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; Lake: Baudelaire to Beckett 7

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

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

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).

New York (Museum of Modern Art), 1936. $250.00

Arntzen/Rainwater I237; Lucas p. 71

(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 Free International University. 4to. Dec. boards. Publisher’s fitted stamped carton. Vorzugsausgabe: Of the limited edition of 1200, this is one of 200 copies signed and numbered in the colophon by Beuys, and accompanied by a cassette tape, also signed and numbered by Beuys, containing “Joseph Beuys: Nur noch 2272 Tage bis zum Ende des Kapitalismus,” performed by Beuys, Stüttgen and Karl Fastabend (90 minutes in duration; in separate stamped carton). Texts and images by Johannes Stüttgen, Andy Warhol, Heiner Bastian, John Cage, Nam June Paik, Milan Kunc, Imi Knoebel, Bazon Brock, Ute Klophaus, Dieter Koepplin, Blinky Palermo, Jörg Immendorff, Odd Nerdrum, Anselm Kiefer, Caroline Tisdall, et al. This special edition is separately designated with its own title, “Edition Joseph Beuys 12. Mai 1981.” Fine.

Köln (DuMont), 1981. $950.00

Schellmann 380

(BIENERT COLLECTION)

Grohmann, Will. Die Sammlung Ida Bienert, Dresden. (Privatsammlungen neuer Kunst. Band I.) 24pp.. 83 plates hors texte (primarily full-page). 4to. Cloth, titled in red. Acetate cover. Binding design by Moholy-Nagy; plates from photographs by W. Peterhans, Bauhaus-Berlin. The Bienert collection was one of the most advanced and well-known in Germany, with major holdings of Klee, Kandinsky, Schlemmer, Moholy-Nagy and other Bauhaus artists, as well important works by Mondrian, Kokoschka, Grosz, and the School of Paris. This copy belonged to Berthe Kleyer, who, with her husband, maintained a well-known salon in Berlin; a gift to her from Fritz Bienert, it bears her annotations in pen on the front endpaper and flyleaf about the artists, including notations of the current whereabouts of Bauhaus artists (which must date from 1946 or after, as Herbert Bayer’s location is given as Aspen). Underlining on title-page and verso; slightly shaken.

Potsdam (Müller & I. Kiepenheuer), 1933. $350.00

Spalek 307

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.

Leipzig (H. Schmidt & C. Günther/ Pantheon), 1942. $1,250.00

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.

Berlin (Trianon-Verlag) [1919]. $2,500.00

DadaGlobal 37; Ades pp. 83, 88; Almanacco dada 13.4; Raabe 85; Tendenzen 3.194; Andel: Avant-Garde Page Design 1900-1950, illus. 168

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

BRETON, ANDRÉ & RIVERA, DIEGO

Pour un art révolutionnaire indépendant. Mexico, le 25 juillet 1938. (4)pp. (single sheet, folding). 4to. Self-wraps. Printed on orange stock. Though co-signed by Diego Rivera, Breton’s actual collaborator on this manifesto was Leon Trotsky, whom he had befriended in the spring and summer of 1938, while a houseguest of Rivera’s in México. “Ce que nous voulons: l’indépendance de l’art -- pour la révolution: la révolution -- pour la libération définitive de l’art.” The statement was a rallying cry for the Fédération internationale de l’art révolutionnaire indépendant (F.I.A.R.I.), formed after Breton’s return to France. It was quickly promulgated around the world, in the “London Bulletin” and “Partisan Review” among other places. A very fresh copy, from the library of André Breton (though not marked as such).

Mexico, 1938. $600.00

Sheringham Ad298; Gershman p. 8; Biro/Passeron p. 344; Jean: Autobiography p. 375ff.; Milano p. 66; Sawin p. 21f.

BRETON, ANDRÉ

Autograph letter, signed and dated Paris, 5 March 1960 to Maurice Bonnefoy at the D’Arcy Galleries, New York, relating to plans for the exhibition “The Surrealist Intrusion in the Enchanters’ Domain.” 3ff. on 2 sheets of blue airmail paper. Together with this: Breton’s retained carbon typescript copy, fully signed by him in pen at the closing (3ff.); Bonnefoy’s typed and signed reply, New York, 11 August 2003 (2ff., on D’Arcy Gallery letterhead, with envelope); and retained carbon typescript of a letter from Bonnefoy to Raymond Cordier in Paris, 1 August 1960, forwarded to Breton (2ff.).

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 Paris, he places himself “comme d’ordinaire, aux côtés de Marcel Duchamp, avec délegation de pouvoirs, chaque fois que nécessaire, à mon ami José Pierre, à qui je vous prie de faire la

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.

Paris, 1960. $2,500.00

Cf.: Sheringham Ac640; Pompidou: Breton p. 423; Biro/Passeron p. 392 (illus.); Rubin 438; Jean: Autobiography 176; Milano p. 659f.

(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 Essen, was responsible for the beautiful modern typography and design of the book, including, undoubtedly, the stunning double-page gravure endpapers with photographic abstractions of mechanical forms. Copies of the edition were distributed to participants at a colloquium of the Maximilian-Gesellschaft in Essen, in 1929. Slipcase slightly rubbed at edges; a bright, fresh copy.

Essen, 1929. $850.00

(BURTY COLLECTION)

Paris. Hôtel des Commissaires-Priseurs. Collection Ph. Burty. Catalogue de peintures & estampes japonaises, de miniatures indo-persanes, et de livres relatifs à l’Orient et au Japon. Vente, 16-20 Mars 1891. Maurice Delestre, commissaire-priseur, avec l’assistance de Ernest Leroux, libraire-expert. xiv, (1), 223, (1)pp. Vignettes and culs-de-lampe. 4to. Marbled boards, 3/4 morocco, handsomely gilt at the spine with Japanese motifs. T.e.g. Orig. wraps. bound in.

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 Paris. A founder of the Société du Jing-Lar, the critic Philippe Burty (1830-1890) was one of the earliest and most important japonistes (the word “japonisme,” for that matter, was coined by him), and a close friend of Degas, Edmond de Goncourt, and many modern painters and printmakers of the 1860s and 1870s; his enormous collection and library were constantly consulted by artists and connoisseurs. The sale catalogue contains an introductory essay, and critical notices on artists, schools and works of art, by Leroux.

Paris, 1891. $1,200.00

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.

Paris, [1950s/ 1960s]. $2,800.00

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 mich”). “‘Der Dada’ no. 2 was less literary than no. 1, attacking at a visual as well as linguistic level, which strengthened the impact of the disorder” (Dada Artifacts). Tiny chip at foot of front cover; other light wear. This copy has been expertly washed, to good effect.

Berlin, 1919. $4,000.00

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

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 America, taken from ‘Collier’s’...illustrations of silverware and socks, and caricatures of the real and the imaginary” (Dada Artifacts).

Berlin (Malik-Verlag), 1920. $6,000.00

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

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; 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

(DADA PROGRAM)

Paris. Salle Gaveau. Festival dada. Mercredi 26 mai 1920 à 3 h, après-midi. Programme. Handbill, printed in black on pale green stock, overprinted in orange with an elaborate dada mechanomorphic drawing by Picabia (and additional text). On the verso: catalogue of the Dada publishers and gallery Au Sans Pareil. 350 x 250 mm. (13 5/8 x 9 3/4 inches). Design by Francis Picabia and Tristan Tzara. On the program (which is headlined in orange with the announcement “Tous les Dadas se feront tondre les cheveux sur la scène!”) are featured “le sexe de dada,” “le célèbre illusioniste” by Philippe Soupault, “le nombril interlope, musique de Georges Ribemont-Dessaignes, interprété par Mlle. Marguerite Buffet,” “festival manifeste presbyte, par Francis Picabia, interprété par André Breton et Henri Houry,” “le rastaquouère” by Breton, “la deuxième aventure de monsieur Aa l’antipyrine” by Tristan Tzara, “vous m’oublierez, sketch par André Breton et Philippe Soupault,”
“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.

Paris, 1920. $4,500.00

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

(DADA MANIFESTO)

Dada soulève tout. [Dated:] Paris, 12 janvier 1921. [Signed:] E. Varèse, Tr. Tzara, Ph. Soupault, Soubeyran, J. Rigaut, G. Ribemont-Dessaignes, Man Ray, F. Picabia, B. Péret, C. Pansaers, R. Huelsenbeck, J. Evola, M. Ernst, P. Eluard, Suz. Duchamp, M. Duchamp, Crotti, G. Cantarelli, Marg. Buffet, Gab. Buffet, A. Breton, Baargeld, Arp, W.C. Arensberg, L. Aragon. Single sheet, printed on both sides in bold dada typography. 4to. Issued at the time of Marinetti’s lecture on “tactilism,” which this group attacked, as they did all art formulas, as absurd. “DADA connaît tout. DADA crache tout. MAIS........Dada vous a-t-il jamais parlé de l’Italie, des accordéons, des pantalons de femmes, de la patrie, des sardines.... JAMAIS JAMAIS JAMAIS. DADA ne parle pas. DADA n’est pas d’idée fixe. DADA n’attrape pas les mouches.... Si vous avez des idées sérieuses sur la vie, si vous faites des découvertes artistiques, et si tout d’un coup votre tête se met à crépiter de rire, si vous trouvez vos idées inutiles et ridicules, sachez que C’EST DADA QUI COMMENCE A VOUS PARLER.” Eloquent, belligerent and extremely funny, it is one of the movement’s best collective statements. Center fold; some light wear and creasing.

Paris, 1921. $1,800.00

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

(DADA INVITATION)

Paris. Galerie Montaigne. Invitation permanente (1 personne) pour Les Trois Manifestations Dada. Le vendredi 10 juin [1921] à 9 heures, le samedi 18 juin, à 3 h. 30, le jeudi 30 juin, à 3 h. 30. 93 x 139 mm. (ca. 3 5/8 x 5 1/2 inches), printed on buff laid stock. With a selection of stern Dada dicta on the back. “Ne pas confondre: Dada n’a aucune succursale en province, ni en Italie, ni dans les mines, ni dans la pitié. Ne pas confondre: Les sucres d’orage avec les sucres d’orge, L’Institut avec les bains Turcs. Ne pas confondre: La Tour Eiffel avec les cardiopathies..... Pas d’abstentions.” Sanouillet notes that only the first of the three events took place. “A la suite d’une démonstration organisée par Dada contre Marinetti le 7 juin dans ce même Théâtre des Champs-Élysées, dont les couloirs abritaient le ‘Salon Dada,’ le directeur Jacques Hébertot décida de ‘priver les enfants d’exposition’ et boucla ses portes pour interdire toute autre manifestation dadaïste. Tzara et ses amis se vengèrent en sabotant de la soirée du 18 juin la représentation des ‘Mariés de la Tour Eiffel’ de Jean Cocteau. Les invitations à ‘ne pas confondre’ visent entre autres les Futuristes et les Ballets Suédois.” A little dusty, one small chip. Very rare.

Paris, [1921]. $700.00

Dada Global 242; Documents Dada 36 ; Sanouillet 313

(DADA PROGRAM)

Paris. Galerie Montaigne. Soirée Dada. Le vendredi 10 juin 1921, à 9 heures. 1f. (verso blank). 268 x 210 mm. (ca. 10 1/2 x 8 1/4 inches). 4to. “Clou de la ‘Saison Dada,’ cette ‘Soirée’ représente la manifestation dadaïste exemplaire, archétype de certains formes de théâtre contemporain d’avant-garde, à mi-chemin entre la Commedia dell’Arte et le Happening. La pièce de Tzara, ‘Le coeur à gaz,’ fut représentée à cette occasion pour la première fois” (Michel Sanouillet, in “Documents Dada”).
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.

Paris, 1921. $1,200.00

Documents Dada 35; Dada Global 241; Almanacco Dada p. 629; Sanouillet 340; Tendenzen 3.129; Zürich 451

(DADA POSTER)

Mariaburg [Belgium]. Willems-Fonds. Dada. Dada. Op Zaterdag 18 September 1926 in het lokaal “Vlaamsche Kelder.” Door Maurice van Essche. Single sheet (verso blank, overprinted in bright yellow). 244 mm. square (ca. 9 5/8 inches square) 4to. A rare survival of Flemish Dada, this small poster promotes a Dada lecture in the town of Mariaburg, near Antwerp, by the writer and dealer Maurice van Essche, a founder of the avant-garde review “Ça ira” (1920-1923). Though late, it is a rare instance of Belgian Dada typography, and an arresting piece of design, with its remarkable blank yellow verso. Very fine.

Mariaburg, 1926. $1,800.00

(DELAUNAY/ LAURENCIN) Paris. Galerie Barbazanges

Les peintres R. Delaunay, Marie Laurencin [Invitée], Paris. Exposition, 28 février - 13 mars 1912. Texts by Maurice Princet and Fernand Fleuret. (12)pp., 8 plates. Printed self-wraps. The extremely rare catalogue of Robert Delaunay’s first solo exhibition, and, by extension, Marie Laurencin’s as well. “Early in February 1912, Delaunay and his family returned to Paris, where a great deal of work awaited him. At the end of the month, he was to have his first one-man show at the Galerie Barbazanges; Marie Laurencin, Apollinaire’s friend, had been invited to contribute a few of her pictures to the show. The catalogue of the exhibition lists forty-one pictures by Delaunay from the years 1904 to 1912. It was, in short, a regular retrospective. The preface to the catalogue was written by the mathematician Maurice Princet, a friend of Delaunay’s since 1911 and one of his most intelligent and fruitful partners in conversations about painting problems. In it Princet, who was trained in precision and abstraction and had an intense feeling for art, clearly outlines Delaunay’s development and the intellectual power behind his pictorial ideas.... The show at the Galerie Barbazanges in February [was] so important for Delaunay as his first chance to demonstrate his entire development that he had gathered up every obtainable picture for it (including even the ‘Eiffel Tower’ he had sold in Germany)” (Gustav Vriesen). Covers somewhat worn and soiled. This copy from the library of André Breton, with the book’s ticket from the Breton sale, Paris 2003.

Paris, 1912. $1,250.00

Vriesen, Gustav & Imdahl, Max: Robert Delaunay (New York, 1969), p. 39f.; Gordon, Donald E.: Modern Art Exhibitions 1900-1916 (München, 1974), p. 553f.

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 Prague international surrealist exhibition “Poesie 1932”) on the front flyleaf, dated May 1923; and from the estate of the surrealist artist Toyen, with the stamp “Succession Toyen” beneath Novotny’s signature. Very fresh, crisp condition.

Praha (V. Vortel), 1922. $950.00

Primus 12, illus. 1; Oxford, Museum of Modern Art: Devetsil: Czech avant-garde art, architecture and design of the 1920s and 30s (1990); Houston, Museum of Fine Arts: Czech Modernism 1900-1945 (1989), p. 26ff. (cf. p. 66 for Kamil Novotny)

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 Weimar Republic. ‘War Cripple,’ ‘Butcher Shop,’ ‘Billiard Players,’ and ‘Matchseller’ are among others in the series, some of them directly related to paintings. In ‘The Syphilitic,’ the effect is compounded by the broken words and phrases crammed into the skull of the figure, fragmentary names of patent medicines (mercury, salves) and medical terminology (‘tertiary’) scrawled like graffiti among the grotesque, salacious nudes. The remarkable composition, in which Dix has very precisely aligned the head with the side of the building, gives the image the character of a devastating social critique: an x-ray not just of this one man’s psyche, but of the city, behind its properly maintained façade. Only from its side do we see the building’s scaling patches, its lesions.

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

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

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

(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.

New York, 1937. $500.00

Schwarz 457; Naumann 5.16; Andel Avant-Garde Page Design 1910-1950, illus. 456

(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 America, “VVV” was the major rallying point for Surrealism in New York. More substantial, and less eclectic, than “View,” it remains one of the strongest and finest of all Surrealist reviews. Expert conservation to a few small tears (one on back cover); an exceptionally fine, attractive copy.

New York, 1942-1944. $6,000.00

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.

(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.

New York (Société Anonyme, Inc. [Museum of Modern Art 1920]), 1944. $1,200.00

Motherwell/Karpel 246a; Rubin 230; Reynolds p. 38; Sawin p. 320

(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.

New York, 1945. $2,500.00

Schwarz 508; Naumann 6.15; Milan p. 655; Andel Avant-Garde Page Design 1910-1950, illus. 460-461

(DUCHAMP/PICABIA) New York. Rose Fried Gallery

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.

New York, 1953. $1,200.00

Naumann 7.5

(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.”

Stockholm (Galerie Burén ), 1963. $1,500.00

Cf. Schwarz 557b

(DUCHAMP) Pasadena. Pasadena Art Museum

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 Pasadena/ Cordialement/ Marcel Duchamp/ 1963” on the front flyleaf.

Pasadena, 1963. $1,800.00

Schwarz 589; Naumann 8.37

(DUCHAMP) ) New York. Cordier & Ekstrom

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 United States” (Schwarz). A fine copy, signed in pen by Duchamp on the title-page.

New York, 1965. $1,250.00

Schwarz 616; Nauman 9.1

(DUCHAMP) The Hague. Gemeentemuseum & Eindhoven. Stedelijk van Abbemuseum

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.

The Hague/ Eindhoven, 1965. $950.00

(DUCHAMP) New York. Cordier & Ekstrom

“Hommage à Caissa.” For the Marcel Duchamp Fund of the American Chess Foundation. Group exhibition February 8-26, 1966. Poster, printed in dark brown on tan wove stock (verso blank). 557 x 430 mm. (ca. 22 x 17 inches) This copy is inscribed in pen “pour Joseph Solomon/ Marcel Duchamp” at lower left corner. The poster presents a collage of acceptance cards by participating artists, who include Rauschenberg, Johns, Rosenquist, Meret Oppenheim, Man Ray, Magritte, Spoerri, and Niki de St. Phalle, among others. Duchamp--who was not a participant, but who, it has been suggested, may have been involved in the design--has inscribd it here the at foot of Jean Tinguely’s card. Tiny tear at one side; a bright, fresh copy, folded twice, as issued.

New York, 1966. $1,250.00

(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, Paris, April 2003.

Châlons-sur-Marne (Imprimerie-Librairie de l’Union Républicaine), 1918. $3,000.00

Paris. Centre Georges Pompidou: Duchamp-Villon: Collections du Centre Georges Pompidou, Musée national d’art moderne et du Musée des beaux-arts de Rouen (Paris, 1998), pp. 19, 140 (texts by Judith Zilczer and Bénédicte Ajac)

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 Seine in Paris. An illness confined him to bed for a couple of weeks, and in that concentrated period of mental activity was born ‘La femme 100 têtes,’ a visual novel containing 147 collages that Ernst divided into nine chapters. The unusual title is a pun that relates to his Surrealist quest for multiple identities, and...establishes both the name and character of Ernst’s main heroine, who has both 100 heads and is without a head at the same time: a heroine of mythic proportions, she represents the essence of womanhood who bears no single face but is constantly changing” (Evan Maurer, in Rainwater). Light wear at spine; a fine clean copy, uncut as issued. The edition on Hollande is especially rare.

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

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 Navarre, from the limited edition of 816 in all, numbered in separate justifications in each volume.
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

FRIEDLANDER, LEE

Cray at Chippewa Falls. Photographs. (96)pp. 79 full-page plates in text. Lrg. oblong 4to. Cloth, with paper title panel on front cover. Issued without dust jacket. Afterword by Stuart Klipper. Printed from 300-screen negatives made by Richard Benson. Privately published. A fine copy.

Minneapolis (Cray Research, Inc.), 1987. $500.00

GLEIZES, ALBERT

Vom Kubismus. Die Mittel zu seinem Verständnis. 56pp., 17 plates. Printed wraps. Originally published in Paris in 1912 as “De Cubisme,” Gleizes’ famous book was reissued in German in 1928 as Vol. 13 of the Bauhausbücher. This Der Sturm edition is rare. Unopened.

Berlin (Verlag Der Sturm), 1922. $200.00

GRÄFF, WERNER (editor)

Innenräume. Räume und Inneneinrichtungsgegenstände aus der Werkbundausstellung “Die Wohnung,” insbesondere aus den Bauten der städtischen Weissenhofsiedlung in Stuttgart. Herausgegeben in Auftrage des Deutschen Werkbunds. 164pp. 185 illus. Lrg. 4to. Wraps. Texts by Le Corbusier, Josef Frank, Mart Stam, Marcel Breuer, Willi Baumeister, Erna Meyer and others. Published in conjunction with the epochal housing exhibition put on by the Deutscher Werkbund in Weissenhof, on the outskirts of Stuttgart, in 1927. The volume contains designs for lighting fixtures, chairs, stools and chaises, beds, and other furnishings and interiors for houses and outdoor terraces, by Marianne Brandt, the Brüder Rasch, Thonet, Breuer, Stam, Mies van der Rohe, Poelzig, Scharoun, Josef Frank, Le Corbusier, Oud, Gropius, Lilly Reich, Taut, et al, including photographs of rooms in the Behrens, Oud, Mies, Le Corbusier, and Taut residences. A beautifully designed publication.

Stuttgart (Fr. Wedekind & Co.), 1928. $450.00

(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.

Hamburg (Werkstatt Lerchenfeld), 1925. $3,000.00

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

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.

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 Hanover, as elsewhere, journals sprang up to defend the new art. ‘Das hohe Ufer’ (The High Shore), edited by Hans Kaiser, appeared from 1919 through 1920, and set itself the task of freeing Hanover from its provinciality” (Peter W Guenther, in Barron). Literary contributions by Paula Modersohn-Becker, Franz Blei, Kasimir Edschmid, Klabund, Paul Scheerbart, Georg Trakl, Franz Werfel, Walter Gropius (“Der neue Baugedanke”), Hans Poelzig (“Staatliches Bauwesen”), Bruno Taut (7 articles), Heinrich Tessenow, Christoph Spengemann (“Der Maler Kurt Schwitters”) and others, and illustrations by and after Lyonel Feininger, Kurt Schwitters, Wilhelm Plünnecke, Arnold Topp, Ernst Moritz Engert, et al. Light browning; a fine set. Rare.

Hannover (Ludwig Ey), 1919-1920. $2,000.00

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

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

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.

Tokyo (Ars), 1924. $1,250.00

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.

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).

Carleton Lake has identified Jarry’s second illustration in the book, entitled “Père Ubu à cheval,” as the first portrayal of Ubu. This image had also appeared a month earlier, in the “Mercure de France,” September 1895. The balance of the woodcuts, as in Jarry’s first book “Les minutes de sable mémorial” of 1894, alternate imageries populaires (religious or fantastical in character) with old-master prints after Dürer and others; they are printed in orange, black and red. The design and production of the volume is identical in all particulars to that of “Les minutes de sable mémorial,” including the astonishingly modern typography of the title-page, designed by Jarry, which anticipates the experiments of the Italian Futurists and Russian Constructivists. A superb copy.

Paris (Éditions du Mercure de France), 1895. $7,500.00

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