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Lettre datée de Marseille, le 25 mars 1949

Correspondence

Author

Author Pierre Guerre
Letter to André Breton

Description

Lettre de Pierre Guerre à André Breton, datée du 25 mars 1949.

Lettre insérée par André Breton dans son exemplaire de La Lampe dans l'horloge. [site André Breton, 2019]

 

Creation date25/03/1949
Postmarked date25/03/1949
Destination address
LanguagesFrench
Place of origin
Number of pages1
Reference6328000
Breton Auction, 2003Lot 188
Keywords, , ,
CategoriesLetters to André Breton
Permanent linkhttps://www.andrebreton.fr/work/56600101000266
relwmap_works_label (1)

See also

2 Works
 
False

La Lampe dans l'horloge

-
André Breton

-

Essai d'André Breton paru le 15 juin 1948 avec un frontispice de Toyen, une photographie, des corrections d'épreuves accompagnées d'une lettre de Pierre Guerre, et deux invitations à une conférence de Robert Sarrazac le 30 avril 1948.

Quatre images, une notice descriptive, un lien, une bibliographie.

Collection l'Âge d'Or dirigée par Henri Parisot

False

 La Poésie

-
Pierre Guerre

Épreuves du texte de Pierre Guerre sur La Lampe dans l'horloge corrigées par André Breton à l'encre verte.

Deux images, une notice descriptive.

Description

Manuscript of a lecture by André Breton on December 20th, 1945 à Port-au-Prince; first of a series of eight.

Arrived in Port-au-Prince with Elisa on December 4th, 1945, Breton gave a series of lectures beginning from December 20th, of which we have here the first one, dedicated to Surrealism, to “six hundred young people, most of them being academic students” and some appalled official representatives. For more information about the background of this lecture, see Alentours I in the third volume of the Pléiade. The lecture deals with the history of Surrealism. The beginning of it is of particular interest, as Breton expresses the sense of a deep kinship with the land of Haiti. For more than 20 years, the work of Breton will be characterized by an endeavor to connect the primitive and the modern, the magic and the artistic. [Atelier André Breton website, 2005]

Lectures (Haiti, Martinique) 1945-1946.
First Lecture, autograph manuscript, December 20, 1945.
- 14 pages folio in-4°, manuscript of the first draft with erasures and corrections of this first lecture given by Breton in Haiti.

“Be sure that I am well aware of all that the Haitian people lack. The world map, in 1945, is such that it still brings to light, by historical standards, a disparity in comparison with the others, at least on the physical side. And there are few signs which allow to foresee a leveling of needs and resources on an international scale. In the face of justice we dream — strictly alike for all — and I know that no country is more entitled than Haiti to set for an unrelenting indictment against the more or less disguised exploitation. The glory of its past and of its struggles, which should be a focal point for the rest of the world, is far from having been granted the indispensable external assistance to which it should be entitled by its exceptional energy and vitality.” [Auction catalogue, 2003]

The transcription of this conference is available on “Mécanique universelle”

Bibliography

- André Breton, « Le Surréalisme », Conjonction, Port-au-Prince, 1er janvier 1946, n°1, p. 68.
- André Breton, (Édition de Marguerite Bonnet avec la collaboration de Philippe Bernier, Marie-Claire Dumas, Étienne-Alain Hubert et José Pierre), « Le Surréalisme », [Alentours I], Œuvres complètes, tome III, Bibliothèque de la Pléiade, Paris, Gallimard, 1999, pages 150 à 167, et les Notes, p.1216-1219. Voir aussi, dans le même volume, « [Conférences d'Haïti, I] », [Inédits I], p. 212.

Creation date20 décembre 1945
Bibliographical material14 pages in-4°
Date of publication 1945
LanguagesFrench
Physical description

Ms - encre bleue et couleurs

Place of origin
Breton Auction, 2003Lot 2263
Keywords, , , ,
CategoriesAndre Breton's Manuscripts
Set[AB's Manuscripts] Haïti
ExhibitionSérie de conférences en Haïti
Permanent linkhttps://www.andrebreton.fr/work/56600100266510
relwmap_works_label (1)

Description

Third lecture in a series of eight that André Breton gave in Haiti in December 1945-1946. This one was given on January 22nd 1946.

Having arrived in Port-au-Prince with Elisa on December 4th, 1945, Breton gave a series of talks starting on the 20th; he had planned eleven, but ultimately gave eight. [Atelier André Breton website, 2005; André Breton website, 2014]

Lectures (Haiti, Martinique) 1945-1946.
Manuscript, 22 January 1946.

The first draft of a manuscript written in ink with André Breton’s markings and corrections (13 folio pages). From the third lecture Breton that gave in Haiti on master painters: Delacroix, Cézanne, Van Gogh, Gauguin, Seurat, and Le douanier Rousseau.

“Van Gogh presents to you here one of the great masterpieces, “The Starry Night,” which possesses a truly mystical fever. One could say that he is the convulsive painter of the tree, of the twisting path, of the little dry-stone wall which embraces a field in Provence. All that his brush touches, all that is born of such skill, hatching like sparks from serpentine flames, acquires an extraordinary animistic quality.

“These elements of great humor, and the magic of a certain light drives the unusual distribution of organic elements, which take on even more importance in the “parade” of 1886. From a vulgar spectacle enters everything, a circus display succeeds in extracting a bit of sacred illumination which redirects it towards the eternal. Your attention will concentrate on the central musician whose silhouette is that of a magician, presiding as if an angel, even at night.

“The only trait that Henri Rousseau presents in common with Seurat is the boundless love of independence. But would it not be precisely this love that conveys a message of his exceptional sense of duration and influence? I've told you, speculations of the intellect which command Seurat’s technical knowledge remains foreign to Rousseau. Frankly, Rousseau is uncultivated in the science of drawing, with the very basics taught in primary schools having been denied to him. He is a man of the people, extremely simple, whose approach in painting as well as in life always demonstrates good faith— the cynics will say a candor in the face of all hardship."

This magnificent text of Breton’s is made from fragments of texts assembled and pasted together. [Auction catalogue, 2003].

Bibliography

- André Breton, (Édition de Marguerite Bonnet avec la collaboration de Philippe Bernier, Marie-Claire Dumas, Étienne-Alain Hubert et José Pierre), Inédits I, Œuvres complètes, tome III, Bibliothèque de la Pléiade, Paris, Gallimard, 1999, p. 233-251.

Creation date22 janv.-46
Bibliographical material

13 pages grand in-4° and 1 page in-8°

Date of publication 1946
LanguagesFrench
Physical descriptionMs - encre bleue crayon rouge et noir
Place of origin
Breton Auction, 2003Lot 2263
Keywords, , ,
CategoriesAndre Breton's Manuscripts
Set[AB's Manuscripts] Haïti
ExhibitionSérie de conférences en Haïti
Permanent linkhttps://www.andrebreton.fr/work/56600100030730
relwmap_works_label (1)

Description

Texte manuscrit de la quatrième conférence, prononcée le vendredi 25 janvier 1946 et qui sera reprise dans les Inédits I du troisième volume de la Pléiade en 1992.

After his arrival at Port-au-Prince with Elisa on December 4th, 1945, Breton gave a series of conferences starting from the 20th. We have here the text from the fourth lecture, given around January 25th, 1946, which will be included in the Inédits I (Unpublished Texts I) of the third volume of the Pléiade. Beginning with his thoughts on liberty and commenting on Helvétius, Breton undertakes an intellectual path that is quite political, particularly in regards to the utopists of the first part of the nineteenth century: Saint-Simon, Father (Barthélemy Prosper) Enfantin, and his great teacher, Charles Fourier, who Breton had only just discovered two or three years earlier, and to whom he began the year before to consecrate the famous “Ode,” and who constantly occupied his thoughts during the following decade.

Lectures (Haiti, Martinique) 1945-1946.
Fourth Lecture, Manuscript, January 25th, 1946.

- 15 pages folio in-4°, first draft manuscript in ink with numerous deletions and corrections made by André Breton. The lecture discussed: liberty, Saint-Simon and Charles Fourier.

"We cannot be surprised in these conditions that men from all of France, have incarnated the ideal of liberty and have been martyrs during the French Revolution, have never been asked to speak of liberty. It is like a thing on which all honest people agree, and about which we have avoided disagreements when we want at all costs, to define it.

"Henri de Saint-Simon was mayor of Paris in 1760 (he is therefore of the same generation as Lafayette and Danton) and belonged to the elite French aristocracy and attributed himself with titles of nobility as he pretended to be a descendent of Charlemagne, which did not keep him from renouncing, most willingly, his own titles under the revolution in order to become Simon, the citizen. I'm telling you this from the beginning so that you can quickly understand the depth of his character - all while being of aristocratic origins, Saint Simon never let his love for the people be compromised.

"The passions, according to Fourier are universally good; asceticism deceives itself in denying them, and it is upon the passions that our future society should be built. It is precisely the restraint -- today we would say the repression of passion-- that holds vice. This vice will disappear in a good social organization where the passions will no longer be driven away, but encouraged, and where it will be necessary to surveil their judicious use." [Auction catalogue, 2003]

 

Bibliography

- André Breton (Édition de Marguerite Bonnet avec la collaboration de Philippe Bernier, Marie-Claire Dumas, Étienne-Alain Hubert et José Pierre), Inédits I, Œuvres complètes, tome III, Bibliothèque de la Pléiade, Paris, Gallimard, 1999, p. 252-274.

Creation datesd [1946]
Bibliographical material15 pages in-4°
Date of publication 1946
LanguagesFrench
Physical descriptionMs et imp [article] - encre bleue et crayon
Place of origin
Breton Auction, 2003Lot 2263
Keywords, , , , ,
CategoriesAndre Breton's Manuscripts
Set[AB's Manuscripts] Haïti
ExhibitionSérie de conférences en Haïti
Permanent linkhttps://www.andrebreton.fr/work/56600100361470
relwmap_works_label (1)

Description

Manuscript of the Fifth Lecture by André Breton in Haiti, this time regarding modern art, held on January 29, 1946. This text, which deals with collages, Cubism, and Surrealism, will be published in the Inédits I (Unpublished Texts I) of the Pléiade in 1992.

The fifth Breton conference in Haiti, likely held on January 29, 1946, dealt with modern art, as sort of a follow-up to the third conference devoted to the birth of this art, of Romanticism in Seurat and Le Douanier Rousseau. Breton turns now to movements of which he is a contemporary, with men that he himself associated: such as Matisse, Cubism, Picasso; but he also takes the opportunity to evoke primitive objects, in a very precise commentary that deserves recognition. The text that we have a draft of here appears in the third volume of the Pléiade, in the section Unpublished Texts I. [Atelier André Breton Website, 2005]

Lectures (Haiti, Martinique) 1945-1946. Fifth Lecture, original manuscript, January 29, 1946 —12 pages in-4° First draft manuscript with many deletions and corrections from this 5th conference held in Haiti on contemporary painting.

“France has garnered worldwide renown, an unmatched prestige which unfortunately is seen so little (I think of the incredibly hesitant and tardy nature of acquisitions made in France by the state, the inability it has shown to exempt the masterpieces of artists such as Seurat from international trade, which only one painting is, due to the generosity of an American collector) in the darkest days of this last war, I can testify in full conscience and objectivity that it is the painting of Paris, especially the modern painting of the Paris School which, in the United States, was the great ambassador of French thought. I say that this painting, especially that which spans from Cézanne to the Surrealists in the worst moments of depression caused by the uncertain fate of war and all sorts of threats that enemy occupation posed to France, I say that this painting continued to attract thousands of views daily that, if not from connoisseurs and devotees, were at least from people willing to know and love it. […]"

Henri Kahnweiler, who was the dealer of Cubist painters between 1910 and 1914, that is to say when they were most discussed, what am I saying, the most scorned, and when they had only one or two critics—but these critics or one of these two critics is a genius poet, Guillaume Apollinaire—M. Henri Kahnweiler provides in Art Notebooks from 1940-1944 a very precious eyewitness testimony on this question of collected papers and the role they have in Cubism. Although probably to spare that ego, he refrains from identifying the inventor of the method, I believe that without great risk of error we can attribute the responsibility not to Picasso but to Georges Braque. This problem of focusing on such a subject also loses much of its significance from the time where it is known that Picasso and Braque, from 1910-1913, work hand in hand and share in every respect the stubborn desire to achieve an impersonal execution, the conviction that the ‘hand’ of the painter’s ‘personal writing’ should not be discerned in the work.” [Auction catalogue, 2003]

 

Bibliography

- André Breton, (Édition de Marguerite Bonnet avec la collaboration de Philippe Bernier, Marie-Claire Dumas, Étienne-Alain Hubert et José Pierre), Inédits I, Œuvres complètes, tome III, Bibliothèque de la Pléiade, Paris, Gallimard, 1999, p. 274-295.

Creation date29 janv.-46
Bibliographical material12 pages in-4°
Date of publication 1946
LanguagesFrench
Physical descriptionMs - encre bleue et crayon
Place of origin
Breton Auction, 2003Lot 2263
Keywords, , , , , ,
CategoriesAndre Breton's Manuscripts
Set[AB's Manuscripts] Haïti
ExhibitionSérie de conférences en Haïti
Permanent linkhttps://www.andrebreton.fr/work/56600100648690
relwmap_works_label (1)

Description

Manuscript of the sixth lecture given by Breton at Port-au-Prince (Haiti) on February 5th, 1946, and which would be published in 1992 by Gallimard [Publishing] House.

A little shorter than its predecessors, this is the sixth of a series of eight lectures published by Breton at Port-au-Prince (Haiti) in December 1945 and January-February 1946. Devoted to the origins of modern poetry, from Nerval to Baudelaire, the text is a audacious piece of writing (evoking the “gravestone chill” of such poems as those of Vigny...). We see Breton the pedagogue, being careful to share his knowledge, which is also a sensibility [taste]; he does so in order to share his love of minor authors like Petrus Borel, or overlooked authors like Aloysius Bertrand. Such is recounted in the third volume of the Pléiade, in the section Inédits I (Unpublished Works I). [Atelier Andre Breton website, 2005]

Lectures (Haiti, Martinique) 1945-1946
Sixth lecture, original manuscript, February 5th, 1946.

-9 pages, folio in-4°, original manuscript of the first draft with words crossed out and corrections by Breton’s pen of this 6th lecture, regarding poetry.

“No one will contradict, for example, that for the European the foundation of this treasure is represented by the Iliad and the Bible. It is clear that even he who would not have directly been in contact with these two monuments of human thought, or from which, for deliberate reasons, would disagree with them in the greatest deference, wouldn’t be any less in their unknown and whatever their existence, largely dependent upon the manner of conceptualization and response. It is this strong lineage, these ties, which, one has to admit, are proving to be nowadays still unbroken [...]

This is thus what I consider the works for which I have chosen to make the object of this talk. Certain texts have been systematically seen by the opposite end of the spyglass, this is the case, we have said, of that of Victor Hugo, of others who pull great consequence in the social sphere, with those like Charles Fourier, who have long been the prey of irony, others during the lifetime of their authors have passed almost unnoticed like that of Aloysius Bertrand, others have been dismissed as insane like that of Nerval or of Lautréamont, and others finally have been deemed an opprobrium, like that of Borel, Baudelaire, or Rimbaud.”

This manuscript includes some clippings of which a few are printed matter. [Auction catalogue, 2003]

 

Bibliography

- André Breton, (Édition de Marguerite Bonnet avec la collaboration de Philippe Bernier, Marie-Claire Dumas, Étienne-Alain Hubert et José Pierre), Inédits I, Œuvres complètes, tome III, Bibliothèque de la Pléiade, Paris, Gallimard, 1999, p. 295-311.

Creation date5 fév.-46
Bibliographical material9 pages in-4°
Date of publication 1946
LanguagesFrench
Physical descriptionMs - encre bleue
Place of origin
Breton Auction, 2003Lot 2263
Keywords, , , , , , ,
CategoriesAndre Breton's Manuscripts
Set[AB's Manuscripts] Haïti
ExhibitionSérie de conférences en Haïti
Permanent linkhttps://www.andrebreton.fr/work/56600100339380
relwmap_works_label (1)

Description

Manuscript of the seventh lecture of Breton in Port-au-Prince, given on February 8th, 1946. It will be published in the Pléiade library in 1992.

The seventh lecture of Breton in Port-au-Prince, was given towards the beginning of February 1946, in a rather troubled context; the events occurred in a rushed manner (a political agitation which brought about the departure of the president, and in which, even if it has been exaggerated, the Breton lectures apparently had their impact: see the notes of volume III in the Pléiade on Breton’s lecture at the Savory Club, in Alentours I). Breton speaks of Rimbaud and Mallarmé, which isn’t without interest for us, because his work rarely refers to the second, often masked by Valéry. The text of this lecture has been published in the Inedits I (Unpublished Texts I) of the third volume of the Pléiade.

Lectures (Haiti, Martinique) 1945-1946.
Seventh lecture, autograph manuscript, February 8th, 1946.

- 6 pages, large folio in-4°, autograph manuscript, written by Breton, including corrections of this seventh lecture relating to the poetic work of Stéphane Mallarmé and Rimbaud.

"For Mallarmé, in the sonorous envelope of a word, there exists a "real essence": close to the primary organism of life, says Mallarmé, the word presents in its vowels and diphthongs, a kind of flesh, but the spirit that animates it participates more in a fallen world that delivers our senses from an ideal mode, than the lost beauty of our dream "pressing against a past heaven." It is not an exaggeration to say that Mallarmé, searches here, to convey prerogatives of the divine verb.

“That is, gentlemen, narrated in terms as concisely as possible, the unique life Rimbaud. Let’s not forget that the poet’s work – consisting of the poems in Illuminations and in Saison en enfer – ends in 1873, i.e. when Rimbaud was 19 years old, and that during the 18 years of the second part of his life he showed not the least willingness to return to his poetical activity, and moreover behaved in all as if it never had existed, dismissing it with a foul and irrevocable epithet whenever someone alluded to it in his presence. One has naturally gone on and on arguing and still can argue about so definite a meaning of such a contemptuous renouncement. Among the assumptions advanced, none of which can pretend to be restrictive of the others, the one that stands out most for me - maybe because it is simply the most human - is the one confidentially given by the two young authors [of a show], played in Paris in the wake of the War entitled "Rimbaud, the lost child". [According to them, the desire of Rimbaud to express himself couldn’t survive the pistol shot in Brussels and the ensuing police interrogation. It had been for him a profanation of the poetic origin itself.” [Auction catalogue, 2003]

 

Bibliography

- André Breton, (Édition de Marguerite Bonnet avec la collaboration de Philippe Bernier, Marie-Claire Dumas, Étienne-Alain Hubert et José Pierre), Inédits I, Œuvres complètes, tome III, Bibliothèque de la Pléiade, Paris, Gallimard, 1999, p. 312-322.

Creation date8 fév.-46
Bibliographical material6 pages foliotées grand in-4°
Date of publication 1946
LanguagesFrench
Physical descriptionMs - encre bleue et crayon
Place of origin
Breton Auction, 2003Lot 2263
Keywords, , , ,
CategoriesAndre Breton's Manuscripts
Set[AB's Manuscripts] Haïti
ExhibitionSérie de conférences en Haïti
Permanent linkhttps://www.andrebreton.fr/work/56600100657520
relwmap_works_label (1)

Description

Manuscript of the eighth Breton lecture delivered on February 12th, 1946. Through topics such as Dada, Tanguy, Dalí, Ernst and Futurism, André Breton "returns to the antinomy of necessity and freedom" (Inédits I [Unpublished Texts] I, t. III, 1992, p. 1243).

The eighth lecture of Breton bears the trace of haste; the events shaking up the program (Pierre Mabille himself will have to leave the island in March), the poet declares from the outset that he will give several lectures in one; eleven were planned in all. The lecture focuses on the idea of freedom and on the conflicting and problematic relations of art with convention, through a quick presentation on Dada, and the work of some surrealist painters (Tanguy, Dalí, Max Ernst) and finally Futurism. The text was published in Inédits I (Unpublished Texts I) of the third volume of the Pléiade. [Atelier André Breton website, 2005].

Lectures (Haiti, Martinique) 1945-1946.
Eighth lecture, autograph manuscript, February 12th, 1946.

- 12 pages grand in-4° Autograph manuscript in ink with numerous erasures and corrections by Breton of this eighth lecture given in Haiti on the avant-garde movement.

“The Eskimos of which I showed to you last week, who make poetically interesting masks, seem very wise to me when, gathered on the occasion of a celebration, they organize a sort of competition between the ceremony masks newly designed based on their favorite which is the one that makes them laugh the most. It is indeed a distortion of the “civilized” mind to think that to laugh in front of a piece of art is necessarily disparaging. On the contrary, the modern mind laughs in front of a piece of art in order to show its provocative nature, and that this provocative nature stands in turn for the originality of this piece of art characterized externally by its uniqueness”. [...]

“Because of the new conditions in Europe created by the war, disrespect has increased tremendously, a negation of the generally admitted values strives to become total, strikingly, both among the "victors" and among the "vanquished." The intellectual despair is the same, and only what I call "black humor” helps to overcome it: in New York Duchamp signed a reproduction of The Mona Lisa adorned with a lovely moustache; in Cologne, visitors to the Max Ernst’s exhibition must enter and exit through public urinals; in Paris, Picabia conceived of a picture made of an empty frame nailed to the floor with strings tightened across it and with a living monkey chained to it, in Hanover, Schwitters is using a technique of collage, simple assemblage, to engage in erecting an indefinite and unachievable monument adding day-to-day all kinds of materials unsuitable for use including household waste. [...]

“I agree, naturally, that "The Bride Stripped Bare" is at first glance a hermetic work. Because of the lack of time I can only advise those interested to refer to the paper I wrote about it in my book "Surrealism and painting". "The Bride Stripped Bare" is the greatest work of imagination of the 20th century on a purely artistic field. And presently it is also the one which displays the greatest power of repercussion."

This signed autograph manuscript includes also a number of texts assembled and glued together by Breton. [Auction catalogue, 2003]

 

Bibliography

- André Breton (Édition de Marguerite Bonnet avec la collaboration de Philippe Bernier, Marie-Claire Dumas, Étienne-Alain Hubert et José Pierre), Inédits I, Œuvres complètes, tome III, Bibliothèque de la Pléiade, Paris, Gallimard, 1999, p. 322-342.

Creation date12 fév.-46
Bibliographical material12 pages grand in-4°
Date of publication 1946
LanguagesFrench
Physical descriptionMs et Ts - encre bleue et crayon
Place of origin
Breton Auction, 2003Lot 2263
Keywords, , , , ,
CategoriesAndre Breton's Manuscripts
Set[AB's Manuscripts] Haïti
ExhibitionSérie de conférences en Haïti
Permanent linkhttps://www.andrebreton.fr/work/56600100102330
relwmap_works_label (1)

Description

Correspondance et archives de la revue La Révolution Surréaliste, année 1926.

La correspondance et les archives d'une revue comme La Révolution surréaliste, ce sont aussi des abonnements — de Suisse, de Pologne, du Brésil, et d'ailleurs — et des documents administratifs. On trouvera ici factures d'imprimeur (où l'on peut vérifier que la revue est tirée à 2 000 exemplaires), des accords publicitaires, et l'amateur pourra repérer que les noms de certains abonnés sont aussi des connaissances — ainsi Nancy Cunard, une amie proche d'Aragon en cette année 1926. [site Atelier André Breton, 2005]

Creation date1926
Date of publication 1926
LanguagesFrench
Reference1392000
Keywords, , , , ,
CategoriesArchives, Letters to André Breton
Set[Journal] La Révolution surréaliste
Permanent linkhttps://www.andrebreton.fr/work/56600100102090
2 Comments
 

Cette base est tellement prodigieuse qu'on n'ose pas faire de commentaire ! Juste une petite remarque sur les noms dont la liste apparaît sur la page des Correspndances : je lis "Drieu Jéramer", mais cela doit être, me semble-t-il, Drieu Jéramec (Colette Jéramec étant alors l'épouse de Drieu).Si vous avez l'occasion de corriger un jour... Bien cordialement.

Françoise Levaillant

03/08/2011

Chère Françoise Levaillant, merci de votre remarque. Je corrige illico. A bientôt.

Webmaster

28/08/2011

L'action se passe dans le jardin de l'hôtel...

Manuscript

Author

Author Pierre Naville
Person cited Général Gouraud
Other André Breton

Description

Manuscrit autographe d'André Breton recopiant un rêve de Pierre Naville et daté du 21 janvier 1927.

Le récit de rêve est l'un des genres les plus pratiqués par les surréalistes dans la deuxième partie des années 1920. C'est ici Pierre Naville qui s'y adonne. Pierre Naville n'est pas le plus productif du groupe mais il atteste la pertinence d'une formule littéraire dont Breton souligne le caractère accessible : Récits de rêve et textes automatiques. [site Atelier André Breton, 2005]

Manuscrit autographe, 21 janvier 1927.
- 1 page 1/2 in-4°, manuscrit autographe signé de André Breton recopiant un rêve de Pierre Naville
« L'action se passe dans le jardin de l'hôtel rue de Grenelle. Placé derrière une fenêtre quelconque, j'aperçois dans ce jardin trois généraux parmi lesquels se distingue le général Gouraud. Les regardant avec beaucoup d'attention je me trouve maintenant dans une pièce de la maison en contrebas qui ne comporte comme ouverture qu'un soupirail grillagé, au ras du sol. Je prends un browning et je tire à travers ce soupirail sur le général Gouraud, que je tue net. »
Publié dans le n° 9/10 de La Révolution Surréaliste.
(Marges effrangées)

Bibliography

- Pierre Naville, « Rêves », La Révolution surréaliste, n° 9-10, 1er octobre 1927, p. 8.

Creation date21-janv.-27
Bibliographical material1 page 1/2 in-4°
Date of publication 1927
LanguagesFrench
Physical descriptionMs - encre
Original publication date1927
Breton Auction, 2003Lot 2134
Keywords, ,
CategoriesSurrealists Manuscripts
Set[Journal] La Révolution surréaliste
Permanent linkhttps://www.andrebreton.fr/work/56600100949200

Description

Manuscrit autographe de Maxime Alexandre publié dans Le Surréalisme au service de la révolution, n°2.

Le Surréalisme au service de la révolution, ou « Le Surréalisme ASDLR » comme le disait le titre, consacre une bonne part de ses colonnes à la politique ; Maxime Alexandre et Thirion ne comptent pas par hasard parmi ses collaborateurs, et le premier notamment est très actif, comme on le voit dans ce dossier daté de 1931 et consacré au troisième numéro de la revue. Bakounine et le dissensions entre communistes et anarchistes sont au programme avec des articles longs et denses, tandis qu'Emmanuel Berl et le journal Monde de Barbusse sont pris à partie. [site Atelier André Breton, 2005]

Manuscrit autographe signé, sd [octobre 1930].
- 3 pages 1/2 in-12, manuscrit autographe à l'encre titré et signé par Maxime Alexandre.
Publié dans le n° 2 du Surréalisme au Service de la Révolution. [catalogue de la vente, 2003]

La revue ne gardera pas le pluriel et publiera le texte de Maxime Alexandre sous le titre « Actualité criante ». [site André Breton, 2013]

Bibliography

- Maxime Alexandre, « Actualité criante », Le Surréalisme au service de la révolution, n°2, p. 14-15.

Creation date1930
Bibliographical material3 pages 1/2 in-12
Date of publication 1930
LanguagesFrench
Physical descriptionMs - encre noire
Breton Auction, 2003Lot 2147
Keywords, , , ,
CategoriesSurrealists Manuscripts
Set[Journal] Le Surréalisme au service de la Révolution
Permanent linkhttps://www.andrebreton.fr/work/56600100827090

L'Afrique centrale est, en dépit de la croyance vulgaire, un petit animal à queue recourbée...

Manuscript

Author

Author Max Morise

Description

S'ils n’ont pas été publiés par La Révolution surréaliste à laquelle ils étaient pourtant destinés, ces textes de Max Morise (l’un en double exemplaire, car c’était le temps des copies carbones) n’en sont pourtant pas moins d’une vraie qualité littéraire, reprenant des motifs (la prédiction, à la fin de « L’Afrique centrale... ») et surtout des techniques surréalistes (l’écriture automatique, ici) pour les nouer à un goût marqué pour l’exotisme - celui des bêtes, celui des mots, la figure de l’onagre étant emblématique.

Creation datesd
Bibliographical materialVente Breton 2003, lot introuvable.
LanguagesFrench
Physical descriptionTs - noir sur pelure
Reference388000
Keywords,
CategoriesSurrealists Manuscripts
Set[Journal] La Révolution surréaliste
Permanent linkhttps://www.andrebreton.fr/work/56600100389350

L'Âge de la rêverie

Lettre d'août 1951

Manuscript

Author

Authors Salman Locker, dit Ghérasim Luca, Dolfi Trost
Letter to André Breton
People cited Mirabelle Dors, Salman Locker, dit Ghérasim Luca, Dolfi Trost

Description

Manuscrit de Dolfi Trost adressé par voie postale à André Breton en mars 1951.

C'est un dossier tout aussi embrouillé que l'histoire qui le sous-tend : la section roumaine du surréalisme, au début des années 1950, s'est transplantée en Israël, où l'on continue de discuter ferme et de participer de près aux activités du groupe. En avril 1951, Trost et Luca sont encore amis, et font parvenir une lettre commune à Breton ; cette lettre est accompagnée d'un texte signé Paul Paün, envoyé de Bucarest et intitulé « Le 18 mars 1951 ». A la fin de l'année, Trost et Luca se sont séparés, et il semble même que des coups aient été échangés. Le motif même de la dispute reste difficile à déterminer, mais tourne sans doute autour des positions politiques révolutionnaires du groupe, de plus en plus difficiles à tenir. C'est ce qu'exprime Trost dans un texte daté du mois d'août, intitulé « L'âge de la rêverie », où il prend acte des difficultés du mouvement à fonder un discours politique - de fait, de plus en plus, ce n'est pas le groupe mais Breton seul, en tant qu'« intellectuel » et que personnalité, qui s'engagera. Le dossier s'achève sur une longue lettre de Gherasim Luca, le poète délaissant la politique pour se livrer au commentaire d'un de ses tableaux. [site Atelier André Breton, 2005]

Lettre autographe signée à André Breton, Jaffa, 12 décembre 1951.
2 pages in-8°, lettre de Ghérasim Luca relative aux travaux de Paul Paün et de Luca (enveloppe conservée).

Lettre autographe signée à André Breton, Paris. 15 août 1952
2 pages in-16 sur papier cartonné imprimé, lettre de Gherasim Luca dans une très belle calligraphie, illustrée par un petit dessin original, lettre relative aux ennuis d'André Breton «avec un mammouth parlementaire» (enveloppe conservée).

Tract tapuscrit titré «Adhésion à distance» portant les signatures autographes de Luca, signant également pour Yvenez (Paul Paün) et Trost (enveloppe conservée).

- Manuscrit autographe signé, Jaffa, juillet 1951
- 76 pages in-12, manuscrit autographe signé de Trost en français relatif à l'activité surréaliste et révolutionnaire en Roumanie :
« Au point où nous en sommes il est évident qu'une nouvelle mise en question des moyens et des fins dans notre action est devenue nécessaire. »
- 2 pages in-12, lettre autographe signée de Trost à André Breton, Tel Aviv, août 1951, dans laquelle il lui fait part de l'envoi de ce manuscrit cité précédemment.(L'ensemble sous chemise cartonnée.) [catalogue de la vente, 2003]

Creation date1951 - 1952
LanguagesFrench
Physical description

Ms - encres diverses sur papiers divers

Reference1483000
Breton Auction, 2003Lot 2339
Keywords, , , ,
Permanent linkhttps://www.andrebreton.fr/work/56600100453810

See also

1 Work
 
False

18 mars 1951

-
Salman Locker, dit Ghérasim Luca, Paul Päun

Manuscrit de Paul Paün qui fait pendant à celui de Dolfi Trost écrit le même jour, le 18 mars 1951. Le manuscrit a été envoyé avec une lettre de Ghérasim Luca encartée dans l'exemplaire.
Six images, une notice descriptive.

[L'âge était le plus dur et le plus terne...]

Manuscript

Author

Author Valentine Penrose

Description

Manuscript of a poem by Valentine Penrose published in the VVV journal and dated from November 1941.

« No » is written in the margin of the first of these two poems addressed to the VVV journal, and sent from London by Valentine Penrose in September 1943. The texts, which exhibit such a simple composition that they verge on songs, refer to Père Ubu; the very real figures of Franco and other European despots also appear. They are war poems, exalting struggle in a lyricism that could be rightly qualified as timely; probably not the lyricism Breton dreamt of, dedicated as he was to giving VVVa less strictly propagandist dimension – even if it was for a good cause. [André Breton website, 2005]

Handwritten manuscript in a black folder with the VVV acronym in a collage form, November 1941.
- 2 pages in-4°, handwritten poem dated from 1941 signed Valentine Penrose by André Breton.
« Nous mourrons depuis si peu déjà noirs teints comme des bouquets, bien malgré nous au pied des arbres. » [auction catalogue, 2003]

Creation dateNov-1941
Bibliographical material2 pages in-4°
Date of publication 1941
LanguagesFrench
Physical descriptionMs - encre noire
Breton Auction, 2003Lot 2240
Keywords, ,
CategoriesSurrealists Manuscripts
Set[Journal] VVV
Permanent linkhttps://www.andrebreton.fr/work/56600100556081

See also

1 Work
 
False

Le dimanche la radio annonce toujours de bonnes nouvelles

-
Édouard-Léon-Théodore Mesens

-
Manuscrit d'un poème d'E.L.T. Mesens édité dans la revue VVV et daté septembre 1943.
Deux images, une notice descriptive, une collection.

[Journal] VVV

Ah ! fini de courir et des chiens hors d'haleine...

Manuscript

Author

Author André Breton

Description

Poème autographe d'André Breton composé entre 1920 et 1923.

Manuscrit autographe, sd [1920 - 1923].
- « Ah ! fini de courir et les chiens hors d'haleine »..., 1 page in-4°, poème autographe inédit de 5 quatrains :
« Des chiens qu'on siffle sur des pattes d'araignée
» Près des étangs parmi des cerfs toujours sans pleurs
» À l'heure où les bijoux dans la main des voleurs
» Saignent, où le bras nu prend l'astre pour cognée. » [catalogue de la vente, 2003]

Bibliography

- André Breton, Poèmes, Inédits II, ŒŒuvres complètes, Bibliothèque de la Pléiade, Tome I, Paris, Gallimard, page 603

Creation datesd [1925 - 1929] d'après le catalogue de la vente
sd [1920 - 1923] d'après Marguerite Bonnet (Pléiade I, 1988)
LanguagesFrench
Physical descriptionMs - encre
1 page in-4°
Library

Bibliothèque littéraire Jacques Doucet, Paris : BRT 42

Breton Auction, 2003Lot 2086
Keywords,
CategoriesBibliothèque littéraire Jacques-Doucet, Libraries, Manuscripts, Andre Breton's Manuscripts
Set[AB's Manuscripts] Miscellaneous Manuscripts
Permanent linkhttps://www.andrebreton.fr/work/56600100065700

Ajours (Apertures)

Archives

Author

Author André Breton
Notice rédigée par Pierre-Yves Agasse, Claude Oterelo, Jean-Michel Goutier

Description

Corrected proofs of Ajours (Apertures) dated May 1st-3rd, 1947 for Sagittarius publishing house, accompanied by a handwritten note from André Breton dated June 1st, 1947.

These corrected proofs of Ajours (Apertures) are of course those of Arcane 17 for the 1947 French edition put forth by Sagittarius publishing house: they cannot be found in the first edition published in New York, 1944, even though they are of inestimable value to the final edition. With this added text, Breton takes the opportunity to clarify some of his positions in the intellectually confused – to say the least – post-war context, while exploring themes such as the magical encounter. [Atelier André Breton website, 2005]

Corrected proofs and autograph manuscript, May-June, 1947.
- Corrected proofs of Arcane 17 enté d'ajours, (Arcane 17 with Apertures grafted to the end) 47 pages folio in-12°, corrected and signed by André Breton, with erasures and handwritten corrections by Breton, dated May 1st-3rd, 1947.

- André Breton's manuscript written in ink dated June 1st, 1947, 1 page folio in-4°, attached to the proofs and meant for typesetting.

“Since these lines have been written, i.e. within the space of a few days, a major step has been made thanks to the publication of a key work titled La Symbolique de Rimbaud which will mark time. This work definitively establishes that the influence of Eliphas Levi, of which M. Viatte demonstrated the mighty power on the evolution of Hugo, did not have such a preponderant influence on Rimbaud.” [Auction catalogue, 2003] These are indeed the Ajours (Apertures) grafted to the 1947 edition of Arcane 17 put forth by Sagittarius publishing house. [André Breton site, 2014]

Bibliography

André Breton, ill. de Baskine, Ajours in Arcane 17 enté d'Ajours, Paris, Le Sagittaire, 1947.

André Breton, (Édition de Marguerite Bonnet avec la collaboration de Philippe Bernier, Marie-Claire Dumas, Étienne-Alain Hubert et José Pierre), Arcane 17 enté d'Ajours, ŒŒuvres complètes, tome III, Bibliothèque de la Pléiade, Paris, Gallimard, 1999, pages 97 à 113, note manuscrite rep. p. 112-113.

Creation datemai 1947
Bibliographical material47 pages in-12
Date of publication 1947
LanguagesFrench
Library

Bibliothèque littéraire Jacques Doucet, Paris : BRT 102

Breton Auction, 2003Lot 2278
Keywords, , , , ,
CategoriesBibliothèque littéraire Jacques-Doucet, Libraries, Andre Breton's Manuscripts
Set[AB's Manuscripts] L'Amour fou, Arcane 17, Les Vases communicants,
Permanent linkhttps://www.andrebreton.fr/work/56600100676090

Description

Manuscript of two texts published as a brief in the review Medium, November 1953.

Medium, new series: from the bulletin of "surrealist information," to a real "magazine,” in the autumn of 1953 to which André Breton continues to contribute. Dionys Mascolo, author of a book on communism that harshly analyzes the position of the surrealists within the social revolution, is reported on without hostile criticism, while the author Henri-Pierre Roché is excessively disparaged for not giving a better account of Duchamp's work. The first article will appear in Perspective cavalière (The Cavalier’s Perspective) under the title « À la bonne heure »

("At the right time"), the second only appears in the first issue of the journal before being included in Volume III of the Pléiade. [Atelier André Breton website, 2005]

Autograph manuscript, nd [1953]
- 1/2 page, folio in 4 ° of two texts, handwritten in black ink by Breton, with markings and corrections on the back of a letterhead of Medium.

Text 1. "To echo Dionysus Mascolo - we will return to his important work, Communism (Gallimard) - Surrealism is now behind the world after being a long time ahead of it."

Text 2. "Our friend Henri-Pierre Roché is preparing to publish a pocket book of his memories of Marcel Duchamp ..." This last text appeared under the title "By infra thin" in the issue of Medium no. 1, November 1953. [Auction catalog, 2003]

The text "At the right time" printed in Medium ends with another sentence of Dyonis Mascolo: "There is no intellectual communist possible, there is no non-communist intellectual possible; each one trying to get out of this contradiction by his own means." Breton adds: "This is our greatest concern." Note that the Pléiade cuts one sentence from Mascolo's text." [Jacqueline Chénieux-Gendron, 2016]

Bibliography

Texte 1.
- André Breton, « À la bonne heure », Médium, communication surréaliste, n°1, novembre 1953, p. 2
- André Breton (Édition publiée sous la direction d'Étienne-Alain Hubert avec la collaboration de Philippe Bernier et Marie-Claire Dumas), « À la bonne heure », Perspective cavalière, Œuvres complètes, tome IV, Écrits sur l'art et autres textes, Bibliothèque de la Pléiade, Paris, Gallimard, 2008, p. 864-865, notice p. 1398

Texte 2.
- André Breton, « Par infra-mince », Médium, communication surréaliste, n°1, novembre 1953, p. 15
- André Breton (Édition de Marguerite Bonnet avec la collaboration de Philippe Bernier, Marie-Claire Dumas, Étienne-Alain Hubert et José Pierre), « Notes publiées dans Médium (revue) », Alentours II, Œuvres complètes, tome III, Bibliothèque de la Pléiade, Paris, Gallimard, 1999, p. 1103, notice p. 1467

Lire la revue en PDF

Creation date1953
Bibliographical material

1/2 page in-4°

Date of publication 01/11/1953
LanguagesFrench
Physical descriptionMs - encre noire
Reference551000
Breton Auction, 2003Lot 2363
Keywords,
CategoriesManuscripts, Andre Breton's Manuscripts
Set[Manuscrits d'AB] Perspective cavalière, [Journal] Médium
Permanent linkhttps://www.andrebreton.fr/work/56600100217400

Description

En rendant hommage au graveur Albagnac, raccordé ici à ses « grands devanciers » parmi lesquels Gustave Moreau, Breton adresse ici un salut de reconnaissance à un art, plus encore peut-être qu'à un seul artiste. La gravure - pointe sèche et eau-forte, ici - insuffisamment goûtée du grand public se voit gratifiée d'images à la fois précises et évocatrices, sur le thème de l’aiguille et du fil.


Manuscrit autographe signé, Paris, 7 décembre 1961
1 page in-12° manuscrite, titrée, datée et signée à l'encre par Breton, avec ratures et corrections, d'un texte relatif au graveur Albagnac:
«Pour Albagnac comme pour la plupart de ses grands devanciers, le propulseur duquel est attendu l'essor n'est autre que l'immémorial et à jamais tout puissant symbolisme sexuel dont nous savons depuis Freud qu'il régit les mythes, les légendes et déchaîne la vie imaginative du dormeur comme de l'homme éveillé... Par la grâce d'Albagnac, les changeants ramages de l'amour et les retombées de pollen se lovent dans les fumées de Saint-Étienne.»
Préface pour un catalogue d'Albagnac.

Creation date07-déc.-61
Bibliographical materialVente Breton 2003, lot 2499. Manuscrit autographe signé, Paris, 7 décembre 1961.
LanguagesFrench
Physical descriptionMs - encre bleue
Reference650000
Keywords, ,
CategoriesAndre Breton's Manuscripts
Set[AB's Manuscripts] Manuscripts 1958-1966
Permanent linkhttps://www.andrebreton.fr/work/56600100239050

Album photo de travail pour _La Révolution surréaliste_

Max Ernst

Photograph

Author

Person cited Max Ernst
By (photographer) non identifié

Description

Album contenant trente six photos d'œuvres de Max Ernst prises vers 1929.

36 tirages. Diverses annotations manuscrites datant et titrant les œuvres sur certains des tirages. [catalogue de la vente, 2003]

 

Creation datevers 1929
LanguagesFrench
Reference14338000
Breton Auction, 2003Lot 5085
Keywords, , ,
Categories1924-1930
Set[Journal] La Révolution surréaliste
Permanent linkhttps://www.andrebreton.fr/work/56600100610160

Album photo de travail pour _La Révolution Surréaliste_

Miró et Man Ray

Photograph

Author

People cited Man Ray, Joan Miró, non identifié
By (photographer) Georges Allie, P.L. Mare, Man Ray

Description

Photographies de vingt-sept œuvres de Miró et de Man Ray réalisées pour La Révolution Surréaliste vers 1929.

Vingt-sept tirages.
Album contenant les photographies de vingt-six œuvres de Miró et la photographie d'une œuvre de Man Ray, un rêve, qui sera exposé en 1926 à la galerie Surréaliste de la rue Jacques-Callot (rep. p. 9 du catalogue). Diverses annotations manuscrites au dos de certains tirages (images des dos manquantes). [catalogue de la vente, 2003, site André Breton, 2019]

Creation datevers 1929
LanguagesFrench
Copyright© Man Ray Trust / ADAGP, Paris, 2005.
Reference14340000
Breton Auction, 2003Lot 5344
Keywords, , , , ,
Categories1924-1930
Set[Journal] La Révolution surréaliste
Permanent linkhttps://www.andrebreton.fr/work/56600100258790