1
APOLLINAIRE, GUILLAUME
Les peintres cubistes. (Méditations Esthétiques.) Première série [all published]. Deuxième édition. (Tous Les Arts. Collection publiée sous la direction de M. Guillaume Apollinaire.) 84pp., 45 plates. 4to. Cloth, 3/4 leather. “Whatever its faults, ‘The Cubist Painters’ still breathes, nearly forty years later, with the immediacy of life. But Apollinaire’s enthusiasm was not blind; he saw cubism’s inner structure with great clarity for his time; he wrote his book after discussions with the painters; and many of his generalizations hold true, not only of cubism, but of the various modes of ‘abstract’ painting that keep appearing again and again, in ‘waves’....” (Robert Motherwell, in 1949).
Paris (Eugène Figuière), 1913. $750.00
Biro/Passeron 102;
2
ARP, HANS
Sciure de gamme. (Collection “Un Divertissement.”) Sm. 8vo. Self-wraps., stitched with yellow string, as issued. One of 100 copies on yellow papier Le Roy Louis teinté Béarn, from the limited edition of 110 copies in all. Five poems: “Configuration,” “Configuration [II],” “Les pieds du matin,” “Est-ce que ça se recroqueville,” and “Les pigeons bossus.” From the library of André Breton, with the book’s ticket from the Breton sale, Paris 2003. Rare.
Paris (H. Parisot), 1938. $750.00
Rolandseck 113; Hagenbach 10
3
ARTS ET MÉTIERS GRAPHIQUES
Numéro spécial consacré à la photographie. Introduction by Waldemar George. Cent trente photographies réunies avec la collaboration de Sougez. (Arts et Métiers Graphiques. No. 16. Mars 1930.) 166, (8)pp. Prof. illus. with full-page heliogravure plates. Lrg. 4to. Orig. wraps., spiral-bound. This special issue of “Arts et Métiers Graphiques,” was retroactively designated the inaugural issue of the annual “Photographie,” published in 11 volumes, 1930-1940, 1947. One of the most beautiful in the series, it contains sumptuously printed plates by Man Ray, Parry, Tabard, Kertesz, Krull, Moholy-Nagy, Steichen, Albin-Guillot, Sheeler, Bayer, and others. Covers slightly creased and chipped, but a nice copy.
Paris (Arts et Métiers Graphiques), 1930. $200.00
4
BARR, ALFRED H., JR.
Cubism and Abstract Art. Painting, sculpture, constructions, photography, architecture, industrial art, theatre, films, posters, typography. Catalogue by Dorothy C. Miller and Ernestine M. Fantl. 249, (1)pp. 223 illus. 4to. Cloth. D.j. (light wear at spine). This copy with the rare and important dust jacket, which displays Barr’s genealogical chart of the movements of modern art (the chart appears nowhere in the book itself).
Arntzen/Rainwater I237; Lucas p. 71
5
(BEUYS, JOSEPH)
similia similibus. Joseph Beuys
zum 60. Geburtstag. Herausgegeben
von Johannes Stüttgen. 280pp. Prof. illus.
Title-page stamped in blue with the seal of the
Köln (
Schellmann 380
6
(BIENERT COLLECTION)
Grohmann, Will. Die Sammlung Ida Bienert,
Spalek 307
7
BLOSSFELDT, KARL
Wunder in der Natur. Bild-Dokumente schöner Pflanzenformen. Mit einer Einführung von Otto Dannenberg. (8)pp., 120 gravure plates. Tipped-in frontis. portrait of the photographer. Sm. folio. Publisher’s cloth. Front flyleaf trimmed away; a little light wear.
8
DER BLUTIGE ERNST. NO. 4
Satirische Wochenschrift. Herausgeber: Carl Einstein, George Grosz. 1. Jahr, No. 4 (of 6 issues published in all). “Sondernummer IV. Die Schieber.” [December 1919]. (8)pp. 4 illus. by George Grosz (including full front cover and double-page spread within). Tabloid folio. Texts by Carl Einstein, Walter Mehring, Richard Huelsenbeck. “Grosz’s satirical drawings and caricatures still drew a certain amount from the Simplicissimus tradition, but with the introduction of montage (there are two lounging burghers set against a background of newspaper cuttings advertising cabarets and dance halls, with the caption ‘Work and do not despair,’ on the cover of ‘Der blutige Ernst’ no. 4, December 1919), and with the addition of photographs, the political cartoon is given a new edge, no longer relying on caricature for effect” (Ades). Some small splits and marginal tears at central foldline and elsewhere, but clean and otherwise fresh.
DadaGlobal 37; Ades pp. 83, 88; Almanacco dada 13.4; Raabe 85; Tendenzen 3.194; Andel: Avant-Garde Page Design 1900-1950, illus. 168
9
BRETON, ANDRÉ
Manifeste du surréalisme. Poisson soluble. 190, (4)pp. Publisher’s orange wraps. Uncut. The very rare first edition. “The birth certificate of Surrealism was made out at the end of 1924, when André Breton published his ‘Manifeste du Surréalism’” (Marcel Jean). The word itself, however, had been in circulation for several years, accumulating a number of different meanings, and Breton’s manifesto was an attempt to codify and clarify these, emphasizing “pure psychic automatism.” A little light wear.
Paris (Éditions du Sagittaire, chez Simon Kra), 1924. $1,200.00
Sheringham Aa99; Pompidou: Breton p. 172; Gershman p. 7; Sanouillet 41; Rubin 454; Jean: Autobiography p. 117ff.; Milano p. 649
10
BRETON, ANDRÉ & RIVERA, DIEGO
Pour un art révolutionnaire indépendant.
Sheringham Ad298; Gershman p. 8; Biro/Passeron p. 344; Jean: Autobiography p. 375ff.; Milano p. 66; Sawin p. 21f.
11
BRETON, ANDRÉ
Autograph letter, signed and dated
An important dossier from the Breton estate documenting
his involvement in this famous 1960 exhibition. Described as the last
International Surrealist Exhibition, it was co-organized by Breton with Marcel
Duchamp, who assisted in the design of the installation and the catalogue (and
actually did most of the work). In his letter, Breton sets out three categories
of artists whose work might be exhibited (supplying a separate three-column
list of each on a separate page): first, the great pioneers, Duchamp, Picabia,
de Chirico, Ernst, etc. (he cautions it’s probably not possible to send works
for sale by these from France); second, current exponents “qui représentent
aujourd’hui dans le surréalisme les forces vitales spécifiques (Benoît,
Elléouët, Dax, Mimi Parent, sans oublier Toyen, depuis longtemps parmi nous)”;
and last, “tels artistes qui, sans participer rigoureusement de l’activité
surréaliste, offrent avec elle assez d’affinités,” among whom he mentions
Svanberg, Oelze, artists from the movement Phases, and others. Most interesting
is Breton’s elaboration of this last category in the separate list, where he
includes “Jaspers Johns” and Robert Rauschenberg, along with Alechinsky, Baj,
Copley, Fahlström, and others. He also provides a short list of contemporary
artists who he thinks merit solo exhibitions at a later date, headed by Toyen.
He closes by saying that while he will remain in
même confiance qu’à moi.”
Bonnefoy’s reply (in French, annotated here and there by Breton in pencil) is itself of considerable interest, going into the arrangements made by Édouard Jaguer, Julien Levy’s agreement to do the translation of the French texts (“une très bonne chose, si l’on considère la reputation dont il jouit içi”), and sending news about his contact with (or failure to reach) some of the artists, including Baziotes, Carrington, Maria, Hirshfield, and others. He also asks Breton for his opinion of the title Levy has proposed for the show, “Tournament of the Enchanters,” (“ce titre a l’avantage d’être à la fois charmant et de souligner un thème précis sur lequel sera basé la décoration fantasque”), next to which Breton writes “D’accord.” With the printed dossier for this lot from the Breton sale, Paris 2003.
Cf.: Sheringham Ac640; Pompidou: Breton p. 423; Biro/Passeron p. 392 (illus.); Rubin 438; Jean: Autobiography 176; Milano p. 659f.
12
(BURCHARTZ) Küpper, Hannes
(editor)
Technische Zeit. Dichtungen. (Essener
Bibliophilen-Abend. 4. Jahresgabe.) 72, (2)pp. 4to. Publisher’s bright orange
boards. Slipcase (orange boards). Edition
limited to 150 numbered copies, printed on Zerkall-Bütten. An
anthology of poems on technology, machinery, and industry, by Stefan Zweig,
Whitman, Lilienkron, Brecht, Sandburg, Goll, Graf, Küpper, and others.
Max Burchartz, then teaching at the Folkwangschule in
13
(BURTY COLLECTION)
Édition de tête: one of 20 copies
on Japon, this copy for presentation to Henri Cernuschi, the great Parisian
connoisseur of Japanese and Chinese art, whose collection was opened after his
death as the Musée Cernuschi, in 1898. The catalogue of the first collection of
Japanese objects to be sold in
14
COLLÈGE DE ‘PATAPHYSIQUE
A collection of periodical and serial publications, booklets, cards, leaflets and other items published by the Collège de ‘Pataphysique. 52 items. Prof. illus. Primarily 8vo. Orig. dec. wraps. and self-wraps. The whole is housed in an archival storage box (black boards). Among the items included are Jean Dubuffet’s “Oukiva Trene Sebot, par Jandu Bufe,” illustrated with drawings by Dubuffet and Pierre Bettencourt (from the “Collection Traître Mot”), Bonnard and Jarry’s “Soleil de printemps” and René Clair’s “Une supposition” (both published in the “Collection Haha”), Luc Étienne’s “Polka des Gidovilles” (“Collection Euterpe & Polyhymnie”) and other booklets and pamphlets in the “Collection des Phynances,” “Collection Q,” “Collection des Astéronymes,” and other series. Many of these are from numbered limited editions. Periodical items include “Organographes du Cymbalum Pataphysicum,” Nos. 2/3, 4, 12/13, 15/16, 15/16 bis, 15/16 ter, 15/16 quater, 21/22, 23, 27, and 28; “Monitoires du Cymbalum Pataphysicum,” Nos. 1-5; and “Cahiers du Collège de Pataphysique,” Nos. 26/27 and 28. Among the ephemera are pataphysical postcards (“Jean Paulhan n’existe pas”), the “Second manifeste du Collège de Pataphysique,” and circulars and prospectuses of all kinds.
15
DER DADA. NO. 2
[December 1919.] “Dada siegt!” Direction: R.
Hausmann. (8)pp. 6 illus., including superb
photomontages by Hausmann (front cover) and Baader (‘Vision of the Oberdada in
the Clouds of Heaven’), collage by Hausmann (“Gurk”), ink drawing by Grosz, and
reproductive woodcut by Höch (in an advertisement for the never-published “Dadaco.”
4to. Dec. self-wraps. Texts by Hausmann (“Der deutscher Spiesser ärgert sich,” “[Club
Dada] Tretet dada bei”), Huelsenbeck (“Ende der Welt”), and Baader (“Reklame
für
Dada Global 42; Ades p. 86f., 4.66; Almanacco Dada 33; Gershman p. 49; Bergius p. 414; Dada Artifacts 40; Motherwell/Karpel 68; Rubin 463; Verkauf p. 178; Tendenzen 3.190; Düsseldorf 454; Zürich 372; Andel: Avant-Garde Page Design 1900 1950, illus. 162-163
16
DER DADA. NO. 3
[April 1920.] Directeurs:
groszfield, hearthaus, georgemann [Raoul Hausmann, George Grosz, John Heartfield].
(18)pp. Prof. illus., including magnificent
photomontage cover design by John Heartfield (and also a facetious abstraction
by him, “Expressionistische Quintessenz”), and reproductions and documentary
photographs of work by Hausmann, Grosz, and others. Headlines,
line-drawings and other illustrations partly in red. Sm.
4to. Orig. dec. self-wraps. (printed in blue,
on pink stock). “The third and final issue of ‘Der Dada’ in April 1920 was
edited by ‘groszfield, hearthaus and georgemann.’ This, and the 1920
International Dada Fair in May, mark the maximum point of Dada’s expansion into
Berlin and the period of closest cooperation between the Herzfelde brothers and
Grosz, and the opposite pole of Hausmann, Huelsenbeck and Baader” (Ades).Texts
by Huelsenbeck [“Huel+sen+bag”] (“Dada-Schalmei,” “Ein Besuch im Cabaret Dada,”
“Trauerdiriflog”); Hausmann (“Dada in Europe”).,Herzfelde [“Progress-Dada”] (“Das
Dadalyripipidon”), Walter Mehring (“Ich”), Picabia [“Popocabia”] (“Manifest
Cannibale Dada,” “A voix basse: pensez-vous à l’honnêté?”). “‘Der Dada no. 3 is
by far the most visually complex of the issues.... a marvelous combination of
collages, photographs, illustrations, poetry, and advertisement, with
international intentions. Photographs of the Dadaists include their titles:
Marshall George Grosz and the Dadasoph Raoul Hausmann. The issue contains a
cartoon of Dada in
Dada Global 43; Ades p. 86f., 4.66; Almanacco Dada 33; Gershman
p. 49; Bergius p. 414; Verkauf p. 178; Rubin 463;
Motherwell/Karpel 68;Tendenzen 3.205; Düsseldorf 455; Zürich 372; Andel: Avant-Garde Page Design 1900 1950, illus. 164
17
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,
Paris (Au Sans Pareil), 1920. $9,500.00
Dada Global 174; Ades p. 65; Almanacco Dada 32; Gershman p. 49; Admussen 70; Chevrefils Desbiolles p. 284; Sanouillet 226; Motherwell/Karpel 66; Rubin 462; Verkauf p. 178; Reynolds p. 110; Dada Artifacts 118; Zürich 374
18
(DADA PROGRAM)
“la nourrice américaine, par Francis Picabia, musique sodomiste interprétée par
Marguerite Buffet,” “manifeste baccarat” by Ribemont-Dessaignes, enacted by
Soupault, Breton and Berthe Tessier, “système DD” by Louis Aragon, “je suis des
javanais” by Picabia, “poids public” by Paul Éluard, and “vaseline symphonique,”
by Tzara, among other things; foxtrots were played on the famous organ,
accustomed to Bach; Ribemont-Dessaignes performed his “danse frontière,”
wrapped in a large cardboard funnel oscillating at its tip. The audience,
pettishly put out by the Dadas failing to have their heads shaved as promised,
pelted the participants with tomatoes, rotten eggs, bread rolls, and, from one
corner, veal cutlets, a novel touch. Slight fading, light
browning at the original foldlines. Association copy,
from the collection of the surrealist artist Toyen, with the discreet stamp “Succession
Toyen” in the lower margin of the verso.
Documents Dada 20; Dada Global 229; Almanacco Dada p. 607; Sanouillet 306; Motherwell/Karpel 45, p. 111ff., illus. p. 179; Dachy p. 136 (illus. in color); Düsseldorf 257; Zürich 443; Tendenzen 3.112
19
(DADA MANIFESTO)
Dada soulève tout. [Dated:]
Documents Dada p. 53; Dada Global 234; Ades 8.45; Almanacco dada, illus. p. 620; Gershman p. 56; Sanouillet 271; Motherwell/Karpel 33, p. 182, illus. pp. 182, 190; Verkauf p. 100; Dada Artifacts 128; Düsseldorf 260; Zürich 447; Tendenzen 3.122
20
(DADA INVITATION)
Dada Global 242; Documents Dada 36 ; Sanouillet 313
21
(DADA PROGRAM)
Held during the run of the famous Salon Dada at the Galerie Montaigne (6-30
June), the evening’s entertainments, in addition to “Le coeur à gaz,” included “La
chanson du catalogue de l’exposition,” performed by a Mme. E. Bujaud on the
piano; Soupault’s “La boite d’allumettes (Le Président de la République de
Liberia visitera l’exposition)” and “Diableret,” a piano duet; Aragon’s “A l’évangile”;
a dance, “La volaille miraculeuse,” performed by Valentin Parnak; “Le livre des
rois,” by Ribemont-Dessaignes; “Par le cou des brises,” by Éluard; “Le vol
organisée,” by Péret. Faint foldline at center; a fine copy.
Documents Dada 35; Dada Global 241; Almanacco Dada p. 629; Sanouillet 340; Tendenzen 3.129; Zürich 451
22
(DADA POSTER)
Mariaburg [
Mariaburg, 1926. $1,800.00
23
(DELAUNAY/ LAURENCIN)
Les peintres R. Delaunay, Marie Laurencin [Invitée],
Vriesen, Gustav & Imdahl, Max: Robert Delaunay (New York, 1969), p. 39f.; Gordon, Donald E.: Modern Art Exhibitions 1900-1916 (München, 1974), p. 553f.
24
DEVETSIL
Revolucní sborník. J. Seifert & K. Teige,
editors. 202, (6)pp. Prof. illus. 4to. Wraps. (a few expert mends at
backstrip). Texts by J. Seifert, V. Nezval, K. Teige, J. Cocteau, I. Goll, I.
Erenburg, A. Cerník, A.M. Písa, et al.; illus. of work by Léger, Chagall,
Lipchitz, Archipenko, Zadkine, Shterenberg, Teige, and others. Conclusion in parallel French, Russian and German. The ‘Revolutionary
Almanac’ of the Czech-based Devetsil group (‘Union internationale des artistes
d’avant-garde révolutionaire’), founded in 1920 and focused on radical
political progress, social and technological utopia, and the creation of a new
role for the artist in society. “While the opening chapter, ‘New Proletarian Art,’
written by Teige and Seifert at the beginning of 1922, promotes the ideas of
Devetsil’s first phase, the closing chapter, ‘Art Today and Tomorrow’
(Seifert), opens new perspectives on international modernism and in many
respects takes a quite opposite view” (Frantiszek Smejkal, in Oxford). An important association copy, with the signature of the writer
Kamil Novotny (who was to write the introduction to the
Praha (V. Vortel), 1922. $950.00
Primus 12, illus. 1;
25
DIX, OTTO
“Syphilitiker.” (Karsch 15a.)
Original etching, inscribed and signed in the margin
in pencil: “Ätzrad. Syphilitiker Dix 1920.” Plate size: 247 x 222/225 mm.
(approximately 9 3/4 x 8 7/8 inches). Sheet size: 391 x 343 mm. (approximately
15 1/2 x 13 1/2 inches). This extremely rare print is one of the early
masterpieces of Otto Dix’s graphic oeuvre. According to Karsch, two editions of
it were made, both printed on heavy ‘Kupferdruckpapier’ of the same dimensions:
a small number of proofs (Karsch 15a; only unnumbered examples are known,
although 10 numbered proofs were apparently printed), and an edition of 20
copies (Karsch 15b) included in Dix’s portfolio “5 Radierungen,” issued by the
Dresdner Verlag in August 1921 (“Graphischen Reihe, 3. Mappe”)
under the direction of Karl Nierendorf. As auction records indicate, the
latter edition was numbered.
‘The Syphilitic’ is one of twelve etchings made by Dix in 1920, his first works
in the medium. Brilliantly savage and anarchic, the group has a brutal
immediacy which is not seen thereafter in his prints. Karsch repeatedly refers
to the relentless sense of psychological and political exposure in them, Dix (‘wielding
his burin like a scalpel’) coolly slicing open to view the vice and misery of
life in the
This copy has apparently been trimmed in the margins (Karsch gives the sheet size as 490 x 396 mm.); it also appears to bear traces of an erased pencil edition number in the margin, before the word “Ätzrad.”; it is otherwise in fine, bright condition. A very rich impression. $25,000.00
$25,000.00
26
DRESLER, ADOLF
Deutsche Kunst und entartete “Kunst.” Kunstwerk und Zerrbild als Spiegel der Weltanschauung. 79, (1)pp. 55 illus. Sm. 4to. Dec. wraps. This fulminating work is, in all essentials, an amplification of the guide to the notorious “Entartete Kunst” exhibition held in München in 1937, from which many of the illustrations have been drawn. Now more closely resembling a textbook, it expatiates on the bases of Aryan and degenerate (or ‘Jewish-Bolshevist’) art, with reproductions of works by Dix, Grosz, Beckmann, Schwitters, Klee and others, as well as approved National Socialist models.
München (Deutscher Volksverlag), 1938. $225.00
Spalek 204; Rifkind 424; Rifkind Bibliography p. 64; Barron: “Degenerate Art” p. 280
27
DRESLER, ADOLF
Deutsche Kunst und entartete “Kunst.” Kunstwerk und Zerrbild als Spiegel der Weltanschauung. (49)ff. (versos blank) with 56 illus. Sm. 4to. Publisher’s printed paper portfolio. Contents loose, as issued. Portfolio edition of the foregoing.
München (Deutscher Volksverlag), 1938. $250.00
Spalek 204; Rifkind 424; Rifkind Bibliography p. 64; Barron: “Degenerate Art” p. 280
28
(DUCHAMP) Transition. No. 26
Winter 1937. A quarterly review. Editor: Eugene Jolas. 220pp. Prof. illus. Sm. 4to. Dec. wraps., printed in color. “Duchamp designed the cover for issue no. 26 of ‘Transition’ from a reproduction of his Readymade ‘Comb’ and an image of the journal’s masthead. The same reproduction (but without the ‘Transition’ masthead) is included in all copies of ‘The Box in a Valise,’ 1941. According to Sylvia Beach, James Joyce told her jokingly that ‘the comb with thick teeth shown on this cover was the one used to comb out ‘Work in Progress’” (Schwarz). Apart from the Duchamp design, this is one of the best issues of “Transition,” with texts and images by Agee, Arp, Eluard, Jarrell, Jolas, Joyce, Copland, Man Ray, Léger, Moholy-Nagy, Mondrian, Panofsky, Calder and others. A beautiful copy.
Schwarz 457; Naumann 5.16; Andel Avant-Garde Page Design 1910-1950, illus. 456
29
(DUCHAMP) VVV. No. 2/3
March 1943 [Almanac for 1943]. Poetry, plastic arts, anthropology, sociology, psychology.
Editor: David Hare. Editorial advisers: André Breton, Marcel Duchamp, Max
Ernst. 143, (1)pp. Prof. illus. (including color
plates, movable tabs, inserts). Lrg. 4to. Dec. wraps., designed by Marcel Duchamp, with inset chicken-wire
panel on back cover. Presentation
copy, inscribed in pen “pour Joseph Solomon/ Marcel Duchamp” on the
title-page. The special double issue, “Almanac for 1943,” with cover
design by Duchamp, featuring the famous chicken-wire inset in the back cover
(exposing Frederick Kiesler’s “Twin-Touch-Test” beneath), as well as an
allegory of death, lifted from an anonymous engraving, on the front. Texts by Breton (“Situation du Surréalisme entre les 2 guerres”),
Rougement, Brauner (“Du Fantastique--I. en
Peinture II. au Théâtre”), Kiesler (“Design-Correlation”), Cravan, Seligmann (“Prognostication
by Paracelsus,” “Surrealist Bibliography”), Tanning (“Blind Date”), Roditi,
Carrington (“Two Young Peruvian Poets”), et al. Illustrations by and after
Brauner, Carrington, de Chirico, Dominguez, Duchamp, Ernst, Hare, Kiesler, Lam,
Laughlin, Masson, Matta, Gypsy Rose Lee, Sage, Seligmann, Tanguy, Tanning, and
others. Dominated by the distinguished exile community which in the early ‘40s
had begun to arrive in
Schwarz 495; Naumann 6.7; Gershman p. 55; Ades p. 386f.; Biro/Passeron p. 426; Rubin 483; Reynolds p. 127; Jean (1980) 135; Milano p. 577f.
30
(DUCHAMP) Dreier, Katherine S.
& Matta Echaurren [Roberto Sebastián]
Duchamp’s Glass. La mariée mise à nu par ses célibataires, même. An analytic reflection. (18)pp. Sm. 4to. Wraps., spiral-bound. Edition limited to 250 copies. “In a milieu given to pronouncements, perhaps it was the unassertive nature of Duchamp that made him a catalytic force. Quietly a Duchamp mystique developed...and young American artists began knocking at his door. Since he did not have a gallery and little about him had appeared in print, the booklet ‘Duchamp’s Glass, an Analytical Reflection’ which Matta and Katherine Dreier published in 1945, must have contributed to this underground reputation” (Martica Sawin). Covers expertly reinforced at inner edges.
Motherwell/Karpel 246a; Rubin 230; Reynolds p. 38; Sawin p. 320
31
(DUCHAMP) View.
Vol. V, No. 1
March, 1945. [Marcel Duchamp Number. The modern magazine. Editor: Charles Henri Ford. 53, (1)pp. Prof. illus. Lrg. 4to. Dec. wraps., especially designed for this issue by Duchamp. This special issue on Duchamp represented the first major monograph on his work, involving a wide roster of his friends and supporters. Duchamp himself was directly involved in its layout and design, creating a superb new image for the cover (typographically elaborated on the back of the issue as “Quand/ la fumée de tabac/ sent aussi/ de la bouche/ qui l’exhale,/ les deux odeurs/ s’épousent par/ INFRA-mince” [When the tobacco smoke also smells of the mouth which exhales it, the two odors are married by INFRA-thin]). Another special feature of the issue was an elaborate colored foldout designed by Frederick Kiesler at the center, with volvelles and cut-outs, which was so expensive to produce that Parker Tyler dubbed it “Kiesler’s folly.” Texts by Charles Henri Ford, André Breton, James Thrall Soby, Gabrielle Buffet, Robert Desnos, Harriet Janis, Sidney Janis, Nicholas Calas, Frederick J. Kiesler, Parker Tyler, Leon Kochnitzky, Philip Lamantia, et al. Illustrations after Duchamp, Man Ray, Florine Stettheimer, Joseph Cornell, Max Ernst, Maya Deren, Yves Tanguy, and Matta. A fine copy, inscribed in pen “pour Joseph Solomon/ Marcel Duchamp” at the head of the table of contents.
Schwarz 508; Naumann 6.15;
32
(DUCHAMP/PICABIA)
Marcel Duchamp Francis Picabia. Dec. 1953 - Jan. 1954. (4)pp. (single sheet, folding), printed in orange and blue, with images by Duchamp and Picabia on front and back covers. Lrg. 8vo. Self-wraps. Francis Naumann attributes the design of the catalogue to Duchamp, who had already done this for the little catalogue Rose Fried put out the previous year, “Duchamp Frères & Soeur: Oeuvres d’Art.” The front cover reproduces “Montgolfier,” his rotorelief of a hot-air balloon; the back reproduces a mechanomorphic portrait by Picabia of Apollinaire.
Naumann 7.5
33
(DUCHAMP) Linde, Ulf
Marcel Duchamp. 65, (5)pp. Prof. illus. (tipped-in frontispiece, printed in red and black). Sm. 4to. Wraps. D.j. (small loss at top corner). Published in conjunction with the exhibition of April-May 1963. This copy is signed in pen by Duchamp on the title-page. It also contains the very rare checklist insert, printed on tissue, with facsimile statement in Duchamp’s hand printed in turquoise ink at the base: “For the show at Mrs. Buren’s I thoroughly agree with your idea to have every Readymade shown in exact replicas/ Marcel.”
Cf. Schwarz 557b
34
(DUCHAMP)
Marcel Duchamp. A retrospective exhibition.
Oct.-Nov. 1963. Introduction by Walter Hopps. (54)pp. Prof. illus. 4to. Wraps. The largest exhibition thus far on the artist’s work, organized by
Walter Hopps with Duchamp’s close participation. Duchamp designed the
cover of the catalogue and the poster of the show, as well as supervising its
installation. A fine copy, handsomely
inscribed in pen “pour Joseph Solomon/ en revenant de
Schwarz 589; Naumann 8.37
35
(DUCHAMP) )
Not Seen and/or Less Seen of/by Marcel Duchamp/Rrose Selavy, 1904-1964. Mary Sisler Collection. Jan.-Feb. 1965. Foreword
and catalogue texts by Richard Hamilton. (80)pp.
Prof. illus. Lrg. 4to. Wraps. “The Mary Sisler
Collection was the most important private collection of works by Duchamp, and
the exhibition, a historical event. It was the first and the most inclusive
Duchamp retrospective to be held by a private gallery in the
Schwarz 616; Nauman 9.1
36
(DUCHAMP)
Marcel Duchamp. Schilderijen, Tekeningen, Ready-mades, Documenten. Feb.-May 1965 (28)pp., 16 plates with 18 illus. 1 fig. Sm. 4to. Wraps. Inscribed in pen “pour Joseph Solomon/ Marcel Duchamp” on the title page.
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(DUCHAMP)
“Hommage à Caissa.” For the
Marcel Duchamp Fund of the American Chess Foundation. Group
exhibition
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(DUCHAMP-VILLON, RAYMOND)
Keller, Jean & Duchamp-Villon, Raymond. Les sémaphores. Bouffonnerie sensorielle en 1 acte. 63, (1)pp. Sm. 4to. Dec. wraps. (very slightly dusty). One of 100 hand-numbered copies on vélin, probably constituting the entire edition. Published posthumously, after Duchamp-Villon’s tragic death at the age of forty-one, this comic spoof was written while he was convalescing in an army hospital, in collaboration with a doctor friend. “Suivront des pièces des jeux d’échecs, le rédaction d’une ‘petite comédie burlesque écrite avec un camarade [Jean Keller] pour une représentation dans un hôpital du front. Elle est très spéciale de la guerre et n’a rien qui vise le grand public’ [Walter Pach]. Pour cette pièce, intitulée ‘Les Sémaphores,’ il dessine également des costumes.” “Si l’austerité qui caractérise la ‘Tête du Professeur Gosset’ suggère la direction que la sculpture de Duchamp-Villon aurait pu prendre, ‘Les Sémaphores,’ avec ses personnages absurdes, ses accessoires bizarres, et ses situations incongrues, révèlent la possible affinité du sculpteur avec Dada et le théâtre surréaliste d’après-guerre” (Judith Zilczer, in the Centre Pompidou catalogue).
The front cover--with its amusing line-drawing of a mantle clock with no hands, the dial simply reading “Il est trois heures” in script--is surely Duchamp-Villon’s design, as must be the surrealistic vignette in the justification, showing a pipe stem curling
out of an open window (and its smoke curling back
again in the shape of a question mark). That, remarkably, no trace of the work
seems to exist in the Duchamp-Villon or Duchamp literature prior to 1998
(including the careful 1967 monograph by George Heard Hamilton and William C.
Agee, with bibliography by Bernard Karpel) is one index of its great rarity. A
fine copy, from the library of André
Breton, with the ticket for this book from the Breton sale,
Châlons-sur-Marne (Imprimerie-Librairie de l’Union Républicaine), 1918. $3,000.00
39
ERNST, MAX
La femme 100 têtes. Avis au lecteur par André Breton. (328)pp. 147 captioned full-page illustrations after collages of
steel engravings. 4to. Dec. wraps., with vignette
illustration by Ernst on the front cover. New fitted
clamshell slipcase (cloth and boards). Preferred edition: one of 88 numbered copies on Hollande
Pannekoek, from the limited edition of 1000 in all.
“Ernst produced the first of the three collage novels in 1929 while staying at
a farm in the Ardèche. He had taken with him a collection of nineteenth- and
early twentieth-century magazines and journals whose wood-engraved
illustrations had fascinated him for years as he browsed among the bookstalls
of the
Paris (Editions du Carrefour), 1929. $6,500.00
Tours 7; Spies/Metken 1417-1563 (after); Rainwater no. 21, p. 63ff.; Gershman p. 20; Skira 113; Ades 9.98; Reynolds p. 43; Villa Stuck 38; Franklin Furnace 132; Andel Avant-Garde Page Design 1910-1950, illus. 428-429
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ERNST, MAX
Une semaine de bonté, ou les sept éléments capitaux.
Roman. 5 vols. (10)pp., 182 full-page plates of
collages of steel engravings. 4to. Publisher’s dec. carton slipcase, the front
cover with mounted illustration by Ernst on green stock. One of 800 copies on
papier de
Ernst’s third and final collage novel, assembled in a great burst of energy in
just three weeks, and much the longest and most complex, serially issued in
five separate cahiers from April through December 1934. The work is orchestrated
in seven sections, corresponding to the days of the week, and correlated also
with the alchemical elements. “In the five books of ‘Une semaine de bonté,’
Ernst developed a set of iconographical forms based on a wide variety of
sources, including Freudian dream theory, alchemy, and his personal life
experiences. Taken together, his three collage novels exhibit a poetic and
pictorial genius that establishes them as some of the most extraordinary
monuments of twentieth-century art. Their unique character was recognized by
Breton, who proclaimed that ‘it is Max Ernst’s magic passes that have awakened
the book, physically, from its centuries-long slumber: the pages which he has
enchanted, rather than merely ‘decorated’ are so many eyelids that have started
to flutter. It is the ‘verdant paradise’ of the child’s first picture-book, as
well as the herbarium in which every plant consents to flower a second time’”
(Evan M. Maurer). Light wear to spines and slipcase.
Paris (Jeanne Bucher), 1934. $6,500.00
Spies/Metken 1904-2085; Hugues/Poupard-Lieussou 11; Beyond Painting 51; Rainwater 33a and pp. 78-91; Ades 12.150; Hubert pp. 269-286; Andel 134; Reynolds p. 44; Stuttgart 76; Villa Stuck 36; Milano p. 651; Castleman p. 161; Andel Avant-Garde Page Design 1910-1950, illus. 430-431
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FRIEDLANDER, LEE
Cray at
42
GLEIZES, ALBERT
Vom Kubismus. Die Mittel zu
seinem Verständnis. 56pp., 17 plates. Printed wraps. Originally published in
43
GRÄFF, WERNER (editor)
Innenräume. Räume und Inneneinrichtungsgegenstände
aus der Werkbundausstellung “Die Wohnung,” insbesondere aus den Bauten der
städtischen Weissenhofsiedlung in
44
(GRAMATTÉ) Büchner, Georg
Lenz. Ein Fragment. Mit zwölf Radierungen von Walter Gramatté. (Hamburger Handdrucke der Werkstatt Lerchenfeld. 7. Buch.) 51, (3)pp., 12 original etchings. Tissue guards. Folio. Publisher’s heavy pastepaper boards. Edition limited to 150 hand-numbered copies on uncut van Gelder paper, printed for the Buchbund Hamburg; etchings printed by Alfred Ruckenbrod in Berlin.
One of Gramatté’s most important works as a printmaker, followed a year later by a suite after Büchner’s “Wozzeck,” also of 12 etchings but not in book form. “In the same way that they turned to spiritual, religious, or mystical subjects, the second-generation [Expressionist] artists were drawn increasingly to the depiction of states of mind. Walter Gramatté executed a series of illustrations for the novella ‘Lenz’ by Georg Büchner, which tells the story of a young man in eighteenth-century German who is torn between his search for God and the unrelenting suffering that thrusts him towards atheism. Gramatté’s prints convey the sympathy that he and his fellow artists felt for this questing soul” (Stephanie Barron, in “German Expressionism 1915-1925”). Slightest scuffing at edges of the binding; an exceptionally fine copy.
Eckhardt, Ferdinand: Das graphische Werk von Walter Gramatté (Zürich, 1932), nos. 182-193; Lang 95; Jentsch 157; Rifkind/Davis 846; Schauer II.82; Barron, Stephanie (ed.): German Expressionism 1915-1925: The Second Generation (Los Angeles, 1988), p. 35, no. 78
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HERZOG, OSWALD
Zeit und Raum. Das Absolute in Kunst und Natur. 62, (2)pp., 2 plates with 3 halftone illus. 3 full-page diagrams in text. Sm. 4to. Dec. wraps. A work of aesthetic theory by the Expressionist sculptor. An early member of the Novembergruppe, Herzog was actively promoted by Herwarth Walden, who sponsored an exhibition of his sculpture at the Galerie Der Sturm in 1919. Rare, this book is overlooked in standard discussions of the artist and his writings. Light wear.
Berlin-Frohnau [1928]. $275.00
Cf. Barron, Stephanie: German Expressionist Sculpture, p. 100f.
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DAS HOHE UFER
Eine Zeitschrift. Herausgegeber Hans Kaiser.
Erster [-zweiter] Jahrgang (all published). vii, (1),
314, iv, 168pp., advts. Prof. illus., including
original prints by Max Burchartz (lithograph) and Bernhard Dörries (woodcut). Sm. 4to. Contemporary boards, 3/4 red cloth gilt. A complete run of this avant-garde review. “In
Raabe 55; Perkins 203; Söhn VI.626; Almanacco Dada 68; Barron, Stephanie: German Expressionism 1915-1925: The Second Generation (Los Angeles, 1988), p. 112; Dietzel/Hügel 1364; Diesch 3000
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HUELSENBECK, RICHARD
En avant Dada. Eine Geschichte des Dadaismus. 1.-5. Tsd. (Die Silbergäule. Band 50/51.) 44, (4)pp. Lrg. 8vo. Orig. wraps., with elaborate dada typographic composition, printed in red. “[An] extraordinary positioning of German Dada in 1920. In it Huelsenbeck relates his perspective on the Zürich Dadaists, the Futurists, the Cubists, and on psychology. Taking a position against Tristan Tzara, he sets up the German position that all art and culture is a fraud, a moral safety valve, and should be renounced; and that one’s ideas should only be transformed into life through action” (Dada Artifacts). A little light wear.
Hannover/Leipzig/Wien/Zürich (Paul Steegemann), 1920. $800.00
Dada Global 67; Bergius p. 388; Dada Artifacts 47; Motherwell/Karpel 6; Verkauf p. 101; Gershman p. 24; Rubin 118; Düsseldorf 425; Zürich 325
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ICHIUJI, GIRYO
Rittai-ha, Mirai-ha, Hyogen-ha [Cubism, Futurism, Expressionism]. (378)pp., 51 plates (6 color). Sm. 4to. Dec. boards, 1/4 cloth. Cardboard slipcase, with mounted illustration after Archipenko. Extensively illustrated, including several plates of comparable new Japanese paintings. The leftist critic Giryo Ichiuji was a figure of some importance in the ideological schisms--Marxist, anarchist, and aesthetic--that began to appear in the Sanka milieu in 1925. “In 1924 Ichiuji published two books on modern art and in both discussed Dada to some extent (‘Rittai-ha, Mirai-ha, Hyogen-ha’...; [and] ‘Kindai Bijutsu 16-kou [16 Lectures on Modern Art].... In the earlier work he accepted Dada’s decadence as the purity of the modern consciousness....” (Omuka). Following this, in 1925, Ichiuji became an advocate of a new Marxist art movement, Zokei, which had come out of Sanka. “While at the time of its formation Zokei artists were still continuing their experimentation in abstract painting and expressionism, their rhetoric was strongly indebted to Ichiuji’s forceful proletarian convictions” (Weisenfeld). Intermittent red-pencilling in text.
Omuka, Toshiharu: “Tada=Dada (Devotedly Dada) for the Stage: The Japanese Dada Movement 1920-1925,” in: Janecek, Gerald & Omuka, Toshiharu: The Eastern Dada Orbit... (Crisis and the Arts: The History of Dada, Vol. 4; New York, 1998), pp. 291 n. 46, 333; Weisenfeld p. 118f.
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JARRY, ALFRED
César antéchrist. 146, (8)pp. 14 color illus. on 12 leaves hors texte, of which 2 designed by Jarry, both printed in orange (one original woodcut by Jarry, and another, possibly also in woodcut, derived from a pen drawing by him). Fine jansenist morocco, gilt (Alix). A.e.g. Orig. black gilt wrappers and backstrip bound in. Slipcase (boards, trimmed in morocco). One of 197 copies on carré vergé à la cuve, from the limited edition of 206 in all.
“Aptly enough, Jarry constructed his two earliest books on a cyclic scheme: they contain all his styles. ‘Minutes de sable mémorial’ begins and ends with the refinements of symbolism, yet it holds some of Ubu’s coarsest escapades. Even more patently, the four acts of ‘César-Antéchrist,’ Jarry’s second volume, display a circular development. The drama recounts the collapse of the divine realm (‘God is sleepy’) into the second ‘Heraldic Act,’ during which Antichrist rules, descends further into the third ‘Terrestrial Act,’ where Père Ubu, the ubiquitous, dominates the scene with his oaths and his outrages, and then rises again in final judgment of it all. In this short play, Jarry carries us literally from the sublime to the ridiculous. Better than any statement of values or elaborate cosmology, it expresses his concept of how the universe is arranged. He presents Ubu as the representative of primitive earthly conduct, unrelieved by any insight into his own monstrosity, uncontrollable as an elephant on the rampage, earnest in his blundering.... It is consistent with an almost teleological scheme of things...that Ubu-Jarry should never encounter a convention or a common-sense precept of a belief that need be held sacred. Jarry molested and destroyed, for in the end he knew that his function would be constructive.... Beyond Jarry’s nihilism there is a positive side to his work. Creating in Ubu a one-man demolition squad twenty years before Dada, he incorporated this figure
into works that go on to broach transcendental values” (Shattuck).
Arrivé, Michel: Peintures, gravures et dessins d’Alfred Jarry (Charleville-Mézières, 1968), pls. 28, 43, pp. 115, 118; Kunsthaus Zürich: Alfred Jarry (1982) 31; Shattuck, Roger: The Banquet Years (New York, 1958), p. 175; Lake, Carlton: Baudelaire to Beckett (Austin, 1976) 250
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