lamdha books -
Catalogue of books on Surrealism and related

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Ades, Dawn, Rita Eder & Graciela Speranza (eds.)
Surrealism in Latin America Vivisimo Muerto
Tate Publishing, London, 2012.
Octavo; paperback; 224pp., with many monochrome illustrations. Remainder. New. Surrealism in Latin America provides new Latin American-centric scholarship, not only about surrealism's impact on the region but also about the region's impact on surrealism. It reconsiders the relation between art and anthropology, casts new light on the aesthetics of 'primitivism,' and makes a strong case for Latin American artists and writers as the inheritors of a movement that effectively went underground after World War II.
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Ades, Dawn (with Ann Temkin, Marie Mauze & Cynthia Albertson)
Enrico Donati
Skira Rizzoli Publications Inc., New York NY, 2015.
Quarto; hardcover, with gilt spine titles and blind-stamped upper board titles; 336pp., with many colour illustrations. Dustwrapper. Remainder. New. Enrico Donati was an American-Italian painter known for his Surrealist abstractions. Featuring biomorphic forms resembling aquatic life, fossils, and moonscapes, Donati's paintings straddled the boundary of representational imagery. "I love the paintings of Enrico Donati as I love a night in May", Andre Breton once wrote of his work. Born on February 19, 1909 in Milan, Italy, he began his career as a music composer before fleeing Italy to Paris during the rise of Mussolini's fascist regime. In 1939, Donati settled permanently in New York due to the outbreak of World War II, there he came under the influence of Breton and the Surrealist doctrine. Like many other artists of the time, including Jackson Pollock and Arshile Gorky, Donati's paintings evolved from Surrealism into Abstract Expressionism.
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Aleixandre, Vicente (Robert G. Mowry, trans. and illus.)
Destruction or Love
Associated University Presses, London, 2000.
Quarto; hardcover; 274pp. with many monochrome illustrations. Dustwrapper. Remainder. New. With the publication of 'La destruccion o el amour' in 1935, Aleixandre established himself as one of Spain's most original and promising younger poets. A friend of Lorca and Bunuel, he early became imbued with the spirit of the surrealist movement and cultivated it in most of his mature work. This is considered his masterpiece and one of of the most intense works of all 20th-century Hispanic poetry.
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Allais, Alphonse (trans. John Crombie)
Like Mother... and Other Tales
Kickshaws Press, Paris, 1980.
Paperback, octavo, 55pp. Illustrated limited edition, this being no.332/490 copies. Near fine in slightly worn wraps. Hilarious and black tales by a contemporary of Jarry.
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Aranda, Francisco (David Robinson, trans.)
Luis Bunuel A Critical Biography
Secker & Warburg, London, 1975.
First edition: octavo hardcover; black boards with silver gilt spine titling; 327pp., monochrome illustrations. Tape marks and small scuffed area on upper front endpaper; some scattered spotting to early pages; toning and spotting to text block. Slightly edgeworn dustwrapper with mild discolouration at the edges; now professionally protected by superior non-adhesive polypropylene film. Very good.
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Baldassari, Anne (ed.)
Picasso - Life with Dora Maar Love and War 1935-1945
Flammarion SA, Paris France, 2006.
Quarto; hardcover, with blind-stamped upper board and spine titles and decorative tissue endpapers; 320pp., all edges dyed purple, with many colour and monochrome illustrations and decorative printed tissue inserts. Dustwrapper. Remainder. New. Dora Maar, born Henriette Theodora Markovitch in 1907 in Croatia, and famous for her relationship with Picasso, was a talented artist in her own right. She initially studied painting, but soon found a passion and gift for photography, and became a prominent member of the Surrealist movement. This catalogue traces the relationship between the two artists - the painter and the photographer - from the time of their first meeting in autumn 1935 through 1937. While these years were decisive for Picasso and Maar, the relationship continued to inspire both artists until the mid 1940s. Renowned scholar Anne Baldassari sets the lives and work of these two artists within the context of major historical events of the time, from the Spanish Civil War and the Popular Front, to the rise of fascism and World War II. This chronological account brings a legend to life, and allows the reader unique access to two artistic minds.
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Baldassari, Anne (ed.)
The Surrealist Picasso
Flammarion, Paris, 2005.
Quarto hardcover, 253pp., colour illustrations. Dustwrapper. Remainder. New. Between 1924 and 1934, Picasso's oeuvre developed dramatically. During this decade, the artist maintained a complex relationship with the burgeoning and hugely influential Surrealist movement. Eventually, he diverted from Surrealism to form a variant known as Supra-realism. This volume presents an integrated analysis of the whole of Picasso's artistic creation during the Surrealist period. Thematic texts reveal the extraordinary wealth of Picasso's work during this time. It begins with a study of his research on theatre and ballet from 1914-23 and subsequently examines Picasso's work in painting, sculpture, and works on paper. This comprehensive account concludes with a study of the body of Picasso's work from 1935-40. These formative years, during which civil war raged in Picasso's native Spain, laid the groundwork for the increasingly political content of his later works. A detailed, fully illustrated chronology at the end of the book places this crucial period in its full intellectual and historical context.
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Ball, Hugo (trans. Jonatham Hammer)
Hugo Ball's Tenderenda the Fantast
Yale University, New Haven, CT, USA, 2002.
Quarto; hardcover; 134pp., colour illustrations. Dustwrapper. Remainder. New. A new translation of Ball's visionary post-Dada novella together with Hammer's imagery inspired by it. Additional essay and commentary.
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Bellows, Andy Masaki & Marina McDougall
Science is Fiction The Films of Jean Painleve
MIT Press, Cambridge, 2002.
Paperback, small quarto, 213pp., monochrome illustrations. Remainder. New. One of the first to plunge underwater with a camera to bring the subaquatic world to the screen, maverick scientific documentary filmmaker Jean Painleve captured the throes of a male seahorse giving birth and the mating habits of hermaphrodite mollusks. His lyrical and instructive animal behaviour films set to avant-garde scores were much admired by Surrealist contemporaries such as Artaud, Bunuel and Vigo. This thorough biography covers all aspects of Painleve's remarkable sui generis body of work. Includes many stills from the films.
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Benson, Timothy O.
Hans Richter Encounters
DelMonico Press/Prestel, New York NY, 2014.
Quarto hardcover; illustrated boards; 223pp., with colour and monochrome illustrations. No dustwrapper as issued. Remainder, new. A multifaceted interpretation of Richter's career as a filmmaker, artist, and writer, examining his pioneering work - with a special emphasis on film - in the context of his collaborations with some of the most important figures in 20th-century art. Hans Richter was a central figure in the avant-garde for more than 50 years. Born in Berlin in 1888, he joined the Zurich Dada group in 1916 and within a few years was producing some of the first abstract films ever created. In the 1930s he made commercial and propaganda films for both communist and capitalist interests - a phase of his career that has been, until now, little examined. After moving to the United States in 1940, Richter taught at the City College of New York, serving as a mentor to numerous participants in the New American Cinema movement. He worked alongside a virtual "Who's Who" of the avant-garde, including Arp, Bowles, Cage, Calder, Cocteau, Duchamp, Eisenstein, Ernst, Leger, Lissitzky, Malevich, Mies van der Rohe, Schwitters, and Tzara. This book examines the ways in which these "encounters" - to use Richter's own term - with other artists engendered creativity, originality, and meaning throughout his career. Including a chronology and Richter's first complete filmography in English, this volume sheds light on the relationships between modernism's most experimental artists, movements, and generations.
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Bozo, Dominique, et al. (eds.)
Matta Les Classiques du XXe Siecle
Editions du Centre Pompidou, Paris France, 1985.
Quarto; paperback; 340pp., text in French, with many colour and monochrome illustrations. Mild wear; covers rubbed and edgeworn with some creasing; some minor marks to the text block lower edge. Very good. Exhibition catalogue of a major retrospective.
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Breton, Andre
Le Surrealisme et la Peinture Nouvelle Edition 1928-1965
Gallimard, 1965.
Hardcover: quarto, 427pp. Light spotting to text block edges, moderate wear to wrapper edges with scrapes to corners (now professionally protected by superior non-adhesive polypropylene film). Very good. Colour and black and white plates. The definitive edition.
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Breton, Andre (W.G. Ryan, trans.)
Magritte An exhibition prepared by the Art Department of the University of St. Thomas, Houston, Texas; May 15, 1964 - June 30, 1964, Arkansas Art Center, Little Rock.
University of St. Thomas, Houston TX, 1964.
Octavo; paperback; unpaginated (40pp.), in French and English, with two monochrome frontispieces printed on onion-skin tissue, and many monochrome illustrations. Very mild edgewear. Near fine.
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Brown, Bridget (Introduction)
Another World Wolfli, Aloise, Muller
Third Eye Centre, 1978.
Paperback, small quarto, 55pp., numerous monochrome and colour plates. Minor wear. Very good. Catalogue of an exhibition held in the United Kingdom in 1978-79.
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Bunuel, Luis
The Exterminating Angel
Green Integer, 2003.
Paperback, duodecimo, 220pp. Remainder. New. Based on the cinedrama by Bunuel and Luis Alcoriza.
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Bunuel, Luis (Abigail Israel, trans.)
My Last Sigh The Autobiography
Borzoi Books/Alfred A. Knopf Inc., New York NY, 1983.
First edition: octavo; hardcover, quarter-bound in papered boards. with metallic blue spine and upper board titling; 256pp., untrimmed. Mild wear; previous owner's bookplate to the front pastedown with light offset; very light spotting to the text block top edge. Dustwrapper is well-rubbed and sunned with some moderate edgewear; now professionally protected by superior non-adhesive polypropylene film. Very good. "In his last years, Mr. Bunuel, Spain's most famous film maker, complains of losing his memory - but he had so much to remember. Besides, it makes his book move from image to image, like his films. It may surprise some readers to discover how intuitive and non-intellectualized many of those films were. In the town of Calandra where he was born, Mr. Bunuel writes, the middle ages lasted until World War I. He remembers a group of boys running through the streets at dawn singing 'The Song of Sunrise' to wake the workers. The constant presence of death and religion, he observes, gave him a strong joie de vivre. In his films, he opposed his positive impulse to 'a climate of insecurity and imminent disaster - an atmosphere we all recognize.' He began his career with two Surrealist films: Un Chien Andalou and L'Age d'Or. When the first achieved a succes d'estime in Paris, Mr. Bunuel was summoned to a Surrealist tribunal headed by the humorless Andre Breton, who demanded to know whether the fact of the film's appeal was not a violation of Surrealist principles. Mr. Bunuel describes Breton as 'forever kissing women's hands' - an unconscious Surrealist act, perhaps - and growing furious at Leon Trotsky because the exiled revolutionary was fond of his dog and contended it had 'a human look.' ...Mr. Bunuel knew just about everyone and gives us his candid assessments of them. Though Federico Garcia Lorca was 'charming and irresistible,' his plays were 'ornate and bombastic.' Picasso was friendly and lively, yet selfish and egocentric. Mr. Bunuel found Picasso's Guernica mural 'grandiloquent.' Salvador Dali is represented as brilliant but narcissistic and unreliable. The philosopher Miguel de Unamuno is 'pedantic and humorless'. Jorge Luis Borges appeared to be 'very pretentious and self-absorbed.' Some of these judgements reflect Mr. Bunuel's surprising simplicity, which was both a virtue and a defect in his work. Many of the symbols in his films, for example, symbols that critics made much of, seem to have been listed for Mr. Bunuel's dreams or his life without passing through a process of conscious evaluation. Judging by his own account, he operated intuitively and often used an image simply because he liked it, or because someone had suggested it. If we were to take this literally, it would imply that his films were composed in a very random fashion. What is more likely is that he trusted and relied on his unconscious more than most artists do. In this, at least, he remained a Surrealist, the sort who, like the poet Paul Eluard, first wrote automatic poems and then edited them. Certainly, Belle de Jour and The Discreet Charm of the Bourgeoisie, two of Mr. Bunuel's later films, showed signs of both improvisation and editing. When he saw his first movies in the early part of this century, Mr. Bunuel says, the form was so new and unusual that 'most spectators had difficulty understanding what was happening.' They had to be helped by an explicador, or narrator, who stood beside the piano. In his own films, the author tried to retain that feeling of unusualness, and in this sense at least he almost always succeeded. Here in My Last Sigh, he is interested in a less ambiguous kind of contact, gathering his remaining friends around him and gladly turning his back on desire. For the moving picture of his own life, he's a grand explicador. - Anatole Broyard
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Burke, Carolyn
Lee Miller: A Life
Alfred Knopf, New York, 2006.
Hardcover, octavo; black boards with silver gilt spine titling; 426pp., monochrome plates and illustrations, untrimmed page edges. Minor wear only. Near fine in like dustwrapper and professionally protected by superior non-adhesive polypropylene film. Lee Millers life embodied all the contradictions and complications of the twentieth century: a model and photographer, muse and reporter, sexual adventurer and domestic goddess, she was also America's first female war correspondent. Carolyn Burke, a biographer and art critic, here reveals how the muse who inspired Man Ray, Cocteau, and Picasso could be the same person who unflinchingly photographed the horrors of Buchenwald and Dachau. Burke captures all the verve and energy of Miller's life: from her early childhood trauma to her stint as a Vogue model and art-world ingenue, from her harrowing years as a war correspondent to her unconventional marriages and passion for gourmet cooking. A lavishly illustrated story of art and beauty, sex and power, Modernism and Surrealism, Lee Miller illuminates an astonishing woman's journey from art object to artist.
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Carrington, Leonora (translations by Kathrine Talbot & Anthony Kerrigan)
The Seventh Horse and Other Tales
E.P. Dutton, New York, 1988.
First edition thus. Octavo paperback; 197pp. Spotting to text block edges. Small indentation to front card cover and initial pages; else very good.
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Cesaire, Aime (John Berger & Anna Bostock, trans.; Peter de Francia, illus.)
Return to My Native Land
Archipelago Books, Brooklyn NY, 2013.
Octavo; gatefold paperback; 85pp., with a monochrome portrait frontispiece and many illustrations likewise. Remainder. New. Andre Breton deemed Cesaire's Cahier 'nothing less than the greatest lyrical monument of this time'.
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Chadwick, Whitney
Women Artists and the Surrealist Movement
Thames & Hudson, London, 1985.
First UK edition: quarto hardcover; blue boards with silver gilt spine titling and upper board publisher's insignia; 256pp., colour and monochrome illustrations & plates. Owner's name and red ink stamp. Minor wear; slight wear to lower board edges and a few scattered spots on upper text block edges; very mild wear to dustwrapper edges. Very good to near fine and wrapper now professionally protected by superior non-adhesive polypropylene film. Pioneering study of the many women artists who either participated in the movement or who were inspired by it. Surrealism, from its inception, gave a central place to the idea of Woman and defined a revolutionary role for her. Individual women, in their quest for self-identity and artistic freedom, are presented in the historic background of the time. Includes excerpts from interviews, letters, unpublished autobiographies, writings and poems, as well as reproductions of works by Eileen Agar, Leonora Carrington, Lenor Fini, Frida Kahlo, Meret Oppenheim, Kay Sage, Dorothea Tanning and Toyen, amongst others.
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Dali, Salvador
The Secret Life of Salvador Dali
Vision, London, 1948.
Limited edition of 1000 copies. Hardcover, small quarto, 423pp., monochrome illustrations. Endpapers and text block edges toned and spotted; staining to upper edges; inner front hinge repaired with cloth tape. Cloth boards with gilt titles; moderate wear to edges; bumped corners with minor fraying. No dustwrapper. Good.
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Dali, Salvador Domenech Felipe Jacinto (Capt. J. Peter Moore, trans.)
Les Diners de Gala
Felicie Publishers Inc., New York NY, 1973.
Quarto; hardcover, illustrated and embossed boards, with decorated endpapers; 323pp., with a monochrome portrait frontispiece and many full-colour and monochrome illustrations. Mild wear; somewhat cocked; spine heel and board bottom edges softened; some mild rubbing and old tape stains to the boards; text block edges toned. One text page has a partial faint ring mark and finger smudge to lower edge. Dustwrapper is quite rubbed and scuffed with mild edgewear; old tape stains to the verso; now professionally protected by superior non-adhesive polypropylene film. Else very good. 'When six years old I wanted to be a cook,' Dali wrote. At the age of sixty-eight his ambition was fulfilled in the shape of this book. 55 recipes are illustrated in colour, 21 of which were prepared by the leaders of French gastronomy: Lasserre, La Tour d'Argent, Maxim's and Le Buffet de la Gare du Lyon.
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David, Catherine (ed.)
The Ey Exhibition: Wifredo Lam
Tate Publishing, London, 2016.
Quarto gatefold paperback; 240pp., colour & monochrome illustrations. Mild edgewear; near fine otherwise. Defining a new pathway for practitioners, Lam was at the forefront for cosmopolitan modernism within the 1920s to the 1970s, whilst being at the centre of a post-colonial world. A Latin American artist with Chinese, Spanish and African heritage, Lam's paintings can be seen as a unifying medium between various cultures and languages, whilst forging ahead with new influences of avant-garde surrealism and classically inspired studies. A veteran of dramatic change and social upheaval, the artist's life was informed by instability: his wife and son died from tuberculosis, and he enlisted his services in the Republican cause during the Spanish Civil War. It was these actions that led to him being forced to leave his own country, and follow his searing pathway into becoming one of the most important painters of his time. Fleeing to Paris in 1938, Lam met Pablo Picasso and married influences from Ancient Greek and African art with new, avant-garde techniques. Returning home after 18 years to find corruption, racism and poverty, the artist then proceeded to leave one more time in 1952 under completely different circumstances. Exhibiting frequently in Europe after a developing and acclaimed career, he settled in Albissola, Italy, where he met a number of poetic and artists influences (such as Rene Char, Gherasim Luca and Jean-Dominique Rey) and worked alongside Lucio Fontana until the day he died. Featuring human figures, animals and plant matter, his works trace a lost sense of 'Cubanness' and the entrance into a new, surreal and patchwork world. Representing the landscape and people around him with altered perceptions and diverse cultural belonging, Lam started to borrow symbols from Cuban Occultism and Afro-Cuban beliefs, which can be seen in, for example, The Wedding (1947) and The Threshold (1950). " - Aesthetica Magazine
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Eluard, Paul & Louis Aragon, Philippe Soupault, Andre Breton & Tristan Tzara (trans. Michael Palmer & Norma Cole)
The Surrealists Look at Art
Lapis Press, Venice Italy, 1992.
Quarto hardcover; illustrated silk boards with gilt upper board and spine titles, red decorated endpapers; 220pp., black and white illustrations and fold-out illustration. Rubbing to board edges and corners; spotting to text block edges. Very good. No dustwrapper, as issued. Includes Eluard: Poetic Evidence; Louis Aragon: The Challenge to Painting; Philippe Soupault: Footsteps in Footsteps and Surrealism, Writing and Painting; Andre Breton: The Automatic Message and Surrealist Situation of the Object; and Tristan Tzara: Concerning a Certain Automatism of Taste and The Pasted Paper or the Proverb in Painting.
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Embiricos, Andreas (Nikos Stangos and Alan Ross, trans.)
Amour, Amour
Green Integer, Kobenhavn, Denmark, 2003.
Duodecimo; paperback; 179pp. Remainder. New. Embiricos brought both surrealism and psychoanalysis to Greece. This is a collection of some of his stories, or "personal mythologies".
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Gale, Matthew (ed.)
Dali and Film
Tate Publishing, London, 2007.
Square quarto hardcover, 237pp., b/w and colour illustrations. Dustwrapper. Remainder. New. Investigates in depth the part played by film as a key influence on Dali's art, and his extensive involvement in film-based projects, presenting both the major paintings that reflect his preoccupation with film and material related to the key projects on which he worked. Illustrated with reproductions of paintings, film-stills, story boards and photographs of the artist with figures including Alfred Hitchcock, the Marx Brothers, and, of course, Luis Bunuel.
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Hames, Peter (ed.)
Dark Alchemy The Cinema of Jan Svankmajer
Wallflower Press, London, 2008.
Second edition. Paperback, octavo, 247pp, monochrome plates. Remainder. New. "Those who have been long-time admirers of Svankmajer's films will welcome this masterfully orchestrated volume... It is extremely well-informed, sensitive to the nuances and complexities of Svankmajer's individual film works, clearly and eloquently written, and critically provocative without being in the least dogmatic" (Daniel J. Goulding). Includes an interview with the film-maker and a text, 'Decalogue.'
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Hammond, Paul (ed.)
The Shadow and Its Shadow Surrealist Writing on the Cinema
Polygon, Edinburgh, 1991.
Gatefold paperback, octavo; 233pp. Faint spotting to text block edges. Near fine otherwise. An anthology of writings by the Surrealists on their passion for movie-going. The Shadow and Its Shadow documents their unique, scandalous and non-reductive take on the cinema in forty-odd theoretical, polemical and poetical re-visions of the Seventh Art. Contributions by Breton, Aragon, Dali, Bunuel, Man Ray et al.
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Hartigan, Lynda Roscoe, Richard Vine, Robert Lehrman & Walter Hopps
Joseph Cornell - Shadowplay Eterniday
Thames & Hudson Inc., New York NY, 2012.
Reprint: quarto; hardcover, with silver-gilt spine titles and decorated endpapers; 256pp., with many colour and monochrome illustrations. Dustwrapper. Remainder. New. Originally published to celebrate the centennial of Joseph Cornell's birth, this book provides a multidimensional perspective on the pioneering modern artist. Lavishly illustrated with more than seventy-five boxes and collages, as well as images of the fascinating source material that the artist collected to create his exquisitely crafted worlds, it communicates to the reader the sense of surprise and delight that one experiences on viewing the actual boxes with their toys, stuffed birds, maps, clay pipes, marbles, shells, and other paraphernalia of daily life. The book's essays bring together the expertise of Lynda Roscoe Hartigan, former director of the Joseph Cornell Study Center; the compelling commentary of Walter Hopps, art dealer, museum curator and director, and the artist's personal friend; the wide-ranging scholarship of Richard Vine; and the sensitivity of Robert Lehrman, a leading Cornell collector whose firsthand experience lends this publication its distinctive intimacy.
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Haslam, Malcolm; Rose, Barbara (introduction)
The Real World of the Surrealists
Galley Press/W.H. Smith Publishers Inc., New York, NY, USA, 1978.
Quarto; hardcover, with silver-gilt spine-titling and decorated endpapers; 264pp., with 32 colour and 200 monochrome illustrations. Dustwrapper has a slash and some holes on the lower panel; now backed by white archival paper and professionally protected by superior non-adhesive polypropylene film. Near fine otherwise. General survey describing the circumstances and the history of the development of the movement. Illustrated with paintings, contemporary documents and photographs, as well as stills from films.
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Heisler, Jindrich, et al.
Jindrich Heisler Surrealism Under Pressure 1938-1953
Art Institute Chicago/ Yale University Press, New Haven CT, 2012.
Quarto, hardcover 144pp., colour and monochrome illustrations. Dustwrapper. Remainder. New. Czech poet and photographer Jindrich Heisler (1914-1953) joined the Czech Surrealist Group in 1938, just as Nazi occupation of the country was driving the movement and Czech artists underground. Heisler published his first book of poetry a year later. In his brief and courageous career - Heisler died suddenly at the age of thirty-eight - he produced some of the most remarkable assemblage work of the Surrealist movement, including what is arguably the single-most important photobook produced in the 20th century, From the Strongholds of Sleep (1940-41). This gorgeously illustrated volume with eighty colour images of Heisler's assemblage pieces introduces English-speaking audiences to his work, translating many of his writings for the first time and offering in-depth analysis of his postwar years in Paris in the company of Andre Breton, Benjamin Peret, the painter Toyen, and other major figures.
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Humphries, Barry (ed.)
Bizarre With Material Taken from Bizarre published by Jean Jacques Pauvert and other sources
Bell Publishing, New York, 1965.
Square quarto hardcover, 238pp., monochrome illustrations. Black board edges with yellow cloth spine; wear and some light fraying to head and tail of spine. A little light foxing; text block edges toned and spotted. Wear to black dustwrapper at head and tail of spine panel. Very good otherwise and professionally protected by superior non-adhesive polypropylene film. "A delight in folly and a profound pleasure in the presence of the marvellous is common to all peoples and cultures, and this facility has not had occasion to atrophy in the present age. A taste for the eccentric in art and literature has been nicely ministered to by the 'Decadents' of the 19th century, later by the Surrealists, and most recently by entire nations who have translated the hallucinations and speculations of poetry into real and cataclysmic terms." Authors represented include Huysmans, Marcel Schwob, Alfred Jarry, Octave Mirbeau, M.P.Sheil, Amanda McKittrick Ros et al. Artists Felicien Rops, Kubin, Topor, Sine.... A gallery too of "monsters".
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Jaguer, Edouard
Les Mysteres de la Chambre Noire Le Surrealisme et la Photographie
Flammarion, Paris, 1982.
Square quarto hardcover; black cloth boards with gilt spine titling; 223pp., monochrome illustrations. Text in French. Upper board very slightly bowed; very mild spotting to text block edges; lower corner of one page creased due to binding error. Else very good to near fine and wrapper now professionally protected by superior non-adhesive polypropylene film. Poet and art critic principally associated with surrealism. Photographers include many of the active participants in the movement to recent times as well as occasional photographs by contemporaries which present surrealist interest.
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James, Bruce
Australian Surrealism - signed The Agapitos/Wilson Collection
Beagle Press, Roseville NSW, 2003.
Quarto; hardcover, with white upper board titling and black endpapers; 203pp., with colour and monochrome illustrations. Minor wear; rubbed board edges with scraped corners; signed in ink by James Agapitos and Ray Wilson. Dustwrapper now professionally protected by superior non-adhesive polypropylene film. Near fine. The book features the collection of Australian surrealist art from the period 1925 - 1955, collected since 1990 by Sydney private collectors James Agapitos and Ray Wilson. It features major works by 40 artists including James Gleeson, Sidney Nolan, Max Dupain, Albert Tucker, Arthur Boyd, John Perceval, Robert Klippel, Adrian Feint, Loudon Sainthill, Peter Purves Smith, Donald Friend, Dusan Marek and Jeffrey Smart and sculptures by Boyd, Klippel, McAuslan, Inge King, Danila Vassilieff and Oliffe Richmond. Sydney visual arts writer, broadcaster and critic Bruce James has written the text as well as plate commentaries and produced updated biographies of the artists.
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[Jarry, Alfred]
Alfred Jarry: De Los Nabis a La Patafisica
Ivam Institut Valencia d'Art Modern, Valencia, 2000.
Quarto paperback; 227pp., colour and monochrome illustrations. A few faint scratches to covers and laminate lifting slightly on lower front corner. Near fine otherwise. Text in Spanish with English translation at rear. Exhibition catalogue. Gathers together a broad sample of Jarry's visual works and a broad overview of the very abundant iconography that his most popular character, Ubu, has generated since he first made his clamorous appearance on the stage in 1896. Essays by Brunella Eruli, Phillippe Cathe, Serge Fauchereau, Jean-Paul Morel, and Emmanuel Guignon.
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Jean, Marcel, with Arpad Mezei (Simon Watson Taylor, trans.)
The History of Surrealist Painting
Weidenfeld & Nicolson, London, 1960.
Small square quarto hardcover, 383pp., monochrome and colour illustrations. Inscription on front endpaper; foxed preliminaries and spotted text block edges; bright decorated boards. Die-cut dustwrapper worn at edges (now professionally protected by superior non-adhesive polypropylene film). Very good. The author was an active participant in the movement from 1932 to 1952. This work constitutes a companion volume to his The Autobiography of Surrealism.
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Kachur, Lewis
Displaying the Marvelous Marcel Duchamp, Salvador Dali and the Surrealist Exhibition Installations
MIT Press, Cambridge, 2001.
Quarto hardcover; quarter bound red cloth boards with purple cloth spine and copper gilt spine titling, orange decorated endpapers; 259pp., monochrome illustrations. Minor wear only; near fine in like dustwrapper. Surrealism in its late phase often abandoned neutral exhibition spaces in favour of environments that embodied subjective ideologies. These exhibitions offered startled viewers an early version of installation art before the form existed as such. In Displaying the Marvelous, Lewis Kachur explores this development by analyzing three elaborate Surrealist installations created between 1938 and 1942. The first two, the "Exposition Internationale du Surrealisme" (1938) and the "Dream of Venus" at the New York World's Fair (1939), dealt with the fetishization of the female body. The third, "First Papers of Surrealism" (1942), focused not on the figure but on the entire expanse of the exhibition space, thus contributing to the development of nonfigurative art in New York. Kachur presents a full visual and verbal reconstruction of each of the exhibitions, evoking the sequence that the contemporary viewer would have encountered. The book considers Marcel Duchamp and Salvador Dali, two artists who are not usually compared, within a common framework. Duchamp specialized in frustrating the spectator, using his ironic wit to call into question the definition of the work of art. Dali was a master at disorienting the senses by establishing and then undermining everyday spatial and object properties. The Surrealist challenge, as voiced by Andre Breton, was to evoke the marvellous. Duchamp and Dali extended that challenge to the physical and commercial realm of the exhibition installation.
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Kahlo, Frida (Introduction by Carlos Fuentes)
The Diary of Frida Kahlo An Intimate Self-Portrait
Bloomsbury, London, 1995.
First edition. Octavo; hardcover, with marbled endpapers, gilt spine-titling and gilt upper board decoration; 295pp., many full-page colour & monochrome photographic illustrations. Inscription; pages very slightly rippled; light wear to dustwrapper. Else near fine. Covering the years 1944- 54 the 170 page journal contains the thoughts, poems, and dreams of Frida Kahlo. The seventy watercolour illustrations - some lively sketches, several elegant self-portraits, others complete paintings - offer insights into her creative process, the diary frequently being used to work out pictorial ideas. The text entries written in round, full script in brightly coloured inks add an almost decorative quality making the journal as captivating to look at as it is to read. This personal document published in a full-colour facsimile edition is accompanied by an introduction by Carlos Fuentes and a complete translation of the diary's text. Also included is an essay by Sarah M Lowe.
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King, David, & Ernst Volland
John Heartfield Laughter is a Devastating Weapon
Tate Publishing/Tate Enterprises Ltd., London, 2015.
Quarto; hardcover, with black endpapers; 176pp., with many monochrome illustrations. Dustwrapper. Remainder. New. Born in Berlin in 1891, Heartfield, along with George Grosz, is widely considered to have invented photomontage, a technique of cutting up and manipulating photographs. During the 1930s Heartfield's engagement with this medium produced some of the most visually arresting and politically hard-hitting artwork of the twentieth century, appropriating the widely-circulated propaganda of the time to create its total antithesis. John Heartfield began his career as a graphic designer for his brother's legendary publishing house Malik Verlag, at which time he also joined the German Communist Party for whom he created many satirical posters. However, his pre-eminence in photomontage was confirmed by the work he produced for the Communist weekly AIZ and Volks Illustrierte, creating 237 photomontages between 1930 and 1937. In his own words, he used 'laughter as a devastating weapon' to target the Nazi regime of violence and demagogy, but this in turn made he himself a target for Nazi scorn and censorship. In 1933 much of his work was destroyed when the Gestapo ransacked his studio, and the ensuing years saw him flee in exile around Europe where he continued to produce his brilliantly terrifying images. With an essay written by the author in his own inimitable style, the book includes over 150 full-colour reproductions of Heartfield's beautiful and powerful work, both in its original and printed forms, as well as documentary photographs and recollections from Heartfield's surviving family members.
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Krauss, Rosalind, Jane Livingston & Dawn Ades
L'Amour Fou Photography and Surrealism
The Corcoran Gallery of Art, Washington & Abbeville Press, New York, 1985.
Large quarto hardcover; red cloth boards with silver gilt spine titling, red endpapers; 243pp., monochrome plates and illustrations. Inscription and red ink stamp. Minor wear; a few small scrapes on board edges; light spotting to text block edges; rubbing and rippling to rear panel of dustwrapper. Very good with wrapper now professionally protected by superior non-adhesive polypropylene film. Much has been written about Surrealist painting and sculpture, but most of the erotic, disorienting, and exquisite Surrealist photographs of Man Ray, Marcel Duchamp, Max Ernst, Andre Breton, Brassai, Salvador Dali, Andre Kertesz, and Hans Bellmer have remained all but unknown - until now. Traditional criticism has viewed Surrealist photography as a pale imitation of authentic Surrealist work. The assumption has been that photography, a 'realistic' medium, is fundamentally incompatible with a cause devoted to the wildly subjective, the world of dreams, and the unconscious. As a consequence, Surrealist photography, a major body of twentieth-century art, has remained largely unexplored. L'Amour fou is the first book to study the crucial role photography did in fact play in the Surrealist movement. It shows how photographers enlisted into the service of 'subjective' Surrealism their medium's very claim to 'objective' reality. Of greatest interest, of course, is the book's abundant reproductions of the fantastic and distorted photographic creations that must be acknowledged as an important part of the Surrealist oeuvre.
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Lader, Melvin P.
Arshile Gorky The Early Years
Jack Rutberg Fine Arts Inc., Los Angeles CA, 2004.
Square quarto; gatefold paperback; 95pp. with a monochrome portrait frontispiece and many colour illustrations. Remainder. New. Exhibition catalogue.
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Lautreamont, Comte de (John Rodker, trans.)
The Lay of Maldoror Translated from the French with the Introduction by Remy de Gourmont
Casanova Society, London, 1924.
Octavo; hardcover, with gilt spine titling; 320pp., opened on laid paper, with a monochrome frontispiece and two plates after Odilon Redon. Boards rubbed and bowed with bumped corners; mild softening to the spine extremities; new endpapers; text block edges toned. Very good. Unnumbered copy in an edition of 1000.
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Levy, Thomas (ed.)
Meret Oppenheim Gedankenspiegel / Mirrors of the Mind
Kerber Art Verlag, Bielefeld Germany, 2013.
Landscape quarto; hardcover, with upper board decorations and titles; 216pp., with many monochrome and colour illustrations. No dustwrapper as issued. Remainder. New. Mirrors of the Mind is a comprehensive retrospective presenting the work of Meret Oppenheim who pushed Surrealism in new directions. Meret Oppenheim ranks among the most intriguing and influential exponents of Surrealism. Her life and work continue to hold relevance today through playful intellectualism, experimentalism, and feminism. Meret Oppenheim's oeuvre encompasses a timespan of over five decades. In addition to objects, her lifework includes paintings, sculptures, drawings and graphics. She designed and created jewellery, fashion, and furniture design, and wrote poetry. This art catalogue is derived from the exhibition curated by Thomas Levy. The starting point for the exhibition architecture was in Surrealist thinking: the mind is portrayed as a house with different rooms. A cabinet of curiosities, a boudoir, a dream space, and a mirror hall open up the oeuvre of Oppenheim through distinct elements and atmospheres.
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Levy, Thomas, et al.
Das Ohr von Giacometti / The Ear of Giacometti (Post-) Surreal Art from Meret Oppenheim to Mariella Mosler
Kerber Verlag, Bielefeld Germany, 2010.
Octavo; hardcover, with illustrated boards; 224pp. Remainder. New. Exhibition catalogue of objects by contemporary practitioners inspired by the brief Exposition surrealiste d'objets held in Paris in 1936. Bilingual text in German and English.
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Lippard, Lucy R (ed.)
Surrealists on Art
Prentice-Hall, Englewood Cliffs, 1970.
Paperback, octavo, 213pp. Moderate wear; slightly worn cover with creasing along spine edge and spine, edge and corner wear and lightly toned text block edges with a few spots. Very good. Texts by Breton, Duchamp, Ernst, Bellmer, Bunuel et al. Critical essays, manifestos, prose and poetry.
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Lloyd, Michael, Ted Gott & Christopher Chapman (eds.)
Surrealism Revolution by Night
National Gallery of Australia, Canberra ACT, 1993.
Large quarto paperback, 330pp., colour illustrations. Minor scuffing and edge and corner wear to cover; otherwise near fine. This exhibition catalogue focuses on the major European artists associated with surrealism and on Australian artists who drew, in very different ways, upon the ideas of the surrealists. The exhibition also touches briefly on surrealism in England, Japan and the USA. It begins with Dawn Ade's extended catalogue entries for twenty two works in the exhibition, ranging from Marcel Duchamp's Bicycle Wheel, 1913 to Dorothea Tanning's Eine kleine Nachtmusik, 1946. Cumulatively these provide an introduction and overview of the development of surrealism in Europe through its art. The catalogue concludes with Christopher Chapman's essay on surrealism in Australia.
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Mabille, Pierre
Mirror of the Marvellous
Inner Traditions, Rochester VT, 1998.
Octavo; hardcover, quarter-bound in cloth with gilt spine and upper board titles; 303pp., with a monochrome frontispiece and illustrations likewise. Mild wear; text block edges lightly spotted. Dustwrapper lightly rubbed and edgeworn. Very good to near fine. Mabille sees the marvellous as a state of extreme poetic tension, a point at which inner and outer realities are joined and the individual is simultaneously one with himself and with the world, thus recovering the true sense of the sacred. He makes a close association between sacred and modern works that share a quality of the marvellous.
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Maddox, Conroy
Hamlyn, London, 1979.
First edition. Hardcover, quarto; black boards with gilt spine titling, illustrated endpapers; 96pp., colour and monochrome illustrations. Inscription. Minor wear; upper rear board edge and corners frayed; faint spotting to text block edges. Black illustrated dustwrapper with moderate wear and creasing to upper edge of rear panel, tear at spine edge and tiny missing segments on upper rear edge and corners. Very good and protected in archival film with white paper backing An acute analysis by the long-time surrealist painter and collagist.
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Magritte, Rene, & Harry Torczyner (Richard Miller, trans.; Introduction by Sam Hunter)
Letters Between Friends
Harry N. Abrams Inc./Times Mirror Co., New York NY, USA, 1994.
Octavo; paperback with gatefold wrappers; 160pp., with many monochrome illustrations. Near fine.
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Mahon, Alyce
Surrealism and the Politics of Eros, 1938-1968
Thames and Hudson, London, 2005.
Hardcover, quarto, 240pp., monochrome and colour illustrations. Dustwrapper. Remainder. New. In this highly original history Alyce Mahon provides a radically new assessment of French Surrealism. The orthodox idea of a terminal decline for the movement after the 1930s is transformed into an artistic renaissance in the war and post-war years in which the Surrealists redefined and extended their interests in social crisis, political engagement, transgressive art, myth, the occult and the erotic. In analysing the conception and organization of their four international exhibitions from 1938 to 1965, the author shows how they evoked in the gallery space a three-dimensional world of dream, desire and sexual pleasure, using the power of 'uncanny' feminine forms and symbols. She demonstrates that the last decades of Surrealism were a dynamic and intensely creative period that should be central to our understanding and appreciation of Surrealism as a whole - its artistic philosophical and political motivations and aspirations then as well as its legacy today.
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Marien, Marcel
Woman Ajar
Uitgeverij Loempia, 1985.
Quarto hardcover; brown boards with beige upper board and spine titling; 108pp., colour & monochrome plates. Mild wear to board corners; foxing to half-title page; faint spotting on upper text block edge. Very good in like dustwrapper now professionally protected by superior non-adhesive polypropylene film. The Belgian surrealist began his creative life being apprenticed to a photographer at the age of fifteen. He soon abandoned it turning to other mediums but took it up again later in life. Two themes characterize his photography: the everyday object stripped of its traditional function and the female body as an instrument of creation.
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Matthews, J.H.
The Imagery of Surrealism
Syracuse University Press, 1977.
Paperback, octavo; 293pp., monochrome plates and illustrations. Minor wear; spotting to upper text block edges; mildly rubbed covers with wear to edges and some slight fraying at corners; spine creased. Very good. "I think it is Matthews' masterpiece... Learned, sensitive, and full of acute considerations on surrealism in art..." (Henri Peyre). The book offers lessons on the correct approach to surrealist works. Matthews' long relationship with the movement enables him to talk 'from the inside.'
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Matthews, J.H.
Languages of Surrealism
University of Missouri Press, Columbia, 1986.
First edition: hardcover, octavo; purple cloth boards with black spine titling, black endpapers; 262pp., monochrome illustrations. Minor wear; upper board slightly fanned; spotting to text block edges and mild wear to dustwrapper edges. Very good. This study surveys the surrealist approach to art. Specifically, it explores language as the means by which an artist embraces and communicates the surreal. As the author states: "It is beyond question - and more significantly, beyond truism - that all who deserve to be called surrealists identify the use of language with a special magic... Any study of surrealism... must lead us eventually to a study of its language."
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Matthews, J.H.
Surrealism and American Feature Films
Twayne Publishers, Boston, 1979.
Octavo hardcover; beige cloth boards with black title label and gilt titling; 213pp., monochrome illustrations. Minor wear; faint spotting to upper text block edges; black title label and titling rubbed and faded. No dustwrapper. Very good. Films considered are: Duck Soup, King Kong, Peter Ibbetson, Dark Passage, Pandora and the Flying Dutchman, The Night of the Hunter, and The Last Remake of Beau Geste. Matthews was a long-time commentator on surrealism and, as always, gives precedence to the views of the surrealists themselves.
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Matthews, J.H.
The Surrealist Mind
Susquehanna University Press, Selinsgrove PA, 1991.
First edition. Hardcover, octavo; black boards with gilt spine titling; 233pp. Minor wear; spotting to text block edges and mild wear and scraping to dustwrapper edges; a few small superficial scratches. Near fine and wrapper now professionally protected by superior non-adhesive polypropylene film. By and large, critics have treated surrealism in a manner fluctuating between condescension and hostility, open or veiled. Evidently an affirmation by the French Surrealist's principal spokesperson, Andre Breton - that criticism is a form of love - has failed to elicit an echo in most commentaries dealing with surrealism. In "The Surrealist Mind", J.H. Matthews searches for proof of the existence of a mind that may accurately be called surrealist. This search would lead nowhere unless that mind could be shown to evidence sufficient constancy of purpose to come to terms with the world around us or a scale broad enough to command attention and even respect. This book rests on the hypothesis that such a mind existed.
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Matthews, J.H.
Toward the Poetics of Surrealism
Syracuse University Press, 1976.
First edition: hardcover, octavo; red boards with black spine label and gilt spine titling; 241pp. Owner's name. Minor wear; mildly rubbed board edges and corners; tape marks on endpapers; spotting to text block edges; illustrated dustwrapper with one or two marks; wear and chipping to edges and corners. Very good with wrapper now protected in archival film and white paper backing. Surrealism has had an unparalleled impact upon creative expression and cultural development in the twentieth century. J.H. Matthews illustrates some on the ways in which the word 'poetics', in the context of surrealism, undergoes expansion beyond the conventional literary and artistic usage. He shows how poetics can lend itself to defining surrealist ambitions and how these ambitions have been pursued in the broadest sense.
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Motherwell, Robert (ed.)
The Dada Painters and Poets: An Anthology
Belknap Press, Cambridge, 1981.
Small quarto paperback; 412pp., monochrome illustrations. Owner's name in pen elided. Slight scuffing to black cover with light wear to edges. Very good to near fine otherwise. Incomparable collection of essays, manifestos and illustrations prepared with the collaboration of some of the major Dada figures: Duchamp, Arp and Ernst among others. Here in their own words and art, the principles of the movement create a composite picture of Dada - its convictions, antics and spirit.
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Mundy, Jennifer (ed.)
Surrealism Desire Unbound
Princeton University Press, Princeton NJ, 2002.
Quarto hardcover, 349pp., colour and monochrome illustrations. Dustwrapper. Remainder. New. Wrapper a little shopworn (now professionally protected by superior non-adhesive polypropylene film). Desire was described by Breton as the "only master that man must recognise." Influenced by Freud, the surrealists saw sexual desire as a path to self-knowledge and this major exhibition catalogue explores how they expressed the theme in both words and images. Key works by the likes of Duchamp, Magritte, Ernst, Bellmer, Meret Oppenheim and others are illustrated and discussed, as are surrealist films and photographs. Included is a selection of manuscripts, letters and documentary photographs that reveal the personal contexts of the group's explorations. Essays by scholars seek to illuminate how desire was implicated in almost all aspects of surrealist activity - not only in its art and writings, but also in its political struggles and ethical stances on issues involving individual liberty and the social control of sexuality.
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Ottinger, Didier & others
Surrealism - The Poetry of Dreams From the Collection of the Centre Pompidou, Paris
Queensland Art Gallery / Gallery of Modern Art Centre Pompidou, 2011.
Large quarto hardcover, 328pp., colour and monochrome illustrations. Illustrated boards, slightly scuffed and with bumped corners. Minor wear to boards; else near fine. No dustwrapper, as issued. Exhibition catalogue. Paintings, photographs, objects, documents.
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Parkinson, Gavin
Futures of Surrealism Myth, Science Fiction and Fantastic Art in France 1936-1969
Yale University Press, New York NY, 2015.
Small quarto; hardcover; 282pp., colour and monochrome illustrations. Dustwrapper. Remainder. New. Although Surrealism is usually associated with the 1920s and 1930s, it remained a vital force in Paris throughout the postwar period. This important book offers the first detailed account in English of the trajectory of the French Surrealists in the 1950s and 1960s, giving particular emphasis to the significance of myth for the group in its reception of science fiction and its engagement with fantastic art. Offering new readings of the art and writings of the later generation of Surrealists, Gavin Parkinson demonstrates how they were connected to the larger cultural and political debates of the time. Whereas earlier Surrealist art and writing drew on psychoanalytic practices, younger Surrealists engaged with contemporary issues, ideas, and themes of the period of the Cold War and Algerian War such as parapsychology, space travel, fantastic art, increasing consumerism in Europe, emerging avant-gardes such as Nouveau Realisme, and the rise of the whole genre of conspiracy theory, from Nazi occultism to flying saucers. Futures of Surrealism offers a unique perspective on this brave new world.
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Pell, Derek
Scar Mirror: signed copy
Cat's Pajamas Press, Oak Park, 1978.
Stapled octavo booklet, 22pp. Few faint spots on front cover; else fine. Signed in ink by author.
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Ray, Man (Jennifer Mundy, ed.)
Writings on Art
Tate Publishing, London, 2016.
Quarto hardcover; blue boards with red upper board and spine titling, red endpapers; 456pp., colour illustrations. Minor wear only; fine in like dustwrapper now professionally protected by superior non-adhesive polypropylene film. "Man Ray, the American photographer, filmmaker, painter, and object maker often associated with Dada and Surrealism - emerges as a prolific writer as well in this carefully shaped collection of texts culled together by Mundy, the head of collection research at London's Tate Museum. Organized chronologically, the selection includes letters, interviews, notes, words pulled from albums and portfolios, and published and unpublished texts, all of which serve to position Man Ray as a strikingly vocal artist. The writing is clever and colourful, occasionally humorous and even prophetic. He writes about abstraction, and his hero, the Marquis de Sade. Yet he never writes specifically about individual artists, due to a lifelong dislike of critics and critical writing. Of great interest are some of Man Ray's early texts, in which he asserts the importance of the flat two-dimensional plane and anticipates the injunctions of later formalist critics like Clement Greenberg in the 1940s and '50s. These writings may very well revise people's common perceptions of the artist, who regarded himself, contrary to his reputation at the time, as a thinker and as someone who was interested in using words creatively." - Publishers Weekly
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Richter, Hans; Gray, Cleve (ed.)
Hans Richter by Hans Richter
Holt, Rinehart & Winston, New York, 1971.
Hardcover square quarto, 191pp., numerous monochrome and colour illustrations. Preliminaries and text block edges lightly spotted; else near fine in lightly worn dustwrapper with scrape to upper rear corner. Wrapper now professionally protected by superior non-adhesive polypropylene film. In the United States, Hans Richter is singled out as a pioneer filmmaker. But in Switzerland, Italy, Germany, France, or Japan, he is celebrated as a prolific painter, sculptor, and writer who also makes occasional avant-garde films. This Janus-like image, one face for Europe and another for America, is misleading. For what is most remarkable in Richter's diverse accomplishments is a seminal unity penetrating every technique he has used during three quarters of a century. This volume is a reconciliation between the conflicting tendencies of liberty and order, chaos and structure, spontaneity and deliberation that has been the explicit theme of Richter's career.
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Rosenthal, Mark
The Surreal Calder With a Chronology by Alexander S C Rower
Yale University, New Haven CT, 2006.
Quarto hardcover, 156pp., colour and monochrome illustrations. White boards with black decoration, no dustwrapper as issued. Remainder. New. "The Surrealist vision of sculpture is flexible, and Calder, by embracing a number of Surrealist themes, participated in the artistic preoccupations of the movement and expanded its elastic approach. What he perhaps chiefly bought to Surrealist sculpture, his singular contribution to the 'merveilleux', was the surprise and pleasure of movement. Leaving the final form of a work of art to the chance effects of air demonstrates a particularly Surrealist sensibility, while distinguishing Calder from the weighty gravity of other artists and giving evidence of his unique 'elan vital'" - Mark Rosenthal.
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Rowell, Margit (ed.) (translations by Paul Auster & Patricia Mathews)
Joan Miro Selected Writings and Interviews
Thames & Hudson, London, 1987.
Hardcover, octavo, 326pp, monochrome plates. Text block edges slightly foxed. Scattered spotting on endpaper. Minor wear otherwise. No dustwrapper. In her preface, Margit Rowell claims that Miro's art is an exemplary mythopoeic enterprise, a constant actualization of lived experience into art; that Miro's real as he appropriated and reformulated it, was manifold. It was the daily physical and psychological reality of different cities and countrysides, it was the reality of a Catalan identity; it was the reality of a cosmic vision and that of an intense spiritual life. All these realities of a present and a past that Miro lived or remembered actively, intellectually, emotionally were threaded together into the single vision of the artist. In this book the artist speaks through the selected published interviews and statements, the two notebooks of poems and working notes that have been taken from the the study collection at the Fundacio Joan Miro in Barcelona and finally from personal letters.
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Russell, John
Max Ernst Life and Work
Abrams, New York, nd. [c. 1967].
Hardcover, quarto; dark yellow cloth boards with navy blue spine titling and upper board decoration; decorated endpapers; 359pp., 50 colour illustrations tipped in, monochrome illustrations and 153 monochrome plates at rear; biographical notes, footnotes, bibliography, chronology and indexes. Some scattered spotting to early pages and text block edges. Illustrated blue dustwrapper with two very small tears at spine panel extremities, chipping at corners and spine panel edges. Very good and wrapper now professionally protected by superior non-adhesive polypropylene film with white paper backing. In this full-length study of Max Ernst's achievement as a maker and manipulator of unforgettable images, John Russell has had the advantage of close and lengthy collaboration with the artist. Ernst himself sees no fundamental difference between poetry and painting, and he is himself an accomplished poet in three languages: due attention is paid, therefore, to the inter-penetration of art and literature in his activity. Ernst's career is examined, also, in the context of the general history of the European imagination. The book, like the career, touches life at many points and is as relevant to the history of ideas as it is to the history of art.
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Savinio, Alberto (Richard Pevear, trans.)
Childhood of Nivasio Dolcemare
Eridanos Press Inc., Hygiene CO, USA, 1987.
Octavo; paperback with gatefold wrappers; 146pp. Some rubbing, marks to covers; else very good. Delicious evocation of the author's youth in turn of the century Greece. Very funny and black.
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Sawin, Martica
Surrealism in Exile And the Beginning of the New York School
MIT Press, Cambridge MA, 1995.
Quarto hardcover; beige cloth boards with black spine titling, illustrated endpaper corners; 466pp., monochrome illustrations. Faint spotting to upper text block edges. Otherwise near fine in like dustwrapper. "No one has told the story of those years in any way that gives a sense of what they were really like," Robert Motherwell observed in early conversation with the author. Sawin now provides a detailed account of what was happening within the movement during the crucial years 1938-1947. She documents the cultural transfer that took place when the greater part of the prewar surrealist group was transplanted to the US. Her year by year narrative pieces together the arrival of the refugees and their various points of contact with the future abstract expressionists. The book illuminates conclusively the roots of the New York School - a hybrid of startling vigour that brought world attention to the new American art for the first time - the evolution of the artworks involved, and the last brilliant flowering of surrealist art.
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Schneede, Uwe M. (Maria Pelikan, trans.)
Harry N. Abrams Inc., New York NY, 1973.
Quarto paperback, 144pp., colour and monochrome illustrations. Scuffed cover with edge and corner wear; spine and corners creased; otherwise very good. Uwe Schneede analyses the symbology, imagery, and underlying technical processes and aesthetics of Surrealism, and sees in its 'accidental' or spontaneous elements the roots of Tachism and Abstract Expressionism. The introductory essay is illustrated with more than 70 black and white reproductions that include key paintings and drawings, objects, photographs of the leading figures in the movement, documents, and manifestos. The 41 colour plates that follow constitute, in effect, a retrospective exhibition of major Surrealist canvases - beginning with the proto-surrealist Metaphysical paintings of Giorgio de Chirico and culminate with a canvas by Matta.
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Selsdon, Esther
Leonor Fini
Parkstone Press, 1999.
Hardcover, octavo, 119pp., colour illustrations. Near fine. Lacks dustwrapper. Synoptic overview of the artist's work and concerns.
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Short, Robert
The Age of Gold Surrealist Cinema
Creation Books, 2003.
Small square quarto paperback. 188pp. Black & white illustrations. Minor wear to card cover; else very good. Surrealist cinema, as epitomised by Un Chien Andalou and L'Age D'Or, was a knife through the very heart of the establishment - a scorpionic, scatological black joke galvanised by the irrational, the uncanny and the spectre of de Sade. Author Robert Short revisits these two seminal films and documents the experimental cinematic theories of Antonin Artaud and the filming of his Surrealist scenario The Seashell and the Clergyman. Short also looks at the work of Hans Richter, Jean Cocteau, Marcel Duchamp and Man Ray.
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Short, Robert
Dada & Surrealism
Octopus, London, 1980.
Quarto hardcover; brown boards with gilt upper board and spine titling; 176pp., colour and monochrome illustrations. Small mark on title page and minimal wear to dustwrapper edges. Very good to near fine.
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Spies, Werner (John William Gabriel, Jurgen Ruhle & Dorothea Tanning, trans.)
Max Ernst - Collages The Invention of the Surrealist Universe
Thames & Hudson Ltd., London, 1991.
Quarto; hardcover, with gilt spine titling and upper board decoration; 540pp, with many colour and monochrome illustrations. Mild wear; lightly shaken; text block edges dusted; wear to the cloth on the board bottom edges; mild offsetting to the endpapers. Dustwrapper now professionally protected by superior non-adhesive polypropylene film with archival-quality white paper backing. Very good. "Max Ernst's imagination, on the evidence of this exhaustive study, was more varied, more splendid, more daring and more prescient than even his admirers may realize. His surrealist collages, at once playful and menacing, humorous and disturbing, portray a universe where birds gobble fish, mannequins come to life and Eros denied may spring from the barrel of a gun. Ransacking picture postcards, newspapers, catalogues, botanical drawings, calligraphy models, engravings and scientific journals, Ernst brought hermetic images into fruitful association, rattling the gates to the unconscious mind. In his essay, a monumental feat of detective work, German art historian Spies uncovers source materials, discusses Ernst's collage techniques, reviews his collage-novels and tracks Dada antics from Cologne to Paris. Yet he does not explain the enigmatic power these images continue to exert. The superb illustrations include 50 embellished 'alphabet initials' which Ernst, who died in 1976, made especially for the first German edition of this definitive work." - Publishers Weekly
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Tashjian, Dickran
A Boatload of Madmen Surrealism and the American Avant-Garde 1920-1950
Thames & Hudson, New York NY, 2001.
Small quarto gate-fold paperback; 424pp., monochrome illustrations. Remainder, new. The American art community had its first glimpse of Surrealism in 1932. Its revolutionary art galvanized an emerging avant-garde, and four years later a major exhibition at The Museum of Modern Art catapulted the movement into the cultural limelight. This vividly written cultural history tells the story of Surrealism's remarkable sea change, from a fiercely leftist, strongly literary, avant-garde movement into an apolitical, almost exclusively visual style. It shows how the American avant-garde selectively shaped European surrealism to meet its own agendas, and how it was in turn reinterpreted, de-politicized and commercially exploited by mainstream American culture and the fashion and advertising industries.
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Waldberg, Patrick
Thames & Hudson Ltd., London, 1965.
First printing. Hardcover, octavo; gray cloth boards with gilt spine titling and upper board insignia; 127pp., with b&w and colour plates. Owner's name. Offsetting to endpapers; toned and spotted text block edges; slightly cocked; mild wear to board corners and spine panel extremities. Illustrated black dustwrapper with scraping at corners; some rubbing. Good to very good. Wrapper now professionally protected by superior non-adhesive polypropylene film with white paper backing. Useful collection of key surrealist documents including Breton's manifestos, Eluard's Food for Vision, Dali's Conquest of the Irrational, Ernst's Beyond Painting and articles from La Revolution Surrealiste. Waldberg was an adherent of the movement.
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Waldman, Diane
Arshile Gorky A Retrospective
Harry Abrams, New York, 1981.
Quarto paperback; 285pp., colour & monochrome illustrations. Small crease on upper corner of rear cover panel; mild edgewear. Very good to near fine. Exhibition catalogue.
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Whitfield, Sarah (ed.)
Rene Magritte Newly Discovered Works - Catalogue Raisonne VI - Oil Paintings Gouaches Drawings
Menil Foundation/Mercatorfonds/Magrirtte Foundation, Brussels Belgium, 2012.
Quarto; hardcover, with silver-gilt spine titles; 163pp., with many colour and monochrome illustrations. Dustwrapper. Remainder. New. Rene Magritte was a surrealist artist whose thought-provoking works used ordinary objects to challenge how viewers perceived reality. His extensive oeuvre was documented in a comprehensive five-volume project, led by distinguished art critic and writer David Sylvester. In the years that followed the publication of the final volume in 1997, numerous works purporting to be by Magritte appeared on the art market. Under the auspices of the Fondation Magritte, a committee was established to verify the authenticity of newly discovered works as well as those previously recorded as 'whereabouts unknown' or listed as appendix items in the original volumes of the Rene Magritte Catalogue Raisonne. Rene Magritte: Newly Discovered Works includes colour illustrations of 130 previously unpublished or unknown works authenticated by the committee between September 2000 and March 2010. Like its predecessors, this volume is the culmination of years of research, which synthesizes new discoveries about the artworks and details of the life of Magritte himself. Accompanying text and comparative documentation provide a wealth of complementary information, including the circumstances of a work's discovery, references to letters, quotations in their original languages, and citations from previous volumes.
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Xuriguera, Gerard (text)
Oscar Dominguez
Filipacchi, Paris, 1973.
Hardcover: quarto, 79pp. Faint foxing to preliminaries; else near fine in dustwrapper moderately worn at edges, few small chips and light stain along upper margin of rear panel. Monochrome and colour illustrations. One of the few books devoted to this surrealist painter who is particularly noted for his use of the technique of decalcomania when thick oil paint, known as gouache, is spread on paper or, on occasion, glass and other materials, before being pressed onto a canvas. It was a technique especially popular in Russia at the time, and Dominguez successfully created several paintings using the method.
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