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
262
PETERSEN, CARL V.
1936: The Art of the Surrealists in Denmark and Sweden. L’art des surréalistes.../ Surrealistisk Kunst.... (4)pp., 16 plates with 32 illus. Sm. folio. Self-wraps. A promotional pamphlet for Scandinavian Surrealist painters, "published especially for the International Surrealist Exhibition at the New Burlington Galleries London, June 1936." Illustrated are pictures by Sven Jonson, Wald. Lorentzon, Vilh. Bjerke-Petersen, Freddie, Heerup and others. Rare.
Copenhagen (Fischers Forlag), 1936. $400.00
Biro/Passeron 2234; Reynolds p. 68
263
(PICABIA, FRANCIS)
491. 4 mars 1949 [all published]. Rédaction: Michel Tapié. (4)pp. (single sheet, folding). 27 half-tone and line-drawn illus. Super-imposed boldface headlines in orange ("Francis Picabia"). Tabloid folio, folded 4 times. "Catalogue in newspaper format issued March 4, 1949, for Picabia exhibition of 136 works dated 1897-1949. Edited for Drouin Gallery by Michel Tapié, with contributions by Breton, Buffet-Picabia, Roche, Tapié, and essay by the artist, '50 ans de plaisir' " (Motherwell/Karpel).
Paris (René Drouin), 1949. $850.00
Motherwell/Karpel 336a; Gershman p. 52
264
(PICASSO) Aksenov, I.A.
Picasso i okrenosti [Picasso and Environs]. Oblozhka A.A. Ekster. 62, (2)pp., (8)pp. advts., 7 plates. 5 tipped-in text illus. 4to. Orig. illus. wraps., designed by Alexandra Exter. Nominally a study of Picasso and his ambit, the work is in fact a theoretical examination of Cubist aesthetics, with anecdotes and statements by numerous artists of the early teens. "As a conscious paradox, Aksenov (1884-1935) turns to the actual analysis of Picasso’s art and artistic evolution only in the essay that forms an appendix to the book; but it is so subtle and thoroughly professional that it deserves translation into other languages even now" (Markov). Alexandra Exter’s handsome cover design takes the form of an analytic cubist still-life composition, incorporating the title and author’s name. Backstrip unobtrusively taped, other light wear.
Moskva (Tsentrifuga), 1917. $850.00
MOMA 148; Getty 6; Barron/Tuchman 50; Markov p. 272f.; Ex Libris 1
265
PUNCT
Revista de arta constructivista internationala. Director: Scarlat Callimachi. Editors: Victor Brauner (nos. 2-9), Stephan Roll. Nos. 1-16, Nov. 1924 - March 1925 (all published). (4)pp. per issue (single sheet, folding), except for No. 1, which is a poster (verso blank), and No. 6/7 (8pp.) Lrg. 4to. Dec. self-wraps. Some issues are printed on colored wove stocks. Prof. illus. (including many linoleum cuts) by and after Janco, Brauner, Maxy, Petrascu, Solomon, Schwitters, Mattis-Teutsch, and Servranckx. Texts by Callimachi, Voronca, Schwitters, Walden, Doesburg, Linze, Micic, Soupault, et al. The unstated edition size is estimated by Ilk at fewer than 500 copies, apart from the Luxusausgabe of about 50.
"Punct" was the third significant avant-garde review published in Rumania, following "Contimporanul" and the single issue of "75HP." "Brauner and Janco both contributed actively to 'Punct,' notably with abstract linoleum cuts. This periodical, edited by the writer Scarlatt Callimachi, was subtitled 'A Review of Constructivist Art,' though in some ways it reflected the Dada spirit. Inspired by Eggeling's films, Janco composed a formal alphabet for 'Punct' that resembled the Swedish artist's abstract signs on film. 'Eggeling, the Edison of the new art,' proclaimed the artist, 'will take his cinema (that new music of planes) to every part of the world'" (Dachy). "Les pages sont remplies de linogravures abstraites de Brauner et de Marcel Jancu. Elle reflète l'évolution de l'art roumain vers le constructivisme (indépendant du constructivisme russe); elle exploit surtout ses propres racines et connaît une évolution autonome (seul l'esprit dada y a laissé des traces), phénomène assez rare dans l'histoire des avant-gardes de cette époque" (Passuth). Intermittent light wear; No. 1 with mends at extremities, expertly reinforced on blank verso; No. 2 with mended tears; generally in fine condition. Complete sets are of utmost rarity.
Bucharest , 1924-1925. $25,000.00
Ilk K286-300, illus. pp. 48-53; Passuth p. 224; Between Worlds: A Sourcebook of Central European Avant-Gardes, 1910-1930, p. 531f.; Dada Global 92-96, p. 54f.; Dachy p. 57; Andel: Avant-Garde Page Design 1900-1950 no. 224
266
PUNI, IVAN
Sovremennaia zhivopis. 36, (2)pp., 23 plates. 10 text illus. Lrg. 4to. Orig. wraps. Critical essays by the great Suprematist, on Kandinsky, Malevich, Tatlin and others, with an emphasis on cubism and its antecedents, as well as new tendencies termed ‘machinism’ and ‘neo-naturalism.’ Dedicated to V. Khlebnikov. Contents neatly loosening from wraps. within; slightly damp-rippled at top corner; a clean copy.
Berlin (Izdatel’stvo L.D. Frenkel), 1923. $750.00
MOMA 497; Getty 652
267
(REDON) Picard, Edmond
Le juré. Monodrame en cinq actes. Sept interprétations originales par Odilon Redon et deux portraits. (4), xlvii, (1), 133, (9)pp., 7 original lithographs by Redon (Mellerio 75-81). 2 reproductive portaits hors texte, by Redon and van Rysselberghe. 4to. Publisher’s original vellum over boards gilt (Claessens). Edition limited to 100 numbered copies in all, printed on Hollande. "In 1886 Redon was included in the exhibition of the avant-garde group ‘Les XX’ in Brussels, where his work was appreciated sooner than in France. Belgian writers sought his illustrations and he did many frontispieces. Picard’s play was designed to be read as a monologue, rather than acted, and in the spring of 1887, the author gave a reading, before publication, in the lecture hall of ‘Les XX,’ with Redon’s lithographs hanging on the walls. Picard edited the Belgian periodical ‘L’art moderne’ and was a champion of Redon..." (The Artist and the Book). Occasional light offsetting of the plates onto the text; hairline crack at foot of cover; a fine copy, with the lithographs in fresh condition, accompanied by the printed circular from the publisher to subscribers.
Bruxelles (Mme. Veuve Monnom), 1887. $28,000.00
The Artist and the Book 252; Chapon p. 277; Garvey/Wick 3; Stern 95; Rauch 95; Basel 226
268
RENGER-PATZSCH, ALBERT
Bäume. Photographien schöner und merkwürdiger Beispiele aus deutschen Landen. Mit einem Essay von Ernst Jünger und dendrologischen Erläuterungen von Wolfgang Haber. 17, (3)pp., 65 plates. Folio. Cloth. Printed at the Stamperia Valdonega. A fine copy.
Ingelheim am Rhein (C.H. Boehringer Sohn), 1962. $800.00
269
RENGER-PATZSCH, ALBERT
Gestein. Photographien typischer Beispiele von Gesteinen aus europäischen Ländern. Mit einer Einführung und Bildtexten von Max Richter und mit einem Essay von Ernst Jünger. 33, (3)pp., 62 full-page plates with facing commentary. Folio. Cloth. Printed at the Stamperia Valdonega, with text on wove paper from the Fratelli Magnani in Pescia; bound at the Legatoria Toriana in Milano.
Ingelheim am Rhein (C.H. Boehringer Sohn), 1966. $650.00
270
RENGER-PATZSCH, ALBERT
Die Welt ist schön. Einhundert photographische Aufnahmen. Herausgegeben und eingeleitet von Carl Georg Heise. 21, (5)pp., 100 halftone plates. 4to. Orig. boards.
München (Kurt Wolff), 1928. $850.00
Roth: The Book of 101 Books p. 50
271
(RICHTER, HANS) München. Neue Kunst Hans Goltz.
Abende-für-neue-Litteratur. Poster, printed in black offset lithography on buff-colored stock. 882 x 710 mm. (34 3/4 x 28 inches). This apparently unrecorded poster by Hans Richter promotes a series of "soirées for new literature" which the Munich gallerist (also editor and publisher) Hans Goltz organized with members of the "Neue Jugend" circle in Berlin. One of these evenings (and perhaps the only one) is recorded to have taken place in November 1916. Goltz’s gallery was a key center of the Munich avant-garde, particularly for the Blaue Reiter and Expressionists; Richter had his first solo exhibition there in 1916 (70 works, including portraits of Baader and Hausmann), and it was there that Max Ernst first came into contact with the work of Klee, de Chirico and Carrà, and the publications of Zürich Dada.
Depicting a disembodied hand about to shoot a note through the air on a bow and arrow, the poster presents a kind of emblematum, still Expressionist in the character of the drawing (and roughhewn style of the handwritten text), but tinged with an incipient Dada sensibility. It is unmistakably close in style to another poster Richter designed that year, for a four-man exhibition he shared with Heckel at Goltz’s gallery in June--until now, so far as we know, the only one surviving from this moment in his career--but the enigmatic minimalism of this new poster seems to signal a change of direction. A few pale traces of foxing, inconspicuous trace of center fold; backed with japon; invisible pinholes at corners; a very fresh and bright example.
München [1916]. $12,000.00
Literature: Cf. DadaGlobal p. 87f. (cf. illus. p. 87); Gray, Cleve (ed.): Hans Richter by Hans Richter (New York, 1971), p. 26; Berlin, Akademie der Künste: Hans Richter 1988-1976 (1982), p. 53