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Catalogue 123-N : Modern + Contemporary Art: Rarities of the Avant-Garde

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ALBERT-BIROT, PIERRE

La joie des sept couleurs. Poème orné de cinq poèmes-paysages hors-texte, le tout composé en 1918. (2), 80, (2)pp., 5 calligrammatic plates. Lrg. 8vo. Wraps. One of 120 numbered copies on uncut Arches, from the limited edition of 124 in all. "Like Guillaume Apollinaire, Albert-Birot was an ingenious practitioner of the calligramme, which has a long history in French literature, through Mallarmé all the way back to Rabelais and beyond. ‘I walked across Futurism, Cubism, Dadaism, but I am neither futurist nor cubist, dadaist nor surrealist,’ Albert-Birot wrote in 1928" (Carlton Lake). An historic presentation copy from the library of Giuseppe Ungaretti, inscribed on the front flyeaf "A tous mes frères d’Italie/ les saints les artistes les poètes/ les dieux/ j’envoie ce poème/ communions mes frères/ Pierre Albert-Birot/ 27 juillet 1919."

Paris (Editions "SIC"), 1919. $1,750.00

Andel 76

ALBERT-BIROT, PIERRE

La triloterie. Poèmes composés en 1918. Une gravure de Léopold Survage et un dessin en couleurs par F.T. 60, (2)pp. 2 original woodcuts (1 hors texte on tissue, printed in pink and green). Sm. 8vo. Wraps. One of 122 hand-numbered copies on uncut Arches, from the limited edition of 125 in all. Survage’s woodcut, "La statue," is an ominous architectural fantasy reminiscent of de Chirico, drawn from the colossal sculpture which appears in the poem "La légende."

Paris (Editions "SIC"), 1920. $850.00

ALBERT-BIROT, PIERRE

Le premier livre de Grabinoulor. Composé entre 1918 et 1920. (2), 89, (3)pp. Sm. 4to. Wraps. Glassine d.j. Despite his protestation that he was not an adherent of surrealism, Albert-Birot nonetheless referred to this book as a "classique du surréel."

Paris (Editions "SIC"), 1921. $600.00

Biro/Passeron p. 14; Lake, Carlton: Baudelaire to Beckett p. 7

ALBERT-BIROT, PIERRE

La lune, ou le livre des poèmes. 229, (5)pp. Wraps. Glassine d.j. One of 300 numbered copies on vergé pur fil Lafuma, from the limited edition of 326 in all. With a lavish complement of calligrams.

Paris (Jean Budry & Cie.), 1924. $800.00

ALFIERI, DINO & FREDDI, LUIGI (editors)

Mostra della rivoluzione fascista. 1° decenalle della Marcia su Roma. Partito Nazionale Fascista. 258, (6)pp., 12 color plates. 257 illus. Orig dec. boards, 1/4 cloth, with photomontage typographic composition of Mussolini. With abundant photodocumentation of the astonishing installation.

Roma (Partito Nazionale Fascista), 1933. $850.00

DER ALMANACH DER NEUEN JUGEND AUF DAS JAHR 1917

Herausgeber: Heinz Barger. 181, (9)pp. 6 illus. Wraps. (light wear). Texts by Buber, Becher, Däubler, Huelsenbeck, Ehrenstein, Lasker-Schüler, Werfel, Herzfelde, Grosz, Heinrich Mann, Kafka and others; illus. by Grosz, Kokoschka and Meidner. Censorship paste-over at the conclusion of the "Quellenangabe," concerning the deletion of a letter to the editor, for security reasons.

Berlin (Verlag Neue Jugend), [1916]. $375.00

Raabe 177; Almanacco dada 98; DadaGlobal 25; Bergius p. 409

AN ALLE KÜNSTLER!

Mit literarischen Beiträgen von: Joh. R. Becher, Ludwig Meidner, Bernhard Kellermann, Max Pechstein, Walter Hasenclever, Kurt Eisner, Konrad Haenisch, Kurt Erich Meurer, Paul Zech. Mit Bildbeiträgen von: Max Pechstein, César Klein, [Hans] Richter-Berlin, Lyonel Feininger, Milly Steger, Georg Tappert. 47, (1)pp. 5 illus. Lrg. 8vo. Dec. wraps. Cover design by Max Pechstein, printed in red and black. The revolutionary pamphlet issued by members of the Novembergruppe shortly after its founding in 1919, envisioning a close alliance between the expressionist artists and the socialist state, and new bonds between the artist and artisan. A fine copy.

Berlin ([Willi Simon]), 1919. $350.00

Raabe 137; Perkins 125; Lang 265; Rifkind 368A; Marbach 119.4; Spalek 658

ANTHOLOGIE DU GROUPE MODERNE D’ART DE LIÈGE

Nº consacré à la Pologne: le surréalisme, le constructivisme. Rédaction: Georges Linze. (Vol. V, Nº 3-4. Mars-avril 1925.) (2), 16, (2)pp. 7 illus. Sm. 4to. Self-wraps. Texts by Constant de Horion, Georges Linze, M. Szczuka, Henryk Stazewski ("L’art abstrait"), Arthur Petronio, Géo Norge, Maurice Careme. The illustrations include full-page plates by Teresa Zarnower (after a woodcut), Szczuka (photomontage), Stazewski, et al. The review "Anthologie," which ran from 1921 to 1940, promoted young Walloon modernists as part of a wider commitment to contemporary art. A few marks in red pencil.

Liège, 1925. $300.00

APOLLINAIRE, GUILLAUME

L’oeuvre du Marquis de Sade. Zoloé, Justine, Juliette, La Philosophie dans le boudoir, Les crimes de l’Amour, Aline et Valcour. Pages choisies, comprenant des morceaux inédits et des lettres publiées pour la première fois, tirées des Archives de la Comédie-Française. Introduction, essai bibliographique et notes par Guillaume Apollinaire. (Les Maîtres de l’Amour.) 324pp., 8 plates. Sm. 4to. Wraps. (a little worn at backstrip). Orig. glassine. Uncut.

Paris (Bibliothèque des Curieux), 1909. $300.00

APOLLINAIRE, GUILLAUME

L’antitradition futuriste. Manifeste-synthèse. Milan, 29 juin 1913. (4)pp. (single sheet, folding). 4to. Self-wraps. Typographically the most inventive of Futurist manifestos, in which Apollinaire endorses the new order, naming himself as one of the international Futurist cadre, along with Picasso, Matisse, Roger Fry, Kandinsky, Stravinsky, Duchamp, Léger, Cendrars, and many others. "[At ‘Lacerba’] Soffici had already formed sound contacts abroad, notably with Apollinaire and Picasso, but during the period of Futurist co-operation the foreign contributions increased in Marinetti’s international spirit.... These writings, like Apollinaire’s poems, were all published in the original French, but an exception was made for Apollinaire’s ‘Futurist Anti-Tradition,’ presumably so that none of the impact of his accolades of ROSES to Futurists and MERDE to passéist academics would be lost" (Tisdall/Bozzola). A fine copy.

Milan (Direction du Mouvement Futuriste), 1913. $800.00

Salaris p. 83; Lista p. 122ff; Scrivo 32; Tisdall/Bozzola p. 168f.;Taylor pp.122, 140

APOLLINAIRE, GUILLAUME

Les peintres cubistes. (Méditations Esthétiques.) Première série [all published]. Huitième édition. (Tous Les Arts. Collection publiée sous la direction de M. Guillaume Apollinaire.) 84pp., 45 plates. Orig. printed yellow wraps. Glassine d.j. The mention "huitième édition" on the title-page is a fictive designation (as were ‘sixième’ and ‘neuvième’ editions of the book); typical of Figuière’s publications, it was added arbitrarily, for publicity purposes. "Whatever its faults, ‘The Cubist Painters’ still breathes, nearly forty years later, with the immediacy of life. But Apollinaire’s enthusiasm was not blind; he saw cubism’s inner structure with great clarity for his time; he wrote his book after discussions with the painters; and many of his generalizations hold true, not only of cubism, but of the various modes of ‘abstract’ painting that keep appearing again and again, in ‘waves’...." (Robert Motherwell, in 1949). Presentation copy, handsomely inscribed "A mon très cher [effaced]/ cordial souvénir de/ Guillaume Apollinaire" in ink on the half-title. A fine copy.

Paris (Eugène Figuière), 1913. $1,250.00

Lake: Baudelaire to Beckett 7

APOLLINAIRE, GUILLAUME

Les mamelles de Tirésias. Drame surréaliste en deux actes et un prologue. Avec la musique de Germaine Albert-Birot et sept dessins de Serge Férat. 108, (2)pp. 7 plates in text, after line-drawings by Férat. Lrg. 8vo. Dec. wraps., after Serge Férat (slightly chipped at foot of spine). Uncut. First edition. The première of Apollinaire’s ‘Les mamelles de Tirésias’ took place on June 24th 1917, under the sponsorship of Pierre-Albert Birot and his review "SIC." It was one of the great uproars in the annals of modernism, due in large part to Jacques Vaché, who, disguised as an English officer, entered the hall brandishing a gun and threatened to fire it into the crowd. Though Breton and others maintained for many years that the subtitle of the play contains the earliest use of the word ‘surréaliste’ in print, Apollinaire’s own use of it a month before, in a program note for the Diaghilev production of ‘Parade,’ is actually the first instance.

Paris (Editions SIC), 1918. $850.00

Biro/Passeron p. 28; Rubin p. 115f.; Lake, Carleton: Baudelaire to Beckett p. 12; Reynolds p. 10

(ARP) Tzara, Tristan

Vingt-cinq poèmes. Harp: dix gravures sur bois. 52pp. 11 original woodcuts by Arp, printed in black (8 full-page hors texte; 1 repeat). Sm. 8vo. Orig. wraps., bearing an additional woodcut by Arp, printed on a gold foil panel mounted on front cover (repeat). New fitted slipcase and chemise (boards). Arp’s woodcuts for "Vingt-cinq poèmes," like those for Huelsenbeck’s "Phantastische Gebete," show the darker range of feeling his work was capable of, brooding and at times even sinister, as well as its more familiar facetiousness. The formal resemblance to Kandinsky’s headpieces in "Über das Geistige in der Kunst," is unmistakable. Interior of backstrip and flyleaves expertly reinforced; a bright and fresh copy, the cover in unusually good condition.

Zürich (Collection dada), 1918. $6,000.00

Arntz 16-25; On My Way 131; Berggruen Tzara-Bibliography 2; Castleman p. 177; The Artist and the Book 2; Gershman p. 44; Dada in Zürich 82; Sanouillet 193; Motherwell/Karpel 416

ARP, HANS

Der Pyramidenrock. 70pp. Frontis. portrait drawing of Arp by Modigliani. 4to. Printed wraps. Arp’s fourth book, a collection of dada poems. The 41-line 3-column mechanical repetition of the title on each cover is one of the most influential typographic inventions of the period. Paper flaw on one leaf; discreet contemporary ownership inscription; an attractive copy, with—most interestingly —two small corrections made with the insertion of single typed letters, clipped and mounted in "Schneethlehem" and "Sankt Ziegenzack Sankt Fassanbass."

Erlenbach-Zürich/ München (Eugen Rentsch), [1924]. $2,000.00

Rolandseck 89; Dada Zürich 67; Motherwell/Karpel 194; Verkauf p. 176; Düsseldorf 23; Tendenzen 3/80; Andel 70

(ARP) Tzara, Tristan.

De ns oiseaux. Poèmes par Arp. 114, (8)pp. 10 full-page illus. Orig. wraps. (light wear). First published in 1923 in an edition of only 20 copies; this second edition differs only in the paper stock used. ‘De nos oiseaux,’ with Arp’s witty drawings and its pixillated dada typography, is one of the most charming of all Dada publications.

Paris (Editions Kra), [1929]. $850.00

Rolandseck 88; Berggruen 4; Hagenbach 61; On My Way 129; DadaGlobal 219; Reynolds p. 79

(ARP) Brzekowski, Jan

Hans Arp. 14, (2)pp. 10 plates in text. Sm. 4to. Self-wraps. Text in French. Co-editor of "L’art contemporain," Brzekowski, while living in Paris, served as a critical liaison between the Polish avant-garde and the "Cercle et Carré" and "Abstraction-Création" circles; from 1930 to 1936 he was a pivotal figure in the "a.r." (‘artistes révolutionnaires’) group in Lodz, directed by Wladyslaw Strzeminski. It was due in large part to Brzekowski that the influential avant-garde International Collection of Modern Art was formed in Lodz, under the auspices of a.r. A fine copy. Rare.

Lodz ("Drukarnia Polska"), 1936. $1,250.00

Rolandseck 110

ARP, HANS

Mondsand. (30)ff., 7 original etchings by Arp. Tissue guards. 4to. Dec. cloth, with a design by Arp on the front cover. One of 300 numbered copies, from the limited edition of 333 in all, signed in pencil by Arp in the justification. Etchings printed by Fequet & Baudier, Paris.

Pfullingen (Günther Neske), 1959. $1,250.00

Hagenbach 364; Arntz 396-402; Bleikasten Aa 118; Rolandseck 72; Wilpert-Gühring 20

ARP, JEAN

Vers le blanc infini. (Collection "La Rose des Vents." Il. ) (28)pp., 8 original soft-ground etchings, printed in black, hors texte. Sm. folio. Publisher’s dec. slipcase and chemise (slipcase defective). All contents loose, as issued. One of 499 numbered copies on grand vélin de Rives, signed in pencil by the artist, from the limited edition of 600; the etchings printed by Georges Leblanc, the text by Fequet et Baudier. "‘Vers le blanc infini’ is an example of the full integration of design and content possible in a book written and illustrated by the same artist" (Garvey/Wick).

Lausanne/Paris (La Rose des Vents), 1960. $2,750.00

Rolandseck 73; Basel 7; Garvey/Wick 56; Hubert pp. 85-92

ARTAUD, ANTONIN

L’ombilic des limbes. Avec un portrait de l’auteur par André Masson gravé sur bois par G. Aubert. 68, (4)pp. Frontis. portrait. Wraps. Uncut. One of 750 numbered copies on vélin simili cuve from the limited edition of 809 in all.

Paris (Éditions de la Nouvelle Revue Française), 1925. $500.00

ARTAUD, ANTONIN

A la grande nuit, ou le bluff surréaliste. 15, (1)pp. Publisher’s buff-colored wraps., printed in red and black. Artaud and Philippe Soupault, who had been expelled from the Surrealist group in November 1926 for their lack of political engagement and their absorption in "la stupide aventure littéraire pur," were then formally chastized by Aragon, Breton, Eluard and others in the collective tract "Au grand jour," published in May 1927. "A la grande nuit," issued the following month, is Artaud’s exasperated reply, refusing to renounce his own ideal of revolution, as an act of the imagination, for the sociopolitical one his former comrades now espoused.

Paris (Chez l’Auteur), 1927. $400.00

Gershman p. 3; Biro/Passeron p. 14; Nadeau p. 274ff.

ARTAUD, ANTONIN

L’art et la mort. Avec un frontispiece de Jean de Bosschère. 87, (5)pp. Halftone frontis. 4to. Wraps. (light wear). One of 750 numbered copies on pur fil Lafuma, from the limited edition of 800, printed by François Bernouard. Presentation copy, inscribed in turquoise ink on the front flyleaf "à M. P.G. Van Hecke/ hommage de l’auteur/ Antonin Artaud." Van Hecke was a well-known writer on modernist Belgian art.

Paris (A l’Enseigne des Trois Magots), 1929. $700.00

[ARTAUD, ANTONIN]

Les nouvelles révélations de l’être. 29, (1)pp. 12mo. Wraps.

Paris (Éditions Denoël), 1937. $400.00

ARTAUD, ANTONIN

Artaud le Momo. Illustré de huit dessins originaux de l’auteur. 63, (7)pp., 8 plates. 12mo. Wraps. Uncut. One of 300 numbered copies on papier pur fil de Johannot from the limited edition of 355, signed by Artaud in the justification. Justification page a bit browned.

Paris (Bordas), 1947. $1,000.00

ARTAUD, ANTONIN

Ci-git, précédé de La Culture Indienne. (44)pp. Wraps. Uncut. One of 435 numbered copies on vélin pur fil du Marais from the limited edition of 450.

Paris (K éditeur), 1947. $600.00

(ARTAUD) Paris. Galerie Pierre

Portraits et dessins par Antonin Artaud. July 1947. (10)pp. 12mo. Wraps. One of 250 numbered copies on Offset blanc from the limited edition of 265. The text consists entirely of a long prose poem by Artaud, beginning "Le visage humain/ est une force vide, un/ champ de mort...."

Paris, 1947. $500.00

(ARTAUD, ANTONIN)

K. Numéro double 1-2. Juin 1948. Antonin Artaud: textes, documents, témoignages. 137, (1)pp. 16 illus. hors texte. Sm. 4to. Self-wraps. Texts by Antonin Artaud, Georges Braque, René Char, Maurice Nadeau, André Pieyre de Mandiargues, Camille Bryen, and others.

Paris (K éditeur), 1948. $300.00

ARTAUD, ANTONIN

Lettres de Rodez. 41, (1)pp. Tall 8vo. Wraps. One of 1182 numbered copies on Alfama from the limited edition of 1200. Second printing of the 1946 GLM edition (GLM 227). Pen mark on front cover.

Paris (GLM), 1948. $250.00

GLM 269

ARTAUD, ANTONIN

Pour en finir avec le jugement de Dieu. Émission radiophonique enregistrée le 28 novembre 1947. Texte intégral suivi de variantes, extraits de presse et 8 lettres à Fernand Pouey, René Guignard, Wladimir Porché, René Guilly, le R.P. Laval, Paule Thévenin. 109, (3)pp. Wraps. Uncut. Edition limited to 455 numbered copies.

Paris (K éditeur), 1948. $450.00

(ARTAUD, ANTONIN)

84. Nos. 5-6. 1948. Antonin Artaud. Textes de Antonin Artaud. Témoignages des amis d’Antonin Artaud: Arthur Adamov, Camille Bryen, André Gide, and others. (56)pp. [= pp. 97-151]. Lrg. 8vo. Self-wraps.

Paris, 1948. $100.00

ARTAUD, ANTONIN

Lettre contre la Cabbale. Adressée à Jacques Prevel. (30)pp. Tall 8vo. Wraps. D.j. First edition. One of 1100 numbered copies on vélin blanc from the limited edition of 1370.

Paris (Jacques Haumont), 1949. $250.00

ARTAUD, ANTONIN

Supplément aux Lettres de Rodez. Suivi de Coleridge le traitre. Portrait par Krol. 29, (1)pp. Frontis. portrait. Tall 8vo. Wraps. One of 973 numbered copies on Alfama from the limited edition of 1025.

Paris (GLM), 1949. $250.00

GLM 289

ARTAUD, ANTONIN

Vie et mort de Satan le feu. Suivi de textes méxicains pour un nouveau mythe. Avant-propos de Serge Berna. (Collection "Voyants.") 115, (7)pp. Lrg. 8vo. Wraps. Uncut. One of 95 copies on Arches from the limited edition of 100.

Paris (Arcanes), 1953. $250.00

(ARTAUD, ANTONIN)

A bound collection of five extracts from French literary magazines, constituting the first publication of texts by and on Artaud. 4to. New cloth. Contents as follows: 1. Artaud, Antonin. Trois lettres inédites. (La Revue Théâtrale, 10me année, no. 32.) (4)pp. Paris, 1956. 2. Artaud, Antonin. Je n’ai jamais rien étudié.... (84.) (8)pp. [Paris, 1948]. 3. Jouve, Pierre Jean. Les ‘Cenci’ d’Antonin Artaud. (La Nouvelle Revue Française. 23e année, No. 261, Juin 1935.) (6)pp. Paris, 1935. 4. Artaud, Antonin. Préambule. (La Nouvelle Revue Française. 2e année, No. 24, Décembre 1954.) (6)pp. Paris, 1954. 5. Artaud, Antonin. Onze lettres à Anaïs Nin. Philippe Sollers. La pensée émet des signes. Paule Thévenin. Antonin Artaud dans la vie. Jacques Derrida. La parole soufflée. (Tel Quel. 20. Hiver 1965.) (64)pp. Paris, 1965. $400.00

ASCHIERI, BRUNO

L’aeropoema futurista dei Legionari in Spagna. Parole in libertà futuriste. Collaudato da F.T. Marinetti. (16)pp. 4to. Dec. wraps. Bold and stylish typography in the text, designed by Enrico Bona, printed in red and black on yellow stock, with four-color parole in libertà composition on the cover. The text of ‘aeropoema’ was originally recited on a radio broadcast under Marinetti’s auspices, and published in Berlin in 1938, in a German edition.

Roma ("Poesia"), 1941. $300.00

Salaris p. 22

AU GRAND JOUR

Surrealist tract, collectively signed by Louis Aragon, André Breton, Paul Eluard, Benjamin Péret and Pierre Unik. 28, (4)pp. Printed wraps. Issued in May 1927, following the induction of the signers into the Communist Party, this pamphlet castigates Antonin Artaud and Philippe Soupault for their lack of political militarism. Artaud’s well-known rebuttal, "A la grande nuit, ou le bluff surréaliste," followed suit a month later. A fine copy.

Paris (Editions Surréalistes), 1927. $600.00

Gershman p. 56; Biro/Passeron p. 40; Nadeau p. 260ff.

AZARI, F.

Per una Società di protezione delle macchine. Manifesto futurista. (2)pp. (single sheet). 4to. Self-wraps.

[Milano (Direzione del Movimento Futurista), 1927]. $300.00

Salaris p. 90; Scrivo 69

AZARI, F.

Vita simultanea futurista. Manifesto futurista. (2)pp. (single sheet). 4to. Self-wraps. Faint foldlines.

Roma (Direzione del Movimento Futurista), [1927]. $300.00

Salaris p. 90; Scrivo 68

BALLA, GIACOMO

Il vestito antineutrale. Manifesto futurista. Milano, 11 settembre 1914. (4)pp. (single sheet, folding). 6 illus. 4to. Self-wraps. One of the only Futurist manifestos with illustrations, Balla’s call for dynamic, aggressive, joyful and assymetrical ‘anti-neutral attire’ includes superb drawings, both of motifs ("modificanti guerreschi e festosi") and of full-scale red-white-and-green suits to be worn by Cangiullo and Marinetti. A fine copy.

Milano (Direzione del Movimento Futurista), 1914. $700.00

Salaris p. 84; Scrivo 42; The Avant-Garde in Print 1.2

BALLA, GIACOMO & DEPERO, FORTUNATO

Ricostruzione futurista dell’universo. Milano, 11 marzo 1915. (4)pp. (single sheet, folding). 4to. Self-wraps. "Written by Balla with the younger Fortunato Depero, and illustrated by ingenious constructions by both of them…the manifesto itself had less to do with the war at hand than with playful and disrespectful inventiveness…. This Futurist Universe would feature an Artificial Landscape to replace boring Nature, and be populated with Metallic Animals, millions of them, which would, under the direction of Balla and Depero, bring about ‘the greatest war (a conflict between all the creative forces of Europe, Asia, Africa and America), which will undoubtedly follow the current marvellous little human conflagration’" (Tisdall/Bozzola). The ‘Plastic Complexes’ illustrated in halftone photographs, are extremely interesting and witty, Depero’s in particular, utilizing a whole range of metals, tissues, colored glass, celluloid, springs and noise-making devices to produce a sculpture that would rotate and decompose.

Milano (Direzione del Movimento Futurista), 1915. $600.00

Salaris p. 85; Apollonio p. 197ff.; Lista p. 202ff.; Scrivo 47; Taylor p. 123; Tisdall/Bozzola p. 195f.

BARTOCCINI, MARIO & MANTIA, ALDO

L’improvvisazione musicale. Manifesto futurista. Letto da Marinetti a Roma (Sala Bragaglia), il 1° marzo 1921, inaugurando l’Esposizione dei giovani pittori futuristi: Bartoccini, Bernini, Carliari, Castellazzi, De Nardis, Fornari, Mantia, Masnata, Morpurgo, Pannaggi, Verderame. I futuristi Bartoccini, Mantia, Pasini e Silva eseguirono improvvisazioni musicali, discussioni fra pianoforti improvvisatori, fra pianoforte e violoncello, fra pianoforti e corale improvvisato. (2)pp. (single sheet). 4to. Self-wraps. Foldlines.

[Milano] (Direzione del Movimento Futurista) [1921]. $300.00

Salaris p. 88; Lista p. 321f; Scrivo 62

(BAUHAUS)

Weimar-Bauhaus u. andere Tapeten. 1934. 165 original patterned and decorated wallpaper samples, printed in colors on various types and textures of stock, each with model and style numbers on the verso. Oblong stout 4to. Boards, 1/2 cloth, secured with hammered metal bolts, as issued. The recent book ‘Bauhaustapete: Reklame & Erfolg einer Marke/ Advertising & Success of a Brandname’ gives a fascinating account of the fortunes of the Bauhaus wallpaper products during the Nazi era, and the amazing persistence of these commercial lines under the Bauhaus name, even with National Socialist endorsement, years after the Bauhaus itself had been shut down. The well-known manufacturer of the papers, Gebr. Rasch, is not named in the present swatch-book, which was marketed by H. von Wittgenstein.

N.p., 1934. $1,800.00

Kieselbach, Burckhard, et al. (eds.): Bauhaustapete. Reklame & Erfolg einer Marke (Köln, 1995), p. 52ff.

(BAUHAUS)

Gebr. Untermann. Bauhaus 1939. Jubiläumskarte. 1f. text, 115 original patterned and decorated wallpaper samples, printed in colors on various types and textures of stock, each with model numbers on the verso. Oblong stout 4to. Turquoise boards, 1/4 cloth, lettered in white, secured with massive nickel bolts, as issued. This 1939 ‘Jubilee’ collection, marking the tenth anniversary of the Bauhaus wallpapers, is introduced with a page of remarks set, notably, in a modern Bauhaus font and layout, rather than the Fraktur which increasingly replaced it; so is the bold front cover. The four illustrated interiors which are interspersed with the samples (die-cut with holes, to expose the actual wallpapers in the appropriate place) are, on the other hand, quaintly old-fashioned. The well-known manufacturer of the papers, Gebr. Rasch, is not named in the present swatch-book, which was marketed by Gebr. Untermann, Berlin. Front cover slightly rubbed.

Berlin, 1939. $2,800.00

Kieselbach, Burckhard, et al. (eds.): Bauhaustapete. Reklame & Erfolg einer Marke (Köln, 1995), p. 52ff.

(BAUHAUS)

Das Bauhaus in Dessau: Arbeitspläne. (12)pp., on 6 separate leaves, each with bold Bauhaus typography and design, and each with a different colored headline (in pink, tan, brown, purple, yellow, and black). Each 296 x 207 mm. (12 5/8 x 8 1/8 in.) A complete set of six work plans, or curriculum sheets, designed by Moholy-Nagy for the Bauhaus workshops: Weaving (directed by Georg Muche), Printing (Herbert Bayer), Carpentry (Marcel Breuer), Wall Painting (Hinnerk Scheper), and Metalwork (Moholy-Nagy), together with a general statement on Theory (not affiliated any individual workshop). The plans explain the general requirements and procedures for each of the programs at two different levels: the teaching workshop, and the experimental and model workshop. The full text of the Metalwork plan is translated by Wingler as a representative example of the series; all six are illustrated by Fleischmann. Moholy-Nagy’s typographic design of the set is extremely strong, with bold orthogonal dividers in black, in addition to the colored headings, highly unusual departures from the standard black-and-red vocabulary. One sheet with 2 hole-punches at left margin, the rest with unobtrusive staple holes at same; one with slight wear at right margin; in general very fresh.

Dessau, n.d. [1925/1926]. $2,500.00

Fleischmann p. 108ff. (illus.); Wingler p. 110f.

(BECKMANN) Edschmid, Kasimir.

Die Fürstin. Mit sechs Radierungen von Max Beckmann. 81, (3)pp., 6 original etchings. 4to. Publisher’s silver-embossed raw silk over boards. New cloth fitted clamshell box. One of 370 copies on uncut Holland Bütten, from the limited edition of 500 in all, signed by Edschmid in the colophon. One of Beckmann’s most important works. "The embittered view of society that Beckmann developed during his hospital duty and subsequent nervous breakdown during World War I is reflected in the prints he contributed to ‘Die Fürstin.’ Edschmid’s poetic text about a hero’s dreams is strangely coupled with Beckmann’s Expressionist renderings of compressed arrangements of bodies in alienated pairings" (Castleman). "The plates to ‘Die Fürstin,’ ‘Die Stadtnacht,’ and to ‘Fanferlieschen,’ together with the lithographs to ‘Apokalypse’ (1943), and his drawings to Goethe’s ‘Faust, Part II’ (begun in 1943) represent Beckmann’s greatest successes as an illustrator" (Lang). Extremities a little browned.

Weimar (Gustav Kiepenheuer), 1918. $2,500.00

Hofmaier 111-116 ; Jannasch 4; Gallwitz 89; Castleman p. 175; The Artist and the Book; Manet to Hockney 44; Stern 5; Jentsch 37; Lang 12, p. 52; Marbach 164.2; Vom Jugendstil zum Bauhaus 100; Rifkind/Davis 132; Rifkind/Reed 369.

BEHRENS, PETER

"Darmstadt Mai-Okt. 1901. Ein Dokument Deutscher Kunst: Die Ausstellung der Künstlerkolonie." Poster. Color lithograph, signed in the stone with the artist’s monogram. 125.9 x 43.6 cm. (50 x 17 1/4 inches).

This is one of the most important posters of the Jugendstil, and one of the most important works in Peter Behrens’ graphic oeuvre. It was designed for the epochal exhibition held in 1901 to celebrate the work of the artists’ colony of Mathildenhöhe in Darmstadt. Formed in 1899 at the behest of the young Grand Duke Ernst Ludwig of Hesse, the Künstlerkolonie consisted of seven members, of whom Behrens and Josef Maria Olbrich (who led the colony until his death in 1908) were the most prominent. "The Mathildenhöhe group showed publicly for the first time at the Paris 1900 Exhibition, for which Olbrich had designed a reception room with furnishings by other artists. Their formal presentation, however, occurred in 1901, when the Mathildenhöhe colony was officially opened with an exhibition called ‘A Document of German Art.’ Instead of still another international exposition in specially designed temporary buildings, it was the colony’s permanent villas at the outskirts of the town which stood review. Olbrich, the only professional architect in the group, was responsible for the architecture of all the buildings with one exception, while the other members had shared in the design of the interiors. Only Peter Behrens had both designed and furnished his own house. The work of Behrens and Olbrich differs significantly from the curving, richly florid style characteristic of Jugendstil. Peter Behrens’ house—the work of an untrained architect—shows him in marked contrast to the elegant and imaginative Olbrich. Behrens, like the others, was a painter, a designer of furniture, metal, glass, graphics, and typography. He still used flowing lines in the design of his interiors, but these were contained in areas sharply defined as rectangles, squares and circles…. This other pole of the New Style—designing with precise geometrical elements in rhythmic patterns—had already proved its attraction to the Glasgow group as it did to the artists of the Vienna Secession where Mackintosh exhibited with acclaim in 1900. Behrens’s rich and somewhat ponderous style, although similarly geometric, seems to have developed simultaneously and to have led him toward the restraint and clarity of the modern movement" (Museum of Modern Art: Art Nouveau, p. 116).

In his essay for the catalogue "Peter Behrens und Nürnberg," Peter-Claus Schuster has given a very acute reading of the design: "Den Sinn enthüllt das von Behrens geschaffene Plakat zur Darmstädter Ausstellung. Aus der Eiform am Boden als der Urform alles Werdens erwächst das Leben, inkarniert in Gestalt des fruchtbaren Weibes, und reckt sich zu der oberen Eiform als dem Sinnbild himmlischer Idealformen empor. Von dort wird das irdische Leben in den niedergehenden Strahlen und Wellenbändern erleuchtet und befruchtet. Die geometrisch archaisierte Frau, wenige Jahre vor Picassos ‘Demoiselles d’Avignon’, personifiziert also bei Behrens den aus der Urform des Eies hervorwachsenden Zellenbau des Lebens, das sich zum Geistigen hinentwickelt. Diese Wachstums- und Fruchtbarkeitsvision entfaltet sich im Damenzimmer des Behrens-Hauses im leitmotivischen Wechselspiel von Eiform und geometrischem Dekor über alle Möbel und Türflächen des Zimmers hinweg und ist auch im Tisch in seiner ovalen Platte und seinem kubistischen Fuß aufgenommen. Solch lebensphilosophische Spekulation, dem dynamisch offenen System von Nietzsche entlehnt, seine Ideologie der Lebenssteigerung, hat das ganze Behrens-Haus wesentlich geprägt."

Laid down on board; occasional creases and small tears, with careful restorations; a bright and very well preserved example. Framed. The poster is accompanied by the commemorative album of the 1901 exhibition, a clothbound folio edited by Alexander Koch, lavishly printed with borders and vignettes especially designed for the publication by Behrens.

Darmstadt, 1901. $20,000.00

Literature: Das frühe Plakat in Europa und den USA (Bd. III: Deutschland) 1980, no. 90; A. Weill: The Poster, A Worldwide Survey and History, 1985, p. 99, ill. 166; P. Wember: Die Jugend der Plakate 1887-1917, 1961, no. 20, ill. P. 105; Museum of Modern Art, New York: Art Nouveau, 1959, no. 33; Stadtmuseum München: Bayern, Kunst und Kultur, 1972, no. 206; Mathildenhöhe Darmstadt: Ein Dokument deutscher Kunst, Darmstadt 1901-1976, vol. 4 no. 30 (color plate p. 22); Germanisches Nationalmuseum Nürnberg: Peter Behrens und Nürnberg, 1980, p. 113, ill. 46

BEHRENS, PETER

Feste des Lebens und der Kunst. Eine Betrachtung des Theaters als höchsten Kultursymbols. 25, (3)pp. Lrg. 8vo. Orig. grey boards with gilt decoration (expertly and indetectably rebacked). Dec. frontis., title-page, borders, and initials designed by Peter Behrens, printed in pale slate blue, dark crimson and brown on cream-colored laid paper. Text in brown; the artist’s monogram prominently printed in red in the colophon. Dedicated to the Künstler-Kolonie, Darmstadt, which Behrens, along with J.M. Olbrich, had joined in 1899, the ‘Feste des Lebens’ is conceived in a spare, rhythmic idiom poised between the curvilinear freedom of Art Nouveau and the severer geometry of early modernism. The elaborate frontispiece, ornamented with a pair of caryatids bearing facetted crystals, is especially fine, and the sense of typographic interval and restrained use of color throughout create an effect of exceptional purity and grace.

Leipzig (Eugen Diederichs), 1900. $1,000.00

Nürnberg 42; Darmstadt V.35; Turn of a Century 108; Schauer I.43, II,plate 6; Hofstätter p. 138; Selz/Constantine p. 18 (illus.); Loubier: Neue Deutsche Buchkunst p. 27f. (illus.)

(BEHRENS) Hoeber, Fritz.

Peter Behrens. (Moderne Architekten. Erster Band.) (8), 249, (3)pp. Frontispiece portrait (original lithograph) by Max Liebermann. 245 illus. Lrg. 4to. Boards, 1/4 cloth. Typography and binding designed by Behrens. Rare.

München (George Müller und Eugen Rentsch), 1913. $550.00

Freitag 692; Sharp p. 21

BELLANOVA, PIERO

Picchiata nell’amore. Romanzo sintetico col manifesto futurista. Collaudo del poeta: F.T. Marinetti. Presentazione di Luigi Scrivo. 30, (4)pp. Frontis. 4to. Dec. wraps., with an aeropittura design by Ambrosi.

Roma (Unione Editoriale d’Italia), 1940. $250.00

BERLIN. Kunsthandlung Dr. Otto Burchard

Erste Internationale Dada-Messe. Ausstellung und Verkauf dadaistischer Erzeugnisse. Veranstaltet von Marschall G. Grosz, Dadasoph Raoul Hausmann, Monteurdada John Heartfield. Katalog. (4)pp. (single sheet, folding). Photomontage illustrations, including front and back covers printed in red and black (integrated with text) and 2 illustrations within. Oblong sm. folio. Self-wraps. The catalogue of the brilliantly assaultive exposition, which may qualify as the first ‘environment’ (as the work has come to be understood in postwar art), and which in any case was certainly the climax of Berlin Dada, running through the whole of the summer of 1920. Some 174 items were exhibited, virtually all of them contributed by Germans, notwithstanding the ‘international’ premise of the show. An inflammatory political tone, vehemently anti-militaristic and anti-bourgeois, was everywhere in evidence, including the stuffed dummy of a German officer with the head of a swine, assembled by Rudolf Schlichter and suspended face-down from the ceiling. Grosz and Herzfelde, who had contributed grotesque puppets and caricatures of capitalists and soldiers, were prosecuted and eventually fined for ridiculing the Reichswehr, a charge they rejected with the assertion that theirs was "a totally artistic form of satire." As Ades has pointed out, this line of reasoning makes an interesting counterpart to that of Max Ernst, who, when similarly pressed by the police in Köln, answered that his work was Dada and therefore had nothing to do with art.

Text by Hausmann and Herzfelde; the dramatic photomontage on the front cover by Heartfield. Inconspicuous central fold, with short hairline split at base; a very few small chips at foot; altogether an exceptionally fine and bright copy of this fragile publication.

Berlin, 1920. $9,500.00

Ades p. 85; Dada Global 76 (with 2 illus. in color); Chapon p. 102f. (with 2 illus. in color); Stationen der Moderne 4/1 (illus. in color), 4/36; Dada Artifacts 44; Motherwell/Karpel 142; Rubin 407, illus. D80-83; Tendenzen 3/212; Richter p. 133

BERLIN. Galerie Springer

Original gustbooks of the gallery, from its opening exhibition in May 1968 to March 1990. 7 ringbound artist’s drawing tablets, in two formats: 3 in folio, 4 in large 4to. Each (88)-(98)pp. (originally 100pp., as manufactured). In one tablet, only the first 16pp. are inscribed. Annals of one of the most influential and successful galleries in Germany from the 1960s on, pivotal in its exhibitions of contemporary artists, including Georg Baselitz, A.R. Penck, Arnulf Rainer, Markus Lüpertz, Antoni Tàpies, Piero Dorazio, Gaston Chaissac, and David Hockney. Of particular note in the final volume is a large and powerful original drawing by A.R. Penck in black marker (415 x 295 mm.; approximately 16 1/4 x 11 1/2 inches) drawn during the artist’s exhibition of ceramics, Oct.-Nov. 1989. The volumes are arranged chronologically by exhibition, with autograph signatures and other entries by numerous figures of the art world, including Penck, Lüpertz, Dorazio, Paolozzi, Rebecca Horn, William Copley, Stöhrer, Trökes, Sugai, Marwan, Schmied, Bastian, Roditi, Dore Ashton, and many others.

Berlin, 1968-1990. $2,000.00

BERLIN. Der Sturm

Erster deutscher Herbstsalon. Berlin 1913. Introduction by Herwarth Walden. 32, (4)pp., 50 gravure plates. Sm. 4to. Printed wraps. Originally planned by the Berlin Secession as a counterpart to the Salon d’Automne, the exhibition was taken up by Der Sturm together with members of Der Blaue Reiter, and selected principally by Walden, who made a breakneck tour throughout Europe in the summer of 1913 to assemble it. Some 90 artists were ultimately represented, among them Archipenko, Arp, Balla, the Delaunays, Ernst, Feininger, Hartley (then living in Berlin), Kandinsky, Klee, Larionov, Léger, Mondrian, and Picabia. Despite some amazing omissions (Picasso, Braque, Matisse), this was one of the greatest modernist surveys before the War, together with the Köln Sonderbund and the Armory Show. Chip at head of backstrip.

Berlin, 1913. $450.00

BERLIN. Der Sturm

Die Futuristen. Umberto Boccioni, Carlo D. Carrà, Luigi Russolo, Gino Severini. Künstlerische Leitung: Zeitschrift Der Sturm. Herausgeber: Herwarth Walden. 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 issues 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.

Berlin, n.d. [1912]. $350.00

BERTACCI, MARIA GRAZIA

Per alfabeto. 21 incisioni. Con un testo di Mario Diacono. 5ff., 21 original aquatint etchings, each signed and numbered in pencil. Plate size: 240 x 160 mm. (9 3/8 x 6 1/4 inches); sheet size: 380 x 285 mm. (15 x 12 1/4 inches). Folio. Portfolio (boards, 3/4 cloth; ties). Contents loose, as issued. One of 21 copies, signed and numbered in pen by the artist in the colophon, from the limited edition of 28 in all. The suite is a fanciful evocation of the Italian alphabet, with one print for each of its 21 letters.

Roma (Edizioni Monogram), 1982. $2,500.00

BEUYS, JOSEPH

Food for Thought. Broadside with a 176-line column of text, signed in pencil by Beuys and marked with an applied grease-spot and the stamp of the Free International University. 880 x 165 mm. ( 34 5/8 x 6 1/2 inches), printed on fine buff-colored wove stock (verso blank). This scroll-like multiple was published in a hand-signed unlimited edition for Beuys’ Free International University (FIU) room at Documenta 6, and proceeds from its sale went towards the upkeep of participants. The text concerns the interrelation of nourishment and thought, and is in three sections: a very long list of commercially marketed British foodstuffs (Veal and Ham Toast Topper), an excerpted transcript of a phone conversation about foods, in both English and German, and the text of a lovely sixth-century Irish poem, "The Vision of Mac Conglinne," which is a vision of the world as food ("Savour of Savours/ Is the name of my lady’s maid:/ Morning early across Newmilk Lake she went"). This example is matted in a finely made heavy board folder, with printed title on the front cover, and is in perfect condition.

[Kassel], 1977. $1,000.00

Schellmann: Joseph Beuys: Die Multiples (1992), 206; Museum Fridericianum: Joseph Buys: Documenta Arbeit (Kassel, 1983), no. 138 (illus. p. 216)

(BEUYS) Düsseldorf. Galerie Schmela.

Joseph Beuys. Zeichnungen von 1949-1969. 3ff., 57 full-page plates. 4to. Blank blue wraps., with linen backstrip. Edition limited to 500 copies, signed and numbered by Beuys in pen. The title-page, with justification, and two pages of register, are all reproduced from the artist’s handwritten text. A very fresh copy.

Düsseldorf, 1969. $700.00

BLECKNER, ROSS

A suite of 6 original watercolors from 1987-1989, painted on the versos of six (identical) announcement cards for Bleckner’s exhibition at the Mario Diacono Gallery, Boston, January 1986. Each 163 x 115 mm. (6 3/8 x 4 1/2 inches). Sm. 4to. Flexible boards with morocco cover label; ties. The series is loosely inserted into corner mounts on leaves of a custom-made album, inscribed on the last leaf "To Mario Diacono with love and gratitude/ Always/ Ross Bleckner/ 1987/ 1989. A somberly beautiful sequence, of an urn, a bouquet, a gazebo, abstractions.

N.p., 1987-1989. $5,000.00

BLOSSFELDT, KARL

Urformen der Kunst. Photographische Pflanzenbilder. Herausgegeben mit einer Einleitung von Karl Nierendorf. Zweite Auflage. xvii, (3)pp., 120 gravure plates. Lrg. 4to. Cloth. A fine fresh copy, though with a later photograph tipped-in on the front flyleaf (a sequoia, inscribed on the verso "to the memory of Carl Andre & Ana Mendieta, Sept. 9, 1985"), with adjacent wear.

Berlin (Ernst Wasmuth), 1929. $1,800.00

Freitag 1009 (1928 edition)

BLOSSFELDT, KARL

Urformen der Kunst. Photographische Pflanzenbilder. Herausgegeben mit einer Einleitung von Karl Nierendorf. Neue Ausgabe. xvi pp., 96 photogravure plates. Lrg. 4to. Cloth.

Berlin (Ernst Wasmuth), 1936. $650.00

Freitag 1009 (1928 edition)

BLÜMNER, RUDOLF

Der Geist des Kubismus und die Künste. 69, (3)pp., 8 plates. Sm. 4to. Dec. wraps., with front cover drawing after Léger. Uncut. An historic presentation copy of this important text, inscribed on the front flyleaf "Au grand peintre cubiste/ Albert Gleizes/ admiré par Rudolf Blümner." A little browning and brittleness.

Berlin (Verlag der Sturm), 1921. $650.00

Raabe/Hannich-Bode 3; Spalek 92

DER BLUTIGE ERNST

[Satirische Wochenschrift. Herausgeber: Carl Einstein, George Grosz.] 1. Jahr, Nos. 1-5 (of 6 numbers published in all). A nearly complete run of "Der blütige Ernst," lacking only the final issue, and accompanied by the promotional broadside "Gegen die Ausbeuter!" designed by George Grosz and John Heartfield. Contents as follows:

No. 1: Sondernummer I: Der Arzt.1919. (16)pp. Texts by Walter Mehring, Raoul Hausmann, John Hoexter, Richard Huelsenbeck. Illus. by John Hoexter (7, of which 3 over printed in red) and Paul Haase. Lrg. 4to. Self-wraps. (backstrip archivally reinforced). No. 2: Sondernummer II: Der Jude. [December] 1919. Texts by John Hoexter and Mynona (Salomo Friedlaender). This "Sondernummer" devoted to the subject of The Jew, contains, among other contents, a powerful indictment by Hoexter of antisemitism in contemporary Germany. Also of interest are advertisements for both the Dada and the Yiddish press and publishers at the back: Huelsenbeck’s ‘Phantastische Gebete,’ Grosz and Edgar Firn’s ‘Bibergeil,’ and the Graphisches Kabinet J.B. Neumann, as well as "Schlemiel: Jüdische Blätter für Humor und Kunst." No. 3: Sondernummer III: Die Schuldigen. Nov. 1919. (8)pp. Texts by Walter Mehring, Carl Einstein. 11 illus. by George Grosz (4 full-page, including front and back covers). Folio. Self-wraps. ‘The Culprits,’ an indictment by Grosz of the role of the ruling military aristocracy. No. 4: Sondernummer IV: Die Schieber. [Dec. 1919.] (8)pp. Texts by Carl Einstein, Walter Mehring, Richard Huelsenbeck. 4 illus. by Grosz (including full front cover and double page spread within). Folio. Self-wraps. ‘The Profiteer,’ in which Grosz analogizes wealthy capitalists with prostitutes. No. 5: Sondernummer V: Rückkehr der Monarchie. [Jan. 1920.] (8)pp. Texts by Walter Mehring, Carl Einstein, Richard Huelsenbeck. 5 illus. by Grosz (4 full-page, including front and back covers). Folio. Self-wraps. ‘The Return of the Monarchy.’

"Heartfield, Grosz and Wieland Herzfelde collaborated on a series of small reviews following ‘Die Neue Jugend,’ starting with ‘Jedermann sein eigner Fussball’ in February 1919, then ‘Die Pleite’ (the banning orders necessitated a constant change of title), ‘Der Gegner,’ edited by Julian Gumperz and Wieland Herzfelde, which incorporated ‘Die Pleite’ after February 1920, and finally ‘Der blutige Ernst,’ which was taken over by Carl Einstein and George Grosz in November 1919. These are radical, satirical and political reviews, within a long-standing German tradition. Grosz’s satrical drawings and caricatures still drew a certain amount from the Simplicissimus tradition, but with the introduction of montage (there are two lounging burghers set against a background of newspaper clippings advertising cabarets and dance halls, with the caption ‘Work and do not despair’ on the cover of no. 4), and with the addition of photographs, the political cartoon is given a new edge relying no longer on caricature for effect" (Ades). "In their advertising brochure, the two editors guaranteed that their paper, ‘Der blutige Ernst’ [Deadly Earnest], would provide ‘deadly efficacy against the bourgeois ideologies. ‘Their aim was to appeal to the masses, not to literary cliques, to identify the sickness of Europe, to portray the collapse of the continent, to fight the ideology and the establishment which lay behind the culture" (Lewis).

Light browning to No. 1; hairline splits at backstrips of most issues; Nos. 3-5 with central fold; generally in very fine condition, clean and uncreased.

Together with: "Gegen die Ausbeuter! Tödliche Wirkung gegen die bürgerlichen ideologien! ‘Der blutige Ernst.’" Promotional handbill for "Der blutige Ernst." Single sheet (green stock), printed on both sides with text and line-drawn illustrations (printed in red) by George Grosz. Folio. The mention here of Einstein and Grosz as co-editors indicates a date between November 1919, when, with the third issue, they assumed editorial control of the magazine, and February 1920, when it ceased publication with its sixth issue. Grosz and Einstein prepared the text of the flyer; credit for the montage layout is given at bottom jointly to Grosz and John Heartfield.

Berlin (Trianon Verlag), 1919 [-1920]. $15,000.00

Dada Global 36-38,40; Ades pp. 83f.,87f.; Tendenzen 3.192-195; Almanacco dada 13; Dada Artifacts 36-38; Bergius p. 214ff.; Richter p. 110f.; Lang p. 7 (illus.); Lewis p. 79ff.; Raabe 85; Raabe/Hannich-Bode 65.13

DER BLUTIGE ERNST. No. 3

Satirische Wochenschrift. Herausgeber: Carl Einstein, George Grosz. 1. Jahr, No. 3 (of 6 issues published in all). Sondernummer III: Die Schuldigen. Nov. 1919. (8)pp. 11 illus. by George Grosz (4 full-page, including front and back covers). Tabloid folio. Self-wraps. Texts by Walter Mehring, Carl Einstein. ‘The Culprits,’ an indictment by Grosz of the role of the ruling military aristocracy. A very fine copy.

Berlin (Trianon-Verlag), [1919]. $1,250.00

Raabe 85; Ades pp. 83, 88; Almanacco dada 13; DadaGlobal 36; Tendenzen 3.193

BOCCIONI, UMBERTO, et al.

Manifeste des peintres futuristes. [Signed:] Umberto Boccioni, Carlo D. Carrà, Luigi Russolo, Giacomo Balla, Gino Severini. 11 avril 1910. (4)pp. (single sheet, folding). 4to. Self-wraps. The second manifesto signed by the five Futurist painters, known as the ‘Technical Manifesto of the Futurist Painters’ (though the French version does not carry the full title). "The vagueness of the threats and promises [of the original ‘Manifesto of the Futurist Painters’] was remedied two months later in the ‘Technical Manifesto of Futurist Painting,’ published again by ‘Poesia’ on 11 April 1910. The key to their painting was to be the concept of ‘universal dynamism’ hinted at in Marinetti’s initial manifesto. This was perhaps the single most prevalent preoccupation of their time, bringing together the philosophical legacy of Nietzsche and Bergson, the intuitive approach of the Symbolists, and contemporary scientific explorations of the relationship between mind and matter" (Tisdall/ Bozzola).

Milano (Direction du Mouvement Futuriste), 1910. $300.00

Salaris p. 79; Apollonio p. 27ff; Lista p. 163; Taylor p. 125ff.; cf. Scrivo 8; Tisdall/Bozzola p. 32

BOCCIONI, UMBERTO, et al.

Manifesto dei pittori futuristi. [Signed:] Umberto Boccioni, Carlo Dalmazzo Carrà, Luigi Russolo, Giacomo Balla, Gino Severini. 11 febbraio 1910. (4)pp. (single sheet, folding, including 2pp. of text, 1 blank verso, and a masthead listing of the movement’s adherents). 4to. Self-wraps. "When the ‘Manifesto of Futurist Painters’ was defiantly proclaimed from the stage of the Politeama Chiarella in Turin on March 8, 1910, there was as yet nothing that could be distinguished as Futurist painting. The manifesto was only a bid for freedom, and the neglected artists singled out for praise were the quite unsensational divisionist painters Giovanni Segantini and Gaetano Previati, and the remarkable but impressionist sculptor Medardo Rosso" (Taylor).

Milano (Direzione del Movimento Futurista), 1910. $300.00

Salaris p. 79; Apollonio p. 24ff.; Scrivo 7; Taylor p. 17; Tisdall/ Bozzola p. 17

BOCCIONI, UMBERTO, et al.

Manifesto dei pittori futuristi. [Signed:] Umberto Boccioni, Carlo Dalmazzo Carrà, Luigi Russolo, Giacomo Balla, Gino Severini. 11 febbraio 1910. (4)pp. (single sheet, folding, including 2pp. of text and 2 blank versos). 4to. Self-wraps. This issue of the manifesto, with at least one erratum, is probably the first; this example is also misprinted, the second page having slipped in the press, eliminating the righthand margin and chopping off several letters at the end of each line.

Milano (Uffici di "Poesia"), 1910. $250.00

Salaris p. 79; Apollonio p. 24ff.; Scrivo 7; Taylor p. 17; Tisdall/Bozzola p. 17

BOCCIONI, UMBERTO, et al.

La pittura futurista. Manifesto tecnico. [Signed:] Umberto Boccioni, Carlo Dalmazzo Carrà, Luigi Russolo, Giacomo Balla, Gino Severini. 11 aprile 1910. (4)pp. (single sheet, folding). 4to. Self-wraps. A later issue of the text (probably dating from 1914), in which the final cry ‘We demand, for ten years, the total suppression of the nude in painting,’ is omitted, and the following conclusion run in its place: ‘You think us mad. We are, instead, the primitives of the new, completely transformed, sensibility. Outside the atmosphere in which we live are only shadows. We futurists ascend towards the highest and most radiant peak and proclaim ourselves Lords of Light, for already we drink from the live founts of the sun.’ Somewhat worn.

Milano (Direzione del Movimento Futurista), 1910 [1914?]. $250.00

Salaris p. 79; Apollonio p. 27ff; Lista p. 163; Taylor p. 125ff.; cf. Scrivo 8; Tisdall/Bozzola p. 32

BOCCIONI, UMBERTO

Manifeste technique de la sculpture futuriste. Milan, 11 avril 1912. (4)pp. (single sheet, folding). 4to. Self-wraps. The French-language issue.

Milan (Direction du Mouvement Futuriste), 1912. $300.00

Salaris p. 82; Lista p. 172ff.; Scrivo 24; Apollonio p. 51ff.; Taylor p. 29ff.

BOCCIONI, UMBERTO

Manifesto tecnico della scultura futurista. 11 aprile 1912. (4)pp. (single sheet, folding). 4to. Self-wraps. ‘We proclaim that the environment must be part of the plastic block which is a world in itself with its own laws; that the sidewalk can jump up on your table and your head be transported across the street, while your lamp spins a web of plaster rays between one house and another.’

Milano (Direzione del Movimento Futurista), 1912. $300.00

Salaris p. 82; Scrivo 24; Apollonio p. 51ff.; cf. Lista p. 172ff.; Taylor p. 129ff.

BOCCIONI, UMBERTO

Pittura, scultura futuriste (Dinamismo plastico). Quadri, sculture di Boccioni, Carrà, Russolo, Balla, Severini, Soffici. (4), 469, (7)pp., 51 plates. Frontis. portrait of the author. Sm. stout 4to. Wraps., designated "7° migliaio" (slightly worn). A closely reasoned and important text, called by Papini "the Bible of Futurism." Uncut. Covers lightly foxed.

Milano (Edizioni Futuriste di "Poesia"), n.d. [1914]. $650.00

Salaris p. 23; Falqui p. 90; Tisdall p. 85; Jentsch p. 319

(BOCCIONI, UMBERTO)

Numero speciale di "Dinamo Futurista" per le onoranze a Umberto Boccioni. (Dinamo Futurista. Mensile illustrato diretto da Depero sotto l’alto patronato di s.E. Marinetti. Vol. XI, N. 3-4-5, giugno 1933.) (4), 20, (2)pp., 8 plates with 13 illus. Text printed in orange and black. Sm. folio. Dec. wraps., with tipped-on cover illus. Contributions by Depero, Paolo Buzzi, Luigi Russolo, Luciano Folgore, Umberto Notari, Massimo Bontempelli, Renato Simoni; 4 texts by Boccioni. The final issue of Depero’s review, published in conjunction with the grandiose Boccioni exhibition organized by the Fascists under the patronage of Mussolini, and directed by Marinetti together with Buzzi, Depero, Fillia, Prampolini and others.

Rovereto (Trento), 1933. $500.00

Salaris p. 95

(BONNARD) Mirbeau, Octave.

LA 628-E8. Croquis marginaux de Pierre Bonnard. xx, 416pp. 125 illustrations after pen and wash drawings, printed in the margins. 4to. Very fine 3/4 plum morocco gilt by Creuzevault, with colored inlays at spine; raised bands; t.e.g. Orig. dec. wraps. and backstrip bound in. One of 200 numbered copies on vélin d’Arches from the limited edition of 225 in all. Bonnard’s witty sketches depict Mirbeau’s motoring trip (in license 628-E8) through Belgium, Holland and the Rhineland; Bonnard had not gone along, but he had made his own excursions through the low countries (as well as England, Spain, Italy, and Tunisia) between 1907 and 1911. He was also greatly interested in automobiles, and was soon to own one himself, which, according to Thadée Natanson, he drove in a rather unorthodox fashion. A fine copy.

Paris (Eugène Fasquelle), 1908. $3,000.00

Terrasse 20; Skira 23; Villa Stuck 18; Talvart/Place XV.257.20B; Carteret IV.283; Mornand 292; Rewald, John: Pierre Bonnard (New York, 1948), p. 44

(BRAUNER) Pana, Sasa

Diagrame. Un portret si desene de Victor Brauner. (28)pp. 3 tipped-in full-page plates. Sm. 4to. Dec. wraps., with portrait by Brauner. Printed d.j. Published in an unstated very small edition ("tiraj restrins") estimated by Ilk at 150 copies, with text on pale brown wove stock, and the illustrations on cream-colored card. Pana was the founder of "Unu" in 1928. A very fine unopened copy, complete with the dust jacket. Rare.

[Bucarest] (Editura UNU), 1930. $1,850.00

Ilk 485, repr. p. 89; Biro/Passeron 2164

BRETON, ANDRÉ

L’air de l’eau. (32)pp. Sm. 4to. Wraps. An unnumbered copy apart from the limited edition of 345, of which 45 were illustrated with original etchings by Giacometti. Poems dedicated to Jacqueline. Partly unopened.

Paris (Éditions "Cahiers d’Art"), 1934. $350.00

Sheringham Aa221; Pompidou: Breton p. 215f.; Gershman p. 7; Biro/Passeron 397

BRETON, ANDRÉ

Ode à Charles Fourier. (Collection "L’Age d’Or.") 41, (7)pp. Illustrations and typographical ornaments throughout, printed in black (some after ink drawings in pen or brush). 4to. Dec. wraps. One of 750 numbered copies on vélin, from the limited edition of 1025 in all, "dessiné à New-York par Frederick J. Kiesler." One of the most innovative and important publications of the postwar Paris/New York surrealist axis. A pale trace of waterstaining at the base of the outer several leaves, otherwise fine.

Paris (Éditions de la Revue Fontaine), 1947. $350.00

Sheringham Aa381; Gershman p. 9; Ades 17.47; Biro/ Passeron 455; Reynolds p. 18

BRETON, ANDRÉ

Seconde manifeste du surréalisme. 103, (3)pp. 4to. Wraps., neatly reinforced with black tape at backstrip. Glassine d.j. Breton’s grandiloquent redefinition of the movement’s objectives, disavowing the classification of surrealism among past, present, or future movements, and repudiating the contributions of its once warmly championed precursors ("...let us spit in passing on Edgar Poe"). The militant extremism of his position and his vituperative attacks resulted in large-scale defections from the ranks of the movement. Somewhat browned and brittle, as usual.

Paris (Éditions Kra), 1930. $275.00

Sheringham Aa175; Pompidou: Breton p. 194; Gershman p. 7; Rubin 455

BRETON, ANDRÉ

Le surréalisme et la peinture. 72, (28)pp., 77 plates. 4to. Later full bottle-green calf. Orig. printed wraps. bound in. First edition, imprinted "S.P." (Service de Presse) on the front wrapper. An historic presentation copy, inscribed "A Giuseppe Ungaretti/ souvenir de l’Hotel des Grands Hommes/ André Breton" on the half-title. Giuseppe Ungaretti, born (like Marinetti) in Alexandria, in 1888, and one of the great Italian poets of the century, was intimately tied to the literary and artistic French avant-garde, beginning with his arrival at the Sorbonne in 1912. The Hôtel des Grands Hommes, in the Place du Panthéon, where Breton and Soupault composed "Les champs magnétiques" in 1919, has always been considered the cradle of Surrealism. A little light wear.

Paris (Librairie Gallimard), 1928. $2,000.00

BRETON, ANDRÉ

Young Cherry Trees Secured Against Hares. / Jeunes cérisiers garantis contre les lièvres. Translations by Edouard Roditi. Cover by Marcel Duchamp. Drawings by Arshile Gorky. (54)pp. 2 full-page illus. after line drawings by Gorky. Sm. 4to. Photo-illus. boards. D.j. in colors. Edition limited to 1000 copies on uncut laid paper. Parallel texts in English and French. A classic surrealist collaboration, being the only book illustrated by Gorky, with Duchamp’s witty cover design, a see-through dust-jacket featuring Breton as the Statue of Liberty. D.j. somewhat browned at spine and back cover.

New York (View Editions), 1946. $950.00

Schwarz 327; Gershman p. 9; Grolier Club 15

[BRETON, ANDRÉ & ELUARD, PAUL, editors]

Dictionnaire abrégé du Surréalisme. 75, (1)pp. Prof. illus. Sm. 4to. Dec. wraps., designed by Yves Tanguy. 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. "[Ce] document demeurent, quarante ans après sa parution, un miroir exemplaire de l’illumination surréaliste à la fin des années trente. A nôtre époque de slogans et d’explications simplistes, son pouvoir éclairant, par contraste, n’a fait que grandir" (Biro/Passeron). A fresh copy.

Paris (Galerie Beaux-Arts), 1938. $650.00

Biro/Passeron p. 130, and no. 917; Gershman p. 8; Rubin 141; Reynolds p. 36

(BRETON) Legrand, Gérard

André Breton en son temps. 220, (2)pp. 24 full-page illus. 4to. Dec. wraps. Glassine d.j. Edition limited to 333 numbered copies on vergé d’Arches pur chiffon, in a deluxe clamshell box designed by Jean Benoît, handsomely decorated with an inset compass, and polished stone on the spine.

Paris (Le Soleil Noir), 1976. $300.00

(BRETON/ELUARD) Paris. Hôtel Drouot

Collection André Breton et Paul Éluard. Sculptures d’Afrique, d’Amérique, d’Océanie. Me. Alph. Bellier, Commissaire-priseur, assisté de MM. Charles Ratton, Louis Carré, Georges F. Keller. Sale, 2-3 July 1931. (6), 50, (4)pp., 24 plates with over 100 collotype illus. Double-page map in text. 4to. Orig. wraps. (slightly worn). Slightly shaken.

Paris, 1931. $350.00

Gaskin 4434

BRYEN, CAMILLE

L’aventure des objets. Avant-propos de J.-H. Levesque. 16pp., 8 photographic plates. Wraps., mounted with 1 additional photographic plate. Edition limited to 300 numbered copies. "[Bryen] crée aussi des assemblages d’objets insolites qui poursuivent leur ‘aventure.’ En 1937, dans sa conférence sur ‘l’aventure des objets,’ (texte qu’il publie la même année), il décrit ses expériences plastiques en tenant de les interpréter lucidement. Avec humour, il appelle certains de ses objets ses ‘bryoscopies’" (Biro/Passeron).

Paris (Collection Orbes ), 1937. $650.00

Biro/Passeron p. 70

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. 12pp. 4 illus. 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. A fresh copy.

Prague, 1935. $300.00

Gershman p. 48; Rubin 458; Reynolds p. 108; Jean p. 263

BUZZI, PAOLO

L’ellisse e la spirale. Film + parole in libertà. (14), 345, (5)pp. Frontis. portrait of the author. Including elaborately graphic parole in libertà compositions (1 partly printed in red). Wraps., designated "4º migliaio" (small mend). Presentation copy, boldly inscribed by Buzzi, Milan 1915.

Milano (Edizioni Futuriste di "Poesia"), 1915. $750.00

Salaris p. 26; Falqui p. 62; Lista p. 145; Andel 47

C. A journal of poetry.

Editor: Ted Berrigan. Publisher: Lorenz [& Ellen] Gude. 5 assorted issues, as follows: Vol. I, Nos. 3, 4, 6, 7, 8 (June 1963 - April 1964). (27) - (50)ff. per issue. No. 7 contains 5 uncredited plates after the cover, presumably by Joe Brainard. Sm. folio. Self-wraps., dec. wraps. Texts by Berrigan, Joe Brainard, Ron Padgett, Gerard Malanga, Kenward Elmslie, Kenneth Koch, John Weiners, John Perreault, Frank O’Hara, James Schuyler, Edwin Denby, Peter Orlovsky, Ed Sanders, et al. Covers designed by Andy Warhol (No. 4, utilizing photographs of Edwin Denby and Gerard Malanga), Joe Brainard (Nos. 6, 7, and 8, the latter together with Berrigan). A review of New York School poets, coinciding with Pop. 14 numbers were published in all, from 1963 to 1967, printed in mimeograph and stapled. No. 2 with no dec. cover; part of No. 8 stapled upside-down; intermittent light wear.

New York (Lorenz [& Ellen] Gude), 1963-1964. $1,000.00

CAHUN, CLAUDE

Aveux non avenus. Illustré d’héliogravures composées par Moore d’après les projets de l’auteur. Préface de Pierre Mac Orlan. (2), iii, (1), 237, (5)pp. 10 full-page collotype photomontage/photocollage plates. 1 collotype photographic illustration at the conclusion. 4to. Printed wraps. Glassine d.j. One of 370 numbered copies on vélin pur fil Lafuma, from the edition of 500 in all. Uncut. A fine, crisp copy.

Paris (Editions du Carrefour), 1930. $1,500.00

CANGIULLO, FRANCESCO

Autograph letter to Giacomo Balla, signed "Cangiuletto." 1f., densely written in Cangiullo’s curlicued hand on both sides of a folded sheet, in a four-page format. 177 x 211 mm. (7 x 8 1/2 inches). A lighthearted, affectionate letter, exclaiming that Balla’s postcards and letters are masterpieces of originality and of Futurism—though, being masterpieces, not always easy to decipher. Under separate cover, Cangiullo is sending him a third parole in libertà composition ("dipintoparolibero") entitled "Il soldati," in which he hopes to convey not soldiers per se, but rather the tempo of a military march, as well as a sense of the sky, the sea and the fields; he’s eager to hear whether Balla thinks it works. "Salutami anche le lampadine elettriche nere." The letter is undated, but was almost certainly written sometime before 1920. Very unobtrusive small glue stain on verso, along right edge.

N.p., n.d. $1,200.00

(CANGIULLO, FRANCESCO)

Cartolina futurista tipo-Cangiullo. Postcard format (89 x 138 mm). Printed in red, green and black on cream stock. Sm. 8vo. This Futurist postcard, in use from 1915 until at least 1920, is printed on the verso with a bellicose text by Marinetti; on the recto, an agenda with empty sections for "Futurismo," "Guerra," Piacere," "Donne," and other categories, is overprinted with the colors of the Italian flag, disproportionately dominated by red ("Nella nostra bandiera futurista, il Rosso invade e accende il Verde e il Bianco passatisti," says Marinetti).

Milano (Direzione del Movimento Futurista), n.d. $200.00

Lista: L’art postal futuriste, p. 35

CANNIBALE

Revue mensuelle parait le 25 de chaque mois, sous la direction de Francis Picabia, avec la collaboration de tous les dadaïstes du monde. Nos. 1-2, avril-mai 1920 (all published). (16)pp. 3 illus.; (16)pp. 3 illus. Sm. 4to. Orig. black and tan wraps., each titled in red. No. 1: Texts by Picabia, Aragon, Arnauld, Breton and Soupault, Ribemont-Dessaignes, Tzara, Cocteau, Dermée, Duchamp, Éluard. Illus. by Picabia ("Portrait de Tristan Tzara" and tipped-in "Tableau dada") and Duchamp ("Dessin dada"). No. 2: Texts by Picabia, Tzara, Buffet, Ribemont-Dessaignes, Dermée, Éluard, Breton, "Moi," vicomte de Faulques, Arnauld, Soupault. Illus. by Picabia ("Le cul en tête à tête") and Tzara ("Douleur en cage dada à la nage," a tipped-in ticket stub), and "Mercer 85 HP" (a halftone photo of Picabia and Tzara in this motorcar, subtitled "Les 2 exhibitionnistes intoxiqués par l’abus de l’automobile").

"[‘Cannibale’] took the place of ‘391’ between nos. 12 (March) and 13 (July) and was the fruit of an ambition shared by many dadaists to produce a definitive, international dada review, bringing together the different tendencies of a movement whose unity was inevitably fragile and whose very nature as a movement was founded on paradox. Tzara’s ‘Dadaglobe,’ which never appeared, was a similar effort. Much more substantial than ‘391’... [‘Cannibale’] included not only core dadaists, but Cocteau and Dermée" (Ades). The aggressive iconoclasm of the review is exemplified in Picabia’s "Tableau Dada," featuring a mounted toy monkey pulling its tail through its legs, under the heading "Portrait de Cézanne": still with the power to shock. A fine set.

Paris, 1920. $6,000.00

Gershman 48; Ades p. 154; Dada Global 171-172; Almanacco Dada 23; Sanouillet 223; Motherwell/Karpel 62; Dada Artifacts 121-122; Rubin 460; Verkauf 99; Zürich 367; Düsseldorf 232-233

CANNIBALE. No. 2

Revue mensuelle parait le 25 de chaque mois, sous la direction de Francis Picabia, avec la collaboration de tous les dadaïstes du monde. Numéro 2, mai 1920 (of 2 issues published in all). (16)pp. 3 illus. Sm. 4to. Orig. plain brown wraps., printed in red. Texts by Picabia, Tzara, Buffet, Ribemont-Dessaignes, Dermée, Éluard, Breton, "Moi," vicomte de Faulques, Arnauld, Soupault. Illus. by Picabia ("Le cul en tête à tête") and Tzara ("Douleur en cage dada à la nage," a tipped-in ticket stub), and "Mercer 85 HP" (a halftone photo of Picabia and Tzara in this motorcar, subtitled "Les 2 exhibitionnistes intoxiqués par l’abus de l’automobile").

Paris, 1920. $2,000.00

Gershman 48; Ades p. 154; Dada Global 172; Almanacco Dada 23; Sanouillet 223; Motherwell/Karpel 62; Dada Artifacts 122; Rubin 460; Verkauf 99; Zürich 367; Düsseldorf 233

CARRA, CARLO

Guerrapittura. Futurismo politico, dinamismo plastico. 12 disegni guerreschi. Parole in libertà. (6), 104, (14)pp., 12 plates (1 folding). Frontis. photograph of the author. 4to. Wraps., designated "7º migliaio," with fine cover typography by Carrà. An important collection of texts by Carrà on politics and aesthetics, with plates illustrating his very beautiful Cubist drawings and collages, and a selection of parole in libertà of 1914-1915. "To all intents and purposes, Carrà’s last contribution to Futurism was "Guerrapittura" (‘Warpainting"), published in Milan in March 1915 and signed with an extra aggressive R to his name, Carrrà. This little book was perhaps intended as a counterblast to Boccioni’s ‘Futurist Painting and Sculpture.’ It contained a collection of writings on art under the banner of Delacroix’s untranslatable condemnation of flabby painting, ‘La peinture lâche est la peinture d’un lâche’; reprints of Carrà’s earlier ‘Lacerba’ essays, repetitions of his Futurist preferences and dislikes in art; typographic arrangements and Words-in-freedom on the theme of war echoing Carrà’s own ‘Futurist Synthesis of War,’ and a number of illustrations including ‘Pursuit’...." (Tisdall/Bozzola). A fine copy.

Milano (Edizioni Futuriste di "Poesia"), 1915. $1,250.00

Salaris p. 28; Tisdall/Bozzola p. 188f.; Andel 45; Jentsch p. 321

CARRA, C.

Pittura metafisica. 318, (10)pp. Lrg. 8vo. Wraps. (slightly foxed). Uncut.

Firenze (Vallecchi Editore), 1919. $300.00

CARUSO, LUCIANO

Frammenti. Libro-opera. 30ff. Unique manuscript book, with handwritten text, and poèmes-objet on each page, utilizing collaged handpainted rocks, flowers and leaves, tipped-in watercolor drawings, appliqued manuscript calligraphic texts, and other elements. 225 x 145 mm. (8 3/4 x 5 1/2 inches). 4to. Flexible corrugated cardboard, the front cover with inset brass plate with the artist’s name. This bookwork, made with considerable finesse and delicacy using a luxury blank book of Florentine manufacture, is characteristic of Caruso’s livres d’artiste, which he began creating around 1965.

Firenze, 1988. $1,000.00

Cf. Jentsch p. 72f.

CECCOBELLI, BRUNO

Magnete. (54)pp. 24 full-page original lithographs in text. Oblong lrg. 4to. (irregular). Moiré silk, gilt-embossed with text and design by the artist. One of 30 copies signed, numbered and dated in pencil by the artist, from the limited edition of 43 in all, printed in letterpress on heavy wove card stock. A book of poems, aphorisms and lithographs, elaborately designed by Ceccobelli in a shaped binding of watered silk.

[Roma] (Franco Pacchiarotti), 1987. $500.00

Jentsch: The Artist and the Book in Twentieth-Century Italy, no. 225

CECCOBELLI, BRUNO

Musée de l’Homme. Entrée. Sketchbook album of 48 original drawings in mixed media (colored crayon, watercolor, oil paint, ink, pastel, charcoal, collage). Sheet size: 260 x 207 mm. (10 1/4 x 8 1/8 inches). 4to. Cloth, with collaged original tickets to the Musée de l’Homme on the front cover. Each of the 48 compositions is stamped with a number on the blank verso. After the signed and dated double composition no. 33, the orientation of the book is reversed, turning upside-down and backward. The drawings are complete and powerful compositions, most of them heavily worked and vibrantly colored, filling the pages to the edge. Ceccobelli has furnished a typed list, loosely inserted, of the titles of each composition ("L’arciere di salvia e il drago di menta," "L’occhio del mare," "Pandora," "Santo Robot," "Pirati sull’erba," "Io, uno dei tre grifoni," etc.).

[Roma] 1981-1983. $15,000.00

CECCOBELLI, BRUNO

Paralleli. (4)pp. (single sheet folding), with 1 original woodcut on the front, and text by the artist within, etched on zinc by the printer. 2 original drypoint etchings (one printed in relief, the other with aquatint) loosely inserted as issued, each signed and numbered in pencil on the verso. Folio: 398 x 311 mm. (15 5/8 x 12 1/2 inches); etchings 373 x 275 mm. (14 5/8 x 12 inches). Folio. Self-wraps. One of 24 copies signed and numbered by the artist in the justification, from the limited edition of 28 in all, printed by hand on handmade Japanese papers.

Roma (Edizioni Mario Salvi), 1980. $1,750.00

CLEMENTE, FRANCESCO

Francesco Clemente Pinxit. (20)pp. (6)pp. additional in flaps on and under the folding covers. Issued without text, the work includes 7 full-page designs in colors by the artist, as well as 14 halftone illus. (10 colored, of which 8 loosely inserted in passepartouts, as issued). 4to. Dec. boards, 1/4 cloth (the covers with 2 further halftone color illus.) Printed in India on rough-textured wove stock. Signed in pencil at the conclusion. The size of the edition is unstated.

London/Roma (Anthony D’Offay/ Gian Enzo Sperone), 1981. $500.00

CLEMENTE, FRANCESCO

The Pondicherry Pastels. (6)ff., 85 color plates, each loosely inserted into album leaves, as issued. Folio. Cloth over boards, with dec. copper sheets over each cover, embossed with Tantric diagrams. Publisher’s printed carton. Edition limited to 1000 numbered copies, each signed in pencil in the colophon by the artist. Endpapers and inside pages designed by Ettore Sottsass. The paper of the album was handmade at the Sri Aurobindo Ashram in Pondicherry. The pastels, reproduced in the original size, were drawn by Clemente in Pondicherry in the spring of 1980.

London (Anthony d’Offay), 1980. $500.00

CLUB DADA

Prospekt des Verlags Freie Strasse, Herausgeber: R. Hülsenbeck, F. Jung, R. Hausmann. 15, (1)pp. 1 full-page woodcut illus. by Raoul Hausmann. Front cover with bold Dada typography and woodcut illus. by Hausmann. Intermittent slogans and commentary superimposed in red over text. 4to. Dec. self-wraps. A prospectus for the activities of Die Freie Strasse Verlag, issued under the auspices of the review, and often described as a special issue of it, as well as an autonomous periodical, of which this would be the only number published. Edited by Hausmann (who in 1918 assumed the sole editorship of "Die Freie Strasse") and Huelsenbeck, together with Franz Jung, it contains two long texts by Huelsenbeck—"Vorwort zur Geschichte der Zeit," and a fragment of ‘Doktor Billig am Ende’—and Jung’s nihilistic "Amerikanische Parade." One of the key publications of Berlin Dada, it is also noted for Hausmann’s brilliant cover design, showing (we would suggest) a hen hatching the fractured letters of the title. Backstrip expertly reinforced within; staples replaced with thread; a very fresh copy. Very rare.

Berlin, 1918. $8,500.00

Dada Global 26; Ades p. 86; Bergius p. 76ff.; Almanacco dada 25; Chapon p. 100; Motherwell/Karpel 63; Verkauf p. 81; Rubin 461; Raabe 26; The Avant-Garde in Print 3.5; Tendenzen 3.163

(CORNELL, JOSEPH)

View. Edited by Charles Henri Ford. Vol. II, No. 4, January 1943. Americana Fantastica. 55, (1)pp. Prof. illus. 4to. Dec. wraps., printed in pale blue and crimson with a photo-collage across both covers, especially designed by Joseph Cornell. Texts by Parker Tyler, A.N. Turner, Joseph Cornell, Hugh Chisholm, Charles Henri Ford; 3-pp. musical score by Virgil Thomson ("Portrait of Florine Stettheimer"). Illus. by and after Joseph Cornell, George Platt Lynes, Helen Levitt, Louis Eilshemius, Kay Sage, Florine Stettheimer, together with nineteenth-century American engravings, film stills, etc. This special issue includes Cornell’s important pictorial essay, "The Crystal Cage: Portrait of Berenice," as well as his superb double-cover photomontage collage.

New York, 1943. $350.00

[CORRADINI, BRUNO]

Sam Dunn è morto. Romanza futurista. 90pp. Frontis. photograph of the author. Wraps., with cover design by Arnaldo Ginna, printed in red. First edition. Under the nom de plume Bruno Corra, Corradini wrote Futurist theoretical texts with his brother Arnaldo Ginna, and also novels and plays in which he tried to create ‘mediumistic chords’ and ‘synthetic moments’ reflecting his interest in the occult. "He developed these further in the novel ‘Sam Dunn è morto’ and in the ‘theatrical syntheses’ published with Marinetti and Emilio Settimelli in 1915, along with a Manifesto of Synthetic Theatre. The occult, mediumistic character of Corra’s works of this period can be linked to the Novecento ‘miracles’ and ‘magic’ of Massimo Bontempelli" (Hultén). Indeed, a second edition of "Sam Dunn è morto" illustrated by the occult artist Rosa Rosà appeared in the same year.

Milano (Edizioni Futuriste di "Poesia"), 1917. $500.00

Salaris p. 31; Hultén p. 455

100

CORRADINI, BRUNO & SETTIMELLI, EMILIO

Pesi, misure e prezzi del genio artistico. Manifesto futurista. Milano, 11 marzo 1914. (4)pp. (=single folding sheet). 4to. Self-wraps.

Milano (Direzione del Movimento Futurista), 1914. $250.00

Salaris p. 84; Scrivo 38; Lista p. 357ff.; cf. Apollonio p. 135ff.

101

(CROTTI/ DUCHAMP) Paris. Galerie Montaigne

Exposition des oeuvres de Suzanne Duchamp et Jean Crotti. Tabu. 4-16 avril [1921]. Texts by André Salmon and Jean Crotti. (No. 5.) (16)pp. 4 tipped-in plates. Cover drawing by Crotti. 4to. Dec. self-wraps. Edition limited to 100 numbered copies in all, printed on laid paper.

The earliest manifestation of the splinter group "Tabu" which Crotti and Suzanne Duchamp, following Picabia’s lead, formed to dissociate themselves from the frivolous direction which Dada was taking in Paris in the spring of 1921. Apart from Crotti’s and Suzanne Duchamp’s pictures, Tabu did not proclaim itself as a movement until November of that year, when a leaflet manifesto was distributed at the Salon d’Automne, emphasizing Tabu’s renunciation of the material world, and its embrace of the Infinite. At the Galerie Montaigne, a strain of anarchic humor was still an ingredient in its essential style, evident not only in the whimsical, mechanomorphic manner of the 31 pictures shown (13 of them by Suzanne Duchamp), but also in Crotti’s rather nutty design for the front cover of the catalogue, a spectral eyeball lashed beneath its top with a fringe of hair like a monk’s tonsure. "L’exposition Crotti-Duchamp, pourtant fort intéressante (elle comprenait des objets, collages et constructions authentiquement dada exécuté à New York entre 1916 et 1920) laissa peu de traces dans la mémoire des visiteurs et dans la presse" (Sanouillet). Hairline split at backstrip, a little browned; a handsome copy. Of greatest rarity; we have traced no copy ever offered for sale.

Paris [1921]. $3,500.00

Sanouillet 283; Dada Global p. 301; Dachy p. 76; Naumann p. 219

102

CUCCHI, ENZO

La cerimonia delle cose. The ceremony of things. Texts by Enzo Cucchi collected by Mario Diacono. 85, (7)pp. 16 plates hors texte, printed in varying sizes. Wraps. Special edition, limited to 100 copies, with an original etching by Cucchi bound in as frontispiece. The etching (with aquatint, drypoint and silkscreen, printed in teal and black) is signed and numbered in pencil in the margins.

New York (Peter Blum Edition), 1985. $600.00

Jentsch: The Artist and the Book in Twentieth-Century Italy, no. 153

103

CUCCHI, ENZO

A composite album of original etchings, drawings and manuscripts by Enzo Cucchi from 1984-1986, collected by Mario Diacono. 10ff. with 11 items, including 2 important autograph texts in pen by the artist (one a letter on the stationery of Hotel Locarno Rome, the other written across a photograph of one of Cucchi’s major paintings); 4 original etchings (including 1 signed and numbered color aquatint from "La ceremonia delle cose," and 2 aquatint proofs, of which 1 signed and inscribed to Diacono); 2 sheets with original ink sketches for an exhibition of paintings; and a double-sided working drawing (in ink) for a large poster published in 1986 by the Kunsthalle Bielefeld; and 2 smaller drawings on found objects. The series is loosely inserted into corner mounts on the leaves of a custom-made album, with glassine guards. At the end of the album is mounted an essay by Mario Diacono, "Enzo Cucchi: Tetto," published in Rome in 1984. Oblong lrg. 4to. Marbled boards, 3/4 tan calf, in a fitted cloth slipcase. The two autograph Cucchi texts were published in "La ceremonia delle cose," (pp. 72 and 74, with English translations). "Sculpture? Painting?...I’m not sure...the image, yes! To attempt to stop the moment...trying to ‘see’ underneath Europe, to listen for an instant and to slow down for a second the movements in the deep of this our earth./ From the point of view of sculpture, Europe is the most tormented area...even now, the ‘young’ mountains are pressing from the South of Africa...our dark nightdream...here’s Europe, then, representing the only spiritual field for an incredible image...and full of wonder" (1984).

$5,000.00

104

DADA. No. 7: DADAPHONE

Editor: Tristan Tzara. (8)pp. 10 illus. (halftone photographs, including a Schadograph by Christian Schad). 4to. Self-wraps., stapled as issued, with front cover design by Picabia. Contributions by Tzara, Picabia ("Manifeste Cannibale Dada"), Breton, Éluard, Ribemont-Dessaignes, Soupault, Cocteau, Dermée, Aragon, Arnauld and others. The penultimate issue of "Dada," brought out by Tzara from Picabia’s apartment in Paris (to which Tzara, following Picabia, had moved early in January 1920). Like "Dada" 6, which was published under the same circumstances, it is closer in spirit to "391" than the preceding issues, and is dominated by the work of Paris dadaists, particularly the "Littérature" group. An exceptionally fine copy. Very rare.

Paris (Au Sans Pareil), 1920. $9,500.00

Dada Global 174; Ades p. 65; Gershman p. 49; Sanouillet 226; Motherwell/Karpel 66; Rubin 462; Verkauf p. 178; Reynolds p. 110; Dada Artifacts 118; Zürich 374

105

(DADA HANDBILL)

Paris. Salle des Sociétés Savantes. Mise en accusation et jugement de M. Maurice Barrès par DADA. Le vendredi 13 mai 1921 à 20 h 30 précises. Handbill, printed in black, with brilliant yellow ground on recto. 240 x 320 mm. (9 1/2 x 12 5/8 inches). The verso gives a lengthy "Extrait de l’Acte d’Accusation," followed by a listing of Dada participants. Oblong 4to. Organized by Breton in a spirit of grim seriousness wholly incompatible with Dada whimsy, the Barrès trial precipitated the rupture between Breton and the future Surrealists on one hand, and Tzara and the orthodox Dadaists, on the other. William Rubin writes, "At the very time that Picabia was walking out on Dada, Breton organized two ‘manifestations,’ in which a tendency foreign to Dada emerged. The first of these, which Breton had obviously pondered for some time, was the mock trial of the writer (and Deputy) Maurice Barrès for ‘crimes against the security of the spirit’ in May, 1921.... The once liberal author of ‘Le culte du moi,’ Barrès had become increasingly chauvinist (president of the League of Patriots) and ‘bourgeois,’ while committing himself to academicism in matters of literature and art. (As Annette Michelson has pointed out, Barrès’ conversion in many ways anticipated and paralleled André Malraux’s metamorphosis from radical novelist to Gaullist cabinet minister.) Breton was judge at the trial and Ribemont-Dessaignes the public prosecutor, while Jacques Rigaud and the ‘Unknown Soldier’ (Benjamin Péret dressed in a German uniform) were the witnesses. Louis Aragon, the defense attorney, did little to save the name of his absent ‘client,’ who was represented by a life-size mannequin. Despite all this, the ‘trial’ of Barrès was deadly serious—too serious, in fact, for Tzara, who on the witness stand reviled himself and the Dadaists, as well as Barrès, as salauds and cochons." Graphically, this is one of the most vivid of Dada ephemera, as much because of the electrifying yellow background as the Wanted-Dead-or-Alive directness of the typography. Unobtrusive foldlines.

Paris, 1921. $2,000.00

Poupard-Lieussou/Sanouillet 32; Ades; Dachy p. 141 (illus. in color); Rubin p. 114

106

(DADA MANIFESTO)

Dada soulève tout. [Dated:] Paris, 12 janvier 1921. [Signed:] E. Varèse, Tr. Tzara, Ph. Soupault, Soubeyran, J. Rigaut, G. Ribemont-Dessaignes, Man Ray, F. Picabia, B. Péret, C. Pansaers, R. Huelsenbeck, J. Evola, M. Ernst, P. Eluard, Suz. Duchamp, M. Duchamp, Crotti, G. Cantarelli, Marg. Buffet, Gab. Buffet, A. Breton, Baargeld, Arp, W.C. Arensberg, L. Aragon. Single sheet, printed on both sides in bold dada typography. 4to. Issued at the time of Marinetti’s lecture on "tactilism," which this group attacked, as they did all art formulas, as absurd. "DADA connaît tout. DADA crache tout. MAIS........Dada vous a-t-il jamais parlé de l’Italie, des accordéons, des pantalons de femmes, de la patrie, des sardines.... JAMAIS JAMAIS JAMAIS. DADA ne parle pas. DADA n’est pas d’idée fixe. DADA n’attrape pas les mouches.... Si vous avez des idées sérieuses sur la vie, si vous faites des découvertes artistiques, et si tout d’un coup votre tête se met à crépiter de rire, si vous trouvez vos idées inutiles et ridicules, sachez que C’EST DADA QUI COMMENCE A VOUS PARLER." Eloquent, belligerent and extremely funny, it is one of the movement’s best collective statements. Very fine copy.

Paris, 1921. $3,500.00

Documents dada p. 53; Sanouillet 271; Motherwell/Karpel 33, p. 182, illus. p. 190; Gershman p. 56; Ades 8.45; Verkauf p. 100; Almanacco dada, illus. p. 620; Düsseldorf 260; Zürich 447; Tendenzen 3/122

107

(DADA POSTER)

Osijek. Royal-Kino. Jugoslavenski da da DA DA DA DA.... U Osijeku Royal-kino dne 20. viii. matinéee u _ 11 sati. Savremenost dadaizam, snaga mladosti dadaizam, ugodna nonsalansa, kakotedragost dimanika dadaizam titraj tehnike i sigurnosti. O dadaistickom pokretu predaje Drgan Aleksic. Iz Zagreba, urednik revije "Dada-Tank" sudeluju.... i prvi evropski dadaisti. Primeri: dadaisticke drame, slike, skulptive, muzika, filozofija, pesnistvo i roman. Poster, printed in black on orange stock, incorporating collaged postage stamp; portions of the headline (place and date) supplied by hand, in brush and ink Oblong folio: 215 x 625 mm. (9 1/2 x 24 5/8 inches).

The poster for one of the key events of Dada in Yugoslavia, a tumultuous matinée performance in the provincial city of Osijek, in August 1922. Organized by Dragan Aleksic, the editor of "Dada-Tank" and "Dada-Jazz," the matinée was the follow-up to a scandalous reading at the Bar Americaine in Novi Sad in June, at which eight spectators had fainted. "Two months went by before the Dadas gathered again for another public appearance on 20 August 1922, in the auditorium of the Royal movie theater in Osijek. During the two months, the Dada company around Dragan Aleksic was busy publishing magazines. Clamorously announced and criticized in the press, the matinée was advertised by a huge Dada-monster ad, and the movie theater was crowded. The impatient audience could hardly wait for the performance to begin. While Aleksic, Sremec, Milinkovic, Slezinger, Lastov, Mee Tar, Jim Rad, and Nac Singer recited poems of their own and those by M. Reich, Tristan Tzara, Walter Mehring, Ljubomir Micic, and then performed eight of their plays with ‘realtricks,’ reproductions of paintings by M.S. Petrov, D. Aleksic, R. Hausmann, F. Picabia, and Moholy-Nagy were projected on the backdrop. Aleksic claimed that this matinée was the first in the Kingdom of Serbs, Croats and Slovenes and announced a matinée in Novi Sad, making no mention of the one had that already been held there" (Dragan Kujundzic and Jasna Jovanov, in "The Eastern Dada Orbit").

The leader of the Dada movement in Yugoslavia—or "Yougo-Dada," as he called it—Dragan Aleksic had been a contributor to Ljubomir Micic’s "Zenit," before the final schism that broke apart the uneasy alliance of the two movements. Unlike Micic, with his Balkan obsession, Aleksic was entirely international in his outlook. Having corresponded with Tzara, Hausmann, Schwitters, Ernst and others, and lived in Prague and Vienna (where he wrote for "MA"), Aleksic brought a new élan to the Zagreb avant-garde, and, in "Dada-Tank" and "Dada-Jazz" (each published in one issue only), attained a level of literary and graphic sophistication comparable to the most advanced Dada periodicals elsewhere in Europe.

The rarity of material of this kind is well established. Lamenting that "the study of the Dada movement in Yugoslavia is seriously hindered by the fact that material records are few—consisting mainly of printed matter—and are rare and very valuable," Kujundzic and Jovanov add that "The entire historical archives of ‘Yougo-Dada,’ in keeping with the best traditions of the movement itself, ended up, by a series of accidents after the death of Dragan Aleksic, in the city dump, literally ‘buried under tons of city garbage, forever, or to rest in the earth’s womb till a new Dadaquake.’"

Apart from its dramatic Dada typography and bright orange stock, the poster is remarkable for its incorporation of an actual collage element in its design: a tilted, upside-down postage stamp overprinted by the boldest reiteration of the word Da Da in the headline. This may be the only documented example of the poster, and possibly the only copy of it to survive. It clearly derives from the Tristan Tzara collection, bearing the pencilled item number from the 1968 Tzara sale in Bern (Dokumentations-Bibliothek III), as well as the pencilled notation "Tzara 52" on the verso; and is probably the same copy shown at "Tendenzen der zwanziger Jahre." It is certainly the copy illustrated in "Dada Global" (as demonstrated by handwritten portions of the poster). Three unobtrusive foldlines; fresh and bright condition.

Osijek, 1922. $9,500.00

Dada Global p. 122 (illustrating this copy); Tendenzen 3.294 (misprinting the date); Dokumentations-Bibliothek III.163; Kujundzic, Dragan & Jovanov, Jasna: "Yougo-Dada," in: Janecek, Gerald & Omuka, Toshiharu (eds.): The Eastern Dada Orbit (Crisis and the Arts: The History of Dada, Vol. 4 [New York, 1998]), p. 41ff.

108

(DADA POSTER)

Prague. Slupi Theatre. Dada v divadle na Slupi. Poster, printed in black on bright yellow stock, with a bright red target design over the word "Dada" (verso blank). 317 x 233 mm. (12 1/2 x 9 3/16 in.) This dramatically designed poster advertises a cycle of three productions of the Dada Theatre in Prague: Sophocles’ "Oedipus" (prologue by Cocteau), Hans Sachs’ "Kälberbrüten," and Pierre Reverdy’s "The Wanderer." All were directed by Jirí Frejka, and featured E.F. Burian in the cast or orchestra. Both men were leading figures in the Prague theatrical avant-garde. Prior to this, Frejka had been involved with the Osvobozené Divadlo (Liberated Theatre), which had sponsored soirées by Kurt Schwitters in May 1926; seceding from it, he founded the Divadlo Dada, producing Schwitters’ "Schattenspiel" in the spring of 1927. Unobtrusive central fold; a fine, bright copy. Rare.

Prague, n.d. [ca. 1927]. $1,200.00

Cf.: Toman, Jindrich, "Now You See It, Now You Don’t," Janecek, Gerald & Omuka, Toshiharu (eds.): The Eastern D