ars libri, ltd.
art · architecture
· archaeology · photography · decorative
arts
Catalogue 117-N:
Modern
Art:
Rarities of the
Avant-Garde
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- 1
- (AALTO, ALVAR)
- Huonekalu-Ja
Rakennustyötehdas O.Y., Turku. (25)ff. 26 halftone illus.
Oblong 8vo. Self-wraps., secured with clips, as issued. The
manufacturer’s promotional catalogue of Alvar Aalto’s
classic furniture designs in laminated wood, including chairs of
all kinds as well as stools, occasional tables.
- Turku, 1933. $350.00
-
- 2
- (AALTO, ALVAR)
- Stylclair: ses meubles souples en
bois. (6)pp. 10 halftone illus. Cover design attributed to Herbert
Bayer. Oblong 8vo. Dec. self-wraps. Featuring some of Alvar
Aalto’s best-known designs for bentwood chairs, chaises,
stools and tables, including the earliest use of laminated wood in
cantilevered furniture.
- Lyon/Paris (Stylclair), ca. 1934.
$350.00
-
- 3
- ABSTRACTION -
CRÉATION
- Association fondée le 15
février 1931 pour l’organisation de manifestations
d’art non figuratif. Président: Herbin.
Vice-Président: Vantongerloo.
Secrétaire-Trésorier: Hélion. Membres: Arp,
Gleizes, Kupka, Tutundjian, Valmier. A file of 9 ephemera of the
Association and its publications. 9ff. Formats vary. Contents as
follows: Statutes (with listing of directors); membership form;
letterhead stationery (boldly printed in red); order forms for
Cahiers 1 (perforated descriptive card), 2 and 4 (flyers), and for
monographs on Delaunay and Gleizes (flyers); and invitation card
to the 6th group show, May 1934 (card).
- Paris, 1931-1934.
$300.00
-
- 4
- AD4
- A collection of original works
prepared in the year 1972/ A.D. 4 (Four Years After Duchamp). By
Robin Crozier (Sunderland), Ken Friedman (San Diego), Jochen Gerz
(Paris), Dick Higgins (Vermont), Barry McCallion (Claremont,
Calif.), Michael Morris (Vancouver), Tom Phillips (London), Ann
Williams (Hollywood), Emmett Williams (Hollywood), Ben Vautier
(Nice). 1f., 10 original graphics in various forms, each signed
and numbered by the artist. Folio. Portfolio, of corrugated
cardboard with printed title/justification label mounted on top
cover. All contents loosely inserted, as issued. One of 10
numbered copies, from the limited edition of 22 in all (including
12 lettered copies hors commerce). "All proceeds from the sale of
this collection have been used to help sustain the artists’
magazine ‘Pages,’ editor David Briers." The
contributions include an original drawing and collage by Crozier,
a composition in colored markers and coffeestains by Tom Phillips,
and a handwritten statement in pencil by Ben Vautier. The
preliminary leaf contains quoted remarks by the artists, as a
guide to the collection.
- N.p., 1972. $900.00
-
- 5
- ALBERT-BIROT,
PIERRE
- Trente et un poèmes de
poche. Préface de Guillaume Apollinaire. (58)pp. Sm. 8vo.
Wraps. One of 80 numbered copies on bouffant, from the limited
edition of 135 in all. Apollinaire’s
"Poèmepréfaceprophétie" is a whimsical verse
in five numbered stanzas, beginning "Pierre Albert-Birot est une
sorte de pyrogène/ Si vous voulez enflammer des allumettes/
Frottez-les donc sur lui/ Elle ont des chances de prendre/ Trop
peu de pyrogènes aujourd’hui/ Mais je ne dis rien des
allumettes." "Like Guillaume Apollinaire, Albert-Birot was an
ingenious practitioner of the calligramme, which has a long
history in French literature, through Mallarmé all the way
back to Rabelais and beyond. ‘I walked across Futurism,
Cubism, Dadaism, but I am neither futurist nor cubist, dadaist nor
surrealist,’ Albert-Birot wrote in 1928" (Carlton Lake). One
of the key books in Albert-Birot’s oeuvre.
- Paris (Editions "SIC"), 1917.
$850.00
- Biro/Passeron p.
14
-
- 6
- ALBERT-BIROT,
PIERRE
- La joie des sept couleurs.
Poème orné de cinq poèmes-paysages
hors-texte, le tout composé en 1918. (2), 80, (2)pp., 5
calligrammatic plates. Lrg. 8vo. Wraps. One of 120 numbered copies
on uncut Arches, from the limited edition of 124 in all. A fine
copy.
- Paris (Editions "SIC"), 1919.
$850.00
- Andel 76
-
- 7
- ALBERT-BIROT,
PIERRE
- La triloterie. Poèmes
composés en 1918. Une gravure de Léopold Survage et
un dessin en couleurs par F.T. 60, (2)pp. 2 original woodcuts (1
hors texte on tissue, printed in pink and green). Sm. 8vo. Wraps.
One of 122 hand-numbered copies on uncut Arches, from the limited
edition of 125 in all. Survage’s woodcut, "La statue," is an
ominous architectural fantasy reminiscent of de Chirico, drawn
from the colossal sculpture which appears in the poem "La
légende."
- Paris (Editions "SIC"), 1920.
$850.00
-
- 8
- ALBERT-BIROT,
PIERRE
- Le premier livre de Grabinoulor.
Composé entre 1918 et 1920. (2), 89, (3)pp. Sm. 4to. Wraps.
Glassine d.j. Though he declined to identify himself as a
surrealist, Albert-Birot nonetheless referred to this book as a
"classique du surréel."
- Paris (Editions "SIC"), 1921.
$600.00
- Biro/Passeron p. 14;
Lake, Carlton: Baudelaire to Beckett p. 7
-
- 9
- ALBERT-BIROT,
PIERRE
- La lune, ou le livre des
poèmes. 229, (5)pp. Wraps. Glassine d.j. One of 300
numbered copies on vergé pur fil Lafuma, from the limited
edition of 326 in all. With a lavish complement of
calligrams.
- Paris (Jean Budry & Cie.),
1924. $800.00
-
- 10
- ALLOWAY, LAWRENCE
(editor)
- Artists & Photographs.
Introductory text by Lawrence Alloway, and 16 (of 19) multiples,
reproductive photographic images, and artists’ books. In all,
17 (of 20) parts. Sq. folio (ca. 13 x 13 inches). Box, with cover
design by Dan Graham. All contents loose within, as issued. "The
present exhibition/catalogue clarifies with a new intensity the
uses of photography, in a spectrum that ranges from documentation
to newly-minted works. Some photographs are evidence of absent
works of art, other photographs constitute themselves works of
art, and still others serve as documents of documents" (from the
introduction). Contents as follows; Mel Bochner
(Misunderstandings); Christo (Packed Tower--Spoleto); Jan Dibbets
(perspective correction - 5 piles); Dan Graham (Two Parallel
Essays); Douglas Huebler (Location Piece # 2); Allan Kaprow (Pose,
March 22, 1969); Michael Kirby (Pont Neuf); Joseph Kosuth
(Notebook on Water); Sol Lewitt (Schematic Drawing for Muybridge
II); Richard Long (Rain Dance); Robert Morris (Continuous Project
Altered Daily); Bruce Nauman (LAAIR); Dennis Oppenheim (Flower
Arrangement for Bruce Nauman); Robert Smithson (Torn Photograph
from the 2nd Stop [Rubble]); Benar Venet (Exploited
Subjects); Andy Warhol (Portraits).
- The portfolio lacks three pieces:
by Tom Gormley (Red File Cabinet), Robert Rauschenberg (Revolver),
and Ed Ruscha (Babycakes). Titled in pen on one side of the box
lid; otherwise very fine.
- [New York] (Multiples
Inc.), 1970. $2,250.00
-
- 11
- DER ALMANACH DER NEUEN JUGEND
AUF DAS JAHR 1917
- Herausgeber: Heinz Barger. 181,
(9)pp. 6 illus. Wraps. (light wear). Texts by Buber, Becher,
Däubler, Huelsenbeck, Ehrenstein, Lasker-Schüler,
Werfel, Herzfelde, Grosz, Heinrich Mann, Kafka and others; illus.
by Grosz, Kokoschka and Meidner. Censorship paste-over at the
conclusion of the "Quellenangabe," concerning the deletion of a
letter to the editor, for security reasons.
- Berlin (Verlag Neue Jugend),
[1916]. $375.00
- Raabe 177; Almanacco
dada 98; DadaGlobal 25; Bergius p.
409
-
- 12
- (AMERICAN ABSTRACT
ARTISTS)
- American Abstract Artists.
Introduction by G.L.K. Morris. Texts by L. Moholy-Nagy, K. Knaths,
G.L.K. Morris, F. Léger, A.E. Gallatin, P. Mondrian and J.
Albers. (68)pp. 36 illus. 2 figs. in text. Sm. 4to. Printed boards
(light wear at spine). The third of the American Abstract Artists
yearbooks. Mondrian’s "A New Realism," dated April 1943,
written especially for this publication, was his last literary
work.
- New York (Ram Press), 1946.
$225.00
- Karpel J-200
-
- 13
- (ANDRE, CARL)
- Mönchengladbach.
Städtisches Museum. Carl Andre. Ausstellung vom 18. Oktober
bis 15. Dezember 1968. 6ff. Multiple, of a folded bolt of white
linen (400 x 16 cm.) printed at one end. White cardboard box with
printed acetate lid (small breaks at extremities). Edition limited
to 660 hand-numbered copies. Text by the artist, reproduced from
his handwritten manuscript, with statement and
auto-interview.
- Mönchengladbach, 1968.
$600.00
-
- 14
- APOLLINAIRE,
GUILLAUME
- Les peintres cubistes.
(Méditations Esthétiques.) Première
série [all published]. Huitième
édition. (Tous Les Arts. Collection publiée sous la
direction de M. Guillaume Apollinaire.) 84pp., 45 plates. Orig.
printed yellow wraps. Glassine d.j. The mention "huitième
édition" on the title-page is a fictive designation (as
were ‘sixième’ and ‘neuvième’
editions of the book); typical of Figuière’s
publications, it was added arbitrarily, for publicity purposes.
"Whatever its faults, ‘The Cubist Painters’ still
breathes, nearly forty years later, with the immediacy of life.
But Apollinaire’s enthusiasm was not blind; he saw
cubism’s inner structure with great clarity for his time; he
wrote his book after discussions with the painters; and many of
his generalizations hold true, not only of cubism, but of the
various modes of ‘abstract’ painting that keep appearing
again and again, in ‘waves’...." (Robert Motherwell, in
1949). Presentation copy, handsomely inscribed "A mon très
cher [effaced]/ cordial souvénir de/ Guillaume
Apollinaire" in ink on the half-title. A fine copy.
- Paris (Eugène
Figuière), 1913. $1,250.00
- Lake: Baudelaire to Beckett
7
-
- 15
- APOLLINAIRE,
GUILLAUME
- Les mamelles de Tirésias.
Drame surréaliste en deux actes et un prologue. Avec la
musique de Germaine Albert-Birot et sept dessins de Serge
Férat. 108, (2)pp. 7 plates in text, after line-drawings by
Férat. Lrg. 8vo. Dec. wraps., after Serge Férat
(slightly chipped at foot of spine). Uncut. First edition. The
première of Apollinaire’s ‘Les mamelles de
Tirésias’ took place on June 24th 1917, under the
sponsorship of Pierre-Albert Birot and his review "SIC." It was
one of the great uproars in the annals of modernism, due in large
part to Jacques Vaché, who, disguised as an English
officer, entered the hall brandishing a gun and threatened to fire
it into the crowd. Though Breton and others maintained for many
years that the subtitle of the play contains the earliest use of
the word ‘surréaliste’ in print,
Apollinaire’s own use of it a month before, in a program note
for the Diaghilev production of ‘Parade,’ is actually
the first instance.
- Paris (Editions SIC), 1918.
$850.00
- Biro/Passeron p. 28;
Rubin p. 115f.; Lake, Carleton: Baudelaire to Beckett p.
12; Reynolds p. 10
-
- 16
- APPLEBROOG,
IDA
- Blue Books. A performance. 7
vols., as follows: ‘So?,’ ‘I Mean It,’
‘It’s Very Simple,’ ‘A Performance,’
‘Stop Crying,’ ‘I Can’t,’ ‘the
end.’ Illustrations by the artist throughout. Lrg. 8vo.
Self-wraps. Signed and dated (1982) in pencil inside the back
cover of the last volume.
- N.p., 1981. $400.00
-
- 17
- APPLEBROOG,
IDA
- Dyspepsia Works. A performance. 9
vols., as follows: ‘But I Wasn’t There,’ ‘Now
Then,’ ‘I Pretend to Know,’ ‘Look at Me,’
‘The Sweet Smell of Sage,’ ‘It Isn’t
True,’ ‘You What?,’ ‘I Feel Sorry for
You’ [‘the end’]. Illustrated throughout by
the artist. Lrg. 8vo. Self-wraps. Each volume differently dated in
pencil by the artist under the front cover, from Nov. 10, 1979 to
May 17, 1980; the final volume is also signed by the artist above
the date.
- N.p., 1979. $650.00
-
- 18
- ARNAULD,
CÉLINE
- Tournevire. Roman. (72)pp.
Frontispiece by Henri Laurens, hand-colored in blue gouache in one
portion. Sm. 4to. Wraps. Glassine d.j. One of 200 hand-numbered
copies on Alfa, from the limited edition of 225. Presentation
copy, inscribed "A mes bons amis Berthe et Jacques Lipchitz,
hommage fraternel de Céline Arnauld, 10 juin 1919." The
first book of the Parisian dadaist Céline Arnauld, the
influential editor of "Projecteur" and contributor to
"Littérature," "Cannibale" and "391." Other volumes of
verse by her followed in 1920 (‘Poèmes à
claires-voies’), 1921 (‘Point de mire’) and 1923
(‘Guêpier de diamants’). Laurens’
frontispiece is a characteristically stylish Cubist bust of a
woman, painted in slate blue at upper portions of the head. A fine
copy.
- Paris (Editions de "L’Esprit
Nouveau"), 1919. $1,500.00
- Sanouillet 18
-
- 19
- ARP, HANS
- Die Engelsschrift. Mit einem
Steindruck von Sophie Taeuber & Hans Arp. 9, (1)pp., 1
full-page lithograph, printed in black and grey. 4to. Wraps.
(worn). Edition limited to 110 hand-numbered copies, designed by
Jan Tschichold.
- Tübingen (Privately
Printed), 1952. $200.00
- Rolandseck 139;
Hagenbach
-
- 20
- ARP, HANS
- Mondsand. (30)ff., 7 original
etchings by Arp. Tissue guards. 4to. Dec. cloth, with a design by
Arp on the front cover. One of 300 numbered copies, from the
limited edition of 333 in all, signed in pencil by Arp in the
justification. Etchings printed by Fequet & Baudier,
Paris.
- Pfullingen (Günther Neske),
1959. $1,250.00
- Rolandseck 72; Hagenbach
364; Arntz 396-402; Bleikasten Aa 118;
Wilpert-Gühring 20
-
- 21
- ARP, HANS
- Der Pyramidenrock. 70pp. Frontis.
portrait drawing of Arp by Modigliani. 4to. Printed wraps.
Arp’s fourth book, a collection of dada poems. The 41-line
3-column mechanical repetition of the title on each cover is one
of the most influential typographic inventions of the period.
Paper flaw on one leaf; discreet contemporary ownership
inscription; an attractive copy, with--most interestingly --two
small corrections made with the insertion of single typed letters,
clipped and mounted in "Schneethlehem" and "Sankt Ziegenzack Sankt
Fassanbass."
- Erlenbach-Zürich/
München (Eugen Rentsch), [1924].
$2,000.00
- Rolandseck 89; Dada
Zürich 67; Motherwell/Karpel 194; Verkauf p.
176; Düsseldorf 23; Tendenzen 3/80; Andel 70
-
- 22
- ARP, JEAN
- Vers le blanc infini. (Collection
"La Rose des Vents." Il. ) (28)pp., 8 original soft-ground
etchings, printed in black, hors texte. Sm. folio. Publisher's
dec. slipcase (boards, 1/4 vellum; chemise). All contents loose,
as issued. One of 499 numbered copies on grand vélin de
Rives, signed in pencil by the artist, from the limited edition of
600; the etchings printed by Georges Leblanc, the text by Fequet
et Baudier. "'Vers le blanc infini' is an example of the full
integration of design and content possible in a book written and
illustrated by the same artist" (Garvey/Wick). A very fine
copy.
- Lausanne/Paris (La Rose des
Vents), 1960. $2,750.00
- Rolandseck 73; Basel
7; Garvey/Wick 56; Hubert pp. 85-92
-
- 23
- (ARP) Brzekowski,
Jan
- Hans Arp. 14, (2)pp. 10 plates in
text. Sm. 4to. Self-wraps. Text in French. Co-editor of
"L’art contemporain," Brzekowski, while living in Paris,
served as a critical liaison between the Polish avant-garde and
the "Cercle et Carré" and "Abstraction-Création"
circles; from 1930 to 1936 he was a pivotal figure in the "a.r."
(‘artistes révolutionnaires’) group in Lodz,
directed by Wladyslaw Strzeminski. It was due in large part to
Brzekowski that the influential avant-garde International
Collection of Modern Art was formed in Lodz, under the auspices of
a.r. A fine copy. Rare.
- Lodz ("Drukarnia Polska"), 1936.
$1,250.00
- Rolandseck 110
-
- 24
- (ARP) Huelsenbeck,
Richard
- Die Newyorker Kantaten. Mit sechs
Zeichnungen von Hans Arp. Vorwort von Michel Seuphor./ Cantates
New-Yorkaises. Avec six dessins de Jean Arp. Preface de Michel
Seuphor. Traduit par Robert Valençay. 51, (3)pp. 6 illus.
by Arp hors texte ("collages aux dessins," slightly reduced),
printed on grey laid stock. Orig. wraps. Dec. d.j. Design by Jan
Tschichold. One of 500 copies on Werkdruckpapier, from the limited
edition of 520.
- Paris/New York (Berggruen &
Cie./ European Art Documentation), 1952. $225.00
- Rolandseck 140;
Hagenbach 138
-
- 25
- (ARP) Tzara,
Tristan
- De nos oiseaux. Poèmes par
Arp. 114, (8)pp. 10 full-page illus. Orig. wraps. (light wear).
First published in 1923 in an edition of only 20 copies; this
second edition differs only in the paper stock used. ‘De nos
oiseaux,’ with Arp’s witty drawings and its pixillated
dada typography, is one of the most charming of all Dada
publications.
- Paris (Editions Kra),
[1929]. $850.00
- Rolandseck 88;
Berggruen 4; Hagenbach 61; On My Way 129;
Reynolds p. 79
-
- 26
- ART
- Publicació de la Junta
Municipal d’Exposicions d’Art. Vols. I - III, No. 1 (all
published). Folio. Cloth (final issue in wraps). A Catalan review
of modern Spanish art and architecture. Included here is the final
issue, unknown to Prause.
- Barcelona, 1933/1934-1936.
$1,500.00
- Prause p. 58
-
- 27
- ARTAUD,
ANTONIN
- A la grande nuit, ou le bluff
surréaliste. 15, (1)pp. Publisher’s buff-colored
wraps., printed in red and black. Artaud and Philippe Soupault,
who had been expelled from the Surrealist group in November 1926
for their lack of political engagement and their absorption in "la
stupide aventure littéraire pur," were then formally
chastized by Aragon, Breton, Eluard and others in the collective
tract "Au grand jour," published in May 1927. "A la grande nuit,"
issued the following month, is Artaud’s exasperated reply,
refusing to renounce his own ideal of revolution, as an act of the
imagination, for the socio-political one his former comrades now
espoused.
- Paris (Chez l’Auteur), 1927.
$400.00
- Gershman p. 3;
Biro/Passeron p. 14; Nadeau p. 274ff.
-
- 28
- BAADER,
JOHANNES
- Postkarte
‘Hindenburg.’ Postcard, printed in green and
brown tints with line portrait of Hindenburg, and verse text, on
the recto; verso unused. Sm. 8vo. An early ephemeron of Johannes
Baader, displaying his plainly authoritarian and nationalistic
political stance. Another version of this, in which the text
accompanies a large drawing of Hindenburg (and God the Father)
appeared in "Neue deutsche Bilderbogen" no. 41, and is reproduced
in Bergius/Miller/Riha ("Johannes Baader Oberdada," Lahn-Giessen,
1977). Library stamp on verso. Very rare.
- Berlin, ca. 1918.
$650.00
- Tendenzen 3/169; Cf.
Bergius/Miller/Riha 11
-
- 29
- (BAUHAUS)
- Weimar-Bauhaus u. andere Tapeten.
1934. 165 original patterned and decorated wallpaper
samples, printed in colors on various types and textures of stock,
each with model and style numbers on the verso. Oblong stout 4to.
Boards, 1/2 cloth, secured with hammered metal bolts, as issued.
The recent book ‘Bauhaustapete: Reklame & Erfolg einer
Marke/ Advertising & Success of a Brandname’ gives a
fascinating account of the fortunes of the Bauhaus wallpaper
products during the Nazi era, and the amazing persistence of these
commercial lines under the Bauhaus name, even with National
Socialist endorsement, years after the Bauhaus itself had been
shut down. The well-known manufacturer of the papers, Gebr. Rasch,
is not named in the present swatch-book, which was marketed by H.
von Wittgenstein.
- N.p., 1934. $1,800.00
- Kieselbach, Burckhard, et al.
(eds.): Bauhaustapete. Reklame & Erfolg einer Marke
(Köln, 1995), p. 52ff.
-
- 30
- (BAUHAUS)
- Gebr. Untermann. Bauhaus 1939.
Jubiläumskarte. 1f. text, 115 original patterned and
decorated wallpaper samples, printed in colors on various types
and textures of stock, each with model numbers on the verso.
Oblong stout 4to. Turquoise boards, 1/4 cloth, lettered in white,
secured with massive nickel bolts, as issued. This 1939
‘Jubilee’ collection, marking the tenth anniversary of
the Bauhaus wallpapers, is introduced with a page of remarks set,
notably, in a modern Bauhaus font and layout, rather than the
Fraktur which increasingly replaced it; so is the bold front
cover. The four illustrated interiors which are interspersed with
the samples (die-cut with holes, to expose the actual wallpapers
in the appropriate place) are, on the other hand, quaintly
old-fashioned. The well-known manufacturer of the papers, Gebr.
Rasch, is not named in the present swatch-book, which was marketed
by Gebr. Untermann, Berlin. Front cover slightly
rubbed.
- Berlin, 1939.
$2,800.00
- Kieselbach, Burckhard, et al.
(eds.): Bauhaustapete. Reklame & Erfolg einer Marke
(Köln, 1995), p. 52ff.
-
- 31
- (BECKMANN) Kaiser,
Hans
- Max Beckmann. (Künstler
unserer Zeit. 1.) 45, (25)pp., 28 plates. Text illus. 4to. Orig.
dec. boards. The first monograph on the artist, by the editor of
"Das hohe Ufer." Very rare.
- Berlin (Paul Cassirer), 1913.
$450.00
- Spalek 1996
-
- 32
- (BEHMER) Voltaire (pseud.
François-Marie Arouet).
- Zadig, oder Das Geschick eine
morgenländische Geschichte. Mit vierzig Radierungen von
Marcus Behmer. (Pan-Presse. XI. Werk. ) 77, (5)pp. 40 tipped-in
original etchings in text. Lrg. 4to. Publisher’s stamped
cloth. One of 170 numbered copies on "amerikanisches Japan," from
the limited edition of 250 in all; etchings printed at the
Pan-Presse. The etchings, integrated with the text, range widely
in size and format, from full-page illustrations (5, all 215 x 160
mm.) to historiated initials (55 x 45 mm.) and vignettes.
Behmer’s wryly exquisite, Beardsleyesque interpretation is
the first of a sequence of Voltaire illustrations in modern German
pressbooks, followed by editions of "Candide" by Klee, Unold and
Kubin. A very fine copy.
- Berlin (Paul Cassirer), 1912.
$1,750.00
- Schauer II.43;
Rodenberg p. 453; Vom Jugendstil zum Bauhaus 77
(illus.); Hofstätter p. 157; Villa Stuck
13
-
- 33
- BEHRENS, PETER
- "Darmstadt Mai-Okt. 1901. Ein
Dokument Deutscher Kunst: Die Ausstellung der
Künstlerkolonie." Poster. Color lithograph, signed in the
stone with the artist’s monogram. 125.9 x 43.6 cm. (50 x 17
1/4 inches).
- This is one of the most important
posters of the Jugendstil, and one of the most important works in
Peter Behrens’ graphic oeuvre. It was designed for the
epochal exhibition held in 1901 to celebrate the work of the
artists’ colony of Mathildenhöhe in Darmstadt. Formed in
1899 at the behest of the young Grand Duke Ernst Ludwig of Hesse,
the Künstlerkolonie consisted of seven members, of whom
Behrens and Josef Maria Olbrich (who led the colony until his
death in 1908) were the most prominent. "The Mathildenhöhe
group showed publicly for the first time at the Paris 1900
Exhibition, for which Olbrich had designed a reception room with
furnishings by other artists. Their formal presentation, however,
occurred in 1901, when the Mathildenhöhe colony was
officially opened with an exhibition called ‘A Document of
German Art.’ Instead of still another international
exposition in specially designed temporary buildings, it was the
colony’s permanent villas at the outskirts of the town which
stood review. Olbrich, the only professional architect in the
group, was responsible for the architecture of all the buildings
with one exception, while the other members had shared in the
design of the interiors. Only Peter Behrens had both designed and
furnished his own house. The work of Behrens and Olbrich differs
significantly from the curving, richly florid style characteristic
of Jugendstil. Peter Behrens’ house—the work of an
untrained architect—shows him in marked contrast to the
elegant and imaginative Olbrich. Behrens, like the others, was a
painter, a designer of furniture, metal, glass, graphics, and
typography. He still used flowing lines in the design of his
interiors, but these were contained in areas sharply defined as
rectangles, squares and circles…. This other pole of the New
Style—designing with precise geometrical elements in rhythmic
patterns—had already proved its attraction to the Glasgow
group as it did to the artists of the Vienna Secession where
Mackintosh exhibited with acclaim in 1900. Behrens’s rich and
somewhat ponderous style, although similarly geometric, seems to
have developed simultaneously and to have led him toward the
restraint and clarity of the modern movement" (Museum of Modern
Art: Art Nouveau, p. 116).
- In his essay for the catalogue
"Peter Behrens und Nürnberg," Peter-Claus Schuster has given
a very acute reading of the design: "Den Sinn enthüllt das
von Behrens geschaffene Plakat zur Darmstädter Ausstellung.
Aus der Eiform am Boden als der Urform alles Werdens erwächst
das Leben, inkarniert in Gestalt des fruchtbaren Weibes, und reckt
sich zu der oberen Eiform als dem Sinnbild himmlischer Idealformen
empor. Von dort wird das irdische Leben in den niedergehenden
Strahlen und Wellenbändern erleuchtet und befruchtet. Die
geometrisch archaisierte Frau, wenige Jahre vor Picassos
‘Demoiselles d’Avignon’, personifiziert also bei
Behrens den aus der Urform des Eies hervorwachsenden Zellenbau des
Lebens, das sich zum Geistigen hinentwickelt. Diese Wachstums- und
Fruchtbarkeitsvision entfaltet sich im Damenzimmer des
Behrens-Hauses im leitmotivischen Wechselspiel von Eiform und
geometrischem Dekor über alle Möbel und
Türflächen des Zimmers hinweg und ist auch im Tisch in
seiner ovalen Platte und seinem kubistischen Fuß
aufgenommen. Solch lebensphilosophische Spekulation, dem dynamisch
offenen System von Nietzsche entlehnt, seine Ideologie der
Lebenssteigerung, hat das ganze Behrens-Haus wesentlich
geprägt."
- Laid down on board; occasional
creases and small tears, with careful restorations; a bright and
very well preserved example. Framed. The poster is accompanied by
the commemorative album of the 1901 exhibition, a clothbound folio
edited by Alexander Koch, lavishly printed with borders and
vignettes especially designed for the publication by
Behrens.
- Darmstadt, 1901.
$20,000.00
- Literature: Das frühe
Plakat in Europa und den USA (Bd. III: Deutschland) 1980, no. 90;
A. Weill: The Poster, A Worldwide Survey and History, 1985, p. 99,
ill. 166; P. Wember: Die Jugend der Plakate 1887-1917, 1961, no.
20, ill. P. 105; Museum of Modern Art, New York: Art Nouveau,
1959, no. 33; Stadtmuseum München: Bayern, Kunst und Kultur,
1972, no. 206; Mathildenhöhe Darmstadt: Ein Dokument
deutscher Kunst, Darmstadt 1901-1976, vol. 4 no. 30 (color plate
p. 22); Germanisches Nationalmuseum Nürnberg: Peter Behrens
und Nürnberg, 1980, p. 113, ill. 46.
-
- 34
- BERLAGE, HENDRIK
PETRUS
- Een drietal Lezingen in Amerika
gehouden. 43, (1)pp. Sm. 4to. Later wraps., neatly mounted
with clipped sections of the original. From the library of Piet
Zwart, with his stamp on the title-page.
- Rotterdam (W.L. & J. Brusse),
1912. $175.00
- Sharp p. 22
-
- 35
- (BLAINE) Koch,
Kenneth.
- Nell Blaine Prints, Kenneth Koch
Poems. (Editions of the Tibor de Nagy Gallery.) (3), 20, (1)pp. 9
original block prints in text, of which 4 tipped-in color. 5
initial letters by the artist, also printed from the blocks. Lrg.
4to. Wraps. (with original color print by the artist on front
cover). Edition limited to 300 hand-numbered copies. Decorations,
cover and typography by the artist. Signed in pen by Koch on the
title-page. Front cover slightly soiled; one of the tipped-in
plates loosened at glue line.
- New York (Tibor de Nagy Gallery),
1953. $650.00
-
- 36
- BLAST
- Review of the Great English
Vortex. Edited by Wyndham Lewis. No. 2 July 1915: War Number. (of
2 issues published in all). 102, (6)pp. Prof. illus. with black
and white reproductions of wood cuts and drawings by Nevinson,
Roberts, Wadsworth, Lewis and others; 1 tipped-in halftone illus.
of Gaudier-Brzeska’s bust of Ezra Pound. Lrg. 4to. Wraps.,
with full front cover design by Lewis. Texts by Lewis, Pound (8
poems), Gaudier-Brzeska ("Vortex Written from the Trenches"), Ford
Maddox Hueffer, T.S. Eliot ("Preludes," "Rhapsody of a Winter
Night,"), et al. This issue was published in conjunction with an
exhibition of the Vorticist group at the Dove Gallery, London.
Neatly taped at head and foot of spine (worn); one corner bumped;
a trace foxed; generally fine copy.
- London (John Lane), 1915.
$350.00
- Manet to Hockney 37;
The Art Press p. 42; Pindell p. 100
-
- 37
- THE BLIND MAN. No.
2
- May, 1917. [Editors:] P.
B. T. [Henri-Pierre Roché, Beatrice Wood, and Marcel
Duchamp]. (16)pp. 6 illus. (4 halftone). 4to. Dec.
self-wraps., stapled as issued. The second of two issues published
of "The Blind Man," edited by Beatrice Wood, with Duchamp and
Roché (the ‘P.B.T.’ standing for Pierre, Beatrice
and Totor, which was Roché’s nickname for Duchamp).
"The Blind Man" was organized around the First Exhibition of the
Society of Independent Artists: no. 1 in anticipation of it, and
no. 2 focused largely on Duchamp’s readymade "Fountain," the
urinal (purportedly signed by one Richard Mutt) which had been
scandalously rejected for the show. The lead editorial is a
grandly peremptory defense of the work:
- Some contended it was immoral,
vulgar.... Others, it was plagiarism, a plain piece of plumbing.
Now Mr. Mutt’s fountain is not immoral, that is absurd, no
more than a bath tub is immoral. It is a fixture that you see
every day in plumbers’ show windows. Whether Mr. Mutt with
his own hands made the fountain or not has no importance. He CHOSE
it. He took an ordinary article of life, placed it so that its
useful significance disappeared under the new title and point of
view--created a new thought for that object. As for plumbing, that
is absurd. The only works of art America has given are her
plumbing and her bridges.
- One of the rarest and most
desirable productions of New York Dada, "The Blind Man" No. 2
contains texts and images by Duchamp ("Broyeuse de chocolat,"
reproduced on front cover; "Fountain by R. Mutt," photographed by
Alfred Stieglitz), Robert Carleton Brown ("Eyes," "A Resolution
Made at Bronx Park"), Erik Satie ("Tale," signed ‘S.T.,
E.K.’), Louise Norton ("The Richard Mutt Case"), Charles
Demuth ("For Richard Mutt"), Clara Tice ("Edgar[d]
Varèse en composition"), Walter Conrad Arensberg ("Axiom,"
"Theorem"), Joseph Stella ("Coney Island"), "Letter from A
Mother," (actually Beatrice Wood), Frank Crowninshield (letter to
the editor ), Francis Picabia ("Medusa"), Louis M. Eilshemius
("Pas de Commentaires!" illustrated with "Supplication"), Charles
Duncan ("Third Dimension; Portrait Sketch"), Mina Loy (untitled,
and "O Marcel---otherwise I Also Have Been to Louise’s"),
Gabrielle Buffet ("Marie Laurencin"), Francis Simpson Stevens,
Allen Norton, and Alfred Stieglitz (letter to the editor);
advertisements by the Bourgeois, Daniel, and Modern galleries. A
superb copy, extremely fresh.
- New York, 1917.
$12,500.00
- Gershman p. 47; Ades p.
43; Almanacco Dada 11; Chapon p. 83f.;
Motherwell/Karpel 59; Dada Artifacts 90; Zürich 364; The Art
Press p. 35; Naumann 3.17; Naumann: New York Dada 1915-23, p.
47,110f.; Andel 75
-
- 38
- BLÜMNER,
RUDOLF
- Der Geist des Kubismus und die
Künste. 69, (3)pp., 8 plates. Sm. 4to. Dec. wraps., with
front cover drawing after Léger. Uncut. An historic
presentation copy of this important text, inscribed on the front
flyleaf "Au grand peintre cubiste/ Albert Gleizes/ admiré
par Rudolf Blümner." A little browning and
brittleness.
- Berlin (Verlag der Sturm), 1921.
$650.00
- Raabe/Hannich-Bode 3;
Spalek 92
-
- 39
- DER BLUTIGE ERNST. No.
2
- Herausgeber und verantwortlicher
Redakteur: John Hoexter. No. 2, 1919 (of 6 issues published in
all). "Sondernummer II: Der Jude." [December] 1919. (6)pp.
6 illus. Lrg. 4to. Self-wraps., printed in yellow and black,
stitched as issued. Texts by John Hoexter and Mynona (Salomo
Friedlaender). This "Sondernummer" devoted to the subject of The
Jew, contains, among other contents, a powerful indictment by
Hoexter of antisemitism in contemporary Germany. Also of interest
are advertisements for both the Dada and the Yiddish press and
publishers at the back: Huelsenbeck’s ‘Phantastische
Gebete,’ Grosz and Edgar Firn’s ‘Bibergeil,’
and the Graphisches Kabinet J.B. Neumann, as well as "Schlemiel:
Jüdische Blätter für Humor und Kunst." Very
rare.
- Berlin (Trianon-Verlag), 1919.
$1,250.00
- Raabe 85; Ades pp. 83,
88; Almanacco dada 13.4; DadaGlobal 37; Tendenzen
3.194
-
- 40
- DER BLUTIGE ERNST. No.
4
- Satirische Wochenschrift.
Herausgeber: Carl Einstein, George Grosz. 1. Jahr, No. 4 (of 6
issues published in all). "Sondernummer IV. Die Schieber."
[December 1919]. (8)pp. 4 illus. by George Grosz
(including full front cover and double-page spread within).
Tabloid folio. Texts by Carl Einstein, Walter Mehring, Richard
Huelsenbeck. "Grosz’s satirical drawings and caricatures
still drew a certain amount from the Simplicissimus tradition, but
with the introduction of montage (there are two lounging burghers
set against a background of newspaper cuttings advertising
cabarets and dance halls, with the caption ‘Work and do not
despair,’ on the cover of ‘Der blutige Ernst’ no.
4, December 1919), and with the addition of photographs, the
political cartoon is given a new edge, no longer relying on
caricature for effect" (Ades). A few hairline tears at extremities
of central fold, slightly chipped at spine.
- Berlin (Trianon-Verlag),
[1919]. $1,000.00
- Raabe 85; Ades pp. 83,
88; Almanacco dada 13.4; DadaGlobal 37; Tendenzen
3.194
-
- 41
- BOCCIONI,
UMBERTO
- Manifeste technique de la
sculpture futuriste. Milan, 11 avril 1912. (4)pp. (=one folding
sheet). 4to. Self-wraps. The French-language issue.
- Milan (Direction du Mouvement
Futuriste), 1912. $300.00
- Salaris p. 82; Lista p.
172ff.; Scrivo 24; Apollonio p. 51ff.; Taylor p.
29ff.
-
- 42
- BOCCIONI,
UMBERTO
- Manifesto tecnico della scultura
futurista. 11 aprile 1912. (4)pp. (single sheet, folding). 4to.
Self-wraps. ‘Why should sculpture remain behind, tied to laws
that no one has the right to impose on it? We therefore cast all
aside and proclaim the ABSOLUTE AND COMPLETE ABOLITION OF DEFINITE
LINES AND CLOSED SCULPTURE. WE BREAK OPEN THE FIGURE AND ENCLOSE
IT IN ENVIRONMENT. We proclaim that the environment must be part
of the plastic block which is a world in itself with its own laws;
that the sidewalk can jump up on your table and your head be
transported across the street, while your lamp spins a web of
plaster rays between one house and another.’
- Milano (Direzione del Movimento
Futurista), 1912. $300.00
- Salaris p. 82; Scrivo
24; Apollonio p. 51ff.; cf. Lista p. 172ff.; Taylor
p. 129ff.
-
- 43
- BOCCIONI,
UMBERTO
- Pittura, scultura futuriste
(Dinamismo plastico). Quadri, sculture di Boccioni, Carrà,
Russolo, Balla, Severini, Soffici. (4), 469, (7)pp., 51 plates.
Frontis. portrait of the author. Sm. stout 4to. Wraps. (slightly
worn). A closely reasoned, important text, called by Papini "the
Bible of Futurism."
- Milano (Edizioni Futuriste di
"Poesia"), n.d. [1914]. $650.00
- Salaris p. 23; Falqui
p. 90; Tisdall p. 85
-
- 44
- BOCCIONI, UMBERTO, et
al.
- Manifeste des peintres
futuristes. [Signed:] Umberto Boccioni, Carlo D.
Carrà, Luigi Russolo, Giacomo Balla, Gino Severini. 11
avril 1910. (4)pp. (=single sheet, folding). 4to. Self-wraps. The
second manifesto signed by the five Futurist painters, known as
the ‘Technical Manifesto of the Futurist Painters’
(though the French version does not carry the full title). "The
vagueness of the threats and promises [of the original
‘Manifesto of the Futurist Painters’] was remedied
two months later in the ‘Technical Manifesto of Futurist
Painting,’ published again by ‘Poesia’ on 11 April
1910. The key to their painting was to be the concept of
‘universal dynamism’ hinted at in Marinetti’s
initial manifesto. This was perhaps the single most prevalent
preoccupation of their time, bringing together the philosophical
legacy of Nietzsche and Bergson, the intuitive approach of the
Symbolists, and contemporary scientific explorations of the
relationship between mind and matter" (Tisdall/
Bozzola).
- Milano (Direction du Mouvement
Futuriste), 1910. $300.00
- Salaris p. 79;
Apollonio p. 27ff; Lista p. 163; Taylor p.
125ff.; cf. Scrivo 8; Tisdall/Bozzola p. 32
-
- 45
- BOCCIONI, UMBERTO, et
al.
- Manifesto dei pittori futuristi.
[Signed:] Umberto Boccioni, Carlo Dalmazzo Carrà,
Luigi Russolo, Giacomo Balla, Gino Severini. 11 febbraio 1910.
(4)pp. (=single sheet, folding, including 2pp. of text, 1 blank
verso, and a masthead listing of the movement’s adherents).
4to. Self-wraps. "When the ‘Manifesto of Futurist
Painters’ was defiantly proclaimed from the stage of the
Politeama Chiarella in Turin on March 8, 1910, there was as yet
nothing that could be distinguished as Futurist painting. The
manifesto was only a bid for freedom, and the neglected artists
singled out for praise were the quite unsensational divisionist
painters Giovanni Segantini and Gaetano Previati, and the
remarkable but impressionist sculptor Medardo Rosso"
(Taylor).
- Milano (Direzione del Movimento
Futurista), 1910. $300.00
- Salaris p. 79;
Apollonio p. 24ff.; Scrivo 7; Taylor p. 17;
Tisdall/Bozzola p. 17
-
- 46
- BOCCIONI, UMBERTO, et
al.
- Manifesto dei pittori futuristi.
[Signed:] Umberto Boccioni, Carlo Dalmazzo Carrà,
Luigi Russolo, Giacomo Balla, Gino Severini. 11 febbraio 1910.
(4)pp. (=single sheet, folding, including 2pp. of text and 2 blank
versos). 4to. Self-wraps. This issue of the manifesto, with at
least one erratum, is probably the first; this example is also
misprinted, the second page having slipped in the press,
eliminating the righthand margin and chopping off several letters
at the end of each line.
- Milano (Uffici di "Poesia"),
1910. $250.00
- Salaris p. 79;
Apollonio p. 24ff.; Scrivo 7; Taylor p. 17;
Tisdall/Bozzola p. 17
-
- 47
- BOCCIONI, UMBERTO, et
al.
- La pittura futurista. Manifesto
tecnico. [Signed:] Umberto Boccioni, Carlo Dalmazzo
Carrà, Luigi Russolo, Giacomo Balla, Gino Severini. 11
aprile 1910. (4)pp. (= single sheet, folding). 4to. Self-wraps. A
later issue of the text (probably dating from 1914), in which the
final cry ‘We demand, for ten years, the total suppression of
the nude in painting,’ is omitted, and the following
conclusion run in its place: ‘You think us mad. We are,
instead, the primitives of the new, completely transformed,
sensibility. Outside the atmosphere in which we live are only
shadows. We futurists ascend towards the highest and most radiant
peak and proclaim ourselves Lords of Light, for already we drink
from the live founts of the sun.’ Somewhat worn.
- Milano (Direzione del Movimento
Futurista), 1910 [1914?]. $250.00
- Salaris p. 79;
Apollonio p. 27ff; Lista p. 163; Taylor p.
125ff.; cf. Scrivo 8; Tisdall/Bozzola p. 32
-
- 48
- (BONNARD)
Longus
- Les pastorales de Longus ou
Daphnis et Chloé.... Lithographies originales de P.
Bonnard. Traduction de J. Aymot.... Revue et corrigée,
complétée de nouveau, refaite en grande partie par
Paul-Louis Courier . x, 294, (4)pp. 151 original lithographs,
printed in black. integrated with text. Lrg. 4to. Full green
morocco, signed M. Callou, with a subdued art deco design of
diagonal gilt fillets and inlays in black and ivory morocco,
identical on both covers. A.e.g. Ivory morocco doublures. Silk
end-papers. Slipcase (marbled boards, trimmed in green morocco).
One of 200 numbered copies on uncut hollande van Gelder,
watermarked 'Daphnis et Chloé,’ from the limited
edition of 250. Lithography by Auguste Clot; the text printed at
the Imprimerie Nationale. The second of Bonnard's great
illustrated books, following "Parallèlement" of 1900. "In
1902, Vollard published 'Daphnis et Chloé' by Longus. He
may have chosen this Greek romance of the third century because it
approached so nearly the tone of the modern novel. Illustrated
with lithographs by Bonnard, it has been described as one of the
most beautiful books published since the eighteenth century.
Carefully following the text, conjuring up woodlands, harbors, and
pastoral figures, Bonnard's genius portrays with lavishness and
antique grace the tranquil atmosphere of the Golden Age. The
quality of the printing process, attained with such success in
'Parallèlement’ lingers on in 'Daphnis et
Chloé,' giving it exceptional charm and nuance" (Una
Johnson). A fine copy.
- Paris (Ambroise Vollard,
Editeur), 1902. $16,500.00
- Roger-Marx 95; Johnson
168; Ray: The Art of the French Illustrated Book 384;
Chapon p. 279; The Artist and the Book 28; Rauch 22; Skira 22;
Strachan p. 326; Garvey/Wick 7; Manet to Hockney 18; Wheeler p.
98; Stern 10; Bareiss 9; Villa Stuck 15; Stuttgart 9; Basel
23
-
- 49
- (BONNARD) Vollard,
Ambroise
- Sainte Monique. Illustrations de
Pierre Bonnard. (2), ix, (1), 222, (6)pp. 29 lithographs and 17
etchings (including 3 tables) hors texte. 178 wood-engravings
(including 37 'bois non utilisés' on 15 plates hors texte).
Sm. folio. Orig. dec. wrapper (with wood-engraved vignette),
loose, as issued. Glassine d.j. Later slipcase and chemise
(boards, 1/4 cloth). Uncut. All contents loose, as issued. One of
257 copies on vélin d'Arches, from the limited edition of
390 (including 50 copies hors commerce). "Bonnard, whom one might
associate with a more pagan inspiration, interpreted this story of
a saint--though treated by Vollard in a contemporary style--with
touching solemnity, never lapsing into jejune sentimental piety.
His lines vibrate with life. It was, in fact, the last book he
illustrated and saw published in his life-time" (Strachan).
Slightest intermittent foxing, light wear to the slipcase; in
general a very fine and crisp copy.
- Paris (Ambroise Vollard), 1930.
$5,500.00
- Roger-Marx 96; Rauch
27; Skira 28; Stern 11; Erving 5; Wheeler p. 98;
Basel 25; Chapon p. 281; Johnson 170; Strachan p.
56
-
- 50
- (BRAUNER) Pana,
Sasa
- Diagrame. Un portret si desene de
Victor Brauner. (28)pp. 3 tipped-in full-page plates. Sm. 4to.
Dec. wraps., with portrait by Brauner. Printed d.j. Published in
an unstated very small edition ("tiraj restrins") estimated by Ilk
at 150 copies, with text on pale brown wove stock, and the
illustrations on cream-colored card. Pana was the founder of "Unu"
in 1928. A very fine unopened copy, complete with the dust jacket.
Rare.
- [Bucarest] (Editura UNU),
1930. $1,850.00
- Ilk 485, repr. p. 89;
Biro/Passeron 2164
-
- 51
- BRETON,
ANDRÉ
- Ode à Charles Fourier.
(Collection "L’Age d’Or.") 41, (7)pp. Illustrations and
typographical ornaments throughout, printed in black (some after
ink drawings in pen or brush). 4to. Dec. wraps. One of 750
numbered copies on vélin, from the limited edition of 1025
in all, "dessiné à New-York par Frederick J.
Kiesler." One of the most innovative and important publications of
the postwar Paris/New York surrealist axis. A pale trace of
waterstaining at the base of the outer several leaves, otherwise
fine.
- Paris (Éditions de la
Revue Fontaine), 1947. $350.00
- Sheringham Aa381;
Gershman p. 9; Ades 17.47; Biro/Passeron 455;
Reynolds p. 18
-
- 52
- BRETON,
ANDRÉ
- Young Cherry Trees Secured
Against Hares. / Jeunes cérisiers garantis contre les
lièvres. Translations by Edouard Roditi. Cover by Marcel
Duchamp. Drawings by Arshile Gorky. (54)pp. 2 full-page illus.
after line drawings by Gorky. Sm. 4to. Photo-illus. boards. D.j.
in colors. Edition limited to 1000 copies on uncut laid paper.
Parallel texts in English and French. A classic surrealist
collaboration, being the only book illustrated by Gorky, with
Duchamp’s witty cover design, a see-through dust-jacket
featuring Breton as the Statue of Liberty. D.j. somewhat browned
at spine and back cover.
- New York (View Editions), 1946.
$950.00
- Naumann 6.19; Schwarz 327;
Gershman p. 9; Grolier Club 15
-
- 53
- BRETON, ANDRÉ, et
al.
- Violette Nozières. Par
André Breton, René Char, Paul Eluard, Maurice Henry,
E.L.T. Mesens, César Moro, Benjamin Péret, Guy
Rosey, Salvador Dalí, Yves Tanguy, Max Ernst, Victor
Brauner, René Magritte, Marcel Jean, Hans Arp, Alberto
Giacometti. 41, (5)pp. 8 full-page illus. Lrg. 8vo. Wraps.
Glassine d.j. A very fine and crisp copy. One of 2000 unnumbered
copies on vélin, from the edition of 2020.
- Front cover photograph by Hans
Bellmer. A collective homage in verse and image by the surrealists
in defense of the young parricide Violette Nozières, whose
case at the time was the subject of violent political
opinion.
- Bruxelles (Nicolas Flamel), 1933.
$850.00
- Sheringham Ac214;
Biro/Passeron p. 424
-
- 54
- (BREUER)
- Stylclair: ses meubles Duralumin.
(6)pp. 11 halftone illus. and 10 measured drawings in text.
Photomontage front cover design by Herbert Bayer, printed in blue
and black. Oblong 8vo. Dec. self-wraps. The French edition of the
catalogue of Breuer’s designs for aluminum furniture,
produced under license from the Wohnbedarf company. The stylish
layout and design are by Herbert Bayer, with photographs by Hans
Finsler.
- Lyon/Paris, ca. 1934.
$350.00
- Droste, Magdalena, et al:
Marcel Breuer Design (Berlin/Köln, 1994), pp.
27f.,118,122f.
-
- 55
- (BUREN) Cenet,
Michel
- The Paris Metro. Conceived by
Daniel Buren. Photographed by Michel Cenet. 2 vols. Legend I:
207pp. Legend II: 207pp. Prof. illus. Oblong 4to. Wraps.
Slipcase.
- London (Warehouse Publications),
[1973]. $400.00
-
- 56
- (CALDER) Aesop
- Fables of Aesop According to Sir
Roger L’Estrange. With fifty drawings by Alexander Calder.
(6), 124, (10)pp. 52 illustrations by Calder, printed in black.
4to. Wraps. over boards (splits at edges). Slipcase (boards). One
of 20 copies hors commerce from the tirage of 595 on Auvergne,
from the limited edition of 665 in all, designed by Monroe
Wheeler. Calder’s finest work in book
illustration.
- Paris (Harrison of Paris), 1931.
$2,000.00
- The Artist and the Book
47; Castleman p. 120; Wheeler p. 99
-
- 57
- CANGIULLO,
FRANCESCO
- Poesia pentagrammata. 44, (4)pp.
Sm. 4to. Dec. wraps. Uncut. Cangiullo’s charming excursions
into parole in libertà are here paired with unperformable
harmonic and rhythmic notations. The underlying temperament and
esthetic is closer to Apollinaire than Marinetti, and resembles
some of Satie’s scores of the same period. A nearly mint
copy.
- Napoli (Gaspare Cesella), 1923.
$700.00
- Salaris p. 27; Falqui
p. 73; Tisdall p. 103; Andel 49
-
- 58
- CARRA, CARLO
- Guerrapittura. Futurismo
politico, dinamismo plastico. 12 disegni guerreschi. Parole in
libertà. 8º migliaio. (6), 104, (14)pp., 12 plates (1
folding). Frontis. photograph of the author. 4to. Wraps., with
fine cover typography by Carrà (expertly rebacked at head
and foot of spine). An important collection of texts by
Carrà on politics and aesthetics, with plates illustrating
his very beautiful Cubist drawings and collages, and a selection
of parole in libertà of 1914-1915. "To all intents and
purposes, Carrà’s last contribution to Futurism was
"Guerrapittura" (‘Warpainting"), published in Milan in March
1915 and signed with an extra aggressive R to his name,
Carrrà. This little book was perhaps intended as a
counterblast to Boccioni’s ‘Futurist Painting and
Sculpture.’ It contained a collection of writings on art
under the banner of Delacroix’s untranslatable condemnation
of flabby painting, ‘La peinture lâche est la peinture
d’un lâche’; reprints of Carrà’s
earlier ‘Lacerba’ essays, repetitions of his Futurist
preferences and dislikes in art; typographic arrangements and
Words-in-freedom on the theme of war echoing Carrà’s
own ‘Futurist Synthesis of War,’ and a number of
illustrations including ‘Pursuit’...." (Tisdall). Light
wear.
- Milano (Edizioni Futuriste di
"Poesia"), 1915. $1,250.00
- Salaris p. 28; Tisdall
p. 188f.; Andel 45
-
- 59
- CERCLE ET CARRÉ. No.
1
- Parait six fois l’an.
Rédaction: Michel Seuphor. Administration: J.
Torres-García. No. 1, 15 mars-avril 1930 (of 3 numbers
published in all). (8)pp. 12 illus. Lrg. 4to. Self-wraps. Edition
of 1500 copies. The inaugural issue, with texts by Seuphor ("Pour
la défense d’une architecture"), Torres-García
("Vouloir construire"), and statements by Domela, Brzekowski,
Mondrian, Vordemberge-Gildewart, Léger, Kandinsky,
Ozenfant, Prampolini, Russolo, Sartoris, Schwitters, Stazewski,
Vantongerloo, Fillia and others. Light wear. Rare.
- Paris, 1930. $750.00
- Chevrefils/Desbiolles p. 280,
p. 102ff.; The Art Press p. 41; Pindell p.
104
-
- 60
- (COBRA)
- Bibliothèque de Cobra.
Première série: "Les artistes libres."
Rédacteur: Asger Jorn. Quinze monographies. Première
série de l’encyclopédie permanente de
l’art experimental. 15 vols. (16)pp. per vol., most with
12-16 illus. Dec. wraps., each an original color lithograph by the
artist in question. Orig. wrap-around case, printed on card with
an original color lithograph by Jorn (small tears). Comprehensive
introduction and table-sheet (4pp.), loosely inserted. The artists
(and authors) are: Alechinsky (Zangrie), Alfelt (Jaguer), Appel
(Dotrement), Atlan (Ragon), Bille (Ragon), Constant (Dotremont),
Corneille (Dotremont), Doucet (Laude), Ferlov (Dotremont), Gilber
(Jaguer), Gudnason (Jaguer), Heerup (Dotremont), Jacobsen
(Dotremont), Jorn (Dotremont), and Pedersen (Dotremont). Library
ex-libris inside case. A nice set.
- Copenhague (Ejnar Munksgaard),
1950. $2,200.00
-
- 61
- (CHAGALL) Cain, Julien, et
al.
- The Lithographs of Chagall. 6
vols. Prof. illus. (numerous color). Lrg. 4to. Cloth. Original
dust jackets (those for Vols. I-IV are original color lithographs
by Chagall). In all, the set contains more than 1000 illustrations
(many in color), and a complement of 28 original lithographs (21
in color), including the dust jackets. Lithography throughout by
Mourlot frères. Texts and catalogues by Julien Cain,
Fernand Mourlot, and Charles Sorlier. A very fine set in the
original acetate covers.
- New York/ Boston (George
Braziller/ Boston Book and Art Shop/ Crown), 1960-1986.
$7,500.00
- Freitag 1914; Riggs p.
170
-
- 62
- (CRAIG) Hofmannsthal, Hugo
von.
- Der weisse Fächer. Ein
Zwischenspiel. Mit vier Holzschnitten von Edward Gordon Craig.
(24)pp., 4 original woodcuts by Craig. Lrg. 4to. Publisher’s
flexible pastepaper boards, 1/4 cloth. Text set in tan and black.
One of 70 numbered copies from the limited edition of 800, printed
on fine uncut laid paper by Friedrich Richter. Craig’s
largest woodcuts to date, executed for this edition at the
invitation of Harry Graf Kessler.
- [Leipzig (Inselverlag),
1907]. $600.00
- Manet to Hockney
22
-
- 63
- CUCCHI, ENZO
- La ceremonia delle cose. The
ceremony of things. Texts by Enzo Cucchi collected by Mario
Diacono. 85, (7)pp. 16 plates hors texte, printed in varying
sizes. Wraps. Special edition, limited to 100 copies, with an
original etching by Cucchi bound in as frontispiece. The etching
(with aquatint, drypoint and silkscreen, printed in teal and
black) is signed and numbered in pencil in the
margins.
- New York (Peter Blum Edition),
1985. $600.00
-
- 64
- (DADA
MANIFESTO)
- Dada soulève tout.
[Dated:] Paris, 12 janvier 1921. [Signed:] E.
Varèse, Tr. Tzara, Ph. Soupault, Soubeyran, J. Rigaut, G.
Ribemont-Dessaignes, Man Ray, F. Picabia, B. Péret, C.
Pansaers, R. Huelsenbeck, J. Evola, M. Ernst, P. Eluard, Suz.
Duchamp, M. Duchamp, Crotti, G. Cantarelli, Marg. Buffet, Gab.
Buffet, A. Breton, Baargeld, Arp, W.C. Arensberg, L. Aragon.
Single sheet, printed on both sides in bold dada typography. 4to.
Issued at the time of Marinetti’s lecture on "tactilism,"
which this group attacked, as they did all art formulas, as
absurd. "DADA connaît tout. DADA crache tout.
MAIS........Dada vous a-t-il jamais parlé de l’Italie,
des accordéons, des pantalons de femmes, de la patrie, des
sardines.... JAMAIS JAMAIS JAMAIS. DADA ne parle pas. DADA
n’est pas d’idée fixe. DADA n’attrape pas
les mouches.... Si vous avez des idées sérieuses sur
vie, si vous faites des découvertes artistiques, et si tout
d’un coup votre tête se met à crépiter de
rire, si vous trouvez vos idées inutiles et ridicules,
sachez que C’EST DADA QUI COMMENCE A VOUS PARLER." Eloquent,
belligerent and extremely funny, it is one of the movement’s
best collective statements. Very fine copy.
- Paris, 1921.
$3,500.00
- Documents dada p. 53;
Sanouillet 271; Motherwell/Karpel 33, p. 182, illus. p.
190; Gershman p. 56; Ades 8.45; Verkauf p. 100; Almanacco
dada, illus. p. 620; Düsseldorf 260; Zürich 447;
Tendenzen 3/122
-
- 65
- (DADA POSTER)
- Zürich. Galerie Corray. I.
Ausstellung / Negerplastik Modernste Malerei / Geöffnet:
Januar Eintritt: Fr. 1 / Conférences par Tristan Tzara.
Typographic poster by Hans Richter, printed in black on
buff-colored wove paper. 479 x 695 mm. (18 7/8 x 27 5/16 inches).
Hand-addresssed in black ink on the verso by Hans Richter:
"Imprimé Express Monsieur Tristan Tzara/ Zürich/ Hotel
Seehof/ Schifflände" and "Exp. H. Richter/ Lugano via Lorenzo
20," with a postal cancellation above: 28.xii.17.
- This is very likely the only
surviving example of what may arguably be called the first Dada
poster. Designed by Hans Richter in December 1916, it publicizes
the first Dada exhibition, which was held at the Galerie Corray in
Zürich in January and February 1917. Two posters are recorded
to have been made for the event. One of them, a fine hand-lettered
design by Marcel Janco printed in black linocut, is frequently
reproduced in the literature. This one, whose existence is alluded
to by Tzara in his "Chronique zurichoise," has never, to our
knowledge, been reproduced or described. Tzara mentions it in the
following entry:
- 1917. Janvier-février.
Galerie Corray, Bahnhofstr., Zürich. 1. Dada-Ausstellung. Van
Rees, Arp, Janco, Tscharner, Mme. Van Rees, Lüthy, Richter,
Helbig, art nègre, Succès éclatant:
l’art nouveau. Tzara fait 3 conférences: 1/cubisme,
2/art ancien et art nouveau, 3/l’art présent. Grande
affiche de Richter, affiche de Janco. Quelques vieilles anglaises
prennent soigneusement des notes.
- This reference has been duly
noted by Hans Bolliger, Arturo Schwarz, and other scholars, but no
further information on the poster appears to have been published,
apart from the description of it in the catalogue of the 1968
Tzara sale in Bern (Dokumentations-Bibliothek, item 62), where the
present example is suggested to be a printer’s proof for a
poster which may never have been published, and, in all
likelihood, unique ("Typographisches Plakat für I.
Dada-Ausstellung. Ohne Drucker-Adresse.... Wohl Probedruck zu
einem Plakat (publiziert?).... Möglicherweise Unikum"). The
poster retains foldlines from its original mailing by Richter to
Tzara in 1916; it also sustains a few small losses in central
portions (mended on the verso), some considerable creasing, and
other scuffs and wear.
- Zürich (Galerie Corray),
[1916]. $35,000.00
- Bern. Kornfeld und Klipstein.
Dokumentations-Bibliothek III: Teile der Bibliothek und Sammlung
Tristan Tzara, Paris, 12. Juni 1968: no. 62 (describing the
present example); cf. also: Bolliger, Hans (et al.): Dada
in Zürich (Zürich 1985), no. 106, citing the foregoing
reference; Schwarz, Arturo (editor): Almanacco dada
(Milano, 1976), p. 586; Tzara, Tristan: "Chronique
zurichoise 1915-1919," p. 15f.
-
- 66
- (DALI)
- Paris. Galerie Pierre
Collé. Exposition Salvador Dali. June 1932. (8)pp. 1 plate
loosely inserted, printed on recto only, with a reproduction of
"Objets surréalistes indicateurs de la mémoire
instantanée." Oblong sm. 4to. Self-wraps. The catalogue is
introduced by a long and eloquent ode, "Salvador Dali," by Paul
Eluard (reprinted in full in the Pompidou catalogue "Paul Eluard
et ses amis peintres"). The text is printed in red on rose-colored
stock, in a rather grander format than usual. This was
Dalí’s third exhibition at Pierre Collé.
Rare.
- Paris, 1932. $500.00
- Pompidou: Eluard p.
90
-
- 67
- (DE CHIRICO)
- 12 opere di Giorgio De Chirico.
Precedute da giudizi critici di Soffici, Apollinaire, Louis
Vauxcelles, Raynal, Jacques-Emil Blanche, Roger Marx, Papini,
Carrà, Étienne Charles. (4)pp., 12 collotype plates.
Printed wraps. Printed on uncut fine wove paper. Very
rare.
- Roma (Edizioni di "Valori
Plastici"), n.d [1919]. $750.00
-
- 68
- DE CHIRICO,
GIORGIO
- Hebdomeros. (Collection Bifur.)
252, (2)pp. Printed plain yellow wraps., with the dec. front cover
of the d.j. tipped-in beneath. One of 288 numbered large-paper
copies on uncut Hollande Pannekôck, from the limited edition
of 300, apart from the regular edition of 2500. First edition. "A
travers une suite de visions proches de ses premières
toiles, mais où se trouves évoqués les
thèmes postérieures à la période
métaphysique--les gladiateurs, les cavales, etc.--De
Chirico-Hebdomeros, enfilant comme en un collier
métaphores, allégories, anagrams, lieux communs
intentionnels et autres jeux de langage, guide le lecteur tout au
long d’une sorte de voyage initiatique qui
s’achève par la rencontre du peintre avec
l’immortalité cette femme dont les yeux sont ceux de
son père" (Biron/Passeron). A fine copy.
- Paris (Éditions du
Carrefour), 1929. $850.00
- Gershman p. 14; Ades
9.94; Biro/Passeron p. 202; Rubin 187; Jean p. 41;
Reynolds p. 85
-
- 69
- (DE KOONING) O’Hara,
Frank
- Poems. With lithographs by Willem
De Kooning. Introduction by Riva Castleman. (76)pp. 17 original
lithographs in text. Lrg. folio. Full black leather. Clamshell box
(cloth over boards, lined). Edition limited to 550 numbered
copies, with the authorized facsimile signature of de Kooning in
the colophon. As is explained in the introduction, the lithographs
were originally made as charcoal drawings on sheets of plastic, to
illustrate O’Hara’s poem "Ode to Willem de Kooning" in
"In Memory of My Feelings," the livre de peintre published as a
memorial to O’Hara by the Museum of Modern Art in 1967. Only
three of de Kooning’s drawings were ultimately utilized in
the book, and their tonal values were compromised by the printing
process. Here the complete suite of drawings is presented in its
entirety for the first time, transferred from the Mylar sheets to
lithographic plates by Benjamin Shiff, and printed under his
direction, with far greater fidelity to the originals than before.
They are accompanied by a new selection of poems by
O’Hara.
- New York (The Limited Editions
Club), 1988. $4,000.00
-
- 70
- DELAUNAY,
SONIA
- Prospectus for "La prose du
transsibérien et de la petite Jeanne de France.
Représentation synchrome. Peinture simultane Mme.
Delaunay-Terk. Texte Blaise Cendrars." Single sheet, printed in
color pochoir with abstract design (with integrated text) by Sonia
Delaunay; verso with additional text in her hand, in color
pochoir. 9.5 x 33.9 cm. (3 3/4 x 13 3/8 inches). Oblong sm. 4to.
This prospectus, designed and printed by Sonia Delaunay, was
circulated by September 1913, some two months before the
publication of the work. "Ce prospectus fut largement
diffusé, notamment auprès de la presse. C’est
lui qui, bien avant la sortie du ‘Transsibérien,’
qui ne sera prêt qu’en novembre, provoquera par ses
jeux de couleurs et son libellé de nombreux articles
exprimant selon les cas l’émerveillement ou
l’ironie: ‘Il est vraisemblable que le texte a de ces
particularités qui réclament un si original
commentaire de la part de l’illustrateur. Combien les
décadents de 1885 nous apparaissent de mornes
pompiers!’ (André Salmon, Gil Blas, 11 octobre 1913).
Le texte définit lapidairement les intentions des auteurs:
représentation synchrome (et non illustration), peinture
simultané-texte (ce que Sonia Delaunay nommera plus tard
peinture-poème), et, au verso, il proclame la conscience
qu’ils ont de l’originalité de leur
création: premier livre simultané"
(Bibliothèque Nationale: Sonia et Robert Delaunay, 1977).
Top corners neatly restored, the tips with small portions of text
and color renewed; a few unobtrusive pinholes and light creases;
generally very fresh and bright. This copy is furthermore
inscribed "Année 1913" in pencil, in Sonia Delaunay’s
hand on the verso (which bears the pochoir legend "Premier livre
simultané,").
- [Paris], [1913].
$5,000.00
- Bibliothèque Nationale
1977, no. 75 (illus.)
-
- 71
- (DERAIN) Salmon,
André
- Le calumet. Edition
définitive augmentée de poèmes nouveaux et
ornée de gravures sur bois par André Derain. 109,
(3)pp. 60 original woodcuts, integrated with text (including one
on title-page printed in red and black). Sm. 8vo. Dec. pink wraps.
(with repeat of the title-page woodcut, here printed in black
alone). One of 750 numbered copies from the limited edition of
760, all printed on vélin blanc des papeteries Navarre. A
fine copy.
- Paris (Éditions de la
Nouvelle Revue Française), 1920. $500.00
- Skira p. 25; Wheeler p.
101; Basel 75
-
- 72
- (DE STIJL) Doesburg, Theo
van, et al.
- Vers une construction collective.
(Manifeste V du Groupe "De Stijl.") [Signed:] Théo
van Doesburg, Cornelis van Eesteren, Gerrit Rietveld. 1p. (recto
only). 1 halftone illus. of an architectural model. 4to. This
manifesto, later published in "De Stijl," was distributed at the
exhibition of De Stijl architecture held at the Galerie
Léonce Rosenberg in Paris in October-November 1923. The
fine architectural model depicted is likely one of three made by
the collaborators for Rosenberg, who had commissioned the design
of a private house containing an art gallery. Light
wear.
- Paris, 1923. $750.00
- Baljeu, Joost: Theo van
Doesburg (New York, 1974), p. 62
-
- 73
- LES DEUX
SOEURS
- Troisième numéro
[of 3 numbers published in all], mai 1947. 127, (1)pp. 3
illus., after Brauner, Ernst (?), Tanguy. Sm. 8vo. Dec. wraps.
Glassine d.j. One of 450 numbered copies on papier satiné.
"[Le] numéro 3 contient un éditorial de
Dotrement, ‘Le surréalisme
révolutionnaire,’ exprimant la position
spécifique des surréalistes belges dans le contente
politique de l’époque. Cette publication
entraînera une crise assez longue entre les amis de Breton
et ceux des surréalistes qui ne résignaient pas
à l’inévitable rupture avec les divers parties
Communistes" (Edouard Jaguer, in Biro/Passeron). Texts in this
issue by Dotremont, Breton, Bonnefoy, Jaguer, Lély, Char,
Desnos, Battistini, Pastoureau, Meczi, and others. Rare. Uncut.
Unopened.
- Paris, 1947. $400.00
- Biro/Passeron p. 129;
Milano p. 579f; Warmoes 258
-
- 74
- DEVETSIL
- Revolucní sborník.
J. Seifert & K. Teige, editors. 202, (6)pp. Prof. illus. 4to.
Wraps. Texts by J. Seifert, V. Nezval, K. Teige, J. Cocteau, I.
Goll, I. Erenburg, A. Cerník, A.M. Písa, et al.;
illus. of work by Léger, Chagall, Lipchitz, Archipenko,
Zadkine, Shterenberg, Teige, and others. Conclusion in parallel
French, Russian and German. The ‘Revolutionary Almanac’
of the Czech-based Devetsil group (‘Union internationale des
artistes d’avant-garde révolutionaire’), founded
in 1920 and focused on radical political progress, social and
technological utopia, and the creation of a new role for the
artist in society. "While the opening chapter, ‘New
Proletarian Art,’ written by Teige and Seifert at the
beginning of 1922, promotes the ideas of Devetsil’s first
phase, the closing chapter, ‘Art Today and Tomorrow’
(Seifert), opens new perspectives on international modernism and
in many respects takes a quite opposite view" (Frantiszek Smejkal,
in Oxford). Slight chipping at head and foot of spine; several
signatures neatly loosened.
- Praha (V. Vortel), 1922.
$950.00
- Oxford, Museum of Modern Art:
Devetsil: Czech avant-garde art, architecture and design of the
1920s and 30s (1990); Houston, Museum of Fine Arts: Czech
Modernism 1900-1945 (1989), p. 26ff.
-
- 75
- DEXEL, WALTER
- Announcement for an exhibition of
work by Oskar Schlemmer at the Kunstverein Jena, December 1924 -
January 1925. Card, printed in black on pale salmon-pink stock
(verso blank). 105 x 160 mm. (ca. 4 1/8 x 6 1/4 inches). This
classic typographic design is illustrated in Herbert
Spencer’s ‘Pioneers of Modern Typography’ (London,
1969).
- Jena, 1924. $350.00
- Spencer p. 37;
Fleischmann, Gerd: Bauhaus Drucksachen, Typografie, Reklame
(Düsseldorf, 1984), p. 236 (illus.)
-
- 76
- DEXEL, WALTER
- Announcement for an exhibition of
drawings, models and photographs by Adolf Meyer ("Ausstellung
Baukunst") at the Kunstverein Jena, February-March 1926. Card,
printed in black on cream stock (verso blank). 105 x 147 mm. (ca.
4 1/8 x 5 3/4 inches). This classic typographic design is
illustrated in Herbert Spencer’s ‘Pioneers of Modern
Typography’ (London, 1969).
- Jena, 1926. $300.00
- Fleischmann, Gerd: Bauhaus
Drucksachen, Typografie, Reklame (Düsseldorf, 1984), p. 236
(illus.)
-
- 77
- DEXEL, WALTER
- Zirkus Koxélski. Grosses
Treffen sämtlicher Künstler. 6. März 1926.
Invitation card, printed in black on yellow stock (verso blank).
147 x 116 mm. (ca. 5 3/4 x 4 1/4 inches). An especially whimsical
design for Dexel, incorporating Dada-derived elements such as a
pointing finger and macaronic typefaces.
- [Jena?], 1926.
$500.00
-
- 78
- DIACONO, MARIO
- re^er. Tre testi di Mario Diacono
e cinque incisioni di Richmond Burton, Bruno Ceccobelli, Lucio
Pozzi. (4), 13, (3)pp. 5 original etchings with aquatint hors
texte, each signed and numbered in pencil in the margin, by
Richmond Burton (2: "Four Corners," "Threshold"), Bruno Ceccobelli
("Sophia di Lorena" in double format), and Lucio Pozzi (2:
"Barchusen I" "Barchusen II"). Sheet size ca. 35 x 30 cm. (ca. 12
3/4 x 14 3/4 inches). Sq. folio Printed wrapper with glassine d.j.
Portfolio (cloth over boards). All contents loose, as issued.
Edition limited to 30 numbered copies (plus 10 artists' proofs of
the etchings), printed on Strathmore, with the etchings on BFK
Rives, Fabriano, and Fabriano Tiepolo respectively.
- N.p (Ex Isle Editions), 1990.
$3,000.00
-
- 79
- DINE, JIM
- The Smiling Workman. By Jim Dine.
Mimeographed handbill, printed in black on yellow stock. 8 1/2 x 6
3/4 inches (215 x 171 mm.); verso blank. Entirely hand-drawn by
Dine, it presumably relates to Dine’s happening of this
title, enacted at Judson Memorial Church as part of a cycle of
performance events from February 29 to March 2, 1960. Performed in
the environment of Dine’s ‘The House,’ it "revealed
the almost demonic obsession he brought to all his work from this
period." (Haskell). The sheet is a freakishly jaunty composition
of comic-book styled lettering jumbled with drawings of hammers,
saws, pots of paint, drills and other tools; beneath the title, an
enormously wide smile with many teeth and heavily lashed eyes. It
was undoubtedly run off on the mimeograph machine at Judson
Church, as were the comics drawn at this time by Oldenburg, Dine,
Grooms and others.
- [New York],
[1960]. $250.00
- Cf. Haskell: Blam, p.
40f.
-
- 80
- DOCUMENTA
- Kassel. Museum Fridericianum
[etc.]. Documenta. Internationale Ausstellung. I - X, 1955
- 1997. 10 catalogues in 21 vols. A complete set of catalogues for
the first ten Documenta expositions. Increasingly
rare.
- Kassel, 1955-1997.
$3,500.00
- Arntzen/Rainwater
R37
-
- 81
- (DOMELA) Kandinsky,
Wassily (preface)
- Domela. Six reproductions en
couleurs d’après quelques oeuvres récentes.
(8)pp. 6 full-page color plates, tipped onto mounts. 1 tipped-in
monochrome illus. on title-page. Folio. Wraps. Signatures and
plates loose, as issued. Edition limited to 300 numbered copies in
all, signed in pencil in the justification by Domela. Presentation
copy, inscribed in pencil on the title-page "Paris Mai 1949/
à mon ami Kurt Seligmann/ bien sincèrement/
Domela."
- N.p. (Privately Published), n.d.
[ca. 1943]. $650.00
-
- 82
- DUCHAMP, MARCEL &
HALBERSTADT, V.
- L’opposition et les cases
conjugées sont reconciliées par M. Duchamp et V.
Halberstadt. / Opposition und Schwesterfelder..../ Opposition and
Sister Squares.... 112, (1)ff. 259 chessboard diagrams, printed in
red and black (of which 8 full-page, printed on glassine). 2
errata slips. Lrg. sq. 4to. Printed wraps., designed by Duchamp.
Glassine d.j. Edition limited to 1000 copies. Parallel texts in
French, German and English. Duchamp, who had taken part in
international chess tournaments during the preceding five years,
devoted this treatise to an endgame problem of, as he put, it,
almost utopian rarity. An extract was published in "Le
surréalisme au service de la révolution," no. 2
(Summer 1930), and the work was subsequently discussed by Pierre
de Massot in "Orbes," Series II, No. 2 (Summer 1933). Massot gave
the following account of the method by which Duchamp arrived at
the elegantly restrained distortion of the cover typography: "Set
up in the zinc stencil letters...the title was placed between two
plates of glass, which were tilted at an angle and exposed to the
sun. The uncontrolled deformation produced on the ground by the
sun’s rays passing through the cut-out parts of the letters
was photographed by Duchamp, who afterwards made a negative from
this photograph which was stereotyped."
- Paris/ Bruxelles (Éditions
de l’Echiquier), 1932. $2,750.00
- Schwarz p. 589; Lebel
52, 83, 172-3, no. 165; Naumann 4.17
-
- 83
- (DUCHAMP)
- Antwerpen. Galerie Ronny van de
Velde. Marcel Duchamp. Sept.-Dec. 1991. Sq. folio. Slipcase
(boards). All contents loose, as issued. Deluxe edition of the
catalogue, limited to 850 copies, numbered on the interior of the
lid. This commemorative album, a trove of objets designed in the
spirit of the boîte en valise, contains a descriptive
checklist of the exhibits (a leporello of 64pp.); a portfolio with
reproductions of works by Duchamp, also including a copy of H.
Vuibert, "Les anaglyphes géométriques" (Paris,
1912), complete with 3-D glasses; a book, "Marcel Duchamp," with
texts by Arturo Schwarz (24pp.); an audiocassette of Duchamp
speaking (housed within a velvet-covered box bearing a miniature
foam-rubber facsimile of Duchamp’s breast-objet
"Prière de toucher"), and other items. All are loosely
housed in a handsome and massive wooden box bearing a faux-wood
facsimile of Duchamp’s own ‘mental’ chessboard on
the top of the sliding lid.
- Antwerp, 1991.
$950.00
-
- 84
- (DUCHAMP) Lebel,
Robert
- Sur Marcel Duchamp. Avec les
textes de André Breton & H.P. Roché. (6), 191,
(3)pp. 122 heliotype and other illus. (6 tipped-in color, one in
pochoir). 48 heliotype figs. 5 collotype facsimiles loosely
inserted hors texte, as issued. Sm. folio. Original wrappers.
Glassine d.j. Signatures loose, as issued. Clamshell slipcase
(full linen), containing 2 original multiples signed in ink by
Duchamp: "Eau & Gaz à Tous les Etages" (imitation
ready-made tablet, executed in pochoir, initialled "M.D." in white
ink on blue, affixed to front cover of the box) and "Auto-portrait
de Profil" (hand-torn profile self-portrait on red-orange paper,
signed and inscribed "marcel déchiravit," mounted on black
velvet panel hinged at one side to the interior of the slipcase).
The interior of the box, which is entirely lined with a montage of
collotype reproductive photographs of Duchamp’s works, also
contains two further hinged panels of reproductions of which one
(the "Grande Verre") is colored in pochoir and framed en
passepartout under acetate (as issued). One of 110 copies on
papier Crèvecoeur d’Arches Marais, from the limited
edition of 137 in all, signed in the justification by Duchamp and
Lebel, and twice numbered (once on the torn-paper profile). A very
fine copy.
- Paris (Trianon Press), 1959.
$15,000.00
- Schwarz 349 and cf. 344c,
347; Gershman p. 27;; Sanouillet 116; Rubin
233; Verkauf p. 178; cf. Naumann 7.24; cf. Freitag
2450
-
- 85
- (DUCHAMP)
- Transition. A quarterly review.
No. 26. 220pp. Prof. illus. Sm. 4to. Dec. wraps., printed in
color. "Duchamp designed the cover for issue no. 26 of
‘Transition’ from a reproduction of his Readymade
‘Comb’ and an image of the journal’s masthead. The
same reproduction (but without the ‘Transition’
masthead) is included in all copies of ‘The Box in a
Valise,’ 1941. According to Sylvia Beach, James Joyce told
her jokingly that ‘the comb with thick teeth shown on this
cover was the one used to comb out ‘Work in Progress’"
(Schwarz). Apart from the Duchamp design, this is one of the best
issues of "Transition," with texts and images by Agee, Arp,
Eluard, Jarrell, Jolas, Joyce, Copland, Man Ray, Léger,
Moholy-Nagy, Mondrian, Panofsky, Calder and others. Light wear at
yapped edges; name at base of title-page.
- New York, 1937.
$225.00
- Schwarz (1997) 457;
Lebel 174
-
- 86
- (ERNST) Kuhlemann,
Johannes Th.
- Consolamini. Dichtungen.
[Fünf Zeichnungen von MAX ERNST.] 77, (3)pp. 5
full-page illustrations after drawings by Ernst (including 1 on
front cover). Sm. 4to. Orig. dec. wraps. "In 1919, Max
Ernst’s first illustrated book, ‘Consolamini,’ was
written. A small volume of poems written in the period 1910-14 by
his close pre-war friend Johannes Theodor Kuhlemann, it contained
reproductions of four ink-and-wash drawings of 1918, plus another
on the cover. Two drawings in the same style and technique
appeared in the first and only number of the review ‘Der
Strom.’ The drawings of tightly grouped imaginary creatures,
reminiscent of Heinrich Campendonk and Paul Klee, did not mark a
notable change from the style of the 1917 ‘Battle of the
Fish’ series. They strongly anticipated, however, some of
Ernst’s preoccupations of the following twenty years and
more" (Rainwater). Very slight dustiness of the wrappers, with 1
short hairline opening at the top edge of spine; an extremely fine
copy, clean and crisp. Of greatest rarity.
- Coeln-Ehrenfeld (Kairos-Verlag),
1919. $4,500.00
- Spies/Metken 279-283;
Hugues/Poupard 1; Rainwater no. 7, and p. 6 (w.
illus.)
-
- 87
- ERNST, MAX
- Rêve d’une petite
fille qui voulut entrer au Carmel. (182)pp. 69 captioned full-page
illustrations after collages of steel-engravings. 4to. Dec. wraps.
(with Ernst illustration). Glassine d.j. One of 40 numbered copies
on uncut Hollande Pannekoek, with large margins of irregular
format, from the limited edition of 1100 in all.
- The second of Ernst’s three
collage novels, and the least known, though, Evan Maurer has
noted, "this work comprises some of Ernst’s most powerful
statements on the complexity of human nature, sexuality and
desire." Backstrip expertly mended at head and foot; a fine, fresh
copy of the rare preferred edition.
- Paris (Editions du Carrefour),
1930. $4,500.00
- Spies/Metken 1587-1666
(after); Hugues/Poupard-Lieussou 8; Rainwater 22, p.
70 (Maurer); Gershman p. 20; Ades 11.49; Biro/Passeron
1056; Manet to Hockney 86; Villa Stuck 37; Andel
133
-
- 88
- ERNST, MAX.
- Une semaine de bonté, ou
les sept éléments capitaux. Roman. 5 vols. (10)pp.,
182 full-page plates of collages of steel engravings. 4to. Orig.
printed purple, green, red, blue and yellow wraps. This copy
without the publisher’s box. One of 800 copies on papier de
Navarre, from the limited edition of 816 in all, numbered in
separate justifications in each volume.
- Ernst’s third and final
collage novel, assembled in a great burst of energy in just three
weeks, and much the longest and most complex, serially issued in
five separate cahiers from April through December 1934. The work
is orchestrated in seven sections, corresponding to the days of
the week, and correlated also with the alchemical elements. "In
the five books of ‘Une semaine de bonté,’ Ernst
developed a set of iconographical forms based on a wide variety of
sources, including Freudian dream theory, alchemy, and his
personal life experiences. Taken together, his three collage
novels exhibit a poetic and pictorial genius that establishes them
as some of the most extraordinary monuments of twentieth-century
art. Their unique character was recognized by Breton, who
proclaimed that ‘it is Max Ernst’s magic passes that
have awakened the book, physically, from its centuries-long
slumber: the pages which he has enchanted, rather than merely
‘decorated’ are so many eyelids that have started to
flutter. It is the ‘verdant paradise’ of the
child’s first picture-book, as well as the herbarium in which
every plant consents to flower a second time’" (Evan M.
Maurer). Wrappers rather faded at spines, vol. 3 with small stains
on front cover; internally crisp and fine.
- Paris (Jeanne Bucher), 1934.
$4,500.00
- Spies/Metken 1904-2085;
Hugues/Poupard-Lieussou 11; Beyond Painting 51;
Rainwater 33a and pp. 78-91; Ades 12.150; Hubert pp. 269-286;
Andel 134; Reynolds p. 44; Stuttgart 76; Villa Stuck 36; Milano p.
651
-
- 89
- ERNST, MAX & ELUARD,
PAUL
- Misfortunes of the Immortals.
Translated by Hugh Chisholm. 44, (10)pp. 22 full-page illus. 4to.
Dec. boards. D.j. (small tears). Edition limited to 610 copies.
"This edition is further augmented by Three drawings Twenty Years
After. The Misfortunes of the Immortals was first published in
Paris in 1920, originally revealed in French by Paul Eluard and
Max Ernst, and now translated into English by Hugh Chisholm. This
edition has been designed and published by Caresse Crosby, handset
in Spartan type twelve point and printed at the Gemor Press in the
city of New York, March 1943." Announcement card from the Julien
Levy Gallery (which exhibited graphic work by Ernst on the
occasion of the book’s publication) loosely
inserted.
- New York (Black Sun Press), 1943.
$900.00
- Hugues/Poupard-Lieussou
18; Spies 555-557
-
- 90
- (ERNST) Péret,
Benjamin
- La brébis galante.
124pp. 3 original color etchings with aquatint (including title)
and 22 full-page illustrations, of which 18 colored by hand in
pochoir. Cul-de-lampe, lettrines. 4to. Dec. wraps. (original color
lithograph). One of 300 numbered copies on grand vélin
d’Arches from the limited edition of 316. "The book can in a
way be considered the most representative Surrealist art form, and
the manner in which it evolved adds one more paradox. Volumes that
we consider masterpieces of this Janus-faced genre, such as
Péret and Ernst’s ‘La brébis galante’
or Eluard and Miró’s ‘A toute
épreuve’, appeared after World War Two--long after the
heyday of surrealism" (Hubert). A fine copy.
- Paris (Les Éditions
Premières), 1949. $6,000.00
- Spies/Leppien 28G;
Hugues/Poupard-Lieussou 22; Rainwater 49, p. 113f.;
The Artist and the Book 100; Hubert p. 26; Gershman p. 33; Ades
17.57; Reynolds p. 67f.; Villa Stuck 40
-
- 91
- (ERNST)
- Beverly Hills. The Copley
Galleries. Max Ernst. At Eye Level: Poems and Comments. Paramyths:
New Poems and Collages. 30 years of his work. A survey. Jan.-Feb.
1949. 39, (1)pp. Prof. illus. 4to. Dec. boards, 1/4 cloth. One of
478 numbered copies, from the limited edition of 513 in all,
designed by Max Ernst. "Paramyths" includes 8 collages made by
Ernst for this publication, printed in brown on blue paper, facing
poems written to accompany them; the cover design is also by
Ernst. Texts by Bousquet, Eluard, Tanning, Péret, Calas and
others. Portions printed on colored stocks.
- Beverly Hills, 1949.
$400.00
- Hugues/Poupard 21;
Rainwater 54; Stuttgart 23
-
- 92
- ERNST, MAX & CHAR,
RENÉ
- Dent Prompte. (56)pp. 10
full-page original color lithographs. Folio. Portfolio (boards
with 1 additional color lithograph by Ernst). Chemise. Slipcase.
All contents loose, as issued. One of 240 numbered copies on
vélin d'Arches, signed in the justification by Char and
Ernst, from the limited edition of 290 in all. Reprising 10 poems
from Char's "Dehors la nuit est gouvernée" (1938) where
they appeared under the title "Versions"; they were later revised
in 1949 omitting (as here) all punctuation.
- Paris (Galerie Lucie Weill ),
1969. $4,500.00
- Spies/Leppien A19;
Quinn p. 434; Lilly 60
-
- 93
- (ERNST) Lebel,
Robert.
- L’oiseau caramel.
Lithographies de Max Ernst. [Text:] 180, (10)pp. Lrg. 8vo.
Wraps. D.j., printed in gold. [Prints:] photolithograph by
Max Ernst in 3 different colored states, each signed and numbered
in pencil in the margins, loose as issued. Sm. folio.
Publisher’s silk presentation box. Carton. One of 150
numbered copies on vélin d’Arches, from the limited
edition of 1650 in all. The lid of the specially designed box
(‘livre-tableau’) is a double-sided passepartout frame
permitting the display of two of the three loose lithographs; the
book itself, which is smaller in format, is housed in a recessed
portion of the interior.
- Paris (Le Soleil Noir), 1969.
$3,500.00
- Spies-Leppien A20;
Carré d’Art, Nîmes 17
-
- 94
- FUTURA
SAMMELBAND
- 1-2 (all published). [Futura
1-26.] Each 48 x 48 cm., folded to 24 x 16 cm. 4to. Printed
paper slipcases. Edition of 300. A complete set of these large
folding broadsides, designed by Diter Rot, Emmett Williams, Ian
Hamilton Finlay, Reinhold Döhl, Jonathan Williams, Louis
Zukofsky, Dick Higgins, Wolf Vostell, Robert Filliou, Wolfgang
Schmidt, Mathias Goeritz, Edward Lucie-Smith, Carlo Belloli, and
other exponents of concrete poetry, Fluxus and related tendencies.
All utilize the lowercase Futura typeface (hence the title). The
broadsides had been individually issued in editions of 1200,
starting in 1965, prior to their gathering in this format as the
Futura Sammelband.
- Stuttgart (edition hansjörg
mayer), 1967-1968. $1,000.00
- Haags Gemeentemuseum:
Publikaties van de en werk edition hansjörg mayer (1968), p.
24ff.; Sohm p. 155
-
- 95
- GARNIER, TONY
- Une cité industrielle.
Étude pour la construction des villes. (16)pp., 164 offset
and collotype plates, of which 14 in colors and 44 folding (some
as large as 4 x 5 feet). Oblong folio. Publisher’s folding
printed cloth portfolio; ties. A work of revolutionary importance
in the history of modern architecture and urban design,
Garnier’s plan--largely completed by 1904, years before its
eventual publication--was unprecedented in its acknowledgment of
modern industrial realities and economical new materials, such as
reinforced concrete, as well as in its spare Loos-like look and
its social ideology, based on Fourierist principles. Despite its
widespread influence, a second edition (shortened) was not issued
until 1932. A very fine and fresh copy. A very fine and fresh
copy. Rare, especially in its original state, unbound.
- Paris (Auguste Vincent,
Libraire), [1918]. $8,500.00
- Sharp p. 46; Placzek
II.165f.; Giedion: Space, Time and Architecture.
p.511ff.
-
- 96
- GERASIMOV, MIKHAIL, et
al.
- Konnitsa bur. Stikhi.
[By] Mikhail Gerasimov, Sergei Esenin, Riurik Ivnev,
Nikolai Kliuev, Anatolii Mariengof, Petr Oreshin. (32)pp. Sm. 4to.
Dec. wraps. (front cover design by Vasili Kamardenkov). The first
Imagist anthology, "Cavalry of Tempests." Gerasimov was himself a
member of the newly created proletarian group The
Forge.
- Moskva, 1920. $550.00
- Getty 343; Paris/Moscou
317 (illus. p. 451)
-
- 97
- GLEIZES, ALBERT &
METZINGER, JEAN
- Du "cubisme." Douzième
édition. (Collection "Tous les Arts.") 44pp., 26 plates.
4to. Orig. printed yellow wraps. (old mend at backstrip). Glassine
d.j. The fictive designation "douzième édition"
merely indicates an early printing, in this case 27 December 1912;
parts of the text had been read during the summer to members of
the Duchamp circle, known as the Puteaux Group, and the work
published before the close of the Salon du Section d’Or in
October. Contemporary stamp on title-page; a nice
copy.
- Paris (Eugène
Figuière), 1913. $450.00
- Freitag 4436
- 98
- (GONCHAROVA) Bolshakov,
Konstantin
- Serdtse v perchatkie [A Heart
Wearing a Glove]. [Oblozka raboty N.GONCHAROVOI.]
(16)pp. Wraps. Rayonist cover design by Natalia Goncharova,
printed in black (typography in red). "The Mezzanine of Poetry
published Bolshakov’s third book of poetry...in 1913. The
cover, abstract in its design, was the work of Goncharova. Here
Bolshakov showed definite poetic maturity. In his themes he did
not avoid the customary ego-futurist effete drawing-rooms and
boudoir poetry, complete with powder boxes, rugs and scent
bottles, of the sort found in Severyanin and Shershenevich; but
there are airplanes and city streets in it, too, and they are more
specifically the streets of Moscow..." (Markov). Light soiling and
wear to covers, a little pencilling in text.
- Moskva (Kn-vo "Mezanin Poezi"),
1913. $600.00
- Markov p. 110f.; Getty
94
-
- 99
- GRÄFF,
WERNER
- Es kommt der neue Fotograf! Unter
Mitarbeit von Hans Richter, Berlin. 126, (2)pp. 153 illus. 4to.
Cloth. The important overview of Bauhaus and Neue Sachlichkeit
photography, with images by Bayer, the Feiningers, Finsler,
Giedion, Heartfield, Lissitzky, Man Ray, Renger-Patzsch, Richter,
Vertov and others; strong constructivist mise-en-page.
- Berlin (Hermann Reckendorf),
1929. $550.00
- Franklin Furnace 123;
Paris/Berlin 548
-
- 100
- GRÄFF,
WERNER
- Das Motorrad. Gründlich
kennenlernen, richtig behandeln, gut fahren. Praktisches
Motorradlehrbuch. 3.-5. Tsd. (Lebensbücher des modernen
Menschen. 41.) 30, (2)pp. 40 illus. Lrg. 8vo. Dec. wraps., printed
in red and black. The very rare publication on motorcycles by
Werner Gräff, the author of "Es kommt der neue Fotograf!" and
"Filmgegner von heute--Filmfreunde von morgen." In the 1920s,
Gräff published articles on automobiles and motorboats in
Bauhaus-related periodicals such as "Die Form" and "G," of which
he was an editor, along with Hans Richter, Lissitzky, Mies van der
Rohe and Kiesler. One annotation in pen; fine.
- Stuttgart (Süddeutsches
Verlagshaus ), n.d. $400.00
-
- 101
- GRAHAM, JOHN
- System and Dialectics of Art.
154, (4)pp. 15 full-page illus. in text. 4to. Wraps. Graham’s
amazingly prescient, if eccentric, disquisition on modernist
aesthetics, Picasso, African and Northwest Coast art, and the
unconscious. System and Dialectics of Art was closely read by de
Kooning, David Smith, Milton Avery (all of whom he mentions),
Pollock, Gorky and many others. An historic, extremely influential
book. Light wear and browning. Presentation copy, inscribed by
Graham on the half-title.
- New York (Delphic Studios), 1937.
$500.00
-
- 102
- (GRIS) Radiguet,
Raymond
- Denise. Illustré de
lithographies par Juan Gris. (18)pp. 5 original lithographs
(including front cover printed in black, and 4 hors texte, each
printed in a different color). 4to. Orig. printed wraps., with
front cover design by Gris. Original glassine. One of 90 numbered
copies on Arches, from the limited edition of 112 in all, signed
in pen by Gris in the justification. "Raymond Radiguet wrote the
short story ‘Denise’ while staying in Carqueiranne with
Jean Cocteau. It was unrevised when he died in 1923, and
effectively unknown until Cocteau sent a copy to Kahnweiler
referring to its ‘detestably mannered’ quality. Gris
began working on the illustrations for ‘Denise’ early in
January 1926. He repeated Radiguet’s image of Venus rising
from the sea for the cover lithograph, but drew four still-life
lithographs in his late Cubist style to embellish the interior of
the book. All of the designs are drawn with liquid tusche, which
boldly delineate the still-life elements" (Stein). Chapon praises
Gris’ illustrations as "le génie de Gris à son
apogée...la forme la plus sereine, la plus
dépouillée de l’art de Gris." A beautiful
copy.
- Paris (Editions de la Galerie
Simon), 1926. $7,500.00
- Hugues: Kahnweiler 21;
Pompidou: Kahnweiler p. 185; The Artist and the Book
127; Chapon pp. 112, 285; Skira 145; Rauch 101; Wheeler p.
102; Stern 49; Winterthur 109; Stein 83; Siena 26
-
- 103
- (GRIS) Reverdy,
Pierre
- Au soleil du plafond. 152, (4)pp.
11 full-page original color lithographs by Juan Gris in text. Text
reproduced from the author’s manuscript. Folio. Dec. wraps.
Publisher’s slipcase (boards; broken). All contents loose, as
issued. One of 205 numbered copies, signed in the justification by
Reverdy, from the limited edition of 220 in all, printed on
vélin d’Arches by Mourlot for Editions Verve. "The
idea for this collaboration between Gris and Reverdy was conceived
during the First World War. Gris died in 1927, having completed
half the illustrations for the twenty poems. The book was finally
published in 1955 with the text appearing as a facsimile of
Reverdy’s handwriting. Even though it appeared decades
afterwards, this handsome work is considered one of the great
Cubist books" (Bareiss). From the library of Victor and Sally
Ganz, with their ex-libris.
- Paris (F. Tériade), 1955.
$2,500.00
- Rauch 102; Siena
29; Bareiss 30; Hommage à Tériade p.
106f.; Anthonioz p. 396
-
- 104
- (GROPIUS)
- Bauhaussiedlung
Dessau-Törten. Planung und Bauleitung: Walter Gropius. (6)pp.
(single sheet, folding). 9 illus. (including 2 isometric
renderings, 2 halftone photographs, and 5 plans and charts).
Typography set in lower-case throughout. 4to. Dec. self-wraps.
"The Dessau-Törten housing development was generally looked
on as a project of the Bauhaus, even though Gropius had personally
received the commission for its design. It represented to a
certain extent the Bauhaus ideas on the subject of housing
developments for everyone. In that respect, it was an important
supplement to the architectural program which had been
demonstrated with the Bauhaus building and the Masters' houses"
(Wingler). Unobtrusive central fold.
- Dessau, 1926. $450.00
- Fleischmann, Gerd: Bauhaus:
Drucksachen, Typographie, Reklame (Düsseldorf, 1984), p. 221
; Wingler p. 416
-
- 105
- (GROPIUS)