Tarnaud Claude, Signed (8 results)

souple. Condition: Bon. Avec des dessins de Jacques Lacomblez, un des 30 exemplaires sur Johannot numérotés (n°9), avec une lithographie originale numérotée et signée de Jacques Lacomblez, 1 vol. in-8 br. sous couverture rempliée, L'Ecart Absolu, Paris, 2000, 89 pp. Bel exemplaire du tirage numéroté sur papier Johannot, bien complet de la lithographie signée par le poète et artiste surréaliste belge Jacques Lacomblez Langue: Français. signé par l'illustrateur.

Soft cover. Condition: Very Good. 1st Edition. Grand in-8, broché, couverture illustrée, 83 pp.; bon exemplaire, petit défauts à la couverture et le dos. Édition originale du premier livre de Claude Tarnaud (1922-1991), publié à compte d'auteur et pour lequelle il n y a pas de grands papiers. Illustrée de 7 dessins hors-texte de Henriette de Champrel, épouse de l'auteur. Avec bel envoi autographe au peintre et poète belge Jacques Lacomblez. Inscribed by Author(s).

Couverture souple. Condition: Bon. Pas de jaquette. Supérieur Inconnu, 1995 - In-8° broché, couv. cart., illustrations de Victor Brauner, Rosa Dausset, Carlos Freire, Jacques Hérold, Bruno Mathon, Matta, Madeleine Novarina, 115 pp., bon état. Envoi autographe signé de Sarane Alexandrian à Julien Gracq sur carte libre jointe introduisant la revue et le texte de Claude Tarnaud. Dédicacé par l'auteur.

First edition. 13 p. 17 cm. Wrappers, fine. One of 30 numbered copies on Marais paper. Fine. An anti-clerical tract, signed (in type) by Adolphe Acker, Sarane Alexandrian, Maurice Baskine, Jean-Louis Bédouin, Hans Bellmer, Jean Bergstrasser, Roger Bergstrasser, Maurice Blanchard, Joë Bousquet, Francis Bouvet, Victor Brauner, André Breton, Jean Brun, Pierre Cuvillier, Pierre Demarne, Charles Duits, Jean Ferry, André Frédérique, Guy Gillequin, Arthur Harfaux, Jindrich Heisler, Georges Henein, Maurice Henry, Jacques Hérold, Véra Hérold, Marcel Jean, Alain Jouffroy, Nadine Kraïnik, Jerzy Kujawski, Pierre Lé, Stan Lélio, Pierre Mabille, Jehan Mayoux, Francis Meunier, Nora Mitrani, Henri Parisot, Henri Pastoureau, Benjamin Péret, Gaston Puel, Louis Quesnel, Jean-Dominique Rey, Claude Richard, Jean Schuster, Iaroslav Serpan, Seigle, Hansrudy Stauffacher, Claude Tarnaud, Toyen, Clovis Trouille, Robert Valançay, Jean Vidal, Patrick Waldberg.

Soft cover. Condition: Very Good. No Jacket. Original edition in manuscript. Copy no. 4 of 16 copies numbered 0 -15 signed by the author and the artist (no. 0 reserved for the creators and no. 1 for Monk), all conforming but executed individually and uniquely by hand. Oblong octavo size, 15.3 x 22.9 cm, trimmed flush, 10 unnumbered leaves with black ink manuscript, rectos only, stapled between buff front cover printed in black ink and gold rear cover under glossy cream tape spine, all of thick wove paper in seven colors, with inserted four-fold typescript on onionskin-like laid paper trimmed 81.8 x 16 cm overall. The colored wove text leaves are handwritten in informal cursive script with occasional opening manuscript capital letters in the same shadowed open-outline font style as title, and are illustrated with five original compositions in black ink and gouache by Henriette de Champrel, four in the manuscript, one on a full page without text, all monogrammed by the artist. Collates: buff wove front cover, stencil-printed recto with creators' names, title repeating over two lines, Monk's name and date, 2 ll. moss wove and 2 ll. gray wove (with "Piano mécanique avec UNIVAC onirique" and three in-text illustrations), 3 ll. salmon wove (with "Un marriage de la main gauche"), inserted typescript (with "Du Dandysme En Musique?", "Du Libertinage En Musique?", "Du Drame--; Du Roman-- en Musique, etc." and "Digression allégorique" over four folded sections, having five 4-line manuscript capital letters), i l. brown wove (with full-page illustration), 2 ll. light grey-green wove (with "Se souvenant des métropoles englouties" and in-text illustration), gold wove rear cover. Circular perforation in front cover over the "I" of "UNIVAC," picking up on the sphere "O" in l. 1, "LA SPHÈRE/ SEL CÉLÉ, CÉLÉ L'O," and elsewhere; rectangular perforation on l. 2, windowing most of the second illustration on l. 3. Contained in a clamshell box 19.6 x 27 cm, lightly mottled semi-glossy cream paper over boards with title printed in black letterpress on spine, into which the original mailing envelope from Tarnaud in New York to original owner Jacques Hérold in Paris is laid in loose. Condition overall very good: occasional slight reading wrinkles, some inconspicuous age-fading to the paper, insignificant small smudges on box, else excellent. Provenance: late-period surrealist painter Jacques Hérold (1910-1987); iconic surrealism collector Paul Destribats (1926 2017). The "Piano mécanique avec UNIVAC onirique" was subsequently first printed in the Belgian review edda (no. 5, October 1964, pp. 20-23). A comparison of the front cover of the present example with the copy held by Atelier André Breton demonstrates that the front covers were printed, likely by stencil, with the same evident printing slips, and that the cover on the present example was positioned too far right, with resulting trimming (or non-printing) of the hyphen after "UNIVAC" in the first line and the tip of the letter "V" at the end of the second line of the title. The creators' names on the front cover and the plural reference to "auteurs" in the colophon may suggest that Tarnaud complimented de Champrel, already his past collaborator, as author as well, not just illustrator. The role of jazz pianist and composer Thelonious Sphere Monk (1917-1982) seems to be that of honoree of this homemade production. By 1960 his genius had already been recognized by his peers but was still jarring, and only later did Monk command general popularity and commercial footing. (In Tarnaud's side comment on l. 3, Monk, sucked into his piano, rips off the pedals with one hand and keeps improvising with the other - "Voilà décidément un PIANO PRÉPARÉ! Mais pour le SACRIFICE! Par le DÈSACCORDEUR VOYANT----"). Signed by Author(s).

Couverture souple. Condition: Très bon. Pas de jaquette. Manuscrit autographe signé, 16-18 février 1948 : in-16 (140 x 108 mm) de 5 pp. En feuilles, sur papier cartonné. Quelques rousseurs. Manuscrit autographe offert à Elisa et André Breton, qui sont aussi les dédicataires du poème. Nous joignons la lettre autographe signée qui accompagnait l'envoi. Provenance : André Breton, Manuscrits, 11-12 avril 2003, n° 2297.

4to-oblong. With all orig. wrappers, uncut, loose as issued in publishers cloth-box. No 44 of 50 signed by the author and the artist, total of 65 copies. With 23 original lithographies, some in colour plus lithogrphed wrappers.

autre. s. d. [circa 1950] | 15 x 22.50 cm | un collage encadré | Collage original de Claude Tarnaud, rehaussé à la peinture blanche et monogrammé à l'encre en bas à droite. "Claude Tarnaud fonde avec Yves Bonnefoy et Jaroslav Serpan la revue La Révolution la nuit. Contacté par André Breton, il rejoint alors le groupe surréaliste et participe activement à l'Exposition internationale du surréalisme de 1947, et à la revue Néon (5 numéros de janvier 1948 à avril 1949). En novembre 1948, en désaccord avec l'exclusion du peintre Roberto Matta, il rompt avec le groupe surréaliste, à l'instar de ses amis Victor Brauner, Stanislas Rodanski et d'autres. Il est ensuite associé avec François Di Dio à la direction de la revue Positions publiée aux éditions Le Soleil noir, maison à laquelle il donnera trois ouvrages. De 1953 à 1966, il participe aux activités du mouvement Phases et collabore à la revue du même nom. En 1966, il rencontre Pénélope et Franklin Rosemont qui fondent à Chicago, grâce à lui, le premier groupe surréaliste des États-Unis d'Amérique." (Bibliothèque Kandinsky) | [ENGLISH DESCRIPTION FOLLOWS] Original collage by Claude Tarnaud, heightened with white paint and monogrammed in ink at lower right. "Claude Tarnaud, together with Yves Bonnefoy and Jaroslav Serpan, founded the review La Révolution la nuit. Contacted by André Breton, he then joined the Surrealist group and took an active part in the 1947 International Surrealist Exhibition, as well as in the review Néon (5 issues from January 1948 to April 1949). In November 1948, disagreeing with the exclusion of the painter Roberto Matta, he broke with the Surrealist group, following his friends Victor Brauner, Stanislas Rodanski and others. He was later associated with François Di Dio in directing the review Positions, published by Le Soleil noir, to which he contributed three works. From 1953 to 1966, he took part in the activities of the Phases movement and contributed to the review of the same name. In 1966, he met Penelope and Franklin Rosemont, who, thanks to him, founded in Chicago the first Surrealist group in the United States of America." (Bibliothèque Kandinsky) *.