Le Phare de Neuilly. Revue Mensuelle. No. 1 - No. 3 /4. (All Published)
Miller, Lee, Man Ray, Brassaï et al. Deharme, Lise. (Directrice), Ribemont-Dessaignes, Georges (Gérant)
Neuilly-sur-Seine. 1933
An excellent complete set of Lise Deharme's very scarce 'Le Phare de Neuilly' with the final number in the even scarcer large paper édition de tête format.
The third number, i.e. 'Numéro 3 - 4', is a large paper copy, one of 20 nominatif examples issued on papier couché mat spécial, printed for 'Monsieur et Madame Raoul Fernandez'; only the third volume was issued in this format.
Although each title page of 'Le Phare de Neuilly' suggests that ten issues were to be published ('Dix numéros par an'), only these four were achieved. A mixture of the literary and artistic, the illustration is of monochrome photographs throughout with Lee Miller contributing to each issue; Man Ray's work also features - the covers are his work - as well as Nadar, Dora Maar, Brassaï, Pierre Keffer, Eli Lotar, Lloyd Sloane and others.
The literary contributors - all listed on the covers of each issue - are extremely varied, and include Georges Ribemont-Dessaignes (who also wrote the record reviews in the first two numbers), Robert Desnos (two poems in no. 1), Céline Arnauld, Jacques Baron, Hans Arp (as a poet translated from the German by Georges Hugnet), Paul Dermée, Lise Hertz (i.e. Lise Deharme), Nathalie Barney, Stendhal (the unpublished 'Le lac de Genève' writen under Stendhal's pseudonym 'Henri Martineau'), James Joyce (see below), Thérèse Aubray, Jacques Lacan (the poem 'Hiatus Irrationalis'), Marcel Jouhandeau, Ilarie Voronca (the poem 'Foules' translated from the Romanian by M. de Boully), D. H. Lawrence (a translation of 'The Man Who Died'), Claire Goll, Eugène Jolas ('Gyroscope'), Raymond Queneau ('Fragments d'un Roman') and many others.
Of particular note in terms of content not to mention innovation are the following:
- Alejo Carpentier's 'Images et Prières Nègres' illustrated with a series of photographs - the negatives were burnt in the presence of the Cuban sorceror 'Taita José' - of ritualistic objects, shrines and saints;
- Le Phare de Neuilly's (presumably Deharme herself writing under the eponymous psudonym) 'Manifeste du Désarmement Psychique';
- James Joyce's poem 'Ecce Puer', written on the birth of his grandson Stephen in 1932, translated into French by Yvan Goll and printed on the right of a sheet of transparent crystal paper; beneath on a sheet of glossy paper is a photographic reproduction of Joyce's manuscript for the poem and at left is a portrait of both Joyce and his grandson by Robert H. Davis;
- Lloyd Sloane's extraordinary 'Monsieur Sépulcre Agent d'Assurances Présente ... ', a Surrealist photographic collage novella;
- no. 1 with the advertisements at the front of the issue printed in black on monochrome sheets of burgundy, blue and pink paper, that on pink with text reproducing Deharme's manuscript, those at rear on cream newsprint paper advertising Jose Corti''s publishing house ('Corti / 6, Rue de Clichy') and announcing Deharme's own '[Cahier de] Curieuse Personne / Poèmes / par / Lise Hirtz' (to be published by Corti) as appearing 'dans trois mois' (this advertisement also reproducing Deharme's manuscript) and Roger Vitrac's 'Le Coup de Trafalgar'.
Lise Deharme, the editor of 'Le Phare de Neuilly', published in the Paris suburb of Neuilly, was a salonnière, a prolific poetess and a novelist. A muse and patron to the Surrealists - she encountered them as a group in the 1920s - her first published work was 'Images dans le Dos de Cocher' of 1922, although her collaboration with Miró 'Il était une petite pie' of 1928 is cited more usually as her first publication (both were issued under her maiden name Ilse Hirtz). Deharme was immortalised by Breton in Nadja as 'la dame au gant' and she can be regarded in many ways as being 'Le Phare de Neuilly' herself.
'Page de couverture identique pour les trois fascicules : photographie de Man Ray, contient de nombreuses reproductions photographiques de Man Ray, Lee Miller, Nadar, Brassaï, Pierre Keffer, Dora Maar'. (Destribats).
[Le Fonds Paul Destribats 339; not in Ades].
The third number, i.e. 'Numéro 3 - 4', is a large paper copy, one of 20 nominatif examples issued on papier couché mat spécial, printed for 'Monsieur et Madame Raoul Fernandez'; only the third volume was issued in this format.
Although each title page of 'Le Phare de Neuilly' suggests that ten issues were to be published ('Dix numéros par an'), only these four were achieved. A mixture of the literary and artistic, the illustration is of monochrome photographs throughout with Lee Miller contributing to each issue; Man Ray's work also features - the covers are his work - as well as Nadar, Dora Maar, Brassaï, Pierre Keffer, Eli Lotar, Lloyd Sloane and others.
The literary contributors - all listed on the covers of each issue - are extremely varied, and include Georges Ribemont-Dessaignes (who also wrote the record reviews in the first two numbers), Robert Desnos (two poems in no. 1), Céline Arnauld, Jacques Baron, Hans Arp (as a poet translated from the German by Georges Hugnet), Paul Dermée, Lise Hertz (i.e. Lise Deharme), Nathalie Barney, Stendhal (the unpublished 'Le lac de Genève' writen under Stendhal's pseudonym 'Henri Martineau'), James Joyce (see below), Thérèse Aubray, Jacques Lacan (the poem 'Hiatus Irrationalis'), Marcel Jouhandeau, Ilarie Voronca (the poem 'Foules' translated from the Romanian by M. de Boully), D. H. Lawrence (a translation of 'The Man Who Died'), Claire Goll, Eugène Jolas ('Gyroscope'), Raymond Queneau ('Fragments d'un Roman') and many others.
Of particular note in terms of content not to mention innovation are the following:
- Alejo Carpentier's 'Images et Prières Nègres' illustrated with a series of photographs - the negatives were burnt in the presence of the Cuban sorceror 'Taita José' - of ritualistic objects, shrines and saints;
- Le Phare de Neuilly's (presumably Deharme herself writing under the eponymous psudonym) 'Manifeste du Désarmement Psychique';
- James Joyce's poem 'Ecce Puer', written on the birth of his grandson Stephen in 1932, translated into French by Yvan Goll and printed on the right of a sheet of transparent crystal paper; beneath on a sheet of glossy paper is a photographic reproduction of Joyce's manuscript for the poem and at left is a portrait of both Joyce and his grandson by Robert H. Davis;
- Lloyd Sloane's extraordinary 'Monsieur Sépulcre Agent d'Assurances Présente ... ', a Surrealist photographic collage novella;
- no. 1 with the advertisements at the front of the issue printed in black on monochrome sheets of burgundy, blue and pink paper, that on pink with text reproducing Deharme's manuscript, those at rear on cream newsprint paper advertising Jose Corti''s publishing house ('Corti / 6, Rue de Clichy') and announcing Deharme's own '[Cahier de] Curieuse Personne / Poèmes / par / Lise Hirtz' (to be published by Corti) as appearing 'dans trois mois' (this advertisement also reproducing Deharme's manuscript) and Roger Vitrac's 'Le Coup de Trafalgar'.
Lise Deharme, the editor of 'Le Phare de Neuilly', published in the Paris suburb of Neuilly, was a salonnière, a prolific poetess and a novelist. A muse and patron to the Surrealists - she encountered them as a group in the 1920s - her first published work was 'Images dans le Dos de Cocher' of 1922, although her collaboration with Miró 'Il était une petite pie' of 1928 is cited more usually as her first publication (both were issued under her maiden name Ilse Hirtz). Deharme was immortalised by Breton in Nadja as 'la dame au gant' and she can be regarded in many ways as being 'Le Phare de Neuilly' herself.
'Page de couverture identique pour les trois fascicules : photographie de Man Ray, contient de nombreuses reproductions photographiques de Man Ray, Lee Miller, Nadar, Brassaï, Pierre Keffer, Dora Maar'. (Destribats).
[Le Fonds Paul Destribats 339; not in Ades].
[pp. (i), (i), (i), 70, (ii), (iv); (i), 86, (ii); (i), 136. 4 vols. in 3. Small 4to. (252 x 182 mm). + 4to. (284 x 194 mm). Printed text in French with reproductions of monochrome photographs throughout, nos. 1 & 2 with printed 'Bulletin d'Abonnement' sheets on orange paper tipped-in, issue with advertisements on various coloured stock (see below). Original publisher's printed white glossy wrappers, reproduction of a Man Ray photograph to front cover of each issue with titles and contributors in red against a white background (taking the form of a lighthouse with revolving light), later cream morocco-backed black card board chemise with title in red to spine and matching slipcase.
#48496
