ARS LIBRI ELECTRONIC LIST 117: MODERN ART

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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”)

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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

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3 . NO. 4-5: ANTHOLOGIE DADA. 15 MAI 1919. Editor: . (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 , and 2 original lithographs by , 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. , 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

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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

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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

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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

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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. Plate size: 217 x 295 mm. (8 1/2 x 11 5/8 inches) Oblong 4to. Portfolio. Cloth. Ties. Tissue guards. Contents loose, as issued. Edition limited to 25 numbered copies, signed and numbered in pencil in the colophon by the artist. Portfolio designed by Stephen Stinehour. English translation by Sassan Tabatabai. Tehran/Boston (Robert Klein Gallery, in association with Azita Bina-Seibel & Ars Libri), 2014. $5,000.00

8 DASHTI, GOHAR. Stateless 2014-2015. Photographs by Gohar Dashti. 3ff. (title, statement by the artist, and colophon), with 8 archival digital pigment prints, each signed and numbered in pencil by the artist. Plate size: 410 x 573 mm. (16 1/8 x 22 9/16 inches). Tissue guards. All contents loose, as issued. Folio. Publisher’s fitted cloth clamshell case. Edition limited to 20 copies in all, signed and numbered in the colophon by the artist.

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"In her previous series 'Iran Untitled' (2013) and now again in her latest project 'Stateless' (2014- 2015), Gohar Dashi explores the boundaries between our inner world and our social vision, in relation to a balance (or imbalance) with nature. A natural world, which certainly seduces us, with its great beauty, but which chiefly acts as the 'silent witness' to a mosaic of lives deeply marked by suffering.

"Although we are initially stunned by the beauty of the surrounding landscape--the desert island of Qeshm, an Iranian territory overlooking the Persian Gulf--once this initial impression is past, the artist invites us to form a reappraisal, making us aware of an underlying restlessness. The protagonists of the photos do not seem comfortable in this pristine environment; they appear inexplicably alien to the place they inhabit, almost exposed to a certain vulnerability. Their eyes reflect fright and suffering, as if they are disfigured by hidden scars. Like fragments of disjointed stories, which interrelate with without overlapping, these photographs depict an archive of broken memories that invade the narrative, fracturing our perception." (Silvia Cirelli). Boston (Ars Libri Ltd.), 2016. $15,000.00 Officine dell’Immagine: Gohar Dashti: Stateless (Milano, 2016).

9 DEBORD, GUY. The Naked City. Illustration de l’hypothèse des plaques tournantes en psychogéographique. Handbill poster, lithographed in orange and black, on cream laid stock (verso blank). 330 x 480 mm. (ca. 13 x 18 7/8 inches), folded in 4 sections. Published on the occasion of the 4e Congrès du Mouvement International pour un Bauhaus Imaginiste, as an illustration of Debord’s theory of the dérive . The title is taken from the film by Jules Dassin. The edition size is unknown, but copies in this original form are very rare, as nearly all were later cut down and printed with additional text on the verso for stapled insertion in copies of Asger Jorn’s “Pour la forme.” A few tack-holes, expertly mended; faint trace of few creases; a bright copy. Very rare. Copenhagen (Permild & Rosengreen), [1957]. $3,750.00 Sussman, Elizabeth (ed.): On the Passage of a Few People through a Rather Brief Moment in Time: The Situationist International 1957-1972 (Cambridge, 1989), p. 195, illus. p. 135 ; Repp, Kevin: Revolution at Beinecke. “The postwar avant-garde & the culture of protest, 1945 to 1957 & beyond” (New Haven, 2009), p. 2

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10 (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. $800.00 Webel, Sophie: L’oeuvre gravé et les livres illustrés par Jean Dubuffet (Paris, 1991), no. 174

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11 (ENTARTETE KUNST) A group of 3 original postcards from the 1937-1941 exhibition, together with 2 other vintage cards relating to Entartete Kunst. The notorious National Socialist "Entartete Kunst" exhibition was first shown in Munich for four months in 1937, where it was viewed by more than two million visitors, before touring throughout Germany and Austria over the next three years. Contents as follows:

1. Photographic view of the Haus der Kunst, Berlin, 1938, with the dramatic billboard erected on the façade for the exhibition: "Ausstellung der NSDAP Bau Berlin/ ENTARTETE KUNST." Postcard (original photographic print). 90 x 140 mm. (3 1/2 x 5 1/2 inches). Verso: caption "Ausstellung 'Entartete Kunst', Berlin" Stamped, with postal cancellation March 1938 advertising the exhibition within the postmark. After Munich, Berlin was the first stop of the exhibit, where it was shown February 26th to May 8th, 1938.

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2. "Ausstellung 'Entartete Kunst.'" A collective reproduction of five paintings by Emil Nolde from his cycle "Leben Christi," reprising (here on a black background) their arrangement in Room 1 of the Munich exhibition Postcard (original photographic print). 90 x 140 mm. (3 1/2 x 5 1/2 inches). Verso blank, apart from ruled lines for address. This ensemble, crudely titled in photomontage with a typewritten text, shows Nolde's "Kreuzigung" at the center, flanked by "Christus und Judas" and "Der zwölfjährige Christus" at left, and by "Frauen am Grabe" and "Auferstehung" at right. These works were derided as "Insolent mockery of the Divine under Centrist rule" in an adjacent inscription.

3. Installation photograph of Ludwig Gies' "Kruzifixus," showing the work as displayed at the entrance to the Munich exhibition, at the head of the stairs to the second floor. Postcard (original photographic print). 87 x 140 mm. (3 7/16 x 5 1/2 inches). Verso blank, apart from Agfa credit and ruled lines for address. This sculpture was one considered one of the most notorious works in the exhibition. The photograph shows its installation on a plinth labeled "This horror hung as a war memorial in the cathedral of Lübeck," with a sign to its left carrying other sarcastic text.

4. Reproduction of Karl Völker's "Kindergruppe," titled beneath the image. Postcard. 85 x 135 mm. (3 3/8 x 5 3/8 inches), deckle-edged. Verso unprinted, but with two rubber-stamped seals of the Reichsbund der Deutschen Beamten e.B. and Nationalsoz. Deutsche Arbeiterpartei, both with swastikas within the emblems, and with stamped notes "Revolte 1918/ Entartete Kunst 7." This work is not recorded to have been in the Entartete Kunst exhibition, though two other works by the artist were, "Industriebild" and "Fabrikdächer."

5. Reproduction of an untitled, uncredited painting of the Holy Family. Postcard (original photographic print). 87 x 140 mm. (3 7/16 x 5 1/2 inches). Verso unprinted but for Agfa credit. This tender, faux-naive half-length composition depicts the haloed figures of the Virgin and St. Joseph seated at a modern kitchen table, the infant Jesus between them. The Virgin serves the Child a spoonfull of castor oil (it would appear), while St. Joseph, holding a mortar and pestle, looks on meditatively. A few lightly pencilled annotations on the versos; fine condition. München, 1938. $1,800.00 Barron, Stephanie: “Degenerate Art.” The fate of the avant-garde in Nazi Germany (New York, 1991), p. 49ff., 91, 316f.

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12 ERNST, MAX . Rêve d’une petite fille qui voulut entrer au carmel. (182)pp. 69 captioned full- page illustrations after collages of steel-engravings. 4to. Dec. pale blue wraps. (with Ernst illustration). One of 40 numbered copies on watermarked Hollande Pannekoek , with large uncut margins of irregular format, from the limited edition of 1100 in all (of which 20 on Japon). The second of Ernst’s three collage novels, and the least known, though, Evan Maurer has noted, “this work comprises some of Ernst’s most powerful statements on the complexity of human nature, sexuality and desire.” Lightly sunned at spine. A very fine copy. Paris (Editions du Carrefour), 1930. $9,500.00 Spies/Metken 1587-1666 (after) ; Hugues/Poupard-Lieussou 8 ; Rainwater 22, p. 70 (Maurer) ; Gershman p. 20; Ades 11.49; Biro/Passeron 1056; Manet to Hockney 86; Villa Stuck 37; Franklin Furnace 133

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13 (EY COLLECTION) Sammlung Ey, Düsseldorf. Introductory text by Max Osborn. 94pp. 88 plates. Sm. 4to. Wraps., with ovoid (‘Ey’) silhouette on front cover. The privately published catalogue of the renowned collection of the legendary “Mutter Ey,” featuring work by Ernst, Dix, Hoerle, Pankok, Jawlensky, and other Rhenish Expressionists and New Objectivity artists. A very fine, fresh copy, rare thus. Düsseldorf (Selbstverlag von Frau Ey), n.d. $1,250.00

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14 (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 fine copy. New York, 1965. $1,500.00 Silverman 557 ; Fluxus Codex p. 96f. (illus.) ; Phillpot/Hendricks 21

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15 (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). Loose, as issued: insert 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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16 HAYTER, STANLEY WILLIAM . Paysages urbains. Suite de six pointes-sèches. 6 original drypoint etchings, each signed and numbered in pencil by the artist (Black/Moorhead 33-38ii). Lrg. 4to. Publisher’s portfolio (boards with supralibros title, 1/4 cloth, ties). Edition of 50 copies (apart from artist’s proofs), printed by Paul Haasen on B.F.K. Rives paper. No justification or table was provided with the publication. Paris (Éditions des Quatre Chemins), [1930]. $4,000.00

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17 HECHT, JOSEPH . Ile des cormorans. 10 original copperplate etchings, each signed in pencil in the margin. Sheet size: 300 x 400 mm. (ca. 11 3/4 x 15 1/2 inches). Oblong sm. folio. New fitted cloth clamshell case. This “suite libre de dix estampes” (as stated in the Tonneau- Ryckelynck/Plumart catalogue raisonné) was created for an unpublished album, and includes no justification. This set, with all plates signed in pencil, corresponds to Tonneau-Ryckelynck/Plumart’s edition A, estimated at 30 copies, from the edition of circa 152 in all, all unnumbered and all on watermarked papier de Montval. [Paris (The Artist), 1938-1939]. $3,750.00 Tonneau-Ryckelynck/Plumart 311-320 (A).

18 [LABOUREUR, JEAN-ÉMILE.] Types de l’armée americaine en France. Suite de dix images taillées sur bois par S.E.L. [sic]. Texte de A.S.C. (24)pp. 10 woodcut illus. (including front cover image), printed in black on colored backgrounds. Dec. wraps. Glassine d.j. One of 1000 numbered

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copies on vélin d’Arches, from the limited edition of 1052, printed by François Bernouard. The artist’s initials are misstated on the title-page, but corrected on the front cover. The text is by Laboureur himself, who, as author, appropriates the initials A.S.C. from his address at the Army Service Corps. Paris (A La Belle Édition), 1918. $600.00

19 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 in all to 25 copies 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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20 Vallès, Jules. Mazas. Publié avec l’autorisation de Séverine. Lithographies par MAXIMILAN LUCE. 12pp., 9 full-page lithographs. 1 lithographic illus. in text. Printed on double-fold sheets. Sm. folio. Orig. wraps., secured with cord, as issued. (somewhat soiled). New fitted cloth clamshell case. One of 240 copies in laid papier à dessin, signed and numbered in ink by Luce in the justification, from the limited edition of 250, “en vente à L’Estampe Originale.” The images are famous in the history of French anarchism, three of them depicting Félix Fénéon during his incarceration at Mazas. Paris, n.d. $2,500.00

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21 MARINETTI, F.T. Letterhead for ‘Movimento Futurista.’ Single sheet of lightweight cream wove stock, printed in bright orange on both sides. 295 x 233 mm. (ca. 11 9/16 x 9 3/16 inches). “Letterhead for ‘Movimento Futurista’ (1915), incorporating Balla’s drawing of his sculpture ‘Boccioni’s Fist-Lines of Force’ which he completed in the same year. The sculpture synthesizes in wood and carboard painted red the Futurist assault upon the past. The interpenetration of geometric forms concentrates the force emanating from the abstract portrait of Boccioni (1882- 1916) and his fist. It is entirely appropriate that Marinetti adopted Balla’s drawing and made it central to the letterhead of the Futurist Movement. The drawing is surrounded by a text of Marinetti’s summarizing the ideological center of Futurism and is set off by Marinetti’s slogan ‘Run/Don’t Rot.’ Although little room is left at the bottom of the page for a message, Marinetti used the letterhead for quick notes and comment” (The Avant-Garde in Print). The verso of the sheet is taken up completely with the text “Ideologia del Futurismo e dei Movimenti che ne derivano,” with quick remarks about Dadaism, Purism, Surrealism, Vorticism, Expressionism, Constructivism and other vanguard movements, which presumably dates this example to a printing sometime in the 1920s. A very fine, fresh copy. Milano (A. Taveggia [printer]), n.d. $2,250.00 The Avant-Garde in Print I.1

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22 (NEW YORK SCHOOL) ASHBERY, JOHN, ET AL. Ashbery, John. The Poems. Prints by Joan Mitchell./ O’Hara, Frank. Odes. Prints by Michael Goldberg./ Koch, Kenneth. Permanently. Prints by Alfred Leslie./ Schuyler, James. Salute. Prints by Grace Hartigan. 4 vols., each of 20 leaves, and each with 5 original color screenprints (of which 1 on the front cover). Tissue guards. Folio. Dec. boards, illustrated with original color screenprints, 1/4 cloth. Acetate d.j. Publisher’s cloth slipcase. One of 200 arabic-numbered copies from the limited edition of 225, each volume signed in ink by the author and the artist in the colophon, the prints made directly on the screens by the artists, at Tiber Press, and the text handset and printed by Brüder Hartmann in West Berlin on handmade Hahnemühle paper.

One of the key American livres d’artiste, published in the same year as the Morris Gallery’s “21 Etchings and Poems” (1960), and Larry Rivers’ and Frank O’Hara’s “Stones,” which were among its very few rivals up to that time. The prints by Joan Mitchell and Michael Goldberg represent their first ventures in printmaking.

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We quote at length the vivid account of the book’s gestation by Riva Castleman in her catalogue “A Century of Artists Books” for the Museum of Modern Art: "After World War II, new groups of artists and writers came together to locate and voice their common interests. The center of art activity, having moved to New York, was strengthened as American writers associated themselves with outspoken painters and sculptors. At first, as had been the case in Paris, the writers occupied themselves with translating the new artistic forms and grouping them into what might be identified as a movement. Two of the young poets, John Ashbery and Frank O'Hara, moved among the second wave of Abstract Expressionists. Their poetry was expressive in the sense of quick changes in mood and perception, face-offs between multiple conversations and interior responses. With Kenneth Koch and James Schuyler, they were invited by the poet Daisy Aldan to participate in an extension of her publication ['Folder'], which consisted of portfolios of poems with screenprints. In four bound volumes, each devoted to the work of one of the poets and embellished with screenprints by one of her painter friends, these colorful books were boxed together and published in 1960 under the imprint of Tiber Press, founded in New York by Aldan, Richard Miller, and Floriano Vecchi. Tiber Press had been issuing screenprinted greeting cards before Vecchi supervised the printing of the screenprints for the four books (the texts were printed in Germany). Ashbery, who was living in France, contributed a group of six 'haibun' (a Japanese form consisting of prose with a haiku, a seventeen-syllable poem, at the end), which were illuminated by the action-filled abstract screenprints of Joan Mitchell, another American who lived mainly in Paris. The volume was titled 'The Poems.' O'Hara, who was also a curator at the Museum of Modern Art, contributed 'Odes' to the Tiber Press set, enhanced by his friend Michael Goldberg's screenprints. Koch was paired with Alfred Leslie and Schuyler with the painter Grace Hartigan, who had made screenprints for ['Folder’] as early as 1954 and was a close friend of nearly all of this group and particularly of O'Hara."

In the introduction catalogue of the 1993 Grolier Club exhibition “The American Livre d’Artist,” Robert Rainwater writes: “The genesis, process of execution, and influences of this major project upon later works in book and other formats have yet to be explicated and its originality fully credited. The work’s role in instigating the development of later Pop-oriented screenprints and screenprinted paintings--even its influence in fostering the few other books of comparable ambition and quality that incorporate either painted or photo-based screenprinted images, such as Warhol’s ‘Flash’ (1968)--remains to be assessed.” A mint set, accompanied by the publisher’s illustrated prospectus, in the original shipping carton. New York (Tiber Press), 1960. $15,000.00 Castleman, Riva: A Century of Artists Books (New York, 1994), pp. 40, 207, pls. 1666-167 ; Johnson, Robert Flynn: Artists’ Books in the Modern Era 1870-2000 (San Francisco, 2001), no. 142 ; Phillips, Elizabeth & Zwicker, Tony: The American Livre de Peintre (New York, 1993), no. 21 ; Kelly, Jerry, et al: The Best of Both Worlds: Finely Printed Livres d’Artistes 1910-2010 (New York, 2011), no. 38; Mellby, Julie: Splendid Pages (Toledo, 2003), pp. 192, 182, 187, 183

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23 SCHWITTERS, KURT . Contemporary postcard reproducing Schwitters’ construction “Das Merzbild.” 141 x 91 mm. (ca. 5 1/2 x 3 1/2 inches). “Das Merzbild” is one of 11 works by Schwitters published in postcard format by Paul Steegemann (or properly ten works, since the series included a photo-portrait of the artist), though this card--like several others--bears the credit of another printer who worked with him, Richard Blumenthal. A very important work in Schwitters’ oeuvre, “Das Merzbild,” the work that launched the word ‘Merz,’ was meant to have been published in the never- issued “Dadaco.” Shown in the July 1919 exhibition at Der Sturm, “Das Merzbild” was purchased by the Dresden Stadtgalerie and later confiscated by the Nazis for the Entartete Kunst exhibition, after which it appears to have been destroyed; it is known only through photographs. Schwitters spoke of it, along with “Das Undbild” and “Das Arbeiterbild,” in his 1927 account of the discovery of Merz, as one of the quintessential examples of his “new manner of working.” “The Merz-pictures of 1919-21 are Schwitters’ most impressive contribution to twentieth-century art” (Schmalenbach). Unused. Faintest trace of foxing on verso; a fine example. Hannover (Hannoversche Papierwarenfabrik Richard Blumenthal), [1920]. $1,500.00 Meyer, Jochen: Paul Steegemann Verlag 1919-1935/ 1949-1955: Sammlung Marzona (Sprengel Museum Hannover, 1994), p. 168 ; Centre Pompidou: Kurt Schwitters (Paris, 1994), p. 79 (illus.) ; cf. Elderfield pp. 40, 52 ; cf. Schmalenbach p. 110; Ades 6.30; Pompidou: Dada 1496 (illus. p. 910.2)

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24 SCHWITTERS, KURT . Contemporary postcard reproducing Schwitters’ construction “Die Kultpumpe” (“Merzplastik”). 141 x 91 mm. (ca. 5 1/2 x 3 1/2 inches). This is one of 11 Schwitters postcards issued by the publisher of Schwitters’ “Anna Blume” (with a discreet promotional mention of the book on the verso). The caption on the front of the card identifies it as by “Kurt Schwitter’s.” Like “Der Lustgalgen,” “Die Kultpumpe” (The Cult Pump) is from a series of constructions which were Schwitters’ first ventures into sculpture. All of them were destroyed; this is one of six known through photographs. Unused. A fine example. Hannover (Paul Steegemann), [1920]. $1,500.00 Meyer, Jochen: Paul Steegemann Verlag 1919-1935/ 1949-1955: Sammlung Marzona (Sprengel Museum Hannover, 1994), p. 168 ; Centre Pompidou: Kurt Schwitters (Paris, 1994), p. 79 (illus.) ; cf. Elderfield p. 112 ; Ades 6.27; Pompidou: Dada 1500 (illus. p. 911.7)

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25 (SCHWITTERS, KURT) “Kurt Schwitters.” Contemporary postcard portrait, published by Paul Steegemann. 137 x 88 mm. (5 3/8 x 3 1/2 inches). Halftone photo, with title beneath; the verso with caption. One of eleven cards issued by Steegemann to promote Schwitters and his publications, the rest of which were reproductions of his works. It is captioned on the verso “Von Kurt Schwitters sind erschienen im Verlag von Paul Steegemann, Hannover: ‘Anna Blume’, Dichtungen, ‘Die Kathedralen’, ‘Merzlithographien’ und 7 Postkarten nach Merzbildern.” It was a card Schwitters particularly enjoyed altering with collage. Light wear, unmarked. Very rare, more so than the other Schwitters postcards. Hannover (Paul Steegemann), [1920]. $2,500.00 Meyer, Jochen: Paul Steegemann Verlag 1919-1935/ 1949-1955: Sammlung Marzona (Sprengel Museum Hannover, 1994), no. 243 ; Pompidou: Dada p. 911 fig. 12 (altered with collage) ; Elderfield, John: Kurt Schwitters (New York, 1985), fig, 87 (altered with collage)

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26 SCHWITTERS, KURT & DOESBURG, THEO VAN. Kleine Dada-Soirée. Programma. Poster, lithographed in red and black on off-white paper. 300 x 302 mm. (circa 11 3/4 inches square). One of the great icons of Dada graphic art, this collage-like broadside was designed as a combination poster and program for a series of soirées planned for the dada campaign mounted by Theo and Petro Van Doesburg and Kurt Schwitters in Holland in 1923. At one time attributed to Van Doesburg alone, it is now universally agreed that the work was collaboratively designed with Schwitters; Jean Leering suggests that Schwitters was responsible for the elements printed in black (which predominate), and Van Doesburg for the elements in red (“DADA” repeated five times in various positions). Two different issues of the poster are known, distinguished by textual elements in the top right corner of the design: the present, original version, which mentions the Haagsche Kunstkring, where the event was first to be performed, and a second version, issued for readers of the review "Mécano." We quote at length from John Elderfield’s account of the performances: “The tour was scheduled to begin with a performance at the Hague Kunstring on December 27, 1922, but, because Schwitters had problems with his passport, it was postponed until January 10. Van Doesburg began the proceedings. Solemnly attired in dinner jacket, black shirt and white tie--but with a matching white- powdered face--he started to give an explanatory lecture on Dadaism (based on his article “Wat is Dada?”). He said that the Dadaists would do something unexpected, Schwitters recalled. ‘Just then, I stood up and barked loudly.’ (‘Frantic applause and noisy cheers,’ reported a contemporary newspaper.) ‘A few people fainted and were carried out, and the newspapers reported that what “Dada” means is “bark.”’ (This alone netted them a second evening, in Haarlem; but there Schwitters blew his nose instead, and the newspapers dutifully reported that.) When Van Doesburg had finished his lecture, Schwitters recited his ‘Revolution in Revon,’ which apparently caused an

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uproar. According to some reports, the disorder was not quelled without the intervention of the police and the expulsion of some demonstrators. For light relief, there was announced some Dada piano music to be played by Van Doesburg’s wife.... Then Schwitters recited his poem, ‘An Anna Blume,’ followed--to everybody’s surprise--by some Heine, accompanied at Schwitters’ insistence by a Chopin Étude. But when Schwitters changed back to sound-poems again, reciting them so as to mimic the melody of the Chopin, the audience disturbance started again.... This eminently successful repertoire was repeated in Haarlem, Amsterdam, Rotterdam and elsewhere throughout Holland. The tour finally ended in Utrecht, where Schwitters was presented with a nine-foot high bouquet of rotting flowers, with some bones and other debris attached, and a putrid laurel wreath, all apparently stolen from the local cemetery.... ‘The success was unprecedented,’ Schwitters wrote. ‘The police wept, and the public fought furiously among themselves, everyone trying to save a little bit of the bouquet; all around, people gave us and each other black eyes and bloody noses. It was an unparalleled Dadaist triumph.’” Minuscule trim at edge of the blank lower margin; a few extremely faint small creases; expert conservation by Studio TKM Associates. An exceptionally beautiful copy, very bright and fresh. [The Hague?], 1922. $25,000.00 “Typographie kann unter Umständen Kunst sein”: Kurt Schwitters Typographie und Werbegestaltung (Wiesbaden, 1990), pp. 25 (color plate), 28 ; Dada Global 104 ; Ades 6.22 ; Dachy p. 165 (full-page color plate); Dachy: Archives dada/ chronique p. 368ff. (full-page color illus.); Lista: Dada libertin et libertaire p. 176 (illus.); Schippers: Holland Dada, p. 55 (illus.); Düsseldorf 515; Zürich 437; Pompidou: Dada 1551, illus. p. 941.5; Washington: Dada illus. 169 (double-page color plate); Andel, Jaroslav: Avant-Garde Page Design 1900-1950 (New York, 2002), no. 153 (full-page color plate); The Avant-Garde in Print 3.9; Minneapolis p. 32f.; Johnson, Robert Flynn: Artists’ Books in the Modern Era: The Reva and David Logan Collection of Illustrated Books (San Francisco, 2001), no. 33 (“probably the greatest printed manifestation of the Dada movement”)

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27 SERNER, WALTER. Letzte Lockerung. Manifest dada. (Die Silbergäule. Band 62-64.) 45, (3)pp. Wraps., printed in red and black. A very extensive amplification of the text originally published in the German edition (only) of “Anthologie Dada” “Dada” No. 4/5 (May 15, 1919), which included only the first 12 articles of the manifesto, here expanded to 78. "On 9 April 1919, Serner joined Tzara and Richter-all that remained of the earlier Zürich group-on the stage at the soirée held at Kaufleuten Hall, the final large-scale Dada event in Zürich. According to Richter's account, the audience, eager to be shocked, found the opening events-a lecture by Eggeling on abstract art, dances by Suzanne Perrottet in a mask by Janco, poems written by Huelsenbeck and Kandinsky-somewhat disappointing in this regard, and watched with polite amusement. There was some improvement with the performance by twenty people of a simultaneous poem by Tzara, and the 'tunes or anti-tunes' of Hans Heusser, but Serner finally provided the provocation sought. He came onto the stage dressed in a morning suit, carrying a headless tailoring dummy, to which he offered a bouquet of flowers. He brought a chair, sat astride it with his back facing the audience and began to read his manifesto 'Letzte Lockerung' (Final Dissolution). Now truly shocked, the audience verged on rioting, pelting Serner, who calmly continued reading, with insults and trash. The published version of this text takes the combustible dadaist manifesto genre to a new extreme, characterized by a mixture of bitter irony, obscenity, and crude aggressiveness, with more than a hint of violence. Serner's lines transform earlier dadaism's ethical despair into a new note of overarching cynicism" (Leah Dickerman). Discreet stamp at foot of title-page; a little light wear. Hannover (Paul Steegemann), 1920. $1,250.00 Dada in Zürich 80 ; Almanacco Dada p. 455 (illus.) ; Ades 3.49 ; Raabe/Hannich-Bode 275.2; Meyer: Paul Steegemann Verlag 39; Dachy p. 60f.; Lista, Giovanni: Dada libertin & libertaire p. 249; Motherwell/Karpel 392; Verkauf p. 182; Zürich 345; Pompidou Dada 1297, illus. 904.3, p. 902; Washington Dada pp. 40f., 442 (illus.); The Avant-Garde Applied L23

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28 SONNIER, KEITH. Computographics. (16), 4ff., 5 accordion-folded planographic/photo-etched plates, each initialled and dated by the artist, and designated P.P. 3/4. Etchings: ca. 325 x 1582 mm. ( 12 7/8 x 62 5/8 inches). Each is presented loosely inserted in a titled folder, as are the essay and colophon. Folio. Dec. cloth clamshell box. One of 4 printer’s proof copies, initialled and designated “P.P. 3/4” by the artist in the colophon. As stated, the edition was limited to 20 arabic- numbered copies, 5 separate unfolded sets of the etchings, and 20 unfolded copies of two of the prints. “Keith Sonnier made the images by computer manipulation of photographs of his sculptures. Films were printed from the digital images, cut, collaged and photo-etched into copper plates” (from the colophon). The work includes an introductory essay by Robert Rosenblum, “Electronic Meditations,” which considers the retrospective aspect of this suite, in which Sonnier revisits five of his major projects from 1968 and 1969. “These thoughts are prompted by Keith Sonnier’s remarkable and unique variations on this grand, fin-de-siècle theme, developed in this series of phantom prints which might generically be called graphics, but which really demand a fresh word, perhaps a neologism like ‘computographics.’ What Sonnier has done is to look backwards, too, but also to re-experience his earlier achievements in an eerie new way.... These metamorphoses, of course, belong to the ethereal magic of a computer world, with its capacity to turn anything real and tangible into something ecoplasmic and ephemeral; but when these electronic forces are programmed by an artist to take us to the space-time coordinates of his own past creations, as they are in this extraordinary series, a poignant new kind of meditation on time, art, and personal history is born.” A very fine copy. Tampa (Graphicstudio, University of South Florida), 1995. $4,000.00

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29 (WAGNER, OTTO ) Das K.K. Oesterreichische Postsparkassenamt in Wien. 15, (1)pp. 8 halftone photographic illus., 1 plan. Lrg. 8vo. Dec. self-wraps., secured with brown and yellow cord, as issued (slightly dusty, hairline split at top of spine). New fitted cloth clamshell case. Probably Wagner’s single most celebrated project, the Postsparkasse (1903-1912), with its industrial aesthetic, is one of the icons of the modern movement. Rare. Wien (Chwala’s Druck), 1913. $1,200.00

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30 WAGNER, OTTO . Der Karlsplatz und das Kaiser Franz Josef-Stadtmuseum. Beschlüsse des Museumbauausschusses über die Lösung dieser Frage auf Grund der vom Subkomitee dieses Ausschussesgestellten Anträge. 20pp. 16 illus. (elevations, plans, halftone photographs). Printed on card stock. Oblong sm. 4to. Dec. self-wraps., secured with red and white cord, as issued. Five different competition designs were submitted by Wagner between 1900 and 1912, none of them realized. The museum was eventually built on a different site. Light wear; ex-libris, collector’s stamp. Rare. [Wien, 1907]. $1,600.00

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31 ZÜRN, UNICA . Hexentexte. Zehn Zeichnungen und zehn Anagramm-Texte. Mit einem Nachwort von Hans Bellmer. (28)pp. 11 full-page illus. in text. Sq. 4to. Black wraps., with mounted title slip on the front cover. Copy XII, above X copies reserved for collaborators, from the limited edition of 160 hand-numbered copies in all. This copy is further designated “Handexemplar M” beneath the number. A fine copy. Berlin (Galerie Springer), 1954. $1,800.00 Biro/Passeron 3134, p. 435 ; cf. Paris. Halle Saint-Pierre: Unica Zürn (2006)