Photographs 1920-1934 Paris 4to - 1934

Hartford, Connecticut; Paris: James Thrall Soby; Cahiers d'Art, 1934. 4to. (12 x 9 1/4 inches). 104 heliogravures of Man Ray's photographs and rayographs. With a portrait by Picasso. Texts by André Breton, Paul Eluard, Rrose Sélavy (Marcel Duchamp), and Tristan Tzara. First edition, second issue with the publisher's fictitious "second edition." Inscribed by Man Ray on front wrapper verso ("Paris 1966") with a drawing of a bird in the clouds with a sun in the background. Original color pictorial stiff wrappers in plastic ringbinder. A signed first edition, second issue with an original drawing by Man Ray. It is in this groundbreaking monograph that Man Ray shines brightest. Includes work by Picasso, Duchamp, and Breton. Man Ray, a visionary in both authorship and collaboration, left an indelible mark on the world of books. While his early works in Ridgefield, New Jersey, including The Ridgefield Gazook in March 1915, hinted at his artistic prowess, it was in this inaugural monograph that his friends rallied to celebrate his genius. The monograph opens with a captivating portrait drawing of Man Ray by Picasso. It unfolds with meticulous organization, presenting a collection of 104 photographs divided into five distinct sections. The journey begins with a diverse array of subjects, encompassing still lifes, rooms, landscapes, cityscapes, and flowers. Preceding this visual feast is a thoughtful text titled "The Age of Light," wherein Man Ray offers a heartfelt explanation for sharing these "autobiographical images" during a time when societal focus lay on the perpetuation of power dynamics. He eloquently defends his works, which draw inspiration solely from individual human emotion and desire. As the monograph progresses, the poetic voice of Paul Éluard emerges, setting the stage for a section dedicated to the ethereal female form, predominantly depicted in nude compositions. André Breton, a luminary in the artistic realm, introduces a subsequent section that explores "The Visages of the Woman," delving into the multifaceted nature of feminine beauty. The monograph further unveils a captivating series of portraits of notable figures including Marcel Duchamp, Le Corbusier, and Henri Martisse. These portraits are accompanied by introspective musings from Rrose Sélavy (Marcel Duchamp's feminine alter ego) on "Men Before the Mirror." Finally, a mesmerizing collection of rayographs takes center stage, complemented by Tristan Tzara's evocative prose in "When Things Dream." Throughout the monograph, each section flows seamlessly into the next, inviting readers on an immersive journey through Man Ray's artistic vision. The cover, meticulously crafted, underwent several iterations before its final embodiment. It features Man Ray's own bust positioned above a scene that captures a blue-eyed blonde contemplating a plaster hand cradling a delicate lightbulb, its luminosity mirrored by a captivating ball suspended on a peg. In this groundbreaking monograph, Man Ray's creative prowess shines brightly. It serves as a testament to his enduring legacy and invites readers to embark on a fluid and captivating exploration of his artistic journey. With the words, poems, and imagery of his esteemed collaborators, the monograph presents a remarkable odyssey through the mind of a visionary artist. In a curious twist, the first edition of this remarkable monograph carries with it the publisher's unorthodox attempt to create demand. According to Andrew Roth, the publisher recalled a significant number of copies in an audacious move to generate an illusion of scarcity and implying that the edition had sold out. The title pages of the recalled volumes were replaced with new ones that bear the imprint: "second edition." Roth, pp. 13-14; 80-81; Auer 210.