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Catalogue 109-N : Rare Books
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on the fine arts
Catalogue 109-N : Rare Books
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1 AGRIPPA, Camillo. Trattato
di scientia d'arme, con un dialogo di filosofia. Roma (Antonio
Blado), 1553. $3,000.00
(3), lxx, (2)ff. Engraved medallion portrait of the author, placed on
the recto of the first leaf, engraved frontis. compositions of
Agrippa displaying to scholars a sphere of his own design and 54
engraved illus. in text demonstrating fencing and duelling positions
(1 diagram). Sm. 4to. Fine modern full polished calf, gilt.
A.e.g.
First edition of Agrippa's first published work, dedicated to Cosimo de' Medici. The copperplate engravings, which are almost entirely integrated with the text, are currently attributed to the school of Marcantonio Raimondi. The book was reissued in Venice in 1568 (Pinargenti) with free copies of the illustrations by Giulio Fontana, and republished once again in 1604 (Roberto). Intermittent light wear and soiling.
Cicognara 1551; Mortimer Italian 6; Brunet I.44; Graesse I.115
2 ALGAROTTI [Francesco]. Saggio sopra la pittura. Venezia (Stamperia Graziosi), 1784. $450.00
178, (2)pp. Original signatures, stitched, loosely inserted in modern marbled wrapper. Uncut, with large margins.
First published Bologna, 1762, and duly translated into English (London, 1764), French (Paris, 1769) and German (Kassel, 1769); a number of editions such as this appeared in Italy before the end of the eighteenth century. Count Francesco Algarotti (Venice, 1712-1764) was internationally esteemed as a connoisseur.
Cf., citing various editions: Borroni I.854; Schlosser p. 682; Cicognara 7
3 (ALIBERT SALE) Paris. Franç. Léand. Regnault. Catalogue d'une nombreuse collection d'estampes et de dessins de grands maîtres, après le décès de Madame Alibert, et cessation de commerce de J. Guill. Alibert, marchand d'estampes. Vente, 25-30 avril, 2-5 mai 1803. Catalogue by Franç. Léand. Regnault. Paris, 1803. $350.00
viii, 167, (1)pp. Lrg. 8vo. Nineteenth-century marbled boards, 1/4 cloth. Unopened.
552 lots of prints are catalogued (including groups of as many as 900 portraits after van Dyck entered as a single lot). A little light waterstaining and foxing but a good copy.
Lugt 6612
4 Mönchengladbach. Städtisches Museum. CARL ANDRE. Ausstellung vom 18. Oktober bis 15. Dezember 1968. Mönchengladbach, 1968. $600.00
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.
5 ANEAU, Barthelemy. Picta poesis. Ut pictura poesis erit. Lyons (Macé Bonhomme ), 1552. $6,000.00
118, (2)pp. 106 metalcut compositions, mostly rectangular (2 repetitions), attributed to Pierre Eskrich. Woodcut printer's device (Pegasus) on title; culs-de-lampe throughout. Sm. 8vo. Dark olive green morocco by Capé, elaborately gilt.
First Latin edition of this emblem book; a French edition appeared in the same year; other Latin editions followed in 1556 and 1564. The cuts, traditionally attributed to Bernard Salomon, are now given to Eskrich. Mortimer notes that "Aneau had translated the Alciati emblems for a Bonhomme-Rouillé edition of 1549, and with the emblem book format in mind, he composed the `Picta poesis' verses chiefly to suit cuts found in Bonhomme's general stock." As in the Harvard copy, the cut on F5v is printed upside down. A remarkably diverse and elegant assortment of large arabesque and grotesque tailpieces ornaments the work. Provenance: Guillaume Daspect (contemporary inscription); Leopold Double (booklabel); de Vertot (bookplate); DB (booklabel); Henry Burton (booklabel); Otto Schäfer 1164.
Adams A1092; Brun 142; Baudrier X.227; Praz p. 25; Landwehr Romanic Emblem Books 113; Brunet IV.634; Murray French 610; Mortimer French 25
6 ARP, HANS. Auch das ist nur eine Wolke. Aus den Jahren 1920 bis 1950. Vorwort von A.M. Frey. Basel/Pfullingen (Vineta/Neske), 1951/1960. $1,500.00
(7)pp. 4 plates hors texte, each hand-colored by Arp in watercolor. 4to. Wraps.
One of 100 hand-numbered copies from the limited edition of 130 in all, signed in pencil in the colophon by Arp. Typography by Jan Tschichold. Part of the original issue published by Vineta-Verlag in Basel in 1951, later released by Neske with a new title-page and colophon.
7 ARP, HANS. Des tâches dans le vide. (Les Feuillets de "Sagesse." Collection anthologique. 32.) Paris (Editions Sagesse/ Librairie Tschann), n.d. [1937]. $350.00
(8)pp. Sm. 4to. Self-wraps.
Presentation copy, inscribed in pencil on the front cover (seemingly not in Arp's hand) "A mon ami Eugen Iolas/ Hans Arp".
Rolandseck 111; Hagenbach 9
8 ARP, JEAN. Vers le blanc infini. (Collection "La Rose des Vents." II. ) Lausanne/Paris (La Rose des Vents), 1960. $2,750.00
(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. "`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.
Basel 7; Garvey/Wick 56; Hubert pp. 85-92
9 Tzara, Tristan. De nos oiseaux. Poèmes par ARP. Paris (Editions Kra) [1929]. $850.00
114, (8)pp. 10 full-page illus. Orig. wraps. (light wear).
First published in 1923 in an edition of 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.
Berggruen 4; Hagenbach 61; On My Way 129; Rolandseck 88; Gershman p. 44; Sanouillet 199; Ades 3.51; Reynolds p. 79; cf. Skira 3
10 BALDINUCCI, Filippo. Notizie de' professori del disegno da Cimabue in qua. Che contengono tre decennali, dal 1580 al 1610. Opera postuma. Firenze (Nella Stamperìa di Giuseppe Manni), 1702. $600.00
viii, 426, (2)pp. Engraved title-page vignette; wood-engraved culs-de-lampe, lettrines. Lrg. 4to. Nineteenth-century marbled boards, 1/4 leather.
First edition. Baldinucci's "Notizie," covering the history of art from 1260 to 1670, was originally published ad seriatim in six volumes by various Florentine houses between 1681 and 1728. This volume, the fifth, treats the period 1580-1610. A little light browning, but a very nice copy with good margins. Rare.
Cicognara 2195; Schlosser pp. 466, 473; Arntzen/Rainwater H52; Chamberlin 1986
11 BARBAULT [JEAN]. Les plus beaux monuments de Rome ancienne. Ou recueil des plus beaux morceaux de l'antiquité romaine qui existent encore: dessinés par Monsieur Barbault peintre, ancien pensionnaire du Roy à Rome, et gravés en 128 planches avec leur explication. Rome (Bouchard & Gravier), 1761. $5,000.00
viii, 90pp., 73 plates with 117 illustrations by Barbault, engraved by Barbault, [Domenico] Montagu and [Joseph] Bouchard. 11 large engraved vignettes and culs-de-lampe of antiquities. Lettrines. Lrg. folio. Contemporary full calf (scuffed and a bit worn). Raised bands.
First edition; a German translation, with plates by Georg Christoph Kilian, was published in Augsburg in 1782 ("Denkmäler des alten Roms"). As Pierre Rosenberg (and before him Andrew Robison) has noted, the work was an attempt by the publisher to compete with the productions of Giovanni Battista Piranesi, who had left the firm in the late 1750s to set up on his own, and was now succesfully publishing his "Vedute di Roma." Barbault, for his own part, avoided simple imitation of Piranesi by choosing quite carefully to show the ancient monuments which Piranesi had depicted from different angles and points of view, in a sense completing the gaps which might be found in his rival's documentation. It was an intelligent solution, and one which reaped considerable profit for Bouchard, the work being a notable commercial, as well as artistic, success. Rosenberg, speaking of its popularity, notes that it is to be found again and again in the catalogues of the important sales of the later eighteenth and early nineteenth century.
This copy, quite interestingly, bears the contemporary inscription of the eminent French architect and academician Pierre Noël Rousset (d. 1795), "Jay partient a Rousset Architecte" at the table on the last leaf. It also carries a handwritten cypher (`R' plus paraph?) on every leaf containing a plate or illustration. Whether these latter marks are to be identified as Rousset's, as seems likely but also odd, would be worth investigating; they seem equally likely to be some form of "bon à tirer," and Rousset does not seem to have been involved in the book's production (though as a member of the academies of Florence and Bologna, as well as the Académie d'Architecture, he may well have been in Rome at the time). The cypher also appears at the base of the title-page, where an old ownership inscription (perhaps in Rousset's hand) has been effaced. Intermittent light wear; a little light foxing; nearly always confined to the blank margins; rear flyleaf removed.
Borroni II.8139; Cicognara 3592; Fowler 37; Sander 75; Brunet I.646; Graesse I.289; Volle, Nathalie & Rosenberg, Pierre: Jean Barbault, 1718-1762 (Beauvais, 1974), pp. 56, 59; Piranèse et les français p. 499ff.; for information on Rousset: Placzek III.616f.
12 BARDI, Girolamo. Dichiaratione di tutte l'historie, che si contengono ne i quadri posti nuovamente nelle Sale del Scrutinio, & del gran Consiglio del Palazzo Ducale della Sereniss. Republ. di Venetia, nella quale si hà piena intelligenza delle più segnalate vittorie, conseguite da varie nationi del mondo da i Venetiani. Venezia (Nicolo Pezzana), 1660. $750.00
162pp. Tall 12mo. Nineteenth-century marbled boards, 3/4 calf (front hinge cracked).
The final edition of this important guide, first published in 1587, describing the painting cycles created by Veronese, Tintoretto, Francesco Bassano and others for the Sala del Maggior Consiglio and the adjacent Sala dello Scrutinio of the Ducal Palace of Venice following the disastrous fire of 1577. The author, a learned Camaldolese monk, was a member of the committee formed to devise the iconographic program of the cycle, which is explained at length in the booklet. Prior to this, the work was reissued in 1601, 1602 and 1606.
Cicogna 4669; Schlosser pp. 369, 379, 564; Lozzi 5896; cf. Cicognara 4348-4349; Schulz, Juergen: Venetian Painted Ceilings of the Renaissance (Berkeley, 1968), p. 109.
13 BARLACH, ERNST. Figuren-Zeichnen. Strelitz in Mecklenburg (Polytechnischer Verlag M. Hittenkofer), n.d. [ca. 1900]. $550.00
97, (1)pp. Dec. title and 77 plates of schematic illustrations in text. 4to. Publisher's dec. cloth, designed by the artist.
First edition of this little-known and very early drawing manual by Barlach. Heavily illustrated with schematic illustrations, some of them distinctly anticipating his characteristic style, it can be considered his first illustrated book. A sixth printing is known, indicating that it was quite successful at the time. Intermittent light wear.Rare.
Spalek 1669
14 BASKIN, LEONARD. Portraits of the Pre-Raphaelites. An album of 26 original watercolors and 1 drawing in pen and ink. Leeds, Massachusetts, 1985-1987. $30,000.00
Image size ranges from 4 inches (100 mm.) diameter (Christina Rossetti) to 14 3/8 x 12 3/8 inches (365 x 315 mm) (John Everett Millais); sheet sizes vary greatly. 21 of the 27 sheets are formally signed, and some titled within the image (most are inscribed on the mounts). Folio. The entire series has been expertly mounted in a specially made folio album of full brown crushed morocco gilt, within a solander box of quarter brown crushed morocco, lined in brown velvet.
Portraits of leading figures of the Pre-Raphaelite movement. The subjects of the drawings are: Dante Gabriel Rossetti, Elizabeth Siddall, Christina Rossetti, William Michael Rossetti, Ford Maddox Brown, Eliza (?) Brown, John Everett Millais, William Holman Hunt, Frederic George Stephens, Fanny Cornforth, Thomas Woolner, William Bell Scott, Edward Burne-Jones, Georgie Burne-Jones, William Morris, Jane Morris and one unidentified subject. Accompanying the drawings is a series of 8 signed autograph letters from Baskin to Colin Franklin, in Culham, Oxford, England, who commissioned the work. Writing from Leeds, Massachusetts, on Gehenna Press stationery, Baskin describes the progress and eventual completion of the project (there described as "25" watercolors) between 17 May 1985 and 13 July 1987. In exchange for them, Baskin took possession of Virginia Woolf's desk, which Franklin owned and Baskin had for some time coveted.
15 BECHER, BERNHARD & HILLA. Anonyme Skulpturen. Eine Typologie technischer Bauten. Düsseldorf (Art-Press Verlag), 1970. $850.00
194 full-pates plates in text. Lrg. 4to. Cloth. D.j.
Parallel texts in German, English, and French. First edition of the Becher's first book.
16 BELLINI, Vincenzo. De monetis Italiae medii aevii hactenus non evulgatis, quae in suo musaeo servantur. Ferrara (Typis Bernardini Pomatelli Impress.), 1755. $750.00
viii, 116pp. Prof. illus. throughout with woodcut numismatic figures. Fine engraved headpiece; ornaments. 4to. Contemporary flexible boards, stitched.
A supplemental volume (subtitled `Altera Dissertatio') was published in 1767.
Graesse I, 329
17 BERLIN. Der Sturm. Die Futuristen. Umberto Boccioni, Carlo D. Carrà, Luigi Russolo, Gino Severini. Künstlerische Leitung: Zeitschrift Der Sturm. Berlin, n.d. [1912]. $350.00
28, (4)pp. 7 illus. Sm. 4to. Wraps. (a little soiled).
Containing a German translation of Marinetti's Futurist Manifesto; parallel entries in German, English, and Norwegian. One of several issue of this historic catalogue, here slightly abridged, published under the aegis of the Gesellschaft zur Förderung moderner Kunst; the exhibition was circulated throughout Europe in 1912. Light wear.
18 BLOUET, Abel, Et Al. Expédition scientifique de Morée, ordonnée par le gouvernement français. Architecture, sculptures, inscriptions et vues du Pélopenèse, de Cyclades et de l'Attique, mesurées, dessinées, recueillies et publiées par Abel Blouet...; Amable Ravoisié, Achille Poirot, Félix Trézel et Frédéric de Gournay, ses collaborateurs. Paris (Firmin Didot Frères), 1831-1838. $15,000.00
3 vols. I: (4), xxii, 72, (2)pp.; (4), 174, (2)pp.; (4), 68, 78pp. 262 fine engraved plates and maps hors texte (4 double- and 2 triple-page folding), of which 85 on chine appliqué. 3 fine and elaborate engraved half-title compositions by Blouet. Lrg. folio. New green boards, 3/4 cloth gilt. Uncut.
Two sections were issued of this grand publication documenting the findings of the official French scientific expedition to the south of Greece: this one, concerning the archaeological and architectural findings, and another (not present) in quarto covering the natural sciences. Serially published over the course of eight years in 49 livraisons of text and plates, the work is lavishly illustrated with hundreds of precisely drawn figures depicting sculptures, monuments and inscriptions, together with topographical views of considerable delicacy. All major sites are coveredthe Cycladic isles, Athens and the Acropolis, Aegina, Olympia, Mycenae, etc. A fine copy, tall, crisp and clean, in an attractive new binding.
Borroni II.3405; Blackmer 153; Brunet II.1135f.; Graesse II.538
19 BOCCIONI, UMBERTO. Manifesto tecnico della scultura futurista. 11 aprile 1912. Milano (Direzione del Movimento Futurista), 1912. $300.00
(4)pp. (single sheet, folding). 4to. Salaris p. 82; Scrivo 24; Apollonio p. 51ff.; cf. Lista p. 172ff.; Taylor p. 129ff.
20 BOCCIONI, UMBERTO. Pittura, scultura futuriste (Dinamismo plastico). Con 51 riproduzioni. Quadri, sculture di Boccioni, Carrà, Russolo, Balla, Severini, Soffici. Milano (Edizioni Futuriste di "Poesia"), n.d. [1914]. $650.00
(4), 469, (7)pp., 51 plates. Frontispiece portrait of the author. Sm. stout 4to. Contemporary cloth.
Salaris p. 23; Falqui p. 90; Tisdall p. 85
21 BOISSARD, J.J. I. [-VI.] Pars Romanae urbis topographiae & antiquitatum, quâ succintê & breviter describuntur omnia quae tam publicê quan privatim videntur animadversione digna. Tabula chorographica totius Italiae: Figurae aliquot eleganter in aere incisae; Artifice Theodor de Bry Leod. sive fra., omnia foras recens edita. Frankfurt ([J. Feyerabend for Theodore de Bry]), 1597-1628. $8,500.00
6 vols. in 1. Including 6 etched titles, 2 etched portraits (later repeated), 1 etched folding map and 520 copper-engraved plates (of which 9 folding). Stout folio. Fine contemporary full vellum, gilt on both covers with the elaborate armorial supralibros of H. Ph. Eduard Fugger (with cypher HE at top).
Part II in the second edition ("Editio altera accuratior," 1628), the balance in the first edition. The collation of Part I is anomalous with that in the standard bibliographies, but the work appears to be altogether complete in this form. The plates for Parts I-IV were engraved by Theodore de Bry himself; later parts were completed by his two sons. Boissard's publication is one of the most important of all topographic studies of Rome and its antiquities. The library of H. Ph. Eduard Fugger, some 14,000 volumes by 17,000 writers (short works being bound up together, as was then the custom) was bought by the Emperor Ferdinand III in 1655 and taken by rafts and boats to Vienna, where the books and their catalogue are now in the Nationalbibliothek. Institutional ex-libris. Light external soiling; a few pale stains; generally a very fine copy with strong impressions of the plates, and good margins.
Borroni II.7974, .7974.1; Schudt 715; Adams B-2331; Cicognara 3626; Guidicini p. 39; Brunet I.106
22 Longus. Les pastorales de Longus ou Daphnis et Chloé. Traduction de J. Aymot . . . . Revue et corrigée, complétée de nouveau, refaite en grande partie par Paul-Louis Courier . . . . Lithographies originales de P. BONNARD. Paris (Ambroise Vollard, Editeur), 1902. $16,500.00
x, 294, (4)pp. 151 original lithographs, printed in black. integrated with text. Lrg. 4to. Full green morocco, signed M. Callou, in an art deco design. A.e.g. 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. 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.
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; Stuttgart 9; Basel 23
23 Vollard, Ambroise. Sainte Monique. Illustrations de PIERRE BONNARD. Paris (Ambroise Vollard), 1930. $5,500.00
(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 saintthough treated by Vollard in a contemporary stylewith 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.
Roger-Marx 96; Rauch 27; Skira 28; Johnson 170 ; Strachan p. 56; Chapon p. 281; Stern 11;Erving 5; Wheeler p. 98; Basel 25
24 BOSIO, Antonio. Roma sotteranea. Opera postuma...compita, disposta & accresciuta dal M.R.P. Giovanni Severani da S. Severino....Roma (Guglielmo Facciotti for Carlo Aldobrandino), 1632. $3,000.00
(16), 656, (14)pp. Engraved dec. half-title, 6 engraved plans hors texte (1 double-page). 194 engraved illus. (many half-page); woodcut diagrams and lettrines. Lrg. stout folio. Fine 17th-century Italian goatskin, elaborately panelled in gilt with central lozenge made up of small scroll tools, surrounded by floral and foliate roll-tool borders, with volute cornerpieces, spine in nine compartments with raised bands, overpainted in three with manuscript lettering, the others with floral devices and borders made up of small tools. A.e.g.
First edition of this great study of the catacombs and sepulchres of ancient Rome, a work which established Bosio, posthumously, as the founder of Christian archaeology. A few short tears to front flyleaf; a little intermittent soiling, one innocuous waterstain; some scuffing to the covers; generally a very fine and attractive copy of this magisterial book in an impressive contemporary binding. Ex-libris "Conventus Gradientis" (per eighteenth-century inscription on title-page).
Schudt p. 103; Olschki 16509; Schlosser pp. 517, 602; Cicognara 6364
25 BOYDELL [John]. Catalogue raisonné d'un recueil d'estampes d'apres les plus beaux tableaux qui soient en Angleterre. Les planches sont dans la possession de Jean Boydell, et on été gravées par lui, & les meilleurs artistes de Londres. London (The Author), 1779. $650.00
vi, 130pp. 4to. New wraps.
Boydell's "A Collection of Prints Engraved after the Most Capital Paintings in England" was begun in 1769 as a series of 9 volumes, in both English and French. Dobai indicates that a second part of the present catalogue was issued in 1782, though with some variation in the title. The entries are extremely exacting as to collections, engravers, dimensions, prices and other details, and many include extensive commentary as well.
Dobai II.425; cf. Brunet I.1192; cf. Graesse I.515
26 Roma. Casa d'Arte Bragaglia. [BRAGAGLIA] Teatro degli Indipendenti. Index dedicato al Teatro Sperimentale degli Indipendenti per la Stagione 1927. (Bull. 104. Appendice all'anno IV dalle "Cronache d'Attualità," Ottobre-Novembre 1926.) Roma, 1927. $250.00
(24)pp. Numerous illus. (16 photographs of the theatre and its sets). Dec. pink self-wraps., with cover illus. by Lazzarini. Printed on pink and plain-colored stocks.
Hultén p. 435f.
27 Bryen, Camille & Gheerbrant, Alain (editors). La poésie naturelle. [Anthologie de la poésie naturelle.] Huit photographies de BRASSAÏ. Paris (K éditeur), 1949. $350.00
170, (4)pp., 8 plates. Sm. 4to. Dec. wraps. Glassine d.j.
With 8 fine studies by Brassaï of broken toys, shoemakers' lasts, and battered walls, in the manner of his graffiti photographs. Light browning.
28 BRETON, Andre (Editor). Almanach surréaliste du demi-siecle. (La Nef. Nouvelle équipe française. No. 63/64, mars/avril 1950. Numéro spécial.) Paris, 1950. $650.00
(2), 226pp., advts. Prof. illus. (8 plates hors texte). Sm. 4to. Dec. wraps.
Presentation copy, inscribed on the title-page "avec l'affection" by Breton. Texts by Breton, Péret, Cravan, Artaud, Paz, Lebel, Pastoureau, Ferry, Jean, Mezei, Gracq, Pieyre de Mandiargues, Dax, Bédouin, Lély, Hérold, et al. Illustrations by and after Toyen, Tanning, Péret, Jean, Hérold, Heisler, Ernst, Donati, Dax, De Chirico, Dalí, Duchamp, Kubin, Styrsky, and others.
Sheringham Aa446; Pompidou Breton p. 405; Gershman p. 10; Rubin 69; Biro/Passeron p. 19
29 [BRETON, André & ELUARD, Paul, Editors.] Dictionnaire abrégé du Surréalisme. Paris (Galerie Beaux-Arts), 1938. $650.00
75, (1)pp. Prof. illus. Sm. 4to. Dec. wraps., designed by Yves Tanguy (light wear).
Contributions by L. Aragon, H. Arp, A. Artaud, H. Bellmer, A. Breton, R. Crevel, S. Dalí, R. Desnos, M. Duchamp, P. Eluard, M. Ernst, M. Heine, G. Hugnet, M. Leiris, G. Lély, J. Lély, P. Mabille, Man Ray, E.L.T. Mesens, P. Naville, V. Nezval, P. Nougé, W. Paalen, H. Pastoureau, B. Péret, P. Picasso, J. Prévert, G. Rosey, J. Scutenaire, P. Soupault, T. Tzara. Conceived and developed by Breton and Eluard, the "Dictionnaire" was published in January 1938 on the occasion of the great Exposition Internationale du Surréalisme at the Galerie des Beaux-Arts.
Biro/Passeron p. 130, and no. 917; Gershman p. 8; Rubin 141; Reynolds p. 36
30 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. Bruxelles
(Nicolas Flamel), 1933.
$850.00
41, (5)pp. 8 full-page illus. Lrg. 8vo. Wraps. Glassine d.j.
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. A very fine and crisp copy.
Biro/Passeron p. 424
31 Mönchengladbach. Städtisches Museum. MARCEL BROODTHAERS. [Filmabend/Ausstellung 21. Oktober - 7. November 1971.] Mönchengladbach, 1971. $600.00
A series of four identical nesting cardboard boxes with printed lids, inserted one within the other, with repeated text. Edition limited to 220 numbered copies.
32 BULLETIN INTERNATIONAL DU SURRÉALISME. [No. 1.] Publié par le Groupe surréaliste en Tchécoslovaquie. Prague, le 9 avril 1935./ Mezinárodní buletin surrealismu. Vydala Skupina surrealistu v CSR. Praha, 9. duben 1935. Prague, 1935. $275.00
12pp. 4 illus. 4to. Self-wraps. Parallel texts in Czech and French. With extensive quotation from Breton and Eluard, who, at the invitation of the Czech group, visited Prague early in 1935, where they were lionized by the Communist Party press. Declarations by Vítezslav Neval and others; illus. of work by Styrsky and Toyen.
Gershman p. 48; Rubin 458; Reynolds p. 108; Jean p. 263
33 Aesop. Fables of Aesop According to Sir Roger L'Estrange. With fifty drawings by ALEXANDER CALDER. Paris (Harrison of Paris), 1931. $2,000.00
(6), 124, (10)pp. 52 illustrations by Calder, printed in black. 4to. Wraps. over boards. 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.
The Artist and the Book 47; Castleman p. 120; Wheeler p. 99
34 (CALLOT, JACQUES) Peri, Giovanni Domenico. Fiesole distrutta. Di Giovanni Domenico Peri, contadino d'Arcidosso. Firenze (Nella Stamperia di Zanobi Pignoni ), 1619. $2,500.00
(4), 197, (3)pp. Fully etched title-page and etched frontispiece portrait of the author, both by Jacques Callot. Woodcut lettrines, culs-de-lampe. Sm. 4to. Late eighteenth-century dark blue straightgrain morocco gilt, the spine in compartments. A.e.g.
First edition; a second, with corrections, was published in 1621. A long epic poem in ottava rima by a farm laborer "endowed by nature with the genius of poetry" (Belloni). Peri was a maître populaire, a Douanier Rousseau of poetry, a simple peasant from Arcidosso who, under the influence of Ariosto and Tasso, wrote verses dedicated to the Grand Duke Cosimo, his Maecenas. Callot surrounded the effigy with the implements of the author's calling: hay-forks, rakes, shovels, baskets, a ploughshare, and two stately oxen. The hub of the wheel, cleverly devised, serves as an inkstand" (Benesch). Some light wear and light foxing throughout, the two etchings neatly reinserted, with slight loss at the top left margin of the title (not within the platemark), and slight rubbing; inscription on the verso of the title. Ex-libris Sir Thomas Brooke, the owner of the famous Pillone collection in the nineteenth century.
Lieure: Callot, 304-305; Brunet IV.498; Graesse V.202; Benesch, Otto: Artistic and Intellectual Trends from Rubens to Daumier as Shown in Book Illustration (Cambridge, 1943), p. 17f.
35 CANGIULLO, FRANCESCO. Il Sinfone d'Oro. Se l'altra non picchia alla porta. Napoli (Gaspare Casella), 1924. $375.00
(30)pp. Sm. sq. 4to. Orig. wraps.
No. 10 of an unspecified limitation. Presentation copy, inscribed by the author. A pairing of two poems, the first (for which a French translation by Marinetti is also given) markedly closer to the Symbolist aesthetic than its companion of 10 years later.
Salaris p. 27; Falqui p. 63
36 CARRA, CARLO. Guerrapittura. Futurismo politico, dinamismo plastico. 12 disegni guerreschi. Parole in libertà. 8º migliaio. Milano (Edizioni Futuriste di "Poesia"), 1915. $1,250.00
(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 (intended perhaps as a counterblast to Boccioni's `Futurist Painting and Sculpture') with plates illustrating his very beautiful Cubist drawings and collages, and a selection of parole in libertà of 1914-1915.
Salaris p. 28; Tisdall p. 188f.; Andel 45
37 CARRA, C.A. La pittura dei suoni, rumori, odori. Manifesto futurista. Milano, 11 agosto 1913. Milano (Direzione del Movimento Futurista), 1913. $300.00
(4)pp. (single sheet, folding). 4to.
An anthem to the synaesthetic dimensions of sounds, noises and smells.
Salaris p. 83; Lista p. 182ff.; cf. Apollonio p. 111, cf. Scrivo 33
38 CELLINI, BENVENUTO. Vita di Benvenuto Cellini orefice e scultore fiorentino, lui medesimo scritta, nella quale molte curiose particolarità si toccano appartenenti alle arti ed all'istoria del suo tempo, tratta da un'ottimo manoscrito, e dedicata all'eccelenza di Mylord Riccardo Boyle, Conte di Burlington.... Colonia [vere Naples] (Pietro Martello), 1728. $1,750.00
(16), 318pp. Woodcut title page vignette and lettrines; title set in red and black. 4to. Contemporary full vellum, gilt at spine.
The rare genuine first edition of the work, of which a counterfeit was issued by Bartolini in Florence in 1792; the original is identified by the woodcut mask, with asses' ears, on the title page, the number of lines on the first page of the dedication, and the pagination of the index. Cellini's autobiography is both a major literary text of the Renaissance and one crucial art-historical sources of its time; its survival, unpublished, until the early eighteenth century, is in itself remarkable. Short clean cut in the front cover; an extremely fine copy in entirely original state, unpressed and very fresh. Ex-libris Frances Richardson Currer and Mathew Wilson of Ehston Hall.
Schlosser p. 375f.; Cicognara 2231 (misstating place of publication); Gamba 337; Brunet I.1725; Graesse II.99
39 LE CENTAURE. Recueil trimestriel de littérature et d'art. Rédigé par Mm. Henri Albert, André Gide, A.-Ferdinand Herold, André Lebey, Pierre Louÿs, Henri de Régnier, Jean de Tina, P.V. [Paul Valéry]. Vols. I-II (all published). Paris, 1896. $3,750.00
I: 130, (6), xxiii pp., 7 plates including 3 original color lithographs by Jacques-Emile Blanche (color) and Charles Léandre; and 2 original etchings by Félicien Rops and Gustave Leheutre. Cover desiged by Louis Anquetin. Literary contributions by Valéry, de Régnier, Louÿs, Gide et al. II: 156, (4) xvi pp., 6 plates, including 3 original lithographs by Armand Point, Henri Heran (color) and Paul Ranson (color); and 1 original etching by Albert Besnard. Literary contributions by de Régnier, Valéry (the first appearance of "La soirée avec M. Teste"), Gide, Louÿs, et al. Facsimile ms. of Heredia's "Salut à l'empereur". Advertisements (with designs by Bonnard, Vallotton, Chéret, Willette et al.) bound in at the end of each volume. 4to. Publisher's green cloth gilt. Orig. dec. wraps. bound in. Lithographs printed by A. Clot, etchings by A. Delâtre.
Édition de luxe: one of 50 lettered copies on japon impérial, inscribed in red in the justification. (Separate portfolios of the prints in signed proof editions, stated to accompany this tirage, are not present.)
The Color Revolution p. 24; Kornfeld & Klipstein Jugendstil-Katalog 692; Prause p. 156; Lebel p. 21
40 Vollard, Ambroise. PAUL CEZANNE. Paris (Ambroise Vollard), 1914. $2,000.00
(2), 187, (1)pp. 1 original etching by Cézanne ("Tête de femme") and 56 heliogravure plates hors texte. 102 illus. (2 tipped-in color hors texte). Sm. folio. New quarter leather.
One of 200 numbered copies on specially made uncut vélin d'Arches, from the limited edition of 1000 in all.
Johnson 172
41 Cain, Julien, et al. The Lithographs of CHAGALL. New York/ Boston (George Braziller/ Boston Book and Art Shop/ Crown), 1960-1986. $7,500.00
6 vols., as follows: [I:] Cain, Julien. The Lithographs of Chagall. Introduction by Marc Chagall. Notes and catalogue by Fernand Mourlot. 220pp. Prof. illus. (numerous color), including 11 original lithographs (9 color). [II:] Mourlot, Fernand. The Lithographs of Chagall, 1957-1962. 208, (2)pp. Prof. illus. (numerous color), including 11 original lithographs (6 color). [III:] Cain, Julien. The Lithographs of Chagall, 1962-1968. Notes and catalogue by Fernand Mourlot and Charles Sorlier. 179, (3)pp. Prof. illus. (numerous color), including 1 original color lithograph. [IV:] Sorlier, Charles. The Lithographs of Chagall, 1969-1973. Notes and catalogue by Charles Sorlier and Fernand Mourlot. 180, (4)pp. Prof. illus. (numerous color), including 1 original color lithograph. [V:] Sorlier, Charles. Chagall Lithographs, 1974-1979. Preface by Robert Marteau. Notes and catalogue by Charles Sorlier. 250, (2)pp. Prof. illus. (numerous color). [VI:] Sorlier, Charles. Chagall Lithographs, 1980-1985. Preface by Roger Passeron. Notes and catalogue by Charles Sorlier. 224, (2)pp. 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. A very fine set in the original acetate covers.
Freitag 1914; Riggs p. 170
42 CHIZZOLA, Luigi. Le pitture e sculture di Brescia che sono esposte al pubblico. Con un' appendice di alcune private gallerie. Brescia (Stampe di Giambatista Bossini), 1760. $1,250.00
xxiv, 195, (1)pp. Fine unsigned etched decorations throughout, including allegorical frontispiece, title-page, 4 culs-de-lampe and 2 lettrines, all by the same artist; 1 other cul-de-lampe by a different hand. Sm. 4to. Contemporary vellum over boards.
Though the work was published by Luigi Chizzola, who also contributed the preface, it is based on the researches of the Brescian sculptor G.B. Carboni (d. 1783), who is often named as its author. The etchings are quite artistic, the culs-de-lampe being rococo compositions reminiscent of Piranesi, incorporating monuments of the city. This copy has occasional intelligent annotations in two contemporary hands.
Schlosser p. 569; Cicognara 4185; Fossati Bellani 2101; Lichtenthal p. 5
43 CINELLI, Giovanni. Le bellezze della città di Firenze. Dove a pieno di pittura, di scultura, di sacri templi, di palazzi, i più notabili artifizj, e più preziosi si contengono. Scritte già da M. Francesco Bocchi ed ora ampliate ed accresciute. Firenze (Gio. Gugliantini), 1677. $800.00
(8), 40, 584, (36)pp. Early nineteenth-century boards, 1/4 vellum with leather label gilt.
First edition. Cinelli's important enlarged edition of Bocchi's classic guide of 1591 to the artistic treasures of Florence, called by Schlosser "la prima guida di città veramente storico-artistica nel senso moderno, per tutto il loro carattere." The work was reprinted in Pistoia in 1678. Some persistent browning, but otherwise a neat copy. Rare.
Schlosser p. 586, cf. p. 371f.; Cicognara 4208; Fossati Bellani 3078; Bigazzi 1191; Brunet I.1020
44 Bibliothèque de COBRA. Première série: "Les artistes libres." Rédacteur: Asger Jorn. Quinze monographies. Première série de l'encyclopédie permanente de l'art experimental. Copenhague (Ejnar Munksgaard), 1950. $2,200.00
15 vols. (16)pp. per vol., most with 12-16 illus. Dec. wraps., each an original color lithograph by the title artist. 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.
45 COCTEAU, JEAN. 25 dessins d'un dormeur. Lausanne (H.-L. Mermod), [1929]. $500.00
(8)pp., 25 plates. 4to. Dec. wraps., with printed cover label.
One of 200 numbered copies on vélin pur fil des papeteries du Marais, from the limited edition of 213, printed by Albert Kundig, Geneva.
46 (COLONNA COLLECTION) Catalogo dei quadri, e pitture esistenti nel Palazzo dell'eccellentissima Casa Colonna in Roma. Coll'indicazione dei loro autori. Diviso in sei parti, secondo i rispettivi appartamenti. Roma (Arcangelo Casaletti), 1783. $600.00
175, (1), xvi pp. Engraved title-page vignette (Colonna arms). Sm. 4to. New cloth. Title-page slightly soiled.
Schlosser p. 603; Cicognara 4499
47 CONTANT, Clément & DE FILLIPI, Joseph. Parallèle des principaux théâtres modernes de l'Europe et des machines théâtrales françaises, allemandes et anglaises. Paris (A. Lévy fils), 1860. $3,500.00
(6), 163, (1)pp., 133 line-engraved plates (in 2 series) after Contant. Lrg. folio. Marbled boards, 1/4 red morocco gilt (head of backstrip chipped).
The expanded edition, and the first with De Filippi's text, published a generation after the first edition of 1842, an atlas of plates only. The most comprehensive and elaborate study of its time, the work contains highly detailed scale drawings by Contant, "ancien machiniste en chef du théâtre Impérial de l'Opéra," documenting 30 of the most important theatres and opera houses in Europe, and their technical facilities: the old Paris Opéra and Théâtre Comique, Covent Garden and Drury Lane, La Scala, and others in Marseilles, Lyon, Bordeaux, Strasbourg, Versailles, London, Berlin, Hamburg, Munich, Vienna, Karlsruhe, Mainz, Darmstadt, St. Petersburg, Copenhagen, Naples, Turin, Genoa, Parma, Reggio and Madrid. Grandly conceived and meticulously documented, it remained the key publication on the subject for more than thirty years. A little light foxing; generally a fine crisp copy.
Brunet II.241; Graesse VIII.202
48 (CONTI SALE) Paris. Palais du Temple. Catalogue d'une riche collection de tableaux des maîtres les plus célèbres des trois écoles; aussi des plus grands maîtres, sous verre & en feuilles, bronzes, marbres, terre cuite du Quesnoi, de Bouchardon, &c., pierres gravées antiques, pendules, montres, & bijoux, & autres objets curieux, qui composent le cabinet de feu Son Altesse Sérenissime Monseigneur le Prince de Conti, prince du sang, & grand prieur de France. Vente, 8 avril 1777... & jours suivants. Paris (Muzier père/ Pierre Remy), 1777 . $1,250.00
(2), ii, viii, 417, (3)pp. Fine engraved allegorical half-title by Martini after Moreau. Contemporary boards, 3/4 calf (very finely rebacked and recornered).
This copy priced in pen throughout. A highly important sale, "une des ventes les plus importantes du XVIIIe siècle" (Duplessis). A little light wear internally; a handsome copy.
Lugt 2671; Duplessis 971
49 Hofmannsthal, Hugo von. Der weisse Fächer. Ein Zwischenspiel. Mit vier Holzschnitten von EDWARD GORDON CRAIG. [Leipzig (Inselverlag), 1907]. $600.00
(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.
Manet to Hockney 22
50 CUCCHI, ENZO. La ceremonia delle cose. The ceremony of things. Texts by Enzo Cucchi collected by Mario Diacono. New York (Peter Blum Edition), 1985. $600.00
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.
51 (DADA MANIFESTO). Dada soulève tout. Paris, 12 janvier 1921. Paris, 1921. $3,500.00
Single sheet, printed on both sides in bold dada typography. 4to.
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. 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.... 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.
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
52 (DADA STATIONERY) Zürich. Mouvement Dada. Letterhead notepaper. Zürich, 1917. $250.00
Single sheet, printed in block capitals on recto only, at upper left. 142 x 216 mm.
Tendenzen 3/52; Dada in Zürich 120
53 DALI, SALVADOR. La conquête de l'irrationel. Paris (Éditions Surréalistes), 1935. $400.00
24, (8)pp., 34 plates (including frontispiece in color). Sm. 8vo. Dec. wraps. Glassine d.j. Light browning, but a nice copy.
One of 1200 copies constituting the French-language edition, apart from the English-language edition of 1000. Inscribed "Hommage de Dali 111 35" in pen on the half-title.
Ades 12.146; Biro/Passeron 803; Gershman p. 15; Reynolds p. 31
54 DAVID, JACQUES-LOUIS. Autograph receipt, signed with paraph, Paris, 12 mars 1782, acknowledging payment by the Montpellier amateur and dealer Abraham Fontanel for his painting "Les funérailles de Patrocle" (now in the National Gallery of Ireland, Dublin)... Paris, 1782. $850.00
8vo., edges slightly irregular, the blank verso unobtrusively reinforced at an early date; foldlines.
J'ai reçu de Monsieur Fontanel, associé honoraire de l'Académie des beaux-arts de Montpellier la somme de deux mille quatre cents livres pour le payment d'un tableau fait par moi pendant le cours de mes études à Rome, lequel représente les funérailles de patrocle lequel tableau est le même que j'ai exposé au salon de l'académie Royale de Paris année 1781 sous le Nº 314 duquel je n'ai fait aucune copie le déclarant seul original et sorti de mes mains. An important document, published first by Jacques de Caso in "The Burlington Magazine," and more recently in the documentary chronology of the 1989/1990 David exhibition at the Louvre, where the text is reprinted in full.
Cf. de Caso, Jacques: "Jacques-Louis David and the Style All'antica" ("The Burlington Magazine," October 1972, p. 686ff.); Paris, Musée du Louvre: Jacques-Louis David, 1748-1825 (Paris, 1989), p. 566
55 O'Hara, Frank. Poems. With lithographs by WILLEM DE KOONING. Introduction by Riva Castleman. New York (The Limited Editions Club), 1988. $4,000.00
(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, which required a uniform tonal standard throughout the volume. Here the complete suite of drawings, given by the artist to the Museum of Modern Art, is presented in its entirety for the first time, with far greater fidelity to the originals than before. They are accompanied by a new selection of poems by O'Hara.
56 (DENON COLLECTION) Description des objets d'arts qui composent le cabinet de feu M. le baron V. Denon.... Paris, 1826. $1,500.00
2 vols. as follows: [1] Tableaux, dessins et miniatures. Par A.N. Pérignon. (2), iv, 218pp. Medallic title-page vignette of the collector. [2] Monuments antiques, historiques, modernes; ouvrages orientaux, etc. Par L.J.J. Dubois. v, (1), 307, (1)pp. Medallic title-page vignette of the collector. Sm. 4to. Nineteenth century marbled boards (not uniform). Handsomely printed. In the first volume, the section on drawings is priced in pen; the whole of the second volume (ex-libris Henri Rouart) is priced. A third volume devoted to prints and books is not present. Loosely inserted: Vente du cabinet de feu M. le baron V. Denon. Tableaux, dessins et miniatures. (Ordre des vacations.) Première[seizième] vacation 1 [-19] mai 1826. 32pp. Sm. 4to. Self-wraps., stitched as issued.
Dominique Vivant-Denon (1747-1825), Directeur Général des Musées Impériaux, was one of the most brilliant figures in the history of neoclassical taste; Lugt calls him "le principal amateur français sous la Révolution et au début du XIXe siècle." Both Lugt and Francis Haskell give keenly appreciative and detailed accounts of his superb collections. "Le collectionneur décédé, on procéda à la vente de ses collections. Un excellent catalogue en fut rédigé en trois volumes (1826), celui des monuments antiques et modernes par Dubois (1390 nos.), celui des estampes et livres à figures par Duchesne aîné." This copy of the Pérignon catalogue is neatly priced in pen throughout the entire section on drawings. The separate catalogue of the sale proper indicates that the properties were sold in a sequence completely at odds with the Pérignon numbers. The sale catalogue is undoubtedly extremely rare, and is not mentioned in either work by Lugt, or by Haskell.
Lugt 11164,11328; Lugt Marques 779-780; Haskell, Francis: Rediscoveries in Art (London, 1976), p. 43f.
57 DEPERO, FORTUNATO. Depero Futurista. Milano/New York/Paris/Berlin (Edizione Italiana Dinamo Azari), 1927. $12,500.00
(116)ff. (2 folding), printed on various paper stocks, of which some colored; most versos blank. 28 halftone plates in text (2 color). Line-block illus. and typographic designs throughout (many printed in red and black). Oblong lrg. 4to. Flexible blue boards, printed in black and white, secured with massive metal bolts, as issued.
Stated limitation of 1000 copies (never completed), signed in pen by Depero and the editor Fedele Azari on the verso of the title-page. Design by Depero. Depero's famous `bolted book,' an anthology of his own theatrical and commercial designs from 1913 to 1927, "one of the avant-garde masterpieces in this history of the book-object" (Jentsch). "[This] book is Mechanical, bolted like a motor, Dangerous, can constitute a projectile weapon. Unclassifiable, cannot fit into a library with the other volumes. And therefore it is in its exterior form Original, Invasive, and Assaulting, like Depero and his art" (from the preface to the work). Presentation copy, inscribed in the colophon by Azari "Al Com Nicaletti," 28/9/32. Very slight wear; a fine copy.
Jentsch, Ralph: The Artist and the Book in Twentieth-Century Italy, no. 177; Salaris p. 35
58 DEPERO, FORTUNATO. So I Think, So I Paint. Ideologies of an Italian self-made painter. Rovereto (Trentino) (The Author), 1947. $400.00
174, (2)pp. [misnumbered], 64 plates. 4to. Dec. wraps. (light wear).
Presentation copy, boldly inscribed on the front flyleaf by Depero in 1948.
59 Salmon, André. Le calumet. Edition définitive augmentée de poèmes nouveaux et ornée de gravures sur bois par ANDRÉ DERAIN. Paris (Éditions de la Nouvelle Revue Française), 1920. $500.00
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.
Skira p. 25; Wheeler p. 101; Basel 75
60 DIACONO, Mario. re^er. Tre testi di Mario Diacono e cinque incisioni di Richmond Burton, Bruno Ceccobelli, Lucio Pozzi. N.p (Ex Isle Editions), 1990. $3,000.00
(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. 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).
61 DUCHAMP, MARCEL. La mariée mise à nu par ses célibataires même. [Boîte verte.] Paris (édition Rrose Sélavy ), [September 1934]. $37,500.00
94 collotype facsimile manuscript notes, drawings and photographs (1 in colors), printed on facsimile paper stocks and vellum, the ensemble loose as issued. Lrg. 4to. Clamshell portfolio box, designed by Duchamp, of green-flocked boards titled on the cover and spine in black and white. Publisher's plain cardboard chemise (taped).
One of 300 copies from the limited edition of 320 in all, signed "Marcel Duchamp Paris 1934" in red pencil and mechanically numbered in red in the justification on the interior of the portfolio spine. "The companion piece to the `Large Glass,' the `Green Box' was intended to serve as a guide through its intricacies. Notes, sketches and detailed studies from the years 1911-20, primarily related to the `Glass,' were selected and painstakingly reproduced. A template was made for each note on an irregular scrap of paper, and the facsimiles were individually torn around the template (320 times for each note reproduced). The results were then assembled in random order within each box, leaving the reader to create his own sequence. Duchamp regarded the `Green Box' as a kind of Sears, Roebuck catalog: `I wanted that album to go with the "Glass" because, as I see it, it must not be "looked at" in the aesthetic sense of the word. One must consult the book, and see the two together. The conjunction of the two things entirely removes the retinal aspect that I don't like'" (d'Harnoncourt/McShine). A very fine and fresh copy, the box bright and well preserved.
Schwarz 293; Lebel 166; d'Harnoncourt/McShine 155; Gershman p. 17; Motherwell/ Karpel 241; Ades 12.51; Dada artifacts 145; Milano p. 651; Reynolds p. 39; Andel 159; Castleman p. 140
62 DUCHAMP, MARCEL & Halberstadt, V. L'opposition et les cases conjugées sont reconciliées./ Opposition und Schwesterfelder..../ Opposition and Sister Squares.... Paris/ Bruxelles (Éditions de l'Echiquier), 1932. $2,750.00
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. Pierre de 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."
Schwarz p. 589; Lebel 52, 83, 172-3, no. 165
63 DUCHAMP, MARCEL. Rotorelief. Disques Optique. Paris, 1935. $20,000.00
Ensemble of six double-sided cardboard discs, each 200 mm. in diameter (approximately 7 7/8 inches), printed in colors in offset lithography with 12 different compositions. The discs are loosely inserted, as issued, in the original circular holder, fashioned of two black plastic rings separated by a strip of black sponge rubber and a slender white cardboard strip imprinted at each end "Tirer l'épingle." The holder is printed in blind intaglio, "Rotorelief/ 11 rue Larey Paris." Together with this, the ensemble includes a circular black plastic viewing disc, a circular cellophane cover sheet printed in white, and a wax-paper slip with 13 lines of printed directions and price information (all loose, as issued). The discs are printed in Duchamp's handwriting with numbers and titles at the edges ("Corolles," "Ouef à la coque," "Lanterne chinoise," "Lampe," " Poisson japonais," etc.).
This first edition of "Rotorelief" was privately published by Duchamp from his studio (11, rue Larey) in an unnumbered, unsigned edition of 500 copies, of which some 300 were lost during the War. A second edition, slightly different in manufacture, was issued in 1953, produced by Enrico Donati in 1000 copies, also unsigned and unnumbered (of which 600 were accidently destroyed). Later editions, more elaborately produced in limited editions, were issued in Paris, 1959; New York, 1963; and Milan, 1965. The first edition is extremely rare. This set is in very fine condition, and it is furthermore signed in pencil at the edge of the final Rotorelief, though no signature is called for in this edition. "An extension of the rotating spiral disks in `Anémic Cinéma,' the `Rotoreliefs' also reveal Duchamp's taste for mass production `on a modest scale.' They were printed inexpensively in a large edition, and were first presented to the public at an inventor's fair in Paris. When viewed (preferably with one eye) at a rotating speed of 40-60 rpm, the disks present an optical illusion of depth, and in a few cases, of three-dimensional objects: a fishbowl, a lightbulb, a balloon. The `Rotoreliefs' appear in the Duchamp sequence of Hans Richter's film `Dreams That Money Can Buy,' and also in Jean Cocteau's film `The Blood of a Poet'" (d'Harnoncourt/McShine). One of the reliefs "Corolles," was reproduced on the front cover of "Minotaure," No. 6.
Lebel 167; Schwarz 294a; d'Harnoncourt/McShine 156; Rubin p. 42 (full page plate); Buchholz/Magnani p. 64
64 Hugnet, Georges. MARCEL DUCHAMP. Paris (Georges Hugnet), 1941. $1,000.00
(8)pp. (single sheet, folding). Tipped-in pochoir frontispiece by Duchamp, printed in black. Oblong sm. 8vo. Self-wraps. Text printed in blue.
One of 174 copies, from the limited edition of 200 in all. Four such poem plaquettes were issued by Hugnet in 1940-1941, for private circulation; the others were illustrated by Picasso, Miró and Valentine Hugo. Duchamp's amusing pochoir, showing a moustache and goatee isolated on the blank sheet, is clearly a species of "L.H.O.O.Q."
Pérégrinations de Georges Hugnet p. 21
65 Lebel, Robert. Sur MARCEL DUCHAMP. Avec les textes de André Breton & H.P. Roché. Paris (Trianon Press), 1959. $15,000.00
(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.
Schwarz 349 and cf. 344c, 347; Gershman p. 27; Sanouillet 116; Rubin 233; Verkauf p. 178; cf. Freitag 2450
66 View. The modern magazine. Editor: Charles Henri Ford. Series V, No. 1. March, 1945. MARCEL DUCHAMP Number. New York, 1945. $15,000.00
53, (3)pp. Prof. illus. Lrg. 4to. Boards, 1/4 cloth. Orig. dec. wraps., especially designed by Duchamp, bound in as issued. D.j. (brilliant orange). Uncut. Unopened.
Special edition, limited to 100 numbered copies, containing a tipped-in frontispiece reproduction of Duchamp's "Pharmacie" (1914), hand-colored by Duchamp, and signed, numbered and dated by him in pencil on the mount. Only the special edition was bound in this manner; and the front cover is hand-stamped in red with the number of this copy (expressed as a percentage). The special edition is also signed in pen by 18 contributors to the issue: Nicholas Calas, André Breton, Charles Henri Ford, Hans Richter, Harriet Janis, Sidney Janis, James Thrall Soby, Parker Tyler, Leon Kochnitzky, Joseph Cornell, Yves Tanguy, Maya Deren, Max Ernst, John Myers, Julien Levy, R.A. Parker, Mina Loy and Man Ray (on a sheet of laid paper at the end, matching the stock at the outset). A superb copy, in virtually pristine condition.
Schwarz 323
67 View. The modern magazine. Editor: Charles Henri Ford. Vol. V, No. 1. March, 1945. MARCEL DUCHAMP Number. New York, 1945. $300.00
53, (1)pp. Prof. illus. Lrg. 4to. Dec. wraps., especially designed for this issue by Duchamp.
Texts by Charles Henri Ford, André Breton, James Thrall Soby, Gabrielle Buffet, Robert Desnos, Harriet Janis, Sidney Janis, Nicholas Calas, Frederick J. Kiesler, Parker Tyler, Leon Kochnitzky, Philip Lamantia, et al. Illustrations after Duchamp, Man Ray, Florine Stettheimer, Joseph Cornell, Max Ernst, Maya Deren, Yves Tanguy, and Matta. The regular edition.
Schwarz 323
68 THE ELEMENTS OF DRAWING, illustrated by eleven elegant copper-plates, explanatory of the different directions laid down in the text: the whole comprising a more full and complete introduction to the knowledge of the graphic art, than any heretofore published in America. New York (John Low), 1804. $500.00 11, (1)pp., 11 engraved plates with numerous illus. 4to. Self-wraps.
An extremely early American drawing book, the fourth by Carl Drepperd's reckoning, and of these the first dedicated exclusively to drawing, as distinguished from the other graphic arts. "This work, its author unknown, must be classed as the first nineteenth-century American art instruction book for the people at large" (Drepperd). The plates concentrate on the human figure, with comparative illustrations of the Apollo Belvedere and other classical statuary. Intermittent light soiling, marginal tears, occasional marginal losses, and library stamps, but in fact a very good copy. Very rare.
Schimmelman 188; Drepperd p. 4
69 ELUARD, Paul. Défense de savoir. Avec un frontispice par Giorgio De Chirico. Paris (Editions Surréalistes), 1928. $1,500.00
43, (5)pp. Collotype frontis. after a drawing by De Chirico. 4to. Wraps. Covers lightly worn; front flyleaf foxed.
Presentation copy, inscribed on the half-title "a Alfred Rosset/ Paul Eluard." One of 100 numbered copies on Hollande van Gelder, from the limited edition of 110 in all. Frontispiece printed by D. Jacomet et Cie. Uncut; large, irregular margins. Rare.
Valette p. 72ff.; Gershman, p. 18
70 ERNST, MAX. La femme 100
têtes. Avis au lecteur par André Breton. Paris
(Editions du Carrefour),
1929. $4,000.00
(328)pp. 147 captioned full-page illustrations after collages of steel engravings. 4to. Orig. blue dec. wraps. (backstrap partly renewed). Fitted cloth clamshell box.
One of 900 numbered copies on vélin teinté, from the limited edition of 1000 in all. A very nice copy.
Tours 7; Spies/Metken 1417-1563 (after); Rainwater 21; Gershman p. 20; Skira 113; Ades 9.98; Reynolds p. 43; Villa Stuck 38; Franklin Furnace 132
71 ERNST, MAX & Eluard, Paul. Misfortunes of the Immortals. Translated by Hugh Chisholm. New York (Black Sun Press), 1943. $900.00
44, (10)pp. 22 full-page illus. 4to. Dec. boards. D.j.
Edition limited to 610 copies. Publisher's prospectus/ order sheet and an announcement card from the Julien Levy Gallery (which exhibited graphic work by Ernst on the occasion of the book's publication) loosely inserted. A very fine copy.
Hugues/Poupard-Lieussou 18; Spies 555-557
72 Kuhlemann, Johannes Th. Consolamini. Dichtungen. [Fünf Zeichnungen von MAX ERNST.] Coeln-Ehrenfeld (Kairos-Verlag), 1919. $4,500.00
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.
Spies/Metken 279-283; Hugues/Poupard 1; Rainwater no. 7, and p. 6 (w. illus.)
73 Lebel, Robert. L'oiseau caramel. Lithographies de MAX ERNST. Paris (Le Soleil Noir), 1969. $3,500.00
[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.
Spies-Leppien A20; Carré d'Art, Nîmes 17
74 FERRO, Antonio. Apparato delle statue, nuovamente trovate nella distrutta Cuma, con le dischiarationi, & discorse... e con la descrittione del tempio, ove dette statue erano collocate; opra quanto degna di ammiratione per antichità; altre tanto curiosa, e grata à pellegrini ingegni. Napoli (Taquinio Longo), 1606. $850.00
103, (1)pp. Woodcut printer's device on title. Sm. 8vo. Vellum over boards (head and foot of spine renewed in vellum).
First edition; the work was reissued in 1723, in Latin. An account of an early excavation near the ruins of Cumae, the first Greek colony in Italy, describing the statues uncovered of Jove, Neptune, Mercury, Julius Caesar, Agrippina and other Roman gods and emperors, as well as medals of Tiberius and Caligula. "Elegante libretto ben impresso, e pieno di erudite, e curiose notizie" (Cicognara). Rare; the NUC locates only an incomplete copy at Harvard. Light browning; this copy with the handsome rococo engraved ex-libris of the "Marchionis Salsae," printed in blue.
Borroni II.5210; Cicognara 3510; Fossati Bellani II.3864; Haym IV.130; Lichtenthal p. 361
75 FÜSSLI, Joh. Caspar. Raisonirendes Verzeichniss der vornehmsten Kupferstecher und ihrer Werke. Zum Gebrauche der Sammler und Liebhaber. Zürich (Orell, Gessner, Füsslin und Comp.), 1771. $450.00
360, (6)pp. Engraved title-page vignette, signed S.G. Sm. 4to. Contemporary boards, 1/4 calf. Raised bands.
First edition of this thumbnail lexicon of the most eminent German, Swiss, Netherlandish, Italian, French and English engravers. Füssli, the father of Henry Fuseli, and a friend and correspondent of Winckelmann and Mengs, was a successful portrait painter, and the author of the five-volume "Geschichte der besten Künstler in der Schweiz nebst ihren Bildnissen" (1769-1779). Covers slightly rubbed, title slightly dusty.
Schlosser 491
76 IL FUTURISMO. Rivista sintetica illustrata. Direttore: F.T. Marinetti. N. 11, 11 febbraio 1925. "Primo Congresso Futurista." Roma (Direzione del Movimento Futurista), 1925. $200.00
(4)pp. (single sheet folding). 3 halftone documentary photographs of moments from the Congress, which opened on 23 November 1924. 4to.
"Le solenni onoranze nazionali a F.T. Marinetti," "Idee esposte e discusse al Congresso," and the text of Marinetti's "Dichiarazioni politiche acclamate dal Congresso," addressed to "il Grande Mussolini" by the "Capo del Futurismo."
Salaris p. 96
77 [Hugford, Ignazio Enrico]. Collection de cent pensées de Mr. GABBIANI, peintre florentin, gravées exactément d'après les originaux par d'habiles maîtres. Ouvrage utile aux professeurs et aux amateurs de la peinture. Rome (Venace Monaldini), 1786. $4,500.00
8pp., portrait of Gabbiani after Cipriani by Faucci, and 75 etched plates reproducing 100 drawings by Gabbiani, printed with aquatint in various tones, by Bartolozzi (2), Cipriani, Wagner, Scacciati, Gregori, Pacini, Cioci, Galli and others. Engraved title-page vignette, culs-de-lampe. Folio. Early nineteenth-century marbled boards, 1/4 calf gilt (somewhat worn).
Second edition; first published in Florence in 1767 by Ignazio Enrico Hugford, an English painter and collector resident in Florence, himself a student of Gabbiani and teacher of Bartolozzi and Cipriani, and an antiquarian and innovative printmaker of considerable interest who wrote a life of Gabbiani which appeared in the same year. Bound into this copy is an extra leaf with a carefully inscribed manuscript translation into Italian of the table of plates. Intermittent light foxing, a few small stains; generally a nice copy.
Brunet II.1429; Graesse III.1; cf. Lugt 1468a, Cicognara 3392, Dobai II.1292f.
78 GARNIER, TONY. Une cité industrielle. Étude pour la construction des villes. Paris (Auguste Vincent, Libraire) [1918]. $8,500.00
(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 planlargely completed by 1904, years before its eventual publicationwas 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. This first edition is very rare, especially in its original state, unbound. A very fine and fresh copy.
Sharp p. 46; Placzek II.165f.; Giedion: Space, Time and Architecture. p.511ff.
79 GERSAINT, Edmé François. Catalogue raisonné des bijoux, porcelaines, bronzes, lacqs, lustres de cristal de la roche, et de porcelaine, pendules de goût, & autres meubles curieux ou composés; tableaux, desseins, estampes, coquilles, & autres effets de curiosité, provenans de la succession de M. Angran, Vicomte de Fonspertuis. Vente.... Paris (Pierre Prault/ Jacques Barrois), 1747. $300.00
(4), 306, lv, (1)pp. Fine engraved frontispiece by Cochin of connoisseurs examining works of art. Lrg. 8vo. Later wraps.
The sale, which included properties from Devins and others apart from the owners named in the title, took place in two parts: the jewels at the beginning of December 1747, and the rest on 4 March 1748 and successive days. This copy is priced in pen throughout, with many buyers' names. It lacks the preliminary "avertissement" (pp. iii-viii) and 4pp. at the end (possibly blank), but the whole of the catalogue proper is intact. Somewhat waterstained; frontis. and title mounted; intermittent wear.
Lugt 682; Duplessis 213
80 [GHERARDI, P.E.] Descrizione de' cartoni disegnati da Carlo Cignani e de' quadri dipinti da Sebastiano Ricci posseduti dal Signor Giuseppe Smith, Console della Gran Bretagna appresso la Sereniss. Reppublica di Venezia, con un compendio delle vite dei due celebri professori. Venezia (Giambattista Pasquali), 1749. $750.00
(2), clviii, (2)pp. 4to. New marbled boards, 1/4 leather. Uncut. Title-page expertly mended. "The Abate Pietro Ercole Gherardi, who wrote the `Descrizione' of Smith's Cignanis and Riccis, was a Modenese friend of Muratori, with whom he engaged in a long correspondence..." (Haskell). As Haskell notes, Consul Smith's Riccis and Cignanis were of superb quality.
Cf. Haskell, Francis: Patrons and Painters (London, 1963), p. 302f.
81 GILLY, D. Handbuch der Land-Bau-Kunst. Vorzüglich in Rücksicht auf die Konstruktion der Wohn- und Wirthschaftsgebäude für angehende Kammeral-Baumeister und Oekonomen. Mit einem Anhange über die Erfindung, Konstrucktion und Vortheile der Bohlen-Dächer. [Braunschweig/Halle, 1822-1828.] $6,500.00
3 vols. in 4 parts, plus separate atlas of plates, as follows: Vols. I-II: Fünfte vermehrte Auflage. x, 502pp.; (8), 576pp. Braunschweig (Friedrich Vieweg), 1822. Continued as: Vol. III, Parts 1-2. [Anweisung zur landwirthschaftlichen Baukunst, von D. Gilly, nach dessen Tode herausgegeben von D.G. Friderici.] Neue, unveränderte Ausgabe. 2 vols. xviii, 412pp.; (2), 370, (2)pp. Halle (Im Verlage der Rengerschen Buchhandlung), 1828. Together with: Kupfer-Sammlung zu D. Gilly's Königl. Preuss. Geheimen Ober-Bau-Rath Handbuch der Land-Bau-Kunst. Printed title leaf (with fine engraved architectural landscape vignette) and 84 copperplate engraved plates in 4 separate series, containing a total of more than 750 hand-colored figures, as follows: [I:] 26 plates (9 double-page folding) with Figs. 1-173; [II:] 23 plates (15 double-page folding) with Figs. 1-344; [III:] 8 plates (designated I-VIII), with many variously itemized figures; IV: 25 plates (24 folding), with Figures 1-220. Also bound in, between series III and IV here, one additional plate with two uncolored copperplate illustrations, signed Fr. Gilly, a study for a basilica, after Philibert de L'Orme, and "Königl. Vieharzney. Schule zu Berlin." Braunschweig (Friedrich Vieweg), n.d. Sm. 4to. (text vols.) and 4to. (atlas). Fine uniform contemporary boards, 1/4 calf, with tree-calf pattern and gilt green and orange labels.
A superb set, in entirely original state.
82 GIOVIO, Paolo. Dialogo dell'imprese militari et amorose di Monsignor Giovio Vescovo di Nocera; et del S. Gabriel Symeoni Fiorentino. Con un ragionamento di M. Lodovico Domenichi, nel medesimo soggetto. Con la tavola. Lyons (Guglielmo Rouillio), 1574. $950.00
280, (14)pp. Woodcut portrait medallion of Paolo Giovio, and 135 woodcut emblems in oval format. 2 title-page vignettes, lettrines, culs-de-lampe. Old vellum over boards.
First published in an unillustrated 12mo edition, Roma 1555, Giovio's "Dialogo dell'imprese" was not issued in the present format until 1559 (also from Roviglio, Lyon); it was first presented in a joint edition with Simeoni's emblems (as here) in 1561, again from Roviglio. "Elegantissimo libro col ritratto del Giovio, e 135 stampe in legno del più elegante disegno ed esecuzione" (Cicognara); "jolie édition" (Brunet). Slight browning; in general an attractive copy.
Praz p. 353; Landwehr Romantic Emblem Books 345; Cicognara 1902; Brunet III.583; Graesse III.491; cf.: Berlin 4505; Mortimer French 249
83 GIRODET [Girodet-Trioson, Anne Louis]. Compositions tirées des Géorgiques. Lithographiées par ses élèves et publiées par M. Pannetier. Paris (Henry Gaugain, Lambert et Cie.), n.d.
Calligraphic title, fine frontis. portrait by Lambert after Girodet, and 4 outline-lithograph plates after Girodet by Chatillon. Folio. Contemporary boards, 3/4 morocco, finely gilt at spine (rubbed and rather worn).
Bound with:
(GIRODET) Enéide. Suite de compositions lithographiées d'après ses dessins, par M.M. Aubry-Lecomte, Counis, Coupin, Dassy, De Juinne, Delorme, Lancrenon, Monanteuil, Pannetier, ses élèves. Publiée par M. Pannetier. Imp. Lith. de Bove, dir. par Noël ainé & C. $1,200.00
Calligraphic title and 78 outline-lithograph plates after Girodet, all blindstamped with the initials of the artist and publisher.
The two suites, both printed on heavy paper and often found bound together (the Aeneid is usually first) were separately issued, the Georgics in a single livraison, and the Aeneid in a series of 13. Intermittent foxing, generally unobtrusive; a few marginal tears, not affecting images. Ex-libris Alphonse Claeys de Thielt and Winslow Ames.
Brunet II.1615; Graesse III.89
84 GOETGHEBUER, P.J. Choix des monumens, édifices et maisons les plus remarquables du royaume de Pays-Bas. Gand (Imprimerie de A.B. Stéven), 1827. $3,500.00
(6), xii, 81, (1), vii, (1)., 120 fine line-engraved plates (some with aquatint). Lrg. folio. Contemporary mottled calf gilt.
The work was first published by the author in livraisons of six plates each, 1821-1826, the format following the model of the French "Grands prix d'architecture" folios. Though it treats buildings of earlier periods, the focus is on eighteenth- and nineteenth-century neoclassical edifices. Intermittent light foxing, hinges renewed.
Brunet II.1643f.; Graesse III.103
85 (GONCHAROVA) Bolshakov, Konstantin. Serdtse v perchatkie [A Heart Wearing a Glove]. [Oblozka raboty N.Goncharovoi.] Moskva (Kn-vo "Mezanin Poezi"), 1913. $600.00
ars libri ltd.
(16)pp. Wraps. Rayonist cover design by Natalia Goncharova, printed in black (typography in red).
Light soiling and wear to covers, a little pencilling in text.
Markov p. 110f.
86 Burty, Philippe. Eaux-fortes de JULES DE GONCOURT: Notice et catalogue de Philippe Burty. Paris (Librairie de l'Art/ Charles Delagrave), 1876. $1,500.00
(6), xviii, (2), 19, (3)pp., 30 etched plates, printed by François Liénard. 11 wood-engraved illus. and vignettes in text. Folio. New cloth portfolio; ties. All contents loose, as issued.
One of 200 numbered copies on papier teinté with plates on Hollande, from the limited edition of 300 in all. As well as reproductive etchings after dix-huitième masters, the portfolio includes a number of striking original prints by Goncourt.
Riggs p. 314
87 GORI, Antonio Francesco & PASSERI, J.B. Thesaurus Gemmarum antiquarum astriferarum quae e compluribus dactyliothecis selectae. Florentiae (Ex Officina Typogr. Albiziniana), 1750. $1,200.00
3 vols. in 1. xix, (13)pp., 200 engraved plates; xiv, (2), 312, (18)pp.; vii, (1), 307, (1)pp., 7 engraved plates (3 folding). Fine engraved dec. title and engraved dec. borders (on 14 pages of the dedication) by Giuseppe Zocchi at the outset of Vol. I. Intermittent culs-de-lampe, wood-engraved figures, and other illustrations and ornaments throughout the work. Lrg. stout 4to. Contemporary full vellum over boards, gilt at spine. Fine pink silk doublures and gilt Buntpapier endpapers.
A very handsome copy, from the library of Thomas Crofton Croker, F.S.A.
Borroni II.423; Cicognara 2869; Brunet II.1670; Graesse III.120
88 GROSZ, GEORGE. Interregnum. Introductory comment by John Dos Passos. New York (The Black Sun Press), 1936. $5,000.00
19, (3)pp., 64 plates (loose, as issued). Original four-color lithograph, signed in pencil by Grosz, as frontispiece. Folio. Orig. dec. boards, 1/4 cloth, with cover design by George Grosz. The binding is styled as a box, in which the text fascicle (including the frontispiece) is hinged to the interior of the lid, and the loose plates housed in an open compartment opposite.
One of 280 numbered copies from the limited edition of 300, printed on hand-moulded Rives paper. Typography by Joseph Blumenthal. Some light wear to the extremities of the box, as usual; a fine and fresh copy within. Rare.
Dückers SII; Lang: George-Grosz-Bibliographie 70; Lewis p. 277; Spalek 2399; Minkoff A-44; Wheeler p. 103
89 HAUSMANN, RAOUL. PRÉsentismus. gegen den Puffkeismus der teutschen Seele. Berlin, 1921. $450.00
7, (1)pp. Folding handbill (single sheet, printed on both sides). Oblong 4to.
Datelined Berlin, Februar 1921 at the end ("Salut aux camarades!"), this first Presentist manifesto was published in the September 1921 issue of "De Stijl" (Jg. 4, Nr. 9). Despite the fact that it is independently paginated, this handbill version is probably an offprint or separatum. "In March of 1921, [Hausmann] published an article on Dada in `De Stijl,' and in September another one, `PRÉsentismus,' which spoke explicitly of the need for a new esthetic appropriate to modern life and revived Huelsenbeck's `New Man' as a technological being for whom a kind of classicized Futurist environment should be created..." (John Elderfield, in "Kurt Schwitters," New York, 1985, p. 122).
Benson p. 256; Bergius pp. 420, 126f.; Tendenzen 3/236
90 HAVERCAMP, Sigebert.
Médailles de grand et moyen bronze du cabinet de la reine
Christine, frappées, tant par ordre du senat, que par
les colonies romaines, et par les villes grecques: Gravées
aussi délicatement, qu'exactement d'après les
originaux, par le célèbre Pietro Santes Bartolo, en
LXIII
ars libri ltd.
planches, expliquées par un commentaire traduit du Latin./ Nummophylacium Reginae Christinae.... La Haye (Pierre de Hondt), 1742. $1,000.00
(10), 464pp. 63 plates hors texte, with hundreds of numismatic illustrations. Fine engraved title-page vignette, cul-de-lampe. Stout folio. Contemporary full vellum over boards. Raised bands. Parallel texts in French and Latin.
Borroni II.406; Cicognara 2728; Brunet III.62; Graesse III.220
91 (HECKEL) Berlin. Fritz Goldschmidt & Victor Wallerstein. Eröffnungs-Ausstellung unserer modernen Abteilung. Die neuesten Werke von Erich Heckel, Otto Mueller. Gemälde, Zeichungen, Graphik von Abbo, Czobel, Kirchner, Kokoschka, Pechstein, u.a. Berlin, 1912. $1,400.00
Handbill: 1 leaf, printed on recto only, featuring an original woodcut by Heckel, "Pantomime von W.S. Guttmann" (Dube 232 IV/IV). Fine example, clean and unfolded.
Rifkind 61
92 HEINECKEN, K.H. von. Idée générale d'une collection complette d'estampes. Avec une dissertation sur l'origine de la gravure & sur les premiers livres d'images. Leipzig/Wien (Jean Paul Kraus), 1771. $1,200.00
(16), 520, (32)pp. 28 plates hors texte, with 31 illus. (mostly folding). A.e.g. Inner dentelles.
The catalogue has always been admired for its erudition, and the excellent quality of the facsimile plates. Published anonymously, it is based on the holdings of the Dresden Kupferstichkabinett, of which Heinecken was keeper. A handsome copy.
Schlosser p. 491; Cicognara 4451; Brunet III.82; Graesse III.231f.; Cohen-de Ricci 477
93 (HEINECKEN SALE) Remy, Pierre. Catalogue raisonné, de tableaux, desseins & estampes, des meilleurs maîtres d'Italie, des Païs-Bas, d'Allemagne, d'Angleterre et de France: Qui composent différens Cabinets. Paris (Didot, l'aîné), 1757. $750.00
xiv, (2), 210pp. Fine engraved frontispiece by Gabriel de Saint-Aubin. Contemporary boards, 1/4 leather.
According to Lugt, the sale of 617 lots took place on December 12, 1757 and February 13-18, 1758. Baron Karl Heinrich von Heinecken, the unnamed owner, was one of the great print connoisseurs of the century ("il fut en Allemagne ce que Mariette a été en France, le père des experts"), the keeper of the royal collections (later Kupferstichkabinett) in Dresden and the author of several important scholarly lexica, notably the "Idée générale d'une collection complette d'estampes" (1771). A fine copy.
Lugt 979 & 986; cf. Lugt Marques 1645; Duplessis 319
94 HELHESTEN. Tidsskrift for Kunst. Ansvarshavende Redaktor: R. Dahlmann Olsen. Vols. 1-2 (all published; 12 nos. in 9 issues). 13 March 1941-11 November 1944. Koebenhavn, 1941-1944. $3,000.00
148, 172pp. Most profusely illustrated throughout, including 40 original lithographs (22 in colors) and 10 original woodcuts, all hors texte, by Asger Jorn (3, of which 2 in colors), Carl Henning Pedersen (3), Richard S. Mortensen (2), Henry Heerup (3), Egill Jacobsen (2) and others. 4to. Dec. wraps., designed by various artists. Chemise for Vol. 2 (boards, 1/4 cloth, designed by Pedersen).
Texts and criticism on all aspects of art, architecture, sculpture, film and photography. One of the leading Scandinavian avant-garde art periodicals, in brief existence shortly before the formation of CoBrA, and including some of its foremost exponents. Jorn still signs himself here Asger Jorgensen, not yet having changed his name.
95 HÖCH, HANNAH. Miniaturen. 16 Linolschnitte. Berlin (Galerie Nierendorf), 1964. $6,000.00
16 original linoleum cuts printed in black, including title sheet,
each signed and numbered 24/30 in pencil by the artist. Image size:
120 x 95 mm. to 150 x 170 mm.; plate size: 310 x 235 mm. Lrg. 4to.
Portfolio (plain boards, 1/4 cloth).
Edition limited to 30 copies in all, printed on uncut Japan paper, the prints signed and numbered as noted, and the portfolio numbered in pen in the colophon (under back cover). The fifteen prints which are the basis of this portfolio were originally cut by Höch between 1915 and 1918, and were here reissued, together with a newly made title sheet (with its own print) in 1964.
96 HUGNET, GEORGES. La belle en dormant. Paris (Editions des Cahiers Libres), 1933. $9,500.00
66 (4)pp. 1 original etching by Louis Marcoussis as frontispiece. Printed wraps. Glassine d.j. Uncut.
Ex. no. X of 20 copies designated "exemplaire d'auteur" in the hand of Georges Hugnet, apart from the édition de tête of 10 copies with the Marcoussis frontispiece and the regular edition of 500 numbered copies without it. Presentation copy inscribed in ink on the half-title, "à René Char/ roue à aubes que tourne le cri strident des dormeurs/ son ami Georges Hugnet." On the blank leaf following, before the onset of the text, is an original collage by Hugnet, an old-fashioned decorative pink card inscribed with a verse taken from the fifth poem of the book, which begins "Au bruit de la source des jours/ belle de nuit porteuse de clés/ devant la porte de l'angoisse, promeneuse identique aux promesses/ par la cadence de tes privilèges. . . ." Here the inadvertent blurring of the ink has lent the center of the card the quality of a mysterious vapory shadow, possibly the feature which suggested "le miroir de la belle en dormant" to Hugnet. An important association copy.
Pérégrinations de Georges Hugnet no. 27; Gershman p. 24; Ades 12.151; Siena 63; Reynolds p. 52
97 HUGNET, GEORGES. 1961. Illustré de quatre photomontages. Paris (Chez l'Auteur), 1961. $2,800.00
60, (10)pp. 4 full-page photomontages in text. Sm. 4to. Sewn signatures, loose as issued. Errata sheet loosely inserted.
One of 500 numbered copies on vélin, from the limited edition of 573. Presentation copy, inscribed on the half-title by Hugnet to Marie-Laure de Noailles ("en souvenir de jeux anciens et de rires qui ne devraient rien à personne, de tout coeur toujours") with an original photocollage in color by Hugnet beneath the inscription. Together with her husband the comte de Noailles, Marie-Laure (as she preferred to style her whole name) was one of the most significant patrons and salonistes of the Surrealist milieu. The inscription is dated 11 July 1961, "jour anniversaire de ma naissance." With the illustrated ex-libris of Marie-Laure on the front flyleaf.
Pérégrinations de Georges Hugnet no. 130; cf. Biro/Passeron p. 266
98 (HUQUIER PÈRE SALE) Amsterdam. Arnoldus Dankmeyer. Catalogus van een Voortreffelyk Cabinet Teekeningen, Van de Grootste Meesters, zo uit de Italiaansche en Brabandsche als uit de Fransche en Hollandsche Scholen; als mede van en zeer schone dog kleine verzameling keurlyke Prenten. Sale, Sept. 14 [-26], 1761. Amsterdam (Pieter Yver), 1761. $2,800.00
(10), 330pp. Fine engraved ornamental frontis. Occasionally interleaved. Sm. 4to. Contemporary marbled boards, 3/4 vellum.
"Catalogue détaillé et très bien fait pour l'époque" (Lugt). Lugt gives an extremely lengthy and detailed account of this remarkable sale, the first of four, of the collections of the distinguished engraver and printseller Gabriel Huquier. The 5007 lots in the sale included nearly 6000 drawings, among them recognized masterpieces by Raphael, Correggio, Titian, Parmigianino, Rubens, Rembrandt, Dürer, Boucher and so on, many with noble provenances. This copy is completely annotated in ink with buyers and prices, with a schedule of dates, lots and totals inscribed at the end which appears to supplement the information published by Lugt. There exists as well a French-language version of the catalogue.
Lugt 1172; Lugt Marques 1285; Duplessis 408
99 INDIANA, ROBERT & Creeley, Robert. Numbers. Stuttgart/Düsseldorf (Edition Domberger/ Galerie Schmela), 1968. $1,200.00
(54)pp. 10 original color silkscreens by Indiana hors texte. 4to. Printed wraps. Publisher's printed slipcase. Edition of 2500 copies.
100 INTERNATIONAL SURREALIST BULLETIN. N° 4. Issued by the Surrealist Group in England./ Bulletin International du Surréalisme. No. 4. Publié par le Groupe Surréaliste en Angleterre. London, 1936. $200.00
18, (2)pp. 11 illus. 4to. Self-wraps.
Texts by Herbert Read and Hugh Sykes Davies; bulletin "read and approved" by Breton, Burra, Davies, Eluard, Gascoyne, Jennings, Mesens, Moore, Penrose, Ray, Read, Todd and others. The first surrealist periodical in England (nos. 1-3, 1935, had been published in Prague, the Canary Islands and Brussels respectively). Slightly worn.
Gershman p. 48; Ades p. 357; Rubin 458; Reynolds 108
101 IZOBRAZITEL'NOE ISKUSSTVO. N° 1. Petersburg (Narkompros), 1919. $700.00
87, (1)pp. 45 illus. Folio. New cloth.
The inaugural issue of `Visual Art,' the official organ of the Department of Visual Arts of Narkompros (Commissariat of Enlightenment), with articles by Malevich ("Nashi zadachi" [`Our Tasks'], "Os' tsveta i formy" [`The Axis of Color and Form'], "O poezii" [`On Poetry']), Kandinsky, Punin, Brik and others; and illustrations of advanced work by Malevich, Tatlin, Al'tman, Shterenberg, Rozanova, Miturich and others. This copy lacks the original wrappers (designed by Shterenberg), but is attractively rebound.
102 (JACKSON, JOHN BAPTIST). Le vite de' dodici Cesari di Gajo Suetonio Tranquillo. Tradotte in volgar fiorentino da F. Paolo del Rosso. Nuova edizione, con le vere effigie de' Cesari, ed altre illustrazioni dichiarate. Venezia (Appresso Francesco Piacentini ), 1738 . $1,250.00
xix, (1), 377, (3)pp. Woodcut half-title by J.B. Jackson (an elaborate architectural surround, with busts, arms, toppled columns, coins, etc.), signed and dated by him 1738 in the plate. Woodcut title-page vignette (probably also by Jackson). 12 large woodcut medallions of the twelve Caesars by another hand (after earlier chiaroscuro designs by Hubert Goltzius) placed at the headings of the chapters; woodcut culs-de-lampe and colophon device. 4to. Later full cloth with leather label at spine (rubbed).
William Michael Rossetti's copy, rebound by Rossetti himself. Triply inscribed: "W.M. Rossetti/ from his Mother/ 1876"; "To my dear Daughter Helen/ W.M.R./ 1915"; "Bound by my Grandfather, Polidori himself" (this last in pencil). The cloth in which it is bound is a subdued example of Arts and Crafts taste, a dark blue linen with a small-figured pattern of embossed flowers and tendrils. Jackson's beautiful and elaborate half-title shows considerable burin work. A little light wear and foxing.
Brunet V.583; cf. Kainen, Jacob: John Baptist Jackson, 18th Century Master of the Color Woodcut (Washington, 1962), p. 29
103 JICHOSAI, MATSUYA. Ehon Kotozugai. Nagoya (Kajita Kansuke), after 1805. $900.00
3 vols. in 1. 28ff., with 24 illus. (all but 1 double-page). 4to. Wraps., stitched as issued, with embossed designs on both covers.
The first edition of the work is traditionally given as Osaka, 1805, but Hillier signals that it may have been earlier; this later Nagoya issue combines the three volumes in one. Ehon Kotozugai (`A Picture Book of Counterparts') is one of Jichosai's two masterpieces. "Jichosai was, in fact, an artist of exceptional calibre and one of the most notable figures of the Osaka cultural scene in the late eighteenth century.... His own paintings and his prints in book form combine to create an image of a man of subtle, sceptical intelligence, delightfully irreligious and nonconformist, and with an artistry that has a special tang because of his scoffing and burlesque..." (Hillier). Covers slightly worn; neat old mend to tear in first leaf.
Hillier: Art of the Japanese Book, p. 603ff., illus. 394; Mitchell p. 246; Ravicz, pl. 89
104 Mönchengladbach. Städtisches Museum. JASPER JOHNS. Das graphische Werk, 1960-1970. 22. Juni bis 1. August 1971. Mönchengladbach, 1971. $600.00
Printed cardboard box and lid, divided into compartments containing a plastic rose resting on a loose reproduction of the same, - Generation of PM publication page 24 --> and three scrolled texts containing catalogue, illustrations, and curatorial commentary.
Edition limited to 550 numbered copies. Excerpted text by the artist on the interior.
105 JUGEL, J.G. Sehr geheim gehaltene, und nunmehro frey entdeckte experimentirte Kunst-Stücke die schönsten und raresten Farben zu verfertigen; ingleichen Gummi-Copal, Glantz-Lacke, alle Sorten von Siegellack, kalte Vergüldung und Versilberung, wie auch im Feuer, auf Metall, Glas und Porcelain rare Composition der Edelsteine, Glassuren, Holtz-und Stein Vergüldungen zu machen, nebst vielen noch unbekannten chymischen Experimenten und Handgriffen. N.p., 1753.
Bound with:
KURZE SAMMLUNG unterschiedlicher den Menschen dienlicher Wissenschaften und Kunst-Stücke.... Wobey ein Anhang von Salpeter und Pulvermachen. Frankfurt/ Leipzig (Felssecker Erben), 1754. $1,750.00
(12), 148pp.; (2), 126pp. Nineteenth century patterned boards, titles in ink at the spine. Woodcut culs-de-lampe.
The first edition of a handbook of color recipes by J.G. Jugel, a director of mining, and noted metallurgist, alchemist and Rosicrucian; together with an anonymous collection of recipes for pigments, wood varnishes, invisible inks, gilding, marbling, and other decorative processes. Intermittent light dustiness and soiling; invisible short clean tear in second title.
Ferguson I.441f.; Ferchl 262; Wellcome III.371; ADB XIV.658f.
106 KANDINSKY, WASSILY. Xylographies. Paris (Editions des Tendances Nouvelles), n.d. [1909]. $5,500.00
(4)pp. (preface and index), 5 heliogravure plates printed in black, reproducing 5 woodcuts by Kandinsky against massive solid black backgrounds. 1 smaller woodcut reproduced above index. Lrg. sq. 4to. (32 x 32 cm.). Paper portfolio, bearing 2 additional woodcuts in reproduction (vignettes, one on each cover).
Edition of 1000 copies. Kandinsky's second portfolio of woodcuts, "Xylographies" was financed by Kandinsky himself, and published by the symbolist review "Tendances Nouvelles," in whose pages four of these woodcuts had earlier appeared, and whose editor, Mérodack-Jeaneau, is the probable author of the preface. Between 1906 and 1908, "Tendances Nouvelles" published some 33 of Kandinsky's woodcuts, as well as articles on the artist. Those in "Xylographies" (`Les chevaliers,' `Les oiseaux,' `L'église,' `Les Bouleaux,' `Les femmes au bois') derive from the realm of Russian folk tradition and fairy tale, and though childlike in their appeal are surpassingly sophisticated as works of art, and in fact more advanced in technical finesse than many of his paintings of the period. Peg Weiss has drawn attention to the pervasive musical elements of the portfolio, the woodcut medium itself embodying a Klang for Kandinsky, a synthesis of poetic, musical and artistic elements, and the archaizing title "Xylographies" chosen for its suggestion of the xylophone. Portfolio with hairline split at fold of spine; a very fine copy.
Spalek 2723; Rifkind 158; Manet to Hockney 25; Weiss, Peg: Kandinsky in Munich p. 126f.; cf. Roethel Book 5 54, 55, 59, 60, 65, 66, 70, 71
107 München. Neue Kunst Hans Goltz. KANDINSKY Kollectiv-Ausstellung, 1902-1912. Introductory text by Kandinsky, dated München, September 1912. München, 1912. $450.00
(2), 5, (3)pp., 4 plates. Sm. 8vo. Self-wraps., with front cover design by Kandinsky, printed in brown.
The catalogue itself is undated; Gordon gives it as "? Sept.," noting that after its Munich installation, the show travelled to Berlin as the seventh exhibition of Der Sturm, and then to Rotterdam. Kandinsky's introduction consists of a brief autobiographical statement. Grohmann states the edition to have been 1000 copies. A fine copy. Rare.
Gordon p. 610f.; Grohmann p. 68; Spalek 2741
108 KANYOSAI [TATEBE RYOTAI]. Ri Youn Chikufu [The Book of Bamboos by Ri Youn]. Kyoto (Hishiya Magobei), 1846. $800.00
26ff.; supplementary colophon on leaf mounted inside back cover. 23 double-page illustrations, printed in black. 4to. Original grey wraps., with embossed dragon decoration, stitched as issued.
The third issue of the work, originally published in Kyoto in 1771. "Ri Youn Chifuku, `The Book of Bamboos by Ri Youn' (Chinese: Li Yong-yun), also first published in 1771, is a book of sumi prints from copies by Kanyosai of paintings by the Chinese artist Li Yong-yun. It would be interesting to compare Kanyosai's versions with the originals, but we are not sure whether he made his copies from actual paintings or from a Chinese woodcut book, and, in any case, no trace of Li Yong-yun's work, in either painting or print form, appears to have survived. One senses that Kanyosai may possibly have instilled something of his own native feeling into these brilliant variations on an evocative theme: in his treatment of a bamboo aslant the sky with barred clouds, with one twig hanging across the circle of a full moon, inscribed `Sound and sight of a broken branch,' there is a romanticism which may not have been so pronounced in the original" (Hillier). Covers somewhat worn, but generally a clean copy.
Hillier: The Art of the Japanese Book, p. 262f., illus. 187
109 New York. The Reuben Gallery. "18 Happenings in 6 Parts. By ALLAN KAPROW. October 4, 6, 7, 8, 9, 10. [1959.] Admission by advance reservation." [New York, 1959]. $2,000.00
Poster, printed in orange on white stock, with a design of 18 quickly sketched ovoid shapes, of which 16 contain the title statement repeated verbatim. 17 x 16 inches. Folded twice, into quadrants, for mailing (as issued). Stapled to top right of verso: postcard from the Reuben Gallery announcing the Calendar for forthcoming exhibitions: George Brecht (October 16-November 5), Lucas Samaras (November 6-26).
Extensive text on the verso by Kaprow. The poster for the Happening. Very rare.
Kirby, Michael: Happenings (New York, 1965), pp. 53-83 ("18 Happenings in 6 Parts: The Script, The Production"); Paris-New York (`1959')
110 New York. Smolin Gallery. "Four Happenings by ALLAN KAPROW are Planned and Will be Announced Singly. Their Common Title, `Fight', Will Apply to Sub-Themes: Combat, Money, Eating and Sex. A Description of Each Happening Will Be Mailed in Advance, and After Reading It, Those Wishing to Take Part May Contact Mr. Kaprow, Who Will Select from Them. The Events Will Be Performed Without Spectators." New York, n.d. $1,250.00
Poster, printed in black on brown wrapping paper. 20 x 11 inches. Verso blank. Fine.
111 Katz, Vincent. A Tremor in the Morning. Poems, with original linocuts by ALEX KATZ. New York (Peter Blum Edition), 1986. $400.00
(28)pp. 11 original linocuts in color by Alex Katz. 4to. Cloth.
Edition limited to 350 copies, signed in pencil by the author and the artist. Text in letterpress on Ingres d'Arches MBM.
112 De Rossi, Giovanni Gherardo. Vita di ANGELICA KAUFFMANN pittrice. Firenze (Molini, Landi e Comp.), 1810. $650.00
viii, 116, (2)pp. Engraved frontis. portrait. Sm. 4to. Contemporary speckled boards, 1/4 green calf (rubbed). Uncut.
"Operette ripiene di nuove e sicure notizie, fatte con critica, impresse con eleganza a di tipi" (Cicognara). Presentation copy, inscribed by the author to Prince Poniatowski. From the library of Anthony M. Clark.
Freitag 5924; Cicognara 2368
113 KIRCHNER, ERNST LUDWIG. Mitgliederverzeichnis der Künstlergemeinschaft "Brücke." [Dresden, 1907]. $9,500.00
(4)ff. 4 original woodcuts by Kirchner, each incorporating text within decorative borders. Sm. 4to. Printed on 2 unbound folded leaves of Holland paper, one loosely inserted within the other.
The extremely rare second version of the membership list of the Brücke, printed entirely from woodcuts by Kirchner. The first cut presents the title within a decorative frame incorporating female nudes with upraised arms at either side. The second cut is headed "AM" to indicate active members, of which nine are listed: Amiet, Bleyl, Heckel, Kirchner, Nolde, Pechstein, Schmidt-Rottluff, Zijl and Gallén. The third and fourth cuts are headed "PM" and contain listings of `passive' (or inactive) members of the Brücke, again contained within decorative frames. Six different versions of the list were issued between 1907 and 1910; this second version must have been printed sometime shortly after the end of March 1907. The various states of the woodcuts (and of the brochure) can be differentiated by the changing roster of members. In the first state, the list of active members was simply headed "Künstler," and did not as yet include the Finnish artist Axel Gallén; whereas in the third state, the Dutch sculptor L. Zijl was eliminated. It is interesting to note, however, that the final cut is still in the first state (with the shortest list of inactive members), suggesting that this was one of the earliest copies assembled of this version.
One of the earliest Brücke publications, antedating by several years, for example, the Galerie Arnold catalogue of 1910 and Galerie Commeter catalogue of 1912, the "Mitgliederverzeichnis" is of greatest rarity. The Robert Gore Rifkind Foundation possesses the fifth edition of 1909 ("extremely rare"). This copy is in superb condition, bright and fresh.
Dube 700, 701.II, 702.I, 705.II.; Bolliger/Kornfeld 41/16, cf. 41/17-20
114 KLEE, PAUL. Pädagogisches Skizzenbuch. Zweite Auflage. (Bauhausbücher. 2.) München (Albert Langen), 1928. $950.00
51, (3)pp. 87 illus. by Klee. 4to. Publisher's yellow cloth, with typography in red. Orig. d.j. (lacking backstrip).
Typography, binding and dust jacket designed by Moholy-Nagy. First published in 1925. Front flyleaf reattached at hinge.
Chamberlin 2386; Wingler p. 628
115 KÖLN. Brauhaus Winter. Dada-Ausstellung. Dadavorfrühling. Gemälde, Skulpturen, Zeichnungen, Fluidoskeptrik, Vulgärdilettantismus. Köln [April-May 1919]. $1,000.00
(4)pp. Single sheet, folding, opening to reveal an interior text printed on a bright scarlet ground. Sm. 4to. Self-wraps.
Texts by Johannes Baargeld and Max Ernst. "This dada exhibition has spawned more anecdotes than any other, some of them contradictory. Certainly it opened, and ended, turbulently, and was equally eventful while it was running.... [It] was organized hurriedly, as a separate manifestation after the montages and sculptures by Ernst and Baargeld had been removed from a juryless exhibition organised by the Artists' Union of Cologne in the Museum of Decorative Arts. They hired a glass-roofed court partly exposed to the rain at the rear of the Brasserie Winter, reached through the gentlemen's lavatory. Visitors were challenged to destroy what they didn't like, and everything stolen and destroyed was constantly replaced. Several of the works which disappeared were reproduced in `Die Schammade': Baargeld's `Antropofiler Bandwurm,' a relief construction of odds and ends like a frying pan, cog, springs and a bell, and Ernst's wire sculpture, which has certain similarities with Janco's `Construction,' reproduced in the Zürich `Dada' 1. The critics tended to be bemused" (Ades). A fine copy. Very rare.
Ades p. 105f.; Motherwell/Karpel 152; Dada Artifacts 57; Dada Global 133
116 KOKOSCHKA, OSKAR. Die traeumenden Knaben. Wien/ Leipzig (Wiener Werkstätte/ Kurt Wolff Verlag), 1908/ 1917. $20,000.00
(18)pp. 8 full-page color lithographs, printed in red, green, blue, yellow, brown and black, incorporating text at right. Dec. title-page vignette and dedication vignette, both lithographically printed in black. Oblong 4to. Publisher's linen boards, with decorative lithographic vignette mounted on front cover, the binding secured with black silk cord (all as issued). Colophon label tipped in under back cover.
Edition limited to 275 hand-numbered copies. Kokoschka's "Die traeumenden Knaben" dates from 1908, when, at the age of twenty-one, he was commissioned by the Wiener Werkstätte to write and illustrate a book for children. Though published by the Werkstätte in that year in an edition of 500 copies, and exhibited at the Wiener Kunstschau, very few copies were sold, and