ars libri ltd.

rare and scholarly books on the fine arts

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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

Bén