ars libri ltd.

rare and scholarly books on the fine arts

IFPDA Print Fair 2002:

Modern Illustrated Books

 

 

  • 1 ACTION. Cahiers individualistes de philosophie et d’art. Directeurs: Florent Fels et Marcel Sauvage. Nos. 1-[12], February 1920 - March/April 1922 (all published). (Issues are designated, in sequence: Nos. 1-10; Deuxième année, numéro hors série; Troisième année, mars/avril 1922.) 56-88pp. per issue. Numerous illus. hors texte. Original woodcut vignettes and culs-de-lampe throughout, by Vlaminck, Galanis, and others. 4to. (nos. 1-11) and 8vo. (no. [12]). Orig. printed wraps. Glassine d.j. Handsome new fitted slipcase (dec. boards, chemise). A complete run. Texts by Apollinaire, Cendrars, Salmon, Jacob, Huidobro, Jarry, Péret, Raynal, Vlaminck, Malraux, Satie, Gabory, Arnauld, Martin du Gard, Ehrenburg, Dermée, Artaud, Éluard, Tzara, Zbrorowski, Radiguet, Vlaminck, et al. No. 3 contains the feature "Opinions sur l’art nègre," with statements by Apollinaire, Cocteau, Gris, Lipchitz, Picasso, Salmon, Vlaminck and others (also "L’affaire dada" by Gleizes); no. 5 contains "Anthologie d’écrivains allemands contemporains." There are frequent critical texts on African art, principally by Carl Einstein. Intermittent light browning, a few covers expertly reinforced at inner hinge; a very attractive and well-preserved set.

    Paris, 1920-1921. $3,500.00

    Place/Vasseur III.73ff.; Chevrefils Desbiolles p. 253f.; Admussen 2

    2 ALGE. Editors: Aurel Baranga, S. (Jules) Perahim, Gherasim Luca, Sesto Pals, Paul Paun. I. Serie, Nos. 1-6 (of 7 published in all), in 5 issues. (8)pp. per issue (single sheet, folding), in oblong sm. 4to., except for No. 4, which is a large folio broadside (printed on recto only). Illus. throughout by S. Perahim, M. Teutsch, G. Luca, and M. Mizis. No. 3 printed on pink stock, Nos. 4 and 6 on pale blue. The unstated edition size is estimated by Ilk at fewer than 500 copies. "Alge wurde von Sascha Pasa als geistiges Kind von UNU genannt. (Perahim und Paul Paun veröffentlichten auch in UNU.) Mit vielen post-dadaistischen und surrealistischen Text- und Typo-Beiträgen erschien jede Nummer (wie früher 'Mecano' in Holland) auf verschiedenem farbigem Papier. Die unkonventionelle Typographie der Zeitschrift wurde von dem 16-jährigen Perahim gestaltet" (Ilk). "'Alge' fonctionne sans programe théorique déclaré. Néanmoins, les poèmes en prose ou les dessins publiés affirment la position unitaire, convulsive, parfois hystérique, toujours sans équivoque, de ce groupe à l'égard de tout ordre établi…. L'attitude qu'adopte 'Alge' va placer ses jeunes rédacteurs en conflit ouvert avec la société: il en résulte pour eux inculpation d' 'attentat aux bonnes moeurs,' confiscation des revues incendiaires et prison" (Biro/Passeron).
    The final number of the first series (absent from this run) was published hors commerce, in fewer than 50 copies; a second series of 3 numbers followed in the spring of 1933. The broadside issue of No. 4 is of greatest rarity, and furthermore is unrecorded on blue paper (Ilk describes it on orange only).

    Bucharest, 1930-1931. $12,500.00

    Ilk K370-375, illus. pp. 73,76,77; Biro/Passeron p. 16

    3 AN ALLE KÜNSTLER! Mit literarischen Beiträgen von: Joh. R. Becher, Ludwig Meidner, Bernhard Kellermann, Max Pechstein, Walter Hasenclever, Kurt Eisner, Konrad Haenisch, Kurt Erich Meurer, Paul Zech. Mit Bildbeiträgen von: Max Pechstein, César Klein, [Hans] Richter-Berlin, Lyonel Feininger, Milly Steger, Georg Tappert. 47, (1)pp. 5 illus. Lrg. 8vo. Dec. wraps. Cover design by Max Pechstein, printed in red and black. The revolutionary pamphlet issued by members of the Novembergruppe shortly after its founding in 1919, envisioning a close alliance between the expressionist artists and the socialist state, and new bonds between the artist and artisan. A fine copy.

    Berlin ([Willi Simon]), 1919. $350.00

    Raabe 137; Perkins 125; Lang 265; Rifkind 368A; Marbach 119.4; Spalek 658

    4 ARP, HANS. Mondsand. (30)ff., 7 original etchings by Arp. Tissue guards. 4to. Dec. cloth, with a design by Arp on the front cover. One of 300 numbered copies, from the limited edition of 333 in all, signed in pencil by Arp in the justification. Etchings printed by Fequet & Baudier, Paris.

    Pfullingen (Günther Neske), 1959. $1,250.00

    Hagenbach 364; Arntz 396-402; Bleikasten Aa 118; Rolandseck 72; Wilpert-Gühring 20

    5 ARP, HANS. Der Pyramidenrock. 70pp. Frontis. portrait of Arp by Modigliani. 4to. Printed wraps. Arp’s fourth book, a collection of dada poems. The 41-line 3-column mechanical repetition of the title on each cover is one of the most influential typographic inventions of the period. Paper flaw on one leaf; discreet contemporary ownership inscription; an attractive copy, with--most interestingly--two small corrections made with the insertion of single typed letters, clipped and mounted in "Schneethlehem" and "Sankt Ziegenzack Sankt Fassanbass."

    Erlenbach-Zürich/ München (Eugen Rentsch), [1924]. $2,000.00

    Rolandseck 89; Dada Zürich 67; Motherwell/Karpel 194; Verkauf p. 176; Düsseldorf 23; Tendenzen 3/80; Andel 70

    6 Tzara, Tristan. De nos oiseaux. Poèmes par ARP. 114, (8)pp. 10 full-page illus. Orig. wraps. (light wear). First published in 1923 in an edition of only 20 copies; this second edition differs only in the paper stock used. ‘De nos oiseaux,’ with Arp’s witty drawings and its pixillated dada typography, is one of the most charming of all Dada publications.

    Paris (Editions Kra), [1929]. $850.00

    Rolandseck 88; Berggruen 4; Hagenbach 61; On My Way 129; DadaGlobal 219; Reynolds p. 79

    7 ARTAUD, ANTONIN. Ci-git, précédé de La Culture Indienne. (44)pp. Wraps. Uncut. One of 435 numbered copies on vélin pur fil du Marais from the limited edition of 450.

    Paris (K éditeur), 1947. $600.00

    8 ARTAUD, ANTONIN. Pour en finir avec le jugement de Dieu. Émission radiophonique enregistrée le 28 novembre 1947. Texte intégral suivi de variantes, extraits de presse et 8 lettres à Fernand Pouey, René Guignard, Wladimir Porché, René Guilly, le R.P. Laval, Paule Thévenin. 109, (3)pp. Wraps. Uncut. Edition limited to 455 numbered copies.

    Paris (K éditeur), 1948. $450.00

    9 ARTAUD, ANTONIN. Révolte contre la poésie. (16)pp. Wraps., over loose signatures, as issued. First edition, printed for friends of the author in a limited edition of 50 copies on Arches, "mis en page et imprimé avec amour à Paris dans la brume de 1944 pour ceux qui savent choisir." This copy is designated HT 5/12, apart from the rest of the tirage. A little light browning. Rare.

    Paris, 1944. $1,000.00

    10 Paris. Galerie Pierre. Portraits et dessins par ANTONIN ARTAUD. July 1947. (10)pp. 12mo. Wraps. One of 250 numbered copies on Offset blanc from the limited edition of 265. The text consists entirely of a long prose poem by Artaud, beginning "Le visage humain/ est une force vide, un/ champ de mort...."

    Paris, 1947. $500.00

    11 AU GRAND JOUR. Surrealist tract, collectively signed by Louis Aragon, André Breton, Paul Eluard, Benjamin Péret and Pierre Unik. 28, (4)pp. Printed wraps. Issued in May 1927, following the induction of the signers into the Communist Party, this pamphlet castigates Antonin Artaud and Philippe Soupault for their lack of political militarism. Artaud’s well-known rebuttal, "A la grande nuit, ou le bluff surréaliste," followed suit a month later. A fine copy.

    Paris (Editions Surréalistes), 1927. $600.00

    Gershman p. 56; Biro/Passeron p. 40; Nadeau p. 260ff.

    12 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

    13 BALTHUS. Mitsou. Quarante images par Baltusz. Préface de Rainer Maria Rilke. 13, (3)pp., 40 full-page plates. Sm. 4to. Flexible boards. D.j. A remarkable picture book without words, made by Balthus at the age of twelve, "Mitsou" is a series of 40 drawings in india ink about the life and eventual disappearance of his beloved cat. Rilke, who was then Balthus’ mother’s lover, was so struck by the amazing precocity of the work that he personally arranged to have it published, acting as the boy’s literary agent and writing the preface. Apart from its memorable charm, the book is also a key to the enigmatic persona of Balthus, who throughout his life identified intensely with cats, as witness his 1935 self-portrait, "The King of Cats." Some light soiling of the front cover, but a very fine copy of a book usually found in worn condition.

    Erlenbach-Zürich/Leipzig (Rotapfel-Verlag), 1921. $3,000.00

    von Mises 225

    14 BLECKNER, ROSS. A suite of 6 original watercolors from 1987-1989, painted on the versos of six (identical) announcement cards for Bleckner’s exhibition at the Mario Diacono Gallery, Boston, January 1986. Each 163 x 115 mm. (6 3/8 x 4 1/2 inches). Sm. 4to. Flexible boards with morocco cover label; ties. The series is loosely inserted into corner mounts on leaves of a custom-made album, inscribed on the last leaf "To Mario Diacono with love and gratitude/ Always/ Ross Bleckner/ 1987/ 1989. A somberly beautiful sequence, of an urn, a bouquet, a gazebo, abstractions.

    N.p., 1987-1989. $5,000.00

    15 (BOCCIONI) Numero speciale di "Dinamo Futurista" per le onoranze a Umberto Boccioni. (Dinamo Futurista. Mensile illustrato diretto da Depero sotto l’alto patronato di s.E. Marinetti. Vol. XI, N. 3-4-5, giugno 1933.) (4), 20, (2)pp., 8 plates with 13 illus. Text printed in orange and black. Sm. folio. Dec. wraps., with tipped-on cover illus. Contributions by Depero, Paolo Buzzi, Luigi Russolo, Luciano Folgore, Umberto Notari, Massimo Bontempelli, Renato Simoni; 4 texts by Boccioni ("Quadro della storia dell’arte," "Noi viviamo di verità nate ieri," "Dall’impressionismo al futurismo," "Interventismo--in carcere--al fuoco [quattro lettere]"). The final issue of Depero’s review, published in conjunction with the grandiose Boccioni exhibition organized by the Fascists under the patronage of Mussolini, and directed by Marinetti together with Buzzi, Depero, Fillia, Prampolini and others.

    Rovereto (Trento), 1933. $500.00

    Salaris p. 95

    16 Longus. Les pastorales de Longus ou Daphnis et Chloé.... Lithographies originales de P. BONNARD. Traduction de J. Aymot.... Revue et corrigée, complétée de nouveau, refaite en grande partie par Paul-Louis Courier . x, 294, (4)pp. 151 original lithographs, printed in black, integrated with text. Lrg. 4to. Full green morocco, signed M. Callou, with a subdued art deco design of diagonal gilt fillets and inlays in black and ivory morocco, identical on both covers. A.e.g. Ivory morocco doublures. Silk end-papers. Slipcase (marbled boards, trimmed in green morocco; hairline cracks). One of 200 numbered copies on uncut hollande van Gelder, watermarked 'Daphnis et Chloé,’ from the limited edition of 250. Lithography by Auguste Clot; the text printed at the Imprimerie Nationale.

    The second of Bonnard's great illustrated books, following "Parallèlement" of 1900. "In 1902, Vollard published 'Daphnis et Chloé' by Longus. He may have chosen this Greek romance of the third century because it approached so nearly the tone of the modern novel. Illustrated with lithographs by Bonnard, it has been described as one of the most beautiful books published since the eighteenth century. Carefully following the text, conjuring up woodlands, harbors, and pastoral figures, Bonnard's genius portrays with lavishness and antique grace the tranquil atmosphere of the Golden Age. The quality of the printing process, attained with such success in 'Parallèlement’ lingers on in 'Daphnis et Chloé,' giving it exceptional charm and nuance" (Una Johnson). A fine copy.

    Paris (Ambroise Vollard, Editeur), 1902. $16,500.00

    Roger-Marx 95; Johnson 168; Ray: The Art of the French Illustrated Book 384; Chapon p. 279; The Artist and the Book 28; Rauch 22; Skira 22; Strachan p. 326; Garvey/Wick 7; Manet to Hockney 18; Wheeler p. 98; Stern 10; Bareiss 9; Villa Stuck 15; Stuttgart 9; Basel 23

    17 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 Belgium, Holland and the Rhineland; Bonnard had not gone along, but he had made his own excursions through the low countries (as well as England, Spain, Italy, and Tunisia) between 1907 and 1911. He was also greatly interested in automobiles, and was soon to own one himself, which, according to Thadée Natanson, he drove in a rather unorthodox fashion. A fine copy.

    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

    18 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. Glassine d.j. Later slipcase and chemise (boards, 1/4 cloth). 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, slipcase broken at hinges; internally, 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

    19 Miller, Arthur & BOURGEOIS, LOUISE. Homely Girl, A Life. 2 vols. I: (2), 30, (4)pp. 10 plates hors texte, after drawings by Louise Bourgeois. 1 photographic plate by Inge Morath, of the collaborators. II: (2), 30, (2)pp. 8 double-page color collages by Louise Bourgeois hors texte. 4to. Cloth. Slipcase. Preferred edition, limited to 100 copies, signed in the colophon by Louise Bourgeois, Arthur Miller and Inge Morath. The text of Miller’s story is repeated verbatim in the second volume, but with passages selected by Bourgeois printed here in red. The whole finely printed in letterpress and offset lithography at the Stinehour Press.

    New York (Peter Blum Edition), 1992. $275.00

    20 (BRANCUSI) Fondane, Benjamin. Privelisti. Poeme, 1917-1923. [By: B. Fundoianu.] Cu un portret inedit de C. Brancusi. 106, (4)pp. Line-drawn frontis. portrait by Brancusi. Lrg. 8vo. Wraps. (worn at spine). Édition de tête: one of 24 lettered copies from the limited edition of 50 on vélin vergé, apart from the regular edition of 1000.

    Bucharest (Editura "Cultura Nationala"), 1930. $3,500.00

    Ilk K451, illus. p. 90

    21 (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. Of utmost rarity.

    N.p. [Paris] (Colectia Integral), 1929. $7,000.00

    Ilk K519, illus. p. 85; Brezianu, Barbu: Brancusi in Romania (Bucharesti, 1976) p. 245f.; Hultén/Dumitresco/Istrati p. 191; Jianou 1982, nos. 82-84

    22 (BRAQUE) Satie, Erik. Le Piège de Méduse. Comédie lyrique en un acte de M. Érik Satie, avec musique de danse du même monsieur. Orné de gravures sur bois par M. Georges Braque. (3)pp. 3 original color woodcuts by Braque, printed with up to four blocks (pale blue, brown, ochre and sage green). Lrg. 4to. Printed wraps. Slipcase and chemise (boards, 1/4 cloth). One of 90 copies on hollande van Gelder, signed in purple ink by Braque and Satie in the justification, from the limited edition of 112 in all. The first book with original prints by Braque, and the only literary work ever published by the composer Érik Satie, "Le Piège de Méduse" was also the first of Kahnweiler’s books to contain full-color illustrations (and one of no fewer than six great livres d’artiste issued by Kahnweiler and the Galerie Simon in 1921).

    Superbly intergrated with the text and musical score, the woodcuts are "among the most beautiful and perfect examples of Braque’s later synthetic cubist style" (Stein). "Sans rien emprunter à la comédie lyrique de Satie, les constructions exquises de Braque, natures mortes aux instruments de musique, bois en couleurs, nous fournissent plastiquement une équivalence du tempérament du musicien" (Chapon). A very fine copy.

    Paris (Éditions de la Galerie Simon), 1921. $12,500.00

    Vallier 13; Hofmann I; Hugues 10; Bozo p. 181; Castleman p. 172; Artist and the Book 33; Chapon p. 284 (color plates pp. 111, 120); Skira 39; Rauch 103; Strachan p. 50; Stein pp. 63,69; Siena 4; Cubist Print 90; Garvey/Wick 12; Wheeler p. 99; Andel 33; Bareiss 11; Basel 42: Winterthur 96

    23 (BRAUNER) Naum, Gellu. Libertatea de a Dormi pe o Frunte. 58, (4)pp. 1 tipped-in full-page plate, by Brauner. Lrg. 8vo. Wraps., (without the wallpaper dust jacket cited by Ilk). Signatures loose, as issued. One of 86 unnumbered copies on vélin, from the limited edition of 96 in all. The Brauner illustration is one of his most famous erotic drawings, a design for "Adrianopole." Light wear to wraps. Presentation copy, inscribed in red ink by the author on the half-title, 1937. Very rare.

    Bucuresti (Tip. "Steaua artei"), 1937. $3,500.00

    Ilk K472, illus. p. 101

    24 (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

    25 (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.

    Bucharest (Editura UNU), 1936. $3,250.00

    Ilk K490, illus. p. 100

     

    26 (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

     

    27 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

    28 BRETON, ANDRÉ. Young Cherry Trees Secured Against Hares. / Jeunes cérisiers garantis contre les lièvres. Translations by Edouard Roditi. Cover by Marcel Duchamp. Drawings by Arshile Gorky. (54)pp. 2 full-page illus. after line drawings by Gorky. Sm. 4to. Photo-illus. boards. D.j. in colors. Edition limited to 1000 copies on uncut laid paper. Parallel texts in English and French. A classic surrealist collaboration, being the only book illustrated by Gorky, with Duchamp’s witty cover design, a see-through dust-jacket featuring Breton as the Statue of Liberty. D.j. somewhat browned at spine and back cover.

    New York (View Editions), 1946. $950.00

    Schwarz 327; Gershman p. 9; Grolier Club 15

    29 [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. A fresh copy.

    Paris (Galerie Beaux-Arts), 1938. $650.00

    Biro/Passeron p. 130, and no. 917; Gershman p. 8; Rubin 141; Reynolds p. 36

    30 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

    31 BRYEN, CAMILLE. L’aventure des objets. Avant-propos de J.-H. Levesque. 16pp., 8 photographic plates by Raoul Ubac. Wraps., mounted with 1 additional photographic plate. Glassine d.j. Edition limited to 300 numbered copies. "[Bryen] crée aussi des assemblages d’objets insolites qui poursuivent leur ‘aventure.’ En 1937, dans sa conférence sur ‘l’aventure des objets,’ (texte qu’il publie la même année), il décrit ses expériences plastiques en tenant de les interpréter lucidement. Avec humour, il appelle certains de ses objets ses ‘bryoscopies’" (Biro/Passeron). A fine copy.

    Paris (Collection Orbes ), 1937. $650.00

    Biro/Passeron p. 70

    32 CAHUN, CLAUDE. Aveux non avenus. Illustré d'héliogravures composées par Moore d'après les projets de l'auteur. Préface de Pierre Mac Orlan. (2), iii, (1), 237, (5)pp. 10 full-page collotype photomontage/photocollage plates. 1 collotype photographic illustration at the conclusion. 4to. Printed wraps. Original glassine d.j. One of 370 numbered copies on uncut vélin pur fil Lafuma, from the edition of 500 in all. Unopened. Though not noted internally, this copy derives from the library of Julien Levy. Head and foot of covers a little split at hinges, glassine chipped.

    Paris (Editions du Carrefour), 1930. $3,500.00

    Roth p. 62

    33 Aesop. Fables of Aesop According to Sir Roger L’Estrange. With fifty drawings by ALEXANDER CALDER. (6), 124, (10)pp. 52 illustrations by Calder, printed in black. 4to. Wraps. over boards (splits at edges). Slipcase (boards). One of 20 copies hors commerce from the tirage of 595 on Auvergne, from the limited edition of 665 in all, designed by Monroe Wheeler. Calder’s finest work in book illustration.

    Paris (Harrison of Paris), 1931. $2,000.00

    The Artist and the Book 47; Castleman p. 120; Wheeler p. 99

    34 CANGIULLO, FRANCESCO. Autograph letter to Giacomo Balla, signed ‘Cangiulletto.’ 1f., densely written in Cangiullo’s curlicued hand on both sides of a folded sheet, in a four-page format. 177 x 211 mm. (7 x 8 1/2 inches). A lighthearted, affectionate letter, exclaiming that Balla’s postcards and letters are masterpieces of originality and of Futurism--though, being masterpieces, not always easy to decipher. Under separate cover, Cangiullo is sending him a third parole in libertà composition ("dipintoparolibero") entitled "Il soldati," in which he hopes to convey not soldiers per se, but rather the tempo of a military march, as well as a sense of the sky, the sea and the fields; he’s eager to hear whether Balla thinks it works. "Salutami anche le lampadine elettriche nere." The letter is undated, but was almost certainly written sometime before 1920. Very unobtrusive small glue stain on verso, at right edge.

    N.p., n.d. $1,200.00

    35 CANGIULLO, FRANCESCO. Poesia pentagrammata. 44, (4)pp. Sm. 4to. Dec. wraps. Unopened. Cangiullo’s charming excursions into parole in libertà are here paired with unperformable harmonic and rhythmic notations. The underlying temperament and esthetic is closer to Apollinaire than Marinetti, and resembles some of Satie’s scores of the same period.

    Napoli (Gaspare Cesella), 1923. $700.00

    Salaris p. 27; Falqui p. 73; Tisdall p. 103; Andel 49

    36 CARRA, CARLO. Guerrapittura. Futurismo politico, dinamismo plastico. 12 disegni guerreschi. Parole in libertà. (6), 104, (14)pp., 12 plates (1 folding). Frontis. photograph of the author. 4to. Wraps., designated "7º migliaio," with fine cover typography by Carrà. An important collection of texts by Carrà on politics and aesthetics, with plates illustrating his very beautiful Cubist drawings and collages, and a selection of parole in libertà of 1914-1915. "To all intents and purposes, Carrà’s last contribution to Futurism was "Guerrapittura" (‘Warpainting"), published in Milan in March 1915 and signed with an extra aggressive R to his name, Carrrà. This little book was perhaps intended as a counterblast to Boccioni’s ‘Futurist Painting and Sculpture.’ It contained a collection of writings on art under the banner of Delacroix’s untranslatable condemnation of flabby painting, ‘La peinture lâche est la peinture d’un lâche’; reprints of Carrà’s earlier ‘Lacerba’ essays, repetitions of his Futurist preferences and dislikes in art; typographic arrangements and Words-in-freedom on the theme of war echoing Carrà’s own ‘Futurist Synthesis of War,’ and a number of illustrations including ‘Pursuit’...." (Tisdall/Bozzola). Light wear. A fine copy.

    Milano (Edizioni Futuriste di "Poesia"), 1915. $1,250.00

    Salaris p. 28; Tisdall/Bozzola p. 188f.; Andel 45

    37 CECCOBELLI, BRUNO. Musée de l’Homme. Entrée. Sketchbook album of 48 original drawings in mixed media (colored crayon, watercolor, oil paint, ink, pastel, charcoal, collage). Sheet size: 260 x 207 mm. (10 1/4 x 8 1/8 inches). 4to. Cloth, with collaged original tickets to the Musée de l’Homme on the front cover. Each of the 48 compositions is stamped with a number on the blank verso. After the signed and dated double composition no. 33, the orientation of the book is reversed, turning upside-down and backward. The drawings are complete and powerful compositions, most of them heavily worked and vibrantly colored, filling the pages to the edge. Ceccobelli has furnished a typed list, loosely inserted, of the titles of each composition ("L’arciere di salvia e il drago di menta," "L’occhio del mare," "Pandora," "Santo Robot," "Pirati sull’erba," "Io, uno dei tre grifoni," etc.).

    [Roma] 1981-1983. $15,000.00

    38 CUCCHI, ENZO. La cerimonia delle cose. The ceremony of things. Texts by Enzo Cucchi collected by Mario Diacono. 85, (7)pp. 16 plates hors texte, printed in varying sizes. Wraps. Special edition, limited to 100 copies, with an original etching by Cucchi bound in as frontispiece. The etching (with aquatint, drypoint and silkscreen, printed in teal and black) is signed and numbered in pencil in the margins.

    New York (Peter Blum Edition), 1985. $600.00

    Jentsch: The Artist and the Book in Twentieth-Century Italy, no. 153

    39 CUCCHI, ENZO. A composite album of original etchings, drawings and manuscripts by Enzo Cucchi from 1984-1986, collected by Mario Diacono. 10ff. with 11 items, including 2 important autograph texts in pen by the artist (one a letter on the stationery of Hotel Locarno Rome, the other written across a photograph of one of Cucchi’s major paintings); 4 original etchings (including 1 signed and numbered color aquatint from "La ceremonia delle cose," and 2 aquatint proofs, of which 1 signed and inscribed to Diacono); 2 sheets with original ink sketches for an exhibition of paintings; and a double-sided working drawing (in ink) for a large poster published in 1986 by the Kunsthalle Bielefeld; and 2 smaller drawings on found objects. The series is loosely inserted into corner mounts on the leaves of a custom-made album, with glassine guards. At the end of the album is mounted an essay by Mario Diacono, "Enzo Cucchi: Tetto," published in Rome in 1984. Oblong lrg. 4to. Marbled boards, 3/4 tan calf, in a fitted cloth slipcase. The two autograph Cucchi texts were published in "La ceremonia delle cose," (pp. 72 and 74, with English translations). "Sculpture? Painting?...I’m not sure...the image, yes! To attempt to stop the moment...trying to ‘see’ underneath Europe, to listen for an instant and to slow down for a second the movements in the deep of this our earth./ From the point of view of sculpture, Europe is the most tormented area...even now, the ‘young’ mountains are pressing from the South of Africa...our dark nightdream...here’s Europe, then, representing the only spiritual field for an incredible image...and full of wonder" (1984).

    $5,000.00

     

    40 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; Almanacco Dada 32; Sanouillet 226; Motherwell/Karpel 66; Rubin p. 462; Verkauf p. 177; Reynolds p. 110; Dada Artifacts 4; Zürich 371

    41 DADA. NO. 6: BULLETIN DADA. 5 FÉVRIER 1920. Editor: Tristan Tzara. (4)pp. (single sheet, folding). 2 mecanomorphic drawings by Picabia (1 printed in red over text). Folio. Tabloid format, with enormous masthead in red on the front (as well as red overprinting on front and back, at variance with, and superimposed on, the text in black. Glassine d.j. Including the program for "Matinée du mouvement dada, 5 février 1920, Salon des Indépendants," "Manifeste du mouvement dada," "Quelques présidents et présidentes," and aphorisms by Picabia, Tzara, Breton, Duchamp, Aragon, Ribemont-Dessaignes, Dermée, Éluard, Cravan, Soupault, De Zayas and others. "Tzara followed Picabia to Paris early in January 1920 and brought out ‘Dada’ nos. 6 and 7 (‘Bulletin Dada’ and ‘Dadaphone’) from Picabia’s apartment. They belong to Paris, in the sense that they contain predominantly the work of Paris dadaists, apart from Tzara himself and Picabia, and have grown closer to ‘391’ in appearance" (Ades). Light browning, a few expert internal mends at foldlines. Due to its fragility, one of the rarest issues of "Dada," here in an unusually good copy.

    Paris, 1920. $6,000.00

    Dada Global 173; Ades pp. 63, 65; Gershman p. 49

    42 (DADA HANDBILL) PARIS. MAISON DE L’OEUVRE. Manifestation Dada. Le Samedi 27 Mars, à 8 f. 15 précises. Broadside handbill designed by Tristan Tzara, printed in red and black on pale pink stock (verso blank). Two mechanomorphic dada line drawings by Picabia, printed in red, superimposed over text. Printed sideways at right edge, advertisement for the forthcoming "Dadaphone," "391" no. 12, and "Proverbe." Oblong sm. folio. 266 x 373 mm. (10 7/16 x 14 11/16 inches). Design by Tristan Tzara.

    This was the third, and most elaborate, of three Dada demonstrations following the arrival of Tzara in Paris. A great succès de scandale, it precipitated plans for the Festival Dada. We quote at length from George Hugnet’s account of it, in his "The Dada Spirit in Painting": "On March 27, at the Théâtre de l’Oeuvre, one of the most significant Dada demonstrations took place. It consisted of plays (‘le serin muet’ by Ribemont-Dessaignes, ‘la première aventure célèste de m. antipyrine’ by Tzara, and ‘s’il vous plaît’ by Breton and Soupault), written in the Dada manner, pursuing every gratuitous fancy, every absurdity of thought, and all eminently demoralizing. Breton read, in complete darkness, a ‘manifeste cannibale’ by Picabia. Some poems by Éluard (‘Examples’) were read. Ribemont’s ‘le pas de la chicorée frisée’ (Dance of the Curled Chicory) was played on the piano; likewise, as a joke, some melodies by Duparc. A transparent set, in front of the actors, consisted of a bicycle wheel and some signs hanging from clothes-lines. These melodies, in such a setting, completely exasperated the audience, which began to whistle even at Duparc’s band music, which normally they liked. Delighted with this contradiction, the actors, themselves Dadaists, began to insult the audience, welcoming catcalls with a smile; at this moment an anti-Dada paper, ‘Non,’ edited by René Edme and André du Bief, was handed around. The program of this performance arranged, as usual, by Picabia, revealed a resuscitated remark of Tzara as: ‘Dada Corporation for the Improvement of Ideas.’ Picabia’s picture, ‘Portrait of Cézanne,’ was shown at this demonstration; having searched in vain for a live monkey for the ‘still-life,’ the artist finally showed the picture, as illustrated. The Théâtre de l’Oeuvre had not witnessed such goings-on since the riot caused by the presentation of Alfred Jarry’s play ‘Ubu Roi.’" A few small stains, discreet foldlines and creases. A great rarity.

    Paris, 1920. $8,000.00

    Documents Dada 14; Dada Global 226; Ades 8.42; Almanacco Dada p. 607 (illus.); Sanouillet 318; Dada Artifacts p. 76, no. 116; Motherwell/Karpel p. 176f. (with text from Georges Hugnet), p. 191 (illus.); Chapon p. 132; Rubin p. 458; Andel: Avant-Garde Page Design 1900-1950 no.141; Düsseldorf 258; Zürich 441

     

    43 (DADA HANDBILL) PARIS. SALLE DES SOCIÉTÉS SAVANTES. Mise en accusation et jugement de M. Maurice Barrès par DADA. Le vendredi 13 mai 1921 à 20 h 30 précises. Handbill, printed in black, with brilliant yellow ground on recto. 240 x 320 mm. (9 1/2 x 12 5/8 inches). The verso gives a lengthy "Extrait de l’Acte d’Accusation," followed by a listing of Dada participants. Oblong 4to. Organized by Breton in a spirit of grim seriousness wholly incompatible with Dada whimsy (as Poupard-Lieussou observes), the Barrès trial precipitated the rupture between Breton and the future Surrealists on one hand, and Tzara and the orthodox Dadaists, on the other. William Rubin writes, "At the very time that Picabia was walking out on Dada, Breton organized two ‘manifestations,’ in which a tendency foreign to Dada emerged. The first of these, which Breton had obviously pondered for some time, was the mock trial of the writer (and Deputy) Maurice Barrès for ‘crimes against the security of the spirit’ in May, 1921.... The once liberal author of ‘Le culte du moi,’ Barrès had become increasingly chauvinist (president of the League of Patriots) and ‘bourgeois,’ while committing himself to academicism in matters of literature and art…. Breton was judge at the trial and Ribemont-Dessaignes the public prosecutor, while Jacques Rigaud and the ‘Unknown Soldier’ (Benjamin Péret dressed in a German uniform) were the witnesses. Louis Aragon, the defense attorney, did little to save the name of his absent ‘client,’ who was represented by a life-size mannequin." Graphically, this is one of the most vivid of Dada ephemera, as much because of the electrifying yellow background as the Wanted-Dead-or-Alive directness of the typography. Unobtrusive foldline; a fine, bright copy.

    Paris, 1921. $2,000.00

    Poupard-Lieussou/Sanouillet 32; Dachy p. 141 (illus. in color); Rubin p. 114

    44 (DADA POSTER) PRAGUE. SLUPI THEATRE. Dada v divadle na Slupi. Poster, printed in black on bright yellow stock, with a bright red target design over the word "Dada" (verso blank). 317 x 233 mm. (12 1/2 x 9 3/16 in.) This dramatically designed poster advertises a cycle of three productions of the Dada Theatre in Prague: Sophocles’ "Oedipus" (prologue by Cocteau), Hans Sachs’ "Kälberbrüten," and Pierre Reverdy’s "The Wanderer." All were directed by Jirí Frejka, and featured E.F. Burian in the cast or orchestra. Both men were leading figures in the Prague theatrical avant-garde. Prior to this, Frejka had been involved with the Osvobozené Divadlo (Liberated Theatre), which had sponsored soirées by Kurt Schwitters in May 1926; seceding from it, he founded the Divadlo Dada, producing Schwitters’ "Schattenspiel" in the spring of 1927. Unobtrusive central fold; a fine, bright copy. Rare.

    Prague, n.d. [ca. 1927]. $1,200.00

    Cf.: Toman, Jindrich, "Now You See It, Now You Don’t," Janecek, Gerald & Omuka, Toshiharu (eds.): The Eastern Dada Orbit (Crisis and the Arts: The History of Dada, Vol. 4 [New York, 1998]), p. 29

    45 (DADA POSTER) ZÜRICH. GALERIE CORRAY. I. Ausstellung / Negerplastik Modernste Malerei / Geöffnet: Januar Eintritt: Fr. 1 / Conférences par Tristan Tzara. Typographic poster by Hans Richter, printed in black on buff-colored wove paper. 479 x 695 mm. (18 7/8 x 27 5/16 inches). Hand-addresssed in black ink on the verso by Hans Richter: "Imprimé Express Monsieur Tristan Tzara/ Zürich/ Hotel Seehof/ Schifflände" and "Exp. H. Richter/ Lugano via Lorenzo 20," with a postal cancellation above: 28.xii.17.

    This is very likely the only surviving example of what may arguably be called the first Dada poster. Designed by Hans Richter in December 1916, it publicizes the first Dada exhibition, which was held at the Galerie Corray in Zürich in January and February 1917. Two posters are recorded to have been made for the event. One of them, a fine hand-lettered design by Marcel Janco printed in black linocut, is frequently reproduced in the literature. This one, whose existence is alluded to by Tzara in his "Chronique zurichoise," has never, to our knowledge, been reproduced or described. Tzara mentions it in the following entry:

    1917. Janvier-février. Galerie Corray, Bahnhofstr., Zürich. 1. Dada-Ausstellung. Van Rees, Arp, Janco, Tscharner, Mme. Van Rees, Lüthy, Richter, Helbig, art nègre, Succès éclatant: l’art nouveau. Tzara fait 3 conférences: 1/cubisme, 2/art ancien et art nouveau, 3/l’art présent. Grande affiche de Richter, affiche de Janco. Quelques vieilles anglaises prennent soigneusement des notes.

    This reference has been duly noted by Hans Bolliger, Arturo Schwarz, and other scholars, but no further information on the poster appears to have been published, apart from the description of it in the catalogue of the 1968 Tzara sale in Bern (Dokumentations-Bibliothek, item 62), where the present example is suggested to be a printer’s proof for a poster which may never have been published, and, in all likelihood, unique ("Typographisches Plakat für I. Dada-Ausstellung. Ohne Drucker-Adresse.... Wohl Probedruck zu einem Plakat (publiziert?).... Möglicherweise Unikum"). The poster retains foldlines from its original mailing by Richter to Tzara in 1916; it also sustains a few small losses in central portions (mended on the verso), some considerable creasing, and other scuffs and wear.

    Zürich (Galerie Corray) [1916]. $35,000.00

    Bern. Kornfeld und Klipstein. Dokumentations-Bibliothek III: Teile der Bibliothek und Sammlung Tristan Tzara, Paris, 12. Juni 1968: no. 62 (describing the present example); cf. also: Bolliger, Hans (et al.): Dada in Zürich (Zürich 1985), no. 106, citing the foregoing reference; Schwarz, Arturo (editor): Almanacco dada (Milano, 1976), p. 586; Tzara, Tristan: "Chronique zurichoise 1915-1919" (in: Huelsenbeck, Richard: Dada Almanach, Berlin 1920, p. 15f.)

    46 DALI, SALVADOR. Conquest of the Irrational. 24, (8)pp., 34 plates (including frontispiece in color). Sm. 8vo. Dec. wraps. One of 1000 copies printed of the English-language edition, apart from a French edition of 1200. The translation is by David Gascoyne. Light wear. Though not noted internally, this copy derives from the library of Julien Levy.

    New York (Julien Levy), 1935. $300.00

    Gershman p. 15; Ades 12.147; Biro/Passeron 803; Rubin p. 15

    47 DE FILIPPI, FERRUCCIO. "Un atto d’arte del coatto in disparte umido." 29 disegni, 1979. An artist’s tablet, with 29 full-page drawings on individual sheets (versos blank), and 1 further on the cardboard back cover. 17 of the drawings are in ink, and 11 in pencil. Sheet size: 244 x 342 mm. (9 1/2 x 13 1/2 inches). The work is signed and dated in pen on the inside back cover. Oblong 4to. Work by a very early practitioner of Neo-Expressionism in Italy. Tablet block loose under the cover of the pad.

    [Roma], 1979. $6,000.00

     

     

    48 (DELAUNAY) Voronca, Ilarie. Colomba. Doua portrete de Robert Delaunay. Coperta de Sonia Delaunay. (22)pp., 2 full-page portrait drawings (of Ilarie and Colomba Voronca) by Robert Delaunay. Sm. folio. New cloth. Orig. dec. wraps., with front cover design by Sonia Delaunay, bound in. One of 100 hand-numbered copies on Hollande van Gelder, from the limited edition of 134 in all. The first volume to appear in the Colectia Integral series. Small mends to the wrappers. Presentation copy, delicately inscribed by the author on the front flyleaf, Paris, November 1927. Extremely rare.

    Paris (Colectia Integral), 1927. $3,750.00

     

    Ilk K517, illus. p. 84

     

    49 DEPERO, FORTUNATO. "Marcialottare." Original manuscript brush drawing, in black and turquoise inks. 210 x 118 mm. (8 1/4 x 4 5/8 inches), slightly irregular, on yellowish buff-colored wove stock, lightly foxed. This early and important drawing is an example of the abstract noise compositions which Depero called "onomalingua." Dating from 1915, it is one of a small group surviving from the inception of this unique species of visual poetry and performance art, which was meant to operate at a different level of abstraction and instantaneity than conventional parole in libertà. "Non bisognerà confondere l’onomalingua di Depero con le tavole parolibere futuriste; quelle erano esplosioni polemiche fatte scoppiare per frantumare una certa quadratura logica e accademica; l’invenzione del Depero, invece, godeva di una sua autonomia come un nuovo genere d’arte che si poneva all’opposto dell’arte di genere(!)" (Carlo Belli). A number of these inventions were displayed as large hand-painted placards on the walls of Depero’s famous one-man show in Rome in 1916, and are dramatically documented in photographs of the installation. It seems that Depero made reduced or enlarged versions of these compositions for various purposes, as preparatory sketches, display pieces, or later replicas, sometimes included in letters. An almost, but not quite, identical version of the present drawing, exists in a slightly larger format (310 x 220), with incidental differences in lettering and brushwork; it has been published by Maurizio Scudiero under the title "Marcialottare," and by Maurizio Fagiolo dell’Arco (in the 1989 Rovereto catalogue) as "Lettera di Depero a Marinetti riguardante i Complessi Plastici realizzata come una tavola di parole in libertà." A companion composition published by Scudiero ("Rumorgrafia," 1915) similarly exists in two formats, including a small version comparable to ours and on the same paper.

    [Rome] [1915]. $6,000.00

    Cf.: Scudiero, Maurizio: Fortunato Depero. Scritti e documenti editi e inediti (Trento, 1992), no. 2 (illus.); Fagiolo dell’Arco, Maurizio (editor): Depero (Milano, 1988), p. 22f. (illus.)

    50 Trento. 94a mostra DEPERO. Primavera [March-April] 1953. Texts by G. Giani, A. Pica, and the artist. 39, (1)pp., 32 plates. Sm. 4to. Dec. wraps., printed in yellow and blue with a handsome typographic design by Depero on the front cover. The venue in Trento is not stated. Presentation copy, with a bold, full-page inscription in ink by Depero opposite the title-page, with decorative asterisks at top and bottom, dated Rovereto, June 1953. Rare.

    Trento, 1953. $500.00

    51 DEXEL, WALTER. Announcement for an exhibition of work by Oskar Schlemmer at the Kunstverein Jena, December 1924 - January 1925. Card, printed in black on pale salmon-pink stock (verso blank). 105 x 160 mm. (ca. 4 1/8 x 6 1/4 inches). This classic typographic design is illustrated in Herbert Spencer’s ‘Pioneers of Modern Typography’ (London, 1969).

    Jena, 1924. $350.00

    Spencer p. 37; Fleischmann, Gerd: Bauhaus Drucksachen, Typografie, Reklame (Düsseldorf, 1984), p. 236 (illus.)

    52 DIACONO, MARIO. re^er. Tre testi di Mario Diacono e cinque incisioni di Richmond Burton, Bruno Ceccobelli, Lucio Pozzi. (4), 13, (3)pp. 5 original etchings with aquatint hors texte, each signed and numbered in pencil in the margin, by Richmond Burton (2: "Four Corners," "Threshold"), Bruno Ceccobelli ("Sophia di Lorena" in double format), and Lucio Pozzi (2: "Barchusen I" "Barchusen II"). Sheet size ca. 35 x 30 cm. (ca. 12 3/4 x 14 3/4 inches). Sm. folio. Printed wrapper with glassine d.j. Portfolio (cloth over boards). All contents loose, as issued. Edition limited to 30 numbered copies (plus 10 artists' proofs of the etchings), printed on Strathmore, with the etchings on BFK Rives, Fabriano, and Fabriano Tiepolo respectively. A unique copy, extensively embellished with original drawings by Lucio Pozzi in fine-line pen and black ink: 3 highly worked full-page compositions (including a frontispiece), 1 partial-page composition, and many smaller illustrations and decorations on 21 other pages of the text.

    N.p (Ex Isle Editions), 1990. $4,500.00

    53 DRTIKOL, FRANTISEK. Zena ve Svetle [Woman in Light]. (Vyber 46 aktu. Uvod napsal J.R. Marek. ) Sm. 4to. Publisher’s cloth. D.j. "Drtikol’s own creative work in his Prague studio, with which he came to prominence, was devoted to the female nude. At first these were influenced by Jugendstil, but later he adopted a style more related to Art Déco, the former voluptuousness of the female body’s curves giving way to almost geometrical compositions in which the same curves formed a part of geometrical patterns, more simplified and even distorted, in a variety of artistic experiments that even approached Constructivism. As he grew more and more interested in the mystical, his photographs became more stylized, and in the 1930s he finally substituted plywood figures in order to achieve the forms, shapes and positions required. He referred to this work as ‘Photopurism--a sort of abstract photography’" (Jirí Bures, in the Dictionary of Art). This book is one of his several major publications. Two small stains on cover; two losses at top front of dust jacket; a fine copy, clean and fresh within. Rare.

    Praha (Nakladatelství E. Beaufort A.S.), n.d. [1938]. $2,500.00

    54 DUCHAMP, MARCEL. Autograph letter, signed, to Henry McBride, 4 November 1922. 2ff., written on rectos only, on buff-colored wove stock. 225 x 150 mm. (ca. 8 3/4 x 5 7/8 inches).

    This important letter begins with reference to "Some French Moderns Says McBride," a book of essays on art by McBride, for which Duchamp designed the remarkable, conceptualized format. "Cher Henry -- Je n’ai pas en de nouvelles de vous depuis bien longtemps -- avez vous reçu l’essai de critique théatrale? -- Naturellement je vous promettais dans ma dernière lettre un ‘dummy’ rapide -- Hélas, je suis complètement dégoûté; et je ne recommençerai pas de sitôt des acrobaties typographiques. Enfin j’ai vu 14 pages sur 16 ‘linotyped’ -- avec de la chance le livre sera fini dans quinze jours --".



    The ‘essai’ to which Duchamp refers is Pierre de Massot’s "Essai de critique théâtrale," published in Paris in 1922, with a preface by Picabia, portrait by Picasso, and 8 dadaistic montage caricatures of Isadora Duncan, Sarah Bernhardt, Mistinguett, and other stage artists. McBride evidently did receive the book, which accompanies the present letter. The interconnections between Duchamp, McBride and Massot are intriguing in this period. Francis Naumann notes that Massot’s famous 1924 publication, "The Wonderful Book," with fourteen puns by Duchamp, probably took its title from a letter from Alfred Stieglitz to McBride about "Some French Moderns," which Stieglitz began by exclaiming "It’s a wonderful book."
    Continuing, Duchamp informs him that Mrs. Hellstom, a friend of Carl van Vechten and his (and the wife of the Swedish writer Gustaf Hellstrom), has asked him to invite McBride to a little soirée next Friday. "Dîner a 7 heures pas habillé. Vous y remonterez un pianiste étonnant, russe et plus que virtuose -- d’autres gens amusants que vous connaissez...." Duchamp says that he is counting on McBride to attend, as he had promised to relay the invitation a couple of months earlier. If McBride wants, he could swing by Duchamp’s at 6:30 (1947 Broadway, between 65th and 66th Street), and they could go together. The letter is signed "à bientôt donc et affectueusement/ Marcel Samedi."

    Information about this party, including a related note from Duchamp to McBride, is recorded in the Duchamp Ephemerides published by Jennifer Gough-Cooper and Jacques Caumont, under the date Saturday November 11 1922.
    Together with: Massot, Pierre de. Essai de critique théâtrale. Préface de Francis Picabia; portrait de l’auteur par Pablo Picasso. (28)pp., including frontis. and 8 halftone montage plates, with reproductive manuscript captions. Sm. 4to. Printed self-wraps. This copy, sent by Duchamp to McBride in 1922, has traces of waterdamage, and has been expertly restored, the leaves discreetly hinged into the binding, and the original staples replaced with thread. Light browning, 1 faint waterstain; generally fine condition.

    [New York, 1922]. $10,000.00

    Cf. Gough-Cooper/Caumont Ephemerides, 11-12 November 1922; Cf. Naumann pp. 89f.,98

    55 DUCHAMP, MARCEL. "Monte Carlo Bond." 318 x 230 mm. (12 1/2 x 9 1/16 inches). In the course of creating miniature replicas of his work for the "Boite en valise," "Duchamp was asked by the editors of ‘XXe Siècle’ for a contribution to their magazine. He readily accepted, for he was anxious to produce a facsimile of his ‘Monte Carlo Bond’ in his album, and, like earlier publication projects, this would provide the ideal opportunity to secure multiple copies. Rather than use the letterpress process that was used to create the original, after several noteworthy changes had been made...Duchamp prepared a full-scale color lithograph of bond no. 12, which had not been stamped or signed, and over 2,000 copies were run off and included as hors texte prints in the Christmas 1938 issue of ‘XXe Siècle.’ After a number of additional modifications were made, well over 300 extra prints were set aside for inclusion in the album" (Francis Naumann). Small tear at upper left, mostly in blank margin, expertly restored; tapemark on verso, along top edge; original staple holes at left, as issued.

    [Paris] (XXe Siècle), [1938]. $2,000.00

    Schwarz 406b; Naumann 5.23, p. 137f.

    56 ERNST, MAX & ELUARD, PAUL. Misfortunes of the Immortals. Translated by Hugh Chisholm. 44, (10)pp. 22 full-page illus. 4to. Dec. boards. Plain pink d.j. Edition limited to 610 copies. "This edition is further augmented by Three drawings Twenty Years After. The Misfortunes of the Immortals was first published in Paris in 1920, originally revealed in French by Paul Eluard and Max Ernst, and now translated into English by Hugh Chisholm. This edition has been designed and published by Caresse Crosby, handset in Spartan type twelve point and printed at the Gemor Press in the city of New York, March 1943." Though not noted internally, this copy derives from the library of Julien Levy.

    New York (Black Sun Press), 1943. $750.00

    Hugues/Poupard-Lieussou 18; Spies 555-557

    57 ERNST, MAX & Péret, Benjamin. La brebis galante. 124pp. 3 original color etchings with aquatint (including title) and 22 full-page illustrations, of which 18 colored by hand in pochoir. Cul-de-lampe, lettrines. 4to. Dec. wraps. (original color lithograph). One of 300 numbered copies on grand vélin d’Arches from the limited edition of 316. "The book can in a way be considered the most representative Surrealist art form, and the manner in which it evolved adds one more paradox. Volumes that we consider masterpieces of this Janus-faced genre, such as Péret and Ernst’s ‘La brebis galante’ or Eluard and Miró’s ‘A toute épreuve’, appeared after World War Two--long after the heyday of surrealism" (Hubert). Small tear at foot of backstrip.

    Paris (Les Éditions Premières), 1949. $6,000.00

    Spies/Leppien 28G; Hugues/Poupard-Lieussou 22; Rainwater 49, p. 113f.; The Artist and the Book 100; Hubert p. 26; Gershman p. 33; Ades 17.57; Reynolds p. 67f.; Villa Stuck 40

    58 Köln. Galerie Gisela Capitain. GÜNTHER FÖRG. Grosse Zeichnungen/ The Large Drawings. Text by Werner Lippert. 154pp., including 115 full-page plates (67 color). 7 illus. (6 color). Lrg. 4to. Cloth. D.j. Glassine cover. Publisher’s carton. Parallel texts in German and English. Vorzugsausgabe: one of 20 copies with an original lithograph by the artist as dust jacket, printed in violet on heavy stock, and signed and numbered in pencil on the verso. Mint.

    Köln (Galerie Gisela Capitain), 1990. $650.00

    59 FONDANE, BENJAMIN. Tagaduinta lui petru. Literatura biblica. Cu o lamurire despre simbolism. [By: B. Fundoianu.] [Desenuri si vignete de Ross.] 31, (1)pp. Illustrations by Ross. Sm. 8vo. Dec. wraps. An unnumbered copy from the tirage of 25 on vélin, from the limited edition of 42 copies in all. Benjamin Fondane’s first book. An unopened copy. Covers slightly worn. Of utmost rarity.

    Iasi (Editura "Chemarea"), 1918. $4,500.00

    Ilk K449

    60 FOTOMONTAGE. (Social Kunst. 8. ) (32)pp. 28 illus. (partly in color). 4to. Dec. self-wraps. (reproducing a photomontage by John Heartfield.) The text is uncredited. Reproductions after posters, dust jackets and other designs by John Heartfield, El Lissitzky, Hans Richter, Moholy-Nagy, Rodchenko, Klutsis, et al.

    Oslo/Copenhagen (Fram Forlag/ Mondes Forlag), 1932. $250.00

    61 (FRANK, ROBERT). Zero Mostel Reads a Book. (40)pp. 36 illus. Sm. 4to. Orig. boards. A very fine copy.

    New York (The New York Times), 1963. $300.00

    62 GAUGUIN, PAUL. Noa Noa. (Marees-Gesellschaft. VL. Druck.) (4), 204pp. Prof. illus. (primarily tipped-in color). Lrg. 4to. Publisher’s original raffia-covered boards. The very beautiful exact color collotype facsimile of the original manuscript, printed in a limited edition of 400 copies at the Ganymed-Presse, Berlin. Made directly from the original manuscript, today in the Louvre, this is the primary facsimile from which all subsequent reproductions were made. Raffia slightly frayed at hinges, light wear at bottom corners; a fine copy.

    [München] ([R. Piper & Co.]), [1926]. $3,500.00

    Castleman p. 83; The Artist and the Book 115; Manet to Hockney 15; Skira 129; Wheeler p. 26; Andel 6

    63 GLEIZES, ALBERT. Kubismus. (Bauhausbücher. 13.) 101, (3)pp. Prof. illus. 4to. Printed wraps. First edition. Typography and design throughout by Moholy-Nagy. Front cover somewhat soiled.

    München (Albert Langen), 1928. $650.00

    Chamberlin 2386; Wingler p. 628

    64 GOVONI, CORRADO. Rarefazioni e parole in libertà. 4º migliaio. 49, (7)pp. Drawings and parole in libertà throughout. Sm. folio. Printed wraps. One of the most enchanting books in the literature of parole in libertà, filled with lyrical freehand drawings and typographic compositions enhanced by the spaciousness of the unusual large format. "Govoni's poetry is punctuated with flashes of humor that strongly recall Rimbaud. Elsewhere it swings between lines, handwritten in a deliberately simple and childlike style, and quite extraordinary typographical fantasies which forecast the techniques of concrete and minimalist poetry. Govoni's literary background is stressed by bold page designs which set up a contrapuntal theme throughout the typographical experimentation that changes from one page to the next" (Luciano Caruso, in Jentsch). Covers a bit foxed.

    Milano (Edizione Futuriste di "Poesia"), 1915. $2,000.00

    Salaris p. 41; Falqui p. 68; Jentsch p. 321

    65 GROSZ, GEORGE. Autograph letter, signed, dated Huntington, Long Island, 31 July 1958. 1f., written in a bold hand in fountain pen, on the recto of Grosz’s decorated letterhead. 4to. A wryly amusing letter (in German), in which Grosz thanks the Baron for the Zarrañaga cigars, a marvelous blessing in this age of filtered cigarettes. He is smoking one now, as he writes, and it goes well with the coffee and the tv--no cognac, unfortunately, as he is on the wagon. His teeth are gone; he says he looks like Rembrandt’s last self-portrait. Grosz’s dada-inspired stationery features the slogan "Time Marches On" at top, most appropriately.

    $750.00

    66 GROSZ, GEORGE. Bagdad-on-the-Subway. A portfolio of six signed watercolors depicting O’Henry’s New York. (The Print Club Portfolio Number Two, Spring 1935.) Letterpress title and table, printed in red and black, and six collotype and pochoir color facsimile plates, each signed and numbered in pencil by the artist. Sheet size: 523 x 380 mm. Large folio. Publisher’s cloth portfolio (burlap over boards, with gilt cloth label on the front cover). All contents loose, as issued. Edition limited to 150 copies in all, printed on Arches paper by Daniel Jacomet in Paris. The Limited Editions Club, with which The Print Club was affiliated, had earlier in the same year published a selection of short stories by O’Henry entitled "The Voice of the City," for which Grosz had furnished 20 watercolor illustrations. Six of these were chosen for reproduction, in a larger format, in "Bagdad-on-the Subway." In May 1935, the six watercolors were exhibited at the Contempora Galleries in New York next to the facsimiles, to show the fidelity of the reproduction. Loosely inserted: publisher’s prospectus (folded quarto sheet, with commentary). A very fine copy.

    New York (The Print Club), 1935. $4,000.00

    Dückers M VII; Lang 68; Bülow 106

    67 GROSZ, GEORGE. Drawings. With an introduction by the artist. 14, (2)pp., 52 collotype plates (3 color). Lrg. 4to. Cloth, 3/4 blue morocco. T.e.g. Slipcase (cloth). A unique presentation copy, inscribed by Grosz on the first blank leaf "to my uralde friends Erich & Lene [Cohn] in friendship as ever/ George Grosz." With elaborate paraph ornament of a pen and a brush tied with a ribbon, and at left an impressionistic drawing of the New York skyline, dated January 55. Following this is an original watercolor and pencil drawing of a dignified older gentleman in a homburg hat, executed in yellow, pink, blue, grey and black washes on cream colored paper (sight 53 x 95 mm.), tipped onto a blank leaf under a small cut paper frame. The drawing is inscribed in pencil at lower right "George Grosz/ to my dear friends Erich & Lene/ NY 1951; before our departure for the old country." Beneath the frame, the supporting leaf is signed once again in ink. Loosely inserted in the copy is a sheet of Erich Cohn’s letterhead stationery, with several pencil sketches noted to be by Grosz. Additionally laid in is a postcard from Grosz to Cohn, dated New York, February 7, 1946, expressing pleasure at seeing some of his older drawings in Cohn’s collection, and asking them to forward an issue of Life magazine (typed, but signed, and also addressed, in pen). A remarkable ensemble. Erich Cohn was one of Grosz’ oldest and closest friends, both in Germany and later in the U.S.; their correspondance figures in "George Grosz Briefe, 1913-1959" (Reinbek bei Hamburg, 1979). Grosz’ reference to the "old country" in the inscription alludes to his brief return to Germany in the summer of 1951.

    New York (H. Bittner & Co.), 1944. $4,000.00

    68 GROSZ, GEORGE. George Grosz: An Autobiography. Translated by Nora Hodges. vii, (1), 309, (3)pp. Prof. illus. Dec. boards, 1/4 morocco. Clamshell box (cloth, 1/4 morocco.) Special collector’s edition, limited to 150 numbered copies, each accompanied by an original page from one of Grosz’s sketchbooks, from the estate of the artist. A new edition of "Ein kleines Ja und ein grosses Nein." The leaf with this copy (loosely inserted in cloth folder, as issued) is a fine early drawing, heavily worked in blue and ink, of a young man hunched over a table, reading beside a large glass-domed oil lamp. It is dated "24.12.12" in pen by the artist, and bears the blind-stamp of the George Grosz Estate at lower left.

    New York (Macmillan Publishing Company), 1983. $2,500.00

    Bülow 118b

    69 GROSZ, GEORGE. Im Schatten. 9 Lithos. Title/justification leaf, and 9 photolithographic plates, each signed in pencil by Grosz. Sheet size: 480-494 x 352-391 mm. (18 7/8 - 19 7/16 x 13 7/8 - 15 3/8 inches). Folio (495 x 400 mm.). Publisher’s portfolio (printed boards, 1/4 linen). Contents loose, as issued. Ausgabe D: one of 50 copies on light handmade Bütten paper, from the limited edition of 100 copies in all (Ausgaben A-B-C-D). The title-page contains one additional full-page photolithograph by the artist.

    "1921 was one of Grosz's most productive years. The political situtation continued to be unstable. The Free Corps went underground, but nationalist secret societies dispensed "justice" to "traitors" by means of widespread political assassinations. Former minister of finance Matthias Erzberger and foreign minister Walther Rathenau were the most eminent victims in the 354 political murders committed by rightists from 1919 to 1922. In March communist-inspired workers' uprisings were crushed in the industrial-mining centers of central Germany. Reacting in his drawings to the continued disturbances, Grosz, who was busy in IAH affairs that year, was able to produce a portfolio and an educational book, and to illustrate eleven books. His portfolio Im Schatten (In the Shadow) reflected his work with IAH for oppressed and starving workers. The nine original lighographs portrayed the sick side of life in the city and the types who inhabited it. Against a backdrop of factories spewing smoke and apartment houses falling into decay, ranks of workers march in grim determination. One drawing showed the constrasting scenes caught in the shadows of dawn: outside on the street the proletariat begin a day of work, while inside the houses the capitalists finish a night of drink and sex. The rest of the lithographs presented other street types: the crippled war veterans, the beggars, the profiteers, the prostitutes. The worker is only one of all of these types not portrayed as a degenerate figure" (Lewis). Dückers MIV.5 with small clean tear at top edge; intermittent light dustiness, generally very fine.

    Berlin (Malik-Verlag), 1921. $20,000.00

    Dückers M IV; Lang 24; Bülow 27; Hermann 174; Berlin: Malik 32

    70 GROSZ, GEORGE. Kleine Grosz-Mappe. 20 Originallithographien. (4)pp. (single folding sheet, with title, table and text) and 20 transfer lithographs, loose, as issued. 4to. (290 x 212 mm.). Publisher’s portfolio (pale gold foil over boards, 1/4 cloth, with front cover illustration by Grosz). No. 29 of 100 hand-numbered copies on vélin, from the limited edition of 120 in all. The textual portion is printed on a leaf of pale pink stock, collaboratively designed by Grosz and John Heartfield, with an elaborate dada typographical layout incorporating a large drawing by Grosz on the front, and some 14 vignette embellishments (derived from commercial illustration) within. In Schneede’s estimation, this sheet signals nothing less than the arrival of Dada in Berlin.

    "The ‘Kleine Grosz Mappe’ made explicit the close relationship between Grosz’s poems and his drawings by the inclusion of his longest poem, ‘From the Songs,’ in the portfolio. On the title page of the portfolio, a leering, grinning bestial man’s head introduced the theme underlying both the poem and the drawings: man is an animal; man as animal is besotted, beserk; man’s surroundings are staggering, tumultous, reeling. As in the poems of 1918, this poem seems to be a kaleidoscope of images colliding in Grosz’s head while he drank cocktails in a bar. Through a seemingly irrational progression of phrases and ideas, Grosz evoked a vision of the modern city with its stock exchanges, filthy streets, decrepit tenement houses, baroque town houses, grey cement factories, and its incessant advertising--all of which conspired to dehumanize man. In the darkness of this city at night gangsters, murderers, executioners, condemned men, lovers, doctors, drunkards and syphillitics danced the inevitable dance of life and death. The artist, however, drank, stuffed his bulldog pipe, and saw visions of exotic adventure and freedom in South America--the land one longed for--in Colorado, Cuba, Rio, and London, where Jack the Ripper could be found" (Lewis).

    The subjects of the lithographs are, in sequence, "Fräulein und Liebhaber," "Strasse," "Strassenbild," "Kaffeehaus," "Goldgräberbar," "Krawall der Irren," "Strasse des Vergnügens," "Werbung," "Gesellschaft," "Cafe," "Spaziergang," "Häuser am Kanal," "Vorstadthäuser," "Die Fabriken," "Die Kirche," "Das einzelne Haus," "Der Dorfschullehrer," "Jägerlatein," "Mord," and "Hinrichtung." Endpapers of the portfolio renewed; a very fine copy. Very rare.

    Berlin-Halensee (Der Malik-Verlag), 1917. $20,000.00

    Dückers M II; Lang 2; Bülow 7; Hermann 166; Berlin 5; Siepmann A2; Lewis p. 47f; Motherwell/Karpel 274; Ades 4.23; Düsseldorf 356; Dada Artifacts 32; Rifkind (Davis) 951

    71 GROSZ, GEORGE. Die Räuber. Title/justification leaf, and 9 photolithographic plates, each signed in pencil by Grosz. Sheet size: 650 to 705 mm. x 467 to 540 mm. (25 5/8 to 27 3/4 inches x 18 3/8 to 21 1/4 inches). Folio. All contents loose, as issued. Ausgabe B: one of 30 numbered copies on Zanders Bütten, from the limited edition of 100 copies in all (Ausgaben A-B-C). (An inexpensive reprint edition of some 500-1000 unsigned copies on machine-made paper and slightly smaller format, known as the "Organisationsausgabe," was issued the following year, to be made available to labor unions).
    "The next productive year with Malik, 1922, continued the ideological work which Grosz had done in 1921. The major portfolio of the year was ‘Die Räuber’ (The Robbers). The lithographs of ‘Gott mit uns’ two years earlier had concentrated upon exposing the military class. In a similar way the nine lithographs of ‘Die Räuber’ attacked and unmasked the predatory nature of the capitalists. Each lithograph was accompanied by a sentence from Schiller’s play ‘Die Räuber,’ a tragedy about a young man rebelling for personal reasons against society; the result was a revolutionary interpretation of the quotations from the play and a heightened revolutionary tone to the lithographs. Four years later Erwin Piscator gave a similar reading to ‘Die Räuber’ in his production at the State Theater in Berlin. While there is no specific evidence that Grosz’ portfolio inspired Piscator, it is quite probable, for they were friends throughout the twenties" (Lewis). The contrasts in it between the repulsive corpulence of the burgher class and anxious emaciation of the workers are drawn by Grosz with a zest unseen in the earlier portfolios, fleshing out, as it were, some of the essential vocabulary of his art for the first time. This copy without the publisher’s portfolio, and with intermittent light foxing, spotting and rippling; title-page somewhat worn.

    Berlin (Der Malik-Verlag), 1922. $25,000.00

    Dückers M V; Lang 37; Bülow 45; Hermann 172; Berlin 61; Lewis p. 143ff.

    72 GROSZ, GEORGE. Der Spiesser-Spiegel. 60 Berliner Bilder nach Zeichnungen mit einer Selbstdarstellung des Künstlers. 14, (2)pp., 60 plates. 4to. Cloth. Dec. d.j., designed by Grosz (mends). Also included at the outset is Walter Mehring’s brief text, "Die Spiesserbiologie." The rare just jacket was published and illustrated in the exhibition "Buchumschläge 1900-1950, aus der Sammlung Curt Tillmannn," Schiller-Nationalmuseum, Marbach a.N., 1971.

    Dresden (Carl Reissner Verlag), 1925. $750.00

    Lang 44; Bülow 67; Tillmann 423

    73 (GROSZ) Wieland. Kalender für das Jahr 1919. [From: Wieland. Deutsche Monstasschrift. Jahrgang 1918/1919, Heft 10. Pp. 1-13.] (14)pp., including full-page cover drawing in black and peach, and 12 full-page plates in blue, yellow, green, peach and black, each with calligraphic monthly calendar (after Grosz’s manuscript) beneath the image. Sm. folio. Self-wraps. One of Grosz’s earliest publications, with fine seasonal drawings in his early Dada manner, though with an almost complete absence of vitriol. Browned and somewhat chipped at extremities. An impressive publication, and very rare.

    Berlin, 1919. $2,000.00

    Lang 4; Bülow 12

    74 (GROSZ) Firn, Edgar. Bibergeil. Pedantische Liebeslieder. (16)pp. Lrg. 8vo. Dec. wraps., stitched as issued, with fine cover drawing by Grosz. Rare. One of 1000 copies, from the edition of 1020. "Edgar Firn" is a pseudonym for the writer Karl Döhmann.

    Berlin (A.R. Meyer), [1919]. $800.00

    Lang 5; Bülow 9

    75 Kanehl, Oskar. Steh auf, Prolet! Mit 7 Zeichnungen von GEORGE GROSZ. II. erweiterte Auflage. (Kleine Revolutionäre Bibliothek. Bd. 12.) 35, (1)pp. 7 full-page plates in text. 4to. Wraps., with front cover drawing by Grosz, and typography by John Heartfield. One of the rarest publications of the Malik-Verlag, this edition was preceded by an unillustrated version published in 1920 by the Prolet-Verlag, Erfurt.

    Berlin (Der Malik-Verlag), 1922. $700.00

    Lang; Hermann; Raabe

    76 [Simons, Hi.] GROSZ. [Musterbook I.] 10, (2)pp., 12 plates. Sm. 4to. Dec. wraps., with designs by Grosz, printed in red on both covers. The first publication on Grosz to appear in America. The illustrations are drawn entirely from the "Kleine Grosz-Mappe." "The lithographs here reproduced are published with the permission of Mr. Herman Sachs, director of the Dayton Museum of the Arts, personal representative in America of Mr. Grosz" (prefatory note). Wrappers neatly split at backstrip.

    Chicago (Musterbookhouse), 1921. $650.00

    Lewis p. 300; Bülow p. 73

    77 Zur Mühlen, Hermynia. Was Peterchens Freunde erzählen. Märchen mit Zeichnungen von GEORGE GROSZ. 31, (1)pp. 6 illus. by Grosz. Lrg. 4to. Wraps. (slightly worn). First edition (and the author’s first book). A carefully restored copy, the covers mounted with new endpapers, and the verso of each leaf archivally laminated. Rare.

    Berlin (Der Malik-Verlag), 1921. $500.00

    Hermann 1/249; Berlin 51; Lang 21; Raabe/Hannich-Bode 346.1; Melzwig 842.1; Lexikon sozialistischer deutscher Literatur p. 365f.

    78 GUSMAN, PIERRE. La gravure sur bois et d’épargne sur métal du XIVe au XXe siècle. 299, (1)pp. 184 illus. 4to. Dec. wraps. Edition limited to 620 copies, of which this is one of 20 copies on chine containing an extra suite of 9 original woodcuts, hinged into binding at the end. These include original woodcuts by Gauguin (headpiece from "Le Sourire"), Hiroshige, Lepère and others. Very scarce. A fine copy.

    Paris (R. Roger et F. Chernoviz), 1916. $1,250.00

     

    79 HEARTFIELD, JOHN. AIZ ("Arbeiter-Illustrierte-Zeitung") and VI ("Volks Illustrierte"). A collection of issues with photomontages by John Heartfield. In all, the collection includes a total of 63 of the famous political photomontages made by Heartfield for these two radical weekly newspapers in the 1930s, during the rise of Nazism and the time of the Spanish Civil War. Altogether, the collection contains 50 photomontages for issues of the "Arbeiter-Illustrierte-Zeitung," commonly known as "AIZ" ('Workers' Illustrated Newspaper'), and 13 for issues of "Die Volks-Illustrierte," known as "VI" ('People's Illustrated'). Heartfield's photomontages in these publications are among the most brilliant and influential examples of political satire of the century. Though published in large editions, these newspapers were seldom preserved, and are consequently quite rare, particularly in fine condition. The present group includes some of Heartfield's best designs, such as "Ob schwarz, ob weiss" (Vol. 10, No. 26), "Zum Brandstifter-Prozess in Leipzig" (12/41), "Der Henker und die Gerechtigkeit" (12/47), "Folgt dem Beispiel Spaniens!" (15/9), "Stimme aus dem Sumpf" (15/12), "Normalisierung" (15/31), "Seit einem Jahr kämpft Spanien für die Freiheit und den Frieden!" (VI 1937/30), and the unforgettable "Mahnung" (VI 1937/41), inevitably seen as a prefiguration of the Vietnam war.

    Contents as follows: AIZ : 50 assorted issues: 1930: Vol. 9, No, 41. 1931: Vol. 10, No. 2. 1932: Vol. 11, No. 44. 1933: Vol. 12, Nos. 21, 22, 25, 26, 29, 31, 32, 34, 41, 47, 50. 1934: Vol. 13, Nos. 3, 6, 12, 16, 18, 21, 25, 26, 29. 1935: Vol. 14, Nos. 1, 2, 5, 6, 8, 9, 10, 12, 33, 35, 39, 40, 41, 43, 44, 50. 1936: Vol. 15, Nos. 1, 8, 9, 11, 12, 13, 15, 16, 28, 29, 31.

     

    VI : 13 assorted issues: 1936: Nos. 12, 14, 19, 20. 1937: Nos. 4, 9, 20, 24, 30, 32, 34, 41, 46.

    The collection is unbound and in exceptionally fine condition. Altogether, 28 of the issues of "AIZ" are complete (in addition to the Heartfield photomontage); while in the group of "V.I.," 3 of the issues are complete (the remainder being partial issues or, in 4 cases, the individual photomontage pages alone). Further details on request.

    $35,000.00

    Evans, David. John Heartfield: AIZ/VI, 1930-1938 (New York: Kent Fine Art, 1992).

    80 (HEARTFIELD) Tucholsky, Kurt. Deutschland, Deutschland über Alles. Ein Bilderbuch von Kurt Tucholsky und vielen Fotografien, montiert von John Heartfield. 231, (5)pp. Prof. illus. 4to. Publisher’s yellow cloth, with complex colored photomontage design by Heartfield laid into embossed portions of both covers, as issued. Second printing (31.-50. Tausend). First edition of Tucholsky’s scathing anthology, filled with both documentary photographs and photomontages by Heartfield. Heartfield’s brilliantly colored binding is among the masterpieces of the twentieth-century avant-garde book design. A little rubbed and faded, but still a bright copy, very clean within.

    Berlin (Neuer Deutscher Verlag), 1929. $850.00

    The Avant-Garde in Print 5.7

    81 Berlin. J.B. Neumann ERICH HECKEL: Drucke 1905-1922. (4)pp., on two folded leaves, with 4 original woodcuts (Dube 331-334), of which 3 signed and dated ("23") by Heckel in pencil (the title cut is unsigned). The woodcuts are as follows: title (Dube 331), "Badende" (‘Bathers,’ Dube 334), "Begegnung" (‘Encounter,’ Dube 333), and "Im Atelier" (‘In the Studio,’ Dube 332). The sequence of the prints is identical to that in the Rifkind copy. 4to. 270 x 185 mm. (ca. 10 1/2 x 7 1/4 inches). Copy no. 1 of the limited edition of 30 proof copies on Bütten, without text, apart from the normal edition. This is the Heinrich Stinnes copy, bearing his red collector’s stamp (Lugt 1376a) and characteristic inscription in ink at the base of each leaf. Of Stinnes and his collection, renowned for the earliest impressions of modernist prints, Lugt notes "Sa collection était, déjà avant la première guerre mondiale, une des meilleurs et plus riches de l’Allemagne. Il rechercha surtout des premières épreuves… Très intéressé dans l’art moderne, Stinnes exerça une influence stimulante sur beaucoup de peintres-graveurs allemands; il en connut plusieurs personnellement. Le collectionneur annotait ses meilleures pièces ou y mettait sa signature." Rich, extremely fine impressions.

    Berlin (J.B. Neumann), 1923. $7,500.00

    Rifkind/Davis 1054

    82 HÖCH, HANNAH. Miniaturen. 16 Linolschnitte. 16 original linoleum cuts printed in black, including title sheet, each signed and numbered 24/30 in pencil by the artist. Image size: 120 x 95 mm. to 150 x 170 mm.; plate size: 310 x 235 mm. Lrg. 4to. Portfolio (plain boards, 1/4 cloth). Edition limited to 30 copies in all, printed on uncut Japan paper, the prints signed and numbered as noted, and the portfolio numbered in pen in the colophon (under back cover). Though originally cut by Höch between 1915 and 1918, the fifteen cuts which are the basis of this portfolio were not printed (apart from a few trial proofs) until 1964, when they were issued together with a newly made title sheet (with its own print). The titles and dates of the individual plates are stated in the colophon. Perfect condition.

    Berlin (Galerie Nierendorf), 1964. $6,000.00

    83 HUGNET, GEORGES. 1961. Illustré de quatre photomontages. 60, (10)pp. 4 full-page photomontages in text. Sm. 4to. Sewn signatures, loose within wrapper, as issued. Errata sheet loosely inserted. One of 500 numbered copies on vélin, from the limited edition of 573. Presentation copy, inscribed on the half-title by Hugnet to Marie-Laure de Noailles ("en souvenir de jeux anciens et de rires qui ne devraient rien à personne, de tout coeur toujours") with an original photocollage in color by Hugnet beneath the inscription. Together with her husband the vicomte de Noailles, Marie-Laure (as she preferred to style her whole name) was one of the most significant patrons and salonistes of the Surrealist milieu. The inscription is dated 11 July 1961, "jour anniversaire de ma naissance." With the illustrated ex-libris of Marie-Laure on the front flyleaf.

    Paris (Chez l’Auteur), 1961. $2,800.00

    Pérégrinations de Georges Hugnet no. 130; cf. Biro/Passeron p. 266

    84 (JANCO) Costin, Jacques G. Exercitii Pentru Mina Dreapta si Don Quichotte. Cu un portret al autorului si 5 desene de Marcel Iancu, 1 desen de Milita Patrascu. 175, (5)pp. 6 full-page line-drawings in text (5 by Janco). Lrg. 8vo. Wraps. (lightly soiled). Though one of the 1000 unnumbered copies constituting the regular edition, this copy also contains the loosely inserted original linoleum cut by Marcel Janco, signed in pen, which accompanied the Luxusausgabe of 140 copies.

    [Bucharest] (Editura Nationala S. Ciornei), 1931. $3,750.00

    Ilk K446, illus. p. 93

    85 KANDINSKY, WASSILY. Über das Geistige in der Kunst. Insbesondere in der Malerei. Mit acht Tafeln und zehn Originalholzschnitten. Zweite [Dritte] Auflage. (10), 125, (5)pp., 8 plates. 3 diagrams hors texte. 10 original woodcuts by Kandinsky in text. 4to. Publisher’s boards, printed in green with a design by the artist. "One of the most important manifestos of modern art" (The Artist and the Book). Though still designated "Zweite Auflage" on the title-page, this is actually the third edition, as stated on the front cover, as is often the case. Head and foot of spine discreetly mended at an early date; an attractive copy.

    München (R. Piper & Co.), 1912. $1,600.00

    Rifkind 161; Perkins 12; Spalek 2719; The Artist and the Book 137

    86 KANDINSKY, WASSILY. Conversation de salon. Un poème de Kandinsky traduit par Seuphor. (8)pp. (single sheet, folding). 16mo. Self-wraps. Edition limited to 50 copies (contra Montpellier, which states only 10), printed on an uncut sheet of Ingres paper. One of the minuscule publications of P.A. Bénoit. Vertical crease.

    [Alès] (P.A. Bénoit), 1948. $200.00

    Montpellier 64

    87 KANDINSKY, WASSILY. Xylographies. Preface by Gérôme-Maësse (probably a pseudonym for Alexis Mérodack-Jeaneau). (4)pp. (preface and index), 5 heliogravure plates printed in black, reproducing 5 woodcuts by Kandinsky against massive solid black backgrounds. 1 smaller woodcut reproduced above index. Lrg. sq. 4to. (32 x 32 cm.). Paper portfolio, bearing 2 additional woodcuts in reproduction (vignettes, one on each cover). Edition of 1000 copies. Kandinsky’s second portfolio of woodcuts, financed by Kandinsky himself, and published by the symbolist review "Tendances Nouvelles," in whose pages four of these woodcuts had earlier appeared, and whose editor, Mérodack-Jeaneau, is the probable author of the preface. Peg Weiss has drawn attention to the pervasive musical elements of the portfolio, the woodcut medium itself embodying a Klang for Kandinsky, a synthesis of poetic, musical and artistic elements, and the archaizing title "Xylographies" chosen for its suggestion of the xylophone. A little marginal foxing and browning; hairline split at backstrip of portfolio.

    Paris (Editions des Tendances Nouvelles), n.d. [1909]. $2,250.00

    Spalek 2723; Rifkind 158; Manet to Hockney 25; Weiss, Peg: Kandinsky in Munich p. 126f.; cf. Roethel Book 5 54, 55, 59, 60, 65, 66, 70, 71

    88 Berlin. Der Sturm. KANDINSKY 1901-1913. (8), 67, xxxxi pp. 64 plates. Oblong 4to. Orig. dec. wraps., embossed in gold, designed by Kandinsky. Containing Kandinsky’s somewhat lengthy "Rückblicke" and "Notizen," and a prefatory ode by Albert Verwey. Wrappers somewhat faded and worn, small losses at spine.

    Berlin (Verlag Der Sturm), 1913. $550.00

    Roethel p. 417 no. 16; p. 486, illus. 47; Spalek 2776

    89 New York. The Reuben Gallery. "18 Happenings in 6 Parts. By ALLAN KAPROW." October 4, 6, 7, 8, 9, 10. [1959.] Admission by advance reservation. Poster, printed in orange on white stock, with a design of 18 quickly sketched ovoid shapes, of which 16 contain the title statement repeated verbatim. 17 x 16 inches. Folded twice for mailing (as issued). On the verso, the following text, printed in orange in a spherical paragraph at upper left: "There are three rooms for this work, each different in size and feeling. The rooms are nearly transparent. No matter where a person is, he is aware of something happening in another room.... The guests will change seats according to numbered cards. Each guest will sit once in a different room. Some guests will also act. Slides will be shown. Tape recorded sounds, produced electronically, come from loudspeakers. From these there will be heard as well a collage of voices…. The actions will mean nothing clearly formulable so far as the artist is concerned. It is intended, however, that the whole work is to be intimate, austere, and of somewhat brief duration...."

    Stapled to top right of verso: postcard from the Reuben Gallery announcing the Calendar for forthcoming exhibitions: George Brecht (October 16-November 5), Lucas Samaras (November 6-26).

    The poster for the Happening. Very rare.

    [New York, 1959] $2,000.00

    Kirby, Michael: Happenings (New York, 1965), pp. 53-83 ("18 Happenings in 6 Parts: The Script, The Production"); Sohm p.6, illus. 29; Paris/New York (‘1959’)

    90 DAS KESTNERBUCH. Herausgeber: Dr. Paul Erich Küppers. 158, (2)pp., 12 full-page original prints. Lrg. 4to. Publisher’s marbled boards, 1/4 leather gilt. T.e.g. Vorzugsausgabe: one of 150 numbered copies on fine wove paper, specially bound by hand. Original woodcuts by Erich Heckel ("Männer am Strand," Dube 319iiB), Ernst Barlach ("Barmherziger Samariter," Schult 163), Lyonel Feininger ("Rue St. Jacques," Prasse W46ii), Kurt Schwitters (Untitled, 1919), Eberhard Viegener, and Wilhelm Plünnecke; original lithographs by Paul Klee ("Auslöschendes Licht," Kornfeld 75B), Conrad Felixmüller ("Toter Genosse," Söhn 76B), Richard Seewald ("Wäscherinnen am Lago Maggiore," Jentsch L91), Max Burchartz, Otto Gleichmann and Max Unold. Texts by Thomas Mann, Döblin, Lasker-Schüler, Mombert, Däubler, Felixmüller, Worringer and others. A fine copy of the deluxe edition of this seminal anthology, the yearbook of the Kestner-Gesellschaft in Hannover. Front hinge partly split; slightly bowed.

    Hannover (Heinrich Böhme), 1919. $4,000.00

    Manet to Hockney 51 ; Söhn 130; Raabe/Hannich-Bode 174.3; Raabe I.139; Perkins 134; Jentsch 53; Rifkind 321; Spalek 525

     

    91 KIRCHNER, ERNST LUDWIG. Mitgliederverzeichnis der Künstlergemeinschaft "Brücke." (4)ff. 4 original woodcuts by Kirchner, each incorporating text within decorative borders. Sm. 4to. Printed on two folded leaves of Holland paper, one loosely inserted within the other (one of the leaves has split along the length of the fold). The extremely rare second version of the membership list of the Brücke, printed entirely from woodcuts by Kirchner. The first cut presents the title within a decorative frame incorporating female nudes with upraised arms at either side. The second cut is headed "AM" to indicate active members, of which nine are listed: Amiet, Bleyl, Heckel, Kirchner, Nolde, Pechstein, Schmidt-Rottluff, Zijl and Gallén. The third and fourth cuts are headed "PM" and contain listings of ‘passive’ (or inactive) members of the Brücke, again contained within decorative frames. Six different versions of the list were issued between 1907 and 1910; this second version must have been printed sometime shortly after the end of March 1907. The various states of the woodcuts (and of the brochure) can be differentiated by the changing roster of members. It is interesting to note that here the final cut is still in the first state (with the shortest list of inactive members), suggesting that this was one of the earliest copies assembled of this version.

    One of the earliest Brücke publications, antedating by several years, for example, the Galerie Arnold catalogue of 1910 and Galerie Commeter catalogue of 1912, the "Mitgliederverzeichnis" is of greatest rarity. The Robert Gore Rifkind Foundation possesses the fifth edition of 1909 ("extremely rare"). This copy is in superb condition, bright and fresh. Fresh, bright and crisp, with strong impressions.

    [Dresden, 1907]. $9,500.00

    Dube 700, 701.II, 702.I, 705.II.; Bolliger/Kornfeld 41/16, cf. 41/17-20; cf. Rifkind/Davis 1424

    92 KOKOSCHKA, OSKAR. Der gefesselte Columbus. 12 Lithographien. 12 transfer lithographs (or photolithographs), each signed in pencil by Kokoschka in the margin, within passepartout mats, loose as issued in portfolio. Folio. Publisher’s printed portfolio (boards, 3/4 vellum). A special copy of Ausgabe B, limited to 150 copies on Bütten,with all 12 prints signed in pencil by the artist, though only the first print was supposed to have been signed in this portion of the edition. (Ausgabe A, limited to 50 copies on Japan, was signed throughout, as here.) Anomalously, the second print (WW 44) is here also numbered in pencil, 23/25.

    "Although the series print portfolio ‘Der gefesselte Kolumbus (Columbus Chained) was not published until 1916, Oskar Kokoschka made the twelve drawings (from which the lithographs in the set were executed) in 1913. At the time, the artist was involved in an intense and unhappy relationship with Alma Mahler, the Viennese widow of the composer Gustav Mahler, and the suite represents a universalized account of their tense and conflicted affair, with Kokoschka and his lover representing the archetypal Man and Woman. ‘Columbus Chained’ is a visual narrative of the spiritual redemption of Woman through the martyrdom of Man. Throughout the series, Man appears both heroic and independent at the same time that he is physically bound by his desire to Woman. Woman is Eve, the temptress, but similarly dependent on Man" (Reisenfeld). In an interview in 1966, Kokoschka remarked "‘Columbus Chained’ is me again, of course, and in this sense the title is symbolic--bound by a woman, whose features I have depicted on the title-page. My Columbus ventures out not to discover America, but to recognize a woman who binds him in chains. At the end she appears to him as a love-ghost, moon woman."

    A book edition of the work, with text, did not appear until 1920, published in 120 copies and then subsequently reissued in popular reprints. Wingler/Welz, following Arntz, give the date of the present version as 1918, though the portfolio itself still carries the date 1916 (from Augsgabe A) on the front cover. WW 48 slightly creased at left; WW 53 with very pale foxing in one portion; WW 47 signed upside-down; a little very pale foxing on a few mounts; backstrip of portfolio slightly worn; in general, a very fine, clean copy, remarkable in being signed throughout.

    Berlin (Fritz Gurlitt), 1916 [1918]. $12,000.00

    Wingler/Welz 43-54; Lang 190; Reisenfeld, Robin: The German Print Portfolio, 1890-1930 (Chicago, 1992), p. 50ff.

    93 KOKOSCHKA, OSKAR. Zwanzig Zeichnungen. Title, table, and 20 plates of line-drawings, all printed on heavy tan stock. Folio. Portfolio (boards, 1/4 vellum). Contents loose, as issued. The plates include portraits of Adolf Loos, Herwarth Walden, Paul Scheerbart, and Yvette Guilbert, and selected drawings from "Mörder, Hoffnung der Frauen" (published by Der Sturm), among other subjects. Presentation copy, boldly inscribed in charcoal across the title-page to Lajos Tihany, "Lieber Tihanny/ Es ist schön, dass sie mir damals gerne...haben. Um so bessere Freunde sind wir deswegen heute./ Oskar Kokoschka/ Paris 7.31." Tihanyi (1885-1938), an important figure in the Hungarian avant-garde of the teens and twenties, in the circle of Kassák and the review "MA," moved to Paris in 1923, where he remained until his death. Portraiture was his major enterprise, in a style quite reminiscent, in fact, of Kokoschka. Portfolio a bit worn; a little light creasing at the edges of the title-page and plates. Rare.

    Berlin (Der Sturm) [1913]. $1,500.00

    Spalek 3330

    94 KRATER UND WOLKE. Herausgeber: Ralf Winkler [i.e. A.R. Penck]. Nos. 1-7, June 1982 - 1990. (206), (206), (206), (192), (202), (250), (228)pp. Prof. illus. throughout with halftone photographs, drawn elements, etc., on various paper stocks, and with 27 original prints hors texte (many in color), by Georg Baselitz, Jörg Immendorff, Markus Lüpertz, Per Kirkeby, A.R. Penck, et al. 3 45-rpm recordings loosely inserted, as issued, in mounted paper sleeves in nos. 1-3; halftone poster in no. 7. Lrg. 4to. Dec. wraps. Glassine d.j. Publisher’s cartons. Issue no. 1 is dedicated to Georg Baselitz, no. 2 to Jörg Immendorff, no. 3 to Markus Lüpertz, no. 4 to Per Kirkeby, no. 5 to James Lee Byars, no. 6 to "USA + Europa" and no. 7 again to Georg Baselitz. The complement of original prints in the includes numerous double-page and large folding images (some as large as 105 x 72 cm.), among them etchings, linocuts and lithographs in colors. Perfect condition.

    Köln (Galerie Michael Werner), 1982-1990. $4,000.00

    95 KUPKA, FRANTISEK. Abstrakce Kreslil Frantisek Kupka. Introduction by Jan Loris. (Malá Edice Mistru. 5.) (4)pp., 16 plates. Lrg. 8vo. Portfolio (wraps.). Contents loose, as issued. "According to Fédit, these drawings were probably worked on in the period 1928-1932, at a time when Kupka was attempting to purify his forms. The first twelve of the total of sixteen were originally published on a single page in ‘Abstraction-Création’ no. 2, 1933, p. 26. This repertory of forms will be found developed in diverse manners throughout the 1930s. Many of the original gouaches and related studies are in the Musée National d’Art Moderne, Paris. In 1948, the entire sixteen were published on separate sheets in the small book exhibited here" (Margaret Rowell, in the catalogue of the Guggenheim retrospective, 1975).

    Praha (Vladímir Zikes), 1948. $1,200.00

    New York, Solomon R. Guggenheim Museum: Frantisek Kupka, 1871-1957: A Retrospective (1975), no. 170

    96 LACERBA. (Periodico quindicinale; Periodico settimanale. Fondata da Giovanni Papini e Ardegno Soffici.) Vol. I no. 1--Vol. III No. 22 (sic: No. 21), 1 gennaio 1913--22 maggio 1915 (all published), lacking Vol. III, no. 14 (April 1915). 296, 336, 168pp. Illus. Folio. Vols. I and III in dec. boards, 3/4 vellum; Vol. II in contemporary dec. boards (neatly mended at backstrip). The cardinal Futurist periodical, founded by Papini and Soffici after their departure from "La Voce". Though never the official organ of the movement, and eventually, with the outbreak of War, a purely political newspaper, Lacerba was nonetheless the principal outlet for its critical and theoretical texts. In the course of its brief existence, Lacerba published no fewer than ten of the fundamental Futurist manifestos selected by Apollonio in his standard anthology, including four by Boccioni, two by Carrà, two by Marinetti, and one each by Soffici and Sant’Elia. Other contributors included Russolo, Pratella, Cangiullo, Apollinaire, Gourmont, Tavolato, Buzzi, Folgore and Ungaretti. The masthead designs, which assumed sledgehammer dimensions in January 1914, and then ran to boiling red on August 15th after the declaration of war, were devised by Soffici. Occasional light browning and brittleness; a few issues with expert mends; generally an excellent set.

    Firenze, 1913-1915. $5,000.00

    Taylor p. 136; Falqui p. 37; Tisdall & Bozzolla 165-175; Bartolini, Sigfrido: Ardegno Soffici, l’opera incisa (1972), p. 318; Jentsch p. 317f.

    97 Kruchenykh, Alexei E. Poluzhiboi [Half-Alive]. Lithographs by MIKHAIL FEDOROVICH LARIONOV. 17ff. Text and images entirely lithographed by hand, including 6 full-page plates and 8 large marginal illustrations. Lrg. 8vo. Front and back covers lithographed with additional illustrations by Larionov. No more than 480 copies were printed in all. One of the famous illustrated books published by Kruchenykh in rapid succession early in 1913, together with ‘Pomada’ [Pomade], also illustrated by Larionov, and ‘Pustynniki’ [Hermits], with illustrations by Goncharova. "‘Half-Alive,’ with marvelously expressive drawings by Larionov, is a single narrative poem, similar to ‘A Game in Hell’ in its emphasis on the hellish" (Janecek). Compton, discussing the cover design, observes "It seems that Larionov did not arrive at rayism to the exclusion of other interests....Inside the book, figures are made of lines, rather than rays: on successive pages, a nude is subjected to progressive discontinuity into marks which finally become increasingly like those of Chinese calligraphy. The parts of the nude take on the disjointing of the single letters of each handwritten word as the visual image is progressively more broken. It is as though the artist is exploring the extent to which deformation can be taken if the brain is still allowed to ‘read’ a figure. Full-page figures are constructed with angry, calligraphic strokes to match the violence of the poem." A splendid, fresh copy.

    Moscow (G.L. Kuz’min & S.D. Dolinskii), 1913. $12,000.00

    Compton p. 102; Markov p. 43; Janecek p. 83; Getty 373

    98 (LAURENCIN) Mansfield, Katherine. The Garden Party, and Other Stories. With coloured lithographs by Marie Laurencin. (8), 315, (5)pp. 16 color lithographs, integrated with text. 4to. Green patterned cloth, in imitation of pastepaper boards. Edition limited to 1200 numbered copies, printed on wove paper by Hans Mardersteig at the Officina Bodoni, Verona. A little rubbed at lower outer corners.

    London (The Verona Press), 1939. $2,000.00

    99 Radiguet, Raymond. Les Pélican. Pièce en deux actes, illustré d’eaux-fortes par HENRI LAURENS. (24)pp. 7 original etchings (including 1 on front wrapper; 2 full-page). Sm. folio. Original wraps. (slightly worn). One of 90 copies on Hollande van Gelder, signed in pen by Laurens and Radiguet in the justification, from the limited edition of 112 in all; the etchings printed by Delâtre. Laurens’ first livre d’artiste, with exquisitely droll cubist etchings of Radiguet’s ménage Pélican: Pélican père smoking a cigar, his children Anselme and Hortense, and his mistress Mlle. Charmant the governess. Radiguet, who was to die shortly after the appearance of the book, at the age of twenty, had actually wanted the illustration entrusted to Juan Gris, and it took some tenacity on Kahnweiler’s part to hold out for Laurens--a wise choice, as Chapon notes. Tiny hole at edge of title-page; a little light wear, otherwise a fine copy.

    Paris (Éditions de la Galerie Simon ), 1921. $12,500.00

    Hugues 9; Bozo p