!['RAY, Man' [i.e. Emmanuel RADNITZKY] (1890-1976). Corrected typescript, carbon and working notes for his autobiography Self-Portrait, [Paris]: 1960-1962.](https://www.christies.com/img/LotImages/2004/CKS/2004_CKS_06964_0042_000(085943).jpg?w=1)
Details
'RAY, Man' [i.e. Emmanuel RADNITZKY] (1890-1976). Corrected typescript, carbon and working notes for his autobiography Self-Portrait, [Paris]: 1960-1962.
4° (280 x 220 mm), and smaller formats, over 700 pp. Typescript: approximately 300 pp. 4°; carbon: approximately 300 pp. 4° on paper and onion-skin paper; notes and supplemental documents: approximately 128 pp. 4° and smaller formats. (Some wear and soiling). Sheets loose in a box file. Provenance: Juliet Man Ray, sold at Sotheby's 23 March 1995, lot 454.
A REMARKABLE ARCHIVE OF MAN RAY'S OWN WORKING PAPERS RELATING TO HIS AUTOBIOGRAPHY, including the corrected typescript, showing numerous substantial alternate readings and manuscript annotations, working notes, and a carbon with manuscript correction, from the collection of the dedicatee Juliet Man Ray. Man Ray himself produced the typescript, as the final manuscript note suggests: 'Typed by Man Ray 1960-1962'. The typescript, designated by Man Ray in various places as a 'first draft' or 'first copy' also reflects a change of structure from the original conception in three parts: 'The Painter', 'The Photographer', and 'The Painter' again, to four parts: 'New York', 'Paris', 'I Discover Hollywood', and 'Paris Again'. The carbon copy reflects these many changes, and additional manuscript corrections. The working notes collect sections of corrected typescript, including material later removed to avoid libel, manuscript notes relating to various episodes, including that on Picasso, and some correspondence with his editor finalising details (the dedication: 'For Juliet', the dust-jacket: 'use as pale a gold paper for the jacket as possible', etc.). One typed letter, signed, discusses material Man Ray felt he had to leave out from Self-Portrait, in particular relating to his first wife: 'I do not know how to treat Donna's defection and our separation unless I eliminate the whole episode, the most dramatic of my life'. Man Ray devotes the bulk of his autobiography to the twenty years he spent in Paris, a city to which he was drawn by the vivid descriptions of his friend Marcel Duchamp. Man Ray reached Paris in July 1921, quickly participated in the great Dada and Surrealist adventures, and his remarkable memoir is populated by numerous recollections of his friends and contemporaries: Picasso, Breton, Joyce, Dali, Tzara, Cocteau, Aragon, Eluard, Arp, Tanguy, Brancussi, Kiki and many others.
4° (280 x 220 mm), and smaller formats, over 700 pp. Typescript: approximately 300 pp. 4°; carbon: approximately 300 pp. 4° on paper and onion-skin paper; notes and supplemental documents: approximately 128 pp. 4° and smaller formats. (Some wear and soiling). Sheets loose in a box file. Provenance: Juliet Man Ray, sold at Sotheby's 23 March 1995, lot 454.
A REMARKABLE ARCHIVE OF MAN RAY'S OWN WORKING PAPERS RELATING TO HIS AUTOBIOGRAPHY, including the corrected typescript, showing numerous substantial alternate readings and manuscript annotations, working notes, and a carbon with manuscript correction, from the collection of the dedicatee Juliet Man Ray. Man Ray himself produced the typescript, as the final manuscript note suggests: 'Typed by Man Ray 1960-1962'. The typescript, designated by Man Ray in various places as a 'first draft' or 'first copy' also reflects a change of structure from the original conception in three parts: 'The Painter', 'The Photographer', and 'The Painter' again, to four parts: 'New York', 'Paris', 'I Discover Hollywood', and 'Paris Again'. The carbon copy reflects these many changes, and additional manuscript corrections. The working notes collect sections of corrected typescript, including material later removed to avoid libel, manuscript notes relating to various episodes, including that on Picasso, and some correspondence with his editor finalising details (the dedication: 'For Juliet', the dust-jacket: 'use as pale a gold paper for the jacket as possible', etc.). One typed letter, signed, discusses material Man Ray felt he had to leave out from Self-Portrait, in particular relating to his first wife: 'I do not know how to treat Donna's defection and our separation unless I eliminate the whole episode, the most dramatic of my life'. Man Ray devotes the bulk of his autobiography to the twenty years he spent in Paris, a city to which he was drawn by the vivid descriptions of his friend Marcel Duchamp. Man Ray reached Paris in July 1921, quickly participated in the great Dada and Surrealist adventures, and his remarkable memoir is populated by numerous recollections of his friends and contemporaries: Picasso, Breton, Joyce, Dali, Tzara, Cocteau, Aragon, Eluard, Arp, Tanguy, Brancussi, Kiki and many others.
Special notice
This lot will be subject to VAT at the rate of 17.5% on the buyer's premium