lamdha books -
Catalogue of books on Surrealism and related

Click on the small images at right to see a larger picture

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.
Click here to order

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.
Click here to order

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.
Click here to order

Arman, Yves
Marcel Duchamp Plays and Wins/Joue et Gagne
Marval/Galerie Yves Arman/Galerie Beaubourg/Gallerie Bonnier, Paris France 1984.
Octavo; gatefold paperback; 192pp., with 32pp. of colour and monochrome plates. Mild wear; covers a little rubbed and edgeworn; lacquer lifting along the edges; spine sunned; text block edges mildly spotted. Good to very good.
Click here to order

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.
Click here to order

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.
Click here to order

Ball, Hugo (trans. Jonathan 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.
Click here to order

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.
Click here to order

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.
Click here to order

Bischof, Rita, with Andre Breton, Jindrich Heisler, Vitezslav Nezval,
Toyen Das malerische Werk
Verlag Neue Kritik KG, Frankfurt am Main Germany, 1987.
Quarto; gatefold paperback; 158pp., text in German, with many colour and monochrome illustrations. Mild wear; light scraping to the hinges. Very good. Laid in: a postcard of the artist's work.
Click here to order

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.
Click here to order

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.
Click here to order

Breton, Andre (trans. Simon Watson Taylor)
Surrealism and Painting
MFA Publications, Boston, 2002.
Quarto paperback; 415pp., b&w illustrations. Remainder. New.
Click here to order

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.
Click here to order

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.
Click here to order

Bunuel, Luis
The Exterminating Angel
Green Integer, 2003.
Paperback, duodecimo, 220pp. Remainder. New. Based on the cinedrama by Bunuel and Luis Alcoriza.
Click here to order

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
Click here to order

Bunuel, Luis (trans. Marianne Alexandre)
L'Age d'Or & Un Chien Andalou
Lorrimer, 1981.
Paperback, octavo; unpaginated with b&w illustrations. Moderate wear; pages slightly rippled; covers well-rubbed with some sunning and wear to edges. Good to very good.
Click here to order

Carelman, Jacques (Rosaleen Walsh, trans.)
Catalogue of Extraordinary Objects
Abelard-Schuman Ltd., London, 1971.
Quarto; hardcover, full cloth; 128pp., with many monochrome illustrations. Mild wear; text block edges toned. Price-clipped dustwrapper is a little rubbed and edgeworn; now professionally protected by superior non-adhesive polypropylene film. Very good. Carelman's delicious subversions of utility.
Click here to order

Carra, Massimo, with Patrick Waldberg & Ewald Rathke (Foreword by Caroline Tisdall, trans.)
Metaphysical Art The World of Art Library series - Modern Movements
Thames & Hudson Ltd., London, 1971.
Octavo; hardcover, full cloth with gilt spine titles and upper board decoration; 216pp., with many colour and monochrome illustrations. Mild wear; slightly rolled; spine heel softened; text block edges mildly toned and top edge dusted. Dustwrapper now professionally protected by superior non-adhesive polypropylene film. Very good. Pittura Metafisica, the Italian cousin of Surrealism, was founded during the First World War by two artists, Carlo Carra and Giorgio de Chirico, in order to create a supernatural sense of wonder and mystery. In this seminal study, the author assembles and introduces documents, articles and manifestos by members of the movement accompanied by critical comments from Patrick Waldberg. With many reproductions in b/w and colour.
Click here to order

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.
Click here to order

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.
Click here to order

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.
Click here to order

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
Click here to order

d'Harnoncourt, Anne, & Walter Hopps
Etant Donnes: premier la chute d'eau; deuxieme le gaz d'eclairage Reflections on a New Work by Marcel Duchamp - Philadelphia Museum of Art Bulletin, Vol. LXIV, Nos. 299 & 300, April-September 1969 with the 1973 Afterword.
Philadelphia Museum of Art, Philadelphia PA, 1987.
Quarto; paperback, stapled booklet; 68pp., with many monochrome illustrations. Moderate wear; covers well rubbed and edgeworn with scraping and spotting. Very good.
Click here to order

d'Harnoncourt, Anne (ed.)
Etant Donnes: Manual of Instructions for Marcel Duchamp Etant Donnes: 1st "La Chute d'Eau"; 2nd "Le Gaz d'Eclairage..."
Philadelphia Museum of Art, Philadelphia PA, 1987.
Square quarto; hardcover, full faux leather; unpaginated (56pp.), many folding, with many colour and monochrome illustrations. Minor wear; boards lightly rubbed. No dustwrapper. Very good. Laid in: a 4-page illustrated introduction to the work. Marcel Duchamp's "Manual of Instructions" was prepared by the artist for the disassembly of Etant Donnes in his New York studio and its reassembly at the Philadelphia Museum of Art. First published more than thirty years ago, the manual has had far-reaching ramifications for the study of Etant Donnes and Duchamp. Illustrated with 116 black-and-white Polaroids taken by the artist and 35 pages of his handwritten notes, the work is of pivotal importance to an understanding of Duchamp's artistic practice.
Click here to order

Dupin, Jacques (James Petterson, trans.)
Joan Miro
Harry N. Abrams Inc./Editiones Poligrafa S.A., Barcelona Spain, 1994.
Quarto; hardcover, full cloth with blind-stamped spine titles; 480pp., with many full-colour and monochrome illustrations. Moderate wear; a little shaken; mild spotting to the preliminaries. Dustwrapper now professionally protected by superior non-adhesive polypropylene film. Very good. French father of Surrealism Andre Breton called Spanish artist Joan Miro (1893-1983) "the most Surrealist of us all," while Miro himself infamously called for "the assassination of painting." Particularly between 1927 and 1937, transformative years during his very long career, Miro worked to both attack and reinvigorate painting. Though he maintained his freedom, experimenting with other movements such as Expressionism and Colour Field painting and never truly becoming a member of the Surrealist group, Miro was among the first to incorporate automatic drawing into his practice. He left behind a distinctive body of mixed-media work - including paintings, murals, sculptures, mosaics and ceramics - whose influence has only continued to grow. This fully illustrated publication, with an essay by leading Miro scholar Jacques Dupin, reveals new aspects of the artist's life and work.
Click here to order

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.
Click here to order

Ford, Charles Henri (ed.) (Foreword by Paul Bowles)
View Parade of the Avant-Garde 1940-1947
Thunder's Mouth Press, New York NY, 1991.
Quarto; hardcover, with silver-gilt spine titles; 287pp., with 8pp. of colour plates and many monochrome illustrations. Minor wear; a little rolled; text block top edge lightly dusted; light spotting to the text block edges and preliminaries. Dustwrapper a little rubbed and edgeworn; now professionally protected by superior non-adhesive polypropylene film. Very good. In the 1940s, as the world stood divided by war, Charles Henri's View magazine, together with the talents of European and American artistic communities, almost single-handedly helped define the avant-garde movement in that country and established New York as a world art centre. View: Parade of the Avant-Garde is the first anthology to present the work of this remarkable, but too often forgotten, cultural vanguard. Notable contributors to View magazine include: Jorge Luis Borges, Paul Bowles, Andre Breton, Alexander Calder, Albert Camus, Marcel Duchamp, Max Ernst, Georgia O'Keeffe, Henry Miller, Marianne Moore, Isamu Noguchi, Pablo Picasso, Man Ray, Jean-Paul Sartre, Yves Tanguy, and many others. This 50th anniversary edition of the magazine traces the move from surrealism to existentialism, the development of American modernist poetry and the avant-garde experiments of the then undiscovered masters. Looking at the cultural political and economic climate of the war years both in America and abroad it includes an eight page colour section of cover art and facsimile pages and ads for View sponsored events.
Click here to order

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.
Click here to order

Gough-Cooper, Jennifer, & Jacques Caumont (Andre Raffray, illus.; Antony Melville, trans.)
Marcel Duchamp A Life in Pictures
Atlas Press, London, 1999.
Square duodecimo; hardcover, with illustrated boards; 27pp. with many colour illustrations. Minor wear; boards a little rubbed. No dustwrapper. Very good. The life amusingly cast in Ladybird book format.
Click here to order

Grimberg, Salomon (Foreword by Hayden Herrera; Interview by Olga Campos)
Frida Kahlo Song of Herself
Merrell Publishers Ltd., London, 2008.
Octavo; hardcover, with upper board titles and a red ribbon; 160pp., with a colour frontispiece and many other colour and monochrome illustrations. Minor wear; dustwrapper slightly rubbed and edgeworn; now professionally protected by superior non-adhesive polypropylene film. Very good.
Click here to order

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.'
Click here to order

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.
Click here to order

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.
Click here to order

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.
Click here to order

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".
Click here to order

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.
Click here to order

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.
Click here to order

[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.
Click here to order

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.
Click here to order

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.
Click here to order

Klein, Mason
Alias Man Ray: The Art of Reinvention Contributions by George Baker, Lauren Schell Dickens and Merry A. Foresta
Yale University Press, 2009.
Quarto hardcover; illustrated boards, no dustwrapper; 240pp., colour and monochrome illustrations. Remainder. New.
Click here to order

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.
Click here to order

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.
Click here to order

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.
Click here to order

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.
Click here to order

Maddox, Conroy
Hamlyn, London, 1979.
First edition. Hardcover, quarto; black boards with gilt spine titling, illustrated endpapers; 96pp., colour and monochrome illustrations. Inscription on front pastedown and owner's details on rear endpaper. Minor wear; board edges and corners rubbed; faint spotting to text block edges. Black illustrated dustwrapper with edgewear and chipping at corners; one or two tiny scrapes and small scratch on front panel; now professionally protected by superior non-adhesive polypropylene film. Very good. An acute analysis by the long-time surrealist painter and collagist. Maddox shows us Dali freed from the labyrinthine false trails which the artist himself laid for those who dared probe the secrets of his imagination. The text deals with the decisive moments of Dali's private and professional life; it makes use of Dali's own revelations, of the author's personal experience of surrealist art and his sense of historical perspective. It stresses how much Dali's art is only an aspect of his total way of life, and explains the diversity of paintings, films, objects and happenings he has created. In particular the author shows clearly the change that has come over Dali's work since he left the surrealist movement.
Click here to order

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.
Click here to order

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.
Click here to order

Marquis, Alice Goldfarb
Marcel Duchamp: The Bride Stripped Bare
MFA Publications, Boston, 2002.
Octavo; hardcover; 359pp., colour plates and many monochrome illustrations. Remainder. New.
Click here to order

Matthews, J.H.
Eight Painters: The Surrealist Context
Syracuse University Press, New York NY, 1982.
Hardcover, octavo; 142pp., monochrome plates. Minor wear; faint spotting to text block edges and minimal edgewear to lower spine extremities of dustwrapper (now professionally protected by superior non-adhesive polypropylene film). Very good to near fine. Artists considered are Max Ernst, Joan Miro, Andre Masson, Rene Magritte, Yves Tanguy, Salvador Dali, Wilhelm Freddie and Roberto Sebastian Antonio Matta. Clarifying the function of painting in the surrealist context, Matthews discusses the surrealist works of the eight painters, focussing on the reception each has received among his associates.
Click here to order

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.'
Click here to order

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."
Click here to order

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.
Click here to order

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.
Click here to order

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.
Click here to order

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.
Click here to order

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.
Click here to order

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.
Click here to order

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
Click here to order

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.
Click here to order

Rosemont, Penelope
Surrealist Experiences 1,001 Dawns, 221 Midnights
Black Swan Press, Chicago IL, 2000.
Octavo; paperback; 194pp., with monochrome illustrations. Mild wear; light edgewear to covers. Very good to near fine. Articles and essays.
Click here to order

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.
Click here to order

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.
Click here to order

Schwartz, Arturo
Man Ray The Rigour of Imagination
Thames & Hudson Ltd., London, 1977.
Square quarto; hardcover, full-cloth with gilt spine titles and upper board decoration; 384pp., with many full-colour and monochrome illustrations. Moderate wear; somewhat shaken; spine extremities softened; some insect damage to the spine and board edges; text block edges lightly toned. Dustwrapper is mildly rubbed and edgeworn; now professionally protected by superior non-adhesive polypropylene film. Very good.
Click here to order

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.
Click here to order

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.
Click here to order

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.
Click here to order

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
Click here to order

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.
Click here to order

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.
Click here to order

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.
Click here to order

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.
Click here to order

Zeller, Ludwig (A.F, Moritz & Beatriz Zeller, trans.; Susana Wald, illus.)
The Marble Head and Other Poems
Mosaic Press, Oakville, 1986.
Octavo paperback; 89pp., b&w illustrations. Minor wear; faint spotting to text block edges; slight rubbing to covers with minimal wear to edges and corners. Very good to near fine.
Click here to order

Zeller, Ludwig (A.F. Moritz & Theresa Moritz, trans.)
Rio Loa - Station of Dreams A Novel
Mosaic Press, Toronto, 1999.
Octavo paperback; 143pp. Minor wear; mild spotting to text block edges; slight rubbing to covers with minimal wear to edges and corners. Very good.
Click here to order