Préface à un livre futur (Preface to a Future Book)
<p>Comte de Lautréamont was one of the most prominent literary ancestors of Surrealism. In 1930, Mary Reynolds rebound Lautréamont’s short text (which translates to “Preface to a Future Book”), utilizing masterful techniques she learned while working with expert bookbinder Pierre Legrain in Paris. This unique creation hovers between “sculpture” and “book” in its excessive binding choices. The front and back book boards are thick, nearly the same width as the book block (the pages that comprise the book itself). Impressed on the protruding spine as well as both book boards is Reynolds’ signature gilded lettering of the title and, strangely, both Lautreamont’s birth name, Isidore Ducasse, alongside his nom de plume. The cover is a hypnotic kaleidoscope of vellum, sealed with bright orange endpaper. The book’s binding makes it difficult to lay flat or even carry in a pocket, suggesting that Reynolds intended it to be displayed like an object or sculpture rather than read.</p>
Catalogue
- Year
- 1922
- Dimensions
- 16.5 × 9.8 × 1.3 cm (6 1/2 × 3 7/8 × 9/16 in.)
- Collection
- Art Institute of Chicago
- Artist
- Mary Reynolds
Artist
Textile
Mary Reynolds was an American artist and bookbinder active in Paris during the mid-twentieth century. Working primarily in hand-bound volumes and paper arts, she developed a distinctive practice that merged fine art with the craft tradition of bookbinding. Her work bridged Surrealist circles and the material culture of the book object itself. This profile will be expanded as more verified source material becomes available.
Full artist profile →More
More by 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
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
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
Le Foyer des artistes
1947 · One-quarter vellum binding, sides covered with red paper speckled with gold stars; original paper covers bound in
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
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
Record
Verified by Watts Index- Artist
- Mary Reynolds
- Year
- 1922
- Dimensions
- 16.5 × 9.8 × 1.3 cm (6 1/2 × 3 7/8 × 9/16 in.)
- Watts ID
- WW-1922-047751
Source
- Collection
- Art Institute of Chicago
- Source
- aic
- Reference
- View at source
- Status
- verified