Boston, MA 02118 Electronic List 124: Twentieth Century Avant-Garde Art

ARS LIBRI ELECTRONIC LIST 124: TWENTIETH CENTURY AVANT-GARDE ART & DESIGN

Electronic List 124: Twentieth Century Avant-Garde Art & Design

1 APOLLINAIRE, GUILLAUME. Les peintres cubistes. (Méditations Esthétiques.) Première série [all published]. Deuxième édition. (Tous Les Arts. Collection publiée sous la direction de M. Guillaume Apollinaire.) 84pp., 45 plates. 4to. Cloth, 3/4 leather. “Whatever its faults, ‘The Cubist Painters’ still breathes, nearly forty years later, with the immediacy of life. But Apollinaire’s enthusiasm was not blind; he saw cubism’s inner structure with great clarity for his time; he wrote his book after discussions with the painters; and many of his generalizations hold true, not only of cubism, but of the various modes of ‘abstract’ painting that keep appearing again and again, in ‘waves’....” (Robert Motherwell, in 1949). Paris (Eugène Figuière), 1913. $500.00 Biro/Passeron 102; Lake: Baudelaire to Beckett 7

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2 ARTAUD, ANTONIN. Pour en finir avec le jugement de Dieu. Émission radiophonique enregistrée le 28 novembre 1947. Texte intégral suivi de variantes, extraits de presse et 8 lettres à Fernand Pouey, René Guignard, Wladimir Porché, René Guilly, le R.P. Laval, Paule Thévenin. 109, (3)pp. Wraps. Uncut. Edition limited to 455 numbered copies. Paris (K éditeur), 1948. $250.00

3 (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. $500.00 Spalek 307

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4 BRETON, ANDRÉ. Les vases communicants. 172, (2)pp. Dec. wraps., designed by Max Ernst, printed in pink and black. Uncut. One of 2000 numbered copies on vélin Omnia, from the edition of 2025. “26 novembre: publication des ‘Vases communicants,’ (ed. des Cahiers Libres) dont Breton envoie un exemplaire à Freud, qui répond par trois lettres (12, 14, et 15 déc.). Le livre, tout entier écrit dans la résonance de Hegel, est une tentative ambitieuse pour établir les liens étroits existant entre le rêve et l’état de veille et définir la fonction du poète surréaliste ‘a venir’” (Centre Georges Pompidou: André Breton). A very fine copy, unopened. Paris (Éditions des Cahiers Libres), 1932. $275.00 Sheringham Aa196; Pompidou: Breton p. 205f.; Gershman p. 7; Ades 11.43; Biro/Passeron p. 422; Milano p. 651

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5 BULLETIN INTERNATIONAL DU SURRÉALISME. Nos. 1-4 (all published). 4to. Self-wraps., stapled as issued. Fine fitted slipcase and chemise by Devauchelle (black boards, silver label at spine). A complete set, including the sensationally rare No. 2, published in Santa Cruz de Tenerife in October 1935, of which virtually the entire printing seems to have been lost. Remarking on this “inaccessible et mythique numéro,” the Breton sale catalogue of 2003 reported that “d’après Benjamin Péret, la quasi totalité de son tirage contenu dans une valise se trouverait quelque part au fond de l’océan. De la plus insigne rareté.” Contents of the set as follows: No. 1: Bulletin international du surréalisme. Publié par le Groupe surréaliste en Tchécoslovaquie. Prague, le 9 avril 1935./ Mezinárodní buletin surrealismu. Vydala Skupina surrealistu v CSR. Praha, 9. duben 1935. 12pp. 4 illus., Styrsky, Toyen and Makovsky. Parallel texts in Czech and French. With extensive quotation from Breton and Eluard, who, at the invitation of the Czech group, visited Prague early in 1935, where they were lionized by the Communist Party press. Declarations by Vítezslav Neval and others; illus. of work by Styrsky and Toyen. No. 2: Boletín internacional del surrealismo. Santa Cruz de Tenerife, octubre 1935. Publicado por el grupo surrealista de Paris y “Gaceta de Arte” de Tenerife (Islas Canarios). 9, (1)pp. 5 illus. Parallel texts in Spanish and French. “In May, 1935, another invitation was extended to the Paris surrealists, this time from friends of Oscar Dominguez in Tenerife who for four years had been publishing a review of modern art, ‘Gaceta de Arte.’ Breton and Péret went to the Canaries, and met Eduardo Westerdahl, the director of the review, and the poets Domingo Pérez Minik, Domingo Lopez Torres, Pedro Garcia Cabrera and Agustin Espinoza. ‘Gaceta de Arte’ organized an exhibition at the Ateneo Gallery of paintings, water-colours, drawings, collages, engravings, and photographs.... Conferences were held, and Buñuel and Dalí’s film ‘L’Age d’Or’ was shown. A second bilingual edition of the ‘International Surrealist Bulletin,’ this time in Spanish and French, appeared in October 1935 at Santa Cruz de Tenerife, dealing with the same issues--the relationship between art and revolution--as the Czech number. It contained reproductions of ‘The Hunter’ by Dominguez, and ‘The Death of Marat,’ an engraving by Picasso for a collection of poems by Benjamin Péret” (Marcel Jean). No. 3: Bulletin international du Surréalisme. Publié à Bruxelles par le Groupe surréaliste en Belgique, 20 aoùt 1935. 8pp. 3 halftone illus. Opening with a manifesto protesting the Franco-Soviet pact, “Le couteau dans la plaie,” signed by 14 subscribers, including René Magritte, E.L.T. Mesens, Paul Nougé, Jean Scutenaire, André Souris, Achille Chavée, Fernand Dumont, Marcel Lecomte and Max Servais; followed by the text of Breton’s speech to the Congrès des Écrivains pour la défense de la Culture--which, notoriously, he had been prevented from reading. “There was now a clear political accord between the [Paris and Brussels] groups, underlined by Nougé, Scutenaire and Souris, which claimed, as did Breton, that revolutionary action was possible outside the Communist Party” (Ades). No. 4: International Surrealist Bulletin. Issued by the Surrealist Group in England. September 1936. 18, (2)pp. 11 illus. Texts by Herbert Read and Hugh Sykes Davies; bulletin “read and approved” by Agar, Breton, Burra, Davies, Éluard, Gascoyne, Jennings, Mesens, Moore, Nash, Penrose, Man Ray, Read, Todd and others. The first surrealist periodical in England, following on the International Surrealist Exhibition opened by Breton at the New Burlington Galleries in London in the summer of 1936. A little unobtrusive browning in No. 2; a very fine set. Praha/ Santa Cruz de Tenerife/ Bruxelles/ London, 1935-1936. $12,500.00 Gershman p. 48; Admussen 27; Biro/Passeron pp. 361, 363; Jean p. 263f.; Reynolds p. 108; Milano p. 565f.

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6 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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7 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. $2,500.00 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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8 DALI, SALVADOR. Métamorphose de Narcisse. (26)pp. 3 plates (1 color). Lrg. 4to. Dec. wraps. Glassine d.j. Unspecified édition de tête, hand-numbered VII in the justification, from the limited edition of 500 in all. Cover photograph by Cecil Beaton. “‘Changer la vie,’ ‘transformer le monde;: les deux adages qui gouvernent l’éthique surréaliste sont traversées par l’idée de la métamorphose.... Titre de plus d’une oeuvre littéraire (S. Dalí, ‘La métamorphose de Narcisse,’ 1937) et artistique (A. Masson, ‘Métamorphose des amants,’ 1924 et 1938), elle draine l’imaginaire des peintres comme celui des écrivains” (Biro/Passeron). A very fine, fresh copy. Paris (Éditions Surréalistes), 1937. $950.00 Gershman p. 15; Milano p. 653; Reynolds p. 31; cf. Biro/Passeron p. 280

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9 (DALI) Crevel, René. Dalí, ou l’anti-obscurantisme. 29, (3)pp., 10 collotype plates on heavy stock. Lrg. 8vo. Textured black wraps., with white title label on front cover. One of 600 numbered copies on vélin blanc, from the limited edition of 615 in all, finely printed by Ducros et Colas. Presentation copy, boldly inscribed by Crevel “A Maurice/ Martin du Gard,/ souvenir/ R.C.” across the half-title. A very fine copy of a book usually found in quite worn condition. Paris (Éditions Surréalistes), 1931. $850.00 Gershman p. 15; Ades 11.45; Rubin 207

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10 (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

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11 (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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12 (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

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13 GROSZ, GEORGE. A group of two books, one brochure, and six autograph letters, all signed by the artist. $3,500

The two books, and brochure are signed and inscribed (in English) by Grosz to Frank Sommer and dated 1941 as follows:

Grosz, George. Das Gesicht der Herrschenden Klasse, 55 politische Zeichnungen. 1.- 12. Tausend. 64pp. 55 full-page illus. 4to. Printed boards, 1/4 cloth. Inscribed by the artist in purple ink, dated Sept. 17/41. As noted by Hermann (and unknown to Lang), two different issues were published: those designated “1.-6. Tausend,” bound in wrappers and printed on wood-pulp paper, and those marked “1.-12. Tausend” (as here), which were bound in quarter cloth and printed on non-acidic stock. (There was also a Vorzugsausgabe of 50 copies bound in half vellum, signed). Berlin (Der Malik-Verlag), 1921. Lang 25; Bülow 26; Hermann 159; Berlin: Malik 29; Ades 4.31; Motherwell/Karpel 273

Grosz, George. Über alles die Liebe. 60 neue Zeichnungen. (7), 119, (1)pp. 60 full-page plates. 4to. Dec. wraps., d.j. with front cover illustration by Grosz. Spine darkened. Small chip to front d.j. panel. Rear d.j. panel neatly detached. Inscribed by the artist in purple ink, dated Sept. 17/41. ‘The title suggests that we’re going to talk about interpersonal relations. Well good, but don’t expect my drawings to depict an idyllic, eternal love. Realist that I am, my pen and brush serve above all to draw what I see and what I observe, and that is mostly unromantic, sober, and hardly dreamy’ (from the preface by Grosz). Berlin (Bruno Cassirer), 1930. Lang 56; Bülow 91

New York. The Art Students League. George Grosz. Instructor: Life Drawing : Painting : Composition. (8)pp. 8 illus. 12mo. Self-wraps. Inscribed by the artist in green ink (some offsetting to the plate opposite). An Art Students League of New York brochure with brief one-page biographical and career synopsis on the inside front cover. Of the 8 illustrations, 7 are reproductions of paintings by the artist and one is of Grosz, smoking a pipe, seated in front of a canvas, with a mannequin in the background. Rare: OCLC lists only two copies. New York, n.d. [1940?].

Six autograph letters all signed and dated by Grosz in 1941 as follows:

Six ALS from the artist to Frank H. Sommer, at first regarding the purchase of the originals of Grosz’ illustrations of Ben Hecht’s 1001 Afternoons in New York (then just published) and ranging on to advice on making art, Grosz’ opinions on William Blake, and other subjects. All elaborately signed, one with a large manicule attracting attention to the postscript. All in their original envelopes; five on the stationery of his home on Long Island and one on the stationery of his holiday home on Cape Cod. Three of the envelopes are sealed with distinctive printed labels designed by Grosz and signed in the plate by him (two printed in blue and one in orange).

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14 HAGIWARA, KYOJIRO. Shikei senkoku [Death Sentence]. (2), 11, (1), 3, (1), 6, 161, (1), 5, (3)pp., 8 halftone plates. Profusely illustrated throughout with original linocuts by Tatsuo Okada and Kimimaro Yabashi, and Tatsuo Toda. Dec. wraps., designed by Okada, printed with lattice design in black and small disc in blue, with color overlays in yellow and red. Uncut. The historic and extremely rare first edition; a second edition was published in Tokyo in 1926. We quote at length from Gennifer Weisenfeld’s discussion of the book: “[‘Shikei senkoku’] was one of Mavo’s best-known projects and the group’s only collaborative book design. Mavo executed the entire layout of Hagiwara’s anthology, deciding everything down to the pitch of the text. It is one of the finest examples of a successful integration of text, design, typography, and illustration. At the time, ‘Shikei senkoku’ was considered extremely experimental, graphically.... Without the artistic constraints placed on many commercial publications, Mavo artists were free to produce a strong visual response to the tumultuous poems. Okada did most of the illustrations for the volume, as well as designing the cover. It consisted of two bold black lattices on both the left and right borders, a yellow band at the top with the author’s name, a thicker red band with the book title below this, a bluish circle in the center, and a black-and-white grid pattern at the bottom with boxes filled in to create an abstract pattern.... Several of the illustrations inside ‘Shikei senkoku’ were photographic reproductions of Mavo work already published in the group’s magazine. The rest were abstract linocuts. Line, dot, and arrow border patterns dynamically frame the texts, which were interspersed with full-page illustrations, some featuring bold, black-and-white abstract patterns.... The typography used for the poems was also experimental, often incorporating symbols and shapes to substitute for characters and letters.” A remarkably fine copy, fresh, bright, and crisp, with strong impressions of the linocuts, far better preserved than that illustrated in the Machida catalogue. Of great rarity. Tokyo (Choryusha Shoten), 1925. $15,000.00 Weisenfeld, Gennifer: Mavo: Japanese Artists and the Avant-Garde, 1905-1931 (2002), p. 197ff. ; cf. Omuka, Toshiharu: “Tada=Dada (Devotedly Dada) for the Stage: The Japanese Dada Movement 1920-1925,” in: Janecek, Gerald & Omuka, Toshiharu: The Eastern Dada Orbit... (Crisis and the Arts: The History of Dada, Vol. 4; New York, 1998), p. 283f.; Urawa Art Museum: Books as Art: From Taisyo Period Book Design to Contemporary Art Objects (2001), p. 82f., pl. 26 (4 illus.), (citing 2nd edition); Centre Georges Pompidou: Japon des avant-gardes 1910/1970 (Paris, 1986), pp. 177f., 516; Machida City Museum of Graphic Arts: Modernism in the Russian Far East and Japan, 1918-1928 (Machida, 2002), illus. 272 (and cf. 271)

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15 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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16 Festschrift Josef Hoffmann. Österrreichischer Werkbund. JOSEF HOFFMANN zum sechzigsten Geburtstag 15. Dezember 1930. (Sonderveröffentlichung der Zeitschrift “Almanache der Dame,” Wien.) 75, (1)pp. Prof. illus. 4to. Silvered stiff wraps., printed in red (a bit worn). Texts by more than 30 contributors, including E.G. Asplund, Peter Behrens, H.P. Berlage, Richard Beer-Hofmann, Le Corbusier, Josef Frank, Walter Gropius, Alexander Kosch, Karl Moser, Roberto Papini, Bruno Paul, Hans Poelzig, P. Morton Shand, Josef Strzygowski and Hans Tietze. Wien, 1930. $350.00 Jaeger 0346

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17 HUGNET, GEORGES & SELIGMANN, KURT. Une écriture lisible. 38, (2)pp. 15 plates in text. Lrg. 4to. Wraps. One of 175 numbered copies, from the edition of 255 in all. Paris (XXe Siècle/ Éditions Chroniques du Jour), 1938. $275.00 Pérégrinations 45; Ades 12.162; Reynolds p. 54

18 Maurois, André. Les discours du Docteur O’Grady. Avec quinze gravures au burin de J.-E. LABOUREUR. (4), 251, (3)pp. 15 copperplate-engraved illus. Stout 4to. Wraps. Glassine d.j. One of 30 numbered exemplaires de collaborateurs, this one on vélin d’Arches with an uncalled-for extra suite of the engravings on Japon, from the limited edition of 430. This copy especially printed for Mme. André Maurois, as stated in the justification. Paris (Société d’Édition “Le Livre”), 1929. $1,000.00

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19 Lautréamont, Comte de [Isidore Ducasse]. Les Chants de Maldoror. Illustrations de RENÉ MAGRITTE. 190, (10)pp. 76 illus. (12 full-page). Lrg. 8vo. Orig. wraps. D.j. Limited to an edition of 4100 “sur papier pur chiffon” of which this is no. 3766. Shaken. Wrappers rubbed and soiled, spine browned and chipped. Bruxelles (Éditions La Boetie), 1948. $200.00

20 MASEREEL, FRANS. Pour quoi? 12 bois gravés de Frans Masereel. (Collection “Chez les Hommes.” 3.) (4)pp., 12 woodcut plates. Sm. 8vo. Wraps., stitched as issued with green string. One of 250 hand-numbered copies on BFK de Rives, from the limited edition of 300 in all. One of the artist’s romans graphiques sans paroles. A little light wear. Belvès (Dordogne) (Pierre Vorms), 1954. $200.00

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21 MASSOT, PIERRE DE. Prolégomènes à une éthique sans métaphysique, ou Billy, Bull-dog et philosophe. Orné de six illustrations de Kristians Tonny. 74, (2)pp. 6 line-drawn plates, printed in brown. 4to. Publisher’s wraps. Glassine d.j. Édition de tête: one of 10 copies on japon impérial, accompanied by a page of manuscript by Massot, signed in pen by the author and illustrator in the justification, from the limited edition of 502 in all. Massot has selected the following passage from the text for his manuscript recapitulation, in green ink on the first leaf after the half-title: “Formez les rangs! au garde à vous, subalternes, et sachez que mes tourments ne s’apparentent point aux vôtres. Barricadez votre auge et votre coffre-fort; cadenassez vos femelles; je défendrai jusqu’à mon dernier soir mon indépendance, ma pensée et mon amour. Il y a loin de la métaphysique à la boustifaille. Si, après un nuit d’orgie, l’idée de la mort vous agrippe au collet, vous pissez d’effroi sous vos draps, lâches....” Unopened. A very fine, fresh copy. Paris (Éditions de la Montagne), 1930. $1,250.00 Cf. Franklin, Paul B.: Portrait d'un poète en jeune homme bi: Pierre de Massot, Marcel Duchamp et l'héritage Dada” (in: “Étant donné,” No. 2, 1999).; A. Gervais, P. B. Franklin et G. Pfister (eds.): Bibliographie de Pierre de Massot (in: “Étant donné,” No. 2, 1999); Almanacco Dada p. 427 (illus.); Reynolds p. 98

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22 (NOVEMBERGRUPPE) An alle Künstler! Mit literarischen Beiträgen von: Joh. R. Becher, Ludwig Meidner, Bernhard Kellermann, Max Pechstein, Walter Hasenclever, Kurt Eisner, Konrad Haenisch, Kurt Erich Meurer, Paul Zech. Mit Bildbeiträgen von: Max Pechstein, César Klein, [Hans] Richter-Berlin, Lyonel Feininger, Milly Steger, Georg Tappert. 47, (1)pp. 5 illus. Lrg. 8vo. Dec. wraps., printed in red and black with a design by Pechstein. The revolutionary pamphlet issued by members of the Novembergruppe shortly after its founding in 1919, envisioning a close alliance between the expressionist artists and the socialist state, and new bonds between the artist and artisan. Slightly worn. Berlin ([Willi Simon]), 1919. $300.00 Raabe 137; Perkins 125; Lang 265; Rifkind 368A; Marbach 119.4; Spalek 658

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23 PANSAERS, CLÉMENT. L’apologie de la paresse. 61, (3)pp. Wraps. Glassine d.j. One of 300 numbered copies on bouffant, from the limited edition of 306. The central personality in Belgian Dada, Clément Pansaers was also a pivotal figure in the Paris Dada world from the time of his arrival early in 1921 as a correspondent for “Ça ira.” Involved with the “Littérature” group and “Le coeur à barbe,” he eventually went on to what he called the “assassination of Dada” in a special number of “Ça ira” entitled ‘Dada, Its Birth, Life and Death,’ in November 1921. Before his untimely death in 1922, he published three books, of which this is one (together with “Le Pan Pan au cul du nu nègre” and “Bar Nicanor”). Small flaw on cover and flyleaf; a nice copy otherwise. Anvers (Ça Ira!), 1921. $550.00 Gershman p. 31; Sanouillet p. 46; Verkauf p. 181; Lista: Dada libertin & libertaire p. 242; cf. Chapon p. 142; Pompidou Dada 1266; Zürich 331; Bruxelles, Bibl. Royale Albert Ier: Cinquante ans d’avant-garde (1983), no. 42

24 PÉRET, BENJAMIN. ...et les seins mouraient. Édition orné d’un frontispice par Miró. (Collection “Nouvelles.” No. 7.) 105, (5)pp. Frontis. by Miró. Wraps. One of 400 hand-numbered copies on Alfa, from the limited edition of 423 in all. Misdated “1918” by the publisher on the title-page. A fine copy, unopened. Marseille (Cahiers du Sud), 1929. $450.00 Gershman p. 32; Milano p. 650

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25 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), no. 463; Motherwell-Karpel 323; Verkauf p. 103; Richter p. 177; Pompidou: Dada 1281, illus. pp. 271, 742, 671, 790

26 (RÖSSNER, GEORG WALTER) Gerstenberg, Heinrich Wilhelm von. Die Maskerade. 14, (2)pp., 2 original hand-colored lithographs by Georg Walter Rössner. 12mo. Orig. boards. Uncut. Edition limited to 400 numbered copies. Berlin-Wilmersdorf (A.R. Meyer), 1919. $125.00

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27 SALMON, ANDRÉ. Prikaz. (64)pp. Dec. wraps., printed in black and red Édition de tête: copy no. 14 of 25 hand-numbered copies on vergé de Rives, with the author’s intials printed in the justification, from the limited edition of 775 in all. “In January 1919, exhilarated by the revolutionary winds coming from Russia, Salmon completed an epic poem ‘Prikaz’ (‘decree’ in Russian). It is a unique poem in sixteen juxtaposed fragments. Each envisions the revolution from a specific point of view and without narrative continuity nor the reappearance of characters, which makes this work by Salmon very different from ‘Twelve’ by Alexandre Blok, which has sometimes been compared to it. Salmon was not certain of better future, but he celebrated the lyric illusion of a whole nation drunk on liberty” (André Salmon Official Website). Paris (Éditions de la Sirène), 1919. $350.00

28 SALMON, ANDRÉ. Tout l’or du monde. (Les Cahiers Nouveaux. 36.) 64, (6)pp. Frontis. facsimile ms. Lrg. 8vo. Wraps. Glassine d.j. Édition de tête: no. 29 of 30 numbered copies on japon, with large margins, from the edition of 830 in all. A very fine copy, unopened. Paris (Éditions du Sagittaire (chez Simon Kra), 1927. $150.00

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29 SCHWITTERS, KURT. Elementar. Die Blume Anna. Die neue Anna Blume. Eine Gedichtsammlung aus den Jahren 1918- 1922. Einbecker Politurausgabe von Kurt Merz Schwitters. 32pp. Orig. dec. green wraps., designed by Schwitters. The new Anna Blume: poems and prose from 1918-1922. Slight fading at extremities of covers. Berlin (Verlag Der Sturm), [1922]. $950.00 Schmalenbach/Bolliger 4; “Typographie kann unter Umständen Kunst sein”: Kurt Schwitters Typographie und Werbegestaltung (Wiesbaden, 1990), p. 15, illus. 3; Dada Global 123; Almanacco Dada illus. p. 450; Motherwell/Karpel 367; Verkauf p. 104; Dada Artifacts 66; Reynolds p. 75; Andel 81; Pompidou Dada 1294, illus. pp. 748, 883

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30 LE SURRÉALISME AU SERVICE DE LA RÉVOLUTION. Directeur: André Breton. Nos. 1-6 (all published). 4to. Orig. wraps., printed in phosphorescent ink with heraldic escutcheon. Texts and illustrations by virtually everyone of interest. “I think,” said Breton in 1952, “that of all the surrealist publications, ‘Le Surréalisme au Service de la Révolution,’ whose six numbers are drawn up between 1930 and 1933, is by far the richest, in the sense that we understand it, the best balanced, the best constructed, and also the most alive (with a dangerous and exalted life). It is there that Surrealism is shown at full flame, and were not afraid of being consumed in it.” Nos. 1-2 chipped at head of spines, otherwise a fine set. Paris (José Corti/ Éditions des Cahiers), 1930-1933. $1,500.00 Gershman p. 53; Ades 11.32; Admussen 219; Chevrefils Desbiolles p. 316; Pindell p. 104; The Art Press p. 37ff.; Jean: Autobiography 130; Nadeau p. 327f.; Rubin 478; Reynolds p. 123

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31 (TOGORES) Hertz, Henri. Le guignol horizontal. Illustré de lithographies par José de Togorès. (34)pp., 4 original lithographs (3 printed in color). Sm. 4to. Wraps. Glassine d.j. One of 100 numbered copies on uncut Arches, signed in pen by Hertz and Togorès in the justification, from the limited edition of 112 in all. This was the thirteenth book published by Éditions Kahnweiler and the Galerie Simon. The Catalan painter and filmmaker Togorès (1893-1970) had been brought to Kahnweiler’s attention by Max Jacob, and his solo show at the Galerie Simon, in February 1922, was in fact the gallery’s very first exhibition; it sold extremely well, according to Kahnweiler. A mint copy. Paris (Éditions de la Galerie Simon), 1923. $850.00 Hugues, Jean (ed.): 50 ans d’édition de D.-H. Kahnweiler (Paris, 1959), p. 13; Centre Georges Pompidou: Daniel-Henry Kahnweiler, marchand, éditeur, écrivain (Paris, 1984), p. 183

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32 VIEW. “Through the eyes of poets.” Charles Henri Ford, editor. Series I, No. 1 - Series VII, No. 3, October 1940 - Spring 1947 (all published), lacking 2 issues: Series I, Nos. 3 and 4/5. Prof. illus. Format varies: Series I in tabloid folio; Series II in sm. 4to.; Series III-VII in lrg. 4to. Series I in self-wraps.; Series II-VII in dec. wraps. Special issues are devoted to Surrealism, Ernst, Tchelitchew/Tanguy, “Vertigo,” and Marcel Duchamp (designed by the artist). “Among the many literary and art reviews which sprang up in the United States during the last war, it was certainly ‘View’ which--although never in any way an ‘official’ organ of the movement--provides the most striking evidence of the gradual penetration of American intellectual life by the ideas and themes of Surrealism” (Marcel Jean). “When Breton reached New York, he found ‘View,’ an avant-garde literary magazine edited by Charles-Henri Ford, most sympathetic to the surrealists. One of its regular contributors, Nicolas Calas, in particular, was to become a close friend of Breton, and edited the special surrealist number October/November 1941, which contained an interview with Breton by Charles-Henri Ford, and contributions by Masson, Georges Henein (from Cairo), Seligmann, Ernst (‘The Hundred Headless Woman’) and Benjamin Péret, and communications from surrealists in America and abroad. Breton was asked the memorable question, had he ever dreamed of Hitler, and then his impressions of New York, in which he reveals an interest in flora and especially in the butterflies of the surrounding countryside, rather than the skyscrapers of New York” (Ades). Issues of the Series I are rare, and sets so nearly complete as this--lacking only two issues from the first series--are very difficult to obtain. New York, 1940-1947. $6,500.00 Ades pp. 375, 383ff.; Gershman p. 54; Rubin 482; Jean p, 318; Reynolds p. 126; Milano p. 570ff.

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33 (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). 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

34 WIEN. ÖSTERREICHISCHES MUSEUM FÜR KUNST UND INDUSTRIE. Werkbundausstellung 1930. Juni bis Oktober. [Offizieller Katalog]. Ausstellungsleitung: Hermann Neubacher, Oswald Haerdtl, Laszlo Gabor, Walter Sobotka, August Schestag. Künstlerische Leitung: Josef Hoffmann. 64, xxi, (3)pp., 1 plan. Illus. Lrg. oblong 8vo. Orig. typographic wraps. (slightly worn). Tear on front cover, inexpertly repaired with scotch tape. Designs by Oswald Haerdtl, Josef Hoffmann, Mathilde Flögl, Ernst Lichtblau, Oskar Strnad, Walter Sobotka, Josef Frank, Clemens Holzmeister. WorldCat lists 4 copies in American libraries (Canadian Centre for Architecture; Art Institute of Chicago; Museum of Modern Art, New York; Columbia University). Wien, 1930. $300.00

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35 ZIJEME. Obrázkovy magazin dnesní doby orgán Svazu ceskoslovenského díla. Editor: Josef Cerman. Editorial board: A. Cink, Bohuslav Fuchs, Karel Herain, Antonin Horejs, Pavel Janák, Václav Kaplicky, B.M. Klika, Oldrich Stary, Ladislav Sutnar, Ladislav Zák. Vols. I (Nos. 1-12 in 11 issues)--II (Nos. 1-10 in 9 issues), 1931-1932. (4), 380, 315, (1)pp. Prof. illus. 4to. Publisher’s cloth. All front covers, designed by Ladislav Sutnar, bound in at the end (as issued by the publisher). Continued as: Jak Zijeme. Obrázkovy kulturni magazin. [Editors:] Josef Cerman, Václav Kaplicky, B.M. Klika, J.E. Koula, Jos. Sudek, Z. Vorácek, l. Zák. Vol. I, nos. 1-3. 96pp. Prof. illus. 4to. Publisher’s wraps. Continued as: Magazin DP. Vol. I, No 4 - Vol. IV (all published). 316, 316, 332, 320pp. Prof. illus. 4to. Publisher’s wraps. (Vol. I); publisher’s cloth, uniform with that for “Zijeme” (Vols. II-IV).

A complete run of “Zijeme” and its successor publications, with brilliant graphic design by Ladislav Sutnar, and photographs by Josef Sudek, among others. Texts by J. Funke, E.F. Burian, L. Linhart, K. Teige, et al. "As Druzstevní práce concerned itself with ever wider areas of contemporary culture, the need was felt for another periodical. Thus 'Zijeme 1931' appeared in April of that year, attempting to encompass contemporary life and culture: it dealt with lifestyles, housing, urban problems, the theater, music, dance, the cinema, photography, phonograph recordings, advertising, literature, sport, and education. During the first two years, the magazine's co-publisher was the organization Svaz ceskoslovenského díla, a cooperative of applied artists similar in purpose to the Deutsche Werkbund. After a split between the two organizations, Druzstevní práce continued to publish the periodical alone, at first under the title 'Jak zijeme' (How We Live), then from 1934 as 'Magazin DP'…. After the split several members of the avant-garde joined the board, among them Karel Honzík, Jaromír Krejcar, Milena Krejcarová-Jesenská, Nezval and Teige. As a result it became more political and more radical, leaning toward the left. Sutnar, who was responsible for the design, also exercised considerable influence over the magazine's content" (Blanka Stehlíková, in "The Czech Avant-Garde and Czech Book Design: The 1920s and 1930s"). Wrappers somewhat closely trimmed by the publisher for binding, as always; binding of “Zijeme” Vol. I slightly rubbed. Prague (B.M. Klika), 1933-1937. $4,000.00 Cf.: The Czech Avant-Garde and Czech Book Design: The 1920s and 1930s (Florham-Madison Campus Library, Fairleigh Dickinson University, n.d.), cat. no. 51; Vloemans, John: Avantgarda: Typography and Photomontage in Modernist Czech Book Production 1918-1938 (The Hague, 2012) no. 248