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
62
CHICAGO. The Art Institute Of Chicago.
Surrealism and Its Affinities. The Mary Reynolds Collection. A bibliography compiled by Hugh Edwards. 131, (3)pp. 44 illus. and vignettes. 4to. Wraps. (very light rubbing along the spine). First edition, limited to 1375 copies. The foreword, dated New York 1956, is by Marcel Duchamp, who also executed the title-page calligraphy.
Chicago, 1956. $250.00
Schwarz: bibl. 112; Arntzen/Rainwater A109; Gershman p. 17; Rubin 1; Jean Autobiography 8
63
[CORRADINI, BRUNO]
Corra, Bruno (pseud.). Sam Dunn è morto. Romanza futurista. 90pp. Frontis. photograph of the author. Wraps., with cover design by Arnaldo Ginna, printed in red. First edition. Under the nom de plume Bruno Corra, Corradini wrote Futurist theoretical texts with his brother Arnaldo Ginna, and also novels and plays in which he tried to create ‘mediumistic chords’ and ‘synthetic moments’ reflecting his interest in the occult. "He developed these further in the novel ‘Sam Dunn è morto’ and in the ‘theatrical syntheses’ published with Marinetti and Emilio Settimelli in 1915, along with a Manifesto of Synthetic Theatre. The occult, mediumistic character of Corra’s works of this period can be linked to the Novecento ‘miracles’ and ‘magic’ of Massimo Bontempelli" (Hultén). Indeed, a second edition of "Sam Dunn è morto" illustrated by the occult artist Rosa Rosà appeared in the same year.
Milano (Edizioni Futuriste di "Poesia"), 1917. $500.00
Salaris p. 31; Hultén p. 455
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(COURBET) Delvau, Alfred
Histoire anecdotique des cafés & cabarets de Paris. Avec dessins et eaux-fortes de Gustave Courbet, Léopold Flameng et Félicien Rops. xviii, 298, (2)pp. Etched frontispiece by Félicien Rops, and 7 etched vignette plates on chine appliqué, including 1 after Courbet, and 6 by Flameng. Average dimensions of the etchings: 50 x 70 mm. (1 7/8 x 2 3/4 inches). Fine nineteenth-century marbled boards, 3/4 green morocco. T.e.g. The Courbet print (which, though it carries an etched signature beneath the image, was probably etched by Flameng from a drawing furnished by the artist) depicts the moody, gaslit interior of the Andler-Keller, of which he was an habitué, as were Daumier, Corot, Baudelaire and others, and which seems to have doubled as a kind of brothel, as well as a brasserie. All the famous cafés of the period are included in the book, among them the Procope, the Tortoni, and the Café Momus (of "La Bohème"). Garvey notes that Courbet produced little graphic work, though he made several drawings for engravings, as well as drawings that were reproduced by gillotage, and designed wood-engravings for books. Trace of foxing in the preliminaries. Rare.
Paris (E. Dentu), 1862. $1,500.00
The Artist and the Book 65; Vicaire III, col. 147f.; Béraldi V.59
65
CUCCHI, ENZO
La cerimonia delle cose. The ceremony of things. Texts by Enzo Cucchi collected by Mario Diacono. 85, (7)pp. 16 plates hors texte, printed in varying sizes. Wraps. Special edition, limited to 100 copies, with an original etching by Cucchi bound in as frontispiece. The etching (with aquatint, drypoint and silkscreen, printed in teal and black) is signed and numbered in pencil in the margins.
New York (Peter Blum Edition), 1985. $600.00
Jentsch: The Artist and the Book in Twentieth-Century Italy, no. 153
66
CUCCHI, ENZO
A composite album of original etchings, drawings and manuscripts by Enzo Cucchi from 1984-1986, collected by Mario Diacono. 10ff. with 11 items, including 2 important autograph texts in pen by the artist (one a letter on the stationery of Hotel Locarno Rome, the other written across a photograph of one of Cucchi’s major paintings); 4 original etchings (including 1 signed and numbered color aquatint from "La ceremonia delle cose," and 2 aquatint proofs, of which 1 signed and inscribed to Diacono); 2 sheets with original ink sketches for an exhibition of paintings; and a double-sided working drawing (in ink) for a large poster published in 1986 by the Kunsthalle Bielefeld; and 2 smaller drawings on found objects. The series is loosely inserted into corner mounts on the leaves of a custom-made album, with glassine guards. At the end of the album is mounted an essay by Mario Diacono, "Enzo Cucchi: Tetto," published in Rome in 1984. Oblong lrg. 4to. Marbled boards, 3/4 tan calf, in a fitted cloth slipcase. The two autograph Cucchi texts were published in "La ceremonia delle cose," (pp. 72 and 74, with English translations). "Sculpture? Painting?...I’m not sure...the image, yes! To attempt to stop the moment...trying to ‘see’ underneath Europe, to listen for an instant and to slow down for a second the movements in the deep of this our earth./ From the point of view of sculpture, Europe is the most tormented area...even now, the ‘young’ mountains are pressing from the South of Africa...our dark nightdream...here’s Europe, then, representing the only spiritual field for an incredible image...and full of wonder" (1984).
$5,000.00
67
CYCLE SYSTÉMATIQUE DE CONFÉRENCES SUR LES PLUS RÉCENTES POSITIONS DU SURRÉALISME
Prospectus and subscription form. (4)pp. (single sheet, folding). Sm. 4to. Self-wraps. Facsimile text, reproducing the manuscript original of André Breton. Marginal drawings, frottages, and other illustrations on each page: 2 each by Man Ray, Domínguez, Dalí, Arp, Ernst and Tanguy; 3 by Giacometti; 1 each by Duchamp (fingerprint), Valentine Hugo, and Marcel Jean. The program for an ambitious series of lectures organized by Breton, delivered at a critical juncture in the course of Surrealism, following the opening of the international exhibitions in Prague and Tenerife. The four sessions are projected as follows: 1) Why I am a Surrealist, by X.X.X; Breton slide show; Dalí, costumed appropriately, will read his poem ‘I eat Gala’; Friendly Advice, by Max Ernst. 2) Will Surrealism disappear with bourgeois society? Discourse on ruins by Breton; slide lecture by Dalí based on Millet’s ‘Angelus’ "accompanied by a tragic-atmospheric pantomime" between the male and female figures of the painting. 3) On poetic evidence, by Éluard; participation by Arp, Hugnet, Breton, Ernst. 4) Breton on the surrealist situation of the object, and the situation of the surrealist object; Hugnet on everyday life, Tanguy on the ordinary object; "Dalí will present the latest surrealist objects and object-beings... and will explain the surrealist truculence of their mechanisms."
[Paris, 1935] $750.00
Biro/Passeron p. 102; Nadeau: Documents surréalistes, p. 291ff.; Jean p. 229; Milano p. 651f.
68
DADA. NO. 2
Décembre 1917. Recueil littéraire et artistique. [Editor: Tristan Tzara.] (16)pp. + (6)-pp. loose insert ("Notes," tipped in after the last leaf). 8 illus., by Otto van Rees, Arp, Robert Delaunay, Prampolini (woodcut), Kandinsky, Helbig, Janco and de Chirico. Sm. 4to. Orig. orange wraps. with woodcut by Hilla de Rebay on front cover. Contributions by Tzara ("Note 2 sur l’art," "2 poèmes nègres," "Printemps"), Albert-Birot ("Rasoir mécanique"), G. Cantarelli, M. d’Arezzo, S. de Vaulchier, and B. San Miniatelli. This issue is uniform in format with the first; subsequently, the design of "Dada" changed considerably with each appearance. Front cover a bit spotted at right edge; a little foxing on first and last leaves.
Zürich, 1917. $4,000.00
Dada in Zürich 88; Ades p. 64; Gershman p. 49; Admussen 70; Chevrefils Desbiolles p. 284; Almanacco Dada 32; Sanouillet 226; Motherwell/Karpel 66; Rubin 462; Verkauf p. 177; Reynolds p. 110; Dada Artifacts 4; Zürich 371
69
DADA. NO. 4-5: ANTHOLOGIE DADA
15 mai 1919. Editor: Tristan Tzara. (32)pp. Prof. illus. in a variety of media, including original prints, line drawings and tipped-in halftone reproductions. 4to. Printed wraps., with Arp woodcut. Text printed on rose, blue, orange and white stocks. Texts by Picabia, Tzara, Cocteau, Serner, Hardekopf, Soupault, Aragon, Breton, Radiguet, Albert-Birot, Ribemont-Dessaignes, Buffet, Arp, Huelsenbeck, Hausmann, Richter, et al. Original woodcuts by Arp (5, including that on the front cover; Arntz 40-44), Hausmann (2), Richter and Janco; 2 original lithographs by Viking Eggeling. The most important and synoptic issue of "Dada," and the most beautiful. This copy is in the German edition (with texts in both German and French); there was also a French edition, in which texts by Pérez-Jorba, Reverdy, Ribemont-Dessaignes and Tzara were substituted for those by Arp, Hardekopf, Hausmann, Huelsenbeck, Richter and Serner. "‘Dada 4/5,’ christened ‘Anthologie Dada,’ is a further collaboration by Tzara and Picabia, and was published almost simultaneously with the number 8 of Picabia’s review ‘391.’ Picabia executed the famous frontispiece for the ‘Anthologie,’ ‘Reveil Matin,’ by using as templates the wheelworks of an alarm clock dipped in ink. Possibly also through Picabia’s connections, contributors to this issue of ‘Dada’ were heavily weighted towards the Parisian writers of ‘Littérature’.... Typographic experimentation continued to challenge established ideas about the printing medium and are characterized in this issue by the use of randomly colored pages or imprints" (Dada Artifacts). A superb copy, fresh and crisp.
Zürich, 1919. $7,500.00
Dada in Zürich 90; Ades p. 64f.; Gershman p. 49; Admussen 70; Chevrefils Desbiolles p. 284; Almanacco Dada 32; Sanouillet 226; Motherwell/Karpel 66; Rubin 462; Verkauf p. 177; Reynolds p. 110; Dada Artifacts 6; Düsseldorf 113; Zürich 371
70
DADA. NO. 6: BULLETIN DADA
5 février 1920. Editor: Tristan Tzara. (4)pp. (single sheet, folding). 2 mecanomorphic drawings by Picabia (1 printed in red over text). Folio. Tabloid format, with enormous masthead in red on the front (as well as red overprinting on front and back, at variance with, and superimposed on, the text in black. Glassine d.j. Including the program for "Matinée du mouvement dada, 5 février 1920, Salon des Indépendants," "Manifeste du mouvement dada," "Quelques présidents et présidentes," and aphorisms by Picabia, Tzara, Breton, Duchamp, Aragon, Ribemont-Dessaignes, Dermée, Éluard, Cravan, Soupault, De Zayas and others. "Tzara followed Picabia to Paris early in January 1920 and brought out ‘Dada’ nos. 6 and 7 (‘Bulletin Dada’ and ‘Dadaphone’) from Picabia’s apartment. They belong to Paris, in the sense that they contain predominantly the work of Paris dadaists, apart from Tzara himself and Picabia, and have grown closer to ‘391’ in appearance" (Ades). Light browning, a few expert internal mends at foldlines; an unusually fine copy of this fragile issue.
Paris, 1920. $6,000.00
Dada Global 173; Ades pp. 63, 65; Gershman p. 49; Admussen 70; Chevrefils Desbiolles p. 284; Almanacco Dada 32; Sanouillet 226; Motherwell/Karpel 66; Rubin 462; Verkauf p. 177; Reynolds p. 110; Düsseldorf 116
71
DADA. NO. 7: DADAPHONE
Editor: Tristan Tzara. (8)pp. 10 illus. (halftone photographs). 4to. Self-wraps., stapled as issued, with front cover design by Picabia. Contributions by Tzara, Picabia ("Manifeste Cannibale Dada"), Breton, Éluard, Ribemont-Dessaignes, Soupault, Cocteau, Dermée, Aragon, Arnauld and others. The penultimate issue of "Dada," brought out by Tzara in March 1920, at a moment of inspired Dada activity in Paris, just before the Manifestation Dada at the Maison de l’Oeuvre (March 27), the first appearance of "Cannibale" (April), the Festival Dada at the Salle Gaveau (May). Reminiscent of "391" and with a strong Parisian bias along "Littérature" lines (like "Dada" 6), "Dadaphone"’s visual interest is mostly in its insistent typographic density, rather than its illustration--though it does include a beautiful abstract Schadograph, purporting to show Arp and Serner in the Royal Crocodarium in London, as well as the spiralingly zany Picabia drawing on the front cover. An exceptionally fine copy. Extremely rare.
Paris (Au Sans Pareil), 1920. $9,500.00
Dada Global 174; Ades p. 65; Gershman p. 49; Admussen 70; Chevrefils Desbiolles p. 284; Almanacco Dada 32; Sanouillet 226; Motherwell/Karpel 66; Rubin 462; Verkauf p. 178; Reynolds p. 110; Dada Artifacts 118; Zürich 374