Philippe SOUPAULT

First edition printed on alfa paper.

A small tear at the foot of one joint discreetly restored, a pleasant copy.
Precious autograph inscription signed by Philippe Soupault to René Crevel in pencil.

First edition, one of 800 numbered copies on Montgolfier paper.

Illustrated with two original hors-texte drypoints and in-text drawings by Jean Lurçat.

Spine and covers slightly and marginally faded, as usual; a well-preserved copy overall.

Manuscript note by Philippe Soupault, 22 lines in mauve ink on a sheet, headed with this inscription: "Les séances", devoted to the famous "sleep" sessions conducted in André Breton's studio consisting of oneiric writings or texts dictated by a dreamer.
The manuscript notes contain three deletions and corrections.
Philippe Soupault considers his attempts questionable and even labels them as imposture, distancing himself from any active participation in these practices: "Neither Aragon nor I participated actively in the experiments called sleep sessions, while Breton accepted with great interest Crevel's suggestion to engage in experiments he had discovered among friends. One had to fall asleep and recount what 'one saw'..."
He recalls the results that were not always convincing: "Crevel, Desnos and Péret 'fell asleep' and, despite his efforts, Breton could not manage to fall asleep. Listening to the accounts of these sessions, I could not help thinking that the 'sleepers' did not hesitate to simulate in order to make themselves interesting." to such an extent that the intransigent leader of surrealism interrupted them: "Breton realized the danger of one-upmanship and especially of Desnos's exaltation. He ceased attempting new sleep experiments."
Interesting recollections from the last living historical surrealist, often harsh toward his former or new companions.

First edition of this pamphlet, with contributions by Éluard, Tzara, Marcel Duchamp under his pseudonym Rrose Sélavy, Benjamin Péret, Erik Satie, Philippe Soupault, Georges Ribemont-Dessaignes, Vincente Huidboro, Walter Serner, Matthew Josephson, Théodore Fraenkel.
Three copies found in institutions (BnF, Thomas J. Watson Library, Princeton University Library, Ryerson & Burnham Libraries - Art Institute of Chicago).
Cover designed by Ilia Zdanevich (Iliazd) on a motif created out of 19th-century woodcuts: “The cover of Le Coeur à barbe is an emblematic image of the Dada aesthetic, where old engravings are combined with words to create visual puns and unpredictable associations.” (Princeton University Museum).
Extremely rare copy in excellent condition of the only published issue of this famous Dada journal - Tristan Tzara's counterattack to André Breton's criticism in the March 2, 1922 issue of Comœdia.