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IFPDA Print Fair 2012: Modern Art 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 ARS LIBRI ELECTRONIC LIST #80 2 IFPDA PRINT FAIR, NEW YORK 2012: MODERN ART 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. ARS LIBRI ELECTRONIC LIST #80 3 IFPDA PRINT FAIR, NEW YORK 2012: MODERN ART 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 ARS LIBRI ELECTRONIC LIST #80 4 IFPDA PRINT FAIR, NEW YORK 2012: MODERN ART 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 ARS LIBRI ELECTRONIC LIST #80 5 IFPDA PRINT FAIR, NEW YORK 2012: MODERN ART 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.
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