ars libri ltd.
rare and scholarly books
on the fine arts
ars libri ltd.
rare and scholarly books
on the fine arts
Catalogue 130-N: Modern Art: Rarities of the Avant-Garde
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