and hugnet georges (16 risultati)

Softcover, staple bound, 32 pages; fair condition: ex-museum library copy with 1-inch square blank white sticker on upper left corner of front cover; and black marker lines on uper right corner; library stamp on 1st page; no other internal marks. As is; reference copy.

Reprint. Softcover in jacket, good with shelf wear and age toning.

Olwd. 294 S., mit zahlr. Abb. - Einband teils etwas berieben und leicht bestoßen - sonst gut erhalten. // Wir, das Antiquariat Steffen Völkel, kaufen und verkaufen alte Bücher, Handschriften, Zeichnungen, Autographen, Grafiken und Fotografien. Wir sind stets am Ankauf von kompletten Bibliotheken, Sammlungen und Nachlässen interessiert. Sprache: Englisch Gewicht in Gramm: 550.

Hardcover. Condizione: Very Good. Condizione sovraccoperta: Very Good. Contents: Breton, A. Limits not frontiers of surrealism. -- Davies, H.S. Surrealism at this time and place. -- E?luard, P. Poetic evidence. -- Hugnet, G. 1870 to 1936. Reissue of a book first published in 1936 by Faber and Faber. 251 pages, illustrations ; 26 cm. Grey cloth boards, unclipped dust jacket (now in a removable protective sleeve). Slight shelf wear to edges, no inscriptions, tight and square binding. Photographs available on request. All books dispatched same or next working day in robust packaging.

4°, grünes O Ln. 3. Auflage,. Mit zahlreichen Abbildungen, 271 Seiten, Gutes Exemplar, der Rücken beschienen Sprache: Englisch.

Cloth over boards. Condizione: Very good. Second edition. Hardcover cloth (green) over boards. 4to. 294 pp. Illustrated with 671 b/w plate reproduction of dada and surrealist paintings, sculptures, and objects. Gilt title stamped on spine. Gilt ornament stamped on front board. Text block slightly browned, with darker browning in the gutters. Otherwise the text block is clean, unmarked, and square with a strong binding. Boards and spine rubbed and worn along the edges. Corners bumped. Spine faded and sunned. Small enclosed tear at the top of the spine. The second edition, revised and enlarged from the first, and containing material originally presented in the exhibition guide for a show entitled " Fantastic Art, Dada and Surrealism," that took place at the Museum of Modern Art in 1936.

Hardcover. Condizione: Very Good. 1st Edition. VG/-, darkening strip along front gutter, 4to, 2nd edn, revised and enlarged, green covers with gilt design, neatly signed on fep by Russell Lynes and wife Mildred (Vassar graduate he married in 1934). He was prominent art historian and managing editor at Harpers Magazine, dated 1942, nice association, well ill.

hardcover. Condizione: Very Good. Very mild shelfwear. 1968 reprint edition. I note every flaw I find, so buy with confidence.

Softcover, 38 pages with 15 full page illustrations; numbered 188 from an edition of 255; fair condition; about half the spine is torn off; still bound; as is; reference copy. Foreign shipping may be extra.

Soft cover. Condizione: Very Good. 1st Edition. Cahiers dArt n 7-8. 6 Annee. Paris: Cahiers d'Art, 1931. First Edition. Profusely illustrated in black and white with images of work by Marc Chagall, Joan Miró, and Pablo Picasso. Text in French by Pierre Guéguen, Georges Hugnet, and Christian Zervos, and others.

Wrappers. First Edition thus. Of 300 copies, this one of 200 numbered copies "sur Alfa" Head and foot of backstrip chipped and worn and edges of wrappers darkened, but a nice copy in frayed and worn original glassine protective outer wrapper Wilson & Uphill D7.

Soft cover. Condizione: Fine. 1st Edition. 4 pages + a loose transparent sheet (printed tracing paper). Softcover, staple-bound in wraps. Text by Marguerite and Jean Arp: "Préface-collage ou Menu déchiré en belle vue". With Georges Hugnet's collage entitled "Rose foudre pour éclairage nocturne des jardins d'agrément" and a movable layer over the collage with a pun by Marcel Duchamp, the famous syllepsis, "Il arrange or, jus n'y est" (Laughing Georges Hugnet). Invitation card to the Georges Hugnet exhibition "De L'Image" at the Galerie de Marignan in Paris from 20 March to 7 April 1962. [Of-C2-S1].

Paperback. Number 23 of 25 such copies. Thick wrapped cardstock glued covers, with printed lettering in black and green. Unpaginated (38 pp) with the 6 zincographs bound in, and then containing, in a separate folder, a suite of 3 copies (each in a different color) of the 6 bound zincograph plates from the book. LACKS THE BLACK AND WHITE ETCHING, but contains a custom-designed and signed presentation collage by Georges Hugnet to Nannette and Herbert Rothschild on the half-title, with painted design and applied materials, dated April 9, 1956. First edition printed in 525 numbered copies: 25 on Arches vellum signed by the author and illustrator. This is one of the first 25 copies on Arches vellum, signed by the author and the painter with the set of three engraving colors (red, ochre and blue-green) in the separate suite and 1 original etching by Pablo Picasso (SIGNED ETCHING IS NOT PRESENT IN THIS COPY). The justification indicates: "the illustrations were etched by Pablo Picasso in order to be printed in the text through common typographic means. The etching, meant only for the first prints, is one of six illustrations printed in intaglio on Roger Lacouriere's printing press." An additional 500 regular copies (with no suite and no etching) on Lafuma, plus VI author's copies on arches and III nominatives on bristol. The request to insert by Paul Eluard is entitled "Pour Georges Hugnet" (1 p.) and is present as called for. Also contains some other laid-in items, including a dated 1956 photograph of Hugnet, along with a lithographed invitation to an exhibition of graphics by Hugnet (at Galerie Furstenberg) dated 1954 (contains a colored illustration on the right inside panel), and a printed belly-band of unknown relation to the artist or publication. Bound book is VG+ with expected age-toning to the solid covers. Accompanying suite is as good as can be hoped for, with the thin paper printed wraps broken at the spine and the 18 prints (most with acidic sheets between) that are printed on low-quality acidic paper solid, clean (with a noted printing smudge on one about 1/10 an inch in size) and undamaged but wanting some conservation or de-acidification. Again, in case you have not noted otherwise, THE BLACK AND WHITE SIGNED ETCHING is lacking, but the limitation page is signed by both Hugnet and Picasso and there is a unique collage by Hugnet to noted collectors on the half-title.

Original wraps. Condizione: Fine. Condizione sovraccoperta: Fine. Jean Cocteau and Georges Hugnet (illustratore). First Edition. #78 of 80 copies (within the larger limitation of 100 copies) printed "sur velinde Rives" and SIGNED AT THE LIMITATION BY BOTH ILLUSTRATORS, JEAN COCTEAU AND GEORGES HUGNET. A lovely copy to boot of the 1952 original edition, in French. Immaculate in its glassine dustjacket, housed in an all-but-pristine dark-red chemise and matching dark-red slipcase. 64 surrealist poems written by both Jean Cocteau (1889-1963) and Georges Hugnet (1906-1974) and 16 original color lithographs executed by both of them. Signed.

Wrappers. First Edition. Illustrations by Picasso, Tchelitchef, Bérard, Tonny and E. Berman Of 100 numbered copies with illustrations, this is one of only 25 copies on Holland Van Gelder paper, signed by the author and by the translators. Fine unopened copy in original outer glassine protective wrapper Wilson & Uphill A15b.

Postcard. (88 x 139 mm). Gelatine silver print in sepia on photograph postcard stock, printed postcard layout verso, the recto with thirteen applied sections of paper to form a collage, verso with 11 applied sections of paper and manuscript text in magenta ink (see below). Loose in original (?) folded sheet of glassine. A superb original collaborative Surrealist double-sided collage signed by Max Ernst and Georges Hugnet - two of the most remarkable, original and productive practitioners of the technique - and presented to Noel Armand. The collage takes as its basis (recto) a nineteenth-century sepia-toned photograph of a group of men, members of a gymnasium, all wearing dark trousers, boots, white undershirts and braces, posing before a building. Dumbbells and other items of equipment from the gymnasium scattered about serve as the backdrop and props for the 15 figures depicted, each of whom has had a letter, group of letters - upper or lowercase and in various different types - or manicule pasted over their faces to form the title: 'Surréalisme - la machine de vos rêves'. This is an example of an 'analytic' collage, i.e. it is composed of a background image to which additional elements have been added. That the text forms an aphorism that is itself a definition of Surrealism is self-evident. The verso too features collage with images of an empty safe, a mattress, a canopy and other household furnishing in black on magenta or turquoise paper with the individual letters - again in upper or lowercase and in various types - to form the word 'Amitiés'. At upper right is the presentation in magenta ink: 'à Noel Armand / GEORGES HUGNET / 6 Avril 34'; a series of magenta dashes link the presentation and the leters of 'Amitiés' and Max Ernst's signature is at lower right. This is an example of a 'synthetic' collage, i.e. a composition of disparate elements which, in combination, create a new, unified whole. 'Collage is the impoverished relation. For a long time to come its worth will continue to be denied. It passes for being reproducible at will. EVeryone thinks himself capable of creating it. And if painters, through steady will, are able to perpetuate and to exacerbate this ill repute, perhaps they will manage to render that which is known ass foolishness into the expression of reality and makke their works such that they will no longer have any value, absolutely none aat all, for those people who thought they had the right to decorate their walls wih human thought, with living thought.' (Louis Aragon, from 'La Peinture au Défi'). Max Ernst began experiments with collage in the early 1920s and produced a number of books, his collage novels, illustrated with collages beginning with 'Repetitions' and 'Les Malheurs des Immortels' in 1922 and including his important trilogy 'La Femme 100 Têtes' (1929), 'Rêve d'une Fille Qui Voulut Entrer au Carmel' (1930) and 'Une Semaine de Bonté' (1934). Hugnet too experimented throughout his life (beginning in the 1930s) with the collage and photomontage and produced a number of works illustrated with collages ('La Septième Face du De', 'Huit Jours à Trébaumec' and others). Although the Surrealists created 'cadavre exquis' from collage elements with multiple contributors creating a collaborative image, individual collages such as this are rare. Ernst did create collages with others, including Eluard and Hans Bellmer, This collage, signed as it is by both Max Ernst and Georges Hugnet, represents a remarkable Surrealist collaboration and an excellent visual and semantic definition of Surrealism itself. ' . the two majordomos of this highly important area of Surrealist activity are Max Ernst (as great [sic] artist enhanced with extraordinary poetic vision) and the lesser known but distinguished Surrealist poet, with equally superior skills in the world of collage, Georges Hugnet . Concerning Max Ernst, his amazing output as a genius of the art of the collage speaks supremely for itself. Besides his wonderful, endlessly imaginitive treasure trove of single works, he also bestowed upon us the totally magical legacy of his 'collage-novels' . Georges Hugnet is another sort of collagist entirely. He, with a naughty (but very focused) bent on the erotoc side of life, invented in the 1930s the concept of the poème-collage . a collage merging cutout words (of every sort and size), interspersed with images - something that no prior artist had ever understaken.' (Timothy Baum). [see Louis Aragon's 'La Peinture au Défi', Paris, 1930, translated from the French by John Goodman and Molly Stevens; see 'Surrealism: Two Private Eyes', Solomon R. Guggenheim Museum, 1999 (vol. 2, 'Collage', pp. 640 - 719); see 'The Surrealist Collage - Where Dreams and Reality Meet', New York, 2025, pg. 11].