MAN RAY EMMANUEL RADNITZKY (31 résultats)

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

24:15,7 cm. 358 S. m. zahlr. Abb. Ill. OBr.

Eine illustrierte Autobiographie. Aus dem Amerikanischen übertragen von Reinhard Kaiser. 23,5:16,8 cm.368 S. m. 86 Abb. Ill. OKt.

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

Hardcover. Etat : New.

Hardcover. Etat : New.

Hardcover. Etat : New.

Hardcover. Etat : New.

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

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

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

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

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

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

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

Hardcover. Etat : As New.

Hardcover. Etat : As New.

Hardcover. Etat : As New.

Soft cover. Etat : Very Good. 1st Edition. Milano: Luciano Anselmino, 1976 [1914]. Folio, [i],22 p., [i], publisher's original wraps. First thus edition of this collection of poetry and a play by Man Ray's wife, with illustrations by Man Ray throughout, originally published in 1915. One of 200 copies printed by Luciano Anselmino, this being copy No. 12. Band of faint discoloration to upper front wrap, small patches of discoloration to front and rear wrap; top corner gently bumped, with faint crease to final leaf, but a VG copy overall. This copy has been INSCRIBED by Luciano Anselmino on the title page. Scarce. Signed by Author.

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

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

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

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

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

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

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

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

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

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

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