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Ars Libri, Ltd. / 500 Harrison Ave. / Boston, MA 02118 Electronic List ARS LIBRI ELECTRONIC LIST 117: 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 117: Modern Art 1 Roma. Mario Diacono. JEAN MICHEL BASQUIAT: Il campo vicino l’altra strada. 23 ottobre - 20 novembre 1982. (4)pp. (single sheet of tan wove card stock, imprinted in red letterpress). Lrg. 8vo. Self-wraps. The very first catalogue, and the first monograph, published on the work of Jean-Michel Basquiat, with a densely written text by Mario Diacono. The exhibition was devoted to the display of a single major painting, “Il campo vicino l’altra strada” (“The Field Next to the Other Road”). Mario Diacono notes that this painting has been at times incorrectly dated 1981, and mentioned as painted and exhibited that year in Modena at the Galleria Emilio Mazzoli, in the show titled SAMO. The work was indeed painted in Modena, but in 1982, for another exhibition that Basquiat had in fact planned at the Galleria Mazzoli which never actually took place. By an agreement between Basquiat's primary dealer at the time, Annina Nosei, and the Galleria Diacono, the work was then exhibited in Rome, in October 1982. Its price was set at 7 million lire, or about $5,000. In May 2015, the painting was sold at Christie’s for $37,125,000. Roma, 1982. $3,000.00 Brooklyn Museum: Basquiat. Edited by Marc Mayer (Brooklyn, 2005), p. 216 (“Monographs and One- and Two-Person Exhibition Catalogues”) ARS LIBRI 2 ELECTRONIC LIST 117: MODERN ART 2 (BIENERT COLLECTION) GROHMANN, WILL. Die Sammlung Ida Bienert, Dresden. (Privatsammlungen neuer Kunst. Band I.) 24pp.. 83 plates hors texte (primarily full-page). 4to. Cloth, titled in red. Binding design by Moholy-Nagy; plates from photographs by W. Peterhans, Bauhaus-Berlin. The Bienert collection was one of the most advanced and well-known in Germany, with major holdings of Klee, Kandinsky, Schlemmer, Moholy-Nagy and other Bauhaus artists, as well important works by Mondrian, Kokoschka, Grosz, and the School of Paris. Potsdam (Müller & I. Kiepenheuer), 1933. $600.00 Spalek 307 ARS LIBRI 3 ELECTRONIC LIST 117: MODERN ART 3 DADA. NO. 4-5: ANTHOLOGIE DADA. 15 MAI 1919. Editor: Tristan Tzara. (32)pp., printed on rose, blue, orange and white stocks. Prof. illus. in a variety of media, including original woodcuts by Hans Arp (5, including that on the front cover; Arntz 40-44), Raoul Hausmann (2), Hans Richter and Marcel Janco, and 2 original lithographs by Viking Eggeling, as well as 3 line drawings by Picabia and tipped-in halftone reproductions of works by Augusto Giacometti, van Rees, Richter, Kandinsky, Arp, and Klee. 4to. Printed wraps., with Arp woodcut. Glassine d.j. Texts by Picabia, Tzara, Cocteau, Serner, Hardekopf, Soupault, Aragon, Breton, Radiguet, Albert-Birot, Ribemont- Dessaignes, Buffet, Arp, Huelsenbeck, Hausmann, Richter, et al. The most important and synoptic issue of “Dada,” and the most beautiful. This copy is in the German edition (with texts in both German and French); there was also a French edition, in which texts by Pérez-Jorba, Reverdy, Ribemont-Dessaignes and Tzara were substituted for those by Arp, Hardekopf, Hausmann, Huelsenbeck, Richter and Serner. “‘Dada 4/5,’ christened ‘Anthologie Dada,’ is a further collaboration by Tzara and Picabia, and was published almost simultaneously with the number 8 of Picabia’s review ‘391.’ Picabia executed the famous frontispiece for the ‘Anthologie,’ ‘Reveil Matin,’ by using as templates the wheelworks of an alarm clock dipped in ink. Possibly also through Picabia’s connections, contributors to this issue of ‘Dada’ were heavily weighted towards the Parisian writers of ‘Littérature’.... Typographic experimentation continued to challenge established ideas about the printing medium and are characterized in this issue by the use of randomly colored pages or imprints” (Dada Artifacts). A few very light touches of foxing; a fine copy, very fresh and bright, with strong impressions of the woodcuts. Zürich, 1919. $9,500.00 Dada in Zürich 90 ; Ades p. 64f. ; Gershman p. 49 ; Admussen 70; Chevrefils Desbiolles p. 284; Almanacco Dada 32; Sanouillet 226; Motherwell/Karpel 66; Rubin 462; Verkauf p. 177; Reynolds p. 110; Dada Artifacts 6; Düsseldorf 113; Zürich 371 ARS LIBRI 4 ELECTRONIC LIST 117: MODERN ART 4 DADA. NO. 7: DADAPHONE. Editor: Tristan Tzara. (8)pp. 10 illus. (halftone photographs). 4to. Self-wraps., stapled as issued, with front cover design by Picabia. Contributions by Tzara, Picabia (“Manifeste Cannibale Dada”), Breton, Éluard, Ribemont-Dessaignes, Soupault, Cocteau, Dermée, Aragon, Arnauld, Evola and others. The penultimate issue of “Dada,” brought out by Tzara in March 1920, at a moment of inspired Dada activity in Paris, just before the Manifestation Dada at the Maison de l’Oeuvre (March 27), the first appearance of “Cannibale” (April), the Festival Dada at the Salle Gaveau (May). Reminiscent of “391” and with a strong Parisian bias along “Littérature” lines (like “Dada” 6), “Dadaphone”’s visual interest is mostly in its insistent typographic density, rather than its illustration--though it does include a beautiful abstract Schadograph, purporting to show Arp and Serner in the Royal Crocodarium in London, as well as the spiralingly zany Picabia drawing on the front cover. Central fold; a little light soiling. Paris (Au Sans Pareil), 1920. $8,500.00 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 ARS LIBRI 5 ELECTRONIC LIST 117: MODERN ART 5 DADA ALMANACH. Im Auftrag des Zentralamts der Deutschen Dada-Bewegung. Herausgegeben von Richard Huelsenbeck. 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. $3,500.00 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 ARS LIBRI 6 ELECTRONIC LIST 117: MODERN ART 6 (DADA) KÖLN. BRAUHAUS WINTER. Dada-Ausstellung. Dadavorfrühling. Gemälde, Skulpturen, Zeichnungen, Fluidoskeptrik, Vulgärdilettantismus. [April-May 1920.] (4)pp. Single sheet, folding, opening to reveal an interior text printed on a spectacular bright scarlet ground. Dada typographic designs on the exterior (attributable to Johannes Baargeld), including a hand with occult symbols, and a text in Hebrew. Sm. 4to. Self-wraps. Texts by Johannes Baargeld and Max Ernst. One of the most brilliant ephemera of German Dada. “This dada exhibition has spawned more anecdotes than any other, some of them contradictory. Certainly it opened, and ended, turbulently, and was equally eventful while it was running.... [It] was organized hurriedly, as a separate manifestation after the montages and sculptures by Ernst and Baargeld had been removed from a juryless exhibition organised by the Artists’ Union of Cologne in the Museum of Decorative Arts. They hired a glass- roofed court partly exposed to the rain at the rear of the Brasserie Winter, reached through the gentlemen’s lavatory. Visitors were challenged to destroy what they didn’t like, and everything stolen and destroyed was constantly replaced. Several of the works which disappeared were reproduced in “Die Schammade”: Baargeld’s ‘Antropofiler Bandwurm,’ a relief construction of odds and ends like a frying pan, cog, springs and a bell, and Ernst’s wire sculpture, which has certain similarities with Janco’s ‘Construction,’ reproduced in the Zürich ‘Dada’ 1. The critics tended to be bemused” (Ades). The public, however, appears more than anything else to have been disoriented. It seems that the manifestation which most scandalized the audience was not the spectacle of a young girl in first communion dress reciting obscene poetry, but a “pornographic” image reported to the police which, on investigation, proved to be a reproduction of Dürer’s ‘Adam and Eve’ incorporated in an Ernst collage. A fine copy. Köln, 1920. $8,500.00 Dada Global 133 ; Ades p. 105f. ; Motherwell/Karpel 152 ; Dada Artifacts 57; Düsseldorf 338; Zürich 433; Pompidou: Dada 1325, illus. p. 273 ARS LIBRI 7 ELECTRONIC LIST 117: MODERN ART 7 DASHTI, GOHAR . Iran, Untitled. Essay by Mehran Mohajer. (4)ff. (title, colophon, and two text leaves, in parallel Farsi and English), with 8 archival digital pigment prints, each signed in pencil by the artist.
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