Man Ray Emmanuel Radnitzky (29 results)

320 pages. Hardcover: H 27.25cm x L 20cm. Dust jacket rubbed with minor bumping at edges; front flap is not price-clipped. Blue boards with vibrant gilt stamped lettering to spine. Minor stain on text block's top edge with a few leaves fractionally affected at top margins; past owner's ink inscription on front free endpaper; interior leaves are otherwise clean. Binding is firm. Please note that this book has an approximate shipping weight of 3.75 pounds (1.7 kg) and may require additional postage for any postal class other than domestic Media Mail. ISBN 0821217054.

80 pages. Paperback: H 28.75cm x L 24.25cm. Cream colored paper covers lightly rubbed with minimal soiling; slight sunning to spine. Touch of foxing to text block's top edge. Interior pages are clean. Binding is firm. With articles regarding and/or by Colin L. Westerbeck, Jr., Tod Papageorge, William Garnett, Peter Plagens, Jan Groover, Ben Lifson, Laurie Anderson, Cecil Beaton, Jed Perl, Man Ray [Emmanuel Radnitzky], and Tristan Tzara.

Paperback. Ref. A17930. 24x31. 104 págs. Imágenes en blanco y negro. Texto en inglés y castellano. Fotografía. 42-D Fotografía Sin categorizar.

Hardcover. Condition: As New. Dust Jacket Condition: As New. David FORDHAM; MAN RAY (illustrator). 1st Edition. First Edition, enlarged. DJ intact; initial sales price ($35.00) provided; DJ design by David FORDHAM. Afterword by Juliet Man Ray; Foreword by Merry A. Foresta. Text is clean and pages unmarked. 320 pages. Hundreds of photographs, most in black-and-white, some in color, by MAN RAY and others. Measures 8.0" x 10.75". Protected in an archival wrapper. This work has been reissued many times in many formats, but why purchase a later reprint when you can own a book in its original first edition state? More images and/or description can be sent on request. Condition: As New in an As New DJ.

First edition hard back binding in publisher's original black cloth covers, gilt lettering to spine. Folio 12½'' x 10'' 260 pages. ISBN 1856691500. Monochrome photographic illustrations throughout. Fine condition book in Fine condition dust wrapper with tiny rubs to top corners, not price clipped. Dust wrapper supplied in archival acetate film protection. Member of the P.B.F.A. ART [Surrealism].

brossura illustrata. Condition: buono stato. a cura di Arigoni Carla Pagine: 136 b/n e a colori. Lingua: italiano.

Soft cover. Condition: Fine. Dust Jacket Condition: Fine. MAN RAY (EMMANUEL RADNITZKY) (1890-1976) (illustrator). 1st Edition. Paris, GLM Editions Guy.Lavis. Mano., 1937. First Edition. Octavo. Twelve halftone plates and five sheets of text. Unbound as issued, on yellow coated stock, laid into blue wrappers and an outer black wrapper with a cutout window (often missing or damaged). Cutout area displays some slight fading. Described by Parr as "Duchampian ready-mades." (Parr / Badger, v.1, 108-109. Ref: FotografÃa Pública: Photography in Print 1919-1939 pp. 167; Parr & Badger, Le Livre de photographies une histoire: Tome 1 pp. 109; M.+ M. Auer, 802 Photo Books from the collection pp. 242. 17 unpaginated 6.25- x 9.75-inch leaves, printed recto only: title page + three leaves with Breton's text + a leaf with a list of Man Ray's published works and colophon + 12 full-page b&w plates on yellow coated stock with captions beneath, all on the same paper stock. Loose as issued in original publisher's blue wrappers with title in black and additional black paper dust-jacket with rectangular die-cut to expose title. Reference: Parr & Badger, Photobook, Vol. 1, p.108-109; Fotografia Publica Photography in Print 1919-1939, p.166-167; 802 Photo Books from the M. + M. Auer Collection, p.242.Near Fine in wrappers with hardly noticeable fading in the rectangular title cutout. A fine copy. Housed in a custom made clamshell box in blue cloth.

Condition: Molto ben conservato. Legatura editoriale in tela con illustrata e custodia in cartoncino, cm 28.5 x 22, pp 149 (5). Buono stato di conservazione. Catalogo di multipli e grafica di Man Ray pubblicato dal gallerista torinese Luciano Anselmino, con 77 opere e serie riprodotte a colori e una dichiarazione in inglese di Man Ray («Originals Graphics Multiples») che si conclude con le celebri parole «To create is divine, to reproduce is human» qui pubblicate per la prima volta. Luciano Anselmino ebbe una breve ma folgorante carriera di gallerista: aprì a Torino «Il Fauno» nel 1968 avvalendosi dell'opera del critico Janus che restò un suo costante collaboratore; si concentrò sul Surrealismo e sulla Pop Art e fu promotore di Carol Rama; nel 1974 chiuse la sede torinese e aprì l'anno successivo la Galleria Luciano Anselmino in via Manzoni a Milano, rilevata alla sua morte da Alexander Iolas. Con Iolas e Janus lavorò con Man Ray e Warhol, e favorì l'incontro tra i due artisti.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Very Good. 1st Edition. A Near Fine copy in a Very Good plus unclipped dust jacket with light rubbing to the extremities. Man Ray--artist, photographer, writer--was one of the true legends of the Twenties starting out in New York then moving to Paris and eventually finding his way to Hollywood before returning to Paris after the Second World War. He was an important part of the Dadaist and then the Surrealist movements becoming the ultimate bohemian hob-nobbing with all of the influential creative people wherever he was including Picasso, Duchamp, Brancusi, Tristan Tzara and Dali. This straight forward autobiography also addresses his love affairs with some of the most interesting women in Paris and his relationships with others including model and photographer Lee Miller.

Soft cover. Condition: Very Good. Milano: Luciano Anselmino, 1976 [1914]. Folio, [i],22 p., [i], publisher's original wraps. First thus edition of this collection of poetry and a play by Man Ray's wife, with illustrations by Man Ray throughout, originally published in 1915. One of 200 copies printed by Luciano Anselmino, this being copy No. 12. Band of faint discoloration to upper front wrap, small patches of discoloration to front and rear wrap; top corner gently bumped, with faint crease to final leaf, but a VG copy overall. This copy has been INSCRIBED by Luciano Anselmino on the title page. Scarce. Signed by Author.

Original Wraps. Condition: Very Good in Wraps. First Edition/Second Issue. First Edition/Second Issue. Original Wraps. Man Ray's first monograph, this a first edition, second issue, with the 'deuxième édition' replaced title page. Inscribed by Man Ray to noted surrealist filmographer and literary figure, Jean-Claude Carrière [Paris, 1972]. B/W photographs printed in gravure by The Néogravure Company with texts in English and French by Andre Breton, Paul Eluard, Man Ray, Rrose Selavy [Marcel Duchamp] and, Tristan Tzara. Man Ray had hoped that royalties generated from this book would enable him to make a long-overdue trip back to New York. The edition was well received in Europe, but in the United States it was rather poorly recieved. Lewis Mumford wrote in The New Yorker that Man Ray had 'done almost everything with a camera, except use it to take photographs. photographing Calla lilies so that they will look like drawings by a second-rate academician.' It is generally accepted that the publishers recalled unsold copies and then replaced the title pages of all with the 'Second Edition' ["deuxième édition"], leveraging the success in France and giving the impression of greater demand than was present. "Part art, part illustration, [Photography] was meant to be an inventory of his work, a kind of grand promotional catalogue . Man Ray's album was a virtuoso presentation of modern European-style photography. Close-up views, distorted angles, double exposures, night photography, negative prints, rayographs, still lifes, nudes, portraits, fashion photographs, and even a painting . the album was Man Ray's means of presenting his career to a homeland that had rarely seen his work." [Perpetual Motif: The Art of Man Ray, pp. 35-39] "Photographs . was Man Ray's most cogent statement to date, an assembled chorus of statements and images, a summary that was also a valedictory" [Baldwin, Man Ray, American Artist]. Jean-Claude Carrière was a French novelist, screenwriter, and director, acclaimed for his collaborations with filmmakers like Luis Buñuel and his own extensive literary and theatrical works. While the two operated in different artistic spheres and with little overlap in timelines, = both were critical figures in the surrealist movement. Man Ray was primarily active as an artist and photographer in the early to mid-20th century, while Jean-Claude Carrière's career gained prominence later, notably in film and literature. There is no evidence of a collaboration between the two, this presentation inscription from Man Ray to Carrière is perhaps the only evidence they met. A challenging volume to find in good condition generally, quite remarkable as a captured moment in the evolution of the surrealist movement. Light shelf/edge wear, a few tabs/split tender, plastic comb missing top tooth but otherwise perfect, else bright and unmarred. Colour photo-illustrated wraps, plastic comb binding executed by Draeger Frères. 4to. 104pp. Illus. (b/w plates).

First edition, first printing, one of 500 copies, inscribed by the artist; 4to; 40 leaves, comprising title leaf, text leaf, and 38 leaves with black and white illustrations by Man Ray; original beige linen-backed buff boards, spine lettered in black, pictorial design to front cover in black, glassine wrapper; near-fine. An exceptional association copy, inscribed by Man Ray to James Thrall Soby, an important patron of the avant-garde in the United States who published the artist's first photobook, Photographs by Man Ray 1920 Paris 1934: 'for James T. Soby / cordially Man Ray Jan 1949'. Designed while Man Ray was living in Hollywood and published in December 1948, Alphabet for Adults was printed by pioneering California lithographer Lynton R. Kistler and produced for the Copley Galleries, who had hosted the artist's one-man show earlier the same year.

4to. (9 1/2 x 7 inches). 52 pp. Foliated in pencil 1-18 including 5 original photographs. Number 388 out of 1000 copies on papier velin from a total edition of 1,225 copies: 25 on Japan of which 5 were hors commerce, and 200 on papier velin hors commerce numbered VI to CCV. Original book is illustrated with twelve black and white heliogravure photographs, one of which is a double-page, with four poems. Extra-illustrated with 5 original Man Ray photographs, including one which is solarized, printed from original negatives between 1967 and 1970. Various image sizes: (7 1/2 x 6 inches to 9 x 7 inches). Bound by Henri Mercher (1912-1976) who worked with many prominent artists including Joan Miró and Jacques Villon (Gaston Duchamp). Lettered in gold on doublure [MERCHER]. Mercher patented a binding process using Plexiglass, as here. Quarter-bound in black Morocco lettered direct. Plexiglass boards, preserving intact publisher's original glossy pictorial wrappers. Black endpapers at rear, at the bottom of which is [1970] in gold numerals An extraordinary, embellished presentation copy, inscribed by Man Ray to his printer Serge Béguier near the beginning of their association, with 5 original Man Ray photographs of Paul and Nusch Éluard, printed by Béguier and in a binding by Henri Mercher, two of which are pencil signed, dated, and stamped on verso, and three of which are pencil signed, stamped on verso, and marked "E. A." (artist edition). "This small book has come to be regarded as one of the iconic French photobooks of the 1930s." - Parr and Badger, The Photobook Besides Duchamp, the poet Paul Éluard, a signatory to the Surrealist manifesto, was Man Ray's closest friend between the Wars. Man Ray and Éluard were frequent collaborators and together produced the 1935 photobook Facile, which features Éluard's poetry accompanied by Man Ray's composite photographs of Nusch Éluard (b. Maria Benz, 1906-1946). This copy of Facile is signed and inscribed by Man Ray to the printer of his photographs [à Serge Béguier bien amicalement! - Man Ray] in ink on the half-title. Serge Béguier (1934-1991) printed photographs for Man Ray in the late 1960s and 70s. Béguier was an artist in his own right, who worked often with the French poet Henri Chopin, with whom he made the short film L'Energie du sommeil. While little is known about Man Ray's early printers, it is documented that Man Ray exclusively worked with Pierre Gassmann (1913-2004) upon his return to Paris in 1951 until they had a falling out in the late-1960s. It is then that Man Ray found Serge Béguier at the PhotoBac Lab. One distinction between the two printers is that Gassmann used Ilford paper, while Béguier used Agfa paper. Béguier is perhaps better known today for the actions of his ex-wife, Hélène Béguier, who after Serge's death in 1991 began to sell fraudulent, unauthorized Man Ray prints using negatives she obtained from Béguier's studio. Further embellishments to this copy of Facile include prints of three nude photos of Nusch, two of which were reproduced as heliogravures in Facile, as well as prints of two other photos taken later, in 1939, when Man Ray visited Paul Éluard in Miguères, a village in France where Éluard had been stationed by the French Army. One of the 1939 photos, Man Ray and Paul Éluard, shows Man Ray with Éluard in army uniform, while the other, Paul et Nusch Éluard, is a photo of both Éluards gazing lovingly at one another. Each photo is signed and dated "1939" by Man Ray in pencil. They are both stamped "Man Ray Paris" on their backs. The three prints of photos taken for Facile are sensual black and white nude portraits of Éluard's wife, the muse of the Surrealists, Nusch Éluard, of whom Picasso painted a portrait. These three photos, referred to as Nude: Nusch Éluard, Nusch Nue, and Nusch Éluard in Silhouette, are signed and marked "E. A." (artist edition) by Man Ray in pencil and stamped on their versos, but are not dated. Nude: Nusch Eluard is solarized, and though the photo was taken for Facile, it was not included. The photographs themselves were likely printed from 1967 to 1970 and then signed and two were backdated to the date of the negatives by Man Ray, as was usual for him. The photos would have been printed by Béguier, to whom the book is inscribed. Man Ray's 12 heliogravures in Facile are accompanied by Éluard's poems, the titles of which are "Tu te leves l'eau se déplie"; l'Entente"; A la fin de l'année, de jour en jour plus bas, il enfouit sa chaleur comme une graine"; and "Facile et bien." The poems are love poems written for Nusch, Man Ray's model, who Éluard had married the year previous to publication. The two French Communists were to be deeply involved in the French Resistance, with Nusch dying tragically in 1946. The binding by the French book artist Henri Mercher was then state of the art: Mercher was a pioneer in using Plexiglass for bindings and held a patent for his innovation. Mercher was well known in modernist circles, and worked with many of the principal artists of the time. The binding of this copy of Facile is dated "1970," and with Mercher's death in 1976, it gives us a terminal date for this collection. Facile is a canonical photobook, one of the most beautiful of the twentieth century. It is elegantly designed and integrates "Man Ray's solarized, superimposed, double-exposed and negative images into the page spreads in a way that makes image and text appear to intimately embrace." The images of Nusch are "solarized nudes that drift across the pages as if in a dream" but are still "appropriately simple, either done in high key tones or mysteriously dark and backlit" (Parr & Badger). "From cover to cover the book points to a single universe expressed by two different languages. The poem is made up of images, and the images coalesce into a poem. The directness of the poet's voice makes the woman presence intensified by but hardly originating in the photographs. This immediacy in no way weaken.

Book: (12 3/4 x 10 3/4 x 2 1/2 inches). Photo image size: (11 1/8 x 8 3/8 inches). Photo sheet sizes: (11 1/8 x 8 3/8 inches). First deluxe edition. Numbered 26 of 220 copies, with 200 copies numbered 1 to 200 and 20 copies "hors commerce" numbered from I to XX. Unpaginated, but over 300 pages printed in black and white duotone, picturing 548 items. Bright red-orange cloth with black dye-stamped lettering, gilt edges and printed endpapers, and glossy color dust jacket. Set in blue clamshell cardboard box quarter-bound in black leather with embossed gilt lettering on spine, the front of the box is a trompe-l'oeil replica of the assemblage "Pêchage" by Man Ray from 1969, set within a navy cardboard slipcase. Comes with a blue folder with two black and white photographs printed from original negatives A numbered deluxe first edition of a landmark Man Ray monograph with a portfolio containing "Fashion Photograph" (1930) and "A View of the Artist's Studio" (1934) printed from Man Ray's original photo negatives. A beautiful box-set containing (1.) A portfolio of photographs, "Fashion Photograph" (1930) and "A View of the Artist's Studio" (1934), printed from Man Ray's original negatives by Pierre Gassman: "Tirage original realisé par Pierre Gassman" with "Man Ray Paris" atelier stamp on backs. (2.) A hardcover monograph with jacket published for the exhibition Man Ray 1890-1976 at Ronny Van de Velde in 1994. (3.) A box with a trompe-l'oeil replica of Pêchage, an assemblage by Man Ray from 1969. (4.) A navy card slipcase. The exhibition catalogue contains more than three-hundred black and white photographs, fifty paintings, and sixty objects, as well as a biographical chronology, a catalogue of works, and five texts: two by Man Ray, "It Has Never Been My Object . . ." (1945) and "To Be Continued Unnoticed" (1948); and three by André Breton, "Man Ray" (1928), "The Visages of The Woman" (1934), and "Behold Man Ray" (1937). "[Man Ray's] chosen position as outsider - American in Paris, in the no man's land between art and photography, between iconoclasm and calculated composition, between American pragmatism and European elegance - lends to his best work a timeless power of attraction. The "Man Ray effect," that intangible aura, entices us most of all because his work summons up individual freedom and pleasure.".

4to. (10 7/8 x 9 3/4 inches). 27 gelatin silver prints, each tipped to thick card. Each stamped "épreuve originale Man Ray," the first one also signed in ink on the reverse. Signed and numbered "49" in ink (colophon). Number 49 from an edition of 50 signed copies numbered 1-50; plus 9 signed copies numbered 1-9 accompanied by the original wooden mannequins; and 15 copies numbered I - XV reserved for the artist and his collaborators. Total edition: 76 copies. Together with an engraving (sheet size: 10 3/4 x 9 1/2 inches), signed and editioned "49/50" in pencil by the artist. Original red Morocco by M. Bueno, front cover blind-stamped with monogram "MR," spine lettered in gilt, gilt edges, marbled endpapers, lacking original paper-covered slipcase edged with red Morocco. Among the exclusive selection of just 50 signed copies, Man Ray's Mr. and Mrs. Woodman stands as a captivating testament to the artist's profound commentary on the artificiality of gender roles and the performative nature of identity. This remarkable series comprises 27 photographs featuring artists' wooden mannequins arranged in a mesmerizing array of sexual positions. Originally photographed in Hollywood in 1947, these evocative images were later published in this limited edition in 1970. Man Ray's exploration of mannequins traces back to the late 1920s and remained a recurring theme throughout his illustrious career. In his photographs and sculptures, he masterfully wielded these lifeless, stylized figures as conduits for conveying intricate ideas and narratives. With Mr. and Mrs. Woodman, the artist employed the mannequins as surrogate beings, deftly manipulating their forms to delve into the boundless possibilities of erotic visual language and challenge conventional notions of representation. In true Surrealist fashion, Man Ray departed from the traditional use of artists' mannequins for mere life studies. Instead, he breathed life into these wooden figures, liberating them from their inherent inanimate nature. With distinct names, individual stories, and intricately crafted intimacies, the mannequins assumed a palpable vitality, blurring the boundaries between the animate and the inanimate. Mr. and Mrs. Woodman exist as both idealized and abstracted versions of human beings. Through their meticulously arranged poses and sculpted forms, they embody notions of beauty, desire, and societal expectations. Yet, these enigmatic figures transcend their mere representations, evoking profound contemplation on the interplay between artifice and authenticity, the complexities of human relationships, and the fluidity of identity. Mr. and Mrs. Woodman engages the viewer in a visual dialogue that oscillates between fascination and discomfort, underscoring Man Ray's enduring legacy as a visionary artist and a bold provocateur.

Folio. (14 3/4 x 10 7/8 inches). Number 46 of 150 signed copies printed on large vélin d'Arches from a total edition of 180 copies. Complete copy, all 38 original lithographs, including one used twice for the cover and title, with the signed rayograph with color silkscreen mounted on wood veneer mounted on card stock. Original wrappers, loose as issued; housed in publisher's original orange cloth box, author's name lettered on spine in black. Man Ray's French edition of Alphabet for Adults, a captivating art-book featuring new illustrations and words, meticulously created for this signed limited-edition accompanied by a coveted original rayograph. In the buildup to 1970, following the publication of his English-language Alphabet for Adults, Man Ray embarked on the creation of a French edition of this art-book. Rather than simply translating words or tweaking existing drawings, he set off on a fresh artistic endeavor, crafting an entirely new set of illustrations and words exclusively for this limited-edition, signed collection. Notably, the book features a prized frontispiece: a signed original rayograph. Within the book, some entries offer straightforward depictions, such as "elephant" aligned with an elephant illustration or "barbe" (beard) distinctly labeling an image of a beard. However, a multitude of other entries embrace abstraction, demanding interpretation. "Beaucoup" (very much; many) emerges amid a cloud of arrows directed toward the upper-right corner, while "jalousie" (jealousy) finds its reflection in an oceanic scene. This blending of different parts of speech-prepositions, pronouns, and adjectives confronts the simplicity of children's alphabet books, boldly announcing its "pour adultes" (for adults) classification. The carefully curated selection of words and accompanying images delves into themes more fitting for adult existence. Alongside mature vocabulary like "xérès" (sherry), "querelle" (row; dispute), and "fidèle" (faithful), there are overtly intimate associations. For instance, "souple" (supple) cunningly nestles between the tails of a whip. These words, crafted in the signature Surrealist style, may initially appear arbitrary or illogical, yet they find firm footing in the realm of desire, love, and human relationships. The rayograph, featuring vibrant stenciling adorning a feathered image, gracefully stands apart from the book, mounted on a lustrous wooden veneer. Rayographs, extraordinary camera-less photographs crafted by placing objects onto light-sensitive paper, attain their mesmerizing form through exposure to light. The delicate paper of the rayograph is predisposed to markings, and copies of Alphabet pour Adultes often bear visible scratches and scuffs. Moreover, the veneer mounting is susceptible to fissures along its contours. Nevertheless, the present copy radiates impeccable condition, bearing no traces of wear upon the rayograph or the alphabetical lithographs. It proudly preserves the rare essence of Man Ray's original creation.

4°. [7] Bl. (Text) u. 103 Heliogravuren nach Photographien, davon 19 "Rayographien" von M. Ray. Farbig illustr. OKart. mit Kunstoff-Spiral-Bindung. Auer 210. Bouqueret, Paris 148 ff. Roth, The Book of 101 Books 80 f ("deuxième édition"). - Sehr seltene erste Ausgabe ("Copies with the original title page are exceedingly rare" (D. Levy Srauss). - Mit eigenhändiger Widmung von Man Ray "for Rosalind my next subject! Man Ray Paris 1955". - Texte in Englisch, Französisch und Deutsch (P. Sélavy). - "[T]his was Man Ray's first monograph, and his friends pulled out all the stops to herald it . attempted to generate demand where none existed by suggesting the edition had sold out. After replacing the title pages of these copies with one stating second edition, he returned them for sale. . It begins with a portrait drawing of Man Ray by Pablo Picasso and consists of 104 photographs divided into five sections. . Man Ray made several different studies for the cover; until finally settling on this image of his own bust looking down on a blue-eyed blonde contemplating a plaster hand cradling, a fragile lithtbulb that mirrors a catching toy (a ball an a peg)" (D. Levy Srauss in Roth). - "Man Ray's work introduced a particular note [to Surrealism], since he used photography and recognized early on that this medium could reproduce the effects of object-based art in two-dimensional form. Photography was in a position to preserve the ordinary and to unleash surreal effects" (P. Stepan, Icons of Photography 26). - Bei der Widmungsempfängerin handelt es sich um die amerik. Kunstsammlerin Rosalind Gersten Jacobs (1925-2019), die mit allen wichtigen Künstlern der Dada- und Surrealistenbewegung befreundet war. Sie und ihr Mann Melvin Jacobs lernten Man Ray und seine Frau Juliet 1954 auf einer Geschäftsreise in Paris kennen und waren lebenslang mit dem Paar eng befreundet. Zwischen 1956 und 1958 porträtierte Man Ray R. Gersten Jacobs mehrfach. 1955 freundete sich Gersten auch mit Lee Miller und Roland Penrose an und die beiden Paare besuchten sich häufig in Chiddingly (GB) und New York. Einen signierten Abzug von Lee Millers Portrait von Charlie Chaplin (1930) erwarb Gersten für ihre Sammlung. Das Herzstück der Sammlung war Man Rays wohl bekanntestes Foto "Le Violon d'Ingres" von 1924. Der signierte Abzug wurde im Frühjahr 2022 bei Christies in New York für den Rekordpreis von 12.500.000 $ versteigert. R. Gersten war am 18. November 1976 an Man Rays Bett in seinem Pariser Studio und las ihm vor, kurz bevor er starb. - Sehr gutes Exemplar eines der wichtigsten Fotobücher des 20. Jahrhunderts. - Rare first edition, inscribed by Man Ray for Rosalind Gersten Jacobs. Sprache: englisch.

Condition: ACEPTABLE. [Un] Cartel original, representando la obra artista estadounidense, afincado en París,Man Ray,seudónimo de Emmanuel Radnitzky (1890-1976), importante representante de los movimientos dadaísta y surrealista. ["Man Ray, Solarisation, 1931."] . La mayoría de los carteles en venta son usados y pueden tener pequeños dobleces o pliegues en las esquinas.//Most of the vintage posters for sale may have slightly creased corners or small scratches. La mayoría de los carteles en venta son usados y pueden tener pequeños dobleces o pliegues en las esquinas.//Most of the vintage posters for sale may have slightly creased corners or small scratches. Formato (cm): 60x80.

Condition: ACEPTABLE. [Un] Cartel original, representando la obra artista estadounidense, afincado en París,Man Ray,seudónimo de Emmanuel Radnitzky (1890-1976), importante representante de los movimientos dadaísta y surrealista. ["Printed in France."] . La mayoría de los carteles en venta son usados y pueden tener pequeños dobleces o pliegues en las esquinas.//Most of the vintage posters for sale may have slightly creased corners or small scratches. Formato (cm): 87x60.

Condition: ACEPTABLE. [Un] Cartel original, representando la obra artista estadounidense, afincado en París,Man Ray,seudónimo de Emmanuel Radnitzky (1890-1976), importante representante de los movimientos dadaísta y surrealista. ["Camera International."] . La mayoría de los carteles en venta son usados y pueden tener pequeños dobleces o pliegues en las esquinas.//Most of the vintage posters for sale may have slightly creased corners or small scratches. La mayoría de los carteles en venta son usados y pueden tener pequeños dobleces o pliegues en las esquinas.//Most of the vintage posters for sale may have slightly creased corners or small scratches. Formato (cm): 70x50.

31 x 26cm.?Large bi-fold exhibition programme designed by Matthew Leibowitz, printed in black and green. The cover reproduces a self-portrait of the Man Ray, dated 1936. Contains introductory statements by Patrick J. Kelleher (director of the Museum), Carl Belz and Man Ray, followed by a listed of exhibited works, listed as "Drawings, Watercolors, Rayograms, Chess Sets, Books, Objects". Adventurous graphic design by Matthew Leinowitz, featuring various typographical dingbats and printer's ornaments. Rare. Near fine condition.

First edition, second issue with the title page citing the publisher's fictitious claim of a 'second edition'; (384 x 312 mm, 15 x 12¼ in); black & white photographs printed in gravure by The Nà ogravure Company, texts in English and French by Man Ray, Paul Eluard, Andre Breton, Tristan Tzara, Rrose Selavy [Marcel Duchamp], nick and crease to title-page; colour photo-illustrated covers, with a plastic comb binding by Draeger Frà res, light wear, rubbing and marking to lower side, shallow crease to corner, top and bottom tabs torn, a very good copy; [vi], 1-24, [2], 25-42, [2], 43-66, [2], 67-84, [2], 85-104, [2]. Man Ray's first monograph, a presentation copy inscribed: 'à Marcel Duhamel - / les photos sont des objets à retardement / mais les plus durables - / with love / Man Ray'. ['Photographs are time-delayed objects, but the most durable ones.'] Marcel Duhamel (1900â"1977) was a French actor and screenwriter, and founder of the Sà rie noire imprint published by Gallimard, which issued hardboiled detective thrillers by authors including Raymond Chandler, Dashiell Hammett, Horace McCoy, William R. Burnett, Ed McBain, Chester Himes, Lou Cameron, Jim Thompson, and Peter Cheyney. During the 1920s, Duhamel regularly hosted members of the Surrealist group, including Man Ray, at his house at 54 rue de Château in Montparnasse. It was here, according to Andrà Breton, that they devised the game 'Exquisite Corpse', in which a piece of paper is passed from person to person, folded to conceal each previous contribution. Man Ray had hoped that royalties from the sale of this book would enable him to make a long-overdue trip back to New York. Photographs.Âwas well received in France, but in the United States, the reception was distinctly less enthusiastic. Lewis Mumford wrote inÂThe New YorkerÂthat Man Ray had 'done almost everything with a camera, except use it to take photographs. photographing Calla lilies so that they will look like drawings by a second-rate academician.' Commercially, it was not a success. It is widely suggested that in an attempt to generate sales, the publishers recalled the book and replaced the original title page with one stating 'deuxieÌme eÌdition'. The favourable reception in France also led to the 'second edition' being titled in French with attention drawn to the other contributors:ÂMan Ray. Photographies 1920-1934 Paris avec un portrait par Picasso â" textes de AndreÌ Breton Paul Eluard Rrose SeÌlavy Tristan Tzara â"preÌface par Man Ray. Regards sur un sià cle de photographie à travers le Livre 47; The Book of 101 Books: Seminal Photographic Books of the Twentieth Century pp80-1; 802 books from the Auer Collection p225; Paris, Les livres de photographies 1920-1950 pp148-51.

First edition, inscribed by Man Ray in blue ink on title-page, number 69 of 1000 copies on và lin, there were also 200 hors-commerce copies and 25 on Japon; folded sheets (242 x 179 mm, 9½ x 7 in); black & white photographs printed in gravure by Breger, pages lightly toned as usual, erased inscription on half-title; photo-illustrated card covers, minor wear to extremities, an exceptionally fresh copy in the original glassine; [28]pp. Facile is a beautiful synthesis of image and text, combining Paul Ãluard's love poems written for his wife Nusch (born Maria Benz) with Man Ray's nude photographs of her. The book shows the range of techniques Man Ray experimented with, including solarisation, double exposures, and superimposed and negative photographs. 'Although Man Ray participated in and produced hundreds of fruitful collaborative works in his life, Facile must be ranked among the most successful. It is a fluent but not at allfacile collaboration between the poet, the photographer, the model and muse, and the publisher Guy Levis Manos' (David Levi Strauss in The Book of 101 Books: Seminal Photographic Books of the Twentieth Century). The Book of 101 Books Seminal Photographic Books of the Twentieth Century pp86-7; The Photobook A History, I pp104-5; The Open Book pp118-9; 802 photo books from the Auer collection p217; Paris, Les livres de photographies 1920-1950 pp152-3.

First edition, inscribed by Man Ray in blue ink on title-page, number 510 of 1000 copies on và lin, there were also 200 hors-commerce copies and 25 on Japon; folded sheets (242 x 179 mm, 9½ x 7 in); black & white photographs printed in gravure by Breger, pages toned as usual; photo-illustrated card covers, light wear to extremities, sides rubbed, short tear to foot of spine conserved, publisher's press-numbered ticket laid in, a very good copy; [28]pp. A presentation copy of one of the key French surrealist books of the 1930s, inscribed: 'For Louis & Peggy Kannenstine / Cordially / Man Ray'. Facile is a beautiful synthesis of image and text, combining Paul Ãluard's love poems written for his wife Nusch (born Maria Benz) with Man Ray's nude photographs of her. The book shows the range of techniques Man Ray experimented with, including solarisation, double exposures, and superimposed and negative photographs. 'Although Man Ray participated in and produced hundreds of fruitful collaborative works in his life, Facile must be ranked among the most successful. It is a fluent but not at allfacile collaboration between the poet, the photographer, the model and muse, and the publisher Guy Levis Manos' (David Levi Strauss in The Book of 101 Books: Seminal Photographic Books of the Twentieth Century). Louis Kannenstine was an American writer and scholar who wrote extensively about Djuna Barnes. His book 'The Art of Djuna Barnes, Duality and Damnation' (1977) was long considered the standard work for insight into her writing. He met his wife, artist Margaret 'Peggy' Lampe, at Washington University, Saint Louis, where they both studied in the late 1950s. The Book of 101 Books Seminal Photographic Books of the Twentieth Century pp86-7; The Photobook A History, I pp104-5; The Open Book pp118-9; 802 photo books from the Auer collection p217; Paris, Les livres de photographies 1920-1950 pp152-3.

First edition, second issue with cancel title with fictitious "Deuxième édition" designation. 101 gravure plates after photographs by Man Ray. 1 vols. 4to. Inscribed first edition of the definitive contemporary collection of Man Ray's photographs, with 101 gravure reproductions of photographs and "rayographs" and essays by his contemporaries, leading figures of the Dada and Surrealist movements of Paris and New York, including Breton, Eluard, Duchamp (written in German under the pseudonym "Rrose Selavy"), and Tristan Tzara. With large inscription on the verso of the front wrapper, "Man Ray / Paris Jan 1959." A work almost always encountered in its second issue with the fictitious statement "Deuxième édition" on the title, an attempt "to generate demand where none existed by suggesting the edition had sold out.Copies with the original title page are exceedingly rare" (Roth). Beneath Man Ray's inscription is a gift inscription to Judy and Julius Rosenwald II. "Dooley," as he was known, was the son of the celebrated collector Lessing Rosenwald and the grandson of Julius Rosenwald, part owner of Sears Roebuck. Roth 101, p. 80 Original spiral-bound photographically illustrated wrappers. Spiral spine split, some creasing to covers and light edgewear to textblock. Gift inscription on verso of front wrapper beneath Man Ray inscription. In a custom half black morocco-backed slipcase and chemise 101 gravure plates after photographs by Man Ray. 1 vols. 4to First edition, second issue with cancel title with fictitious "Deuxième édition" designation.

First edition with first issue title-page; folio (384 x 312 mm, 15 x 12¼ in); black-and-white photographs printed in gravure by The Nà ogravure Company, texts in English and French by Man Ray, Paul Eluard, Andre Breton, Tristan Tzara, Rrose Selavy [Marcel Duchamp], spotting to edges; colour photo-illustrated covers, with a plastic comb binding by Draeger Frà res, light wear, shallow crease to bottom corner upper side, rubbing and marking to lower side, several tabs torn at head and foot, plastic binding marked, a very good copy; [vi], 1-24, [2], 25-42, [2], 43-66, [2], 67-84, [2], 85-104, [2]. Man Ray's first monograph, with the scarce first issue title-page. James Thrall Soby was an important patron of the avant-garde in the United States. Alfred Barr, Director of the Museum of Modern Art, New York, had encouraged Soby to visit Man Ray in Paris, and following their meeting, Soby subsidised the production of this, the first monograph of Man Ray's work. Man Ray had hoped that royalties from the sale of this book would enable him to make a long-overdue trip back to New York.ÂPhotographs.Âwas well received in France, but in the United States, the reception was distinctly less enthusiastic. Lewis Mumford wrote inÂThe New YorkerÂthat Man Ray had 'done almost everything with a camera, except use it to take photographs. photographing Calla lilies so that they will look like drawings by a second-rate academician.' Commercially, it was not a success. It is widely suggested that in an attempt to generate sales, the publishers recalled the book and replaced the original title page with one stating 'deuxieÌme eÌdition'. The favourable reception in France also led to the 'second edition' being titled in French with attention drawn to the other contributors:ÂMan Ray. Photographies 1920-1934 Paris avec un portrait par Picasso â" textes de AndreÌ Breton Paul Eluard Rrose SeÌlavy Tristan Tzara â"preÌface par Man Ray. Regards sur un sià cle de photographie à travers le Livre 47; The Book of 101 Books: Seminal Photographic Books of the Twentieth Century pp80-1; 802 books from the Auer Collection p225; Paris, Les livres de photographies 1920-1950 pp148-51.

8vo. Book: (10 13/16 x 8 3/4 inches). Sheet of Man Ray print: (9 1/4 x 6 13/16 inches). Image of Man Ray print: (5 3/4 x 4 1/16 inches). First edition. [24], 8 tipped-in color plates, 5 full-page engravings printed in black. Unopened, in three gatherings laid within covers with French flaps, which are wrapped in original Japanese vellum. This copy numbered 9 of 50 copies on fine paper. Signed in pencil on colophon. With additional gelatin silver print signed "9/50 Man Ray" in ink mounted on sandpaper. Back of sandpaper mount has a red stamp "marque déposée" A signed and numbered "décollage original" by modernist master Man Ray, on fine paper and issued in an edition of 50 copies, together with a signed and numbered gelatin silver print. Man Ray's preface to Les Invendables, translated from the French: "Les Invendables [The Unsellables]. Why? Because it is the name that is for sale. Without the signature the painting is worthless. You have to take both. There are those who turn the painting over to see if it is good fine linen. The painter holds his brush like the barber his razor, the musician his bow, the soldier his machine gun, this is how they hold their sex to piss or make love. The truth? There is nothing more subversive than the truth." - Man Ray Catalogue published on the occasion of the exhibition Les Invendables at the Galerie Alphonse Chave in Vence, France, in 1969. The catalogue was published in 500 copies, 50 of which, like the copy here on offer, are on fine paper and constitute a "Décollage original" by Man Ray, who has signed and numbered the colophon in pencil. The gelatin print presents an ambiguous image, either skin of a body part close-up, or something like the moon's surface. Illustrations include: Metropolis, 1913; Déjeuner sur l'herbe, 1914; Antipolis (les jumelles), 1939; Incubator, 1943; Le Pont dix, 1953; Observatoire, 1914; Nature morte, 1914; Riegfield, 1913; Oiseau, 1954; and Centaure, 1943, above which is written "Rien ne remplace la vue de l'original." [Nothing replaces seeing the original.] Janus 1973: pag. 13; Janus 1981: pag. 159.

Other. Condition: VG++. 500 produced. An aluminum cannister (sealed), containing (according to others) 3 strips of film (each 57-1/2x4-1/2 in.), 1 plastic magnifier, 1 stereoscope transparency, and 1 slide in canister./ Images of Duchamp by Man Ray: Strip 1, 16 illus. taken 1917-20; strip 2, 17 illus. taken 1920-24; strip 3, 17 illus. taken 1924-37. An unopened, near mint cannister with (presumably) mint contents, as issued. "Catalogue réalisé à l'occasion de l'exposition "Marcel Duchamp-Man Ray-New York/Paris-1917-1937"-50 photographies-Galerie Alain Paviot-Paris/Galerie Rudolf Kicken-Köln"--Label affixed to bottom of the canister./ Edition of 500./ Canister contains 3 strips of film (each 57-1/2x4-1/2 in.), 1 plastic magnifier, 1 stereoscope transparency, and 1 slide in canister./ Images of Duchamp by Man Ray: Strip 1, 16 illus. taken 1917-20; strip 2, 17 illus. taken 1920-24; strip 3, 17 illus. taken 1924-37. I have two of these at the moment, so you could buy both and open one for reference. Priced per cannister, however.

Format: ca 30,5 x 24 cm (HxB). Schwarz-Weiß-Foto (wohl 1991; ursprünglich 1931/32). Späterer Abzug vom Original-Negativ für die Gesellschaft. Stempel der Griffelkunst ('einmalige Auflage') und 'Copie d'une épreuve originale. Copyright ADAGP Man Ray Trust' auf der Bild-Rückseite. Desweiteren handschriftlicher Vermerk der Griffelkunstnummer. Das Papier am Rand deutlich gewellt. Postprint from the original negative made for the german Griffelkunst society. Actually it is not possible, sending books to the USA. Aktuell können keine Bücher in die USA versandt werden. Sprache: Deutsch Gewicht in Gramm: 1000.