
Les Mains libres: Dessins de Man Ray, illustrés par les poèmes de Paul Éluard (Free Hands: Drawings illustrated by the poems of Paul Éluard)
<p>This sizable binding is a notable example of Mary Reynolds’s skill and humor. Impressed along the spine is the title and artists’ names in silver, surrounded by smooth warm-tone leather. A pair of bisected women’s gloves interrupts the continuous feel of the cover. Cut vertically down the seam, the gloves are laid flush against the surface, nearly flat. Even the thumb has been so expertly pressed that it is nearly two dimensional. The gloves, left on the front cover and right on the back, are positioned where one would place their hands in order to open the book. The gesture compounds the meaning of the work as an art object, with Reynolds contributing her handiwork— quite literally—to augment the drawings of Man Ray and poems of Éluard.</p> <p>Reynolds’s bookmaking artistry doesn’t stop at the onlay of the gloves. She utilized a technique called “doubleure,” in which the lining of a book is inlaid within the front and back covers. Conventionally a means to protect ornate illustrations from environmental degradation, here Reynolds chose a rough, sponge-like material that contrasts harshly against the silk used for the endpapers, creating a juxtaposition of textures.</p> <p>With this binding, Reynolds may have been inspired by a Surrealist practice called an<br><a href="https://www.artic.edu/collection?q=%22exquisite%20corpse%22"><em>"exquisite corpse"</em></a>, a drawing exercise that consists of passing a piece of paper between three or four artists. Each artist makes a unique image and then folds the paper in a specific way to hide their rendering. After the final artist contributes, the page is unfolded to reveal an entirely strange sequence of disjunctive figures and forms. The one of a kind sculptural adaptation of <em>Les Mains</em> began its existence as a set of drawings (by Man Ray) that were passed to a poet (Eluard), and then to a bookbinder (Reynolds). Each artist evolved the piece in a fashion reflective of their talents. In the process, an utterly unique product took form that reflects the friendship, humor and co-creation that characterized the artists’ social group.</p>
Catalogue
- Year
- 1937
- Dimensions
- 28.8 × 23 × 4.3 cm (11 3/8 × 9 1/16 × 1 3/4 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.
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More by Mary Reynolds
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
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
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
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
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
Record
Verified by WattsOS- Artist
- Mary Reynolds
- Year
- 1937
- Dimensions
- 28.8 × 23 × 4.3 cm (11 3/8 × 9 1/16 × 1 3/4 in.)
- Watts ID
- WW-1937-047797
Source
- Collection
- Art Institute of Chicago
- Source
- aic
- Reference
- View at source
- Status
- verified





