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Rrose Sélavy: Oculisme de precision, poils et coups de pieds en tous genres [Rose Sélavy: Precision oculism, complete line of whiskers and kicks] by DUCHAMP, MARCEL

5 to 10 days for delivery

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$20,000.00

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Seller: The Manhattan Rare Book Company

Title: Rrose Sélavy: Oculisme de precision, poils et coups de pieds en tous genres [Rose Sélavy: Precision oculism, complete line of whiskers and kicks]
Author: DUCHAMP, MARCEL
Seller: The Manhattan Rare Book Company (United States)
Condition: Very Good
Description: Paris: G.L.M., 1939. First edition. Half-morocco, wrappers bound-in. Very Good. FIRST EDITION: A REMARKABLE ASSOCIATION COPY. INSCRIBED BY DUCHAMP TO HIS GOOD FRIEND AND ONE OF THE FOUNDERS OF SURREALISM, PAUL ÉLUARD. Inscribed in ink on the half-title: "Cher Eluard / Marcel Duchamp" Marcel Duchamp (1887-1968) used his female alter ego Rrose Sélavy as the "author" for many of his most audacious works, including this collection of aphorisms. As an artist, Duchamp is associated with Dadaism, Cubism, and Surrealism though he resisted group affiliations. Instead, he focused on art that served the mind rather than art that pleased the eye. Dividing his time between New York and Europe, he was also an accomplished chess player, a prankster, and a writer. He especially enjoyed experimenting with verbal punning, which he viewed as a source of inspiration and humor. In addition to working with his contemporaries in the Dada and Surrealism circles, Duchamp had a seminal influence on younger Pop artists like Andy Warhol and Jasper Johns. Duchamp's Rrose Sélavy was an artist, muse, and creative experiment that brought to life his symbolic use of language. Images of Sélavy - Duchamp dressed as a woman - first emerged in 1921 in a series of photographs taken by fashion photographer and artist Man Ray. Her name, as pronounced in French, sounds like "Eros, c'est la vie", meaning "The passion of love [sex], such is life". This describes Duchamp's vision of life: the joy to live and roam free in thought. Rrose Sélavy inspired everything from collections of surrealist poetry to a 1921 sculpture called Why Not Sneeze, Rrose Sélavy?. Sélavy gave Duchamp an opportunity to show off his fondness for wordplay and his interest in androgyny and gender fluidity; Duchamp was, after all, the artist who drew a mustache and beard on a postcard of the Mona Lisa. In 1939, his collection of aphorisms entitled, Rrose Sélavy: Oculisme de precision, poils et coups de pieds en tous genres [Rose Sélavy: Precision oculism, complete line of whiskers and kicks] was published by Guy Lévis-Mano, renowned for printing works by prestigious artists such as Paul Éluard and Man Ray. This copy we have on offer is inscribed "Cher Éluard. Marcel Duchamp." Duchamp personally dedicated it to his close friend Paul Éluard, a French poet and one of the founders of the Surrealist movement. Though Duchamp wrote "word plays" as early as 1922, this collection was the first time his puns were published in one place. In this anthology of anagrams, double-entendres, and spoonerisms, he played with words that often had nothing to do with each other such as "My niece is cold because my knees are cold" and "abominable abdominal fur." Duchamp believed that "if you introduce a familiar word into an alien atmosphere, you have something comparable to distortion in painting, something surprising and new." ("Marcel Duchamp interview with Katharine Kuh") On the relationship between Paul Éluard and Duchamp: Duchamp and Éluard were part of an intimate group of artists that included Pablo Picasso, Man Ray, Salvador Dalí and Max Ernst. The mutual admiration and close ties between Éluard and Duchamp were evident throughout the 1930s. In 1936 Éluard presented Duchamp with a collection of his poems which was inscribed "a Marcel Duchamp, votre ami Paul Éluard" ["to Marcel Duchamp, your friend Paul Éluard"]. He also wrote "Rosse-est-la-vie" under his inscription, likely an allusion to Rrose Sélavy. In 1938, the year before Duchamp presented Éluard with this signed collection of aphorisms, they collaborated on the Exposition Internationale du Surréalisme [International Surrealist Exhibition] in Paris. Curators André Breton and Paul Éluard recruited Marcel Duchamp to serve as generator (art director) and mediator-Breton and Éluard were often at odds with each other. Salvador Dalí, Max Ernst and Man Ray also contributed to this major cultural event which pioneered the innovative concept of an immersive art show and proved to be the key Surrealism exposition during the interwar period. The Exposition Internationale du Surréalisme represented the last time that Duchamp, Éluard and their fellow artists would present work together in Europe, since many Surrealists, including Duchamp, fled France to escape Nazi persecution. In 1940, Duchamp assembled his Boîte-en-valise [Box in a Suitcase], a valise containing 79 small reproductions of his works, including his 1939 collection of aphorisms, which he re-copied onto music paper. Later that year Duchamp carried Boîte-en-valise to New York City, where he joined a number of the Surrealists in exile, including Breton and Ernst. Éluard remained in France distributing anti-German flyers and writing anti-Nazi poetry under a pseudonym, frequently moving around to avoid detection by the Germans. Throughout his life Paul Éluard was an avid art and book collector so perhaps this inscribed copy of Rrose Sélavy: Oculisme de precision, poils et coups de pieds en tous genres was a parting gift from Duchamp to Éluard. Marcel Duchamp and Paul Éluard were instrumental in the founding of Modernist artistic principles. Their work directly inspired the development of Pop art and Conceptual art and there's even an oyster bar in Manhattan called Sel Rrose, after Rrose Sélavy. Both Duchamp and Éluard experimented with new verbal techniques and the free expression of thought. This inscribed copy of Rrose Sélavy: Oculisme de precision, poils et coups de pieds en tous genres exemplifies the humor and absurdity appreciated by two of the most important members of the 20th century Parisian avant-garde, and connects them by inscription and ownership of this unique piece. Provenance: From the collection of Paul Destribats (1926-2017), who assembled what is generally regarded as the finest collection of books on the avante-garde. First edition. One of 500 copies on vélin blanc (out of a total edition of 515). This copy not numbered, likely indicating it was intended for presentation. Paris: G.L.M., 1939. 12mo (158 x 114mm). Half brown morocco from 1963 by Pierre-Licien Martin, with his gilt stamp and gilt date. Original wrappers bound-in. Pierre-Lucien Martin attended the École Estienne from 1927 to 1931, learned binding from Charles Chanat, and design from Robert Bonfils. He won the Prix de la Reliure Originale and is considered one of the best bookbinders of the 20th century. Minute wear to spine, otherwise fine. References: Pierre Cabanne. Dialogues with Marcel Duchamp.. London: Thames and Hudson, 1971. The Editors of Encyclopaedia Britannica. "Paul Éluard." Encyclopedia Britannica, 10 Dec. 2022. "Marcel Duchamp interview with Katharine Kuh." Philadelphia Museum of Art. Harper & Row, Publishers, 1961. Marcel Duchamp. Rrose Sélavy: Oculisme de precision, poils et coups de pieds en tous genres. Paris: Guy Lévis-Mano, 1939. Alexander Hawkins. "Meet Rrose Sélavy: Marcel Duchamp's Female Alter Ego." AnOther Magazine. December 01, 2015. Robert Lebel. "Marcel Duchamp." Encyclopedia Britannica, 28 Sep. 2022. "Pierre-Lucien Martin." The Oxford Companion to the Book. Oxford: Oxford University Press, 2010. Benedetta Ricci. "The Shows That Made Contemporary Art History: The International Surrealist Exhibition of 1938." Artland Magazine.

Journal of Four Days' Tour in North Wales by a Party of Five (Photographically Illustrated) by [ANONYMOUS]

7 to 10 days for delivery

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$750.00

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Seller: Harper's Books

Title: Journal of Four Days' Tour in North Wales by a Party of Five (Photographically Illustrated)
Author: [ANONYMOUS]
Seller: Harper's Books (United States)
Condition: Full leather boards, with leather lettering piece to spine and four raised bands; some wear to front joint, and general rubbing
Description: London: Privately Printed, 1877. Full leather boards, with leather lettering piece to spine and four raised bands; some wear to front joint, and general rubbing to boards and spine ends. Typical fading to albumen prints, and minor foxing to handful of pages. Overall, a pleasant copy of this privately printed travelogue; with only two OCLC records located (BL and Wales).. First Edition. Octavo. A delightful account of a party's tour of North Wales organized into four cantos; a party of four girls and a 70 year old gentleman—depicted in the frontispiece photograph—with the latter presumably being the anonymous writer of the poetic verse. Illustrated with 65 mounted albumen photographs (most measuring 4 x 6.25 inches), representing landscapes, bridges, railways, waterfalls, lakes, castles, and villages. With comical woodcuts to the end of each canto. This copy INSCRIBED to front endpaper to Ellen Pitman; dated Oct. 12, 1877.

The Mother Of Executed Nurse Edith Cavell Writes A Letter About Building Cottages For Nurses To Remember Her Daughter by (EDITH CAVELL)

5 to 10 days for delivery

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$500.00

( US$)

Seller: Stuart Lutz Historic Documents, Inc.

Title: The Mother Of Executed Nurse Edith Cavell Writes A Letter About Building Cottages For Nurses To Remember Her Daughter
Author: (EDITH CAVELL)
Seller: Stuart Lutz Historic Documents, Inc. (United States)
Description: LOUISA CAVELL (1835-1918). Cavell, the wife of a reverend, was the mother of the famous nurse.EDITH CAVELL (1865-1915). Cavell was a British nurse who worked in Belgium and was influential in improving nursing practices there. In the early 1910s, she trained nurses for hospitals and schools. In 1914, during the opening of World War I, she began harboring British troops in Belgium and moving them to Holland. The German authorities became suspicious of her, arrested her and court-martialed her. She was shot on October 12, 1915 and became a national hero in England.ALS. 2pg. 4 x 6. February 21, 1916. Upon House. An autograph letter signed L.S. Cavell to the Reverend H.J. Swallow; she wrote on black-bordered mourning stationery as it had only been a few months since her daughter was executed: May I trespass on your tenderness by asking you to address and post the enclosed letter to Mr. Howard, the gentleman at Brighton who is proposing to build 24 cottages for nurses to honor my dear daughters memory. Thanking youL.S. Cavell. The letter has a mailing fold and is in very fine condition.

Enlist [in the Army, Navy, Marines] by City of Boston Public Safety Committee

2 to 8 days for delivery

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$300.00

( US$)

Seller: Tschanz Rare Books

Title: Enlist [in the Army, Navy, Marines]
Author: City of Boston Public Safety Committee
Seller: Tschanz Rare Books (United States)
Description: [Brooklyn]: [Sackett & Wilhelms Lithographing & Printing Co], 1918. Poster. Two sheets [142 cm x 213.5 cm] / [56" x 84"] Tissue lined with a few small closed tear at the former folds at the left edge. Top half of this large poster. Drawing of Lady Victory holding a flag.

The Long Christmas Dinner & Other Plays in One Act [SIGNED] by Wilder, Thornton

7 to 14 days for delivery

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$200.00

( US$)

Seller: ReadInk

Title: The Long Christmas Dinner & Other Plays in One Act [*SIGNED*]
Author: Wilder, Thornton
Seller: ReadInk (United States)
Condition: Good+ in Poor dj
Description: New York/New Haven: Coward-McCann/Yale University Press. Good+ in Poor dj. 1931. First Edition. Hardcover. [book is shelfworn, slight fraying to cloth at top of spine; the jacket is a real mess, in three pieces (held together, albeit not very well, by a new mylar jacket cover) with extensive chipping, most of the spine missing, etc.]. INSCRIBED by the author on the on the ffep: "For Elsa Lanchester / and Charles Laughton / with the admiration and / friendship of / Thornton Wilder / University of / Chicago / December 1931." Six short plays, one of which, "Pullman Car Hiawatha," is a sort of precursor to Wilder's classic "Our Town": a "Stage Manager" introduces and narrates the action, which takes place on a train traveling from New York to Chicago (depicted only with chairs on an almost-bare stage), passing at one point through Grover's Corners, Ohio. The inscription can be accounted for, at least temporally and geographically, by the fact that Laughton and Lanchester were in Chicago in December 1931, on the road with the play "Payment Deferred," in which they had made their American stage debuts in September (following the play's London run); Wilder, already a Pulitzer Prize winner for his 1927 novel "The Bridge of San Luis Rey," was on the faculty of the University of Chicago from 1930 to 1937, and as a literary celebrity would certainly have been in a position to meet Charles and Elsa, quite likely at some social function. The association, such as it is, is a little harder to suss out: although the "admiration and friendship" inscription hints at something more than a casual meet-and-greet, I've been unable to document any professional collaboration between Wilder and either Laughton or Lanchester. .

The Ship That Came Down the Gutter by William Kotzwinkle; Joe Servello [illus.]

2 to 8 days for delivery

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$60.00

( EU VAT US$0)

Seller: Capitol Hill Books, ABAA

Title: The Ship That Came Down the Gutter
Author: William Kotzwinkle; Joe Servello [illus.]
Seller: Capitol Hill Books, ABAA (United States)
Condition: Very Good +
Description: New York: Pantheon Books, 1970. Very Good +/Very Good. New York: Pantheon Books, 1970. First Edition. Small square quarto; publisher's cloth in white pictorial dust jacket retaining original price ($4.50), color pictorial endpapers; [24]pp.; illus. throughout. Jacket a bit toned at margins, very brief foxing to cloth edges, faint rubberstamped "H" to front free endpaper, else a Very Good, clean and sound copy. Charming picture book by the author perhaps best known for writing the novelization of E.T.

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