ARS LIBRI ELECTRONIC LIST #80 IFPDA PRINT FAIR, NEW YORK 2012: MODERN ART

Ars Libri, Ltd. / 500 Harrison Ave. / Boston, MA 02118 [email protected] / www.arslibri.com / tel 617.357.5212 / fax 617.338.5763

Electronic List 80: IFPDA Print Fair 2012: Modern Art

1 ALBERS, JOSEF. Interaction of Color. Text: 80pp. Figs. Bound in cloth. Plates: 80 folders, nearly all printed with silkscreens in color, and many with multiple silkscreens, loose in portfolio (as issued), together with 48-pp. commentary booklet. Cloth portfolio. The whole housed in the publisher’s comprehensive slipcase. Folio. ‘In 1950 Albers was appointed chairman of the Department of Design at Yale University.... His students there included Eva Hesse, Robert Rauschenberg, Kenneth Noland and Richard Anuskiewicz. His teaching of colour at Yale led to the publication of his renowned treatise ‘Interaction of Color’ (1963), a book that was later translated into eight languages as one of the major tools of art teaching throughout the world. In it, Albers investigated the properties of colour...including the illusory ability of opaque colours to appear translucent and overlapping, which he had begun to explore in 1950 in his best-known series of works, ‘Homage to the Square,’ on which he was occupied until his death. These were exhibited all over the world and were the basis of the first one-person show given to a living artist at The Metropolitan Museum of Art” (Dictionary of Art). Slight wear to the slipcase. A fine copy, complete with all the original tissue guards for the plates. New Haven/London (Yale University Press), 1963. $4,800.00

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2 (ARP) Hugnet, Georges. La sphère de sable. Illustrations de Jean Arp. (Collection “Pour Mes Amis.” II.) 23, (5)pp. 35 illustrations and ornaments by Arp (2 full-page), integrated with the text. Publisher’s blue-grey wraps., printed in red and blue. Glassine d.j. Contents loose, as issued. One of 176 numbered copies on pur fil, from the limited edition of 199 in all, reserved for friends of the collaborators. Presentation copy, inscribed on the half-title “à Georges Charaire/ ami fidèle/ de tout coeur/ Georges Hugnet.” Charaire (1914-2001) was a well-connected artist, poet and dramaturge in Montparnasse and, later, Antibes. A fine copy. Paris (Robert-J. Godet), 1943. $1,850.00 Rolandseck 124; Centre Georges Pompidou: Pérégrinations de Georges Hugnet 93; Skira 4; Basel 10

3 BALTZ, LEWIS. The New Industrial Parks Near Irvine, California. Das neue Industriegelände in der Nähe von Irvine, Kalifornien. (108)pp. 51 full-page plates. Oblong lrg. 4to. Cloth. D.j. Edition of 960 copies in all. “In 1975, the year he published his first book , ‘The new Industrial Parks near Irvine, California,’ Lewis Baltz was also included in a landmark exhibition at the International Museum of Photography at George Eastman House called ‘New Topographics: Photographs of a Man-Altered Landscape.’ Although some of the participants in that show managed to elude the label, Baltz--along with Robert Adams, Stephen Shore, Henry Wessel, Jr., and Bernd and Hilla Becher--was effectively branded, and ‘The New Industrial Parks’ was paired with Adams’ 1974 ‘The New West’ as the most cogent, concise, and rigorous New Topographics documents produced in America. The label stuck primarily because it was invented to describe exactly what California-born Baltz had been doing since the late ‘60s: photograph the American landscape as a dead zone. Tamed, flattened and sectioned off into building sites and real-estate opportunities, Baltz’s New West--most of it located in California’s vast suburban sprawl--had long since lost any memory of magnificence and promise. In their place was the alluring vacuum of anonymity (though that seems beside the point in pictures devoid of any human presence) and desolation so complete it was almost elegant. Baltz had honed in on that austere, unlikely beauty in his earlier series on tract homes, but he refined his vision for the Irvine series, which focuses on the façades of windowless office blocks and electronics factories, some still in construction on barren lots, others landscaped as perfunctorily as a toll plaza.... [Unlike] Ed Ruscha’s genuinely artless images of apartment buildings and parking lots, Baltz’s pictures are pointedly artful. The Irvine series, though (presumably) despairing of the industrial parks’ cold emptiness, can’t help but establish its link to minimalist painting and sculpture, particularly Donald Judd’s boxes and Carl Andre’s concrete blocks” (Vince Aletti, in Roth). D.j. with tiny short tear at back cover, slight creased on interior flap.; a fine copy. New York (Leo Castelli/ Castelli Graphics), 1974. $2,750.00 Roth p. 228f.; The Open Book p. 298f.

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4 (BECKMANN) Edschmid, Kasimir. Die Fürstin. Mit sechs Radierungen von Max Beckmann. 81, (3)pp., 6 original etchings by Beckmann (Hofmaier 111-116). 4to. Full brown morocco embossed with ornamental vignette on front cover (E.A. Enders). Raised bands. Vorzugsausgabe: one of 130 copies on handmade Zandersbütten with all six etchings signed in pencil by Beckmann, from the limited edition of 500 copies in all, signed in the colophon by Edschmid; and of these, one of 95 copies bound in full brown morocco by E.A. Enders, Leipzig. One of Beckmann’s most important works. “The embittered view of society that Beckmann developed during his hospital duty and subsequent nervous breakdown during World War I is reflected in the prints he contributed to ‘Die Fürstin.’ Edschmid’s poetic text about a hero’s dreams is strangely coupled with Beckmann’s Expressionist renderings of compressed arrangements of bodies in alienated pairings” (Castleman). “The plates to ‘Die Fürstin,’ ‘Die Stadtnacht,’ and to ‘Fanferlieschen,’ together with the lithographs to ‘Apokalypse’ (1943), and his drawings to Goethe’s ‘Faust, Part II’ (begun in 1943) represent Beckmann’s greatest successes as an illustrator” (Lang). Binding slightly rubbed; a fine copy. Weimar (Gustav Kiepenheuer), 1918. $18,500.00 Hofmaier 111-116 ; Jannasch 4; Gallwitz 89; Castleman p. 175; The Artist and the Book; Manet to Hockney 44; Stern 5; Jentsch 37; Lang 12, p. 52; Marbach 164.2; Vom Jugendstil zum Bauhaus 100; Rifkind/Davis 132; Rifkind/Reed 369

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5 BROUTIN, GÉRARD-PHILIPPE. Rue du Parc Cheviron 1971. Suite photographique. 4ff., 10 original photographs, each signed and numbered in ink on the verso of the print, and all tipped loosely onto heavy boards. Image size: 175 x 125 mm. (ca. 7 x 5 inches); mount size 250 x 210 mm. (ca. 9 3/4 x 8 1/4 inches). 4to. Portfolio. Contents loose as issued, within dec. grey wove wrapper. Glassine d.j. Edition limited to 10 copies in all, signed and numbered by Broutin in the justification. A Lettrist suite of photographs scratched and overpainted in the negatives. “Les négatifs grattés avec une épingle à nourrice et peints à l’encre de chine, racontent le plaisir de ces moments de complicité avec l’ami Gillard. Ils laissent apparaître mélés aux alphabets fruits, des bribes et discours ne restent lisible que quelques lettres apparement dépourvues de signification: des ‘dut’, ‘édui’, ‘oto ef’, ‘que’, ‘es u’, ‘tés’, ou encore des ‘oduc’, ‘m Isi’, ‘impl’, ‘pers’, ‘tian’. Lecteurs plus attentifs, peut-être pourrions-nous y déchiffer les mots ‘photographies’, ‘Isidore’ ou ‘utilités’” (introduction). Paris (Atelier Lettrista), 2008. $1,500.00

6 BROUTIN, GÉRARD-PHILIPPE, et al. Lettrisme et hypergraphie. [Par] Gérard-Philippe Broutin, Jean-Paul Curtay, Jean- Pierre Gillard, François Poyet. (Bibli Opus.) 70pp. Prof. illus. 21 signed original gouaches and ink drawings hors texte, nearly all in color, by J.-B. Arkitu, Édouard Berreur, Gérard-Philippe Broutin, Françoise Canal, Jean-Paul Curtay, Myriam Darrell- Spacagna, Jean-Pierre Gillard, Micheline Hachette, Isidore Isou, Alain de Latour, Maurice Lemaître, Patrick Poulain, François Poyet, Roland Sabatier, J.-L. Sarthou, Alain Satié, Jacques Spacagna, Frédéric Studeny, Jacqueline Tarkieltaub, Dany Tayarda, and Jean-Jacques Venturini. 4to. Portfolio. Contents loose, as issued, in publisher’s slipcase and chemise by Duval (printed boards), the text within printed wrapper, and the plates loose in wove paper folder. Édition de tête: one of 75 hand-numbered copies in this portfolio format, with the suite of original gouaches and ink drawings. A remarkable production, with unique works of exceptional quality. A fine copy. Paris (Éditions Georges Fall), 1972. $6,500.00 Foster, Stephen C. (editor): Lettrisme: Into the Present (1983), no. 3

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7 BROUWS, JEFF. Freight Cars. Eighteen photographs of railroad rolling stock, 1995-2001. (2)ff., 18 archival digital pigment print photographs, each signed, numbered, dated and titled by the artist in ink on the verso. Image size: 160 x 205 mm. (6 1/4 x 8 1/8 inches). 1 additional plate recapitulating the 18 images. Wove paper guards. Oblong 4to. Cloth clamshell box, with mounted photographic vignette. Edition of 9 copies in all, signed, numbered and dated by the artist in the colophon. Prints made on the Epson StylusPro 9800 using K3 Ultrachome Inks. In an artist's statement, Brouws wrote that he "has combined anthropological inquiry and a bleak aesthetic beauty mining the overlooked, the obsolete, the mundane." Fine, as issued. N.p. (The Artist), 2009. $8,500.00

8 BUCHHOLZ, ERICH. Design for a portfolio. Original composition in red gouache, black ink and gold metallic paint, on textured ochre leatherette, mounted on a red buckram slipcase, with inserted red buckram chemise and inner sleeve of white Bütten paper, reinforced with loose panels of cardboard. Painted panel: 368 x 275 mm. (ca. 14 1/2 x 10 3/4 inches). Slipcase: 423 x 325 mm. (ca. 16 5/8 x 12 3/4 inches). This large and majestically impressive handmade portfolio represents a variation of Buchholz’s painted wooden relief, “Roter Kreis im Goldkreis,” of 1922, of which Ingrid Weisenmayer has commented “Der Dreiklang der Farben Schwarz, Gold und Rot steigert die Wirkung der einzelnen Farben noch zusätzlich. Es ist charakteristisch, dass Buchholz, der sich so vehement von jeglicher Kunsttradition distanzieren wollte, auf mittelalterliche Traditionen zurückgreift, und diese in einen modernen Kontext stellt” (Weisenmayer, in Gassen/Mengden). Comparison might equally be made with another painted panel of 1923, Buchholz’s “Neue Tafel Nr. 70.” These and similar motifs were reprised by the artist many times, through late in his career. Slight rippling of the panel at foot; a little light rubbing, otherwise in fine, bright condition.

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[Berlin, n.d.]. $4,500.00 Gassen, Richard W. & Mengden, Lida von (hrsg.): Erich Buchholz. Graphik, Malerei, Relief, Architektur, Typographie (Köln, 1998), c.f. pp. 47, 62; Buchholz, Mo & Roters, Eberhard (hrsg.): Erich Buchholz (Berlin, 1993), cf. pl. 118

9 CANGIULLO, FRANCESCO. Caffeconcerto. Alfabeto a sorpresa. (46)pp. Prof. illus. throughout with typographic and pen- and-ink (and wash) compositions. Sm. 4to. Dec. blue wraps., printed in black with a design by Cangiullo. Cangiullo's best- known work and one of the most important books in the Futurist canon, printed on colored stocks with wonderful parole in libertà and other typographic experiments, often with elaborate freehand elements. "Cangiullo reinvented the typography of the printed page in the form of narrative fireworks, borrowing from advertising in a manner typical of the ‘collage’ mentality, as for example in ‘Piedigrotta.’ Later he began a fantastic deformation of writing, reducing it to an image of its alphabetic origin, visually theatricalized, as in the ‘surprise alphabet’ in ‘Caffeconcerto’" (Enrico Crispolti, in Hultén). “This short book stages each of the turns of a music-hall show through graphic illustrations produced typographically. Sometimes the page becomes a theater of signs, but the poetry is always supported by play and an inventive cheerfulness that have no peer in the Italian avant-garde. As such, ‘Caffeconcerto’ is the very best example of futurist materialist writing” (Luciano Caruso, in Jentsch). A fresh, crisp copy. Milano (Edizione Futuriste di "Poesia"), 1919. $2,250.00 Salaris p. 27; Falqui p. 62; Hultén p. 440; Lista, Giovanni: Le livre futuriste de la libération du mot au poème tactile (Modena/Paris, 1984) pp. 87, 118f., 145; Jentsch, Ralph: The Artist and the Book in Twentieth-Century Italy (Turin/New York, 1992), p. 322; Poésure et peintrie, p. 61; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, p. 111, illus. 113

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10 CHRISTIAN. Étages des nombres/ Ordre de grandeur. Original drawing, in pencil on vellum graph paper printed in orange (Canson & Montgolfier), with 8 lines of manuscript text in black ink below. Signed by Christian (in blue) at lower right. 216 x 277 mm. (ca. 8 1/2 x 10 7/8 inches). Matted together with this, a typed transcription of the text above, initialled by Christian at the conclusion. 80 x 200 mm. (ca. 3 1/8 x 7 7/8 inches). A mathematical abstraction by the Dada writer and artist Christian (born Georges Herbiet, Antwerp 1895 - Paris 1969). Close to Picabia, Jean Crotti and Suzanne Duchamp, Christian was intimately involved in the publication of a number of Dada reviews, contributing to “391” and “Le Pilhaou- Thibaou,” as well as to “Action,” “L’esprit nouveau” and the special Dada issue of “Ca ira”; in 1922, he also published the sole issue of Picabia’s “La pomme de pins” and Pierre de Massot’s “De Mallarmé à ‘391’” (for which he wrote the preface) from Saint-Raphaël in the south of France, where he had moved in 1920, opening a bookstore. The Pompidou “Dada” catalogue devotes a chapter to Christian’s work, featuring three similar esoteric drawings on graph paper, dated 1923-1925. All of these diagrams were made in conjunction with an aesthetic treatise on harmony which occupied him for many years, and was never completed. “Vers 1923, il travaille à un ‘Traité d’harmonie,’ un système d’esthétique globale à visée scientifique, dont il reste des études sous formes de diagrammes. Il s’essaie également à la peinture figurative; quelques-unes de ses toiles sont publiées par ‘The Little Review’ en 1922. Mais l’oeuvre de Christian est rare, l’artiste ayant été peu productif” (Nathalie Ernoult). Small hairline split at one fold; pinholes at one corner; fine condition. N.p., n.d. . $6,500.00 Cf. Lista, Giovanni: Dada libertin & libertaire (Paris, 2005), p. 220; Pompidou: Dada p. 216f. (text by Nathalie Ernoult, with 5 illus.)

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11 (COBRA) Bibliothèque de Cobra. Première série: “Les artistes libres” [all published]. Rédacteur: Asger Jorn. (Quinze monographies. Première série de l’encyclopédie permanente de l’art expérimental.) 15 vols. (16)pp. per vol., most with 12- 16 illus, each in wrappers bearing an original color lithograph by the artist in question. Separate introduction and table sheet loosely inserted (4pp.). Publisher’s slipcase, printed on card stock with an additional original color lithograph by Jorn. The artists (and authors) are: Alechinsky (Zangrie), Alfelt (Jaguer), Appel (Dotrement), Atlan (Ragon), Bille (Ragon), Constant (Dotremont), Corneille (Dotremont), Doucet (Laude), Ferlov (Dotremont), Gilbert (Jaguer), Gudnason (Jaguer), Heerup (Dotremont), Jacobsen (Dotremont), Jorn (Dotremont), and Pedersen (Dotremont). Including the slipcase, a total of 16 original color lithographs. Slight cracks at sides of the case; an exceptionally fine, bright copy. Copenhague (Ejnar Munksgaard), 1950. $3,000.00

12 LE COEUR À BARBE. Journal transparent. Gérant: G. Ribemont-Dessaignes. No. 1, avril 1922 [all published]. (8)pp., printed on pale pink stock. Sm. 4to. Orig. self-wraps., with typographic and wood-engraved collage composition. Texts by Duchamp (“Rrose Sélavy”), Éluard, Fraenkel, Huidobro, Josephson, Péret, Ribemont-Dessaignes, Satie, Serner, Soupault and Tzara. A counterattack launched by Tzara following Picabia’s insulting “La pomme de pins” of the previous month; one

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more missile hurled during the spring of 1922, which Breton was later to comment witnessed the ‘obsequies of Dada.’ The cover design is one of the best-known and most appealing graphic inventions of Paris Dada; in the National Gallery of Art “Dada” catalogue (2006), it is attributed to Iliazd. Slight soiling and wear, but still an attractive copy. Paris (Au Sans Pareil), 1922. $5,000.00 Dada Global 182; Ades p. 147f. (illus.); Almanacco Dada 26; Gershman p. 48f.; Chevrefils Desbiolles p. 282; Admussen 58; Sanouillet: Dada in Paris (Cambridge, 2009), no. 679; Motherwell/Karpel 64; Dada Artifacts 138; Verkauf p. 177; Düsseldorf 234; Zürich 369; Milano p. 648; Pompidou: Dada, 1356, illus. pp. 282, 703; Washington: Dada, fig. 361; Andel, Jaroslav: Avant-Garde Page Design 1900-1950 (New York, 2002), p. 136, illus. 144

13 COLLECTION “UN DIVERTISSEMENT.” Nos. 1-12 (all published). (16)pp. each, printed on a variety of colored stocks. Sm. 8vo. Self-wraps., stitched as issued. Glassine d.j.s. Fitted slipcase and chemise (cloth, with leather label). Complete set of this series of 12 plaquettes, individually published in very small limited editions, ranging from 25 to 120 copies in all. This set includes 2 presentation copies, from Benjamin Péret and Gisèle Prassinos, and 4 éditions de tête, including Leonora Carrington and Max Ernst’s important “La maison de peur,” as well as works by Alberto Savinio, Franz Kafka and Prassinos. Contents as follows: [1] Prassinos, Gisèle. La lutte double. One of 100 copies on green papier Le Roy Louis teinte Berry. 2. Péret, Benjamin. Au paradis des fantômes. One of 100 copies on orange papier Le Roy Louis teinte Lorraine. Presentation copy, inscribed "A Georges Speiser/ en chassant les virgules/ son ami/ Benjamin Péret" at the head of the text. 3. Savinio, Alberto. Les chants de la mi-mort. Édition de tête: one of 20 copies on watermarked Hollande paper. 4. Carrington, Leonora. La maison de peur. Préface et illustrations de Max Ernst. Édition de tête: one of 20 copies on watermarked Hollande paper. Carrington’s first published story, with 3 collage illustrations by Max Ernst, as well as a preface by him, subtitled “Loplop présente la mariée du vent.” 5. De Chirico, Giorgio. Deux fragments inédits. One of 100 copies on cream papier Le Roy Louis teinte Bretagne. 6. Prassinos, Gisèle. Une belle famille. One of 100 copies on pink papier Le Roy Louis teinte Valois. Presentation copy, inscribed to the Surrealist poet and critic "Robert Valançay/ qui mange le soir ses cheveux/ et sa moustache troubles./ Gisele Prassinos" on the front cover. 7. Arp, Hans. Sciure de gamme. One of 100 copies on yellow papier Le Roy Louis teinte Béarn, this one designated hors commerce in pen. 8. Kafka, Franz. Le chevauchée du Seau. Traduit par Henri Parisot. Édition de tête: one of 10 copies on Japon Muller. 9. Bay, André. Histoires racontées par des enfants. Préface et dessin de Gisèle Prassinos. One of 100 copies on green papier Le Roy Louis teinte Berry. 10. Scutenaire, Jean. Les secours de l'oiseau. One of 100 copies on blue papier Le Roy Louis teinte Provence. [11.] Prassinos, Gisèle. La revanche. Édition de tête: one of an unspecified 10 copies on japon, not described in the justification, which states the edition to be 25 copies on papier Le Roy Louis teinte Béarn "plus quelques exemplaires hors commerce." Unlike other volumes in the series, this one has a separate large-paper wrapper. [12.] Coleridge, Samuel Taylor. Koubla Khan. Traduit de l'anglais par Henri Parisot. One of 25 copies in all, "plus queles exemplaires hors commerce," on papier Le Roy Louis teinte Champagne. A fine set. Paris (Henri Parisot), 1938-1939. $6,500.00 Biro/Passeron p. 319

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14 (CORNELL) Ford, Charles Henri. ABC’s. (30)pp. Letterpress, the title printed in red and black. 4to. Dec. wraps., printed in black with a dramatic surrealist collage design by Joseph Cornell. Quatrains for the letters of the alphabet, one to a page (with massive initials at the beginning and end of each). Cornell’s cover design--a collage of Victorian flowers, a mysterious girl’s face, flitting birds and butterflies, a gloved hand, an ungloved arm surrounded by a coiled snake, all taken from nineteenth-century commercial illustrations--is one of his most dramatic pieces of graphic design, on a par with his work in “Americana Fantastica” (also a Charles Henri Ford publication). Cover lightly browned and with a small chip at top for-edge of front cover; an unusually well-preserved copy. Prairie City, Illinois (Press of James A. Decker), 1940. $600.00

15 (CORNELL, JOSEPH) Polko, Elise. Maria. (16)pp. Elaborate headpiece illustration from a 19th-century steel engraving of a nightingale in a bower. Sm. 8vo. Printed self-wraps. Glassine d.j. Later fitted cloth case. Unstated limited edition, estimated at 100 copies. This little pamphlet is one of two privately printed by Joseph Cornell at his own expense, for distribution to friends. Both are devoted to legendary nineteenth-century sopranos--“Maria” to Maria Malibran, and “The Bel Canto Pet,”

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which followed in 1955, to Giulia Grisi--figures whom Cornell revered as he did early ballerinas, such as Maria Taglione: all of them artists whose work is irretrievably lost, except in witness accounts and popular prints. The author of the brief text of “Maria,” the German writer Elise Polko (1822-1899) was herself a celebrated singer. Somewhat like a Romantic lied, “Maria” presents a tremulous evocation of the final song of a nightingale, who expires in the lap of a little girl transfixed by its beauty- -a little girl who grows up to be Maria Malibran. Copies of both books were sometimes embellished by Cornell with collages or handwritten greetings. Mint. New York (Salamander Editions [Joseph Cornell]), 1954. $600.00 McShine, Kynaston (ed.): Joseph Cornell (New York, 1980), bibl. 213

16 CRALI, TULLIO. Duello aereo. Original drawing in graphite on cream wove stock, signed “Crali” in ink at lower right. 116 x 134 mm. (4 5/16 x 5 1/4 inches). Tipped (at top two corners on the verso) onto a backing sheet. This drawing is quite evidently a preparatory study for Crali’s painting “Duello aereo” of 1929, a very important and early instance of aeropittura, dating from year of the initial aeropittura manifesto. Crali’s signature, which is in ballpoint, is in the style of his later years, and was probably added at a later date. Provenance: Collection Claudio Rebeschini; Collection Marco Viglino. N.p., [1929]. $6,500.00 Rebeschini, Claudio (ed.): Crali futurista [/Crali aeropittore] (Milano, 1994; published in conjunction with the exhibition “Crali futurista” at the Museo di Arte Moderna e Contemporanea di Trento e Rovereto, 1994-1995): see p. 16 (illus.) in “Crali aeropittore,” and p. 147f. in “Crali futurista”; cf.: Rebeschini, Claudio & Bono, Virginia Giacomo (eds.): Crali aeropittore futurista (Voghera, 2003); Trieste. Civico Museo Revoltella: Carli: Il volo dei Futuristi (Trieste, 2003)

17 DADA. NO. 7: DADAPHONE. Editor: Tristan Tzara. (8)pp. 10 illus. (halftone photographs). 4to. Self-wraps., stapled as issued, with front cover design by Picabia. Contributions by Tzara, Picabia (“Manifeste Cannibale Dada”), Breton, Éluard, Ribemont-Dessaignes, Soupault, Cocteau, Dermée, Aragon, Arnauld, Evola and others. The penultimate issue of “Dada,” brought out by Tzara in March 1920, at a moment of inspired Dada activity in Paris, just before the Manifestation Dada at the Maison de l’Oeuvre (March 27), the first appearance of “Cannibale” (April), the Festival Dada at the Salle Gaveau (May). Reminiscent of “391” and with a strong Parisian bias along “Littérature” lines (like “Dada” 6), “Dadaphone”’s visual interest is

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mostly in its insistent typographic density, rather than its illustration--though it does include a beautiful abstract Schadograph, purporting to show Arp and Serner in the Royal Crocodarium in London, as well as the spiralingly zany Picabia drawing on the front cover. A remarkable copy including an example of the broadside "Manifestation Dada," designed by Tristan Tzara, originally stapled in the middle of the issue, as is sometimes found. A great succès de scandale, the Manifestation Dada was the third, and most elaborate, of three Dada demonstrations after the arrival of Tzara in Paris, precipitating plans for the Festival Dada. This broadside handbill, printed on pink stock, with red mechanomorphic line drawings by Picabia superimposed over the text, is one of the best ephemera of Paris Dada, and among the rarest. In addition to providing a complete program of the performances (works by Dermée, Ribemont-Dessaignes, Picabia, Aragon, Breton and Soupault, Éluard, Tzara and others), it carries advertisements for the forthcoming "Dadaphone," "391" no. 12, and "Proverbe," printed sideways at the right edge, printed in red.Oblong sm. folio. 266 x 373 mm. (10 7/16 x 14 11/16 inches). Both the issue and the broadside show a horizontal foldline at the center from mailing, indicated by the remnant of a cancelled postage stamp on the front cover of the review, above the title. The issue itself is soiled, particularly on the cover, with some intermittent staining; the broadside bears two small rust stains and little losses at the site of the staples (now lacking), but is otherwise well preserved, the pink tone of the paper fairly strong. Paris (Au Sans Pareil), 1920. $13,500.00 Dada Global 174; Ades p. 65; Almanacco Dada 32; Gershman p. 49; Admussen 70; Chevrefils Desbiolles p. 284; Sanouillet: Dada in Paris (Cambridge, 2009), no. 682.7; Motherwell/Karpel 66; Rubin 462; Verkauf p. 178; Reynolds p. 110; Dada Artifacts 118; Zürich 374; Pompidou: Dada 1363, illus. p. 315; Washington: Dada pl. 363 Cf., re “Manifestation Dada”: Documents Dada 14; Dada Global 226; Ades 8.42; Almanacco Dada p. 607 (illus.); Sanouillet: Dada in Paris (Cambridge, 2009), no. 780; Dada Artifacts 115; 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; Pompidou: Dada 1472, illus. p. 738, 770

18 DEVAUX, FRÉDÉRIQUE (préface). 1990. 11 photographies originales de Michel Amarger, Jean-Paul d’Arville, Gérard- Philippe Broutin, Françoise Canal, Frédérique Devaux, Albert Dupont, Isidore Isou, François Poyet, Woodie Roehmer, Roland Sabatier, Alain Satié. (6)pp., 11 original photographs, most with hand-painted interventions by the artists (many in color, 1 with collage), each signed and numbered in ink or paint on the print, and mounted on board. Image size: 240 x 177 mm. (ca. 9 3/8 x 7 inches); mount size: 323 x 248 mm. (12 3/4 x 9 3/4 inches). Sm. folio. Portfolio. Printed wrapper. One of 24 hand-numbered copies from the limited edition of 35 in all. An impressive Lettrist photography portfolio. A fine copy. Paris (Éditions de Cluny), 1990. $3,000.00

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19 (DUBUFFET) Paris. Galerie René Drouin. Les gens sont bien plus beaux qu’ils croient. Vive leur vraie figure. Portraits. A ressemblance extraite, à ressemblance cuite et confite dans la mémoire, à ressemblance éclatée dans la mémoire de Mr. Jean Dubuffet. Du mardi 7 au 31 octobre. [At the base, corresponding to the top:] “Plus beaux qu’ils veulent/ Beaux malgré eux.” Poster, with manuscript text and portrait drawing at the center, printed on salmon-colored wove stock, in offset lithography. 580 x 400 mm. (22 7/8 x 15 5/8 inches). 2 cancelled taxe d’affichage stamps affixed at blank portion at lower left, as usual. The extremely rare, graphically riveting poster for one of the most radical exhibitions in postwar France, Dubuffet’s art brut portraits of Parisian intellectuals, at the Galerie René Drouin in 1948. Initially, the series was based on personalities in the literary salon of Florence Gould, to which Dubuffet had been introduced by Jean Paulhan, including Paulhan himself, Pierre Benoit, Marcel Jouhandeau, and Paul Léautaud; it was then extended to include other friends and acquaintances, such as Antonin Artaud, Francis Ponge, Henri Michaux, and Jean Fautrier. “Dubuffet’s aggressive, graffiti- style caricatural portraits of 1946-47 are in part caricature in the simplest sense, a mocking variant on the pantheons of artists that had become sober clichés of even ‘radical’ French art, as in Surrealist group portraits. But Dubuffet’s portraits manifest the revolt, and revulsion, of intellectuals: mental energy and will are now all that matter, and the body can (indeed must...) go to hell. His writers and intellectuals are pathetic monsters, their features reduced to pop-eyed scrawls, their aplomb prodded into jumping-jack spasms. Yet since grotesque harshness and imbalanced disturbance are in Dubuffet’s view tokens of authenticity, to be portrayed by him with scar-like contours and inept anatomy is, perversely, to be made glamorous” (High and Low). A few indetectible very short clean marginal tears mended on verso; a bright, unfolded copy. Paris, 1947. $5,000.00 Franzke, Andreas: Dubuffet (New York, 1981), p. 41f. (discussing the exhibition); Varnedoe, Kirk & Gopnik, Adam: High & Low (New York, Museum of Modern Art, 1991), p. 144ff.

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20 (DUBUFFET) Paris. Galerie René Drouin. Les gens sont bien plus beaux qu’ils croient. Vive leur vraie figure. Portraits. A ressemblance extraite, à ressemblance cuite et confite dans la mémoire, à ressemblance éclatée dans la mémoire de Mr. Jean Dubuffet. Du mardi 7 au 31 octobre. (4)pp. (single folio sheet, folding). 20 line-drawn illus. by Dubuffet. Self-wraps. The rare catalogue for one of the most radical exhibitions in postwar France, Dubuffet’s art brut portraits of Parisian intellectuals, at the Galerie René Drouin in 1947. Printed on a large folding tabloid leaf of stock, the catalogue contains a lengthy text by Dubuffet (“Causette”), and brilliant, primitive line-drawn portraits from the exhibition, of Fautrier, Ponge, Michaux, Artaud, Cingria and others. Initially, the series was based on personalities in the literary salon of Florence Gould, to which Dubuffet had been introduced by Jean Paulhan, including Paulhan himself, Pierre Benoit, Marcel Jouhandeau, and Paul Léautaud; it was then extended to include other friends and acquaintances, such as Antonin Artaud, Francis Ponge, Henri Michaux, and Jean Fautrier. “Dubuffet’s aggressive, graffiti-style caricatural portraits of 1946-47 are in part caricature in the simplest sense, a mocking variant on the pantheons of artists that had become sober clichés of even ‘radical’ French art, as in Surrealist group portraits. But Dubuffet’s portraits manifest the revolt, and revulsion, of intellectuals: mental energy and will are now all that matter, and the body can (indeed must...) go to hell. His writers and intellectuals are pathetic monsters, their features reduced to pop-eyed scrawls, their aplomb prodded into jumping-jack spasms. Yet since grotesque harshness and imbalanced disturbance are in Dubuffet’s view tokens of authenticity, to be portrayed by him with scar-like contours and inept anatomy is, perversely, to be made glamorous” (High and Low). Foldlines, as issued. This copy is printed on pale grey stock. Paris, 1947. $1,600.00 Franzke, Andreas: Dubuffet (New York, 1981), p. 41f. (discussing the exhibition); Varnedoe, Kirk & Gopnik, Adam: High & Low (New York, Museum of Modern Art, 1991), p. 144ff.

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21 (DUBUFFET) Paris. Galerie Nina Dausset. Vernissage samedi 4 février à partir de 15 h. vous êtes invité à visiter l’exposition de: La Métromanie ou Les Dessous de la Capitale, par Jean Paulhan, calligraphié et orné de dessins par Jean Dubuffet, à la galerie Nina Dausset... du 4 au 24 février 1950. Offset lithograph, printed in black on bright pink tissue. 330 x 213 mm. (ca. 13 x 9 3/8 inches). Verso blank. A superb copy, bright and fresh. Paris, 1950. $950.00 Webel, Sophie: L’oeuvre gravé et les livres illustrés par Jean Dubuffet (Paris, 1991), no. 174

22 DUCHAMP, MARCEL & HALBERSTADT, V. L’opposition et les cases conjuguées sont reconciliées par M. Duchamp et V. Halberstadt. / Opposition und Schwesterfelder..../ Opposition and Sister Squares.... 112, (1)ff. 259 chessboard diagrams, printed in red and black (of which 8 full-page, printed on glassine). 2 errata slips. Lrg. sq. 4to. Printed wraps., designed by Duchamp. Edition limited to 1000 copies. Parallel texts in French, German and English. Together with: “Le monde des echecs. Serie Nº 1.” 16 photographic portraits of chess masters, printed in blue-tinted photogravure, loose, as issued, within printed folder (with separate contents leaf). Plate size: 16 x 24 cm. (6 1/4 x 9 1/2 inches). Bruxelles (L’Échiquier), 1933. Duchamp, who had taken part in international chess tournaments during the preceding five years, devoted this treatise to an endgame problem of, as he put, it, almost utopian rarity. An extract was published in “Le surréalisme au service de la

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révolution,” no. 2 (Summer 1930), and the work was subsequently discussed by Pierre de Massot in “Orbes,” Series II, No. 2 (Summer 1933). Massot gave the following account of the method by which Duchamp arrived at the elegantly restrained distortion of the cover typography: “Set up in the zinc stencil letters...the title was placed between two plates of glass, which were tilted at an angle and exposed to the sun. The uncontrolled deformation produced on the ground by the sun’s rays passing through the cut-out parts of the letters was photographed by Duchamp, who afterwards made a negative from this photograph which was stereotyped.” This copy of the book is accompanied by the portfolio of loose photographs of leading chess masters, issued by the same publishers in February of the following year. This includes a very suave plate by Man Ray of Duchamp and Halberstadt facing one another, looking down at what must be a chessboard out of view; between them, floating emblematically in the background, a chessboard tilted on one corner. A fine copy. Paris/ Bruxelles (Éditions de l’Echiquier), 1932. $3,500.00 Schwarz 430; Lebel 52, 83, 172-3, no. 165; Naumann 4.17

23 (ERNST) Péret, Benjamin. Au 125 du boulevard Saint-Germain. Conte. Avec une point-sèche de Max Ernst et trois dessins de l’auteur. (Collection “Littérature.”) (54)pp. 1 original drypoint etching by Ernst on chine (tipped-in frontispiece). 3 full-page illustrations by Péret in text. Sm. 8vo. Dec. wraps., with small illustration by Ernst on front cover. Glassine d.j. One of 50 press copies on vergé, designated P, apart from the edition of 131 numbered copies (of which A on chine, I-X on japon, 1-20 on hollande van Gelder, and the balance on vergé). The first book illustrated by Max Ernst with an original print, “Au 125 du boulevard Saint-Germain” also has the distinction of containing one of only three original prints made by Ernst during the decade of the 1920s. “In 1923, the year before publication of André Breton’s ‘Manifesto of Surrealism,’ Ernst made three collage-inspired original prints, his entire print production for the decade of the 1920s.... The third and most intriguing print of 1923 is a drypoint issued as a frontispiece to Benjamin Péret’s ‘Au 125 du boulevard Saint-Germain’. Showing a nude man running, or hopping, in a small, fish-filled room, it refers obliquely to Péret’s automatist texts.... It also matches more closely in its diminutive size and hatching technique the collage-derived illustrations of ‘Répétitions’ and ‘Les malheurs des immortels’ than the other two prints of the same year. With its stage-set interior and detailed modeling, it recalls the illustration to the poem ‘nul’ in ‘Répétitions.’ Just as the process of photomechanical reproduction had fused the seams of the cut-and-pasted elements in the illustration and had cancelled out their discreteness, so the time-worn system of fine drypoint lines that Ernst had utilized to delineate the composition of his print onto a copperplate masked its collage derivation. Simultaneously, the linear hatchings of the drypoint summarize the style of the hackneyed engravings the print imitates and parodies. Ernst convinces us of the strange poetic reality of his scene through the use of inexpressive means, and through a technique previously associated with the depiction of the observable world. Ernst’s prints of 1923 were the only significant examples of traditional printmaking realized in accord with concepts advocated by the future Surrealists during the formation of their movement. Corresponding in method to his

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great proto-Surrealist paintings of 1921-24, the prints have an originality as images that is striking and undeniable” (Robert Rainwater). Presentation copy, inscribed on the front flyleaf “Au baron Éric de Haulleville/ le pied levé vers le ciel/ tombe comme une pomme/ Bien à vous/ Bernjamin Péret/ 23 novembre 1923,” and with the calling card of Paul Éluard loosely inserted. The Belgian poet Éric de Haulleville (1900-1941) published his first book of verse in this year, brought out by Franz Hellens of “Le disque vert.” Light even browning, wraps. slightly worn (back cover with tiny loss at foot). Rare. Paris, 1923. $18,500.00 Spies/Leppien 9; Hugues/Poupard-Lieussou ; Rainwater 16, pp. 11f., 96f. ; Stuttgart, Institut für Auslandsbeziehungen: Max Ernst Books and Graphic Work 5; Almanacco Dada p. 503; Sanouillet: Dada in Paris (Cambridge, 2009) no. 450; Lista: Dada libertin & libertaire, p. 242; Verkauf p. 181; Gershman p. 32; Gershman Surrealist Revolution in France p. 143; Milano p. 648f.

24 (ERNST) Arp, Hans. Gedichte: Weisst du schwarzt du. Fünf Klebebilder von Max Ernst. 32pp. 5 plates of collages of wood engravings by Ernst. Sm. 4to. Silver foil wraps. D.j., with collage cover design by Max Ernst (recapitulating frontispiece). Vorzugsausgabe: one of 50 hand-numbered copies signed by Arp in the colophon, from the limited edition of 250 in all. Only these fifty copies were signed by Arp. Arp’s nine poems, dating from 1924, were illustrated by Ernst in 1929. This is one of the most exquisite of Ernst’s illustrated books, and typographically exceptionally elegant. Discreet stamp inside front cover. A fine copy. Zürich (Pra Verlag), 1930. $9,000.00 Hugues/Poupard-Lieussou 9; Spies/Metken 1672-1676; Spies: Max Ernst Collages 387-391; Rainwater 27; Stuttgart, Institut für Auslandsbeziehungen: Max Ernst Books and Graphic Work 12; Rolandseck 96; Dada Global 269; Motherwell/Karpel 189; Winterthur 178; Franklin Furnace 78; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, no. 426

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25 ERNST, MAX & Éluard, Paul. A l’intérieur de la vue. 8 poèmes visibles. 113, (15)pp. 39 illus. (after collages of steel- engravings), of which 7 delicately colored by hand in blue, yellow, rose, and redwashes. Initial letters and subtitles in purple throughout. Dec. wraps., printed in purple, red and orange after a design by Ernst. One of 600 copies on Alma Marais, from the limited edition of 610 in all, the illustrations printed by Mourlot Frères. “Les 8 poèmes visibles de Max Ernst composés en 1931 ont été, aussi fidèlement que possible, illustrés par 8 poèmes visibles de Paul Eluard en 1946” (from the justification statement). “For Ernst and the poet Paul Éluard, the eye represented what they called the ‘interior of seeing,’ a phrase that can be read as a metaphoric description of Surrealist aesthetics. They used the phrase in the title “A l’intérieur de la vue: 8 poèmes visibles” (The Interior of Seeing: Eight Visible Poems), a book created in 1931 and published in 1947, which also includes a dreamlike image of two rows of eyes facing each other. In 1934 the same phrase and image then appeared in the collage novel ‘Une semaine de bonté’” (Andel). Backstrip lightly browned; a fine copy. Paris (Pierre Seghers), 1947. $3,750.00 Hugues/Poupard-Lieussou 20; Spies/Metken 1808-46; Spies: Max Ernst Collages 407-425; Rainwater 31; Stuttgart, Institut für Auslandsbeziehungen: Max Ernst Books and Graphic Work 14; Beyond Painting 70; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, p. 328f., no. 432 (full-page color plate).

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26 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). Glassine d.j. One of 300 numbered copies on grand vélin d’Arches, from the limited edition of 316. A Surrealist fairy tale by Péret, illustrated by Ernst both with etchings and with punning collages, drawn from textbooks on palaeontology and marine micro-organisms, among other sources. “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). A fine copy. 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; Johnson, Robert Flynn: Artists’ Books in the Modern Era 1870-2000, no.123; Splendid Pages p. 209; Hernad, Béatrice & Maur, Karin von: Papiergesänge 69; Peyre, Yves: Peinture et poésie (Paris, 2001), no. 55; Hubert p. 26; Gershman p. 33; Ades 17.57; Reynolds p. 67f.; Villa Stuck 40

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27 (ERNST) Iliazd [Ilia Zdanevitch]. L’art de voir de Guillaume Tempel. (44)pp. 1 original etching and aquatint by Max Ernst, signed in pencil, printed in dark brown on japon ancien (loosely inserted, as issued). 12 photographic figs. in text. Tall narrow 4to. (315 x 125 mm.; 12 3/8 x 5 inches). Dec. grey wrapper, imprinted with a design by Ernst. Matching brown envelope (light wear). Contents loose, as issued. Edition limited to 70 numbered copies in all, signed and numbered by Iliazd in the justification. Etching printed by Georges Visat. Published in conjunction with an exhibition of “Maximiliana” at Le Point Cardinal, this little book by Iliazd documents his researches on Wilhelm Tempel, a nineteenth-century German astronomer and lithographer, whose remarkable discoveries (including the planetoid Maximiliana) were ignored by the scientific establishment. “For Ernst and for Iliazd, Tempel was not only a heroic figure...; he represented in its widest sense the creative artist’s credo or belief in l’art de voir, ‘the art of seeing,’ despite a technological society’s faith in machines....In ‘L’art de voir’... Iliazd recounts the results of his painstaking research on Tempel, and tells of the disappointed hopes, the outright rejections that followed each of Tempel’s discoveries. One might find a parallel with his own books, none of which, including ‘Maximiliana,’ met with much success when it first appeared” (Anne Hyde Greet). This copy includes an extra example of the decorative grey wrapper. Paris (Iliazd), 1964. $4,500.00 Spies-Leppien 96B; Paris. Centre Georges Pompidou: Iliazd (1978), p. 116 (bibliography by François Chapon); Firenze. Biblioteca Nazionale Centrale: I libri de Iliazd, dall’avanguardia russa alla scuola di Parigi (1991), no. 23 ; Rainwater, Robert (ed.): Max Ernst: Beyond Surrealism (New York, 1986), no. 83, p. 182f. (text by Anne Hyde Greet)

28 ERNST, MAX & Char, René. Dent Prompte. (56)pp. 10 full-page original color lithographs. Folio. Portfolio (boards with 1 additional color lithograph by Ernst). Publisher's cloth clamshell box. All contents loose, as issued. One of 240 numbered copies on vélin d'Arches, signed in the justification by Char and Ernst, from the limited edition of 290 in all. Reprising 10 poems from Char's "Dehors la nuit est gouvernée" (1938) where they appeared under the title "Versions"; they were later revised in 1949 omitting (as here) all punctuation. Box somewhat worn, with splits at the hinges. Paris (Galerie Lucie Weill ), 1969. $4,500.00 Spies/Leppien A19; Quinn p. 434; Lilly 60; Splendid Pages p. 179, fig. 120

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29 (ERNST) Arnim, Achim von, et al. Caspar David Friedrich: Seelandschaft mit Kapuziner. / Paysage marin avec un Capucin. [Von] Achim von Arnim, Clemens Brentano, & Heinrich Kleist. Illustriert und ins Französische übertragen. 33, (5)pp. 1 original lithograph, printed in grey (frontispiece). 6 illus. of collages by Ernst. Folio. Wraps. One of 500 hand- numbered copies, from the limited edition of 610 in all, printed on uncut vélin de Rives. Discreet stamp of the Sammlung Aebli-Streiff, Zürich. Zürich (Hans Bolliger), 1972. $1,250.00 Spies/Leppien 219; Rainwater 114; Stuttgart: Institut für Auslandsbeziehungen: Max Ernst Books and Graphic Work (1977), no. 64

30 EVANS, WALKER. American Photographs. With an essay by Lincoln Kirstein. 195, (1)pp. 87 plates. Sm. sq. 4to. Cloth. D.j. (very slightly nicked at head of spine). Re-issue of the 1938 edition, with a foreword by Monroe Wheeler. Presentation copy, inscribed by Walker Evans “To Hermann and Esther B./ with best regards/ Walker.” The recipients were the parents of Isabelle Storey, Evans’ wife from 1960 to 1970, from whose library this copy derives. New York (The Museum of Modern Art), [1960]. $2,750.00

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31 EVANS, WALKER. Message from the Interior. (6)pp., 12 sheet-fed photogravure plates. Tissue guards. Sm. sq. folio. Orig. cloth with title label. Among the finest and most influential photographic books of the 1960s. Presentation copy, inscribed by Walker Evans “To Jimmy and Tania [Stern]/ a message indeed (what a)/ Walker.” Subsequently inscribed “and with much love/ from Tania + Jimmy.” The Sterns were close friends of Evans and his wife Isabelle Storey, from whose library this copy derives. New York (The Eakins Press), 1966. $3,500.00 The Open Book p. 220f.

32 (EVANS) Agee, James & Evans, Walker. Let Us Now Praise Famous Men: Three Tenant Families. xvi, 471pp., 31 halftone plates. 4to. Cloth. D.j. “It was only after it was reissued in 1960--after Agee had won the Pulitzer Prize, and the American audience had caught up to the book’s vision--that it became a perennial classic. Among early reviewers, Lionel

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Trilling was almost alone in his recognition of the book’s place in history. In the ‘Kenyon Review,’ he called it ‘the most important moral effort of our American generation’ (David Levi Strauss, in Roth). D.j. somewhat chipped at head and back cover, with clean split across spine, though in all reasonably good; the book itself in quite fresh condition. Boston (Houghton Mifflin Company), 1941. $2,750.00 Roth: The Book of 101 Books, p. 108f.; Parr, Martin & Badger, Gerry: The Photobook: A History. Vol. I, p. 144

33 (FLAVIN) Ottawa. National Gallery of Canada. Dan Flavin: Fluorescent Light, Etc. from Dan Flavin. Sept.-Oct. 1969. Texts by Jean Sutherland Boggs, Don Judd, and the artist. Catalogue by Brydon Smith. (274)pp. Prof. illus. Sm. sq. 4to. Wraps. Parallel texts in English and French. Presentation copy, inscribed by the artist in pen on the front flyleaf, “Barbara, thank you!/fond regards, Dan” (and beneath this also inscribed “Brydon,” by the curator Brydon Smith). Barbara Boutin, the recipient, was a staff member of the National Gallery of Canada. A fine fresh copy. Ottawa, 1969. $950.00

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34 (FLUXUS) Fluxus Vacuum TRapEzoid. Fluxus No. 5. March, 1965. (4)pp. (single sheet, folding), printed in on brown wove stock. 560 x 430 mm. (22 x 17 inches). Prof. illus. Tabloid folio. The fifth issue of the Fluxus newspaper, edited and designed by George Maciunas, with a page given to George Brecht. “These temporarily replaced the yearboxes as a faster means of propagandizing the movement and distributing new works; resulted in 9 issues, plus 2 after Maciunas’s death. Each issue is different in content and intent, variously including scores, pieces and ads for Fluxus works, posters for Fluxus concerts, and photo-reportage of past performances” (Phillpot/Hendricks). This issue, dramatically illustrated with mid-nineenth-century wood-engravings and woodblock typefaces, includes a full- page poster for the Perpetual Fluxfest on Sundays that summer at the Cinemathèque (Yoko Ono, Eric Andersen, Ben Vautier, et al.), full-page mail order advertisements for the Fluxshop (Fluxus Yearboxes, Fluxkit, Fluxchess, Fluxorgan, and other pieces by Chieko Shiomi, Robert Watts, Joe Jones, Ayo, Vautier, Alison Knowles, George Brecht, and others); and, last, a “River Wax” Science page: “a special report by the Yam Festival Research Laboratories,” with strange technical arcana (“Initial Uptake of Silica by Excised Barley Roots,” “Friction between Feet and Ground”) intermingled with faux- commercial come-ons and remarks (“Are You as Smooth in Hoboken as You Are in Louisville?,” “You may be the first scientist whose information problemns can’t be helped”) and peculiar photographic and wood-engraved figures. A rolled copy, never folded and in extremely fine, fresh condition. New York, 1965. $1,500.00 Silverman 557; Fluxus Codex p. 96f. (illus.); Phillpot/Hendricks 21

35 (FLUXUS) JOHN YOKO & FLUX all photographs copyright nineteen seVenty by peTer MooRE. Fluxus No. 8 [sic; actually No. 9], 1970. (4)pp. (single sheet, folding), printed on heavy white stock. 550 x 435 mm. (21 5/8 x 17 1/8 inches). Loosely inserted, as issued: printed in black on pale turquoise stock. 513 x 152mm. (20 1/4 x 6 inches). Prof. illus. (123 numbered photos, keyed to the insert). Tabloid folio. The ninth issue of the Fluxus newspaper. “These temporarily replaced the yearboxes as a faster means of propagandizing the movement and distributing new works; resulted in 9 issues, plus 2 after Maciunas’s death. Each issue is different in content and intent, variously including scores, pieces and ads for Fluxus works, posters for Fluxus concerts, and photo-reportage of past performances” (Phillpot/Hendricks). “‘Fluxus Newspaper No. 9 (misnumbered 8) consists entirely of photographs by Peter Moore, with a 2-page insert identifying the contents” (Henricks). These include “Fluxfest Presentation of John Lennon & Yoko Ono +*” at 80 Wooster St., New York, 1970; “Flux-Mass” at Douglass College, February 17, 1970; “Flux-Sports” at Douglass College, and “New Years Eve’s Flux- fest, 80 Wooster St., New York, December 31, 1969. Also detailed on the insert are: “Tickets by John Lennon + Fluxtours,” offering “Unauthorized tickets to visit famous people” (such as Lauren Bacall and James Stewart), a round-trip ticket to Goose Bay, Labrador (John Lennon, $168) and a one-way ticket to Siberia (George Maciunas, $800) and other excursions; “Measure by John & Yoko + Fluxdoctors”;“Blue Room by John & Yoko + Fluxliars;” “Portrait of John Lennon as a Young Cloud by Yoko Ono & Every Participant;” and other pieces. A very fine, fresh copy, never folded. New York, 1970. $1,800.00 Silverman 592; Fluxus Codex p. 99f. (illus.); Phillpot/Hendricks 44

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36 DIE FREIE STRASSE. NR. 9 NOVEMBER 1918. “Gegen den Besitz!” [Editors: Raoul Hausmann and Johannes Baader.] (4)pp. (single sheet, folding). Front page with massive block, tilted on the diagonal, printed in black. Tabloid folio, folded as issued. Texts by Raoul Hausmann (“Gegen den Besitz!,” uncredited), Johannes Baader (“Die Geschichte des Weltkrieges,” under the pseudonym Joh. K. Gottlob), Karl Radek (“Revolution und Konterrevolution”), et al. “That psychoanalytic ideas were acceptable to Dadaists in Berlin was consistent with their adherence to systematic politics, which Dadaists in France, Switzerland and America rejected. Even so it was not Freudian psychoanalysis that interested Dada in Berlin, but a psychotypology that was based on the researches of Otto Gross as systematized in 1916 by Franz Jung...who, the following year, founded the review “‘Die freie Strasse’ to propagate these views. It became the first voice of Dada in Berlin” (Rubin). A brilliant copy, fresh and crisp. Berlin-Friedenau (Verlag Freie Strasse), 1918. $4,500.00 Dada Global 27; Almanacco Dada 59; Bergius p. 414; Dachy, Marc: Archives dada/ chronique (Paris, 2005), p. 131f. (illus.); Dada Artifacts 35; Pompidou: Dada 1369, illus. p. 125; cf. Ades 4.64, Raabe 26, Rubin p. 10

37 GIBBONS, JOE & ZANE, JOE. Parkett. No. 81. Joe Gibbons, Joe Zane. (1), 126, (37)pp. Prof. illus. (numerous color). 4to. Wraps. Edition limited to 20 copies, plus 3 artist’s proofs, signed and numbered by the artists on the spine, together with a

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hand-signed printed statement to this effect by Joe Zane on his stationery, loosely inserted. Texts by the artists, Randi Hopkins, and Tony Conrad. A collaborative artists’ book by Gibbons and Zane, in the form of a faux issue of “Parkett” devoted to their work. Extremely droll (including a mechanically translated parallel text in German, yielding results such as “Joe Gibbonen”), the work is also brilliantly realized from a technical point of view. The video artist and filmmaker Joe Gibbons--whose work has been shown in three Whitney Biennials, and at the Museum of Modern Art, Centre Pompidou, and the Reina Sofia--is on the faculty of the MIT Visual Arts Program; Joe Zane--whose faux Phaidon Monograph was published in 2006, in an edition of 5 copies--is director of production at the MIT Center for Advanced Visual Studies. [Cambridge (The Artists)], 2008. $2,000.00

38 (GRAMATTÉ) Büchner, Georg. Lenz. Ein Fragment. Mit zwölf Radierungen von Walter Gramatté. (Hamburger Handdrucke der Werkstatt Lerchenfeld. 7. Buch.) 51, (3)pp., 12 original etchings. Tissue guards. Folio. Publisher’s heavy pastepaper boards (somewhat worn, as usual; splits in hinges). Edition limited to 150 hand-numbered copies on uncut van Gelder paper, printed for the Buchbund Hamburg; etchings printed by Alfred Ruckenbrod in Berlin. One of Gramatté’s most important works as a printmaker, followed a year later by a suite after Büchner’s “Wozzeck,” also of 12 etchings but not in book form. “In the same way that they turned to spiritual, religious, or mystical subjects, the second-generation [Expressionist] artists were drawn increasingly to the depiction of states of mind. Walter Gramatté executed a series of illustrations for the novella ‘Lenz’ by Georg Büchner, which tells the story of a young man in eighteenth-century Germany who is torn between his search for God and the unrelenting suffering that thrusts him towards atheism. Gramatté’s prints convey the sympathy that he and his fellow artists felt for this questing soul” (Stephanie Barron, in “German Expressionism 1915-1925”). Slight scraping to the boards; a very fine, fresh copy. Hamburg (Werkstatt Lerchenfeld), 1925. $3,000.00 Eckhardt, Ferdinand: Das graphische Werk von Walter Gramatté (Zürich, 1932), nos. 182-193; Lang 95; Jentsch 157; Rifkind/Davis 846; Schauer II.82; Barron, Stephanie (ed.): German Expressionism 1915-1925: The Second Generation (Los Angeles, 1988), p. 35, no. 78

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39 LE GRAND JEU. Direction: Roger Gilbert-Lecomte, René Daumal, Josef Síma, Roger Vailland. Nos. 1-3, été 1928 - automne 1930 (all published). 64-96pp. per issue. Prof. illus. (including hors texte plates). 4to. Dec. wraps. Glassine d.j. Uncut. New clamshell cloth box. Texts and illustrations by Georges Ribemont-Dessaignes, Robert Desnos, Saint-Pol Roux, Jaroslav Seifert, René Daumal, Ramón Gómez de la Serna, Hendrik Cramer, Roger Vailland, Roger Gilbert-Lecomte, Víteslav Nezval, A. Rolland de Renéville, et al.; illustrations by Man Ray, Josef Sima, Maurice Henry, André Masson, Arthur Harfaux, Mayo, Jean Arp, et al. A complete run of the review, which gave its name to a group within (and adjacent to) the Surrealist movement, excommunicated in the course of one of Breton’s characteristic purges. “This parasurrealist journal (the title was borrowed from a book of poems by Péret published in 1928) first appeared at the end of 1928, edited and illustrated by René Daumal, Roger Gilbert-Lecomte, Arthur Harfaux, Maurice Henry, Joseph Sima, and Roger Vaillant. Of those, several like Maurice Henry and Arthur Harfaux, were later to collaborate on ‘Le Surréalisme au Service de la Révolution’.... Given the Surrealists’ desire for communal political action, particularly on the part of Aragon, Breton, Thirion, ‘Le Grand Jeu’ was seen to be closer in spirit to the early numbers of ‘La Révolution Surréaliste’ and the inclination to purely literary and artistic activity which had already led to the expulsions of Artaud, Vitrac and Soupault” (Ades). Wrappers slightly faded; a fine set, complete with the notices for subscribers tipped into the first two issues. Rare. Paris, 1928-1930. $3,500.00 Gershman p. 49; Admussen 103; Ades 9.74, p. 203; Biro/Passeron p. 190f.; Nadeau pp. 143f., 155ff., 331

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40 GREENE-MERCIER, MARIE ZOE. Collage Seventeen. Collage of cut colored wove papers and woven cloth cord, mounted on four layered planes of glass, signed “Marie Zoe Greene” in black ink on the glass at lower right. 600 x 495 mm. (23 1/2 x 19 1/2 inches). Original massive wood frame. An important abstract collage construction in glass and colored paper by Greene-Mercier, one of Moholy-Nagy's first students at the New Bauhaus in Chicago. Dating from 1953, "Collage Seventeen" was one of twenty "polyplane collages," which represent a breakthrough of sorts in her work, and a fascinating chapter in postwar modernist abstraction. The series occupied Greene-Mercier for a decade. On its completion, the complete series was given an exhibition at the Art Institute of Chicago in March-April 1955, at the invitation of Carl O. Schniewind, in the Department of Prints and Drawings. We quote at length from an article by Lloyd C. Engelbrecht on "Marie-Zoe Greene-Mercier: The Polyplane Collages," which appeared in "Art International" in 1978: "Marie-Zoe Greene-Mercier is best known for her grandly-scaled monumental sculpture, such as the two French Government commissions at Barcarès and Arras. Less well known is a series of collages in which she explored the spatial relationships created by separating paper and other materials by multiple panes of glass, which she has named 'polyplane collages.' "There are twenty of these collages in all, the earliest dating from 1946. The first ten to be completed were exhibited on numerous occasions as individual works, and all twenty were shown as a group in the Art Institute of Chicago in 1955. Although some were shown again as a group in the following two years in the same city, since 1957 only a few have been exhibited, at infrequent intervals. With the patina of time acquired in the last twenty years they now seem to be part of a whole, much like a musical suite in which the individual movements each make their statement, at the same time complementing one another. "Greene-Mercier first turned to collage in 1945, when she made a series of three collages using the 'traditional' methods involving pieces of paper and glue. She soon yielded to the sculptor's fascination with construction in space and began to experiment with panes of glass, which she inserted between the pieces of paper. The twenty collages with panes of glass were the result, and since they followed the three without glass, she numbered them from four to twenty-three. The first two were made with three panes of glass, and the rest with four panes. Paper was pressed, and patterned Japanese paper, burlap, thread, string and rope were used as well. The panes of glass are bound tightly together with tape, and the glass is set flush with the other materials except in those collages in which parts of the glass panes were cut away for the artist by a master glass cutter…. "Each collage makes a statement in the Constructivist idiom, and the forms suspended in orthogonally defined space go back to the origins of Constructivism; Malevich exhibited a black square hovering over a white ground in 1915. What Greene-Mercier has accomplished is to articulate orthogonally defined space in a new way, although employing traditional materials. (She once remarked that she rejected the idea of using plexiglass because she was attracted to the long tradition of glass as a material for artists.)" Born in 1911, Greene-Mercier first came to Chicago in 1933, shortly after graduating from Radcliffe, and was involved in Constructivist art in Chicago from the time of her arrival. In 1934 she assisted James Johnson Sweeney with an exhibition of abstract art at the University of Chicago which included the first showing of paintings by Mondrian in the city. At the New Bauhaus she studied with Archipenko and Gyorgy Kepes, as well as with Moholy-Nagy. One of her polyplane collages, "Collage Eight" (1946), was included in the exhibition "Abstract and Surrealist American Art" at the Art Institute of Chicago in 1947. Her successful career, later dedicated primarily to work in bronze and steel, was surveyed in a retrospective exhibition at Amerika Haus, Berlin, in 1977. [Chicago, 1953]. $15,000.00 Engelbrecht, Lloyd C.: “Marie-Zoe Greene-Mercier: The Polyplane Collages” (in: Art International, Vol. 22 No. 6, Oct. 1978, p. 21ff.); Greene-Mercier, Marie Zoe: “The Role of Materials in My Geometric and Abstract Sculpture” (in: Leonardo, Vol. 15, No. 1, Jan. 1982); Mussa, Italo: Marie-Zoe Greene-Mercier. Roma, 1968; Elgar, Frank: Greene-Mercier. Paris, 1978

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41 (GRIS) Dermée, Paul. Beautés de 1918. (Op. 4.) Illustré de quatre dessins de Juan Gris. (30)pp. 4 illus. after drawings by Gris. 4to. Dec. wraps., repeating the design on the title-page. One of 200 copies on papier bouffant, signed and numbered in pen by Gris and Dermée in the justification, from the limited edition of 216 in all. In a letter to Dermée of September 1918, full of poetic uncertainties (“I’m immersed in a dream about such important work that I think of nothing else. Time and space only exist in my life as ideas or elements of my work”), Gris wrote happily, and whimsically, to accept the commission of these illustrations. “With great pleasure will I give the hand of my daughter (a daughter whom I shall create specially) to your newest-born, always provided that my daughter’s guardian has no objections” (the guardian in this case being his dealer, Léonce Rosenberg). The four vignettes are Cubist still-lifes, a bit reminiscent in format of Braque’s woodcuts for Satie’s “Le Piège de Méduse.” A beautiful copy, very fresh and clean. Paris (Éditions de l’Esprit Nouveau), 1919. $3,500.00 Skira 140; Siena 24; Stuttgart 91; Sanouillet, Michel: Dada in Paris (Cambridge, 2009), no. 195

42 (HAINS/VILLEGLÉ) Bryen, Camille. Hépérile éclaté. [Par] Raymond Hains, Jacques de la Villeglé, Camille Bryen. (20)pp. Loosely inserted, as issued: folding double-sided tract/prospectus by the three collaborators, handsomely designed with an elaborate lettriste composition. Sm. 8vo. Cream wraps., printed in grey, with wrap-around band printed in black. Stitched and inserted loose in wrapper, as issued. One of 300 copies “conformes à la maquette,” numbered by hand with a lettrist designation, from the edition of 1000 in all. Bryen’s phonetic poem, first published by P.A.B. in 1950, is here reproduced and distorted using a glass frame spline. An exquisite and historic instance of Hain’s and Villéglé’s lettres éclatées, an aspect of Ultra-Lettrist investigation. Presentation copy, inscribed in blue ink (partly in lettriste characters) by Raymond Hains, “avec mes meilleurs voeux pour 1961,” on a preliminary leaf. Paris (The authors), [1953]. $2,500.00 Poésure et peintrie (Marseille, 1993), pp. 270 (illus.), 272 (illus.)

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43 HARVEY, CIG. The Hope Chest. A love story told in twelve parts. 12 vellum pockets imprinted with text, containing 24 archival Chromogenic print photographs on Kodak Endura luster paper, mounted on gatefold leaves of Stonehenge white paper, each leaf signed on the verso by the artist. Image size with margins: 200 x 200 mm. (8 x 8 inches). Wrap-around letterpress cover/colophon leaf, printed in gold. Sq. 4to. Clamshell box (full navy goatskin gilt). All contents loose, as issued. Edition of 15 copies, signed and numbered by the artist in the colophon. Book design by Cig Harvey and Claire Donnelly. Fine, as issued. N.p. (The Artist), 2010. $5,500.00

44 HUELSENBECK, RICHARD. En avant Dada. Eine Geschichte des Dadaismus. 1.-5. Tsd. (Die Silbergäule. Band 50/51.) 44, (4)pp. Lrg. 8vo. Orig. wraps., with elaborate dada typographic composition, printed in red. “[An] extraordinary positioning of German Dada in 1920. In it Huelsenbeck relates his perspective on the Zürich Dadaists, the Futurists, the Cubists, and on psychology. Taking a position against Tristan Tzara, he sets up the German position that all art and culture is a fraud, a moral safety valve, and should be renounced; and that one’s ideas should only be transformed into life through action” (Dada Artifacts). A fine copy. Hannover/Leipzig/Wien/Zürich (Paul Steegemann), 1920. $1,250.00

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Dada Global 67; Bergius p. 388; cf. Sanouillet: Dada in Paris (Cambridge, 2009), no. 186a; Dada Artifacts 47; Pompidou Dada 1249, illus. pp. 505.2, 722; Washington Dada, illus. 85; Motherwell/Karpel 6; Verkauf p. 101; Gershman p. 24; Rubin 118; Düsseldorf 425; Zürich 325;Raabe 8; Raabe/Hannich-Bode 132.8

45 HUELSENBECK, RICHARD (EDITOR). Dada Almanach. Im Auftrag des Zentralamts der Deutschen Dada-Bewegung. 159, (1)pp., 8 plates. Lrg. 8vo. Orig. printed wraps., designed by Huelsenbeck. Issued in the autumn of 1920, just after the close of the Erste Internationale Dada Messe, the ‘Dada Almanach’ was “the first attempt to give an account of the movement’s international activities, at least in Europe.... Published on the initiative of Huelsenbeck, who was absent from the exhibition,...it contained important articles on the theory of Dadaism...valuable statements by the Dada Club and some pages by some less well-known Dadaists, such as Walter Mehring (‘You banana-eaters and kayak people!’), sound and letter poems by Adon Lacroix, Man Ray’s companion in New York, not to mention a highly ironical letter by the Dutch Dadaist Paul Citroën, dissuading his Dadaist partners from going to Holland. The volume was also distinguished by the French participation of Picabia, Ribemont-Dessaignes and Soupault, quite unexpected in Berlin; their contributions were presumably collected and sent on from Paris by Tristan Tzara. The latter, living in Paris with the Picabias since early January 1920, gave in the ‘Dada Almanach’ a scrupulous and electrifying account of the doings and publications of the Zürich Dadaists....one of the most dizzying documents in the history of the movement” (Dachy). Light crease at lower outer corner of cover; a generally fresh copy. Berlin (Erich Reiss), 1920. $4,000.00 Gershman p. 24; Dada Global 68; Ades 4.68; Almanacco Dada 34; Bergius p. 108f.; Dachy p. 111; Motherwell/Karpel 7; Rubin 464; Reynolds p. 51; Verkauf p. 100; Richter p. 235; Raabe/ Hannich-Bode 132.25; Dada Artifacts 46; Pompidou: Dada 1245, p. 320f., illus. pp. 321, 323, 505, 721

46 HUGNET, GEORGES. Four plaquettes, illustrated by Miró, Picasso, Duchamp and Valentine Hugo. Each (8)pp., on ivory wove stock, issued in self-wraps. Uniform format: 95 x 145 mm. (3 3/4 x 5 3/4 inches). Oblong 8vo. Boards, 3/4 brown morocco gilt. An exquisitely illustrated series of poems, privately printed by Hugnet and intended largely for circulation among his friends and associates; their tiny format reflects the clandestine nature of these Resistance publications during the German Occupation. Though unnamed and unnumbered, the series is complete in these four plaquettes.The Picasso designs, in his wartime Surrealist manner, are extremely fine; the Duchamp, a moustache and goatee isolated on a blank

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sheet--hovering in space “like the smile of the Cheshire Cat,” as Anne d’Harnoncourt and Kynaston McShine put it--is a species of “L.H.O.O.Q.,” made during the production of the “Boíte en valise.” Contents as follows: [I] Non vouloir. Frontispiece by Joan Miró. Text and illustration printed in brown. Limitation unstated. Presentation copy, inscribed in red ink “à Valentine Hugo/ son ami/ Georges Hugnet.” Valentine Hugo was herself the illustrator of one of these plaquettes (cf. IV below). Paris, 1940. [II] Pablo Picasso. 6 zincographs by Picasso, printed in black, of which 3 reworked in copperplate engraving by the artist. Text printed in brown. One of 174 copies, from the limited edition of 200. Presentation copy, inscribed in red ink “à Amy Bakaloff/ en souvenir d’un festival/ peu commun/ de nourritures rares/ ce 20/2/41/ Georges Hugnet.” The poet Amy Bakaloff was the author of “Sombre est noir,” written during the Occupation and published in 1945 as a livre d’artiste, with illustrations by Oscar Domínguez. Paris, 1941. Goeppert/Goeppert-Frank/Cramer 35 [III] Marcel Duchamp. Tipped-in pochoir frontispiece by Duchamp, printed in black graphite. Text printed in blue. One of 174 copies, from the limited edition of 200. Paris, 1941. Schwarz 483; Naumann 5.33, p. 143; d’Harnoncourt/McShine 159 [IV] Au dépens des mots. Frontispiece by Valentine Hugo. Text and illustration printed in gold. One of 174 copies, from the limited edition of 200. Hugnet has annotated the title in red ink to place it partly within apostrophes, “Au ‘dépens des mots.’” The cover is also stamped “Bonne Année 1942.” Paris, 1941. Paris, 1940-1941. $4,500.00 Johnson, Robert Flynn: Artists’ Books in the Modern Era 115; Splendid Pages p. 195; Centre Georges Pompidou: Pérégrinations de Georges Hugnet (Paris, 1978), p. 21ff. (illus.)

47 IZOBRAZITEL’NOE ISKUSSTVO. Zhurnal Otdela Iobrazitel’nykh Iskusstv Komissariata Narodnogo Prosveshcheniia [Visual Art. Journal of the Division of Visual Arts of the People’s Commissariat for Education.] N° 1 (all published). 87, (1)pp. 45 illus. Folio. Orig, wraps., with cover design, printed in color, based on a collage by David Shterenberg. The sole issue of ‘Visual Art,’ the official organ of the Division of Visual Arts of Narkompros (Commissariat for Education), with articles by Malevich ("Nashi zadachi" [‘Our Tasks’], "Os’ tsveta i formy" [‘The Axis of Color and Form’], "O poezii” [‘On Poetry’]), Kandinsky, Punin, Brik and others; and illustrations of advanced work by Malevich, Tatlin, Al’tman, Shterenberg, Rozanova, Miturich and others. “In spite of rebuffs, an illustrated journal with contributions by principal members of the avant-garde was planned in 1918 to run in parallel with the newspapers ‘Art of the Commune’ and ‘Art.’ After considerable delay, the journal (though dated 1919) came out in a single number in 1920. It was called simply ‘Fine Art (‘Izobrazitel’noe iskusstvo,’ No. 1), connecting it in the minds of readers with ‘IZO,’ and, without doubt, this helped to foster the notion that avant-garde art was the instrument of the Party. The cover has a sober Cubist design by Shterenberg, and ‘Fine Art’ included good-quality photographs of paintings and sculptures by the principal avant-garde artists, including Malevich and Tatlin. It served as a herald of new Russian art in

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Western Europe, where it bears comparison with the spate of avant-garde journals in the early 1920s” (Compton). Mends to the wrappers (back cover discolored at spine), discreet contemporary owner signature in red at head of title and top corner of front cover. A fine copy, complete with the fragile wrappers, which are often missing. Petersburg (Narkompros), 1919 [1920]. $3,000.00 MOMA 248-249; Getty 276; Compton, Susan: Russian Avant-Garde Books 1917-34, p. 46ff. (illus.)

48 JERIMADETH. Direction de la revue: Monique Goldschmidt, Frédéric Studeny. [No. 1: all published.] (8)pp., including introduction by Goldschmidt. 20 signed and numbered contributions hors texte, including original gouaches, drawings, collages, and prints in various media (etching, woodcut, screenprint, lithography; some hand-colored), by Jean-Bernard Arkitu, Édouard Berreur, Gérard-Philippe Broutin, Françoise Canal, Jean-Paul Curtay, Myriam Darrell, Jean-Pierre Gillard, Micheline Hachette, François Poyet, Roland Sabatier, Jacques Spacagna, Jacqueline Tarkieltaub, Antoine Grimaud and Patrick Poulain; an original photocopy by Pierre Jouvet, two texts by Isidore Isou and Alain de Latour, and a superb mixed- media assemblage by Maurice Lemaître. Lrg. 4to. Publisher’s chartreuse silk box and chemise, hand-painted in gold on the front cover and spine. Contents loose, as issued. Edition limited to 50 hand-numbered copies, signed in the justification by the editors. Conceived as the first of a series of Lettrist portfolios, only this inaugural volume of “Jerimadeth” appeared. A fine copy. Paris, 1972. $4,500.00 Foster, Stephen C. (editor): Lettrisme: Into the Present (1983), no. 35

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49 (JUDD) Ottawa. National Gallery of Canada. Donald Judd. A catalogue of the exhibition, 24 May - 6 July, 1975. Catalogue raisonné of paintings, objects, and wood-blocks, 1960-1974. By Brydon Smith. xv, (1), 320pp. Most prof. illus. Stout 4to. Orange wraps., printed in black. Parallel texts in English and French. The very rare catalogue raisonné. Presentation copy, inscribed by the artist in pen on the front flyleaf, “for Barbara Boutin/ Don Judd.” Accompanying the catalogue is the invitation to the opening, identically printed in orange and black block letters to correspond with the design of the catalogue. Barbara Boutin, a staff member of the National Gallery of Canada, is noted in the acknowledgments for her work on the exhibition and catalogue. A beautiful copy, and very rare inscribed. Ottawa, 1975. $4,000.00

50 KEPES, GYORGY. Gyorgy Kepes: 12 Photographs. Introduction by Philip Hofer. 4ff. title (printed in red and black), introduction, table and colophon. 12 original gelatin silver print photographs, each signed in full and dated in pencil by Kepes, and each numbered, on the verso, and each archivally mounted in passepartout mats. Image sizes vary, but all are printed on silver paper measuring ca. 8 x 10 inches (ca. 250 x 200 mm.). Portfolio. Publisher’s pale brown linen clamshell box, gilt. All content loose, as issued. One of 20 hand-numbered portfolios from the edition of 25 in all, including 5 artist’s proofs. Completed in March 1977, the portfolio was published by Mary Pratt of Vision Gallery, in collaboration with Nancy and Tom House; the project editor was Brent Sikkema. The photographs were printed and processed to archival standards by Chris Enos under the supervision of Gyorgy Kepes. The letterpress was designed and printed by Katy Homans. The photographs date from Kepes’s Chicago years, 1938 to 1943, with one more from Cambridge, 1948 (and Kepes has dated them using the year of their conception). They include some of his most iconic images, including “Juliet Shadow Caged” (1938), “Eyes” (circa 1941), “Hieroglyphic Body” (1942) and “Fluid Patterns” (1942). “These photographs encompass overtones and undertones that even the remarkably composite American population cannot decipher at once. The prints have an immediate impact indeed. Still they must be studied for further meaning. A predominating strain that strikes this one out of a his multitude of admirers is his comprehension of the fundamental calligraphy behind all art as well as language. Yet there are mirages and powerful surface tensions directed at other facets of our comprehension. This multi-leveled richness is evident as much in his paintings as in his photographic work” (Philip Hofer). A very fine copy. Complete copies are quite rare. Boston (Vision Gallery of Photography), 1977. $15,000.00

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51 (LÉGER) Goll, Ivan. Chansons de France. Dessin de Fernand Léger. (Poets’ Messages.) (16)pp. Line-drawn cover design by Léger. Sm. 4to. Dec. self-wraps., stitched with red thread. Glassine d.j. Copy no. 3, numbered in red, from the limited edition of 700 in all, printed on Chippendale Offset. Unspecified édition de tête, in which the blooms of the flowers on the cover--superimposed on a sketchily drawn map of France--have been hand-colored by Léger in red and blue, and initialled in ink by the artist. Published in New York, where both Léger and Ivan Goll were in exile during the war years, these very classical Gallic poems express Goll’s anguished longing for his lost country. Partly uncut. A fine copy. New York (The Gotham Book Mart), 1940. $2,800.00 Saphire, Lawrence: Fernand Léger: The Complete Graphic Work (New York, 1978), p. 299 (alluding to the colored copies); Centre Pompidou: Paris-New York (Paris, 1977), chronology: 1940

52 LEMAITRE, MAURICE. [“Corps écrit/offert.”] Suite of 10 original color photographs, overpainted in the negative in white and/or black, all signed on the print (8 in brown ink, 2 in white). 301 x 202 mm. (ca. 11 7/8 x 8 inches). Loose in folder. No. 2 of an edition of 3 in all. Each is inscribed by Lemaître in brown ink on the verso: “Prise de vues: 1981. Enrichissement: 1989. Tirage: 2007. 2/3.” Hazily solarized studies of a nude model, with brush-painted Lettrist interventions in white or black, the images printed in pale green or pale sepia tones. One of the compositions is printed in two versions, in different tonalities, and with a second stage of Lettrist inscription in the image. The suite was exhibited at the Atelier Lettrista, Verona, in February-March 2008, as “Maurice Lemaítre Corps écrit/offert.”

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[Paris], 2007. $4,000.00

53 (LÉVIS-MANO, GUY, ED.) Des poèmes. Directeur: Guy Lévis-Mano. Cahiers no. 1-3 (all published). 68pp. (through- paginated). 16 illus. (partly in woodcut). Lrg. 8vo. Printed wraps. Glassine d.j. Fine fitted clamshell box (pastepaper boards, 1/4 cloth, foil doublures). Texts by Guy Lévis-Mano, Marcel Aubret, Halina Izdebska, André Jullien du Breuil, Gaston Poulain, Marie Sauvage, Jane Doloé, L. de Leusse, Hella Helminska, André Cerny, Gil Vertal. Illustrations by Robert Barriot, Jean Lebedeff, Gaston Poulain, Pierre Thiriot, L. de Leusse, José Angel Ferrer, Christine de Steiger. One of the early editorial projects of the remarkable Guy Lévis-Mano (GLM), then still only twenty years old. “‘A dix-sept ans j’écrivais des poèmes,’ confia-t-il un jour. Deux ans plus tard il les publiait et de 1923 à 1928, entouré des amis tels qu’Halina Izdebska, Gaston Poulain, Marie Sauvage, Robert Barriot, Jeanne Bergson, il édita quatre revues successives [“La revue sans titre,” “Des poèmes,” “Ceux qui viennent,” “L’arc-en-ciel”] et quatre livres. Publiées en coopérative,’ ce qui signifie, semble-t-il, que les auteurs participaient aux frais, ces revues éphémères étaient ouvertes aux jeunes poètes et peintres--elles étaient très illustrées--sans parti pris de chapelle: ‘Nous irons à l’art pour tous les chemins’ était-il proclamé dans l’une d’elles [“Des poèmes”] (Coron). No. 1 is present in this set as one of 50 numbered copies on vergé antique hollande. Fine condition. Rare: OCLC records only one set, at Yale. Paris, 1924. $1,450.00 Coron, Antoine: “‘Un artisan de belles formes vraies,” in: “Les Éditions GLM 1923-1974: Bibliographie” (Bibliothèque Nationale, 1981), p. viii

54 LEWIS, WYNDHAM. Fifteen Drawings. 15 plates (7 color) mounted on heavy grey wove mounts, each titled (in French as well as English) and stamped with a vignette design by Edward Wadsworth, the emblem of the Ovid Press. Folio. Portfolio (boards, with mounted color illustration by Lewis on front cover). Colophon statement on the interior of the front cover, written in ink in John Rodker’s hand: “250 Copies/ This is No. 16.” The second of Lewis’s three portfolios (the last was published in 1932), “Fifteen Drawings’ is the rarest, no more than 50 copies having actually been issued (as confirmed by Rodker himself by 1929). Their assembly seems to have been a haphazard process. Copies vary in the selection of the plate used for the cover (this one has “Nude I,” a more effective choice than the more common selection, “Group”), and, as noted by Pound and Grover, plates in the portfolios are sometimes matched with the wrong mounts (here two different compositions are tipped onto mounts for “Nude III”). The subjects include a famous portrait of Ezra Pound, and two other Heads, four nude studies, two drawings for ‘Timon of Athens,’ “Blue Nudes,” “Group,” “Pole-Jump,” “Post-Jazz,” “Reading Room, British Museum,” and “Seraglio.” Portfolio slightly soiled, slightly chipped at extremities. London (The Ovid Press), n.d. [1919]. $7,500.00 Pound, Omar S. & Grover, Philip: Wyndham Lewis: A Descriptive Bibliography (Folkestone, 1978), B2; Michel, Walter: Wyndham Lewis: Paintings and Drawings (Berkeley/Los Angeles, 1971), p. 448

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55 LEWITT, SOL. Grids, using straight lines, not-straight lines & broken lines in all their possible combinations. [Grids.] 28 etchings. (4)ff., 28 original etchings, each initialled in pencil by the artist on the verso, printed on Rives BFK. 270 x 270 mm. (10 5/8 x 10 5/8 inches). Tissue guards. Lrg. sq. 4to. (285 x 285). White silk over boards, stamped in black. Paper slipcase (slightly abraded). Edition limited to 25 copies in all, and 10 artist’s proofs, signed and numbered by Lewitt in pencil in the center of the last leaf. Printed by Kathan Brown at the Crown Point Press, Oakland. “Departing from his other offset- printed books, LeWitt’s Crown Point books are beautifully hand printed and bound. ‘Grids...’ holds twenty-eight full page etchings. The progressions are listed first, from combination number one (‘Straight/Straight’) through number twenty-eight (‘Straight, Not-Straight, Broken/Straight, Not-Straight, Broken’). The cut of the etched lines into the soft paper (the lines which at first glance appear straight, and then on closer inspection reveal their freely drawn character), produce a vital page design and pleasurable viewing experience. A hand printed and bound LeWitt exerts a stronger sense of weight and permanence that creates a bridge between the intuitive idea guiding his books, and a stronger, more engaging contact sustained by the viewer while paging through LeWitt’s system” (Minneapolis). A fine copy. New York (Parasol Press Ltd.), 1973. $20,000.00 Barbara Krakow Gallery: Sol LeWitt Prints Catalogue Raisonné 1947-2006, no. 1973.03; Minnesota Center for Book Arts: Pick up the book, turn the page and enter the system: books by Sol LeWitt (Minneapolis, 1988)

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56 LEWITT, SOL. Straight Lines in Four Directions & All Their Possible Combinations. Fifteen etchings. Title/colophon leaf, and 15 original etchings, each signed and numbered in pencil on the verso, printed on Arches Satine, loose as issued. 265 x 265 mm. (10 1/2 x 10 1/2 inches). Lrg. sq. 4to. (290 x 290 mm.). Publisher’s ivory cloth box. Edition limited to 25 copies in all, and 10 artist’s proofs, printed by Kathan Brown at the Crown Point Press, Oakland. A fine copy. New York (Parasol Press,Ltd.), 1973. $9,000.00 Barbara Krakow Gallery: Sol LeWitt Prints Catalogue Raisonné 1947-2006, no. 1973.05

57 LEWITT, SOL. Three Kinds of Lines & All Their Combinations. 1. Straight lines, 2. not-straight lines. 3. broken lines, 4. alternate straight & not-straight lines, 5. alternate straight & broken lines, 6. alternate not-straight & broken lines, 7. alternate straight, not-straight & broken lines. Seven black & white etchings. Title/colophon leaf, and 7 original etchings, each signed and numbered in pencil on the verso, printed on Rives BFK, loose as issued. 692 x 540 mm. (27 1/4 x 21 1/4 inches). Lrg. folio (710 x 555 mm.). Publisher’s ivory cloth box (slightly scuffed). Edition limited to 25 copies, printed by Kathan Brown at the Crown Point Press, Oakland. A fine copy.

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New York (Parasol Press Ltd.), 1973. $15,000.00 Barbara Krakow Gallery: Sol LeWitt Prints Catalogue Raisonné 1947-2006, no. 1973.01

58 LEWITT, SOL. [Color Grids.] Suite of 45 original etchings, printed in four colors, through-numbered 1-45 in pencil on the verso, and each signed in pencil on the verso by the artist, printed on Rives BFK. 508 x 508 mm. (20 x 20 inches). Edition limited in all to 10 copies and 7 artist’s proofs. Printed by Gerald Sisco at the Crown Point Press, Oakland. Simultaneously published with this suite was a separate issue of the same prints in bound form, cut down to substantially smaller dimensions (the book version measures 10 1/2 x 10 1/2 inches only), also limited to 10 copies and 7 artist’s proofs. In the book version, the prints are initialled on the versos, rather than signed as they are here. Though the Krakow Gallery catalogue raisonné refers to both simply as “Color Grids,” neither is explicitly identified with this title in the publication itself. The book version (cat. 1975.02) is called “Grids, using straight, not-straight and broken lines in yellow, red & blue and all their combinations” on a formal title-page, whereas the print suite was issued without a title. In this suite, plate 7 is numbered but not signed. Very fine condition. New York (Parasol Press Ltd.), 1975. $40,000.00 Barbara Krakow Gallery: Sol LeWitt Prints Catalogue Raisonné 1947-2006, no. 1975.03

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59 LEWITT, SOL. The Location of Lines. Five etchings. Title/colophon leaf, and 5 original etchings, each signed and numbered in pencil on the verso, printed on Rives BFK, loose as issued. 457 x 457mm. (18 x 18 inches). Tissue guards. Sq. folio (465 x 465 mm.). Publisher’s black cloth box (slightly soiled). Edition limited to 25 copies in all, and 10 artist’s proofs, printed by Gerald Sisco at the Crown Point Press, Oakland. A fine copy. New York (Parasol Press Ltd.), 1975. $8,500.00 Barbara Krakow Gallery: Sol LeWitt Prints Catalogue Raisonné 1947-2006, no. 1975.06

60 LEWITT, SOL. The Location of Six Geometric Figures (Circle, Square, Triangle, Rectangle, Parallelogram and Trapezoid). Six etchings. Title/colophon leaf, and 6 original etchings, each signed and numbered in pencil, printed on Rives BFK, loose as issued. 608 x 507 mm. (24 x 19 7/8 inches). Tissue guards. Lrg. folio. (625 x 525 mm.). Publisher’s black cloth box. Edition limited to 25 copies and 10 artist’s proofs, printed by Kathan Brown at the Crown Point Press, Oakland. A fine copy. New York (Parasol Press Ltd.), 1975. $12,000.00 Barbara Krakow Gallery: Sol LeWitt Prints Catalogue Raisonné 1947-2006, no. 1974.01

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61 (LORENZ, KARL) W. Shakespeare. Helena. [Aus: Ein Sommernachtstraum. Übersetzt von A.W. Schlegel. Schnitte von Karl Lorenz.] (2. Gastdruck.) 11ff., with 22 compositions (many arranged in double-page spreads), printed entirely in full- page woodcuts, all with black ground, finished by hand in red, yellow, blue, green and brown watercolors. The cuts include text on most leaves (all partly illuminated in watercolor), five leaves with watercolored figure compositions (each signed and dated “KLorenz 27” in pencil), and watercolored abstract decorative endpapers. Sm. folio. Loose signatures, within the original plain heavy cardboard folio, boldly inscribed by Lorenz in pencil on the front cover: “Shakespeare/ 25/ Schiefler.” Printer’s pinholes in corners of the sheets. Copy 25, signed and numbered in pencil, from the unspecified limited edition, here inscribed to the wife of the distinguished Expressionist art historian and collector Gustav Schiefler, “Luise Schiefler frdl./ K. Lorenz.” The writer and artist Karl Lorenz (1888-1961), editor of “Die Rote Erde” and “Das neue Hamburg” and an influential figure of the Expressionist movement in Hamburg, is also important in the history of modern German artists’ books for the small woodcut editions he designed and printed at his own Turmpresse, between 1925 and 1933. This book combines bold, deliberately childlike images of a moon-faced stick-figure, delineated in primary colors against a deep black ground, with a large-scale simplified text, set on facing pages against the same deep black. Simple and as casual in style as a crayon drawing, the graphic and coloristic effect is almost of a children’s book realized in glowing stained glass. A fine, fresh copy. [Malente-Gremsmühlen] (Turmpresse), 1927. $4,000.00 Rodenberg Erg.-Bd. 64

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62 MALLARMÉ, STÉPHANE. Un coup de dés jamais n’abolira le hasard. (30)pp. Folio. Printed wraps. Originally published in 1897 in an issue of the review “Cosmopolis” (in somewhat different form and in a smaller format); this is the first independent and most influential edition of “Un coup de dés,” without doubt the single most important composition in the history of modernist typography. “Mallarmé’s work occupies a seminal position in avant-garde page design comparable to that of Picasso’s ‘Les Demoiselles d’Avignon’ in the history of modern painting. It directly or indirectly influenced works by many artists and writers, including typographical compositions by Guillaume Apollinaire and the Futurists, the Cubists’ juxtapositions of different viewpoints in different image planes; the Suprematists’ invention of infinite space inhabited by geometric forms; the use of figure-ground relationships in functional typography; Henri Matisse’s notion of harmony as a balancing act, and Marcel Duchamp’s visual and verbal displacements” (Andel). A little light wear to the wrappers; a nice copy. Paris (Éditions de la Nouvelle Revue Française), 1914. $5,000.00 Carteret II.100; Andel, Jaroslav: Avant-Garde Page Design 1900-1950 (New York, 2002), p. 24ff. (illus. 6); Andel, Jaroslav: The Avant-Garde Book 1900-1945 (New York, Franklin Furnace, 1989), no. 3; Baudelaire to Beckett 307; Poésure et peintrie p. 70f.

63 MAN RAY. La photographie n’est pas l’art. 12 photographies. Avant-propos de André Breton. (10)pp., 12 fine halftone plates on yellow coated stock. Sm. 4to. Publisher’s printed blue folder, within die-cut black outer folder. “This remarkable little book, a return to Man Ray’s dada roots, presages the postmodern artist’s photobook in terms of its self-reflexive attitude and complex referential twists and turns. It can be taken as a summation of his experiments in photography, and might be

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said to be his photographic swansong. The year the book was published (1937), he decided to give up photography altogether, and rented a studio in Antibes in order to devote himself to painting” (Parr). Blue folder slightly lightstruck; a little light wear. Paris (G.L.M.), 1937. $3,750.00 GLM 148; Parr/Badger Photobook I, p. 108f.; Ades 12.156; Gershman p. 37; Reynolds p. 70

64 MARINETTI, F.T. Les mots en liberté futuristes. 107, (9)pp., including 4 folding plates (extending, when opened, to 363 mm., or ca. 14 1/4 inches). Wraps., printed in red and black. Glassine d.j. The great masterpiece of Futurist typographic expression; the folding plates present the most famous of all parole in libertà. Partly unopened. Light browning, a two short splits in the folding plates; a fine copy. Milano (Edizioni Futuriste di “Poesia”), 1919. $3,750.00 Salaris p. 48; Falqui p. 45; Jentsch, Ralph: The Artist and the Book in Twentieth-Century Italy, p. 328; Pompidou: Dada 1261; Franklin Furnace 44; Spencer p. 24f.; The Avant-Garde in Print 1.3, 1.4, 4.1; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, p. 104f., nos. 101, 104; Johnson, Robert Flynn: Artists’ Books in the Modern Era 31; Splendid Pages p. 189, fig. 56

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65 DER MARSTALL. Zeit- und Schreit-Schrift des Verlags Paul Steegemann. Heft 1/2 (all published). 58, (6)pp. 5 illus., including 1 full-page drawing by George Grosz. Orig. tan self-wraps., printed in red and black. A Dada almanac from the publisher of Schwitters’ “Anna Blume,” with a special feature, “Das enthüllte Geheimnis der Anna Blume” (“Briefe und Kritiken von Anonymen/ Ärzten/ Freunden und Feinden/ dada/ Unfreiwillige Beiträge von Alfred Kerr/ Theodor Däubler/ Adolf Behne/ Victor Aubertin/ Paul Fechter/ Johann Frerking/ Franz Lafaire/ u.a.”), and with other texts by “Oberdada” Johannes Baader (“Wer ist Dadaist?”), Klabund (“Dadakratie”), Richard Huelsenbeck (“Geschichte des Dadaismus”), Otto Flake (“Über Hans Arp”), Walter Serner (“Die gelösten Welträtsel”), and Melchior Vischer (“Sekunde durch hirn”), among others. There is also an unsigned report on “Die Dada-Kongresse in der Schweiz.” A notice is included advertising a projected second issue of equal interest (Edschmid, Arp, Baader, Holl and others), but “Der Marstall” ceased with its first issue. Small expert mends to the wrappers; a fine copy of this fragile issue. Rare. Hannover (Paul Steegemann), 1920. $4,000.00 Dada Global 107; Almanacco Dada 88; Motherwell-Karpel p. 162; Verkauf 102; Dada Artifacts 65; Düsseldorf 517; Zürich 384; Pompidou: Dada 1382, illus. 909.5; Raabe 91; Raabe/Hannich-Bode 288.2

66 (MATISSE) Rouveyre, André. Repli. Gravures de Henri Matisse. 163, (7)pp. 12 original lithographs hors texte, of which 6 printed on white stock and 6 on grey. 6 linocut lettrines and culs-de-lampe (2 printed in red, 4 in black). 4to. Portfolio; all contents loose, as issued. Wrapper, printed in yellow pochoir with a cut-out composition designed by Matisse. Publisher’s chemise and slipcase (heavy boards, slightly rubbed). Édition de tête: one of 25 numbered copies (of 35) printed on Montval vélin à la forme and accompanied by an extra suite of the lithographs on chine, signed by Matisse and Rouveyre

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in the justification, from the edition of 335 in all, the remainder of which was printed on Arches. Lithographs printed by Mourlot Frères, gravures by Feuquet et Baudier. A cycle in two parts, commemorating, in poems and images, the end of a love affair between Rouveyre--shown in six portraits by Matisse--and an unnamed woman, similarly depicted in brilliantly elegant line drawings, to whom the poet had dedicated two other works in the 1930s. The lemon-yellow design of the wrapper recalls the cutouts of Matisse’s “Jazz,” published in the same year. A few tiny foxmarks; a fine copy. Paris (Éditions du Bélier), 1947. $12,000.00 Duthuit, Claude: Henri Matisse: Catalogue raisonné des ouvrages illustrés 20; Musée Matisse: Henri Matisse: L’art du livre (Nice, 1986), p. 52f.

67 MESSAGE FROM NOWHERE. /Message de nulle part. Collection of poetry, drawings & criticism. Edited by E.L.T. Mesens. November 1944 [all published]. 23, (1)pp. Prof. illus. Self-wraps. The fourth English surrealist publication to appear during the War; Mesens’ “London Gallery Bulletin” had ceased publication in 1940. “Hommage to Alfred Jarry,” with texts in English and French (some parallel), by Jarry, Mesens, André Breton, Roland Penrose, Patrick Waldberg, Simon Watson Taylor, et al., and line-drawn illus. of work by Jarry, Cazals, Picasso, Banting, and others; correspondence from Osbert Sitwell, Herbert Read, E.M. Forster, Stuart Gilbert, Robert Melville et al. Very light wear. Scarce. London (London Gallery Editions), 1944. $650.00 Ades 16.41; Biro/Passeron p. 279; Jean: Autobiography p. 417,

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68 MINKKINEN, ARNO RAFAEL. White Underpants. 1f. (title/colophon leaf), 20 vintage selenium-toned gelatin silver prints, each signed on the verso in pencil by the artist. Sheet size: 10 x 7.5 inches. Image size: 5.5 x 3.5 inches. 4to. Clamshell box with stretch-fabric wrap-around band, mounted with title. Contents loose, as issued. Edition of 20 copies, signed and numbered in ink by the artist in the colophon. Images dated between October 1971 and October 1973, printed by the artist and assembled in 1976. Fine, as issued. N.p., [1973]. $30,000.00

69 (MIRO) Hirtz, Lise. “Il était une petite pie.” 7 chansons et 3 chansons pour Hyacinthe avec 8 dessins en couleur. (39)pp. 8 color pochoir plates after gouaches by Miró, secured with two silk cords and laid loose in portfolio, as issued. Lrg. 4to. Publisher’s grey cloth portfolio, the front cover embossed in black and green with a design by Miró, recapitulating one of the plates; cloth ties. One of 280 hand-numbered copies on Arches, from the limited edition of 300 in all, printed by Jean Saudé (“Maître Coloriste”), Paris. One of the most enchanting of all modern livres d’artiste. “The eight pochoir illustrations in this book constitute Miró’s first interaction with printmaking. Spare yet colorful, they are comparable to his paintings of the period, demonstrating an elegant minimalism to which he would rarely return” (Johnson). “In ‘Il était une petite pie,’ the handwriting gives a naive quality to the book, as though it had been produced by a little girl. At the same time, it is undeniably ornamental. Above all, it clearly shows the intent of the livre de peintre to avoid at any cost the industrial aspects of book production. In ‘Il était une petite pie’ these same homemade, natural, spontaneous features characterize the pochoirs en couleurs” (Hubert). An extremely fresh and bright copy, entirely unfoxed and the portfolio in exceptionally fine condition. Paris (Édition Jeanne Bucher), 1928. $12,500.00 Cramer I (hors catalogue); Dupin 1-8; Skira 262; Johnson: Artists’ Books in the Modern Era 98; Splendid Pages p. 191; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, p. 330, illus. 417-419; Chapon p. 197; Hubert p. 101f.; The Book Stripped Bare 43; Wheeler p. 107

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70 MUNARI, BRUNO. Xerografia. Documentazione sull’uso creative delle macchine Rank Xerox. (56)pp. Prof. illus. 4to. Dec. wraps. Privately published by the Rank Xerox corporation, and not for sale, this publication documents Munari’s experiments with xerography, dating especially from 1970 and after, when a Xerox machine was placed at the disposition of artists at the 35th Biennale di Venezia. “Si se vuole arrivare a un’arte di tutti (e non a un’arte per tutti, come scrisse recentemente un famoso critico francese) è necessario trovare degli strumenti che facilitino l’operazione artistica e contemporaneamente, dare a tutti i metodi e la preparazione per poter operare.... Uno dei compiti dell’operatore visuale sarà quello di sperimentare, di cercare gli strumenti e di passarli al prossimo, con tutti i ‘segreti del mestiere’ che possono facilitare l’operazione del fare. Le macchine Rank Xerox hanno la possibiltà di aiutare chiunque a manifestarsi. Inventate per riprodurre immagini, oggi possono produrne” (from the artist’s preface). A fine copy. Rare. N.p. (Rank Xerox), [1972]. $1,800.00 Maffei, Giorgio: Munari: I libri (Milano, 2002), p. 131; Cf. Tanchis, Aldo: Bruno Munari: Design as Art (Cambridge, 1987), p. 106ff.

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71 NEMOGUCE. /Nemogucé./ L’impossible. (2), 136, (4)pp. Prof. illus. Lrg. 4to. Pink wraps., printed in black. The most celebrated, and most comprehensive publication of Serbian surrealism, edited by Marko Ristic. Texts by Milan Dedinats, Mladen Dmitrijevic, Petar Popovic, Oskar Davico, Vane Zivadinovic-Bor, and Aleksandar Bucno, as well as Paul Éluard, Benjamin Péret, René Char, André Breton, Louis Aragon, André Thirion and others. Illustrations by Vane Bor, Djordje Jovanovic, Oskar Davico, Djordje Kostic, Vane Zivanovic-Noe, Rade Stojanovic, Marko Ristic, Nikola Vuco. ‘Outside France, apart from Belgium...the first countries to organize official surrealist groups were those in Central Europe and the Balkans--the countries where French influence was strongest between the two World Wars, and which had the closest ties with Paris.... In Yugoslavia, a properly constituted surrealist group existed, and in 1930 published a collection of texts and illustrations under the title of ‘Nemogoutché’ (‘The Impossible’) at the ‘Surrealist Press’ in Belgrade. This publication, which included articles by French surrealists with whom they were in correspondence... was the ‘first collective manifestation of Surrealism in Yugoslavia.’ Its appearance was not dissimilar to that of ‘La révolution surréaliste,’ and it featured a number of unusual photographs, some executed in Paris, and reproductions of pictures in tragic tones by Vane Bor, others by Zivanovitch-Noe very much influenced by André Masson, and drawings by Stoyanovitch, Jovanovitch, and Davitcho” (Marcel Jean). The double-page title composition, printed in red and black, is a work of haunting beauty. An exceptionally fine copy. Beograd (Nadrealistichka Izdanja/ Éditions surréalistes), 1930. $8,500.00 Jean, Marcel: The History of Surrealist Painting (London, 1960), p. 259; Biro/Passeron p. 299; Benson, Timothy O. (ed.): Central European Avant-Gardes: Exchange and Transformation (Los Angeles, 2002), p. 291f.; La planète affolée: Surréalisme, dispersion et influences, 1938-1947 (Marseille, 1986), p. 251; Milano p. 650

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72 ONCHI KOSHIRO. Umi no dowa [Fairy Tales of the Sea]. July 1934. (16)pp., including 6 full-page color woodcuts. Typography printed in grey, with elements in colors. Sm. folio. Portfolio (printed wraps.). Orig. cellophane d.j. (losses). Contents loose, as issued. A beautiful and sophisticated livre d’artiste, with surrealist-cum-purist compositions of figures and parts of the body, cogs and vegetal forms, pure geometric abstraction, and other elements. "Onchi contrived to have published a number of albums of his prints, often accompanied by his own verses. The 1934 'Umi no Dowa,' 'Nursery Tales of the Sea,' for instance, is a series of six designs 'cut by the artist himself on fifteen blocks' (though never more than three for any one print), with verses by the artist. The designs are of a kind of chance groupings of fragments of human figures or everyday objects, in conjunction with geometrical shapes, the block-applied colour making its own quite illogical contribution. One is reminded more than anything else of the abstracts of certain Russian Constructivists of the 1920s, with their spare designs partially helped out by machine drawing, and it is conceivable that Onchi had had the chance to study specimens of their work" (Hillier). One of the leading Japanese graphic artists of the century, Onchi (1891-1955) is thought to have created the first pure abstraction in Japanese art, in 1915. The predominant mode of his work, which he termed lyricism, exhibits “a dreamy poeticism created by the intermingling of the abstract and the figurative” (Toru Asano, in the article on Onchi in the Dictionary of Art). First and last leaves with a little faint foxing; in general a fine, crisp copy, complete with the extremely rare obi (printed in red on cream-colored stock). Tokyo (Hangaso), 1934. $6,500.00 Urawa Art Museum: Books as Art: From Taisyo Period Book Design to Contemporary Art Objects (2001), p. 79 pl. 70; Cf: Centre Georges Pompidou: Japon des avant-gardes 1910/1970 (Paris, 1986), pp. 27, 33; Hillier, Jack: The Art of the Japanese Book (London, 1987), p. 1019

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73 OPPENHEIM, DENNIS. Project Proposals for Western United States. 10 color lithographs, each boldly signed in full, numbered and dated 1978 by the artist in pencil. Each ca. 39 1/2 x 27 inches (103 x 68.5 cmm.). Loose sheets. Editions of 100 copies each (of which each lithograph is differently numbered), printed on fine uncut wove paper. The subjects are titled as follows (dates refer to the date of the proposals): "Ghost Trip" (1976), "Tar Wells" (1976), "Ground Based Shape Collections" (1976), "Two Ways to Skin a Cat" (1977), "Death Ramp" (1977), "Star Field" (1977), "Tank Skid" (1977), "Cage Screen Test" (1977), "Dry Wells" (1977), "No Room for Horses" (no date). This impressive series of lithographs, all titled (or subtitled) "Project Proposal for Western United States" (two simply "Proposal for Western United States") and all uniform in size, edition, and style, was possibly published as a group of separate, independent prints, rather than as a single suite. All of them present, on a very large scale and with overlays of sometimes phosphorescent color, multi-part compositions of aerial photographs--manipulated to depict the unbuilt monuments and earth-art constructions as they might might actually appear, casting shadows on the landscape--in juxtaposition with large-scale drawings, sketches, plans, and maps of the location and terrain. "Dry Wells" includes an aerial view (from a model) of six concrete stacks spread out over one square mile; “Two Ways to Skin a Cat," a vast inscription of the title, 200 feet long, in excavated earth; "Tank Skid," towers in concrete and glass, 20, 30, 40 and 50 feet high. The prints have a grandeur and graphic assurance that work perfectly with the visionary dimension of the projects. [New York?], 1978. $6,500.00

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74 (ORLOFF) Justman, Ary. Réflexions poétiques. Chana Orloff: Reproductions de sculptures. (68)pp. 12 plates hors texte, including 3 original woodcuts, 3 illustrations of drawings, and 6 halftone plates of sculpture. Lrg. 4to. Wraps. One of 300 copies on papier bouffant, from the limited edition of 316 in all. A rare livre d'artiste from the "SIC" milieu, with extraordinary woodcuts by Chana Orloff and verse by her short-lived husband Ary Justman. The sculptor and printmaker Chana Orloff (1888-1968), born in the Ukraine, moved to Paris in 1910, and was active in Parisian Cubist circles in the teens and twenties, exhibiting at the Salon d'Automne beginning in 1913, and at the Salon des Indépendants. "Although influenced to some extent by Cubism, Modigliani, and the vogue for the primitive, she soon established a distinctive idiom: essentially naturalistic, but tending to a decorative simplication of form and a love of smooth rounded surfaces. In the early 1920s, Orloff gained a considerable reputation for her portrait sculptures of the Parisian cultural élite" (M. Bohm-Duchen, in The Dictionary of Art). Her woodcuts, which exploit the grain of the block with remarkable effectiveness, are instantly recognizable. Some of them appeared in "SIC," which published this book, and to whose editor, Pierre Albert-Birot, it is dedicated. Of "Réflexions poétiques," Donna Stein remarks that "The most fertile period of Cubist book publication occured after World War I, when adherents of the style had achieved some commercial success, but were no longer a coherent group. Concurrently there was a widespread revival of the art of the woodcut.... Wood was Orloff's favorite sculptural material, and she was able to transfer the organic sense of Cubist deformation onto her woodblock in the creation of one particularly noble and psychologically penetrating portrait made for this book." Cover lightly foxed. Presentation copy, inscribed by Orloff on the title-page, in 1921. Paris (Éditions SIC), 1917. $3,500.00 Stein, Donna (ed.): Cubist Prints, Cubist Books (New York, 1983), no. 57, p. 62; Siena. Palazzo Pubblico: Libri Cubisti (1988), no. 71

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75 PARIS. SALLE GAVEAU. Festival dada. Mercredi 26 mai 1920 à 3 h, après-midi. Programme. Handbill poster, printed in black on pale green stock, overprinted in orange with an elaborate dada mechanomorphic drawing by Picabia (and additional text). On the verso: catalogue of the Dada publishers and gallery Au Sans Pareil. 350 x 250 mm. (13 5/8 x 9 3/4 inches). Design by Francis Picabia and Tristan Tzara. On the program (which is headlined in orange with the announcement “Tous les Dadas se feront tondre les cheveux sur la scène!”) are featured “le sexe de dada,” “le célèbre illusioniste” by Philippe Soupault, “le nombril interlope, musique de Georges Ribemont-Dessaignes, interprété par Mlle. Marguerite Buffet,” “festival manifeste presbyte, par Francis Picabia, interprété par André Breton et Henri Houry,” “le rastaquouère” by Breton, “la deuxième aventure de monsieur Aa l’antipyrine” by Tristan Tzara, “vous m’oublierez, sketch par André Breton et Philippe Soupault,” “la nourrice américaine, par Francis Picabia, musique sodomiste interprétée par Marguerite Buffet,” “manifeste baccarat” by Ribemont-Dessaignes, enacted by Soupault, Breton and Berthe Tessier, “système DD” by Louis Aragon, “je suis des javanais” by Picabia, “poids public” by Paul Éluard, and “vaseline symphonique,” by Tzara, among other things; foxtrots were played on the famous organ, accustomed to Bach; Ribemont-Dessaignes performed his “danse frontière,” wrapped in a large cardboard funnel oscillating at its tip. The audience, pettishly put out by the Dadas failing to have their heads shaved as promised, pelted the participants with tomatoes, rotten eggs, bread rolls, and, from one corner, veal cutlets, a novel touch. Tiny tears at edges, with a few small losses at bottom; a very fine, comparatively bright copy, superior to those exhibited in the 2005/2006 exhibitions, particularly rare with such strong color. Paris, 1920. $9,500.00 Documents Dada 20; Dada Global 229; Almanacco Dada p. 607; Sanouillet, Michel: Dada in Paris (Cambridge, 2009), no. 768; Motherwell/Karpel 45, p. 111ff., illus. p. 179; Dachy p. 136 (illus. in color); Dachy: Archives Dada/Chronique p. 422 (illus. in color); Düsseldorf 257; Zürich 443; Tendenzen 3.112; Pompidou 1472, illus. p. 431; Washington: Dada pl. 360

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76 PEREIRA, I. RICE. The Lapis. (40)pp. 11 color prints in text. 5 illus. (color). Loosely inserted in pocket under front cover, as issued, a suite of 5 original watercolors on cream wove paper. Dimensions of the suite: 328 x 385 mm. (ca. 13 x 15 inches). Title-page printed on uncut handmade wove paper. Folio. Publisher’s boards, stamped in gold (lightly rubbed). Édition de tête: one of 53 copies signed and numbered in pen by the artist, and “specially bound with original water colors:” 5 large- scale finished watercolor compositions, each signed and dated in ink Christmas Eve 1954, and each with extensive calligraphed annotation and commentary by Pereira in black and sepia inks. Preceded by a title sheet of handmade wove paper (“The Lapis” brushed in blue paint), the suite recapitulates completely the series of five compositions and text which make up the “Second Version, Christmas, ‘54” illustrated in the book. “‘The Lapis’ is an interpretation of a dream of a Lapis Lazuli stone monument with a figure incised in the stone. I was surprised myself by it. I never knew what a philosopher’s stone looked like, The diagrams, pictures and text show the contradictions between the experience of an inner image and the optical illusions of visual representation. The diagrams and text are concerned with art, objects, and gravitational centers of mind-energy in connection with world-views.... Geometric systems of thought have avoided the infinite; whereas, visual and intuitive perception involves the infinite” (preface by the artist). Presentation copy, inscribed in pen by Rice Pereira at the foot of the colophon, April 1963. New York (I. Rice Pereira), 1957. $4,500.00

77 PICABIA, FRANCIS. Poèmes et dessins de la fille née sans mère. 18 dessins - 51 poèmes. 74, (6)pp. 18 full-page line drawings by Picabia in text. Sm. 4to. Printed wraps. Glassine d.j. A collection of fifty-one poems and eighteen drawings by Picabia, begun in Martigues in November 1917 and continued in Lausanne the following February, where, suffering from an attack of nervous depression, he had gone to convalesce. Forbidden by his doctors to paint, Picabia complemented his poems, melancholy meditations on love, death, and sensation, with spare mechanomorphic abstractions, themselves composed as much of words as of line. Uncut. Unopened. A very fine copy. Lausanne, 1918. $4,800.00 Dada in Zürich 79; Ades 7.21; Almanacco Dada p. 435 (illus.); Gershman p. 34; Sanouillet: Dada in Paris (Cambridge, 2009), no. 457; Dada Artifacts 106; Motherwell/Karpel 322; Rubin p. 235; Lista p. 243; Dachy: Archives dada p. 475;

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Tendenzen 3/89 Zürich 336; Pompidou: Dada 1278, illus. pp. 741, 795; Le Bot, Marc: Francis Picabia et la crise des valeurs figuratives (Paris, 1968), p. 150ff.

78 PICABIA, FRANCIS. Jésus-Christ Rastaquouère. Dessins par Ribemont-Dessaignes. (Collection Dada.) 66, (4)pp. 3 full- page linocuts of drawings by Ribemont-Dessaignes. Sm. 4to. Brown wraps. (not blue, as with the regular issue), with printed label. Glassine d.j. One of 50 numbered large-paper copies on pur fil Lafuma, from the edition of 1060 in all. Theoretical reflections by Picabia, regarded by Sanouillet as “perhaps the most important Dadaist document of that period: as opposed to other contemporary works that fall into the domain of literary creation, ‘Jésus Christ Rastaquouère’ is--though this is not obvious from its sacrilegious title--an essay on Dadaist ‘philosophy’: an uncommon essay, no doubt, and a disconcerting one, but largely intelligible and overflowing with original ideas on art, literature, and life.... Thanks to ‘Jésus Christ Rastaquouère,’ Dada found itself endowed with the elementary theoretical foundation it had been lacking until then. Even if it fell far short of winning the unanimous approval of all the members of the movement, the book’s brilliant style, nonchalant tone, novel ideas, and above all the breath of lyricism that ran through it, charmed the Parisian avant-garde milieus.” The text was completed in July 1920, after the demise of “Cannibale.” Though frequently thought to have been published by Au Sans Pareil--Breton having forced René Hilsum’s hand, after he first declined the book--”Jésus Christ Rastaquouère,” was actually published at Picabia’s own expense, and (even while maintaining the “Collection Dada” series statement) was distributed by Jacques Povolozky, at his Librairie-Galerie La Cible. Borràs notes that “‘Rastaquouère’ (together with its abbreviation, ‘rasta’), which signifies a rather flashy foreigner living on a magnificent scale without any known source of income, was a favorite word and concept of Picabia’s.” A brief introduction is provided by Gabrielle Buffet. Small split at foot of front hinge. Sticker of Jacques Povolozky Éditeur. [Paris, 1920]. $2,750.00 Dada Global 211; Ades 7.23; Almanacco Dada p. 436; Gershman p. 34; Sanouillet: Dada in Paris (Cambridge, 2009), no. 464, pp. 157f., 165; Fouché, Pascal: Au Sans Pareil (Paris, 1989), p. 22ff.; Biro/Passeron p. 332; Dachy p. 219; Motherwell/Karpel 317; Dada Artifacts 124; Verkauf p. 181; Reynolds p. 69; Düsseldorf 208; Zürich 335; Pompidou dada 1276, illus. pp. 271.7, 744; Borràs p. 214 n.63

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79 PICABIA, FRANCIS. Unique eunuque. Avec un portrait de l’auteur par lui-même et une préface par Tristan Tzara. (Collection Dada.) 38, (2)pp. 1 line-drawn illus. Printed wraps. One of 1000 numbered copies on vergé bouffant, from the limited edition of 1025. Picabia’s long and rather aggressively flip nonsense poem, published shortly before the first issue of his scurrilous “Cannibale.” This is one of a handful of classic texts issued in the Collection Dada (Tzara’s ‘Cinéma calendrier du coeur abstrait,’ Breton and Soupault’s ‘Les champs magnétiques,’ and Picabia’s own ‘Jésus-Christ Rastaquouère’ were others) which Hans Richter noted “constitute the high-water mark of literary production in 1920.” Cover slightly soiled. Ex- libris Marcel Bekus. Paris (Au Sans Pareil), 1920. $1,500.00 Ades 7.24; Dada Global 210; Almanacco Dada p. 436 (illus.); Gershman p. 34; Sanouillet: Dada in Paris (Cambridge, 2009), o. 463; Motherwell-Karpel 323; Verkauf p. 103; Richter p. 177; Pompidou: Dada 1281, illus. pp. 271, 742, 671, 790

80 (PICASSO) Tzara, Tristan. De mémoire d’homme. Poème par Tristan Tzara. Lithographies de Pablo Picasso. 119, (5)pp. 9 full-page lithographs in text, printed in black. Sm. folio. Printed wraps. Glassine d.j. New fitted clamshell box (cloth with printed label). One of 300 numbered copies on uncut Arches, initialled by Tzara in the justification, from the limited edition of 350 in all, the lithographs printed by Mourlot Frères. “The verve of these lithographs is due to the ease and freedom with which they were drawn. Picasso varied his use of the lithographic crayon by adding loose swirling strokes of his finger” (The Artist and the Book). A very fine, fresh copy. Paria (Bordas), 1950. $3,000.00 Goeppert/Goeppert-Frank/Cramer 59; Horodisch B15; The Artist and the Book 234; Splendid Pages p. 195; Rauch 74; Basel 222; Villa Stuck 83

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81 DIE PLEITE. Illustrierte Halbmonatsschrift. [Herausgeber: Helmut Herzfeld (i.e. John Heartfield), Wieland Herzfelde.] Vol. I, No. 1 (of 6 issues published, before being banned). (4)pp. (single sheet, folding). 5 line-drawn illus. by George Grosz, including full-page front cover. Sm. folio. Tabloid format. Texts by Carl Einstein (“An die Geistigen”), Walter Mehring, M. Lunatscharsky; statement from the American Socialist Labor Party. Grosz’ drawings in this issue include the famous “Von Geldsacks Gnaden” on the front cover, and “Spartakus vor Gericht.--Wer ist bezahlt?” “Die Pleite” was one of a series of small, short-lived reviews edited by Herzfelde, Grosz and John Heartfield following “Neue Jugend,” all of them marked by scathing political satire, and all of them banned. After its sixth number (January 1920), “Die Pleite” was absorbed by “Der Gegner,” though it resurfaced briefly and illegally in another guise in July of 1923. “Die Pleite” was illustrated almost singlehandedly by Grosz, and contains some of his most famous line drawings. The anomalous second issue was a pamphlet entitled “Schutzhaft” (‘Protective Custody’) in which Herzfeld reported on his harrowing experiences in prison following his arrest as a dissident publisher. It may be noted that virtually all of the contributors to “Die Pleite”--Carl Einstein, Grosz, Herzfelde, Heartfield and Mehring--were incessantly harassed by the military and the police at this time, and spent part of it either in hiding or in jail. Vertical and horizontal foldlines, with some associated darkening, expertly repaired. Berlin/Leipzig (Der Malik-Verlag), 1919. $4,500.00 Hermann 290; Berlin: Malik 16; Siepmann A7; Raabe 66; Raabe/Hannich-Bode 120.20; Dada Global 29; Ades p. 88, 4.67; Almanacco dada 118; Bergius pp. 216, 334, 414; Verkauf p. 179; Dada Artifacts 43; Marbach 119.9; Düsseldorf 463; Tendenzen 3.231; Pompidou: Dada 1393, illus. p. 813

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82 PODHAJSKA, M. Mesice. (4)pp., 18 original woodcuts, of which 12 printed in colors, all tipped onto textured brown paper mounts. Woodcut publisher’s device on title-page, printed in grey. Lrg. 4to. Portfolio (publisher’s printed boards). Contents loose, as issued. Preface by Bedr. Benes-Buchlovan. Edition limited to 200 hand-numbered copies, signed and dated by Podhajska in the colophon; printed by Jos. Hladky in Buchlovicích, Moravia. “The Months,” a suite of 12 color woodcuts, followed by six woodcuts in black with paired images of the signs of the zodiac (printed two to a sheet). Minka Podhajská (1881-1963), born in Vienna and a student at the Kunstgewerbeschule, whose work appeared in “Ver Sacrum” (1902-1903), “Die Fläche” (1903-1904), and “Hohe Warte,” designed toys for the Wiener Werkstätte, as well as a range of books, posters, books and ex-librises during the first World War. She moved to Prague in 1919, the year in which this album was published, where she was one of the founding members of Artel, a Czech artists’ consortium comparable to the Wiener Werkstätte. Contemporary Czech ex-libris. A very fine copy. Praha (Politika), [1919]. $7,500.00

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83 REICH, STEVE. Drumming. For eight small tuned pianos, three marimbas, three glockenspiels, male and female voices, whistling and piccolo. (30)ff. (15 folded leaves, versos blank), with additional colophon leaf of smaller dimensions. Folio. Self-wraps., shrink-wrapped as issued. Edition limited to 500 copies, signed, numbered and dated by Reich in pencil at the end of the score, and numbered by the publishers in ink in the colophon. Facsimile manuscript musical score, incorporating extensive facsimile manuscript text by Reich (and sketches by him on the cover sheet). Composed shortly after a formative trip to Ghana in 1971, “Drumming” marked a new stage in Reich’s career, at the same time that it was the last piece he wrote using his pioneer ‘phase shifting’ technique. The work also corresponds to the moment at which he established the ensemble Steve Reich and Musicians, and entered into a period of more elaborate compositions. Shrink-wrap neatly opened at foot; a fine copy. New York/Los Angeles (John Gibson/Multiples, Inc.), 1972. $1,250.00

84 RIETI, VITTORIO. Tre marcie per le bestie. Per pianoforte. I. Marcia funebre per un uccellino. II. Marcia nuziale per un coccodrillo. III. Marcia militare per le formiche. Musical score. (2), 12, (2)pp. Title-page printed in red and black. Folio. Self-

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wraps. Signatures loose, as issued. Rieti’s three absurdist compositions--a funeral march for a little bird, a wedding march for a crocodile, and a military march for ants--written as avant-garde parodies of romantic program music, most particularly Saint-Saëns’ “Carnival of the Animals,” were not a statement of conscious Dada intention, but they were so quickly and enthusiastically taken up by the van Doesburgs and others that, as Dada manqué, they became a rectified part of its history. Beginning in the year of its publication, the “Tre marcie” was performed repeatedly at Dada events: first at a soirée organized by Tzara at the Hotel Fürstenhof in Weimar in September 1922; then at other soirées during the Dada campaign in Holland in 1923, including the Kleine Dada Soirée at the Haagsche Kunstkring (it is boldly advertised in Schwitters’ and van Doesburg’s famous poster); and at the Soirée du Coeur à Barbe in Paris. Nelly van Doesburg (who had first met Rieti in avant-garde musical circles in Vienna, where Rieti had become acquainted with Schönberg and Berg) was its most passionate admirer, regularly performing it herself at the keyboard, but Julius Evola also promoted it in Rome. A fine copy, very fresh. Bologna (Pizzi & C. Editori), 1922. $3,500.00 Dada Global p. 67 (illus.); Almanacco Dada p. 638 (illus.); Lista, Giovanni: Dada libertin & liberaire (Paris, 2005), pp. 126, 245; Dacy, Marc: Archives dada: chronique (Paris, 2005), p. 370, 372f.; Dada, l’arte della negazione (Comune di Roma, 1994), p. 125ff. (illus.)

85 DIE ROTE ERDE. Herausgegeben von Karl Lorenz. Zweite Folge, Zweites Buch. 289, (5)pp. 53 full-page original woodcuts (1 color), all signed in pencil by the artists. 8 additional original woodcut illustrations (including full-page title and closing prints). Lrg. 4to. Publisher’s boards, 1/4 vellum, the front cover stamped in red. Vorzugsausgabe: one of 50 hand- numbered copies on handmade Bütten, with all plates signed in pencil by the artists, from the limited edition of 450 copies in all. Original woodcuts by Heinrich Stegemann (11), Evarist Adam Weber (6), Karl Opfermann (7), Robert Köpcke (6), Josef Achmann (6), Willy Menz (6), Kurt Löwengard (6), Otto Niebuhr (8), and Adolf Bauer-Saar (5, including frontis. printed in 4 colors). Literary contributions by Karl Lorenz, Helmut Paulus, Paul Zech, Kurt Heynicke, Theodor-Wilhelm Danzel, Wilhelm Niemeyer, Alfred Wolfenstein, Georg Britting, Fred Antoine Angermayer, Paulfried Martens, Rudolf Pannwitz, and Kurt Bock; critical notices by Gustav Schiefler, Ludwig Benninghoff, Oskar Beyer, and Paulfried Martens. Two series of “Die rote Erde” were published in all: Erste Folge (Hefte 1-4/5 in 4 issues altogether), and this Zweite Folge (Erstes and Zweites Buch). “Similar to ‘Der Anbruch’ in opinion and appearance was ‘Die rote Erde’ (1919-23, published monthly by Karl Lorenz and Rose Schapire) in Hamburg and containing many poems and plays by the editor Karl Lorenz....” (Lang). “Schapire was coeditor with Lorenz of an outstanding Expressionist journal, ‘Die Rote Erde’ (‘The Red Earth’). The tenor of its opening announcement is familiar: ‘Die rote Erde’ cultivates with all means at its disposal the newest Expressionist art....’ This journal, though well produced and with many original graphics, did not survive long” (Peter W. Guenther, in Barron). Light wear to boards; a fine, fresh copy, with strong impressions of the woodcuts. Hamburg (Gemeinschaftsverlag Hamburgischer Künstler), 1923. $6,500.00 Söhn VI.67202; Lang p. 72f.; cf. Jentsch 73; Raabe/Hannich-Bode 195.38 Raabe 80; Schlawe II.45; Perkins 195; Rifkind 298; Barron, Stephanie: German Expressionism 1915-1925: The Second Generation (Los Angeles, 1988), p. 110

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86 (SANDER, AUGUST) Portraits of Artists by August Sander. / Künstlerporträts von August Sander. 1f. (colophon on board), 12 original silver print photographs, handprinted from the original glass plates on Portriga photographic paper and embossed with the artist’s seal, each tipped into heavy passepartout mount, and signed, numbered and dated by Günther Sander on the back of the mount. Photographs: ca. 290 x 210 mm. (11 1/8 x 8 1/8 inches). Mounts 547 x 447 mm. (21 1/2 x 17 1/2 inches). Lrg. folio. Publisher’s brown cloth dropdown box. One of 75 numbered copies from the limited edition of 81 in all, including 6 artist’s proofs. The photographs were printed by Günther Sander, the artist’s son and assistant. The subjects are as follows: 1. The Painter Gottfried Brockmann, 1924. 2. The Painter Willi Bongartz, 1924. 3. The Painter Gerd Arntz, 1929. 4. The Painter Anton Räderscheidt and Marta Hegemann, 1924. 5. The Painter Franz Wilhelm Seiwert, 1928. 6. The Dadaist Raoul Hausmann, Posing, 1930. 7. The Dadaist Raoul Hausmann, Sitting, 1930. 8. The Painter Heinrich Hoerle, 1929. 9. The Painter Otto Dix and Wife, 1926. 10. Heinrich Hoerle Painting the Boxing Champion Hein Domgörgen, 1929. 11. The Painter Otto Freundlich, 1929. 12. The Painter Jankel Adler, 1929. A fine copy, as issued. München (Schirmer Mosel), 1974. $9,500.00

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87 SCHREYER, LOTHAR. Erster Druck der Kampfbühne. Broadside, with woodcut text printed in black, hand-colored in red and yellow, on buff-colored wove paper; verso blank. 460 x 397 mm. (18 1/8 x 15 5/8 inches). Folio. The prospectus for Schreyer’s “Kreuzigung,” the folio pressbook-score for his expressionist Passion play of this title, produced under the auspices of Schreyer’s Kampfbühne. Grandly designed and printed in the manner of the book, it gives details of the edition as part of a larger appeal to his public, and to those not yet familiar with the Kampfbühne and its aims. Contemporary stamp of Lucas Gräfe Buchhandlung, Hamburg, at foot (as customary). Faint central fold, as usual. A fine copy. Hamburg, 1921. $950.00 Rifkind/Davis 2604

88 (SCHWITTERS, KURT) Wiesbaden. Nassauischer Kunstverein. Plakatausstellung. Juni 1928 im Neuen Museum. Poster, printed in red and black on lightweight buff-colored wove stock. 477 x 650 mm. (ca. 18 3/4 x 25 1/2 inches). Set in Schwitters’ customary Balkenschrift, a blocky sans-serif face (which Robert Michel is also known to have used on occasion), the title in brilliant red, this poster is included among Schwitters’ works in the Wiesbaden catalogue, though the attribution cannot be documented. A bright, fresh copy. Extremely rare. Wiesbaden, 1928. $18,500.00 “Typographie kann unter Umständen Kunst sein”: Kurt Schwitters Typographie und Werbegestaltung (Wiesbaden, 1990), no. 89, color plate 57

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89 SCHWITTERS, KURT. Wir zeigen Werbegraphik. Poster, printed in orange and black offset, with text and photomontage incorporating 14 photographic portraits. 625 x 338 mm. (ca. 24 3/4 x 15 1/4 inches), printed on coated card stock. Designed for the exhibition at the Handelsmuseum, Hannover. Schwitters himself is included at upper left, along with thirteen other designers affiliated with the Bund der Gebrauchsgraphiker. Schwitters was a founding member of the Ring ‘Neue Werbegestalter,’ having worked as a designer for the Pelikan firm earlier in the decade. In 1929, he was retained by the Magistrat of the city of Hannover to coordinate municipal typography and graphic design. The poster is discussed in the Hannover Stadtbibliothek catalogue, “Der Typograph Kurt Schwitters” under the heading “Kurt Schwitters als Gebrauchs- und Werbegraphiker in Hannover”: “Um das optische Zentrum des Plakats (eine runde rote Scheibe mit dem Signet des Bundes des Gebrauchsgraphiker in der Mitte) sind Fotos Hannoverscher Graphiker angeordnet: Metzig, Heseler, Harter, Prelle, Hildebrand, Huch, Dröge, Rademacher, Horrmeyer, Hesse, Schacht, Schwitters, Reinstein, Peffer (im Uhrzeigersinn gelesen).” A very fine copy. Hannover, [circa 1930]. $25,000.00 Schwitters-Archiv der Stadtbibliothek Hannover: Bestandsverzeichnis: Nachtrag 1987, no. 310; Hannover. Stadtbibliothek. Der Typograph Kurt Schwitters. Begleitheft zur Ausstellung (Hannover, 1987), B1

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90 SOUSA-CARDOSO, AMADEU DE. XX dessins. Foreword by Jérôme Doucet. (2)pp., 20 line-cut plates printed in black, loose, as issued. Lrg. 4to. Portfolio (dec. boards, designed by the artist; covers a little rubbed, other light wear). One of 100 copies on papier impérial du Japon, from the limited edition of 530 copies. “Among the more exotic examples of pre-war printmaking in Paris is a portfolio of twenty line-cuts published in 1912 by the Portuguese Amadeu de Sousa-Cardoso (1887-1918), who spent several years in Paris and was friendly with many of the Cubists. Like Beardsley, Sousa-Cardoso executed a suite of drawings in India ink specifically for reproduction in line-cut, which was superbly executed for this little-known album. The prints display a lively feeling for primitive abstraction of form, drawing from Derain as well as from Modigliani, Picasso and Braque [and] emphasizing the compulsive gesticulations of the female subject and frenetic patterns of waves and tropical foliage” (“The Cubist Print”). Sousa-Cardoso, who in the course of his brief life was in contact with a fascinating international modernist network, exhibited at the Armory Show (no fewer than seven paintings) and the Erster Deutscher Herbstsalon. In Spain at the outbreak of the war, he returned to Portugal and spent the following years there in close touch with Robert and Sonia Delaunay--collaborating on their project “Album”--as well as with Fernando Pessoa, the Futurist José de Almada-Negreiros, and others. Presentation copy, calligraphically inscribed by the artist on the justification leaf “a Mademoiselle J. Pereira/ Amadeo de Souza Cardoso/ Paris mars 1914.” Paris (Société Général d’Impression), 1912. $8,500.00 Wallen, Burr & Stein, Donna (editors): The Cubist Print (Santa Barbara, 1981), p. 79, nos. 113-114 (illus.); Stein, Donna (editor): Libri cubisti (Siena, 1988), no. 78 (illus.)

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91 TING, WALASSE. 1¢ Life. Edited by Sam Francis. 163, (11)pp. 61 original lithographs, nearly all color, by Alan Davie (2), Alfred Jensen (3), Sam Francis (6), Walasse Ting (6), James Rosenquist, Pierre Alechinsky (5), Kimber Smith (6), Alfred Leslie (2), Antonio Saura, Kiki O.K. (2), Robert Indiana (2), Jean-Paul Riopelle (2), Karel Appel (5), Tom Wesselmann (2), Bram van Velde, Joan Mitchell, Allan Kaprow, Andy Warhol, Robert Rauschenberg, K.R.H. Sonderborg, Roy Lichtenstein, Oyvind Fahlström, Reinhoud, Claes Oldenburg (2), Jim Dine, Mel Ramos (2), Enrico Baj (2). 19 illus. Folio. Cloth portfolio, silkscreened in color, designed by Ting. D.j. Slipcase. Regular edition, limited to 2000 copies, numbered in color stencil. Lithography by Maurice Beaudet, typography by Georges Girard. Slipcase faded at sides, short tears in d.j. Bern (E.W. Kornfeld), 1964. $4,000.00 Castleman p. 208f.; Manet to Hockney 135; Grolier Club 55; Bibliothèque Nationale: 50 livres illustrés depuis 1947, no. 32

92 (TOULOUSE-LAUTREC) Duret, Théodore. Lautrec. (8)pp., 38 plates, including 1 original drypoint etching. 4to. Wraps. over boards. One of 100 copies on japon, from the limited edition of 200. The drypoint is “Portrait de Tristan Bernard.” The work also identifies the color plate “L’Argent. Programme de théâtre” as an original lithograph. A fine copy. Paris (Bernheim-Jeune), 1920. $1,250.00 Wittrock 240, cf. 97; Freitag 12552

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93 (TOULOUSE-LAUTREC) Joyant, Maurice. Henri de Toulouse-Lautrec, 1864-1901. Peintre. 307, (3)pp., 3 original drypoint etchings, each present in two states, 55 plates, each present in two states (8 tipped-in color). 138 illus. Sq. 4to. Marbled boards, 3/4 morocco, t.e.g. Orig. illus. wraps. bound in. One of 175 copies on japon, wi th the extra states of the prints. The etchings are “L’explorateur L.-J., vicomte de Brettes,” “Charles Maurin,” and “Francis Jourdain.” A companion volume by was also published simultaneously, on Lautrec’s graphic work. A fine copy. Paris (H. Floury), 1926. $2,500.00 Wittrock 241-243; Freitag 12564

94 291. NO. 3. MAY 1915. [Publisher: Alfred Stieglitz. Editors: Alfred Stieglitz, Paul Haviland, Marius de Zayas, Agnes Ernst Meyer.] (4)pp. Tabloid folio. Cover drawing by Walkowitz; texts by Rhoades (“I walked in to a moment of greatness”) and Meyer (“Woman”) integrated into double-page typographic composition by de Zayas; 4 unsigned texts, including “Being Human in New York” and “Watch Their Steps,” together with drawing by Steichen and calligram by J.B. Kerfoot. “291” occupies a uniquely interesting position among the great reviews of modernist art. It is really the first magazine to style itself as a work of art in its own right: not simply a venture in luxury printing, as many art reviews had been before it, but a new kind of publication altogether, an experimental series of multiples run off on a monthly basis in an edition of 1100 copies. It is also the first expression of the dada esthetic on American shores; proto-dada, actually, dada avant la lettre, before dada had had its baptism in Zürich in 1916. Only Arthur Cravan’s short-lived “Maintenant” can be said to precede it as

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an instance of pre-dada sensibility anywhere in the periodic press. “291” took its original inspiration from Apollinaire’s “Soirées de Paris,” emphasizing calligrammatic texts and an abstracted kind of satirical drawing, but it cast these into a much more dramatic form by moving into a gigantic folio format and simultaneously dematerializing into a single gatefold sheet of paper. Always envisioned as a limited run of twelve numbers, “291” is the critical link between “Camera Work”--which Stieglitz duly suspended in the interim--and Picabia’s own “391”--styled as its radical successor. Issued in a deluxe edition of 100 copies and a regular edition of 1000, “291” was a financial fiasco, failing to sell more than eight subscriptions on vellum and a hundred on ordinary paper, and in the end Stieglitz sold the entire backstock to a ragpicker for $5.80 (“perhaps my gesture was a satirical one,” he wryly remarked). “In design and content, there was no periodical in America more advanced than ‘291’.... [It] was unparalleled anywhere in the world as a total work of art” (William I. Homer, “Alfred Stieglitz and the American Avant-Garde”). Deluxe edition: one of 100 unnumbered copies on “heaviest Japan vellum.” An unfolded copy, in extremely fine, fresh condition. New York, 1915. $4,000.00 Ades p. 42f., 2.46; Almanacco Dada 44; Gershman p. 54; Motherwell-Karpel 335; Rubin p. 53; Verkauf p. 183; Dada Artifacts 80-85; Foster/Kuenzli/Sheppard p. 284; The Art Press p. 34f.; Tashjian p. 29ff.; Homer p. 190; Sanouillet Picabia et 391, II.237f.; Naumann: New York Dada p. 58ff.; Pompidou: Dada, p. 62f., 983f.Washington Dada p. 283, pls. 278-282

95 TZARA, TRISTAN. La première aventure céléste [sic] de Mr. Antipyrine. Avec des bois gravés et coloriés par Marcel Janco. (Collection Dada.) (16)pp. 8 original color linocuts, of which 6 full-page in teal blue and black, and 2 other in black (front cover and cul-de-lampe illustration), printed on uncut fine laid paper. Image size: 170 x 90 mm. (6 3/4 x 3 1/2 inches). Sm. 4to. Orig. grey wraps., with handcut typography on front cover, reproduced from a woodcut design by Janco. Dated 28 July 1916 in the justification, this is the first publication of the Collection Dada and possibly the first Dada imprint; it is also the first book of Tristan Tzara, then nineteen years old. Mr. Antipyrine takes his name from a now forgotten patent medicine which Tzara found helpful for his migraines (and not, as is sometimes said, from a type of fire extinguisher). Its contents contain a selection of his early verse, African chants, and the first Dada manifesto, included by Tzara under his own name rather than that of one of his characters (“Dada est notre intensité.... Dada est l’art sans pantouffles ni parallèle...”). Wraps. lightly worn, with a few nearly indetectible expert mends. An historic early presentation copy, inscribed by both Tzara and Janco on the inner front cover: "Sympathie + affection/ Tristan Tzara/ [flower]/ Zürich I/ Fraumünsterstrasse 21/ Centralhof/ [flower] (the foregoing in turquoise ink, and all but the first line in capitals); "Considération/ Marcel Janco" (in black ink, adjacent). The text also contains, on the recto of f. 7, two autograph corrections in black ink, in the hand of either Janco or Heuberger, the printer. Tzara's address here is at the Pension Altinger, where he shared lodging with Janco, who was then enrolled at the Technische Hochschule. By 1918, Tzara had moved to the Hotel Limmatquai. Zürich (Collection Dada/ Imprimerie J. Heuberger), 1916. $25,000.00

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Harwood 1; Berggruen 1; Ilk, Michael: Marcel Janco: Das graphische Werk (Ludwigshafen, 2001), CR1-8, pp. 11ff, 77f.; cf. Cernat, Paul: Avangarda româneasca si complexul periferiei: primul val (Bucharest, 2007), p. 111; Gershman p. 43; Dada in Zürich 81; Almanacco Dada illus. p. 461; Sanouillet, Michel: Dada in Paris (Cambridge, 2009), no. 626; Motherwell/Karpel 414; Verkauf p. 183; Dachy p. 38 (color illus. p. 37); Dada Spectrum p. 275; Dada Artifacts 9; Düsseldorf 107; Zürich 348; Pompidou: Dada 1309, illus. pp. 270, 537; Washington: Dada pl. 6; Franklin Furnace 65; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, pl. 134; Tendenzen 3/45; The Artist and the Book 135; Castleman p. 176; Manet to Hockney 39

96 (UBAC) Bryen, Camille & Michelet, Raoul. Actuation poétique. Suivie d’examples par Camille Bryen et Raoul Michelet. 22pp. 6 full-page tipped-in plates, of which 5 hors texte of photographs and photocollages by Ubac, and 1 of a drawing by Bryen. Lrg. 8vo. Wraps. Glassine d.j. “‘L’art est le moyen d’amener au jour certaines révélations des profondeurs.... Toutes les techniques sont valables dans la mesure où elles sont subordonnées à cette recherche. Pour ma part, j’ai adopté les moyens photographiques, dont les techniques impersonnelles me séduisaient bien plus que dessin ou peinture pour montrer les aspects insolites du réel.’ Ubac réalise alors des brûlages (‘La nébuleuse,’ 1939), des solarisations (‘Combat de Penthélisée,’ 1937), des collages. Il est proche ami des poètes: Gilbert-Lecomte, qui lui révèle le fait religieux et la pensée traditionelle; Bryen, avec lequel il publie ‘L’actuation poétique’ (sous le pseudonym de Raoul Michelet), Éluard, Scutenaire, Lescure...--qu’il illustrera tous” (Jean-Clarence Lambert, in Biro/Passeron). Partly unopened. A fresh copy. Paris (Éditions René Debresse), 1935. $1,500.00 Biro/Passeron p. 415; Reynolds p. 22; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, no. 414

97 (UBAC) Bryen, Camille. L’aventure des objets. Avant-propos de J.-H. Levesque. 16pp., 8 photographic plates, by Raoul Ubac. Wraps., mounted with additional photographic plate, as issued. Edition de tête: one of 32 numbered copies signed by

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Bryen in the justification, from the limited edition of 300 in all, and here with a fine original drawing by Bryen in black ink, signed with initials, on the front flyleaf. “[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). Bryen had previously collaborated with Ubac on a small book of poems and photographs in 1934, “Actuation poétique.” Here Ubac participates under the pseudonym Ubac Michelet. Small stamp on inside front cover; text browned, as usual; a fine copy. Paris (Collection Orbes), 1937. $3,500.00 Biro/Passeron p. 70

98 (ÜECHT-GRUPPE) Einladung zur Eröffnung der II. Herbstsschau Neuer Kunst. Donnerstag 21. Okt. 1920 im Kunstgebäude. Karte vorzeigen. Original woodcut by Gottfried Graf, printed in black on watermarked cream laid stock (verso blank), signed and titled by the artist in pencil. 115 x 147 mm. (ca. 4 1/2 x 5 3/4 inches). Invitation to the second annual exhibition of the Üecht-Gruppe, Stuttgart, a short-lived association that included Oskar Schlemmer and Willi Baumeister as well as the artist of this woodcut, Gottfried Graf (1881-1938), Edmund Daniel Kinzinger, Albert Mueller and Hans Spiegel. Its six members, all modernistically inclined students at the Stuttgarter Kunstakademie, had banded together in 1918 under an Old German word meaning “Dawn”--fittingly auspicious, but chosen as much for its whimsical sound as anything else. Baumeister and Schlemmer left the group in 1921; the remaining members kept it alive as an exhibition association until 1924. In the catalogue for the second exhibition, Graf asserted “For the discerning, the new art is no longer a point of controversy.... To understand the new art, however, one must understand the new language of form.... Here we are still only a few. Our second exhibition shows the work of one year. It is one step further in the search for the way at the dawning of a new day.” A very fine example. Material of the Üecht-Gruppe is very rare. [Stuttgart], 1920. $1,850.00 Barron, Stephanie: German Expressionism 1915-1925: The Second Generation (Los Angeles, 1988), p. 112f.; cf. Rifkind/Davis II.833.1-2 (showing Graf’s cover designs for the 1920 catalogue)

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99 (VERONESI) Sinisgalli, Leonardo. Quaderno di geometria. Testo di Leonardo Sinisgalli. Tavole di Luigi Veronesi. (Estratto dalla rivista “Campo Grafico,” Numeri 9-10-11-12.) 8, (2)pp., 6 color plates, printed in green and black. Sm. folio. Wraps. (light soiling). Glassine d.j. Poetic meditations on geometry by the great Leonardo Sinisgalli (opening “L'inverno ci stringe d'assedio nella nostra solitudine”) whose literary career coexisted with one in architecture and graphic design; here in tandem with a portfolio of strikingly beautiful geometric abstractions by Veronesi, who had become a member of the Abstraction-Création group in 1934. A fine copy. Rare: OCLC records one copy in the U.S., at The Metropolitan Museum of Art. Milano (Stampa: “Grafa”), [1936]. $1,950.00

100 VOGENAUER, ERNST RUDOLF. 10 Buchzeichen. (4)pp. (single sheet folding), set in letterpress with title, dedication, poem by Vogenauer, and table/colophon (signed in ink by Heinrich Graf); 10 original drypoint etchings by Vogenauer, all signed in full and numbered I/X in pencil and tipped onto Bütten paper mounts blindstamped with the printer’s initials; 1 additional trial proof of the first etching, annotated and initialled in pencil. Image size varies, from 55 x 48 mm. to 130 x 70 mm. (2 1/8 x 1 7/8 inches to 5 1/4 x 2 3/4 inches). Mount size: 263 x 197 mm. (10 3/8 x 7 3/4 inches). 4to. Publisher’s original portfolio (red boards, 1/4 vellum, with asymmetrical blue paper supralibros printed in black with title and artist’s name). Vorzugsausgabe: copy no. I of X deluxe copies, from the edition of 50 in all (of which 25 were sold). The Heinrich Stinnes copy, with his ownership inscription in ink, dated July 1924, on title and on the inside cover of the portfolio, and with

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his collector’s mark in red at the lower left corner of the prints (as well as his discreet pencilled annotation at foot of the mounts). In his collector’s note, Stinnes records that only these first ten copies were printed before the plates were steel- faced. This extremely rare portfolio was published by Ernst Rudolf Vogenauer (1897-1969) in the year of his participation in the Bucharest avant-garde exhibition “Contimporanul,” organized by the co-editors of the eponymous review, Marcel Janco and Max Hermann Maxy. Here Vogenauer’s work was shown together with the work of some fifteen other East- and West- European artists (Maxy was in charge of the West-), including Arp, Schwitters, Klee and Viking Eggeling, among others. As Jürgen Holstein and others have pointed out, Vogenauer’s drypoint etchings---proposed as an imaginary series of ex-libris designs for celebrated leftist political and cultural figures--are conceived in an ideologized Constructivist style reminiscent of the work of the Cologne “Gruppe progressiver Kunst,” and at the same time are marked by a graphic delicacy quite close to that of Paul Klee. The subjects of the prints are titled as follows: 1. An Lenin. 2. Klara Zetkin. 3. Toller. 4. Szemere. 5. Lebedour. 6. Guilbeaux. 7. Nexö. 8. Holst. 9. Whitehead. 10. Siegrist. This copy includes an extra trial proof of the first drypoint--which incorporates Lenin’s famous appeal, ‘Workers of the World, Unite!’--annotated in pencil in the margins “mit diesem Papier nicht drucken” and signed with initials. Particularly compelling is the massively geometrical typography, rather in the spirit of Paul Renner and the later Weimar Bauhaus (Moholy-Nagy), which sets off the spidery elegance of the drypoints with quite unusual effectiveness. Vogenauer had studied with F.H. Ehmcke in Munich, and worked at various small presses throughout his career, running afoul of the East German state after the War for his ‘excessive formalism.’ Very fresh condition. OCLC records one copy only, at the Deutsche Nationalbibliothek. Muenchen Pfingsten (Heinr. Graf), 1924. $12,500.00 Holstein, Jürgen: “10 Buchzeichen von E.R. Vogenauer. Eine Folge von Pseudo-Exlibris für Pseudorevolutionäre (1924). Mit einem ergänzenden Text von Hermann Baum” (in: Marginalien 168. Wiesbaden, 2002); reprinted in Holstein, Jürgen & Waltraud (hrsg.): Bücher Kunst und Katalogue (Berlin 2007), pp. 148-153 (illus.).; Prügel, Roland: Im Zeichen der Stadt. Avantgarden in Rumänien 1920-1938 (Köln, 2008)

101 VORDEMBERGE-GILDEWART, FRIEDRICH. Millimeter und Geraden. (24)pp., printed on white Holland van Gelder and pink Pannekoek Renaissance papers. 3 tipped-in halftone plates; 1 line-drawn composition (reprinted on front cover). Folio. Portfolio: all contents loose, as issued, within dec. wrapper, designed by the artist. Original glassine d.j. Vorzugsausgabe, signed and numbered in the colophon by the artist, from limited edition of 75 copies in all, of which 1- 65 were to be reserved for the artist, and 10 further copies, designated a-j, were hors commerce. This copy, which Vordemberge-Gildewart has designated “IV,” presumably comes from the first group, as have other roman-numeralled copies we have seen. The Dutch artist Friedrich Vordemberge-Gildewart (1899-1962), a member of De Stijl, Abstraction- Création, and Schwitters’ Ring Neue Werbegestalter, was a pioneer of modernist typography, as well as a painter. This beautifully designed volume of poems and Constructivist drawings and paintings--dedicated to ‘the white line in my yellow painting--was privately published by Vordemberge-Gildewart himself during the war, while working on a series of large paintings in a new tonality which greatly excited him. According to the Wiesbaden catalogue, part of the edition was destroyed, and copies were already very scarce by the end of the war, such that in 1946 the artist wrote Kurt Schwitters

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saying that he hoped he could put together one for him from loose sheets, since the edition itself was entirely gone. A beautiful copy. Amsterdam (The Artist), 1940. $4,000.00 “Typographie kann unter Umständen Kunst sein”: Vordemberge-Gildewart Typographie und Werbegestaltung (Landesmuseum Wiesbaden, 1990), no. T440

102 WACH, ALOIS. Holzschnitte 1918. (12)pp. 10 original woodcuts, printed in black (one finished by the artist in blue, yellow, pink, and grey watercolor), all signed in blue pencil in the margins. Lrg. 4to. Dec. self-wraps. Acetate d.j. Signed and annotated “68. Exemplar/ 1919/ Wach” in blue pencil on the front cover. Alois Wach (Ludwig Aloys Wachlmeier, 1892-1940) was, along with Georg Schrimpf and Fritz Schaefler, one of the most significant Expressionist artists in Munich during the revolutionary interregnum of the Räterepublik after the first World War. A member of Aktionsauschuss Revolutionärer Künstler (Action Committee of Revolutionary Artists), Wach was in fact probably the most open supporter of radical causes in the daily press, where his woodcuts, which drew widespread attention, were published at considerable personal risk. “While a civil war was being fought in the streets, no important artistic activity could be expected, but a few second- generation artists did take active part in the battle for a new order. Wach’s political woodcuts were the first pictures ever printed by the main Munich newspaper, the ‘Münchner Neueste Nachrichten,’ which the Aktionsausschuss had taken over. These Expressionist works, with titles like ‘Auferstehung’ [Resurrection], ‘Freiheit’ [Freedom] and ‘Erlösung’ [Redemption], and their accompanying texts such as ‘Long live the Soviet Republic [of Bavaria]!’ ‘Proletarians and farmers unite!’ and ‘Brother workers!’ were typical of the harsh, ecstatic creations of many second-generation artists. The proletarians, whom they were trying to win for the revolution, were shocked by these unfamiliar representations. Wach, however, sincerely believed that the people would have to understand his works because his was the art that would dominate the new revolutionary state. He also made woodcuts for the masthead of a second paper, the ‘Süddeutsche Freiheit, Zeitung für das Neue Deutschland’... and contributed graphics to ‘Der Weg’ (ten issues appeared between January and the end of 1919)” (Barron). Over the course of his short career, Wach’s woodcuts were also published in “Der Sturm,” “Die Aktion,” “Der Weg,” “Die Bücherkiste,” and “Der Zweemann,” and in a classic Expressionist press book, the illustrated edition of Fritz Usinger’s “Grosse Elegie,” published by Die Dachstube in 1920. Wach’s political work coexisted with a deep spiritual vocation in his art. In this album, extensive quotations from Rudolf Steiner and Goethe, and cosmological aspects of his impassioned Expressionist imagery, clearly express anthroposophical underpinnings in his vision of the world. A fine copy. Rare: OCLC lists one copy only, at the Getty Research Institute. Ach, Oberösterr. (Verlag der Arche), 1919. $4,500.00 On Wach, cf.: Jentsch 97; Rifkind/Davis II.3058-3064; Barron, Stephanie: German Expressionism 1915-1925: The Second Generation (Los Angeles, 1988), p. 113f.

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103 WIENER WERKSTÄTTE. Almanach der Wiener Werkstätte. 126pp., 12 plates (4 color). Borders throughout in green and black; lettrines. Dec. orange cloth, printed in tan with a design by Hoffmann Texts by Hugo von Hofmannsthal (“Das Bergwerk von Falun, der 4. Akt”), Anton Wildgans, Max Brod (“Verwandlung”), Peter Altenberg, Franz Blei (“Das kleine Spiel”), Arthur Roessler, et al, as well as a selection of poetry including Rainer Maria Rilke (“Aus den Sonettten der Maria Labé”). Plates hors texte by Josef Hoffmann, Gustav Klimt, Ivan Mestrovic, C.O. Czeschka, Koloman Moser, Josef von Divéky, Moritz Jung, Oskar Kokoschka, Josef Schwetz, Berthold Löffler, and Paris von Gütersloh. Design throughout by Josef Hoffmann. “In the ‘Almanach,’ a series of resounding names, the elite of Viennese literature and art, had been gathered...to testify [to the WW] that the heart and mind of Austria were to be found in its camp.... Hoffmann designed the binding and the layout.... Hoffmann’s contribution to the ‘Almanach’ was a design for the Austrian pavilion at the International Art Exhibition in Rome, which was also held in 1911 and brought great acclaim to Gustav Klimt and the sculptor Anton Hanak in particular. A fine copy. Wien/Leipzig (Verlag Brüder Rosenbaum), [1911]. $1,500.00 Schweiger, Werner J.: Wiener Werkstätte: Design in Vienna 1903-1932 (New York, 1984), p. 91ff. (4 illus.); Jugend in Wien: Literatur um 1900. Eine Ausstellung des Deutschen Literaturarchivs im Schiller-Nationalmuseum Marbach a. N., 1974, no. 410

104 WOLMAN, GIL. Duhring, Duhring. (64)pp. Most prof. illus. Tabloid folio. Self-wraps. Signatures loose, as issued. Wolman’s second livre d’artiste, published in the same year as “L’homme séparé.” “In October 1979, he exhibited all 64 plates of ‘Duhring, Duhring,’ an appropriation of Engels’ ‘Anti-Dühring’ text, from which he excerpted a few words--nouns, individually

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enclosed in transparency mounts and arranged at regular intervals on the separate images of the heads of miscellaneous characters. In passing, they included Isou, mixed with Brezhnev and heads drawn by Wolman, thus defined by the noun associated with them, except that the photos recurred in a changed order and with different words. Once again, Wolman produced this large coloured wall fresco and a black-and-white version on cheap paper; a book with a tabloid or punk fanzine look about it, quite the opposite of the small edition of 150 of ‘L’homme séparé.’ Keen for the book to be widely distributed, he printed an edition of 5,000. Nearly all these copies were destroyed in the act of arson committed on 28 November 1980 i the Galerie Speiss warehouse, where ‘L’arbre séparé’ was also in storage. Paradoxically the work that had been promised a wide distribution would once again be ‘underground’” (Acquaviva/Mar). Very slightly browned at spine; a fine copy. [Paris (The Artist), 1980]. $2,800.00 Acquaviva, Frédéric & Mar, Bartomeu (editors): Gil J Wolman : I Am Immortal and Alive (Museu d'Art Contemporani de Barcelona, 2010), pp. 36f., 132

105 ZDANEVICH, KIRILL. Niko Pirosmani, Irakli Gamrekeli, Beno Gordeziani. 8ff., consisting of front cover title (in Georgian), 6 full-page plates with captions (in Georgian), and back cover with edition statement (in Russian); all contents printed in purple on buff-colored inexpensive wove paper. Lrg. 8vo. Self-wraps., secured with thread. Edition of 100 copies, as noted on the back cover. Of greatest rarity--indeed possibly the only surviving copy--this is evidently the catalogue of an exhibition of three Georgian artists championed by Kirill Zdanevich, the brother of Il’ia Zdanevich, known as Iliazd, who were at the center of the Tbilisi-based Futurist group known as H2 SO4. Apart from the title, captions, and printing credits, this pamphlet of illustrations--two apiece for the three artists--is entirely without text. The artists show considerable variation in their exhibits: the well-known Niko Pirosmani, known also as Pirosmanachvili, a self-taught signpainter who worked in a naïve style reminiscent of Henri Rousseau; Irakli Gamrekeli, who is shown here both in a Cubist-Futurist manner (more like early Robert Delaunay than Goncharova), and in a light, comical figuration; and Beno Gordeziani, who is represented in two different Cubist-derived modes, one linear and caricatural, the other heavily worked and abstract. Gamrekeli is noted for his remarkable Dadaist typography in the group’s eponymous group publication, “H2 SO4,” for which Gordeziani provided illustrations. The H2 SO4 group also produced one issue of a review, “Literatura da skhva” (‘Literature and the Rest’). We quote at length from Françoise Le Gris-Bergmann’s discussion of the Georgian work of Ilizad and Kirill Zdanevich, and the formation of their philosophy of “everythingism:” “In a joint lecture given with Ledentu in Moscow, Iliazd articulated the position Benedikt Livshits later described as ‘the left flank’ of art.... ‘The basis of everythingism was extremely simple: every epoch, every trend in art, was declared to be of equal value insofar as each is capable of serving as a source of inspiration for the everythingists, who have triumphed over time and space.... It must be stated loudly and clearly that we do not want to burn the cathedrals or the libraries, on the contrary, we rely upon the past; indeed, in our University we are working on all our great classic poets along with our own. We want to destroy nothing, but rather to create with the materials others have passed down to us.’ “This radical option enables us to grasp the meaning of Iliazd’s modernity as well. One example in this connection is the case of Niko Pirosmanachvili, also known as Pirosmani. What Iliazd perceived in the work of that Georgian folk painter, beyond his ‘primitivism,’ was, above all, the modernity of his compositional framework, his reduction of form to geometrical structures, and the plastic qualities of his work, which were equal to those in the Cubo-Futurist pictures of such an artist as Malevitch. Thus the archaic, hieratical character of Pirosmanachvili’s animals or human figures makes them prime examples of the articulation of certain givens in modern painting. The same process was reflected in the link between Cubism and African art. In addition, Gontcharova’s ‘neoprimitivism,’ reflecting an Eastern tradition and advanced by Iliazd, was directly derived from the order of pictorial concerns of a painter like Pirosmani. ‘And it is to this basic primitivism brought to canvas that Pirosmanachvili owes his dewy perfection, a necessary link between the traditions of the East from which he emerged

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and the art of a West still seeking its truth. Pirosmanachvili’s work sets a valuable example for the painters of a new generation.’” Kirill Zdanevich published a study on Pirosmanachvili in 1964, and Iliazd a livre d’artiste tribute, “Pirosmanachvili 1914,” with a drypoint by Picasso, in 1972. One element of cover text effaced in black marker, and dated 1923 in ink, in an old hand; chipping at extremities, with loss at lower corner of front cover; split at spine expertly reinforced. No copy listed in OCLC, or in the online catalogue of Georgian books in the National Parliamentary Library of Georgia in Tbilisi. Tiflis (H2 SO4/ Tipogr. “Krasny Voin”), [1923?]. $8,500.00 Cf.: Le Gris-Bergmann, Françoise: “Iliazd and the Constellation of His Oeuvre,” in: Isselbacher, Audrey: Iliazd and the Illustrated Book (New York: Museum of Modern Art, 1987), p. 24; Paris-Moscou p. 438

106 ZEIT-ECHO. Ein Kriegs-Tagebuch der Künstler. Herausgegeben von Otto Haas-Heye. Vol I, No. I - Vol. II, No. 15, 1914- 1916, in 38 issues. 4to. Printed wraps. with cover woodcut by Max Unold (Vol. I grey with mounted title panels, Vol. II yellow, the title imprinted), the issues stitched with colored string. Publisher’s wrap-around bands (those for Vol. I nearly all on various different colored stocks). A fine long run, complete but for 4 double issues published in Bern in 1917 in a different format. Included among the original prints are lithographs by Paul Klee (“Der Tod für die Idee,” Kornfeld 63.II), Oskar Kokoschka (5, illustrating his poem “Allos Makar” in the “Oskar Kokoschka-Heft,” Wingler/Welz 69-73), Alfred Kubin (4), Hans Richter, and Richard Seewald (5, Jentsch L7-11), as well as Schinnerer, Unold, Scharff, Beeh, Geiger, Jansen, Grossmann, and others. Literary contributors include J.R. Becher, F. Blei, E. Bloch, M. Brod, M. Buber, Th. Däubler, K. Edschmid, P. Fechter, O. Flake, W. Hausenstein, H. Hesse, H. von Hofmannsthal, O. Kokoschka, E. Lasker-Schüler, A.R. Meyer, W. Rheiner, R.M. Rilke, P. Scheerbart, G. Trakl, M. Walser, F. Werfel, and many others. “Founded as a war diary, the magazine attempted to show the effect of war on painters and writers. It intended to define the mood of those years, and originally took no political stand. Pacificists as well as war enthusiasts were welcomed. Everyone was allowed to speak ‘what was in his heart.’ When Hans Siemsen took over as designer in the second year, he saw a changed mood among intellectual Germans. ‘I think that the mood of war for the last year is about all we can take.’ The change became anti-war. It became somewhat confused, ‘full of grief and giddy’” (Raabe). A very fine set, partly unopened, complete with the fragile wrap-around bands for all but four issues. München, 1914-1916. $5,000.00 Söhn II.364-365; Raabe 22; Perkins 205; Schlawe II.42f; Rifkind 308

ARS LIBRI ELECTRONIC LIST #80 75 IFPDA PRINT FAIR, NEW YORK 2012: MODERN ART

107 ZÜLOW, FRANZ VON. Die zwölf Monate. 13 color lithographic plates, printed in purple, green, yellow and blue, entirely from the artist’s designs; no element is set in type. 4to. Portfolio (cloth, the covers mounted with two further color lithographs; handmade pastepaper linings within). Contents loose, as issued. Printed and published by the Wiener Werkstätte, this portfolio is one of the major productions of Franz von Zülow (1883-1963), active as a designer of prints and other graphic art sold by the Werkstätte, as well as textiles and decorative items. A member of the Werkbund and Secession, Zülow exhibited widely through the teens and twenties; relevant to the present portfolio, he also published a periodic “Monatshefte” stencilled in small editions beginning in 1909, which was sent to the Werkstätte and its collaborators. The title-page of “Die zwölf Monate,” divided into four sections depicting the four seasons, is followed by a sequence of twelve plates of the months, each densely filled with traditional imagery, including the signs of the zodiac, distributed in six compartments around a central scene, as though on the cover of some folk art (or even art brut) Carolingian binding: Epiphany and Fasching, ploughing and sowing, Easter, spring courtship, swimming, threshing, the return to school, harvest, All Saints Day and Christmas, and other moments of the year. Slight fraying at the backstrip of the portfolio; a fine copy. Wien (Verlag der Wiener Werkstätte), n.d. [1912]. $6,500.00 Schweiger, Werner J.: Wiener Werkstätte: Design in Vienna 1903-1932 (New York, 1984), pp. 77, 267, 185 (illus.); Pabst, Michael: Wiener Graphik um 1900 (München, 1984), p. 340