Manifesting Surrealism

First edition, one of 37 numbered copies, ours one of a few hors commerce copies for collaborators and friends, signed by Man Ray on the justification. 15 photographs on watermarked vélin Montgolfier mounted on guards, each bearing Man Ray’s printed studio stamp (“Épreuve originale atelier Man Ray Paris”). The copy exceptionally contains the original subscription prospectus and an invitation to the book launch exhibition opening night organised by Simone Loliée.

Publisher’s binding by the renowned bookbinder Merch

First edition, one of 9 numbered copies on japon, only deluxe issue aside from 35 copies on pur fil, and a few on coloured paper.

Full black morocco binding, flat spine, author’s name palladium-stamped, title stamped lengthwise in palladium and blind, grey long-grain shagreen inlays to boards with author and title stamped lengthwise in palladium and in blind, turn-ins framed in morocco, light plum suede pastedowns and flyleaves, three palladium decorated deckled edges, outstanding custom binding by Thomas Boichot.

Original collage by Georges Hugnet, signed in white ink "G.H. 1961". Under mat and framed.

A whimsical photo-collage by the Surrealist artist and writer Georges Hugnet. Throughout his diverse oeuvre, collage represented an enduring passion for Hugnet, placing him among the leading innovators in the medium during the XXth century.

First edition which supposedly had an issue of 500 numbered copies. “Gallimard donated the paper required for the production of this book, but only 258 copies could be printed, rather than the 500 announced in the justification” (from a note by Paul Éluard). A slight crease to the covers, slight marginal sunning primarily affecting the rear cover.

Illustrated with 11 photographs of Nusch Éluard by Man Ray and Dora Maar.

Le temps déborde is a collection of eleven poems published

First edition illustrated with 6 original lithographs by Pablo Picasso, one of 500 numbered copies on Lafuma paper.
A pleasing copy, complete with its "prière d'insérer" written by Paul Eluard.

First edition, illustrated with an original etching as frontispiece and four hors-texte drawings by Henri Laurens, one of 324 numbered copies on Vélin du Marais.

Title page lightly toned, otherwise a pleasing copy.

Signed in pencil by Tristan Tzara and Henri Laurens beneath the limitation statement.

First edition of the catalogue published for the exhibition of works by Max Ernst, held from 15 November to the end of December 1961.

A fine copy.

Illustrated, with a foreword by Alain Bosquet.

Signed autograph inscription by Max Ernst to Madame de Harting.

First edition of the French translation, one of 26 lettered copies on Lana wove rag paper, issued as part of the tête-de-tirage.

A fine copy.

Original ink drawing by Marie-Laure de Noailles, signed “Marie-Laure” within the artwork (appearing twice as a result of folding the paper while the ink was still wet). With an autograph postcard signed to Valentine Hugo, with two inscriptions and some parts of the photograph drawn over. 

Autograph manuscript poem in Russian, entitled “Ананасы в шампанском,” signed by Igor Severyanin, twelve lines in three quatrains on a single leaf, with minor punctuation variations from the text originally published under the title Ouverture (Увертюра)

First edition, one of 500 copies on ordinary paper.
This copy has a chemise and slipcase.
A little light spotting, not serious, nice copy.
Retaining its advertising band and slip.
Handsome autograph inscription signed by René Char: “à Man Ray au voyant carnassier de tout cœur R. Char.” (“To Man Ray to the carnivorous fortune teller, with all my heart, R. Char.”)

Unpublished, handwritten, signed letter from André Breton addressed to critic Charles Estienne; one page and a few lines in black ink on a paper from the à l'étoile scellée gallery.
Two transverse folds from having been sent, a small corner missing in the upper right margin.
Very beautiful letter giving an account of the death of one of André Breton's dearest friends and of his quarrel with Albert Camus.
Breton tells his friend about the death of the Surrealist Czech artist Jindřich Heisler: “Your letter spoke of those days where it seemed “that there was only just enough fire to live”: on Monday there was far from enough fire, when it reached me: one of my two o

First edition, with no deluxe-paper copies printed.
Illustrations.

A handsome copy despite the slightly faded spine.

Precious and fine signed presentation copy from Louis Aragon to Maurice Druon: "A Maurice Druon, pour qu'il sache que de temps je m'égarée dans Césarée. [sic] Louis".

First edition, one of 750 numbered copies on vélin paper, this not justified, the only printing along with 50 on Japan.

A good copy.
Aesthetic Surrealist autograph inscription by Benjamin Péret: '...Pourquoi la chevelure, me direz-vous? Oui, pourquoi? Parce que les cheveux remplacent les parapluies...' to his friend Léo Malet.

A remarkable autograph poem of youth by André Breton dedicated to Guillaume Apollinaire entitled «Décembre». 20 verses in ink on vergé d'Arches paper, composed in December 1915. This manuscript was copied between March 1917 and the beginning of 1918.

This poem is presented in a chemise and case with paper boards decorated with abstract motifs, the spine of the chemise in green morocco, pastedowns and endpapers of beige suede, a sheet of flexible plexiglass protecting the poem, case lined with green morocco, piece of green paper with caption «poème autographe» to bottom of upper cover of case, the whole by Thomas Boichot.
Key poem of the author's pre-Dadaist peri

First edition, one of 1,000 numbered copies on offset.

A fine copy.

Illustrated with 10 drawings by René Magritte.

First collected edition of which there were no grand papier (deluxe) copies, an advance (service de presse) copy.
A nice copy despite a tiny tear to foot of upper cover.
Rare autograph inscription signed by Robert Desnos to Pierre Berger: " ces feuilles déjà bien vieilles..."

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 500 numbered copies on Featherweight, the only deluxe issue.
Small loss and foxing to the headcap and upper edge, a crease and minor tears to the front cover, endpapers slightly toned without consequence.
Exceptional signed autograph presentation from Benjamin Fondane: « A Jacques Prévert cordialement. B. Fondane. Paris / 3 / 33. »

First edition, one of 950 copies on Vélin Vidalon signed by André Marchand, the only printing following 49 copies on Vélin d'Arches.

Bound in black morocco-backed boards with corners, smooth spine, gilt fillet borders on cat's eye paper-covered boards, marbled endpapers and pastedowns, original wrappers and spine preserved, all edges gilt. Slipcase edged in black morocco, marbled paper panels. Binding signed by D. Saporito.

Illustrated with 50 splendid original lithographs by André Marchand, printed by Mourlot.

Featuring previously unpublished texts by Georges Spyridaki, René Lacôte, Georges Hugnet, Gabriel Audisio, Raymond Queneau, David Herbert Lawrenc

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.

First edition, 15 issues in 15 separate instalments, abundantly illustrated with black and white photographs. Complete with the special issue “Hommage à Picasso” (#3, 1930) and the index for the year 1929, published as a separate 8-page stapled booklet. Some spines slightly faded not affecting the text, occasional minor foxing along the margins of certain covers

Presented in a custom slipcase with a flat spine in blue morocco, title stamped in palladium and spine framed in palladium, decorative blue paper boards, sky-blue suede doublures; a handsome ensemble signed Boichot

First edition, one of 249 numbered copies on B. F. K. de Rives, the only printing other than 1 copy on Hollande and 24 on vélin crème de Renage. Illustrated with 4 original colour lithographs by Rufino Tamayo.

This copy further contains an additional suite of the 4 lithographs by Rufino Tamayo, usually reserved for the deluxe copies. Printed stamps to the versos of each engraving: "Annulation d’estampille pour annulation de vente".

Excepti

Autograph letter dated and signed by André Breton, 21 lines in blue ink on a single sheet, addressed to Georges Isarlo of the journal Combat-Art concerning a text given to him by his friend José Pierre.

True to form, the leading figure and high priest of Surrealism seeks to clarify matters with his correspondent: "Vous comprendrez sûrement le souci que je puis avoir de ne pas, sous un vain prétexte d'anniversaire, laisser dénaturer le sens et gâter le fruit de quarante années de lutte et voudrez bien considérer qu'il a pour tous ses signataires - répondants du surréalisme aujourd'hui - la même importance vitale que pour moi."

First edition. Very scarce and sought-after, like all of his writings. This play is inspired by his tumultous life, namely the poisoning attempt he allegedly suffered from the hands of his lover Jeanne Sarrey.
With a very rare autograph letter signed by Xavier Forneret, one of the few surviving manuscripts of this bohemian Romantic rediscovered by Surrealists.
The scandalous genius attempts to have Mère et fille performed at the Théâtre de la Gaîté. Letter dated by the author May 27, 1854, addressed to playwright Charles Desolme. Two pages in black ink on a bifolium, small tear along the fold, no damage to the text.
Forneret, a fundamentally marg

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 fri

First edition, a Service de Presse (advance) copy.
A discreet restoration using a small adhesive piece on the verso of the first cover extending onto the first endpaper.

Autograph inscription signed by André Breton: "A Claude Aveline, hommage d'André Breton".
Nicknamed at 21 "the world's youngest publisher," Claude Aveline would publish from 1922 onwards, thanks to André Gide and Georges Duhamel, some fifty works. In 1934, he would engage in politics, alongside Henri Barbusse and Romain Rolland, in the anti-fascist movement then, from August 1940, in the Resistance first in Paris then in the free zone where he would miraculously escape arrest by the Gestapo in Apr

First edition, one of 75 numbered copies on surfine colored paper.
Work illustrated with 3 aquatints by Mimi Parent.
One scratch with three light stains on the first cover.
Handsome copy.
Precious and surrealist autograph inscription signed by José Pierre to Marie Cermínová Toyen: "A Toyen, les violons monégasques fabriqués secrètement dans les presbytères en partant de l'anémone de mer, José." (To Toyen, the Monégasque violins secretly manufactured in presbyteries starting from the sea anemone, José.)
Signatures of José Pierre and Mimi Parent below the justification page.

American edition based on the 1929 translation by the poet William Carlos Williams of Philippe Soupault's 1928 post-Surrealist work, Les Dernières Nuits de Paris. Enriched with illustrations, an introduction by the author written in 1980, "William Carlos Williams in Paris. By Day and by Night," translated into English for the present edition by Ron Padgett, a publisher's note, and a reprinted epigraph.

Complete with its violet dust jacket, with the price indicated on the rear pa

First edition.
Literary contributions by Paul Eluard, André Breton, Pierre Brasseur, Raymond Queneau, Giorgio de Chirico, Michel Leiris, Robert Desnos, Antonin Artaud, Benjamin Péret, ...
Pictorial or photographic contributions by Giorgio de Chirico, Pablo Picasso, André Masson, Max Ernst...
Upper cover with a few light marginal soiling to the left edge, a small tear at the foot of the spine, otherwise a good copy considering the fragility of this periodical.

First edition.
Literary contributions by Antonin Artaud, Paul Eluard, André Breton, Pierre Brasseur, Louis Aragon, Michel Leiris, Benjamin Péret, Ernest Gegenbach...
Pictorial or photographic contributions by Joan Miro, Yves Tanguy, Max Ernst, Man Ray...
Upper cover with a few marginal stains to the left margin, a small tear at the foot of the spine, otherwise a pleasing copy considering the fragility of this periodical.

First edition, one of the scarce copies on Japon paper.
Work illustrated with 17 colour plates.
A fine copy with wide margins.

First edition, one of 355 numbered copies on wove paper, the only issue with 25 copies on Holland paper.
A pleasant copy.

First edition, one of 535 numbered copies on Navarre laid paper, the only issue together with 10 copies on Japan paper.

Illustrated with a portrait of the author as frontispiece by Man Ray.

A fine copy despite a small, minor tear at the head of the spine.

Signed autograph inscription by Jacques Baron: " à Jeanne, Pierre et Jacques et X Collet. De tout coeur. Vraiment. Jacques."

First edition, one of 35 numbered copies on Rives paper, the deluxe issue.

At the colophon, manuscript signatures in pencil by Micheline Catti and Ghérasim Luca.

A rare and handsome copy.

As stated in the limitation, our copy is complete with the original drypoint by Micheline Catti and the original etching by Ghérasim Luca, both signed by them in pencil.

First edition, one of 500 copies of this catalogue for the exhibition Les invendables [The Unsellables], featuring 40 drawings and paintings at the Galerie Alphonse Chave.

Illustrated with 5 full-page black lithographs and 6 tipped-in colour plates.

In his characteristically provocative style, Man Ray opens with a preface mocking collectors' tendency to purchase names on canvas rather than the artworks themselves. Among the pieces selected for this book are several examples from his series of automatic paintings called "Peintures naturelles " (including the cover) created without the use of a brush. Among the other artworks one can find subtle allusions to

First edition, one of 200 copies numbered on wove paper, the only issue after 25 copies on Normandy vellum.

Spine and boards slightly and marginally sunned, without seriousness.

First edition, one of 250 numbered copies on vellum, the only printing after 25 copies on Holland paper.

Spine and boards slightly and marginally faded, as generally encountered.

Autograph inscription signed by Céline Arnauld to the poet Henri Hertz.

First edition, one of 500 copies on wove paper, after 13 copies on Auvergne and 60 on Rives.

Illustrated with four original photomontages.

Exceptionally inscribed by Georges Hugnet on the half-title page to the Dadaist Raoul Hausmann

First edition, printed in a limited run of 70 copies numbered on Montval paper and signed by Georges Hugnet.

Illustrated with a frontispiece etching by Stanley William Hayter.

Two poignant autograph inscriptions signed by Georges Hugnet—one to his father and one to his son—in blue and red pencil: "à Georges Hugnet mon père en souvenir des romans noirs dont il enchanta et peupla mon enfance. Georges Hugnet."; "Et maintenant vingt-ans après, à mon très cher fils Nicolas de la part de son grand-père qui l'aurait bien aimé de tout cœur son papa. G."

First edition, one of the press copies.

A pleasing copy.

Fine signed autograph inscription from René Char: "A Georges Hugnet affectueusement. René Char."

Original collage by Georges Hugnet, signed in white ink “G. H. 1961”. Matted and under a wooden frame without glass. A tiny marginal tear.

An irreverent, whimsical photo-collage by the Surrealist artist and writer Georges Hugnet. Throughout his diverse œuvre, collage represented an enduring passion for Hugnet, placing him as among the leading innovators in the medium in the 20th century.

Rare complete set of four pamphlets with poems by Georges Hugnet in first edition published during the Occupation, illustrated by Picasso, Joan Miro, and Valentine Hugo. The first titled "Non-vouloir" was limited to only 26 copies; our copy is one of the 20 copies on vergé antique de Montval, following 6 copies on japon. The three others on ordinary paper from a limited edition of 200 copies.

"Non-vouloir"  was the first resistance poem published openly and signed by its author without being subjected to censorship. Composed between March and June 1940, Hugnet's poem stands as a poetic manifesto of refusal against defeat and occupation, echoing Gen

First edition, limited to 59 numbered copies on Arches vellum, signed in pink pencil by André Masson beneath the limitation statement.
Rare and fine copy.
Illustrated with two original etchings by André Masson, printed full-bleed and issued hors texte.

First edition and complete run of the 9 G.L.M. cahiers issued between May 1936 and March 1939.

A few spines slightly faded, as is often the case; otherwise a pleasing copy, complete with its original publisher’s slipcase in full grey boards, with red printed title label pasted to the spine.

With numerous contributions by most of the Surrealist poets, writers, and artists, including: André Breton, René Char, Paul Éluard, Philippe Soupault, René Crevel, Valentine Penrose, Federico García Lorca, Pablo Neruda, Michel Leiris, Max Ernst, Man Ray, and André Masson, as well as several spiritual forebears of Surrealism such as Franz Kafka, Lewis Carroll, and Raymond Roussel...

First edition, one of 200 numbered copies on “light green paper,” the only deluxe paper issue announced.

Turquoise half morocco binding, smooth spine, date in gilt at foot, marbled paper boards, endpapers, and pastedowns, original wrappers and spine preserved, top edge gilt; an elegant contemporary binding signed by G. Gauché.

A very handsome copy, finely bound by Georges Gauché and complete with its publisher's prospectus. 

Signed presentation inscription by René Crevel: "My dear Georges, here, in its finest form: Diderot’s Harpsichord, if you can help him play his music? With all my affection. René" (our own translation)

First edition, deluxe issue, one of 58 numbered copies on Montval paper signed by the artist on the colophon, with two original colour lithographs signed by Max Ernst.

Additionally illustrated with 11 full-page drawings reproduced in black and reproductions of paintings by the artist, including one folding plate.

Copy as issued, green wrappers illustrated with an original artwork by Ernst in perfect condition without any trace of discolouration as is commonly the case.

First edition, one of 170 numbered copies on vélin teinté de rives, the only issue following 40 copies on vélin blanc d'Arches, with an additional suite of the illustrations.

A fine copy.

Illustrated with three etchings by Alberto Giacometti.

First edition featuring the celebrated original color stencil "Aidez l'Espagne!", printed on Arches paper by Joan Miró.
With literary contributions by Christian Zervos on Pablo Picasso's "Guernica", as well as texts by Jean Cassou, Georges Duthuit, Pierre Mabille, Michel Leiris, Paul Éluard, René Char...
Illustrated with numerous reproductions of works by Pablo Picasso and Joan Miró’s "Le faucheur".
Some rubbing and small tears to the spine, as often, a vertical crease to the rear wrapper, otherwise a fresh and well-preserved copy.

Autograph envelope addressed by André Breton to his friend Géo Dupin, curator of the La Cour d'Ingres art gallery at 17 quai Voltaire, from whom the Pope of Surrealism acquired several paintings.

The address is written in black ink (some letters slightly smudged).

A well-preserved example.

First edition of this important and very rare magazine, complete with 4 issues in 3 volumes. 

Complete collection of this luxurious Surrealist magazine, edited and funded by Lise Deharme and characterized by its emphasis on photography. Covers illustrated by Man Ray, illustrations in black.

Contributions by Salvador Dali, Hans Arp, Dora Maar, Oscar Dominguez, Brassaï, Lee Miller, Jacques Lacan, James Joyce, Georges Ribemont-Dessaignes, Ilarie Voronca, Nathalie Barney, Benjamin Fondane, Pierre Drieu La Rochelle, Alejo Carpentier, Eugène Jolas, Lise Hirtz [Lise Deharme], Raymond Queneau, Claude Sernet, Roger Vitrac, Robert Desnos, Jean Follain, Léon-Paul Fargue, Pierre

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.” (Pr