Les Enfants du limon: Roman (Children of Clay: Novel)
<p>Raymond Queneau wove eight years of researching literary “madmen” into his novel<em>Children of Clay</em> by describing their philosophies, phonetic speech patterns, and whimsical personalities juxtaposed with the mundanity of everyday life. Mary Reynolds, riffing on this theme, used two different colors of leather for the front and back covers. Running down the middle of the spine is a strip of stark black leather, which gives the impression of two separate books.</p> <p>Reynolds placed Queneau’s name directly in the center of the spine, so that the “N” of “Queneau” is positioned exactly over the black leather band. Reynolds thus made sure that Queneau is at the center of the story, hidden between the lines yet celebrated all the same.</p>
Catalogue
- Year
- 1938
- Dimensions
- H.: 19 cm (7 1/2 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
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 Mains libres: Dessins de Man Ray, illustrés par les poèmes de Paul Éluard (Free Hands: Drawings illustrated by the poems of Paul Éluard)
1937 · 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
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
- 1938
- Dimensions
- H.: 19 cm (7 1/2 in.)
- Watts ID
- WW-1938-047740
Source
- Collection
- Art Institute of Chicago
- Source
- aic
- Reference
- View at source
- Status
- verified