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ARS LIBRI ELECTRONIC LIST 95: RECENT ACQUISITIONS Ars Libri, Ltd. / 500 Harrison Ave. / Boston, MA 02118 [email protected] / www.arslibri.com / tel 617.357.5212 / fax 617.338.5763 Electronic List 95: Recent Acquisitions 1 ARAGON, LOUIS. Le mouvement perpetuel. Poèmes (1920-1924). Avec 2 dessins de Max Morise. 95, (3)pp. 2 full-page drawings in text by Morise. 4to. Dec. printed wraps. Glassine d.j. One of 150 numbered copies on vergé d’Arches, from the limited edition of 285 in all, printed in letterpress by Maurice Darantière. This is one of the exceptional copies in which Aragon has hand-inscribed, in ink, a quotation of his choice in the blank frame (in the shape of a book) on the back cover. Here, his selection is from Breton. “L’enfant à la capote de rubans/ L’enfant qui chatouille la mer/ André Breton.” Other copies are known carrying quotations from Lautréamont and Lenin. The poems, titled either in massive block capitals or a whimsically refined serif face, are dedicated to Breton, Fraenkel, Desnos, Leiris, Man Ray, de Chirico, Cowley, Picasso, and others in the Surrealist realm. Partly unopened. A fine copy. Paris (Librairie Gallimard), 1926. $1,800.00 Gershman p. 2; Biro/Passeron 117 ARS LIBRI 2 ELECTRONIC LIST 95: RECENT ACQUISITIONS 2 ARAGON, LOUIS, ET AL. Au grand jour. Surrealist tract, collectively signed by Louis Aragon, André Breton, Paul Eluard, Benjamin Péret and Pierre Unik. 28, (4)pp. Printed wraps. Original glassine. Édition de tête: one of 25 roman-numeralled copies, with a handwritten justification in blue pencil opposite the title-page “Il a été tiré de cet ouvrage vingt-cinq exemplaires de luxe numérotés de I à XXV. No. XXIII.” Issued in May 1927, following the induction of the signers into the Communist Party, this pamphlet castigates Antonin Artaud and Philippe Soupault for their lack of political militarism. Artaud’s well-known rebuttal, “A la grande nuit, ou le bluff surréaliste,” followed suit a month later. A very fine, crisp copy. Paris (Editions Surréalistes), 1927. $1,850.00 Gershman p. 56; Biro/Passeron p. 40; Nadeau p. 260ff. 3 ARTE MADÍ UNIVERSAL. Publicación de arte no-figurativo. Organo del movimiento madinemsor. Director: [Gyula] Kosice. No. 4, octubre 1950 (of 8 issues published in all). (28)pp. 58 illus. (2 color, including front cover). Sm. folio. Dec. self-wraps. Texts by Kosice, Diyi Laañ, Valdo Wellington, Sandu d’Arie, R. Rasas Pet, Rhod Rothfuss, H.J. Koellreutter, et al. Illustrations of work by Rothfuss, Esteban Eitler, Rodolfo Uricchio, Nicolas Kasak, Nelly Esquivel, d’Arie, A.J. Biedma, ARS LIBRI 3 ELECTRONIC LIST 95: RECENT ACQUISITIONS Bresler, Havas, Horacio Cazeneuve, et al, as well as Richard P. Lhose, Hilla Rebay, Rolph Scarlett, Rudolf Bauer, Walter Bodmer, Cesar Domela, Paule Vezelay, Kupka, Xceron, Sonia Delaunay, Vordemberge-Gildewart, and others. Opening statement, “Pluralidad de Madí” and concluding international update feature, “Aquí Madí.” Arte Madí was founded by break-away original members of the Asociación Arte Concreto Invención. “Principal among them was Gyula Kosice, who wrote the Arte Madí manifesto in 1946, and whose irregularly shaped canvases displayed ideological similarities with the Asociación. Also of prime importance to the group were the involvement of the spectator, movement and articulation, and the use of new materials and technology...; these were significant elements in the inventiveness and playfulness that the movement had in common with Dada” (Nelly Perzaao, in The Dictionary of Art). Eight issues were published in all (Nos. 0-7/8). A little creased, generally fine. Buenos Aires, 1950.. $950.00 Cold America: Geometric Abstraction in Latin América 1934-1973 (Madrid: Fundación Juan March, 2011), nos. 73.3, 74.4 (illus.) 4 (BAYER, HERBERT) Detmold. Ein lockendes Ziel im Teutoburger Walde. Leporello of 14 panels (7 on each side), offset- lithographically printed in yellow, red, and rose over gravure photographs and text. Folded 210 x 104 mm. (ca. 8 1/4 x 4 1/8 inches); extended 210 x 718 mm. (ca. 8 1/4 x 28 1/4 inches). A beautiful example of Bayer’s mid-1930s graphic design, with credit “herbert bayer dorland” at the foot of the cover, this pamphlet advertises the historic and rustic appeal of the city of Detmold, in the Teutoburg Forest, in East Westphalia-Lippe. Bayer was at this time creative director of the Berlin branch of the international advertising firm Detmold, his first position after leaving the Bauhaus in 1928. Pristine. Berlin, ca. 1935. $1,250.00 ARS LIBRI 4 ELECTRONIC LIST 95: RECENT ACQUISITIONS 5 BRETON, ANDRÉ. L’amour fou. (Collection Métamorphoses. III.) 176, (2)pp., 20 plates. Lrg. 8vo. Wraps. First edition: one of 1935 copies. Photographs by Man Ray (7), Brassaï (4), Cartier-Bresson, Dora Maar and others. “2 février. Parution de ‘L’amour fou,’ aux éditions Gallimard, avec dix-huit planches photographiques...illustrant fidèlement des passages du texte dont trois parties avaient déjà paru dans ‘Minotaure’ depuis 1934. ‘Le surréalisme de mes images ne fut autre que le réel rendu fantastique par la vision,’ précisera Brassaï à propos de ces photos” (Pompidou). A very fine copy. Paris (Gallimard), 1937. $950.00 Sheringham Aa276; Pompidou: Breton p. 235; Gershman p. 8; Ades 12.142; Biro/Passeron p. 21; Krauss, Rosalind & Livingston, Jane: L’Amour fou: Photography and Surrealism; Milano p. 653 6 BRETON, ANDRÉ. Le surréalisme et la peinture. Suivi de ‘Genèse et perspective artistiques du surréalisme,’ et de fragments inédits. 203, (1)pp., 69 plates (5 color). 4to. Dec. cloth. Breton’s text is brought quite up to date, with commentary on Kahlo, Lam, Donati, Cornell and, especially, Gorky, among others. Martica Sawin notes that to promote this new edition, Enrico Donati, together with Duchamp and Matta, installed a special display in the window of Brentano’s flagship store on Fifth Avenue, including a three-dimensional version of the Magritte on the cover. An historic presentation copy, inscribed “A James Johnson Sweeney/ nôtre meilleur compagnon d’armes, hommage très amical d’/ André Breton/ New York 1er octobre 1945” in blue ink on the half-title. Sweeney, distinguished curator at the Museum of Modern Art and later director of the Guggenheim, was, in the war years, a friend and ally of the European surrealist exile community in New York, and wrote extensively on Surrealist topics (having also served as editor-in-chief of “Transition” in earlier years). ARS LIBRI 5 ELECTRONIC LIST 95: RECENT ACQUISITIONS New York (Brentano’s), 1945. $1,500.00 Sheringham Aa360; Pompidou: Breton p. 363; Gershman p. 9; Sawin p. 376; Rubin 138; Milano p. 655 7 (BRETON) BATAILLE, GEORGES, ET AL. Un cadavre. (4)pp. (single sheet folding), printed on blue paper. Halftone cover illustration of Breton in a crown of thorns. 368 x 318 mm. (ca. 14 1/2 x 12 1/2 inches). Folio. Self-wraps. A vitriolic group denunciation of Breton, brought together in January 1930 by Georges Bataille, in response to Breton’s excoriation of his review “Documents.” “Those denounced and excommunicated in the ‘Second Manifesto,’ most of whom had already left the movement at least by the spring of 1929, were followed by others, like Prévert and Queneau, who had subsequently contributed, even briefly, to ‘Documents.’ Bataille masterminded the pamphlet ‘Un cadavre’ (ironically modeled on the surrealists’ 1924 pamphlet of the same name attacking Anatole France), which is a bitter denunciation of Breton, pictured in the front as a martyred Christ, and is signed by the dissident surrealists, Limbour, Morise, Baron, Leiris, Queneau, J.A. Boiffard, Robert Desnos, Jacques Prévert, and Bataille himself. Outraged as many were by their treatment in the ‘Second Manifesto,’ others recognized the necessity of getting out from Breton’s shadow, breaking his almost paternal dominance. As Leiris wrote in ‘Documents’: ‘Strange vermin we are, still fastening ourselves under the armpit of genius” (Dawn Ades). A rare example printed on blue stock. A fine copy of this fragile publication. Paris, [1930]. $2,500.00 Gershman p. 56; Ades p. 235; Biro/Passeron p. 48; Jean: Autobiography p. 236; Gershman: The Surrealist Revolution in France p. 147; Milano p. 650; Pompidou: Breton p. 194 ARS LIBRI 6 ELECTRONIC LIST 95: RECENT ACQUISITIONS 8 CASTRO, LOURDES. D’ombres. 26ff., including leaves of clear acetate, translucent vellum, colored cellophane, and colored wove stocks, with 14 original serigraphs. Text reproduced from the artist’s manuscript. Oblong lrg. 4to. Self-wraps. (serigraphed acetate with clasp spine). Serigraphy by Paul Verreet, Antwerp. One of 250 copies from the limited edition of 274 in all, signed and numbered by Lourdes Castro and Guy Schraenen in the justification. The Portuguese artist Lourdes Castro, a member of the KWY group in Paris from 1960 on, has made shadows and silhouettes a focal aspect of her work. “In the early 1960s, she worked on a series of sundry objects bathed in uniform silvery dye. Sinister, serious and humorous, these works bear some affinity to those by Niki de Saint Phalle of the same period. Other works explore the notion of presence and absence, either by uniformly filling in human silhouettes projected on to canvas, or deploying overlapping cut-out silhouettes in transparent materials. Castro worked consistently with shadows from the mid-1960s, making a film with shadows in 1965, publishing ‘Ombres transparents’ in 1967, and staging various ‘Shadow spectacles’ from 1973” (The Dictionary of Art). “[Les livres] de L. Castro, réalisés à partir de photographies de son théâtre d’ombres (‘D’ombres,’ sur papier calque) ou de la reproduction de silhouettes d’amis (‘D’ombres transparentes,’ 1967, sur rhodoïd de couleur), exploitent à merveille les possibilités de ces surfaces diaphanes où les ombres trouvent à se projeter les unes sur les autres, se confondent, se séparent, au gré du lecteur” (Anne Moeglin-Delcroix).
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  • Avant-Garde and Contemporary Art Books & Ephemera

    Avant-Garde and Contemporary Art Books & Ephemera

    Avant-garde and Contemporary Art Books & Ephemera Sanctuary Books [email protected] (212) 861-1055 2 [Roh, Franz and Jan Tschichold] foto-auge / oeil et photo / photo-eye. Akademischer Verlag Dr. Fritz Wedekind & Co., Stuttgart, 1929. Paperback. 8.25 x 11.5”. Condition: Good. First Edition. 76 photos of the period by Franz Roh and Jan Tschichold, with German, French and English text, 18pp. of introductory text and 76 photographs and photographic experiments (one per page with captions for each) with a final page of photographers addresses at the back. Franz Roh introduction: “Mechanism and Expression: The Essence and Value of Photography”. Cover and interior pages designed by Jan Tschichold, Munich featuring El Lissitzky’s 1924 self-portrait, “The Constructor” on the cover. One of the most important and influential publications about modern photography and the New Vision published to accompany Stuttgart’s 1929 Film und Foto exhibition with examples by but not limited to: Eugene Atget, Andreas Feininger, Florence Henri, Lissitzky, Max Burchartz, Max Ernst, George Grosz and John Heartfield, Hans Finsler, Tschichold, Vordemberge Gildewart, Man Ray, Herbert Bayer, Edward and Brett Weston, Piet Zwart, Moholy-Nagy, Renger-Patzsch, Franz Roh, Paul Schuitema, Umbo and many others. A very good Japanese- bound softcover with soiling to the white pictorial wrappers and light wear near the margins. Spine head/heel chipped with paper loss and small tears and splits. Interior pages bright and binding tight. (#KC15855) $750.00 1 Toyen. Paris, 1953. May 1953, Galerie A L’ Etoile Scellee, 11, 3 Rue du Pre aux Clercs, Paris 1953. Ephemera, folded approx.