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

Andel 76

2 [ALGAROTTI, FRANCESCO] Saggio sopra la pittura. 184, (2)pp. Engraved title-page vignette. Contemporary speckled wraps. Uncut. First published Bologna, 1762, and duly translated into English (London, 1764), French (Paris, 1769) and German (Kassel, 1769); a number of editions such as this appeared in Italy before the end of the eighteenth century. Count Francesco Algarotti (Venice, 1712-1764) was internationally esteemed as a connoisseur, particularly in Germany, where he was an agent and advisor to Frederick the Great, Augustus III and Count Brühl. A nice copy.

Livorno (Marco Coltellini), 1763. $600.00

Cf., citing various editions: Borroni I.854; Borroni I.854; Schlosser p. 682; Cicognara 7

3 ALGE. Editors: Aurel Baranga, S. (Jules) Perahim, Gherasim Luca, Sesto Pals, Paul Paun. I. Serie, Nos. 1-6 (of 7 published in all), in 5 issues. (8)pp. per issue (single sheet, folding), in oblong sm. 4to., except for No. 4, which is a large folio broadside (printed on recto only). Illus. throughout by S. Perahim, M. Teutsch, G. Luca, and M. Mizis. No. 3 printed on pink stock, Nos. 4 and 6 on pale blue. The unstated edition size is estimated by Ilk at fewer than 500 copies.

"Alge wurde von Sascha Pasa als geistiges Kind von UNU genannt. (Perahim und Paul Paun veröffentlichten auch in UNU.) Mit vielen post-dadaistischen und surrealistischen Text- und Typo-Beiträgen erschien jede Nummer (wie früher 'Mecano' in Holland) auf verschiedenem farbigem Papier. Die unkonventionelle Typographie der Zeitschrift wurde von dem 16-jährigen Perahim gestaltet" (Ilk). "'Alge' fonctionne sans programe théorique déclaré. Néanmoins, les poèmes en prose ou les dessins publiés affirment la position unitaire, convulsive, parfois hystérique, toujours sans équivoque, de ce groupe à l'égard de tout ordre établi…. L'attitude qu'adopte 'Alge' va placer ses jeunes rédacteurs en conflit ouvert avec la société: il en résulte pour eux inculpation d' 'attentat aux bonnes moeurs,' confiscation des revues incendiaires et prison" (Biro/Passeron). The final number of the first series (absent from this run) was published hors commerce, in fewer than 50 copies; a second series of 3 numbers followed in the spring of 1933. The broadside issue of No. 4 is of greatest rarity, and furthermore is unrecorded on blue paper (Ilk describes it on orange only).

Bucharest, 1930-1931. $12,500.00

Ilk K370-375, illus. pp. 73,76,77; Biro/Passeron p. 16

4 AQUINO, CARLO D’. Vocabularium architecturæ ædificatoriæ. (6), 217, (35)pp. Engraved title-page vignette; woodcut lettrines. Lrg. 4to. Contemporary heavy wraps., stitched with leather, as issued. Uncut. Cicognara (misstating the date as 1784): "Opera eccellente per l’analisi che viene fatta della significazione d’ogni vocabolo." Aquino (1654-1737), a Jesuit nobleman and professor of rhetoric at Rome, was the author also of military and agricultural lexica, and historical disquisitions. Front inner hinge loose, but a very nice, clean copy, with a 1779 ownership inscription inside the front cover. Very rare.

Romæ (Typis Antonii de Rubeis), 1734. $7,500.00

Borroni I.585; Cicognara 2145; Comolli I.112; Graesse I.75

5 ARNALDI, ENEA. Delle basiliche antiche, e specialmente di quella di Vicenza del celebre Andrea Palladio. Discorso. Con l’aggiunta della Descrizione d’una curia d’invenzione dell’autore. viii, cxxxv, (1) pp. Engraved frontis. portrait and 8 folding plates (some in large format). Wood-engraved culs-de-lampe, lettrines. 4to. Contemporary stiff wraps., stitched as issued. Uncut. Second edition, unchanged from the first of 1767, of this noted study, focused particularly on the monuments of Vicenza. Part I consists of a brief discourse, with an etymology of terms, on the origins of ancient and Christian basilicas, followed by a documentary chronology of those in Vicenza, from medieval times to Palladio. In Part II, Arnaldi expounds on his ideas for a modern ‘curia’ (basilica) based on Vitruvian principles.

Vicenza (G.B. Vendramini Mosca), 1769. $1,800.00

Fowler 30; Schlosser p. 568; Berlin 2718; Cicognara 876; Fossati Bellani 2513; Lozzi 6392

6 ARNALDI, ENEA. Idea di un teatro nelle principali sue parti simile a’ teatri antichi, all’uso moderno accomodato. Con due discorsi, l’uno che versa intorno a’ teatri in generale, riguardo solo al coperto della scene esteriore, l’altro intorno al soffito di quella del Teatro Olimpico di Vicenza, opera dell’insigne Andrea Palladio. (4), xxxii, 82, (2), 58, (2)pp., 6 fine folding engraved plates. Wood-engraved culs-de-lampe, lettrines. 4to. Contemporary heavy wraps. Count Arnaldi’s proposal, based on Palladian prototypes but with noteworthy innovations of his own, was originally prompted by the destruction by fire of Bibiena’s Teatro Filarmonico in 1749. He adds a discussion of Palladio’s original plans for the Teatro Olimpico. A few tears to the plates, well mended; two charming early wash drawings (a soldier, a man’s head) on the last blank leaf; a few plates touched with wash; occasional light foxing; a fine copy.

Vicenza (Antonio Veronese), 1762. $3,000.00

Berlin 2790; cf. Cico 750 (misstating date); cf. Schlosser p. 568 (misstating date); Brunet 9790

7 ARP, HANS. Der Pyramidenrock. 70pp. Frontispiece portrait 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

8 ARTAUD, ANTONIN. Révolte contre la poésie. (16)pp. Wraps., over loose signatures, as issued. First edition, printed for friends of the author in a limited edition of 50 copies on Arches, "mis en page et imprimé avec amour à Paris dans la brume de 1944 pour ceux qui savent choisir." This copy is designated HT 5/12, apart from the rest of the tirage. A little light browning. Rare.

Paris, 1944. $1,000.00

9 DER AUSTAUSCH. Veröffentlichungen der Studierenden am Staatlichen Bauhaus zu Weimar. [No. 2, of 3 issues published in all], Anf. Juni. 6pp. 4 original woodcut illus., by Hans Gross, Walter Determann, Toni von Haken and Dörte Helm. Folio. Tabloid format, printed on pale grey-green wove stock. Texts by Hans Gross ("Aus einem Vortrag des Jungmeisters Hans Gross, gelegentlich des Gropius-Einführungsfestes am 5. Juni," and a poem, "De Suldot"), Eberhard Schrammen ("Von frischen Knaben, verbildeten Erwachsenen und van de Veldes Bauten", "Ziele, Wünsche, Möglichkeiten"), Walter Determann ("Gedanken über das Bauen. I."), Grete Bittkow, ‘früher am Staatl. Bauhaus’ ("Ornament und Mythos./ Aus einem Brief"), Dörte Helm ("Der neue Geist oder eine Vereinssitzung./ Sehr wahre und lehrreiche Geschichte"), Otto Meyer, ‘Architekt bei B. Röhr’ ("Gedanken über das Bauen. II."), R. Riege ("‘Armut’ von Wildgans"), G. Calmann ("Von meinen Büchern"); also "Erwiderungen an Käthe Brachmann."

Three issues in all were published of this first Bauhaus student journal, ‘The Exchange,’ in May, June and July 1919. Illustrated with original woodcuts, it contains contributions by the students, programmatical and critical essays, and poetry. The present issue, which was the most substantial (No. 1 was in leaflet form, and No. 2 4 pages), is notable especially for the prominent contributions of master student Hans Gross, who six months later was to become a highly controversial figure in Bauhaus politics. The Gross affair (as Wingler terms it) "sparked the secession of the old academy professors whom the Bauhaus had taken over, and led to the founding of a rival art academy, which was accomodated in the same building. This fact resulted in uninterrupted friction until 1925." Central fold, as usual; neatly split at backstrip, with some little marginal chips and tears, but for this fragile publication a very good copy.

Weimar, 1919. $1,200.00

Wingler pp. 294, 631 (bibl.); cf. p. 38ff.

10 BALDINUCCI, FILIPPO. Notizie de’ professori da Cimabue in qua. Per le quali si dimostra come, e per chi le bell’arti di pittura, scultura, e architettura lasciata la rozzezza delle maniere greca e gottica, si siano in questi secoli ridotte all’antica loro perfezione. Edizione accresciuta di annotazioni del Domenico Maria Manni. 10 vols., in 21. Engraved frontis. portrait (F. Gregori). 4to. Contemporary heavy wraps. Uncut.

Second edition, greatly enlarged by Domenico Maria Manni, from the first edition, which had been published ad seriatim in six volumes by various Florentine houses between 1681 and 1728. Baldinucci’s "Notizie" covers the history of art from 1260 to 1670. "In 1681 Baldinucci published the prospective volume of his chief work, the ‘Notizie....’ In it he proposed a comprehensive edition of artists’ biographies that would elucidate and expand Vasari’s ‘Vite,’ discuss artistic activity after Vasari’s time, treat those Italian and northern European schools ignored or slighted in the ‘Vite,’ and, finally, reaffirm Vasari’s belief in the supremacy of Tuscan art through more objective methods of research and documentation. He established a chronological framework of secoli (centuries) and decennali (decades) so that he could publish blocks of biographies out of sequence. Three volumes of the ‘Notizie’ were issued during his lifetime (1681, 1686, 1688) and another three issued after his death (1702, 1728) by his son.... For many years the ‘Notizie’ constituted the standard reference work for Italian art and the principal Italian language source for Northern European art and is still valued for its well-informed biographies of Italian, especially Tuscan, artists of the later 16th century, and of the 17th" (Edward L. Goldberg, in The Dictionary of Art).

The last volume of this edition contains Baldinucci’s important life of Bernini, commissioned by Queen Christina of Sweden (first published 1682), "La veglia" (a treatise on the use of documentary sources, 1684), two lectures delivered at the Accademia della Crusca in 1691, and other writings. Occasional very pale staining and wear; flyleaf absent from Vol. 12; in all, a nice set in entirely original condition.

Firenze (Gio. Batista Stecchi, e Anton-Giuseppe Pagani), 1767-1774. $3,500.00

Arntzen/Rainwater H52; Chamberlin 1986; Schlosser pp. 466, 473; Cicognara 2200; Collins/Land 2; Brunet I.622; Graesse I.280; Bigazzi 6331

11 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.

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

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

12 BARBAULT [JEAN]. Les plus beaux monuments de Rome ancienne. Ou recueil des plus beaux morceaux de l’antiquité romaine qui existent encore: dessinés par Monsieur Barbault peintre, ancien pensionnaire du Roy à Rome, et gravés en 128 planches avec leur explication. viii, 90pp., 73 plates with 117 illustrations by Barbault, engraved by Barbault, Domenico Montagu and Joseph Bouchard. 11 large engraved vignettes and culs-de-lampe of antiquities; lettrines. Lrg. folio. Contemporary full calf (scuffed and a bit worn). Raised bands. First edition; a German translation, with plates by Georg Christoph Kilian, was published in Augsburg in 1782 ("Denkmäler des alten Roms").

As Pierre Rosenberg has noted (and before him Andrew Robison), the work was an attempt by the publisher to compete with the productions of Giovanni Battista Piranesi, who had left the firm in the late 1750s to set up on his own, and was now successfully publishing his "Vedute di Roma." Barbault, for his own part, avoided simple imitation of Piranesi by choosing quite carefully to show the ancient monuments which Piranesi had depicted from different angles and points of view, in a sense completing the gaps which might be found in his rival’s documentation. Barbault is quite explicit on this point, stating, with reference to the Theatre of Marcellus (pl. 22), for example, "M. Piranèse que nous avons déjà cité ailleurs a poussé ses recherches encore plus loin que tous ceux qui l’ont devancé..., nous renvoyons les curieux aux Planches qu’il en a donné dans son 4e Tome des ‘Antiquités Romains’...nous nous contenterons de dire ici quelque chose en général de l’intérieur du Théâtre et de marquer le mieux que nous pourrons la place du Proscenium, du Pupitre et de la scène, ce que M. Piranèse n’a pas fait, parce que cela n’entrait pas assés son plan." It was an intelligent solution, and one which reaped considerable profit for Bouchard, the work being a notable commercial, as well as artistic, success. Rosenberg, speaking of its popularity, notes that it is to be found again and again in the catalogues of the important sales of the later eighteenth and early nineteenth century. As for the exceptional quality of his prints, Rosenberg remarks that "Barbault sut rester un figure originale parmi ces védutistes,’ que ce soit par l’importance de sa production gravée et dessinée (cette dernière reste encore à découvrir) ou que ce soit par le charme de ses caprices peints, relais nécéssaires entre l’art de Panini et celui de Hubert Robert et Fragonard."

This copy, quite interestingly, bears the contemporary inscription of the eminent French architect and academician Pierre Noël Rousset (d. 1795), "Jay partient a Rousset Architecte" at the table on the last leaf. It also carries a handwritten cypher (‘R’ plus paraph?) on every leaf containing a plate or illustration. Whether these latter marks are to be identified as Rousset’s, as seems likely but also odd, would be worth investigating; they seem equally likely to be some form of "bon à tirer," and Rousset does not seem to have been involved in the book’s production (though as a member of the academies of Florence and Bologna, as well as the Académie d’Architecture, he may well have been in Rome at the time). The cypher also appears at the base of the title-page, where an old ownership inscription (perhaps in Rousset’s hand) has been effaced.

Intermittent light wear; a little light foxing; nearly always confined to the blank margins; rear flyleaf removed.

Rome (Bouchard & Gravier), 1761. $5,000.00

Borroni II.8139; Cicognara 3592; Fowler 37; Sander 75; Brunet I.646; Graesse I.289; Volle, Nathalie & Rosenberg, Pierre: Jean Barbault, 1718-1762 (Beauvais, 1974), pp. 56, 59; Piranèse et les français p. 499ff.; for information on Rousset: Placzek III.616f.

13 BAROTTI, CESARE. Pitture e scolture che si trovano nelle chiese, luoghi publici, e sobborghi della città di Ferrara. 223pp. Large folding engraved bird's-eye view after Barotti. Wood-engraved culs-de-lampe, lettrines. Sm. 4to. Nineteenth-century speckled boards, 1/4 calf (backstrip mended). Light wear.

Ferrara (Giuseppe Rinaldi), 1770. $1,200.00

Schlosser p. 584; Cicognara 4196; Fossati Bellani 2787; Lichtenthal p. 167

14 BARTSCH, ADAM. Le peintre graveur. 21 vols., bound in 18. 74 (of 76) engraved plates hors texte (1 folding), with numerous monograms. and figs. (including 2 frontispieces).

Vienna (J.V. Degen; Pierre Mechetti), 1803-1821.

Together with: Copies faites d’après des estampes très rares de différens maîtres, décrites dans le premier volume [dans les volumes I, IV et V] du Peintre graveur. 2 portfolios with a total of 16 original engravings by Bartsch. Oblong 4to. Publisher’s printed wraps. (soiled). Later fitted quarter-morocco slipcase and chemise. Vienna (J.V. Degen), 1803; 1805.

Continued by: Weigel, Rudolph. Suppléments au Peintre-Graveur récueillis et publiés. Tome premier (all published). viii, 350pp. Publisher’s printed wraps. (a little torn). Uncut.

Leipzig (Rudolph Weigel), 1843.

4to. Fine mid-nineteenth-century polished mottled calf. Printed on heavy wove paper. A fine set, on heavy paper, of the first edition, including the rare separate portfolios of original engravings by Bartsch made in facsimile of Dutch seventeenth-century master prints, and also the later supplement published by Rudolph Weigel. "The foundation work for the modern systematic study of Dutch, Flemish, German and Italian painter-engravers through the 17th century. Although now outdated in many instances, subsequent oeuvre-catalogues and histories refer to Bartsch almost universally, and for some lesser artists, Bartsch remains the only, or most important, source. For each printmaker, a general essay, descriptions of prints,and often an alphabetical list of works are given" (Arntzen/Rainwater).

A few hinges broken; though lacking two prints in Vol. 8 (as is often the case), a very fine and attractive set, from the library of Albert Blum..

Arntzen/Rainwater N13; Chamberlin 1529; Riggs p. xxiv; Graesse I.305; Brunet I.684 $2,500.00

15 (BAUHAUS) Bauhaus Standard 32. 91 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. Title-page on coated stock, with descriptive text and technical specifications; on the verso, a full-page photographic view of the Dessau Bauhaus. Oblong 4to. Turquoise boards, 1/4 cloth, lettered in white, secured with massive nickel 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. In the case of this particular swatchbook, the Dessau Bauhaus was still in operation at the time of publication, and is illustrated on the verso of the title-page, captioned in an appropriate Bauhaus font. The well-known manufacturer of the papers, Gebr. Rasch, is not named in the present swatch-book, which is stamped "J.Z. & Co./ D." on the front cover. Covers faded and rubbed; 11 small samples, originally mounted under front cover, crudely removed.

N.p., 1932. $1,250.00

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

16 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.

17 Prassinos, Gisèle. Une demande en mariage. Avec un dessin de HANS BELLMER. (Collection "Repères." 3.) (16)pp. Frontispiece design by Bellmer. Sm. 4to. Orange wraps. Glassine d.j. Signatures loose, as issued. Edition limited to 70 copies in all, printed on normandy vellum teinté, and signed and numbered in pen by Guy Lévis-Mano in the justification. This copy is designated H.C., and contains a second state of the Bellmer frontispiece, printed on pink stock. A fine copy.

Paris (Éditions G.L.M.), 1935. $1,500.00

G.L.M. 70

18 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

19 NELL BLAINE Prints, Kenneth Koch Poems. (Editions of the Tibor de Nagy Gallery.) (3), 20, (1)pp. 9 original block prints in text, of which 4 tipped-in color. 5 initial letters by the artist, also printed from the blocks. Lrg. 4to. Wraps. (with original color print by the artist on front cover). Edition limited to 300 hand-numbered copies. Decorations, cover and typography by the artist. A pristine copy, rare as such.

New York (Tibor de Nagy Gallery), 1953. $800.00

20 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

21 BLOUET, ABEL, et al. Expédition scientifique de Morée, ordonnée par le gouvernement français. Architecture, sculptures, inscriptions et vues du Pélopenèse, de Cyclades et de l’Attique, mesurées, dessinées, recueillies et publiées par Abel Blouet...; Amable Ravoisié, Achille Poirot, Félix Trézel et Frédéric de Gournay, ses collaborateurs. 3 vols. I: (4), xxii, 72, (2)pp.; (4), 174, (2)pp.; (4), 68, 78pp. 262 fine engraved plates and maps hors texte (4 double- and 2 triple-page folding), of which 85 on chine appliqué. 3 fine and elaborate engraved half-title compositions by Blouet. Lrg. folio. New green boards, 3/4 cloth gilt. Uncut.

Two sections were issued of this grand publication documenting the findings of the official French scientific expedition to the south of Greece: this one, concerning the archaeological and architectural findings, and another (not present) in quarto covering the natural sciences. Blouet is noted on the title as "architecte, ancien pensionnaire de l’Académie de France à Rome, Directeur de la Section d’Architecture et de Sculpture de l’Expédition Scientifique de Morée"; his associates Ravoisié and Poirot, similarly, as architects, Trézal as "peintre d’histoire," and Gounay as "littérateur." Serially published over the course of eight years in 49 livraisons of text and plates, the work is lavishly illustrated with hundreds of precisely drawn figures depicting sculptures, monuments and inscriptions, together with topographical views of considerable delicacy. All major sites are covered--the Cycladic isles, Athens and the Acropolis, Aegina, Olympia, Mycenae, etc. A fine copy, tall, crisp and clean, in an attractive new binding.

Paris (Firmin Didot Frères), 1831-1838. $15,000.00

Borroni II.3405; Blackmer 153; Brunet II.1135f.; Graesse II.538

22 (BOCCIONI) 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 ("Quadro della storia dell’arte," "Noi viviamo di verità nate ieri," "Dall’impressionismo al futurismo," "Interventismo--in carcere--al fuoco [quattro lettere]"). 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

23 MEL BOCHNER. Zeichnungen/ Drawings. Foreword by the artist. 27, (1)pp. 9 plates in text (7 color). 4to. Wraps. Glassine d.j. Publisher’s slipcase (boards, 1/4 cloth). One of 20 arabic-numbered copies from the special edition of 30 in all, with an original aquatint by the artist bound in, signed, numbered and dated in pencil. Published in conjunction with an exhibition at the Galerie Jahn und Fusban, München, March 1990.

München (Verlag Fred Jahn), 1990. $450.00

24 (BONNARD) Longus. Les pastorales de Longus ou Daphnis et Chloé.... Lithographies originales de P. Bonnard. Traduction de J. Aymot.... Revue et corrigée, complétée de nouveau, refaite en grande partie par Paul-Louis Courier . x, 294, (4)pp. 151 original lithographs, printed in black, integrated with text. Lrg. 4to. Full green morocco, signed M. Callou, with a subdued art deco design of diagonal gilt fillets and inlays in black and ivory morocco, identical on both covers. A.e.g. Ivory morocco doublures. Silk end-papers. Slipcase (marbled boards, trimmed in green morocco; hairline splits). One of 200 numbered copies on uncut hollande van Gelder, watermarked 'Daphnis et Chloé,’ from the limited edition of 250. Lithography by Auguste Clot; the text printed at the Imprimerie Nationale.

The second of Bonnard's great illustrated books, following "Parallèlement" of 1900. "In 1902, Vollard published 'Daphnis et Chloé' by Longus. He may have chosen this Greek romance of the third century because it approached so nearly the tone of the modern novel. Illustrated with lithographs by Bonnard, it has been described as one of the most beautiful books published since the eighteenth century. Carefully following the text, conjuring up woodlands, harbors, and pastoral figures, Bonnard's genius portrays with lavishness and antique grace the tranquil atmosphere of the Golden Age. The quality of the printing process, attained with such success in 'Parallèlement’ lingers on in 'Daphnis et Chloé,' giving it exceptional charm and nuance" (Una Johnson). A fine copy.

Paris (Ambroise Vollard, Editeur), 1902. $16,500.00

Roger-Marx 95; Johnson 168; Ray: The Art of the French Illustrated Book 384; Chapon p. 279; The Artist and the Book 28; Rauch 22; Skira 22; Strachan p. 326; Garvey/Wick 7; Manet to Hockney 18; Wheeler p. 98; Stern 10; Bareiss 9; Villa Stuck 15; Stuttgart 9; Basel 23

25 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

26 Vollard, Ambroise. Sainte Monique. Illustrations de PIERRE BONNARD. (2), ix, (1), 222, (6)pp. 29 lithographs and 17 etchings (including 3 tables) hors texte. 178 wood-engravings (including 37 'bois non utilisés' on 15 plates hors texte). Sm. folio. Orig. dec. wrapper (with wood-engraved vignette), loose, as issued. Glassine d.j. Later slipcase and chemise (boards, 1/4 cloth). Uncut. All contents loose, as issued. One of 257 copies on vélin d'Arches, from the limited edition of 390 (including 50 copies hors commerce). "Bonnard, whom one might associate with a more pagan inspiration, interpreted this story of a saint--though treated by Vollard in a contemporary style--with touching solemnity, never lapsing into jejune sentimental piety. His lines vibrate with life. It was, in fact, the last book he illustrated and saw published in his lifetime" (Strachan). Slightest intermittent foxing, slipcase cracked; in general a very fine and crisp copy.

Paris (Ambroise Vollard), 1930. $5,500.00

Roger-Marx 96; Rauch 27; Skira 28; Stern 11; Erving 5; Wheeler p. 98; Basel 25; Chapon p. 281; Johnson 170; Strachan p. 56

27 BORGHINI, RAFFAELLO. Il riposo. 3 vols. vii, 295, 260, 235pp. Fully engraved title-pages; culs-de-lampe. Sm. 4to. Contemporary mottled calf gilt. The third edition of the work, first published in 1584 and annotated by Bottari in the Florence edition of 1730. "The work is divided into four books, the first two are of a theoretical nature, while the third and fourth contain important information on the artistic and cultural world of Florence. In the ‘Riposo’ Borghini relied for information mainly on Vasari, and he may be considered Vasari’s successor. Although much of the treatise lacks originality, it is useful as a source where it deals with artists contemporaneous with the author, such as those who worked in the studiolo of Francesco I, or Francesco Zuccari or sculptors such as Giambologna, who was also probably a friend of Borghini" (Donatella Pegazzano, in The Dictionary of Art). A handsome set.

Siena (Dai Torchi Pazzini Carli), 1787. $1,500.00

Schlosser p. 373; cf. Arntzen/Rainwater H34

28 BOSSE, ABRAHAM. Traité des manières de dessiner les ordres de l’architecture antique en toutes leurs parties.... [Bound with:] Des ordres de colonnes en l’architecture, et plusieurs autres depandances dicelle. [Bound with:] Representations geometrales de plusieurs parties de bastiments faites par les reigles de l’architecture antique.... I: Title, allegorical half-title, dedication and 44ff., all fully engraved. II: Allegorical half-title, (20)ff. (lettered A-V), all fully engraved. III: Title, ii, 10, (1)ff., all fully engraved. Folio. Handsome contemporary full calf gilt at spine in 8 compartments. A fine collection of these three works (often found together), in early issues, published by Bosse himself.

"Another type of publication, and one which did not respond to an aesthetic ideal, appeared in the mid-seventeenth century. It was concerned with the application of universal mathematical principles, surely founded in Cartesianism, to replace tradition and practical craft practices. The principles, first proposed by the mathematician Gerard Desargues in 1636, were taken up from 1640 by Abraham Bosse. His vehement promotion of Desargues’ system, which contradicted traditional guild and academic methods, led to his expulsion from the Académie Royale de Peinture et de Sculpture and to a ban on his attempt to continue as an educator; it did, however, turn him to the production of his monumental achievement--the beautifully engraved compilation of student exercises and instructions based on his own theories, which were collected under the title of ‘Traité des manières de dessiner les ordres’ (1664, reprinted 1684). Bosse’s work would seem to be unique among architectural publications. Its orientation was not progressive, despite Bosse’s claims of scientific rationalism. But at least two other architect-theoreticians would make responses to this publication, and its implications for later eighteenth- and nineteenth-century developments in architecture go far beyond the scope of this collection.... [The] presentation of the sections of the work suggest that this is more than a student text. The explanatory material is engraved, rather than typeset, and the engraved illustrations are of the highest quality, indicating Bosse’s intention to produce both a treatise and a series of engravings that would probably be produced and sold separately, then later collected into a single volume" (Dora Wiebenson, in Millard).

The collation of this volume agrees exactly with that in the National Gallery of Art, Washington, as described in Millard (though the Millard copy lacks the first engraved title-page, present in ours). The Millard catalogue notes that although the second work is dated 1664 on the title, it must be an issue of the early 1670s, as it contains the final plates S, T and V, which were not included in earlier printings. With this in mind, Millard suggests that all three works may possibly be issues of the early 1670s (though in the third work, dated 1659, the impressions of the plates are strong throughout, as they are in ours). Small stains at top corners at the latter part of the volume; a strikingly attractive copy, with large margins, in a handsome, well-preserved binding, with two early ownership inscriptions on the front flyleaf, dated 1754 and 1800.

Paris (Chez l’auteur), 1664, 1664, 1659. $4,000.00

Millard I.34; Fowler 57,60,63; Berlin 2378,2379,3858; Cicognara 444-446 (the latter in 1688 edition)

29 [BOUTET, CLAUDE] Traité de mignature, pour apprendre aisément à peindre sans maistre. Et le secret de faire les plus belles couleurs, l’or bruny, & l’or en coquille. Seconde édition, reveuë, corrigée & augmentée. (16), 166, (10)pp. 12mo. Contemporary calf gilt. Covers slightly bowed; a nice copy, with a contemporary ownership inscription on the title-page.

Paris (Christophe Ballard), 1674. $350.00

Cf. Borroni I.1688.1

30 (BRANCUSI) Voronca, Ilarie. Plante si animale terase. Cu desene de Constantin Brancusi. 60, (4)pp. 3 full-page line-drawings by Brancusi in text. Lrg. 8vo. Wraps. Handsomely printed on cream wove stock. Unstated limited edition, estimated by Ilk at fewer than 150 copies (apart from an édition de tête of 18 numbered copies).

Though he contributed frontispiece portraits to books by James Joyce and Benjamin Fontane, this publication, a slender volume of poems ("Plants and Animals") is Brancusi’s only illustrated book. The three compositions, line drawings of great simplicity, depict a snail and birds, a playful cow, and a composition of abstract plant forms below a horizon. Made as a favor to the writer, Ilarie Voronca, they are clearly responsive to her lyrics, birds "springing like fountains to the sky" and "hovering like a forest of waves in a blue flight"; and the first of them is closely related to a well-known gouache abstraction of "Birds in Flight" in the collection of the Guggenheim Museum. Brancusi exhibited two of the drawings in the Black and White Exhibition in Bucharest in the autumn of 1929. "This unique attempt by Brancusi in the field of book illustration is a successful transfiguration of poetry. It astounded the public opinion of 1929 in Bucharest but for a few persons who understood the hieratic sense of Brancusi’s drawings, their purity and primary character. Once again the words of the sculptor are confirmed: ‘When we are no longer children we are already dead,’ and also: ‘What makes us truly live is the feeling of our permanent childhood in life’" (Brezianu). Presentation copy, with a delicate five-line inscription by the author on the half-title, in ink. A fine copy. Of utmost rarity.

N.p. [Paris] (Colectia Integral), 1929. $7,000.00

Ilk K519, illus. p. 85; Brezianu, Barbu: Brancusi in Romania (Bucharesti, 1976) p. 245f.; Hultén/Dumitresco/Istrati p. 191; Jianou 1982, nos. 82-84

31 (BRANCUSI) Fondane, Benjamin. Privelisti. Poeme, 1917-1923. [By: B. Fundoianu.] Cu un portret inedit de C. Brancusi. 106, (4)pp. Line-drawn frontis. portrait by Brancusi. Lrg. 8vo. Wraps. (worn at spine). Édition de tête: one of 24 lettered copies from the limited edition of 50 on vélin vergé, apart from the regular edition of 1000.

Bucharest (Editura "Cultura Nationala"), 1930. $3,500.00

Ilk K451, illus. p. 90

32 BRANDI, GIO. ANTONIO. Cronologia de’ sommi pontefici, che contiene le effigij, nomi, e patrie loro; in che anno & giorno furono eletti: le lot vite: quanto regnarono: & quanto vacò la seria. Con alcune cose notabili che occorsero ne' loro tempi. Cominciando da San Pietro, insino al Beatissimo Papa Urbano Ottavo, hoggi vivente. Revista & expurgata. (126)pp. (=columns 1-239, irregularly numbered). Woodcut title-page vignette and 239 woodcut portraits of popes; ornamental frames surrounding text throughout. Sm. 4to. Nineteenth-century marbled boards, 1/4 leather. Title-page lightly browned; cut rather close.

Roma (Francesco Corbelletti), 1627. $450.00

33 (BRAQUE) Satie, Erik. Le piège de Méduse. Comédie lyrique en un acte de M. Érik Satie, avec musique de danse du même monsieur. Orné de gravures sur bois par M. Georges Braque. (3)pp. 3 original color woodcuts by Braque, printed with up to four blocks (pale blue, brown, ochre and sage green). Lrg. 4to. Printed wraps. Slipcase and chemise (boards, 1/4 cloth). One of 90 copies on hollande van Gelder, signed in purple ink by Braque and Satie in the justification, from the limited edition of 112 in all.

The first book with original prints by Braque, and the only literary work ever published by the composer Érik Satie, "Le piège de Méduse" was also the first of Kahnweiler’s books to contain full-color illustrations (and one of no fewer than six great livres d’artiste issued by Kahnweiler and the Galerie Simon in 1921). Superbly intergrated with the text and musical score, the woodcuts are "among the most beautiful and perfect examples of Braque’s later synthetic cubist style" (Stein). "Sans rien emprunter à la comédie lyrique de Satie, les constructions exquises de Braque, natures mortes aux instruments de musique, bois en couleurs, nous fournissent plastiquement une équivalence du tempérament du musicien" (Chapon). A very fine copy.

Paris (Éditions de la Galerie Simon), 1921. $12,500.00

Vallier 13; Hofmann I; Hugues 10; Bozo p. 181; Castleman p. 172; Artist and the Book 33; Chapon p. 284 (color plates pp. 111, 120); Skira 39; Rauch 103; Strachan p. 50; Stein pp. 63,69; Siena 4; Cubist Print 90; Garvey/Wick 12; Wheeler p. 99; Andel 33; Bareiss 11; Basel 42: Winterthur 96

34 (BRAUNER) Roll, Stephan. Poeme in aer liber. Desene de Victor Brauner. 35, (3)pp. 3 full-page line-drawings by Brauner in text. Lrg. 8vo. Wraps. (light wear). Handsomely printed on cream wove stock. One of 150 hand-numbered copies, from the limited edition of 162. Presentation copy, inscribed on the half-title by Roll, 1929.

Paris (Colectia Integral), 1929. $4,500.00

Ilk K501, illus. p. 86

35 (BRAUNER) Pana, Sasa. Diagrame. Un portret si desene de Victor Brauner. (28)pp. 3 tipped-in plates of line-drawings in text. Lrg. 8vo. Dec. wraps., with portrait by Brauner. Printed d.j. Unstated limited 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.

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

Ilk K485, illus. p. 89; Biro/Passeron 2164

36 (BRAUNER) Roll, Stephan. Moartea Vie a Eleonorei. Desene de Victor Brauner. (34)pp. 2 tipped-in plates of line drawings in text. Lrg. 8vo. Wraps. Unstated limited edition, estimated by Ilk at circa 150 unnumbered copies, the text printed on brown wove stock. Light wear; an unopened copy.

[Bucharest] (Editura UNU), 1930. $4,500.00

Ilk K502, illus. p. 89

37 (BRAUNER) Naum, Gellu. Drumetul incendiar. Cu 3 calcuri de Victor Brauner. 63, (1)pp. 3 line-drawn plates loosely inserted, printed on tissue (2 folding). Lrg. 8vo. Wraps. Unstated limitation of 150 copies, apart from 10 on yellow stock. Brauner’s stunningly strange outline drawings for this book are of remarkable quality, and especially memorable in this odd, inserted format. Very rare.

[Bucharest], 1936. $4,500.00

Ilk K471, illus. p. 99

38 (BRAUNER) Pana, Sasa. Sadismul Adevarului. Ilustratil de Victor Brauner, Marcel Iancu, Alfred Jarry, Kapralik, S. Perahim, Picasso, Man Ray, si Jacques Vaché. 287, (1)pp. Numerous illus., including a collage group portrait by Brauner (using photographs by Man Ray), with captioned glassine overlay. Lrg. 8vo. Wraps. (lightly foxed). One of 358 hand-numbered copies, from the limited edition of 370. Presentation copy, inscribed by Pana on the half-title, 1965.

Bucharest (Editura UNU), 1936. $3,250.00

Ilk K490, illus. p. 100

39 (BRAUNER) Naum, Gellu. Libertatea de a Dormi pe o Frunte. 58, (4)pp. 1 tipped-in full-page plate, by Brauner. Lrg. 8vo. Wraps., (without the wallpaper dust jacket cited by Ilk). Signatures loose, as issued. One of 86 unnumbered copies on vélin, from the limited edition of 96 in all. The Brauner illustration is one of his most famous erotic drawings, a design for "Adrianopole." Light wear to wraps. Presentation copy, inscribed in red ink by the author on the half-title, 1937. Very rare.

Bucuresti (Tip. "Steaua artei"), 1937. $3,500.00

Ilk K472, illus. p. 101

40 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

Sheringham Aa154; Pompidou: Breton p. 186f.; Gershman p. 7; Ades 9.93; Biro/Passeron p. 390; Rubin 138; Milano p. 650; Reynolds p. 18

41 [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. Il est également significatif que le premier ‘dictionnaire du Surréalisme’ ait été écrit par les surréalistes eux-mêmes" (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

42 BRETON, ANDRÉ & RIVERA, DIEGO. Pour un art révolutionnaire indépendant. Mexico, le 25 juillet 1938. (4)pp. (single sheet, folding). Printed on pale green paper. 4to. Self-wraps. Though co-signed by Diego Rivera, Breton’s actual collaborator on this manifesto was Leon Trotsky, whom he had befriended in the spring and summer of 1938, while a houseguest of Rivera’s in México. "Ce que nous voulons: l’indépendance de l’art -- pour la révolution: la révolution -- pour la libération définitive de l’art." The statement was a rallying cry for the Fédération internationale de l’art révolutionnaire indépendant (F.I.A.R.I.), formed after Breton’s return to France. It was quickly promulgated around the world, in the "London Bulletin" and "Partisan Review" among other places. Small chip at one edge, very slightly faded; a nice copy.

Mexico, 1938. $500.00

Sheringham Ad298; Gershman p. 8; Biro/Passeron p. 344; Jean: Autobiography p. 375ff.; Milano p. 66; Sawin p. 21f.

43 CALDERARI, OTTONE. Disegni e scritti di architettura del Co. Ottone Calderari. Edited by A. Diedo, G. Marangoni, A. Rigato, and A, Vivorio. Elogio by Arnaldo Arnaldi I. Tornieri. 2 vols. (4), 42, (2)pp., 47 engraved plates; 30, (8)pp., 43 engraved plates. Lrg. folio. Publisher’s printed heavy blue wraps. Uncut.

The Vicenzan architect and theorist Ottone Calderari (1730-1803), prolifically active in the Veneto, designed a number of grand palazzi in Vicenza, as well as villas and churches. Heavily influenced by Bertotti Scamozzi’s publication of Palladio in 1776-1783, he built a career based on the Palladian style (Quatremère de Quincy called him "a rejuvenated Palladio"), while assimilating contemporary ideas on functional planning. The two volumes of this work were published not long after his death, in 1808 and 1815, by Paroni in Vicenza; the sheets were then reissued in new wrappers in Venezia in 1817, by Alvisopoli. A third volume in quarto, containing Calderari’s writings on architecture, was planned but never issued (though a collection of his "Scritture inedite in materia di architettura" was collected by Antonio Magini in 1847). Uncut. Some waterstaining and spotting, predominantly in the second volume; a few marginal mends; wrappers somewhat worn, expertly rebacked.

Vicenza/ Venezia (Tipografia Paroni/ Tipografia Alvisopoli), 1808-1815 [1817]. $8,000.00

The Dictionary of Art: "Ottone Calderari" (unsigned).; Cicognara 457; Brunet I.1470; Graesse II.14

44 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, at right edge.

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

45 CANNIBALE. Numéro 2, mai 1920 (of 2 issues published in all). Revue mensuelle parait le 25 de chaque mois, sous la direction de Francis Picabia, avec la collaboration de tous les dadaïstes du monde. (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. $2,500.00

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

46 CARASI, CARLO. Le pubbliche pitture di Piacenza. 158, (6)pp. Handsome engraved title-page vignette. Sm. 4to. Early nineteenth-century boards.

Piacenza (Giuseppe Tedeschi), 1780. $750.00

Schlosser p. 577; Cicognara 4307; Fossati Bellani 2857

47 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). Light wear. A fine copy.

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

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

48 [De Rossi, Giovanni Gherardo.] Vita di ANTONIO CAVALLUCCI da Sermoneta, pittore. 77, (1)pp. Fine stipple-engraved frontis. portrait. Lrg. 8vo. Contemporary speckled boards, 1/4 leather. A handsome copy, with large margins.

Venezia (Dai torchi di Carlo Palese), 1796. $375.00

Schlosser p. 599 (erroneously citing editions of 1766 and 1769)

49 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

50 CELLINI, BENVENUTO. Vita di Benvenuto Cellini orefice e scultore fiorentino, da lui medesimo scritta, nella quale molte curiose particolarità si toccano appartenenti alle arti ed all’istoria del suo tempo, tratta da un’ottimo manoscrito, e dedicata all’eccelenza di Mylord Riccardo Boyle, Conte di Burlington.... xvi, 318pp. Woodcut title page vignette and lettrines; title set in red and black. 4to. Contemporary speckled boards, 1/4 green leather gilt. The famous counterfeit issued by Bartolini in Florence in 1792, of the true first edition, which had been published in Naples by Pietro Martello in 1728. The present issue is distinguishable from the proper first edition in the design of the woodcut mask on the title-page, the number of lines on the first page of the dedication, and the pagination of the index; the paper, too, is different. Cellini’s autobiography is both a major literary text of the Renaissance and one of the crucial art-historical sources of its time; its survival, unpublished, until the early eighteenth century, is in itself remarkable. An attractive copy.

Colonia [vere Firenze] (Pietro Martello [vere Bartolini]), n.d. [1792]. $1,500.00

Cicognara 2232; Brunet I.1725; Graesse II.99; Cf.: Schlosser p. 375f., Gamba 337

51 CHIZZOLA, LUIGI. Le pitture e sculture di Brescia che sono esposte al pubblico. Con un’ appendice di alcune private gallerie. xxiv, 195, (1)pp. Very fine unsigned etched decorations throughout, including allegorical frontispiece, title-page, 4 culs-de-lampe and 2 lettrines, all by the same artist; 1 additional cul-de-lampe by a different hand. Sm. 4to. Contemporary vellum over boards. Though the work was published by Luigi Chizzola, who also contributed the preface, it is based on the researches of the Brescian sculptor G.B. Carboni (d. 1783), who is often named as its author. The etchings are quite artistic, the culs-de-lampe being rococo compositions reminiscent of Piranesi, incorporating monuments of the city. This copy has occasional intelligent annotations in two contemporary hands.

Brescia (Stampe di Giambatista Bossini), 1760. $1,250.00

Schlosser p. 569; Cicognara 4185; Fossati Bellani 2101; Lichtenthal p. 5

52 CIOCCHI, GIOVANNI MARIA. La pittura in Parnaso. xxiv, 310pp. Wood-engraved culs-de-lampe, lettrines. 4to. Contemporary vellum. Raised bands. In this classic paragone by Giovanni Maria Ciocchi, personifications of Pittura and Scultura ascend Mount Parnassus, where Pittura is found superior to sculpture, though both are daughters of Disegno. Schlosser notes its reliance on time-honored models such as Alessandro Tassoni’s "Paragone degli ingegni antichi e moderni" of 1620. The work treats an elaborate selection of topics, including proportion, color, sacred subjects, the estimation of painting in ‘barbarous nations,’ and architecture, with considered remarks on Borghini’s "Riposo." A very fine copy. Rare.

Firenze (Nestenus), 1725. $4,000.00

Borroni I.1455; Schlosser pp. 664,682; Cicognara 102; Graesse II.188

53 CONTANT, CLÉMENT & DE FILLIPI, JOSEPH. Parallèle des principaux théâtres modernes de l’Europe et des machines théâtrales françaises, allemandes et anglaises. (6), 163, (1)pp., 133 line-engraved plates (in 2 series) after Contant. Lrg. folio. Marbled boards, 1/4 red morocco gilt (head of backstrip chipped). The expanded edition, and the first with De Filippi’s text, published a generation after the first edition of 1842, an atlas of plates only. The most comprehensive and elaborate study of its time, the work contains highly detailed scale drawings by Contant, "ancien machiniste en chef du théâtre Impérial de l’Opéra," documenting 30 of the most important theatres and opera houses in Europe, and their technical facilities: the old Paris Opéra and Théâtre Comique, Covent Garden and Drury Lane, La Scala, and others in Marseilles, Lyon, Bordeaux, Strasbourg, Versailles, London, Berlin, Hamburg, Munich, Vienna, Karlsruhe, Mainz, Darmstadt, St. Petersburg, Copenhagen, Naples, Turin, Genoa, Parma, Reggio and Madrid. Grandly conceived and meticulously documented, it remained the key publication on the subject for more than thirty years, until the appearance of Sachs’ "Modern Opera Houses and Theatres" at the end of the century. A little light foxing; generally a fine crisp copy.

Paris (A. Lévy fils), 1860. $3,500.00

Brunet II.241; Graesse VIII.202

54 CONTIMPORANUL. Editors: Ion Vinea and Marcel Janco. An extensive run of 59 numbers in 53 issues (of a total of 102 numbers in 90 issues published in all, June 1922 - Jan. 1932), as follows: Nos. 1-7, 13-15, 17, 21-[25], 27-34, 36-37/38, [45]-48, 50/51-61, 63-64, 66-67, 69-73, 76, 79, 81, 91/92, 101-102. Prof. illus. (original linocuts by Janco, Kassák, Teutsch, Maxy and others, as well as line-drawings and halftone photographs). Format varies: Nos. 1-[25] in lrg. 8vo.(partly unopened); Nos. 27- 37/38 in tabloid folio; the rest in lrg. 4to. except for nos. 79 and 81 (both tabloid folio).

The first and the most important review of the Rumanian avant-garde. Unlike some of its counterparts elsewhere in Eastern Europe --"MA," "Zenit," or "Blok," for example-- "‘Contimporanul’ operated without a revolutionary or radical political agenda (though it published a rather amorphously Marinettian ‘Activist Manifesto for Young People’ in May 1924), taking as its primary role the coverage of international developments on all fronts of the artistic vanguard: Dada, Surrealism, and especially Constructivism. Published almost every week, it was able to provide reports of an exceptionally fresh and up-to-date character. "Avant la naissance du Surréalisme, l’avant-garde roumaine est dominé par la constructivisme, avec de puissants accents expressionistes, dadaïstes et même futuristes. La plus importante revue qui le propage avec fureur et résolution est ‘Contimporanul,’ dirigée par Ion Vinea" (Biro/Passeron).

Texts by Marcel Janco (omnipresent in the review throughout its existence), Tzara, Fondane [Fundoianu], Theodorescu, Aderca, Voronca, Le Corbusier, Unamuno, Rietveld, Arp, Richter, Behne, Vantongerloo, and many others; illus. by and after Janco, Brancusi, Moholy-Nagy, Kassák, Arp, Depero, Teige, Teutsch, Maxy, Schwitters, Klee et al.; special features and special issues on Brancusi, modern architecture (with quite interesting work by Janco, as well as Le Corbusier, the Bauhaus etc.), theatre and cinema (including Soviet work, not otherwise a particular focus of ‘Contimporanul’), interior design, and contemporary exhibitions (with catalogues and, in the case of Janco, even prices). "‘Contimporanul’ (‘Zeitgenosse’) ist die bedeutendste Bukarester Avantgardezeitschrift der internationalen Kunst" (Dada Global). Intermittent light wear; generally in excellent condition. Edition stated by Ilk to be fewer than 500 copies; even single issues, to say nothing of partial sets, are of utmost rarity, and even the set in the Rumanian Academic Library in Bucharest is reported to be incomplete.

Bucharest, 1922-1932. $30,000.00

Ilk K193-283 (passim); Almanacco Dada 27; Dada Global p. 54, nos. 86-90; Biro/Passeron p. 369; Tendenzen 3/111f.; Dokumentations-Bibliothek III.146; Pindell p. 103; Passuth p. 212f.; Janecek, Gerald & Omuka, Toshiharu (eds.): The Eastern Dada Orbit (Crisis and the Arts: The History of Dada, Vol. 4 [New York, 1998]), p. 133

55 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

56 DADA. No. 2. Décembre 1917. Recueil littéraire et artistique. [Editor: Tristan Tzara.] (16)pp. + (6)-pp. loose insert ("Notes," tipped in after the last leaf). 8 illus., by Otto van Rees, Arp, Robert Delaunay, Prampolini (woodcut), Kandinsky, Helbig, Janco and de Chirico. Sm. 4to. Orig. orange wraps. with woodcut by Hilla de Rebay on front cover. Contributions by Tzara ("Note 2 sur l’art," "2 poèmes nègres," "Printemps"), Albert-Birot ("Rasoir mécanique"), G. Cantarelli, M. d’Arezzo, S. de Vaulchier, and B. San Miniatelli. This issue is uniform in format with the first; subsequently, the design of "Dada" changed considerably with each appearance. Front cover a bit spotted at right edge; a little foxing on first and last leaves.

Zürich, 1917. $4,000.00

Dada in Zürich 88; Ades p. 64; Gershman p. 49; Almanacco Dada 32; Sanouillet 226; Motherwell/Karpel 66; Rubin p. 462; Verkauf p. 177; Reynolds p. 110; Dada Artifacts 4; Zürich 371

57 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; Almanacco Dada 32; Sanouillet 226; Motherwell/Karpel 66; Rubin 462; Verkauf p. 178; Reynolds p. 110; Dada Artifacts 118; Zürich 374

58 (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 foldline; a fine, bright copy.

Paris, 1921. $2,000.00

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

59 (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

60 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

61 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

62 (DELAUNAY) Voronca, Ilarie. Colomba. Doua portrete de Robert Delaunay. Coperta de Sonia Delaunay. (22)pp., 2 full-page portrait drawings (of Ilarie and Colomba Voronca) by Robert Delaunay. Sm. folio. New cloth. Orig. dec. wraps., with front cover design by Sonia Delaunay, bound in. One of 100 hand-numbered copies on Hollande van Gelder, from the limited edition of 134 in all. The first volume to appear in the Colectia Integral series. Small mends to the wrappers. Presentation copy, delicately inscribed by the author on the front flyleaf, Paris, November 1927. Extremely rare.

Paris (Colectia Integral), 1927. $3,750.00

Ilk K517, illus. p. 84

63 Apollinaire, Guillaume. ROBERT DELAUNAY. 5ff. letterpress text, printed on golden wove paper; 11 plates (the first in color), tipped onto heavy indigo-colored card mounts, through-numbered in silver at lower right. Sm. folio. Original heavy cream-colored wraps., secured with red silk cord, as issued. The cover of this copy has been mounted with the clipped decorative letterhead of the Delaunays, printed in color pochoir with an abstract design by Sonia Delaunay and the words "DELAUNAY" "PARIS" (BN item 331, reproduced in color p. 96).

The history of this beautiful album, printed in a very small edition, is well known. Designed by Sonia Delaunay, it was published on the occasion of the exhibition of Robert Delaunay’s great abstract series, "Saint-Séverin," "La Tour Eiffel," and "Les Fenêtres" at Der Sturm in Berlin, in January and February of 1912. Apart from two leaves of catalogue and table, its only text is Apollinaire’s famous poem, "Les Fenêtres," written for this publication, and his magniloquent statement "J’aime l’Art d’aujourd’hui parce que J’Aime avant tout la Lumière et tous les hommes Aiment avant tout la Lumière ils ont inventé le feu / G A," grandly isolated in letterpress on the first golden leaf of the album. It commemorates one of the most momentous exhibitions in the history of modern art. These series are recognized today as one of the most electrifying breakthroughs in the genesis of pure abstraction, and the show was to provoke widespread excitement throughout Europe at the time. In the spring of 1998, a special exhibition was devoted to these pictures at the Solomon R. Guggenheim Museum in New York.

This copy is noteworthy for bearing, tipped onto the front cover, the fine color pochoir letterhead abstraction by Sonia Delaunay--an added element (pasted over the printed title "Robert Delaunay") which most copies do not bear. Light wear to covers, with infill of small losses at edges, expertly conserved by Christa Gaehde.

Paris (Imprimerie André Marty), [1912]. $4,500.00

Inventaire des Collections Publiques Françaises 15: Paris, Musée National d’Art Moderne: Robert et Sonia Delaunay, 1967; Paris, Bibliothèque Nationale: Sonia et Robert Delaunay, 1977; Paris, Musée d’Art Moderne de la Ville de Paris: Robert/Sonia Delaunay,1985; New York, Solomon R. Guggenheim Museum: Visions of Paris: Robert Delaunay’s Series, 1998.

64 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

65 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.

[Rome, 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.)

66 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. A unique copy, extensively embellished with original drawings by Lucio Pozzi in fine-line pen and black ink: 3 highly worked full-page compositions (including a frontispiece), 1 partial-page composition, and many smaller illustrations and decorations on 21 other pages of the text.

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

67 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 inaugural issue, the only issue published. The typography and mise-en-page are very strong.

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

cf. Admussen 81

68 (DOESBURG) De Stijl. Numéro consacré a l’Aubette, Strasbourg. (De Stijl. Serie XV. Nos. 87-89, 1928.) (24)pp., including double-columned text numbered paginated 1-40. 24 halftone illus. Oblong 4to. Self-wraps., with typography in blue and black designed by van Doesburg. This special triple issue of "De Stijl" is devoted entirely to the glamorous redesign by Theo van Doesburg, Hans Arp and Sophie Taeuber-Arp of the restaurant-cabaret called "Aubette" in Strasbourg, begun in 1926 and completed early in 1928. This immensely complex and ambitious undertaking, for which van Doesburg made some 200 drawings--designs for everything from the large cinema and dance hall to a new type of ashtray, and a new typeface, used for the neon façade and other signs--featured large installations of colored rectangles separated by contour strips, which were mounted in various compositions and at various degrees of relief, on the walls of the establishment, creating a kind of Neoplasticist environment. Other reliefs and decors were provided by Arp and Taeuber-Arp. One of the most lavish monuments of De Stijl design, it was tragically destroyed by new owners after the second World War, who redid it with a scheme of palm trees and nudes.

Van Doesburg contributed three important texts to this special issue--an overview of the project, "Notices sur l’Aubette à Strasbourg," and two theoretical texts, "L’Élémentarisme et son origine" and "Farben im Raum und Zeit." Vertical crease at center, as usual; otherwise, an unusally fine copy.

Leiden, 1928. $900.00

Baljeu, Joost: Theo van Doesburg (New York, 1974), p. 83ff.

69 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

70 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 430; Lebel 52, 83, 172-3, no. 165; Naumann 4.17

71 DURAND, J.N.L. Recueil et parallèle des édifices de tout genre, anciens et modernes, remarquables par leur beauté, par leur grandeur ou par leur singularité, et dessiné sur une même échelle. Elaborate double-page dec. engraved title and table, and 90 double-page plates with hundreds of fine line-engraved illus. and plans, by Baltard, Ransonnette, Normand, et al. Lrg. folio. Contemporary brown marbled boards, 1/4 leather.

"Durand produced two major publications, the ‘Recueil’ (1799-1801) and the ‘Précis de leçons’ (1802-1805), known respectively as the ‘Grand Durand’ and the ‘Petit Durand.’ The ‘Recueil’ is addressed to professionals--painters, decorators, architects--rather than to students. Durand presents in elevation a series of over thirty building types. These were similar to the historical categories of elevations of temple types presented by Le Roy in his 1758 ‘Ruines’ and re-presented as plans in his 1770 edition of the same work. Durand’s preference is for executed buildings, and he includes several historical reconstructions. These he revised, especially those selected from Piranesi’s work, according to his system. To prepare the ‘Recueil,’ Durand consulted over three hundred books on French and Italian architecture and on travel literature" (Millard). Originally published as a collection of illustrations in serially issued livraisons (first shown at the Salon of 1799), the work was also modified with the addition of a text by J.G. Legrand. This project, however, was never fully coordinated with the plates, so that some issues contain portions of the text, whereas others (like the present copy) do not. In 1809, the full text was published separately, in a smaller format, on the advice of Landon. Intermittent light foxing; backstrip mostly detached at hinges; discreet early library stamp on title.

Paris (L’Auteur), An IX [1801]. $1,500.00

Millard I.67 (1800); Brunet II.904; Graesse II.450

72 DURET, THÉODORE. Histoire des peintres impressionistes. Pissarro, Claude Monet, Sisley, Renoir, Berthe Morisot, Cézanne, Guillaumin. Troisième édition. (2), 194, (2)pp., 38 plates, including 3 original etchings, by Renoir ("Baigneuse"), Morisot ("Jeune fille au chat") and Guillaumin ("En Hollande"). 4to. Orig. wraps. Backstrip chipped and cracked; some browning of the text, as always, but a crisp and fresh copy, the etchings in very fine condition.

Paris (H. Floury), 1922. $1,750.00

73 DYN. The review of modern art. Published and edited by Wolfgang Paalen. Nos. 1-6 in 5 issues (all published). Prof. illus. 4to. Orig. wraps. One of the most significant American and exile surrealist periodicals, emphasizing the mythic and oneiric heritage of Amerindian culture as well as current developments in the international avant-garde community. Contributions by Wolfgang Paalen (and with original woodcuts by him), César Moro, Henry Miller, Valentine Penrose, Anais Nin, Robert Motherwell, Alexander Calder, Miguel Covarrubias, Manuel Alvarez Bravo and others. Complete sets are now rare.

Coyoacan (Mexico), 1942-1944. $1,200.00

Gershman p. 49; Milano p. 576f.; Ades p. 386; Nadeau p. 331

74 Paris. Au Sans Pareil. Vernissage Exposition MAX ERNST. Small invitation card, 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 22 h 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.

75 Kafka, Franz. La tour de Babel. Avec un dessin de MAX ERNST. (Collection "Repères." 22.) (16)pp. Frontispiece design by Ernst (mounted original photographic print of a frottage). Sm. 4to. Yellow wraps. Glassine d.j. Signatures loose, as issued. Edition limited to 70 copies in all, printed on normandy vellum blanc, and signed and numbered in pen by Guy Lévis-Mano in the justification. The translation is by Henri Parrot. The frottage is published by Spies as "Die chinesische Mauer," 1937 (Max Ernst Frottagen, Stuttgart 1968, pl. 44). A fine copy.

Paris (Éditions G.L.M. ), 1937. $1,500.00

G.L.M. 140; Spies/Metken 2294 (after); Hugues/Poupard 53; Rainwater 37

76 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). 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). Small tear at foot of backstrip.

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

77 FALDA, GIOVANNI BATTISTA. Li giardini di Roma con le loro piante alzate e vedute in prospettiva. 21 etched and engraved plates, including engraved title and magnificent allegorical dedication leaf, by Gio. Battista Manelli after Arnold van Westerhout, of the garden of the "Roman Hesperides." Oblong folio. Nineteenth-century marbled boards, 3/4 calf (rubbed).

Both artistically and historically, a very important publication on nine of the most celebrated gardens of Rome--at the Vatican and Quirinal palaces, and the villas Borghese, Medici, Pamphili, Mattei, Farnese, Ludovisi and Savelli-Peretti--of which only three survive in anything resembling their original state. The extremely accurate and exquisite plates, which alternately present bird’s-eye views and prospects, are by both Falda and Simone Felice. This copy is a rare early printing, with plates before numbers (though the title-page is undated, unlike the first issue, where it is dated 1683). A few marginal stains, a little light foxing; a fine copy, with splendid impressions.

Roma (Gio. Giacomo de’ Rossi) [post 1683]. $7,500.00

Berlin 3492; Olschki 16895; Brunet II.1172; Graesse II.549

78 FEDELE DA S. BIAGIO. Dialoghi familiari sopra la pittura. Difesa, ed esaltata dal P. Fedele da S. Biagio, pittore Cappuccino.... Disposti in quindici giornate per maggior eccitamento della gioventù che si applica al disegno, e colorito; e per impegnare li protettori della nobilissima arte a maggiormente promoverla. xvi, 280pp. Sm. 4to. Contemporary vellum, titled in gilt at spine. Cicognara, while dismissing the dialogues themselves as tiresome, points out that the work is rich in notices on Sicilian artists and collections. The painter Padre Fedele da S. Biagio (1717-1801) was the teacher of Giuseppe Errante. Contemporary ownership inscription on title (partly effaced); flyleaves browned, a little light wear.

Palermo (D. Antonio Valenza) [1788]. $1,250.00

Borroni I.1490; Schlosser p. 607; Cicognara 124; Mira I.347; cf. (on Fedele da S. Biagio) Dictionary of Art X.488

79 FERRERIO, PIETRO & FALDA, GIOVANNI-BATTISTA. Palazzi di Roma de più celebri architetti. Disegnati da Pietro Ferrerio pittore et architetto. Libro Primo. [Falda, Giovanni-Battista. Nuovi disegni dell’architetture, e piante de’ Palazzi di Roma de’ più celebri architetti disegnati et intagliati da Gio. Battista Falda.... Libro secondo.] I: 42 etched and engraved plates (including title); II: 61 etched and engraved plates (including title). Oblong folio. Eighteenth-century marbled boards, 1/4 leather (with early rebacking). This set is a rare early issue, with plates before numbers (though after the addition of the mention of "Libro primo" and "Libro secondo" on the title pages, which had not appeared in the first issue). It also contains the correct complement of 103 plates which characterizes the first issue (42 and 61 respectively, in the two parts, including titles); in contrast, later issues contain a total of 105, including two plates added by Domenico de’ Rossi to the second book after 1691.

"This is the first publication to provide systematic, measured and uniformly scaled illustrations of Roman palaces built in the fifteenth, sixteenth and seventeenth centuries. By focusing exclusively on the palace, this book becomes a compendium of exempla, not only illustrating the houses of a very special city, but also establishing the typology of the residential palace.... Ferrerio’s collection of palace façades and plans provided an important model for what became a distinct type of publication.... This trendsetting book on Roman palaces is divided into two parts. Ferrerio was the author of most of the illustrations in the first part, except for one sheet engraved by Giovanni Battista Falda, who was also responsible for forty of the sixty sheets of the second part. While Falda’s work and successful career as an engraver associated with the Roman published Giovanni Giacomo de’ Rossi have been amply documented, much less is known about Ferrerio, who seems to have practiced as an architect and engraver, and whose principal claim to recognition is this album of palace illustrations" (Millard). One plate from the first book is bound out of sequence, in the second. Intermittent light soiling and a little foxing; a fine copy.

Roma (Gio. Jacomo Rossi/ Gio. Giacomo de’ Rossi) [before 1691]. $8,500.00

Millard IV.37; Cicognara 3719; Fowler 120; Berlin 2665; Besterman: Old Art Books 40; Brunet II.1235; Graesse II.573

80 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

81 Köln. Galerie Gisela Capitain. GÜNTHER FÖRG. Grosse Zeichnungen/ The Large Drawings. Text by Werner Lippert. 154pp., including 115 full-page plates (67 color). 7 illus. (6 color). Lrg. 4to. Cloth. D.j. Glassine cover. Publisher’s carton. Parallel texts in German and English. Vorzugsausgabe: one of 20 copies with an original lithograph by the artist as dust jacket, printed in violet on heavy stock, and signed and numbered in pencil on the verso. Mint.

Köln (Galerie Gisela Capitain), 1990. $650.00

82 FONDANE, BENJAMIN. Tagaduinta lui petru. Literatura biblica. Cu o lamurire despre simbolism. [By: B. Fundoianu.] [Desenuri si vignete de Ross.] 31, (1)pp. Illustrations by Ross. Sm. 8vo. Dec. wraps. An unnumbered copy from the tirage of 25 on vélin, from the limited edition of 42 copies in all. Benjamin Fondane’s first book. An unopened copy. Covers slightly worn. Of umost rarity.

Iasi (Editura "Chemarea"), 1918. $4,500.00

Ilk K449

83 FONTANA, CARLO. Utilissimo trattato dell’acque correnti. Diviso in tre libri, nel quale si notificano le misure, ed esperienze di esse. I giuochi, e scherzi, li quali per mezzo dell’aria, e del fuoco, vengono operati dall’acqua. Con diversi necessarii ammaestramenti intorno al modo di far condotti, fistole, bottini, ed altro, per condurre l’acque ne’ luoghi destinati. Con una esatta notizia di tutto quello, ch’è stato operato intorno alla conduttura dell’Acqua di Bracciano.... (16), 196, (4), (12)pp. 82 etched and engraved illus. designed by Fontana (including 2 double-page plates at the end, signed by Alessandro Specchi). Woodcut culs-de-lampe and lettrines. Folio. Contemporary vellum over boards, titled in pen at the spine.

"Fontana’s extensive publications include a treatise on flowing waters that demonstrates his expert knowledge of hydraulics. According to Helmut Hager (1992), his ‘Utilissimo trattato delle acque correnti’ (the manuscript is now at the Soane Museum in London) indicates better than any of Fontana’s other books the ability to theorize his own professional experiences. As in the ‘Templum Vaticanum,’ Fontana’s publication emerges from an actual design problem. The practical source for this theoretial work was the project for the raising of the water level of Lake Bracciano, necessary since the second fountain in Saint Peter’s square, built by Bernini under Pope Clement X, was to be fed with water brought from this lake (Hager, 1992).... The ‘Acque correnti’ is exquisitely illustrated with engravings of a high artistic and decorative standard, and thus appreciated not only by hydraulic engineers but also by collectors of fine books and wealthy patrons of garden fountains. Despite this aesthetic quality, however, the book is modest in length and compact in format, suitable for practical use" (Millard). Intermittent browning (usual with this book) and light foxing; small split at top of front hinge; generally a very fine copy.

Roma (Gio. Francesco Buagni), 1696. $4,000.00

Millard IV.39; Berlin 3613; Cicognara 915, 3735; Fowler 123; Besterman Old Art Books p. 41; Brunet II.1329; Graesse II.611

84 FOSSATI, GASPARD. Aya Sofia Constantinople as Recently Restored by Order of H.M. The Sultan Abdul Medjid. 3ff. letterpress description of the plates. Lithographic title page and 25 tinted lithographic plates (in two tints) by Louis Haghe after Fossati, mounted on guards. Printed titles in Turkish pasted beneath imprint. 2º (542 x 390 mm.). Contemporary quarter morocco (rubbed, front hinge split, somewhat chipped at head and foot of spine). Occasional light dampstaining (plate 10 somewhat more affected) with partial loss of Turkish inscription below the print; a few plates a bit frayed or creased in the blank margin, where loosening from the hinges.

First edition of the first modern account of Hagia Sophia. The short text in the book (in French, notwithstanding the English title) was written from Fossati’s notes by the Vicomte Adalbert de Beaumont, and the design of the title-page is attributed to Owen Jones. Fossati, an Italian/Swiss architect who worked in Russia before travelling to Constantinople in 1837, entered the service of the Porte in 1845, and in 1847 was charged with the restoration of the Hagia Sophia. Although the separate work he intended to publish on the mosaics never appeared, and they were again covered up once the restoration work had been done, this is the first modern record of both the exterior and the interior of the building. As Abbey notes, the lithographs represent the last work undertaken by Louis Haghe (1806-1885) before he broke off his connection with William Day to concentrate on watercolor painting, and the subject was an appropriate one for a lithographer who had spent nine years of work on Roberts’ "Holy Land." A full-scale monograph on Fossati’s work at Hagia Sophia has been published by the Dumbarton Oaks Research Library and Collection: Teteriatnikov, Natalia B.: Mosaics of Hagia Sophia, Istanbul: The Fossati Restoration and the Work of the Byzantine Institute (Washington, D.C., 1998).

London (P & D Colnaghi), 1852. $16,000.00

Blackmer 619; Abbey Travel 396; cf. Mango, C.: Materials for the Study of the Mosaics of St. Sophia (1962) for more detailed information on Fossati

85 GAUGUIN, PAUL. Noa Noa. (4), 204pp. Prof. illus. (primarily tipped-in color). Lrg. 4to. Publisher’s original raffia-covered boards. The very beautiful exact color collotype facsimile of the original manuscript, printed in a limited edition of 400 copies at the Ganymed-Presse, Berlin. Made directly from the original manuscript, today in the Louvre, this primary facsimile is the basis of all subsequent reproductions. Light wear at bottom corners; a fine copy.

[München] (R. Piper & Co.), [1926]. $3,500.00

Castleman p. 83; The Artist and the Book 115; Manet to Hockney 15; Skira 129; Wheeler p. 26; Andel 6

86 GENIUS. Zeitschrift für alte und werdende Kunst. Herausgegeben von Carl Georg Heise, Hans Mardersteig, Kurt Pinthus. Vols. I - III in 6 parts (all published). viii, 319, viii, 332, viii, 356pp. Prof. illus., including 16 original prints: woodcuts by K. Schmidt-Rottluff (2: "Kopf," Schapire 189, "Lesender Mann," Schapire 274), R. Seewald (hand-colored "Der Hirte," Jentsch H77.iii), F. Marc ("Tierlegende," Lankheit 831), E. Heckel ("Mädchenkopf," Dube 264), F. Masereel, et al.; and lithographs by A. Archipenko ("Figürliche Komposition," Karshan 23), K. Hofer ("Das Nest," Rathenau L34), E. Scharff, K. Caspar and others. Numerous tipped-in color plates, facsimiles, etc. Folio. Orig. wraps. Publisher’s annual portfolios (boards, 1/4 vellum gilt). Literary and critical contributions by M.J. Friedländer, W. Hausenstein, G. Swarzenski, W.R. Valentiner, W. Worringer, H. Hesse, F. Kafka, R. Rolland, F. Werfel, et al. Very unobtrusive light wear; a fine set in entirely original state.

München (Kurt Wolff), 1919-1921. $3,000.00

Söhn 120; Raabe 74; Raabe/Hannich-Bode 234.8; Rifkind 275; Perkins 175; Schlawe p. 47

87 Tzara, Tristan. Ramures. Avec un dessin de GIACOMETTI. (Collection "Repères." 11.) (16)pp. Frontispiece design by Alberto Giacometti. Sm. 4to. Orange wraps. Glassine d.j. Signatures loose, as issued. Edition limited to 70 copies in all, printed on normandy vellum teinté, and signed and numbered in pen by Guy Lévis-Mano in the justification. A fine copy.

Paris (Éditions G.L.M.), 1936. $1,200.00

G.L.M. 105; Berggruen 16; Harwood 24

88 GIRODET [Girodet-Trioson, Anne Louis]. Compositions tirées des Géorgiques, lithographiées par ses élèves et publiées par M. Pannetier. Calligraphic title, fine frontis. portrait by Lambert after Girodet, and 4 outline-lithograph plates after Girodet by Chatillon. Folio. Contemporary boards, 3/4 morocco, finely gilt at spine (rubbed and rather worn).

Bound with: Enéide. Suite de compositions de Girodet, lithographiées d’après ses dessins, par M.M. Aubry-Lecomte, Chatillon, Counis, Coupin, Dassy, De Juinne, Delorme, Lancrenon, Monanteuil, Pannetier, ses élèves. Publiée par M. Pannetier. Imp. Lith. de Bove, dir. par Noël ainé & C. Calligraphic title and 78 outline-lithograph plates after Girodet. All plates blindstamped with a cachet bearing the initials of the artist and publisher.

The two suites, both printed on heavy paper and often found bound together (the Aeneid is usually first) were separately issued, the Georgics in a single livraison, and the Aeneid in a series of 13. Intermittent foxing, generally unobtrusive; a few marginal tears, not affecting images. Ex-libris Alphonse Claeys de Thielt and Winslow Ames.

Paris (Henry Gaugain, Lambert et Cie.), n.d. $1,200.00

Brunet II.1615; Graesse III.89

89 GOETGHEBUER, P.J. Choix des monumens, édifices et maisons les plus remarquables du royaume de Pays-Bas. (6), xii, 81, (1), vii, (1)., 120 fine line-engraved plates (some with aquatint). Lrg. folio. Contemporary mottled calf gilt. The work was first published by the author in livraisons of six plates each, 1821-1826, the format following the model of the French "Grands prix d’architecture" folios. Though it treats buildings of earlier periods, the focus is on eighteenth- and nineteenth-century neoclassical edifices. Intermittent light foxing, hinges renewed.

Gand (Imprimerie de A.B. Stéven), 1827. $3,500.00

Brunet II.1643f.; Graesse III.103

90 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 unusual 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

91 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. 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 and its activities 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." The booklet’s layout and design, with forceful Bauhaus typographical composition in blue on front cover, and Oskar Schlemmer's profile signet for the Bauhaus on the back cover, has been attributed both to Moholy-Nagy (Gerd Fleischmann, tentatively) and to Schlemmer himself ("Concepts of the Bauhaus"). Front cover neatly detached at hinge, with small loss at top left corner; the letter is in perfect condition.

Weimar, 1924. $3,000.00

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

92 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, "Fräulein 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.

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

Dückers M II; 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

93 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 linen). 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 M IV; Lang 24; Bülow 27; Hermann 174; Berlin: Malik 32

94 (GROSZ) Meyer, Alfred Richard. Munkepunke Dionysos. Groteske Liebesgedichte. (Das geschriebene Buch. Bd. 5.) (62)pp., 6 photolithographic plates by George Grosz, each signed in pen