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
312
TROST, DOLFI
Rêves et délires. (8pp.) 4to. Self-wraps. Unnumbered edition of 500 copies. Front cover slightly worn, with small annotation.
Bucarest (Collection Surréaliste Infra-Noir), 1947. $650.00
Ilk K512
313
TROST [DOLFI]
Le profil navigable. 71, (5)pp., 14 plates. Lrg. 8vo. Wraps. One of 500 numberd copies on vergé-chamois. Backstrip torn; without the dust jacket cited by Ilk.
Bucarest (Les Éditions de l’Oubli), 1945. $1,200.00
Ilk K509, illus. p. 105
314
TROST [DOLFI]
Vision dans le cristal. Oniromancie obsessionelle. Et neuf graphomanies entoptiques. 86, (10)pp. 9 full-page plates of line-drawings by Trost in text. Lrg. 8vo. Wraps. One of 500 numbered copies on chromo-chamois, from the limited edition of 520. Front cover splitting at spine.
Bucarest (Les Éditions de l’Oubli), 1945. $1,500.00
Ilk K508
315
TSCHICHOLD, JAN
Typographische Gestaltung. 112, (12)pp. Numerous illus. and typographic facsimiles (partly in color; some printed on variant paper stocks). Sm. 4to. Cloth. Printed d.j. Small clean tear at top of dust jacket; an unusually fresh copy.
Basel (Benno Schwabe & Co.), 1935. $600.00
McLean p. 60; Spencer p. 147
316
TZARA, TRISTAN, et al.
Form letter signed in pen by Tristan Tzara (with manuscript additions), Francis Picabia, Georges Ribemont-Dessaignes and Walter Serner, soliciting contributions for an unnamed new Dada anthology, the never-issued "Dadaglobe." lf. Carbon typescript, on pale blue "MoUvEmEnT DADA" letterhead stationery (Paris office), imprinted at left with a listing of Paris Dada reviews and their editors. 4to. (271 x 209mm.; 10 5/8 x 8 1/4 in.). The letter asks for contributions--three or four poems, for example, or statements--for a new Dada book to be published by La Sirène in March. Expected to be about 300 pages in length [here the original figure has been altered in pen], it will be published in an edition of some 10,000 copies. All submissions will be welcomed for consideration; contributors are asked also to include photographs of themselves, to be reproduced. On the verso, Tzara has added in pen a signed postscript thanking this recipient for sending the "Neue Merkur" and urging him to add other contributions from Germany, from which Tzara has so far received almost no replies. Beneath this is a four-line insciption in a different hand, in German, listing titles, presumably of poems. There are also a few lines of German in pencil elsewhere on the verso.
There can be no doubt that the publication involved is the anthology "Dadaglobe," which Tzara began to plan in 1920. Discussing a similar solicitation from Tzara for this project, Michel Sanouillet reports that "Chacun de ces auteurs devait communiquer des spécimens de sa production (poèmes, textes ou clichés), sa photographie et autres documents connexes. L’entreprise débuta sous d’heureux auspices. Mettant à contribution ses amis parisiens, Tzara obtint de plus de cinquante Dadaïstes (ou assimilés) repartis dans une douzaine de pays, l’assurance de leur collaboration et se mit en demeure de recueillir les manuscrits. La parution de ‘Dadaglobe’ aux Éditions de la Sirène fut annoncé dans les revues au début de 1921, et, en juin, Tzara avait en mains suffisamment de matériaux pour composer un fort et intéressant volume." Sanouillet concludes that it was abandoned for lack of financing.
Though there is no internal evidence in the letter, it is reported that the addressee was the poet and scholar Alfred Vagts in Munich, a contributor to "Der Zeltweg," "Der Zweemann," and "Dada" 6 (where he is listed among the "Présidents & Présidentes" of the movement). Raimund Meyer, discussing München Dada in "Dada Global," mentions that Vagts was in contact with the Parisian Dadas, and sent Tzara poems for "Dadaglobe." Arturo Schwarz likewise lists Vagts (in the "Almanacco Dada") among the numerous distinguished persons who replied to Tzara’s letter (and whose responses can be found in the Tzara papers). Fine condition, the four pen signatures fine and fresh.
Paris , [1920]. $3,500.00
Dada Global p. 86f. (Vagts), no. 224 (stationery); Almanacco Dada 36 ("Dadaglobe"); Sanouillet p. 310f.; Poupard-Lieussou/Sanouillet 1 (stationery); Dada Artifacts 127 (stationery, with similar Tzara letter); Düsseldorf 267
317
TZARA, TRISTAN
Primele poeme. Urmata de Insuresctia dela Zürich, prezentata de Sasa Pana. 49, (2)pp. Lrg. 8vo. Wraps. One of 200 numbered copies on vélin, from the limited edition of 213. Intermittent annotations and corrections in pen; light wear.
Bucuresti (Editura UNU), 1934. $2,250.00
Ilk K513, illus. p. 98; Harwood 19
318
TZARA, TRISTAN
La deuxième aventure céleste de M. Antipyrine. (Les Classiques des Éditions des Réverbères. ) (14)pp. Sm. 4to. Orig. wraps. (handmade rough-textured grey wove stock, with stencilled lettering). Edition limited to 125 copies, hand-numbered in green. The work was first performed at the Festival Dada at the Salle Gaveau in Paris on 26 May 1920, and excerpts of it published later in that year in "391" and "Littérature." This is the first complete publication. A fine copy.
Paris (Éditions des Réverbères), 1938. $1,250.00
Berggruen 18; Gershman p. 44; Dada Global 220; Motherwell/Karpel 400; Rubin p. 458; Foster/Kuenzli/Shepard p. 276
319
ÜECHT-GRUPPE STUTTGART
Willi Baumeister, Gottfried Graf, Edmund Daniel Kinzinger, Albert Müller, Oskar Schlemmer, Hans Spiegel. (6)pp., 18 plates (3 per participant). Dec. wraps., designed by Willi Baumeister. the front cover with a stylized abstract female head, integrated with the words "Üecht Gruppe," printed in white on a black ground. Text by Richard Herre. This "Bildbuch" was published on the occasion of the Üecht-Gruppe’s first exhibition, at the 1919 Herbstschau neuer Kunst, held at the Württembergischen Kunstverein in Stuttgart. Modelled on the great Erster Deutscher Herbsalon of 1913, the exhibition was a broad panorama of international art movements--Cubism (represented by a somewhat weak showing of Section d’Or work), Futurism, the Blaue Reiter, Dada, and Der Sturm--and the display of the Üecht-Gruppe itself was actually relegated to a back room. Its six members, all modernistically inclined students at the Stuttgarter Kunstakademie, had banded together under an Old German word meaning "Dawn"--fittingly auspicious, but chosen as much for its whimsical sound as anything else. The Üecht section was well-received in the Stuttgart press, particularly the work of Schlemmer and Baumeister, who were the first to secede when the group began to fall apart in 1921. The cover of this pamphlet is of particular interest in being --together with a related poster for the show--the earliest known example of Willi Baumeister’s graphic design (contra Maur, who attributes it to Albert Müller). A version of it was also printed in pink. A deluxe portfolio of original prints was promoted in addition ("Mappe I der Üechtgruppe"), available directly from Baumeister’s studio. This copy is signed in pen by Baumeister, Schlemmer, Graf, Kinzinger and Müller on the title-page. Of greatest rarity.
Stuttgart, 1919. $1,800.00
Kermer, Wolfgang: Willi Baumeister: Typographie und Reklamegestaltung (Stuttgart, Staatlichen Akademie der Bildenden Künste, 1989), no. 2; Cf. Karin van Maur: Oskar Schlemmer (München, 1979), p. 90ff., illus. 69
320
UNU
Avantgarda literara. Editors: Sasa Pana and Moldov. Nos. 1-51, April 1928 - Sept. 1935 (all published). (4)-(12)pp. per issue, except for No. 51, which is a single double-sided sheet (loosely inserted in this set). Lrg. 4to. This set is bound in one volume (contemporary blue and black cloth), with all covers present when issued thus (occasionally printed in color; a fine photomontage group portrait of the UNU Group by Pana and Brauner is featured on No. 26). Prof. illus., most extensively by Victor Brauner (including important linoleum cuts in color in No. 16), as well as Man Ray, Janco, and others; other contributions by Pana, Moldov, Calugaru, Dinu, Roll, Voronca, Sernet, Fondane, Bogza, Brauner, Perahim, Maxy, et al; and Doesburg, Aragon, Gomez de la Serna, Moussinac, Éluard, Vitrac, Tzara, Huidobro, Desnos, Daumal, Breton, Maiakovskii, et al. Edition size varies: issue Nos. 1-10 limited to 200 copies, Nos. 11-50 limited to 500 copies, and No. 51 (published hors commerce on the occasion of Moldov's wedding and distributed only to guests) limited to 50 copies in all.
"La plus importante revue surréaliste roumaine…. Cette revue ainsi qu'une maison d'édition portant le même nom ont été fondées par Sasa Pana. Le premier numéro s'ouvre avec un manifeste de Sasa Pana qui n'est pas typiquement surréaliste: c'est l'époque où l'avant-garde roumaine en est encore au dadaïsme, au constructivisme, prônés surtout par la revue de Ion Vinea, 'Contimporanul.' La vraie orientation surréaliste de la revue se dessine vers 1930, avec une forte diatribe contre Vinea. Parmi les collaborateurs d' 'Unu' on trouve Victor Brauner, Jacques Hérold, Benjamin Fondane, Ilarie Voronca, Claude Sernet (Mihail Cosma), mais aussi des surréalistes aujourd'hui complètement oubliés par les histoires de la littérature roumaine… D'autres comme Virgil Carianopol ont rapidement répudié le Surréalisme pour s'engager successivement sous les étendards littéraires fasciste et communiste. Mais la revue 'Unu' demeure exemplaire par la liberté d'expression, par la lutte contre tous les académismes, par le culte de la poésie authentique (qui ne néglige ni le sérieux du jeu ni les cérémonies provocantes de l'humour noir). Grâce a la revue 'Unu' et à son indéfatigable animateur Sasa Pana, la poésie roumaine a eu la révélation de Breton, d'Éluard, de Robert Desnos et de tant d'autres surréalistes français qui ont donné à une modernité locale une dimension européenne" (Biro/Passeron).
"UNU" means 'One'; Ilk explains that the editors' original intention was to change the title with each successive issue, as 'One,' 'Two,' 'Three,' etc. "Es blieb trotzdem bei dem Vorschlag von Stephan Roll, EINS als klares Ausdrucksmittel der Gruppe zu deklarieren: '…Es ist besser eine klare Adresse zu haben, wo wir gefunden und erreicht werden können….' So blieb auch in der Geschichte der rumänischen Literatur der Begriff 'Die Bewegung von EINS.'" (Ilk). Some issues somewhat closely trimmed by the binder, otherwise in very fine condition. Complete sets are of utmost rarity
Dorohoi/ Bucharest, 1928-1932. $22,500.00
Ilk K320-369, illus. pp.63, 65-67, 69, 71; Passuth p. 220; Between Worlds: A Sourcebook of Central European Avant-Gardes, 1910-1930, p. 703f.; Dada Global 102; Biro/Passeron p. 417
321
UNU. NO. 16
August 1929. UNU Estival. (6)pp. (single sheet, folding), loosely inserted in cover wrapper printed in plum red with 2 full-page linoleum cuts by Victor Brauner, showing a heroic pair of swimming trunks and a "Cul glacé." Lrg. 4to. Texts by Sernet, Roll, Voronca, Dinu, Pana, Bogza, and others. "Als Gast bei Bogza verbrachte Brauner im Sommer 1929 einige Wochen in Bustenari; während seines Aufenthalts schuf er die Linolschnitte für UNU-ESTIVAL, ein Gemälde ('Porträt Geo Bogza') sowie (inspiriert von dem Leben der Einheimischen) einige Zeichnungen" (Ilk). Graphically, this is the most important issue of "UNU."
Bucharest, 1929. $3,000.00
Ilk K335, illus. p. 65; Passuth p. 220; Biro/Passeron p. 417