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