Artworks · Mary Reynolds

Saint Glinglin: précédé d'une nouvelle version de Gueule de Pierre et des Temps mêlés: Roman (Saint Glinglin: Preceded by a New Version of Stone Mouth and Mingled Time)

1949 · Full green morocco binding; horizontal onlay across covers and spine; broken china teacup handle attached by onlay to spine; title stamped in gold on front cover; author stamped in gold on back cover; marbled endpapers; original paper covers bound in

20 × 15 × 3 cm (7 7/8 × 5 15/16 × 1 3/16 in.)

Art Institute of Chicago

Le Diable au corps: Roman

1947 · Chêneuarter vellum binding with green paper; morocco spine label with author and title stamped in gold; decorated endpapers; original paper covers bound in

H.: 19 cm (7 1/2 in.)

Art Institute of Chicago

Le Foyer des artistes

1947 · One-quarter vellum binding, sides covered with red paper speckled with gold stars; original paper covers bound in

H.: 19 cm (7 1/2 in.)

Art Institute of Chicago

Exercices de style

1947 · Quarter black calfskin binding with marbled paper; calfskin label on cover with title stamped in gold; author stamped in gold on spine; top edge colored; marbled endpapers; original paper covers bound in

H.: 19 cm (7 1/2 in.)

Art Institute of Chicago

Le surmâle: Roman moderne (Superman: A Modern Novel)

1945 · Full black morocco binding with onlay; metal corset stay attached to spine; title stamped in gold on spine; mauve endpapers printed with wire-mesh pattern; original paper covers bound in

22.3 × 13.7 × 2.2 cm (8 13/16 × 5 7/16 × 7/8 in.)

Art Institute of Chicago

Ubu cocu, restitué en son intégrité tel qu'il a été représenté par les marionnettes du Théâtre des Phynances (Ubu Cocu: Restored to Its integrity as It was Presented by the Puppets of the Théâtre des Phynances)

1944 · Fill tan calfskin with leather-covered cutouts; goatskin onlays spelling Ubu and Cocu; gold stamping; gold speckled, yellow endpapers

19 × 12.2 × 2.2 cm (7 1/2 × 4 13/16 × 7/8 in.)

Art Institute of Chicago

Loin de Rueil (Skin of Dreams)

1944 · Full red morocco binding with raised bands; author and title stamped in gold on spine; endpapers of trial proofs for Marcel Duchamp's 1935 cover of Minotaure; original paper covers bound in

H.: 19 cm (7 1/2 in.)

Art Institute of Chicago

Pierrot mon ami: Roman

1942 · Full blue morocco binding; author and title stamped in gold on spine; decorated covers and spine; original paper covers bound in

H.: 18 cm (7 1/8 in.)

Art Institute of Chicago

Les temps mêlés - Gueule de Pierre, II: Roman

1941 · Full tan morocco binding; gray inlays; author and title stamped in gold on spine; decorated endpapers; original paper covers bound in.

H.: 19 cm (7 1/2 in.)

Art Institute of Chicago

La machine à écrire: pièce en trois actes (The Typewriter: A Play in Three Acts)

1941 · Quarter vellum binding with white paper sides repeatedly stamped with an uppercase M in red and black; plain ivory endpapers; author and title stamped in gold on spine; original paper covers bound in

19.1 × 12.8 × 2.9 cm (7 9/16 × 5 1/16 × 1 3/16 in.)

Art Institute of Chicago

La fin du Potomak

1940 · One-quarter vellum binding; sides covered with gold-starred paper

H.: 19 cm (7 1/2 in.)

Art Institute of Chicago

Rrose Sélavy

1939 · Full sienna, pink, and beige goatskin with cotton cord, grey-card onlays with trial stamps of a typographic plate made for Duchamp's Box in a Valise. Endpapers printed in pochoir with fern-leaf pattern and hand-drawn insects in black ink

17.1 × 12.2 × 1.1 cm (6 3/4 × 4 13/16 × 7/16 in.)

Art Institute of Chicago

Le vrai visage du Marquis de Sade (The True Face of the Marquis de Sade)

1939 · Full goatskin with calfskin inlays; diagonal false bands on spine with gold stamping; black endpapers and black-painted top edge

21.1 × 13.1 × 3 cm (8 5/16 × 5 3/16 × 1 3/16 in.)

Art Institute of Chicago

Tropic of Capricorn

1939 · Fully bounded in leather with gray and maroon onlays; decorated end leaves; original covers bound in

H.: 20 cm (7 7/8 in.)

Art Institute of Chicago

Un rude hiver: Roman (A Hard Winter: Novel)

1939 · Full gray morocco binding; leather covered raised panel with glass thermometer inset on spine; author and title stamped in gold on spine; doublures with onlays; top edge gilt; original paper covers bound in

19 × 13 × 2.5 cm (7 1/2 × 5 1/8 × 1 in.)

Art Institute of Chicago

Les parents terribles: Pièce en trois actes (The Terrible Parents: A play in three acts)

1938 · Quarter vellum binding with Cockerell marbled paper; marbled endpapers; original paper covers bound in; inscription and drawing in graphite on half-title by Cocteau

H.: 18 cm (7 1/8 in.)

Art Institute of Chicago

Les Enfants du limon: Roman (Children of Clay: Novel)

1938 · Bound in combination full morocco leather with gold lettering, leather doublure margins; marbled paper end leaves; original covers bound in

H.: 19 cm (7 1/2 in.)

Art Institute of Chicago

Les Mains libres: Dessins de Man Ray, illustrés par les poèmes de Paul Éluard (Free Hands: Drawings illustrated by the poems of Paul Éluard)

1937 · Full tan morocco binding; leather gloves onlaid on front and back covers; author and title stamped in palladium on spine; doublures; silk endpapers; top edge gilt; original paper covers bound in

28.8 × 23 × 4.3 cm (11 3/8 × 9 1/16 × 1 3/4 in.)

Art Institute of Chicago

Les chevaliers de la table ronde: Pièce en trois actes (The Knights of the Roundtable: A play in three acts)

1937 · Quarter vellum with white paper decorated with fleurs-de-lis; endpapers decorated with gold fleurs-de-lis; title stamped in gold on spine; original paper covers bound in; inscription and pen and ink drawing by Cocteau

H.: 19 cm (7 1/2 in.)

Art Institute of Chicago

Ubu enchainé (Ubu Enchained)

1937 · Full tan calfskin with leather-covered cutouts; goatskin onlays spelling Ubu; gold stamping; gold-speckled, yellow endpapers

19 × 12.2 × 2.2 cm (7 1/2 × 4 13/16 × 7/8 in.)

Art Institute of Chicago

Chêne et chien: roman en vers

1937 · Full goatskin with dotted-blue-calfskin onlays and gold stamping; tan wove endpapers speckled with gold leaf

H.: 19 cm (7 1/2 in.)

Art Institute of Chicago

Odile: Roman

1937 · Full black calfskin binding; horizontal vellum onlay; title in black ink on front cover; author's name in black ink on back cover; Japanese endpapers; original paper covers bound in

19.5 × 12.5 × 2.5 cm (7 11/16 × 4 15/16 × 1 in.)

Art Institute of Chicago

Les yeux fertiles (Fertile Eyes)

1936 · Full ostrich with gold stamping on black calfskin; gold-speckled lilac endpapers; original paper covers bound in

12.5 × 19.3 × 2.5 cm (4 15/16 × 7 5/8 × 1 in.)

Art Institute of Chicago

Mon premier voyage: Tour du monde en 80 jours (My first voyage: Around the world in 80 days)

1936 · Quarter vellum with gold stamping; paper-map sides and endpapers; original paper covers bound in

H.: 19 cm (7 1/2 in.)

Art Institute of Chicago

Les Derniers jours: Roman (The Last Days: Novel)

1936 · Full black calfskin with raised bands and gold stamping; agate-marbled laid paper endpapers

H.: 19 cm (7 1/2 in.)

Art Institute of Chicago

Ubu roi: Drame en cinq actes (King Ubu: A Play in Five Acts)

1935 · Full tan morocco binding; boards die cut in the shape of U; onlays on spine in shape of B; black silk endleaves; crown stamped in gold on front endleaf; author stamped in gold on back endleaf; gilt edges; original paper covers bound in

16.8 × 13.5 × 2.8 cm (6 5/8 × 5 3/8 × 1 1/8 in.)

Art Institute of Chicago

Gueule de Pierre

1934 · Full brown morocco binding with die cut on front cover; title stamped in gold on cover; author stamped in gold on spine; decorated endpapers; doublures; top edge gilt; original paper covers bound in

H.: 19 cm (7 1/2 in.)

Art Institute of Chicago

La machine infernale: pièce en 4 actes

1934 · Full vellum binding, wine-colored morocco label with gold lettering on spine; vellum end leaves; original paper covers bound in

H.: 19 cm (7 1/2 in.)

Art Institute of Chicago

Night-flight

1932 · Full navy, vegetable-tanned sheepskin; endpapers of trial proofs for Marcel Duchamp's 1935 cover of Minotaure

H.: 17 cm (6 3/4 in.)

Art Institute of Chicago

Secrets de la jungle (Jungle Ways)

1931 · Quarter morocco binding with brown paper; reptile-skin inlays; author and title stamped in gold on spine; original paper covers bound in

19 × 13 × 2.5 cm (7 1/2 × 5 1/8 × 1 in.)

Art Institute of Chicago

Les 120 journées de Sodome, ou L'école du libertinage (The 120 Days of Sodom, or The School of Libertinage)

1931 · Two books in three volumes with slipcase

slipcase: 11 1/4 × 9 × 3 7/16" (28.5 × 22.8 × 8.8 cm);

Museum of Modern Art

La science de Dieu ou La création de l'homme (The Science of God, or The Creation of Man)

1930 · Heavy boards covered with calf, green outside and black inside; on the front and back are onlays of frogskin; inside boards are reinforced with secondary boards in green with gold lettering, with facing leaves of decorated paper simulating frog skin; the spine is black calf with vertical lines in blind stamping; original paper covers bound in

20.5 × 18.4 × 4.4 cm (8 1/8 × 7 1/4 × 1 3/4 in.)

Art Institute of Chicago

La voix humaine: pièce en un acte

1930 · Quarter binding in vellum, sides and end papers covered with paper printed with a black and white design in pochoir with paper; author and title stamped in gold on spine; original paper covers bound in

19.1 × 12.2 × 1.5 cm (7 9/16 × 4 13/16 × 5/8 in.)

Art Institute of Chicago

Jean Crotti

1930 · One-half snake skin with sides and end leaves covered with dark blue paper with Jean Crotti's name and silver paper panel; partial tinfoil lining of inside front cover; original paper covers bound in

H.: 28 cm (11 1/16 in.)

Art Institute of Chicago

Prolégomènes a une ethique sans métaphysique ou, Billy, bull-dog et philosophe (Prolegomena to an ethic without metaphysics, or, Billy, bulldog and philosopher)

1930 · Fully bounded in leather; title and author stamped across covers and spine in palladium, white Japan paper end leaves; original covers bound in

H.: 24 cm (9 1/2 in.)

Art Institute of Chicago

Le rouge et le blanc (Lucien Leuwen): Roman posthume (1834-1836)

1929 · Vol. 1: full red morocco binding; "sten" stamped in gold on spine; decorated endpapers; top edge gilt; Vol. 2: full vellum binding; "dhal" stamped in gold on spine; decorated endpapers; top edge gilt; Paper-covered slipcase with morocco trim; lined with felt

H.: 19 cm (7 1/2 in.)

Art Institute of Chicago

Êtes-vous fous?

1929 · One-half brown Nigerian goat skin, marbled paper end leaves; three protruding panels with title in gold tooling on spine; original paper covers bound in

H.: 19 cm (7 1/2 in.)

Art Institute of Chicago

Hebdomeros: le paintre et son génie chez l'écrivain Hebdomeros: le paintre et son génie chez l'écrivain (Hebdomeros: The Painter and his Genius as Writer)

1929 · Full leather with fluted spine and white- and black-goatskin onlays; orange silk endpapers, emerald and terracotta goatskin doublures, top edge gilt; paper-covered slipcase with goatskin trim and felt lining

20.2 × 18.5 × 3.7 cm (8 × 7 5/16 × 1 1/2 in.)

Art Institute of Chicago

Antigone: Les mariés de la Tour Eiffel

1928 · One-quarter vellum binding, sides covered with white paper speckled with stamped blue stars; author and title stamped in gold on spine; original paper covers bound in

H.: 19 cm (7 1/2 in.)

Art Institute of Chicago

Maison de santé

1926 · Full vellum binding with star-shaped cutouts on front and back covers with black threads; title on front cover in black ink; author stamped in gold on spine; maroon endpapers; original paper covers bound in

28.8 × 22.1 × 1.5 cm (11 3/8 × 8 3/4 × 5/8 in.)

Art Institute of Chicago

Dessins (Drawings)

1924 · Full vellum with gold stamping on black-calfskin label; wine-colored, glazed-paper endpapers; inscription and drawing by Cocteau

H.: 29 cm (11 7/16 in.)

Art Institute of Chicago

La Révolution surréaliste

1924 · Half black morocco binding with paper; title stamped in gold on spine; top edge gilt; decorated endpapers; original paper covers bound in

H.: 29 cm (11 7/16 in.)

Art Institute of Chicago

Gestes et opinions du Docteur Faustroll, pataphysicien (Exploits and Opinions of Doctor Faustroll, Pataphysician)

1923 · Full brown leather embossed in a herringbone pattern, with black calfskin-covered, die-cut panels; gold stamping; and inlaid perforated copper sheets; green glassine endpapers and gilt edges; original paper covers bound in

14.5 × 10.5 × 1.7 cm (5 3/4 × 4 3/16 × 11/16 in.)

Art Institute of Chicago

Thomas l'imposteur: histoire (Thomas the impostor: a story)

1923 · Quarter vellum with blue-paper sides and endpapers decorated with gold stars

H.: 19 cm (7 1/2 in.)

Art Institute of Chicago

Préface à un livre futur (Preface to a Future Book)

1922 · Full vellum binding with thick boards; author and title stamped in gold on spine; orange endpapers; gilt edges; original paper covers bound in

16.5 × 9.8 × 1.3 cm (6 1/2 × 3 7/8 × 9/16 in.)

Art Institute of Chicago

Ulysses

1922 · Full blue morocco binding; raised bands; author and title stamped in gold on spine; doublures; top edge gilt; maps used as endpapers; original paper covers bound in; Slipcase covered with maps; leather borders; lined with cloth

H.: 23 cm (9 1/16 in.)

Art Institute of Chicago

Carte blanche: articles parus dans Paris-midi du 31 mars au 11 août 1919

1920 · Full vellum binding; green, silver-speckled end leaves

H.: 19 cm (7 1/2 in.)

Art Institute of Chicago

Un Coup de dés jamais n'abolira le hasard: Poème

1914 · Fully bound in leather, title and author written across leather covers and spine in palladium and blind lettering; decorated end leaves; original paper covers bound in

H.: 34 cm (13 7/16 in.)

Art Institute of Chicago