Le Corbeau et Autres Poèmes [illustré] (French Edition)

A comparison with his illustrations for Yvan Goll 's text also exhibited reveals the consistency of Tanguy's artistic style over the years. Laude's prose has also been illustrated by Raoul Ubac. With an original colored etching by Char. It offers us a clear example of a work in which we might expect to find a meaningful relationship between word and image. Char broke with Surrealism in , and the establishment of his reputation as a poet has been largely post-World War II. With four original colored etchings by Masson. In the intervening years he established himself both as a painter and as a prolific book illustrator for texts by such authors as Coleridge, Malraux, Jean Paulhan, and, more recently, Rimbaud.

Masson's diverse literary preferences include Nietzsche, Joyce, and Robbe-Grillet. The etchings for Mines de rien reflect a later stage in the artist's style, and Masson has recently spoken of his work as being situated between Kandinsky and Pollock in spirit. With an original colored etching by Picasso. One of copies on Japan, signed by the artist. Artaud's work has received more extended treatment by such artists as Max Ernst, who produced ten original etchings for Galapagos , Les Iles du bout du monde This edition is included because it contains one of the few etchings by Picasso printed in color.

With numerous original woodcuts, each signed by the artist. One of an unspecified number of copies on handmade paper. An example of the continuation of the private press movement in Germany in the post-World War II era.

Mallarmé (1842-1898)

The text as well as the full-page illustrations are block-prints, and, in the tradition of William Morris, the artist is solely responsible for the total visual effect of the work. Dante has continued to attract both artists and bookmakers in the twentieth century. One of copies of a total edition of copies, signed by the artist and author. This charming work is one of several which demonstrate that the livre d'artiste does not necessarily have to be unwieldy in its physical dimensions. With five original colored etchings by Villon.

The writings of Max Jacob continue to attract the interest of artists and publishers. These etchings are representative of Villon's style during the last years of his life d. With nineteen original woodcuts by Braque. ABF , AF P6 S56 vault Flat SL. One of the finest French livres d'artiste of the Sixties, this book stands as a witness to the enduring relationship between artists and writers of the School of Paris. Braque himself selected the poems for this edition, which are taken from Apollinaire's love lyrics written during World War I, and addressed to "Lou.

The final page bears the inscription. Each volume one of eighty-five copies on Auvergne, of a total edition of copies, signed by the artist and author. Illustration is always a secondary matter. The important thing is that a book must have all the dignity of a sculpture carved in marble. With ten hand-colored drawings by Parker. One of copies on Brentwood vellum all-rag paper, signed by the artist and author. The third book in a series of special limited editions published by the Museum of Modern Art. Here the text of Moore's poems is reproduced in her hand, and the artist has hand-colored the line drawings.

The copy is also inscribed by the poet. With six original colored etchings by Tamari. The text is written in a special nonsense language which is still closely enough related to French to allow the meaning to filter through. With eleven original colored wood engravings by Gischia. One of sixty copies on Auvergne Richard de Bas, of a total edition of copies, signed by the artist and author.

His interest in the theatre was already in evidence over twenty years ago, when he paid homage to Shakespeare in a series of illustrations for The Phoenix and the Turtle His style has since developed toward the solid colors and abstract shapes exhibited in these wood engravings for Lescure's text, which Strachan feels achieve " a kind of contrapuntal music that weds well with [his] poems.

A typical example of a multi-artist project in the French livre d'artiste. Each artist is asked to provide an original graphic on a particular theme or common text. With two original colored etchings signed by Ernst, and twenty-five colored lithographs of original drawings pulled by Mourlot and approved for printing by the artist.

One of copies of a total edition of copies. The whimsical style of the lithographs in particular is reminiscent of his work for such earlier texts as Artaud's Galapagos, Les Iles du bout du monde Ernst has often illustrated his own surrealist texts with wit and originality. A hint of Ernst's attitude toward art may be seen in a recent interview: To my mind, Beckett is our truly great contemporary. With twelve original lithographs and ten original woodcuts by Pozzatti. One of copies on Rives, signed by the artist. A rare example of a livre d'artiste published by an American university press.

Pozzatti, one of the best contemporary American print-makers, has created a series of original illustrations which inevitably demand comparison with other major bestiaries of this century. On several occasions, Pozzatti has solved the traditional problem of the double-page spread illustration with true originality. With eighteen original lino-cuts by Erhardt. One of copies on handmade paper, signed by the artist.

This is the first livre d'artiste with Beckett's work produced in West Germany. The tri-lingual edition is the work of the Manus Presse, perhaps the finest press in this field east of the Rhine. Erhardt was inspired to do these illustrations while attending Deryk Mendel's performance of the pantomimes; and he has dedicated these illustrations to him. With four original etchings by Giacometti. These remarkable etchings are among the last works Giacometti completed before his death in His work has long been particularly admired by French writers, including Jean Genet for whom Giacometti did the cover lithograph of the first edition of Le Balcon.

With twenty-two original linocuts and woodcuts, and one original mixed collage by Staritsky. The whimsical animal figures created on these pages are in fact much closer to traditional illustration than they at first appear, being carefully integrated with the text. The inclusion of one original collage by the artist allows the reader direct access to the source of inspiration for the graphics.

With eighteen original colored lithographs by Zadkine. Sculptors such as Giacometti, Henri Laurens, and Marino Marini have all contributed to major illustrated books. Zadkine is yet another powerful figure in twentieth-century sculpture who has shown a decided interest in the livre d'artiste. His colored lithographs illustrating Aveline's surrealist text are very much in the style of his studies for monumental sculpture.

He has also illustrated his own texts as well as those by such contemporary authors as Robert Ganzo. One of copies. Concrete poetry has deep roots in literary history, yet it is, by definition, dependent upon effects other than the purely literary. Since this poetry is often strongly visual, the design and printing of the poem acquire special weight, so that the resulting collaboration in this case with John Dearstyne is in many ways analogous to the process of creation itself.

Mary Ellen Solt is internationally known, both for her own work and as an editor of concrete poetry. With six original colored etchings by Arikha, each signed by the artist. Avigdor Arikha, an Israeli artist living in Paris, is a close friend of Beckett's and has illustrated several of his works including, in addition to those exhibited here, Stories and Texts for Nothing , Malone Dies , Happy Days , and Waiting for Godot.

The colored etchings for L'Issue reveal the subtle and intuitive feeling with which Arikha approaches Beckett's work. With an original etching by Dufour.

U73 B22 copy 1. Michel Butor, one of the best known contemporary French authors and considered a practitioner of the "new novel," has consistently published works in conjunction with important contemporary artists. Although much critical attention has been given to Butor's work, this aspect has yet to be explored in depth.

A second copy of this work, as issued with the original etching printed on blue silk for the binding, is also exhibited. With seven original etchings by Erhardt, each signed by the artist. One of forty-five copies on handmade paper. These etchings are visual variations on the theme of Come and Go , reduced to geometric proportions. The final line of the play, "I can feel the rings," is given its tactile counterpart by the blind relief impression of the three circles in the seventh etching.

Werner Spies has written that "these illustrations arose in collaboration with the author; during their discussions, Beckett voiced criticism as well, and inspired alterations. With seven original etchings three in color by Papart. Ribemont-Dessaignes's surrealist texts have been illustrated by Georges Braque and others. This is the first edition of these poems. Max Papart is a well known contemporary French painter, who has contributed original collages to one of the books in the Lilly Library's Le Livre Unique series also exhibited.

With three original colored etchings, each signed by Tanaka. One of copies, signed by the author. A fine example of the work of a contemporary American poet in the form of a livre d'artiste printed in Japan. Tanaka's etchings bear a direct and intelligible relationship to the poems they illustrate, while retaining the quality and expressive power of independent works of art. The practice of heightening original graphics by hand with color is often followed in France, thus bringing the artist into even more direct and intimate contact with the text in its physical expression as book.

With one folding original etching by Dufour. One of thirty-five copies signed by the artist and author. Their work may be viewed as a modern development related to Surrealism without having any formal ties with it.

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Claude Ollier's text has been etched into the plate, so that illustration and poem fuse. The text consists solely of a series of wordplays upon the title transforming it into sexual imagery. With ten original lithographs by Ernst. These lithographs by Ernst are typical of his recent work and include some of his favorite motifs. Ernst has remained an active illustrator in the surrealist mode and in the past decade has illustrated, or re-illustrated, texts by Samuel Beckett, Lewis Carroll, and others.

With fifteen original colored wood engravings by Lagrange. This more recent text, accompanied by abstrict wood engravings, is typical of the broad range of livres d'artiste currently being produced in France. This series of illustrations to Jarrell's famous war poem which begins "From my mother's sleep I fell into the State" may have been called forth by the events of the Sixties in America. Although the line drawings are reproduced, each one is delicately hand-colored by the artist. The pale colors seem to deliberately underplay the meaning until the direct blow at the sensibilities offered by the final illustration and line of the poem.

With four original colored serigraphs by Petitjean. One of thirty-six copies, signed by the artist and author. These color serigraphs may be compared with the artist's original gouaches for the eighth volume in the Lilly Library's Livre Unique series. In this case as well, the book is the result of a true collaboration between author and artist. With three original etchings by Marx.

One of copies on Velke Losiny, signed by the artist and author. An example of American fine printing from Boston. Robert Marx's somber and powerful etchings reflect the mood of despair which permeates these poems. With one original folding colored lithograph by Vermeille. As in other modern books designed to be both read and seen, this text is printed with continuous accompanying illustration so that the pages may either be turned in the traditional manner or the whole of the text expanded to a single sheet for viewing.

The delicate coloring of the graphic work also evolves from page to page so as to carry the eye forward with the text. With an original signed colored lithograph by Adami. Le Soleil Noir is a major publisher of livres objet in France. The editions range from a very small tirage with original sculptures and illustrations to a slightly larger, but still limited, printing including an original signed graphic.

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The example exhibited here includes a colored lithograph by Adami which has been mounted by the artist as a triptych for display. Alain Jouffroy's text includes concrete poems as well as more traditional prose. With eight original wood engravings, each signed by Arp.

One of copies on Art fil, of a total edition of copies. Arp's first contribution to a book consisted of initials for the epoch-making edition of Der blaue Reiter By he was assisting in the creation of Dada in Zurich. He shared in the Surrealist movement in Paris during the Twenties; and until his death in , he continued a prolific and creative career as poet and artist. The friendships he developed over the years are reflected in the multiplicity of his publications and activities.

The wood engravings for his friend Goll's text are in his most familiar style. With eleven original colored linocuts some hand brushed. This book represents a communal effort by poets and artist. The preface points out that the poems came first, then the graphics, but that in the act of printing, the sequence of graphics determined the sequence of poems. With eight original etchings by Gross. This book is part of a series which combines classical texts with original graphics by contemporary English and American illustrators.

Gross was invited to illustrate Theocritus when the publisher saw an exhibition of his work in With fourteen original colored wood engravings by Piaubert. Durrell has said of his poetry that it "has the elegance of a private algebra where each symbol, each word, seems perfectly selected for the support it gives to the theorem. One of an unspecified number of copies.

This French livre objet consists of eight elements for free montage in a wooden box. The "reader" is left to assemble the given verbal and visual elements into an aesthetic object and reassemble it at will. A sculptural element is thus added to post-war experimentation in random text ordering. With three original etchings by Arikha, each signed by the artist.

One of copies on handmade paper, signed by the author. Once again the illustrations are provided by Beckett's friend Arikha, who has achieved, in Beckett's words, "truce for a space and the marks of what it is to be and be in face of. With fifteen original etchings by Ayrton. One of eighty-five copies, signed by the artist and author.

One in a series of fine books produced by Douglas Cleverdon in London, this edition of Verlaine's poetry is in French but is illustrated by a leading English artist. Ayrton's work as an illustrator ranges from the linear style exhibited here to full oil paintings. This book may be compared with the first volume in the series Le Livre Unique also exhibited , which contains the original manuscript of the opening poem.

There too may be found the type of original collage which serves as an inspiration for the lithographs in this edition. With eleven original color woodcuts by Haxthausen, with signed suite. One of ten copies on iris de Puymoyen, of a total edition of fifty copies, signed by the artist and author.

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Yet another example of the careful relationship established between text and original illustrations through mise-en-page in most fine French books of this decade. With nine "pop-up" designs by King. Bluebeard's Castle is a livre objet which plays upon the tradition of the "pop-up," familiar for over a hundred years in children's books. Here, as each section of the book is opened, a three- dimensional sculpture is created, which is to be aesthetically apprehended in conjunction with the printed text.

The effect is clearly visual and literary, and the "illustrations" become the book itself in its totality. This book-object is no longer bound but contained in a plexiglas box. With six original serigraphs by Riout. One of seventy copies, signed by the artist and author. This book-object, printed on various colored paper in an imitation pocket-album binding, may be read as a normal illustrated book of poetry, or folded out for display. In any case, the album concept calls attention pointedly to the fact that this is a book to be looked at as well as read.

With numerous original colored intaglio engravings by Staritsky. One of thirty-five copies on pur chiffon de nivose, signed by the author and artist. This typical example of Staritsky's approach to illustration involves the concept of the book as a total work of art, the livre objet. With three original etchings and two original collages by Staritsky.

An excellent example of the book as a total work of art. The text has been integrated into the visual effect by both unusual typography and actual calligraphy. As in Staritsky's illustrations for Butor 's Don Juan also exhibited , the deeply impressed etchings on the soft, tinted handmade paper blend perfectly with the flowing lines of the text.

One of thirty copies, signed by the artist. With two original etchings signed by Ubac. Rives, of a total edition of copies. Raoul Ubac is perhaps best known for his use of slate lithographs. The etchings included with this text by Jean Laude whose work has also been illustrated by Tanguy are remarkable for their finely modulated texture. The relatively small format of this book allows the reader the intimate relationship necessary to appreciate Ubac's work.

With eight original colored etchings by Zao Wou-ki. One of copies on papier d'Auverage, signed by the artist and author. Zao Wou-ki was born in China and has been living in Paris since He is one of the finest contemporary graphic artists working with book illustration, and the etchings are of typical beauty and delicacy. With five original etchings signed by Arikha. One of ninety copies on Arches, signed by the author.

This hitherto unpublished fragment by Beckett is joined with five outstanding etchings by Arikha, each of which depicts an object central to the text: Like Beckett, Arikha's art has moved towards increasingly condensed and concrete forms which function both as "illustrations" and as independent works of art.

These etchings may be compared with two earlier examples of Arikha's work for texts by Beckett also included in this exhibition.

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With an original etching signed by Baskin, and other illustrations. Leonard Baskin, a prolific book illustrator, has been a major force in American printmaking for many years. He has produced original graphics in a variety of techniques for texts by Hart Crane, William Blake, Herman Melville, and many others. Baskin designed the book, as well as illustrating it; and a note on the final page indicates that the poem "Faun" the only poem in this volume previously published in a collection was included at the artist's request. With ten original blind reliefs by Mathieu. One of copies on pur chiffon de Richard de Bas, signed by the artist-author.

Pierre Mathieu wrote this text and illustrated it with reliefs in blind on soft handmade paper specially tinted for this edition. The depth varies from barely discernible depressions in the page to high reliefs with a sculptural effect. The varied and intricate patterns often function as illustrations on both sides of the page, and the artist has not hesitated to print text directly upon the relief.

Mathieu has made use of a new sand-press technique in producing this work. He has also bound each copy by hand in an original tapestry binding. With five original colored engravings and an original mixed collage. One of thirty-five copies on handmade "olive" and "coquillage," signed by the author. Another example of Staritsky's concept of the integration of text and image through mise-en-page.

The deep relief etchings are combined with the unusual folding format of the pages in such a way that what is a colored etching on one page becomes a blind relief illustration for the text of the poem on the other side of the page. Thus one plate serves a double visual function in the book.

With four original colored lithographs signed by Tamari. Their intention is to bring contemporary authors and artists together by publishing a small number of initial copies of their new books with original graphics. In so doing they are simply continuing a cultural tradition established in France in the early part of this century. With a collection of original signed graphics by the artists of the Rancho Linda Vista community. One of copies on moldmade Rives and Italia. A beautifully printed example of a joint project within a community of university authors and artists, combining poetry and original signed graphics.

The book was sponsored by the Arizona University Foundation and provides a model example of the possibilities existing on many campuses for encouraging significant interaction in literature and art. With fourteen original colored etchings signed by Papart plus suite , and an additional original drawing by the artist.

One of thirty copies on Moulin de Larroque, of a total edition of copies, signed by the artist and author. Another example of the mixed etchings of Papart, with two artist's proofs laid in, and a signed inscription by the artist. With an original gouache and reproductions of six drawings by Debenedetti. The inner book, bound in velvet with an original inlaid watercolor on aluminum, stands in sharp contrast to the painted wood box-sculpture of wire screen and broken mirror. As in other book-objects of mixed media, the total aesthetic effect should reside in the interplay of box, binding, illustration, and text.

One of copies on Arches, of a total edition of copies. Full dark-maroon calf, with black leather inlays, tooled in blind, gold, and palladium, incorporating a rectangular geometrical design. A93 O63 vault. This binding was executed by Legrain personally in Legrain is widely recognized as the father of contemporary design in modern book-binding. Marius Michel, in the 's, had infused new life into bookbinding in France, as Cobden-Sanderson had, in his own way, in England. As Michon has pointed out, "Marius Michel had shown that a good binder must know how to draw.

Pierre Legrain made it clear that he must also know how to read. He had been active as a binder for only a little over ten years. Full brown morocco tooled in blind and gold with rays ascending towards a stylized cross on the front cover. Creuzevault is one of the most important modern French binders.

In this rather restrained example of his style, we find a clear relationship between binding and text. One of forty-three copies on Hollande van Gelder, of a total edition of copies. Full black morocco, tooled in blind and gold, design consisting of buildings and signs, giving a visual impression of Pigalle, across both covers, with raised center section on front cover in the shape of a building. A55 R92 vault SL. This example of the work of Paul Bonet may be compared with two others in the present exhibition.

Here we find a much more representational style, which is carried over into the inner covers of the book, where Bonet has tooled a street map of the quartier Pigalle in leather. Full dark blue morocco with tan and black leather inlays and onlays in abstract design with stars and rays, tooled in gold and palladium. A38 S68 vault SL. A fine example of the typical decorative style of Paul Bonet, one of the greatest modern French binders.

Bound in full green calf, tooled in gold, this binding cased into an outer cover of five heavy horizontal bars of aluminum covered in royal blue levant. The bars of the outer cover are inlaid to the rear cover, the bars of the spine raised and lettered in palladium, the bars of the front cover swinging loose and lettered with title in aluminum letters inserted between each pair of bars.

O78 M75 vault SL. Paul Bonet has been a major force in the development of twentieth-century French bookbinding. This unusual example of Bonet's willingness to explore the possibilities of three dimensional binding and the combination of metal and leather seems to foreshadow by thirty years more recent tendencies in this direction in the livre objet. With three original drypoints and three original lithographs by Picasso. Full grey calf with black and orange leather onlays and tooled in black and gold, with an abstract design incorporating the names of the artist and author, across the back and front covers.

This example of Leroux's work may be compared with two others by him in the present exhibition. Taken together they give some idea of the range and variety of his techniques and designs. In the case of his binding for this book, which unites Picasso's drypoints with the first edition of Max Jacob's memoirs of the Cubist period, his choice of style seems particularly appropriate.

Hinged heavy oval aluminum sculpture-binding, secured by a metal clasp, and containing the folded pages with printed text. The binding is constructed in such a way as to allow the title page to be read without opening the book. This sculpture-binding by Bocquel creates a livre objet in conjunction with a text which is printed on octagonally trimmed sheets of varying width and which may be folded out in variety of patterns.

The book acquires, by these means, an undeniable three-dimensional presence, which, regardless of the substance of the text, must affect the reader's reaction to it. Full black morocco, tooled in blind and gold, and with numerous small circular leather onlays in various colors on both covers. H A63 vault SL. In addition to important livres d'artiste , he published translations of authors such as Franz Kafka at a time when they were largely unknown in France.

The binding is a good example of one possible relationship of design and illustration. Full olive morocco, tooled in gold, with leather inlays in strips of various shades of green, and leather onlays representing bamboo reeds on both covers. An example of Leroux's willingness to combine "illustrative" elements directly reflecting the story involved with abstract elements in design. This book is not illustrated, but the French collector frequently prefers to have his special first editions bound by a major binder rather than left in the original wrappers.

Thus the binder becomes the artist who provides the visual component complementing the text. One of copies signed by the author. Full brown morocco with black, grey, and ochre leather onlays, tooled in blind, with design across both covers incorporating spider webs, bottles, pitchers, and candle. A library is more than just a repository of the past, and the Livre Unique series demonstrates the Lilly's commitment to contemporary developments in art and literature.

These ten books uniting the work of fine contemporary French poets and artists were created especially for the Lilly Library and symbolize the international scope and interest of the institution. Each book consists of a hitherto unpublished text hand-written by the author and accompanied by unique original works of art collages, watercolors, drawings executed directly upon the page by the artist.

The result is not only a unique copy combining the original manuscript with its original illustrations; it is also the record of a true collaboration between artist and author.

Auteur:Stéphane Mallarmé

Authors and artists alike are well known in France and abroad. They are, of course, contemporaries, and often personal friends as well. Jean Breton has spoken of the spirit and purpose of the livre unique as follows:. The series as originally conceived stands complete with the ten volumes which are exhibited. Slides of the complete series have already been used for lectures at French universities, including the Sorbonne.

The books themselves have served as a basis for study in Indiana University courses in contemporary French poetry and offer to students of the relationship between art and literature a particularly intriguing example of creative collaboration. With ten original collages by Goetz. With fourteen original mixed collages by Papart. With ten original ink drawings by Nakache. With nine original gouaches by Benrath. With nineteen original mixed collages by Bertholle. The text is preceded by an engraved Lettre to Firmin The total edition numbered copies, with a few additional copies printed on yellow, blue, and green paper.

First collected edition of Pushkin in French, preceded in French translation only by some individual poems and stories, and a translation of The Queen of Spades in This is one of the earliest major collections of Pushkin to appear outside Russia. First edition, one of 95 copies printed on pur fil. Hugo's first book, printed in an edition of copies.

The complete run of this short-lived Belgian Surrealist periodical, produced during the closing months of World War II. A bankrupt playboy decides to commit suicide, but first returns to a young prostitute to reflect on his wasted life. It is only as he First edition, one of only copies. Written together with Verlaine he wrote the two quatrains, Rimbaud the sestet , it is one of First edition, one of copies on pur fil, of a total edition of Rare early edition of The Three Musketeers, first published in 8 volumes in This is the third edition published in France, although there were several Brussels printings of the novel in the interim.

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