List of figures
in Surrealist sabotage and the war on work

Figures

0.1 Man Ray, Paris Surrealist Group, cover of La Révolution surréaliste 4 (15 July 1925). © CNAC / MNAM / Dist. RMN-Grand Palais / Art Resource, New York. 2
0.2 Ralph Chaplin (Bingo), Don’t Wear Sabots; It Hurts the Snake. Solidarity (7 April 1917). Courtesy of Industrial Worker and Industrial Workers of the World. 9
2.1 Man Ray, Paris Surrealist Group, cover of La Révolution surréaliste 1 (1 December 1924). © Man Ray 2015 Trust / ADAGP – DACS – 2020, Telimage, Paris. 51
2.2 Man Ray, the surrealists at the Centrale surréaliste, 1924. Left to right: Jacques Baron, Raymond Queneau, Pierre Naville, André Breton, Simone Breton, Jacques-André Boiffard, Max Morise, Giorgio de Chirico, Mick Soupault, Roger Vitrac, Paul Éluard, Philippe Soupault, Robert Desnos, Louis Aragon. Published on the cover of La Révolution surréaliste 1 (1 December 1924). Gelatin silver negative on glass. 9 × 12 cm. © Man Ray 2015 Trust / ADAGP – DACS – 2020, Telimage, Paris. © Man Ray 2015 Trust / Artists Rights Society (ARS), New York / ADAGP, Paris [2021]. 52
2.3 Man Ray, the surrealists at the Centrale surréaliste, 1924. Left to right: Jacques Baron, Raymond Queneau, Pierre Naville, André Breton, Simone Breton, Jacques-André Boiffard, Max Morise, Giorgio de Chirico, Mick Soupault, Roger Vitrac, Paul Éluard, Philippe Soupault, Robert Desnos, Louis Aragon. Gelatin silver negative on glass. 9 × 12 cm. Image courtesy of Association Atelier André Breton, https://www.andrebreton.fr/. © Man Ray 2015 Trust / Artists Rights Society (ARS), New York / ADAGP, Paris [2021]. 54
2.4 Man Ray, the surrealists at the Centrale surréaliste, 1924. Left to right: Max Morise, Roger Vitrac, Simone Breton, Jacques-André Boiffard, Paul Éluard, André Breton, Pierre Naville, Robert Desnos, Giorgio de Chirico, Philippe Soupault, Jacques Baron. Gelatin silver negative on glass. 9 × 12 cm. © Man Ray 2015 Trust / ADAGP – DACS – 2020, Telimage, Paris. © Man Ray 2015 Trust / Artists Rights Society (ARS), New York / ADAGP, Paris [2021]. 54
2.5 Simone Breton, Cahier de la Centrale surréaliste, 1924–25, typed transcript, p. 33. Association Atelier André Breton, https://www.andrebreton.fr/. 68
2.6 Unknown artist, untitled photograph. Published alongside ‘Le Bureau de recherches surréalistes’, La Révolution surréaliste 2 (15 January 1925): 31. Public domain. 74
2.7 Hélène Smith, text no. 28 (8 October 1898): Martian language copied under visual hallucination. Published in Théodore Flournoy, Des Indes à la planète Mars: étude sur un cas de somnambulisme avec glossolalie (1899). Public domain. 77
2.8 Example of Prévost–Delaunay stenography. Ernest Olriau, Cours élémentaire et supérieur de sténographie (Paris: Berger-Levrault, 1917), 66. Author’s collection. Public domain. 77
2.9 Unknown artist, untitled postcard photograph, c. early 1920s. 7.6 × 12.7 cm. Author’s collection. Public domain. 79
2.10 Albert W. Barbelle, Weegee (Ouija) Weegee (Ouija) Tell Me Do. 1920. Illustration for sheet music booklet. Music by Harry Von Tilzer; lyrics by William Gerome. Public domain. 86
2.11 Roger de Valerio, La Dac-Dac-Dactylo! 1924. Illustration for sheet music booklet. Music by Charles Borel-Clerc, Albert Willemetz and Jacques-Charles. Public domain. 88
2.12 Cover of La Révolution surréaliste 9–10 (1 October 1927). Courtesy of the Salvador Dalí Museum. 89
2.13 Albert Wyndham, untitled photograph, c.1920. 13.5 × 18.6 cm. Public domain. 90
2.14 Man Ray, Gisèle Prassinos reading her poems to the surrealists, 1935. Published in Gisèle Prassinos, La Sauterelle arthritique (The Arthritic Grasshopper), 1935. Left to right: Mario Prassinos, André Breton, Henri Parisot, Paul Éluard, Benjamin Péret, René Char, Gisèle Prassinos. Vintage gelatin silver print. 8 × 10.9 cm. © Man Ray 2015 Trust / ADAGP – DACS – 2020, Telimage, Paris. © Man Ray 2015 Trust / Artists Rights Society (ARS), New York / ADAGP, Paris [2021]. 92
2.15 André Breton, Self-Portrait: Automatic Writing or L’Écriture automatique, 1930. Photocollage. 26.5 × 23.5 cm. The Vera and Arturo Schwartz Collection of Dada and Surrealist Art, The Israel Museum, Jerusalem. Photo © Israel Museum, Jerusalem by Avshalom Avital. © 2020 Artists Rights Society (ARS), New York / ADAGP, Paris. 94
3.1 Arthur Harfaux, untitled photograph of a demonstration by the Comité de Vigilance des Intellectuels Antifascistes, Paris, 12 February 1934. Association Atelier André Breton, https://www.andrebreton.fr/. 111
3.2 Bulletin international du surréalisme 1, April 1935. Detail featuring front page with Jindřich Štyrský’s collage, Le Rêve, 1935. Collage dimensions unknown. Association Atelier André Breton, https://www.andrebreton.fr/. 121
3.3 Unknown artist, Illustration of ‘Le Mécanisme d’une machine à coudre’, Almanach Hachette (1922), 97. Author’s collection. Public domain. 124
3.4 Man Ray, L’Énigme d’Isidore Ducasse, 1920. Gelatin silver print. 57.5 × 59 cm, photograph of a dismantled construction published in La Révolution surréaliste 1 (December 1924): 1. © Man Ray 2015 Trust / ADAGP – DACS – 2020, Telimage, Paris. © Man Ray 2015 Trust / Artists Rights Society (ARS), New York / ADAGP, Paris [2021]. 142
3.5 Joseph Cornell, Untitled, 1931. Collage. 13.3 × 20.6 cm. ‘The Pulse of Fashion’, Harper’s Bazaar (February 1937), 45. In Richard Martin, Fashion and Surrealism (New York: Rizzoli, 1987), 15. © 2020 The Joseph and Robert Cornell Memorial Foundation / Licensed by VAGA at Artists Rights Society (ARS), New York. 143
3.6 Salvador Dalí, Les Chants de Maldoror (Paris: Albert Skira, 1934). The untitled plate facing page 92; one from an illustrated book with 42 photogravure and drypoints after celluloid engravings. Image: 22.4 × 17.2. © 2020 Salvador Dalí, Fundació Gala-Salvador Dalí, Artists Rights Society. 144
3.7 Man Ray, Méret Oppenheim and Louis Marcoussis. Érotique-voilée series, 1933. Ferrotyped gelatin silver print. Image/sheet: 12.8 × 17.2 cm. © Man Ray 2015 Trust / ADAGP – DACS – 2020, Telimage, Paris. © Man Ray 2015 Trust / Artists Rights Society (ARS), New York / ADAGP, Paris [2021]. 146
3.8 Salvador Dalí, Le Phénomène de l’extase, 1933. Photocollage. 27 × 18.5 cm. Minotaure 3–4 (14 December 1933): 77. © CNAC/MNAM/Dist. RMN-Grand Palais / Art Resource, New York; Dalí, Salvador (1904–1989) © ARS, New York. © 2020 Salvador Dalí, Fundació Gala-Salvador Dalí, Artists Rights Society (ARS). 148
3.9 Jules Chéret, Avantages nouveaux machines à coudre de la Cie. “Singer” de New York, depuis 115 francs, payables 3 Fr. par semaine, au comptant prix 100 francs … 1876. Detail of central panel. Lithograph. 125 × 90 cm. Photo courtesy of Bibliothèque nationale de France. Public domain. 151
3.10 Óscar Domínguez, Lion-bicyclette (Lion-bicycle), 1937. Decalcomania, gouache and stencil on paper. 15.8 × 22.3 cm. AM1975-79. Photo: Georges Meguerditchian. Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France. © CNAC / MNAM / Dist. RMN-Grand Palais / Art Resource, New York. © 2020 Artists Rights Society (ARS), New York / ADAGP, Paris. 153
3.11 Óscar Domínguez, Dactylo, 1935. Location and dimensions unknown. © 2020 Artists Rights Society (ARS), New York / ADAGP, Paris. 157
3.12 Óscar Domínguez, Trois femmes, 1950. Oil on wood. 100 × 81 cm. Private collection, Paris. © 2020 Artists Rights Society (ARS), New York / ADAGP, Paris. 158
3.13 Óscar Domínguez, Souvenir de l’avenir, 1938. Oil on canvas. 61 × 50 cm. Private collection, Paris. © 2020 Artists Rights Society (ARS), New York / ADAGP, Paris. 159
3.14 Denise Bellon, View of the Main Hall of the International Surrealist Exhibition During Installation – in the Foreground the Object ‘Jamais’ by Óscar Domínguez, Paris, 1938. Gelatin silver print. Image: 18 × 17.2 cm; paper: 24 × 18.3 cm. Also pictured: Salvador Dalí’s Visage du grand masturbateur (1929) and Marcel Duchamp’s installation with coal sacks and brazier. Work in the foreground: Óscar Domínguez, Jamais, 1937. Mixed media. 58 × 80 × 40 cm. Private Collection. Akg-images / Denise Bellon. 163
3.15 Óscar Domínguez, Le Souvenir de l’avenir, 1938. India ink on paper. 19.6 × 13.8 cm. Illustration for André Breton, ‘Accomplissement onirique et genèse d’un tableau animé’, Cahiers G.L.M. 7, Paris (March 1938). Also used as an illustration for ‘Les Revenants futurs’, a poem by Georges Hugnet in André Breton, La Trajectoire du rêve (Septième cahier, Paris, 1938), 103. © 2020 Artists Rights Society (ARS), New York / ADAGP, Paris. 164
3.16 Méret Oppenheim, Ma gouvernante, 1936–67. Metal plate, shoes, string, paper. 14 × 33 × 21 cm. Photo courtesy of Moderna Museet. © 2020 Artists Rights Society (ARS), New York / ProLitteris, Zurich. 165
3.17 Man Ray, Model wearing Vionnet evening gown with ‘Brouette’ by Óscar Domínguez, 1937. Gelatin silver print on paper. Victoria and Albert Museum. © Man Ray 2015 Trust / Artists Rights Society (ARS), New York / ADAGP, Paris [2021]. 167
4.1 Torvald Faegre, ‘I’m Organized, Are You?’, The Rebel Worker 1 (May Day 1964). Photograph by Andrew Wilson, London. Courtesy of Penelope Rosemont. 184
4.2 Walker C. Smith, Sabotage: Its History, Philosophy & Function (1913; IWW Publishing Bureau). Cover art by Ralph Chaplin, 1913. Reprint, Chicago: Black Swan Press, c.1968. Courtesy of Penelope Rosemont. Chaplin image Courtesy of Industrial Worker and Industrial Workers of the World. 189
4.3 Torvald Faegre, cover for the publication of Paul Lafargue, The Right to Be Lazy, trans. Charles H. Kerr, 2nd ed. (1883; Chicago: Solidarity Publications, 1969). Courtesy of Penelope Rosemont. 201
4.4 Franklin Rosemont, Protest, ‘Surrealist Exhibition’, Gallery Bugs Bunny, Chicago, 27 October–8 December 1968. 24.13 × 43.18 cm. Joseph A. Labadie Collection, University of Michigan Library. Courtesy of Penelope Rosemont. 204
4.5 Allen Koss, photograph of Franklin Rosemont with his assemblage, 1968. Rosemont assemblage: Homage to the White-Haired Revolver, 1968. Mixed media, location and dimensions unknown. ‘Surrealist Exhibition’, Gallery Bugs Bunny, Chicago, 27 October–8 December 1968. Joseph A. Labadie Collection, University of Michigan Library. Courtesy of Penelope Rosemont. 205
4.6 Unknown photographer, ‘Surrealist Exhibition’, Gallery Bugs Bunny, Chicago, 27 October–8 December 1968. Centre: Robert Green, Blue Barrelled Assumption, 1968. Mixed media, dimensions unknown, destroyed. Courtesy of the Robert Green Collection. 206
4.7 Franklin Rosemont, untitled photograph, 1968. Barbara’s Bookstore in Chicago, showing copies of Franklin Rosemont’s chapbook, Morning of a Machine Gun, 1968, and Robert Green’s assemblage, Long Before You Were Born, 1968. Mixed materials, location and dimensions unknown. Courtesy of Penelope Rosemont. 207
4.8 Unknown photographer, ‘Surrealist Exhibition’, Gallery Bugs Bunny, Chicago, 27 October–8 December 1968. Robert Green, Postman, 1968. Mixed media, dimensions unknown, destroyed. Courtesy of the Robert Green Collection. 208
4.9 Alan Koss, three assemblages by Robert Green and artworks by other artists. ‘Surrealist Exhibition’, Gallery Bugs Bunny, Chicago, 27 October–8 December 1968. Left: Robert Green, Blue Barrelled Assumption, 1968. Mixed materials, location and dimensions unknown. Bottom centre: Robert Green, Long Before You Were Born, 1968. Mixed materials, location and dimensions unknown. Top centre: Robert Green, Postman, 1968. Mixed materials, location and dimensions unknown. Joseph A. Labadie Collection, University of Michigan Library. Courtesy of Penelope Rosemont. 209
4.10 Franklin and Penelope Rosemont, eds, Radical America: Special Issue, Surrealism in the Service of the Revolution 4 (January 1970). Cover art: copy of a 1937 drawing by Toyen. Originally published in Toyen, Les Spectres du désert, with texts by Jindřich Heisler (Paris: Albert Skira Editions, 1939). Author’s collection. Courtesy of Penelope Rosemont. 212
4.11 Guy Ducornet, untitled photograph. Left to right: Penelope Rosemont, John Simmons, Herbert Marcuse. The Second TELOS International Conference, 18–21 November 1971, State University of New York, Buffalo. Joseph A. Labadie Collection, University of Michigan Library. Courtesy of Penelope Rosemont. 214
4.12 Radovan Ivšić, Jean-Claude Silbermann’s Le Consommateur (L’Écart absolu exhibition, Galerie de l’Œil, Paris, 1965–66), 1965. Photograph. 18 × 24 cm. Association Atelier André Breton, https://www.andrebreton.fr/. 242

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