Text in French and English. Illustrated with 104 photographs printed in gravure, divided into five sections. With 19 rayographs. 31x23.5 cm (12¼x9¼"), comb-bound pictorial wrappers. First Edition. First issue.
This is the first issue of the First Edition, without the Second Edition labeled on the copyright page. Roth, 80-81. Because extremely few of first edition copies of the book were sold, the publisher attempted to generate demand where none existed by implying that the first edition had sold out. After replacing the title pages of the many unsold copies with one stating “second edition,” the book was returned to the market for sale" (Roth, 80). (See also Parr & Badger "The Photobook: A History,” Volume I, p.108.) The former owner of this copy, James Byrnes, was the first curator of Modern Art at the L.A. [Los Angeles] County Museum, 1946-53; Director of the North Carolina Museum of Art, 1956-1960; Director, New Orleans Museum of Art, 1961-1972; and Director, Newport Harbor Art Center, 1973-74. He continued his work as an appraiser and consultant in fine arts into his late 80s. During a sojourn in Europe, Byrnes met and befriended many of the up and coming or most prominent artists of the time. He partied with Salvador Dali, lunched with Marta...hired and worked with Robert Motherwell, was life long friends with Ynez Johnston and Emerson Woellfer...and most famously became a close friend and champion of Man Ray.
Parr & Badger state that the photographs contained in this book are "regarded by some as amongst the greatest of the twentieth century. This was Man Ray's first monograph, and his friends pulled out all the stops to herald it" (Roth, 80). It contains poetry and essays by the leading figures of the Dada and Surrealist movements: André Breton, Paul Eluard, Marcel Duchamp (written under his famous pseudonym "Rrose Selavy") and Tristan Tzara. Contains 84 stunning full page black and white monochromes (photographs) and 19 rayographs.
Condition:
Chip to comb at foot, split to wrappers at top of front cover at comb, light wear; lower binding perforations torn, light dampstaining in lower margins (not affecting gravures), red inkstains on rear inside cover bleeding through a bit to rear cover and last two leaves (not affecting text or images); Overall, this is a highly desirable copy of a notoriously fragile book… one that is rarely found at all, particularly in this condition. Overall very good or better.