1
ALBERT-BIROT, PIERRE
La joie des sept couleurs. Poème
orné de cinq poèmes-paysages hors-texte, le tout composé en 1918. (2), 80,
(2)pp. 5 full-page calligrammatic plates. Lrg. 8vo. Printed wraps. One of 120
numbered copies on uncut Arches, from the limited edition of 124 in all. “Like
Guillaume Apollinaire, Albert-Birot was an ingenious practitioner of the
calligramme, which has a long history in French literature, through Mallarmé
all the way back to Rabelais and beyond. ‘I walked across Futurism, Cubism,
Dadaism, but I am neither futurist nor cubist, dadaist nor surrealist,’
Albert-Birot wrote in 1928” (
Andel: The Avant-Garde Book 76
2
ALBERT-BIROT, PIERRE
Larountala. Polydrame en deux parties, composé en 1917-1918. 92, (2)pp. 1 full-page original woodcut (frontispiece). Lrg. 8vo. Wraps. One of 120 numbered copies on Arches, from the limited edition of 124 in all. Albert-Birot’s elaborate ‘polydrame,’ with musical score by Germaine Albert-Birot, entails a cast of more than 50 characters, including the sixteenth-century ceramic artist Bernard Palissy, policemen, clowns, children, dancers, and a tiger. The striking, primitivistic woodcut composition depicts a bearded writer facing out from a table, like a seated Sumerian scribe. Presentation copy, inscribed to the Czech avant-garde artist and writer Adolf Hoffmeister, “hommage de sympathie/ Pierre Albert-Birot/ Paris 12 Xer 21.”
3
ARNAULD, CÉLINE
Tournevire. Roman. (72)pp. Frontispiece by Henri Laurens, hand-colored in gouache in one portion. Sm. 4to. Fine wood-grained boards, 1/2 dark brown calf gilt, by Daniel Mercher. Orig. wraps. and spine bound in. One of 20 Roman-numeralled copies on Hollande van Gelder from the limited edition of 225 in all. The first book of the Parisian dadaist Céline Arnauld, the influential editor of “Projecteur” and contributor to “Littérature,” “Cannibale” and “391.” Other volumes of verse by her followed in 1920 (‘Poèmes à claires-voies’), 1921 (‘Point de mire’) and 1923 (‘Guêpier de diamants’). Laurens’ frontispiece is a characteristically stylish Cubist bust of a woman, painted in black in portions of the head. Presentation copy, inscribed shortly after publication by Arnauld to Louis de Gonzague-Frick, a writer and saloniste in the Paris Dada and Surrealist milieu. A very fine copy.
Sanouillet 18
4
(ARP) Tzara, Tristan
Vingt-cinq poèmes. H arp: dix gravures sur bois. 52pp. 11 original woodcuts by Arp, printed in black (8 full-page hors texte; 1 repeat). Sm. 8vo. Orig. wraps., bearing an additional woodcut by Arp printed on a gold foil panel mounted on front cover (repeat). An historic, early presentation copy from Tzara and Arp to one of their most articulate supporters, appealingly inscribed "an Dr. Jollos/ très cordial/ et sympathique/ hommage/ tristan tzara/ anno bomini 1918/ le 16.vii.1/ [undersigned:] arp," in pencil (in a carefully whimsical hand, with curlicues) on the blank leaf after the title. Clipped and mounted inside the front cover is Jollos' review of the book exactly one week later, from the "Neuer Zürcher Zeitung," 23 July 1918. The critic Waldemar Jollos, who was affectionately dubbed "le Grand-duc Vladislav de Jollos" in "391," moved easily in the avant-garde community, as an enlightened, helpful proponent; he had also lectured on Klee at the Sturm exhibition at the Galerie Corray in the spring of 1917, and in the fall of 1918 was to write the introduction to the adventurous "Die neue Kunst" exhibit at the Kunstsalon Wolfsberg, which featured Arp, Richter, and Janco. In his eloquent review of "Vingt-cinq poèmes," he praises the book for its design, and remarks admiringly how Arp's abstract woodcuts deepen the reader's understanding of Tzara's verse--poems which, though not entirely worked out from a formal point of view, offer serious opportunities to explore a deeper reality.
This copy was exhibited at the exhibition "Hans Arp zum 100. Geburtstag: at the Stiftung Hans Arp and Sophie Taeuber-Arp e V., Bahnhof Rolandseck, later shown at the Kunsthaus Zürich, 1986. Fine condition, the wrappers clean and the gold foil on the front cover still somewhat bright.
Zürich (Collection dada), 1918. $8,500.00
Rolandseck 6, p. 40f. (reproducing this
copy, and its clipped review); Arntz
16-25; Hagenbach 46; Dada in Zürich 82, cf. p. 61 (reproducing
the review by Jollos), cf. no. 108; Almanacco Dada p. 593; Gershman p. 44;
Sanouillet 193; Motherwell/Karpel 416; Dada Artifacts 19; Verkauf p. 105;
Düsseldorf 108; Zürich 350; Berggruen Tzara-Bibliography 2;The Artist and the
Book 2; Castleman p. 177; Andel, Jaroslav: Avant-Garde Page Design 1900-1950
(New York, 2002), p. 128, illus. 135
5
(ARP) GOLL, IWAN
Die siebente Rose. [Umschlagzeichnungen von Hans Arp.] (Sammlung Poesie.) (16)pp. (single sheet, folded and stapled). Cover design by Hans Arp, printed in black. Dec. self-wraps, unopened. A plaquette of fourteen poems by Goll, to which Arp contributed a striking cover design of an abstracted human figure. Arp designed related covers for the Sammlung Poesie in the same year (“Konfiguration,” a pamphlet of his own verse) and for the Librairie Fischbacher (for Jan Brzekowski’s “Kilométrage de la peinture contemporaine, 1908-1930”). All are rare. This copy is signed in pen by Arp at the end. A fine copy.
Paris (Verlag Poesie & Co.) [1930]. $1,200.00
Hagenbach 78; Rolandseck 99
6
ARP, JEAN
Souffle. (12)pp. 1 original woodcut by Arp, on the second leaf. 12mo. Self-wraps., stitched as issued. Edition limited to 50 copies in all, printed on Auvergne, of which 31 reserved for a distinguished roster of friends, “imprimé pour saluer la naissance de 1950.” This poem was the first work by Arp to be published by PAB. The woodcut, serving as a dramatic frontispiece to this tiny publication, is a Dada work dating from 1918. Loosely inserted, a typed presentation slip with Arp’s name and address.
[Alès] (P.A. Benoit), 1950. $1,400.00
Musée Fabre, Montpellier: Les livres réalisés par P.A.B. Benoit, 1942-1971 (1971), no. 114; Coron, Antoine: Le fruit donné: Éphémérides de Pierre André Benoit (Bibliothèque Nationale, 1989), pp. 15, 18; Hagenbach 22; Arntz 137; Bleikasten illus. 60; Rolandseck 37
7
BALLA, GIACOMO
Il vestito antineutrale. Manifesto futurista. Milano, 11 settembre 1914. (4)pp. (single sheet, folding). 6 illus. 4to. Self-wraps. One of the only Futurist manifestos with illustrations, Balla's call for dynamic, aggressive, joyful and assymetrical 'anti-neutral attire' includes superb drawings, both of motifs ("modificanti guerreschi e festosi") and of full-scale red-white-and-green suits to be worn by Cangiullo and Marinetti.
Milano (Direzione del Movimento Futurista), 1914. $700.00
Salaris p. 84; Scrivo 42; The Avant-Garde in Print 1.2
8
BALLA, GIACOMO & DEPERO, FORTUNATO
Ricostruzione futurista dell’universo. Milano, 11 marzo 1915. (4)pp. (single sheet, folding). 4to. Self-wraps. "Written by Balla with the younger Fortunato Depero, and illustrated by ingenious constructions by both of them…the manifesto itself had less to do with the war at hand than with playful and disrespectful inventiveness…. This Futurist Universe would feature an Artificial Landscape to replace boring Nature, and be populated with Metallic Animals, millions of them, which would, under the direction of Balla and Depero, bring about 'the greatest war (a conflict between all the creative forces of Europe, Asia, Africa and America), which will undoubtedly follow the current marvellous little human conflagration'" (Tisdall/Bozzola). The 'Plastic Complexes' illustrated in halftone photographs, are extremely interesting and witty, Depero's in particular, utilizing a whole range of metals, tissues, colored glass, celluloid, springs and noise-making devices to produce a sculpture that would rotate and decompose.
Milano (Direzione del Movimento Futurista), 1915. $600.00
Salaris p. 85; Apollonio p. 197ff.; Lista p.
202ff.; Scrivo 47; Taylor p. 123;
Tisdall/Bozzola p. 195f.
9
(BEUYS, JOSEPH)
Organisation der Nichtwähler, Freie Volksabstimmung e.v., Informationsstelle./ Organisation für direkte Demokratie durch Volksabstimmung. A group of materials relating to Beuys and his two organizations: a poster of his design for the Organisation der Nichtwähler; and publications (one signed in pen by Beuys) for the successor Organisation für direkte Demokratie durch Volksabstimmung. Contents as follows: 1. "Parteien-Wahlverweigerung" [Direkte Demokratie/ Volksabstimmung] (Weiss/Britsch 8). Typographic poster designed by Beuys, printed in green and black on cream-colored stock. 608 x 428 mm. (ca. 23 7/8 x 17 7/8 inches). 2. "Volksabstimmung." 15ff. 4to. Self-wraps., stapled as issued (the front cover being a sheet of the Organisation für direkte Demokratie stationery). Signed by Beuys on the cover, in red pen. 3. Handbill, printed in blue and black (verso blank). "Die Zeit der politischen Parteien ist vorbei." 4. A series of 8 pamphlets from the Organisation, as follows: untitled membership overview, Anarchie, Demokratie, Forschungstelle Demokratie, Gewaltenteilung, Marktwirtschaft, Organisation, Parteien. (4-8)pp. each. Lrg. 8vo. Self-wraps.
Beuys founded the "Organisation der Nichtwähler, Freie Volksabstimmung e.v., Informationsstelle" in March 1970 to protest elections in Nordrhein Westfalen, rallying supporters not to vote as a means of fighting big business and the media. His "Organisation für direkte Demokratie durch Volksabstimmung" was founded the following year. A few small tears at top edge of handbill, otherwise very fine throughout.
[Düsseldorf, 1970] $800.00
Weiss, Peter & Britsch, Florian: Joseph Beuys Plakate: Werbung für die Kunst (München, 1991), no. 8
10
(BEUYS) Düsselorf. Galerie Schmela
Joseph Beuys. Zeichnungen von 1949-1969. 3ff., 57 full-page plates. 4to. Blank blue wraps., with linen backstrip. Edition limited to 500 copies, signed and numbered by Beuys in pen on the title-page. The title, with justification, and two pages of register, are all reproduced from the artist’s handwritten text. A nice copy.
Düsseldorf, 1969. $700.00
11
BLAST
Review of the Great English Vortex. Edited by Wyndham Lewis. Nos. 1-2, June 20th 1914 and July 1915 (all published). 160, (4)pp., 23 plates; 102, (6)pp. 16 illus. Vorticist ornaments and culs-de-lampe throughout the second issue. Lrg. 4to. Wraps. (No. 1 with typographic composition, on pink stock; No. 2 with full front cover design by Lewis). Manifesto, signed by Henri Gaudier-Brzeska, Ezra Pound, William Roberts, Edward Wadsworth and Wyndham Lewis, among others; other texts by Pound (15 poems), Lewis, Gaudier-Brzeska, T.S. Eliot (“Preludes,” “Rhapsody of a Winter Night”), Ford Maddox Hueffer, Rebecca West, Wadsworth, et al. Illus. of work by Wadsworth, Lewis, Roberts, Epstein, Gaudier-Brzeska, Nevinson, and others. The second issue was published in conjunction with an exhibition of the Vorticist group at the Dove Gallery, London.
“The arrival of Vorticism was announced, with great gusto and military defiance, in a manifesto published in the first issue of ‘Blast’ magazine.... Dated June 1914 but issued a month later, this puce-covered journal set out to demonstrate the vigor of an audacious new movement in British art. Vorticism was seen by Lewis as an independent alternative to Cubism, Futurism and Expressionism. With the help of Pound, Gaudier-Brzeska and others, he used the opening manifesto pages of ‘Blast’ to launch an uninhibited attack on a wide range of targets.... In giant black letters, ‘Blast’s inventive typography roared: ‘Blast years 1837 to 1900.’ Using humour ‘like a bomb’ to ridicule British inertia…, ‘Blast’ cried ‘We are primitive mercenaries in the modern world’” (Richard Cork). No. 1 lacking backstrip, covers chipped around all edges; no. 2 chipped at head of spine.
London (John Lane), 1914-1915. $2,000.00
Manet to Hockney 37; The Art Press p. 42; Pindell p. 100
12
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.
13
BOLTANSKI, CHRISTIAN
Les vacances à Berck-Plage (août 1975). Éditeur: Hans-Ulrich Obrist. (6)pp., 23 tipped-in color photographs. Publisher’s yellow cloth, stamped in silver. Edition limited to 500 hand-numbered copies, signed in the colophon by the artist. Designed as an album of snapshots, at the beach and in the seaside town.
Stuttgart (Oktagon), 1995. $450.00
14
(BONNARD) Terrasse, Claude
Petit solfège illustré. Illustrations de Pierre Bonnard. Deuxième mille. (2), 30, (2)pp. 30 compositions by Bonnard, mostly printed in colors, integrated with and surrounding the texts and musical passages. Oblong 4to. Publisher’s dec. boards, 1/4 cloth, with full-cover illustrations by Bonnard on both front and back. One of Bonnard’s earliest and most charming publications, a primer in musical notation for children, by his brother-in-law Claude Terrasse. The layout and illustration reflect the influence of Boutet de Monvel, among other things. “I have to think of the decorators of ancient missals, or of the art that the Japanese put into the decoration of encyclopedic dictionaries to give myself some courage,” he wrote to Vuillard in 1891, during the creation of the book. In all, 2,000 copies were printed, in two issues of 1,000 copies; this example from the second. A very fresh copy, particularly rare thus.
Paris (Ancienne Maison Quantin/Librairies-Imprimeries Réunies) [1893]. $7,500.00
Terrasse 6; Basel 27; Chapon p. 65; Söderberg p. 138; Turn of a Century 56;
Carteret IV.77
15
(BONNARD) Mirbeau, Octave
La
628-E8. Croquis marginaux de Pierre Bonnard. xx, 416pp. 125 illustrations after
pen and wash drawings, printed in the margins. 4to. Very fine 3/4 plum morocco
gilt by Creuzevault, with colored inlays at spine; raised bands; t.e.g. Orig.
dec. wraps. and backstrip bound in. One of 200 numbered copies on vélin
d’Arches from the limited edition of 225 in all. Bonnard’s witty sketches
depict Mirbeau’s motoring trip (in license 628-E8) through
Paris (Eugène Fasquelle), 1908. $3,000.00
Terrasse 20; Skira 23; Villa Stuck 18; Talvart/Place XV.257.20B; Carteret IV.283; Mornand 292; Rewald, John: Pierre Bonnard (New York, 1948), p. 44
16
(BONNARD) Vollard, Ambroise
Sainte Monique. Illustrations de Pierre Bonnard. (2), ix, (1), 222, (6)pp. 29 lithographs and 17 etchings (including 3 tables) hors texte. 178 wood-engravings (including 37 'bois non utilisés' on 15 plates hors texte). Sm. folio. Orig. dec. wrapper with wood-engraved vignette, loose, as issued (small tears at head of backstrip). Glassine d.j. Uncut. All contents loose, as issued. One of 257 copies on vélin d'Arches, from the limited edition of 390 (including 50 copies hors commerce). "Bonnard, whom one might associate with a more pagan inspiration, interpreted this story of a saint--though treated by Vollard in a contemporary style--with touching solemnity, never lapsing into jejune sentimental piety. His lines vibrate with life. It was, in fact, the last book he illustrated and saw published in his lifetime" (Strachan). Slightest intermittent foxing; a very fine and crisp copy.
Paris (Ambroise Vollard), 1930. $5,500.00
Roger-Marx 96; Rauch 27; Skira 28; Stern 11; Erving 5; Wheeler p. 98; Basel 25;
Chapon p. 281; Johnson 170; Strachan p. 56
17
(BRANCUSI) Voronca, Ilarie
Plante si animale terase. Cu desene de Constantin Brancusi. 60, (4)pp. 3 full-page line-drawings by Brancusi in text. Lrg. 8vo. Wraps. Handsomely printed on cream wove stock. Unstated limited edition, estimated by Ilk at fewer than 150 copies (apart from an édition de tête of 18 numbered copies).
Though he contributed frontispiece portraits to books by James Joyce and Benjamin Fontane, this publication, a slender volume of poems (“Plants and Animals”) is Brancusi’s only illustrated book. The three compositions, line drawings of great simplicity, depict a snail and birds, a playful cow, and a composition of abstract plant forms below a horizon. Made as a favor to the writer, Ilarie Voronca, they are clearly responsive to her lyrics, birds “springing like fountains to the sky” and “hovering like a forest of waves in a blue flight”; and the first of them is closely related to a well-known gouache abstraction of “Birds in Flight” in the collection of the Guggenheim Museum. Brancusi exhibited two of the drawings in the Black and White Exhibition in Bucharest in the autumn of 1929. “This unique attempt by Brancusi in the field of book illustration is a successful transfiguration of poetry. It astounded the public opinion of 1929 in Bucharest but for a few persons who understood the hieratic sense of Brancusi’s drawings, their purity and primary character. Once again the words of the sculptor are confirmed: ‘When we are no longer children we are already dead,’ and also: ‘What makes us truly live is the feeling of our permanent childhood in life’” (Brezianu). Presentation copy, with a delicate five-line inscription by the author on the half-title, in ink. A fine copy.
N.p. [Paris] (Colectia Integral), 1929. $7,000.00
Ilk K519, illus. p. 85; Brezianu, Barbu:
Brancusi in
18
(BRAUNER) Pana, Sasa
Diagrame. Un portret si desene de Victor Brauner. (28)pp. 3 tipped-in plates of line drawings in text. Lrg. 8vo. Dec. wraps., with portrait by Brauner. Printed d.j. Unstated limited edition (“tiraj restrins”), estimated by Ilk at 150 copies, with text on pale brown wove stock, and the illustrations on cream-colored card. Pana was the founder of “Unu” in 1928. A very fine unopened copy, complete with the dust jacket. Very rare.
[Bucharest] (Editura UNU), 1930. $1,850.00
Ilk K485, illus. p. 89; Biro/Passeron 2164
19
(BRAUNER) Pana, Sasa
Sadismul Adevarului. Ilustratil de Victor Brauner, Marcel Iancu, Alfred Jarry, Kapralik, S. Perahim, Picasso, Man Ray, si Jacques Vaché. 287, (1)pp. Numerous illus., including a collage group portrait by Brauner (using photographs by Man Ray), with captioned glassine overlay. Lrg. 8vo. Wraps. (lightly foxed). One of 358 hand-numbered copies, from the limited edition of 370. Presentation copy, inscribed by Pana on the half-title, 1965.
Ilk K490, illus. p. 100
20
(BRAUNER) Roll, Stephan
Moartea Vie a Eleonorei. Desene de Victor Brauner. (34)pp. 2 tipped-in plates of line drawings in text. Lrg. 8vo. Wraps. Unstated limited edition, estimated by Ilk at circa 150 unnumbered copies, the text printed on brown wove stock. Covers a little soiled. Very rare.
[Bucharest] (Editura UNU), 1930. $4,500.00
Ilk K502, illus. p. 89
21
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
22
BRETON, ANDRÉ
Le surréalisme et la peinture. 72, (28)pp., 77 plates. 4to. Later full bottle-green calf. Orig. printed wraps. bound in. First edition, imprinted “S.P.” (Service de Presse) on the front wrapper. An historic presentation copy, inscribed “A Giuseppe Ungaretti/ souvenir de l’Hotel des Grands Hommes/ André Breton” on the half-title. Giuseppe Ungaretti, born (like Marinetti) in Alexandria, in 1888, and one of the great Italian poets of the century, was intimately tied to the literary and artistic French avant-garde, beginning with his arrival at the Sorbonne in 1912. The Hôtel des Grands Hommes, in the Place du Panthéon, where Breton and Soupault composed “Les champs magnétiques” in 1919, has always been considered the cradle of Surrealism. A little light wear.
Paris (Librairie Gallimard), 1928. $2,000.00
Sheringham Aa154; Pompidou: Breton p. 186f.; Gershman p. 7; Ades 9.93; Biro/Passeron p. 390; Rubin 138; Milano p. 650; Reynolds p. 18
23
BRETON, ANDRÉ, et al.
Violette Nozières. Par André Breton, René Char, Paul Eluard, Maurice Henry, E.L.T. Mesens, César Moro, Benjamin Péret, Guy Rosey, Salvador Dalí, Yves Tanguy, Max Ernst, Victor Brauner, René Magritte, Marcel Jean, Hans Arp, Alberto Giacometti. 41, (5)pp. 8 full-page illus. Lrg. 8vo. Wraps. One of 2000 unnumbered copies on vélin, from the edition of 2020. Front cover photograph by Hans Bellmer. A collective homage in verse and image by the surrealists in defense of the young parricide Violette Nozières, whose case at the time was the subject of violent political opinion. Though not noted internally, this copy derives from the library of Julien Levy. Covers slightly chipped and worn.
Bruxelles (Nicolas Flamel), 1933. $700.00
Sheringham Ac214; Ades 13.31; Biro/Passeron p. 424; Andel Avant-Garde Page Design 1900-1950 nos. 409, 433
24
BRETON, ANDRÉ & ELUARD, PAUL (editors)
Dictionnaire abrégé du Surréalisme. 75, (1)pp. Prof. illus. Sm. 4to. Dec. wraps., designed by Yves Tanguy. Contributions by L. Aragon, H. Arp, A. Artaud, H. Bellmer, A. Breton, R. Crevel, S. Dalí, R. Desnos, M. Duchamp, P. Eluard, M. Ernst, M. Heine, G. Hugnet, M. Leiris, G. Lély, J. Lély, P. Mabille, Man Ray, E.L.T. Mesens, P. Naville, V. Nezval, P. Nougé, W. Paalen, H. Pastoureau, B. Péret, P. Picasso, J. Prévert, G. Rosey, J. Scutenaire, P. Soupault, T. Tzara. Conceived and developed by Breton and Eluard, the “Dictionnaire” was published in January 1938 on the occasion of the great Exposition Internationale du Surréalisme at the Galerie des Beaux-Arts. “[Ce] document demeurent, quarante ans après sa parution, un miroir exemplaire de l’illumination surréaliste à la fin des années trente. A nôtre époque de slogans et d’explications simplistes, son pouvoir éclairant, par contraste, n’a fait que grandir. Il est également significatif que le premier ‘dictionnaire du Surréalisme’ ait été écrit par les surréalistes eux-mêmes” (Biro/Passeron). A fresh copy.
Biro/Passeron p. 130, and no. 917; Gershman p. 8; Rubin 141; Reynolds p. 36
25
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.
26
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 1960 (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.
27
CAHUN, CLAUDE
Aveux non avenus. Illustré d'héliogravures composées par Moore d'après les projets de l'auteur. Préface de Pierre Mac Orlan. (2), iii, (1), 237, (5)pp. 10 full-page collotype photomontage/photocollage plates. 1 collotype photographic illustration at the conclusion. 4to. Printed wraps. One of 370 numbered copies on uncut vélin pur fil Lafuma, from the edition of 500 in all. “‘Aveux non avenus’ (‘Avowals Not Admitted’) is Claude Cahun’s first book, produced in collaboration with her lover and stepsister Suzanne Malherbe (who signed herself ‘Marcel Moore’).... Following an elegant preface by Pierre Mac Orlan, Cahun’s text consists of disjunctive mediations [sic] and philosophical aphorisms on love and self-knowledge in writing influenced by the Symbolists, to whom Cahun was linked through her uncle, the Symbolist critic Marcel Schwob.... A photomontage appears before the introduction and each chapter with titles corresponding to nine ‘deadly elements’ (éléments capitaux instead of deadly sins, péchés capitaux)” (Roth). Uncut. A fine copy.
Paris (Editions du Carrefour), 1930. $4,000.00
Roth p. 62; Surrealism: Desire Unbound (London, Tate Gallery, 2001), p. p. 186ff.;
Andel Avant-Garde Page Design 1900-1950
no. 445
28
CHICAGO. The Art Institute of Chicago
Surrealism and Its Affinities. The Mary Reynolds Collection. A bibliography compiled by Hugh Edwards. 131, (3)pp. 44 illus. and vignettes. 4to. Wraps. First edition, limited to 1375 copies. The foreword, dated New York 1956, is by Marcel Duchamp, who also executed the title-page calligraphy. This copy is signed in pen by Duchamp at the end of the foreword. An exceptionally fresh, bright copy.
Chicago, 1956. $800.00
Schwarz: bibl. 112; Arntzen/Rainwater A109; Gershman p. 17; Rubin 1; Jean Autobiography 8
29
CARTIER-BRESSON, HENRI
The Decisive Moment. Foreword by the photographer. Afterword by R.L. Simon. (160)pp. 126 heliogravure plates. Caption booklet (12pp.) loosely inserted, as issued. Folio. Dec. boards, designed by Matisse. Dec. d.j., of the same design (small chips at edges, slightly worn at backstrip). Conceived and composed by Tériade (and simultaneously published in France by Éditions Verve); plates printed by Draeger Frères. The binding design, an elaborate and classic cut-out composition by Matisse, was made especially for the work. An exceptionally fine copy, clean and fresh.
New York (Simon and Schuster), 1952. $2,000.00
Roth p. 134
30
(CHICAGO TRIBUNE TOWER)
The International Competition for a New Administration Building for the Chicago Tribune MCMXXII. Containing all the designs submitted in response to the Chicago Tribune’s $100,000 offer commemorating its seventy fifth anniversary, June 10, 1922. (8), 103, (5)pp., 281 full-page plates with facing captions. 27 illus. Lrg. stout 4to. Original burlap-covered boards, rebacked in buckram, preserving the original label. As noted by Sigfried Giedion, “the competition...drew entries from everywhere. The projects submitted give an invaluable crosssection of the architecture of this period.” The pervasive preference for ‘Woolworth Gothic’ notwithstanding, there are a few brave essays in modernism by Walter Gropius, Bruno and Max Taut, Adolf Loos and others, as well as submissions by Bragdon, Burnham, Goodhue, Holabird & Roche, Eliel Saarinen, et al. Raymond Hood was the winner. Binding very slightly cocked, but quite a fine copy, tight and clean, the perishable spine in excellent condition.
Chicago (The Tribune Company), 1923. $1,450.00
31
CLAUDEL, PAUL
Sainte Geneviève. Poème. (34)ff. 14 illus. by Audrey Parr, printed in woodcut by Bokotsu Igami, in shades of blue and grey. On the verso, a double-page color woodcut design by Keisen Tomita; title-page and justification, designed by Noemi Pernessin. Tall narrow 4to. Leporello, printed on double leaves Japanese-bound within polished sandalwood boards, with printed dec. cover mounted on the front board, as issued. Publisher’s folding cloth case, with ivory clasps. Edition of 1000 numbered copies, on watermarked Hôcho paper.
When they worked together on this book, Claudel and the artist Audrey Parr (1892-1940) had been friends for several years, beginning in 1917 in Brazil, where they had both been part of the French diplomatic community. There, living in Petropolis, they had collaborated on the ballet "L'homme et son désir," for which Parr designed the sets and production (and Darius Milhaud, who had come along as Claudel's secretary, composed the music). For "Sainte Geneviève," Claudel had imagined a sequence of female figures, turning in spiritualized movements, which Parr was able to bring to life in sketches. The design of the book, however, and the integration of text and image, resolutely failed to come together to Claudel's satisfaction until his diplomatic career brought him to to Japan, where, as he wrote Parr back in Paris, his vision of the work suddenly fell into place. He was also very pleased with the skill of the Japanese engraver, who was able to translate the wash drawings vividly into woodcuts. Parr’s dramatically cloaked, faceless dancers, moving in an interrupted frieze across the top of the sheet, evoke the dramatic gestures of the choreographer and performer Mary Wigman.
Tokio (Chinchiocha), 1923. $2,750.00
Talvart & Place III.33; Malicet, Michel (ed.): Lettres de Paul Claudel à Sainte-Marie Perrin et à Audrey Parr [Cahiers Paul Claudel 13] (Paris, 1990), p. 259ff., 395
32
LE COEUR À BARBE
Journal transparent. Gérant: G. Ribemont-Dessaignes. No. 1, avril 1922 [all published]. (8)pp., printed on pale pink stock. Sm. 4to. Orig. self-wraps., with typographic and wood-engraved collage composition. Texts by Duchamp (“Rrose Sélavy”), Éluard, Fraenkel, Huidobro, Josephson, Péret, Ribemont-Dessaignes, Satie, Serner, Soupault and Tzara. A counterattack launched by Tzara following Picabia’s insulting “La pomme de pins” of the previous month; one more missile hurled during the spring of 1922, which Breton was later to comment witnessed the ‘obsequies of Dada.’ The cover design is one of the best-known and most appealing graphic inventions of Paris Dada. A fine copy.
Paris (Au Sans Pareil), 1922. $2,500.00
Dada Global 182; Ades p. 147f. (illus.); Almanacco Dada 26; Gershman p. 48f.; Chevrefils Desbiolles p. 282; Admussen 58; Sanouillet 224; Motherwell/Karpel 64; Dada Artifacts 138; Verkauf p. 177; Düsseldorf 234; Zürich 369; Milano p. 648; Andel, Jaroslav: Avant-Garde Page Design 1900-1950 (New York, 2002), p. 136, illus. 144
33
CZYZEWSKI,
TYTUS
Waz, Orfeuszi i Euridika. Wizja antyczna [The Serpent, Orpheus and Eurydice. An ancient vision]. Risunki graficzne w tekscie przez T. Czyzewskiego. Wykonal grafik Franciszek Benisz. (32)pp., including 15 numbered plates of typographic abstractions. Printed in green throughout. Dec. pale peach wraps., printed in green with text and typographic abstraction. Presentation copy, inscribed by Czyzewski on the title-page in pencil to the Polish Constructivist Henryk Berlewi.
The painter and poet Tytus Czyzewski (1885-1945) was one of the leading figures of the Krakow avant-garde, which preceded Warsaw and then Lodz as the center of artistic experiment in Poland. A key personality in the group known as the Formists, which began to exhibit in 1917, Czyzewski developed a unique pictorical and poetic idiom, a mélange of Expressionism, Cubism, Futurism, with strong Dadaist elements. Around 1920, "Czyzewski began an extremely creative period: he composed strange paintings that had elements of Expressionism, Futurism and the Dadaist spirit, combining signs and colours with no relationship to reality. More importantly, he created three-dimensional works with constructions of multicoloured wood, fixed to the surface of the picture. His writing was permeated with the same bizarre spirit, which for a certain time he called "Formist'; he wrote poems, collected in 'Green Eye--Electric Visions' (1920), 'Night-Day' (1922) and 'The Serpent, Orpheus and Eurydice' (1922). These poems are neither calligrammes nor free words, strictly speaking, but they use interesting typographical effects and layouts that recall the work of Cangiullo and Albert-Birot rather than that of the Constructivists, with whom he was to collaborate during the Twenties and Thirties" (Serge Fauchereau, in "Futurism and Futurisms"). "Contrary to the Italian futurists, who proclaimed the cult of the machine, Polish artists--closer to the art of Picabia or Duchamp, and with a distancing characteristic of the Dadaist position--doubted the value of a 'mechanical' program elevated to be the highest symbol of the contemporary age…. Tytus Czyzewski's poetic images from…'Waz, Orfeusz I Eurydyka' (The Serpent, Orpheus and Eurydice) recall the lyrical schemes of Picabia's mechanical paintings: 'a burst of red light,' we read in Czyzewski's text, 'a phallus transforms itself into a giant electric lightbulb'" (Andrzej Turowski). 'The Serpent, Orpheus and Eurydice' was produced on stage in Krakow in 1933. Top outer corner slightly dog-eared, with little loss; other light wear. Extremely rare.
Krakow (Odbito czcienkami Grafji Przemyslowej/ Instytut wydaniczy “Niezalezych”), 1922. $3,000.00
Hultén, Pontus (ed.): Futurism and Futurisms
(New York, 1986), p. 458; Turowski,
Andrzej: “Dada Contexts in Poland,” in: Janecek, Gerald & Omuka, Toshiharu
(eds.): The Eastern Dada Orbit (Crisis and the Arts: The History of Dada, Vol.
4 [New York, 1998]), pp. 112, 122f.; cf.
Benson, Timothy O. (ed.): Central European Avant-Gardes: Exchange and
Transformation (Los Angeles, 2002), p. 329f.; Wilhelmi 77
34
DADA. NO. 2
Décembre 1917. Recueil littéraire et artistique. [Editor: Tristan Tzara.] (16)pp. + (6)-pp. loose insert (“Notes,” tipped in after the last leaf). 8 illus., by Otto van Rees, Arp, Robert Delaunay, Prampolini (woodcut), Kandinsky, Helbig, Janco and de Chirico. Sm. 4to. Orig. orange wraps. with woodcut by Hilla de Rebay on front cover. Contributions by Tzara (“Note 2 sur l’art,” “2 poèmes nègres,” “Printemps”), Albert-Birot (“Rasoir mécanique”), G. Cantarelli, M. d’Arezzo, S. de Vaulchier, and B. San Miniatelli. This issue is uniform in format with the first; subsequently, the design of “Dada” changed considerably with each appearance. Front cover a bit spotted at right edge; a little foxing on first and last leaves.
Zürich, 1917. $4,000.00
Dada in Zürich 88; Ades p. 64; Gershman p. 49; Admussen 70; Chevrefils Desbiolles p. 284; Almanacco Dada 32; Sanouillet 226; Motherwell/Karpel 66; Rubin 462; Verkauf p. 177; Reynolds p. 110; Dada Artifacts 4; Zürich 371
35
DADA. NO. 4-5: ANTHOLOGIE DADA
15 mai 1919. Editor: Tristan Tzara. (32)pp. Prof. illus. in a variety of media, including original prints, line drawings and tipped-in halftone reproductions. 4to. Printed wraps., with Arp woodcut. Text printed on rose, blue, orange and white stocks. Texts by Picabia, Tzara, Cocteau, Serner, Hardekopf, Soupault, Aragon, Breton, Radiguet, Albert-Birot, Ribemont-Dessaignes, Buffet, Arp, Huelsenbeck, Hausmann, Richter, et al. Original woodcuts by Arp (5, including that on the front cover; Arntz 40-44), Hausmann (2), Richter and Janco; 2 original lithographs by Viking Eggeling. The most important and synoptic issue of “Dada,” and the most beautiful. This copy is in the German edition (with texts in both German and French); there was also a French edition, in which texts by Pérez-Jorba, Reverdy, Ribemont-Dessaignes and Tzara were substituted for those by Arp, Hardekopf, Hausmann, Huelsenbeck, Richter and Serner. “‘Dada 4/5,’ christened ‘Anthologie Dada,’ is a further collaboration by Tzara and Picabia, and was published almost simultaneously with the number 8 of Picabia’s review ‘391.’ Picabia executed the famous frontispiece for the ‘Anthologie,’ ‘Reveil Matin,’ by using as templates the wheelworks of an alarm clock dipped in ink. Possibly also through Picabia’s connections, contributors to this issue of ‘Dada’ were heavily weighted towards the Parisian writers of ‘Littérature’.... Typographic experimentation continued to challenge established ideas about the printing medium and are characterized in this issue by the use of randomly colored pages or imprints” (Dada Artifacts). A very fine copy, the covers slightly worn at extremities.
Zürich, 1919. $7,000.00
Dada in Zürich 90; Ades p. 64f.; Gershman p. 49; Admussen 70; Chevrefils Desbiolles p. 284; Almanacco Dada 32; Sanouillet 226; Motherwell/Karpel 66; Rubin 462; Verkauf p. 177; Reynolds p. 110; Dada Artifacts 6; Düsseldorf 113; Zürich 371
36
DADA. NO. 6: BULLETIN DADA
5 février 1920. Editor: Tristan Tzara. (4)pp. (single sheet, folding). 2 mecanomorphic drawings by Picabia (1 printed in red over text). Folio. Tabloid format, with enormous masthead in red on the front (as well as red overprinting on front and back, at variance with, and superimposed on, the text in black. Including the program for “Matinée du mouvement dada, 5 février 1920, Salon des Indépendants,” “Manifeste du mouvement dada,” “Quelques présidents et présidentes,” and aphorisms by Picabia, Tzara, Breton, Duchamp, Aragon, Ribemont-Dessaignes, Dermée, Éluard, Cravan, Soupault, De Zayas and others. “Tzara followed Picabia to Paris early in January 1920 and brought out ‘Dada’ nos. 6 and 7 (‘Bulletin Dada’ and ‘Dadaphone’) from Picabia’s apartment. They belong to Paris, in the sense that they contain predominantly the work of Paris dadaists, apart from Tzara himself and Picabia, and have grown closer to ‘391’ in appearance” (Ades). Two small clean marginal splits at foldlines; an excellent copy, clean and uncreased.
Paris, 1920. $6,000.00
Dada
Global 173; Ades pp. 63, 65; Gershman p. 49; Admussen 70; Chevrefils Desbiolles p. 284; Almanacco Dada 32;
Sanouillet 226; Motherwell/Karpel 66; Rubin 462; Verkauf p. 177; Reynolds p.
110; Düsseldorf 116
37
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, Evola 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
38
(DADA HANDBILL)
Excursions & visites dada. 1ère visite: Eglise Saint Julien le Pauvre. Jeudi 14 avril à 3 h. [1921]. Single sheet, printed on recto only. Typography by Tristan Tzara. The central text of the handbill, ascribable to Andé Breton, explains that “The Dadaists passing through Paris, wishing to remedy the incompetence of suspect guides and cicerones, have decided to organize a series of visits to selected spots, particularly those which really have no reason for existing.....” this first excursion did in fact take place, but it rained, and hardly anyone came. As George Hugnet later recalled “In itself, this demonstration, which took place at three o’clock on April 14, almost exlusively under the influence of André Breton, who was keenly sensitive to the outward effect of monuments and localities, proved, more than anything, demoralizing. It consisted of only a few individuals, almost improvised acts; one of the ‘numbers,’ perhaps the most successful (which does not mean much), was a tour conducted through the churchyard, stopping here and there to read definitions taken at random from a big dictionary.... The result was what followed every Dada demonstration: collective nervous depression.”
“Par la variété des fontes, la réparition des volumes encrés, le jeu des couleurs, ce document constitue une des plus heureuses réussites de la typographie dadïste” (Sanouillet). Blue paper stock faded, as usual; minute chips at edges; quite a good copy.
Paris, 1921. $950.00
Ades 8.46; Motherwell-Karpel p. 114ff.; Sanouillet 279, p. 244ff.; Documents Dada 28; Richter p. 183f.; Rubin p. 459
39
(DADA INVITATION)
Paris. Galerie Montaigne. Venez voir du 6 au 30 juin Salon Dada. Invitation, typeset on buff-colored laid paper (verso blank). 138 x 93 mm. This frequently reproduced card, with splendid dada typography by Tristan Tzara (who also designed the catalogue) was issued for the last major Dada exhibition. Under the cryptic formulation “dada escargot du ciel” are strewn the names of various movement luminaries: Arp, Baargeld, Joseph Stella, Duchamp, Eluard, Man Ray, Evola, Gala [Eluard-Dalí], Charchoune, Ernst, Aragon, Soupault, Tzara, Rigaud, Péret, Cantarelli, Mehring, Ribemont-Dessaignes, Vaché, Fraenkel and others. A fresh example.
Documents Dada 33; Sanouillet 304; Motherwell/Karpel p. 181f. (illus.); Almanacco dada p. 621 (illus.); Tendenzen 3.126; Düsseldorf 262
40
(DADA INVITATION)
Dada Global 242; Documents Dada 36 ; Sanouillet 313
41
(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
42
(DADA POSTER)
Mariaburg [
Mariaburg, 1926. $1,800.00
43
(DADA PROGRAM)
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
44
(DADA PROGRAM)
Documents Dada 35; Dada Global 241; Almanacco
Dada p. 629; Sanouillet 340;
Tendenzen 3.129; Zürich 451
45
DALI,
Babaouo. Scenario inédit,
précédé d’un Abrégé d’une histoire critique du cinéma, et suivi de Guillaume
Tell, ballet portugais. 58, (4)pp. Lrg. 8vo. Publisher’s printed apple-green
wraps. One of 600 numbered copies on "vélin Outheninchalandre," from
the limited edition of 623 in all. “Scénario non réalisé de Salvador Dalí,
datant de la période la plus inspirée et paru en 1932 aux éditions des Cahiers
libres (
Gershman p. 15; Ades 11.47; Biro/Passeron p.
44
46
DÉ-COLLAGE
Bulletin aktueller Ideen [und Kunst nach 1960]. Herausgegeben von Wolf Vostell. Nos. 1, 3-7 (of 7 nos. published in all). 6 vols. Prof. illus. in various media, with numerous multiples, plates and inserts. Format varies: lrg. 4to. to sm. 4to. Dec. wraps. and portfolios. Editions limited to 500 copies (No. 5), 700 copies (No. 6) and 1000 copies. No. 2, not present in this run, was a mimeographed program for Dick Higgins’ “The Broadway Opera.”
Wolf Vostell’s “Dé-collage” (a title he later refined as “dé-coll/age”) was unquestionably the most important German review dedicated to the writings, manifestos and performances of Happenings, Fluxus, Nouveau Réalisme, and the intermedia avant-garde. It was also the first of its kind, Vostell in fact anticipating “Fluxus 1” (something for which George Maciunas never forgave him). Beyond this, in addition to its texts and scores, “dé-collage” contains major original works of art. The best known of these, Joseph Beuys’ early and very important multiple in issue no. 5, "Zwei Fräulein mit leuchtendem Brot" (Schellmann 2)--a text assemblage with a mounted block of chocolate and rolled scroll beneath--is present in this set in exceptionally fine condition. Contents as follows:
No. 1, Juni 1962. 7 folding leaves, each allocated to a different artist: Arthur Köpcke, George Maciunas, Benjamin Patterson, Braun, Name [sic] June Paik, Pera, Wolf Vostell, La Monte Young. Sq. 4to. Self-wraps., with original wrap-around band at front; stamp and cancellation on back cover, from original mailing.
No. 3, Dezember 1962. Texts and images by 14 contributors, including Christo, Henry Flynt, "Fluxus," Dick Higgins, György Ligeti, Franz Mon, Paik, and Vostell. Numerous folding leaves; portions printed in red and on differing stocks. 4to. Wraps. D.j.
No. 4, Januar 1964 ("happenings"). Texts and images by 14 contributors, including George Brecht, Tomas Schmit, Stanley Brouwn (tipped-in multiple), Allan Kaprow, Higgins, Bazon Brock, Paik, Robin Page, Frank Trowbridge, Claes Oldenburg, H.J. Dietrich, J.J. Lebel, and Al Hansen. Numerous folding leaves; portions printed in red and on differing stocks. Lrg. 4to. Wraps. D.j.
No. 5, Februar 1966 ("happenings,
stücke, partituren"). A portfolio of original multiples and other
contributions, limited to 500 hand-numbered copies. Contents include Joseph
Beuys' "Zwei Fräulein mit leuchtendem Brot" (text on card stock, with
mounted block of actual chocolate and additional rolled scroll of attached
text); Vostell's "Skelett" (text on card stock, covered with loose
yellow-orange pigment, in cellophane envelope); Ben Vautier's "Spucke Ben
1960" (bandaid multiple, on card); H.J. Dietrich's "Aufhaenger"
(plastic hook, mounted on yellow card stock, signed in pencil on the verso);
Eckhart Rahn "Vergessen sie…" (strip of acoustic tape, mounted around
text on card stock, numbered by hand); Ludwig Grosewitz's
"Dazwischen" (text on die-cut card stock, three-dimensional if
opened); and other texts and compositions by Higgins, Kaprow, Mon, Patterson,
René Block, Claus Bremer, Henning Christiansen, Bernhard Hoeke, Gerhard Ruehm,
Vagelis Stadtanzeiger, and members of the Gruppe Zaj, mostly on loose sheets of
card stock. Lrg. 4to. Printed folding cardboard case.
No. 6, Juli 1967 ("bulletin der
fluxus und happening avantgarde").Texts and images, including multiple by
Diter Rot ("das blaue Geheul," blue marker on blank photo stock, in
envelope); Daniel Spoerri, Stefan Wewerka, Gustav Metzger, Lebel, Mon,
Tinguely, Vostell, Hansen, Kaprow, and others. Lrg. 4to. Dec. wraps., stapled.
No. 7, Februar 1969. Wolf Vostell: Elektronischer dé-coll/age Happening Raum 1959-1968 (Frankfurt: Typos Verlag, 1969). (96)pp., on folded leaves. Prof. illus. Published in conjunction with the EdHR section of the exhibition "Von der Collage zur Assemblage" at the Institut für moderne Kunst, Nürnberg and "Linee della ricerca: dall'informale alle nuove strutture" at the XXXIV Venice Biennale. Sm. sq. 4to. Self-wraps.
Together with this run, a printed handbill program for Dick Higgins’ “The Broadway Opera” (the full program of which constituted issue No. 2 of “dé-coll/age,” an order form for “dé-coll/age 6,” and 2 other printed advertising ephemera. Exceptionally fine condition throughout.
Köln/Frankfurt, 1962-1969. $19,500.00
Kellein, Thomas: “Fröhliche Wissenschaft”: das Archiv Sohm (Staatsgalerie Stuttgart, 1986), no.176, p. 110; Schellmann, Jörg (ed.): Joseph Beuys: The Multiples (Cambridge, 1997), no. 2
47
(DELAUNAY) Apollinaire, Guillaume
Robert Delaunay. 5ff. letterpress text, printed on golden wove paper; 11 plates (the first in color), tipped onto heavy indigo-colored card mounts, through-numbered in silver at lower right. Sm. folio. Original heavy cream-colored wraps. The cover of this copy has been mounted with the clipped decorative letterhead of the Delaunays, printed in color pochoir with an abstract design by Sonia Delaunay and the words “DELAUNAY” “PARIS” (BN item 331, reproduced in color p. 96)--an added element (pasted over the printed title "Robert Delaunay") which most copies do not have. The history of this beautiful album, printed in a very small edition, is well known. Designed by Sonia Delaunay, it was published on the occasion of the exhibition of Robert Delaunay’s great abstract series, "Saint-Séverin," "La Tour Eiffel," and "Les Fenêtres" at Der Sturm in Berlin, in January and February of 1912. Apart from two leaves of catalogue and table, its only text is Apollinaire’s famous poem, "Les Fenêtres," written for this publication, and his magniloquent statement "J’aime l’Art d’aujourd’hui parce que J’Aime avant tout la Lumière et tous les hommes Aiment avant tout la Lumière ils ont inventé le feu," grandly isolated in letterpress on the first golden leaf of the album. It commemorates one of the most electrifying breakthroughs in the history of abstract art, and the show provoked widespread excitement throughout Europe. In the spring of 1998, an exhibition was devoted to these pictures at the Guggenheim Museum in New York. Covers somewhat worn, with small losses at extremities (old mends), and without original cord; backstrip paper-taped; internally very fine, and noteworthy for the extra pochoir on the front cover.
Paris (Imprimerie André Marty) [1912]. $4,500.00
Inventaire des Collections Publiques Françaises 15: Paris, Musée National d’Art Moderne: Robert et Sonia Delaunay, 1967; Paris, Bibliothèque Nationale: Sonia et Robert Delaunay, 1977; Paris, Musée d’Art Moderne de la Ville de Paris: Robert/Sonia Delaunay,1985; New York, Solomon R. Guggenheim Museum: Visions of Paris: Robert Delaunay’s Series, 1998.
48
DEPERO, FORTUNATO
Depero Futurista. (116)ff. (2 folding), printed on various paper stocks, of which some colored; most versos blank. 28 halftone plates in text (2 color). Line-block illus. and typographic designs throughout (many printed in red and black). Oblong lrg. 4to. Flexible blue boards, printed in black and white, secured with massive metal bolts, as issued. Stated limitation of 1000 copies (never completed), signed and dated Milano 1927 by Depero in black ink on the verso of the title-page. Design by Depero. Deper