La Hampe de l'Imaginaire
Dominguez, Oscar. Hugnet, Georges
Paris. Editions G[uy]. L[évis]. M[ano]. 1936
Georges Hugnet's verse with Oscar Dominguez' 'exquisite' frontispiece.
From the edition limited to 70 numbered copies on 'normandy vellum teinté' signed by the editor.
Published as number 12 in GLM's series 'Repères', Dominguez's etching with drypoint 'Femme à la Bicyclette' was one of his first efforts in the medium.
'Another surrealist who did not terminate his activity during the occupation years was the Spaniard Oscar Dominguez. Dominguez began making prints in the 1930s, first producing two gemlike erotic etchings for the anonymously authored, pocket-size book 'Le Feu au cul' [not published until 1943] and then the truly exquisite drypoint 'Femme à la Bicyclette', which accompanied Hugnet's La Hampe de l'Imaginaire, published a year later.' (Surrealist Prints pg. 95).
[Surrealist Prints 40].
From the edition limited to 70 numbered copies on 'normandy vellum teinté' signed by the editor.
Published as number 12 in GLM's series 'Repères', Dominguez's etching with drypoint 'Femme à la Bicyclette' was one of his first efforts in the medium.
'Another surrealist who did not terminate his activity during the occupation years was the Spaniard Oscar Dominguez. Dominguez began making prints in the 1930s, first producing two gemlike erotic etchings for the anonymously authored, pocket-size book 'Le Feu au cul' [not published until 1943] and then the truly exquisite drypoint 'Femme à la Bicyclette', which accompanied Hugnet's La Hampe de l'Imaginaire, published a year later.' (Surrealist Prints pg. 95).
[Surrealist Prints 40].
[12 unnumbered leaves]. 4to. (255 x 196 mm). Leaf with publication details verso, leaf with title recto, leaf with etching by Oscar Dominguez as frontispiece verso (signed in the plate and dated '35'), three leaves with Hugnet's verse recto and verso, two blank leaves, leaf with justification recto. Loose as issued in original publisher's orange printed wrappers with titles to front cover in black.
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