Null MISCELLANEOUS AUTHORS
Teige: Surrealism Socialist Realism Irrealism 1934-19…

Description

MISCELLANEOUS AUTHORS Teige: Surrealism Socialist Realism Irrealism 1934-1951 1982 Illustrated book 20.5 x 12.5 cm Enaudi edition Pages 336 Defects

369

MISCELLANEOUS AUTHORS Teige: Surrealism Socialist Realism Irrealism 1934-1951 1982 Illustrated book 20.5 x 12.5 cm Enaudi edition Pages 336 Defects

Auction is over for this lot. See the results

You may also like

Estim. 400 - 600 EUR

Herbert Hoover Signed Limited Edition Book - Herbert Hoover: American Quaker by David Hinshaw Signed book: Herbert Hoover: American Quaker by David Hinshaw. Limited first edition, numbered 29/1500. NY: Farrar, Straus and Company, 1950. Hardcover with pictorial slipcase, 6.5 x 9.5, 469 pages. Signed and inscribed on the first free end page in black ink, "To Alvin C. Eureck [sic], with the kind regards of Herbert Hoover (But with reservations on overstatements)." The page is also signed by the book’s author. Autographic condition: very good to fine, with slightly irregular staining to the signed page. Book condition: VG/None in a VG- slipcase, with rubbing to the case. Alvin C. Eurich (1902-1987) was the first president of the State University of New York (SUNY) and served in said capacity from 1949 to 1951. During World War II, he served in the Navy, returning to take a Vice Presidency at Stanford University, where he helped organize the Stanford Research Institute and was later named as acting President of Stanford in 1948 after his predecessor's sudden death.

Estim. 2 000 - 3 000 EUR

ERNST (Max). A week of kindness. Paris, Jeanne Bucher, 1934. 5 in-4 paperbacks, printed covers. Spines sunned, a few small tears or cuts at the edges of some covers (with small loss at the top of the cover of the 2nd quire). First section: Dimanche, item: La Boue, example: Le Lion de Belfort. [3] ff, 36 engraved plates (on 18 ff), [1 f.bl.]. Second book: Monday, element: Water, example: Water. [3] ff, 27 engraved plates (on 14 ff), [1 f.bl.]. Third book: Tuesday, element: Fire, example: The Court of the Dragon. [3] ff, 44 engraved plates (on 22 ff), [1 f.bl.]. Fourth book: Wednesday, element: Le Sang, example : Oedipe. [3] ff, 28 engraved plates (on 14 ff), [1 f.bl.]. Last quire: Thursday, element: Le Noir, examples: Le Rire du Coq, L'île de Pâques, Vendredi, element: La Vue, example: L'Intérieur de la Vue, Samedi, element: Inconnu, example: La Clé des Champs. [4] leaves, 16 engraved plates (on 8 leaves), [1 leaf], 10 engraved plates (on 5 leaves), [2] leaves, 6 engraved plates (on 3 leaves), [1] leaf, 4 engraved plates (on 2 leaves), [1] leaf, 2 engraved plates (on 1 leaf), [1] leaf, 10 engraved plates (on 1 leaf), [1 bl. leaf]. Edition of 828 copies; n°416 of 800 on Navarre paper. Apart from minor flaws to the covers, a very good, well-preserved and complete set. Invited to the Château de Vigolino in Italy in August 1933, Max Ernst drew on the library of his hostess, the Duchesse de Gramont, to cut out illustrations from various works of the previous century (such as Jules Mary's Damnées de Paris, or works illustrated by Gustave Doré) to create a fantastic collection of 184 collages, 182 of which were selected for publication in 5 booklets by gallery owner Jeanne Bucher. Initially planned as seven booklets (for each day of the week, with an associated element and "example"), poor sales of the first four meant that the last 3 days had to be condensed into a 5th and final volume. This is Max Ernst's third novel-collage, following La Femme 100 têtes (1929) and Rêve d'une petite fille qui voulut entrer au Carmel (1930). The original collages, of incredible perfection and refinement, were first exhibited at Madrid's Museo de Arte Moderno in 1936 (with the exception of 5 plates deemed too blasphemous), only to be rediscovered in 2008-2009 during a series of exhibitions that took in Vienna, Brühl, Hamburg, Madrid and finally Paris at the Musée d'Orsay, provoking public and press enthusiasm: "the dreamlike force, the impressive disturbance of déjà-vu bewitch. Every rape perpetrated by an Easter Island statue emerging from behind a hanging, every torture of a bird-headed man, every crinoline-clad woman surrounded by dragons, every staging of an always absurd crime: it all goes straight to the brain. And once you've seen it, you'll never forget it. (Le Figaro, June 30, 2009, Éric Biétry-Rivierre). "In Une semaine de bonté, the tableaux and events that unfold over the pages are in stark contrast to the title. Power, violence, torture, murder and disaster are the dominant themes. The scenes of unrest and brutality that appear on many of the leaves are related to the alarming political situation of the time and the rising perils. Ernst was reacting to the establishment of dictatorships in Europe, and the seizure of power by the National Socialists. His contemporary concerns are interwoven with allegories, allusions to mythology, Genesis, fairy tales and legends, as well as snatches of dreams and poetic worlds. The work is also permeated by themes dear to the author: sexuality, anticlericalism, rejection of the family and the bourgeoisie, refusal of patriotism... Ultimately, Max Ernst seemed intent on denouncing a certain form of society. His irreverent collages reflect the state of mind of his men, who had returned traumatized from the First World War (he himself had served in the German artillery), and who had to find their place again in a society that was doing its utmost to forget the horrors of the conflict. He takes up the conventional, stereotyped representations of evil, abjection and suffering found in newspapers, magazines and novels. But by transforming them, by associating them with each other, he radically diverts these images from their original message and reinforces their impact." Presentation of the Musée d'Orsay exhibition, "Max Ernst 'Une semaine de bonté' - les collages originaux", June 30 - September 13, 2009.

Estim. 1 500 - 2 000 EUR

MICHAUX (Henri). Nice set of 15 volumes, some in first editions and/or accompanied by signed autograph letters: - Mouvements. Sixty-four drawings. One poem. An afterword. Paris, Gallimard, 1951. Large in-4 paperback, illustrated printed cover (cover partly detached). Original edition illustrated with numerous full-page engraved drawings by the author, printed in an edition of 1,370 copies; no. 299 of 1,399 on Papeteries Téka special mat vellum, enriched with a long L.A.S. from Henri Michaux, sl, January 1, 1955, 1 p. gd in-8 to a friend: "Like myself, spread the news that I'm not coming. It's the only chance I have of coming. You are threatened - by an invasion of locusts - tired of the St Germain des Prés - Seizième journey. [...] I'm not going to Egypt. Memphis no longer exists. never existed. The sphinx has gone underground. [...] As for the whale, for lack of a date to give it, for lack also of the optimism which, I see, suddenly invades you, I give up entering its belly. [...]" - Le Lobe des Monstres. L'Arbalète, 1944. Small square in-12, paperback, printed cover. First edition, 235 copies; n°20 of 230 on pur fil Lana. Author's engraved drawing on frontispiece. With a small L.A.S. "H.M." written on both sides of a small mourning envelope, addressed to Georges HENEIN: "Journalists are the enemies of sleep, peace, the sky and the ocean... But do you seriously think that I would be figaro-positive? [...]", he might see him later at Brauner's. - Coup d'arrêt. Paris, Le Collet de Buffle, 1975. In-8 in ff. with printed cover. First edition printed in an edition of 575 copies; n°14 of 60 on handmade paper from the Larroque mill. With a C.A.S. (with a few tears, restored and lined) on nrf headed paper (he is interested in Marc Colleprel's (?) position as secretary). - Affrontements. Fata Morgana, 1981. In-8 paperback, filled printed cover. Uncut. Original edition of 1,800 copies; one of 1,720 on tinted laid paper, enriched with an E.A.S. from Henri Michaux to Colette Roubaud and a L.A.S. from the latter. - Affrontements. Fata Morgana, 1981. In-8 paperback, filled printed cover. Uncut. Original edition of 1,800 copies; n°16 of 75 on Arches laid paper. - Le jardin exalté. Fata Morgana, 1983. Small in-8 paperback, filled printed cover. Uncut. Original edition of 1800 copies; n°14 of 75 numbered on Amatruda laid paper. - Par surprise. Fata Morgana, 1983. In-8 paperback, filled printed cover. Uncut. Original edition of 1,800 copies; one of 1,725 on tinted laid paper. - Par des traits. Fata Morgana, 1984. Large in-8 paperback, filled printed cover. Numerous full-page and in-text drawings. Original edition printed in 1800 copies; one of 1720 on offset vellum, with an E.A.S. from Henri Michaux to Colette Roubaud. - Par des traits. Fata Morgana, 1984. Large in-8 paperback, printed cover filled. Cover partly detached. Numerous full-page and in-text reproductions of drawings. Original edition printed in 1800 copies; one of 1720 on offset vellum centaure. - Les Rêves et la Jambe. A philosophical and literary essay. Antwerp, ça ira, 1923. Photocopied copy of the original in-12 (which bore an E.A.S. to Robert Guiette), with handwritten corrections and accompanied by a handwritten copy by Colette Roubaud of a long and beautiful L.A.S. from Henri Michaux addressed to her, Paris, May 16, 1978, 1 p. in-4: "[...] The studies you address to me show me that for a long time you have followed or raised me. With embarrassment, however, I enter the reading of H.M. mystique, then with emotion (which I should not have, which would be enough to condemn me) I enter the light that you, in my work (?) see, whereas it is darkness that is almost constantly there, where I live. [...]" - Moments. Traversées du temps. Paris, nrf, Le point du jour, 1973. In-8 paperback, printed cover. 9112 copies of original edition; no. 2623 of 9000 on bouffant alfa Calypso Libert, with handwritten notes in pencil in the margins or in ink on loose paper by Colette Roubaud. - Mouvements. Sixty-four drawings. One poem. An afterword. Paris, nrf, Gallimard, 1982. Large in-8 paperback, filled illustrated cover. Numerous full-page and in-text reproductions. New edition (g.ed. 1951) printed in 2000 copies (no. 1048). - Face à ce qui se dérobe. Paris, nrf, Gallimard, 1975. In-12 paperback. Unnumbered copy from the year of the original. - Un Barbare en Asie. Paris, nrf, Gallimard, 1933. In-12 paperback. Second edition on title and third edition on cover. - Ecuador. Paris, nrf, Gallimard, 1929. In-12 paperback. 4th edition.

Estim. 4 000 - 5 000 EUR

LUIS SEOANE LÓPEZ (Buenos Aires, 1910 - A Coruña, 1979). "Still life". 1969. Oil on canvas. Signed and dated in the lower margin. Provenance: José María Moreno Galván collection. Measurements: 30 x 40 cm; 33 x 43 cm (frame). Scene of interior in which the artist arranges a recurrent subject in the history of art as it is the still life. However, he exposes this genre from a modern point of view where the artist plays with the juxtaposition of elemental forms and a range of saturated colors applied in planes that are diluted and independent of objects and realism. A draftsman, painter, engraver and writer, Luis Seoane was educated in A Coruña, where he worked as a lawyer and was a member of the Partigo Galeguista, and in 1936 he settled in Buenos Aires. In his youth he participated in the political and cultural activity of the students of A Coruña and, according to the historian and journalist Carlos Fernández Santander, Seoane could be the author who, under the pseudonym of Hernán Quijano, wrote "Galicia Mártir. Episodes of the white terror in the Galician provinces", a book published in Paris and Argentina in 1938. In 1932 he graduated in Law and Social Sciences in Santiago de Compostela, and during these years he began his career in various fields. Thus, between 1927 and 1933 he militated in republican and autonomist left-wing parties, illustrated books and magazines and held his first exhibitions. In 1934 he returned to A Coruña from Santiago and began to work as a lawyer, while sharing gatherings with Huici, Cebreiro, Fernández Mazas, Del Valle, Julio J. Casal, Francisco Miguel and others. That same year he joined the Partido Galeguista. Two years later he took part in the campaign for the Statute of Autonomy, but when the war broke out he was forced to flee to the Argentine capital. Once settled in Buenos Aires, he kept in touch with other compatriots exiled from Franco's regime, among them the painter Leopoldo Nóvoa and the activist María Miramontes. In 1937 he published his first book there, "Trece estampas de la traición". Three years later he founded the collections "Hórreo" and "Dorna" in EMECÉ Editores, and in 1943 he created the magazine "Correo Literario" and Editorial Nova. Two years later, his "Homenaje a la Torre de Hércules" (Homage to the Tower of Hercules) was awarded in New York. In 1948 he founded the publishing house Botella al Mar, and the following year he made a trip to Europe and exhibited in London. Between 1952 and 1962 he exhibited in New York, founded the magazine "Galicia Emigrante" and the publishing house Citania, and was awarded prizes such as the medal of the Universal Exhibition of Brussels, the medal of the Senate of the Argentine Nation (1958) or the Palanza Prize (1962). At the same time, he worked for the Buenos Aires gallery Gordons, directed by Roberto Mackintosh, an expert and connoisseur of his work. In the last decades of his life he alternated his residence in America with trips to Galicia, and in 1977 the first complete edition of his poetic work was published. Between 1963 and 1979 he held exhibitions in Spain, Germany, Italy, Switzerland, Brazil and other countries. In 1994 the Day of the Galician Letters was dedicated to him, and in 2003 the Galician Center of Contemporary Art, in Santiago de Compostela, dedicated an important retrospective exhibition to him, which was later taken to the Museum of Modern Art in Buenos Aires. He is currently represented in the Caixanova Collection, among many others.

Online payments are secured by Ingenico and encrypted transactions.

Each lot has been authenticated and appraised by an Auction House.

Consult our FAQ or contact us

Composed of several subsidiaries, the Drouot Group is a major player in the art market. Hôtel Drouot, located in the heart of Paris, has been the world's largest public auction center since 1852. 15 salerooms are available to more than 70 auction houses. The emulation generated by an annual offer of 230,000 artworks from 21 major specialities - from Antiquity to street art - attracts some 3,000 visitors every day. The Group's digital platform, Drouot.com, offers digital sales - Live auctions (live broadcasting and participation in auctions), Online-only auctions (dematerialised auctions) and Buy Now sales (sales of lots at fixed prices). Nearly 2 million items are offered annually by 600 auction houses. Auction news is reported every week in La Gazette Drouot, the leading weekly magazine for the art market and culture published by Auctionspress.

More about Drouot

Drouot certified auction houses

Contacts

HÔTEL DROUOT

9, rue Drouot 75009 Paris, France

+33 (0)1 48 00 20 00

[email protected]

DROUOT.com

[email protected]