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Premium ERNST (Max) - LECLERCQ (Léna).
La Rose est nue.
See original version (French)
ERNST (Max) - LECLERCQ (Léna).
La Rose est nue.
See original version (French)
Lot no. 197
ERNST (Max) - LECLERCQ (Léna).
La Rose est nue.
Paris: Jean Hugues, [1961]. - In-4, 321 x 247: frontispiece, 47 pp, (4 ff. last 2 blank), 5 plates, printed cover. Black box, boards decorated with a hollowed-out decoration of irregular geometrical shapes featuring a stylised rose in the centre, revealing a pink box background in the centre and grey all around, crossed with black leather bands, smooth spine with two hollowed-out oval compartments revealing a grey box background each decorated with two bands of ornate black leather and decorated with the names of the illustrator and the poetess in gilt letters, title of the work in pink letters in the centre, lining and endpapers of pink wood paper, edges gilt on witnesses, cover and spine preserved, folder with spine and black box cover bands, slipcase lined (Leroux 1962).
First edition of 300 copies of this collection of poems by the poet Lena Leclercq (1926-1987).
One of the first 90 copies, including 6 original coloured etchings hors texte by Max Ernst (1891-1976), justified and signed by the publisher, as well as signed by the author and the artist at the justification.
A precious copy, bound in the period by Georges Leroux, and enriched with a trial proof of the penultimate etching in the book, justified and signed by Max Ernst, mounted on a mitre at the head.
In a 1954 catalogue, bookseller Jean Hugues highlighted a modest binding by Georges Leroux, then virtually unknown, for a precious manuscript: Aragon's translation of La Chasse au Snark, a gift to Man Ray. Leroux, who was passionate about literature and surrealism, found decisive support in Jean Hugues, who introduced him to his circle of enthusiasts and helped him overcome his material difficulties. Despite their differences (the expansive bookseller and the shy, introverted bookbinder), an unshakeable friendship and a shared passion for poetry united them. Leroux, more of a 'bookman' than a traditional craftsman, sought to reconcile bookbinding and contemporary plastic arts, a vision shared by Jean Hugues. Thanks to him, Leroux gained access to an exceptional clientele and even joined the intimate circle of "samedistes" on the rue de Furstenberg. Later, Max Ernst entrusted him with bookbindings for his library, on the advice of Jean Hugues. Hugues, fascinated by Leroux's disconcerting and unpredictable genius, made him a pillar of his bookshop, although he sometimes preferred more sober bindings for his own books (cf. Jean Hugues. Libraire-éditeur. Paris: Éditions des Cendres, 2004).
Leroux produced at least one other binding identical to this one, but in different shades, which appeared successively in the sale of the library of Renaud Gillet (1913-2001) in 1999 (Sotheby's London, 27 October 1999, lot no. 101) and in that of Pierre Brossette in 2005 (Sotheby's Paris, 22 May 2005, lot no. 113).
A very well preserved copy. Brown mark on the first endpapers, not serious.
Provenance: N. Harwich, with bookplate.
See original version (French)
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