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Artworks
Le surmâle: Roman moderne (Superman: A Modern Novel)
Mary Reynolds
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 · 1945
Art Institute of Chicago
Loin de Rueil (Skin of Dreams)
Mary Reynolds
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 · 1944
Art Institute of Chicago
Rrose Sélavy
Mary Reynolds
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 · 1939
Art Institute of Chicago
Les Enfants du limon: Roman (Children of Clay: Novel)
Mary Reynolds
Bound in combination full morocco leather with gold lettering, leather doublure margins; marbled paper end leaves; original covers bound in · 1938
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)
Mary Reynolds
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 · 1937
Art Institute of Chicago
Ubu roi: Drame en cinq actes (King Ubu: A Play in Five Acts)
Mary Reynolds
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 · 1935
Art Institute of Chicago
La machine infernale: pièce en 4 actes
Mary Reynolds
Full vellum binding, wine-colored morocco label with gold lettering on spine; vellum end leaves; original paper covers bound in · 1934
Art Institute of Chicago
Night-flight
Mary Reynolds
Full navy, vegetable-tanned sheepskin; endpapers of trial proofs for Marcel Duchamp's 1935 cover of Minotaure · 1932
Art Institute of Chicago
La science de Dieu ou La création de l'homme (The Science of God, or The Creation of Man)
Mary Reynolds
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 · 1930
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)
Mary Reynolds
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 · 1929
Art Institute of Chicago
Gestes et opinions du Docteur Faustroll, pataphysicien (Exploits and Opinions of Doctor Faustroll, Pataphysician)
Mary Reynolds
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 · 1923
Art Institute of Chicago
Un Coup de dés jamais n'abolira le hasard: Poème
Mary Reynolds
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 · 1914
Art Institute of Chicago