First limited hardcover edition of this wonderful Unica Zürn (1916-1970) collection of artworks. Beautifully produced, profusely illustrated, and long out-of-print, this rare volume is still one of the most cherished and comprehensive collections of Zürn's artwork ever published. This lovely limited-edition survey collects together her drawings done between 1954 and 1967, 300 drawings almost all unpublished, facsimiles of her sketch-books, and reproductions of her highly-collectible artist books produced throughout her life (Hexentexte, Oracles et Spectacles, etc.), all accompanied by bibliographic information, making it a invaluable reference. Illustrated introduction by publisher Erich Brinkmann. Texts in bi-lingual German and English.

The German artist and writer Unica Zurn (1916-1970) joined the ranks of Surrealism in the 1950s, after moving to Paris and taking up residence with the German-born Surrealist Hans Bellmer. Drawn to the movement's espousal of automatic drawing and writing, Zurn pursued Henri Michaux's declaration that "the hand dreams," making a vocation of these techniques with drawings and paintings that are labyrinthine in detail, as one form sprouts out of another. Zurn has left us an account of the sensation of automatic drawing: "After an initial moment when the pen 'swims' hesitantly on the paper, she discovers the place assigned to the first eye. It is only when she is being watched from the depths of the paper that she begins to get her bearings and, effortlessly, one motif is added to another." This lovely limited-edition survey reproduces drawings done between 1954 and 1967.

The German artist and writer Unica Zürn (1916-1970) joined the ranks of Surrealism in the 1950s, after moving to Paris and taking up residence with fellow German-born Surrealist Hans Bellmer. Already an accomplished author, Zürn was drawn to the Surrealist movement's espousal of automatic drawing and writing, Zürn pursued Henri Michaux's declaration that "the hand dreams," making a vocation of these techniques with her dense, otherworldly drawings and paintings that are labyrinthine in detail, as one form sprouts out of another. Also with her experimental anagrams, natural extensions of her established interest in hidden meanings and coincidences. Zürn produced most of her oeuvre during this intensive period in the 1950s and 60s, though one marked by her deteriorating mental health. Many of her works were made during periods of hospitalisation. In 1970, Zürn leapt to her death from the balcony of the Paris apartment she had shared with Bellmer. Upon his death in 1975, Bellmer was buried, at his request, next to Zürn in Paris’s Père-Lachaise Cemetery. Their grave is marked with the words Bellmer wrote for Zürn’s funeral wreath nearly five years before: “My love will follow you into Eternity.”

Zürn has left us an account of the sensation of automatic drawing: "After an initial moment when the pen 'swims' hesitantly on the paper, she discovers the place assigned to the first eye. It is only when she is being watched from the depths of the paper that she begins to get her bearings and, effortlessly, one motif is added to another."

Very Good copy, light wear.

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