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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 Dada Orbit (Crisis and the Arts: The History of Dada, Vol. 4 [New York, 1998]), p. 29

109

(DADA POSTER)

Zürich. Galerie Corray. I. Ausstellung / Negerplastik Modernste Malerei / Geöffnet: Januar Eintritt: Fr. 1 / Conférences par Tristan Tzara. Typographic poster by Hans Richter, printed in black on buff-colored wove paper. 479 x 695 mm. (18 7/8 x 27 5/16 inches). Hand-addresssed in black ink on the verso by Hans Richter: "Imprimé Express Monsieur Tristan Tzara/ Zürich/ Hotel Seehof/ Schifflände" and "Exp. H. Richter/ Lugano via Lorenzo 20," with a postal cancellation above: 28.xii.17.

This is very likely the only surviving example of what may arguably be called the first Dada poster. Designed by Hans Richter in December 1916, it publicizes the first Dada exhibition, which was held at the Galerie Corray in Zürich in January and February 1917. Two posters are recorded to have been made for the event. One of them, a fine hand-lettered design by Marcel Janco printed in black linocut, is frequently reproduced in the literature. This one, whose existence is alluded to by Tzara in his "Chronique zurichoise," has never, to our knowledge, been reproduced or described. Tzara mentions it in the following entry:

1917. Janvier-février. Galerie Corray, Bahnhofstr., Zürich. 1. Dada-Ausstellung. Van Rees, Arp, Janco, Tscharner, Mme. Van Rees, Lüthy, Richter, Helbig, art nègre, Succès éclatant: l’art nouveau. Tzara fait 3 conférences: 1/cubisme, 2/art ancien et art nouveau, 3/l’art présent. Grande affiche de Richter, affiche de Janco. Quelques vieilles anglaises prennent soigneusement des notes.

This reference has been duly noted by Hans Bolliger, Arturo Schwarz, and other scholars, but no further information on the poster appears to have been published, apart from the description of it in the catalogue of the 1968 Tzara sale in Bern (Dokumentations-Bibliothek, item 62), where the present example is suggested to be a printer’s proof for a poster which may never have been published, and, in all likelihood, unique ("Typographisches Plakat für I. Dada-Ausstellung. Ohne Drucker-Adresse.... Wohl Probedruck zu einem Plakat (publiziert?).... Möglicherweise Unikum"). The poster retains foldlines from its original mailing by Richter to Tzara in 1916; it also sustains a few small losses in central portions (mended on the verso), some considerable creasing, and other scuffs and wear.

Zürich (Galerie Corray), [1916]. $35,000.00

Bern. Kornfeld und Klipstein. Dokumentations-Bibliothek III: Teile der Bibliothek und Sammlung Tristan Tzara, Paris, 12. Juni 1968: no. 62 (describing the present example); cf. also: Bolliger, Hans (et al.): Dada in Zürich (Zürich 1985), no. 106, citing the foregoing reference; Schwarz, Arturo (editor): Almanacco dada (Milano, 1976), p. 586; Tzara, Tristan: "Chronique zurichoise 1915-1919" (in: Huelsenbeck, Richard: Dada Almanach, Berlin 1920, p. 15f.)

110

DADA QUATSCH

Enzyklopädie des Osiris 1919. [Editor: Alfred Sauermann.] (8)pp. 4to. Self-wraps., stapled as issued. In the Kingdom of Dada, the phylum Pseudodada is confined to a handful of examples: Julius Zeitler’s "Pressehauptquartier"; Fried Hardy Worms’ "Das Bordell"; "Der Moloch. Zeitschrift für internationale Blutokratie"; "Dada Foxtrott"; from Serbia, the antagonistic "Dada-Jok"; and the three publications of Alfred Sauermann: "o Siris. Was ist Dadaismus," "Dada Trägodie," and "Dada Quatsch." An extended parody of aleatory Dada utterances and typography, "Dada Quatsch" is set in a frivolously wide spectrum of fonts, the ‘texts’ scattered widely across and up and down the page. Name at foot of front cover; hairline split at backstrip, light dustiness. Very rare.

Berlin (verlaG grotesque kunst), 1919. $2,500.00

Almanacco Dada 39; Tendenzen 2.253; Bergius pp. 367,414

111

(DE CHIRICO, GIORGIO)

12 opere di Giorgio de Chirico. Precedute da giudizî critici di Soffici, Apollinaire, Louis Vauxcelles, Raynal, Jacques-Emile Blanche, Roger Marx, Papini, Carrà, Étienne Charles. (4)pp., 12 collotype plates. Printed wraps. Printed on uncut fine wove paper. Very rare.

Roma (Edizioni di "Valori Plastici"), n.d [1919]. $750.00

112

DE CHIRICO, GIORGIO

Hebdomeros. (Collection Bifur.) 252, (2)pp. Printed plain yellow wraps., with the dec. front cover of the d.j. tipped-in beneath. One of 288 numbered large-paper copies on uncut Hollande Pannekôck, from the limited edition of 300, apart from the regular edition of 2500. First edition. "A travers une suite de visions proches de ses premières toiles, mais où se trouves évoqués les thèmes postérieures à la période métaphysique—les gladiateurs, les cavales, etc.—De Chirico-Hebdomeros, enfilant comme en un collier métaphores, allégories, anagrams, lieux communs intentionnels et autres jeux de langage, guide le lecteur tout au long d’une sorte de voyage initiatique qui s’achève par la rencontre du peintre avec l’immortalité cette femme dont les yeux sont ceux de son père" (Biron/Passeron). By universal consensus, an astonishing book. A fine copy.

Paris (Éditions du Carrefour), 1929. $850.00

Gershman p. 14; Ades 9.94; Biro/Passeron p. 202; Rubin 187; Jean p. 41; Reynolds p. 85

113

(DE CHIRICO) Paris. Galerie Surréaliste

Oeuvres anciennes de GEORGES DE CHIRICO. Du 15 février au 1er mars 1928. Preface by Louis Aragon. (12)pp. 5 halftone illustrations; cover drawing, text and captions reproduced from the manuscript original of Aragon. Lrg. 8vo. Dec. self-wraps. In the history of art there cannot have been many occasions when a one-man show was mounted for the express purpose of humiliating the painter in question, but such was the case with this exhibit, purportedly a corrective to a show of De Chirico’s recent work then on view at the gallery of Léonce Rosenberg. To signal their contempt for his pictures of the past decade, especially those of the past several years, the surrealists hauled out from their own collections all the paintings they possesed from the artist’s early period, and installed them in their own gallery around a model entitled "Here lies Giorgio de Chirico," consisting of a plaster reproduction of the tower of Pisa surrounded by little horses in india-rubber and doll’s furniture. Louis Aragon heaped insults on him in the preface to the catalogue, which is scrawled in a sloppy hand and aggressively marred with crossouts and ink-blots, mocking him as a ‘false Oedipus’—a charge which has, as Marcel Jean points out, a complex perversity all of its own. The final touches were administered a few weeks later by Raymond Queneau in "La révolution surréaliste." "His work can be divided into two parts: the first and the bad.... Giorgio de Chirico’s early work does not excuse the sinister clown of today the muddy colours of his recent pictures and together with these pictures we shall throw into the garbage-bins of oblivion this painter who was the first to discover a mysterious and new aspect of mystery."

Paris, 1928. $500.00

Jean p. 136f.; Nadeau Documents surréalistes p.119ff. (reprinting text in full)

114

DE CONCINI, ENNIO

Aeropoesie futuriste di bombardamenti. Introduction by F.T. Marinetti. 69, (11)pp. 4to. Wraps.

Roma (Edizioni Futuriste di Poesia), 1941. $250.00

Salaris p. 34

115

DE FILIPPI, FERRUCCIO

"Un atto d’arte del coatto in disparte umido." 29 disegni, 1979. An artist’s tablet, with 29 full-page drawings on individual sheets (versos blank), and 1 further on the cardboard back cover. 17 of the drawings are in ink, and 11 in pencil. Sheet size: 244 x 342 mm. (9 1/2 x 13 1/2 inches). The work is signed and dated in pen on the inside back cover. Oblong 4to. Work by a very early practitioner of Neo-Expressionism in Italy. Tablet block loose under the cover of the pad.

[Roma] 1979. $6,000.00

116

(DE KOONING) O’Hara, Frank

Poems. With lithographs by Willem de Kooning. Introduction by Riva Castleman. (76)pp. 17 original lithographs in text. Lrg. folio. Full black leather. Clamshell box (cloth over boards, lined). Edition limited to 550 numbered copies, with the authorized facsimile signature of de Kooning in the colophon. As is explained in the introduction, the lithographs were originally made as charcoal drawings on sheets of plastic, to illustrate O’Hara’s poem "Ode to Willem de Kooning" in "In Memory of My Feelings," the livre de peintre published as a memorial to O’Hara by the Museum of Modern Art in 1967. Only three of de Kooning’s drawings were ultimately utilized in the book, and their tonal values were compromised by the printing process. Here the complete suite of drawings is presented in its entirety for the first time, transferred from the Mylar sheets to lithographic plates by Benjamin Shiff, and printed under his direction, with far greater fidelity to the originals than before. They are accompanied by a new selection of poems by O’Hara.

New York (The Limited Editions Club), 1988. $4,000.00

117

DEPERO, FORTUNATO

"Marcialottare." Original manuscript brush drawing, in black and turquoise inks. 210 x 118 mm. (8 1/4 x 4 5/8 inches), slightly irregular, on yellowish buff-colored wove stock, lightly foxed. This early and important drawing is an example of the abstract noise compositions which Depero called "onomalingua." Dating from 1915, it is one of a small group surviving from the inception of this unique species of visual poetry and performance art, which was meant to operate at a different level of abstraction and instantaneity than conventional parole in libertà. "Non bisognerà confondere l’onomalingua di Depero con le tavole parolibere futuriste; quelle erano esplosioni polemiche fatte scoppiare per frantumare una certa quadratura logica e accademica; l’invenzione del Depero, invece, godeva di una sua autonomia come un nuovo genere d’arte che si poneva all’opposto dell’arte di genere(!)" (Carlo Belli). A number of these inventions were displayed as large hand-painted placards on the walls of Depero’s famous one-man show in Rome in 1916, and are dramatically documented in photographs of the installation. It seems that Depero made reduced or enlarged versions of these compositions for various purposes, as preparatory sketches, display pieces, or later replicas, sometimes included in letters. An almost, but not quite, identical version of the present drawing, exists in a slightly larger format (310 x 220), with incidental differences in lettering and brushwork; it has been published by Maurizio Scudiero under the title "Marcialottare," and by Maurizio Fagiolo dell’Arco (in the 1989 Rovereto catalogue) as "Lettera di Depero a Marinetti riguardante i Complessi Plastici realizzata come una tavola di parole in libertà." A companion composition published by Scudiero ("Rumorgrafia," 1915) similarly exists in two formats, including a small version comparable to ours and on the same paper.

[Roma] [1915]. $6,000.00

Cf.: Scudiero, Maurizio: Fortunato Depero. Scritti e documenti editi e inediti (Trento, 1992), no. 2 (illus.); Fagiolo dell’Arco, Maurizio (editor): Depero (Milano, 1988), p. 22f. (illus.)

118

DEPERO, FORTUNATO

Depero Futurista. (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 and dated 1928 by Depero in turquoise ink 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 the history of the book-object. It exemplifies all the Futurist innovations: witty typographical effects, the use of colored inks and decorated paper, and the brilliant idea of dynamo binding, making the book seem like a machine" (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). A handsome copy.

Milano/ New York/ Paris/ Berlin (Edizione Italiana Dinamo Azari), 1927. $12,500.00

Jentsch 177; Lista p. 108; Hultén p. 467; Salaris p. 35

119

(DEPERO) New York. Guarino Gallery of Contemporary Italian Art

Depero. Modernist paintings and tapestries. Jan.-Feb. 1939. Text by Christian Brinton. (4)pp. (single sheet, folding). Typography and design in red and black throughout by Depero, including boldly stylized abstractions of skyscrapers on the front cover, and a palette, advertising "Depero Futurist House," on the back. Sm. 4to. Printed on a large folding sheet (verso blank). Depero’s career included a fascinating chapter in New York City, from 1928 to 1930. Brinton’s text is a feverishly Futurist paean to the artist. "I hear the throb of mighty machines—I see the swift stab of light—I catch the ironic smile of Arlecchino—in you, Fortunato Depero, I salute a new force in contemporary art—." In addition to the 17 paintings and 17 tapestries, the show included drawings and posters, and 12 pillows. Discreet mends on the blank verso, at foldlines. Rare.

New York, 1929. $600.00

120

DEPERO, FORTUNATO

New=York. Film vissuto. Primo libro parolibero sonoro. (4)pp. (single sheet, folding). Typography and design throughout by Depero, incorporating a photomontage portrait of him by M. Castagneri on the front cover. Oblong sm. 4to. Self-wraps. A prospectus for Depero’s never-published free-word ‘sound book’ (‘New York: A Real-Life Film’), with a dynamic typographic presentation of its contents, featuring buses, skyscrapers, the Roxy, Princess Matchabelli, Coney Island, Katherine Dreier, and other Gotham attractions.

New York, 1931. $450.00

121

DEPERO, FORTUNATO

Liriche radiofoniche. 97, (1)pp., 8 plates. Prof. illus. Design and typography throughout by Depero. 4to. Dec. wraps., with a design by Depero, printed in red and black. Prose poems either written expressly for radio broadcast, or suitable for it, in Depero’s opinion, including parole in libertà, and pieces on New York and the modern metropolis. A fresh copy,

Milano (G. Morreale), 1934. $800.00

Salaris p. 35

122

(DE STIJL) Doesburg, Theo van, et al

Vers une construction collective. (Manifeste V du Groupe "De Stijl.") [Signed:] Théo van Doesburg, Cornelis van Eesteren, Gerrit Rietveld. 1p. (recto only). 1 halftone illus. of an architectural model. 4to. This manifesto, later published in "De Stijl," was distributed at the exhibition of De Stijl architecture held at the Galerie Léonce Rosenberg in Paris in October-November 1923. The fine architectural model depicted is likely one of three made by the collaborators for Rosenberg, who had commissioned the design of a private house containing an art gallery. Light wear.

Paris, 1923. $750.00

Baljeu, Joost: Theo van Doesburg (New York, 1974), p. 62

123

DEVETSIL

Revolucní sborník. J. Seifert & K. Teige, editors. 202, (6)pp. Prof. illus. 4to. Wraps. Texts by J. Seifert, V. Nezval, K. Teige, J. Cocteau, I. Goll, I. Erenburg, A. Cerník, A.M. Písa, et al.; illus. of work by Léger, Chagall, Lipchitz, Archipenko, Zadkine, Shterenberg, Teige, and others. Conclusion in parallel French, Russian and German. The ‘Revolutionary Almanac’ of the Czech-based Devetsil group (‘Union internationale des artistes d’avant-garde révolutionaire’), founded in 1920 and focused on radical political progress, social and technological utopia, and the creation of a new role for the artist in society. "While the opening chapter, ‘New Proletarian Art,’ written by Teige and Seifert at the beginning of 1922, promotes the ideas of Devetsil’s first phase, the closing chapter, ‘Art Today and Tomorrow’ (Seifert), opens new perspectives on international modernism and in many respects takes a quite opposite view" (Frantiszek Smejkal, in Oxford). Slight chipping at head and foot of spine; several signatures neatly loosened.

Praha (V. Vortel), 1922. $950.00

Oxford, Museum of Modern Art: Devetsil: Czech avant-garde art, architecture and design of the 1920s and 30s (1990); Houston, Museum of Fine Arts: Czech Modernism 1900-1945 (1989), p. 26ff.

124

DEXEL, WALTER

Announcement for an exhibition of drawings, models and photographs by Adolf Meyer ("Ausstellung Baukunst") at the Kunstverein Jena, February-March 1926. Card, printed in black on cream stock (verso blank). 105 x 147 mm. (ca. 4 1/8 x 5 3/4 inches). This classic typographic design is illustrated in Herbert Spencer’s ‘Pioneers of Modern Typography’ (London, 1969).

Jena, 1926. $300.00

Fleischmann, Gerd: Bauhaus Drucksachen, Typografie, Reklame (Düsseldorf, 1984), p. 236 (illus.)

125

DEXEL, WALTER

Announcement for an exhibition of work by Oskar Schlemmer at the Kunstverein Jena, December 1924 - January 1925. Card, printed in black on pale salmon-pink stock (verso blank). 105 x 160 mm. (ca. 4 1/8 x 6 1/4 inches). This classic typographic design is illustrated in Herbert Spencer’s ‘Pioneers of Modern Typography’ (London, 1969).

Jena, 1924. $350.00

Spencer p. 37; Fleischmann, Gerd: Bauhaus Drucksachen, Typografie, Reklame (Düsseldorf, 1984), p. 236 (illus.)

126

DIACONO, MARIO

re^er. Tre testi di Mario Diacono e cinque incisioni di Richmond Burton, Bruno Ceccobelli, Lucio Pozzi. (4), 13, (3)pp. 5 original etchings with aquatint hors texte, each signed and numbered in pencil in the margin, by Richmond Burton (2: "Four Corners," "Threshold"), Bruno Ceccobelli ("Sophia di Lorena" in double format), and Lucio Pozzi (2: "Barchusen I" "Barchusen II"). Sheet size ca. 35 x 30 cm. (ca. 12 3/4 x 14 3/4 inches). Sm. folio. Printed wrapper with glassine d.j. Portfolio (cloth over boards). All contents loose, as issued. Edition limited to 30 numbered copies (plus 10 artists’ proofs of the etchings), printed on Strathmore, with the etchings on BFK Rives, Fabriano, and Fabriano Tiepolo respectively.

N.p (Ex Isle Editions), 1990. $3,000.00

127

DIACONO, MARIO

N.p (Ex Isle Editions), 1990. $4,500.00

128

DINE, JIM

The Smiling Workman. By Jim Dine. Mimeographed handbill, printed in black on yellow stock. 8 1/2 x 6 3/4 inches (215 x 171 mm.); verso blank. Entirely hand-drawn by Dine, the sheet presumably relates to Dine’s happening of this title, enacted at Judson Memorial Church as part of a cycle of performance events from February 29 to March 2, 1960. Performed in the environment of Dine’s ‘The House,’ it "revealed the almost demonic obsession he brought to all his work from this period. Lasting slightly more than thirty seconds, it consisted of Dine, dressed in a paint-splattered smock, with his face painted red, his mouth black, rapidly scribbling ‘I love what I’m doing’ in orange and blue paint on an empty canvas; he then drank from the jars of paint, drenched himself with what remained, and finished by diving through the canvas" (Haskell).

The sheet is a freakishly jaunty composition of comic-book styled lettering jumbled with drawings of hammers, saws, pots of paint, drills and other tools; beneath the title, an enormously wide smile with many teeth. It was undoubtedly run off on the mimeograph machine at Judson Church, as were the comics drawn at this time by Oldenburg, Dine, Grooms and others.

[New York,1960]. $250.00

Cf. Haskell: Blam, p. 40f.

129

DOCUMENTA

Kassel. Museum Fridericianum [etc.]. Documenta. Internationale Ausstellung. I - X, 1955 - 1997. 10 catalogues in 21 vols. A complete set of catalogues for the first ten Documenta expositions. Increasingly rare. A fine set.

Kassel, 1955-1997. $3,500.00

Arntzen/Rainwater R37

130

DOCUMENTS INTERNATIONAUX DE L’ESPRIT NOUVEAU

Panorama. Direction: Paul Dermée, E. Prampolini, Seuphor. No. 1 (all published). (64)pp. 36 halftone illus. 4to. Wraps. (backstrip defective). Texts by Seuphor, La Salpiètrière, Baumeister, Dermée, Schwitters, Tzara. Illus. after Prampolini, Lucia Moholy, Vonck, Vordemberge-Gildewart, Baumeister, Mondrian, Medgyés, Kertész. The only issue published. The typography and mise-en-page are very strong.

Paris, n.d. [1927]. $900.00

Cf. Admussen 81

131

DREIER, KATHERINE S.

Western Art and the New Era. An introduction to modern art. xii, 139pp. 60 illus. 4to. Orig. dec. cloth (slightly dusty). Unobtrusive dampstain at top edge; covers somewhat worn.

New York (Brentano’s), 1923. $250.00

132

DUCHAMP, MARCEL.

Autograph letter, signed, to Henry McBride, 4 November 1922. 2ff., written on rectos only, on buff-colored wove stock. 225 x 150 mm. (ca. 8 3/4 x 5 7/8 inches). This important letter begins with reference to "Some French Moderns Say McBride," a book of essays on art by McBride, for which Duchamp designed the remarkable, conceptualized format.

"Cher Henry — Je n’ai pas en de nouvelles de vous depuis bien longtemps — avez vous reçu l’essai de critique théatrale? — Naturellement je vous promettais dans ma dernière lettre un ‘dummy’ rapide — Hélas, je suis complètement dégoûté; et je ne recommençerai pas de sitôt des acrobaties typographiques. Enfin j’ai vu 14 pages sur 16 ‘linotyped’ — avec de la chance le livre sera fini dans quinze jours —" The ‘essai’ to which Duchamp refers is Pierre de Massot’s "Essai de critique théâtrale," published in Paris in 1922, with a preface by Picabia, portrait by Picasso, and 8 dadaistic montage caricatures of Isadora Duncan, Sarah Bernhardt, Mistinguett, and other women performers. McBride evidently did receive the book, which accompanies the present letter. The interconnections between Duchamp, McBride and Massot are intriguing in this period. Francis Naumann notes that Massot’s famous 1924 publication, "The Wonderful Book," with fourteen puns by Duchamp, probably took its title from a letter from Alfred Stieglitz to McBride about "Some French Moderns," which Stieglitz began by exclaiming "It’s a wonderful book."

Continuing, Duchamp informs him that Mrs. Hellstom, a friend of Carl van Vechten and his (and the wife of the Swedish writer Gustaf Hellstrom), has asked him to invite McBride to a little soirée next Friday. "Dîner a 7 heures pas habillé. Vous y remonterez un pianiste étonnant, russe et plus que virtuose — d’autres gens amusants que vous connaissez...." Duchamp says that he is counting on McBride to attend, as he had promised to relay the invitation a couple of months earlier. If McBride wants, he could swing by Duchamp’s at 6:30 (1947 Broadway, between 65th and 66th Street), and they could go together. The letter is signed "à bientôt donc et affectueusement/ Marcel Samedi." Information about this party (including a related note from Duchamp to McBride) is recorded in the Duchamp Ephemerides published by Jennifer Gough-Cooper and Jacques Caumont, under the dates 11-12 November 1922.

Together with: Massot, Pierre de. Essai de critique théâtrale. Préface de Francis Picabia; portrait de l’auteur par Pablo Picasso. (28)pp., including frontis. and 8 halftone montage plates, with reproductive manuscript captions. Sm. 4to. Printed self-wraps. This copy, sent by Duchamp to McBride in 1922, has traces of waterdamage, and has been expertly restored, the leaves discreetly hinged into the binding, and the original staples replaced with thread. Light browning, 1 faint waterstain; generally fine condition.

[New York, 1922]. $10,000.00

Cf. Gough-Cooper/Caumont Ephemerides, 11-12 November 1922; Cf. Naumann pp. 89f.,98

133

(DUCHAMP, MARCEL)

The Little Review. Quarterly journal of art and letters. Vol. XI, No. 1, Spring 1925. Administration: Margeret [sic] Anderson, Jane Heap. 62, (2)pp., 27 plates with numerous illus. Sm. 4to. Dec. wraps. The cover of this issue features Duchamp’s "Rotary Demisphere," reproduced from the insert which had appeared in "391" No. 18 (July 1924), where the original concentric design was surrounded by the inscription "Rrose Sélavy et moi esquivons les ecchymoses des esquimaux aux mots exquis" (‘Rrose Sélavy and I escape from the bruises of the Eskimos in exquisite words’), elegantly written out by Man Ray. Texts and images in the issue by Jean Toomer, Maxwell Bodenheim, Baroness Elsa von Freytag-Loringhoven, René Crevel, Theo van Doesburg, et al. Light wear at yapped edges and head of spine.

New York, 1925. $700.00

Naumann 4.7

134

DUCHAMP, MARCEL & HALBERSTADT, V.

L’opposition et les cases conjugées sont reconciliées par M. Duchamp et V. Halberstadt. / Opposition und Schwesterfelder..../ Opposition and Sister Squares.... 112, (1)ff. 259 chessboard diagrams, printed in red and black (of which 8 full-page, printed on glassine). 2 errata slips. Lrg. sq. 4to. Printed wraps., designed by Duchamp. Edition limited to 1000 copies. Parallel texts in French, German and English. Duchamp, who had taken part in international chess tournaments during the preceding five years, devoted this treatise to an endgame problem of, as he put, it, almost utopian rarity. An extract was published in "Le surréalisme au service de la révolution," no. 2 (Summer 1930), and the work was subsequently discussed by Pierre de Massot in "Orbes," Series II, No. 2 (Summer 1933). Massot gave the following account of the method by which Duchamp arrived at the elegantly restrained distortion of the cover typography: "Set up in the zinc stencil letters...the title was placed between two plates of glass, which were tilted at an angle and exposed to the sun. The uncontrolled deformation produced on the ground by the sun’s rays passing through the cut-out parts of the letters was photographed by Duchamp, who afterwards made a negative from this photograph which was stereotyped." Wrappers slightly worn; name neatly inscribed inside back cover.

Paris/ Bruxelles (Éditions de l’Echiquier), 1932. $2,000.00

Schwarz p. 589; Lebel 52, 83, 172-3, no. 165; Naumann 4.17

135

(DUCHAMP, MARCEL)

Transition. A quarterly review. No. 26. 220pp. Prof. illus. Sm. 4to. Dec. wraps., printed in color. "Duchamp designed the cover for issue no. 26 of ‘Transition’ from a reproduction of his Readymade ‘Comb’ and an image of the journal’s masthead. The same reproduction (but without the ‘Transition’ masthead) is included in all copies of ‘The Box in a Valise,’ 1941. According to Sylvia Beach, James Joyce told her jokingly that ‘the comb with thick teeth shown on this cover was the one used to comb out ‘Work in Progress’" (Schwarz). Apart from the Duchamp design, this is one of the best issues of "Transition," with texts and images by Agee, Arp, Eluard, Jarrell, Jolas, Joyce, Copland, Man Ray, Léger, Moholy-Nagy, Mondrian, Panofsky, Calder and others. Light wear at yapped edges and head of spine.

New York, 1937. $400.00

Schwarz (1997) 457; Lebel 174; Naumann 5.16

136

(DUCHAMP, MARCEL)

View. The modern magazine. Editor: Charles Henri Ford. Vol. V, No. 1. March, 1945. Marcel Duchamp Number. 53, (1)pp. Prof. illus. Lrg. 4to. Dec. wraps., especially designed for this issue by Duchamp (light wear). 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.

New York, 1945. $400.00

Schwarz 323; Naumann 6.15

137

(DUCHAMP) Lebel, Robert

Sur Marcel Duchamp. Avec les textes de André Breton & H.P. Roché. (6), 191, (3)pp. 122 heliotype and other illus. (7 tipped-in color, of which 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 turquoise 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 and fresh copy, with no rippling of the passepartout frontispiece, as is almost always the case. This copy is also accompanied by the original prospectus (with tipped-in pochoir collotype plate).

Paris (Trianon Press), 1959. $15,000.00

Schwarz 349 and cf. 344c, 347; Gershman p. 27; Sanouillet 116; Rubin 233; Verkauf p. 178; cf. Naumann 7.24; cf. Freitag 2450

138

(DUCHAMP) New York. Cordier & Ekstrom

A l’infinitif: Marcel Duchamp. 21, (1)pp. Text illus. The pamphlet which was included in the deluxe publication of this name, also known as ‘The White Box.’ Though without the main part of the portfolio, this copy is signed in pen on the title-page by Duchamp. Lrg. 4to. Wraps.

New York, 1966. $500.00

139

ELUARD, PAUL

Comme deux gouttes d’eau. Poème. 14pp. Wraps. (worn and crudely repaired). The uncredited calligraphic title-page (repeated in green on the cover) is by Yves Tanguy, who had recently designed a frontispice for "La vie immédiate," in which Eluard had honored him with a long poem.

Paris (Éditions Surréalistes), 1933. $200.00

140

ELUARD, PAUL

Le livre ouvert (1939-1941). 64, (2)pp. Wraps. One of 500 copies on papier hélio, from the limited edition of 532.

The second volume of this collection of poems; the first, covering work from 1938-1940, had appeared two years before.

Paris (Éditions Cahiers d’Art), 1942. $350.00

141

(ERNST) Paris. Au Sans Pareil

Ouverture de la Grande Saison Dada/ Exposition Max Ernst. Small handbill, printed in various fonts on pale pink stock. 111 x 139 mm. (ca. 4 1/2 x 5 1/2 inches). This double-sided announcement served to advertise both the opening of the "Grande Saison Dada," on 14 April 1921 ("Visites, Salon Dada, Congrès, Commémorations, Opéras, Plébicistes, Réquisitions, Mises en Accusation et Jugements") and also the "Exposition Dada Max Ernst," to take follow, from 3 May to 3 June. The Ernst side of the handbill features high-style Dada neologisms and fresh remarks ("dessins mécanoplastiques peintopeintures antizymiques aérographiques.... les dames sont priées d’apporter tous leurs bijoux...vous n’êtes ques des enfants"). This was Ernst’s first exhibition in Paris, and the collages were a revelation to Breton, who praised them eloquently in the catalogue. In the opening buffoonery, "it seemed unlikely that more than a very few people took in the implications of what was on the wall. This was, none the less, considerable. The show did not consist only, for one thing, of collages. Less than a quarter of the exhibits were a matter of scissors and paste: more common by far was an erudite mixture of painting, drawing, photomontage, altered photography, altered advertising-matter, and pure collage.... If it were possible to reassemble the exhibition, it would probably be found to constitute a small-scale dictionary of ideas and motifs, some of them recurrent throughout Max Ernst’s career, others precipitated for the occasion and never taken up again" (Russell). A few unobtrusive creases.

Paris, 1921. $650.00

Poupard-Lieussou/Sanouillet 29; Ades p. 165f. (illus.); Russell Ernst p. 61

142

(ERNST) Paris. Au Sans Pareil

Vernissage Exposition Max Ernst. Invitation, printed on recto only of a sheet of brown card stock. 77 x 125 mm. (ca. 3 x 5 inches). "dada invite 1 petit au vernissage de l’exposition max ernst.... à 22 h le kanguroo/ à 22h 30 haute fréquence/ à 23 h distribution des surprises/ à partir de 23 h 30 intimités/ saison dada." A seductively understated example, set entirely in lower case, of Dada typography and promotion. "Le vernissage de l’exposition Max Ernst fut l’un des événements les plus marquants de la chronique dadaïste parisienne. Soigneusement préparé et annoncé a grand renfort de publicité, it attira le Tout-Paris" (Poupard-Lieussou/Sanouillet). "[It] seems likely that most of the company concentrated more on the antics of the tie-less, white-gloved Dadaists than on the exhibition itself. Aragon, in the cellar impersonated a kangaroo; Soupault played hide-and-seek with Tzara; Péret and Charchoune shook hands with one another for an hour and a half..." (Russell). Particularly rare.

Paris, 1921. $750.00

Poupard-Lieussou/Sanouillet 30; Ades 8.43; Russell: Ernst p. 60f.

143

ERNST, MAX & ELUARD, PAUL

Les malheurs des immortels. Révélés par Paul Eluard et Max Ernst. (44)pp. Frontis. and 20 full-page collages of steel-engravings by Ernst. 4to. Wraps. New fitted cloth clamshell box. Printed on simili japon. The original edition, printed in an unspecified very small run and very rare, of one of Ernst’s greatest achievements in collage and book illustration. The prose poems represent a collaborative effort, begun in the summer of 1921 (when Ernst was in the Tyrol with Tzara and the Arps), and were composed jointly in an exchange of letters). An historic presentation copy, inscribed by Eluard around the half-title,"à Giuseppe Ungaretti [les malheurs des immortels] et le plaisir de le voir." A little light wear.

Paris (Librairie Six), 1922. $5,000.00

Gershman p. 18, 20; Skira 112; Wheeler p. 101; Verkauf p. 178; Paris-Berlin 307; Tours: Ernst 3; Russell p. 186f.

144

(ERNST) Paris. Galerie van Leer

Exposition Max Ernst du 10 mars au 24 mars 1926. (12)pp. 5 full-page plates in text. 4to. Self-wraps. Catalogue of 48 paintings, sculpture and drawings, collages and frottages, from the collections of Eluard, Breton and others; "in lieu of the usual sycophantic preface" (as Ernst later put it), the catalogue includes poems by Eluard, Péret and Desnos. A handsome publication, almost more an album than a catalogue. Central foldline; neatly disbound.

Paris, 1926. $650.00

Hugues/Poupard-Lieussou 171; Cf. Russell, John: Max Ernst, Life and Work, p. 87

145

ERNST, MAX

Une semaine de bonté, ou les sept éléments capitaux. Roman. 5 vols. (10)pp., 182 full-page plates of collages of steel engravings. 4to. Orig. printed purple, green, red, blue and yellow wraps. This copy without the publisher’s box. One of 800 copies on papier de Navarre, from the limited edition of 816 in all, numbered in separate justifications in each volume.

Ernst’s third and final collage novel, assembled in a great burst of energy in just three weeks, and much the longest and most complex, serially issued in five separate cahiers from April through December 1934. The work is orchestrated in seven sections, corresponding to the days of the week, and correlated also with the alchemical elements. "In the five books of ‘Une semaine de bonté,’ Ernst developed a set of iconographical forms based on a wide variety of sources, including Freudian dream theory, alchemy, and his personal life experiences. Taken together, his three collage novels exhibit a poetic and pictorial genius that establishes them as some of the most extraordinary monuments of twentieth-century art. Their unique character was recognized by Breton, who proclaimed that ‘it is Max Ernst’s magic passes that have awakened the book, physically, from its centuries-long slumber: the pages which he has enchanted, rather than merely ‘decorated’ are so many eyelids that have started to flutter. It is the ‘verdant paradise’ of the child’s first picture-book, as well as the herbarium in which every plant consents to flower a second time’" (Evan M. Maurer). Wrappers rather faded at spines, vol. 3 with small stains on front cover; internally crisp and fine.

Paris (Jeanne Bucher), 1934. $4,500.00

Spies/Metken 1904-2085; Hugues/Poupard-Lieussou 11; Beyond Painting 51; Rainwater 33a and pp. 78-91; Ades 12.150; Hubert pp. 269-286; Andel 134; Reynolds p. 44; Castleman p. 161; Stuttgart 76; Villa Stuck 36; Milano p. 651

146

(ERNST, MAX)

Max Ernst. Oeuvres de 1919 à 1936. 119, (1)pp., 2 tipped-in color plates. Prof. illus. Sm folio. Wraps. Texts by Max Ernst, André Breton, Paul Eluard, Benjamin Péret, Jacques Viot, René Crevel, Georges Hugnet, Herbert Read, Louis Aragon, Claude Cahun, Tristian Tzara, and Robert Desnos.

Paris (Éditions "Cahiers d’Art"), 1937. $600.00

Freitag 3296

147

ERNST, MAX & ELUARD, PAUL

Misfortunes of the Immortals. Translated by Hugh Chisholm. 44, (10)pp. 22 full-page illus. 4to. Dec. boards. D.j. (small tears). Edition limited to 610 copies. "This edition is further augmented by Three drawings Twenty Years After. The Misfortunes of the Immortals was first published in Paris in 1920, originally revealed in French by Paul Eluard and Max Ernst, and now translated into English by Hugh Chisholm. This edition has been designed and published by Caresse Crosby, handset in Spartan type twelve point and printed at the Gemor Press in the city of New York, March 1943." Announcement card from the Julien Levy Gallery (which exhibited graphic work by Ernst on the occasion of the book’s publication) loosely inserted.

New York (Black Sun Press), 1943. $900.00

Hugues/Poupard-Lieussou 18; Spies 555-557

148

ERNST, MAX & PÉRET, BENJAMIN

La brébis galante. 124pp. 3 original color etchings with aquatint (including title) and 22 full-page illustrations, of which 18 colored by hand in pochoir. Cul-de-lampe, lettrines. 4to. Dec. wraps. (original color lithograph). Fitted cloth clamshell box. One of 300 numbered copies on grand vélin d’Arches from the limited edition of 316. "The book can in a way be considered the most representative Surrealist art form, and the manner in which it evolved adds one more paradox. Volumes that we consider masterpieces of this Janus-faced genre, such as Péret and Ernst’s ‘La brébis galante’ or Eluard and Miró’s ‘A toute épreuve’, appeared after World War Two—long after the heyday of surrealism" (Hubert). A fine copy.

Paris (Les Éditions Premières), 1949. $6,000.00

Spies/Leppien 28G; Hugues/Poupard-Lieussou 22; Rainwater 49, p. 113f.; The Artist and the Book 100; Hubert p. 26; Gershman p. 33; Ades 17.57; Reynolds p. 67f.; Villa Stuck 40

149

ERNST, MAX & CHAR, RENÉ

Dent Prompte. (56)pp. 10 full-page original color lithographs. Folio. Portfolio (boards with 1 additional color lithograph by Ernst). Chemise. Slipcase. All contents loose, as issued. One of 240 numbered copies on vélin d’Arches, signed in the justification by Char and Ernst, from the limited edition of 290 in all. Reprising 10 poems from Char’s "Dehors la nuit est gouvernée" (1938) where they appeared under the title "Versions"; they were later revised in 1949 omitting (as here) all punctuation.

Paris (Galerie Lucie Weill ), 1969. $4,500.00

Spies/Leppien A19; Quinn p. 434; Lilly 60

150

L’ESPRIT NOUVEAU

Revue internationale d’esthétique. (Revue internationale illustré de l’activité contemporaine.) Directeur: Paul Dermée. (Ozenfant et Jeaneret.) Nos. 1 - 28, lacking nos. 11, 12 and 14. Prof. illus., including hors-texte and color plates. 4to. Orig. wraps. "The presence of the poets meant that as well as assisting in the birth of twentieth-century visual and concrete poetry these magazines also published more formally conventional literary contributions, the content of which was, however, often of a radical nature. Indeed some of them were magazines of ideas as much as magazines of art. ‘L’esprit nouveau’, edited by Ozenfant and Le Corbusier (and Dermée for a short while), was not typical of art magazines of this time, not only in respect of its comparative longevity and substance, but also in the range of ideas to which it gave space. The sub-title of the magazine, initially ‘Revue international d’esthétique’, was soon changed to ‘Revue internationale illustré de l’activité contemporaine...arts, lettres, sciences.’ Number 16 included articles on Freud, mathematics from Einstein to Bergson, the Fauves, post-crisis economics, architecture, Greek vases, Yiddish literature, and sport (as well as the legend on the back cover: ‘L’esprit nouveau est le magazine des élites’" (Clive Phillpot, The Art Press).

Much of the content of Le Corbusier’s famous early books, with his basic statements of design philosophy, first appeared in article form in "L’esprit nouveau": ‘Vers une architecture’, ‘L’art décoratif d’aujord’hui’, ‘Urbanisme’. Also published in its pages were joint contributions by Le Corbusier and Ozenfant ("Le purisme", "L’angle droit", "Le cubisme") and other texts by Aragon, Ribemont-Dessaignes, Huidobro, Goll, Cocteau, Carrà, Charles Henry, Cendrars, Raynal, Rosenberg, Léger, Satie, Picabia, Severini, Gropius, and many others. Intermittent wear to covers and backstrips; some issues partly disbound.

Paris, 1920-1925. $6,500.00

Arntzen/Rainwater Q166; The Art Press p. 43

151

L’ESTAMPE ET L’AFFICHE

Revue d’art. Directeur: Clément-Janin. Rédacteur en chef: André Mellerio. Vols. I-III, (all published). xii, (4), 254 [1] pp.; xiv, 286, (8)pp.; vi, 268pp. Prof. illus., including numerous original prints among the hors-texte plates. Bound in at the conclusion of the last volume is: "Le Bulletin des Arts. Supplément à l’Estampe et l’Affiche. 1899" (88pp.). This set is bound without the wrappers, and Vol. I p. 255 (which was printed on the inside of the back wrapper) is therefore supplied in photocopy. Lrg. 4to. Marbled boards, 1/4 morocco gilt. Original prints by Villon (color lithograph), Redon, Fantin-Latour, Denis, Steinlen, Willette and others. Texts by A. Mellerio, R. Marx, S. Bing, L. Delteil, C. Saunier, E. Pelletan, et al. A rare set of this famous review, important in the fin-de-siècle print, and particularly poster, literature. "En dehors des collections réparties entre diverses bibliothèques, ce qui restait des numéros fut détruit, d’où la rareté des exemplaires" (Lebel). A beautiful set.

Paris (Edouard Pelletan), 1897-1899. $6,500.00

Lebel p. 27; The Art Press p. 27

152

EVOLA, JULIUS

Arte astratta. Posizione teorica/ 10 poemi/ 4 composizioni. (Collection Dada.) 24pp., 4 plates of abstract compositions by Evola. Layout and design by Evola. 4to. Grey wraps., printed in red and green with an abstract design by the artist. One of the very few, and very rare, publications of Italian Dada. Julius Evola (1898-1974), painter, writer, Orientalist, and mystic, was the leading exponent of Dada in Italy. Co-editor, with Gino Cantarelli and Aldo Fiozzi, of the short-lived Dada review "Bleu," Evola also organized the first and only Italian Dada group exhibition, "Mostra del movimento italiano Dada" at the Casa d’Arte Bragaglia in Rome, in April 1921, where he showed abstract paintings and participated in its attendant soirées. He had a one-man show at Der Sturm in Berlin in January 1921, shortly after the publication of this book. The "Mystical Abstraction" of his Dada compositions—essentially a strain of Purism in the service of a transcendental dreamscape— replaced a brief quasi-Futurist phase of "Sensorial Idealism," as he called it. Two paintings of ‘paesaggi interiori’ are reproduced in the book, along with a woodcut and a line drawing; the Dada verse is in the manner of Tzara. Light internal wear around staple; a fine copy.

Roma (P. Maglione & G. Strini), 1920. $3,000.00

Tendenzen 3/290; Motherwell/Karpel 105; Dachy p. 161; Zürich 320; Cf. Dada Global pp. 67f.,326

153

EVOLA, JULIUS

La parole obscure du paysage intérieur. Poème à 4 voix. Traduit de l’italien par l’auteur et Maria de Naglowska. (Collection Dada.) (10)ff., printed on rectos only of sheets of lightweight laid paper. Full-page abstract title drawing. 4to. Indigo blue wove wraps., printed in gold, secured with slender gold cord (as issued). Edition limited to 99 copies in all, signed and numbered in pen by the author in the justification. Presentation copy, inscribed by Evola below the limitation, "omaggio a Ungaretti." Evola performed his ‘poem for four voices’ at the Grotte dell’Augusteo in Rome on 15 June 1921, while also exhibiting at the the Salon Dada at the Galerie Montaigne in Paris. Shortly thereafter, he abandoned his artistic career for the study of hermetic philosophy and the occult. The elaborate dada landscape on the title, primordial but with urban (and extraterrestrial?) elements, incorporates the word ‘dada’ in broken pieces in the foreground, along with ancient mystical symbols. There is disagreement, even self-contradiction, among standard references as to where and when the book was published: "Tendenzen der zwanziger Jahre" states both ‘1920,’ omitting place (in the catalogue entry) and ‘Rome 1921’ (in Giovanni Lista’s catalogue essay); Dachy and the "Almanacco Dada" agree on Rome, 1921; "Dada Global" states 1924 ("ohne Ortsangabe," though suggesting Paris elsewhere in the catalogue). An historic association copy of one of the rarest of all books in the entire Dada canon. Back cover slightly sunned at spine: a very fine copy.

N.p. [Rome], n.d. [1921]. $7,500.00

Almanacco Dada p. 626; Dachy p. 161; Dada Global 251, cf. Cf. Dada Global pp. 67f.,326; Tendenzen no. 3/289 and p. 3/119

154

FIRENZE. Galleria d’Arte Firenze

Mostra futurista. Pittura, scultuta [sic], areopittura, arti decorative, architettura. Organizzata da Marasco e da Thayaht. 28 Febbraio 1931 con conferenza di F.T. Marinetti sulla pittura di Marasco, sulla scultura da Thayat. (Gruppo Futurista Toscano.) (36)pp. Half-title vignette, 26 illus. Sm. 4to. Dec. wraps., printed in yellow, green and black with a handsome design presumably by Marasco. Organized by the Gruppo Futurista Toscano, the exhibition was marked with a lecture by Marinetti on Marasco and Thayaht. The innovative Antonio Marasco (1896-1975) broke with Marinetti the following year to found the Gruppi Futuristi di Iniziative. The catalogue contains a "Manifesto dell’areopittura" signed by Balla, Benedetta, Depero, Dottori, Fillia, Marasco, Marinetti, Prampolini, Somenzi, Tato and Thayaht. The illustrations also include work by Fillia, Garrisi, Oriani, Acquaviva, Tullio d’Albisola, Farfa and others. Extremely rare; no copy in the Biblioteca Nazionale Centrale di Firenze.

Firenze, 1931. $800.00

155

FLUXUS 1

Edited and designed by George Maciunas. A constructed book of 18 manila envelopes, variously stamped, with loosely inserted contributions by various artists; interspersed with the envelopes are 50 additional leaves with printed texts, photographic plates, and other contents, printed on a range of materials, including glassine, buff-grey wove paper, and coated stock. The whole is bolted together with 3 steel screws at left. Contents of the envelopes involve clipped printed texts, libretti, typewriter ribbon, and objects such as a rubber glove, cocktail napkin, game cards of various kinds, a little metal mirror, a perforated sheet of Fluxpost stamps, etc. The front cover is rubberstamped "Fluxus 1" in a central disc; to the back cover is attached a smaller 17-panel leporello folding out with decorative artists’ name cards individually designed by George Maciunas. Oblong 4to. 190 x 210 mm. (7 1/2 x 8 1/4 inches). Wood and masonite box, with pyrographed title on one cover and shipping address on the other.

The first Fluxus yearbox. Jon Hendricks has noted that though portions of it were printed in Europe in 1962, fully assembled copies were probably not completed until sometime in 1964. Production of the edition continued, with an evolving list of contents and contributors, for more than a decade.This copy was ordered by Mario Diacono from George Maciunas in 1964/1965, and sent from Fluxus in New York to Diacono in Rome, as marked on the box, which doubles as a shipping crate (and was also referred to as a wooden "dust jacket"). Hendricks comments that "There are a number of variations in ‘Fluxus 1’ because it was assembled by hand over a period of perhaps 13 years. During this time Maciunas’ attitude toward certain artists and/or works in the anthology changed, some works got lost or mislaid, and others ran out of stock." In this copy, the envelopes contain works by Maciunas, Ay-O, George Brecht, Christo, Willem de Ridder, Joe Jones, Alison Knowles, Takehisa Kosugi, Shigeko Kubota, Jackson Mac Low, Yoko Ono, Benjamin Patterson, Chieko Shiomi, Ben Vautier, Emmett Williams, La Monte Young and others. Interspersed with these are texts, scores and images by the foregoing, as well as by Ann Halprin, Dick Higgins, György Ligeti, Tomas Schmit, Robert Watts, et al. The edition is unnumbered; Phillpot and Hendricks estimate that Maciunas probably assembled somewhat more than 100 copies over time, and that Willem de Ridder, in Amsterdam, likewise put together more than 100.

"The significance of ‘Fluxus I’ goes far beyond its role in mail art. Maciunas designed this anthology to accomodate a wide variety of objects as well as printed matter.... (It is uncertain whether, at that time, Maciunas was aware of Fortunato Depero’s bolted book of 1927, ‘Depero Futurista,’ but he sometimes openly cribbed other formats, noting that he could improve them by a better alliance of form and content.) Aside from taking the book form as far as possible into object form, ‘Fluxus I’ represents the performance scores and conceptual pieces (many of them ‘gesture pieces’ inherent in the form itself) of artists and musicians from half a dozen countries" (Barbara Moore and Jon Hendricks, in Lyon). "Here the book is the performance, as well as containing it, and the work achieves the Fluxus goal of making the audience member a performer through the structure of the piece. One does not ‘read’ this work, but enacts it" (Joanna Drucker).

New York (Fluxus) [1964/1965]. $10,000.00

Hendricks: Fluxus Codex p. 109ff.; Silverman 117; Phillpot/Hendricks 13; Drucker p. 311; Lyon p. 91

156

FLUXUS PREVIEW REVIEW

Editorial Committee: Chairman: George Maciunas. Cross Section: Nam June Paik, Emmett Williams. U.S. Etc. Vertical scroll, printed in offset (both recto and verso) on three joined strips of coated stock, with text and 7 halftone photographic illus. 1672 x 99 mm. (65 x 3 7/8 inches). Rolled as issued. "‘Fluxus Preview Review,’ a preview of the ‘Review’ (Anthology) Fluxus, served as a kind of first Fluxus newspaper and propaganda vehicle. It contains a definition of the word FLUXUS, a list of the editorial committee, advertisements for Fluxus Yearboxes and Fluxus products, scores by a number of Fluxus artists and photographs of performances. George Maciunas, who edited and designed the work, took its format from the November 1961 publication ‘Kalender Rolle,’ edited by Ebeling and Dietrich in Wuppertal, West Germany" (Jon Hendricks). Other members of the editorial committee (listed by national sections) include La Monte Young, Jackson Mac Low, Dick Higgins, Benjamin Patterson, Jonas Mekas, Daniel Spoerri, Jean Clarence Lambert, Henry Flynt, Toshi Ichiyanagi, Yoko Ono, Heinz-Klaus Metzger, and Arthur Køpcke. A Fluxincunable.

Köln-Mulheim, n.d. [1963]. $600.00

Hendricks: Fluxus Codex p. 102f.; Silverman 542ff.; Phillpot/Hendricks 11

157

FÖRG, GÜNTHER

Carnegie. (2)ff., 16 original aquatint and drypoint etchings. Image size: 198 x 119 mm.(7 3/4 x 4 5/8 inches). Sheet size: 372 x 315mm. (14 5/8 x 12 5/8 inches). Sm. folio. Full yellow silk over boards, with matching slipcase. One of 28 bound copies, numbered, signed and dated in pencil by the artist in the colophon, from the edition of 38 in all, including 10 unbound copies. Printed by Thomas Sebening, Munich. Pages Japanese-bound. This copy with a full-page original pencil drawing and inscription by the artist on the first blank leaf: "Tears for Mario/ Tears for Julie/ Tears for Our Life/ Tears for Joy/ for Mario from Günther," with a central abstraction of tears and a helix.

Cologne/New York (Galerie Gisela Capitain/ Édition Julie Sylvester), 1989. $3,500.00

158

DIE FREIE STRASSE. No. 9.

November 1918. "Gegen den Besitz!" [Editors: Raoul Hausmann and Johannes Baader.] (4)pp. (single sheet, folding). Front page with massive block tilted on the diagonal, printed in black. Tabloid folio, folded as issued. Texts by Raoul Hausmann ("Gegen den Besitz," uncredited), Johannes Baader ("Die Geschichte des Weltkrieges," under the pseudonym Joh. K. Gottlob), Karl Radek ("Revolution und Konterrevolution"), et al. "That psychoanalytic ideas were acceptable to Dadaists in Berlin was consistent with their adherence to systematic politics, which Dadaists in France, Switzerland and America rejected. Even so it was not Freudian psychoanalysis that interested Dada in Berlin, but a psychotypology that was based on the researches of Otto Gross as systematized in 1916 by Franz Jung...who, the following year, founded the review "‘Die freie Strasse’ to propagate these views. It became the first voice of Dada in Berlin" (Rubin). A brilliant copy, fresh and crisp.

Berlin-Friedenau (Verlag Freie Strasse), 1918. $4,500.00

Dadaglobal 27; Almanacco Dada 59; Bergius p. 414; Dada Artifacts 35; cf. Ades 4.64, Raabe 26, Rubin p. 10

159

IL FUTURISMO

Rivista sintetica illustrata. Direttore: F.T. Marinetti. N. 11, 11 febbraio 1925. "Primo Congresso Futurista." (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."

Roma (Direzione del Movimento Futurista), 1925. $200.00

Salaris p. 96

160

DER GEGNER

Blätter zur Kritik der Zeit. Editors: Karl Otten, Julian Gumperz, Wieland Herzfelde. Vols. I-III, No. 3, April 1918-September 1922 (all published). (244), 464, 94, (2)pp. 44 illus., including 28 by George Grosz (3 double-page, of which 1 in photomontage and 1 hinged hors texte; 2 figs.) and others by Schlichter, Grosz, et al. Sm. 4to. Texts by Grosz ("Statt einer Biographie"), Raoul Hausmann ("Hurra!Hurra!Hurra!"), Heartfield and Grosz ("Der Kunstlump"), Herzfelde (from "Tragigrotesken der Nacht"), Max Eastman (on John Reed), Bakunin, Dos Passos, Graf, Franz Jung, Liebknecht, Heym, Hiler, Nansen, Piscator, Rubiner, Schnitke, Sinclair, Trotsky, and others.

A complete set (with duplicate additions) of this extremely important publication, the mouthpiece of a broad spectrum of political, intellectual, and artistic factions of the antiwar Left, between Dada and the KPD. This set has been assembled from two sources, with the result that it contains a substantial section of duplicates. The primary run is unbound, in the original printed, and often illustrated, wrappers (especially rare as such), housed in a new fitted cloth case; it lacks six issues from Vol. I (nos. 2/3, 5, 6, 7, 8/9, 10). The second run, which complements it, contains Vol. I-II complete, finely bound (without wrappers) in new boards, 1/4 leather gilt). Among the original cover illustrations in Volumes I-II are a number of important designs by Heartfield (three political cartoons and drawings, including "Die Gottespest" on II. 8/9, showing skeletons floating in a stream of blood, the letter G styled as a shark’s jaws; and "Kapitalistische Russlandshilfe" on II.12, in which a smiling plutocrat, in top hat and Red Cross apron, with a whip at his side, offers a dole of bread to an old Russian peasant), Raoul Hausmann ("Es lebe SowjetDeutschland!" printed in green on a mounted panel of pink stock, on II.3), George Grosz (two, including "Den jüngsten Opfern der weissen Demokratie: Fort, Conception und Boldrini!" on III.2) and Georg Scholz (the demonic "Apotheose des Kriegsvereins" on III.2). Also present amongst the loose issues is the broadside supplement to Vol. II, No. 6, entitled "Die Pleite" ("Die Pleite" had now been absorbed by "Der Gegner"), with one full-page and eight partial-page illustrations by Grosz on front cover and back (light wear at foldlines; archivally silked on the verso).

Runs of "Der Gegner" are extremely rare; in the preface to the reprint edition published in 1979, it is stated that not a single complete set was to be found in German institutional libraries. Expert conservation to the loose issues (primarily at backstrips).

Halle/Leipzig/Berlin (Frank Joest Verlag/ A.J. van den Broecke-Verlag/ Malik-Verlag), 1919-1922. $6,500.00

Hermann 86-100; Berlin: Malik 17; Siepmann A5; Raabe 71; Raabe/Hannich-Bode 120.19; Almanacco dada 63; Ades p. 83ff; Marbach 120.9; Düsseldorf 458; Tendenzen 3.230

161

GOLL, IWAN

Methusalem, oder der ewige Bürger. Ein satyrisches Drama. Mit drei Figurinen von George Grosz. (Der dramatische Wille. VIII. Band.) 76, (4)pp., 3 plates. Wraps., with printed label: "Kostüme und Bühnenausstellung von George Grosz und John Heartfield." First edition.

Potsdam (Gustav Kiepenheuer), 1922. $450.00

Lang 29; Bülow 42; Raabe/Hannich-Bode 86.14

162

(GONTCHAROVA/ LARIONOW) Paris. Galerie Sauvage

Exposition des oeuvres de Gontcharova et de Larionow. L’art décoratif théâtral moderne. April-May 1918. (4)pp. (single sheet, folding), with 2 loosely inserted plates after Goncharova and Larionov. Sm. 4to. Self-wraps. Letterpress. Goncharova is represented by 15 oil paintings and 153 maquettes and costume designs for the ballet, including the Ballets Russes productions of Rimsky-Korsakov’s "Le coq d’or," and Stravinsky’s "Les noces" (the latter was not not actually mounted until 1923). Likewise, the exhibition includes 8 paintings by Larionov, and 104 maquettes and costume designs (for "Soleil de nuit," "Khorovode" and others). The drawings reproduced are highly abstract rayist designs. Rare.

Paris, 1918. $600.00

163

GOVONI, CORRADO

Rarefazioni e parole in libertà. 4º migliaio. 49, (7)pp. Drawings and parole in libertà throughout. Sm. folio. Printed wraps. One of the most enchanting books in the literature of parole in libertà, filled with lyrical freehand drawings and typographic compositions enhanced by the spaciousness of the unusually large format. "Govoni’s poetry is punctuated with flashes of humor that strongly recall Rimbaud. Elsewhere it swings between lines, handwritten in a deliberately simple and childlike style, and quite extraordinary typographical fantasies which forecast the techniques of concrete and minimalist poetry. Govoni’s literary background is stressed by bold page designs which set up a contrapuntal theme throughout the typographical experimentation that changes from one page to the next" (Luciano Caruso, in Jentsch). Covers a bit foxed.

Milano (Edizione Futuriste di "Poesia"), 1915. $2,000.00

Salaris p. 41; Falqui p. 68; Jentsch p. 321

164

GRÄFF, WERNER

Das Motorrad. Gründlich kennenlernen, richtig behandeln, gut fahren. Praktisches Motorradlehrbuch. 3.-5. Tsd. (Lebensbücher des modernen Menschen. 41.) 30, (2)pp. 40 illus. Lrg. 8vo. Dec. wraps., printed in red and black. The very rare publication on motorcycles by Werner Gräff, the author of "Es kommt der neue Fotograf!" and "Filmgegner von heute—Filmfreunde von Morgen." In the 1920s, Gräff published articles on automobiles and motorboats in Bauhaus-related periodicals such as "Die Form" and "G," of which he was an editor, along with Hans Richter, Lissitzky, Mies van der Rohe and Kiesler. One annotation in pen; fine.

Stuttgart (Süddeutsches Verlagshaus ), n.d. $400.00

165

GRÄFF, WERNER (editor)

Innenräume. Räume und Inneneinrichtungsgegenstände aus der Werkbundausstellung "Die Wohnung," insbesondere aus den Bauten der städtischen Weissenhofsiedlung in Stuttgart. Herausgegeben in Auftrage des Deutschen Werkbunds. 164pp. 185 illus. Lrg. 4to. Wraps. Texts by Le Corbusier, Josef Frank, Mart Stam, Marcel Breuer, Willi Baumeister, Erna Meyer and others. Published in conjunction with the epochal housing exhibition put on by the Deutscher Werkbund in Weissenhof, on the outskirts of Stuttgart, in 1927. The volume contains designs for lighting fixtures, chairs, stools and chaises, beds, and other furnishings and interiors for houses and outdoor terraces, by Marianne Brandt, the Brüder Rasch, Thonet, Breuer, Stam, Mies van der Rohe, Poelzig, Scharoun, Josef Frank, Le Corbusier, Oud, Gropius, Lilly Reich, Taut, et al, including photographs of rooms in the Behrens, Oud, Mies, Le Corbusier, and Taut residences. A beautifully designed publication.

Stuttgart (Fr. Wedekind & Co.), 1928. $450.00

166

(GRIS) Radiguet, Raymond

Denise. Illustré de lithographies par Juan Gris. (18)pp. 5 original lithographs (including front cover printed in black, and 4 hors texte, each printed in a different color). 4to. Orig. printed wraps., with front cover design by Gris. Original glassine. One of 90 numbered copies on Arches, from the limited edition of 112 in all, signed in pen by Gris in the justification. "Raymond Radiguet wrote the short story ‘Denise’ while staying in Carqueiranne with Jean Cocteau. It was unrevised when he died in 1923, and effectively unknown until Cocteau sent a copy to Kahnweiler referring to its ‘detestably mannered’ quality. Gris began working on the illustrations for ‘Denise’ early in January 1926. He repeated Radiguet’s image of Venus rising from the sea for the cover lithograph, but drew four still-life lithographs in his late Cubist style to embellish the interior of the book. All of the designs are drawn with liquid tusche, which boldly delineate the still-life elements" (Stein). Chapon praises Gris’ illustrations as "le génie de Gris à son apogée...la forme la plus sereine, la plus dépouillée de l’art de Gris." A beautiful copy.

Paris (Editions de la Galerie Simon), 1926. $7,500.00

Hugues: Kahnweiler 21; Pompidou: Kahnweiler p. 185; The Artist and the Book 127; Chapon pp. 112, 285; Skira 145; Rauch 101; Wheeler p. 102; Stern 49; Winterthur 109; Stein 83; Siena 26

167

GROHMANN, PAUL

Zeitgemässe Raummalerei von Maler Paul Grohmann, Atelier für Kunstgewerbe. Dresden-A.16, Stephanienstr. 38. (Einfache Raumgestaltung.) (4)pp. (single sheet, folding), 25 offset color plates, highlighted in gold and silver. Folio. Publisher’s portfolio (dec. boards; ties). Contents loose, as issued. A handsome portfolio of custom mural designs for gracious modern living, in German art déco taste. The designs combine warm-toned geometrical arrangements with clusters of floral motifs and other elements. All could be commissioned from Grohmann’s studio, with prices by the foot. The publication was sponsored by the paint and lacquer manufacturer with whom he collaborated. A very fresh copy.

Leipzig-Leutzsch (Lack- und Farbenwerke Springer & Möller), n.d. [circa 1925]. $700.00

168

GROPIUS, WALTER, et al.

Pressestimmen (Auszüge) für das Staatliche Bauhaus Weimar. Together with: Autograph letter, signed, from Walter Gropius to Prof. Pinkus, in Berlin, 17 May 1924. Pressestimmen: 70, (2)pp. Layout and design attributed to Oskar Schlemmer (cf. Concepts of the Bauhaus), with forceful Bauhaus typographical composition in blue on front cover, and Schlemmer’s profile signet for the Bauhaus on the back cover. Gerd Fleischmann has also proposed "Entwurf Laszlo Moholy-Nagy?" Letter: 2pp. (single sheet folding), in original envelope, hand-addressed by Gropius. Sm. 4to. Wraps.

This booklet of international press coverage was published as part of a campaign to rally support for the Weimar Bauhaus in the face of hostility from the Thüringian government in 1924, which effectively forced its removal to Dessau the following year. Arranged by country, it includes texts about the Bauhaus from January 1920 to February 1924, by J.J.P. Oud, Bruno Taut, Adolf Behne, Siegfried Giedion, Hans Hildebrandt, and Max Osborn among others. In his cover letter, addressed to his wife’s physician, Gropius alludes to the grim situation. ‘Please allow me to include some printed material of my work. The politicians from the right are making trouble for me, but I hope to defeat them with my tenaciousness." Front cover neatly detached at hinge, with small loss at top left corner; the letter is in perfect condition.

Weimar, 1924. $3,000.00

Busch-Reisinger Museum: Concepts of the Bauhaus (Cambridge, 1971) p. 118, illus. p. 119; Fleischmann p. 96 (illus.)

169

GROPIUS, WALTER, et al.

Staatliches Bauhaus Weimar, 1919-1923. 224, (2)pp. 147 illus., including 20 color plates, of which 9 are original color lithographs by Herbert Bayer, Marcel Breuer, L. Hirschfeld-Mack (2), P. Keler and W. Molnár, R. Paris, K. Schmidt (2) and F. Schleifer. Lrg. sq. 4to. Orig. dec. black boards, printed in red and blue. New fitted cloth clamshell box. Typography by L. Moholy-Nagy; binding design by Bayer. One of 2000 German-language copies, from the edition of 2600 in all. Texts by Gropius ("Idee und Aufbau des Staatlichen Bauhauses"), Klee, Kandinsky, Moholy-Nagy, Schlemmer and Grunow.

The first book published by the Bauhaus, preceding the Bauhausbücher proper of 1925 and after; Bayer’s brilliant front cover design is fittingly proclamatory.The work was issued on the occasion of the great Weimar Bauhaus exhibition of 1923, organized at the behest of the Thuringian Legislative Assembly, which wished to have a public display of the accomplishments of the first four years. Gropius set the theme as ‘Art and Technics: A New Unity.’ A few small chips at hinges and corners of the covers, but in all a very fine copy, the binding in bright condition.

Weimar/München/Köln (Bauhausverlag/ Karl Nierendorf), 1923. $5,000.00

Wingler p. 627; The Avant-Garde in Print 4.2; Andel 115

170

GROSZ, GEORGE

Erste George Grosz-Mappe. Neun Original-Lithographien. Sonderdruck auf Kaiserlich Japan. Title sheet and 9 transfer lithographs. Folio (500 x 390 mm.). New portfolio (green marbled boards, 3/4 cloth, with printed label on front cover). All contents loose, as issued. No. 18 of the Vorzugsausgabe of 20 copies on Kaiserlich Japan (of which nos. 1-5 were signed by the artist), from the limited edition of 120 in all. "Late in 1916, the ‘Berliner Tageblatt’ recognized Grosz as the ‘most genuine modern’ of those around the ‘Neue Jugend.’ In Grosz, the ‘Tageblatt’ recognized a man full of healthy scepticism who had looked behind the stage façade of life and had lost every illusion. Herzfelde and Heartfield did not limit themselves to publishing the work of Grosz in ‘Neue Jugend.’ Under the imprint of the new and clandestine Malik-Verlag—hidden in an attic studio on Kurfürstendamm in the Berlin-Hallensee district—the ‘Erste George Grosz-Mappe’ was published in the spring and the ‘Kleine Grosz-Mappe’... in the fall of 1917. The first portfolio rendered into pictorial form the themes of Grosz’s poetry. Using the knife-hard drawing style which he reveled in, Grosz portrayed romantic but frenetic American cities and American Indians, sinister and morbid German cities and suburbs and decadent cafés" (Lewis).

The subjects of the lithographs are, in sequence, "Erinnerung an New York," "Texasbild für meinen Freund Chingachgook," "Am Kanal," "Strasse der Stadt." "Menschen in der Strasse," "Vorstadt," "Peripherie," "Kaschemme," and "Mondnacht." Intermittent very light wear; a very fine copy of this exceedingly rare and important portfolio, Grosz’s first.

Berlin (Heinz Barger Verlag "Früher Verlag Neue Jugend"), n.d. [1916/1917]. $30,000.00

Dückers M1; Lang 1; Bülow 6; Hermann 157; Berlin 4; Düsseldorf 355; Rifkind (Davis) 950

171

GROSZ, GEORGE

Kleine Grosz-Mappe. 20 Originallithographien. (4)pp. (single folding sheet, with title, table and text) and 20 transfer lithographs, loose, as issued. 4to. (290 x 212 mm.). Publisher’s portfolio (pale gold foil over boards, 1/4 cloth, with front cover illustration by Grosz). No. 29 of 100 hand-numbered copies on vélin, from the limited edition of 120 in all. The textual portion is printed on a leaf of pale pink stock, collaboratively designed by Grosz and John Heartfield, with an elaborate dada typographical layout incorporating a large drawing by Grosz on the front, and some 14 vignette embellishments (derived from commercial illustration) within. In Schneede’s estimation, this sheet signals nothing less than the arrival of Dada in Berlin.

"The ‘Kleine Grosz Mappe’ made explicit the close relationship between Grosz’s poems and his drawings by the inclusion of his longest poem, ‘From the Songs,’ in the portfolio. On the title page of the portfolio, a leering, grinning bestial man’s head introduced the theme underlying both the poem and the drawings: man is an animal; man as animal is besotted, beserk; man’s surroundings are staggering, tumultous, reeling. As in the poems of 1918, this poem seems to be a kaleidoscope of images colliding in Grosz’s head while he drank cocktails in a bar. Through a seemingly irrational progression of phrases and ideas, Grosz evoked a vision of the modern city with its stock exchanges, filthy streets, decrepit tenement houses, baroque town houses, grey cement factories, and its incessant advertising—all of which conspired to dehumanize man. In the darkness of this city at night gangsters, murderers, executioners, condemned men, lovers, doctors, drunkards and syphillitics danced the inevitable dance of life and death. The artist, however, drank, stuffed his bulldog pipe, and saw visions of exotic adventure and freedom in South America—the land one longed for—in Colorado, Cuba, Rio, and London, where Jack the Ripper could be found" (Lewis).

The subjects of the lithographs are, in sequence, "Fräu-lein und Liebhaber," "Strasse," "Strassenbild," "Kaffeehaus," "Goldgräberbar," "Krawall der Irren," "Strasse des Vergnügens," "Werbung," "Gesellschaft," "Cafe," "Spaziergang," "Häuser am Kanal," "Vorstadthäuser," "Die Fabriken," "Die Kirche," "Das einzelne Haus," "Der Dorfschullehrer," "Jägerlatein," "Mord," and "Hinrichtung." Endpapers of the portfolio renewed; a very fine copy. Very rare.

Berllin-Halensee (Der Malik-Verlag), 1917. $20,000.00

Dückers M1; Lang 2; Bülow 7; Hermann 166; Berlin 5; Siepmann A2; Lewis p. 47f; Motherwell/Karpel 274; Ades 4.23; Düsseldorf 356; Dada Artifacts 32; Rifkind (Davis) 951

172

(GROSZ, GEORGE)

10 Original-Lithographien. Gewidmet vom Ausschuss der Schülerschaft am St. K.G.M. 10 lithographic plates, loosely inserted as issued, in folding paper portfolio, titled as noted. 239 x 204 mm. (9 3/8 x 8 inches). Lithographs by Grosz ("Im Zirkus," also known as "Dawson," Dückers E50), Fenneker, Kabisch, Kannenberg (2), Schiffers, E. Schmidt, T. Schwab and Simon (2). The present copy is an unrecorded variant of the excessively rare portfolio, known to Dückers in only one example (Kunstarchiv Arntz, acquired from Ars Libri by the Getty Research Center) bearing the different title "10 auf Stein gezeichnete Bildchen zur ewigen Erinnerung an das Fest am Rosenmontag 1919." Apart from the present portfolio, Dückers was aware of only one additional copy of the Grosz print by itself, which was sold at auction in Berlin in 1963.

The hitherto unknown title of the present portfolio may now corroborate the status of the prints as original lithographs rather than transfer lithographs (though, as Dückers has cautioned repeatedly, the term ‘Originallithographie’ was loosely used, and may actually refer to a reproductive process). Regardless of the technique used to produce it, this rarissime image is of outstanding interest in Grosz’ graphic oeuvre. Dückers has explained the presence of the name "Dawson" in the print as a reference to a nineteenth-century goldrush town in the Klondike, notorious in its day as a place of wild living and corruption: a place Grosz implicitly analogizes (not without a certain sentimental cynicism) to the circus-like depravity of modern Berlin. Even browning throughout, due to paper stock; front cover of portfolio neatly detached at spine; within in extremely good, crisp condition.

[Berlin], 1919. $3,000.00

Dückers E50

173

GROSZ, GEORGE

"Gott mit uns." Politische Mappe. Neun Lithographien. 10ff., including title and colophon leaf, printed in blue, and 9 full-page photolithographs, printed in black, each signed in pencil by Grosz. Folio (490 x 350 mm.) Publisher’s portfolio (boards, 1/4 cloth), with front cover illustration by Grosz, printed in blue. Ausgabe B, limited to 40 hand-numbered copies on handmade Bütten, with all plates signed as noted, from the limited edition of 125 in all. Presentation copy, handsomely inscribed by Grosz in pencil beneath the colophon, "für Martin Andersen Nexö/ George Grosz/ 22 November 1927/ Berlin" (with characteristic paraph beneath the signature).

"‘Gott mit uns’ contains above all antimilitaristic drawings, in which Grosz focuses scathingly on the afterlife of Prussian militarism in the Weimar Republic. "His portfolio, ‘Gott mit uns,’" wrote Kurt Tucholsky in the year it appeared, ‘should be on the kitchen table of every good bourgeois family; his caricatures of majors and sergeants are hellishly real...." Here Grosz begins to develop a new pictorial approach which Heartfield, in his photomontages, was later to bring to perfection in form and content. These images join together contradictions, concentrating reality in a single decisive statement, and, in so doing, lead one to look for their underlying causes; they are dialectically constructed" (Schneede).

The titles of the lithographs appear in parallel French, German and English, as follows: "Gott mit uns/ God for us"; "Für deutsches Recht und deutsche Sitte/ The Germans to the Front"; "Feierabend/ ‘Ich dien’"; Licht und Luft dem Proletariat/ The Workman’s Holiday"; "Die Gesundbeter/ German Doctors Fighting the Blockade"; "Zuhälter des Todes/ The Pimps of Death"; "Die vollendete Demokratie/ The World Made Safe for Democracy"; "Die Kommunisten fallen- und die Devisen steigen/ Blood is the Best Sauce" ; Den macht uns keiner nach/ "Made in Germany."

The association of this copy with Andersen-Nexö is unusually interesting in light of his and Grosz’s collaboration on a number of projects in these years. Grosz illustrated Andersen-Nexö’s "Die Passagiere der leeren Plätze" (Berlin: Malik-Verlag) in 1921, and the two travelled to the Soviet Union the following year, with the intention of publishing a book together about Russia (ultimately abandoned). A remarkable copy, in bright and fresh condition (a few pale fox-marks). Extremely rare.

Berlin (Der Malik-Verlag), 1920. $35,000.00

Dückers M1; Lang 7; Bülow 14; Hermann 164; Berlin 21; Jentsch 78; Rifkind (Davis) 953

174

GROSZ, GEORGE

Das Gesicht der herrschenden Klasse. 55 politische Zeichnungen. 1.-12. Tausend. (Kleine revolutionäre Bibliothek. Band IV.) 61, (1)pp. 55 plates in text. 4to. Printed boards, 1/4 cloth. As noted by Hermann (and unknown to Lang), two different issues were published: those designated "1.-6. Tausend," bound in wrappers and printed on wood-pulp paper, and those marked "1.-12. Tausend" (as here), which were bound in quarter cloth and printed on non-acidic stock. (There was also a Vorzugsausgabe of 50 copies bound in half vellum, signed).

Kurt Tucholsky, writing in the "Weltbühne," 18. August 1921, remarked "Neben der Mappe ‘Gott mit uns’ das meisterlichste Bildwerk der Nachkriegszeit....Und ich weiss keinen, der das moderne Gesicht der Machthabenden so bis zum letzten Rotweinäderchen erfasst hat wie dieser Eine."

Berlin (Der Malik-Verlag), 1921. $500.00

Lang 25; Bülow 26; Hermann 159; Berlin 29; Ades 4.31; Motherwell/Karpel 273

175

GROSZ, GEORGE

Im Schatten. 9 Lithos. Title/justification leaf, and 9 photolithographic plates, each signed in pencil by Grosz. Sheet size: 480-494 x 352-391 mm. (18 7/8 - 19 7/16 x 13 7/8 - 15 3/8 inches). Folio (495 x 400 mm.). Publisher’s portfolio (printed boards, 1/4 cloth). Contents loose, as issued. Ausgabe D: one of 50 copies on light handmade Bütten paper, from the limited edition of 100 copies in all (Ausgaben A-B-C-D). The title-page contains one additional full-page photolithograph by the artist.

"1921 was one of Grosz’s most productive years. The political situtation continued to be unstable. The Free Corps went underground, but nationalist secret societies dispensed "justice" to "traitors" by means of widespread political assassinations. Former minister of finance Matthias Erzberger and foreign minister Walther Rathenau were the most eminent victims in the 354 political murders committed by rightists from 1919 to 1922. In March communist-inspired workers’ uprisings were crushed in the industrial-mining centers of central Germany. Reacting in his drawings to the continued disturbances, Grosz, who was busy in IAH affairs that year, was able to produce a portfolio and an educational book, and to illustrate eleven books. His portfolio Im Schatten (In the Shadow) reflected his work with IAH for oppressed and starving workers. The nine original lighographs portrayed the sick side of life in the city and the types who inhabited it. Against a backdrop of factories spewing smoke and apartment houses falling into decay, ranks of workers march in grim determination. One drawing showed the constrasting scenes caught in the shadows of dawn: outside on the street the proletariat begin a day of work, while inside the houses the capitalists finish a night of drink and sex. The rest of the lithographs presented other street types: the crippled war veterans, the beggars, the profiteers, the prostitutes. The worker is only one of all of these types not portrayed as a degenerate figure" (Lewis). Dückers MIV.5 with small clean tear at top edge; intermittent light dustiness, generally very fine.

Berlin (Malik-Verlag), 1921. $20,000.00

Dückers MIV; Lang 24; Bülow 27; Hermann 174; Berlin: Malik 32

176

(GROSZ) Meyer, Alfred Richard

Munkepunke Dionysos. Groteske Liebesgedichte. (Das geschriebene Buch. Bd. 5.) (62)pp., 6 photolithographic plates by George Grosz, each signed in pencil by the artist at lower right. 4to. Publisher’s green flexible boards. Slipcase (matching green boards). One of 80 numbered copies (Ausgabe B) from the limited edition of 100 in all. Text calligraphed by Wilhelm Redlin. "To illustrate the love poems, Grosz shows scenes between individuals that brings out their class relations (well-dressed gentlemen of means with prostitutes touting for customers). Meyer (1882-1956) wrote under the name ‘Munkepunke’; his publishing company ‘Lyrische Flugblätter’ produced the works of many Expressionist poets. A poet himself with a penchant for the phantastic and grotesque, he was an admirer of the poetry of Verlaine and Apollinaire" (Manet to Hockney). Rare.

Berlin (Fritz Gurlitt Verlag), 1921. $5,000.00

Dückers B1; Lang 20; Bülow 33; Raabe/ Hannich-Bode 209.39; Jentsch 102; Rifkind (Davis) 958; Manet to Hockney 60

177

GROSZ, GEORGE

Mit Pinsel und Scheere. 7 Materialisationen. 8ff., including 7 full-page plates. Sm. folio. Original typographic wraps., printed in red, green and yellow (worn). Works of 1919-1922, five of them dada collages.

Berlin (Der Malik-Verlag), 1922. $850.00

Lang 36, Bülow 414; Hermann 169; Tendenzen 3/245

178

GROSZ, GEORGE

Die Räuber. Title/justification leaf, and 9 photolithographic plates, each signed in pencil by Grosz. Sheet size: 650 to 705 mm. x 467 to 540 mm. (25 5/8 to 27 3/4 inches x 18 3/8 to 21 1/4 inches). Folio. All contents loose, as issued. Ausgabe B: one of 30 numbered copies on Zanders Bütten, from the limited edition of 100 copies in all (Ausgaben A-B-C). (An inexpensive reprint edition of some 500-1000 unsigned copies on machine-made paper and slightly smaller format, known as the "Organisationsausgabe," was issued the following year, to be made available to labor unions).

"The next productive year with Malik, 1922, continued the ideological work which Grosz had done in 1921. The major portfolio of the year was ‘Die Räuber’ (The Robbers). The lithographs of ‘Gott mit uns’ two years earlier had concentrated upon exposing the military class. In a similar way the nine lithographs of ‘Die Räuber’ attacked and unmasked the predatory nature of the capitalists. Each lithograph was accompanied by a sentence from Schiller’s play ‘Die Räuber,’ a tragedy about a young man rebelling for personal reasons against society; the result was a revolutionary interpretation of the quotations from the play and a heightened revolutionary tone to the lithographs. Four years later Erwin Piscator gave a similar reading to ‘Die Räuber’ in his production at the State Theater in Berlin. While there is no specific evidence that Grosz’ portfolio inspired Piscator, it is quite probable, for they were friends throughout the twenties" (Lewis). The contrasts in it between the repulsive corpulence of the burgher class and anxious emaciation of the workers are drawn by Grosz with a zest unseen in the earlier portfolios, fleshing out, as it were, some of the essential vocabulary of his art for the first time. This copy without the publisher’s portfolio, and with intermittent light foxing, spotting, and rippling; title-page somewhat worn.

Berlin (Der Malik-Verlag), 1922. $25,000.00

Dückers MV; Lang 37; Bülow 45; Hermann 172; Berlin 61; Lewis p. 143ff.

179

GROSZ, GEORGE

Ecce Homo. (4)pp. 100 photolithographic plates (16 color). Folio. New fitted clamshell box (silk over boards), inset with the original cover panel stamped in gold). All contents loose, as issued. Vorzugsausgabe A: one of 50 hand-numbered copies in unbound portfolio format, with all 100 plates signed in pencil by Grosz in the lower right margin.

This mercilious exposure of the pretense, self-righteousness and guile of bourgeois morality led to Grosz’s arrest on the ground of offending public decency. He was fined 6000 marks. He wrote in 1925, ‘Man has created a rotten system: a top and a bottom. Some make millions, while others can barely scratch out a minimal existence. I drew and painted out of protest, and tried to portray in my work the world in all its ugliness, sickness and mendacity.’ "Ecce Home" is unquestionably Grosz’s single most famous production, and one of the most important statements of social criticism in twentieth-century art. Complete copies of the Vorzugsausgabe A are virtually unobtainable.

Berlin (Der Malik-Verlag), 1923. $65,000.00

Dückers S1; Lang 38; Bülow 54; Hermann 152; Berlin 59; Castleman p. 160; Motherwell/Karpel 272A; Düsseldorf 374; Rifkind (Davis) 952; Jentsch 141

180

(GROSZ) Meyer, Alfred Richard

Lady Hamilton, oder die Posen-Emma, oder vom Dienstmädchen zum Beefsteak à la Nelson. Eine ebenso romanhafte wie auch novellenschaukelnde durchwachsende Travestie von Alfred Richard Meyer, fleissigst und fleischigst bebildert von George Grosz. (Die neuen Bilderbücher. 5. Reihe.) 52, (4)pp., 8 photolithographic plates, each hand-colored (in colored pencil) and signed in pencil by Grosz. 4to. Publisher’s dec. boards with label on front cover, 1/4 vellum. Slipcase (boards, 1/4 cloth). Vorzugsausgabe: one of 50 hand-numbered copies, colored, signed and bound as noted, and signed also by Meyer in the colophon, from the limited edition of 300 in all. It may be noted that the satirical content of this publication extends beyond the tale and illustrations (a servant girl’s rise from rags to riches by posing in the nude): quite unbelievably, the whole of the text is set in Stefan-George-type. This is a rare example of the subversion of a typographic style for parodistic purposes; the strategy was used almost as a matter of course by the dadaists, but in another vein altogether. A very fine copy.

Berlin (Fritz Gurlitt), 1923. $8,500.00

Dückers B11; Lang 40; Bülow 56; Lewis p. 291; Düsseldorf 373; Rifkind (Davis( 962; Jentsch 142

181

GROSZ, GEORGE

Prostitutions Profeter. [Moralsatiriske G-G-Aets-Tegninger. 30, (2)pp. 24 full-page plates in text, after drawings by Grosz. 4to. Dec. wraps. with an additional cover drawing by Grosz. Frank Hermann has written of this very interesting and extremely rare book: ‘The volume was apparently issued in 1924 by the Malik-Verlag, and, perhaps because of the confiscation of "Ecce Homo" on 25 April 1923, was turned over to the Danish Student Union for distribution. The fact that the collection contained plates from Ecce Homo and was printed during the course of the trial may explain why the publication underwent another round of examination by foreign censors. The shipment (the size of the edition can no longer be determined) seems to have been seized by Danish customs however, and totally destroyed. To date, only five copies of the book have been located. The drawings in this collection were never reunited in this form, although a portion were later reprinted in various other Malik-Verlag publications."

The present copy is one of the five located by Hermann. The others are recorded in the Kongelige Bibliothek, Copenhagen; the Estate of George Grosz, Princeton; and the Seinsoth and Bülow collections (Bremen and Denmark respectively). No copies have ever appeared at auction in German-speaking countries, or been recorded in any other catalogues.

N.p./Berlin (D.N.S.S. = Det Ny Studentersammfunds Forlag/ [Copyright by] Der Malik-Verlag), 1924. $2,500.00

Hermann 171; Bülow 64; not recorded in Lang or Berlin

182

GROSZ, GEORGE & HERZFELDE, WIELAND

Die Kunst ist in Gefahr. Drei Aufsätze. (Malik-Bücherei. Band. 3.) 44, (4)pp. 2 line-drawn illus. by Grosz. Dec. boards, printed in yellow and black, designed by Grosz. A bright copy.

Berlin (Der Malik-Verlag), 1925. $500.00

Lang 43; Bülow 69; Hermann 167; Berlin 128; Motherwell/ Karpel 275; Tendenzen 3/248; Düsseldorf 377

183

(GROSZ) Mann, Heinrich

Kobes. Mit zehn Lithographien von George Grosz. 71, (1)pp., 10 full-page offset lithographic plates in text. 4to. Cloth. The mordant tale of a plutocrat, modelled (both by Mann and by Grosz) on the Rhenish industrialist Hugo Stinnes.

Berlin (Propyläen-Verlag), 1925. $800.00

Dückers B111; Lang 45; Bülow 72; Rifkind (Davis) 963; Jentsch

184

GROSZ, GEORGE

Der Spiesser-Spiegel. 60 Berliner Bilder nach Zeichnungen mit einer Selbstdarstellung des Künstlers. 14, (2)pp., 60 plates. 4to. Cloth. Dec. d.j., designed by Grosz (mends). Also included at the outset is Walter Mehring’s brief text, "Die Spiesserbiologie." The rare just jacket was published and illustrated in the exhibition "Buchumschläge 1900-1950, aus der Sammlung Curt Tillmannn," Schiller-Nationalmuseum, Marbach a.N., 1971.

Dresden (Carl Reissner Verlag), 1925. $750.00

Lang 44; Bülow 67; Tillmann 423

185

GROSZ, GEORGE

Hintergrund. 17 Zeichnungen von George Grosz zur Aufführung des "Schweijk" in der Piscatorbühne. (18)ff., including title and 17 "Manultiefdruck" plates. Oblong sm. 4to. (170 x 260 mm.). Publisher’s yellow paper portfolio, with dramatic cover drawing and design by Grosz. All contents loose, as issued. "Manultiefdruck" printing, devised in 1913, is explained by Dückers as a non-photographic reproductive chromate process.

Berlin (Der Malik-Verlag), 1928. $650.00

Dückers MVI; Lang 51; Bülow 83

186

GROSZ, GEORGE

Die Gezeichneten. 60 Blätter aus 15 Jahren. 1.-8. Tausend. 126, 92)pp. 60 full-page plates in text. 4to. Publisher’s cloth gilt. Book design by John Heartfield and Wieland Herzfelde. Ownership stamp.

Berlin (Der Malik-Verlag), 1930. $450.00

Lang 55; Bülow 89; Hermann 163; Berlin 233

187

GROSZ, GEORGE

Das neue Gesicht der Herrschenden Klasse. 60 neue Zeichnungen. 1.-9. Tausend. 126, (2)pp. 60 full-page plates in text. 4to. Publisher’s cloth gilt. Loosely inserted, the front cover panel of the original dust jacket, with cover drawing by Grosz. Book design by John Heartfield and Wieland Herzfelde. Head of backstrip slightly torn.

Berlin (Malik-Verlag), 1930. $400.00

Lang 54; Bülow 90; Hermann 170; Berlin 232; Lewis p. 276; Spalek 2403

188

GROSZ, GEORGE

Über alles die Liebe. 60 neue Zeichnungen. (7), 119, (1)pp. 60 full-page plates in text. 4to. Dec. wraps., with front cover drawing by Grosz. ‘The title suggests that we’re going to talk about interpersonal relations. Well good, but don’t expect my drawings to depict an idyllic, eternal love. Realist that I am, my pen and brush serve above all to draw what I see and what I observe, and that is mostly unromantic, sober, and hardly dreamy’ (from the preface by Grosz).

Berlin (Bruno Cassirer), 1930. $350.00

Lang 56; Bülow 91

189

GROSZ, GEORGE

A Post-War Miscellany. (Criterion Miscellany. No. 31.) (2)pp., 28 plates with drawings by the artist. Wraps. D.j. (chipped).

London (Faber & Faber), 1931. $150.00

Lang 59; Bülow 93

190

GROSZ, GEORGE

Bagdad-on-the-Subway. A portfolio of six signed watercolors depicting O’Henry’s New York. (The Print Club Portfolio Number Two, Spring 1935.) Letterpress title and table, printed in red and black, and six collotype and pochoir color facsimile plates, each signed and numbered in pencil by the artist. Sheet size: 523 x 380 mm. Large folio. Publisher’s cloth portfolio (burlap over boards). All contents loose, as issued. Edition limited to 150 copies in all, printed on Arches by Daniel Jacomet. The Limited Editions Club, with which The Print Club was affiliated, had earlier in the same year published a selection of short stories by O’Henry entitled "The Voice of the City," for which Grosz had furnished 20 watercolor illustrations. Six of these were chosen for reproduction, in a larger format, in "Bagdad-on-the Subway." In May 1935, the watercolors were exhibited at the Contempora Galleries in New York next to the facsimiles, to show the fidelity of the reproduction. Loosely inserted: publisher’s prospectus (folded quarto sheet, with commentary). A very fine copy.

New York (The Print Club), 1935. $4,000.00

Dückers MVII; Lang 68; Bülow 106

191

GROSZ, GEORGE

Interregnum. Introductory comment by John Dos Passos. 19, (3)pp., 64 plates (loose as issued). 1 four-color original lithograph, signed in pencil by Grosz, as frontispiece. Folio. Orig. dec. boards, 1/4 cloth, with cover design by Grosz. One of 20 hand-lettered copies, apart from 280 numbered copies, from the limited edition of 300 in all. (This copy imprinted with the name of William Jacob Peabody in the colophon.) Printed on hand-moulded Rives paper, the typography by Joseph Blumenthal. The binding is styled as a box, in which the text fascicle (including frontispiece) is hinged to the interior of the lid, and the loose plates housed in an open compartment opposite. Dückers has discussed the somewhat uncertain date of the drawings illustrated in the portfolio. This was first advertised in the prospectus issued by the Black Sun Press as "a pictorial record of modern Germany from 1924 to 1936." As the earliest drawing reproduced dates from 1927, it is apparent that there was either a change in the selection included, or that these years were meant to refer to the period depicted, rather than the dates of the drawings themselves. Loosely inserted, a copy of the rare prospectus for the book issued by the Black Sun Press (single sheet, folding, with one full-page illustration by Grosz; printed in red and black). The box a bit worn at extremities, as usual; a fine and fresh copy within. Very rare.

New York (The Black Sun Press), 1936. $5,500.00

Dückers S11; Lang 70; Bülow 108; Lewis p. 277; Spalek 2399; Minkoff A-44; Wheeler p. 103

192

GROSZ, GEORGE

George Grosz: An Autobiography. Translated by Nora Hodges. vii, (1), 309, (3)pp. Prof. illus. Dec. boards, 1/4 morocco. Clamshell box (cloth, 1/4 morocco.) Special collector’s edition, limited to 150 numbered copies, each accompanied by an original page from one of Grosz’s sketchbooks, from the estate of the artist. A new edition of "Ein kleines Ja und ein grosses Nein." The leaf with this copy (loosely inserted in cloth folder, as issued) is a fine early drawing, heavily worked in blue and ink, of a young man hunched over a table, reading beside a large glass-domed oil lamp. It is dated "24.12.12" in pen by the artist, and bears the blind-stamp of the George Grosz Estate at lower left.

New York (Macmillan Publishing Company), 1983. $2,500.00

Bülow 118b

193

GUTAI 8

L’aventure informelle. [Par] Michel Tapié. Numéro spécial sur l’art informel, publié le 29 septembre 1957. Sq. 4to. Wraps. Publisher’s cardboard case. A special issue of "Gutai" dating from the moment when Tapié visited in Tokyo for an exhibition of the work of Georges Mathieu, and drew the Gutaï movement into the sphere of Western art informel. The issue is devoted primarily to European and American painters (Burri, Saura, Paolozzi, Pollock, Krasner, Mitchell, Gottlieb, Guston, Tobey, et al), but also includes a number of Gutaï counterparts. $275.00

194

(HARING, KEITH)

Keith Haring. (16)pp. Sm. 8vo. Dec. wraps., designed by the artist. A black-and-white cartoon narrative by Haring, without text. Publication was funded by Appearances Magazine, Brooke Alexander Inc. and The Beards Fund. This is perhaps the first book published by or on the artist.

New York (Appearances Press), 1982. $300.00

195

HEARTFIELD, JOHN

"Selbstporträt." Printer’s proof photograph (halftone reproduction). 195 x 136 mm. (7 3/4 x 45 3/8 inches). Signed in pencil by Heartfield on the verso; above this, several printer’s inscriptions in pencil (in a different hand): "réduire à" (etc.), with arrows and dimensions. Diagonal crease at lower right; several glue stains. Matted. This famous image of Heartfield shouting, his eyes half-closed and his fists clenched before him in vehement emotion, was reproduced in the trial sheets for "Dadaco," the great "dadaistischer Handatlas" projected for January 1920, and ultimately never published. This anthology was to have been edited by Baader, Grosz, Hausmann, Heartfield, Huelsenbeck and Mehring. The trial proofs show it to have been one of the masterpieces of dada typography, particularly in its brilliantly free use of color printing. In it, Heartfield’s portrait is conspicuously placed in the lower right quadrant of a printed text, and two handwritten slogans in blue and yellow script are seen to explode from him across the page: "Steckt die Maler ins Irrenhaus!" (‘Throw the painters in the madhouse!’) and "Seid trunken vor Schönheit!" (‘Get drunk with beauty!’). The image was also used later in the year when it was incorporated in a placard hung in the Dada Room at the famous Erste Internationale Dada Messe, at the Kunsthandlung Dr. Burchard in Berlin, from June through August. The placard, credited to Grosz, Hausmann and Heartfield, is headlined "WIERTZ: Dereinst wird die Photographie die gesamte Malkunst verdrängen und ersetzen" (‘Wiertz: One day all artistic painting will be supplanted and replaced by photography’). Its installation there can be seen in two contemporary photographs, reproduced in "Stationen der Moderne" (Abb. 4/10 and 4/11).

Provenance:

The work derives from the collection of Tristan Tzara, and was included in the sale of his library and collection in Bern, June 1968, where it was purchased by Arturo Schwarz. Highly important, it has figured in many exhibitions, and been widely published, as noted below.

Exhibitions/Publications:

Bern. Kornfeld und Klipstein. Dokumentations-Bibliothek III: Teile der Sammlung Tristan Tzara, Paris, 12 Jun. 1968. Cat. no. 269.4; Torino. Galleria Civica d’Arte Moderna. Combattimento per un’immagine. Fotografie e pittori. March-April 1973. Catalogue by D. Palazzoli and L. Carluccio; Leverkusen. Städtisches Museum. Medium Fotografie: Fotoarbeiten bildender Künstler von 1910 bis 1973. Catalogue by Rolf Wedewer und Fred Jahn. May-Aug. 1973, p. 45; Zürich. Kunsthaus. Malerei und Photographie im Dialog, von 1840 bis heute. May-July, 1977. Catalogue by Erika Billeter. Cat. no. 487, illus. p. 194; London. Hayward Gallery: Dada and Surrealism Reviewed. Jan.-March 1978. Catalogue by Dawn Ades. Cat. no. 4.46, illus. p. 99; Hannover. Kestner-Gesellschaft: Dada Photographie und Photocollage. June-Aug. 1979. Catalogue by Carl-Albrecht Haenlein. Cat. no. 80, illus. p. 152; Caracas. Museo de Arte Contemporaneo de Caracas. El espiritu dada 1915/1925. 1980

Also reproduced:

Berlin. Berlinische Galerie. Stationen der Moderne. 1988. Abb. 4/3 (p. 158); Pachnicke, Peter & Honnef, Klaus (eds.). John Heartfield. New York, 1992, p. 13 (full-page plate). $25,000.00

196

HEARTFIELD, JOHN

AIZ ("Arbeiter-Illustrierte-Zeitung") and VI ("Volks Illustrierte"). A collection of 181 issues, with photomontages by John Heartfield. Unbound and in exceptionally fine condition. Further details on request. $100,000.00

197

(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. 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.

Berlin, 1912. $1,400.00

Rifkind 61

198

[HERZFELDE, WIELAND]

Schutzhaft. Erlebnisse vom 7. bis 20. März 1919 bei den Berliner Ordnungstruppen. 15, (1)pp. Title page drawing and Malik-Verlag signet (on verso) both by George Grosz. Lilac wraps., reproducing Grosz’ title-page drawing (a bit faded). A pamphlet, ‘Protective Custody,’ anonymously written by Herzfelde (though there is an afterword signed by him at the conclusion), in which he describes his harrowing experiences in prison following his arrest as a dissident publisher. "Schutzhaft," dated "Ende März 1919" on the title-page, is both a pamphlet in its own right, and the second issue of Herzfelde’s short-lived bi-monthly review "Die Pleite," eventually absorbed by "Der Gegner." This first edition of "Schutzhaft" was issued in both lilac and in rust-colored wrappers; there was also a second edition in the same year, in both green and orange stiff wrappers.

Berlin (Der Malik-Verlag), 1919. $1,200.00

Lang 6; Bülow 10; Hermann 188; Berlin 18; Raabe/Hannich-Bode 120.2

199

HERZFELDE, WIELAND

Tragigrotesken der Nacht. Träume. Einbandentwurf und Zeichnungen von George Gross [sic!]. 88, (2)pp. 20 line-drawn illus. by Grosz in text. Title-page signed and double-page endpapers (repeated front and back) also by Grosz. Sm. 4to. Dec. wraps., printed in red and green with a drawing by Grosz. The text, eighteen prose poems written by Herzfelde between the summer of 1913 and the fall of 1919, reflect the horrors of the First World War, as evoked in expressionistic dreams. A rather worn copy, with losses at rusted staples near the end of the text; covers a bit soiled.

Berlin (Der Malik-Verlag), 1920. $500.00

Lang 12; Bülow 15; Hermann 192; Berlin 22; Raabe/ Hannich-Bode 120.3; Düsseldorf 401

200

HUELSENBECK, RICHARD

En avant Dada. Eine Geschichte des Dadaismus. 1.-5. Tsd. (Die Silbergäule. Band 50/51.) 44, (4)pp. Lrg. 8vo. Orig. wraps., with elaborate dada typographic composition, printed in red. Light wear; bookplate on title-page.

Hannover/Leipzig/Wien/Zürich (Paul Steegemann), 1920. $700.00

Dada Global 67; Motherwell/Karpel 6; Rubin 118; Gershman p. 24; Reynolds p. 51

201

HUELSENBECK, RICHARD (editor)

Dada Almanach. Im Auftrag des Zentralamts der Deutschen Dada-Bewegung. 159, (1)pp., 9 plates. Lrg. 8vo. Orig. printed wraps., designed by Huelsenbeck. Published in the autumn of 1920, just after the close of the Erste Internationale Dada Messe, the ‘Dada Almanach’ was "the first attempt to give an account of the movement’s international activities, at least in Europe.... Published on the initiative of Huelsenbeck, who was absent from the exhibition,...it contained important articles on the theory of Dadaism...valuable statements by the Dada Club and some pages by some less well-known Dadaists, such as Walter Mehring (‘You banana-eaters and kayak people!’), sound and letter poems by Adon Lacroix, Man Ray’s companion in New York, not to mention a highly ironical letter by the Dutch Dadaist Paul Citroën, dissuading his Dadaist partners from going to Holland. The volume was also distinguished by the French participation of Picabia, Ribemont-Dessaignes and Soupault, quite unexpected in Berlin; their contributions were presumably collected and sent on from Paris by Tristan Tzara. The latter, living in Paris with the Picabias since early January 1920, gave in the ‘Dada Alamach’ a scrupulous and electrifying account of the doings and publications of the Zürich Dadaists....one of the most dizzying documents in the history of the movement" (Chapon). A fine copy.

Berlin (Erich Reiss), 1920. $2,200.00

Gershman p. 24; Almanacco dada 34; Ades 4.68; Dada Global 68; Bergius p. 108f.; Chapon p. 111; Motherwell/Karpel 7; Rubin 464; Reynolds p. 51; Verkauf p. 100; Richter p. 235; Dada Artifacts 46

202

HUELSENBECK, RICHARD

Dada siegt! Eine Bilanz des Dadaismus. Einbandentwurf von George Grosz. 40, (4)pp. Sm. 4to. Orig. dec. wraps., printed in green and red with a photomontage composition overlaid with dada typography. "About this time Huelsenbeck moved away from the group, no doubt to continue his medical studies. But he also wrote about it, in almost historical terms. In 1920 he reissued his ‘Phantastische Gebete’ of the Zürich period, illustrated now by George Grosz, and also published the following: ‘En avant Dada,’ ‘Die Geschichte des Dadaismus,’ ‘Dada siegt! and ‘Deutschland muss untergehen.’ Not only interesting eyewitness accounts, they were Huelsenbeck’s way of saying goodbye after the last soirée he had organized, with Max Reinhardt as entertainer, at the Cabaret Schall und Rauch (December 1919), which he described in the ‘Dada Almanach’ under the pen name Alexis" (Dachy). The cover montage is actually a collaborative work by Grosz and John Heartfield, titled "Sonniges Land" and signed "Grosz-Heartfield mont." in the image. Wraps. with marginal losses, renewed (crudely at one portion of front cover).

Berlin (Malik-Verlag), (Abteilung Dada), 1920. $1,200.00

Malik 23; Dada Global 66; Bergius p. 108f.; Chapon p. 111; Motherwell/Karpel 298; Verkauf p. 101

203

HUELSENBECK, RICHARD

Deutschland muss untergehen! Erinnerungen eines alten dadaistischen Revolutionärs. 13, (3)pp. 2 illus. by George Grosz. Sm. 4to. Dec. wraps. A carefully restored copy, archivally silked.

Berlin (Der Malik-Verlag), 1920. $1,500.00

Lang 9; Bülow 17; Hermann 197; Berlin 24; Raabe/Hannich-Bode 132.7; Düsseldorf 426; Dada Global 69; Tendenzen 3/221; Motherwell/Karpel 300

204

HUELSENBECK, RICHARD

Phantastische Gebete. Zeichnung von George Grosz. Zweite erweiterte Auflage. 31, (1)pp. 11 illus. by Grosz (4 full-page). 4to. Dec. wraps., printed in blue with a drawing by Grosz. "Phantastische Gebete" was first published in Zürich in 1920 as part of the Collection Dada, with woodcut illustrations by Hans Arp. Covers foxed.

Berlin (Der Malik-Verlag, Abteilung Dada), 1920. $1,500.00

Lang 10; Bülow 18; Hermann 199; Berlin 26; Raabe/Hannich-Bode 132.1; Motherwell/Karpel 306; Düsseldorf 428; Dada Global 70; Dada Artifacts 48

205

HUELSENBECK, RICHARD

Doctor Billig am Ende. Ein Roman. Mit acht Zeichnungen von George Grosz. 129, (3)pp. 8 illus. 4to. Boards, 1/4 cloth, with gilt blue paper label on front cover. First edition. Inner front hinge shaken.

München (Kurt Wolff Verlag), 1921. $600.00

Lang 17; Bülow 29; Raabe/Hannich-Bode 132.10; Wilpert-Gühring 12; Düsseldorf 430; Motherwell/Karpel 301; Tendenzen 3/238

206

HUGNET, GEORGES

1961. Illustré de quatre photomontages. 60, (10)pp. 4 full-page photomontages in text. Sm. 4to. Sewn signatures, loose within wrapper, as issued. Errata sheet loosely inserted. One of 500 numbered copies on vélin, from the limited edition of 573. Presentation copy, inscribed by Hugnet to Marie-Laure de Noailles on the half-title ("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 vicomte 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.

Paris (Chez l’Auteur), 1961. $2,800.00

Pérégrinations de Georges Hugnet no. 130; cf. Biro/ Passeron p. 266

207

HUGNET, GEORGES

La septième face du dé. Poëmes - découpages. Couverture de Marcel Duchamp. (88)pp. 20 full-page collotype plates of photomontages (15 color). Numerous ornamental designs in text. 4to. Dec. wraps., embossed on the front cover with a halftone reproduction of Duchamp’s "Why Not Sneeze Rrose Sélavy," stitched as issued, with red silk cord, in Japanese fashion. One of 250 numbered copies on vélin, from the limited edition of 294 in all. One of the greatest of all Surrealist books, distinguished particularly for its brilliant photomontage compositions, the restrained but pungent use of colored overlays, and the incorporation of tabloid typography and fragments of steel-engraved illustration. Front cover slightly chipped at top, with small loss.

Paris (Editions Jeanne Bucher), 1936. $5,500.00

Pérégrinations 35-38; Biro/Passeron 1408; Ades 12.152; Gershman p. 25; Reynolds p. 53; Andel 154; Jean p. 256

208

HUGNET, GEORGES

Petite anthologie poétique du Surréalisme. 166, (4)pp., 8 plates with numerous illus. One of 2000 copies on alfa bouffant, from the edition of 2028 in all. With illustrations of paintings and objects (some of them little-known) by Man Ray, Giacometti, Miró, Dalí, Ernst, Brauner, Arp, and others, and a lengthy introduction by Hugnet. Wraps. a bit faded and chipped at backstrip.

Paris (Editions Jeanne Bucher), 1934. $300.00

Gershman p. 25; Biro/Passeron 1406; Rubin 92; Reynolds p. 54

209

HUGNET, GEORGES & SELIGMANN, KURT

Une écriture lisible. 38, (2)pp. 15 plates in text. Lrg. 4to. Wraps. One of 175 numbered copies, from the edition of 255 in all.

Paris (XXe Siècle/ Éditions Chroniques du Jour), 1938. $375.00

Pérégrinations 45; Ades 12.162; Reynolds p. 54

210

HUNGER

7 Originallithographien. Gesamterlös für die Hungerhilfe. Künstlerhilfe: Otto Dix, George Grosz, Eric Johansson, Käthe Kollwitz, Otto Nagel, Karl Völker, Heinrich Zille, für die Internationale Arbeiterhilfe. (8)ff., including title sheet and 7 offset lithographs by the foregoing. Sm folio (340 x 240 mm.). Paper folder, printed in red. All contents loose, as issued.

Berlin (Neuer Deutscher Verlag), 1924. $500.00

Dückers E99a; Bülow 62; Söhn 430

211

INTERNATIONAL SURREALIST BULLETIN

No. 4. Issued by the Surrealist Group in England./ Bulletin International du Surréalisme. No. 4. Publié par le Groupe Surréaliste en Angleterre. 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), following on the International Surrealist Exhibition opened by Breton at the New Burlington Galleries in London in the summer of 1936. Slightly worn.

London, 1936. $250.00

Gershman p. 48; Ades p. 357; Rubin 458; Reynolds 108

212

INTERNATIONALE KONGRESSE FÜR NEUES BAUEN II

Die Wohnung für das Existenzminimum. Auf Grund der Ergebnisse des II. Internationalen Kongresses für Neues Bauen, sowie der vom Städtischen Hochbauamt in Frankfurt am Main veranstalteten Wander-Ausstellung. Einhundert Grundrisse mit erklärenden Referaten von Victor Bourgeois (Brüssel), Le Corbusier und Pierre Jeanneret (Paris), Sieg-fried Giedion (Zürich), Walter Gropius (Berlin), Ernst May (Frankfurt) und Hans Schmidt (Basel). 42, (4), 15, (1)pp., 207 plates of plans with facing commentary in parallel German, French and English. 4to. Dec. wraps. (slightly chipped at head of backstrip). English-language summaries. First edition. The second congress of CIAM, held in Frankfurt under the auspices of Ernst May, and focusing on low-cost housing.

Frankfurt a.M. (Englert & Schlosser), 1930. $350.00

213

[ITTEN, JOHANNES]

Utopia. Dokumente der Wirklichkeit. Bruno Adler, Herausgeber. No. I/II (all published). 85, (5). 10 hinged original lithographs by Itten (on 5 triple-page folding plates), of which 1 with lithographic portion in red, with glassine overlay. 1 folding color chart by Itten (color lithograph) hors texte. 10 full-page typographic compositions by Itten, printed in red and black. 10 tipped-in halftone illus. (2 hors texte). 4to. Orig dec. wraps. New fitted cloth clamshell box. Itten’s lithographic contribution, the "Analysen alter Meister," is a portfolio of extremely exuberant freehand diagrams and sketches, heavily annotated, of 5 mediaeval, oriental and baroque masterpieces. His pedagogical emphasis on the psychic and philosophical determinants of visual design, expressed in ‘Utopia’ as in his teaching, were to bring him into conflict with Walter Gropius in the 1921/1922 term at the Bauhaus. Light foxing to front cover and flyleaf; 2 folds expertly reinforced on verso.

Weimar (Utopia-Verlag), 1921. $5,000.00

Rotzler-Itten 228-248, plates 221-223; Wingler 49, 640

214

IZOBRAZITEL’NOE ISKUSSTVO. NO. 1

87, (1)pp. 45 illus. Folio. New cloth. The inaugural issue of ‘Visual Art,’ the officiaorgan 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), and has been attractively rebound.

Petersburg (Narkompros), 1919. $700.00

Getty 276

215

JARRY, ALFRED

L’amour en visites. 220pp. Illus. and front cover design by D. Mullet. Dec. wraps. First edition. The first of Jarry’s four books on love, including a scandalous chapter modeled on his pursuit by the lecherous old mistress of Remy de Gourmont. A little chipped, but a good copy.

Paris (P. Fort), 1898. $500.00

216

JARRY, ALFRED

Les minutes de sable mémorial. ix, (1), 210, (4)pp. 8 original woodcuts by Jarry, of which 7 printed hors texte in dark blue and brown, and 1 on the front wrapper, printed in dark gold. 2 further woodcuts (earlier ‘imageries populaires’) hors texte, printed in brown; 1 line-block reproduction in black. Orig. dec. wraps. Glassine d.j. One of 197 copies on uncut Arches, from the limited edition of 216 copies in all.

Jarry’s first book, and a work of signal importance and influence, both for its literary significance and for its woodcuts. We quote at length from Riva Castleman’s discussion of the book in "A Century of Artists Books": "Writing at the height of the Symbolist movement, [Jarry] based his ideas on ‘the identity of opposites.’ In his first book, ‘Les minutes de sable mémorial’ (1894), the obscurity of his vivid language made it impossible to pin down one idea without it being simultaneously understood in another sense. This small book, containing poems, two multipart texts in play form, and portions of ‘César Anti-Christ,’ was illustrated by the author. Among his several woodcuts is a nearly abstract figure of an owl in front of a window. The emphasis on planes of light reflected Jarry’s use of geometric terms in some of the texts...and has led some to believe that an elemental cubism was implied.... [The] tone of the text, which is confusingly irrational, undermines the serious meaning of Jarry’s illustrations and reinforces his penchant for confrontation, in this case with the then-current fanatical interest in religious mysticism.... Jarry’s fascination with medieval lore appears in the language of his poems, to the point that the colors of objects (that is, the misleading ‘sable’ of the title—’sand’ in French, ‘black’ in heraldry) are heraldic designations, and the final woodcut of a bleeding heart over a skull, the drops equated with gules on an escutcheon, is given the form of a ‘sablier’ (a sandclock or hourglass), as in the title of the final poem.... ‘Les minutes de sable mémorial’ was notable for more than its dynamic disharmonies. The typography of the title-page, designed by Jarry, preceded the better-known adventures in arrangements of letters and words of the Italian Futurists, Russian Constructivists, and, more directly, the ‘calligrammes’ of Guillaume Apollinaire."

The woodcut illustrations for "Les minutes de sable mémorial" constitute a major portion of Jarry’s graphic oeuvre, and their place among late nineteenth-century Symbolist prints is quite interesting. Jacquelynn Baas has pointed out that Jarry probably took up the woodcut under the tutelage of Paul Gauguin, whom he almost certainly visited when in Pont-Aven in the summer of 1894, inscribing three poems with titles taken from Gauguin prints in the livre d’or of the pension Gloanec. It was at this time that Louis Roy was printing an edition of Gauguin’s Noa-Noa suite, and Gauguin himself was producing some additional woodcuts.

Hairline cracks at hinges of wrappers; a beautiful copy, crisp and clean, with exceptionally fine and strong impressions of the woodcuts. Extremely rare thus.

Paris (Mercure de France), 1894. $9,500.00

Castleman pp. 21f., 142, color plates 80-81, fig. 5; Chapon p. 32; Baas, Jacquelynn & Field, Richard S.: The Artistic Revival of the Woodcut in France, 1850-1900 (Ann Arbor, 1983), p. 121f., cat. 70

217

"JEDERMANN SEIN EIGNER FUSSBALL"

Illustrierte Halbmonatsschrift. [Herausgeber: Wieland Herzfelde.] Verantwortlich für den gesamten Inhalt: Helmut Herzfelde [i.e. John Heartfield]. 1. Jahrgang, Nr. 1, 15 Februar 1919 (all published). (4)pp. (single sheet, folding). 8 illus., including 2 photomontages by John Heartfield on the front cover and 6 line drawings by George Grosz. Folio. Tabloid format. Texts by Herzfelde, Walter Mehring, Mynona; other contributors jointly credited include Richard Huelsenbeck, Erwin Piscator, Karl Nierendorf, and J.H. Kuhlemann. The unique issue of this brilliant Dada periodical, confiscated immediately on publication by the police. Despite its absurdist amusements (not least of which are Heartfield’s brilliantly funny photomontages, such as "Wer ist der Schönste?," a proposed beauty contest of government leaders whose faces are coquettishly spread across an open fan), this is a work of vehement radical opinion, issued only a few weeks after the communist uprising in Berlin had been crushed by Noske and the Free Corps, and Rosa Luxemburg and Karl Liebknecht murdered. "‘Jedermann sein eigner Fussball’" exemplifies Berlin Dada in its most exacerbated political phase, almost beyond the fringe of art activity.

Berlin/Leipzig (Malik-Verlag), 1919. $6,000.00

Dada Global 28; Ades 4.65; Almanaco 72; Bergius p. 334ff.; Tendenzen 3.178; Düsseldorf 459; Chapon p. 101; Raabe 64; Raabe/Hannich-Bode 120.18; Hermann 406; Berlin: Malik 14; Siepmann A4; Herzfeld pl. 8

218

JOLY, AUGUSTE

Le futurisme et la philosophie./ Il futurismo e la filosofia. (Dalla rivista ‘La Belgique artistique et littéraire,’ luglio 1912.) (4)pp. (single sheet, folding). 4to. Self-wraps. Parallel texts in French and Italian. Marinetti is responsible for the tract format of the text, which originally appeared under the title "Sur le futurisme."

Milano (Direction du Mouvement Futuriste), 1912. $200.00

219

KAFKA, FRANZ

Die Verwandlung. (Der jüngste Tag. Band 22/23.) 72, (8)pp. Wraps. Uncut. New cloth fitted clamshell box. First edition of "The Metamorphosis." Front cover illustration by Ottomar Starke. One tiny foxmark at outer edge of front cover, a little light foxing on back cover, last 4Ff. with small crease; quite a nice copy.

Leipzig (Kurt Wolff), [1915]. $1,800.00

Caputo-Mayr & Herz, p.74.

220

KANDINSKY, WASSILY, & MARC, FRANZ (editors)

Der Blaue Reiter. Zweite Auflage. (8), 140, (10)pp. 141 illus., including 38 plates hors texte, of which 4 hand-colored. 3 musical scores hors texte, by Schönberg, Berg and Webern. 8 initial letters and vignettes designed by Arp and Marc. 4to. Orig. dec. cloth, printed in orange, blue and black with a design by Kandinsky. New fitted cloth clamshell box. Texts by Marc, Burljuk, Macke, Schönberg, Kusmin, Allard, Hartmann, Busse, Sabanejew, Kulbin, and Kandinsky.

The second edition, with two new prefaces by Kandinsky and Marc, and with a few changes in the plates; Marc, for example, selected a new subject for his color plate. "In order to explain to the public the difference between the intentions and practice of 19th-century painting and the entirely different expressive means of the new generation of artists, an almanac was produced in May 1912 by Piper-Verlag of Munich.... ["Der Blaue Reiter"] contained essays written exclusively by artists on subjects related to the fine arts. The carefully produced volume proved in retrospect to be the most significant programmatic writing on art of the 20th century. Kandinsky and Marc set out in individual essays their conceptions of the subject-matter of art and its formal expression. They reproduced works of art of very diverse styles, epochs and cultures, such as medieval book illustrations, religious paintings on glass, child art, and carvings and other objects from non-European cultures, juxtaposed with illustrations of their own works.... In this way they reminded the reader that the endeavour to achieve a particular means of expression had always determined artistic form, not only for the artists of the Blaue Reiter. Their principal aim, however, was to explain the new subject-matters and means of expression used by the artists of their own group. On this point Kandinsky wrote: ‘None of us seeks to reproduce nature directly.... We are seeking to give artistic form to inner nature, i.e. spiritual experience.’" (Rosel Gollek, in "The Dictionary of Art."). Light rubbing to front cover; a fine, crisp copy.

München (R. Piper & Co.), 1914. $5,000.00

Rifkind 160; Perkins 126; Spalek 1190; The Artist and the Book 139

221

(KATZ, ALEX) Katz, Vincent

A Tremor in the Morning. Poems, with original linocuts by Alex Katz. (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.

New York (Peter Blum Edition), 1986. $400.00

222

DAS KESTNERBUCH

Herausgeber: Dr. Paul Erich Küppers. 158, (2)pp., 12 full-page original prints. Lrg. 4to. Publisher’s marbled boards, 1/4 leather gilt. T.e.g. Vorzugsausgabe: one of 150 numbered copies on fine wove paper, specially bound by hand. Original woodcuts by Erich Heckel ("Männer am Strand," Dube 319iiB), Ernst Barlach ("Barmherziger Samariter," Schult 163), Lyonel Feininger ("Rue St. Jacques," Prasse W46ii), Kurt Schwitters (Untitled, 1919), Eberhard Viegener, and Wilhelm Plünnecke; original lithographs by Paul Klee ("Auslöschendes Licht," Kornfeld 75B), Conrad Felixmüller ("Toter Genosse," Söhn 76B), Richard Seewald ("Wäscherinnen am Lago Maggiore," Jentsch L91), Max Burchartz, Otto Gleichmann and Max Unold. Texts by Thomas Mann, Döblin, Lasker-Schüler, Mombert, Däubler, Felixmüller, Worringer and others. A fine copy of the deluxe edition of this seminal anthology, the yearbook of the Kestner-Gesellschaft in Hannover. Slight crack at top of front hinge; slightly bowed.

Hannover (Heinrich Böhme), 1919. $4,000.00

Manet to Hockney 51 ; Söhn 130; Raabe/Hannich-Bode 174.3; Raabe I.139; Perkins 134; Jentsch 53; Rifkind 321; Spalek 525

223

KIRCHNER, ERNST LUDWIG

Mitgliederverzeichnis der Künstlergemeinschaft "Brücke." (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. It is interesting to note that here 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.

[Dresden, 1907]. $9,500.00

Dube 700, 701.II, 702.I, 705.II.; Bolliger/Kornfeld 41/16, cf. 41/17-20; cf. Rifkind/Davis 1424

224

(KIRCHNER) Bosshart, Jacob

Neben der Heerstrasse. Erzählungen. Mit Holzschnitten von E.L. Kirchner. 434, (6)pp. 24 original woodcuts by Kirchner, integrated with text (Dube 808-831). Sm. stout 4to. Publisher’s salmon-boards, 1/4 red cloth, with woodcut illustration and typography by Kirchner on front cover and spine. A bit faded and worn.

Zürich/Leipzig (Grethlein & Co.), 1923. $850.00

Dube (1980) 808-831; Lang 174; Rifkind/Davis 1478, 1478.1; Rifkind 103; Vom Jugendstil zum Bauhaus 88; Schauer II.119; Jentsch 143

225

(KIRCHNER) Heym, Georg

Umbra Vitae. Nachgelassene Gedichte. Mit 47 Originalholzschnitten von Ernst Ludwig Kirchner. (4), 62, (2)pp. 47 original woodcuts by Kirchner, including frontispiece printed in red and black (Dube 759-807). Sm. 4to. Publisher’s cloth, with original woodcut by Kirchner printed in yellow, green and black, covering the entire binding. Endpapers with original woodcuts by Kirchner, printed in violet on pink stock. One of 500 numbered copies, from the limited edition of 510. Designed entirely by the artist, this is one of the key masterpieces of Expressionist illustrated books. Very lightly faded at backstrip; a fine copy.

München (Kurt Wolff), 1924. $15,000.00

Dube 759-807; The Artist and the Book 142; Castleman p. 229; Wheeler p. 104; Andel 22; Stern 53; Bareiss 35; Villa Stuck 52; Vom Jugendstil zum Bauhaus 87; Lang 175; Jentsch 152; Rifkind 104

226

(KLIMT) Eisler, Max

Gustav Klimt. 55, (5)pp., 31 hinged plates with 35 tipped-in illus. (5 printed in colors and gold). 4to. New cloth, 1/4 morocco gilt, incorporating the original decorative gilt morocco signets on both covers, designed by Hoffmann. Endpapers renewed. Edition limited to 85 numbered copies in all, with covers designed by Joseph Hoffmann and initial letters by Ugo Zovetti. A handsomely restored copy.

Vienna (Rikola Verlag), 1921. $850.00

227

KOHL, AAGE VON

Die Hängematte des Riugé. (Sturm-Bücher. 6.) 32pp. Printed wraps. Presentation copy, inscribed by the translator, Nell Walden, to Hans Kleinschmidt, 1967.

Berlin (Verlag Der Sturm), 1915. $250.00

Raabe 147

228

KOKOSCHKA, OSKAR

Der gefesselte Columbus. 12 Lithographien. 12 transfer lithographs (or photolithographs), each signed in pencil by Kokoschka in the margin, within passepartout mats, loose as issued in portfolio. Folio. Publisher’s printed portfolio (boards, 3/4 vellum). A special copy of Ausgabe B, limited to 150 copies on Bütten, with all 12 prints are signed in pencil by the artist, though only the first print was supposed to have been signed in this portion of the edition. (Ausgabe A, limited to 50 copies on Japan, was signed throughout, as here.) Anomalously, the second print (WW 44) is here also numbered in pencil, 23/25.

"Although the series print portfolio ‘Der gefesselte Kolumbus (Columbus Chained) was not published until 1916, Oskar Kokoschka made the twelve drawings (from which the lithographs in the set were executed) in 1913. At the time, the artist was involved in an intense and unhappy relationship with Alma Mahler, the Viennese widow of the composer Gustav Mahler, and the suite represents a universalized account of their tense and conflicted affair, with Kokoschka and his lover representing the archetypal Man and Woman. ‘Columbus Chained’ is a visual narrative of the spiritual redemption of Woman through the martyrdom of Man. Throughout the series, Man appears both heroic and independent at the same time that he is physically bound by his desire to Woman. Woman is Eve, the temptress, but similarly dependent on Man" (Reisenfeld). In an interview in 1966, Kokoschka remarked "‘Columbus Chained’ is me again, of course, and in this sense the title is symbolic—bound by a woman, whose features I have depicted on the title-page. My Columbus ventures out not to discover America, but to recognize a woman who binds him in chains. At the end she appears to him as a love-ghost, moon woman."

A book edition of the work, with text, did not appear until 1920, published in 120 copies and then subsequently reissued in popular reprints. Wingler/Welz, following Arntz, give the date of the present version as 1918, though the portfolio itself still carries the date 1916 (from Augsgabe A) on the front cover. WW 48 slightly creased at left; WW 53 with very pale foxing in one portion; WW 47 signed upside-down; a little very pale foxing on a few mounts; backstrip of portfolio slightly worn; in general, a very fine, clean copy, remarkable in being signed throughout.

Berlin (Fritz Gurlitt), 1916 [1918]. $12,000.00

Wingler/Welz 43-54; Lang 190; Reisenfeld, Robin: The German Print Portfolio, 1890-1930 (Chicago, 1992), p. 50ff.

229

KRIEG

7 Originallithographien. Gesamterlös für die Hungerhilfe und die Kinderheime der I.A.H. Herausgegeben von der Künstlerhilfe, Otto Dix, George Grosz, Otto Nagel, Käthe Kollwitz, Willibald Krain, Rudolf Schlichter, Heinrich Zille, zum 10. Jahrestage des Kriegsbeginnes. (8)ff., including title sheet and 7 offset lithographs by the foregoing. Sm folio (350 x 240 mm.). Paper folder, printed in black. All contents loose, as issued.

Berlin (Neuer Deutscher Verlag), 1924. $500.00

Dückers E100b; Bülow 71; not in Lang

230

KUPKA, FRANTISEK

Abstrakce Kreslil Frantisek Kupka. Introduction by Jan Loris. (Malá Edice Mistru. 5.) (4)pp., 16 plates. Lrg. 8vo. Portfolio (wraps.). Contents loose, as issued. "According to Fédit, these drawings were probably worked on in the period 1928-1932, at a time when Kupka was attempting to purify his forms. The first twelve of the total of sixteen were originally published on a single page in ‘Abstraction-Création’ no. 2, 1933, p. 26. This repertory of forms will be found developed in diverse manners throughout the 1930s. Many of the original gouaches and related studies are in the Musée National d’Art Moderne, Paris. In 1948, the entire sixteen were published on separate sheets in the small book exhibited here" (Margaret Rowell, in the catalogue of the Guggenheim retrospective, 1975).

Praha (Vladímir Zikes), 1948. $1,200.00

New York, Solomon R. Guggenheim Museum: Frantisek Kupka, 1871-1957: A Retrospective (1975), no. 170

231

LACERBA

(Periodico quindicinale; Periodico settimanale. Fondata da Giovanni Papini e Ardegno Soffici.) Vol. I no. 1—Vol. III No. 22 (sic: No. 21), 1 gennaio 1913—22 maggio 1915 (all published), lacking Vol. III, no. 14 (April 1915). 296, 336, 168pp. Illus. Folio. Vols. I and III in dec. boards, 3/4 vellum; Vol. II in contemporary dec. boards (neatly mended at backstrip). The cardinal Futurist periodical, founded by Papini and Soffici after their departure from "La Voce". Though never the official organ of the movement, and eventually, with the outbreak of War, a purely political newspaper, Lacerba was nonetheless the principal outlet for its critical and theoretical texts. In the course of its brief existence, Lacerba published no fewer than ten of the fundamental Futurist manifestos selected by Apollonio in his standard anthology, including four by Boccioni, two by Carrà, two by Marinetti, and one each by Soffci and Sant’Elia. Other contributors included Russolo, Pratella, Cangiullo, Apollinaire, Gourmont, Tavolato, Buzzi, Folgore and Ungaretti. The masthead designs, which assumed sledgehammer dimensions in January 1914, and then ran to boiling red on August 15th, after the declaration of war, were devised by Soffici. Occasional light browning and brittleness; a few issues with expert mends; generally an excellent set.

Firenze, 1913-1915. $5,000.00

Taylor p. 136; Falqui p. 37; Tisdall & Bozzolla 165-175; Bartolini, Sigfrido: Ardegno Soffici, l’opera incisa (1972), p. 318; Jentsch p. 317f.

232

(LARIONOV) Kruchenykh, Alexei E.

Poluzhiboi [Half-Alive]. Lithographs by Mikhail Fedorovich Larionov. 17ff. Text and images entirely lithographed by hand, including 6 full-page plates and 8 large marginal illustrations. Lrg. 8vo. Front and back covers lithographed with additional illustrations by Larionov. No more than 480 copies were printed in all. One of the famous illustrated books published by Kruchenykh in rapid succession early in 1913, together with ‘Pomada’ [Pomade], also illustrated by Larionov, and ‘Pustynniki’ [Hermits], with illustrations by Goncharova. "‘Half-Alive,’ with marvelously expressive drawings by Larionov, is a single narrative poem, similar to ‘A Game in Hell’ in its emphasis on the hellish" (Janecek). Compton, discussing the cover design, observes "It seems that Larionov did not arrive at rayism to the exclusion of other interests....Inside the book, figures are made of lines, rather than rays: on successive pages, a nude is subjected to progressive discontinuity into marks which finally become increasingly like those of Chinese calligraphy. The parts of the nude take on the disjointing of the single letters of each handwritten word as the visual image is progressively more broken. It is as though the artist is exploring the extent to which deformation can be taken if the brain is still allowed to ‘read’ a figure. Full-page figures are constructed with angry, calligraphic strokes to match the violence of the poem." A splendid, fresh copy.

Moscow (G.L. Kuz’min & S.D. Dolinskii), 1913. $12,000.00

Compton p. 102; Markov p. 43; Janecek p. 83; Getty 373

233

DIE LEBENDEN

Flugblätter. Verantwortlicher Herausgeber: Ludwig Kunz. 1.- 3. Reihe, Nr. 5/6: 22 numbers in 16 issues (all published). (4)-(6)pp. per issue. Each with front-page illustration, including original woodcuts and wood-engravings by Gerhard Marcks ("Mythisches Gespann," Lammek H64), Walter Dexel, Max Thalmann, Karl Rössing ("Der Erpresser"), Ewald Mataré ("Porträt N. [Dr. F. Nemitz]," Sonja Mataré p. 17), and 9 others. 4to. Self-wraps. Publisher’s portfolio (red boards, with cover imprint, taped at backstrip). Texts by W. Wolfradt, M. Hermann, A. Wolfenstein, O. Loerke, J. Urzidil, A. Döblin, R. Musil ("Der Gläubige,"), A. Kerr, G. Pohl; and statements from O. Flake, H. Hesse, T. Mann, E.M. Remarque, S. Zweig and others. The first issue is present in the second, enlarged edition, with the variant front-page reproduction of a drawing by Felixmüller.

Berlin, 1923-1931. $750.00

Söhn 33601-33617

234

LE CORBUSIER

Sammelband of 3 volumes by Le Corbusier from the "Collection l’Esprit Nouveau," with an historic presentation inscription by him on the flyleaf of the first volume to Josef Hoffmann, dated November 1928. Contents as follows: [1] Une maison - un palais. "A la recherche d’une unité architecturale." [2] L’art décoratif d’aujourd’hui. [3] Almanach d’architecture moderne. (Collection de "l’Esprit Nouveau.") (2), 228, (2)pp.; v, (2), 218, (2)pp.; 199, (23)pp. Prof. illus. throughout. Stout 4to. Marbled boards, 3/4 cloth, leather label. The original wrappers of the three works are not present, eliminating dates and statements of tirages. This remarkable association copy is formally inscribed "à Professeur Joseph Hoffmann/ premier de l’architecture/ à lire en souvenir de/ la bataille de Genève/ avec toute ma reconnaissance et mon respect/ Le Corbusier/ nov 1928." in blue ink on the flyleaf of the first work. The ‘Battle of Geneva’ to which he refers is one of the most notorious episodes in the history of modern architecture: the 1927 competition for the palace of the League of Nations, a prize which was denied Le Corbusier on a technicality, and awarded instead to a mediocre pastiche of his own designs. The loss of the commission was perhaps the worst setback of Le Corbusier’s career, but the surrounding furor so significant that it placed him on a new footing on the international stage of modern architecture, and led to the creation of CIAM in 1928. Josef Hoffmann, a member of the jury, was one of Le Corbusier’s leading supporters, and a central figure in the proceedings. The book which Le Corbusier has inscribed to him, "Une maison - un palais," is largely an account of this debacle, and Hoffmann’s respectful tribute to Le Corbusier’s work, quoted in the text, is reciprocated there in kind. "La personnalité de M. Joseph Hoffmann, de Vienne, est à la base de toute l’évolution architecturale contemporaine...."

Paris (Editions G. Crès et Cie.) [1928; 1925; 1927]. $3,000.00

Sharp p. 70

235

LE CORBUSIER

Oeuvre plastique. Peintures et dessins, architecture. Avant-propos par Jean Badovici. (L’Architecture Vivante.) (26)pp., 44 plates (including 4 original color lithographs by Le Corbusier and 4 collotypes, of which 5 heightened in color pochoir). Numerous line-drawn illus. in text. 4to. Portfolio (dec. boards, 1/4 cloth; ties). Text fascicle and loose plates, as issued. The first monograph focusing on Le Corbusier’s paintings and graphic work, with an essay by him, "Peinture," at the outset. A little wear to the portfolio.

Paris (Éditions Albert Morancé), 1938. $2,500.00

Brady I:A-30; Sharp p. 72

236

(LEGER) Cendrars, Blaise

La fin du monde, filmée par l’ange N.-D. Roman. Compositions en couleurs par Fernand Léger. (58)pp. 22 colored pochoir compositions and ornaments by Léger. Lrg. 4to. Orig. dec. wraps. One of 1200 copies on vélin Lafuma, of a limited edition of 1225 copies (many of which are thought to have been lost or destroyed due to difficulties with the pochoir printing). Léger’s most brilliant venture in book illustration, inspired by the anarchic, Americanized cosmology of Cendrars’ scenario. A fine, fresh copy.

Paris (Editions de la Sirène), 1919. $5,500.00

Saphire p. 299; Castleman p. 170; Manet to Hockney 54; The Cubist Print 77; Skira 97; Reynolds p. 24; Lilly 10; Villa Stuck 65; Wheeler p. 105

237

LEMIEUX, ANNETTE

Memoirs of a Survivor. (6)ff., 20 photographic plates, printed on rectos only (10 folding). Sm. folio. Cloth, 1/4 morocco; with matching portfolio for the signed print, and matching clamshell box for the two (silk doublures). Deluxe edition of 70 copies: one of 50 copies signed, numbered and dated by the artist, with an original toned gelatin silver print photograph, also signed, numbered and dated on the verso by the artist.

New York (ZG Publications/ Brooke Alexander), 1989. $1,500.00

238

LEVINI, FELICE & DAMIANI, CLAUDIO

Saltatrice dei numeri. (Illustrazione. 3.) (34)pp. 7 original color lithographs by Felice Levini, each signed in pencil (of which two double-page, and 2 hors texte on large folding sheets of translucent paper). Letterpress on heavy wove stock, with added texts and illustration on loose sheets of transparent Mylar. Sm. 4to. Portfolio (wraps.). Contents loose, as issued. An artist’s proof copy ("p.a."), signed in pencil by Levini in the colophon, apart from the limited edition of 60 signed and numbered copies. This copy is also inscribed by Levini "A Mario/ con simpatia e stima," October 1984. The text consists of seven poems by Damiani.

[Roma/Torino] (Illustrazione), 1984. $500.00

Jentsch: The Artist and the Book in Twentieth-Century Italy, no. 278

239

LEVY, JULIEN

Surrealism. (10), 191, (1)pp. 64 illus. hors texte. 4to. Orig. dec. boards, designed by Joseph Cornell. Texts printed on pink, yellow, green, and white stocks. Edition limited to 1500 copies, printed at the Marstin Press under the direction of, and for, Caresse Crosby. One of the landmark publications of Surrealism, anthologizing texts and images by virtually everyone of importance, and remarkable for the inclusion of the scenarios of Buñuel’s "Un chien andalou" and "L’age d’or," Dalí’s "Babaouo," and Cornell’s "Monsieur Phot," among other things. The cover is also one of Joseph Cornell’s finest designs. An historic presentation copy, inscribed "à Paul Éluard/ avec affectueux hommage/ Julien Levy." Slight darkening at backstrip, but very fresh.

New York (Black Sun Press), 1936. $1,200.00

Gershman p. 27; Biro/Passeron 1780; Motherwell/Karpel 166; Rubin 157; Reynolds p. 59

240

LISSITZKY, EL

Klinom krasnym bei belykh [Beat the Whites with the Red Wedge]. Poster for Political Administration of the Western Front. Lithograph, printed in red and black on off-white wove paper. 510 x 620mm.

"Beat the Whites with the Red Wedge" is one of El Lissitzky’s earliest abstract works, dating from the time of his first experiments with Proun. Longstanding uncertainty as to the exact date of its composition—1919 or 1920—has now been resolved through a close reading of Unovis almanacs and newssheets, which provide a terminus post quem of May 1920, and a terminus ante quem of November of that year. Intended as a work of political propaganda, it demonstrates in an easily intelligible formulation of symbolic colors and shapes the coming victory of the Bolshevik Reds over Kerenski’s Whites. In his essay in the catalogue "The Avant Garde in Russia, 1910-1930" (Los Angeles County Museum of Art, 1980), Boris Brodsky describes the poster’s simple words and forms as a kind of incantation accompanied by magic signs denoting the destruction of the enemy. Executed for Politupravleniya, the poster was pasted up in the streets, and on trains which circulated throughout the new Soviet Union distributing Bolshevik propaganda. Today it has come to be recognized as one of the greatest pieces of agitprop ever made, and one of the summits of modern poster design. It is incontrovertibly one of Lissitzky’s most important achievements.

In recent years, three different versions of the poster have been identified. One of these is now generally thought to be an early copy based on a tracing, rather than an actual state of the original poster. Unfortunately, it is this traced version which has been most widely reproduced as the poster itself, a fact which has introduced great confusion in the standard literature; even such fundamental studies as Sophie Lissitzky-Küppers’ "El Lissitzky: Life, Letters, Texts" (Dresden, 1967; London, 1968) and Camilla Gray’s "The Great Experiment: Russian Art, 1864-1922" illustrate this version or old reproductions of it. This traced version is not entirely without its own claim to interest, as it was apparently prepared by Lissitzky himself in 1925, when examples of the original poster of 1920 were already so rare as to be virtually unobtainable. Nisbet writes that "In a letter of November 1925 to Sophie, the artist reports fortuitously finding a much damaged original and using it to make a tracing, which was to be sent to Tschichold who was preparing an article on Lissitzky. This lost tracing is probably the ultimate source for most of the subsequent illustrations...." This version is easily recognized, even in black-and-white reproductions, by a number of simple graphic characteristics: among them, the use of diagonally scored lines (rather than a field of irregular dots) in the rectangular grey shapes adjacent to the red wedge, and the use of these lines to fill in the interior of the white disc at right.

The primary version of the poster seems to survive in only one impression, the unique example in the Lenin Library, though Nisbet cautions that even that example is open to question ("There is some doubt as to whether any original has survived, with the probable exception of the copy in the Lenin Library..."). That version has only rarely been reproduced in the West, though it is illustrated in the Russian edition (only) of the catalogue of the exhibition "Paris-Moscou" shown at the Pushkin Museum of Fine Arts, Moscow, and the Centre Pompidou, Paris, in 1979-1981. Again, a number of simple graphic elements make this version easily distinguishable from others: among them, the relatively small size of the disc at right, the tilting of the small white bar directly above it, and the closer spacing of the letters in the word "belykh" at right. The Lenin Library copy measures 530 x 700 mm.

Our version is known in several identical examples which came to light in the 1980s. Though claims have been made for this version as the "original" of the poster (which Nisbet disputes), it should perhaps be viewed as a second state of the lithograph. Slightly smaller than the Lenin Library version, its measurements are reported as 510 x 615 mm. (in our case, 510 x 620 mm.)

This example reportedly derives from the estate of the distinguished Soviet typographer Solomon Telingater (1903-1969), a student of Lissitzky. Like at least one other example, it bears a central horizontal foldline and a central vertical foldline, dividing the poster in four quadrants. There is slight darkening along the path of the folds, with small breaks in the surface of the paper, which are undetectable without handling the work. Given the fragility of the paper stock, this copy is in fine, stable, clean and bright condition. It has received light attention by an expert paper conservator.

The Ars Libri copy has been published in the following works: Tupitsyn, Margarita: The Soviet Photograph. (New Haven: Yale University Press, 1996, color plate 2); Weston, Richard: Modernism (London: Phaidon Press, 1996); Kimura, Shigenobu, et. al: Journey into the Masterpieces. Twentieth Century: Part I (Tokyo: Kodansha, 1993). It was exhibited in Defining Russian Graphic Arts: From Diaghilev to Stalin, 1898-1934 at the Zimmerli Art Museum, Rutgers University, in 1999. Of greatest rarity.

[Vitebsk, 1920]. $100,000.00Nisbet, Peter (editor): El Lissitzky, 1890-1941 (Cambridge, Harvard University Art Museums, 1987), no. 1920/5; Lissitzky-Küppers p. 21, pl. 40; Gray p. 248f., pl. 215; Barron/Tuchman p. 92; Spencer p. 66f.; Butnik-Siverskii, B.S.: Sovetskii plakat epokha grazhdanskoi voiny, 1918-1921, no. 1215, pl. 265; Moscow, Pushkin Museum of Fine Arts: Moskva-Parizh, 1981, Vol. II (illus. in color); Tokyo, Seibu Museum of Art: Art and Revolution, 1982, no. 331; Polonskii, V.: Russkii revoliutsionnyi plakat (Moscow, 1925), p. 139, no. 217

241

(LISSITZKY) Erenburg, Il’ia

Shest’ povestei o legkikh kontsakh [Six Tales with Easy Endings]. 163, (3)pp. 6 full-page illus. by Lissitzky, printed in black. Lrg. 8vo. Orig. wraps. designed by Lissitzky, printed in orange and black. New cloth fitted clamshell box. One of Lissitzky’s best-known typographic designs, dating from the year that he and Erenburg were co-editing the trilingual review "Vesch/Objet/Gegenstand." The illustrations are fascinating for their autobiographical and stylistic complexity, as Arthur A. Cohen has observed. "The first is linked to Lissitzky’s self-portrait photomontage, ‘The Constructor,’ and shows Tatlin—like Lissitzky—projecting a vision of the universe employing all the tools of the architect-artist’s trade to envisage a planar universe and its outlying space. The second, even more autobiographic and surreal, shows a black hand filled with the Hebrew abbreviation for the phrase ‘Here lies buried’ obscuring a Kabbalistic chart of the divine emanations outlined by a pair of architectural triangles through whose space a ship is traveling between Hamburg and New York." Wraps. rebacked, preserving most of the original spine; inner hinges and edges of covers reinforced.

Moscow/Berlin (Gelikon), 1922. $2,000.00

Nisbet 1922/12; Getty 161; Barron/Tuchman 149; Bowlt/ Hernad 90; Andel 91; The Avant-Garde in Print 2.4

242

(LISSITZKY) Arkin, David (editor)

Arkhitektura sovremennogo zapada: Le Korbiuz’e, Bruno Taut, V. Gropius, I.P. Aud, Frank Reit, L. G’ilberseimer, i drugie. [Modern Western Architecture. Le Corbusier, Bruno Taut, Walter Gropius, J.J.P. Oud, Frank Lloyd Wright, Ludwig Hilbersheimer, and others.] 185, (3)pp. Prof. illus. 4to. Publisher’s cloth. D.j. The layout, cover, and photomontage dust jacket are all designed by El Lissitsky, as are six photomontage illustrations within the text, introducing the sections on Le Corbusier, Oud, Wright, Gropius, Richard Neutra and city planning. The Lissitzky dust jacket slightly rubbed, with a few discreet mends on the verso, but in nice condition.

Moskva (Izogiz), 1932. $1,000.00

Nisbet 1932/4 (with illus.); Lissitzky/Küppers 1980, pl. 168; Getty 24; cf. Senkevitch 128, 280

243

LODZ. Miejskie Muzeum Historji I Sztuki

Miedzynarodowa Kolekcja Sztuki Nowoczesnej./ Collection Internationale d’Art Nouveau. Katalog nr. 2. Preface by Przeclaw Smolik. (10)pp. 34 illus. Sm. 4to. Self-wraps., stitched as issued. Edition of 650 copies, designed by Wladyslaw Strzeminski. The catalogue of the very important and advanced ‘International Collection of Modern Art’ at the Museum of Art in Lodz, established by Strzeminski and the a.r. group shortly after Strzeminski’s and Katarzyna Kobro’s arrival. Among the artists represented—who themselves donated the works to the collection—are Arp, Calder, Charchoune, Delaunay, Doesburg, Ernst, Torres-Garcia, Gleizes, Grabowska-Chodasiewicz, Hélion, Herbin, Huszar, Joostens, Kobro, Léger, Lurçat, Marcoussis, Ozenfant, Picasso, Prampolini, Seligmann, Seuphor, Schwitters, Stazewski, Strzeminski, Taeuber-Arp, Vantongerloo, Vordemberge-Gildewart, Werkman et al. The back cover features an historic installation photograph of the collection. Back cover slightly torn at head of spine; light wear. Rare.

Lodz, 1932. $1,800.00

Neuer Berliner Kunstverein: Polnische Avantgarde 1930-1990, p.26ff.

244

LOOS, ADOLF

Ins Leere gesprochen, 1897-1900. 167, (1)pp. 4to. Wraps. Glassine d.j. First edition. "Loos’s essays of 1897-1900 were published in German over a French imprint as "Ins Leere gesprochen" in 1921; together with the French-language publication of the more controversial architecture, they prepared the way for his move to Paris and a welcome from the Dadaist circle" (Yehuda Safran, in the Dictionary of Art). An English translation ("Spoken Into the Void: Collected Essays, 1897-1900") was published in 1982, with an introduction by Aldo Rossi. Small gouge on back cover and last few leaves.

Paris (Georges Crès et Cie.), 1921. $275.00

Sharp p. 77

245

MA. Vol. VIII, No. 9/10

Aktivista folyóirat. Editor: Lajos Kassák. (16)pp. 9 illus. Sq. folio. Dec. self-wraps., printed in red and black. Texts (in Hungarian throughout) by Kassák, Fernand Léger, Hans Richter, Jean Cocteau, Tibor Déry, Pál Sánta, Farkas Molnár, Henrik Glauber, Hans Suschny, and Ernö Kállai; illus. after Baumeister, Molnár, Brommer, industrial architecture. Unobtrusive central fold.

Wien, 1923. $1,000.00

246

(MAGRITTE) Bruxelles. Salle Giso

E.L.T. Mesens & E. van Tonderen présentent seize tableaux de René Magritte. 14, (2)pp., 1 plate (loosely inserted, as issued). Self-wraps. Texts by Paul Nougé, with a note by the artist. An important exhibition, held the year after Magritte returned to Brussels from Paris. The plate shows Magritte’s famous five-panel nude, "L’Évidence éternelle," most interestingly photographed before a bathtub in a tenement slum. From the library of the Slovenian surrealist Marco Ristic, with his initials lightly pencilled on the front cover. Rare.

Bruxelles, 1931. $300.00

247

MALEVICH, KAZIMIR

Ot Sezanne do Suprematizma. Kritischeskii ocherk [From Cézanne to Suprematism. A critical sketch]. 16pp. Printed self-wraps. A revision of his ‘On New Systems in Art,’ Vitebsk 1919. Interior of spine expertly renewed.

N.p., n.d. [Moskva (IZO Narkompros), 1920]. $350.00

Barron/Tuchman 203

248

(MAN RAY) Eluard, Paul

Facile. Poèmes de Paul Eluard. Photographies de Man Ray. (24)pp. Heliogravure illustrations interspersed and integrated with text throughout. Sm. 4to. Photo-illus. wraps. One of 1200 copies on vélin, from the limited edition of 1225 numbered copies. Lyrical nudes studies by Man Ray (of Nusch Eluard), with many solarized and double-exposed images and a very elegant mise-en-page. An important presentation copy, inscribed on the half-title "à Gisèle Freund/ hommages de Man Ray." Loosely inserted, Gisèle Freund’s card, inscribed by her with an additional presentation.

Paris (Éditions G.L.M.), 1935. $3,500.00

GLM 73; Gershman p. 19; Biro/Passeron 1037; Castleman p. 183; Andel 151; Hubert p. 73-83; Reynolds p. 41

249

(MAPPLETHORPE) Rimbaud, Arthur

A Season in Hell. Translated by Paul Schmidt. With photogravures by Robert Mapplethorpe. xii, 87, (5)pp. 8 photogravure plates hors texte. 4to. Full Nigerian goatskin. Slipcase (cloth, lined). Edition limited to 1000 copies, signed and numbered in pencil by Mapplethorpe and Schmidt in the colophon. Design by Benjamin Shiff.

New York (The Limited Editions Club), 1986. $2,000.00

Grolier Club 30

250

MARCHI, VIRGILIO

Architettura futurista. 102, (2)pp. 27 line-drawn illus. (11 hors texte). Lrg. 8vo. Dec. wraps., with an illustration by Marchi. Uncut. "Recalling Antonio di Sant’Elia’s theories, Marchi argued for an architecture of dynamism, inspired by the forces of new technology.... His sketches show why so little of his work was built. Most are highly visionary and fantastic renderings of buildings and cityscapes, expressing his belief in architecture as the manifestation of the creator’s state of mind.... From the late 1920s to his death, he worked mostly on set designs for theater and cinema, often highly Expressionist vehicles for unrealized architectural ideas. Those for whom he produced designs include Guido Salvini, Roberto Rossellini, Vittorio de Sica, and also Piranello, who once described Marchi as ‘the marvelous builder of my dreams’" (Gerald D. Silk, in Placzek). Covers lightly foxed.

Foligno (Franco Campitelli), 1924. $1,000.00

Placzek III.101

251

(MARDEN, BRICE)

Tu Fu, Kenneth Rexroth, Brice Marden. [Thirty-six poems by Tu Fu translated by Kenneth Rexroth, with twenty-five etchings by Brice Marden.] (70)pp., 25 duotone plates. 4to. Cloth. Slipcase. Special edition, limited to 140 copies, with an original etching with aquatint by Brice Marden bound in as frontispiece, signed and numbered in pencil by the artist. Text in letterpress on Arches Cover and Superfine papers. Poems by the eighth-century Chinese poet Tu Fu, accompanied by reproductions of Marden’s "Etchings to Rexroth," a portfolio of original prints published by Peter Blum in 1986. Two additional texts appear here for the first time, one by Bradford Morrow on Tu Fu and Rexroth, and another by John Yau on Brice Marden. Introduction by Peter Blum.

New York (Peter Blum Edition), 1987. $2,500.00

252

MARIEN, MARCEL

Hommage du groupe surréaliste de Belgique à Saint-Just. (4)pp. (single sheet folding). 2 illus. Printed in purple throughout. Sm. 4to. Self-wraps. One of 25 copies on carton ivoire, signed and numbered in pen by Mariën, and dated déc. 1945.

Herenthout (Marcel Mariën), 1945. $250.00

253

MARINETTI, F.T.

Fondazione e manifesto del Futurismo. (Pubblicato dal "Figaro" di Parigi il 20 febbraio 1909.) (4)pp. (single sheet, folding). 4to. Self-wraps. The first publication in Italian (following the French version which appeared on page 1 of "Le Figaro" the month before) of the inaugural manifesto of Futurism, (also known as the ‘Initial Manifesto’ of the movement). "We intend to sing the love of danger, the habit of energy and fearlessness.... Courage, audacity, and revolt will be essential elements of our poetry.... We affirm that the world’s magnificence has been enriched by a new beauty: the beauty of speed. A racing car whose hood is adorned with great pipes, like serpents of explosive breath— a roaring car that seems to ride on grapeshot is more beautiful than the ‘Victory of Samothrace.’"

Milano (Direzione del Movimento Futurista), 1909. $300.00

Salaris p. 79; Scrivo 2; cf. Apollonio p. 19ff; cf. Lista p. 85ff.; cf. Taylor p. 124ff.

254

MARINETTI, F.T.

Futuristische Dichtungen. Autorisierte Übertragungen von Else Hadwiger, mit einführenden Worten von Rudolf Kurtz und einem Titelporträt vom Futuristen Carrà. 15, (1)pp. Cover drawing by Carrà. Self-wraps., stitched, as issued. Printed on oat-colored wove paper. Uncut. An early manifestation of the arrival of Futurism in Berlin. 1912 also saw the publication of several Futurist manifestos by Der Sturm, and the opening there of the landmark travelling exhibition of Futurism, which had been launched earlier in the year in Paris, at Bernheim-Jeune. A fine copy.

Berlin-Wilmersdorf (A.R. Meyer), n.d. [1912]. $650.00

Hultén p. 427; Salaris p. 46

255

MARINETTI, F.T.

Manifeste technique de la littérature futuriste. Milan, le 11 mai 1912. (4)pp. (single sheet, folding). 4to. Self-wraps. "The ‘Technical Manifesto of Futurist Literature’ appeared on 11 May 1912, dedicated, at the behest of a whirling propeller, to the liberation of words from their Latin prison. In this state of freedom, nouns would be scattered at random, infinitives with their greater elasticity would replace the pedantic old indicative and would free nouns from the dominion of the writer’s ego. Out too was the ‘old belt-buckle’ of an adverb..." (Tisdall/Bozzola).

Milan, 1912. $300.00

Salaris p. 83

256

MARINETTI, F.T. (introduction)

I poeti futuristi. Con un proclama di F.T. Marinetti e uno studio sul verso libero di Paolo Buzzi. 428, (8)pp. 8vo. Wraps., designated "41° migliaio." Featuring Libero Altomare, Giuseppe Carrieri, Enrico Cavacchioli, Auro D’Alba, Luciano Folgore, Corrado Govoni, F.T.Marinetti, Armando Mazza and Aldo Palazzeschi. The second collective anthology of the Futurist movement after "Enquête internationale sur les vers libre et manifeste du futurisme par F.T.Marinetti" (Milano 1909). Presentation copy, inscribed "omaggio futurista di F.T. Marinetti" on the front flyleaf. Covers remounted, with offsetting of the red (compromising the inscription).

Milano (Edizioni Futuriste di "Poesia"), 1912. $500.00

Salaris p. 74; Falqui p. 69

257

MARINETTI, F.T.

Supplemento al manifesto tecnico della letteratura futur-ista. Milano, 11 agosto 1912. (4)pp. (single sheet, folding). 4to. Self-wraps. "The first example of Words-in-freedom appeared as an appendix to the ‘Technical Manifesto of Futurist Literature.’ ‘Battle Weight & Smell’ of 1912, like many of the Words-in-freedom pieces, is an account of a battle, in which not only smells and noises, but arms too, acquire a life of their own. An example of the use of analogy is this presentation of the green, white and red Italian flag: ‘meadows sky- white-with-heat blood’" (Tisdall/Bozzola).

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

Salaris p. 83; Scrivo 26; cf. Lista p. 138ff.; Tisdall/Bozzola p. 95

258

MARINETTI, F.T.

L’immaginazione senza fili e le parole in libertà. Manifesto futurista. Milano, 11 maggio 1913. (4)pp. (single sheet, folding). 4to. Self-wraps.

Milano (Direzione del Movimento Futurista), 1913. $300.00

Salaris p. 83; Lista p. 142ff; Scrivo 31

259

MARINETTI, F.T.

Il teatro di varietà. Manifesto futurista. Pubblicato dal "Daily Mail" 21 novembre 1913. (4)pp. (single sheet, folding). 4to. Self-wraps.

Milano (Direzione del Movimento Futurista), 1913. $300.00

Salaris p. 84; Apollonio p. 126; Lista p. 249ff; Scrivo 34; Taylor p. 22

260

MARINETTI, F.T.

Abasso il tango e Parsifal! Milano, 11 gennaio 1914. (2)pp. (single sheet). 4to. Self-wraps. Central foldline; a few short tears expertly repaired.

Milano (Direzione del Movimento Futurista), 1914. $300.00

Salaris p. 84; Lista p. 351f; Scrivo 37

261

MARINETTI, F.T.

In quest’anno futurista. Milano, 29 novembre 1914 (4)pp. (single sheet, folding). 4to. Self-wraps.

Milano (Direzione del Movimento Futurista), 1914. $300.00

Salaris p. 84; Scrivo 44

262

MARINETTI, F.T.

I manifesti del futurismo. Lanciata da Marinetti, Boccioni, Carrà, Russolo, Balla, Severini, Pratella, Mme. Saint-Point, Apollinaire, Palazzeschi. Prima serie. 3° migliaio. 182pp. Lrg. 8vo. Wraps., designated "3º migliaio" (somewhat worn). Uncut.

Firenze (Edizioni di "Lacerba"), 1914. $400.00

Salaris p. 75

263

MARINETTI, F.T.

Lo splendore geometrico e meccanico e la sensibilità numerica. Manifesto futurista. 18 marzo 1914. (4)pp. (single sheet, folding). 4to. Self-wraps.

Milano (Direzione del Movimento Futurista), 1914. $300.00

Salaris p. 84; Scrivo 39; cf. Apollonio 154ff.; Lista p. 147ff.

264

MARINETTI, F.T.

Zang tumb tuuum. Adrianopoli ottobre 1912. Parole in libertà. [22º migliaio.] (6), 225, (3)pp., 1 folding plate (parole in libertà). Photographic frontis. portrait. Lrg. 8vo. boldly Publisher’s brilliant yellow wraps., with dynamic typography by Marinetti. Presentation copy, inscribed by Marinetti to Prof. Enrico Ortolani on the front flyleaf with a diagram of a wedge labelled "FuturMarinetti" penetrating an amorphous "Passatismo." This rather sexualized design must have pleased Marinetti, whose use of it is recorded in other presentation copies. "[The] masterpiece of Words-in-freedom and of Marinetti’s literary career was the novel ‘Zang Tumb Tuuum’.... the story of the siege by the Bulgarians of Turkish Adrianople in the Balkan War, which Marinetti had witnessed as a war reporter. The dynamic rhythms and onomatopoetic possibilities that the new form offered were made even more effective through the revolutionary use of different typefaces, forms and graphic arrangements and sizes that became a distinctive part of Futurism. In ‘Zang Tumb Tuuum; they are used to express an extraordinary range of different moods and speeds, quite apart from the noise and chaos of battle.... Audiences in London, Berlin and Rome alike were bowled over by the tongue-twisting vitality with which Marinetti declaimed ‘Zang Tumb Tuuum.’ As an extended sound poem it stands as one of the monuments of experimental literature, its telegraphic barrage of nouns, colours, exclamations and directions pouring out in the screeching of trains, the rat-a-tat-tat of gunfire, and the clatter of telegraphic messages" (Tisdall/Bozzola). Old tape repairs to the folding plate; a bright copy. Very scarce.

Milano (Edizioni futuriste di "Poesia"), 1914. $2,000.00

Salaris p. 47; Lista p. 106; Tisdall/Bozzola p. 95f.; Jentsch p. 318

265

MARINETTI, F.T.

Guerra sola igiene del mondo. 5º migliaio. 157, (5)pp. Lrg. 8vo. Wraps. "Pubblicato in francese 5 anni fa a Parigi. Tradotto (scopo propaganda), oggi 1915." ‘War, the World’s Only Hygiene,’ a collection of articles pressing for Italian intervention in World War I, glorifying patriotism, denigrating women; the full fascist spectrum underlying the Futurist ideology. Presentation copy, inscribed by Marinetti on front cover. Slightly bumped.

Milano (Edizione Futuriste di "Poesia"), 1915. $500.00

Salaris p. 47; Beinecke 66

266

MARINETTI, F.T. et al.

Parole consonanti vocali numeri in libertà. Milano, 11 febbraio 1915. (4)pp. (single sheet, folding). 4to. Self-wraps. Though issued in the format of the Futurist manifesti, this is actually a spectacular advertisement for leading "paroliberi futuristi," namely Marinetti, Govoni, Canguillo, and Buzzi. Each of them is represented by a full page of parole in libertà, beginning, on the front page, with Marinetti’s explosive "Montagne + Vallate + Strade x Joffre" which later appeared in "Les mots en liberté futuristes" with the title "Après la Marne, Joffre visit le front en auto." A fine copy.

Milano (Direzione del Movimento Futurista), 1915. $700.00

Salaris p. 85f. (illus.); Scrivo 46ff., Taylor p. 110 (illus.); The Avant-Garde in Print 1.3

267

MARINETTI, F.T. et al.

Il teatro futurista sintetico. (Atecnico, dinamico, autonomo, alogico, irreale). Milano, 11 gennaio 1915. (4)pp. (single sheet, folding). 4to. Self-wraps. Signed F.T. Marinetti, Emilio Settimelli, Bruno Corradini. Expertly mended tears at central foldline.

Milano (Direzione del Movimento Futurista), 1915. $300.00

Salaris p. 84; Apollonio p. 183; Lista p. 256ff; Scrivo 45; Taylor p. 123

268

MARINETTI, F.T.

Les mots en liberté futuristes. 107, (9)pp., including 4 folding plates. Wraps., printed in red and black. Fitted board slipcase and chemise. The great masterpiece of Futurist typographic expression; the folding plates present the most famous of all parole in libertà. Light browning; rebacked, with discolored old tape mends to 3 of the folding plates.

Milano (Edizioni Futuriste di "Poesia"), 1919. $1,000.00

Salaris p. 48; Falqui p. 45; Taylor p. 110; Andel 44; Spencer p. 24f.; The Avant-Garde in Print 1.3, 1.4, 4.1; Jentsch p. 328

269

MARINETTI, F.T.

8 anime in una bomba. Romanzo esplosivo. 6° migliaio. 135, (9)pp. 1 plate at conclusion of the text. Lrg. 8vo. Wraps., printed in red and black, incorporating a sketch by Marinetti. One of the last of Marinetti’s works to have an internationally widespread influence, this sensual and ‘explosive’ novel divides his personality in the context of World War I into eight different souls (the sixth having a dialogue with his mother, who died in 1902). A fine copy. Rare.

Milano (Edizioni Futuriste di "Poesia"), 1919. $700.00

Salaris p. 48; Falqui p. 70; Beinecke 79

270

MARINETTI, F.T.

Marinetti presenta i nuovi poeti futuristi. 361, (1)pp. Lrg. 8vo. Wraps. Glassine d.j. Among the parole in libertà are 5 large folding plates of verse, by Marinetti (2), Cesare Simonetti (2) and Fillia. Catrizzi, Dolfi, Farfa, Follicaldi, Mainardi, Sanzin, and Vianello are some of the others represented. A few leaves neatly loosened at spine.

Roma (Edizioni Futuriste de "Poesia"), 1925. $400.00

Salaris p. 76

271

MARINETTI, F.T.

Autograph letter to an unnamed woman artist, signed and dated 16 October 1929. 1f., written on both sides of his "Movimento Futurismo" letterhead stationery, boldly printed in orange with the illustration "Il pugno di Boccioni" by Balla occupying the top half of the recto. 4to. (288 x 226 mm.; 11 3/8 x 8 7/8 inches). Marinetti congratulates his "gentile amica" on her cushions, which are ‘magnificently displayed’ in the ceramics hall of the exhibition. Not knowing that these were to arrive, Marinetti omitted her (and Fiorini, whom he also greets) from the catalogue; but he praised her works in front of a huge audience at his first lecture, and will do so again on the 18th. (Her companion is presumably Guido Fiorini, the Futurist architect.) Marinetti adopted Balla’s superb design as a graphic emblem of the Futurist movement, and it appeared repeatedly on stationery, posters, membership cards and other printed matter. It is accompanied by the diagonal slogan "Marciare, non marcire" (roughly ‘Run! Don’t Rot’). Unobtrustive foldlines; a few small marginal tears; bright and unfaded. $1,000.00

Avant-Garde in Print I.1

272

MARINETTI, F.T. & TATO [Sansone, Guglielmo]

"La fotografia futurista. Manifesto. 11 aprile 1930." (In: "Il futurismo. Rivista sintetica illustrata. Direttore: F.T. Marinetti.) (N. 22, 11 gennaio 1931.) (4)pp. (single sheet, folding). 6 halftone illustrations of photographs by Tato. 4to. Self-wraps. Following the manifesto (p. 2ff.) is a 3-page section of critical and press commentary, by Mussolini, Paul Fort, Ivan Goll, Gustave Kahn, Fernand Divoire, Ezra Pound, Lunacharski, and others. The leaflet was published on the occasion of the Futurist exhibition at the 1° Concorso Fotografico Nazionale at the Villa Borghese, Rome. Tato’s photographs, comic and parasurrealist tableaux of homemade toys, are called by Lista "i primi exempi di una fotografia di ‘mimetismo d’oggetti.’" Rare.

Roma (Direzione del Movimento Futurista), 1931. $500.00

Salaris p. 91

273

MARINETTI, F.T.

Gli aeropoeti futuristi dedicano al Duce "Il poema di torre viscosa." Parole in libertà futuriste di F.T. Marinetti. (16)pp. Sm. folio. Self-wraps. Inscribed by Marinetti on the front cover. Small losses on the last leaf, expertly repaired.

Milano (Snia Viscosa), [1938]. $300.00

274

(MASSON) Limbour, Georges

Soleils bas. Poèmes illustrés d’eaux-fortes par André Masson. (12)pp., 4 original drypoint etchings by Masson (including 1 on front cover). 4to. Wraps. (with etching by Masson). One of 90 numbered copies on uncut vergé d’Arches, from the limited edition of 112 in all, signed in pen by Masson and Limbour in the justification.

Limbour’s first book, and Masson’s first prints, as well as his first illustrated book. "Masson’s initial printmaking was for book illustration, but of a decidedly different nature, being surrealist, than book illustration by other artists of the time. The etchings for Limbour’s ‘Soleils bas’ were reflections of Masson’s bent at the moment—dead birds, flames, underground (psychological) enclosures, tombs, in short, all those symbols of isolation and individual struggle, if they can be so interpreted, which Masson sought to express in those first years of surrealism. That such images had no literal relation to Limbour’s poems was the whole point of the collaboration: Limbour’s poems were expressed in typography, Masson’s images in intaglio, and the two elements together were joined in that spiritual harmony which two young artists wished to express in what in effect was hardly the conventional illustrated book" (Saphire: André Masson, The Complete Graphic Work).

"The idea Masson had in this first as well as his subsequent illustrated books for Kahnweiler—one a year until 1928—was to make a counterpart to the images of the poets. In ‘Soleils bas,’ Masson’s symbolism of dead birds, ropes, knives and lonely heads reflects the surrealist passion to reveal subconscious impulses. Limbour, equally a surrealist then, seems dedicated in his verse to a somewhat lyrical view. Faced with the task of making these illustrations in the ‘noble’ medium required by Kahnweiler, Masson recounted that he taught himself by reading a book on etching." (Saphire: Andre Masson, The Illustrated Books). A superb copy, virtually mint in the original glassine, from the library of Albert Skira (though not marked as such).

Paris (Editions de la Galerie Simon), 1924. $6,500.00

Saphire: André Masson, The Illustrated Books, 1; Saphire: André Masson, The Complete Graphic Work 1-4; Rubin/ Lanchner III.75; Hugues 16; Pompidou Kahnweiler p. 184; Gershman p. 29; Castleman p. 178; Chapon pp. 113f., 284; Skira 235; Rauch 129; Wheeler p. 107; Strachan p. 52

275

(MASSON, ANDRÉ) Leiris, Michel

Simulacre. Poèmes et lithographies. (18)pp., 7 original lithographs by Masson (including 1 on front cover). 4to. Wraps., with front cover lithograph by Masson. One of 90 numbered copies on uncut vergé d’Arches from the limited edition of 112 in all, signed in pen by Masson and Leiris in the justification.

The first published work of Michel Leiris, ‘Simulacre’ was Masson’s second illustrated book, and included his first lithographs. "Michel Leiris met Masson in 1922. Five years Masson’s junior, he was to become one of his closest friends, even though he recalled that he was honored that a man as accomplished as Masson would even discourse with such a young neophyte as he. Always modest, Leiris had many literary collaborations with Masson and was a great defender of his friend’s work. By 1925 he was an accepted surrealist poet, with the first entries of his ‘glossary’ appearing in ‘La révolution surréaliste.’ ‘Simulacre’ was Leiris’ first book of poetry, published by Masson’s dealer Kahnweiler. Leiris was shortly to marry Kahnweiler’s sister-in-law...in whose name the gallery was put in 1940 to save it from confiscation by the Nazis.... ‘Simulacre’ was long rumored to have been a jointly ‘automatic’ work by both poet and painter, epitomizing a surrealist ideal, with both Masson and Leiris sharing mutual subconscious impulses. While undoubtedly there was some of that element present between two close friends, and while some poems and illustrations were achieved while the two were in the same room, Leiris stated that it was often more conventional—he wrote his poems, and Masson made his automatic lithographs separately. A proof of this lies in Masson’s habit of making preparatory drawings for his prints, at least two of which exist for ‘Simulacre’ " (Saphire: André Masson, The Illustrated Books). A very fine copy in the original glassine.

Paris (Editions de la Galerie Simon), 1925. $6,500.00

Saphire: André Masson, The Illustrated Books, 2; Saphire: André Masson, The Complete Graphic Work 5-11; Rubin/Lanchner III.77; Hugues 18; Pompidou Kahnweiler p. 184; Gershman p. 27; The Artist and the Book 191; Manet to Hockney 74; Chapon p. 285; Skira 236; Rauch 130; Wheeler p. 107; Winterthur 117; Reynolds p. 59; Hubert p. 34ff.; Andel 138

276

(MASSON) Desnos, Robert

C’est les bottes de 7 lieues. Cette phrase "Je me vois." Illustré d’eaux-fortes d’André Masson. (18)pp., 4 original drypoint etchings by Masson. Sm. folio. Printed wraps. One of 90 numbered copies on uncut vergé d’Arches from the limited edition of 112 in all, signed in pen by Masson and Desnos in the justification.

Masson’s third illustrated book. "These are Masson’s first ‘automatic’ etchings, done with as much fluidity as the lithographs for ‘Simulacre’ which were in a medium corresponding more closely to drawing on paper. Unlike the illustrations for Masson’s first two books, these tend to be matched more closely to the subject of the poems. The use of bistre ink reflects the first use of Masson’s desire to introduce coloration into his printmaking" (Saphire: André Masson, The Complete Graphic Work).

"For the up and coming writers of the 1920s, Kahnweiler often was their first publisher. Desnos had already published a book, but this was the first one to be illustrated, and with original prints. While Kahnweiler knew the authors of the first two books Masson illustrated for him, it was probably Masson who suggested that his friend Desnos be the author of the third. Kahnweiler accorded Masson the large format which he had used in the past for such notable volumes as Picasso’s ‘St. Matorel,’ Vlaminck’s ‘Voyages’ and ‘Communications,’ Braque’s ‘Le piège de Méduse,’ Léger’s ‘Lunes en papier,’ and Gris’ ‘Ne coupez pas Mademoiselle ou les erreurs des P.T.T.’" (Saphire: André Masson, The Illustrated Books). A superb copy, virtually mint in the original glassine, from the library of Albert Skira (though not marked as such).

Paris (Editions de la Galerie Simon), 1926. $8,000.00

Saphire: Andé Masson, The Illustrated Books 3; Saphire: André Masson, The Complete Graphic Work 12-15; Rubin/Lanchner III.78 Hugues 22; Hugues 22; Gershman p. 16; Pompidou Kahnweiler p. 186; Chapon p. 285; Skira 237; Rauch 131; Wheeler p. 107; Winterthur 118; Andel 139

277

(MASSON) Jouhandeau, Marcel

Ximinès Malinjoude. Illustré d’eaux-fortes par André Masson. (60)pp., 6 original drypoint etchings by Masson. Wraps. One of 90 numbered copies on uncut vergé d’Arches from the limited edition of 112 in all, signed in lavender ink by Masson and Jouhandeau in the justification.

Masson’s fourth illustrated book. "Marcel Jouhandeau was a young author in the Gallimard stable of writers. By 1926 he had published four works with the by then prestigious firm. Masson had also been called on three times by Gallimard’s artistic director, Roger Allard, to do portraits of his friends for the series ‘Une oeuvre, un portrait,’ including one of Jouhandeau for his novel ‘Les Térébinte.’ Since Gaston Gallimard had also published several books with original prints, it was a generous gesture on his part to acquiesce in this collaboration under Kahnweiler’s aegis. Illustrating a novel rather than a thin book of poetry was unusual at this point in Masson’s artistic milieu, although he had provided three portraits for the serialized version of Aragon’s ‘Le paysan de Paris.’ For Jouhandeau his illustrations are a curious but brilliant compromise between figuration, following the novel’s plot, and automatic compositions which reflect much of his work in 1927 in sand painting. Since these etchings came at the same time, there is always the possibility that they influenced his style of 1927 rather than the opposite" (Saphire: André Masson, The Illustrated Books).

A superb copy, unopened, in the original glassine, with a presentation inscription by Marcel Jouhandeau on the first blank leaf, in lavender ink: "La volupté aussi bien, si elle est sans faute, fait allusion à des mystères qui la dépassent. M.J." From the library of Albert Skira (though not marked as such).

Paris (Editions de la Galerie Simon), 1927. $6,000.00

Saphire: André Masson, The Illustrated Books 4; Saphire: André Masson, The Complete Graphic Work, 16-21; Rubin/Lanchner III.80; Hugues 24; Pompidou Kahnweiler p. 186; Chapon p. 285; Skira 238; Winterthur 119

278

(MASSON, ANDRÉ) [Aragon, Louis]

Le con d’Irène. 85, (3)pp., 5 original etchings by Masson. 4to. Wraps. Slipcase (boards split at hinges). One of 125 copies on uncut vergé d’Arches from the limited edition of 150 in all. None of the participants—Aragon, Masson, or the publisher—are identified in this clandestine volume.

"By 1928, the classic period of Masson’s automatic drawing had ended, for reasons probably having more to do with his relations with Breton and surrealism than with anything else. At this point too, perhaps because four or more shelves of unsold books were enough, Kahnweiler ceased to do a yearly publication. The gap was filled by Pascal Pia who published the first of the two erotic books illustrated by Masson: ‘Le con d’Irène.’ Masson’s etchings were less literal than those of its publishing sequel, Georges Bataille’s ‘Histoire de l’oeil,’ for which Bataille requested fairly obvious illustrations, but it followed Aragon’s text to the point where Masson wrote the lines he was interpreting, albeit freely, under the illustration.... Although today ‘Le con d’Irène’ and its companion piece, ‘L’histoire de l’oeil’ are no longer contraband, they are still suspect and thus their creators remain, by habit, shadowy. For their authors, Masson’s friends whom he invited to contribute, it was an opportunity to write philosophical works which were ostensibly erotic, and which are still considered by some to be wholly pornographic. Aragon’s title sounds like ‘Irene’s Tale’ as well as ‘Irene’s Tail’ (the wordplay in French)" (Saphire: André Masson, The Complete Graphic Work).

Association copy, with the neat ownership inscription of Marco Ristic on the front flyleaf, dated 21.2.1929. Ristic is a figure of considerable interest, perhaps the leading figure in Slovenian Surrealism; poet, critic and editor, he was a friend and active correspondent of André Breton (for an extensive vita, see Biro/Passeron). One section slightly shaken; a fine copy.

Paris ([René Bonnel]), [1928]. $7,000.00

Saphire: André Masson, The Illustrated Books, 5; Saphire: André Masson, The Complete Graphic Work 22-26; Rubin/Lanchner III.81; Gershman p. 2

279

(MASSON) Leiris, Michel

Miroir de la tauromachie. Avec 3 dessins de André Masson. (Acéphale. Nouvelle série. Cahier 1. L’Érotisme.) 57, (3)pp. 3 plates (1 double-page). Wraps. One of 800 copies from the limited edition of 840 numbered copies on normandy vellum.

Paris (GLM), 1938. $300.00

GLM 188

280

MATISSE, HENRI

Poèmes de Charles d’Orléans. Manuscrits et illustrés par Henri Matisse. 100, (3)pp. 54 original color lithographs, with lithographed text by the artist printed in black within colored lithographic borders. Folio. Wraps., likewise by Matisse. Publisher’s box (flap detached). One of 1200 copies from the limited edition of 1230, signed in pencil by the artist in the justification. Printed by Mourlot Frères.

Matisse’s last illustrated book, containing a profusion of ornaments and arabesques in a spectrum of pastel colors, interspersed with portraits of ladies in court costume. Every element of the book proceeds directly from Matisse’s hand; only the justification is set from type. "In no other of Matisse’s books does one feel the same sense of the artist’s pleasure in his work as he plays here his subtle games with children’s crayons" (Barr).

Paris (Tériade), 1950. $7,000.00

Duthuit 28; Nice p. 64ff.; The Artist and the Book 202; Rauch 174; Stern 73; Cramer 36; Tériade 39; Hommage à Tériade p. 130ff.; Garvey/Wick 35; Barr pp. 252f., 560; Mornand-Thomé p. 305

281

(MATISSE) Montherlant, Henry de

Pasiphaé. Chant de Minos. (Les crétois.) Gravures originales par Henri Matisse. 121, (7)pp. 50 original linoleum engravings, printed in black, of which 18 full-page. 84 linoleum-cut lettrines and repeated headband, all printed in red. Sm. folio. Orig. wraps., printed in blue across both covers with linoleum-cut designs by Matisse. Publisher’s slipcase and chemise. All contents loose, as issued. An unnumbered copy on vélin d’Arches, inscribed in pen "Exemplaire spécial de collaborateur," signed in pencil by Matisse in the justification, from the limited edition, of which 250 numbered copies were issued (30 on Japon), printed by Fequet et Baudier.

"A contemporary retelling of the story of Pasiphaë and the Minoan bull was the impetus for one of Matisse’s most intensive printmaking experiences. Working with linoleum, a fairly easy material to use, Matisse cut many blocks of each image to achieve the perfect flow of lines and relationship of forms. Intent on matching the spirit and ambience of the classic tale, Matisse took as his model ancient Greek black-ground vase painting" (Castleman). One of "the finest masterpieces of the century" (Strachan). Very faint traces of foxing and offsetting; generally a very fine copy.

Paris (Martin Fabiani), 1944. $15,000.00

Duthuit 10; Nice p. 36ff.; The Artist and the Book 198; Castleman p. 113; Skira 259; Rauch 169; Chapon p. 165; Manet to Hockney 112; Strachan p. 338; Wheeler 107; Stuttgart 183; Stern 72; Bareiss 44; Basel 191

282

(MATISSE) Reverdy, Pierre

Les jockeys camouflés. Trois poèmes agrémentés de cinq dessins inédits de Henri Matisse. (40)pp. 5 full-page reproductions of ink drawings hors texte. Text printed in green, orange and blue. 4to. Printed wraps. Glassine d.j. Fitted quarter-calf slipcase and chemise. One of 300 numbered copies on uncut vergé d’Arches, from the limited edition of 343 in all.

"Les jockeys camouflés" has sometimes been called Matisse’s first illustrated book, a claim which is not strictly true, as it incorporates drawings made, in a few cases, years before, between 1903 and 1917. Nonetheless, it is the first book to contain a multitude of images by him integrated in this fashion. Two editions of it were printed, both in 1918. This one, the first, has the text beautifully set in three colors, rather like Blaise Cendrars’ and Fernand Léger’s "J’ai tué," also published by François Bernouard in this year. Reverdy, who had not authorized this typographical caprice and was infuriated by it, forced Bernouard to issue a second version of it, in black-and-white. A few small spots on front cover; a copy, fresh and crisp, from the library of Albert Skira (though not marked as such).

Paris (La Belle Édition), 1918. $3,500.00

Duthuit 41; Nice 55; Skira 255; Chapon pp. 140,142

283

MAZZA, ARMANDO

Firmamento. Con una spiegazione di F.T. Marinetti sulle parole in libertà. 105, (5)pp. Sm. 4to. Dec. wraps. Uncut. Light wear at backstrip. Parole in libertà verse by one of the leading first generation Futurist poets. An unopened copy.

Milano (Edizione Futuriste di "Poesia"), 1920. $500.00

Salaris p. 55

284

MERIANO, FRANCESCO

Equatore notturno. Parole in libertà. 51, (5)pp. Lrg. 8vo. Wraps. "Piazza schematizzata", "Sleeping car", "Prosa cinematografica", "Lampada X Vetro", and other parole in libertà, set entirely from type and typographic elements, with no freehand intervention; compositions highly esteemed by Marinetti.

Milano (Edizioni Futuriste di "Poesia"), 1916. $550.00

Salaris p. 55; Falqui p. 72

285

MESENS, E.L.T.

Troisième front. Poèmes de guerre suivi de Pièces détachées. Illustré par l’auteur./ Third Front & Detached Pieces. Translated by Roland Penrose and the author. 47, (1)pp. Illustrations by Mesens after drawings and collages of steel engravings, integrated with text. Sm. 4to. Wraps. D.j. Edition limited to 500 copies on uncut heavy wove paper, signed and numbered in pen by Mesens in the colophon. Parallel texts in French and English.

London (London Gallery Editions), 1944. $400.00

Biro/Passeron 1982; Gershman p. 30; Ades 16.67

286

MINOTAURE

Revue artistique et littéraire. Directeur-Administrateur: Albert Skira. Directeur artistique: E. Tériade. Nos. 1-12/13 in 11 issues (all published), bound in 2 vols. Sm. folio. Original wraps. New fitted cloth clamshell box. Covers by Picasso, Derain, Duchamp, Miró, Dali, Matisse, Magritte, Ernst, Masson, Rivera et al. The most sumptuous flowering of the Surrealist movement in the art press; in some sense the complement to "Le surréalisme au service de la révolution" in its emphasis on artistic and oneiric, rather than political and theoretical, issues. After Tériade’s departure following no. 9, the review was overseen by an editorial committee: Breton, Duchamp, Eluard, Maurice Heine and Pierre Mabille. A fine set, unbound and as issued.

Paris (Albert Skira), 1933-1939. $6,000.00

Arntzen/Rainwater Q237; Chamberlin 2280; Gershman p. 51; Prause p. 363; The Art Press p. 37ff.; Rubin 470; Ades chapter 12; Nadeau p. 327f.; Jean, Autobiography 131; Reynolds p. 115

287

(MIRO) Tzara, Tristan

L’arbre des voyageurs. Orné de quatre lithographies de Joan Miro. 98, (4)pp., 4 original lithographs by Miró. Sm. 4to. Orig. wraps. Fitted clamshell case (cloth, 1/4 black morocco with leather label). One of 65 numbered copies on vélin d’Arches from the limited edition of 503, signed in pen by Tzara and Miró in the justification. These lithographs are among Miró’s first prints, and are indeed his first book illustrations (those in Liese Hirtz’ "Il était une petite pie" of 1928 having been pochoir reproductions). A fine copy.

Paris (Éditions de la Montagne), 1930. $6,000.00

Cramer 1; Mourlot 2-5; The Artist and the Book 205; Manet to Hockney 87; Skira 263; Rauch 163; Strachan p. 64; Berggruen 163; Andel 144

288

(MIRO) Tzara, Tristan

Parler seul. Poème. Lithographies de Joan Miró. 111, (9)pp. 73 original lithographs, including 20 hors-texte in color, 50 in-texte (27 color), cover (in color, with collage elements, partly printed on hand-torn newspaper), slipcase sleeve (color) and slipcase box (repeat of sleeve). Sm. folio. 380 x 280 mm. Signatures loose, as issued. One of 200 copies on malacca pur chiffon, from the limited edition of 250 in all, signed in pen by Tzara and Miró in the justification. Text printed by Fequet et Baudier, lithography by Mourlot Frères.

One of Miró’s most important and beautiful illustrated books. "Of texts illustrated in some form of surrealist idiom, the late Tristan Tzara’s poem ‘Parler seul,’ published in 1950 with Miró’s lithographs in black and colour, holds a particular interest, having been composed by the poet—one of the famous originators of the Dadaist movement—while undergoing treatment in a psychiatric clinic... The gaiety of colour, the Bosch-like imagination, the rightness of the placing on the page combine to arouse a shudder of delight or horror. They evoke moods of apprehension—’Le couteau dans la plaie’ with black scimitar-like shapes, the almost tachiste splodge of black with a circle of red above it and two pages later two creatures, one blue, one red, suspended like street lights with vestigial arms composed of a bow, with blobs of colour for hands and attached to long black bodies and elegant ideographic legs" (Strachan). A pristine copy.

Paris (Maeght), 1948-1950. $15,000.00

Cramer 17; Mourlot 102,104-107; Berggruen 34; The Artist and the Book 206 (full-page illus. in color), p. 145; Chapon p. 290f., cf. p. 178; Rauch 165; Strachan p. 339, cf. p. 126; Villa Stuck 75; Basel 200; Stern 77; Bareiss 48

289

MOYLAN, DONNA

Romanzo. Book and paintings by Donna Moylan, December 1984. 9 original watercolors (7 signed and dated in pencil) and 1 pencil drawing. The watercolors are on white wove paper, 6 in the full sheets (230 x 307 mm.; ca. 9 x 12 inches), and 3 in part sheets; all are loosely inserted into corner mounts on the brown leaves of the album. The pencil drawing, on a lighter buff stock, measures 85 x 65 mm. (3 3/8 x 2 5/8 inches), and is tipped-in under the front cover, facing the artist’s signed and dated title-sheet. Sm. folio. Flexible boards, taped at the spine.

Roma, 1984. $1,000.00

290

[NAUMAN, BRUCE]

Burning Small Fires. 1 large folding poster with a grid of 15 snapshot photographs, opening out from printed wrapper, printed in orange, designed by the artist. 93 x 127 cm. (36 3/4 x 45 5/8 inches), unfolded. Sm. folio. Self-wraps. "A book by Ruscha was also the subject of perhaps the first in-joke in contemporary book art. In 1967 Bruce Nauman produced a fold-out book entitled ‘Burning Small Fires.’ The subject of this book was simply the documenting of the burning of an actual copy of Ruscha’s ‘Various Small Fires’" (Clive Phillpot, in Lyons).

[San Francisco], [1967]. $750.00

Lyons p. 99; Moore College p. 58

291

[NAUMAN, BRUCE]

CLEARSKY. (12)ff., of which 10 printed in different shades of blue. Lrg. sq. 4to. Self-wraps. Signed in pen by Nauman at the base of the back cover, as issued. "Nauman’s ‘CLEARSKY’ is a series of empty pages, all printed in varying shades of glossy blue. In fact they look exactly like photographs of a clear sky taken at different times of day and night. But they’re not photographs; they’re simply pages of blue ink. They eliminate the photographic step in the process of reproduction, and subsequently invert the concept of ‘faith to reality’ in photo representation. But with all this in mind, the key to the book’s success is in its title: just the suggestion that the paper is a CLEARSKY is enough to give the flatness of the blank page a sense of depth, implied by the sky’s imagined space" (Tim Guest). Cover a bit soiled.

[New York] ([Multiples]), [1969]. $500.00

Guest/Celant pp. 10, 69,99; Moore College p. 58

292

NEUE JUGEND. Monatschrift. Herausgeber: Heinz Barger. Schriftleiter: Wieland Herzfelde. Vol. 1, Nos. 7-11/12, Juli 1916-Februar/März 1917 (all published). Berlin (Verlag Neue Jugend), 1916-1917. Continued as: Wochenausgabe. Mitarbeiter: F.M. Huebner, J. Reinelt, G. Grosz, R. Huelsenbeck, F. Jung, M. Hermann, H. Herzfeld [i.e. John Heartfield]. Nos. 1-2, Mai-Juni 1917 (all published). Berlin (Malik-Verlag), 1917. Together with: Der Almanach der Neuen Jugend auf das Jahr 1917. 1.-5. Tsd. Berlin (Verlag Neue Jugend), 1917. Heinz, Barger, editor.

A complete set of "Neue Jugend", accompanied by a copy of the "Neue Jugend Almanach." The present run is unusual in containing the first series in its rare original issues, rather than in the bound volume in which it was gathered and reissued by the publisher. "Neue Jugend" commenced with its so-called ‘seventh’ issue as a subterfuge in which the editors eluded government censorship by assuming the name (and publishing permit) of a far more benign periodical which had gone out of business with its sixth issue in 1914. The two issues constituting the second series were designed by John Heartfield, and are very rare, owing to their gigantic and perishable format. The first of these is remarkable especially for Richard Huelsenbeck’s "Der Neue Mensch," an exalted, Nietsche-inspired prose-poem/manifesto which was the author’s first contribution to Berlin dada. In the present set, this issue has is browned and brittle, and has been silked within sheets of archival tissue. The second issue ("Prospekt zur Kleinen Grosz Mappe"), printed in brilliant color with montage designs by Heartfield, is one of the masterpieces of Dada graphic design, the layout featuring the Flatiron building and a bumpy frieze of red and green bicycles on the front page, and, at the end, a dazzling advertisement by him for Grosz’s "Kleine Grosz-Mappe," strewn amazingly with an assortment of skulls-and-crossbones, top hats, cheap rings, locomotives and balloonists. This copy is in extremely fine condition (light browning, slight cracks at foldlines; generally bright and fresh), and of great rarity thus.

Collation as follows:

1. Monatsschrift. 5 issues. (126)pp. (= pp. 123-348). 19 illus. Sm. 4to. Orig. printed wraps. Texts by J.R. Becher, A. Ehrenstein, R. Huelsenbeck, E. Lasker-Schüler, W. Herzfelde, T. Däubler, K. Edschmid, G. Trakl, G. Grosz, et al. Illus. by and after Grosz, Mense, Lasker-Schüler, Seurat, Davringhausen, Chagall, Ensor.

2. Wochenausgabe. 2 issues. Each (4)pp. (single sheet, folding). Elephant folio. Tabloid format, printed in red and black (Nr. 1) and red, green, blue and black (Nr. 2). Typography by H. Herzfelde (i.e. John Heartfield). Texts by R. Huelsenbeck, F.M. Huebner, M. Herrmann.

3. Der Almanach der Neuen Jugend auf das Jahr 1917. 181, (9)pp. 6 full-page illus. in text by George Grosz (4), Oskar Kokoschka and Ludwig Meidner. Wraps. (light wear). Texts by Martin Buber, Johannes R. Becher, Th. Däubler, Aldo Palazzeschi, Richard Huelsenbeck, Mynona, Albert Ehrenstein, Else Lasker-Schüler, Franz Werfel, Ludwig Meidner, Eduard Bernstein, Wieland Herzfelde, George Grosz, Heinrich Mann, Franz Kafka, and others.

Berlin (Verlag Neue Jugend), 1916-1917. $10,000.00

Hermann 1, 277-278; Berlin: Malik 1-3; Siepmann A1-3; Raabe 30, 177; Raabe/Hannich-Bode 120.17; Dada Global 22-25; Almanacco Dada 98; Bergius p. 390; Rifkind 293, 311; Tendenzen 3.153-4; Marbach 51.3-5; The Avant-Garde in Print 3.4; Düsseldorf 461

293

NEUE JUGEND. Wochenausgabe. No. 1

Mai 1917 (23. Mai 1917) Mitarbeiter: F.M. Huebner, J. Reinelt, G. Grosz, R. Huelsenbeck, F. Jung, M. Hermann, H. Herzfeld [i.e. John Heartfield]. Tabloid format, printed in black and red. Large folio. Texts by Richard Huelsenbeck, Friedrich Markus Huebner, et al. One of only two issues constituting the second series of "Neue Jugend," both of them extremely rare due to their gigantic and perishable format, among other things. This issue features Richard Huelsenbeck’s "Der neue Mensch," an exalted, Nietzsche-inspired prose-poem/manifesto which was the author’s first contribution to Berlin dada. The typography is by John Heartfield. Numerous clean splits and tears, some with old tape mends; split at backstrip fold; a few small marginal losses; light browning; a worn copy.

Berlin (Malik-Verlag), 1917. $1,500.00

Dada Global 23; Almanacco Dada 98; Bergius p. 320; Tendenzen 3.154; Düsseldorf 3.154; Raabe 30; Raabe/ Hannich-Bode 120.17; Hermann 278a; Berlin: Malik 3; Siepmann A3

294

NEW YORK. Anderson Galleries

The Forum Exhibition of Modern American Painters. March 13-25, 1916. Committee: Christian Brinton, Robert Henri, W.H. de B. Nelson, Alfred Stieglitz, John Weichsel, Willard Huntington Wright. Artists: Ben Benn, Thomas H. Benton, Oscar Bluemner, Andrew Dasburg, Arthur G. Dove, Marsden Hartley, S. Macdonald-Wright, John Marin, Alfred Maurer, Henry L. McFee, George F. Of, Man Ray, Morgan Russell, Charles Sheeler, A. Walkowitz, Wm. and Marguerite Zorach. 78, (4)pp. 16 plates. 4to. Printed boards (slightly chipped at head). Original glassine d.j. (fragmentary). The original edition of this historic catalogue. "It was...hoped that an exhibition of more modest dimensions than was the Armory Show would help to create closer contact between the artist and the public. As a step toward such a closer understanding the catalogue contained introductory remarks by the sponsors and a short statement of intention by each of the sixteen participating painters. The exhibition itself was important in that it showed what the Americans had been doing in the three years since the Armory show" (Milton W. Brown). This copy with a few light pencil annotations. Small marginal waterstain; the fragile binding in unusually good condition.

New York, 1916. $850.00

Karpel J-315; Gordon p. 888f.; Brown p. 65ff.

295

NEW YORK. Coordinating Council of French Relief Societies

First Papers of Surrealism. Hanging by André Breton. His twine: Marcel Duchamp. Oct.-Nov. 1942. Foreword by Sidney Janis. (52)pp. Prof. illus. 4to. Dec. wraps., designed by Duchamp. Featuring especially Breton’s elaborate "De la survivance de certains mythes et de quelques autres mythes en croissance ou en formation," there are as well the "compensation portraits of artists," supplied as substitutes for what were felt to be inadequate photographs: Duchamp appears as one of Dorothea Lange’s tenant farmer wives, Masson as an Eskimo. A landmark exhibition and publication.

New York, 1942. $300.00

Gershman p. 9; Rubin 420; Ades 15.60; Sheringham Ac335; Naumann 6.3

296

NEW YORK. Helena Rubinstein’s New Art Center

Masters of Abstract Art. An exhibition for the benefit of the American Red Cross assembled by Stephan C. Lion. April 1-May 15, 1942. Editors: Stephan C. Lion, Charmion Wiegand. Typography: Herbert Bayer. Texts by Mondrian, Léger, G.L.K. Morris, Stuart Davis, Hans Richter, Carl Robert Holty and Harry Holtzman, with a prefatory joint ("composite") statement. 42, (2)pp. 16 plates in texts. Sm. sq. 4to. Wraps., with boldly geometric red cross cover design by Bayer. A few light notes in pencil; a fine copy. A highly important and handsomely designed catalogue, extremely rare.

New York, 1942. $400.00

297

NYST, RAY

La peinture futuriste en Belgique./ La pittura futurista nel Belgio. (Dalla rivista "La Belgique artistique et littéraire" n. 82, juillet 1912.) (4)pp. (single sheet folding). 4to. Parallel texts in French and Italian. Originally titled "Les Salons - Les peintres futuristes italiens" before its redistribution in this form by Marinetti.

Milano (Direzione del Movimento Futurista), 1912. $250.00

Salaris p. 83; Lista p. 419ff.

298

L’OEUF DUR

[Fondateurs: Georges Duvau, Gérard Rosenberg, Pierre Villoteau, Jean Albert-Weil.] Nos. 1-16, mars 1921 - 1924 (all published). With: censored variant of no. 12. Sm. 4to. Orig. printed wraps. Glassine d.j. Fitted quarter-vellum slipcase and chemise. In this run, 8 issues are present in the deluxe tirage on uncut hollande, nominally limited to 30 copies (though these examples are mostly unnumbered). Texts by Louis Aragon, Marcel Arland, Francis Carco, Blaise Cendrars, Jean Cocteau, Joseph Delteil, Pierre Drieu La Rochelle, Georges Gabory, Max Jacob, Gustave Kahn, Valery Larbaud, Pierre Mac Orlan, Maurice Martin du Gard, François Mauriac, Henry de Montherlant, Paul Morand, Léon Pierre-Quint, Raymond Radiguet, Pierre Reverdy, André Salmon, Marcel Sauvage, Philippe Soupault and others. A fine set.

Paris, 1921-1924. $2,750.00

Sanouillet 246; Place/Vasseur III.97-111; Admussen 156

299

ORLOFF, CHANA

Bois gravés. (2)pp., 11 full-page original woodcuts by Chana Orloff, each signed in pencil by the artist. Sheet size: 565 x 385 mm (22 1/4 by 15 1/8 inches); image sizes range from 160 x 130 to 350 x 295 mm. (6 1/4 x 5 1/4 to 13 1/2 x 11 1/2 inches). Folio. All sheets loose, as issued, within decorated wrapper repeating one of the woodcuts. Edition limited to 100 copies in all, numbered by hand. Printing by Frazier-Soye.

A rare portfolio by the Ukrainian-born sculptor and printmaker Chana Orloff (1888-1968), active in the Parisian cubist milieu in the teens and twenties, who exhibited at the Salon d’Automne beginning in 1913, and at the Salon des Indépendants. "Although influenced to some extent by Cubism, Modigliani, and the vogue for the primitive, she soon established a distinctive idiom: essentially naturalistic, but tending to a decorative simplication of form and a love of smooth rounded surfaces. In the early 1920s, Orloff gained a considerable reputation for her portrait sculptures of the Parisian cultural élite" (M. Bohm-Duchen, in The Grove Dictionary of Art).

Orloff’s published a number of her woodcuts in "SIC," and in a book by her short-lived husband Ary Justman, ‘Réflexions poétiques’ (1917). Of this last, Donna Stein remarks that "The most fertile period of Cubist book publication occured after World War I, when adherents of the style had achieved some commercial success, but were no longer a coherent group. Concurrently there was a widespread revival of the art of the woodcut.... Wood was Orloff’s favorite sculptural material, and she was able to transfer the organic sense of Cubist deformation onto her woodblock in the creation of one particularly noble and psychologically penetrating portrait made for this book" (‘Cubist Books, Cubist Prints,’ p. 62). In the present large-format portfolio Orloff carries yet further the exploitation of the grain of the block through eleven portraits of women, utilizing the patterns of the wood to convey the folds of drapery and lines of coiffure, as well as the psychological dimension, in an unusually effective way.

Slight foxing of the outer portfolio, with small abrasion at foot; three prints with slightest wear at extreme edge of outer margin; a very fine, crisp and clean copy. Rare.

Paris (D’Alignan), 1919. $9,500.00

300

PALADINO, MIMMO

Una piccola storia in un giardino di delizie. 9 original pen-and-ink drawings, unsigned. Each 219 x 169 mm. (8 5/8 x 6 5/8 inches); versos blank. Together with these, an autograph note from the artist: "Caro Mario/ una piccola storia./ un passo dopo l’altro/ in un giardino di delizie./ Mimmo." The series is loosely inserted into corner mounts on the leaves of a custom-made leather album, with glassine guards. Sm. folio. Full tan calf, stamped in black on the front cover. Paladino’s ‘story’ was published in the 7th and last issue of the review "TAU/MA," put out by Mario Diacono and Claudio Parmiggiani in Reggio Emilia in 1981.

[Milano], 1980. $15,000.00

301

PANSAERS, CLÉMENT

L’apologie de la paresse. 61, (3)pp. Wraps. Glassine d.j. One of 300 numbered copies on bouffant, from the limited edition of 306. The central personality in Belgian Dada, Clément Pansaers was also a pivotal figure in the world of Paris Dada from the time of his arrival early in 1921 as a correspondent for "Ça ira." Involved with the "Littérature" group and "Le coeur à barbe," he eventually broke with the group, and went on to what he called the "assassination of Dada" in a special number of "Ça ira" entitled ‘Dada, Its Birth, Life and Death,’ in November 1921. Before his untimely death in 1922, he published three books, of which this is one (together with "La pan-pan au cul du nu nègre" and "Bar Nicanor"). Small flaw on flyleaf; a nice copy.

Anvers (Ça Ira!), 1921. $850.00

Zürich 331; Bruxelles, Bibl. Royale Albert Ier: Cinquante ans d’avant-garde (1983), no. 42

302

PANSAERS, CLÉMENT

Bar Nicanor. Avec un portrait de Crotte de Bique et de Couillandouille par eux-mêmes. 52pp. 2 original relief prints by Pansaers, printed in brown, at outset of text. Contents printed on salmon-colored stock. Printed wraps. One of 300 numbered copies on bouffant, from the limited edition of 305. Presentation copy, handsomely inscribed above the first woodcut by Pansaers to Pierre de Massot, Paris, 5 May 1921. A very fresh copy.

Bruxelles (Editions A I O), 1921. $1,500.00

Gershman p. 31; Dada Global 79; Bruxelles, Bibl. Royale Albert Ier: Cinquante ans d’avant-garde (1983), no. 18

303

PANSAERS, CLÉMENT

Prospectus for] Bar Nicanor. Handbill order-form, printed on recto only, perforated at base. 322 x 243 mm. (12 5/8 x 9 5/8 inches) "Bar Nicanor. Un livre PAN-DADA. Qui est DADA? Qu’est ce que DADA! Dada c’est Pansaers. Vive Pansaers Dada. Dada n’est rien. A-bas Pansaers Dada. Lisez Bar Nicanor et vous découvrirez entre VIVE et A-BAS qui est et ce que c’est que DADA." This rare large-format flyer, with its dramatic dada layout and punning allusion to Pansaer’s "Le Pan-Pan au cul du nu nègre," is printed on the same salmon-colored stock as the book itself. Copies were inserted in "Ça ira." Poupard-Lieussou and Sanouillet illustrate a tattered copy, lacking the bottom portion below the perforation. Fine example.

Bruxelles (Editions A I O), 1921. $1,800.00

Poupard-Lieussou/Sanouillet 27; Tendenzen 3.288; Bruxelles, Bibl. Royale Albert Ier: Cinquante ans d’avant-garde (1983), no. 18

304

[PAPINI, GIOVANNI & SOFFICI, ARDENGO (editors)]

Almanacco purgativo 1914. 148, (12)pp. 9 illus. by Soffici. Lrg. 8vo. New blue leatherette. Orig. dec. wraps. (designed by Soffici) and backstrip bound in. Written by Soffici and Papini and their friends during the run of the Futurist exhibition sponsored by "Lacerba" at the gallery of Ferrante Gonelli, Florence, November 1913 - January 1914. Front wrapper mended; cut somewhat close at right edge.

Firenze (Tipografia di A. Vallecchi e C.), 1913. $500.00

Salaris p. 74

305

PARIS. Galerie Beaux-Arts

Exposition internationale du surréalisme. Invitation pour le 17 janvier 1938. Invitation, printed on recto only, with text and halftone photo. 110 x 140 mm. (4 3/8 x 5 1/2 inches). Invitation to the opening of the epochal exhibition. Captions advertise "Apparitions d’Etres-Objets," "L’Hystérie," "Clips fluorescents," "Descente de lit en flancs d’hydrophiles," and the famous "Taxi pluvieux" of Dalí. At the center, a photograph of the human automaton Enigmarelle ("descendant authentique de Frankenstein" scheduled to appear at the opening at half-past midnight) lurching in a parade among imperturbable guards.

Paris, 1938. $350.00

Ades 12.137; Rubin 417; Milano p. 605f.; Nadeau p. 367

306

PARIS. Librairie José Corti

Le groupe Surréaliste. Catalogue de livres en vente à la Librairie José Corti. (6)pp. (single sheet, folding). 3 illus. of collages. Dec. self-wraps. This copy with the tipped-in calling card of José Corti, who (he has added in pen, beneath his name) "n’oublie pas ses amis."

Paris [1930]. $375.00

307

PARIS. Librairie José Corti

Livres et publications surréalistes. 15, (1)pp. 12 photographic portraits in 12mo., bound in hors texte. Self-wraps. with cover by Max Ernst. Full listings of available and out-of-print publications for each of 12 Surrealist writers, along with excerpted critical commentary; the final page bears the famous "Lisez: Ne lisez pas" list of famous writers. Max Ernst’s specially designed front cover is one of his most memorable steel-engraved collages. Dates of the catalogue from reliable authorities range from 1929 (Ades) to 1932 (Rubin).

Paris, n.d. [1931/1932]. $450.00

Tours 117; Spies: Ernst Collages illus. 392; Biro/Passeron p. 105 (illus.); Ades 9.88; Sanouillet 317; Rubin 4

308

[PARIS. Galerie Goemans]

Exposition de collages. Arp, Braque, Dalí, Duchamp, Ernst, Gris, Miró, Magritte, Man-Ray, Picabia, Picasso, Tanguy. Mars 1930./ "La peinture au défi," par Aragon. 32pp., 23 plates. Sm. 4to. Publisher’s green wraps. The first significant general exhibition of collage, here accompanied by the famous text of Louis Aragon. Lissitzky and Rodchenko are included in the plates, along with those mentioned earlier.

Paris (José Corti), 1930. $750.00

Gershman p. 2; Ades 11.37; Rubin 464

309

PARIS. Charles Ratton

Exposition surréaliste d’objets. Mai 1936. (8)pp. Sm. 4to. Self-wraps. Text by André Breton. Though on view for only a week, in a private residence (that of the well-connected dealer and expert in primitive art Charles Ratton), this was one of the most important exhibitions of the surrealist epoch, inspiring a famous special issue of "Cahiers d’Art" (with a cover designed by Duchamp) devoted to the object. In addition to surrealist objects per se (Arp, Bellmer, Cahun, Calder, Gala and Salvador Dalí, Duchamp, Giacometti, Hugnet, Man Ray, and many others, including Meret Oppenheim and the fur-covered teacup), the show included numerous works of Amerindian and Oceanic art and a variety of items carefully classified as natural objects, perturbed objects, found objects, readymades, and so forth.

Paris, 1936. $600.00

Rubin 411, p. 266f.; Jean p. 247ff.; Jean Autobiography 163; Nadeau p. 333; Reynolds p. 47; Milano. p.652; Sheringham Ac263; Pompidou: Breton p. 229

310

PARIS. Union Des Artistes Russes

Bal Olympique. Vrai bal sport costumé. 11 juillet 1924, à la Taverne de l’Olympia. Programme. (12)pp. Illustrations and ornaments by Picasso, Vassilieff, Fotinsky, Granovsky and others. Sm. folio. Plain heavy wraps., with cover ornament by Barthe. Extensive listings of events and contributors. Printed on heavy wove paper, the program was undoubtedly produced by François Bernouard, like that for the Bal Travesti/Transmental, though it carries no credit.

Paris, 1924. $500.00

311

PARIS. Union Des Artistes Russes

Grand bal des artistes travesti/transmental, Salle Bullier, 23 février 1923. Ticket. Broadside, in oblong 4to., printed on recto in orange and dark umber with a design by Larionov, the left a bold abstraction incorporating a stylized figure, the right a text in his hand. This "ticket" measures more than 8x11 inches. A fine example.

Paris, 1923. $500.00

312

PARIS. Union Des Artistes Russes

Grand bal des artistes travesti/transmental, Salle Bullier, 23 février 1923. Handbill. Broadside on bright green wove stock, in narrow small folio, printed in black on both recto and verso. At the head of the recto, a bold abstraction by Larionov, incorporating a stylized figure; at the bottom of the verso, a Larionov vignette (which also appears on the ticket to the ball). Central fold, as issued. A fine example.

Paris, 1923. $350.00

313

PENROSE, ROLAND

The Road is Wider than Long. An image diary from the Balkans, July-August 1938. (Series of Surrealist Poetry edited by E.L.T. Mesens. No. 1.) (50)pp. 39 halftone photographs and 1 line-drawn illus. in text. Sm. 4to. Balsa-wood veneer over boards, printed in blue. One of 500 hand-numbered copies on Art paper, from the limited edition of 510 in all. One of the most elegant and advanced of all British Surrealist publications, with interesting prefigurations of Long andFinlay. Tiny chips at spine.

London (London Gallery Editions), 1939. $1,250.00

Biro/Passeron p. 325, no. 2254; Cf. Ades 14.67

314

PÉRET, BENJAMIN

Dossier of letters and telegrams assembled by Péret in 1943, documenting his contretemps with Charles Henri Ford and "View" magazine. The file documents Péret’s extreme displeasure when, though he expressly refused permission, Ford published portions of his introduction to an anthology of Mexican folktales in the June 1943 issue of "View." In a furious letter to Ford, Péret accuses him not only of misappropriating the text, but also of completely distorting its meaning with his extensive cuts. Martica Sawin reports that, as printed, the article also got Péret in hot water with Breton—no friend of Charles Henri Ford or "View"—who sent Péret an angry telegram castigating him for his participation. Contents as follows:

1. Telegram from Charles Henri Ford to Benjamin Péret, New York, 10 June 1943 ("May I publish in View part of your preface already on press"). 2. Retained manuscript text by Péret for a telegram sent to Dwight MacDonald in New York, requesting that publication of the preface be suspended ("lettre explicative suit"). 3 lines in ink, signed in full; with attached receipt from the telegraphic office, México. Oddly the latter is dated 3 June, a week prior to Ford’s cable. 3. Retained carbon typescript of Péret’s substantial letter to Ford, sent by certified mail on 2 September, expressing outrage over the situation. 1f., with attached receipt from the post office, México. ‘Not only extremely surprised, but revolted’ by this turn of events, Péret announces that he plans to sue Ford for damages unless he receives adequate compensation by return mail. 4. Retained manuscript original of the foregoing, in Péret’s miniscule hand, with alterations and crossed-out passages. 1f. (top half of recto). 5. A copy of "View" Vol. III, No. 2, in which the article ("Magic: The Flesh and Blood of Poetry") appears.

México/ New York, 1943. $1,800.00

Cf. Sawin p. 290

315

PETERSEN, CARL V.

1936: The Art of the Surrealists in Denmark and Sweden. L’art des surréalistes.../ Surrealistisk Kunst.... (4)pp., 16 plates with 32 illus. Sm. folio. Self-wraps. A promotional pamphlet for Scandinavian Surrealist painters, "published especially for the International Surrealist Exhibition at the New Burlington Galleries London, June 1936." Illustrated are pictures by Sven Jonson, Wald. Lorentzon, Vilh. Bjerke-Petersen, Freddie, Heerup and others. Rare.

Copenhagen (Fischers Forlag), 1936. $400.00

316

PETRY, WALTER

Die dadaistische Korruption. Klarstellung eines erledigten Philosophieversuches. Umschlag von Georg Kobbe. Herausgegeben im Auftrage der Liga zur Bekämpfung des Dadaismus. 8pp. Orig. dec. wraps. An early anti-dada pamphlet. The front cover features a dramatic pseudodada portrait of Johannes Baader (whose forehead bears the typed identification "Der Präsident der Erdballs") set against a graffiti-scribbled printed map. Designed by George Kobbe, this almost art brut composition is, despite itself, a compelling advertisement for Der Oberdada, and in fact it was actually exhibited at the Erste Internationale Dada-Messe in June 1920 (no. 145). A fine copy.

Berlin (Leon Hirsch), 1920. $1,500.00

Tendenzen 3.227; Dokumentations-Bibliothek VI.113.2

317

(PICABIA, FRANCIS)

491. 4 mars 1949 [all published]. Rédaction: Michel Tapié. (4)pp. (single sheet, folding). 27 half-tone and line-drawn illus. Super-imposed boldface headlines in orange ("Francis Picabia"). Tabloid folio, folded 4 times. "Catalogue in newspaper format issued March 4, 1949, for Picabia exhibition of 136 works dated 1897-1949. Edited for Drouin Gallery by Michel Tapié, with contributions by Breton, Buffet-Picabia, Roche, Tapié, and essay by the artist, ‘50 ans de plaisir’ " (Motherwell/Karpel).

Paris (René Drouin), 1949. $850.00

Motherwell/Karpel 336a; Gershman p. 52

318

(PICASSO) Hugnet, Georges

Non vouloir. Illustré de quatre gravures par Pablo Picasso. 76, (4)pp. Full-page zincographs, reworked by the artist in copperplate engraving. Sm. 4to. Printed wraps. One of 400 numbered copies on vélin bouffant, from the limited edition of 426 in all. A fine copy, inscribed on the half-title by Hugnet, 1943.

Paris (Éditions Jeanne Bucher), 1942. $1,500.00

Goeppert/Goeppert-Frank/Cramer 36; Bloch 360; Stern 93; Rauch 62; Skira 299; Pérégrinations 87

319

DIE PLEITE

Illustrierte Halbmonatschrift. Herausgeber: Wieland Herzfelde. 1. Jahrgang, Nos. 1-4 (of 6 issues published in all). (4)pp. per issue (single sheet, folding) except No. 2, which is (16)pp. Prof. illus. Format varies: Nos. 1, 3 and 4 in tabloid small folio; No. 2 in octavo, in original dec. wraps., as issued.

"Die Pleite" was one of a series of small, short-lived reviews edited by Herzfelde, Grosz and John Hearfield following "Neue Jugend," all of them marked by scathing political satire, and all of them banned. After its sixth number (January 1920), "Die Pleite" was absorbed by "Der Gegner," though it resurfaced briefly and illegally in another guise in July of 1923. "Die Pleite" was illustrated almost singlehandedly by Grosz,, and contains some of his most famous line drawings, such as "Prost Noske!-The Proletariat is Disarmed" and "Den Ärzten von Stuttgart, Greifswald, Erfurt und Leipzig gewidmet," more familiarly known as ‘Fit for Active Service.’ The anomalous second issue was a pamphlet entitled "Schutzhaft" (‘Protective Custody’) in which Herzfeld reported on his harrowing experiences in prison following his arrest as a dissident publisher. It may be noted that virtually all of the contributors to "Die Pleite"—Carl Ehrenstein, Grosz, Herzfelde, Heartfield and Mehring—were incessantly harassed by the military and the police at this time, and spent part of it either in hiding or in jail.

No. 2 with hairline split at backstrip; unobtrusive central folds; generally in very fine condition, clean and uncreased.

Berlin/Leipzig (Der Malik-Verlag), 1919. $12,500.00

Hermann 289-292; Berlin: Malik 16; Siepmann A7; Raabe 66; Raabe/Hannich-Bode 120.20; Dada Global 29-32,35; Ades 4.67; Almanacco dada 118; Verkauf p. 89; Marbach 119.9; Düsseldorf 463; Tendenzen 3.231; Bergius p. 414

320

PRATELLA, BALILLA

Manifesto dei musicisti futuristi. Milano, 11 ottobre 1910. (4)pp. (single sheet, folding). 4to. Self-wraps. The first of three manifestos by Pratella, to which the "Manifesto tecnico della musica futurista" was added as a follow-up at the end of March 1911. Pratella’s manifestos were gathered together in 1912 and included with the piano reduction of his "Musica futurista per orchestra," Bologna 1912.

Milano (Dalla Redazione di "Poesia"), 1910. $300.00

Salaris p. 82; Scrivo 18; cf. Apollonio p. 31ff

321

(REIFFERSCHEID, HEINRICH) Flaischlen, Cäsar

Wolken und Winde. (Miniatur-Kunstgaben. Band 13.) 8ff., entirely etched, including 3 full-page compositions and 5 pages of text. Dec. handmade paper wraps. Published in an unspecified small edition, signed in the colophon by the artist.

Lübeck (Otto Quitzow), n.d. $200.00

322

RENGER-PATZSCH, ALBERT

Die Halligen. Geleitwort von Johann Johannsen. Unter Mitwirkung von Karl Häberlin in Wyk auf Föhr. (Das Gesicht der Landschaft.) xxi, (1)pp., 144 screened gravure plates. Lrg. 4to. Cloth. Pencilled inscription on half-title; a little light wear.

Berlin (Albertus), 1927. $375.00

Freitag 10488

323

RENGER-PATZSCH, ALBERT

Die Welt ist schön. Einhundert photographische Aufnahmen. Herausgegeben und eingeleitet von Carl Georg Heise. 21, (5)pp., 100 halftone plates. 4to. Orig. boards.

München (Kurt Wolff), 1928. $850.00

324

RENGER-PATZSCH, ALBERT

Eisen und Stahl. 97 Fotos. Geleitwort von Albert Vögler. (Werkbund-Buch.) 11, (1)pp., 80 plates with 97 illus. Publisher’s silvered boards, 1/4 cloth. Extremely fine photographs of iron and steel construction works, bridges, machinery and industrial architecture, reminiscent of the work of Bernd and Hilla Becher. Slightly shaken, a trace foxed; generally a fine, crisp and attractive copy.

Berlin (Hermann Reckendorf), 1931. $800.00

Heidtmann 6010

325

RENGER-PATZSCH, ALBERT

Lob des Rheingaus. Mit einem Vorwort von L. Curtius. xv, (1), 206, (2)pp. 103 fine full-page gravure plates in text (3 double-page). Lrg. sq. 4to. Cloth.

Ingelheim am Rhein (C.H. Boehringer Sohn), 1953. $300.00

326

RENGER-PATZSCH, ALBERT

Bäume. Photographien schöner und merkwürdiger Beispiele aus deutschen Landen. Mit einem Essay von Ernst Jünger und dendrologischen Erläuterungen von Wolfgang Haber. 17, (3)pp., 65 plates. Folio. Cloth. Printed at the Stamperia Valdonega.

Ingelheim am Rhein (C.H. Boehringer Sohn), 1962. $800.00

327

RENGER-PATZSCH, ALBERT

Gestein. Photographien typischer Beispiele von Gesteinen aus europäischen Ländern. Mit einer Einführung und Bildtexten von Max Richter und mit einem Essay von Ernst Jünger. 33, (3)pp., 62 full-page plates with facing commentary. Folio. Cloth. Printed at the Stamperia Valdonega, with text on wove paper from the Fratelli Magnani in Pescia; bound at the Legatoria Toriana in Milano.

Ingelheim am Rhein (C.H. Boehringer Sohn), 1966. $650.00

328

(RICHTER, HANS)

Dreams That Money Can Buy. Produced and directed by: Hans Richter.... Story by Hans Richter, in cooperation with: David Vern, Hans Rehfisch, Joseph Freeman.... Objects and ideas by: Alexander Calder—music by Paul Bowles (Ballet); David Diamond (Circus); Marcel Duchamp—music by John Cage (Discs); Max Ernst—music by Paul Bowles (Desire); Fernand Léger—music by John Latouche (The Girl with the Prefabricated Heart); Man Ray—music by Darius Milhaud (Ruth, Roses and Revolvers); Hans Richter—music by Louis Appelbaum (Narcissus). Sets by Hans Richter for Art of this Century Films, Inc. (28)pp. 30 illus. Sm. 4to. Dec. self-wraps., with front cover after Max Ernst. Texts by Louis Appelbaum, John Cage, Charles R. Hulbeck (Richard Huelsenbeck), Siegfried Kracauer, James Johnson Sweeney, Man Ray and others. Catalogue layout by Frederick Kiesler. A fine copy.

New York, 1947. $350.00

329

ROH, FRANZ

Nach-Expressionismus. Magischer Realismus. Probleme der neuesten europäischen Malerei. (6), 134pp., 90 plates. Sm. 4to. Boards. Light foxing and wear.

Leipzig (Klinkhardt & Biermann), 1925. $200.00

Spalek 777

330

(ROSA) Carli, Mario

Notti filtrate. 10 liriche di Mario Carli. 10 disegni di Rosa Rosà. (22)pp., 10 plates. Frontis. portrait of the author by G. Rosati. Both the text and the illustrations are printed in blue. Sm. 4to. Wraps. Edyth von Haynau, born into an aristocratic family in Vienna in 1908, took the pseudonym Rosa Rosà after moving to Italy in 1917. A member of the "Italia Futurista" circle, whose interest in occultism she shared, she wrote on behalf of women’s emancipation, but was primarily active as an illustrator. Her drawings in this collection of verse by Carli—an editor of "Roma Futurista," and Fascist propagandist—are futuristic (more than Futurist) fantasies, with a distinctly theosophical twist. Rare.

Firenze (Edizioni de L’Italia Futurista), 1918. $900.00

Salaris p. 28; Hultén p. 556; Jentsch p. 327

331

ROTTERDAM. Rotterdamsche Kunstkring

Les peintres et les sculpteurs futuristes italiens. Boccioni, Carrà, Russolo, Balla, Severini, Soffici. May-June 1913. Collective statement by the artists; "Les exposants au public." 34, (2)pp. 6 illus. Wraps. A sequel to the great Futurist exhibition of 1912, which travelled to Paris, London, Berlin, Brussels, Hamburg, Amsterdam, The Hague, Amsterdam, and Munich. New works were included in this installment, and the catalogue includes a list of pictures shown at the earlier venues and now sold. Price list loosely inserted. Very scarce, particularly with the latter.

Rotterdam, 1913. $400.00

Lista p. 167ff; Apollonio p. 45ff; Taylor p. 122

332

RUSCHA, EDWARD, et al.

Royal Road Test. [By] Mason Williams, Edward Ruscha, Patrick Blackwell. (58)pp. 36 halftone illus. 4to. Printed wraps., spiral-bound. First edition. Edition of 1000 copies.

Los Angeles (Mason Williams and Edward Ruscha), 1967. $350.00

333

RUSCHA, EDWARD

Thirtyfour Parking Lots in Los Angeles. (46)pp. 31 full-page plates (1 with folding tab). Photographs by Art Alanis. First edition.

N.p. (Edward Ruscha), 1967. $400.00

334

RUSCHA, EDWARD

Some Los Angeles Apartments. (44)pp. 34 plates. Printed wraps. Glassine d.j. Second edition. 3000 copies printed.

N.p. (Edward Ruscha), 1970. $350.00

335

RUSSOLO, LUIGI

L’art des bruits. Manifeste futuriste. Milan, 11 mars 1913. (4)pp (single sheet, folding). 4to. Self-wraps. "In March 1913 [Russolo] published his manifesto ‘The Art of Noises,’ and in the next few years did relatively little painting, devoting himself to his elaborate machines, intonarumori (noise-organs), which produced on cue all manner of sounds..." (Taylor). "L’art des bruits" shows his alertness not only to the bombast and bellicose effects so prized by Marinetti, but also to the subtler acoustical incidents of domestic life and the natural world, "the murmur of water, air and gas in metal pipes... the flapping of curtains and flags... the rustling of leaves, the trot of a horse fading into the distance... and the deep, solemn, white breathing of a nocturnal city; all the noises made by wild and domestic animals, and all the noises that can be made by the mouth of man without speaking or singing."

Milan (Direction du Mouvement Futuriste), 1913. $400.00

Taylor p. 80, 122; Scrivo 33; Salaris p. 83; Apollonio p. 74ff; Hultén p. 558ff. (both reprinting the text in full)

336

(RYMAN) Beckett, Samuel

Nohow On. With etchings by Robert Ryman. 128, (4)pp. 6 original etchings, printed in tones of white, hors texte. 4to. Full black leather. Clamshell box (cloth, lined). Edition limited to 550 numbered copies, signed in the colophon by Samuel Beckett and Robert Ryman. Text printed at the Shagbark Press on paper from Cartiere Enrico Magnani; etchings printed on Arches at Wingate Studio and Renaissance Press. Design by Benjamin Shiff. "The serene, faintly visible white paintings, drawings and prints of Ryman’s Minimalist oeuvre have concentrated and focused attention on incidents within their spaces. His subtle, but visually intriguing, aquatints are placed within Beckett’s set of three texts, one of which, ‘Worstword Ho,’ is written in a kind of stuttering street repartee, punctuated throughout with the phrase ‘Nohow on’" (Castleman).

New York (The Limited Editions Club), 1989. $4,000.00

Castleman p. 201; München 161

337

S.M.S.

Published by the Letter Edged in Black Press, Inc. [Editor: William Copley.] Nos. 1-6, February-December, 1968 (all published). 6 issues, consisting of boxed portfolio albums of multiples especially created for each number. All contents loose, as issued. 4to. Publisher’s dec. printed folders within printed white cardboard shipping cartons (3 with addresses, as mailed). Contributions by James Byars, Walter de Maria, La Monte Young and Marian Zazeela, Kasper König, Richard Hamilton, Su Braden, Christo, Julien Levy, Ray Johnson, Nicolas Calas, Meret Oppenheim, Bruce Conner, Clovis Trouille, Enrico Baj, Dick Higgins, Joseph Kosuth, Roland Penrose, Man Ray, H.C. Westerman, Terry Riley, On Kawara, Hollis Frampton, Roy Lichtenstein, Robert Watts, John Cage, Mel Ramos, Bruce Nauman, Neil Jenny, Diane Wakoski, Yoko Ono, Richard Artschwager, Diter Rot, Claes Oldenburg, Bernar Venet, John Giorno, and many others. Printed matter, found objects, toys, graphs, confetti, index cards, pamplets, vitamin capsules, faux postage stamps, decals, burnt bowties, party-hats, facsimile manuscripts, plastic gloves, photo albums, fake currency, and a great deal else, apart from the numerous text and images. Tables for each issue make it possible to collate the diverse contents precisely. Light wear to some of the outer shipping cartons.

New York, 1968. $3,000.00

Pindell p. 107

338

SAINT-POINT, VALENTINE DE

Manifesto della donna futurista. Riposta a F.T. Marinetti. Parigi, 25 March 1912. (4)pp. (single sheet, folding). 4to. Self-wraps. "Nota.- Questo manifesto fu letto dalla Signora Valentine de Saint-Point nella Galerie Giroux di Bruxelles, in occasione dell’Esposizione ivi tenuta dai pittori futuristi, e più tardi nella Salle Gaveau, a Parigi, davanti a tutta l’elite intelletuale parigina." Saint-Point’s theory of woman, "linked to the myth of a self-aware and instinctive super-woman" (Hultén), aroused an international controversy.

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

Salaris p. 82; Scrivo 23; Lista p. 329ff.; Hultén p. 562

339

SAINT-POINT, VALENTINE DE

Manifesto futurista della lussuria. Riposta ai giornalisti disonesti che mutilano le frasi per render ridicola l’Idea.... Parigi, 11 Jan. 1913. (4)pp. (single sheet, folding). 4to. Self-wraps. Saint-Point’s response to the furor generated by her lectures at the 1912 Futurist exhibition in Brussels and Paris. Together with her "Manifesto della donna futurista," it is the major statement of her philosophy, heavily influenced by Nietzsche and Barrès, and intensely fascistic, glorifying lust as the flower of art and war, ‘the great manifestations of sensuality.’

Milano (Direzione del Movimento Futurista), 1913. $300.00

Salaris p. 82; Scrivo 28; Lista p. 332ff.; Apollonio p. 70ff.; Tisdall/Bozzola p. 154ff.

340

SALOMON, ERICH

Berühmte Zeitgenossen in unbewachten Augenblicken. 46, (2)pp., 112 plates wth facing commentary. 4to. Cloth. Walker Evans wrote of Salomon, "His specialty was a kind of photographic spy work in the higher corridors of international diplomacy.... His phenomenal gift lay in mastery of entrée far exceeding any mere reporter’s gall. Somehow he was taken for granted in the rather ghoulish atmosphere of flummery and cunning, duplicity and swordplay that is one side of foreign affairs.... Though Salomon’s work stimulated and inspired countless imitators, his work has never been successfully counterfeited."

Stuttgart (J. Engelhorns Nachf.), 1931. $650.00

Freitag 11223

341

(SANT’ELIA) Folgore, Luciano

Ponti sull’oceano. Versi liberi (Lirismo sintetico) e parole in libertà. 1912-1913-1914. 172, (4)pp. Lrg. 8vo. Wraps. Glassine d.j. Uncut. Apart from the interest of Folgore’s texts, this volume represents Antonio Sant’Elia’s only experiment with book design— a handsome typographic composition on the front, in which the title (‘Bridges over the Ocean’) opens a graceful arch, half romantic, half modernistic, across the cover.

Milano (Edizioni Futuriste di "Poesia"), 1914. $750.00

Salaris p. 38; Falqui p. 67; Jentsch p. 319

342

LE SAVOIR VIVRE

(30)pp. 8vo. Wraps. (light wear, neatly splitting at backstrip). A roster of responses from the international surrealist (and other) community, to a statement/solicitation ending with the questions ‘What things do you most detest? most love? most desire? most dread?’ Contributions by Banting, Bellmer, Bonnefoy, Broodthaers, Brunius, Bryen, Char, Colquhoun, del Renzio, Dotrement, Jean, Magritte, Malet, Marien, Melville, Mesens, Paulhan, Picabia, Schwitters, Scutenaire, Ubac and others; correspondence from Magritte and Bellmer. No editor is credited. Most remarkable is the participation of Marcel Broodthaers (whose greatest dread was boredom), then a 22-year old poet still in Brussels. Rare.

Jette-Bruxelles (Le Miroir Infidèle), 1946. $400.00

343

SCHAD, CHRISTIAN

Christian Schad-Mappe. Title/table leaf and 10 original woodcuts, each titled and credited in letterpress beneath the image. Image size: 150 x 95 mm. to 180 by 125 mm.; plate size: 540 x 410 mm. Folio. Original portfolio (black boards with printed label, 1/4 cloth). All contents loose, as issued. A remarkable portfolio containing Schad’s first woodcuts, executed in Zürich on the eve of Dadaism. "Inhalt: Kreuzigung, Mutter und Kind, Bildnis des Walter Serner, Bildnis einer Frau, Bildnis einer Midinette, Selbstbildnis, Café-Musik, Nacht-Café, Tingel-Tangel, Dompteuse." One plate with horizontal crease at extreme bottom margin, a few little marginal stains, light wear to title sheet and to portfolio; in general a fine and fresh copy. Signed by Schad in pencil at a later date, in the center of the title.

N.p (Sirius-Verlag), 1915. $6,000.00

Dada in Zürich 49.a-k

344

SCHALL UND RAUCH

Schriftleitung: Heinz Herald. Heft 4, März 1920. 11, (1)pp. 4 line-drawn illus. (2 full-page), of which 2 by George Grosz and 2 by Raoul Hausmann. Sm. 4to. Dec. wraps., with dramatic front cover illus. by George Grosz, printed in pink and green. Texts by Walter Mehring, Max Hermann-Neisse, Wieland Herzfelde, Klabund and Raoul Hausmann. Layout and typography by George Grosz and John Heartfield. A very rare program/periodical of the short-lived cabaret of the same name, often erroneously associated with Max Reinhardt. This copy without the loosely inserted page of program information. Front cover neatly detached at hinge; slightly torn at paper seal where opened; actually, a very nice copy. Not in Lang.

Berlin-Wilmersdorf, 1920. $1,800.00

Bülow 21

345

SCHLEMMER, OSKAR, et al.

Die Bühne im Bauhaus. (Bauhausbücher. 4.) 84, (4)pp., 1 folding color plate by Moholy-Nagy. 4to. Cloth. D.j. Publisher’s cardboard slipcase. Texts and images by Schlemmer, Moholy-Nagy, Molnar, Breuer, Schawinski and others. Expressionist ex-libris stamp on title-page. An unusually fresh copy.

München (Albert Langen), 1924. $950.00

346

SCHMIDT, JOOST

Perspectival Drawing. Circa 1935-1940. Pen and ink, colored pencil and watercolor, on buff-colored paper, with hairline rule at all four edges. 237 x 237 mm. (9 3/8 x 9 3/8 inches). Two punch-holes at left margin. Unsigned and undated; see for comparison, the two studies of "Zentralperspective," circa 1931, published in "Joost Schmidt: Lehre und Arbeit im Bauhaus 1919-32" (Düsseldorf: Edition Marzona, 1984), p. 101. The brilliantly versatile Joost Schmidt (1893-1948), who led sculpture and graphic design workshops at the Bauhaus, devoted himself to a ‘History of Perspective’ which was never completed. This drawing was exhibited at Barry Friedman Ltd., New York, in "The Bauhaus: Masters and Students" in March 1988. $18,500.00

347

(SCHMIDT-ROTTLUFF) Brust, Alfred

Das Spiel Christa vom Schmerz der Schönheit des Weibes. Mit neun Holzschnitten von Schmidt-Rottluff. (Der Rote Hahn. Buch 29/30.) 45, (3)pp. 9 original woodcuts in text (Schapire 219-227) Orig. wraps. with printed cover label. Schmidt-Rottluff’s only illustrated book, extremely powerful for its modest size. "The theme of the little book by the Expressionist writer Alfred Brust is compulsive, daemonic, heavily carnal lust, and spiritualized, disembodied ecstacy. Schmidt-Rottluff illustrated the text with nine woodcuts that flout all the conventions of typography.... The wood-grain is visible in the rough black fields forming a natural interior element which is not cut into or incised; the surfaces and hollows confront one another in black and white, austerely, with a power that puts one in mind of the Old Testament. The block-like weight of the woodcuts is horribly expressive, they are loaded with inner drama. The heads are chipped and squared as though the wood had been worked with an axe" (Lang). Even light browning; covers expertly conserved, still with some losses at extremities.

Berlin-Wilmersdorf (Die Aktion), 1918. $2,000.00

Schapire 219-227; Lang 300, p. 48f.; Jentsch 35; Rifkind 118; Rifkind/Davis 2563; Vom Jugendstil zum Bauhaus 93; Raabe/Hannich-Bode 92.1; Marbach p. 313 (158.1)

348

SCHREYER, LOTHAR

Kreuzigung. Spielgang Werk VII. [Crucifixion. Libretto VII.] 77 woodcut plates, printed from the blocks and handcolored by stencil in red, blue, green and yellow. Oblong folio. Publisher’s plain grey boards. New cloth slipcase, mounted with the original title panel, printed in brilliant orange. New fitted cloth clamshell box. One of 500 copies constituting Ausgabe II, from the limited edition of 525 in all, printed by Gustav Petermann, Hamburg. The symbolic ‘score’ for an Expressionist Passion play by Schreyer, unifying the gesture, tone, rhythm and action of the drama on a conceptual basis. Altogether non-naturalistic in intention and realization, ‘Kreuzigung’ was meant as a formal synthesis of art and performance, and attempted to break away as much as possible from easily accessible theatrical entertainment, which Schreyer regarded as the product of a corrupt society. ‘Kreuzigung’ was first performed in April 1920 in Hamburg, under the auspices of the Sturm-Bühne, an organization formed by the editorial board of Der Sturm (of which Schreyer was a member) for the purpose of producing and publishing the new Expressionist works for the theatre. This was the first publication of the Kampfbühne, an affiliated organization which was directed by Schreyer for several years. "Seltene Inkunabel des expressionistischen Theaters" (E. Roters). A brilliant copy, fresh and crisp.

Hamburg (Werkstatt der Kampfbühne), 1920. $6,500.00

Marbach 77.2; Rifkind 402; Rifkind/Davis 2602; Raabe/ Hannich-Bode 268.6; Spalek 4176

349

SCHWITTERS, KURT

Anna Blume. Dichtungen. (Die Silbergäule. Band 39-40.) 37, (11)pp. Sm. 4to. Orig. wraps. First issue of the first edition, with Schwitters’ splendid design on the front cover, printed in red and black on green stock. "Like today’s Pop artists, Schwitters does not consider himself one apart from the bourgeois world: he is Anna Blume, even as he makes fun of her, just as he is the "Blue Bird" (a title that might well derive from a sentimental cabaret song of the twenties)" (William Rubin, in 1968). A fine copy.

Hannover (Paul Steegemann), 1919. $1,600.00

Schmalenbach/Bolliger 1; DadaGlobal 121; Ades 6.34; Andel 80; Verkauf p. 104; Motherwell/Karpel 366

351

SCHWITTERS, KURT & DOESBURG, THEO VAN

Kleine Dada-Soirée. Programma. Poster, lithographed in red and black on off-white paper. 300 X 300 mm. (approximately 11 3/4 inches square). Matted. This collage-like broadside was designed as a combination poster and program for a series of soirées planned for the dada campaign mounted by Theo and Petro Van Doesburg and Kurt Schwitters in Holland in 1923. At one time attributed to Van Doesburg alone, it is now universally agreed that the work was collaboratively designed with Schwitters; Jean Leering suggests that Schwitters was responsible for the elements printed in black (which predominate), and Van Doesburg the elements in red ("DADA" repeated five times in various positions). Two different issues of the poster are known, distinguished by textual elements in the top right corner of the design: one which mentions the Hague Kunstkring, where the event was first to be performed; and the present version, advertising (in stylized fashion) the review ‘Mécano.’

We quote at length from John Elderfield’s account of the performances: "The tour was scheduled to begin with a performance at the Hague Kunstring on December 27, 1922, but, because Schwitters had problems with his passport, it was postponed until January 10. Van Doesburg began the proceedings. Solemnly attired in dinner jacket, black shirt and white tie—but with a matching white-powdered face—he started to give an explanatory lecture on Dadaism (based on his article "Wat is Dada?"). He said that the Dadaists would do something unexpected, Schwitters recalled. ‘Just then, I stood up and barked loudly.’ (‘Frantic applause and noisy cheers,’ reported a contemporary newspaper.) ‘A few people fainted and were carried out, and the newspapers reported that what "Dada" means is "bark."’ (This alone netted them a second evening, in Haarlem; but there Schwitters blew his nose instead, and the newspapers dutifully reported that.) When Van Doesburg had finished his lecture, Schwitters recited his ‘Revolution in Revon,’ which apparently caused an uproar. According to some reports, the disorder was not quelled without the intervention of the police and the expulsion of some demonstrators. For light relief, there was announced some Dada piano music to be played by Van Doesburg’s wife.... Then Schwitters recited his poem, ‘An Anna Blume,’ followed—to everybody’s surprise—by some Heine, accompanied at Schwitters’ insistence by a Chopin Étude. But when Schwitters changed back to sound-poems again, reciting them so as to mimic the melody of the Chopin, the audience disturbance started again.... This eminently successful repertoire was repeated in Haarlem, Amsterdam, Rotterdam and elsewhere throughout Holland. The tour finally ended in Utrecht, where Schwitters was presented with a nine-foot high bouquet of rotting flowers, with some bones and other debris attached, and a putrid laurel wreath, all apparently stolen from the local cemetery.... ‘The success was unprecedented,’ Schwitters wrote. ‘The police wept, and the public fought furiously among themselves, everyone trying to save a little bit of the bouquet; all around, people gave us and each other black eyes and bloody noses. It was an unparalleled Dadaist triumph.’"

A superb copy, bright and fresh, the original foldlines virtually indetectible, and with the original registration marks visible at three corners.

[The Hague?], 1922. $15,000.00

Elderfield p. 105f., pl .131; "Typographie kann unter Umständen Kunst sein": Kurt Schwitters Typographie und Werbegestaltung (Wiesbaden, 1990), pp. 25 (color plate), 28; The Avant-Garde in Print 3.9; Ades 6.22; DadaGlobal 104; Düsseldorf 515

352

(SCHWITTERS) Spengemann, Christof

Die Wahrheit über Anna Blume. Kritik der Kunst, Kritik der Kritik, Kritik der Zeit. 29, (3)pp. Full-page photographic portrait of Schwitters in text. Lrg. 8vo. Dec. yellow wraps., with an abstract drawing by Schwitters, printed in red. "For the Zweemann-Verlag, the art critic and publicist Christof Spengemann, who was a friend of Schwitters’, edited a periodical called ‘Der Zweemann,’ from November 1919 to August 1920. The eight numbers of this ‘little’ magazine (which was large in size) were pro-Expressionist, with increasing attention paid to Dadaism. Schwitters was represented in every number with essays, poems, comments, and original graphic works. The Zweemann-Verlag did not publish many books, but one stands out—a pamphlet entitled ‘Die Wahrheit über Anna Blume’—in which Spengemann passionately defended his friend Kurt Schwitters.... A letter to Spengemann has been preserved in which Schwitters exclaimed: ‘Go out into the whole world and make the truth known, the only truth there is, the truth about Anna Blume’" (Schmalenbach).

Hannover (Der Zweemann), 1920. $1,350.00

Schmalenbach/Bolliger pp. 21,41, no.256

353

(SCHWITTERS) Vischer, Melchior

Sekunde durch Hirn. Ein unheimlich schnell rotierender Roman. (Die Silbergäule. Band 59-61.) 49, (3)pp. Sm. 4to. Orig. wraps. With the magnificent dada cover design by Kurt Schwitters, printed in black on the buff-yellow stock. A little light wear.

Hannover (Paul Steegemann), 1920. $1,500.00

Schmalenbach/Bolliger p. 22; Motherwell/Karpel 129a; Verkauf p. 105

354

SCHWITTERS, KURT

Elementar. Die Blume Anna. Die neue Anna Blume. Eine Gedichtsammlung aus den Jahren 1918-1922. Einbecker Politurausgabe von Kurt Merz Schwitters. 32pp. Orig. dec. green wraps., designed by Schwitters. The new Anna Blume: poems and prose from 1918-1922. A fine copy.

Berlin (Verlag Der Sturm), [1922]. $1,250.00

Schmalenbach/Bolliger 4; DadaGlobal 123; Motherwell/Karpel 367; Reynolds ; Verkauf p. 104; Reynolds p. 75; Andel 81

355

SCHWITTERS, KURT. Merz. No. 2.

Nummer i. April 1923. Redakteur: Kurt Schwitters. (16)pp. 5 halftone illus. Lrg. 8vo. Orig. wraps., with typographic composition by Schwitters. Contents printed on pale green stock. Including an extended typographic essay on the letter ‘i’; a "Manifest Proletkunst" signed by van Doesburg, Schwitters, Arp and Spengemann; and the second installment of van Doesburg’s "Dadaisme." Brilliantly designed. A fine copy.

Hannover (Merzverlag), 1923. $2,000.00

Schmalenbach/Bolliger 233; DadaGlobal 109

356

(SCHWITTERS) Merz. No. 4

Banalitäten. Juli 1923. Redaktion des Merzverlages: Kurt Schwitters. (16)pp. 9 line-drawn and halftone illus. Lrg. 8vo. Orig. wraps., with typographic composition by Schwitters. Contents printed on pink stock. Containing Schwitters’ "Banalitäten," Arp’s "Die Hausernkaserne," Hausmann’s "Chaoplasma," and other texts and verse by Ribemont-Dessaignes, Tzara, Malespine and others. Illustrations by and after Picasso (‘Sacipos’), Rietveld, Schwitters, Oud and Van Doesburg, Segal, Arp, Moholy-Nagy, et al. A little light wear. Light dustiness, slight split at base of backstrip. This copy bears on the front cover the discreet signature of the Dutch avant-garde poet Til Brugman (1888-1958), a member of the inner circle of "Merz," contributing a sound-poem to "Merz 6" and helping out on the staff. Kurt Schwitters’ widely reproduced "Für Tilly" (1923) is dedicated to her. She is also well-known as the companion of Hannah Höch, who lived together with her in Brugman’s Hague apartment from 1926 to 1929, designed by Vilmos Huszár with furnishing by Rietveld. Brugman’s "Scheingehacktes," her first publication in German, was illustrated by Höch.

Hannover (Merzverlag), 1923. $1,750.00

Schmalenbach/Bolliger 235; DadaGlobal 110

357

(SCHWITTERS), KURT. Merz. No. 7

Tapsheft. Januar 1924. (Band 2, Nr. 7.) Redaktion des Merzverlages: Kurt Schwitters. (8)pp. 8 line-drawn and halftone illus. Lrg. 4to. Orig. pale green self-wraps. Texts by Schwitters, Spengemann, "Baaader," and Tzara. Illus. by and after Schwitters, Lissitzky, Braque, Dexel, Gropius, Arp, Höch, and Charchoune. Faint trace of central fold: a superb copy, fresh and clean.

Hannover (Merzverlag), 1924. $4,000.00

Schmalenbach/Bolliger 238; DadaGlobal 112

358

(SCHWITTERS/ LISSITZKY) Merz. No. 8/9

Nasci. April/Juli 1924. (Band 2, Nr. 8/9.) Doppelheft unter der Redaktion von El Lissitzky und Kurt Schwitters. Redaktion des Merz Verlages: Kurt Schwitters. (18)pp. 18 line-drawn and halftone illus. 4to. Orig. wraps., printed in blue and orange. Texts by Lissitzky ("Es ist schon genug immer Maschine") and Schwitters ("Die einzige Tat des Künstler bei i ist entformeln....") Illus. of work by Malevich, Lissitzky, Mondrian, Schwitters, Archipenko, Arp, Mies van der Rohe, Leger, Tatlin, Braque, Ray and others. Typography by Lissitzky. Parallel texts throughout in German and French. An esthetic credo on the evolutionary character of form in nature and art, this issue is famous for Lissitzky’s suave, dynamic design. An extremely fine, bright copy.

Hannover (Merzverlag), 1924. $5,000.00

Schmalenbach/Bolliger 239; DadaGlobal 113; Nisbet 1924/15

359

SELIGMANN, KURT & COURTHION, PIERRE

Les vagabondages héraldiques. Quinze eaux-fortes originales de Kurt Séligmann. Quinze textes inédits de Pierre Courthion. (34)pp, 15 hinged original etchings with aquatint. Image size: up to 350 x 263 mm. (ca. 13 3/4 x 10 3/8 inches). Folio. Printed wraps. (vignette by the artist on back cover). One of 90 numbered copies on uncut vélin de Rives, from the limited edition of 105 in all. The very large scale of the prints contributes to their considerable surrealist power, part Niklaus Manuel Deutsch, part early Pantagruel, part Picasso 1933. A reduced edition, without original prints, was issued by GLM in 1936 under the title "Métiers des hommes." Light wear and splits at covers and backstrip).

Paris (Editions des Chroniques du Jour), 1934. $6,000.00

Manet to Hockney 101

360

SETTIMELLI, EMILIO, et al

Svaticanamento. Dichiarazione agli Italiani di Emilio Settimelli, Ottone Rosai, Remo Chiti, Alberto Maurizio, Bruno Rosai. (2), 7, (3)pp. Sm. folio. Self-wraps. A denunciation of the 1929 "Concordato" between the Italian government and the Catholic church. Some light browning and wear.

Firenze ("Edizioni Fiorentine"), [1929?]. $250.00

361

SEUPHOR, MICHEL

4 quacsitchatrides pour cent personnes spirituelles. Accompagneés et mis en scène par P.A. Benoit. (16)pp. Lrg. 8vo. Printed wraps. Glassine d.j. Edition of 100 copies (though not stated), printed on loose signatures of wove stock within a letterpress folder of thick wove handmade paper. The poems are integrated with playful abstractions of open lines, dots, circles and asterisks, designed by P.A.B.

[Alès] (P.A. Benoit) [1950]. $600.00

Montpellier 124; Bibliothèque Nationale 1989, p. 20

362

SIEGELAUB, SETH & WENDLER, JOHN W. (publishers)

[The Xerox Book.] Carl Andre, Robert Barry, Douglas Huebler, Joseph Kosuth, Sol Lewitt, Robert Morris, Lawrence Weiner. 184ff. 4to. Wraps. Acetate d.j. Edition of 1000 unnumbered copies. "A book made of xerox copies of original artworks, and in fact conceived as an autonomous conceptual artwork in itself" (Mario Diacono).

New York (Seth Siegelaub & John W. Wendler), 1968. $1,500.00

Lauf/Phillpot p. 92; Drucker p. 321f.; Castleman p. 163

363

SIEGELAUB, SETH (editor)

January 5 - 31, 1969. Barry, Huebler, Kosuth, Weiner. Sm. sq. 4to. Boards, GBC-bound. Discussing Siegelaub’s ‘Xerox Book,’ Clive Phillpot comments that "Siegelaub’s innovative use of the exhibition catalogue was yet another twist to this story. For three different group shows—in January, March and July 1969—Siegelaub published catalogues that largely constituted the exhibitions. In the first, "January 5-31, 1969," three-quarters of the works were shown in the catalogue and not in the space. In the second "[One Month] 1969 March 1969," only verbal works were solicited. And in the third, "July, August, September 1969...," the actual locations of the works on exhibit were scattered over North America and Europe.... In a recent interview, Siegelaub recalled, ‘The catalogue, which served to "document" [the art], was not referring to an (art) object which existed outside of it, but could simply be another aspect of the work, or even the art work itself.’"

New York, 1969. $250.00

Lauf/Phillpot p. 35

364

SIEGELAUB, SETH (editor)

[One Month.] 1969 March 1969. Sm. 4to. Tablet format, stapled at top. An International Exhibition of the ‘work’ of 31 artists during each of the 31 days in March 1969. Participants included Barry, Byars, Chamberlain, Huebler, Kaltenbach, Kosuth, Long, Morris, Nauman, Oldenburg, Ruscha, Smithson and Wiener, each submitting projects or statements reprinted here (or in some cases simply permitting their names to appear for these dates).

New York, 1969. $1,000.00

Lauf/Phillpot p. 35

365

SIEGELAUB, SETH (editor)

July, August, September 1969. Carl Andre, Robert Barry, Daniel Buren, Jan Dibbets, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Richard Long, N.E. Thing Co. Ltd., Robert Smithson, Lawrence Weiner. Catalog of the exhibition. (30)pp. Prof. illus. 4to. Wraps.

New York, 1969. $250.00

Lauf/Phillpot p. 35

366

SOFFICI, ARDEGNO

BIF§ZF+18. Simultaneità e chimismi lirici. 67, (3)pp. Halftone frontis. photo of the author. Title-page printed in massive red and blue wood type. Folio. Contemporary dec. boards. Orig. wraps. bound in. New cloth clamshell slipcase with morocco label. Edition limited to 300 numbered copies. First edition; a revised second edition, in a much-reduced commercial paperback format, was issued in 1923.

The rarest and most inspired of all major Futurist publications, its poems and prose texts expressed in magnificent parole in libertà, some of which incorporate commercial trademarks and other graphic elements. The huge tabloid scale of the book is extremely impressive, and Soffici’s cubo-futurist collage cover design, printed in multiple colors, is one of the most beautiful achievements of modern book design. "‘BiF§ZF+18. Simultaneità e chimismi lirici’ is a polemical text from Soffici’s brief futurist period, when he abandoned ‘La voce,’ and, with Papini, founded ‘Lacerba.’ ‘The cover is an incunabulum of futurist typography, a veritable tour de force. Author, title, subtitle and publisher are all indicated in different styles. The aggressively unconventional layout gives the effect of a carefully calculated, dynamically balanced collage. The unusual format also served to give prominence to the page’" (Jentsch; Fanelli and Godoli). "Soffici se fait le théoricien de la libération de la lettre. En 1915, avec son ouvrage motlibriste ‘BIF§ZF+18,’ dont le tître résulte d’un ensemble de caractères typographiques trouvés au hasard dans une imprimerie, il confère au livre les dimensions, l’éclat et le statut éphémère des grands quotidiens de l’époque (Giovanni Lista, in "Poésure et peintrie").

An historic presentation copy, inscribed on the half-title "Al grande, puro, umano poeta/ italiano Giuseppe Ungaretti, amico/ mio diletto/ Roma 21 Gennaio 1923/ Ardegno Soffici." A few expert mends to the edges of the cover (with infill at small loss at base), and of a clean tear on one page of the text.

Firenze (Edizione della "Voce") [1915]. $35,000.00Jentsch 485; Lista p. 100f., color plate 235; Hultén p. 576f. (color plate); Poésure et peintrie p. 54 (color illus.); Andel 46; Spencer p. 20

367

SOFFICI, ARDEGNO

BIF§ZF+18. Simultaneità e chimismi lirici. Nuova edizione accresciuta. 110, (2)pp. Frontis. photo of the author. Wraps., printed in red and blue with a handsome typographic composition by Soffici. Uncut. The second edition, enlarged (if far smaller in format), of Soffici’s most important book, including magnificently powerful parole in libertà, some of which incorporate commercial trademarks and other graphic elements.

Firenze (Vallecchi Editore), 1919. $850.00

Salaris p. 67; Falqui p. 73; Andel 46; Spencer p. 20; Jentsch p. 327

368

SOFFICI, ARDEGNO

Cubismo e oltre. Con illustrazioni di Paul Cézanne, Pablo Picasso, Georges Braque, Ardegno Soffici, Umberto Boccioni, Carlo D. Carrà. 42, (2)pp., 8 plates. 4to. Orig. dec. wraps., with fine cover design by Soffici. The basis for Soffici’s more hard-line "Cubismo e futurismo" of the following year. Light browning, and wear.

Firenze (Libreria della Voce), 1913. $400.00

Salaris p. 67

369

SOFFICI, ARDEGNO

Cubismo e futurismo. Con 32 illustrazioni di Balla, Boccioni, Braque, Carrà, Cezanne, Picasso, Russolo, Severini, Soffici. 2a edizione. 78, (2)pp., 32 plates. 4to. Wraps. Title boldly set in wood-type (repeated in blue on the cover). Expertly mended at hairline tear in front cover and first two leaves, and at backstrip. Underlining in pencil.

Firenze (Libreria Della Voce), 1914. $400.00

Salaris p. 67; Jentsch p. 318

370

SOMENZI, MINO

[Difendo il Futurismo] .....polemiche sul futurismo. 142, (2)pp. Prof. illus. Wraps.

Roma (A.R.T.E.), n.d. [1937]. $200.00

Salaris p. 67

371

SOUPAULT, PHILIPPE

Corps perdu. Roman orné d’illustrations et de deux pointes sèches hors texte de Jean Lurçat. 107, (3)pp., 2 orig. drypoint plates. 17 illus. Wraps. One of 800 numbered copies on vélin Montgolfier, from the limited edition of 990 in all.

Paris (Au Sans Pareil), 1926. $275.00

372

SOUPAULT, PHILIPPE

Westwego. Poème [1917-1922]. (16)pp. 2 full-page prints of a hand (presumably the author’s) in text. Sm. 4to. Wraps. (small tear at head of spine). Glassine d.j. One of 300 copies on papier vergé, from the edition of 318 in all. Soupault’s earliest verse, reminiscent of Cendrars’ ‘Paques à New York’ and ‘Prose du Transsibérien." The stylized serial abstraction of the typography at the outset, especially in juxtaposition with the palm prints, is strikingly successful.

Paris (Editions de la Librairie Six), 1922. $600.00

Gershman p. 42; Sanouillet 182, p. 87; Düsseldorf 220

373

(STEPANOVA) Maiakovskii, V.

Groznyi smekh. Okna ROSTA. [Menacing Laughter. The ROSTA windows.] 4to. Flexible boards. D.j., printed in red and black with a design by Stepanova. The book design is by Varvara Stepanova, and features particularly a brilliant photomontage design of a bayonet-wielding soldier tilted repeatedly against a flat red background. "By the time the First Five Year Plan was under way, there was a general hardening of attitude against radical art of any kind... At the time it seemed...appropriate to revive Mayakovsky’s ROSTA posters after his suicide. Stepanova designed an up-to-date collection of couplets and illustrations, with the title ‘Menacing Laughter,’ packaging the whole in striking covers and endpapers which she herself designed" (Compton). In fact, Compton utilized these as the endpapers for her own study "Russian Avant-Garde Books 1917-1934." Light wear.

Moscow/Leningrad (Khudozhestvennaia lit-ra), 1932. $1,200.00

Compton, Susan: Russian Avant-Garde Books 1917-1934 (Cambridge, 1993), p. 67f., illus. 35; Getty 508

374

STRZEMINSKI, WLADYSLAW

Autograph letter, signed, to Georges Vantongerloo. Koluszki, 18 February 1930. 2pp. (single sheet), on the letterhead stationery of the "a.r." group. Lrg. 8vo. Strzeminski writes (in French) to ask for photographs of Vantonegerloo’s sculptures "Construction des rapports des volumes émanant du carré" (1924) and "Composition de volumes émanant de l’hyperbole" (1929), which he wishes to reproduce in his book ‘Composition d’espace’ (‘Kompozycja przestrzeni,’ written in collaboration with Katarzyna Kobro). He requests two or three others, in addition, for the same purpose, and wonders if he may also have Rietveld’s address. Vantongerloo is not identified by name in the letter, which is headed simply "Monsieur!" Strzeminski’s letterhead design for the "a.r." stationery is characteristically brilliant. Fine condition.

Koluszki, 1930. $1,800.00

Corcorcan Gallery of Art: Georges Vantongerloo (Washington, 1980), cat nos. 27, 54

375

(DER STURM)

Folding order form for recent publications distributed by the Verlag Der Sturm. (4)pp. (single sheet of blue stock, folding), with promotional text. 8vo. The form promotes Paul Scheerbart’s "Glasarchitektur," Adolf Loos’ "Ins Leere gesprochen," and Herwarth Walden’s "Einblick in Kunst." This copy was mailed to Mikhail Larionov in Paris, whose name and address (43 rue de Seine) are typed on it. A little faded.

Berlin, [1923?]. $275.00

376

DER STURM. "SONDERHEFT TYPOGRAPHIE"

(Der Sturm. Monatschrift. Herausgeber: Herwarth Walden. 19. Jahrgang, 6. Heft. September 1928.) (20pp. 16 illus. 4to. Printed wraps. (covers foxed). Illus. after Schwitters, P. Goedecker, J. Tschichold, P. Zwart. A special issue on the new typography, with an introductory text by Kurt Schwitters ("Gestaltende Typographie").

Berlin, 1928. $250.00

Schmalenbach-Bolliger 173; Spencer p. 89

377

SÜE, LOUIS & MARE, ANDRÉ

Architectures. Recueil comprenant un dialogue de Paul Valéry et la présentation des ouvrages d’architecture, décoration intérieure, peinture, sculpture et gravure contribuant depuis mil neuf cent quatorze à former le style français. 148, (2)pp. Prof. illus., including 34 original etchings by Jacques Villon, of which 6 hand-colored and 2 partial page (Auberty/Perussaux 466-499), as well as original etchings by Dunoyer de Segonzac and Jean-Émile Laboureur, an original lithograph by J.-L. Boussingault, and original color woodcuts after compositions by Roger de La Fresnaye and Marie Laurencin. Superb and often very large cul-de-lampe and half-title decorations by Paul Vera and A. Chapon, partly in woodcut. Lrg. folio. Contemporary three-quarter vellum, stamped Chateau de Vertcoeur. Orig. wraps. bound in. Edition limited to 500 numbered copies, printed on uncut vélin Navarre, the woodcuts by Coulouma under the direction of H. Barthélemy, the etchings by Charlot et al. under the direction of Jacques Villon, and the lithography by Marchizet.

The design partnership of Louis Süe and André Mare, responsible for some of the most exquisite homes, shops, liner interiors and hotels of the Art Déco period in France, was launched in 1919 with the formation of the Compagnie des Arts Français. A successor to Süe’s Atelier Français—which had been modelled on the Wiener Werkstätte, aiming at the concept of complete design, from the building itself down to the cutlery—the Compagnie des Arts Français attracted other well-known figures in the Paris art world, including André Dunoyer de Segonzac, Marie Laurencin and Bernard Boutet de Monvel. "A luxuriously engraved publication of their work, ‘Architectures,’ was prefaced by Paul Valéry’s philosophical text on the architect’s function, ‘Eupalinos, ou l’architecte,’ now a basic reference text" (Susan Day, in the Grove Dictionary of Art). "Architectures" is a remarkable instance of nascent art déco book design on a grand scale, in which even architectural plans and elevations are presented in the form of original etchings by Villon. Also depicting complete interiors, furniture, lighting fixtures and decorative objects, Villon’s etchings frequently include stylishly dressed figures in and out of the rooms, some of them very large and expressive, as well as sculptures by his brother Raymond Duchamp-Villon: the famous bust of Baudelaire (which is given a full-page plate), and "Seated Woman," which is to be seen over the mantlepiece of the "Salle de Toilette Ovale de Mme. René P."

Paris (Editions de la Nouvelle Revue Française), 1921. $5,500.00

378

SURRÉALISME

Directeur: Ivan Goll. Collaborateurs: Guillaume Apollinaire, Marcel Arland, P. Albert-Birot, René Crevel, Joseph Delteil, Robert Delaunay, Paul Dermée, Jean Painlevé, Pierre Reverdy. No. 1, Octobre 1924 (all published). (16)pp. Sm. 4to. Orig. self-wraps., with line-drawn illustration by Robert Delaunay. Printed on uncut laid paper. Appearing one month before Breton’s Surrealist Manifesto, to the latter’s extreme annoyance, this publication opens with a two-page "Manifeste du surréalisme" very different in conception from Breton’s. The issue then proceeds with an unsigned article on the cinema ("Exemple du surréalisme"), Albert-Birot’s "Mon bouquet au surréalisme," Dermée’s "Surréalisme, couleur de temps (pneumatique)," "Une lettre de Guillaume Apollinaire" (of 1917, to Paul Dermée), "Bel occident" by Reverdy, Crevel’s "Je ne vendrai pas la commode de mon grand-père...," "Drame néologique" by Painlevé, and "Le peintre Robert Delaunay parle" by Goll. Published posthumously, Apollinaire’s letter is particularly noteworthy for his discussion of the relative merits of the words "surréalisme" and "surnaturalisme." The bold typography and dynamic drawing (an aerial view of the Place de l’Étoile) make the cover especially fine.

Paris, 1924. $1,500.00

Gershman p. 53; Ades 9.73; Sanouillet 255

379

LE SURRÉALISME AU SERVICE DE LA RÉVOLUTION

Director: André Breton. Nos. 1-6 (all published). 4to. Orig. wraps., printed in phosphorescent ink with heraldic escutcheon. New fitted clamshell cloth box. Texts and illustrations by virtually everyone of interest. "I think," said Breton in 1952, "that of all the surrealist publications, ‘Le Surréalisme au Service de la Révolution,’ whose six numbers are drawn up between 1930 and 1933, is by far the richest, in the sense that we understand it, the best balanced, the best constructed, and also the most alive (with a dangerous and exalted life). It is there that Surrealism is shown at full flame, and were not afraid of being consumed in it." Intermittent light wear to the covers.

Paris (José Corti/ Éditions des Cahiers), 1930-1933. $2,750.00

Gershman p. 53; Ades 11.32; Rubin 478; Reynolds p. 123; Jean, Autobiography 130; Nadeau p. 327f.; The Art Press p. 37ff; Admussen 219; Chevrefils Desbiolles p. 316; Pindell p. 104

380

TEIGE, KAREL

Stavba a básen. Umení dnes a zítra 1919-1927. [Construction and Poetry. Art today and tomorrow, 1919-1927.] (Edice Olymp. Svazek 7-8.) 183, (7)pp., 32 plates with 48 illus. Sm. 4to. Wraps., printed in red and blue with a design by Teige. A gathering of articles on art and architecture originally published in "Devetsil," "Stavba," "Tvorba," "Pásmo," and elsewhere, handsomely designed by Teige, and with illustrations of work by Le Corbusier, Picasso, Archipenko, Tatlin, Doesburg, Mondrian, Behrens, Gropius and Meyer, Ozenfant, Jeanneret, Gabo, Vantongerloo, Malevich, Brancusi, Mondrian, Lissitzky, Moholy-Nagy, Sima, Styrsky, Toyen, Hirschfeld-Mack, Rössler, et al. Some leaves loosening; a nice copy.

Praha (Edice Olymp), 1927. $600.00

Primus 71; IVAM: The Art of the Avant-Garde in Czechoslovakia 1918-1938 (Valencia, 1993), p. 45 (illus.)

381

(TEIGE) Biebl, Konstantin

Zlom. Nové vydányí. [Break. New edition.] 64, (4)pp. 4 full-page typographic compositions in text, printed in orange and black on yellow stock; title-page in orange and black. Typography and design throughout by Karel Teige. Wraps. (designed by Teige). Biebl’s surrealist poems were originally published in 1925; this expanded edition is the first in the present form, and one of two collections of his poetry designed by Teige in 1928. Both featured elegantly playful typographic compositions printed in color—experiments in the ‘modern illumination’ which Teige thought might replace the monochromatic basis of classical type, and in the visual poetry that was an aim of the Devetsil ideology. Of the two books, this is the more relaxed, and less strictly Constructivist, containing a few figurative decorations—a tiny cornucopia in one—in addition to orthogonal lines and compositor’s elements. A fine copy.

Praha (Odeon), 1928. $1,200.00

IVAM: The Art of the Avant-Garde in Czechoslovakia 1918-1938 (Valencia, 1993), p. 137f. (illus.); "Typographie kann unter Umständen Kunst sein": Ring ‘neue werbegestalter’ (Wiesbaden, 1990), pl. 55; Primus 80

382

(TEIGE) Nezval, Víteslav

Abeceda. Tanecní komposice milci mayerové. [Alphabet. Choreographic compositions by Milca Mayerová.] 57, (3)pp. 25 full-page plates. Sm. folio. Dec. wraps., designed by Teige. Karel Teige’s remarkable design places photographs of a dancer posed in stylized alphabetic postures (choreographed by Mayerová) against bold Constructivist compositions of the same letter forms, creating typophotomontages which are juxtaposed with Nezval’s poems on the opposite pages. "Pioneers of new typography regarded photography as intrinsic to their discipline. For example, Teige believed that the use of photography ‘changed the nature, structure, and quality of modern typography,’ and, like Moholy-Nagy, he argued for ‘the synthesis of the two "black arts,"’ coining the term phototypography" (Jaroslav Andel, in Houston).

Praha (J. Otto), 1926. $2,000.00

Houston p. 104f. (illus.).; IVAM: The Art of the Avant-Garde in Czechoslovakia 1918-1938 (Valencia, 1993), p. 41, illus. p. 36; Andel 107; Primus 47

383

391. No. 5.

New York, Juin 1917. (8)pp. Tipped-on cover illustration by Picabia, printed in bistre-colored ink; 2 line-drawn illus. by Picabia in text. Folio. Self-wraps. Texts by Picabia ("Idéal doré par l’or," "Poèmes isotropes" ), Edgar Varèse ("Verbe," "Oblation,"), Marius de Zayas ("Caricature"), Walter Conrad Arensberg ("Arithmetical Progression of the Verb ‘To Be,’" "For ‘Shady Hill,’ Cambridge, Mass."), Albert Gleizes ("La peinture moderne"); notes by Max Jacob (on Paris), Picabia (on Barcelona and New York, with remarks about Zayas, Isadora Duncan, Arthur Cravan, Duchamp, Leo Stein and others). The front cover reproduces a totemic pastel by Picabia of a boat propeller, wryly titled "Ane."

This is the first of three issues of "391" published in New York (nos. 1-4 were issued in Barcelona, and nos. 8 in Zürich, and 9-19 in Paris). Ades remarks that the New York issues display Picabia’s growing interest in typography. "He went to town in no. 5 in the setting of Gleizes’ ‘La peinture moderne,’ a text solicited by Picabia which is mostly a reworking of the theories of ‘Du cubisme,’ but is also full of hostility toward futurist excesses, and collage. To show his dislike of the article, Picabia sandwiched it neatly between two machine drawings of a kind uncongenial to Gleizes, chose for it a typeface which is almost illegible, and had the lines set very close together to increase the reading difficulty." The full-page Marius de Zayas "Caricature" was supposed to have included a line drawing of Picabia, which was omitted in a printer’s error; the resultant composition, a few "Coup de dé"-like clusters of words on a largely blank page, pleased Picabia enormously, and he did nothing to change it. "Le tirage a été très faible, de l’ordre de 400 non numérotés, ce qui explique la rareté de ces numéros new yorkais" (Sanouillet). Hairline tear at backstrip, otherwise extremely fine. Rare.

New York, 1917. $4,500.00

Sanouillet: Francis Picabia et "391" p. 71ff.; Ades p. 151; Gershman p. 54; Almanacco Dada 160; Motherwell/Karpel 86; Naumann: New York Dada 1915-23, p. 72f.

384

TURRELL, JAMES

Deep Sky. Portfolio of 7 aquatint etchings, each signed and designated "e.a." (épreuve d’artiste) in pencil by the artist. Image size: 320 x 492 mm. (12 5/8 x 19 1/4 inches); sheet size: 535 x 685 mm. (21 x 27 inches). Colophon leaf. Oblong lrg. folio. Publisher’s fine polished wooden box, with brass-hinged lid. One of 45 copies from the limited edition of 55 in all, printed on BFK Rives by Peter Kneubühler in Zürich. Together with this, loosely inserted as issued, is a copy of Mario Diacono’s book "Iconographia Coelestis," published by Peter Blum Edition in a limited edition of 150 copies, to accompany the suite. The book is a small quarto of (24)pp. in black boards, gilt with the image of the Big Dipper. This copy, designated "H.C.," contains manuscript corrections in the text by the author.

In "Iconographia Coelestis," Mario Diacono gives a searching account of Turrell’s magnum opus, then still at a comparatively early stage of completion. "Roden Crater, its above ground form remolded, its underground spaces yet to be worked on, has already been converted by James Turrell into one of the most memorable American cultural icons. The project goes beyond the existential/formal concept of the volcano’s transformation, for it also consists of the volcano itself as a sublime, natural ‘sign,’ one which can be interpreted as a vehicle for art.... It is like an emblem of cosmic birth, with just a memory of stone and sand remaining. Yet, in the first engraving of the ‘Deep Sky’ series (the portfolio published by Peter Blum, in which Turrell depicts the nocturnal aspects of the Crater), the volcano appears like Hokusai’s Fuji, the slopes covered in shadows rather than snow.... Just as it has an above ground and a below ground aspect, the project also has daytime and nighttime regimes, the crater being experienced differently as the time of day changes. ‘Deep Sky’ is really an imaginary map of the noctural regime that might take place. The seven black and white engravings convey the interaction of darkness and light during the night.... In the ‘Divine Comedy,’ Dante depicted a gigantic earth and sky performance, describing a work ‘to which both Heaven and Earth have set their hand’ (Paradiso, XXV,2). These same words might describe ‘Roden Crater.’ Looking at the first phase (1974-1984), one could say that the ‘Deep Sky’ portfolio performs the same function that Duchamp’s ‘Boîte Verte,’ with its labyrinth of notes, diagrams, and mechanical drawings, did for his ‘Grand Verre’.... It is possible that some day ‘Roden Crater’ will be seen as playing a similar role in relation to the art of its time."

New York (Peter Blum Edition), 1985. $10,000.00

385

TZARA, TRISTAN

Sept manifestes dada. Quelques dessins de Francis Picabia. 97, (7)pp. 10 illus. by Picabia, including full-page portrait of Tzara at the outset. Wraps. with printed label. Glassine d.j. Hairline split at front hinge; a nice copy of a book usually found embrittled and worn. Presentation copy, stamped "Hommage de l’auteur" on the front flyleaf.

Paris (Editions du Diorama, Jean Budry & Co.) [1924]. $2,000.00

Berggruen Tzara-Bibl. 5; Harwood 5; Gershman p. 44; Dada Global 218; Ades 8.58; Sanouillet 200; Motherwell/Karpel 415, pp. 73-98; Rubin 481; Reynolds p. 80

386

VALENCIA. The California Institute of the Arts

C. 7,500. An exhibition organized by Lucy Lippard...May 1973 - February 1974. 30 4-by-6 index cards, printed on both sides, loose as issued, in plain envelope. Prof. illus. After opening at the California Institute of the Arts, Valencia, the exhibition circulated to The Wadsworth Atheneum, Moore College of Art, The Institute of Contemporary Art Boston, Walker Art Center and Smith College Museum of Art. The 26 participating artists, all women, include Laurie Anderson, Eleanor Antin, Alice Aycock, Jennifer Bartlett, Hanne Darboven, Agnes Denes, Nancy Holt, Poppy Johnson, Adrian Piper, Athena Tacha, and Martha Wilson. The index cards, randomly arranged, are designed by the artists themselves. Very scarce.

Valencia, CA, 1973. $350.00

387

VASARI, RUGGERO

L’angoscia delle macchine. Sintesi tragica in tre tempi. Seconda edizione. xx, 72, (2)pp. 1 plate. Wraps. Cover designed by Ivo Pannaggi. Loosely inserted: vintage photograph in postcard format (115mm. x 150 mm) of Prampolini’s bust of the author.

Torino (Edizioni Rinascimento), 1925. $300.00

Salaris p. 71

388

VORONCA, ILARIE

Patmos. Si alte sase poeme. 140, (2)pp. Wraps. (neatly loosening from wrapper). Edition limited to 400 hand-numbered copies. Presentation copy, warmly inscribed on the half-title by Voronca to Barbu Lázáreanu.

[Bucarest] (Editura "Vremea"), 1933. $300.00

Ilk K527; Biro/Passeron 3046

389

VORONCA, ILARIE

Petre Schlemihl. Cu ilustratii de Michonze, Victor Brauner, S. Perahim. 91, (3)pp., 4 plates. Lrg. 8vo. Edition limited to 230 hand-numbered copies. The Brauner illustration is a surrealist portrait of the author, one of the most influential poets, critics and littérateurs of the Rumanian avant-garde. Presentation copy, inscribed on the front flyleaf by the author (‘Edi,’ for Eduard Marcus, his real name).

Bucarest (Tipografia "Bucovina"), 1932. $1,200.00

Ilk K525, repr. p. 95; Biro/Passeron 3048

390

VOSTELL, WOLF

dé-coll/age happenings. Translated by Laura P. Williams. Text: (4), 94pp. Lrg. 8vo. Wraps. Together with: original color photo-silkscreen by Vostell, signed and numbered in pencil; 15 folded plates in poster format; 1 multiple of Bromo-Seltzer packet mounted on reflective mylar and 1 piece of matzoh. Contents loose as issued, in printed wooden box with sliding lucite lid. The edition size is unstated, but the silkscreen is one of 500 numbered thus. Designed by the artist, this portfolio contains a book documenting Vostell’s most important Happenings conceived between 1954 and 1966, as well as folded poster-like scores, a signed and numbered print, and 2 digestible multiples. "The ambitious production ‘dé-coll/age happenings’ brought the Press to the furthest extent of its experimentation with the book format. " (Frank).

New York/ Frankfurt a.M./ Villefranche-sur-Mer (Something Else Press), 1966. $600.00

Frank, Peter: Something Else Press: An Annotated Bibliography (Brattleboro, 1983), p. 16f.; International Index of Multiples, p. 204

391

VVV

Poetry, plastic arts, anthropology, sociology, psychology. Editor: David Hare. Editorial advisers: André Breton, Marcel Duchamp, Max Ernst. Nos. 1-4 in 3 issues, June 1942 - February 1944 (all published). 72, 143, (1), 86, (6)pp. Prof. illus. (including color plates, movable tabs, inserts). 4to. Dec. wraps., designed by Ernst, Duchamp and Matta, respectively. Fitted cloth clamshell box. Texts by W.C. Williams, Masson, Rosenberg, Péret, Ernst, Breton, Kiesler, Lévi-Strauss, Césaire, C.H. Ford, Seligmann, Carrington, V. Penrose, Onslow-Ford, Motherwell, Brauner, Tanning, Mesens and others; illustrations by and after Ernst, Hare, de Chirico, Masson, Matta, Matter, Onslow-Ford, Penn, Picasso, Seligmann, Tanguy, Breton, Chagall, Dominguez, Duchamp, Kiesler, Lam, Laughlin, Miró, Gypsy Rose Lee, Sage, Tanning, Sommer, et al. Dominated by the distinguished exile community which in the early ‘40s had begun to arrive in America, "VVV" was the major rallying point for Surrealism in New York. More substantial, and less eclectic, than "View," it remains one of the strongest and finest of all Surrealist reviews. No. 1 slightly sunned at backstrip; No. 4 with small tear at top right corner; the Duchamp covers for No. 2/3 in nice condition (tiny losses of yapped edge on front cover; the chicken-wire insert for "Twin-Touch-Test" intact, with very small tears adjacent).

New York, 1942-1944. $4,500.00

Gershman p. 55; Ades p. 386f.; Milano p. 577f.; Biro/Passeron p. 426; Rubin 483; Reynolds p. 127; Jean (1980) 135

392

WARHOL, ANDY

Andy Warhol’s Index (Book). With the assistance of Stephen Shore, Paul Morrissey, Ondine, Nico, Christopher Cerf, Aland Rinzler, Gerald Harrison, Akihito Shirakawa, and, particularly David Paul. Factory fotos by Billy Name. Several photographs by Nat Finkelstein. 68pp. Most prof. illus. throughout, including pop-out folding constructions and a 45-rpm recording. 4to. Dec. wraps. The balloon between the last two leaves has melted, as always; an unusually fresh copy.

New York (Random House), 1967. $1,000.00

393

WARHOL, ANDY

The Philosophy of Andy Warhol (From A to B and Back Again). (12), 240, (2)pp. 4to. Boards, 1/4 cloth. D.j. Presentation copy, boldly inscribed on the half-title in felt-tip pen "Campbell’s Soup / Andy Warhol," with a full-page schematic drawing of a can.

New York/ London (Harcourt Brace Jovanovich), 1975. $1,500.00

Freitag 13326

394

(WARHOL) Philadelphia. University of Pennsylvania. Institute of Contemporary Art

Andy Warhol. Oct.-Nov. 1965. Text by Samuel Adams Green. (14)pp., 28 double-sided plates (partly in color). Lrg. 8vo. Wraps., with linen backstrip. A fine Pop production, printed on stiff card stock (partly green and silver).

Philadelphia, 1965. $350.00

395

(WEBER, MAX) Leivick, H.

Der Goylem. A dramatishe poeme in akht bilder. Foderbleter getseykhent fun Y. Topel; holtsschniten fun Maks Veber. 222, (2)pp. 8 reproductive woodcuts by Max Weber hors texte, printed in black. 3 full-page frontis. illus. by Y. Topol. Sm. 4to. Cloth, titled in gilt. The woodcuts are part of a series which Weber carved with a penknife on wood from a box of honeycomb, circa 1919-1921. This Yiddish publication antedates by five years his famous book "Primitives," one of the earliest American livres d’artiste, in which three of the cuts were reproduced in electrotype. 2 small tears in front flyleaf; light wear.

New York (Farlag Amerike), 1921. $850.00

Rubenstein, Daryl R.: Max Weber: A Catalogue Raisonné of His Graphic Work (Chicago, 1980), p. 47

396

(WINTERS) Smith, Roberta

Terry Winters: Schema. (12)pp., 76 color plates with facing captions. Folio. Cloth. Slipcase. Edition of 500 copies. Signed in pencil by the artist on the first blank leaf.

West Islip (Universal Limited Art Editions), 1988. $500.00

397

(WOLS) Sartre, Jean-Paul

Visages, précédé de Portraits officiels. Avec 4 pointes-sèches de Wols. 41, (5)pp. 4 full-page original etchings by Wols (Grohmann XLVI-IL). Printed wraps. (slight wear at foot). One of 900 numbered copies on Crèvecoeur du Marais, from the limited edition of 926 in all. "The small drawings the German artist executed while in hiding in unoccupied France during the years of World War II anticipated in scale and intensity his portraits in this book. In Paris after the war, Wols was befriended by Sartre and illustrated two of his books in the informal tachiste manner, which concentrated into visible form the author’s Existentialist philosophy" (Castleman).

Paris (Pierre Seghers), 1948. $3,850.00

Castleman p. 188; Manet to Hockney 118; Bibliothèque Nationale: 50 livres illustrés depuis 1947, no. 3; Bareiss 84; Villa Stuck 94; Stuttgart 192; Zürich p. 376

398

(WOLS) Sartre, Jean-Paul

Nourritures. Suivi d’extraits de la Nausée. Pointes sèches de Wols. 57, (1)pp. 3 original drypoint etchings by Wols hors texte, loosely inserted as issued (Grohmann I.XXII-XXIII). Lrg. 8vo. Wraps., with printed cover label. One of 424 numbered copies on uncut vélin Johannot, from the limited edition of 450 in all. The second of Wols’ illustrated editions of Sartre, with whom he had become close friends after his return to Paris in 1945.

Paris (Jacques Damase), 1949. $4,750.00

Zürich p. 376

399

YAMANAKA, TIROUX

L’échange surréaliste. 86, (2)pp., 14 plates with 17 illus. Sm. 4to. Publisher’s dec. boards (slightly faded at spine). Printed cardboard slipcase. Texts (all in Japanese translation) by Breton, Prassinos, Tzara, Éluard, Péret, Shuzo Takiguchi (poems) and Yamanaka ("L’internationalisation des idées surréalistes"); illustrations of work by Arp, Breton, Bellmer, Duchamp, Dalí, Dominguez, Ernst, Valentine Hugo, Man Ray, Styrsky, Tanguy and Toyen. The capable Surrealist cover drawing, a hand and two gloves (one printed in blue), is by Yoshio Shimozato. In 1936, the exhibition "La nouvelle vague parisienne" presented the work of Arp, Ernst, Miró, Picabia and Tanguy for the first time in Japan; this was followed in 1937 by an important Surrealist show in Tokyo and Kyoto, organized by Shuzo Takiguchi and Yamanaka in collaboration with Eluard, Hugnet and Penrose. Takiguchi, whom Biro and Passeron describe as the prime mover in the Japanese Surrealist milieu, had already translated Breton’s "Surréalisme et la peinture" by 1930. Material relating to these events is extremely rare, and no copy of this is recorded in OCLC.

Tokyo (Éditions de Librairie Bon), 1936. $1,500.00

400

ZENITISMUS

Neueste Kunstrichtung der Welt. (Zenit. Jahr. II. Extra-Ausgabe. München, 14 Juli 1922. ) Handbill, printed on both sides of a sheet of pale rose stock. Lrg. 4to. Texts by Ljubomir Micic, Ivan Goll, Brankko Ve Poljanski, Evgenije Dundek, Franz Richard Behrens, Miodrag Radovic, and Stevan Zivanovic. This "extra," published in Munich, opens with a manifesto, "Zweiter Barbarendurchbruch," dated Munich July 12, 1922." Published in 42 issues between February 1921 and July 1926, Ljubomir Micic’s "Zenit" was the most important publication of the Yugoslavian avant-garde. A quasi-mystical synthesis first of Futurism and Expressionism, and then of Constructivism warily allied with Dada, Zenitism promoted a triumphant new era of Balkan culture, and the collective expression of the "Barbarogenius." Often fanatic and eccentric, and as much an outlet for Micic’s Nietzsche-inspired nationalism as for modernist art, "Zenit" nonethess exhibited considerable sophistication in the course of its existence, and attracted an impressive roster of non-Serbian contributors, including Archipenko, Chagall, Charchoune, the Delaunays, Goll, Hausmann, Kandinsky, Kassak, Moholy-Nagy, and Teige, among others; Ilya Ehrenburg and El Lissitzky guest-edited a special Russian issue in October/November 1922. Inconspicious foldlines; a few clean tears; slightly faded. Very rare.

München, 1922. $700.00

Subotic, Irina: "‘Zenit’ and Zenitism," in "The Journal of Decorative and Propaganda Arts," No. 17, Fall 1990, pp. 14-25.; 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. 58f.; Almanacco Dada 172

401

0 TO 9

Vito Hannibal Acconci and Bernadette Mayer, editors. Nos. 1-6, April 1967 - July 1969 (all published, including the "Street Works" supplement to No. 6, dated May-June 1969). (62)-(120)pp. per issue. Numerous illus. (line-drawn diagrams, halftone photographs, etc.). 4to. Orig. self-wraps., stapled as issued. New cloth fitted clamshell box. Texts by Acconci, Mayer, Morton Feldman, Jackson Mac Low, Dick Higgins, Bern Porter, Sol LeWitt, Dan Graham, John Perreault, Clark Coolidge, Robert Smithson, Yvonne Rainer, Les Levine, Adrian Piper, Kenneth Koch, Alan Sondheim, Lawrence Weiner, Bernard Venet, Robert Barry, Douglas Huebler, Michael Heizer, Ron Padgett, Stefan Themerson, John Giorno, Ted Berrigan, Aram Saroyan, and others, as well as Hans Christian Andersen, Novalis, Robert Walser, Gertrude Stein, Raymond Queneau, et al. A seminal review of conceptual art, produced in mimeograph, the covers often utilizing found printed matter. Together with this: Acconci, Vito: Four / Book. (84)pp. A volume of poetry by Acconci, uniform in format with "0 to 9." This set without the tissue overlay on the cover of No. 1; intermittent light wear,