER JACQUES GROU-RADENEZ'S COPY WITH TWO LONG PERSONAL INSCRIPTIONS BY HUGNET. WITH COVER MY MARCEL DUCHAMP. ONE OF ONLY 294 COPIES IN THE EDITION; AN OUT-OF-SERIES COPY LABELED "EXEMPLAIRE NO. G.H.". "This is Georges Hugnet's first volume of 'poemes-decoupages.' The title echoes Andre Mallarme's Un Coup de Des N'Abolira Jamais le hazard 1895 and Hugnet's poems printed on the left-hand pages of the book mirror the unusual spacing and various typefaces and sizes of Un Coup de Des. Hugnet had joined the Surrealists by 1932 and the collages on the right-hand pages centered around nude images cut out of Paris Magazine rehearse typical Surrealist themes. The cover by Marcel Duchamp spells out the title in letters containing the names of a whole Surrealist pantheon including Sade Freud Rimbaud Paracelsus Swift Heraclitus Roussel Chaplin Jarry Uccello and Saint-Juste and also a Man Ray photograph of DuChamp's assisted readymade 'Why Not Sneeze Rrose Sélavy' consisting of 152 marble cubes the size of sugar cubes a thermometer and a cuttlebone inside a small cage" Roth 101 p.92. An extraordinary association copy signed and inscribed twice by Hugnet: On the half-title Hugnet has written a warm inscription dated 1936 the year of publication thanking Grou-Radenez for his work on the book. Beneath that in 1963 he added an additional inscription to the new owner of the book the surrealist photographer Leo Dohmen praising Grou-Radenez who had been arrested and murdered by the Nazi's for hiding Jewish children and aiding the French Resistance. Paris: Editions Jeanne Bucher 1936. Original photographically embossed wrappers hand-sewn as issued; housed in beautiful custom box. Illustrated throughout with black-and-white photo collages several hand-colored. Only mild wear to wrappers; remnants of paper at spine ends we have not been able to confirm that there was originally a paper spine under the external sewing; all other copies we've seen have not had a paper spine. A beautiful copy. Jeanne Bucher unknown
1937réf. 19377SSParis: GLM Guy Lévis Mano 1937. First Edition. wrappers. Very Good /Very Good . Man Ray photos. Man Ray / André Breton Photography is not art. Paris: GLM 1937. Portfolio In-8 9.7" x 6.5" 24.5x16.1cm Issued unbound with twelve halftone photo reproduction plates and with five sheets of text by Andre Breton in blue wrappers. Unspecified print run but in small quantities on cream vellum paper. --- --- Original edition of a charming surrealist work published by Guy Lévis Mano with a preface by André Breton under a poem titled Convulsionnaires and complemented by 12 photographs by Man Ray 1890-1976 reproduced in black on beige glossy paper. Beautiful copy. In sheets with a double black and blue cover the first with a window. In excellent condition. Blue cover with no scratches. Impeccable interior. Slightly browned pages. ---- ---- ---- Emmanuel Radnitsky or Rudzitsky known as Man Ray born August 27 1890 in Philadelphia United States and died November 18 1976 in Paris 6th arrondissement was an American painter photographer and filmmaker who became a naturalized French citizen. A figure of Dadaism in New York then of Surrealism in Paris Man Ray perfected Christian Schad's photogram technique and alongside photographer Lee Miller rediscovered the so-called solarization process. GLM (Guy Lévis Mano) unknown
2005réf. D07HS1011Christie's London 2005. 1st Edition. SOFTCOVER. Extra Large Quarto size 4to. in colour printed stiff card covers 151pp approx 40 lots illustrated in colour some folding plates copious biographical notes etc all the main surrealists represented. Hammer price list stapled to rear leaf __CONDITION : NEW copy. . __We always ship in PROTECTIVE CARD PARCELS Christie's, London paperback
