ars libri ltd.

rare and scholarly books on the fine arts

---

Catalogue 130-N: Modern Art: Rarities of the Avant-Garde

1

ACTION

Cahiers individualistes de philosophie et d’art. Directeurs: Florent Fels et Marcel Sauvage. Nos. 1-[12], February 1920 - March/April 1922 (all published). (Issues are designated, in sequence: Nos. 1-10; Deuxième année, numéro hors série; Troisième année, mars/avril 1922.) 56-88pp. per issue. Numerous illus. hors texte. Original woodcut vignettes and culs-de-lampe throughout, by Vlaminck, Galanis, and others. 4to. (nos. 1-11) and 8vo. (no. [12]). Orig. printed wraps. Glassine d.j. Handsome new fitted slipcase (dec. boards, chemise). A complete run. Texts by Apollinaire, Cendrars, Salmon, Jacob, Huidobro, Jarry, Péret, Raynal, Vlaminck, Malraux, Satie, Gabory, Arnauld, Martin du Gard, Ehrenburg, Dermée, Artaud, Éluard, Tzara, Zbrorowski, Radiguet, Vlaminck, et al. No. 3 contains the feature "Opinions sur l’art nègre," with statements by Apollinaire, Cocteau, Gris, Lipchitz, Picasso, Salmon, Vlaminck and others (also "L’affaire dada" by Gleizes); no. 5 contains "Anthologie d’écrivains allemands contemporains." There are frequent critical texts on African art, principally by Carl Einstein. Intermittent light browning, a few covers expertly reinforced at inner hinge; a very attractive and well-preserved set.

Paris, 1920-1922. $3,500.00

Place/Vasseur III.73ff.; Chevrefils Desbiolles p. 253f.; Admussen 2

 

2

(ADAMS, ROBERT) Denver. Denver Art Museum

Prairie. Photographs by Robert Adams. Foreword by the photographer. (44)pp. 33 plates. Oblong 4to. Wraps. (very slightly faded at spine). Rare.

Denver, 1978. $450.00

 

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

APOLLINAIRE, GUILLAUME

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

Paris (Bibliothèque des Curieux), 1909. $300.00

 

5

ARAGON, LOUIS

Feu de joie. Avec un dessin de Pablo Picasso. (Collection "Littérature." 7.) (48)pp., 1 plate. Printed wraps. One of 1050 copies on vergé bouffant, from the limited edition of 1070. Aragon’s first book, published shortly after his founding "Littérature," together with Philippe Soupault. An unnumbered example. A very fine copy, unopened.

Paris (Au Sans Pareil), 1920. $350.00

Gershman p. 1; Sanouillet 5; Reynolds p. 11; Horodisch D5

 

6

ARP, HANS

Der Pyramidenrock. 70pp. Frontis. 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; Andel Avant-Garde Page Design 1900-1950 no. 138

 

7

(ARP) Paris. Galerie Surréaliste

Arp. Nov.-Dec. 1927. (16)pp. 4 full-page illus. Self-wraps. Glassine d.j. Text by André Breton. The catalogue of Arp’s first solo exhibition, featuring relief sculptures, on which Breton bestowed characteristically elegant praise. "Les ‘reliefs’ de Arp, qui participent de la lourdeur et de la légèrté d’une hirondelle qui se pose sur un fil télégraphique, ces reliefs qui empruntent dans leur savante coloration tous les ramages de l’amour et auxquels, en même temps, leur découpage hâtif confère tous les déliés de la colère, ces boucles dures ou tendres sont bien pour moi ce qui résume le mieux les chances de généralité des choses particulières, ce qui me permet de faire les plus faible état de la variante." Rare.

Paris, 1927. $900.00

Sheringham Ac146; Pompidou: Breton p. 185; Milano. p. 649

 

8

(ARP) Tzara, Tristan

 

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

Paris (Editions Kra) [1929]. $850.00

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

9

ARP, JEAN

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

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

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

 

10

L’ART BRUT

(Publications de la Compagnie de l’Art Brut. Dirigées par Jean Dubuffet.) Fascicules 1-20, July 1964 - October 1997. 93-182pp. per issue. Prof. illus. (numerous color plates). 4to. Wraps. Dubuffet was at pains to point out that ‘l’art brut,’ as he conceived it, was not psychopathic art per se (although more than half of the works in the collection were by asylum patients), nor naïve art, nor Surrealist art, both of which were merely offshoots of cultural art; rather "propositions of themselves wholly unpredictable and wholly invented both in medium (materials, techniques, etc.) and in their inspiration.... [We] require that the works considered...correspond to a feverish impulse and not to some episodic stimulus or caprice where exaltation plays little part." The now famous Adolf Wölfli is among the artists included (Fascicule 2 is a monograph on him alone). Dubuffet was director of the series through No. 12. A very nice set.

Paris/Lausanne, 1964-1997. $1,000.00

11

ARTAUD, ANTONIN

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

Paris (K éditeur), 1947. $600.00

 

12

ARTAUD, ANTONIN

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

Paris (K éditeur), 1948. $450.00

 

13

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

 

14

AVEDON, RICHARD & CAPOTE, TRUMAN

Observations. 152pp. 103 fine photogravure plates. Folio. Printed boards. Slipcase (light wear; somewhat foxed). Design by Alexey Brodovitch. A very nice copy.

New York (Simon and Schuster), 1959. $500.00

Roth: The Book of 101 Books p. 148; Freitag 472

 

16

BADOVICI, JEAN

Grandes constructions. Béton armé, acier, verre. ("Documents d’Architecture.") 39, (1)pp., 54 plates with numerous fine collotype illus. 25 plans in text. Lrg. 4to. Portfolio (photo-illus. boards, 1/4 cloth; ties). All contents loose, as issued. Covering a wide range of building types, from theatres to factories, by Perret, Behrens, Poelzig, Freyssinet, Mendelsohn, Oud, Gropius, Taut, Garnier, and Albert Kahn among others, and including some powerful industrial structures reminiscent of the Bechers, all very finely presented.

Paris (Albert Morancé), n.d. $375.00

 

16

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

 

17

BALLA, GIACOMO & DEPERO, FORTUNATO

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

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

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

 

18

BAUER, LEOPOLD

Das Haus eines Kunst-Freundes. Ein Entwurf in zwölf Tafeln. Introduction by Felix Commichau. (1), 2ff., 12 full-page plates, printed with elevations and plans in blue, overprinted in colors and gold. Title-page calligraphically designed, in red and black. Lrg. folio. Portfolio (boards with calligraphic title tabel on front cover, 1/4 cloth; ties). Front-cover slightly scratched; small tear in outer margin of the title-page and the first page of text. In 1901 the "Zeitschrift für Innendekoration" sponsored a competition for the architectural design and interior decoration of a ‘House for a Lover of Art.’ The three projects judged to be the best submissions--by M.H. Baillie Scott (the winner), Charles Rennie Mackintosh, and Leopold Bauer--were subsequently published by Alexander Koch in the following year in three separate portfolios, under the rubric "Meister der Innenkunst." This one is Bauer’s. It is characteristic of his villa designs of the turn of the century, influenced by Otto Wagner, his teacher, and Olbrich, and quite charming in many of its details.

Darmstadt (Alexander Koch), 1902. $2,500.00

 

19

(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.

 

20

(BAUHAUS)

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

Berlin, 1939. $2,800.00

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

 

21

BAUMGARTEN, LOTHAR

Land of the Spotted Eagle. 157pp. Frontis., text figs. 4to. Wraps. Edition limited to 600 numbered copies. Published in conjunction with an exhibition at the Städtisches Museum Abteiberg, Mönchengladbach, March-May 1983.

Mönchengladbach (Städtisches Museum Abteiberg), 1983. $350.00

 

22

BEHNE, ADOLF

Von Kunst zur Gestaltung. Einführung in die moderne Malerei. 87, (1)pp., 25 plates (9 color). 12 illus. Sm. 4to. Dec. wraps., designed by Oskar Fischer, printed in orange, grey and black. The cover design, eight experimental color plates (including several striking abstractions) and five of the text illustrations, are the work of Oskar Fischer. Other illustrations reproduce work by Schwitters, Peri, Moholy-Nagy, Lissitzky, and Dexel. From the library of Walter Dexel, initialled by him in pen at top of the front cover.

Berlin (Arbeiterjugend-Verlag), 1925. $450.00

 

23

BERLIN. Galerie Springer

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

Berlin, 1968-1990. $2,000.00

 

24

BERLIN. Der Sturm

Die Futuristen. Umberto Boccioni, Carlo D. Carrà, Luigi Russolo, Gino Severini. Künstlerische Leitung: Zeitschrift Der Sturm. Herausgeber: Herwarth Walden. 28, (4)pp. 7 illus. Sm. 4to. Wraps. (a little soiled). Containing a German translation of Marinetti’s Futurist Manifesto; parallel entries in German, English, and Norwegian. One of several issues of this historic catalogue, here slightly abridged, published under the aegis of the Gesellschaft zur Förderung moderner Kunst; the exhibition was circulated throughout Europe in 1912. Light wear.

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

 

25

(BEUYS) Nijmegen. Nijmeegs Museum ‘Commanderie van Sint Jan.’

 

Joseph Beuys Vrouwen. Sept.-Oct. 1981. Texts by Armin Zweite and Hans van der Grinten. 63, (1)pp. 45 full-page plates in text. Sm. 4to. Self-wraps. This copy signed by Beuys in pencil at the base of the first leaf, with a characteristic pencil drawing of a hat above.

Nijmegen, 1981. $500.00

 

26

BIBLIOTHEK DER JUNGEN KUNST

Bd. 1-24 (of 62 all publ.), bound in 3 vols. Sm. 4to. Publisher’s boards, 1/4 cloth (slightly shaken). Included in these volumes are monographs by leading critics (Biermann, Däubler, Hausenstein, Pfister, Kahnweiler, Valentiner and others) on Pechstein, Modersohn-Becker, Hoetger, Meidner, Klein, Heckendorf, Grossmann, Krayn, Jaeckel, Scharff, Vlaminck, Morgner, Klee, Eberz, Derain, Schmidt-Rottluff, Campendonk, Roeder, Moll, Uhden, Grosz, Laurencin, Unold and Waske. Light underlining in pencil.

Leipzig (Klinkhardt & Biermann), 1919-1921. $350.00

Perkins 154

 

27

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

 

28

BLOSSFELDT, KARL

Wunder in der Natur. Bild-Dokumente schöner Pflanzenformen. Mit einer Einführung von Otto Dannenberg. (8)pp., 120 gravure plates. Tipped-in frontis. portrait of the photographer. Sm. folio. Publisher’s cloth. Hinges and foot of spine a bit rubbed; a fine copy.

Leipzig (H. Schmidt & C. Günther/ Pantheon), 1942. $1,250.00

 

29

BLÜMNER, RUDOLF

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

Berlin (Verlag der Sturm), 1921. $650.00

Raabe/Hannich-Bode 3; Spalek 92

 

30

BOCCIONI, UMBERTO

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

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

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

 

31

(BOCCIONI, UMBERTO)

Numero speciale di "Dinamo Futurista" per le onoranze a Umberto Boccioni. (Dinamo Futurista. Mensile illustrato diretto da Depero sotto l’alto patronato di s.E. Marinetti. Vol. XI, N. 3-4-5, giugno 1933.) (4), 20, (2)pp., 8 plates with 13 illus. Text printed in orange and black. Sm. folio. Dec. wraps., with tipped-on cover illus. Contributions by Depero, Paolo Buzzi, Luigi Russolo, Luciano Folgore, Umberto Notari, Massimo Bontempelli, Renato Simoni; 4 texts by Boccioni ("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

 

32

BOGZA, GEO

Poemul invectiva. Cu amprentele digitale ale autorului. 39, (1)pp. Frontis. (a halftone of the author’s fingerprints). Lrg. 8vo. Wraps. (a bit worn, front cover lossening). One of 45 numbered hors-commerce copies on Omnia paper, from the limited edition of 250 in all. This volume of erotic verse was confiscated by the authorities, and is consequently of even greater rarity than the edition size would suggest. With a thirteen-line inscription by Bogza in ink on the front flyleaf, dated 7.ii.1933. Very rare.

Bucuresti (Editura UNU), 1933. $2,000.00

Ilk K443, illus. p. 96

 

33

(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; split at one edge). 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

 

34

(BONNARD) Mirbeau, Octave

 

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

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

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

 

35

(BONNARD) Vollard, Ambroise

Sainte Monique. Illustrations de Pierre Bonnard. (2), ix, (1), 222, (6)pp. 29 lithographs and 17 etchings (including 3 tables) hors texte. 178 wood-engravings (including 37 'bois non utilisés' on 15 plates hors texte). Sm. folio. Orig. dec. wrapper with wood-engraved vignette, loose, as issued (small tears at head of backstrip). Glassine d.j. 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; 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

 

36

(BOURGEOIS) Miller, Arthur & Bourgeois, Louise

Homely Girl, A Life. 2 vols. I: (2), 30, (4)pp. 10 plates hors texte, after drawings by Louise Bourgeois. 1 photographic plate by Inge Morath, of the collaborators. II: (2), 30, (2)pp. 8 double-page color collages by Louise Bourgeois hors texte. 4to. Cloth. Slipcase. Preferred edition, limited to 100 copies, signed in the colophon by Louise Bourgeois, Arthur Miller and Inge Morath. The text of Miller’s story is repeated verbatim in the second volume, but with passages selected by Bourgeois printed here in red. The whole finely printed in letterpress and offset lithography at the Stinehour Press.

New York (Peter Blum Edition), 1992. $375.00

 

37

(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

 

38

(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.

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

 

39

(BRAUNER) Moldov

Repertoriu. Un portret de Victor Brauner. 52, (4)pp. Frontis. portrait drawing by Brauner. Sm. 8vo. Wraps. (light wear). Edition of 213 unnumbered copies. Review copy, stamped "Servici de presa" on the front flyleaf.

Bucuresti (Editura UNU), 1935. $1,800.00

Ilk K470

 

40

(BRAUNER) Naum, Gellu

Culoarul somnului. Cu un desen de Victor Brauner. 65, (3)pp. Frontis. portrait by Brauner. Lrg. 8vo. Wraps. (expertly rebacked). Unstated limited edition, estimated by Ilk at circa 150 unnumbered copies. Very rare.

Bucuresti, 1944. $1,800.00

Ilk K474

 

41

(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

 

42

(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. Very rare.

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

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

 

43

(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

 

44

(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. Covers a little soiled. Very rare.

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

Ilk K502, illus. p. 89

 

45

(BRAUNER) Voronca, Ilarie

Bratara Noptilor. Cu un desen de Victor Brauner. 80, (2)pp. 1 full-page drawing by Brauner in text. Lrg. 8vo. Wraps. Unstated limited edition, estimated by Ilk at circa 150 copies. Losses at base of backstrip and on title-panel on front cover. Presentation copy, inscribed by the author on the half-title. Very rare.

[Bucarest] ([Editura UNU]), [1929]. $1,850.00

Ilk K520, illus. p. 88

 

46

BRETON, ANDRÉ

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

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

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

 

47

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

 

48

BRETON, ANDRÉ

Le surréalisme et la peinture. Suivi de ‘Genèse et perspective artistiques du surréalisme,’ et de fragments inédits. 203, (1)pp., 69 plates (5 color). 4to. Dec. cloth. Breton’s text is brought quite up to date, with commentary on Kahlo, Lam, Donati, Cornell and, especially, Gorky, among others. Martica Sawin notes that to promote this new edition, Enrico Donati, together with Duchamp and Matta, installed a special display in the window of Brentano’s flagship store on Fifth Avenue, including a three-dimensional version of the Magritte on the cover.

New York (Brentano’s), 1945. $300.00

Gershman p. 9; Rubin 138; Milano p. 655; Sawin p. 376

 

49

BRETON, ANDRÉ & DUCHAMP, MARCEL (editors)

Boîte alerte. Missives lascives. L’Exposition Internationale du Surréalisme, 1959-1960, s’ouvre le 15 décembre à la Galerie Daniel Cordier, Paris. One of 200 copies, from the limited edition of 320 in all. Multiple, housed in green card "mailbox" with lid (285 x 18 mm.) containing: illustrated catalogue of the exhibition (141pp.), with texts by Breton, Bellmer, Ray, Arp, Paz, Carrington, Péret, Lebel, et al; 4 original color lithographs, each signed in pencil, by Miró, Toyen, Max Walter Svanberg and Adrien Dax; signed original etching by Maréchal; double-sided 45rpm record by Benjamin Péret and Joyce Mansour; a cable from Duchamp; 6 color postcards (Bellmer, Dalí, Gorky, Miró, Svanberg and Clovis Trouille); and 9 "missives lascives" (booklets, statements, prints, a stocking), each in varying envelope, from Robert Benayoun, Micheline Bounoure, Alain Joubert, Joyce Mansour, Mimi Parent, Octavio Paz, André Pieyre de Mandiargues and "XXX." Lrg. 4to. Split at foot of box expertly mended.

"On December 15, 1959, the eighth International Surrealist exhibition opened at the Galerie Daniel Cordier in Paris. Like others that had preceded it, this show was organized by André Breton with Duchamp’s assistance. The theme chosen for this show was something close to the mind and heart of its two organizers: EROS, as was emphasized in the typography of the title: ‘Exposition inteRnatiOnale du Surréalisme.’ For the catalogue, which was to be a green cardboard container shaped like a mail box and labeled ‘Boîte Alerte,’ various artists were asked to submit work that would be reproduced. From New York, Duchamp sent a cable that read ‘Je purule tu purules la chaise purule grace a un rable/ De venerien qui n’a rien de venerable/ rrose’ [‘Everything is pustulating in the conjugation exercise because of an affliction which is more venereal than venerable’], a sentence that was reproduced in facsimile on the same pink paper as the original" (Naumann). Alyce Mahon, in the catalogue of "Surrealism: Desire Unbound," points out that while the design of the box itself is usually credited to Duchamp, the idea of the post box, was later claimed by Mimi Parent as her own invention, and that Duchamp only added the subtitle, "Missives lascives."

Paris, 1959. $7,500.00

Naumann 7.41 (deluxe edition); Gershman p. 10; Rubin 437; Jean Autobiography 175; Milano p. 659; Surrealism: Desire Unbound (London, Tate Gallery, 2001), p. 325 n. 22

 

50

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

 

51

BRETON, ANDRÉ, et al.

Violette Nozières. Par André Breton, René Char, Paul Eluard, Maurice Henry, E.L.T. Mesens, César Moro, Benjamin Péret, Guy Rosey, Salvador Dalí, Yves Tanguy, Max Ernst, Victor Brauner, René Magritte, Marcel Jean, Hans Arp, Alberto Giacometti. 41, (5)pp. 8 full-page illus. Lrg. 8vo. Wraps. One of 2000 unnumbered copies on vélin, from the edition of 2020. Front cover photograph by Hans Bellmer. A collective homage in verse and image by the surrealists in defense of the young parricide Violette Nozières, whose case at the time was the subject of violent political opinion. Though not noted internally, this copy derives from the library of Julien Levy. Covers slightly chipped and worn.

Bruxelles (Nicolas Flamel), 1933. $700.00

Sheringham Ac214; Ades 13.31; Biro/Passeron p. 424; Andel Avant-Garde Page Design 1900-1950 nos. 409, 433

 

52

BRYEN, CAMILLE

L’aventure des objets. Avant-propos de J.-H. Levesque. 16pp., 8 photographic plates, by Raoul Ubac. Wraps., mounted with 1 additional photographic plate. Glassine d.j. Edition limited to 300 numbered copies. "[Bryen] crée aussi des assemblages d’objets insolites qui poursuivent leur ‘aventure.’ En 1937, dans sa conférence sur ‘l’aventure des objets,’ (texte qu’il publie la même année), il décrit ses expériences plastiques en tenant de les interpréter lucidement. Avec humour, il appelle certains de ses objets ses ‘bryoscopies’" (Biro/Passeron). Bryen had previously collaborated with Ubac on a small book of poems and photographs in 1934, "Actuation poétique." Here Ubac participates under the pseudonym Ubac Michelet. A fine copy.

Paris (Collection Orbes ), 1937. $650.00

Biro/Passeron p. 70

 

53

BUCURESTI. Caminul Artei

L’Infra-Noir. Préliminaires à une intervention sur-thaumaturgique dans la conquête du désirable. Exposition Gherasim Luca, Paul Paun, Trost. Sept.-Oct. 1946. (12)pp. Self-wraps. Collective text (underprinted in pink with uncredited drawings by Paun) by Luca, Paun, and Trost, together with Naum Gellu and Virgil Teodorescu. Unstated limited edition, estimated by Ilk at circa 500 copies.

Bucuresti, 1946. $650.00

Ilk K466, illus. p. 106

 

54

(BUÑUEL & DALI) Paris. Studio 28

L’âge d’or. Revue-programme. 36pp. 10 illus. by Dalí, Ernst, Arp, Tanguy, Man Ray and Miró, and 35 halftone film stills; 12pp. 12 halftone film stills. Sm. 4to. Gold-foil wraps. Bound dos-à-dos, this pamphlet/program is in two parts. The first (36pp.) presents a scenario of the film, plus recitation of subtitles and dialogue, and a major manifesto on it, signed by Aragon, Breton, Char, Crevel, Dalí, Éluard, Péret, Tzara and others; after which is a catalogue of 20 works exhibited for the première at Studio 28, by Arp, Dalí, Ernst, Miró, Man Ray and Tanguy, and 35 halftone stills from the film. The second part is an overview of film programs at Studio 28, from its debut in April 1928, with stills from Epstein, Ivens, Meliès, et al.

"With their second film, ‘L’Age d’Or," which was shown at the end of 1930 at Studio 28, Luis Buñuel and Salvador Dalí achieved far more than a simple demonstration of their continued attachment to Surrealism; they provided new fuel for ‘the soul of the group’ with their sensationally direct approach and images of violence and revolt pitched to the highest possible degree of intensity. To some extent the new film was a collective enterprise: Max Ernst played the part of the leader of the outlaws in it, while the programme preface constituted nothing less than a ‘Manifesto of Surrealism in the service of the Revolution.’ Above the signatures of Alexandre, Aragon, Breton, Char, Crevel..., it undertook to measure ‘the wingspan of this bird of prey so utterly unexpected today in the lowering sky, the lowering western sky: L’Age d’Or’" (Jean). The violence of the uproar the film created remains in some ways almost as shocking as the film itself, provoking a commando raid, after a few showings, in which fascist demonstrators threw ink at the screen, attacked the audience, smashed the windows, and completely tore up and destroyed the exhibition of surrealist books and pictures in the foyer, trampling the paintings underfoot. Errata sheet loosely inserted. Glassine slightly worn.

Paris (Studio 28), [1930]. $1,250.00

Gershman p. 12; Biro/Passeron p. 12; Jean p. 214f.; Jean Autobiography p. 254ff.; MMA pp. 43, 264’ Rubin p. 464

 

55

CAHUN, CLAUDE

Aveux non avenus. Illustré d'héliogravures composées par Moore d'après les projets de l'auteur. Préface de Pierre Mac Orlan. (2), iii, (1), 237, (5)pp. 10 full-page collotype photomontage/photocollage plates. 1 collotype photographic illustration at the conclusion. 4to. Printed wraps. Original glassine d.j. One of 370 numbered copies on uncut vélin pur fil Lafuma, from the edition of 500 in all. "‘Aveux non avenus’ (‘Avowals Not Admitted’) is Claude Cahun’s first book, produced in collaboration with her lover and stepsister Suzanne Malherbe (who signed herself ‘Marcel Moore’).... Following an elegant preface by Pierre Mac Orlan, Cahun’s text consists of disjunctive mediations [sic] and philosophical aphorisms on love and self-knowledge in writing influenced by the Symbolists, to whom Cahun was linked through her uncle, the Symbolist critic Marcel Schwob.... A photomontage appears before the introduction and each chapter with titles corresponding to nine ‘deadly elements’ (éléments capitaux instead of deadly sins, péchés capitaux)" (Roth). Unopened. Though not noted internally, this copy derives from the library of Julien Levy. Head and foot of covers a little split at hinges, glassine chipped.

Paris (Editions du Carrefour), 1930. $3,500.00

Roth: The Book of 101 Books p. 62; Surrealism: Desire Unbound (London, Tate Gallery, 2001), p. p. 186ff.; Andel Avant-Garde Page Design 1900-1950 no. 445

 

56

(CALDER) Aesop

Fables of Aesop According to Sir Roger L’Estrange. With fifty drawings by Alexander Calder. (6), 124, (10)pp. 52 illustrations by Calder, printed in black. 4to. Wraps. over boards (splits at edges). Slipcase (boards). One of 20 copies hors commerce from the tirage of 595 on Auvergne, from the limited edition of 665 in all, designed by Monroe Wheeler. Calder’s finest work in book illustration.

Paris (Harrison of Paris), 1931. $2,000.00

The Artist and the Book 47; Castleman p. 120; Wheeler p. 99

 

57

CALUGARU, ION

Abecedar de povestiri populare. 31, (5)pp. Lrg. 8vo. Wraps. (a little worn). Edition limited to 200 copies hors commerce, signed in the colophon by the author.

Bucuresti (Editura UNU), 1930. $1,600.00

Ilk K445

 

58

(CANGIULLO, FRANCESCO)

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

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

Lista: L'art postal futuriste, p. 35

 

59

CANGIULLO, FRANCESCO

Poesia pentagrammata. 44, (4)pp. Sm. 4to. Dec. wraps. Unopened. Cangiullo’s charming excursions into parole in libertà are here paired with unperformable harmonic and rhythmic notations. The underlying temperament and esthetic is closer to Apollinaire than Marinetti, and resembles some of Satie’s scores of the same period. The vibrant cover design, printed in red and black, is by Enrico Prampolini.

Napoli (Gaspare Cesella), 1923. $700.00

Salaris p. 27; Falqui p. 73; Tisdall p. 103; Andel 49; Andel Avant-Garde Page Design 1900-1950 no. 111-112

 

60

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

 

61

CECCOBELLI, BRUNO

Musée de l’Homme. Entrée. Sketchbook album of 48 original paintings and 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

 

 

62

CHICAGO. The Art Institute Of Chicago.

Surrealism and Its Affinities. The Mary Reynolds Collection. A bibliography compiled by Hugh Edwards. 131, (3)pp. 44 illus. and vignettes. 4to. Wraps. (very light rubbing along the spine). First edition, limited to 1375 copies. The foreword, dated New York 1956, is by Marcel Duchamp, who also executed the title-page calligraphy.

Chicago, 1956. $250.00

Schwarz: bibl. 112; Arntzen/Rainwater A109; Gershman p. 17; Rubin 1; Jean Autobiography 8

 

63

[CORRADINI, BRUNO]

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

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

Salaris p. 31; Hultén p. 455

 

64

(COURBET) Delvau, Alfred

Histoire anecdotique des cafés & cabarets de Paris. Avec dessins et eaux-fortes de Gustave Courbet, Léopold Flameng et Félicien Rops. xviii, 298, (2)pp. Etched frontispiece by Félicien Rops, and 7 etched vignette plates on chine appliqué, including 1 after Courbet, and 6 by Flameng. Average dimensions of the etchings: 50 x 70 mm. (1 7/8 x 2 3/4 inches). Fine nineteenth-century marbled boards, 3/4 green morocco. T.e.g. The Courbet print (which, though it carries an etched signature beneath the image, was probably etched by Flameng from a drawing furnished by the artist) depicts the moody, gaslit interior of the Andler-Keller, of which he was an habitué, as were Daumier, Corot, Baudelaire and others, and which seems to have doubled as a kind of brothel, as well as a brasserie. All the famous cafés of the period are included in the book, among them the Procope, the Tortoni, and the Café Momus (of "La Bohème"). Garvey notes that Courbet produced little graphic work, though he made several drawings for engravings, as well as drawings that were reproduced by gillotage, and designed wood-engravings for books. Trace of foxing in the preliminaries. Rare.

Paris (E. Dentu), 1862. $1,500.00

The Artist and the Book 65; Vicaire III, col. 147f.; Béraldi V.59

 

65

CUCCHI, ENZO

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

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

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

 

66

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

 

67

CYCLE SYSTÉMATIQUE DE CONFÉRENCES SUR LES PLUS RÉCENTES POSITIONS DU SURRÉALISME

Prospectus and subscription form. (4)pp. (single sheet, folding). Sm. 4to. Self-wraps. Facsimile text, reproducing the manuscript original of André Breton. Marginal drawings, frottages, and other illustrations on each page: 2 each by Man Ray, Domínguez, Dalí, Arp, Ernst and Tanguy; 3 by Giacometti; 1 each by Duchamp (fingerprint), Valentine Hugo, and Marcel Jean. The program for an ambitious series of lectures organized by Breton, delivered at a critical juncture in the course of Surrealism, following the opening of the international exhibitions in Prague and Tenerife. The four sessions are projected as follows: 1) Why I am a Surrealist, by X.X.X; Breton slide show; Dalí, costumed appropriately, will read his poem ‘I eat Gala’; Friendly Advice, by Max Ernst. 2) Will Surrealism disappear with bourgeois society? Discourse on ruins by Breton; slide lecture by Dalí based on Millet’s ‘Angelus’ "accompanied by a tragic-atmospheric pantomime" between the male and female figures of the painting. 3) On poetic evidence, by Éluard; participation by Arp, Hugnet, Breton, Ernst. 4) Breton on the surrealist situation of the object, and the situation of the surrealist object; Hugnet on everyday life, Tanguy on the ordinary object; "Dalí will present the latest surrealist objects and object-beings... and will explain the surrealist truculence of their mechanisms."

[Paris, 1935] $750.00

Biro/Passeron p. 102; Nadeau: Documents surréalistes, p. 291ff.; Jean p. 229; Milano p. 651f.

 

68

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; Admussen 70; Chevrefils Desbiolles p. 284; Almanacco Dada 32; Sanouillet 226; Motherwell/Karpel 66; Rubin 462; Verkauf p. 177; Reynolds p. 110; Dada Artifacts 4; Zürich 371

 

69

DADA. NO. 4-5: ANTHOLOGIE DADA

15 mai 1919. Editor: Tristan Tzara. (32)pp. Prof. illus. in a variety of media, including original prints, line drawings and tipped-in halftone reproductions. 4to. Printed wraps., with Arp woodcut. Text printed on rose, blue, orange and white stocks. Texts by Picabia, Tzara, Cocteau, Serner, Hardekopf, Soupault, Aragon, Breton, Radiguet, Albert-Birot, Ribemont-Dessaignes, Buffet, Arp, Huelsenbeck, Hausmann, Richter, et al. Original woodcuts by Arp (5, including that on the front cover; Arntz 40-44), Hausmann (2), Richter and Janco; 2 original lithographs by Viking Eggeling. The most important and synoptic issue of "Dada," and the most beautiful. This copy is in the German edition (with texts in both German and French); there was also a French edition, in which texts by Pérez-Jorba, Reverdy, Ribemont-Dessaignes and Tzara were substituted for those by Arp, Hardekopf, Hausmann, Huelsenbeck, Richter and Serner. "‘Dada 4/5,’ christened ‘Anthologie Dada,’ is a further collaboration by Tzara and Picabia, and was published almost simultaneously with the number 8 of Picabia’s review ‘391.’ Picabia executed the famous frontispiece for the ‘Anthologie,’ ‘Reveil Matin,’ by using as templates the wheelworks of an alarm clock dipped in ink. Possibly also through Picabia’s connections, contributors to this issue of ‘Dada’ were heavily weighted towards the Parisian writers of ‘Littérature’.... Typographic experimentation continued to challenge established ideas about the printing medium and are characterized in this issue by the use of randomly colored pages or imprints" (Dada Artifacts). A superb copy, fresh and crisp.

Zürich, 1919. $7,500.00

Dada in Zürich 90; Ades p. 64f.; Gershman p. 49; Admussen 70; Chevrefils Desbiolles p. 284; Almanacco Dada 32; Sanouillet 226; Motherwell/Karpel 66; Rubin 462; Verkauf p. 177; Reynolds p. 110; Dada Artifacts 6; Düsseldorf 113; Zürich 371

 

70

DADA. NO. 6: BULLETIN DADA

5 février 1920. Editor: Tristan Tzara. (4)pp. (single sheet, folding). 2 mecanomorphic drawings by Picabia (1 printed in red over text). Folio. Tabloid format, with enormous masthead in red on the front (as well as red overprinting on front and back, at variance with, and superimposed on, the text in black. Glassine d.j. Including the program for "Matinée du mouvement dada, 5 février 1920, Salon des Indépendants," "Manifeste du mouvement dada," "Quelques présidents et présidentes," and aphorisms by Picabia, Tzara, Breton, Duchamp, Aragon, Ribemont-Dessaignes, Dermée, Éluard, Cravan, Soupault, De Zayas and others. "Tzara followed Picabia to Paris early in January 1920 and brought out ‘Dada’ nos. 6 and 7 (‘Bulletin Dada’ and ‘Dadaphone’) from Picabia’s apartment. They belong to Paris, in the sense that they contain predominantly the work of Paris dadaists, apart from Tzara himself and Picabia, and have grown closer to ‘391’ in appearance" (Ades). Light browning, a few expert internal mends at foldlines; an unusually fine copy of this fragile issue.

Paris, 1920. $6,000.00

Dada Global 173; Ades pp. 63, 65; Gershman p. 49; Admussen 70; Chevrefils Desbiolles p. 284; Almanacco Dada 32; Sanouillet 226; Motherwell/Karpel 66; Rubin 462; Verkauf p. 177; Reynolds p. 110; Düsseldorf 116

 

71

DADA. NO. 7: DADAPHONE

Editor: Tristan Tzara. (8)pp. 10 illus. (halftone photographs). 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 in March 1920, at a moment of inspired Dada activity in Paris, just before the Manifestation Dada at the Maison de l’Oeuvre (March 27), the first appearance of "Cannibale" (April), the Festival Dada at the Salle Gaveau (May). Reminiscent of "391" and with a strong Parisian bias along "Littérature" lines (like "Dada" 6), "Dadaphone"’s visual interest is mostly in its insistent typographic density, rather than its illustration--though it does include a beautiful abstract Schadograph, purporting to show Arp and Serner in the Royal Crocodarium in London, as well as the spiralingly zany Picabia drawing on the front cover. An exceptionally fine copy. Extremely rare.

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

Dada Global 174; Ades p. 65; Gershman p. 49; Admussen 70; Chevrefils Desbiolles p. 284; Almanacco Dada 32; Sanouillet 226; Motherwell/Karpel 66; Rubin 462; Verkauf p. 178; Reynolds p. 110; Dada Artifacts 118; Zürich 374

 

72

(DADA HANDBILL)

Paris. Maison de l’Oeuvre. Manifestation Dada. Le Samedi 27 Mars, à 8 f. 15 précises. Broadside handbill designed by Tristan Tzara, printed in red and black on pale pink stock (verso blank). Two mechanomorphic dada line drawings by Picabia, printed in red, superimposed over text. Printed sideways at right edge, advertisement for the forthcoming "Dadaphone," "391" no. 12, and "Proverbe." Oblong sm. folio. 266 x 373 mm. (10 7/16 x 14 11/16 inches). Design by Tristan Tzara.

This was the third, and most elaborate, of three Dada demonstrations following the arrival of Tzara in Paris. A great succès de scandale, it precipitated plans for the Festival Dada. We quote at length from George Hugnet’s account of it, in his "The Dada Spirit in Painting": "On March 27, at the Théâtre de l’Oeuvre, one of the most significant Dada demonstrations took place. It consisted of plays (‘le serin muet’ by Ribemont-Dessaignes, ‘la première aventure célèste de m. antipyrine’ by Tzara, and ‘s’il vous plaît’ by Breton and Soupault), written in the Dada manner, pursuing every gratuitous fancy, every absurdity of thought, and all eminently demoralizing. Breton read, in complete darkness, a ‘manifeste cannibale’ by Picabia. Some poems by Éluard (‘Examples’) were read. Ribemont’s ‘le pas de la chicorée frisée’ (Dance of the Curled Chicory) was played on the piano; likewise, as a joke, some melodies by Duparc. A transparent set, in front of the actors, consisted of a bicycle wheel and some signs hanging from clothes-lines. These melodies, in such a setting, completely exasperated the audience, which began to whistle even at Duparc’s band music, which normally they liked. Delighted with this contradiction, the actors, themselves Dadaists, began to insult the audience, welcoming catcalls with a smile; at this moment an anti-Dada paper, ‘Non,’ edited by René Edme and André du Bief, was handed around. The program of this performance arranged, as usual, by Picabia, revealed a resuscitated remark of Tzara as: ‘Dada Corporation for the Improvement of Ideas.’ Picabia’s picture, ‘Portrait of Cézanne,’ was shown at this demonstration; having searched in vain for a live monkey for the ‘still-life,’ the artist finally showed the picture, as illustrated. The Théâtre de l’Oeuvre had not witnessed such goings-on since the riot caused by the presentation of Alfred Jarry’s play ‘Ubu Roi.’" A few small stains, discreet foldlines and creases. A great rarity.

Paris, 1920. $8,000.00

Documents Dada 14; Dada Global 226; Ades 8.42; Almanacco Dada p. 607 (illus.); Sanouillet 318; Dada Artifacts p. 76, no. 116; Motherwell/Karpel p. 176f. (with text from Georges Hugnet), p. 191 (illus.); Chapon p. 132; Rubin p. 458; Andel: Avant-Garde Page Design 1900-1950 no. 141; Düsseldorf 258; Zürich 441

 

73

DALI, SALVADOR

Conquest of the Irrational. 24, (8)pp., 34 plates (including frontispiece in color). Sm. 8vo. Dec. wraps. One of 1000 copies printed of the English-language edition, apart from a French edition of 1200. The translation is by David Gascoyne. Light wear. Though not noted internally, this copy derives from the library of Julien Levy.

New York (Julien Levy), 1935. $300.00

Gershman p. 15; Ades 12.147; Biro/Passeron 803; Rubin p. 15

 

74

DALI, SALVADOR

Metamorphosis of Narcissus. English translation by Francis Scarpe. (26)pp. 3 plates (1 color). 4to. Wraps. Edition limited to 500 English-language copies. Cover photograph by Cecil Beaton. Though not noted internally, this copy derives from the library of Julien Levy. Covers rather worn.

New York (Julien Levy Gallery), 1937. $150.00

 

75

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

 

76

DEL RENZIO, TONI

Incendiary Innocence. Manifesto. (An Arson Pamphlet.) (8)pp. Printed on turquoise stock, decorated on the front cover with surrealistic appropriations of steel engravings, printed in purple. Lrg. 8vo. Self-wraps. "En réponse à "Idolatry and Confusion," de Mesens et Brunius, Toni del Renzio publie "le jour de Lautréamont" ce texte de quatre pages où il redéfinit la position surréaliste et se déclare totalement fidèle aux principes d’André Breton....‘Incendiary Innocence’ est un véritable manifeste d’allégeance, mais aussi un bilan de l’activité surréaliste en 1944, bilan inaugurateur de promesses et d’espoirs de révoltes" (Michel Remy, in Biro/Passeron). Back cover clipped at lower corner.

London (The Author), 1944. $200.00

Biro/Passeron p. 216

 

77

(DELAUNAY) 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. 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)--an added element (pasted over the printed title "Robert Delaunay") which most copies do not have.

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," 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 among the most electrifying breakthroughs in pure abstraction, and the show was to provoke widespread excitement throughout Europe. In the spring of 1998, a special exhibition was devoted to these pictures at the Guggenheim Museum in New York. Covers somewhat worn, with small losses at extremities (old mends), and without original cord; backstrip paper-taped; internally very fine, and noteworthy for the extra pochoir on the front cover.

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.

 

 

78

(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

 

79

(DEPERO) Trento

94a mostra Depero. Primavera [March-April] 1953. Texts by G. Giani, A. Pica, and the artist. 39, (1)pp., 32 plates. Sm. 4to. Dec. wraps., printed in yellow and blue with a handsome typographic design by Depero on the front cover (backstrip torn). The venue in Trento is not stated. Presentation copy, with a bold, full-page inscription in ink by Depero opposite the title-page, with decorative asterisks at top and bottom, dated Rovereto, June 1953. Rare.

Trento, 1953. $500.00

 

80

DEXEL, WALTER

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

Jena, 1924. $350.00

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

 

81

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

 

82

DOCUMENTS

Archéologie, beaux-arts, ethnographie, variétés. Magazine illustré paraissant dix fois par an. Secrétaire général: Georges Bataille. Vol. I, No. 1 - Vol. II, No. 8 (all published). 400, 440, 55pp. Prof. illus. Orig. wraps. 2 fitted slipcases (cloth; chemises). Contributions by Bataille, Strzygowski, Einstein, Leiris, Limbour, Babelon, Desnos, Jouhandeau, Griaule, Vitrac, Pierre-Quint, Ribemont-Dessaignes, Prévert, Baron, Frobenius, Sitwell, Sydow, et al.

Under the stewardship of Georges Bataille, who later described himself as Surrealism’s "old enemy from within," ‘Documents’ was, intellectually, one of the most brilliant and most radical of all reviews of the period, both in its espousal of Surrealist ideas, and its dissidence from them. Especially important is the publication in it of the radical photographs of Jacques-André Boiffard, accompanying articles by Bataille (most famously "The Big Toe"), Desnos and Limbour, as well as photographs by Eli Lotar, stills from popular films, and curiosities of commercial culture, mixed with new work by Giacometti and Dalí. A very fine set.

Paris, 1929-1930. $4,500.00

Ades: Chapter 10; Chevrefils Desbiolles p. 285; Rubin 465

 

83

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

Almanacco Dada 46; cf. Admussen 81

 

 

84

(DOISNEAU) Cendrars, Blaise

 

La banlieue de Paris. Texte sur 130 photos de Robert Doisneau. 54, (7)pp., 135 gravure plates. 4to. Publisher’s boards (issued without dust jacket). "Édition pré-originale," printed for members of the Guilde du Livre.

Lausanne (La Guilde du Livre), 1949. $500.00

Roth: The Book of 101 Books, p. 132

 

85

(DOMELA) Kandinsky, Wassily (preface)

 

Domela. Six reproductions en couleurs d’après quelques oeuvres récentes. (8)pp. 6 full-page color plates, tipped onto mounts. 1 tipped-in monochrome illus. on title-page. Folio. Wraps. Signatures and plates loose, as issued. Edition limited to 300 numbered copies in all, signed in pencil in the justification by Domela. Presentation copy, inscribed in pencil on the title-page "Paris Mai 1949/ à mon ami Kurt Seligmann/ bien sincèrement/ Domela."

N.p. (Privately Published), n.d. [ca. 1943]. $650.00

 

86

DREIER, KATHERINE S.

Western Art and the New Era. An introduction to modern art. xii, 139pp. 60 illus. 4to. Wraps. (backstrip defective). Presentation copy, inscribed by Dreier, 1946.

New York (Brentano’s), 1923. $250.00

 

87

DRTIKOL, FRANTISEK

Zena ve Svetle [Woman in Light]. (Vyber 46 aktu. Uvod napsal J.R. Marek. ) Sm. 4to. Publisher’s cloth. D.j. We quote at length from Andrew Roth: "In his own studio in Prague, Frantisek Drtikol concentrated on highly prized portraits of well-known writers, artists and early aviators (1910-14) and then on nude studies (1918-35), of which ‘Zena ve Svetle’ (Women in light) is the culmination. Although influenced early in his career (while studying photography in Munich) by the decorative trend of Jugendstil or Art Nouveau, Drtikol moved, with ‘Zena ve Svetle’, into his own modernist style of photography that prefigured and influenced the emerging Bauhaus esthetic. He built sets and props out of plywood and used an arc lamp to cast strong shadows. The graphic presentation of the book is striking with the gum prints on thin paper, one to a page, set off by large page numbers. By 1935, Drtikol was creating wholly abstract works, in which the nudes were replaced by figurines or geometric shapes made from painted plywood. At age 52, at the peak of his international fame, Drtikol abandoned photography altogether to concentrate on painting, meditation and oriental philosophy until his death in 1961." Authorities are divided about the date of this undated publication, some placing it considerably earlier (Roth states 1930). Two small stains on cover; two losses at top front of dust jacket; a fine copy, clean and fresh within. Rare.

Praha (Nakladatelství E. Beaufort A.S.), n.d. [1938]. $2,500.00

Roth: The Book of 101 Books, p. 64f.

 

88

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 Says 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 stage artists. 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

 

89

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 a bit 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

 

90

DUCHAMP, MARCEL

"Monte Carlo Bond." 318 x 230 mm. (12 1/2 x 9 1/16 inches). In the course of creating miniature replicas of his work for the "Boite en valise," "Duchamp was asked by the editors of ‘XXe Siècle’ for a contribution to their magazine. He readily accepted, for he was anxious to produce a facsimile of his ‘Monte Carlo Bond’ in his album, and, like earlier publication projects, this would provide the ideal opportunity to secure multiple copies. Rather than use the letterpress process that was used to create the original, after several noteworthy changes had been made...Duchamp prepared a full-scale color lithograph of bond no. 12, which had not been stamped or signed, and over 2,000 copies were run off and included as hors texte prints in the Christmas 1938 issue of ‘XXe Siècle.’ After a number of additional modifications were made, well over 300 extra prints were set aside for inclusion in the album" (Francis Naumann). Small tear at upper left, mostly in blank margin, expertly restored; tapemark on verso, along top edge; original staple holes at left, as issued.

[Paris] (XXe Siècle) [1938]. $2,000.00

Schwarz 406b; Naumann 5.23, p. 137f.

 

91

(DUCHAMP) Breton, André.

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

New York (View Editions), 1946. $950.00

Schwarz 520; Naumann 6.19; Gershman p. 9; Ades 15.62 (deluxe edition); Reynolds p. 18f.; Grolier Club 15

 

92

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. Intermittent light wear; wrappers of no. 6 neatly split at backstrip. Complete sets are now rare.

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

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

 

93

ÉLUARD, PAUL, et al.

Habitude de la poésie. (Habitude de la Poésie. [0] 1-5.) (16), (24), (16), (16), 916), (16)pp. 12mo. Printed boards. A collection of individual pamphlets, constituting Cahiers 1-5 of the series, bound together by the publisher together with an additional pamphlet by Éluard, the text of a lecture delivered at the International Surrealist Exhibition in London the year before. Contents as follows: Éluard, Paul: L’évidence poétique; Penrose, Valentine: Poèmes (1. cahier); Marc, Fernand: Autres chansons (2. cahier); Lévis-Mano, Guy: Crâne sans lois (3. cahier); Le Louet, Jean: Ceci passe (4. cahier); Lannes, Roger: La nuit quand même (5. cahier). Printed on variously colored stocks.

Paris (G.L.M.), 1937. $375.00

GLM 121-126

 

94

(ERNST) Paris. Galerie van Leer.

 

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

Paris, 1926. $750.00

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

 

95

ERNST, MAX & ELUARD, PAUL

Misfortunes of the Immortals. Translated by Hugh Chisholm. 44, (10)pp. 22 full-page illus. 4to. Dec. boards. Plain pink d.j. Edition limited to 610 copies. "This edition is further augmented by Three drawings Twenty Years After. The Misfortunes of the Immortals was first published in Paris in 1920, originally revealed in French by Paul Eluard and Max Ernst, and now translated into English by Hugh Chisholm. This edition has been designed and published by Caresse Crosby, handset in Spartan type twelve point and printed at the Gemor Press in the city of New York, March 1943." Though not noted internally, this copy derives from the library of Julien Levy.

New York (Black Sun Press), 1943. $750.00

Hugues/Poupard-Lieussou 18; Spies 555-557

 

96

ERNST, MAX & PÉRET, BENJAMIN.

La brebis 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 brebis galante’ or Eluard and Miró’s ‘A toute épreuve’, appeared after World War Two--long after the heyday of surrealism" (Hubert). Short tear in the cover, 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

 

97

ERNST, MAX & CHAR, RENÉ

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

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

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

 

98

ESENIN, SERGEI, et al.

Plavil’nia slov [Foundry of Words]. Sergei Esenin, Anatolii Mariengof, Vadim Shershenevich. (46)pp. Printed wraps. (chipped at backstrip). Text printed on roughly textured, fibrous paper. An Imagist anthology, with verse by Esenin, Mariengof’s poetic cycle "Blind Feet," and the first appearance of nine poems by Shershenevich.

Moskva ("Imazhinisty"), 1920. $600.00

Getty 178

 

99

EX.

A cura di Emilio Villa e di Mario Diacono, e di Gianni Debernardi. No. 1, giugno 1963 (of 4 numbers published in all). (2)pp., 9 separate folding broadsides (some of very large dimensions). Lrg. 4to. Portfolio (brown heavy stock, printed in black and white). All contents loose, as issued. Texts and concrete poems by Diacono, Villa, John Cage ("Conferenza zu qualcosa," 1949), N.F. Simpson and S.M. Martini. Edition estimated at 500 copies.

Roma, 1963. $350.00

 

100

(FANTIN-LATOUR) Chénier, André

Les bucoliques. Publiées d’après le manuscrit original dans un ordre nouveau par José-Maria de Heredia. [Lithographies hors texte par Fantin-Latour. En-têtes et culs-de-lampe par G. Simoes da Fonseca.] (14), xxxii, 278, (2)pp., 12 original lithographs by Henri Fantin-Latour. 21 vignette illustrations by G. Simoes da Fonseca. Stout lrg. 4to. Publisher’s full polished brown marbled calf, the front cover inset with a superb bronze plaquette by Denys Puech. Slipcase (marbled boards; slightly rubbed at edges). Original wraps. and backstrip bound in, as well as the publisher’s four-page prospectus. One of 150 numbered copies on vélin du Marais, containing two extra suites of all lithographs (including vignettes), each with remarques: one in red, on chine, and the other in black, on japon tissue; from the limited edition of 177 copies in all. The work was published as part of a project to erect a monument to the memory of André Chénier by Denys Puech, represented here in the original bronze plaquette by Puech on the front cover, which shows a nymph mourning over the laurel-wreathed head of the writer, which she clasps to her breast. The plaquette, signed and dated 1904, is in high relief, and in very fine condition. It carries the legend "Pleure, ouvre-lui tes bras, et rends-lui son baiser." The Salon sculptor Denys Puech (1854-1942) is best known for commemorative monuments of this kind, including statues in Paris for Gavarni, Sainte-Beuve and Leconte de Lisle. A brilliant copy, virtually mint.

Paris (Charles Meunier, "Maison du Livre"), 1905. $4,500.00

Bénédite/Hédiard 161-172; Rauch 30; Strachan p. 45; Mahé 84; Carteret IV.102

 

101

FELIXMÜLLER, CONRAD

Felixmüller Holzschnitte. Preface by Felix Stiemer. Title-page (including list of plates and justification, with text by Stiemer on the verso), 6 original woodcuts, each signed and numbered in pencil in the margin. Additional woodcut illustration (self-portrait) on the title-page. Album size: 400 x 360 mm. (15 3/4 x 14 1/4 inches). Folio. Portfolio (wraps., repeating the woodcut self-portrait). One of 75 numbered copies on cream laid Maschinenpapier, from the limited edition of 100 copies in all. The six woodcut plates date from 1917 and 1918; they are, in sequence: "Geburt" (Söhn 118), "Lazarett" (S. 115), "Mann am Meer" (S. 104), "Der Dichter Walter Rheiner" (S. 105), "--und singen Lautenlieder" (S. 128), and "Auf! Auf! Auf! Mensch hilf Dir selbst" (S. 116). The title-page woodcut is "Titel Selbstportät" (Söhn 148). Some of the prints had also appeared in the Dresden journal "Menschen," founded by Felixmüller in 1917 with Felix Stiemer (publisher of the present album) and Heinrich Schilling. In that year, Felixmüller had organized the Expressionistische Arbeitsgemeinschaft Dresden, an anti-war literary and artistic group which met in his studio for discussions, and readings by Raoul Hausmann and Walter Rheiner (whose portrait is included here). A very fine copy, with superb, rich impressions of the woodcuts, and in very fresh condition throughout.

Dresden (Felix Stiemer), 1918. $12,500.00

Söhn 147M; cf. Barron, Stephanie: "Degenerate Art": The Fate of the Avant-Garde in Nazi Germany (Los Angeles, 1991), p. 237f.

 

102

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 utmost rarity.

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

Ilk K449

 

103

FONDANE, BENJAMIN

Ulysse. 75, (5)pp. Wraps. Edition limited to 500 numbered copies on Featherweight paper.

Bruxelles (Cahiers du "Journal des Poètes"), 1933. $1,500.00

Ilk K452

 

104

(FÖRG) 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

 

105

FOTOMONTAGE

(Social Kunst. 8.) (32)pp. 28 illus. (partly in color). 4to. Dec. self-wraps. (reproducing a photomontage by John Heartfield.) The text is uncredited. Reproductions after posters, dust jackets and other designs by John Heartfield, El Lissitzky, Hans Richter, Moholy-Nagy, Rodchenko, Klutsis, et al.

Oslo/Copenhagen (Fram Forlag/ Mondes Forlag), 1932. $250.00

 

106

 

DIE FREIE STRASSE. NR. 9.

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

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

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

 

107

(FREYSSINET) Badovici, Jean (introduction)

E. Freyssinet. (L’Architecture Vivante. Neuvième année, No. 35. Printemps 1931.) 16pp., 25 plates with numerous fine collotype illus. Plans and elevations in text. Lrg. 4to. Portfolio (boards, 1/4 cloth; ties). All contents loose, as issued. In addition to Badovici’s introduction, the portfolio includes the text "Les ponts en béton armé, de très grande portée" by Freyssinet.

Paris (Éditions Albert Morancé), 1931. $300.00

 

108

(FURNIVAL) Meyer, Thomas

Blind Date. With etchings and embossed prints designed by John Furnival. (2), 50, (4)pp. 10 full-page prints, each with an original etching set within an embossed maze design; 1 additional color aquatint loosely inserted, signed and titled by the artist in pencil. Sm. sq. folio. Portfolio. Cloth slipccase and chemise. Contents loose, as issued. One of 30 Artist’s Proof copies from the limited edition of 345 in all, all with all prints initialled by the artist and the book signed in full by him in the colophon. "A visual and verbal interweaving of two Greek myths that deal with strength and courage: Theseus’ heroic slaying of the Minotaur and Hercules’ publishment by Zeus and enslavement by Omphale" (Stein). Slipcase slightly scuffed; a fine copy.

Guildford, Surry (Circle Press), 1979. $400.00

Stein, Donna: Contemporary Illustrated Books: Word and Image, 1967-1988 (New York, 1990), p. 30

 

109

FUTURIST MANIFESTOS

A collection of 29 original manifestos of the Futurist movement, 1909-1927, including 5 by Umberto Boccioni (et al.), 13 by F.T. Marinetti, 1 by Enrico Prampolini, 1 by Luigi Russolo, and others by Fedele Azari (2), Mario Bartoccini & Aldo Mantia, Franco Casavola, Bruno Corradini & Emilio Settimelli, Auguste Joly, Ray Nyst, Balilla Pratella, and Valentine Saint-Point. 4to. Self-wraps. 8 of the group are in French-language issues; the balance are in Italian. Nearly all were published by the Direzione del Movimento Futurista in Milan (or Rome); 2 were issued by "Poesia." The collection includes a number of the seminal texts of the movement, including Marinetti’s "Fondazione e manifesto del Futurismo" (1909), Boccioni’s "Manifesto tecnico della scultura futurista" (1912), the "Manifesto dei pittori futuristi" of Boccioni, Carrà, Russolo, Balla, and Severini (1910), and Russolo’s "L’art des bruits" (1913). A detailed list is available on request.

Milano/Roma, 1909-1927. $6,000.00

 

110

GAUGUIN, PAUL

Noa Noa. (Marees-Gesellschaft. VL. Druck.) (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 is the primary facsimile from which all subsequent reproductions were made. Raffia slightly frayed at hinges, 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; Andel: Avant-Garde Page Design 1900-1950 no. 21

 

111

GLEIZES, ALBERT

Kubismus. (Bauhausbücher. 13.) 101, (3)pp. Prof. illus. 4to. Printed wraps. First edition. Typography and design throughout by Moholy-Nagy. Front cover somewhat soiled.

München (Albert Langen), 1928. $650.00

Chamberlin 2386; Wingler p. 628

 

112

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

 

113

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: Malik 5; Siepmann A2; Lewis p. 47f; Motherwell/Karpel 274; Ades 4.23; Düsseldorf 356; Dada Artifacts 32; Rifkind (Davis) 951

 

114

(GROSZ) Firn, Edgar

Bibergeil. Pedantische Liebeslieder. (16)pp. Lrg. 8vo. Dec. wraps., stitched as issued, with fine cover drawing by Grosz. Rare. One of 1000 copies, from the edition of 1020. "Edgar Firn" is a pseudonym for the writer Karl Döhmann.

Berlin (A.R. Meyer) [1919]. $800.00

Lang 5; Bülow 9

 

115

(GROSZ, GEORGE)

Wieland. Kalender für das Jahr 1919. [From: Wieland. Deutsche Monstasschrift. Jahrgang 1918/1919, Heft 10. Pp. 1-13.] (14)pp., including full-page cover drawing in black and peach, and 12 full-page plates in blue, yellow, green, peach and black, each with calligraphic monthly calendar (after Grosz’s manuscript) beneath the image. Sm. folio. Self-wraps. One of Grosz’s earliest publications, with fine seasonal drawings in his early Dada manner, though with an almost complete absence of vitriol. Browned and somewhat chipped at extremities. An impressive publication, and very rare.

Berlin, 1919. $2,000.00

Lang 4; Bülow 12

116

GROSZ, GEORGE

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

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

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

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

 

117

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

 

118

(GROSZ) Andersen-Nexö, Martin

Die Passagiere der leeren Plätze. Ein Buch in 14 Erzählungen und einem Vorspiel. Mit 12 Zeichnungen von George Grosz. 77, (3)pp. 12 illus. 4to. Dec. wraps., with cover drawing by Grosz. First edition.

Berlin (Der Malik-Verlag), 1921. $350.00

Lang 15; Bülow 23; Hermann 1/3; Berlin: Malik 28; Düsseldorf 366

 

119

(GROSZ) Daudet, Alphonse

Die Abenteuer des Herrn Tartarin aus Tarascon. Neu übersetzt von Klabund. Mit vielen Vollbildern und Vignetten von George Grosz. 6.-10. Tausend. 163, (1)pp. 98 illus. (20 full-page). 4to. Dec. cloth, printed in color with designs by Grosz on both covers. Layout and design by John Heartfield. This second issue was printed on paper superior to that of the first edition (apart from the Vorzugsausgabe of 100 copies, which were on handmade Bütten). "Ein Hauptwerk in der Illustrationskunst von George Grosz" (Lang).

Berlin (Erich Reiss Verlag), 1921. $400.00

Lang 16; Bülow 25; Siepmann p. 291; Düsseldorf 367; cf. Dückers BA-I, Rifkind (Davis) 959

 

120

(GROSZ) Jung, Franz

Die rote Woche. (Die Rote-Roman-Serie. Bd. III.) 66, (2)pp. 9 illus. by George Grosz. Lrg. 8vo. Dec. boards, with photomontage by John Heartfield. Discreet contemporary ownership inscription at top of half-title.

Berlin (Der Malik-Verlag ), 1921. $450.00

Lang 19; Bülow 32; Hermann 216; Berlin: Malik 40; Melzwig 313.1; Raabe/Hannich-Bode 145.14; Herzfelde pl. 10

 

121

(GROSZ) [Simons, Hi]

Grosz. [Musterbook I.] 10, (2)pp., 12 plates. Sm. 4to. Dec. wraps., with designs by Grosz, printed in red on both covers. The first publication on Grosz to appear in America. The illustrations are drawn entirely from the "Kleine Grosz-Mappe." "The lithographs here reproduced are published with the permission of Mr. Herman Sachs, director of the Dayton Museum of the Arts, personal representative in America of Mr. Grosz" (prefatory note). Wrappers neatly split at backstrip.

Chicago (Musterbookhouse), 1921. $650.00

Lewis p. 300; Bülow p. 73

 

122

(GROSZ) Zur Mühlen, Hermynia.

Was Peterchens Freunde erzählen. Märchen mit Zeichnungen von George Grosz. 31, (1)pp. 6 illus. by Grosz. Lrg. 4to. Wraps. (slightly worn). First edition (and the author’s first book). A carefully restored copy, the covers mounted with new endpapers, and the verso of each leaf archivally laminated. Rare.

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

Hermann 1/249; Berlin: Malik 51; Lang 21; Raabe/Hannich-Bode 346.1; Melzwig 842.1; Lexikon sozialistischer deutscher Literatur p. 365f.

 

123

GROSZ, GEORGE

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

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

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

Dückers M V; Lang 37; Bülow 45; Hermann 172; Berlin: Malik 61; Lewis p. 143ff.

 

124

(GROSZ) Gasbarra, Felix

Preussische Walpurgisnacht. Groteskes Puppenspiel. (Sammlung Revolutionärer Bühnenwerke. Bd. IX.) 39, (1)pp. 1 plate in text by George Grosz. Sm. 4to. Wraps., printed in red and black on the front cover with a design by John Heartfield, showing a skeletal bat with outstretched wings, surmounted by an imperial crown, centered above the title. Somewhat worn.

Berlin (Der Malik-Verlag), 1922. $450.00

Lang 27; Bülow 41; Hermann 85; Berlin: Malik 56

 

125

(GROSZ) Kanehl, Oskar

Steh auf, Prolet! Mit 7 Zeichnungen von George Grosz. II. erweiterte Auflage. (Kleine Revolutionäre Bibliothek. Bd. 12.) 35, (1)pp. 7 full-page plates in text. 4to. Wraps., with front cover drawing by Grosz, and typography by John Heartfield. One of the rarest publications of the Malik-Verlag, this edition was preceded by an unillustrated version published in 1920 by the Prolet-Verlag, Erfurt.

Berlin (Der Malik-Verlag), 1922. $700.00

Lang 31; Bülow 49; Hermann 220; Berlin: Malik 67; Raabe/Hannich-Bode 150.2; Melzwig 329.3

126

GROSZ, GEORGE

"Siegfried Hitler." Broadside poster. Photolithograph on wood-pulp paper. Sheet size: 475 x 343 mm. (18 5/8 x 13 1/2 inches). Image size: 312 x 240 mm. (12 1/4 x 9 1/2 inches). Beneath the image, the following texts: "Ich schlage vor, dass die Leitung der Politik der deutschen Regierung ICH übernehme." "Der morgige Tag findet entweder in Deutschland eine nationale Regierung oder uns tot. Es gibt nur eins von beiden." So far as we have been able to ascertain, this broadside, based on a photolithograph by Grosz of 1922/1923, is unrecorded. It is unmentioned by Dückers, who gives extensive details of other versions and states of the image. Only two copies are known of the original photolithograph (Estate of George Grosz, signed, on Bütten; and Staatliche Graphische Sammlung, München, unsigned, on wood-pulp paper), neither of which carry the present texts beneath the caricature. "Siegfried Hitler" was afterwards utilized as the cover image for "Die Pleite," Heft 8 (November 1923), with the same text as here, but differently set beneath the image. A few small tears (some discreetly mended on verso), a few faint foldlines, one very small hole near bottom edge; generally clean and fresh in appearance.

$1,200.00

Cf. Dückers E90

 

127

GROSZ, GEORGE

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

Dresden (Carl Reissner Verlag), 1925. $750.00

Lang 44; Bülow 67; Tillmann 423

 

128

(GROSZ, GEORGE)

Soldatenschinderei in der Republik. Antimilitärische Propaganda vor dem Klassengericht. 47, (1)pp. Orange wraps., with cover illus. by Grosz. George Grosz’s cover design shows a military officer kicking the pathetic figure of a man collapsed on the ground. Some markings in the text in blue pencil.

Wien (Arbeiter- und Soldaten-Verlag), 1925. $200.00

Bülow 74

 

129

(GROSZ) Mac Orlan, Pierre.

Port d’eaux mortes. Recueil orné de huit lithographes originales de Georges [sic] Grosz. (4), 80, (2)pp., 8 original lithographs. Lrg. 8vo. Orig. wraps. Glassine d.j. One of 1000 numbered copies on uncut vélin Lafuma, from the limited edition of 1260, printed by Coulouma and Duchatel. Dückers calls these either transfer- or photo-lithographs. Partly unopened.

Paris (Au Sans Pareil), 1926. $450.00

Dückers B-IV; Lang 48; Bülow 77; Lewis p. 292; The Artist and the Book 129; Rifkind 392; Rifkind (Davis) 964

 

130

(GROSZ) Toller, Ernst

Brokenbrow. A tragedy. Translated by Vera Mendel, with drawings by Georg [sic] Grosz. 50, (2)pp. 6 full-page illus. by Grosz. 4to. Boards with paper label (slightly chipped at spine). Printed on laid paper; illustrations printed by the Curwen Press.

London (Nonesuch Press) [1926]. $350.00

Lang 47; Bülow 79

 

131

GROSZ, GEORGE

Die Gezeichneten. 60 Blätter aus 15 Jahren. 1.-8. Tausend. 126, (2)pp. 60 full-page plates in text. 4to. Dec. wraps., with front cover drawing by Grosz. Book design by John Heartfield and Wieland Herzfelde.

Berlin (Der Malik-Verlag), 1930. $350.00

Lang 55; Bülow 89; Hermann 163; Berlin: Malik 233

 

132

GROSZ, GEORGE

Das neue Gesicht der Herrschenden Klasse. 60 neue Zeichnungen. 1.-9. Tausend. 126, (2)pp. 60 full-page plates in text. 4to. Dec. wraps., with front cover drawing by Grosz. Book design by John Heartfield and Wieland Herzfelde.

Berlin (Malik-Verlag), 1930. $350.00

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

 

133

(GROSZ, GEORGE)

Le crapouillot. Ancien journal du front français. Revue mensuelle. Numéro special: Les allemands. Avec un grand reportage de Galtier-Boissière et Bernard Zimmer. 109, (11)pp. Prof. illus. Lrg. 4to. New marbled boards, 1/4 cloth gilt. Orig. wraps. bound in. First edition on papier couché with a special cover, limited to 500 numbered copies (apart from the trade issue). It includes 10 drawings by Grosz, drawn from various sources (1 on special paper hors texte at the conclusion).

[Paris, 1930]. $250.00

 

134

GROSZ, GEORGE

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

New York (The Print Club), 1935. $3,500.00

Dückers M VII; Lang 68; Bülow 106

135

(GROSZ) Henry, O.

The Voice of the City and Other Stories. A selection, with an introduction, by Clifton Fadiman and illustrations by George Grosz. xi, (3), 220, (6)pp., 20 color plates of watercolors by Grosz. 27 line-drawn illus. Title-page illus. in color. 4to. Cloth. Slipcase. Edition limited to 1500 hand-numbered copies, signed in the colophon by Grosz.

New York (The Limited Editions Club), 1935. $400.00

Lang 69; Bülow 107; Wheeler p. 103

 

 

136

(GROSZ) Dresler, Adolf

Deutsche Kunst und entartete "Kunst." Kunstwerk und Zerrbild als Spiegel der Weltanschauung. 79, (1)pp. 55 illus. Sm. 4to. Cloth. D.j. (taped at edges). An historic association copy, from the library of George Grosz, inscribed "Grosz 1938 March/ Douglaston" (with paraph under signature) in pen on the front flyleaf. This fulminating work is, in all essentials, an amplification of the guide to the notorious "Entartete Kunst" exhibition held in München in 1937, from which many of the illustrations have been drawn. Now more closely resembling a textbook, it expatiates on the bases of Aryan and degenerate (or ‘Jewish-Bolshevist’) art. Grosz, whose work was richly documented in the exhibition, is prominently represented here with a full-page plate at the beginning of the volume, carrying the comment ‘George Grosz, one of the most miserable daubers, excels in many of his so-called "works" in mocking our soldiers at the front. The illustration above is included in an "art" portfolio with the title "Murder in the Ackerstrasse." One of the Jewish critics praises this Grosz as "a natural-born aristocrat" and galleries are eagerly buying this criminal junk.’ The illustration is tendentiously made to face a full-page plate of "Appel am 23. Februar 1933," a Nazi propaganda painting of two heroically square-jawed soldiers buckling themselves into uniform, their eyes gazing far into an idealistic distance as they respond to the call. Interestingly, Grosz’s illustration is not "Mord in der Ackerstrasse" at all (a print of a sex crime, dating from the earlier twenties or before) but a caustic attack on the clergy from his portfolio "Die Räuber." Evidently, the publishers (or author) slipped up in the course of production, a fact which may have given Grosz a moment of wry satisfaction. A little light foxing.

München (Deutscher Volksverlag), 1938. $850.00

 

137

GROSZ, GEORGE

Drawings. With an introduction by the artist. 14, (2)pp., 52 collotype plates (3 color). Lrg. 4to. Cloth, 3/4 blue morocco. T.e.g. Slipcase (cloth). A unique presentation copy, inscribed by Grosz on the first blank leaf "to my uralde friends Erich & Lene [Cohn] in friendship as ever/ George Grosz." With elaborate paraph ornament of a pen and a brush tied with a ribbon, and at left an impressionistic drawing of the New York skyline, dated January 55. Following this is an original watercolor and pencil drawing of a dignified older gentleman in a homburg hat, executed in yellow, pink, blue, grey and black washes on cream colored paper (sight 53 x 95 mm.), tipped onto a blank leaf under a small cut paper frame. The drawing is inscribed in pencil at lower right "George Grosz/ to my dear friends Erich & Lene/ NY 1951; before our departure for the old country." Beneath the frame, the supporting leaf is signed once again in ink. Loosely inserted in the copy is a sheet of Erich Cohn’s letterhead stationery, with several pencil sketches noted to be by Grosz. Additionally laid in is a postcard from Grosz to Cohn, dated New York, February 7, 1946, expressing pleasure at seeing some of his older drawings in Cohn’s collection, and asking them to forward an issue of Life magazine (typed, but signed, and also addressed, in pen). A remarkable ensemble. Erich Cohn was one of Grosz’ oldest and closest friends, both in Germany and later in the U.S.; their correspondance figures in "George Grosz Briefe, 1913-1959" (Reinbek bei Hamburg, 1979). Grosz’ reference to the "old country" in the inscription alludes to his brief return to Germany in the summer of 1951.

New York (H. Bittner & Co.), 1944. $4,000.00

Lang 76; Bülow 111; Freitag 4912

 

138

GROSZ, GEORGE

Autograph letter, signed, dated Huntington, Long Island, 31 July 1958. 1f., written in a bold hand in fountain pen, on the recto of Grosz’s decorated letterhead. 4to. A wryly amusing letter (in German), in which Grosz thanks the Baron for the Zarrañaga cigars, a marvelous blessing in this age of filtered cigarettes. He is smoking one now, as he writes, and it goes well with the coffee and the tv--no cognac, unfortunately, as he is on the wagon. His teeth are gone; he says he looks like Rembrandt’s last self-portrait. Grosz’s dada-inspired stationery features the slogan "Time Marches On" at top, most appropriately.

Huntington, 1958. $750.00

 

139

GROSZ, GEORGE

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

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

Bülow 118b

 

140

HEARTFIELD, JOHN

AIZ ("Arbeiter-Illustrierte-Zeitung") and VI ("Volks Illustrierte"). A collection of issues with photomontages by John Heartfield. In all, the collection includes a total of 63 of the famous political photomontages made by Heartfield for these two radical weekly newspapers in the 1930s, during the rise of Nazism and the time of the Spanish Civil War. Altogether, the collection contains 50 photomontages for issues of the "Arbeiter-Illustrierte-Zeitung," commonly known as "AIZ" ('Workers' Illustrated Newspaper'), and 13 for issues of "Die Volks-Illustrierte," known as "VI" ('People's Illustrated'). Heartfield's photomontages in these publications are among the most brilliant and influential examples of political satire of the century. Though published in large editions, these newspapers were seldom preserved, and are consequently quite rare, particularly in fine condition. The present group includes some of Heartfield's best designs, such as "Ob schwarz, ob weiss" (Vol. 10, No. 26), "Zum Brandstifter-Prozess in Leipzig" (12/41), "Der Henker und die Gerechtigkeit" (12/47), "Folgt dem Beispiel Spaniens!" (15/9), "Stimme aus dem Sumpf" (15/12), "Normalisierung" (15/31), "Seit einem Jahr kämpft Spanien für die Freiheit und den Frieden!" (VI 1937/30), and the unforgettable "Mahnung" (VI 1937/41), inevitably seen as a prefiguration of the Vietnam war.

Contents as follows:

AIZ : 50 assorted issues: 1930: Vol. 9, No, 41. 1931: Vol. 10, No. 2. 1932: Vol. 11, No. 44. 1933: Vol. 12, Nos. 21, 22, 25, 26, 29, 31, 32, 34, 41, 47, 50. 1934: Vol. 13, Nos. 3, 6, 12, 16, 18, 21, 25, 26, 29. 1935: Vol. 14, Nos. 1, 2, 5, 6, 8, 9, 10, 12, 33, 35, 39, 40, 41, 43, 44, 50. 1936: Vol. 15, Nos. 1, 8, 9, 11, 12, 13, 15, 16, 28, 29, 31.

VI : 13 assorted issues: 1936: Nos. 12, 14, 19, 20. 1937: Nos. 4, 9, 20, 24, 30, 32, 34, 41, 46.

The collection is unbound and in exceptionally fine condition. Altogether, 28 of the issues of "AIZ" are complete (in addition to the Heartfield photomontage); while in the group of "VI," 3 of the issues are complete (the remainder being partial issues or, in 4 cases, the individual photomontage pages alone). Further details on request.

Berlin/Prague, 1930-1937 $35,000.00

Evans, David. John Heartfield: AIZ/VI, 1930-1938 (New York: Kent Fine Art, 1992).

 

141

(HEARTFIELD) Tucholsky, Kurt

Deutschland, Deutschland über Alles. Ein Bilderbuch von Kurt Tucholsky und vielen Fotografien, montiert von John Heartfield. 231, (5)pp. Prof. illus. 4to. Publisher’s yellow cloth, with complex colored photomontage design by Heartfield laid into embossed portions of both covers, as issued. First edition of Tucholsky’s scathing anthology, filled with both documentary photographs and photomontages by Heartfield. Heartfield’s brilliantly colored binding is among the masterpieces of the twentieth-century avant-garde book design. Second printing (31.-50. Tausend). Covers very slightly faded and rubbed, generally fine.

Berlin (Neuer Deutscher Verlag), 1929. $750.00

The Avant-Garde in Print 5.7; Andel 89

 

142

(HECKEL) Berlin. J.B. Neumann

Erich Heckel: Drucke 1905-1922. (4)pp., on two folded leaves, with 4 original woodcuts (Dube 331-334), of which 3 signed and dated ("23") by Heckel in pencil (the title cut is unsigned). The woodcuts are as follows: title (Dube 331), "Badende" (‘Bathers,’ Dube 334), "Begegnung" (‘Encounter,’ Dube 333), and "Im Atelier" (‘In the Studio,’ Dube 332). The sequence of the prints is identical to that in the Rifkind copy. 4to. 270 x 185 mm. (ca. 10 1/2 x 7 1/4 inches). Copy no. 1 of the limited edition of 30 proof copies on Bütten, without text, apart from the normal edition. This is the Heinrich Stinnes copy, bearing his red collector’s stamp (Lugt 1376a) and characteristic inscription in ink at the base of each leaf. Of Stinnes and his collection, renowned for the earliest impressions of modernist prints, Lugt notes "Sa collection était, déjà avant la première guerre mondiale, une des meilleurs et plus riches de l’Allemagne. Il rechercha surtout des premières épreuves… Très intéressé dans l’art moderne, Stinnes exerça une influence stimulante sur beaucoup de peintres-graveurs allemands; il en connut plusieurs personnellement. Le collectionneur annotait ses meilleures pièces ou y mettait sa signature." Rich, extremely fine impressions.

Berlin (J.B. Neumann), 1923. $7,500.00

Rifkind/Davis 1054

 

143

HERZFELDE, WIELAND

Tragigrotesken der Nacht. Träume. Einbandentwurf und Zeichnungen von George Gross [sic]. 88, (2)pp. 20 line-drawn illus. by Grosz in text. Title-page signed and double-page endpapers (repeated front and back) also by Grosz. Sm. 4to. Dec. wraps., printed in red and green with a drawing by Grosz. The text, eighteen prose poems written by Herzfelde between the summer of 1913 and the fall of 1919, reflect the horrors of the First World War, as evoked in expressionistic dreams. The book is dedicated to John Heartfield’s son Tom, then two years old, "in the hope that he will prove to be an upstanding Communist." A rather worn copy, with losses at rusted staples near the end of the text; covers a bit soiled.

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

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

 

144

HINKEFUSS, CARL ERNST

"Qualität." Internationale Propaganda-Zeitschrift für Qualitäts-Erzeugnisse. Herausgabe, Schriftleitung und Ausstattung: Carl Ernst Hinkefuss. 4. Jahrgang, Heft 3/4, März/April 1925. 39, (1)pp. Prof. illus. (8 color, including folding double-sided mounted panel). Folio. Orig. dec. wraps., designed by Hinkefuss. The designer and publisher Carl Ernst Hinkefuss, whose printing house, Dunnhaupt was responsible for the press work of a number of Bauhaus publications, is probably best known for his graphically remarkable children’s book, "Mein Vogel-Paradies" (also from Internatio, 1929). This issue of his review "Qualität" contains articles by Ludwig Hilbersheimer ("Brückenbauten"), Moholy-Nagy ("Die neue Typographie") and others; and a host of contributions by Hinkefuss himself, including advertising and graphic design campaigns for Werkstift A.-G. (with a brilliant logo of a mechanistic hand and pencil) and Otto Elsner K.-G. (with a dazzling folding specimen in violet and black on yellow), as well as illustrations of a suite of yellow furniture and yellow light fixtures of Hinkefuss’s design, reproduced in similarly sensational color. Faint central foldline; noticeable rust stains and losses at staples within.

Berlin (Internatio), 1925. $950.00

 

145

HÖCH, HANNAH

Miniaturen. 16 Linolschnitte. 16 original linoleum cuts printed in black, including title sheet, each signed and numbered 24/30 in pencil by the artist. Image size: 120 x 95 mm. to 150 x 170 mm.; plate size: 310 x 235 mm. Lrg. 4to. Portfolio (plain boards, 1/4 cloth). Edition limited to 30 copies in all, printed on uncut Japan paper, the prints signed and numbered as noted, and the portfolio numbered in pen in the colophon (under back cover). Though originally cut by Höch between 1915 and 1918, the fifteen cuts which are the basis of this portfolio were not printed (apart from a few trial proofs) until 1964, when they were issued together with a newly made title sheet (with its own print). The titles and dates of the individual plates are stated in the colophon.

Berlin (Galerie Nierendorf), 1964. $6,000.00

 

146

HUELSENBECK, RICHARD

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

München (Kurt Wolff Verlag), 1921. $600.00

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

 

147

HUGNET, GEORGES

1961. Illustré de quatre photomontages. 60, (10)pp. 4 full-page photomontages in text. Sm. 4to. Sewn signatures, loose within wrapper, as issued. Errata sheet loosely inserted. One of 500 numbered copies on vélin, from the limited edition of 573. Presentation copy, inscribed on the half-title by Hugnet to Marie-Laure de Noailles ("en souvenir de jeux anciens et de rires qui ne devraient rien à personne, de tout coeur toujours") with an original photocollage in color by Hugnet beneath the inscription. Together with her husband the vicomte de Noailles, Marie-Laure (as she preferred to style her whole name) was one of the most significant patrons and salonistes of the Surrealist milieu. The inscription is dated 11 July 1961, "jour anniversaire de ma naissance." With the illustrated ex-libris of Marie-Laure on the front flyleaf.

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

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

 

148

HUGNET, GEORGES

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

Paris (Editions Jeanne Bucher), 1934. $300.00

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

 

149

INQUISITIONS

Organe du Groupe d’Études pour la Phénomenologie Humaine. Direction: Aragon, R. Caillois, J.-M. Monnerot, T. Tzara. No. 1, juin 1936 (all published). 78, (8)pp. Sm. 4to. Orig. self-wraps., printed in blue and black. Glassine d.j. Texts by Bachelard (on Surrationalism), Caillois, Tzara, Crevel, Chastel, Etiemble and others. A fine copy, unopened.

Paris, 1936. $300.00

Admussen 108; Reynolds p. 112

 

150

INTERNATIONAL CONGRESS FOR MODERN ARCHITECTURE (2ND : 1929 : FRANKFURT)

Die Wohnung für das Existenzminimum. Auf Grund der Ergebnisse des II. Internationalen Kongresses für Neues Bauen, sowie der vom Städtischen Hochbauamt in Frankfurt am Main veranstalteten Wander-Ausstellung. Einhundert Grundrisse mit erklärenden Referaten von Victor Bourgeois (Brüssel), Le Corbusier und Pierre Jeanneret (Paris), Siegfried Giedion (Zürich), Walter Gropius (Berlin), Ernst May (Frankfurt-M) und Hans Schmidt (Basel). ((Les Congrès Internationaux d’Architecture Moderne. II)) 42, (4), 15, (1)pp., 207 plates of plans with facing commentary in parallel German, French and English. 4to. Dec. wraps. (slightly rubbed and worn). English-language summaries. First edition. The second congress of CIAM, held in Frankfurt under the direction of Ernst May, and focusing on low-cost housing. From the library of Herwin Schaefer, with his blindstamp.

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

 

151

INTERNATIONAL CONGRESS FOR MODERN ARCHITECTURE (3RD : 1930 : BRUSSELS)

Rationelle Bebauungsweisen. Ergebnisse des 3. Internationalen Kongresses für Neues Bauen (Brüssel, November 1930).... Beiträgen von Böhm-Kaufmann (Frankfurt am Main), S. Giedion (Zürich), W. Gropius (Berlin), Le Corbusier (Paris), R.J. Neutra (Los Angeles) und Karl Teige (Prag). (Redaktion: V. Bourgeois [Brüssel], C. van Eesteren [Amsterdam], R. Steiger [Zürich]). (Les Congrès Internationaux d’Architecture Moderne. III.) 209, (3)pp. Prof. illus. 4to. Dec. wraps. Texts in German, French and English (portions in parallel translation). Plans, elevations and photographs of 56 architectural projects. The third congress of CIAM, held in Brussels under the direction of Siegfried Giedion, focusing on the efficiency of low-, medium-, and high-rise housing, and the rational organization of land for housing. Cover design by Max Bill.

Stuttgart (Julius Hoffmann), 1931. $375.00

 

152

(JANCO) Costin, Jacques G.

 

Exercitii Pentru Mina Dreapta si Don Quichotte. Cu un portret al autorului si 5 desene de Marcel Iancu, 1 desen de Milita Patrascu. 175, (5)pp. 6 full-page line-drawings in text (5 by Janco). Lrg. 8vo. Wraps. (lightly soiled). Though one of the 1000 unnumbered copies constituting the regular edition, this copy also contains the loosely inserted original linoleum cut by Marcel Janco, signed in pen, which accompanied the Luxusausgabe of 140 copies.

[Bucharest] (Editura Nationala S. Ciornei), 1931. $3,750.00

Ilk K446, illus. p. 93

 

153

(JANCO) Aderca, F.

Marturia unei Generatii. Masti de Marcel Iancu. 372, vii, (3)pp. 33 line-drawn illus. by Janco; 2 additional illus. Dec. wraps. Uncut. First edition, printed in 3300 copies, of which this is from the (unspecified) deluxe tirage, signed in pen by Aderca in the justification. Profiles of 28 figures including Barbu, Goga, Han, Petrescu, Ventura, Vinea and others, with lively, Cubist-derived portrait drawings by Janco. Rare. Backstrip chipped and stained.

Bucuresti (S. Ciornei), 1929. $600.00

Ilk K440, illus. p. 87

 

154

(JANCO) Cristian, V.

Efluvii. Poeme. Cu un portret de Marcel Iancu. 65, (3)pp. Frontispiece portrait (original linocut) by Marcel Janco. Dec. wraps. (light wear). Edition of 304 numbered copies only, on Vélin-mat paper (Ilk has recently found that there was no unnumbered edition of 500, as earlier recorded by him). The powerful Janco linocut is repeated on the front cover of the book, in yellow (under red typography). Presentation copy, inscribed on the title-page by the author.

Bucuresti (Editura Slova), [1931]. $2,500.00

Ilk 447, illus. p. 95

 

155

(JANCO) Pana, Sasa

Cuvintul Talisman. Poeme. Cu un desen de Marcel Iancu. 73, (7)pp. 1 full-page illus. by Janco. Lrg. 8vo. Wraps. One of 200 numbered copies on vélin, from the limited edition of 205.

Bucuresti (Editura UNU), 1933. $1,800.00

Ilk K 488, illus. p. 97

 

156

(JANCO) Pillat, Ion & Perpessicius (Editors).

 

Antologia Poetilor de Azi. 2 vols. vii, (1), 260, 342pp. 70 line-drawn illus. by Marcel Janco. Wraps. Edition of 1000 unnumbered copies. Light wear.

Bucuresti (Editura "Cartea Romaneasca"), 1925-1928. $2,000.00

Ilk K500, illus. p. 87

 

157

KAMENSKII, VASILII, et al.

Moi Zhurnal--Vasiliia Kamenskogo [My Journal--Vasilii Kamenskii]. No. 1 (all published). 16pp. 2 halftone illus. Folio. Self-wraps., printed in orange and black. Edition of 3000 copies. Lithographic cover design by Elena Bedumovaia and Pavel Kuznetsov. The only issue published of this semimonthly journal, containing an interview with poets and artists (including Maiakovskii and Kuznetsov), and poems and theoretical articles by Kamenskii, among them a prose poem addressed to the professors and students of VkhUTEMAS. Kamenskii, the author of "Tango with Cows," was a member of the Hylaean group of Futurists, together with Burliuk and Maiakovskii; in 1919, he co-edited a "Futurists’ Newspaper" with Burliuk, also issued in only one number. Backstrip discreetly reinforced, some tattering at extremities, and a little other light wear.

Moskva, 1922. $900.00

MOMA 370 (illus. p. 135); Getty 572

 

158

KANDINSKY, WASSILY

Xylographies. Preface by Gérôme-Maësse (probably a pseudonym for Alexis Mérodack-Jeaneau). (4)pp. (preface and index), 5 heliogravure plates printed in black, reproducing 5 woodcuts by Kandinsky against massive solid black backgrounds. 1 smaller woodcut reproduced above index. Lrg. sq. 4to. (32 x 32 cm.). Paper portfolio, bearing 2 additional woodcuts in reproduction (vignettes, one on each cover). Edition of 1000 copies. Kandinsky’s second portfolio of woodcuts, financed by the artist himself, and published by the symbolist review "Tendances Nouvelles," in whose pages four of these woodcuts had earlier appeared, and whose editor, Mérodack-Jeaneau, is the probable author of the preface. Between 1906 and 1908, "Tendances Nouvelles" published some 33 of Kandinsky’s woodcuts, as well as articles on the artist. Those in "Xylographies" derive from Russian folk traditions and fairy tales, and though childlike in their appeal are surpassingly sophisticated as works of art. Peg Weiss has drawn attention to the pervasive musical elements of the portfolio, the woodcut medium itself embodying a Klang for Kandinsky, a synthesis of poetic, musical and artistic elements, and the archaizing title "Xylographies" chosen for its suggestion of the xylophone. A little marginal foxing and browning; hairline split at backstrip of portfolio.

Paris (Editions des Tendances Nouvelles), n.d. [1909]. $2,250.00

Spalek 2723; Rifkind 158; Manet to Hockney 25; Weiss, Peg: Kandinsky in Munich p. 126f.; cf. Roethel Book 5 54, 55, 59, 60, 65, 66, 70, 71

 

159

KANDINSKY, WASSILY

Über das Geistige in der Kunst. Insbesondere in der Malerei. Mit acht Tafeln und zehn Originalholzschnitten. Zweite [Dritte] Auflage. (10), 125, (5)pp., 8 plates. 3 diagrams hors texte. 10 original woodcuts by Kandinsky in text. 4to. Publisher’s boards, printed in green with a design by the artist. "One of the most important manifestos of modern art" (The Artist and the Book). Though still designated "Zweite Auflage" on the title-page, this is actually the third edition, as stated on the front cover, as is often the case. Head and foot of spine discreetly mended at an early date; an attractive copy.

München (R. Piper & Co.), 1912. $1,600.00

Rifkind 161; Perkins 12; Spalek 2719; The Artist and the Book 137; Andel: Avant-Garde Page Design 1900-1950 no. 43

 

160

(KANDINSKY) Berlin. Der Sturm

 

Kandinsky 1901-1913. (8), 67, xxxxi pp. 64 plates. Oblong 4to. Orig. dec. wraps., embossed in gold, designed by Kandinsky. Containing Kandinsky’s somewhat lengthy "Rückblicke" and "Notizen," and a prefatory ode by Albert Verwey. Wrappers somewhat faded and worn, small losses at spine.

Berlin (Verlag Der Sturm), 1913. $550.00

Roethel p. 417 no. 16; p. 486, illus. 47; Spalek 2776

 

161

KANDINSKY, WASSILY

Conversation de salon. Un poème de Kandinsky traduit par Seuphor. (8)pp. (single sheet, folding). 16mo. Self-wraps. Edition limited to 50 copies (contra Montpellier, which states only 10), printed on an uncut sheet of Ingres paper. One of the minuscule publications of P.A. Bénoit. Vertical crease.

[Alès] (P.A. Bénoit), 1948. $200.00

Montpellier 64

 

162

(KAPROW) New York. The Reuben Gallery

 

"18 Happenings in 6 Parts. By Allan Kaprow." October 4, 6, 7, 8, 9, 10. [1959.] Admission by advance reservation. Poster, printed in orange on white stock, with a design of 18 quickly sketched ovoid shapes, of which 16 contain the title statement repeated verbatim. 17 x 16 inches. Folded twice for mailing (as issued). The poster for one of the very earliest Happenings, following on a performance piece at Douglass College at Rutgers University, and a sound event, "Intermission Piece" at the Reuben Gallery, both in 1958. "18 Happenings in Six Parts" "was the first of what generically became known--to everyone save their creators--as Happenings" (Barbara Haskell, in "Blam!"). The participants included Kaprow, Robert Whitman, Sam Francis, Alfred Leslie and George Segal. On the verso of the poster is a long text, printed in orange in a spherical paragraph at upper left: "There are three rooms for this work, each different in size and feeling. The rooms are nearly transparent. No matter where a person is, he is aware of something happening in another room.... The guests will change seats according to numbered cards. Each guest will sit once in a different room. Some guests will also act…. In addition there will be non-human actors. There will be a dancing toy and two constructions on wheels. The same action will never happen twice. The actions will mean nothing clearly formulable so far as the artist is concerned. It is intended, however, that the whole work is to be intimate, austere, and of somewhat brief duration...." Stapled to top right of verso: postcard from the Reuben Gallery announcing the Calendar for forthcoming exhibitions: George Brecht (October 16-November 5), Lucas Samaras (November 6-26).

[New York, 1959]. $2,000.00

Kirby, Michael: Happenings (New York, 1965), pp. 53-83 ("18 Happenings in 6 Parts: The Script, The Production"); Sohm p.6, illus. 29; Paris/New York (‘1959’); Blam! p. 32f.

 

163

KASHKEEN, JOHN

New York (An Outline). Planned and compiled by John Kashkeen. Illustrations and maps arranged by F. Tahirof. Supplements: vocabulary and explanatory notes by M. Lorie. 157, (3)pp.; 24, 32pp. (2 loose inserts). Prof. illus. in halftone, with photomontages and other figs. (partly in red and blue). 4to. Dec. wraps., with photomontage cover designs printed in red, white, blue and black. Edition statement of 10,000 copies. Passages in parallel Russian, with Russian-language supplements (inserted). Texts by C. Bercovici, John Dos Passos, Theodore Dreiser, O’Henry, John Reed, Waldo Frank, Michael Gold, and others. A very interesting piece of American-oriented agitprop, with photomontage compositions influenced by Heartfield, as well as Russian Constructivist sources. A little light wear to the covers, generally quite fine. Notwithstanding the edition statement, the work appears to be extremely rare; no copy in OCLC.

Moscow (Co-operative Publishing Society of Foreign Workers in the U.S.S.R.), 1933. $1,500.00

 

164

DAS KESTNERBUCH

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

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

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

 

165

(KIRCHNER) Bosshart, Jacob.

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

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

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

 

166

(KIRCHNER) Döblin, Alfred

Das Stiftsfräulein und der Tod. Eine Novelle. [Schnitte von E.L. Kirchner.] (Lyrische Flugblätter.) (16)pp. 5 full-page woodcuts by Kirchner, including title on front cover (Dube 199-203). Printed on buff-colored Simili-Japan. Sm. 4to. Orig. self-wraps., secured with string, as issued, with woodcut on front cover. "Alfred Döblin’s story ‘Das Stiftsfräulein und der Tod’ (The Canoness and Death) appeared as part of the same series [‘Lyrische Flugblätter’] in 1913, accompanied by a title woodcut and four full-page woodcuts by Kirchner, who manifested a special sensitivity to the book and modern texts. This was the initial, and highly successful, experiment in book illustration by a representative of the Brücke. Modest yet penetrating, Kirchner’s woodcuts attest to a new unity of typography and illustration, the woodcut being an ideal complement to a forceful typeface. The unity of text and image in the same printing process and the unity of literary and graphic configuration reflected the harmony in the thinking and feeling of poets and painters" (Paul Raabe, in Rifkind 1989). A beautiful copy, fresh and crisp, with fine impressions of the prints.

Berlin-Wilmersdorf (A.R. Meyer), 1913. $6,000.00

Dube 199-203; Rifkind 1989 I.1453.1-5, II.118; Rifkind 1977 no. 85; Lang 171, p. 41; Jentsch 12; Marbach 88.2; Wilpert-Gühring 3; Raabe/Hannich-Bode 58.4; The Artist and the Book 141; Andel 21; Andel Avant-Garde Page Design no. 32; Bareiss 34; Villa Stuck 53; München p. 29

 

167

KOHL, AAGE VON

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

Berlin (Verlag Der Sturm), 1915. $250.00

Raabe 147

 

168

KOKOSCHKA, OSKAR

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

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

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

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

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

 

169

KOKOSCHKA, OSKAR

Zwanzig Zeichnungen. Title, table, and 20 plates of line-drawings, all printed on heavy tan stock. Folio. Portfolio (boards, 1/4 vellum). Contents loose, as issued. The plates include portraits of Adolf Loos, Herwarth Walden, Paul Scheerbart, and Yvette Guilbert, and selected drawings from "Mörder, Hoffnung der Frauen" (published by Der Sturm), among other subjects. Presentation copy, boldly inscribed in charcoal across the title-page to Lajos Tihany, "Lieber Tihanny/ Es ist schön, dass sie mir damals gerne...haben. Um so bessere Freunde sind wir deswegen heute./ Oskar Kokoschka/ Paris 7.31." Tihanyi (1885-1938), an important figure in the Hungarian avant-garde of the teens and twenties, in the circle of Kassák and the review "MA," moved to Paris in 1923, where he remained until his death. Portraiture was his major enterprise, in a style quite reminiscent, in fact, of Kokoschka. Portfolio somewhat bit worn; light creasing at the edges of the title-page and plates. Rare.

Berlin (Der Sturm), [1913]. $1,500.00

Spalek 3330

 

170

KRATER UND WOLKE

Herausgeber: Ralf Winkler [i.e. A.R. Penck]. Nos. 1-7, June 1982 - 1990. (206), (206), (206), (192), (202), (250), (228)pp. Prof. illus. throughout with halftone photographs, drawn elements, etc., on various paper stocks, and with 27 original prints hors texte (many in color), by Georg Baselitz, Jörg Immendorff, Markus Lüpertz, Per Kirkeby, A.R. Penck, et al. 3 45-rpm recordings loosely inserted, as issued, in mounted paper sleeves in nos. 1-3; halftone poster in no. 7. Lrg. 4to. Dec. wraps. Glassine d.j. Publisher’s cartons. Issue no. 1 is dedicated to Georg Baselitz, no. 2 to Jörg Immendorff, no. 3 to Markus Lüpertz, no. 4 to Per Kirkeby, no. 5 to James Lee Byars, no. 6 to "USA + Europa" and no. 7 again to Georg Baselitz. The complement of original prints in the includes numerous double-page and large folding images (some as large as 105 x 72 cm.), among them etchings, linocuts and lithographs in colors. Perfect condition.

Köln (Galerie Michael Werner), 1982-1990. $4,000.00

 

171

KRUCHENYKH, A.

Razboinik Van’ka-Kain i Son’ka-Manikiurshchitsa. Ugolnovnyi roman. [The Bandit Vanka "Cain" and Sonya the Manicurist. A criminal novel]. Risunki Marii Siniakovoi. Vstupitel’nye zamechaniia Borisa Nesmelova. 27, (3)pp. 6 lithographic plates (5 full-page). Sm. 4to. Dec. wraps. Edition limited to 1000 copies. The title-page dated 1925, the front cover 1926. This is the first appearance of Maria Siniakova’s remarkable freewheeling and rather funny illustrations, later to reappear in the 1927 "Chetyre Foneticheskikh Romana [Four Phonetic Novels]." Backstrip neatly taped, not affecting cover image; extremities of wrappers slightly chipped; pencilled inscription on title-page; a clean copy.

Moskva (Izdanie Vserossiiskogo Soiuza Poetov), 1925/1926. $1,400.00

MOMA 620; Getty 378; Compton 1917-34 p. 20f. (illus.)

 

172

 

(KULAGINA) Kruchenykh, Alexei E.

Zaumnyi iazyk [Transrational Language], u Seifullinoi, Vs. Ivanova, Leonova, Babelia, I. Sel’vinskogo, A. Veselogo, i dr. [in Seifullina, Vsevolod Ivanov, Leonov, Babel’ Il’ia Sel’vinskii, A. Veselyi, and others]. 59, (5)pp. 2 tailpieces by Kulagina. Wraps. Glassine d.j. The handsome typographic cover design, printed in red and black, and two tailpieces within, printed in black, are the work of Valentina Kulagina (1902-1987). "Kulagina designed a cover for Kruchenykh’s book ‘Transrational Language’ (‘Zaumnyi iazyk) which makes a good stylistic comparison with Rodchenko’s design for Mayakovsky’s poem ‘Mayakovsky Smiles, Mayakovsky Laughs, Mayakovsky Jeers’.... She purposely made some of the title appear ‘out of key’ by allowing some letters to read out of register where the background color changes from red to black, thus emphasizing their meaning. In contrast, Rodchenko strove to convey the greatest possible sense of order in his carefully spaced lettering..." (Compton). Small early stamp inside back cover; a trifle worn.

Moskva (Vseros. Soiuz Poetov), 1925. $750.00

MOMA 599; Getty 392; Compton: 1917-1934, p. 79f. (full-page illus. 42)

 

173

KUPKA, FRANTISEK

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

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

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

 

174

KUSIKOV, ALEKSANDR

Koevangelieran [Ko-gospels-ran]. Illustrations by Boris Erdman. (32)pp. 3 illus. 4to. Wraps. (separating at backstrip). The first edition of this collection of verse. Kusikov’s neologism, "Koevangelieran," is meant to acknowledge the two sources of his inspiration, the Gospels and the Koran, which he here attempts to integrate. An erratum on the title-page ("Kaevangelieran," not noted by Markov) has been corrected by the publishers with a pasted slip.

Moskva (Pleiade), 1920. $650.00

MOMA 286; Getty 415

 

175

(LAAGE) Schiefler, Gustav

Das graphische Werk Wilhelm Laages bis 1912. (Hamburgische Liebhaber-Bibliothek. Herausgegeben im Auftrage der Gesellschaft Hamburgischer Kunstfreunde. ) 77, (1)pp. 18 original woodcuts by Laage, including 5 full-page hors texte, on laid paper. Lrg. 4to. Dec. wraps. Edition limited to 330 numbered copies. The Hamburg artist Wilhelm Laage (1868-1930), whose woodcuts were published in "Ver Sacrum," and shown at the Vienna Secession and the first Brücke exhibition in 1906, was a major influence on the early Kokoschka and on Kirchner--so much so, in fact, that Kirchner appears to have made concerted efforts in later years to conceal Laage’s significance as a forerunner of Expressionist printmaking, in favor of his own work. Laage’s woodcuts in this publication are quite striking, some for their evident connections to work by Munch and van Gogh, and some for their radical simplication. Interestingly, the catalogue was distributed by the Galerie Commeter, which sponsored the 1912 Brücke exhibition. A very fresh copy.

Hamburg (Gedruckt bei Lütcke & Wulff), 1912. $1,500.00

Riggs p. 415; Cf. Nebehay, Christian M.: Ver Sacrum, 1898-1903 (München, 1979), p. 135ff. (quoting remarks by A. Hagenlocher)

 

176

LACERBA

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

Firenze, 1913-1915. $5,000.00

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

 

177

(LARIONOV) Kruchenykh, Alexei E.

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

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

MOMA 33; Getty 373; Compton p. 102; Markov p. 43; Janecek p. 83

 

178

(LAURENCIN) Mansfield, Katherine

The Garden Party, and Other Stories. With coloured lithographs by Marie Laurencin. (8), 315, (5)pp. 16 color lithographs, integrated with text. 4to. Green patterned cloth, in imitation of pastepaper boards. Edition limited to 1200 numbered copies, printed on wove paper by Hans Mardersteig at the Officina Bodoni, Verona. A little rubbed at lower outer corners.

London (The Verona Press), 1939. $2,000.00

 

179

(LAURENS) Radiguet, Raymond

Les Pélican. Pièce en deux actes, illustré d’eaux-fortes par Henri Laurens. (24)pp. 7 original etchings (including 1 on front wrapper; 2 full-page). Sm. folio. Original wraps. (slightly worn). One of 90 copies on Hollande van Gelder, signed in pen by Laurens and Radiguet in the justification, from the limited edition of 112 in all; the etchings printed by Delâtre. Laurens’ first livre d’artiste, with exquisitely droll cubist etchings of Radiguet’s ménage Pélican: Pélican père smoking a cigar, his children Anselme and Hortense, and his mistress Mlle. Charmant the governess. Radiguet, who was to die shortly after the appearance of the book, at the age of twenty, had actually wanted the illustration entrusted to Juan Gris, and it took some tenacity on Kahnweiler’s part to hold out for Laurens--a wise choice, as Chapon notes. Tiny hole at edge of title-page; a little light wear, otherwise a fine copy.

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

Hugues 9; Bozo p. 181; Castleman p. 174; The Artist and the Book 156; Manet to Hockney 62; Skira 194; Rauch 125; Chapon p. 284; Stein 70; Siena 45; Basel 140

 

180

LE CORBUSIER-SAUGNIER

Vers une architecture. Deuxième édition. xi, (1), 230pp. Prof. illus. 4to. Boards, mounted with the clipped front cover of the original wraps. The designation "Deuxième édition" at the base of the front cover refers in this case simply to a second printing of the first edition. The second edition proper was published a year later, in 1924, with revisions, under the name "Le Corbusier,’ rather than ‘Le Corbusier-Saugnier.’ An attractive copy. Rare.

Paris (Editions G. Crès et Cie.) [1923]. $850.00

Freitag 6677; Sharp p. 70; Cf. Printing and the Mind of Man 413 (citing first printing)

 

181

LEVINI, FELICE & DAMIANI, CLAUDIO

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

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

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

 

182

(LISSITZKY) Sel’vinskii, Il’ia

Zapiski poeta. Povest’ [Notes of a Poet. A tale]. 91, (3)pp., 1 folding page of verse. Dec. wraps., printed in red and sepia with a photomontage design by El Lissitzky. Lissitzky’s famous cover design incorporates his double-exposed portrait photograph of Hans Arp (1924), set against a section of the back page of "391" No. 14 (Tristan Tzara’s "Une nuit d’échexs gras," advertising Dada publications). As Compton has noted, the page Lissitzky chose features two different settings of the title "391" one above the other, which seems to echo the double-exposure of the photograph of Arp. He also added the name of the hero of the book to Arp’s collar. Folding page with expert mend to clean tear; the Lissitzky cover in very fresh and bright condition.

Moscow/Leningrad (Gosudarstvennoe Izdatel’stvo), 1928. $1,500.00

Nisbet 1928/1, color plate 102; MOMA 750, color plate p. 218; Getty 700; Compton p. 90, illus. 53; Barron/Tuchman 165; Andel: Avant-Garde Page Design 1900-1950, no. 334

 

183

(LORENZ, KARL) Shakespeare, W.

Helena. [Aus: Ein Sommernachtstraum. Übersetzt von A.W. Schlegel. Schnitte von Karl Lorenz.] (2. Gastdruck.) (3), 12, (3)ff., printed entirely in full-page woodcuts, all with black ground, finished by hand in red, yellow, blue, green and brown watercolors. The cuts include text on most leaves (all partly illuminated in watercolor), five leaves with watercolored figure compositions (each signed and dated "KLorenz 27" in pencil), and watercolored abstract decorative endpapers. Sm. folio. Self-wraps., printed in woodcut and finished by hand in colors. Copy 19, signed and numbered in pencil, from the unstated limited edition. The writer and artist Karl Lorenz (1888-1961), editor of "Die Rote Erde" and "Das neue Hamburg" and an influential figure of the Expressionist movement in Hamburg, was also important in the history of modern German artists’ books for the small woodcut editions he designed and printed at his own Turmpresse, between 1925 and 1933. This book combines bold, deliberately childlike images of a moon-faced stick-figure, delineated in primary colors against a deep black ground, with a large-scale simplified text, set on facing pages against the same deep black. Simple and as casual in style as a crayon drawing, the graphic and coloristic effect is almost of a children’s book realized in glowing stained glass. This copy is accompanied by an exuberantly written 13-page autograph letter, dated 30 August 1928 (in transit, on a train), to a Studiendirektor Notnagel, discussing the Turmpresse at length, and including a sketch in ink of the same figure which appears in the book.

[Malente-Gremsmühlen] (Turmpresse), 1927. $4,000.00

Rodenberg Erg.-Bd. 64

 

184

LUCA, GHERASIM

Inventatorul Iubirii. Urmat de Parcurg Imposibilul si de Moartea Moarta. 116, (4)pp. 10 full-page halftone plates in text. Lrg. 8vo. Wraps. One of 500 numbered copies on Vergé-chamois, from the limited edition of 520 in all. Luca’s illustrations--five grid compositions of photographic fragments, and five photographs of his sometimes Giacometti-influenced wire sculptures--show him to be an advanced and interesting artist, as well as littérateur.

Bucuresti (Editura Negatia Negatiei), 1945. $2,500.00

Ilk K459, illus. p. 104

 

185

LUCA, GHERASIM

Un Lup Vazut Printr’o Lupa. Ilustrata cu trei vaporizari de Trost. 105, (7)pp. 3 illus. Lrg. 8vo. Wraps. One of 250 numbered copies on offset paper, from the limited edition of 269. Trost’s three "vaporizations" are angular ink drawings reminiscent of tree branches. A little light wear; index leaf mended, without loss.

Bucuresti (Editura Negatia Negatiei), 1945. $1,800.00

Ilk K458, illus. p. 105

 

186

LUCA, GHERASIM & TROST [DOLFI]

Dialectique de la dialectique. Message addressé au mouvement surréaliste international. 30, (2)pp. Wraps. One of 330 numbered copies on vergé, from the limited edition of 553. An important Rumanian surrealist manifesto.

Bucarest (Surréalisme), 1945. $1,500.00

Ilk K463

 

187

(LUCA / TROST) Bucuresti. Sala Brezoianu

Gherasim Luca, Trost. Présentation de graphies colorées, de cubomanies et d’objets. Janvier 1945. (16)pp. 2 tipped-in halftone illus. Lrg. 8vo. Self-wraps. Texts by the artists. Unstated limited edition, estimated by Ilk at circa 500 copies.

Bucuresti, 1945. $950.00

Ilk K465, illus. p. 105

 

188

LUCA, GHERASIM, et al.

 

Éloge de Malombra. Cerne de l’amour absolu. [Par] Gherasim Luca, Gellu Naum, Paul Paun, Virgil Teodorescou, Trost. (8)pp. 1 halftone illus. (film still). Self-wraps., stapled as issued. Unstated limited edition, estimated by Ilk at circa 500 copies. "Ce texte, inspiré par le film involontairement surréaliste ‘Malombra’...." A little worn, backstrip partly split.

Bucarest (Surréalisme), 1947. $600.00

Ilk K464

 

189

MA. Aktivista Folyóirat. Vol. VIII, No. 9/10.

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

Wien, 1923. $1,000.00

 

190

MAHRT, HAAKON BUGGE

Modernisme. 127, (1)pp., 10 plates with 28 illus. 3 line-drawn figs. Lrg. 4to. Wraps., with photomontage cover design. A quite interesting study of modernism, with chapters on, among other things, the Douanier Rousseau, abstraction, the machine, Russian drama, and film, including Chaplin in particular; there are several film stills as full-page plates. Unopened; covers slightly chipped at backstrip and extremities.

Oslo (Gyldendal Norsk Forlag), 1931. $375.00

 

 

191

MAIAKOVSKII, V.

Kak delat’ stikhi [How to Make Poetry]. (Biblioteka "Ogonek." 273.) 53, (3)pp. Sm. 8vo. 14,500 copies printed.

Moskva (Akts. Izd-vo. "Ogonek"), 1927. $650.00

Getty 512

 

192

MAIAKOVSKII, V.

Lirika [Lyrics]. 91, (5)pp. Lrg. 8vo. Dec. wraps., printed in orange and black with a handsome constructivist typographic composition by Anton Lavinskii (light wear). Publisher’s device on flyleaf designed by Iu. Annekov. 5000 copies printed. First edition of this collection of poems, partly autobiographical in character, dedicated to Lilya Brik.

Moskva/Petersburg ("Krug"), 1923. $700.00

Getty 516

 

193

MAIAKOVSKII, V.

My i pradedy. Stikhi [We and Our Forefathers. Verse.] 34, (6)pp. Sm. 4to. Dec. wraps., with bold constructivist title composition on front cover in red and black. 3000 copies printed. First edition. The unsigned cover design, sometimes credited to Rodchenko, is the work of to Nikolai Il’in. A little light foxing, but a nice copy.

Moskva (Molodaia Gvardiia), 1927. $850.00

MOMA 695-696;Getty 525

 

194

MAIAKOVSKII, V.

Stikhi i revoliutsii: Oktiabr’, fevral’, golod, Evropa, iskusstvo, smeshnoe [Poetry of the Revolution: October, February, famine, Europe, art, laughs]. 98, (2)pp. Wraps., with typographic composition on front cover by Rodchenko, printed in orange. 3000 copies printed. Covers a little stained and worn.

Moskva (Izdatel’stvo "Krasnaia Nov" Glavpolitprosvet), 1923. $500.00

Getty 541

 

195

(MAN RAY) Pana, Sasa

Muntii noaptea nelinistea. Poeme. Man Ray: desen. 47, (1)pp. Line-drawn frontis. by Man Ray. Sm. 4to. Wraps. One of 180 numbered copies, from the limited edition of 199. Internal inscription, dated Bucharest 1940.

[Bucharest] (Editura UNU), 1939/1940. $2,500.00

Ilk K494, illus. p. 102

 

196

(MANET) Zola, Emile

Ed. Manet. Étude biographique et critique, accompagnée d’un portrait d’Ed. Manet par Bracquemond et d’une eau-forte d’Ed. Manet d’après Olympia. 48pp. 2 original etchings hors texte: one by Manet ("Olympia") and one by Bracquemond (portrait of Manet). Sm. 4to. Orig. printed wraps. (neatly removed from a binding). "This is the pamphlet that was published for Manet and Zola by Dentu on the occasion of Manet’s major one-man exhibition in May 1867. It consists of a re-edition of Zola’s January 1 article in the ‘Revue du XIXe Siècle,’ a frontispiece portrait of Manet etched by Bracquemond, and Manet’s little etching after his painting ‘Olympia’ opposite Zola’s famous analysis of the painting. Zola had suggested the idea of putting the brochure on sale at Manet’s exhibition, held in a pavilion built at the artist’s expense off the avenue de l’Alma.... Printed in an edition of 600 impressions for this pamphlet, this reproduction of the painting Zola considered the artist’s ‘chef-d’oeuvre’ is a proof of their friendship and their joint efforts for the success of Manet’s exhibition. The price and the number sold are unknown, but it is likely that the illustrated pamphlet was appreciated only by the ‘devotees and people of refined taste’ referred to in Babou’s review" (Juliet Wilson Bareau, in the Metropolitan Museum catalogue). Intermittent light foxing, not affecting the prints; a clean and crisp example.

Paris (E. Dentu), 1867. $4,500.00

Moreau-Nelaton 17; Guérin 39; Harris 53; New York, The Metropolitan Museum of Art: Manet, 1832-1883 (1983), cat no. 69 (illus. 69 and figs. a-b).

 

197

MANOMÈTRE. NO. 5

Février 1924. Mélange les langues, enregistre des idées, indique la pression sur tous les méridiens, est polyglotte et suprarational. [Directeur/ Gérant:] Émile Malespine. (20)pp. Original woodcuts by Jozef Peeters (full-page) and Émile Didier. Lrg. 8vo. Self-wraps. Texts by Malespine, Roberto A. Ortelli, Michel Seuphor, Bernjamin Péret, Tristan Tzara, Julio J. Casal. Nine issues in all were published of "Manomètre" at irregular intervals between July 1922 and January 1928. Though originating in the provincial center of Lyon, it was a sophisticated international review, on the Dada-Surrealist axis, but with a strong Constructivist component as well. The inclusion of Spanish material (by Ortelli and Casal in this issue) is characteristically offbeat and interesting. A fresh, crisp copy. Rare.

Lyon, 1924. $850.00

Dada Global 140; Almanacco Dada 85; Ades 9.71; Admussen 125; Chevrefils Desbiolles p. 295

 

198

MANOMÈTRE. NO. 6

Aôut 1924. Mélange les langues, enregistre des idées, indique la pression sur tous les méridiens, est polyglotte et suprarational. [Directeur/ Gérant:] Émile Malespine. (20)pp. Woodcut illustrations by Serge Charchoune and László Moholy-Nagy. Lrg. 8vo. Self-wraps. Texts by Malespine, Vicente Huidobro, Pierre Laurent, Tilly Brugman, J. Gonzalez del Valle, César Geoffray, Julio J. Casal, and Piet Mondrian ("Les arts et la beauté de notre ambiance tangible"). A fresh, crisp copy. Rare.

Lyon, 1924. $850.00

Dada Global 140; Almanacco Dada 85; Ades 9.71; Admussen 125; Chevrefils Desbiolles p. 295

199

MARIN, JOHN

Drawings and Watercolors. (10)pp., 32 plates with 38 illus. (8 color collotype). 4to. Portfolio (cloth, 1/4 morocco gilt). All contents loose, as issued. Edition I, limited to 125 copies, signed and numbered in pen by Marin in the colophon, with an original etching by Marin ("The Lobster Fisherman," Zigrosser 172), signed and numbered in pencil, loosely inserted. Text and plates printed by Arthur Jaffe, New York, and G. Duval, Paris, the monochrome plates on Johannot. Design by John Marin. Marin’s long and poetic introduction, discussing the nature of drawing and his conception of art, as well as the making of these particular sketches, is reproduced directly from his own beautiful manuscript text, as is every other element of the portfolio; no part of the publication is set from type. A little light foxing: a fine copy, the etching in perfect condition.

New York (The Twin Editions), 1950. $1,500.00

 

200

MARINETTI, F.T.

Gabriele D’Annunzio intime. (Le Mostre Celebrità. Serie B. No. 4.) 29, (3)pp. Sq. 8vo. Dec. wraps., designed by Sach. Unopened. One of Marinetti’s earliest publications, a series of articles dedicated to his Symbolist forebear (the great poet caricatured on the front cover, polishing his laurels). Backstrip neatly split, otherwise fresh.

Milano ("Verde e Azzurro"), [1903]. $250.00

Salaris p. 44; Falqui p. 43; Martin p. 31

 

201

MARINETTI, F.T. (introduction).

I poeti futuristi. Con un proclama di F.T. Marinetti e uno studio sul verso libero di Paolo Buzzi. 428, (8)pp. 8vo. Wraps, designated "37° migliaio." Front cover detached, but a bright copy. Featuring Libero Altomare, Giuseppe Carrieri, Enrico Cavacchioli, Auro D’Alba, Luciano Folgore, Corrado Govoni, F.T.Marinetti, Armando Mazza and Aldo Palazzeschi. The second collective anthology of the Futurist movement after "Enquête internationale sur les vers libre et manifeste du futurisme par F. T. Marinetti" (Milano 1909).

Milano (Edizioni Futuriste di "Poesia"), 1912. $300.00

Salaris p. 74; Falqui p. 69

 

202

MARINETTI, F.T.

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

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

Salaris p. 75

 

203

[MARINETTI, F.T.]

Marinetti in Russia. 1f., folding, printed on recto only.. Very tall 4to. A report in broadside format, reprinted from the Trieste "Piccolo," on Marinetti’s activities in Moscow and St. Petersburg, promoting "Zang Tumb Tumb," and other works by him, and by Boccioni, Russolo, et al.

Milano (Movimento Futurista), [1914]. $300.00

Salaris p. 84

 

204

MARINETTI, F.T. (translator)

Mallarmé: Versi e prose. Prima tradizione italiana. (Raccolta di Breviari Intellettuali. N. 24.) 12mo. Full leather, elaborately embossed. The striking proto-Fascist binding, credited by Salaris to Duilio Cambellotti, shows an heroic nude giant struggling to carry a carillon of bells over his shoulders, as he strides across tilled fields.

Milano (Istituto Editoriale Italiano), n.d. [circa 1916]. $100.00

Salaris p. 47

 

205

MARINETTI, F.T.

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

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

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

 

206

MARINETTI, F.T.

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

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

Salaris p. 76

 

207

MARINETTI, F.T. & TATO

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

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

Salaris p. 91; Lista: Futurismo e fotografia p. 217ff.

 

208

(MARINI) Marini, Egle

 

Tout près de Marino. Dix eaux-fortes originales de Marino Marini. 65, (7)pp. 10 full-page original etchings in text, of which 8 printed in colors. Folio. Portfolio (printed wraps). Publisher’s printed clamshell slipcase. Édition de tête: one of 15 Roman-numeraled copies on japon nacré, accompanied by an extra suite on japon with all 10 etchings signed and numbered in pencil by the artist; from the limited edition of 156 copies in all, signed by the artist in the justification. Etchings printed by Lacourière et Frélaut.

Paris (Société Internationale d’Art XXe Siècle), 1971. $18,500.00

Guastalla, Giorgio & Guido: Marino Marini: Catalogo ragionato dell’opera grafica (incisioni e litografie), 1919-1980 (Livorno, c. 1990), p. 255

 

209

MARX, ROGER

Études sur l’école française. (4), 86pp., 39 plates hors texte, including original etchings by J.-F. Millet ("Femme donnant à manger à son enfant,"), C.-F. Daubigny (Soleil couchant"), J.B.C. Corot ("Souvenir de Toscane"), F. Bracquemond (2 after Ingres and Delacroix), H. Guérard, et al. 1 original lithograph by T. Chassériau ("Apollon et Daphné"), and numerous other reproductive prints, heliogravures, etc. 4to. Original wraps. Glassine d.j. (slightly chipped). A number of the prints are in later states, having appeared intermediately in the "Gazette des Beaux-Arts." Presentation copy inscribed by Roger Marx on the half-title. A little pale foxing; a fine copy. Rare.

Paris (Gazette des Beaux-Arts), 1903. $3,200.00

 

210

(MASSON) Limbour, Georges.

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

Limbour’s first book, and Masson’s first prints, as well as his first illustrated book. "Masson’s initial printmaking was for book illustration, but of a decidedly different nature, being surrealist, than book illustration by other artists of the time. The etchings for Limbour’s ‘Soleils bas’ were reflections of Masson’s bent at the moment--dead birds, flames, underground (psychological) enclosures, tombs, in short, all those symbols of isolation and individual struggle, if they can be so interpreted, which Masson sought to express in those first years of surrealism. That such images had no literal relation to Limbour’s poems was the whole point of the collaboration: Limbour’s poems were expressed in typography, Masson’s images in intaglio, and the two elements together were joined in that spiritual harmony which two young artists wished to express in what in effect was hardly the conventional illustrated book" (Saphire: André Masson, The Complete Graphic Work). A superb copy, virtually mint in the original glassine, from the library of Albert Skira (though not marked as such).

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

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

 

211

(MASSON) Leiris, Michel & Masson, André

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

The first published work of Michel Leiris, ‘Simulacre’ was Masson’s second illustrated book, and included his first lithographs. "‘Simulacre’ was Leiris’ first book of poetry, published by Masson’s dealer Kahnweiler. Leiris was shortly to marry Kahnweiler’s sister-in-law...in whose name the gallery was put in 1940 to save it from confiscation by the Nazis.... ‘Simulacre’ was long rumored to have been a jointly ‘automatic’ work by both poet and painter, epitomizing a surrealist ideal, with both Masson and Leiris sharing mutual subconscious impulses. While undoubtedly there was some of that element present between two close friends, and while some poems and illustrations were achieved while the two were in the same room, Leiris stated that it was often more conventional--he wrote his poems, and Masson made his automatic lithographs separately. A proof of this lies in Masson’s habit of making preparatory drawings for his prints, at least two of which exist for ‘Simulacre’ " (Saphire: André Masson, The Illustrated Books). A very fine copy in the original glassine.

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

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

 

212

(MASSON) Desnos, Robert

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

Masson’s third illustrated book. "These are Masson’s first ‘automatic’ etchings, done with as much fluidity as the lithographs for ‘Simulacre’ which were in a medium corresponding more closely to drawing on paper. Unlike the illustrations for Masson’s first two books, these tend to be matched more closely to the subject of the poems. The use of bistre ink reflects the first use of Masson’s desire to introduce coloration into his printmaking" (Saphire: André Masson, The Complete Graphic Work). "While Kahnweiler knew the authors of the first two books Masson illustrated for him, it was probably Masson who suggested that his friend Desnos be the author of the third. Kahnweiler accorded Masson the large format which he had used in the past for such notable volumes as Picasso’s ‘St. Matorel,’ Vlaminck’s ‘Voyages’ and ‘Communications,’ Braque’s ‘Le piège de Méduse,’ Léger’s ‘Lunes en papier,’ and Gris’ ‘Ne coupez pas Mademoiselle ou les erreurs des P.T.T.’" (Saphire: André Masson, The Illustrated Books). A superb copy, virtually mint in the original glassine, from the library of Albert Skira (though not marked as such).

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

Saphire: Andé Masson, The Illustrated Books, 3; Saphire: André Masson, The Complete Graphic Work 12-15; Rubin/Lanchner III.78 Hugues 22; Hugues 22; Gershman p. 16; Pompidou Kahnweiler p. 186; Chapon p. 285; Skira 237; Rauch 131; Wheeler p. 107; Winterthur 118; Andel 139; Surrealist Prints 67-69

 

213

(MASSON) Jouhandeau, Marcel

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

Masson’s fourth illustrated book. "Illustrating a novel rather than a thin book of poetry was unusual at this point in Masson’s artistic milieu, although he had provided three portraits for the serialized version of Aragon’s ‘Le paysan de Paris.’ For Jouhandeau his illustrations are a curious but brilliant compromise between figuration, following the novel’s plot, and automatic compositions which reflect much of his work in 1927 in sand painting. Since these etchings came at the same time, there is always the possibility that they influenced his style of 1927 rather than the opposite" (Saphire: André Masson, The Illustrated Books). A superb copy, unopened, in the original glassine, with a presentation inscription by Marcel Jouhandeau on the first blank leaf, in lavender ink: "La volupté aussi bien, si elle est sans faute, fait allusion à des mystères qui la dépassent. M.J." From the library of Albert Skira (though not marked as such).

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

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

 

214

(MASSON) [Aragon, Louis]

 

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

"By 1928, the classic period of Masson’s automatic drawing had ended, for reasons probably having more to do with his relations with Breton and surrealism than with anything else. At this point too, perhaps because four or more shelves of unsold books were enough, Kahnweiler ceased to do a yearly publication. The gap was filled by Pascal Pia who published the first of the two erotic books illustrated by Masson: ‘Le con d’Irène.’ Masson’s etchings were less literal than those of its publishing sequel, Georges Bataille’s ‘Histoire de l’oeil,’ for which Bataille requested fairly obvious illustrations, but it followed Aragon’s text to the point where Masson wrote the lines he was interpreting, albeit freely, under the illustration...." (Saphire: André Masson, The Complete Graphic Work). A significant association copy, with the neat ownership inscription of Marco Ristic on the front flyleaf, dated 21.2.1929. Ristic was perhaps the leading figure in Slovenian Surrealism; poet, critic and editor, he was a friend and active correspondent of André Breton (for an extensive vita, see Biro/Passeron). One section slightly shaken; a fine copy.

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

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

 

215

(MATISSE ) Reverdy, Pierre.

Les jockeys camouflés. Trois poèmes agrémentés de cinq dessins inédits de Henri Matisse. (40)pp. 5 full-page reproductions of ink drawings hors texte. Text printed in green, orange and blue. 4to. Printed wraps. Glassine d.j. Fitted quarter-calf slipcase and chemise. One of 300 numbered copies on uncut vergé d’Arches, from the limited edition of 343 in all. "Les jockeys camouflés" has sometimes been called Matisse’s first illustrated book, a claim which is not strictly true, as it incorporates drawings made, in a few cases, years before, between 1903 and 1917. Nonetheless, it is the first book to contain a multitude of images by him integrated in this fashion. Two editions of it were printed, both in 1918. This one, the first, has the text beautifully set in three colors, rather like Blaise Cendrars’ and Fernand Léger’s ‘J’ai tué,’ also published by François Bernouard in this year. Reverdy, who had not authorized this typographical caprice and was infuriated by it, forced Bernouard to issue a second version of it, in black-and-white. A few small spots on front cover; a copy, fresh and crisp, from the library of Albert Skira (though not marked as such).

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

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

 

216

MATISSE, HENRI

Cinquante dessins par Henri-Matisse. Album publié par les soins de l’artiste. Preface by Charles Vildrac. 7, (7)pp., 1 original etching by Matisse, signed in pen in the margins ("Mlle. M.M."), 49 collotype plates. 4to. Contemporary cloth (rather worn, chipped at backstrip and hinges). Orig. printed wraps. (with printed vignette of a nude by Matisse) bound in. One of 1000 copies on Hollande van Gelder, from the limited edition of 1003 in all. The frontispiece etching is printed on chine français teinté contre collé.

An historic presentation copy, inscribed in pen by Matisse on the second blank leaf "à mademoiselle Catherine Viviano/ en souvenir de ma visite à New-York/ de mai 1933/ respectueusement/ Henri-Matisse." Catherine Viviano, who was in later years to open an important New York gallery of her own, was the long-time aide and assistant of Pierre Matisse at the Pierre Matisse Gallery until 1949. Just shortly before the presentation of this book, Pierre Matisse had in fact held an exhibition of the same title, "Henri Matisse: Fifty Drawings," in November-December 1932. "Cinquante dessins," published by Matisse himself, reproduces fifty studies of the model done in Nice and Issy between 1918 and 1920. Having travelled back and forth between France and the US several times since 1930, Matisse had just completed and delivered the second version of his mural to Albert Barnes at his foundation in Merion Pennsylvania, when he inscribed this book to Catherine Viviano. All contents hinged into the binding.

Paris (Éditions des Quatre Chemins), 1926. $6,000.00

Duthuit 68; Duthuit Ouvrages illustrés 2

 

217

(MATISSE, HENRI)

Henri Matisse dessins: thèmes et variations. Précédés de "Matisse-en-France" par Aragon. (2), 39, (1)pp., 158 plates. Frontispiece linogravure and 3 lithographic ornaments, designed by Matisse. Sm. folio. All contents loose, as issued, in printed folder, within publisher’s board portfolio; ties. One of 920 numbered copies on Vélin pur fil, from the limited edition of 950 in all, printed in collaboration with Roger Lacourière by G. Duval and Feuquet et Baudier.

An important presentation copy, with a magnificent full-page pencil drawing of a nude on the half-title, inscribed by Matisse at upper right "En hommage/ à Catherine/ Viviano/ H Matisse/ Juillet 48." Drawing dimensions: 325 x 245 mm. (12 3/4 x 9 5/8 inches). "From Nice, on April 3, 1942, [Matisse] wrote Pierre in New York: ‘For a year now I’ve been making an enormous effort in drawing. I say "effort," but that’s a mistake, because what has occurred is a "floraison" after fifty years of effort...’ Fortunately Matisse’s drawings of this period were copiously published in 1943 by Fabiani with a discerning, affectionate and poetic preface by Louis Aragon in a volume entitled ‘Dessins: thèmes et variations.’ Matisse called it ‘...a motion picture film of the feelings of an artist. A suite of successive images resulting from the realization of a given theme on the part of the creator’" (Barr).

The superb drawing, full of characteristic sensual elegance, presents a nude young woman in a necklace, standing full-length at the lefthand side of the sheet, bisected by the printed text "Thèmes et variations." At the time it was drawn, July 1948, Matisse was in Paris, deeply involved in designs for the chapel at Vence. Provenance: Viviano family. An extremely fresh copy.

Paris (Martin Fabiani, éditeur), 1943. SOLD

Duthuit Ouvrages illustrés 9; Barr p. 268, bibl. 102

 

218

MATISSE, HENRI

Poèmes de Charles d'Orléans. Manuscrits et illustrés par Henri Matisse. 100, (3)pp. 54 original color lithographs, with lithographed text by the artist printed in black within colored lithographic borders. Folio. Wraps., likewise by Matisse. Publisher's box (flap detached). One of 1200 copies from the limited edition of 1230, signed in pencil by the artist in the justification. Printed by Mourlot Frères. Matisse's last illustrated book, containing a profusion of ornaments and arabesques in a spectrum of pastel colors, interspersed with portraits of ladies in court costume. Every element of the book proceeds directly from Matisse's hand; only the justification is set from type. "In no other of Matisse's books does one feel the same sense of the artist's pleasure in his work as he plays here his subtle games with children's crayons" (Barr).

Paris (Tériade), 1950. $5,000.00

Duthuit 28; Nice p. 64ff.; The Artist and the Book 202; Rauch 174; Stern 73; Cramer 36; Tériade .39; Hommage à Tériade p. 130ff.; Garvey/Wick 35; Barr pp. 252f., 560; Mornand-Thomé p. 305; Bibliothèque Nationale: 50 livres illustrés depuis 1947, no. 10

 

219

(MAXY) Pana, Sasa

Calatorie cu Funicularul. Poeme. Cu un portret de M.H. Maxy. 92, (4)pp. Frontis. portrait of the author from a painting by Maxy. Lrg. 8vo. Wraps. One of 349 numbered copies on vélin Omnia, from the limited edition of 361.

Bucuresti (Editura UNU), 1934. $1,200.00

Ilk K489, illus. p. 97

 

220

(MAXY) Pana, Sasa

Echinox Arbitrar. Coperta si desene de M.H. Maxy. 48pp. 3 full-page illus. by Maxy. Lrg. 8vo. Dec. wraps., designed by Maxy (slightly soiled, partly unopened). One of 138 numbered copies on vélin from the limited edition of 150 copies. Presentation copy, inscribed by Pana on the half-title, 1943.

Bucharest (Colectia Editurii UNU), 1931. $2,750.00

Ilk K486, illus. p. 94

 

221

(MAXY) Voronca, Ilarie

 

Zodiac. Un desen si soperta de M.H. Maxy. 92, (4)pp. 1 tipped-in plate by Maxy at the outset. Lrg. 8vo. Dec. wraps., designed by Maxy (a bit worn). Edition limited to 300 numbered copies on vélin. Presentation copy, inscribed by the author on the front flyleaf.

Bucuresti (Editura UNU), 1930. $1,800.00

Ilk K521, illus. p. 92

 

222

MAZZA, ARMANDO

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

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

Salaris p. 55

 

 

223

MENDELSOHN, ERICH

Amerika. Bilderbuch eines Architekten. Mit photographischen Aufnahmen des Verfassers. 1.-3. Auflage. ix, (1), 82, (2)pp., 77 plates with 78 gravure illus. Folio. Publisher’s printed boards, 1/4 cloth. First edition. The skyscrapers and urban landscape of New York, Chicago, Detroit, Buffalo, presented with passionate intensity; one of the great books of architectural photography. Covers slightly darkened; a fine copy.

Berlin (Rudolf Mosse Buchverlag), 1926. $650.00

Freitag 8069

 

224

(MENDELSOHN) Badovici, Jean (introduction)

L’architecture vivante en Allemagne: Erich Mendelsohn. (L’Architecture Vivante. [Hiver 1932.]) (16)pp., 25 plates with numerous fine collotype illus. 6 pages of plans in text. Lrg. 4to. Portfolio (boards, 1/4 cloth; ties). All contents loose, as issued. This portfolio is devoted entirely to the work of Erich Mendelsohn. A fine copy.

Paris (Éditions Albert Morancé), 1932. $300.00

 

225

MERIANO, FRANCESCO

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

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

Salaris p. 55; Falqui p. 72

 

226

MESENS, E.L.T.

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

London (London Gallery Editions), 1944. $400.00

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

 

227

(MIRO) Tzara, Tristan

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

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

Cramer 1; Mourlot 2-5; Berggruen 9; Harwood 12; The Artist and the Book 205; Manet to Hockney 87 ; Skira 263; Rauch 163; Strachan p. 64; Berggruen 163; Andel 144

 

228

(MIRO) Tzara, Tristan.

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

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

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

Cramer 17; Mourlot 102,104-107; Berggruen 34; Harwood 42; The Artist and the Book 206 (full-page illus. in color), p. 145; Chapon p. 290f., cf. p. 178; Rauch 165; Strachan p. 339, cf. p. 126; Villa Stuck 75; Basel 200; Stern 77; Bareiss 48; Bibliothèque Nationale: 50 livres illustrés depuis 1947, no. 9

 

229

(MIRÓ) Prévert, Jacques & Ribemont-Dessaignes, G.

Miró. 219, (1)pp., 8 original color lithographs by Miró (4 folding). Prof. illus. (numerous color). Sq. 4to. Wraps. D.j. Lithographs printed by Mourlot.

Paris (Maeght), 1956. $1,250.00

Mourlot 162-170

 

230

[MOLZAHN, JOHANNES]

Willst Du wie dieser sein.... Broadside (verso blank). 297 x 416 mm. (ca. 11 3/4 x 16 3/8 inches). 2 halftone illus. Oblong sm. folio. A municipal flyer promoting exercise and physical development. Layout credit to the Kunstgewerbeschule Magdeburg. The forceful "new typography" design of the flyer is undoubtedly the work of the designer Johannes Molzahn, director of the Kunstgewerbeschule from 1923 to 1928. Unobtrusive foldlines.

Magdeburg [ca. 1928]. $400.00

 

231

MOYLAN, DONNA

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

Roma, 1984. $1,000.00

 

232

MUCI

[Mucous.] Pentruca nu purtam fuduliile in tabachera ne intitulam Grupul Mucosilor. No. 1, Feb. 7, 1932 (all published). Editors: Aurel Baranga, S. Perahim, Gherasim Luca, Paul Paun. Texts by Baranga, Luca, Paun, Pals and Goldstein. 3 illus., including 2 erotic surrealist drawings by Perahim. Broadside folio, folding to oblong 4to, with tipped-on printed cover flap. Edition of 200 copies. A fine copy of this Rumanian surrealist review. Extremely rare.

Bucharest, 1932. $2,000.00

Ilk K381; Dokumentations-Bibliothek III.146d

 

233

NAUM, GELLU

Castelul Orbilor. 83, (9)pp. Sm. 8vo. Wraps. D.j. (lightly rubbed). One of 100 numbered copies on white vélin, from the limited edition of 300 in all.

Bucuresti (Colectia Suprarealista), 1946. $1,200.00

Ilk K477

 

234

NAUM, GELLU

Teribilul Interzis. Frontispiciu de Paul Paun. 95, (3)pp. Frontis. by Paun, printed in blue. Wraps. (light wear). One of 300 numbered copies on vélin.

Bucuresti (Colectia Suprarealista), 1945. $1,200.00

Ilk K476, illus. p. 104

 

235

NAUM, GELLU

Vasco de Gama. Cu un desen de Jack Hérold. 59, (3)pp. 1 full-page line-drawn illus. by Jacques Hérold. Lrg. 8vo. Wraps. Edition limited to 150 unnumbered copies on vélin. Intermittent pencilled underlining. Of great rarity.

Bucuresti, 1940. $1,800.00

Ilk K473, illus. p. 102

 

236

NÉON

Editors: S. Alexandrian, J. Heisler, V. Hérold, S. Rodanski, C. Tarnaud (Nos. 1-3); J.L. Bédouin, A. Breton, P. Demarne, J. Heisler, B. Péret (Nos. 4-5). Nos. 1-5, Janvier 1948 - Mai 1949 (all published). (4)pp. per issue. Tabloid large folio. Glassine covers. The subtitle for Nos. 1-3 (explaining the title as a circular acronym) is given as "N’être rien, Etre tout, Ouvrir l’être, Néant, Oubli, Etre," whereas Nos. 4-5 give this as "Naviguer, Éveiller, Occulter, Nacce, Oiseau, Étui." Texts by Breton, Mabille, Péret, Gracq, Alexandrian, Lecomte, Pastoureau, Demarne, Jouffroy, Lecomte, G. Davis, Nadeau, et al. Illus. by Hérold, Toyen, Brauner, Matta, Styrsky, Donati, Jean, Lam, Miró, Riopelle and others. "Plutôt qu’une revue, ‘Néon,’ la première publication du groupe surréaliste au lendemain de la Seconde Guerre mondiale, est un mince journal imprimé en fac-similé qui reflète l’impécuniosité de l’époque. Conçue par le poète tcheque Jindrich Heisler, la mise-en-page est perturbée par les illustrations de Brauner, Hérold, Lam ou Toyen, qui rejettent les textes dans les marges, leur laissant assez de place toutefois pour affirmer que rien n’est joué encore pour les surréalistes, qui veulent être ‘des prismes à réflexion totale pour toutes les lumières, surtout celles qui leur sont encore inconnues’" (Biro/Passeron). Ades compares the "all-over dramatic design" to some of de Zayas’s work in ‘291.’ "The second issue was designed by Kiesler, with the help of Magloire Saint-Aude, a Martinique poet, Brauner, Hérold and Toyen, with a sinuous black serpent form running through all four pages." Regular copies of "Néon" are printed on newsprint, and are usually found in browned and embrittled condition. In this set, three of the five issues (Nos. 2, 3 and 5) are from the "tirage demi-luxe," of 20 numbered copies, printed on fine heavy stock (but not accompanied by chemises or original drawings). The entire run is in excellent condition, rare thus.

Paris, 1948-1949. $2,500.00

Ades p. 431; Gershman p. 51; Biro/Passeron p. 299; Reynolds p. 115f.; Nadeau p. 328f.; Milano p. 580f.; Sheringham Ab407

 

237

NISIPEANU, CONSTANTIN

Femeia de Aer. Un poem si doua desene. 63, (1)pp. 2 full-page line-drawn illus. Folio. Wraps. Édition de tête: one of 26 hand-lettered copies from the limited edition of 150 in all, printed on pink "Fraga" paper. Very rare.

[Bucharest], 1943. $3,000.00

Ilk K483, illus. p. 103

 

238

NISIPEANU, CONSTANTIN

Metamorfoze. Poeme. 57, (5)pp. Lrg. 8vo. Wraps. An unnumbered copy of 200 numbered copies on vélin, from the limited edition of 226. Pencilled annotations on front flyleaf.

Bucuresti (Editura UNU), 1934. $1,600.00

Ilk K481

 

239

NISIPEANU, CONSTANTIN

Spre tara inchisa in diamant. (Colectia UNU. No. 2.) 31, (1)pp. Wraps. Unnumbered edition of 199 copies, printed on pale green stock.

Bucuresti (Editura UNU), 1937. $1,500.00

Ilk K482

 

240

(NOVEMBERGRUPPE)

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

Berlin [Willi Simon], 1919. $350.00

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

 

241

(NOVEMBERGRUPPE) Berlin. Grosse Berliner Kunstaustellung.

Führer durch die Abteilung der Novembergruppe Kunstausstellung Berlin, 1921. 16pp. Printed wraps. Most of the publication is given over to Raoul Hausmann’s introductory essay, "Die neue Kunst," dated May 1921, also published in "Die Aktion." This is followed by a room-by-room tour of the Novembergruppe section of the exhibition, discussing the pictures while deliberately omitting the names of the artists, in keeping with the current ideology of the movement. Hausmann, along with Hannah Höch and other Dadaist members, was by this time distancing himself from the group, as its original radicalism receded. The complete text is published in the catalogue of the Hausmann exhibition at IVAM and elsewhere, 1994.

Berlin, 1921. $600.00

 

242

PALADINO, MIMMO

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

[Milano] 1980. $15,000.00

 

243

PANA, SASA

Iarba fiarelor. (Colectia UNU. No. 1.) 28, (4)pp. Back cover vignette by Victor Brauner (previously printed in "UNU" no. 17). Self-wraps. (cover neatly mended). Unnumbered edition of 213 copies. Occasional annotations in ink.

Bucuresti (Editura UNU), 1937. $1,500.00

Ilk K491

 

244

PANA, SASA.

Viata romantata a lui dumnezeu. Cu un desen afara din text de Jean David. 73, (7)pp. Frontis. drawing by Jean David. Lrg. 8vo. Wraps. Edition limited to 150 hand-numbered copies. Presentation copy, inscribed on the title-page by Jean David, May 1932. Very rare.

Bucuresti (Editura UNU), 1932. $1,800.00

Ilk K487, illus. p. 95

 

245

PANA, SASA.

Vladimir. Portrete Mici. Dialoguri. (Colectia UNU. No. 4.) Sm. 8vo. Self-wraps., stitched, as issued. Edition limited to 96 unnumbered copies in all, hors commerce. A little light wear. Of greatest rarity.

Bucuresti (Editura UNU), 1938. $1,500.00

Ilk K493

 

246

[PANA, SASA, translator] Eluard, Paul.

Animalele si Oamenii lor Oamenii si Animalele lor. Poeme, traduse se Sasa Pana. (Colectia UNU. No. 3.) Wraps. (light wear). Unnumbered edition of 199 copies.

Bucuresti (Editura UNU), 1938. $1,500.00

Ilk K492

 

247

PANSAERS, CLÉMENT

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

Anvers (Ça Ira!), 1921. $850.00

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

 

248

PANSAERS, CLÉMENT

Bar Nicanor. Avec un portrait de Crotte de Bique et de Couillandouille par eux-mêmes. 52pp. 2 original relief prints by Pansaers, printed in brown, at outset of text. Contents printed on salmon-colored stock. Printed wraps. (lightly browned at edges). Glassine d.j. One of 300 numbered copies on bouffant, from the limited edition of 305. An important presentation copy, inscribed at the head of the first woodcut leaf "A Maurice Van Essche/ Ça Ira/ C Pansaers." Together with Pansaers and Paul Neuhuys, Van Essche was the co-editor, of the Belgian Dada review "Ça ira."

A fresh copy.

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

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

 

249

[PAPINI, GIOVANNI & SOFFICI, ARDENGO, editors]

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

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

Salaris p. 74

 

250

PARIS. Librairie José Corti

Le groupe Surréaliste. Catalogue de livres en vente à la Librairie José Corti. (6)pp. (single sheet, folding). 3 illus. of collages. Dec. self-wraps. A fine copy.

Paris, [1930]. $375.00

 

251

 

PARIS. Renou & Colle

Mexique. Préface d’André Breton. (16)pp. 5 tipped-in halftone illus. (including 1 on front cover). Sm. 4to. Dec. self-wraps. All contents loose, as issued. One of 550 copies on vélin du Marais, from the limited edition of 570 in all. Organized by Breton 10-15 March 1939, originally as a solo exhibition of paintings by Frida Kahlo, the show was expanded to include a wide range of discoveries made during his trip to Mexico in 1938: Precolumbian ceramics, colonial retables, woodcuts by Posada, and photographs by Manuel Alvarez Bravo, whom he was anxious to conscript in the Surrealist movement, and to whom he consecrates here a special text (as well as featuring a superb photo by him on the cover). Two of the four reproductive photographs (showing indigenous art) are by Raoul Ubac. Sheringham notes that Breton is the author of the entire pamphlet, not just the preface, as stated. A fine copy.

Paris, [1939]. $650.00

Sheringham Ac310; Pompidou Breton p. 248; Biro/Passeron p. 281; Reynolds p. 17; Milano p. 653

 

252

PARIS. Union Des Artistes Russes.

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

Paris, 1923. $500.00

 

253

PARIS. Union Des Artistes Russes.

Grand Bal des Artistes Travesti/Transmental. Salle Bullier, 23 février 1923. Programme. (16)pp. Illustrations and ornaments by Picasso, Ferat, Gris, Derain, Goncharova, Gomez de la Serna and others. Sm. folio. Dec self-wraps., with cover illustration by Férat. Printed on heavy wove paper by François Bernouard. Following the extensive listings of events and contributors, there are poems, mostly reproduced in manuscript, by Huidobro, Tzara, Soupault, Ribemont-Dessaignes, Malcolm Cowley, Nicolas Beauduin and others. One of the Picasso plates is subtly handcolored (as issued) in blue and yellow pastel.

Paris, 1923. $650.00

 

254

PAUN, PAUL

Marea Palida. 20, (8)pp. Wraps. Edition limited to 200 hand-numbered copies. Cover a little stained; one small marginal tear.

Bucuresti (Colectia Suprarealista), 1945. $950.00

Ilk K497

 

255

PAUN, PAUL

Plamanul Salbatec. Cu 2 guase de S. Perahim. 35, (3)pp. 2 tipped-in plates of gouaches by Perahim. Polished black wraps. with mounted title panel. Edition of 500 unnumbered copies.

Bucuresti ("Bucovina"), 1939. $1,600.00

Ilk K496, illus. p. 101

 

 

256

(PAUN) Teodorescu, Virgil

Butelia de Leyda. Cu patru lovaje si un brevet lovaj de Paul Paun. 4 halftone plates of drawings by Paun. Loosely inserted, as issued: Paul Paun: "Brevet Lovaj." (4)pp. (single sheet of pink stock, folding). 12mo. Sm. 8vo. Wraps. One of 274 numbered copies on vélin matte, from the limited edition of 307.

Bucuresti (Colectia Suprarealista), 1945. $1,200.00

Ilk K505

 

257

(PECHSTEIN) Fechter, Paul

Das graphische Werk Max Pechsteins. xiii, (1), 174, (4)pp. 1 original lithograph as frontis. ("Selbstporträt," 1920; Fechter L225; Krüger L366). Prof. illus. (tipped-in plates). 4to. Orig. dec. boards, 1/4 calf, the covers printed in color with a design by the artist. Vorzugsausgabe: one of 75 roman-numeraled copies on cream laid paper, with four original prints by Pechstein hors texte: frontispiece lithograph ("Selbstporträt," 1920; Krüger L366); and one etching ("Musiker [Dr. Freundlich]," Krüger R109), one woodcut ("Fischerhaus auf Nidden," Krüger H232) and one further lithograph ("Fischerköpfe," Krüger L368). Apart from this Vorzugsausgabe, there were 400 regular copies of the book (with only one original print, the frontispiece lithograph) and a Luxusausgabe of 25 copies containing 10 original prints. All prints in both the Vorzugsausgabe and the Luxusausgabe were supposed to have been signed in pencil, but in the present copy--just as in the copy catalogued by Ralph Jentsch for the Berlin exhibition "Illustrierte Bücher des deutschen Expressionismus"--the prints are unsigned. In addition to the foregoing, the volume is extravagantly decorated throughout with lettrines, head- and tail-pieces, and other illustrations by Pechstein, including full-page drawings to open each section of the catalogue. Beautifully printed and designed, this is a classic instance of the German luxury catalogue raisonné, similar to Schiefler’s catalogues for Nolde and Kircher, also illustrated with original prints. Backstrip slightly rubbed; a splendid copy. Extremely rare.

Berlin (Fritz Gurlitt), 1921. $3,750.00

Jentsch, Ralph: Illustrierte Bücher des deutschen Expressionismus (1989), 106; Riggs p. 614; Spalek 4009

 

258

PENROSE, ROLAND

The Road is Wider than Long. An image diary from the Balkans, July-August 1938. (Series of Surrealist Poetry edited by E.L.T. Mesens. No. 1.) (50)pp. 39 halftone photographs and 1 line-drawn illus. in text. Sm. 4to. Balsa-wood veneer over boards, printed in blue (slightly dusty). One of 500 hand-numbered copies on Art paper, from the limited edition of 510 in all. One of the most elegant and advanced of all British Surrealist publications, with interesting prefigurations of Long and Finlay. Presentation copy, inscribed on the front flyleaf "To Ronald/ Xmas 1942/ and all best wishes/ Roland," accompanied by a clipped and mounted photograph of a young Balkan woman in traditional dress, smiling shyly.

London (London Gallery Editions), 1939. $1,500.00

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

 

259

(PERAHIM) Faur, Dan

Bust. Un portret si coperta de S. Perahim. 30, (2)pp. 2 original linocuts by Perahim, one as frontispiece (on coated stock, tipped-in before the title), and one on the front cover. Lrg. 8vo. Dec. wraps. Edition limited to 150 hand-numbered copies, the text printed on grey paper. A little light wear, pinhole at top edge. Very rare.

[Bucharest] (Editura UNU), 1930. $2,500.00

Ilk K448, illus. p. 92

 

260

PERISZKOP. Aprilis 1925

Szerkeszti: Szántó Gyögy. (4), 40, (4)pp., 20 plates with 50 halftone illus. Line-drawn illus. throughout the text. Lrg. 4to. Dec. wraps. Five issues in all were published of this excessively rare and richly interesting avant-garde review. Though the text is in Hungarian, it was published in Rumania; Michael Ilk plans to include it in the second edition of his bibliography of the Rumanian avant-garde. Referring to offshoots of "Ma" in Eastern Europe, Pál Deréky notes "Equally interesting are the less obvious but nonetheless demonstrable connections between ‘Ma’ in Vienna and the avant-garde journals ‘Periskóp’ and ‘Genius’ published in Arad [Transylania Romania] in 1925 and 1926" (Central European Avant-Gardes: Exchange and Transformation, 1910-1930). Illustrations in this issue include work by Apollinaire (on Rousseau), Bortnyik, Archipenko, Moholy-Nagy, Léger, Chagall, Hartwig, Kokoschka, Grosz, et al. Wraps. rebacked and restored; a little foxed, otherwise fine.

[Timisoara, Rumania], 1925. $1,250.00

Central European Avant-Gardes: Exchange and Transformation, 1910-1930 (Los Angeles County Museum of Art, 2002), p. 170; Dokumentations-Bibliothek III.182

 

261

 

PERISZKOP. Junius-Julius 1925

Szerkeszti: Szántó Gyögy.. (4), 48, (4)pp., 16 plates with 37 halftone illus. Prof. illus. throughout the text. Lrg. 4to. Dec. wraps. Contents of this issue include texts by Bartok, Doesburg, Huidobro, Tzara, Goll, Cocteau, et al.; illus. after Brancusi, Apollinaire (a Hungarian-language manuscript translation of a calligram), Grosz, Goncharova; photographs of the dadaists. Wraps., rebacked and restored; otherwise fine.

[Timisoara, Rumania], 1925. $1,250.00

Central European Avant-Gardes: Exchange and Transformation, 1910-1930 (Los Angeles County Museum of Art, 2002), p. 170; cf. Dokumentations-Bibliothek III.182

 

262

PETERSEN, CARL V.

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

Copenhagen (Fischers Forlag), 1936. $400.00

Biro/Passeron 2234; Reynolds p. 68

 

263

(PICABIA, FRANCIS)

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

Paris (René Drouin), 1949. $850.00

Motherwell/Karpel 336a; Gershman p. 52

 

264

(PICASSO) Aksenov, I.A.

Picasso i okrenosti [Picasso and Environs]. Oblozhka A.A. Ekster. 62, (2)pp., (8)pp. advts., 7 plates. 5 tipped-in text illus. 4to. Orig. illus. wraps., designed by Alexandra Exter. Nominally a study of Picasso and his ambit, the work is in fact a theoretical examination of Cubist aesthetics, with anecdotes and statements by numerous artists of the early teens. "As a conscious paradox, Aksenov (1884-1935) turns to the actual analysis of Picasso’s art and artistic evolution only in the essay that forms an appendix to the book; but it is so subtle and thoroughly professional that it deserves translation into other languages even now" (Markov). Alexandra Exter’s handsome cover design takes the form of an analytic cubist still-life composition, incorporating the title and author’s name. Backstrip unobtrusively taped, other light wear.

Moskva (Tsentrifuga), 1917. $850.00

MOMA 148; Getty 6; Barron/Tuchman 50; Markov p. 272f.; Ex Libris 1

 

265

PUNCT

Revista de arta constructivista internationala. Director: Scarlat Callimachi. Editors: Victor Brauner (nos. 2-9), Stephan Roll. Nos. 1-16, Nov. 1924 - March 1925 (all published). (4)pp. per issue (single sheet, folding), except for No. 1, which is a poster (verso blank), and No. 6/7 (8pp.) Lrg. 4to. Dec. self-wraps. Some issues are printed on colored wove stocks. Prof. illus. (including many linoleum cuts) by and after Janco, Brauner, Maxy, Petrascu, Solomon, Schwitters, Mattis-Teutsch, and Servranckx. Texts by Callimachi, Voronca, Schwitters, Walden, Doesburg, Linze, Micic, Soupault, et al. The unstated edition size is estimated by Ilk at fewer than 500 copies, apart from the Luxusausgabe of about 50.

"Punct" was the third significant avant-garde review published in Rumania, following "Contimporanul" and the single issue of "75HP." "Brauner and Janco both contributed actively to 'Punct,' notably with abstract linoleum cuts. This periodical, edited by the writer Scarlatt Callimachi, was subtitled 'A Review of Constructivist Art,' though in some ways it reflected the Dada spirit. Inspired by Eggeling's films, Janco composed a formal alphabet for 'Punct' that resembled the Swedish artist's abstract signs on film. 'Eggeling, the Edison of the new art,' proclaimed the artist, 'will take his cinema (that new music of planes) to every part of the world'" (Dachy). "Les pages sont remplies de linogravures abstraites de Brauner et de Marcel Jancu. Elle reflète l'évolution de l'art roumain vers le constructivisme (indépendant du constructivisme russe); elle exploit surtout ses propres racines et connaît une évolution autonome (seul l'esprit dada y a laissé des traces), phénomène assez rare dans l'histoire des avant-gardes de cette époque" (Passuth). Intermittent light wear; No. 1 with mends at extremities, expertly reinforced on blank verso; No. 2 with mended tears; generally in fine condition. Complete sets are of utmost rarity.

Bucharest , 1924-1925. $25,000.00

Ilk K286-300, illus. pp. 48-53; Passuth p. 224; Between Worlds: A Sourcebook of Central European Avant-Gardes, 1910-1930, p. 531f.; Dada Global 92-96, p. 54f.; Dachy p. 57; Andel: Avant-Garde Page Design 1900-1950 no. 224

 

266

PUNI, IVAN

Sovremennaia zhivopis. 36, (2)pp., 23 plates. 10 text illus. Lrg. 4to. Orig. wraps. Critical essays by the great Suprematist, on Kandinsky, Malevich, Tatlin and others, with an emphasis on cubism and its antecedents, as well as new tendencies termed ‘machinism’ and ‘neo-naturalism.’ Dedicated to V. Khlebnikov. Contents neatly loosening from wraps. within; slightly damp-rippled at top corner; a clean copy.

Berlin (Izdatel’stvo L.D. Frenkel), 1923. $750.00

MOMA 497; Getty 652

 

267

(REDON) Picard, Edmond

Le juré. Monodrame en cinq actes. Sept interprétations originales par Odilon Redon et deux portraits. (4), xlvii, (1), 133, (9)pp., 7 original lithographs by Redon (Mellerio 75-81). 2 reproductive portaits hors texte, by Redon and van Rysselberghe. 4to. Publisher’s original vellum over boards gilt (Claessens). Edition limited to 100 numbered copies in all, printed on Hollande. "In 1886 Redon was included in the exhibition of the avant-garde group ‘Les XX’ in Brussels, where his work was appreciated sooner than in France. Belgian writers sought his illustrations and he did many frontispieces. Picard’s play was designed to be read as a monologue, rather than acted, and in the spring of 1887, the author gave a reading, before publication, in the lecture hall of ‘Les XX,’ with Redon’s lithographs hanging on the walls. Picard edited the Belgian periodical ‘L’art moderne’ and was a champion of Redon..." (The Artist and the Book). Occasional light offsetting of the plates onto the text; hairline crack at foot of cover; a fine copy, with the lithographs in fresh condition, accompanied by the printed circular from the publisher to subscribers.

Bruxelles (Mme. Veuve Monnom), 1887. $28,000.00

The Artist and the Book 252; Chapon p. 277; Garvey/Wick 3; Stern 95; Rauch 95; Basel 226

 

268

RENGER-PATZSCH, ALBERT

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

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

 

269

RENGER-PATZSCH, ALBERT

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

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

 

270

RENGER-PATZSCH, ALBERT

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

München (Kurt Wolff), 1928. $850.00

Roth: The Book of 101 Books p. 50

 

271

(RICHTER, HANS) München. Neue Kunst Hans Goltz.

 

Abende-für-neue-Litteratur. Poster, printed in black offset lithography on buff-colored stock. 882 x 710 mm. (34 3/4 x 28 inches). This apparently unrecorded poster by Hans Richter promotes a series of "soirées for new literature" which the Munich gallerist (also editor and publisher) Hans Goltz organized with members of the "Neue Jugend" circle in Berlin. One of these evenings (and perhaps the only one) is recorded to have taken place in November 1916. Goltz’s gallery was a key center of the Munich avant-garde, particularly for the Blaue Reiter and Expressionists; Richter had his first solo exhibition there in 1916 (70 works, including portraits of Baader and Hausmann), and it was there that Max Ernst first came into contact with the work of Klee, de Chirico and Carrà, and the publications of Zürich Dada.

Depicting a disembodied hand about to shoot a note through the air on a bow and arrow, the poster presents a kind of emblematum, still Expressionist in the character of the drawing (and roughhewn style of the handwritten text), but tinged with an incipient Dada sensibility. It is unmistakably close in style to another poster Richter designed that year, for a four-man exhibition he shared with Heckel at Goltz’s gallery in June--until now, so far as we know, the only one surviving from this moment in his career--but the enigmatic minimalism of this new poster seems to signal a change of direction. A few pale traces of foxing, inconspicuous trace of center fold; backed with japon; invisible pinholes at corners; a very fresh and bright example.

München [1916]. $12,000.00

Literature: Cf. DadaGlobal p. 87f. (cf. illus. p. 87); Gray, Cleve (ed.): Hans Richter by Hans Richter (New York, 1971), p. 26; Berlin, Akademie der Künste: Hans Richter 1988-1976 (1982), p. 53

 

272

(RICHTER, HANS) Zürich. Galerie Corray

 

I. Ausstellung / Negerplastik Modernste Malerei / Geöffnet: Januar Eintritt: Fr. 1 / Conférences par Tristan Tzara. Typographic poster by Hans Richter, printed in black on buff-colored wove paper. 479 x 695 mm. (18 7/8 x 27 5/16 inches). Hand-addresssed in black ink on the verso by Hans Richter: "Imprimé Express Monsieur Tristan Tzara/ Zürich/ Hotel Seehof/ Schifflände" and "Exp. H. Richter/ Lugano via Lorenzo 20," with a postal cancellation above: 28.xii.17. This is very likely the only surviving example of what may arguably be called the first Dada poster. Designed by Hans Richter in December 1916, it publicizes the first Dada exhibition, which was held at the Galerie Corray in Zürich in January and February 1917. Two posters are recorded to have been made for the event. One of them, a fine hand-lettered design by Marcel Janco printed in black linocut, is frequently reproduced in the literature. This one, whose existence is alluded to by Tzara in his "Chronique zurichoise," has never, to our knowledge, been reproduced or described. Tzara mentions it in the following entry:

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

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

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

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

 

273

S.M.S

Published by the Letter Edged in Black Press, Inc. [Editor: William Copley.] Nos. 1-6, February-December, 1968. 6 issues, consisting of boxed portfolio albums of multiples especially created for each number. All contents loose, as issued. 4to. Publisher’s dec. printed folders within printed white cardboard shipping cartons (3 with addresses, as mailed). Contributions by James Byars, Walter de Maria, La Monte Young and Marian Zazeela, Kasper König, Richard Hamilton, Su Braden, Christo, Julien Levy, Ray Johnson, Nicolas Calas, Meret Oppenheim, Bruce Conner, Clovis Trouille, Enrico Baj, Dick Higgins, Joseph Kosuth, Roland Penrose, Man Ray, H.C. Westerman, Terry Riley, On Kawara, Hollis Frampton, Roy Lichtenstein, Robert Watts, John Cage, Mel Ramos, Bruce Nauman, Neil Jenny, Diane Wakoski, Yoko Ono, Richard Artschwager, Diter Rot, Claes Oldenburg, Bernar Venet, John Giorno, and many others. Printed matter, found objects, toys, graphs, confetti, index cards, pamplets, vitamin capsules, faux postage stamps, decals, burnt bowties, party-hats, facsimile manuscripts, plastic gloves, photo albums, fake currency, and a great deal else, apart from the numerous text and images. Tables for each issue make it possible to collate the diverse contents precisely. Light wear to some of the outer shipping cartons. Both tapes in this set are the original reel-to-reel versions (Terry Riley in No. 3, LaMonte Young in No. 4).

New York, 1968. $3,000.00

Pindell p. 107

 

274

SALOMON, ERICH

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

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

Roth: The Book of 101 Books p. 74; Freitag 11223

 

275

(SANT’ELIA) Folgore, Luciano

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

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

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

 

276

LE SAVOIR VIVRE

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

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

 

277

SCHALL UND RAUCH. Heft 4

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

Berlin-Wilmersdorf, 1920. $1,800.00

Bülow 21

 

278

SCHREYER, LOTHAR

Kreuzigung. Spielgang Werk VII. [Crucifixion. Libretto VII.] 77 woodcut plates, printed from the blocks and handcolored by stencil in red, blue, green and yellow. Oblong folio. Publisher’s plain charcoal grey boards. New cloth slipcase, mounted with the original title panel, printed in brilliant orange. New fitted cloth clamshell box. One of 500 copies constituting Ausgabe II, from the limited edition of 525 in all, printed by Gustav Petermann, Hamburg. The symbolic ‘score’ for an Expressionist Passion play by Schreyer, unifying the gesture, tone, rhythm and action of the drama on a conceptual basis. Altogether non-naturalistic in intention and realization, ‘Kreuzigung’ was meant as a formal synthesis of art and performance, and attempted to break away as much as possible from easily accessible theatrical entertainment, which Schreyer regarded as the product of a corrupt society. ‘Kreuzigung’ was first performed in April 1920 in Hamburg, under the auspices of the Sturm-Bühne, an organization formed by the editorial board of Der Sturm (of which Schreyer was, of course, a member) for the purpose of producing and publishing the new Expressionist works for the theatre. This was the first publication of the Kampfbühne, an affiliated organization which was directed by Schreyer for several years. "Seltene Inkunabel des expressionistischen Theaters" (E. Roters). A brilliant copy, fresh and crisp, inscribed in pen by Schreyer on the base of the title-page: Für Anni Peters.../ herzlich und dankbar/ in Vergangenheit und Gegenwart/ am 4. November 1961. Lothar Schreyer."

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

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

 

279

SCHWITTERS, KURT

Anna Blume. Dichtungen. Sechstes bis zehntes Tausend. (Die Silbergäule. Band 39-40.) 37, (11)pp. Sm. 4to. Orig. wraps. (slightly foxed). Second printing. Schwitters’ splendid design on the front cover, printed in red and black on green stock. "Like today’s Pop artists, Schwitters does not consider himself one apart from the bourgeois world: he is Anna Blume, even as he makes fun of her, just as he is the "Blue Bird" (a title that might well derive from a sentimental cabaret song of the twenties)" (William Rubin, in 1968). Small dampstain; covers a bit faded.

Hannover (Paul Steegemann), 1919. $500.00

Schmalenbach/Bolliger 1; DadaGlobal 121; Ades 6.34; Andel 80; Andel Avant-Garde Page Design 1900-1950 no. 154; Verkauf p. 104; Motherwell/Karpel 366

 

280

SCHWITTERS, KURT

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

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

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

 

281

SCHWITTERS, KURT

Die Märchen vom Paradies. Band 1 [all published]. 1. Die Hahnepeter. 2. Der Paradiesvogel. 3. Das Paradies auf der Wiese. (Aposs No. 2.) [Merz 16/17.] 31, (1)pp. Prof. illus., including 18 drawings by Steinitz. Typographic design throughout by Schwitters. 4to. Orig. wraps., decorated in red and black with drawings by Steinitz. The complete anthology of the fairy tales (‘Tales of Paradise’) written by Schwitters and illustrated, with swiftly improvised drawings, by Steinitz. In part, the characters were based on the Schwitters’ family and friends: the Hahnemann, of "Hahnepeter," for example, was his son Ernst, and Uncle Ungeflochten the art dealer Alfred Flechtheim. This follow-up to the separately published "Hahnepeter" (already declared out-of-print) was issued first in this edition by Apossverlag; the following year, Schwitters retroactively designated some copies of it (not this one) issue no. 16/17 of Merz by pasting printed labels on the front cover. The drawings on the wrappers of this copy are printed in red (rather than the usual pale green), a rare variant not discussed in the Wiesbaden catalogue. An extremely fine copy.

Hannover (Apossverlag), 1924. $5,500.00

Schmalenbach/Bolliger 244; "Typographie kann unter Umständen Kunst sein": Kurt Schwitters Typographie und Werbegestaltung (Wiesbaden, 1990) 26; Dada Global 116; Ades p. 131; Almanacco Dada 91; Verkauf p. 180; Motherwell/Karpel 78

 

282

(SCHWITTERS) Spengemann, Christof

Die Wahrheit über Anna Blume. Kritik der Kunst, Kritik der Kritik, Kritik der Zeit. 29, (3)pp. Full-page photographic portrait of Schwitters in text. Lrg. 8vo. Dec. yellow wraps., with an abstract drawing by Schwitters, printed in red. "The Zweemann-Verlag did not publish many books, but one stands out--a pamphlet entitled ‘Die Wahrheit über Anna Blume’--in which Spengemann passionately defended his friend Kurt Schwitters.... A letter to Spengemann has been preserved in which Schwitters exclaimed: ‘Go out into the whole world and make the truth known, the only truth there is, the truth about Anna Blume’" (Schmalenbach).

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

Schmalenbach/Bolliger pp. 21,41, no.256; Verkauf p. 182; Motherwell/Karpel 385

 

283

SEGAL, ARTUR

Vom Strande. Acht Original-Holzschnitte. Afterword by Rudolf Leonhard. (Erstes der graphischen Eine Mark-Flugblätter.) (8)pp. 8 original woodcuts by Segal (including that on front cover). Image size: average 199 x 247 mm. (ca. 7 3/4 x 9 3/4 inches). Oblong sm. folio. Dec. self-wraps., with original woodcut on the front cover. Edition of 1000 copies. The Rumanian-born Arthur Segal (1875-1944) was one of the founders of the Neue Sezession in Berlin, and later a prominent figure in Zürich Dada, exhibiting at the Cabaret Voltaire and publishing in "Dada 3" and "Der Zeltweg"; in 1921, on his return to Berlin, he joined the Novembergruppe. Segal’s woodcuts and linocuts appeared in "Der Sturm" in 1911 and 1913, including two from the present series. This extremely graceful portfolio of Baltic beach scenes has a graphic fluidity reminiscent of Nolde lithographs, and a tone of serene bemusement outside the usual scope of Expressionism. A few unobtrusive traces of wear; in all quite a fine copy. Rare.

Berlin-Wilmersdorf (A.R. Meyer), 1913. $3,500.00

Rifkind 219; Rifkind/Davis 2731

 

284

SELIGMANN, KURT & COURTHION, PIERRE

Les vagabondages héraldiques. Quinze eaux-fortes originales de Kurt Séligmann. Quinze textes inédits de Pierre Courthion. (34)pp, 15 hinged original etchings with aquatint (Mason 37-49, 51-52). Image size: up to 350 x 263 mm. (ca. 13 3/4 x 10 3/8 inches). Folio. Printed wraps. (vignette by the artist on back cover). One of 90 numbered copies on uncut vélin de Rives, from the limited edition of 105 in all. The very large scale of the prints contributes to their considerable surrealist power, part Niklaus Manuel Deutsch, part early Pantagruel, part Picasso circa 1933. A reduced edition, without original prints, was also issued by GLM in 1936 under the title "Métiers des hommes." Light wear to covers and backstrip.

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

Manet to Hockney 101; Kaplan, Gilbert (editor): Surrealist Prints (New York, 1997), p. 90

 

285

SERRA, RICHARD & REINARTZ, DIRK

Afangar. (72)pp. Prof. illus. Oblong lrg. 4to. Cloth. D.j. Special edition (Vorzugsausgabe): one of 40 copies with an original lithograph by Serra, signed and numbered in pencil, loosely inserted in flaps under the front cover, as issued. Parallel texts in German, English, and Icelandic. Mint.

Göttingen/Zürich (Steidl/ Parkett), 1991. $950.00

 

286

SEUPHOR, MICHEL

L’autre côté des choses. 56, (10)pp. 14 full-page original serigraphs (hinged) in text (11 color, including 7 with hand-mounted collage elements), all signed and numbered by Seuphor. 4 further original color serigraphs as endpapers and flyleaves. Massive sq. folio. Full parchment over boards, 1/4 leather, with brushed metal ornament mounted in recessed portion of front cover. Slipcase (full linen). No. 81 of 86 copies on vélin B.F.K. Rives, from the édition "de grand format" of 110 copies, signed in the justification by the author and editor. Loosely inserted in recessed panel under back cover (as issued): the édition "de petit format." 33, (3)pp. 8vo. Loose signatures, printed on pur fil Johannot, within color-serigraphed wrapper. This too is signed and numbered in pencil by the author in the justification. A "poème en sept branches," written by Seuphor in the spring of 1974, and illustrated by him in the following fall.

N.p. (Jean Andouin), 1976. $2,250.00

Bibliothèque Nationale: Le livre et l’artiste: Tendances du livre illustré français, 1967-1976 (Paris, 1977), no. 8

 

287

SEUPHOR, MICHEL

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

[Alès] (P.A. Bénoit), [1950]. $600.00

Montpellier 124; Bibliothèque Nationale 1989, p. 20

 

288

SOFFICI, ARDEGNO

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

Firenze (Vallecchi Editore), 1919. $850.00

Salaris p. 67; Falqui p. 73; Jentsch p. 327; Spencer p. 20; Andel 46; Andel: Avant-Garde Page Design 1900-1950 no. 106-107

 

289

SOUPAULT, PHILIPPE

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

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

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

 

290

(STEICHEN) Sandburg, Carl

Steichen the Photographer. (6), 70, (96)pp., 49 warm-toned plates. Sm. folio. Publisher’s black cloth gilt. Edition limited to 925 hand-numbered copies, signed in the colophon in pen by Steichen and Sandburg. Presentation copy, inscribed in the colophon by Steichen "For Henry in sincere appreciation of his loyal help and with high hopes that our collaboration will be fruitful for him." Ex-libris Henry Flannery. Cloth very slightly rubbed; a fine copy.

New York (Harcourt, Brace and Company), 1929. $2,750.00

Roth: The Book of 101 Books p. 54; Freitag 11957;

 

291

STETTHEIMER, FLORINE

Crystal Flowers. Foreword by Ettie Stettheimer. (2), vi, 82, (4)pp. Sm. 4to. Cloth, the front cover mounted (as issued) with collotype photograph of the artist's boudoir. Edition limited to 250 copies in all, on Rives paper, printed by hand at the Banyan Press under the supervision of Ettie Stettheimer, with her compliments slip loosely inserted. The rare volume of Stettheimer's verse, privately printed after her death for her friends and admirers, with a prefatory reminiscence. The poems include much on art and the New York art world, addressing or discussing Carl Van Vechten, Charles Demuth, Parker Tyler, Charles Henri Ford, and Virgil Thomson, among others. Van Vechten advised Ettie Stettheimer on the selection, and came up with the title. A little light foxing on back cover.

New York (Privately Printed), 1949. $1,200.00

 

292

STRZEMINSKI, WLADYSLAW

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

Koluszki, 1930. $1,800.00

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

 

293

(DER STURM)

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

Berlin [1923?]. $275.00

 

294

SUDEK, JOSEF

Praha panoramatická. 294, (10)pp. 284 photogravure panoramic plates. 4 illus. Lrg. oblong 4to. D.j. (battered). A poem by Jaroslav Seifert, "Praha s Petrína," is the only text. An almost invisible trace of waterdamage at top corner in the second half.

Praha (Státní Nakladatelství Krásné Literatury, Hudby, u Umení), 1959. $1,000.00

Freitag 12106

 

295

LE SURRÉALISME AU SERVICE DE LA RÉVOLUTION

Director: André Breton. Nos. 1-6 (all published). 4to. Cloth. Orig. wraps., printed in phosphorescent ink with heraldic escutcheon, bound in. Texts and illustrations by virtually everyone of interest. "I think," said Breton in 1952, "that of all the surrealist publications, ‘Le Surréalisme au Service de la Révolution,’ whose six numbers are drawn up between 1930 and 1933, is by far the richest, in the sense that we understand it, the best balanced, the best constructed, and also the most alive (with a dangerous and exalted life). It is there that Surrealism is shown at full flame, and were not afraid of being consumed in it." Slightly foxed; small scotch-tape stains on three pages (not affecting text).

Paris (José Corti/ Éditions des Cahiers), 1930-1933. $2,500.00

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

 

296

LE SURRÉALISME, MÊME

Directeur: André Breton. Rédacteur en chef: Jean Schuster. Nos. 1-5, Oct. 1956 - Printemps 1959 (all published). 64-168pp. per issue. Prof. illus. (partly in color, and with loose inserts). Cover designs by Marcel Duchamp, Pierre Molinier, Gabriel Max, Hans Bellmer, and Hans Arp. Sm. sq. 4to. Dec. wraps. A complete set. Texts by Breton, Bédouin, Mansour, Benayoun, Cirlot, Legrand, Gracq, Péret, Carrington, Brunius, Lebel, Massot, Paz, Mesens, Bellmer, Revel, et al. "There are various reviews affiliated to Surrealism to which Breton contributed, but the high points of Surrealism after the war are undoubtedly ‘La brèche’ and ‘Le surréalisme même,’ both produced with that care and precision characteristic of Breton, and with an energy lacking in much of the painting" (Ades). The first issue, with its cover designed by Marcel Duchamp, is especially prized.

Paris (Jean-Jacques Pauvert), 1956-1959. $850.00

Gershman p. 53; Ades p. 433; Biro/Passeron p. 390f.; Rubin 479; Nadeau p. 329f.

 

297

(TANGUY) Breton, André.

Yves Tanguy. 94, (2)pp. 35 full-page plates (2 tipped-in color, 33 collotype). 26 illus. in text. Lrg. 4to. Printed boards, 1/4 cloth (spine chipped). One of 1150 copies, from the limited edition of 1200 in all. Book design by Marcel Duchamp. From the library of Catherine Viviano.

New York (Pierre Matisse Editions), 1946. $275.00

Schwarz 516; Naumann 6.21; Rubin 402; Freitag 12182

 

298

TAPIES, ANTONI

Art i espiritualitat. (44)pp. 2 double-page original etchings in color intaglio, each signed and numbered in pencil. Sm. folio. All contents loose, as issued. Dec. wrapper, with the artist’s monogram in black. Glassine d.j. Portfolio (silk over boards). One of 135 hand-numbered copies from the limited edition of 150 in all, printed by Grafos S.A. (text) and Joan Barbarà (etchings) on uncut Aquari del molí de Sardà. Published on the occasion of the artist’s sixty-fifth birthday, the text reprises the address given by Tàpies at the University of Barcelona the previous June, on receiving an honorary doctorate from the University.

Barcelona (Edicions T), 1988. $3,000.00

 

299

TAPIES, ANTONI & GIMFERRER, PERE

La Llum. (56)pp. 8 original etchings, including 1 color etching signed and numbered in pencil, 6 additional color etchings (2 double-page), and 1 further etching in black and white. Large folio. All contents loose, as issued. Portfolio (beige silk moiré over boards, printed in black with a design on the front cover by the artist). Fold-back box (rough grasscloth over boards), with a design in black by the artist on the front cover. One of 90 hand-numbered copies from the limited edition of 150 in all, signed in pencil by Tàpies and Gimferrer in the justification, printed on japon by Marc Catells (text) and Takeshi Motomiya and Joan Roma (etchings).

Barcelona (Edicions T), 1990. $5,000.00

 

300

(TCHELITCHEW) Wescott, Glenway

A Calendar of Saints for Unbelievers. The text by Glenway Wescott, the signs of the zodiac by Pavel Tchelitchew. 239, (1)pp. Intermittent illus. by Tchelitchew, integrated with text. Cloth. One of 695 hand-numbered copies on cream Pannekoek paper, from the limited edition of 756 in all, designed by Monroe Wheeler and printed in Haarlem at Joh. Enschedé en Zonen under the supervision of Jan van Krimpen. Presentation copy, inscribed by the author to Catherine Viviano.

Paris (Harrison of Paris), 1932. $300.00

Wheeler p. 111

 

301

(TEIGE) Nezval, Víteslav

 

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

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

Houston p. 104f. (illus.).; IVAM: The Art of the Avant-Garde in Czechoslovakia 1918-1938 (Valencia, 1993), p. 41, illus. p. 36; Primus 47; Winterthur 157; Andel 107; Andel Avant-Garde Page Design 1900-1950 no. 338-340

 

302

TEODORESCOU, VIRGIL

La provocation. 8pp. 4to. Self-wraps. (little chip at top front corner). Contents loose, as issued. Unnumbered edition of 500 copies.

Bucarest (Collection Surréaliste Infra-Noir), 1947. $750.00

Ilk K507

 

303

THE TETRAD PAMPHLETS.

Vol. 1, Nos. I-X. 10 fascicles, each (4)pp. (single sheet, folding). Each 305 x 255 mm. (12 x 10 inches). Sm. folio. Publisher’s clamshell box with printed label. All contents loose, as issued. Contents as follows: "23rd Light Poem for Larry Eigner" by Jackson MacLow, with screenprint by Ian Tyson; "Poem Nov: 1968 by Larry Eigner with Image by Derrick Greaves"; "Correspondence" by Roy Fisher and Tom Phillips; "The Directions: Poem by Jerome Rothenberg with Images by Tom Phillips"; "Knights Eminence" by Ian Tyson; "Mask Masque" by Ian Tyson; "Sweet Pictorial Reason" by Derrick Greaves; "Lesbia Waltz" by Tom Phillips; "The Alphabet Twice" by Richard Pinkney, "A Verse from ‘The Death of a Guiser’ by Richard Pinkney, Petre M. Andreevsky (transl. Graham Reid). This is one of 50 sets fully signed by the collaborators in the colophons, from the limited edition of 500 numbered copies in all. A fine set.

London (Tetrad Press), 1969-1971. $1,500.00

 

_______________________________________

 

 

391. Editor: Francis Picabia. 19 issues published in all, as follows: Nos. 1-4, 25 January - 25 March 1917 (Barcelona); Nos. 5-7, June-August 1917 (New York), No. 8, February 1919 (Zürich); Nos. 9-19, November 1919 - October 1924. Format varies. "‘391,’ the longest running dada magazine, spans seven years, from the closing of ‘291’ to the founding of ‘La révolution surréaliste’ in 1924. It reads like an itinerant history of Dada written from a highly persuasive and prejudiced viewpoint, and demonstrates the most telling characteristics of its editor, Francis Picabia: a dread of repetition far stronger than any desire to create a school of whatever kind, a complete lack of respect for anyone and anything, and an inventive genius that is as much verbal as visual" (Ades). Its widely various (and fragile) issues are extremely rare.

 

The following issues, all from the Paris phase, are available:

 

304

391. NO. 9.

Paris Novenbre [sic] 1919. (4)pp. Tabloid folio. Self-wraps. Glassine cover. Cover drawing by Ribemont-Dessaignes ("Continent," a mechanical drawing very similar to those of Picabia). Texts by Ribemont-Dessaignes ("Salon d'Automne: C'est Napoléon qui fit le portrait de David," "Aller transe retour"), Tzara ("Aa paye et meurt," "Carnage abracadabrant," "ll était ministre," "Calendrier 16") and Picabia ("Tombeaux et bordels"). Ades has called attention to Picabia's ironic use of typeface here (as in the New York issues of "391"), where Ribemont-Dessaignes' attack on the Salon d'Automne is set in a pretentious Régence face which underscores the derisory tone of the piece. Front cover somewhat browned; two folds, slight creasing.

Paris, 1919. $3,500.00

Dada Global 164; Ades p. 151; Gershman p. 54; Chevrefils Desbiolles p. 316; Almanacco Dada 160; Motherwell/Karpel 86; Sanouillet 257; Verkauf p. 183; Dada Artifacts 99; Düsseldorf 245; Milano p. 647

 

305

391. NO. 11.

Paris. Février 1920. (4)pp. Tabloid large folio. Self-wraps. Glassine cover. Cover drawing by Picabia (''Cynisme sans échelle"). Texts by Tzara ("Calendrier cinéma du coeur abstrait"; "Unique Eunuque, par Francis Picabia"), Breton (two poems, one entitled "A Francis Picabia"), Ribemont-Dessaignes ("Non-Seul Plaisir"), Picabia ("L'Amphithéâtre Chemise," "Carnet du Docteur Serner"), 'Cyprien-Max’Jacob ("Poème à M. Picabia") and Pierre-Albert Birot ("Poème vert"). Picabia's mechanomorphic drawing had appeared in his "Poèmes et dessins de la fille née sans mère" under the title "Mâle," while Tzara's text on the cover, "Calendrier cinéma," was later to be revised as part of his "Cinéma calendrier du coeur abstrait." Two added folds, as usual. An exceptionally fine copy.

Paris, 1920. $3,500.00

Dada Global 165; Ades pp. 145, 152; Gershman p. 54; Chevrefils Desbiolles p. 316; Almanacco Dada 160; Motherwell/Karpel 86; Sanouillet 257; Verkauf p. 183; Dada Artifacts 100; Zürich 396; Milano p. 648

 

306

391. NO. 13.

Paris. Juillet 1920. "Ce numéro est entouré d'une dentelle rose." (4)pp. Tabloid large folio. Self-wraps. Glassine cover. Cover drawing by Picabia ("Far-niente beau parti," a poem-cum-mechanical drawing in the style of "Poèmes et dessins de la fille née sans mere"). Texts by Ribemont-Dessaignes ("Manifeste selon Saint-Jean-Clysopompe"), Tzara ("Monsieur Aa l'Antiphilosophe nous envoie ce manifeste") and Picabia ("Extrait de Jesus-Christ Rastaquouère"). Illustrations after Duchamp (his "A regarder d'un oeil, de près, pendant presque une heure," a painted glass construction study for the lower right quadrant of the "Large Glass") and Man Ray ("Lampshade"). Slightly chipped at the intersection of the two folds; in general a fine copy.

Paris, 1920. $3,500.00

Dada Global 167; Ades pp. 146, 153; Gershman p. 54; Chevrefils Desbiolles p. 316; Almanacco Dada 160; Motherwell/Karpel 86; Sanouillet 257; Verkauf p. 183; Düsseldorf 248; Zürich 396; Milano p. 648

 

307

391. NO. 14.

Paris. Novembre 1920. (8)pp. Tabloid large folio. Self-wraps. Glassine cover. Cover with "Copie d'un autographe d'lngres" and "Dessin dada" by Picabia (the first an actual document re-signed "Francis Ingres," the second an unaltered betting ticket from the racetrack here assuming the character of a ready-made) with chaotically set texts surrounding these on all sides. Texts within by Tzara (excerpt from "La deuxième aventure céleste de Monsieur Antipyrine," "Monsieur Aa fait des signes sténographiques à Monsieur Tzara"; a full-page dada typographic composition entitled "Une nuit d'échecs gras" consisting entirely of advertisements for dada publications; and a scurrilous mock "Interview de Jean Metzinger sur le cubisme," imputing to him all sorts of outrageous remarks), Margueritte Buffet ("Ménagerie consultée un soir de 7bre"), Eluard, Ribemont-Dessaignes ("Salon d'Automne"), Picabia ("Jésus-Christ Rastaguouère," "Notre-Dame-de-la-Peinture," and the fictitious "Carnet du docteur Aisen," in which Picabia nonsensically reports on the purchases of various Citroèns by modern artists, including himself; Docteur Aisen was an American neurologist and a member of the Arensberg circle), Arp ("Extrait de 'la couille d'hirondelle,' his first literary contribution to "391"), Dermée, Arnauld, and Marie de la Hire. Small splits and chips at back fold, and very light wear; in all a fine copy.

Paris, 1920. $4,000.00

Dada Global 168; Ades pp. 146, 153; Gershman p. 54; Chevrefils Desbiolles p. 316; Almanacco Dada 160; Motherwell/Karpel 86; Sanouillet 257; Verkauf p. 183; Dada Artifacts 102; Düsseldorf 249; Milano p. 648

 

308

[391. NO. 15.] LE PILHAOU-THIBAOU.

Supplement illustré de "391." (16)pp. Tabloid folio. Self-wraps. Glassine cover. Contributions by ‘Funny Guy’ Francis Picabia, Jean Crotti, Ezra Pound, Guillermo de Torre, Cocteau, Duchamp (as Rrose Sélavy: "Si vous voulez une règle de grammaire," being extracts from a letter to Picabia of January 1921, using puns to ridicule grammatical rules), Georges Auric, Céline Arnauld, Pierre de Massot, Clément Pansaers, Gabrielle Buffet, Paul Dermée, et al. "‘Le Pilhaou-Thibaou’ (Editor: Funny Guy) was announced as an ‘illustrated supplement of "391"’ but the only illustration it contains is an extremely rudimentary drawing by Picabia (from ‘Poèmes et dessins de la fille née sans mère’) on the back cover: ‘Monument à la bêtise latine.’ Picabia considered it as no. 15 of the ‘391’ series, temporarily changing the name because of ‘391’s close association with Paris Dada. It is less aggressive in both tone and appearance than the preceding ‘391’s; the typography is still very varied, and some pages look like posters, there are still banner headlines, aphorisms running round the page and texts facing in different directions but the over-all look is more static.

"Neither Ribemont-Dessaignes nor any of the ‘Littérature’ group, naturally, appear, but Picabia gathered new adherents like Ezra Pound and Pierre de Massot. The two poems by Pound were the first to be translated into French.... ‘Pilhaou-Thibaou’ also contains the first mention of Jean Crotti’s movement ‘Tabu,’ restricted to himself and his wife Suzanne Duchamp. ‘And besides DADA has no importance because I am TABU-DADA or DADA-TABU,’ to which Picabia was party as he was all for sowing maximum confusion round Dada" (Ades). An unusually fresh copy.

Paris, 1921. $4,500.00

Ades pp. 146f., 153; Gershman p. 54; Almanacco Dada 160; Chevrefils Desbiolles p. 316; Motherwell/Karpel 86; Sanouillet 257; Verkauf p. 183; Düsseldorf 250; Zürich 396; Milano p. 648

 

__________________________________________________

 

309

TOYEN

Les spectres du désert. Accompagné des textes de Henri Heisler. (26)pp. 12 full-page plates of drawings by Toyen, with text beneath. Lrg. 4to. Wraps. Edition limited to 300 hand-numbered copies in all, printed on buff-colored card stock. Translation from the Czech by Benjamin Péret, with Jindrich Heisler. "It is in Toyen’s three great drawing cycles, ‘The Spectres of the Desert’ (1937-38), ‘The Rifle-Range’ (1939-40), and ‘Hide Yourself War!’ (1944) that the psychological and emotional power of the fragmented or violated image is combined with a sustained vision of a reality now at the mercy of the forces of unreason.... As the image of intellectual and artistic freedom cultivated first by the Devetsil group and then by the Czech Surrealists gave way to overwhelming despair, Toyen turned to an anguished interrogation of the idea of human liberation... ‘The Spectres of the Desert,’ printed in Prague under an imprint of Albert Skira’s obtained through the intervention of Benjamin Péret, is a relentless examination of the precise forms assumed by the specters that had first appeared in her painting during the 1930s and that now haunted her mental landscape, a landscape that would become ever more severe and forbidding in subsequent cycles of drawings. As the world around her crumbled into war, Toyen began to assert a terrifying precise clarity in her drawings that begins to suffocate all vestiges of life around her, freezing birds and animals into cracked shells from which all life and vitality has long since been extruded" (Whitney Chadwick). A fine copy. Rare.

Paris (Editions Albert Skira), 1939. $2,000.00

Chadwick, Whitney: Women Artists and the Surrealist Movement, p. 230; Biro/Passeron p. 406; Marseille: La planète affolée, p. 238; Jean p. 263; Houston p. 82; Centre Georges Pompidou: Styrsky, Toyen, Heisler (1982), p. 93

 

310

TRIBÜNE DER KUNST UND ZEIT

Ein Schriftensammlung. Herausgegeben von Kasimir Edschmid. Nos. 1 - 27 (of 29 published in all), lacking Nos. 15, 21, 23, 24. No. 9 was never published. Dec. wraps. Contents as follows: 1) Edschmid, Kasimir: Über den Expressionismus in der Literatur und die neue Dichtung. 2. Aufl. 2) Hausenstein, Wilhelm. Über Expressionismus in der Malerei. 3) Däubler, Theodor. Im Kampf um die moderne Kunst. 4) Müller-Wulckow, Walter. Aufbau-Architektur! 2. Aufl. 5) Goll, Iwan. Die drei guten Geister Frankreichs. 2. Aufl. 6) Bekker, Paul. Neue Musik. 7) Krell, Max. Über neue Prosa. 8) Schickele, René. Der neunte November. 2.-5. Aufl. 10) Masereel, Franz. Politische Zeichnungen. 11) Wolfradt, Willi. Die neue Plastik. 12) Benn, Gottfried: Das moderne Ich. 13) [Schickele, René, et al.] Schöpferische Konfession. 14) Hartlaub, Gustav. Die neue deutsche Graphik. 16/17) Hiller, Kurt. Geist werde Herr. 18/19) Colin, Paul. Fluch dem Siege. 20) Michel, Wilhelm. Der Mensch versagt. 22) Arcos, René. Abendland. 25) Sternheim, Carl. Tasso oder Kunst des juste milieu. 26) Kolb, Annette. Westliche Tage. 27) Huebner, Friedrich Markus. Die Belebung des Nichts.

Berlin (Erich Reiss), 1919-1923. $1,000.00

Raabe 159; Raabe/Hannich-Bode 60.84; Perkins 163

 

311

TROST [DOLFI]

La connaissance des temps. (36)pp. 7 full-page plates ("pantographies") in text. Sm. 8vo. Wraps. One of 500 numbered copies from the limited edition of 520. Covers faded at extremities.

[Bucharest] (Surréalisme), 1945. $1,500.00

Ilk K 510, illus. p. 106

 

312

TROST, DOLFI

Rêves et délires. (8pp.) 4to. Self-wraps. Unnumbered edition of 500 copies. Front cover slightly worn, with small annotation.

Bucarest (Collection Surréaliste Infra-Noir), 1947. $650.00

Ilk K512

 

313

TROST [DOLFI]

Le profil navigable. 71, (5)pp., 14 plates. Lrg. 8vo. Wraps. One of 500 numberd copies on vergé-chamois. Backstrip torn; without the dust jacket cited by Ilk.

Bucarest (Les Éditions de l’Oubli), 1945. $1,200.00

Ilk K509, illus. p. 105

 

314

TROST [DOLFI]

Vision dans le cristal. Oniromancie obsessionelle. Et neuf graphomanies entoptiques. 86, (10)pp. 9 full-page plates of line-drawings by Trost in text. Lrg. 8vo. Wraps. One of 500 numbered copies on chromo-chamois, from the limited edition of 520. Front cover splitting at spine.

Bucarest (Les Éditions de l’Oubli), 1945. $1,500.00

Ilk K508

 

315

TSCHICHOLD, JAN

Typographische Gestaltung. 112, (12)pp. Numerous illus. and typographic facsimiles (partly in color; some printed on variant paper stocks). Sm. 4to. Cloth. Printed d.j. Small clean tear at top of dust jacket; an unusually fresh copy.

Basel (Benno Schwabe & Co.), 1935. $600.00

McLean p. 60; Spencer p. 147

 

316

TZARA, TRISTAN, et al.

Form letter signed in pen by Tristan Tzara (with manuscript additions), Francis Picabia, Georges Ribemont-Dessaignes and Walter Serner, soliciting contributions for an unnamed new Dada anthology, the never-issued "Dadaglobe." lf. Carbon typescript, on pale blue "MoUvEmEnT DADA" letterhead stationery (Paris office), imprinted at left with a listing of Paris Dada reviews and their editors. 4to. (271 x 209mm.; 10 5/8 x 8 1/4 in.). The letter asks for contributions--three or four poems, for example, or statements--for a new Dada book to be published by La Sirène in March. Expected to be about 300 pages in length [here the original figure has been altered in pen], it will be published in an edition of some 10,000 copies. All submissions will be welcomed for consideration; contributors are asked also to include photographs of themselves, to be reproduced. On the verso, Tzara has added in pen a signed postscript thanking this recipient for sending the "Neue Merkur" and urging him to add other contributions from Germany, from which Tzara has so far received almost no replies. Beneath this is a four-line insciption in a different hand, in German, listing titles, presumably of poems. There are also a few lines of German in pencil elsewhere on the verso.

There can be no doubt that the publication involved is the anthology "Dadaglobe," which Tzara began to plan in 1920. Discussing a similar solicitation from Tzara for this project, Michel Sanouillet reports that "Chacun de ces auteurs devait communiquer des spécimens de sa production (poèmes, textes ou clichés), sa photographie et autres documents connexes. L’entreprise débuta sous d’heureux auspices. Mettant à contribution ses amis parisiens, Tzara obtint de plus de cinquante Dadaïstes (ou assimilés) repartis dans une douzaine de pays, l’assurance de leur collaboration et se mit en demeure de recueillir les manuscrits. La parution de ‘Dadaglobe’ aux Éditions de la Sirène fut annoncé dans les revues au début de 1921, et, en juin, Tzara avait en mains suffisamment de matériaux pour composer un fort et intéressant volume." Sanouillet concludes that it was abandoned for lack of financing.

Though there is no internal evidence in the letter, it is reported that the addressee was the poet and scholar Alfred Vagts in Munich, a contributor to "Der Zeltweg," "Der Zweemann," and "Dada" 6 (where he is listed among the "Présidents & Présidentes" of the movement). Raimund Meyer, discussing München Dada in "Dada Global," mentions that Vagts was in contact with the Parisian Dadas, and sent Tzara poems for "Dadaglobe." Arturo Schwarz likewise lists Vagts (in the "Almanacco Dada") among the numerous distinguished persons who replied to Tzara’s letter (and whose responses can be found in the Tzara papers). Fine condition, the four pen signatures fine and fresh.

Paris , [1920]. $3,500.00

Dada Global p. 86f. (Vagts), no. 224 (stationery); Almanacco Dada 36 ("Dadaglobe"); Sanouillet p. 310f.; Poupard-Lieussou/Sanouillet 1 (stationery); Dada Artifacts 127 (stationery, with similar Tzara letter); Düsseldorf 267

 

317

TZARA, TRISTAN

Primele poeme. Urmata de Insuresctia dela Zürich, prezentata de Sasa Pana. 49, (2)pp. Lrg. 8vo. Wraps. One of 200 numbered copies on vélin, from the limited edition of 213. Intermittent annotations and corrections in pen; light wear.

Bucuresti (Editura UNU), 1934. $2,250.00

Ilk K513, illus. p. 98; Harwood 19

318

TZARA, TRISTAN

La deuxième aventure céleste de M. Antipyrine. (Les Classiques des Éditions des Réverbères. ) (14)pp. Sm. 4to. Orig. wraps. (handmade rough-textured grey wove stock, with stencilled lettering). Edition limited to 125 copies, hand-numbered in green. The work was first performed at the Festival Dada at the Salle Gaveau in Paris on 26 May 1920, and excerpts of it published later in that year in "391" and "Littérature." This is the first complete publication. A fine copy.

Paris (Éditions des Réverbères), 1938. $1,250.00

Berggruen 18; Gershman p. 44; Dada Global 220; Motherwell/Karpel 400; Rubin p. 458; Foster/Kuenzli/Shepard p. 276

 

319

ÜECHT-GRUPPE STUTTGART

Willi Baumeister, Gottfried Graf, Edmund Daniel Kinzinger, Albert Müller, Oskar Schlemmer, Hans Spiegel. (6)pp., 18 plates (3 per participant). Dec. wraps., designed by Willi Baumeister. the front cover with a stylized abstract female head, integrated with the words "Üecht Gruppe," printed in white on a black ground. Text by Richard Herre. This "Bildbuch" was published on the occasion of the Üecht-Gruppe’s first exhibition, at the 1919 Herbstschau neuer Kunst, held at the Württembergischen Kunstverein in Stuttgart. Modelled on the great Erster Deutscher Herbsalon of 1913, the exhibition was a broad panorama of international art movements--Cubism (represented by a somewhat weak showing of Section d’Or work), Futurism, the Blaue Reiter, Dada, and Der Sturm--and the display of the Üecht-Gruppe itself was actually relegated to a back room. Its six members, all modernistically inclined students at the Stuttgarter Kunstakademie, had banded together under an Old German word meaning "Dawn"--fittingly auspicious, but chosen as much for its whimsical sound as anything else. The Üecht section was well-received in the Stuttgart press, particularly the work of Schlemmer and Baumeister, who were the first to secede when the group began to fall apart in 1921. The cover of this pamphlet is of particular interest in being --together with a related poster for the show--the earliest known example of Willi Baumeister’s graphic design (contra Maur, who attributes it to Albert Müller). A version of it was also printed in pink. A deluxe portfolio of original prints was promoted in addition ("Mappe I der Üechtgruppe"), available directly from Baumeister’s studio. This copy is signed in pen by Baumeister, Schlemmer, Graf, Kinzinger and Müller on the title-page. Of greatest rarity.

Stuttgart, 1919. $1,800.00

Kermer, Wolfgang: Willi Baumeister: Typographie und Reklamegestaltung (Stuttgart, Staatlichen Akademie der Bildenden Künste, 1989), no. 2; Cf. Karin van Maur: Oskar Schlemmer (München, 1979), p. 90ff., illus. 69

 

320

UNU

Avantgarda literara. Editors: Sasa Pana and Moldov. Nos. 1-51, April 1928 - Sept. 1935 (all published). (4)-(12)pp. per issue, except for No. 51, which is a single double-sided sheet (loosely inserted in this set). Lrg. 4to. This set is bound in one volume (contemporary blue and black cloth), with all covers present when issued thus (occasionally printed in color; a fine photomontage group portrait of the UNU Group by Pana and Brauner is featured on No. 26). Prof. illus., most extensively by Victor Brauner (including important linoleum cuts in color in No. 16), as well as Man Ray, Janco, and others; other contributions by Pana, Moldov, Calugaru, Dinu, Roll, Voronca, Sernet, Fondane, Bogza, Brauner, Perahim, Maxy, et al; and Doesburg, Aragon, Gomez de la Serna, Moussinac, Éluard, Vitrac, Tzara, Huidobro, Desnos, Daumal, Breton, Maiakovskii, et al. Edition size varies: issue Nos. 1-10 limited to 200 copies, Nos. 11-50 limited to 500 copies, and No. 51 (published hors commerce on the occasion of Moldov's wedding and distributed only to guests) limited to 50 copies in all.

"La plus importante revue surréaliste roumaine…. Cette revue ainsi qu'une maison d'édition portant le même nom ont été fondées par Sasa Pana. Le premier numéro s'ouvre avec un manifeste de Sasa Pana qui n'est pas typiquement surréaliste: c'est l'époque où l'avant-garde roumaine en est encore au dadaïsme, au constructivisme, prônés surtout par la revue de Ion Vinea, 'Contimporanul.' La vraie orientation surréaliste de la revue se dessine vers 1930, avec une forte diatribe contre Vinea. Parmi les collaborateurs d' 'Unu' on trouve Victor Brauner, Jacques Hérold, Benjamin Fondane, Ilarie Voronca, Claude Sernet (Mihail Cosma), mais aussi des surréalistes aujourd'hui complètement oubliés par les histoires de la littérature roumaine… D'autres comme Virgil Carianopol ont rapidement répudié le Surréalisme pour s'engager successivement sous les étendards littéraires fasciste et communiste. Mais la revue 'Unu' demeure exemplaire par la liberté d'expression, par la lutte contre tous les académismes, par le culte de la poésie authentique (qui ne néglige ni le sérieux du jeu ni les cérémonies provocantes de l'humour noir). Grâce a la revue 'Unu' et à son indéfatigable animateur Sasa Pana, la poésie roumaine a eu la révélation de Breton, d'Éluard, de Robert Desnos et de tant d'autres surréalistes français qui ont donné à une modernité locale une dimension européenne" (Biro/Passeron).

"UNU" means 'One'; Ilk explains that the editors' original intention was to change the title with each successive issue, as 'One,' 'Two,' 'Three,' etc. "Es blieb trotzdem bei dem Vorschlag von Stephan Roll, EINS als klares Ausdrucksmittel der Gruppe zu deklarieren: '…Es ist besser eine klare Adresse zu haben, wo wir gefunden und erreicht werden können….' So blieb auch in der Geschichte der rumänischen Literatur der Begriff 'Die Bewegung von EINS.'" (Ilk). Some issues somewhat closely trimmed by the binder, otherwise in very fine condition. Complete sets are of utmost rarity

Dorohoi/ Bucharest, 1928-1932. $22,500.00

Ilk K320-369, illus. pp.63, 65-67, 69, 71; Passuth p. 220; Between Worlds: A Sourcebook of Central European Avant-Gardes, 1910-1930, p. 703f.; Dada Global 102; Biro/Passeron p. 417

 

 

321

UNU. NO. 16

August 1929. UNU Estival. (6)pp. (single sheet, folding), loosely inserted in cover wrapper printed in plum red with 2 full-page linoleum cuts by Victor Brauner, showing a heroic pair of swimming trunks and a "Cul glacé." Lrg. 4to. Texts by Sernet, Roll, Voronca, Dinu, Pana, Bogza, and others. "Als Gast bei Bogza verbrachte Brauner im Sommer 1929 einige Wochen in Bustenari; während seines Aufenthalts schuf er die Linolschnitte für UNU-ESTIVAL, ein Gemälde ('Porträt Geo Bogza') sowie (inspiriert von dem Leben der Einheimischen) einige Zeichnungen" (Ilk). Graphically, this is the most important issue of "UNU."

Bucharest, 1929. $3,000.00

Ilk K335, illus. p. 65; Passuth p. 220; Biro/Passeron p. 417

 

322

URMUZ.

Algazy & Grummer. [Cu o pagina manuscris si o fotografie a autorului. Editie facuta de Sasa Pana. ] 47, (1)pp. 2 halftone illus. Lrg. 8vo. Wraps. Edition limited to 250 copies on vélin matte.

Bucuresti (Editura UNU), 1930. $1,800.00

Ilk K514

 

323

L’USAGE DE LA PAROLE

Revue littéraire paraissant tous les deux mois sous la direction de Georges Hugnet. Ire année, nos. 1-3, décembre 1939 - avril 1940 (all published). 48pp. Prof. illus. Lrg. 4to. Dec. self-wraps., with cover drawings by Man Ray, Ernst and Miró. Texts by Éluard, Arp, Savinio, Parrot, Hugnet, Bousquet, Neruda, Bachelard, Duchamp, Carrington, Tzara, Dalí, Baron, Reverdy, Wahl, Picabia, et al.; illustrations, vignettes and lettrines by Man Ray, Carrington, Miró, Picasso, Chagall, Magritte and others. Planned as an adjunct to "Cahiers d’art" for the year 1940, "L’usage de la parole" was announced by Zervos as a means of staying in closer contact with the embattled contemporary art community during the war. No. 1 slightly dusty, 2-3 very fine.

Paris (Éditions Cahiers d’Art), 1939-1940. $650.00

Gershman 54; Admussen 228; cf. Chevrefils-Desbiolles p. 148; Reynolds 126

 

324

VACHÉ, JACQUES

Lettres de guerre. Avec un dessin de l’auteur et une introduction par André Breton. (Collection de Littérature. III. ) 32, (6)pp. Frontispiece by Vaché. Printed wraps. One of 960 numbered copies on vélin bouffant, from the limited edition of 1000. Letters from the front by the late Jacques Vaché, a suicide from opium overdose. Breton, who admired him for his supreme detachment, cynicism and Jarryesque sense of the absurd, maintained that Vaché had left an indelible imprint on Surrealism. The letters were serialized concurrently in the June-September issues of "Littérature." This is one of Breton’s earliest book appearances. A little light foxing.

Paris (Au Sans Pareil), 1919. $350.00

Sheringham Ac26; Pompidou Breton p. 95; Gershman p. 45; Biro/Passeron 2965; Ades 8.59; Sanouillet 208

 

325

VARIÉTÉS

Revue mensuelle illustrée de l’esprit contemporain. Directeur: P.-G. van Hecke. Secrétaire: Paul Nayaert. Vol. I, no.1- Vol. II, no. 12, May 15, 1928-April 15, 1930; plus Numéro hors série, June 1929 (all published). 25 issues, bound in 4 vols. (apart from the final issue). Prof. illus., with numerous figs. and hors-texte plates. 4to. Vols. I-II bound in 4 vols. (boards, 1/4 cloth, mounted with original wraps.; other wraps. bound in); Numéro hors-série unbound, in the original wraps. Texts by Ostayen, Fierens, Ensor, de Ridder, Mac Orlan, Soupault, Vlaminck, Tzara, Mesens, Eluard, Giono, Lurçat, Michaux, Malraux, Grosz, Ribemont-Dessaignes, Léger, Prinzhorn, Babel, Ehrenbourg, Maiakovsky, et al; illustrations by and after Arp, Cocteau, Magritte, Zadkine, Miró, Lhote, Ensor, Atget, Krull, Lotar, Léger, Seuphor, and with many film stills, documentation of African sculpture, etc. The important final number, published hors série, is devoted to "le Surréalisme en 1929" with texts by Freud, Crevel, Eluard, Nougé, Unik, Péret, Sadoul, Desnos, Mesens, Queneau, Aragon and Breton, and many documentary illustrations. A fine run.

Bruxelles (Éditions Variétés), 1928-1930. $3,500.00

Ades 9.75; Gershman p. 54; Admussen 229; Biro/Passeron p. 422

 

326

VASARI, RUGGERO

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

Torino (Edizioni Rinascimento), 1925. $300.00

Salaris p. 71

 

327

VIEW

"Through the eyes of poets." Charles Henri Ford, editor. Series I, No. 1 - Series VII, No. 3, October 1940 - Spring 1947 (all published), lacking two issues: Series I, Nos. 1 and 2. 30 physical issues. Prof. illus. Format varies: Series I in tabloid folio; Series II in sm. 4to.; Series III-VII in lrg. 4to. Series I in self-wraps.; Series II-VII in dec. wraps. Contributions by N. Calas, P. Tyler, W. Stevens, A. Breton, A. Masson, K. Seligmann, P. Mabille, J. Cornell, L. Carrington, R. Melville, H. Miller, H. and S. Janis, J. Levy, B. Péret, H. Rosenberg, C.H. Ford, W.C. Williams, Man Ray, K. Burke, L. Abel, D. de Rougement, and many others. Cover designs by Ernst, Tchelitchew, Tanguy, Seligmann, Ray, Masson, Calder, O’Keeffe, Léger, Francés, Duchamp, Lam, Hirschfeld, L. Kelly, Tunnard, Fini, Hélion, Noguchi and Magritte. Special issues are devoted to Surrealism, Ernst, Tchelitchew/Tanguy, "Vertigo," "Americana Fantastica" (designed by Joseph Cornell), and Marcel Duchamp (designed by the artist).

"Among the many literary and art reviews which sprang up in the United States during the last war, it was certainly ‘View’ which--although never in any way an ‘official’ organ of the movement--provides the most striking evidence of the gradual penetration of American intellectual life by the ideas and themes of Surrealism" (Marcel Jean). "When Breton reached New York, he found ‘View,’ an avant-garde literary magazine edited by Charles-Henri Ford, most sympathetic to the surrealists. One of its regular contributors, Nicolas Calas, in particular, was to become a close friend of Breton, and edited the special surrealist number October/November 1941, which contained an interview with Breton by Charles-Henri Ford, and contributions by Masson, Georges Henein (from Cairo), Seligmann, Ernst (‘The Hundred Headless Woman’) and Benjamin Péret, and communications from surrealists in America and abroad. Breton was asked the memorable question, had he ever dreamed of Hitler, and then his impressions of New York, in which he reveals an interest in flora and especially in the butterflies of the surrounding countryside, rather than the skyscrapers of New York" (Ades).

Copies of the earliest issues in the first Series are of great rarity; this set, lacking only Nos. 1-2, is remarkably near complete. It is also accompanied by three rare broadside numbers of "View Poets," issued as supplements to the first Series: No. 1 (Salvador Novo, Paul Eaton Reeve), No. 2 (Maurice Blanchard, Owen Dodson), and No. 4 (Huidobro, Merton,Chishom, Kuroda, et al).

New York, 1941-1947. $5,000.00

Ades pp. 375, 383ff.; Gershman p. 54; Rubin 482; Jean p, 318; Reynolds p. 126

 

328

VORDEMBERGE-GILDEWART [FRIEDRICH]

Époque néerlandaise. Préface: Jean Arp. (Collection "Éditions Duwaer." 2.) (36)pp., 25 tipped-in plates (12 color; several folding). 17 illus. hors texte. Sm. folio. Portfolio: signatures loose, as issued. Wraps. One of 200 hand-numbered copies, from the limited edition of 300. Typography by the artist. Texts by Vordemberge-Gildewart (including his significant "abstrakt-konkret-absolut"), Ozenfant, Vantongerloo, Van Doesburg and others, in German, French and English. Fine copy. Very scarce.

Amsterdam (Éditions Duwaer), 1949. $450.00

 

329

VORONCA, ILARIE

Act de prezenta. 86, (2)pp. Wraps. Unstated limited edition, estimated by Ilk at fewer than 250 copies. A bit worn; lacking front flyleaf, last leaf stuck to inside back cover.

[Bucarest] (Colectia "Carte cu Semne"), 1932. $1,500.00

Ilk K526

 

330

VORONCA, ILARIE

A doua lumina. 123, (5)pp. Lrg. 8vo. Wraps. (light wear). Edition limited to 250 numbered copies. Among the pieces included are sensitive and poetic studies of M.H. Maxy and Victor Brauner.

Bucuresti (Editur UNU), 1930. $1,800.00

Ilk K522, illus. p. 91; Between Worlds: A Sourcebook of Central European Avant-Gardes, 1910-1930, p. 708ff.

 

331

VORONCA, ILARIE

Incantatii. Poeme. Cu un portret inedit de Milita Petrascu. 107, (7)pp. Frontis. portrait drawing by Petrascu. Lrg. 8vo. Wraps. Unstated limited edition, estimated by Ilk at circa 300 copies, apart from the édition de tête of 66 signed copies.

Bucuresti (Editura "Cultura Nationala"), 1931. $1,500.00

Ilk K524

 

332

VORONCA, ILARIE

Invitatie la Bal. 1924-1925. 12mo. Pale green wraps. (slightly shaken). Edition limited to 100 hand-numbered copies hors commerce. Presentation copy, inscribed by the author (to Dr. Rudi Brauner, whom Ilk notes is the brother of Victor). Very rare.

Bucuresti (Editura UNU), 1931. $1,800.00

Ilk K523, illus. p. 94

 

333

VORONCA, ILARIE

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

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

Ilk K527; Biro/Passeron 3046

 

334

VORONCA, ILARIE

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

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

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

 

335

VORONCA, ILARIE

Ulise. Cu un portret de Marc Chagall. (36)pp., 1 full-page drawing by Chagall. Sm. folio. Wraps. (rather worn). One of 200 hand-numbered copies on vélin, from the limited edition of 206 in all. The whimsical Chagall "portrait" depicts Voronca as the Eiffel Tower. This is the second book published in the Colectia Integral series. A few light inscriptions (on title-page and interior) in red pencil. Very rare.

Paris (Colectia Integral), 1928. $3,000.00

Ilk K518, illus. p. 84

 

336

VORONCA, ILARIE

Ulysse dans la cité. Traduit du roumain par Roger Vailland. Avec une préface de Georges Ribemont-Dessaignes et un dessin par Marc Chagall. 68, (2)pp. Frontis. Wraps. One of 500 numbered copies on vélin, from the limited edition of 515. The French-language edition of "Ulise," published in Paris, in Rumanian, in 1928 (Ilk K518).

Paris (Éditions du Sagittaire), 1933. $850.00

Ilk K528

 

337

WALKOWITZ, ABRAHAM

Improvisations of New York. A symphony in lines. Prefatory comments by Carl Van Vechten and Konrad Bercovici. (32)pp. Prof. illus. Lrg. 4to. Wraps. Presentation inscription by Walkowitz at the head of the title-page, dated 1948; also signed by him on the front cover and above the copyright statement.

Girard (Haldeman-Julius Publications), 1948. $200.00

 

338

WALKOWITZ, ABRAHAM

Isadora Duncan in Her Dances. With introductions by Maria-Theresa, Carl Van Vechten, Mary Fanton Roberts, Shaemas O’Sheel, and Arnold Genthe. Included are dance sequence drawings of ballet, Agna Enters, Martha Graham, a group of pupils of Isadora, and Drawings Against War and Fascism by Walkowitz, with an introduction by Konrad Bercovici. 12, (20)pp. 19 plates in text, reproducing hundreds of drawings. Lrg. 4to. Self-wraps. Presentation copy, inscribed on the title-page by Walkowitz.

Girard (Haldeman-Julius Publications), 1945. $175.00

 

339

DIE WIENER WERKSTÄTTE 1903-1928

Modernes Kunstgewerbe und sein Weg. (144)pp. 173 illus. (9 color), set against background panels of orange, black, silver and gold. Sq. 4to. Remarkable publisher’s binding designed by Vally Wieselthier and Gudrun Baudisch, of paper boards molded in extremely high relief in figurative designs, colored in orange and black. Dec. endpapers, printed in orange. A commemorative album published on the twenty-fifth anniversary of the Wiener Werkstätte, documenting all facets of the Werkstätte’s production in the decorative arts: silver, textiles, lighting, porcelain, glass, and all manner of incidental objets d’art. Particular emphasis is given to the work of Josef Hoffman, who is credited as the guiding genius behind the book (some of Hoffmann’s architectural projects are illustrated as well), in addition to work by Dagobert Peche, Koloman Moser, Vally Wieselthier and Kitty Rix, among others. Editorial/production credit for the volume is given to Mathilde Flögel. The remarkable stylishness and originality of the mise-en-page mark this as one of the landmarks of twentieth century book design. As usual, some minor rubbing to the extremities and points of highest relief of the covers, with some chipping at hinges and a little intermittent internal wear. This copy is noteworthy for the presence of the rare publisher’s prospectus, designed to match the format of the book, with promotional remarks on the Werkstätte by Peter Behrens and Le Corbusier (loosely inserted).

Wien (Krystall-Verlag), 1929. $5,000.00

 

340

(WOLS) Sartre, Jean-Paul

 

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

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

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

 

341

WRIGHT, FRANK LLOYD

Wedding announcement of Frank Lloyd Wright and Olgivanna Wright, at Rancho Santa Fe, California, 25 August 1928. Offset lithograph, designed and calligraphed by Wright, in brown on buff-colored card stock, reproducing a portrait of their daughter Iovanna Wright at upper left; one portion hand-colored in red. 142 x 115 mm. (5 5/16 x 4 1/2 inches). The ceremony was held in La Jolla a year to the day after Wright’s messy divorce from Miriam Noel Wright, and almost three years after his and Olgivanna’s daughter (shown here in a sweet hexagonal portrait) was born out of wedlock.

Taliesin (Wisconsin), 1928. $2,000.00

 

342

(WRIGHT) Badovici, Jean

 

Frank Lloyd Wright, architecte américain. (Extrait de "L’Architecture Vivante.") 32pp., 25 plates with numerous collotype illus. Plans, elevations and other drawings of 15 projects in the text (occupying 23 full pages). 4to. Portfolio (printed boards, 1/4 cloth). All contents loose, as issued.

[Paris] (Albert Morancé), [1932]. $900.00

Sweeney 301

 

343

(WRIGHT) Fries, H. de.

Frank Lloyd Wright. Aus dem Lebenswerk eines Architekten. 80pp., 8 color plates. More than 100 illus. 4to. Dec. boards, 1/4 cloth (slightly worn). Scarce.

Berlin (Ernst Pollak), 1926. $550.00

Sweeney 172

 

344

ZAREMBA, A.

Deschidere. Cu un portret al autorului de S. Perahim. 37, (3)pp. 2 illus. (1 full-page line drawing in text). Lrg. 8vo. Wraps. (light wear). One of 150 numbered copies, from the limited edition of 151 in all. Very rare.

Bucuresti (Editura "UNU"), 1933. $1,800.00

Ilk K530

Back to Ars Libri Catalogues Page

Back to Ars Libri Main Page