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	<title>Unoriginal Sins | </title>
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	<description>AVANT-GARDES</description>
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	<title>Unoriginal Sins | </title>
	<link>https://unoriginalsins.co.uk</link>
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		<title>MANUAL OF INSTRUCTIONS FOR ÉTANT DONNÉS: 1° LA CHUTE D&#8217;EAU 2° LE GAZ D&#8217;ÉCLAIRAGE &#8230;  1987.</title>
		<link>https://unoriginalsins.co.uk/product/manual-of-instructions-for-etant-donnes-1-la-chute-deau-2-le-gaz-declairage-1987/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=manual-of-instructions-for-etant-donnes-1-la-chute-deau-2-le-gaz-declairage-1987</link>
		
		<dc:creator><![CDATA[paul robertson]]></dc:creator>
		<pubDate>Thu, 06 Nov 2025 10:12:19 +0000</pubDate>
				<guid isPermaLink="false">https://unoriginalsins.co.uk/?post_type=product&#038;p=61658</guid>

					<description><![CDATA[<div dir="ltr">
<div class="BodyFragment">
<div class="PlainText">Philadelphia: Philadelphia Museum of Art, 1987</div>
<div class="PlainText">30 x 27cm, unpaginated (c. 56pp including fold-outs) plus hard cover. A facsimile of Duchamp's "Manual of Instructions" notebook given to the Philadelphia Museum as part of the installation of Etante Donne with numerous b/w photographs and facsimile handwritten text by Duchamp</div>
<div class="PlainText">Laid in (as issued)</div>
<div class="PlainText">Philadelphia: Philadelphia Museum of Art, 1987</div>
<div class="PlainText">30 x27cm, 4pp insert with a text in English by Anne d'Harnoncourt.</div>
<div>Both VG+.</div>
</div>
</div>]]></description>
										<content:encoded><![CDATA[<div dir="ltr">
<div class="BodyFragment">
<div class="PlainText">Philadelphia: Philadelphia Museum of Art, 1987</div>
<div class="PlainText">30 x 27cm, unpaginated (c. 56pp including fold-outs) plus hard cover. A facsimile of Duchamp's "Manual of Instructions" notebook given to the Philadelphia Museum as part of the installation of Etante Donne with numerous b/w photographs and facsimile handwritten text by Duchamp</div>
<div class="PlainText">Laid in (as issued)</div>
<div class="PlainText">Philadelphia: Philadelphia Museum of Art, 1987</div>
<div class="PlainText">30 x27cm, 4pp insert with a text in English by Anne d'Harnoncourt.</div>
<div>Both VG+.</div>
</div>
</div>]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>LEONROR FINI. 1978.</title>
		<link>https://unoriginalsins.co.uk/product/leonror-fini-1978/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=leonror-fini-1978</link>
		
		<dc:creator><![CDATA[paul robertson]]></dc:creator>
		<pubDate>Thu, 02 Oct 2025 18:27:00 +0000</pubDate>
				<guid isPermaLink="false">https://unoriginalsins.co.uk/?post_type=product&#038;p=53825</guid>

					<description><![CDATA[Paris: La Galerie les Arts Plastiques Modernes, 1978

21 x 15cm, 4pp announcement card for a late solo show of paintings by the Argentinian surrealist. One work in colour ( La Machine a Coudre) on the front, internally gallery details. There is a hand written note in blue ink written to John Collins the photographer from Manuel Burrus else VG.

&#160;]]></description>
										<content:encoded><![CDATA[Paris: La Galerie les Arts Plastiques Modernes, 1978

21 x 15cm, 4pp announcement card for a late solo show of paintings by the Argentinian surrealist. One work in colour ( La Machine a Coudre) on the front, internally gallery details. There is a hand written note in blue ink written to John Collins the photographer from Manuel Burrus else VG.

&#160;]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>UNTITLED. 1961. ARTIST&#8217;S FIRST LITHOGRAPH. SIGNED &#038; NUMBERED FROM AN EDITION OF 50.</title>
		<link>https://unoriginalsins.co.uk/product/untitled-1961-artists-first-lithograph-signed-numbered-from-an-edition-of-50/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=untitled-1961-artists-first-lithograph-signed-numbered-from-an-edition-of-50</link>
		
		<dc:creator><![CDATA[paul robertson]]></dc:creator>
		<pubDate>Wed, 04 Jun 2025 11:05:09 +0000</pubDate>
				<guid isPermaLink="false">https://unoriginalsins.co.uk/?post_type=product&#038;p=61060</guid>

					<description><![CDATA[N.p. (NYC?): Brunidor, n.d. (1961)

41.5 x 33cm, black on cream thick paper - offset lithograph with one of Luca's abstract works with most of the image made up of short lines, this is perhaps Luca's first ever lithograph. Signed and numbered in pencil bottom left and right - number 42 out of 50 copies. SOme handling creases and a closed tear about a third down from the right hand side of the paper. Prices thus on condition.]]></description>
										<content:encoded><![CDATA[N.p. (NYC?): Brunidor, n.d. (1961)

41.5 x 33cm, black on cream thick paper - offset lithograph with one of Luca's abstract works with most of the image made up of short lines, this is perhaps Luca's first ever lithograph. Signed and numbered in pencil bottom left and right - number 42 out of 50 copies. SOme handling creases and a closed tear about a third down from the right hand side of the paper. Prices thus on condition.]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>OBJETS DE MON AFFECTION/WATERCOLOURS 1917 &#8211; 1919.  1968.</title>
		<link>https://unoriginalsins.co.uk/product/objets-de-mon-affection-watercolours-1917-1919-1968/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=objets-de-mon-affection-watercolours-1917-1919-1968</link>
		
		<dc:creator><![CDATA[paul robertson]]></dc:creator>
		<pubDate>Mon, 24 Feb 2025 14:55:05 +0000</pubDate>
				<guid isPermaLink="false">https://unoriginalsins.co.uk/?post_type=product&#038;p=60070</guid>

					<description><![CDATA[London: Hanover Gallery, 1968

11.2 x 18.2cm, 1pp typographic announcement card for a show of sculptures by Man Ray and a posthumous show of watercolours by  Picabia. Printed in blue, red and green. VG+.]]></description>
										<content:encoded><![CDATA[London: Hanover Gallery, 1968

11.2 x 18.2cm, 1pp typographic announcement card for a show of sculptures by Man Ray and a posthumous show of watercolours by  Picabia. Printed in blue, red and green. VG+.]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>MIRO. 1970.</title>
		<link>https://unoriginalsins.co.uk/product/miro-1970/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=miro-1970</link>
		
		<dc:creator><![CDATA[paul robertson]]></dc:creator>
		<pubDate>Mon, 24 Feb 2025 14:50:51 +0000</pubDate>
				<guid isPermaLink="false">https://unoriginalsins.co.uk/?post_type=product&#038;p=60069</guid>

					<description><![CDATA[Paris: Galerie Maeght, 1970

22 x 17cm, 4pp announcement card for a solo show of recent sculptures by Miro. One of his paintings reproduced on the outside in red, green, blue, yellow. Internally gallery details/ VG but there is a clear but flattened vertical crease on both sides of the card and very slight marks near edges.]]></description>
										<content:encoded><![CDATA[Paris: Galerie Maeght, 1970

22 x 17cm, 4pp announcement card for a solo show of recent sculptures by Miro. One of his paintings reproduced on the outside in red, green, blue, yellow. Internally gallery details/ VG but there is a clear but flattened vertical crease on both sides of the card and very slight marks near edges.]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>THE POETIC IMAGE. 1969. DIE CUT INVITE CARD.</title>
		<link>https://unoriginalsins.co.uk/product/the-poetic-image-1969-die-cut-invite-card/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=the-poetic-image-1969-die-cut-invite-card</link>
		
		<dc:creator><![CDATA[paul robertson]]></dc:creator>
		<pubDate>Mon, 24 Feb 2025 14:42:14 +0000</pubDate>
				<guid isPermaLink="false">https://unoriginalsins.co.uk/?post_type=product&#038;p=60030</guid>

					<description><![CDATA[London: Hanover Gallery, n.p. (1969)

22 x 6cm (approx) die-cut announcement card with a thumb on the front and a list of the participating artists on the back including Horst Antes, Francis Bacon, Cesar, Giorgio de Chirico, Salvador Dali, Max Ernst, Leonor Fini, Hiquily, Roy Lichtenstein, Rene Magritte, Makowski, Man Ray, Giacomo Manzu, Louise Nevelson, Trova, H.C. Westermann. VG+. Scarce.]]></description>
										<content:encoded><![CDATA[London: Hanover Gallery, n.p. (1969)

22 x 6cm (approx) die-cut announcement card with a thumb on the front and a list of the participating artists on the back including Horst Antes, Francis Bacon, Cesar, Giorgio de Chirico, Salvador Dali, Max Ernst, Leonor Fini, Hiquily, Roy Lichtenstein, Rene Magritte, Makowski, Man Ray, Giacomo Manzu, Louise Nevelson, Trova, H.C. Westermann. VG+. Scarce.]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>LES SOUVENIRS DE KIKI. PREFACE BY FOUJITTA. 1929.</title>
		<link>https://unoriginalsins.co.uk/product/les-souvenirs-de-kiki-preface-by-foujitta-1929/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=les-souvenirs-de-kiki-preface-by-foujitta-1929</link>
		
		<dc:creator><![CDATA[paul robertson]]></dc:creator>
		<pubDate>Sat, 09 Oct 2021 18:27:00 +0000</pubDate>
				<guid isPermaLink="false">https://unoriginalsins.co.uk/?post_type=product&#038;p=43837</guid>

					<description><![CDATA[<p class="p1">Paris: Henri Broca, 1929</p>
<p class="p1">22.5 x 18cm. 174pp. B/w breitz of the author by Kisling, Foujita, Per Krohg, Hermine David, et. al. Ten photographs by Man Ray. Wrappers with tipped-on pictorial design. First edition of these clipped illustrated memoirs by Montparnesse's most famous model, "chanteuse informale", star of Man Ray's "L'Etoile de Mer", and many wild Parisian nights. The false sexy rumour of the time was that she could not grow pubic hair and did not need to shave. A close to fine example of this very desirable and highly entertaining work. Scarce.</p>]]></description>
										<content:encoded><![CDATA[<p class="p1">Paris: Henri Broca, 1929</p>
<p class="p1">22.5 x 18cm. 174pp. B/w breitz of the author by Kisling, Foujita, Per Krohg, Hermine David, et. al. Ten photographs by Man Ray. Wrappers with tipped-on pictorial design. First edition of these clipped illustrated memoirs by Montparnesse's most famous model, "chanteuse informale", star of Man Ray's "L'Etoile de Mer", and many wild Parisian nights. The false sexy rumour of the time was that she could not grow pubic hair and did not need to shave. A close to fine example of this very desirable and highly entertaining work. Scarce.</p>]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>&#8220;PERLE FAUSSE&#8221;. HANDWRITTEN LETTER TO AN ANONYMOUS LOVER SIGNED 1920 WITH ADDITIONS BY GEORGES RIBEMONT-DESSAIGNES</title>
		<link>https://unoriginalsins.co.uk/product/perle-fausse-handwritten-letter-to-an-anonymous-lover-signed-1920-with-additions-by-georges-ribemont-dessaignes/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=perle-fausse-handwritten-letter-to-an-anonymous-lover-signed-1920-with-additions-by-georges-ribemont-dessaignes</link>
		
		<dc:creator><![CDATA[paul robertson]]></dc:creator>
		<pubDate>Sat, 23 Oct 2021 07:56:22 +0000</pubDate>
				<guid isPermaLink="false">https://unoriginalsins.co.uk/?post_type=product&#038;p=44415</guid>

					<description><![CDATA[14.2 x 11.1cm, 1pp hand-written letter from Andre Breton signed "Andre" to an unknown lover "Germaine" with significant content.

Breton apparently wrote this 'lettre pneumatique' in June 1920 (towards the end of the Dadaist period in Paris) and sent it to his lover with the following message:

"Ma cherie, pas encore ce soir,/ pardon. Je sais, je sais, et tu/ m'obliges te donner des motifs/ de mes absences, pourquoi? Je dois/ revoir Eluard qui part ˆ la/ campagne demain, je sors avec/ lui et rentrerai trs tard. La/ semaine prochaine, je compte/ que nous nous entendions mieux/ sur nos heures, ne dis pas/ que je ne fais pas ce que je peux./ Je pense toi, veux-tu m'ecrire/ un petit mot. Je suis aussi/ dans un etat moral singulier;/ ˆ quoi, mon amour, tu ne/ peux rien? Est-ce encore une/ fois pardonne?/ Andre

In translation:

My darling, again not tonight, sorry. I know, I know, and you force me to give you reasons for my absences, why? I must see Eluard again who goes to the countryside tomorrow, I will go out with him and come home very late. Next week, I hope that we will understand better each other about our "timing?", don't say that I don't do what I can. I think of you, can you write me a small note? I also am in a unusual ("singular") moral state, of which, my love, you can't do anything about? Am I once again forgiven? Andre

A lettre pneumatique was a common way of sending urgent notes throughout Paris (using a series of pneumatic tubes between post offices) and the tense tone of the letter suggests a clandestine arrangement having to be changed at short notice. The phasing of the letter also suggests a certain cooling of the relationship - certainly concern about the effect of Breton cancelling (presumably not for a first time) the meeting and the expected chiding from his lover.

The letter reads as if it has been written towards the end of a relationship rather than in the full passion of an early liaison. Men are like that: even famous surrealists. Perhaps, even more, famous surrealists. There is no reference in the literature, that we know of, to any lover of Breton's having the forename "Germaine" and it is tempting to speculate that the Germaine here is Germaine Picabia (nee Everling) who Breton certainly knew very well - Breton being a constant visitor to Picabia's house (the place, for example, where the Dadaists first met Tristan Tzara) and there are several photographs of Breton and the two Picabias at social functions and at Dadaist events.

However this is, just that, speculation and would require much further research to confirm but nonetheless the letter is a mystery awaiting a solution - was Breton cuckolding his friend?

The provenance of the letter is indirectly from Georges Ribemont-Dessaignes who has added various handwritten texts of his own including the "title" Perle Fausse (which translates as 'False Pearl'), the Surname "BRETON" under the "Andre" signed by Breton, as well as "A GERMAINE" and "DADA" at the bottom of the letter in purple and green inks.

It seems likely that these texts were added later as an attempt of explication by GR-D. Alternatively Ribemont-Dessaignes may have been commenting on the content of the letter, its tone of slight deceit or perhaps even a comment about the affair or the participants in the affair.

Verso the letter is in a minorly damaged state with the lettering of the outside of the epistle having been affected by some previous adhesion to another paper (perhaps a scrap book or book of mementos) and the name and address is unreadable, the stamps and franking can be seen but the date is hard to read although the franking does reveal "Paris" and "Juin 6" and the number "20" can also be seen in the franked impressions (which would match Georges Ribemont-Dessaignes' dating verso). The word "urgent" is also handwritten on the folded front of the letter. Perhaps scientific analysis could reveal more - certainly our own manipulations (enlargement and alteration of photographic contrast of an electronic reproduction) suggests that more detail could be revealed on the franking and possibly even the addressee with a little sophisticated work).

All in all a fascinating small letter which may raise more questions than it answers and a scarce early document from Breton's hand at a point where Dada was about to be rejected and surrealism born. One small tear on fold (0.7cm) and some adhesion from another paper verso otherwise very good condition bearing in mind the original mailed aspect of this item.]]></description>
										<content:encoded><![CDATA[14.2 x 11.1cm, 1pp hand-written letter from Andre Breton signed "Andre" to an unknown lover "Germaine" with significant content.

Breton apparently wrote this 'lettre pneumatique' in June 1920 (towards the end of the Dadaist period in Paris) and sent it to his lover with the following message:

"Ma cherie, pas encore ce soir,/ pardon. Je sais, je sais, et tu/ m'obliges te donner des motifs/ de mes absences, pourquoi? Je dois/ revoir Eluard qui part ˆ la/ campagne demain, je sors avec/ lui et rentrerai trs tard. La/ semaine prochaine, je compte/ que nous nous entendions mieux/ sur nos heures, ne dis pas/ que je ne fais pas ce que je peux./ Je pense toi, veux-tu m'ecrire/ un petit mot. Je suis aussi/ dans un etat moral singulier;/ ˆ quoi, mon amour, tu ne/ peux rien? Est-ce encore une/ fois pardonne?/ Andre

In translation:

My darling, again not tonight, sorry. I know, I know, and you force me to give you reasons for my absences, why? I must see Eluard again who goes to the countryside tomorrow, I will go out with him and come home very late. Next week, I hope that we will understand better each other about our "timing?", don't say that I don't do what I can. I think of you, can you write me a small note? I also am in a unusual ("singular") moral state, of which, my love, you can't do anything about? Am I once again forgiven? Andre

A lettre pneumatique was a common way of sending urgent notes throughout Paris (using a series of pneumatic tubes between post offices) and the tense tone of the letter suggests a clandestine arrangement having to be changed at short notice. The phasing of the letter also suggests a certain cooling of the relationship - certainly concern about the effect of Breton cancelling (presumably not for a first time) the meeting and the expected chiding from his lover.

The letter reads as if it has been written towards the end of a relationship rather than in the full passion of an early liaison. Men are like that: even famous surrealists. Perhaps, even more, famous surrealists. There is no reference in the literature, that we know of, to any lover of Breton's having the forename "Germaine" and it is tempting to speculate that the Germaine here is Germaine Picabia (nee Everling) who Breton certainly knew very well - Breton being a constant visitor to Picabia's house (the place, for example, where the Dadaists first met Tristan Tzara) and there are several photographs of Breton and the two Picabias at social functions and at Dadaist events.

However this is, just that, speculation and would require much further research to confirm but nonetheless the letter is a mystery awaiting a solution - was Breton cuckolding his friend?

The provenance of the letter is indirectly from Georges Ribemont-Dessaignes who has added various handwritten texts of his own including the "title" Perle Fausse (which translates as 'False Pearl'), the Surname "BRETON" under the "Andre" signed by Breton, as well as "A GERMAINE" and "DADA" at the bottom of the letter in purple and green inks.

It seems likely that these texts were added later as an attempt of explication by GR-D. Alternatively Ribemont-Dessaignes may have been commenting on the content of the letter, its tone of slight deceit or perhaps even a comment about the affair or the participants in the affair.

Verso the letter is in a minorly damaged state with the lettering of the outside of the epistle having been affected by some previous adhesion to another paper (perhaps a scrap book or book of mementos) and the name and address is unreadable, the stamps and franking can be seen but the date is hard to read although the franking does reveal "Paris" and "Juin 6" and the number "20" can also be seen in the franked impressions (which would match Georges Ribemont-Dessaignes' dating verso). The word "urgent" is also handwritten on the folded front of the letter. Perhaps scientific analysis could reveal more - certainly our own manipulations (enlargement and alteration of photographic contrast of an electronic reproduction) suggests that more detail could be revealed on the franking and possibly even the addressee with a little sophisticated work).

All in all a fascinating small letter which may raise more questions than it answers and a scarce early document from Breton's hand at a point where Dada was about to be rejected and surrealism born. One small tear on fold (0.7cm) and some adhesion from another paper verso otherwise very good condition bearing in mind the original mailed aspect of this item.]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>SEXUALNI NOCTURNO. PRIBEH DAMASKOVANE ILUSE. SURREALIST RARITY &#8211; ONE OF ONLY 69 EXAMPLES.</title>
		<link>https://unoriginalsins.co.uk/product/sexualni-nocturno-pribeh-damaskovane-iluse-surrealist-rarity-one-of-only-69-examples/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=sexualni-nocturno-pribeh-damaskovane-iluse-surrealist-rarity-one-of-only-69-examples</link>
		
		<dc:creator><![CDATA[paul robertson]]></dc:creator>
		<pubDate>Sat, 30 Oct 2021 11:06:16 +0000</pubDate>
				<guid isPermaLink="false">https://unoriginalsins.co.uk/?post_type=product&#038;p=44987</guid>

					<description><![CDATA[<p class="p1"><span class="s1">Prague: Edice 69, 1931. </span></p>
<p class="p1"><span class="s1">18 x 12cm, 60 pp. Original wrappers. Loose signatures. First edition of this privately printed and remarkably notorious "story of damask illusion". </span></p>
<p class="p1"><span class="s1">The title translates as "A sexual nocturne" and is a tale of a man recalling his early encounters with sexuality and sexual language, a rendezvous in a bordello ("one of those high moments that convinces us to put off suicide") and other incidents that shaped his erotic history. </span></p>
<p class="p1"><span class="s1">Edice 69 books were never available for sale; they were exclusively available to subscribers and friends. The company consisted of Styrsky as editor with Toyen for the most part. This book and Styrsky's EMILIE PRICHAZI KE MNE VE SNU (Emily Comes to Me in a Dream) constitute the most important of the series of which there would be only six volumes in all. </span></p>
<p class="p1"><span class="s1">In these issues Toyen would express herself with the least inhibitions of frank sexuality, a factor never far from her central concerns throughout her oeuvre, and Styrsky a complex, multilayered self-confession. Styrsky was the more obsessive of the two and more attracted to kinkiness and the downright weird. Nezval's participation in Edice 69 was limited to this one release. It is oft cited as one of Nezval's worst books but the text serves as a platform for the visual content, which is also true of all the issues of Edice 69.

All of the participants in the publishing venture shared the conviction to employ art as a means to eroticise the world, overcoming the throes of 19th century morality and thus self-releasing into freedom; they were social critics and shared strong leftist sympathies, pushing the boundaries of conventional reality through eroticism. The collages by Styrsky are some of his most startling and outrageous, conveying psychological twists and biographical messages in a zany humour.

This is nr 83 of 138 numbered copies ie 2 x 69 - half of the edition was hand coloured and is very, very rarely encountered - and this example is in very good condition with some marks on the wrappers . Exceptionally rare and desirable. </span></p>]]></description>
										<content:encoded><![CDATA[<p class="p1"><span class="s1">Prague: Edice 69, 1931. </span></p>
<p class="p1"><span class="s1">18 x 12cm, 60 pp. Original wrappers. Loose signatures. First edition of this privately printed and remarkably notorious "story of damask illusion". </span></p>
<p class="p1"><span class="s1">The title translates as "A sexual nocturne" and is a tale of a man recalling his early encounters with sexuality and sexual language, a rendezvous in a bordello ("one of those high moments that convinces us to put off suicide") and other incidents that shaped his erotic history. </span></p>
<p class="p1"><span class="s1">Edice 69 books were never available for sale; they were exclusively available to subscribers and friends. The company consisted of Styrsky as editor with Toyen for the most part. This book and Styrsky's EMILIE PRICHAZI KE MNE VE SNU (Emily Comes to Me in a Dream) constitute the most important of the series of which there would be only six volumes in all. </span></p>
<p class="p1"><span class="s1">In these issues Toyen would express herself with the least inhibitions of frank sexuality, a factor never far from her central concerns throughout her oeuvre, and Styrsky a complex, multilayered self-confession. Styrsky was the more obsessive of the two and more attracted to kinkiness and the downright weird. Nezval's participation in Edice 69 was limited to this one release. It is oft cited as one of Nezval's worst books but the text serves as a platform for the visual content, which is also true of all the issues of Edice 69.

All of the participants in the publishing venture shared the conviction to employ art as a means to eroticise the world, overcoming the throes of 19th century morality and thus self-releasing into freedom; they were social critics and shared strong leftist sympathies, pushing the boundaries of conventional reality through eroticism. The collages by Styrsky are some of his most startling and outrageous, conveying psychological twists and biographical messages in a zany humour.

This is nr 83 of 138 numbered copies ie 2 x 69 - half of the edition was hand coloured and is very, very rarely encountered - and this example is in very good condition with some marks on the wrappers . Exceptionally rare and desirable. </span></p>]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>DIE PUPPE. 1962. WITH THE PROOF OF AGE CERTIFICATE EXTANT</title>
		<link>https://unoriginalsins.co.uk/product/die-puppe-1962-with-the-proof-of-age-certificate-extant/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=die-puppe-1962-with-the-proof-of-age-certificate-extant</link>
		
		<dc:creator><![CDATA[paul robertson]]></dc:creator>
		<pubDate>Tue, 12 Oct 2021 14:53:37 +0000</pubDate>
				<guid isPermaLink="false">https://unoriginalsins.co.uk/?post_type=product&#038;p=43971</guid>

					<description><![CDATA[<p class="p1">Berlin: Gerhardt Verlag, 1962</p>
<p class="p1">21 x 16.8cm, 190pp plus original card wrappers plus printed dustjacket (with a tipped on 'puppe' vignette) and original transparent pvc cover.</p>
<p class="p1">The last of the published versions of Bellmer's classic surrealist book which displays the erotic possibilities of his modified dolls - this version was comprised of the contents of Die Puppe; Die Spiele der Puppe and Die Anatomie des Bildes. Illustrated throughout with b/w line drawings this additionally has ten b/w tipped in reproductions of photographs and sixteen in colours - all after the original publications - of Bellmer's flexible doll-scullture in various poses and situations (some with an air of menace, others sexuality and others still seemingly innocent).</p>
<p class="p1">One of 2,000 numbered copies, this is still a desirable and much sought after publication. This is a near fine copy. Very scarce.</p>
<p class="p1">LAID IN:</p>
<p class="p1">21 x 16cm, 1pp b/w statement for the purchaser to sign and date and have stamped by the bookseller to prove that the book was sold to someone over the age of 21 to avoid prosecution for obscenity. This is usually missing from the books as the certificate was to be retained by the bookseller.</p>]]></description>
										<content:encoded><![CDATA[<p class="p1">Berlin: Gerhardt Verlag, 1962</p>
<p class="p1">21 x 16.8cm, 190pp plus original card wrappers plus printed dustjacket (with a tipped on 'puppe' vignette) and original transparent pvc cover.</p>
<p class="p1">The last of the published versions of Bellmer's classic surrealist book which displays the erotic possibilities of his modified dolls - this version was comprised of the contents of Die Puppe; Die Spiele der Puppe and Die Anatomie des Bildes. Illustrated throughout with b/w line drawings this additionally has ten b/w tipped in reproductions of photographs and sixteen in colours - all after the original publications - of Bellmer's flexible doll-scullture in various poses and situations (some with an air of menace, others sexuality and others still seemingly innocent).</p>
<p class="p1">One of 2,000 numbered copies, this is still a desirable and much sought after publication. This is a near fine copy. Very scarce.</p>
<p class="p1">LAID IN:</p>
<p class="p1">21 x 16cm, 1pp b/w statement for the purchaser to sign and date and have stamped by the bookseller to prove that the book was sold to someone over the age of 21 to avoid prosecution for obscenity. This is usually missing from the books as the certificate was to be retained by the bookseller.</p>]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>DEUX COEURS SIMPLES. LITHOS ORIGINALES DE VALENTINE HUGO. 1947. ONE OF 50 ON MARAIS.</title>
		<link>https://unoriginalsins.co.uk/product/deux-coeurs-simples-lithos-originales-de-valentine-hugo-1947-one-of-50-on-marais/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=deux-coeurs-simples-lithos-originales-de-valentine-hugo-1947-one-of-50-on-marais</link>
		
		<dc:creator><![CDATA[paul robertson]]></dc:creator>
		<pubDate>Wed, 27 Oct 2021 16:18:01 +0000</pubDate>
				<guid isPermaLink="false">https://unoriginalsins.co.uk/?post_type=product&#038;p=44570</guid>

					<description><![CDATA[<p class="p1">Paris: Gerald Cramer, 1947</p>
<p class="p1">29 x 23cm slip case content withÂ  29 x 23cm book, 192pp as loose folios and original covers. First edition of this novel of romantic love challenged by events as illustrated by Hugo with seven original lithographs.</p>
<p class="p1">This copy is one of 50 numbered examples on Marais which has an additional suite of Hugo's slightly saccharine illustrations printed b/w on chiffon Johannot aside from the du tete of 8 copies and the total trade edition of 500 numbered copies inclusive of the deluxe examples. Laid in the author's note pointing out that the character of Lydie Demirgian is a fictional invention. Fine example with very slight bump to one edge of slipcase.</p>]]></description>
										<content:encoded><![CDATA[<p class="p1">Paris: Gerald Cramer, 1947</p>
<p class="p1">29 x 23cm slip case content withÂ  29 x 23cm book, 192pp as loose folios and original covers. First edition of this novel of romantic love challenged by events as illustrated by Hugo with seven original lithographs.</p>
<p class="p1">This copy is one of 50 numbered examples on Marais which has an additional suite of Hugo's slightly saccharine illustrations printed b/w on chiffon Johannot aside from the du tete of 8 copies and the total trade edition of 500 numbered copies inclusive of the deluxe examples. Laid in the author's note pointing out that the character of Lydie Demirgian is a fictional invention. Fine example with very slight bump to one edge of slipcase.</p>]]></content:encoded>
					
		
		
			</item>
		<item>
		<title>EROTIQUE DU SURREALISME . 1964. DEDICATION COPY.</title>
		<link>https://unoriginalsins.co.uk/product/erotique-du-surrealisme-1964-dedication-copy/?utm_source=rss&#038;utm_medium=rss&#038;utm_campaign=erotique-du-surrealisme-1964-dedication-copy</link>
		
		<dc:creator><![CDATA[paul robertson]]></dc:creator>
		<pubDate>Tue, 12 Oct 2021 15:25:11 +0000</pubDate>
				<guid isPermaLink="false">https://unoriginalsins.co.uk/?post_type=product&#038;p=43992</guid>

					<description><![CDATA[<p class="p1">Paris: Jean Jacques Pauvert, 1964</p>
<p class="p1">18.5 x 18.5cm, 246pp. Boards. Monograph considering the fascination that the erotic held for the surrealists with images of works and of the artists: Dali, Man Ray, Picasso, Miro, Tanguy , Jean Arp, Max Ernst, Marcel Duchamp, Andre Breton, Edvard Munch and others. This example has a short dedication in black and red ink by the author on the title pages.</p>]]></description>
										<content:encoded><![CDATA[<p class="p1">Paris: Jean Jacques Pauvert, 1964</p>
<p class="p1">18.5 x 18.5cm, 246pp. Boards. Monograph considering the fascination that the erotic held for the surrealists with images of works and of the artists: Dali, Man Ray, Picasso, Miro, Tanguy , Jean Arp, Max Ernst, Marcel Duchamp, Andre Breton, Edvard Munch and others. This example has a short dedication in black and red ink by the author on the title pages.</p>]]></content:encoded>
					
		
		
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