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
212
(MASSON) Desnos, Robert
C’est les bottes de 7 lieues. Cette phrase "Je me vois." Illustré d’eaux-fortes d’André Masson. (18)pp., 4 original drypoint etchings by Masson. Sm. folio. Printed wraps. One of 90 numbered copies on uncut vergé d’Arches from the limited edition of 112 in all, signed in pen by Masson and Desnos in the justification.
Masson’s third illustrated book. "These are Masson’s first ‘automatic’ etchings, done with as much fluidity as the lithographs for ‘Simulacre’ which were in a medium corresponding more closely to drawing on paper. Unlike the illustrations for Masson’s first two books, these tend to be matched more closely to the subject of the poems. The use of bistre ink reflects the first use of Masson’s desire to introduce coloration into his printmaking" (Saphire: André Masson, The Complete Graphic Work). "While Kahnweiler knew the authors of the first two books Masson illustrated for him, it was probably Masson who suggested that his friend Desnos be the author of the third. Kahnweiler accorded Masson the large format which he had used in the past for such notable volumes as Picasso’s ‘St. Matorel,’ Vlaminck’s ‘Voyages’ and ‘Communications,’ Braque’s ‘Le piège de Méduse,’ Léger’s ‘Lunes en papier,’ and Gris’ ‘Ne coupez pas Mademoiselle ou les erreurs des P.T.T.’" (Saphire: André Masson, The Illustrated Books). A superb copy, virtually mint in the original glassine, from the library of Albert Skira (though not marked as such).
Paris (Editions de la Galerie Simon), 1926. $8,000.00
Saphire: Andé Masson, The Illustrated Books, 3; Saphire: André Masson, The Complete Graphic Work 12-15; Rubin/Lanchner III.78 Hugues 22; Hugues 22; Gershman p. 16; Pompidou Kahnweiler p. 186; Chapon p. 285; Skira 237; Rauch 131; Wheeler p. 107; Winterthur 118; Andel 139; Surrealist Prints 67-69
213
(MASSON) Jouhandeau, Marcel
Ximinès Malinjoude. Illustré d’eaux-fortes par André Masson. (60)pp., 6 original drypoint etchings by Masson. Wraps. One of 90 numbered copies on uncut vergé d’Arches from the limited edition of 112 in all, signed in lavender ink by Masson and Jouhandeau in the justification.
Masson’s fourth illustrated book. "Illustrating a novel rather than a thin book of poetry was unusual at this point in Masson’s artistic milieu, although he had provided three portraits for the serialized version of Aragon’s ‘Le paysan de Paris.’ For Jouhandeau his illustrations are a curious but brilliant compromise between figuration, following the novel’s plot, and automatic compositions which reflect much of his work in 1927 in sand painting. Since these etchings came at the same time, there is always the possibility that they influenced his style of 1927 rather than the opposite" (Saphire: André Masson, The Illustrated Books). A superb copy, unopened, in the original glassine, with a presentation inscription by Marcel Jouhandeau on the first blank leaf, in lavender ink: "La volupté aussi bien, si elle est sans faute, fait allusion à des mystères qui la dépassent. M.J." From the library of Albert Skira (though not marked as such).
Paris (Editions de la Galerie Simon), 1927. $6,000.00
Saphire: André Masson, The Illustrated Books, 4; Saphire: André Masson, The Complete Graphic Work, 16-21; Rubin/Lanchner III.80; Hugues 24; Pompidou Kahnweiler p. 186; Chapon p. 285; Skira 238; Winterthur 119
214
(MASSON) [Aragon, Louis]
Le con d’Irène. 85, (3)pp., 5 original etchings by Masson. 4to. Wraps. Slipcase (boards, cracked). One of 125 copies on uncut vergé d’Arches from the limited edition of 150 in all. None of the participants--Aragon, Masson, or the publisher--are identified in this clandestine volume.
"By 1928, the classic period of Masson’s automatic drawing had ended, for reasons probably having more to do with his relations with Breton and surrealism than with anything else. At this point too, perhaps because four or more shelves of unsold books were enough, Kahnweiler ceased to do a yearly publication. The gap was filled by Pascal Pia who published the first of the two erotic books illustrated by Masson: ‘Le con d’Irène.’ Masson’s etchings were less literal than those of its publishing sequel, Georges Bataille’s ‘Histoire de l’oeil,’ for which Bataille requested fairly obvious illustrations, but it followed Aragon’s text to the point where Masson wrote the lines he was interpreting, albeit freely, under the illustration...." (Saphire: André Masson, The Complete Graphic Work). A significant association copy, with the neat ownership inscription of Marco Ristic on the front flyleaf, dated 21.2.1929. Ristic was perhaps the leading figure in Slovenian Surrealism; poet, critic and editor, he was a friend and active correspondent of André Breton (for an extensive vita, see Biro/Passeron). One section slightly shaken; a fine copy.
Paris ([René Bonnel]), [1928]. $7,000.00
Saphire: André Masson, The Illustrated Books, 5; Saphire: André Masson, The Complete Graphic Work 22-26; Rubin/Lanchner III.81; Gershman p. 2
215
(MATISSE ) Reverdy, Pierre.
Les jockeys camouflés. Trois poèmes agrémentés de cinq dessins inédits de Henri Matisse. (40)pp. 5 full-page reproductions of ink drawings hors texte. Text printed in green, orange and blue. 4to. Printed wraps. Glassine d.j. Fitted quarter-calf slipcase and chemise. One of 300 numbered copies on uncut vergé d’Arches, from the limited edition of 343 in all. "Les jockeys camouflés" has sometimes been called Matisse’s first illustrated book, a claim which is not strictly true, as it incorporates drawings made, in a few cases, years before, between 1903 and 1917. Nonetheless, it is the first book to contain a multitude of images by him integrated in this fashion. Two editions of it were printed, both in 1918. This one, the first, has the text beautifully set in three colors, rather like Blaise Cendrars’ and Fernand Léger’s ‘J’ai tué,’ also published by François Bernouard in this year. Reverdy, who had not authorized this typographical caprice and was infuriated by it, forced Bernouard to issue a second version of it, in black-and-white. A few small spots on front cover; a copy, fresh and crisp, from the library of Albert Skira (though not marked as such).
Paris (La Belle Édition), 1918. $3,500.00
Duthuit 41; Nice 55; Skira 255; Chapon pp. 140,142
216
MATISSE, HENRI
Cinquante dessins par Henri-Matisse. Album publié par les soins de l’artiste. Preface by Charles Vildrac. 7, (7)pp., 1 original etching by Matisse, signed in pen in the margins ("Mlle. M.M."), 49 collotype plates. 4to. Contemporary cloth (rather worn, chipped at backstrip and hinges). Orig. printed wraps. (with printed vignette of a nude by Matisse) bound in. One of 1000 copies on Hollande van Gelder, from the limited edition of 1003 in all. The frontispiece etching is printed on chine français teinté contre collé.
An historic presentation copy, inscribed in pen by Matisse on the second blank leaf "à mademoiselle Catherine Viviano/ en souvenir de ma visite à New-York/ de mai 1933/ respectueusement/ Henri-Matisse." Catherine Viviano, who was in later years to open an important New York gallery of her own, was the long-time aide and assistant of Pierre Matisse at the Pierre Matisse Gallery until 1949. Just shortly before the presentation of this book, Pierre Matisse had in fact held an exhibition of the same title, "Henri Matisse: Fifty Drawings," in November-December 1932. "Cinquante dessins," published by Matisse himself, reproduces fifty studies of the model done in Nice and Issy between 1918 and 1920. Having travelled back and forth between France and the US several times since 1930, Matisse had just completed and delivered the second version of his mural to Albert Barnes at his foundation in Merion Pennsylvania, when he inscribed this book to Catherine Viviano. All contents hinged into the binding.
Paris (Éditions des Quatre Chemins), 1926. $6,000.00
Duthuit 68; Duthuit Ouvrages illustrés 2
217
(MATISSE, HENRI)
Henri Matisse dessins: thèmes et variations. Précédés de "Matisse-en-France" par Aragon. (2), 39, (1)pp., 158 plates. Frontispiece linogravure and 3 lithographic ornaments, designed by Matisse. Sm. folio. All contents loose, as issued, in printed folder, within publisher’s board portfolio; ties. One of 920 numbered copies on Vélin pur fil, from the limited edition of 950 in all, printed in collaboration with Roger Lacourière by G. Duval and Feuquet et Baudier.
An important presentation copy, with a magnificent full-page pencil drawing of a nude on the half-title, inscribed by Matisse at upper right "En hommage/ à Catherine/ Viviano/ H Matisse/ Juillet 48." Drawing dimensions: 325 x 245 mm. (12 3/4 x 9 5/8 inches). "From Nice, on April 3, 1942, [Matisse] wrote Pierre in New York: ‘For a year now I’ve been making an enormous effort in drawing. I say "effort," but that’s a mistake, because what has occurred is a "floraison" after fifty years of effort...’ Fortunately Matisse’s drawings of this period were copiously published in 1943 by Fabiani with a discerning, affectionate and poetic preface by Louis Aragon in a volume entitled ‘Dessins: thèmes et variations.’ Matisse called it ‘...a motion picture film of the feelings of an artist. A suite of successive images resulting from the realization of a given theme on the part of the creator’" (Barr).
The superb drawing, full of characteristic sensual elegance, presents a nude young woman in a necklace, standing full-length at the lefthand side of the sheet, bisected by the printed text "Thèmes et variations." At the time it was drawn, July 1948, Matisse was in Paris, deeply involved in designs for the chapel at Vence. Provenance: Viviano family. An extremely fresh copy.
Paris (Martin Fabiani, éditeur), 1943. SOLD
Duthuit Ouvrages illustrés 9; Barr p. 268, bibl. 102
218
MATISSE, HENRI
Poèmes de Charles d'Orléans. Manuscrits et illustrés par Henri Matisse. 100, (3)pp. 54 original color lithographs, with lithographed text by the artist printed in black within colored lithographic borders. Folio. Wraps., likewise by Matisse. Publisher's box (flap detached). One of 1200 copies from the limited edition of 1230, signed in pencil by the artist in the justification. Printed by Mourlot Frères. Matisse's last illustrated book, containing a profusion of ornaments and arabesques in a spectrum of pastel colors, interspersed with portraits of ladies in court costume. Every element of the book proceeds directly from Matisse's hand; only the justification is set from type. "In no other of Matisse's books does one feel the same sense of the artist's pleasure in his work as he plays here his subtle games with children's crayons" (Barr).
Paris (Tériade), 1950. $5,000.00
Duthuit 28; Nice p. 64ff.; The Artist and the Book 202; Rauch 174; Stern 73; Cramer 36; Tériade .39; Hommage à Tériade p. 130ff.; Garvey/Wick 35; Barr pp. 252f., 560; Mornand-Thomé p. 305; Bibliothèque Nationale: 50 livres illustrés depuis 1947, no. 10
219
(MAXY) Pana, Sasa
Calatorie cu Funicularul. Poeme. Cu un portret de M.H. Maxy. 92, (4)pp. Frontis. portrait of the author from a painting by Maxy. Lrg. 8vo. Wraps. One of 349 numbered copies on vélin Omnia, from the limited edition of 361.
Bucuresti (Editura UNU), 1934. $1,200.00
Ilk K489, illus. p. 97
220
(MAXY) Pana, Sasa
Echinox Arbitrar. Coperta si desene de M.H. Maxy. 48pp. 3 full-page illus. by Maxy. Lrg. 8vo. Dec. wraps., designed by Maxy (slightly soiled, partly unopened). One of 138 numbered copies on vélin from the limited edition of 150 copies. Presentation copy, inscribed by Pana on the half-title, 1943.
Bucharest (Colectia Editurii UNU), 1931. $2,750.00
Ilk K486, illus. p. 94
221
(MAXY) Voronca, Ilarie
Zodiac. Un desen si soperta de M.H. Maxy. 92, (4)pp. 1 tipped-in plate by Maxy at the outset. Lrg. 8vo. Dec. wraps., designed by Maxy (a bit worn). Edition limited to 300 numbered copies on vélin. Presentation copy, inscribed by the author on the front flyleaf.
Bucuresti (Editura UNU), 1930. $1,800.00
Ilk K521, illus. p. 92