Modern Illustrated Books

ARS LIBRI ELECTRONIC LIST #55 PARIS ANTIQUARIAN BOOK FAIR 2011 MODERN ILLUSTRATED BOOKS

Ars Libri, Ltd. / 500 Harrison Ave. / Boston, MA 02118 [email protected] / www.arslibri.com / tel 617.357.5212 / fax 617.338.5763

Paris Antiquarian Book Fair 2011: Modern Illustrated books

1 (ARMORY SHOW) NEW YORK. ASSOCIATION OF AMERICAN PAINTERS AND SCULPTORS, INCORPORATED. Catalogue of the International Exhibition of Modern Art. At the Armory of the Sixty-Ninth Infantry... February fifteenth to March fifteenth, 1913 [cover title gives the opening date as February seventeenth]. Preface by Frederick James Gregg. 105, (7)pp. Orig. dec. wraps., printed in green, blue and brown with the pine-tree emblem of the exhibition. The original catalogue of the inaugural New York installation of the Armory Show, still the single most important event in the history of modern art in America. From the library of Robert C. Vose (of the Vose Galleries, Boston), with his signature on the front cover and at head of the first leaf, dated 1959, and titled by him at spine. First two leaves within a bit dog-eared at lower corner; otherwise a very clean and fresh copy. New York, 1913. $6,000.00 Karpel J314; Gordon II.666-676; cf. (among many accounts) Altschuler, Bruce: The Avant-Garde in Exhibition: New Art in the 20th Century (New York, 1994), p. 60ff.

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2 ARP, HANS. Die Wolkenpumpe. (Sammlung “Die Silbergäule.” Band 50-51 [vere 52/53].) (28)pp. Sm. 4to. Orig. wraps., printed in black with a cover design by Arp. “Cloud-Pump,” Arp‘s first book of verse. Some of the poems were written as early as 1911; read at the Dada soirée at the Salle Kaufleuten, 9 April 1919, they were first published in “Dada 4-5: Anthologie Dada.” A little light wear; a very nice copy. Hannover (Paul Steegemann), 1920. $2,500.00 Rolandseck 86, illus. p. 61; Bleikasten Aa15; Dada Zürich 66; Motherwell/Karpel 196; Verkauf p. 176; Pompidou: Dada 1213, illus. p. 908; Wilpert-Gühring 3; Meyer: Paul Steegemann Verlag 26

3 (ARP) Péret, Benjamin. Le passager du transatlantique. Quatre dessins par Arp. (Collection Dada.) (24)pp. 4 illustrations by Hans Arp, printed in black from ink wash drawings. Sm. folio. Publisher’s blue-grey wraps., with Arp drawing printed on the front cover, recapitulating a drawing on the title-page. One of 42 numbered copies on uncut Hollande Van Gelder, signed by Péret in the justification, from the limited edition of 50 in all. Péret’s first book. “‘Le passager du transatlantique’ de Benjamin Péret paraît avec dessins de Arp dans la collection Dada distribuée par le San Pareil. Un bulletin de souscription revèle que le recueil a failli s’appeler ‘La mare aux mitrailleuses,’ être préfacé par André Breton, ‘illustré’ par Max Ernst, et mis en vente à la librairie Gallimard (juillet). A en croire Robert Desnos,

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‘l’édition de ce livre est un véritable roman’: un industriel le commandite, le Sans Pareil l’édite, le premier fait saisir les exemplaires qu’il considère comme la preuve d’un escroquerie, ‘tant les poèmes lui paraissent extravagants et folles les illustrations,’ le Sans Pareil ne lève pas le petit doigt pour le défendre (selon Desnos écrivant pour Doucet en 1927 ou 1928). Sans préface légitimante et avec le concours de Arp, il s’agit en effet de l’un des plus rares et réussis des recueils dadas, du ‘plus beaux livre de cette époque,’ ajoute Desnos. La prestigieuse collaboration de Arp place le livre sur le plan du somptueux (et inimitable) ‘Cinéma calendrier du coeur abstrait/ maisons’ de Tzara et Arp” (Dachy). Presentation copy, inscribed “A Ghislaine Fischbacher/ c’est pourquoi le prince/ voulait qu’on fasse machine animé/ Benjamin Péret/ 20 juillet 1948” in ink at the head of the title-page. Wrappers slightly faded; faintest wear within; a handsome copy, unopened. Of great rarity. Paris, [1921]. $22,500.00 Rolandseck 85; Hagenbach 54; Fouché, Pascal: Au Sans Pareil (1989), p. 410f.; Gershman p. 32; Dada Global 208; Almanacco Dada p. 432 (illus.); Sanouillet: Dada in Paris (Cambridge, 2009), no. 449; Dachy: Archives Dada/Chronique p. 514 (illus.); Motherwell/Karpel p. 196; Verkauf p. 181; Milano p. 648; Pompidou: Dada 1271, illus pp. 271, 781; Zürich 332

4 ARP, HANS. Der Pyramidenrock. 70pp. Frontis. portrait of Arp by Modigliani. 4to. Printed wraps. Arp’s fourth book, a collection of Dada poems. The 41-line 3-column mechanical repetition of the title on each cover, a more emphatic recasting of Duchamp’s design for “New York Dada,” is one of the most influential typographic inventions of the period. Even browning, as usual; a very fine copy. Erlenbach-Zürich/ München (Eugen Rentsch), [1924]. $3,750.00 Rolandseck 89; Bleikasten Aa29; Dada Zürich 67; Motherwell/Karpel 194; Verkauf p. 176; Düsseldorf 23; Pompidou Dada 1211, illus. p. 698; Tendenzen 3/80; The Book Stripped Bare 5; Franklin Furnace 70; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, no. 138

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5 ARTECRAZIA. Supplemento di “Futurismo.” Anno 1º Nos. [1]-3, maggio-luglio, 1932 (all published). Mino Somenzi, direttore responsabile. 48pp. (through-numbered). 39 illus. Sm. 4to. Self-wraps., printed in brown and black. Signatures loose, as issued. This supplement to “Futurismo” was devised to publish historic texts and images (often unpublished or rare) of the movement, in tandem with issues of the primary journal. No. 1 contains Marinetti’s “Fondazione e manifesto del Futurismo” (1909) and Antonio Sant’Elia’s “L’architettura futurista” (1914). No 2 contains the first and only publication of Enrico Prampolini’s “L’atmosfera scenica futurista, manifesto tecnico,” commissioned for “Artecrazia” by Mino Somenzi, as well as “La cinematografia futurista” signed by Marinetti, Corra, Settimelli, Ginna, Balla and Chiti (1916). No. 3 contains a selection of individual and collective manifesti on aeropittura, including “L’aeropittura. Manifesto futurista” by Balla, Benedetta, Depero, Dottori, Fillia, Marinetti, Prampolini, Somenzi and Tato; other brief manifesti on aeropittura by the Turinese Futurists and the Milanese Futurists, and statements on it by Ambrosi, Tato, Dottori, Prampolini and Benedetta. The illustrations throughout “Artecrazia” are of unusual interest, No. 1 including photographs of Russolo’s intonarumori, Futurist ceramics from Richard Ginori, Futurist buffet furniture, a backlit Futurist glass mural in the home of the aviator Arturo Ferrarin, Futurist tapestries and textiles, and interesting aeropitture by Dottori; No. 2 with architectural models by the Paduan Futurist De Giorgio, marvelous photographs of Marinetti’s ballet “Cocktail” and the ballet “Il mercante di cuori,” both with sets and designs by Prampolini; a mural by Baumeister (“influenze del Futurismo”) and Futurist ceramics and tableware; No. 3 with exhibits at the XVIII Biennale di Venezia and the Mostra della Meccanica Agraria di Roma, and numerous examples of aeropittura by Dottori, Tato, Somenzi, and others. A fine set. Very rare. Roma, 1921. $2,500.00

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6 Queneau, Raymond & BAJ, ENRICO. Meccano, ou l’analyse matricielle du langage. 21ff. 27 mechanical color relief etchings by Baj, printed in red, green, yellow and black, integrated with text. 2 colored cellophane guards. Oblong sm. folio. Publisher’s boards, 3/4 red leather. Slipcase (black card stock, printed in white; ties). One of 100 numbered copies, signed in the justification by Queneau and Baj, from the limited edition of 174 in all. Printed in letterpress on heavy wove stock. Baj’s compositions, in which mechanical elements and discs in primary colors are mischievously anthropomorphized in a manner recalling Schwitters’ “Die Scheuche,” are here the complement to a dense linguistic treatise by Queneau, “L’analyse matricielle du langage.” “After graduating in philosophy from the Sorbonne, [Queneau] first became involved with the surrealists in 1924. In 1936, he became director of the Bibliothèque de la Pléiade and cofounded the magazine ‘Volonté’ with Henry Miller” (Jentsch). A fine copy. Milano (Sergio Tosi e Paolo Bellasich), 1966. $3,750.00 Jentsch, Ralph: The Artist and the Book in Twentieth-Century Italy (Turin/New York: Allemandi/ Museum of Modern Art, 1992), no. 19

7 (BAYER, HERBERT) Two Reichsmark notes, dated Weimar, 9 August 1923 (Serie B). One for 2,000,000 Mark, another for 1,000,000,000 Mark. 1. Zwei Million Mark. 70 x 140 mm. (ca. 2 3/4 x 5 1/2 inches), printed in blue and black. 2. Eine Milliarde Mark. 90 x 140 mm. (ca. 3 1/2 x 5 1/2 inches), printed in grey and black. “Late in 1923, after the Bauhaus exhibition had closed, Bayer was commissioned by the Thuringian state government in Weimar to design new paper money for use during the wild inflation sweeping over Germany. The design had to be prepared in tremendous haste and make use of an available printer’s typecase. The notes, in varying denominations...signified by different colors, are probably the first--and one suspects the only--paper money ever designed that eschews the vanity of flourish and curlicue by which the state banks of the world impose their seriousness. Rejecting such trivializing conventions, Bayer organizes the material so that it remains indisputably significant, while putting to one side, so to speak, in a perpendicular block of type all information that describes the legal and banking provisions of the note. Bayer’s banknotes are of such elegance and simplicity, one would like to imagine that, unassisted, they stemmed Germany’s inflation and restored confidence in its benighted currency” (Cohen). Light wear. Weimar, 1923. $850.00 Cohen, Arthur A.: Herbert Bayer: The Complete Work (Cambridge, 1984), p. 200f. (illus.); Fleischmann p. 270f.; Spencer, Herbert: Pioneers of Modern Typography, p. 138f. (illus.); c.f. Das A und O des Bauhauses 269, illus. 201/202

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8 (BAYER, HERBERT) A set of seven photocollage postcards from Aspen, circa 1947, designed by Herbert Bayer. Each printed with halftone, with one other color (brown, blue, green). 143 x 178 mm. (5 5/8 x 7 inches), on heavy cream card stock. Each is titled “Aspen Postcard” on the verso, with designation for 1 1/2¢ stamp. Gwen Chanzit, in her catalogue of the Bayer collection and archive at the Denver Art Museum, dates the set to circa 1947. “Bayer arrived in Aspen in a snowstorm in April 1946 and immediately began to define a plan for the town in transition. He restored decaying Victorian houses and the old Wheeler Opera House, which had been extensively damaged by a series of fires, and designed posters and leaflets to promote the town and its new skiing opportunities.... [Aspen’s] development required innumerable designs for letterheads, brochures and posters to promote the new cultural center and its recreational advantages.” The series includes fanciful collages of old and new Aspen--shingle-style houses and the 1890 courthouse, with superimposed Victorian wood-engravings with surreal cutouts--and dynamic photomontages and -collages of skiers. One view of the slopes is surrealistically embellished with giant snowflake-emblazoned green leaves, casting shadows like tall trees: their design is repeated as an emblem on the back of the entire series of cards, and figured in a Bayer travel poster for Aspen in 1946. Aspen, [1947?]. $350.00 Chanzit, Gwen F.: Herbert Bayer: Collection and Archive at the Denver Art Museum (Denver, 1988), pp. 143f., 169 (gr.3f.88- 94)

9 (BELLMER) Prassinos, Gisèle. Une demande en mariage. Avec un dessin de Hans Bellmer. (Collection “Repères.” 3.) (16)pp. Frontispiece design by Bellmer. Sm. 4to. Orange wraps. Signatures loose, as issued. Edition limited to 70 copies in all, printed on normandy vellum teinté, and signed and numbered in pen by Guy Lévis-Mano in the justification. A very fine copy. Paris (Éditions G.L.M.), 1935. $2,250.00 GLM 70; Gershman p. 36; Biro/Passeron 2385

10 BEUYS, JOSEPH. Food for Thought. Broadside with a 176-line column of text, signed in pencil by Beuys and marked with an applied grease-spot and the stamp of the Free International University. 880 x 165 mm. ( 34 5/8 x 6 1/2 inches), printed on fine buff-colored wove stock (verso blank). This scroll-like multiple was published in a hand-signed unlimited edition for Beuys’ Free International University (FIU) room at Documenta 6, and proceeds from its sale went towards the upkeep of participants. The text concerns the interrelation of nourishment and thought, and is in three sections: a very long list of commercially marketed British foodstuffs (Veal and Ham Toast Topper), an excerpted transcript of a phone conversation about foods, in both English and German, and the text of a lovely sixth-century Irish poem, “The Vision of Mac Conglinne,” which is a vision of the world as food (“Savour of Savours/ Is the name of my lady’s maid:/ Morning early across Newmilk Lake she went”). [Kassel], 1977. $2,500.00 Schellmann: Joseph Beuys: Die Multiples (1992), 206; Museum Fridericianum: Joseph Beuys: Documenta Arbeit (Kassel, 1983), no. 138 (illus. p. 216)

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11 (BLAINE) Koch, Kenneth. Nell Blaine Prints, Kenneth Koch Poems. (Editions of the Tibor de Nagy Gallery.) (3), 20, (1)pp. 9 illus. in text, including 4 tipped-in original color linoleum cuts. 5 initial letters by the artist, also printed from the blocks. Lrg. 4to. Wraps. (with color linoleum cut by the artist on front cover). Edition limited to 300 hand-numbered copies. Decorations, cover and typography by the artist. Koch’s first book, and the first book of the Tibor de Nagy Gallery. Intermittent offsetting and staining, as usual with this book. New York (Tibor de Nagy Gallery), 1953. $1,500.00

2 (BRAQUE) Satie, Erik. Le Piège de Méduse. Comédie lyrique en un acte de M. Érik Satie, avec musique de danse du même monsieur. Orné de gravures sur bois par M. Georges Braque. (3)pp. 3 original color woodcuts by Braque, printed with up to four blocks (pale blue, brown, ochre and sage green). Lrg. 4to. Jansenist full tan calf, gilt at spine, by P.L. Martin (1969), with lavender suede doublures, a.e.g., full calf chemise, slipcase (boards trimmed in calf). Orig. wraps. bound in. One of 90 copies on hollande van Gelder, signed in purple ink by Braque and Satie in the justification, from the limited edition of 112 in all. The first book with original prints by Braque, and the only literary work ever published by the composer Érik Satie, “Le Piège de Méduse” was also the first of Kahnweiler’s books to contain full-color illustrations (and one of no fewer than six great livres d’artiste issued by Kahnweiler and the Galerie Simon in 1921). Superbly intergrated with the text and musical score, the woodcuts are “among the most beautiful and perfect examples of Braque’s later synthetic cubist style” (Stein). “Eric Satie’s one-act play ‘Le Piège de Méduse’ was a convoluted comedy of manners with Dada overtones. In contrast, the three-color woodcut illustrations of Braque (his first original book illustrations) are suave and sedate cubistic renderings of musical instruments. They show Braque breaking with the rigid discipline of early Cubism and evolving towards the colorful, relaxed, essentially decorative mode of expression in his later career” (Johnson). “Sans rien emprunter à la comédie lyrique de Satie, les constructions exquises de Braque, natures mortes aux

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instruments de musique, bois en couleurs, nous fournissent plastiquement une équivalence du tempérament du musicien” (Chapon). A superb copy, very fresh, in an elegant Jansenist binding (the understated colors of the calf and suede matched to tones in the Braque woodcuts). From the library of the noted bibliophile Henri Paricaud, with his ex-libris. Paris (Éditions de la Galerie Simon), 1921. $12,500.00 Vallier 13; Hofmann I; Hugues 10; Bozo p. 181; Castleman p. 172; Artist and the Book 33; Chapon p. 284 (color plates pp. 111, 120); Skira 39; Rauch 103; Strachan p. 50; Johnson: Artists’ Books in the Modern Era, 1870-2000, no. 29; Splendid Pages p. 173f., fig. 24; Stein pp. 63,69; Siena 4; Cubist Print 90; Garvey/Wick 12; Wheeler p. 99; Andel 33; Bareiss 11; Basel 42: Winterthur 96

13 BROUTIN, GÉRARD-PHILIPPE, et al. Lettrisme et hypergraphie. [Par] Gérard-Philippe Broutin, Jean-Paul Curtay, Jean- Pierre Gillard, François Poyet. (Bibli Opus.) 70pp. Prof. illus. 21 signed original gouaches and ink drawings hors texte, nearly all in color, by J.-B. Arkitu, Édouard Berreur, Gérard-Philippe Broutin, Françoise Canal, Jean-Paul Curtay, Myriam Darrell- Spacagna, Jean-Pierre Gillard, Micheline Hachette, Isidore Isou, Alain de Latour, Maurice Lemaître, Patrick Poulain, François Poyet, Roland Sabatier, J.-L. Sarthou, Alain Satié, Jacques Spacagna, Frédéric Studeny, Jacqueline Tarkieltaub, Dany Tayarda, and Jean-Jacques Venturini. 4to. Portfolio. Contents loose, as issued, in publisher’s slipcase and chemise by Duval (printed boards), the text within printed wrapper, and the plates loose in wove paper folder. Édition de tête: one of 75 hand-numbered copies in this portfolio format, with the suite of original gouaches and ink drawings. A remarkable production, with unique works of exceptional quality. A fine copy. Paris (Éditions Georges Fall), 1972. $6,500.00 Foster, Stephen C. (editor): Lettrisme: Into the Present (1983), no. 3

14 BROUTIN, GÉRARD-PHILIPPE. Rue du Parc Cheviron 1971. Suite photographique. 4ff., 10 original photographs, each signed and numbered in ink on the verso of the print, and all tipped loosely onto heavy boards. Image size: 175 x 125 mm. (ca. 7 x 5 inches); mount size 250 x 210 mm. (ca. 9 3/4 x 8 1/4 inches). 4to. Portfolio. Contents loose as issued, within dec. grey wove wrapper. Glassine d.j. Edition limited to 10 copies in all, signed and numbered by Broutin in the justification. A Lettrist suite of photographs scratched and overpainted in the negatives. “Les négatifs grattés avec une épingle à nourrice et peints à l’encre de chine, racontent le plaisir de ces moments de complicité avec l’ami Gillard. Ils laissent apparaître mélés aux alphabets fruits, des bribes et discours ne restent lisible que quelques lettres apparement dépourvues de signification: des ‘dut’, ‘édui’, ‘oto ef’, ‘que’, ‘es u’, ‘tés’, ou encore des ‘oduc’, ‘m Isi’, ‘impl’, ‘pers’, ‘tian’. Lecteurs plus attentifs, peut-être pourrions-nous y déchiffer les mots ‘photographies’, ‘Isidore’ ou ‘utilités’” (introduction). Paris (Atelier Lettrista), 2008. $1,500.00

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15 CAHUN, CLAUDE. Aveux non avenus. Illustré d'héliogravures composées par Moore d'après les projets de l'auteur. Préface de Pierre Mac Orlan. (2), iii, (1), 237, (5)pp. 10 full-page collotype photomontage/photocollage plates. 1 collotype photographic illustration at the conclusion. 4to. Printed wraps. One of 370 numbered copies on uncut vélin pur fil Lafuma, from the edition of 500 in all. “‘Aveux non avenus’ (‘Avowals Not Admitted’) is Claude Cahun’s first book, produced in collaboration with her lover and stepsister Suzanne Malherbe (who signed herself ‘Marcel Moore’).... Following an elegant preface by Pierre Mac Orlan, Cahun’s text consists of disjunctive mediations [sic] and philosophical aphorisms on love and self-knowledge in writing influenced by the Symbolists, to whom Cahun was linked through her uncle, the Symbolist critic Marcel Schwob.... A photomontage appears before the introduction and each chapter with titles corresponding to nine ‘deadly elements’ (éléments capitaux instead of deadly sins, péchés capitaux)” (Roth). A fine copy. Paris (Editions du Carrefour), 1930. $8,500.00 Roth p. 62f.; Surrealism: Desire Unbound (London, Tate Gallery, 2001), p. p. 186ff., fig. 188; Andel Avant-Garde Page Design 1900-1950, p. 338, no. 445

16 CAHUN, CLAUDE. Les paris sont ouverts. 32, (2)pp. Sm. 4to. Wraps., printed in red. “Quel parti prenez-vous pour en finir avec l’exploitation de l’homme par l’homme avec votre propre dilemme: exploité, exploiteur? Exploités, exploiteurs jusque dans l’amour la poésie et la défense de la cause proletérienne” (from the title-page). “Thanks to the recent discovery of a large number of her photographs, Cahun is now well known as one of the greatest surrealist photographers, and the first

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photographer to specialize in self-portraits. But she was also an inspired theorist and pamphleteer. Her ‘Les paris sont ouverts’ [Bets Are On] (1934) remains one of the most luscious fruits of surrealism’s early encounter with Marxism” (Rosemont). A fine copy. Paris (José Corti), 1934. $2,000.00 Gershman p. 12; Rosemont, Penelope (ed.): Surrealist Women: An International Anthology (Austin, 1998), p. 51

17 CANNIBALE. Revue mensuelle parait le 25 de chaque mois, sous la direction de Francis Picabia, avec la collaboration de tous les dadaïstes du monde. Nos. 1-2, avril-mai 1920 (all published). (16)pp. 3 illus.; (16)pp. 3 illus. Sm. 4to. Orig. black and tan wraps., each titled in red. No. 1: Texts by Picabia, Aragon, Arnauld, Breton and Soupault, Ribemont-Dessaignes, Tzara, Cocteau, Dermée, Duchamp, Éluard. Illus. by Picabia (“Portrait de Tristan Tzara” and tipped-in “Tableau dada”) and Duchamp (“Dessin dada”). No. 2: Texts by Picabia, Tzara, Buffet, Ribemont-Dessaignes, Dermée, Éluard, Breton, “Moi,” vicomte de Faulques, Arnauld, Soupault. Illus. by Picabia (“Le cul en tête à tête”) and Tzara (“Douleur en cage dada à la nage,” a tipped-in ticket stub), and “Mercer 85 HP” (a halftone photo of Picabia and Tzara in this motorcar, subtitled “Les 2 exhibitionnistes intoxiqués par l’abus de l’automobile”). “[‘Cannibale’] took the place of ‘391’ between nos. 12 (March) and 13 (July) and was the fruit of an ambition shared by many dadaists to produce a definitive, international dada review, bringing together the different tendencies of a movement whose unity was inevitably fragile and whose very nature as a movement was founded on paradox. Tzara’s ‘Dadaglobe,’ which never appeared, was a similar effort. Much more substantial than ‘391’... [‘Cannibale’] included not only core dadaists, but Cocteau and Dermée” (Ades). The aggressive iconoclasm of the review is exemplified in Picabia’s “Tableau Dada,” featuring a mounted toy monkey pulling its tail through its legs, under the heading “Portrait de Cézanne”: still with the power to shock. No. 2 slightly browned; clean splits at spines, neatly mended. Paris, 1920. $9,500.00 Gershman 48; Ades p. 154; Dada Global 171-172; Almanacco Dada 23; Sanouillet 223; Motherwell/Karpel 62; Dada Artifacts 121-122; Rubin 460; Verkauf 99; Zürich 367; Düsseldorf 232-233

18 CHOPIN, HENRI. L’esperluette et le couillard (légende). (Contre Plan les Plis H.A.) 22, (2)pp. 1 original typographic engraving by Henri Chopin, printed on heavy wove paper, signed in pencil by Chopin (loosely inserted, as issued). Typographic illus. in text. Sm. 8vo. Gold-foil wraps., with supralibros seal printed in black and gold; publisher’s wove envelope with printed labels, signed and numbered as issued. Edition de tête: one of five artist’s proofs designated with roman numerals, including the signed print, apart from 55 arabic-numbered copies. An exquisite production. Unopened. A very fine copy. Ivry sur Seine (Atelier d’Arts L.P.), 1991. $2,000.00

19 (CLOCHE) Edwards, Agustin. Discours de réception à l’Académie des Psychologues du Goût. Prononcé par Agustin Edwards. Réponse de Albert Thibaudet. A la séance tenue à l’Hôtel Astoria le 26 février 1929. (18)pp. Decorations and designs throughout in dark blue, dark yellow, red and black; 1 commercial dec. cheese label laminated within. 4to. Silver foil card portfolio. All contents loose, as issued. Edition limited to 150 copies in all, on vélin d’Arches, of which 123 were reserved for members and friends, and imprinted (as is this copy) with their names. An astonishingly beautiful and inventive work of art déco graphic design, by Maurice Cloche (1907-1990), later a highly successful film director and screenwriter. Printed to commemorate a banquet held by this soigné gastronomic society (originally known as the Dîner Curnonsky) for the Chilean diplomat Augustín Edwards, this remarkable program far exceeds the requirements of its occasion--the texts of the speeches, the fabulous menu, membership rolls. Cloche’s surprisingly bold typography and layout somewhat recall Cassandre, but with novel ingredients of his own: a coarsely screened halftone of corks overlaid in color, a tipped-in actual manufacturer’s label, and light dadaistic touches (the names of the two speakers provided by reproductions of their calling cards, serial repetition of lines of text), set in a quite distinctive color scheme. The

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publication is set in the new font Europe, specially created by the Studio Deberny-Peignot under the supervision of Maurice Villain and Marcel Bar. A perfect copy. Very rare: no copy listed in OCLC. [Paris] (Studio Deberny-Peignot), 1930. $2,250.00

20 (COBRA) Bibliothèque de Cobra. Première série: “Les artistes libres” [all published]. Rédacteur: Asger Jorn. (Quinze monographies. Première série de l’encyclopédie permanente de l’art expérimental.) 15 vols. (16)pp. per vol., most with 12- 16 illus, each in wrappers bearing an original color lithograph by the artist in question. Separate introduction and table sheet loosely inserted (4pp.). Publisher’s slipcase, printed on card stock with an additional original color lithograph by Jorn. The artists (and authors) are: Alechinsky (Zangrie), Alfelt (Jaguer), Appel (Dotrement), Atlan (Ragon), Bille (Ragon), Constant (Dotremont), Corneille (Dotremont), Doucet (Laude), Ferlov (Dotremont), Gilbert (Jaguer), Gudnason (Jaguer), Heerup (Dotremont), Jacobsen (Dotremont), Jorn (Dotremont), and Pedersen (Dotremont). Including the slipcase, a total of 16 original color lithographs. Slight cracks at sides of the case; an exceptionally fine, bright copy. Copenhague (Ejnar Munksgaard), 1950. $3,000.00

21 LE COEUR À BARBE. Journal transparent. Gérant: G. Ribemont-Dessaignes. No. 1, avril 1922 [all published]. (8)pp., printed on pale pink stock. Sm. 4to. Orig. self-wraps., with typographic and wood-engraved collage composition. Texts by Duchamp (“Rrose Sélavy”), Éluard, Fraenkel, Huidobro, Josephson, Péret, Ribemont-Dessaignes, Satie, Serner, Soupault and Tzara. A counterattack launched by Tzara following Picabia’s insulting “La pomme de pins” of the previous month; one more missile hurled during the spring of 1922, which Breton was later to comment witnessed the ‘obsequies of Dada.’ The cover design is one of the best-known and most appealing graphic inventions of Paris Dada; in the National Gallery of Art “Dada” catalogue (2006), it is attributed to Iliazd. Slight soiling and wear, but still an attractive copy. Paris (Au Sans Pareil), 1922. $5,000.00 Dada Global 182; Ades p. 147f. (illus.); Almanacco Dada 26; Gershman p. 48f.; Chevrefils Desbiolles p. 282; Admussen 58; Sanouillet 224; Motherwell/Karpel 64; Dada Artifacts 138; Verkauf p. 177; Düsseldorf 234; Zürich 369; Milano p. 648; Pompidou: Dada, 1356, illus. pp. 282, 703; Washington: Dada, fig. 361; Andel, Jaroslav: Avant-Garde Page Design 1900- 1950 (New York, 2002), p. 136, illus. 144

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22 COLLECTION “UN DIVERTISSEMENT.” Nos. 1-12 (all published). (16)pp. each, printed on a variety of colored stocks. Sm. 8vo. Self-wraps., stitched as issued. Glassine d.j.s. Fitted slipcase and chemise (cloth, with leather label). Complete set of this series of 12 plaquettes, individually published in very small limited editions, ranging from 25 to 120 copies in all. This set includes 2 presentation copies, from Benjamin Péret and Gisèle Prassinos, and 4 éditions de tête, including Leonora Carrington and Max Ernst’s important “La maison de peur,” as well as works by Alberto Savinio, Franz Kafka and Prassinos. Contents as follows: [1] Prassinos, Gisèle. La lutte double. One of 100 copies on green papier Le Roy Louis teinte Berry. 2. Péret, Benjamin. Au paradis des fantômes. One of 100 copies on orange papier Le Roy Louis teinte Lorraine. Presentation copy, inscribed "A Georges Speiser/ en chassant les virgules/ son ami/ Benjamin Péret" at the head of the text. 3. Savinio, Alberto. Les chants de la mi-mort. Édition de tête: one of 20 copies on watermarked Hollande paper. 4. Carrington, Leonora. La maison de peur. Préface et illustrations de Max Ernst. Édition de tête: one of 20 copies on watermarked Hollande paper. Carrington’s first published story, with 3 collage illustrations by Max Ernst, as well as a preface by him, subtitled “Loplop présente la mariée du vent.” 5. De Chirico, Giorgio. Deux fragments inédits. One of 100 copies on cream papier Le Roy Louis teinte Bretagne. 6. Prassinos, Gisèle. Une belle famille. One of 100 copies on pink papier Le Roy Louis teinte Valois. Presentation copy, inscribed to the Surrealist poet and critic "Robert Valançay/ qui mange le soir ses cheveux/ et sa moustache troubles./ Gisele Prassinos" on the front cover. 7. Arp, Hans. Sciure de gamme. One of 100 copies on yellow papier Le Roy Louis teinte Béarn, this one designated hors commerce in pen. 8. Kafka, Franz. Le chevauchée du Seau. Traduit par Henri Parisot. Édition de tête: one of 10 copies on Japon Muller. 9. Bay, André. Histoires racontées par des enfants. Préface et dessin de Gisèle Prassinos. One of 100 copies on green papier Le Roy Louis teinte Berry. 10. Scutenaire, Jean. Les secours de l'oiseau. One of 100 copies on blue papier Le Roy Louis teinte Provence. [11.] Prassinos, Gisèle. La revanche. Édition de tête: one of an unspecified 10 copies on japon, not described in the justification, which states the edition to be 25 copies on papier Le Roy Louis teinte Béarn "plus quelques exemplaires hors commerce." Unlike other volumes in the series, this one has a separate large-paper wrapper. [12.] Coleridge, Samuel Taylor. Koubla Khan. Traduit de l'anglais par Henri Parisot. One of 25 copies in all, "plus queles exemplaires hors commerce," on papier Le Roy Louis teinte Champagne. A fine set. Paris (Henri Parisot), 1938-1939. $6,500.00 Biro/Passeron p. 319

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23 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. A superb copy, extremely fresh and clean. Paris (Au Sans Pareil), 1920. $9,500.00 Dada Global 174; Ades p. 65; Almanacco Dada 32; Gershman p. 49; Admussen 70; Chevrefils Desbiolles p. 284; Sanouillet 226; 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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24 (DALI) Breton, André, et al. We Don’t Ear It That Way. 1f., printed on sea-green coated stock (verso blank). 1 illus. 4to. Édition de tête: one of 25 copies on “papier couché vert d’eau, adornées de quelques poils de la Vraye Moustache” (sealed glassine envelope containing a moustache multiple, of wire and thread, mounted on a sheet of board, hand-numbered in a justification statement; the envelope hinged to the bottom right corner of the tract, as issued. Multiple: 53 x 53 mm. (2 x 2 inches). A very tart anti-Dalí tract published in Paris at the time of the famous “Surrealist Intrusion in the Enchanter’s Domain” exhibit at the D’Arcy Galleries in New York. The signatees--Breton, Benayoun, Corneille, Dax, Jaguer, Legrand, Mesens, Schuster, Toyen, and others--protest the inclusion of Dalí’s large and portentous ‘The Anti-Matter Ear” in the show (an image of the Madonna, modeled on Gala) and Dalí’s customarily lordly behavior at the opening, reminding readers of his expulsion from the Surrealist movement more than twenty years before (to say nothing of his fascist sympathies). The illustration shows Dalí’s Madonna doctored, à la Duchamp, with a moustache, goatee, and the slogan “L.H.O.O.Q. (comme d’habitude)”. A fine copy. [New York, 1960]. $1,200.00 Milano p. 659

25 (DELAUNAY) Delteil, Joseph. Allo! Paris! Avec vingt lithographies par Robert Delaunay. 110, (6)pp., 20 original lithographs by Delaunay (including frontispiece blindstamped “Atelier R. Delaunay, Paris, 18 Bd Malesherbes” at lower left). Tissue guards. Lrg. 4to. Full black leather, gilt at spine; raised bands. Orig. wraps. bound in (slightly worn). Uncut. One of 15 roman- numeralled copies on hollande Van Gelder, from the hors-commerce tirage of 40, apart from the edition of 325 (of which 25 on Van Gelder with suites on chine, and 300 on Arches). “Delaunay’s only original book illustrations. Whereas some of the lithographs are straightforward pictorial views of Paris, others, such as the Eiffel Tower and St. Séverin, are tensely Cubist in character, recalling Delaunay’s paintings of these subjects in 1909-12” (The Artist and the Book). Paris (Éditions des Quatre Chemins), 1926. $4,000.00 The Artist and the Book 72; Skira 60; Artists’ Books in the Modern Era 1870-2000, no. 53; Splendid Pages p. 176; Stuttgart 47; Zürich 65; Stein, Donna (ed.): Cubist Books/ Cubist Prints 80-81; Libri cubisti (Siena, 1988), no. 9

26 (DUBUFFET) Paris. Galerie René Drouin. Les gens sont bien plus beaux qu’ils croient. Vive leur vraie figure. Portraits. A ressemblance extraite, à ressemblance cuite et confite dans la mémoire, à ressemblance éclatée dans la mémoire de Mr. Jean Dubuffet. Du mardi 7 au 31 octobre. (4)pp. (single folio sheet, folding). 20 line-drawn illus. by Dubuffet. Self-wraps. The rare catalogue for one of the most radical exhibitions in postwar France, Dubuffet’s art brut portraits of Parisian intellectuals, at the Galerie René Drouin in 1947. Printed on a large folding tabloid leaf of stock, the catalogue contains a lengthy text by Dubuffet (“Causette”), and brilliant, primitive line-drawn portraits from the exhibition, of Fautrier, Ponge, Michaux, Artaud, Cingria and others. Initially, the series was based on personalities in the literary salon of Florence Gould, to which Dubuffet had been introduced by Jean Paulhan, including Paulhan himself, Pierre Benoit, Marcel Jouhandeau, and Paul Léautaud; it was then extended to include other friends and acquaintances, such as Antonin Artaud, Francis Ponge, Henri Michaux, and Jean Fautrier. “Dubuffet’s aggressive, graffiti-style caricatural portraits of 1946-47 are in part caricature in the simplest sense, a mocking variant on the pantheons of artists that had become sober clichés of even ‘radical’ French art, as in Surrealist group portraits. But Dubuffet’s portraits manifest the revolt, and revulsion, of intellectuals: mental energy and will are now all that matter, and the body can (indeed must...) go to hell. His writers and intellectuals are pathetic monsters, their features reduced to pop-eyed scrawls, their aplomb prodded into jumping-jack spasms. Yet since grotesque harshness and imbalanced disturbance are in Dubuffet’s view tokens of authenticity, to be portrayed by him with scar-like contours and

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inept anatomy is, perversely, to be made glamorous” (High and Low). Foldlines, as issued. This copy is printed on pale grey stock. Paris, 1947. $1,600.00 Franzke, Andreas: Dubuffet (New York, 1981), p. 41f. (discussing the exhibition); Varnedoe, Kirk & Gopnik, Adam: High & Low (New York, Museum of Modern Art, 1991), p. 144ff.

27 DUCHAMP, MARCEL. Project for the Rotary Demisphere. Insert for “391” No. 18, July 1924. [Rrose Sélavy et moi estimons les ecchymoses des Esquimaux aux mots exquis.] Graphic composition, printed in black on recto only. 276 x 280 mm. (10 7/8 x 11 inches). “At about the time that [‘The Wonderful Book’] appeared, Duchamp approached Jacques Doucet and asked the collector if he would finance the construction of a second optical machine, something along the lines of the device he had made three years earlier in New York. But rather than create the illusion of a compressed space, as the earlier machine had done, this new device was intended to achieve precisely the opposite effect: when spun, a series of concentric circles painted onto the surface of a spinning hemispherical dome was designed to create the illusion of an added dimension. Once Doucet agreed to the proposal, Duchamp began construction almost immediately, although various complications would delay completion of the machine until the fall of 1924. Even before it was finished, however, the Parisian public was given a preview of its appearance in the form of a sketch by Man Ray, which was photographed and, with Doucet’s permission, reproduced as an inset illustration to the July 1924 issue of Picabia’s ‘391.’ The sketch not only showed the concentric circle design that Duchamp had painted onto the surface of his hemisphere, but surrounding it, in Man Ray’s hand, appeared the words ‘Rrose Sélavy et moi estimons les ecchymoses des Esquimaux aux mots exquis’ (‘Rrose Sélavy and I escape from the bruises of the Eskimos in exquisite words’), one of Duchamp’s most amusing and melodic plays on words (which, with a minor variation, had already appeared a few months earlier on the back cover of ‘The Wonderful Book’)” (Naumann). Following its publication in “391,” the project was reproduced on the cover of the spring 1925 issue of “The Little Review,” and, eventually, on the cover of Georges Hugnet’s “L’aventure dada” (Paris, 1957). Central pinhole, light staining (mostly apparent on verso); several short tears, expertly mended and touched up. Very rare. [Paris, 1924]. $3,000.00 Cf. Schwarz 407a; Naumann 4.5; Ades p.153; Gershman p. 54; Chevrefils Desbiolles p. 316; Almanacco Dada 160; Sanouillet 257; Sanouillet: Dada in Paris (Cambridge, 2009), 740; Motherwell/Karpel 86; Verkauf p. 183; Dada Artifacts 104; Pompidou: Dada 1340, ill. p. 357.5

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28 DUCHAMP, MARCEL & HALBERSTADT, V. L’opposition et les cases conjuguées sont reconciliées par M. Duchamp et V. Halberstadt. / Opposition und Schwesterfelder..../ Opposition and Sister Squares.... 112, (1)ff. 259 chessboard diagrams, printed in red and black (of which 8 full-page, printed on glassine). 2 errata slips. Lrg. sq. 4to. Printed wraps., designed by Duchamp. Edition limited to 1000 copies. Parallel texts in French, German and English. Together with: “Le monde des echecs. Serie Nº 1.” 16 photographic portraits of chess masters, printed in blue-tinted photogravure, loose, as issued, within printed folder (with separate contents leaf). Plate size: 16 x 24 cm. (6 1/4 x 9 1/2 inches). Bruxelles (L’Échiquier), 1933. Duchamp, who had taken part in international chess tournaments during the preceding five years, devoted this treatise to an endgame problem of, as he put, it, almost utopian rarity. An extract was published in “Le surréalisme au service de la révolution,” no. 2 (Summer 1930), and the work was subsequently discussed by Pierre de Massot in “Orbes,” Series II, No. 2 (Summer 1933). Massot gave the following account of the method by which Duchamp arrived at the elegantly restrained distortion of the cover typography: “Set up in the zinc stencil letters...the title was placed between two plates of glass, which were tilted at an angle and exposed to the sun. The uncontrolled deformation produced on the ground by the sun’s rays passing through the cut-out parts of the letters was photographed by Duchamp, who afterwards made a negative from this photograph which was stereotyped.” This copy of the book is accompanied by the portfolio of loose photographs of leading chess masters, issued by the same publishers in February of the following year. This includes a very suave plate by Man Ray of Duchamp and Halberstadt facing one another, looking down at what must be a chessboard out of view; between them, floating emblematically in the background, a chessboard tilted on one corner. A fine copy. Paris/ Bruxelles (Éditions de l’Echiquier), 1932. $3,500.00 Schwarz 430; Lebel 52, 83, 172-3, no. 165; Naumann 4.17

29 (DUCHAMP) Benoit, P.A. Quatre inédits de Marcel Duchamp. (12)pp. Oblong sm. 8vo. Self-wraps. Signatures loose, as issued. Glassine d.j. Edition limited to 24 examples in all, signed and numbered in pencil by PAB in the justification, printed on uncut wove paper. Minimalist puns and wordplays, a follow-up, twenty-one years later, to “Rrose Sélavy.” A fine copy. Alès ([Pierre André Benoit]), 1960. $2,000.00 Montpellier. Musée Fabre: Les livres réalisés par P.A. Benoit, 1942-1971 (1971), no. 377; Schwartz (1997) bibl. 161

30 Keller, Jean & DUCHAMP-VILLON, RAYMOND. Les sémaphores. Bouffonnerie sensorielle en 1 acte. 63, (1)pp. Sm. 4to. Dec. wraps. (light wear). Glassine d.j. Published posthumously, after Duchamp-Villon’s tragic death at the age of forty-one, this comic spoof was written while he was convalescing in an army hospital, in collaboration with a doctor friend. “Suivront des pièces des jeux d’échecs, le rédaction d’une ‘petite comédie burlesque écrite avec un camarade [Jean Keller] pour une représentation dans un hôpital du front. Elle est très spéciale de la guerre et n’a rien qui vise le grand public’ [Walter Pach]. Pour cette pièce, intitulée ‘Les Sémaphores,’ il dessine également des costumes.” “Si l’austerité qui caractérise la ‘Tête du Professeur Gosset’ suggère la direction que la sculpture de Duchamp-Villon aurait pu prendre, ‘Les Sémaphores,’ avec ses personnages absurdes, ses accessoires bizarres, et ses situations incongrues, révèlent la possible affinité du sculpteur avec Dada et le théâtre surréaliste d’après-guerre” (Judith Zilczer, in the Centre Pompidou catalogue). The front cover--with its amusing line-drawing of a mantle clock with no hands, the dial simply reading “Il est trois heures” in script--is surely Duchamp-Villon’s design, as must be the surrealistic vignette in the justification, showing a pipe stem curling out of an open window (and its smoke curling back again in the shape of a question mark). That no trace of the work seems to exist in the Duchamp-Villon or Duchamp literature prior to 1998 (including the careful

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1967 monograph by George Heard Hamilton and William C. Agee, with bibliography by Bernard Karpel) is one index of its rarity. Presentation copy, inscribed by Keller to Mlle. Renée Druet, February 1919. A fine copy. Châlons-sur-Marne (Imprimerie-Librairie de l’Union Républicaine), 1918. $3,000.00 Paris. Centre Georges Pompidou: Duchamp-Villon: Collections du Centre Georges Pompidou, Musée national d’art moderne et du Musée des beaux-arts de Rouen (Paris, 1998), pp. 19, 140 (texts by Judith Zilczer and Bénédicte Ajac)

31 DÜSSELDORF. GALERIE ALFRED FLECHTHEIM. Ostern 1919. Herausgegeben anlässlich der Wiedereröffnung der Galerie Alfred Flechtheim in Düsseldorf, mit einem Vorspruch von Herbert Eulenberg und Beiträgen von Walter Cohen, Wilhelm Hausenstein, Hans Müller-Schlösser, Wilhelm Uhde, Hermann von Wedderkorp und Paul Westheim. [I. Ausstellung Expressionisten.] 88pp. 2 original woodcuts hors texte, printed on yellow tissue, here signed in pencil, by Eberhard Wiegener and Richard Schwarzkopf. Prof. illus. Sm. 4to. Wraps. Acetate d.j. Copy no. 1 of the Vorzugsausgabe of 50 copies hors commerce, in which the woodcuts were signed in pencil. The catalogue of the first exhibition of the Flechteim gallery on its reopening after the War (held Easter to mid-May 1919). Among the Expressionists featured were the late Macke, Seehaus, and Lehmbruck, and artists of the group Das Junge Rheinland (including Wiegener and Schwarzkopf, as well as Heinrich Nauen), from which Flechtheim was to be alienated later in the year. Also included in the exhibition were numerous French artists handled by Flechtheim before the War, with highly important work by van Gogh, Seurat, Cézanne, Rousseau, Picasso, and Braque. Light wear. Potsdam/Berlin (Gustav Kiepenheuer Verlag), 1919. $1,200.00 Düsseldorf. Kunstmuseum: Alfred Flechtheim Sammler, Kunsthändler, Verleger (1987), pp. 134 (illus.), 144; Rifkind 256

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32 (ERNST) Éluard, Paul. Répétitions. Dessins de Max Ernst. 51, (3)pp. 10 full-page illus. by Ernst (1 in colors) after collages of wood engravings. Lrg. 8vo. Printed plum-colored wraps., with additional collage illustration by Ernst tipped onto front wrapper, as issued. One of 350 numbered copies in all. “Upon André Breton’s invitation, Ernst sent fifty-six of his collages for his first one-man show in Paris in May 1921 at the Galerie Au Sans Pareil. Entitled ‘la mise sous whisky marin,’ this exhibition of Ernst’s ‘dessins, mécanoplastiques, plastoplastiques, peintopeintures... au-delà de la peinture’ was received with great acclaim and enthusiasm by Breton and the group of Parisian Dadaists already beginning to join around him in their efforts to codify Surrealism. As a German veteran living in the British-occupied Rhineland, Ernst was prohibited from traveling to Paris, but in November Paul and Gala visited him for a week in Cologne. This meeting not only initiated a complex, intimate relationship between Ernst and the Éluards, but sparked the first of a series of extraordinary collaborations between painter and poet. While in Cologne, Éluard selected from a group of recent, independent collages eleven to accompany an edition of his short prose poems, ‘Répétitions.’ Constructed from fragments of black-and-white wood engravings and magazine illustrations, the collages were more unified than the earlier and generally larger Dada collages. The more integrated scale of their parts and the stylistic similarity of the source engravings themselves contributed to the increasing refinement of Ernst’s cut-and-paste technique” (Rainwater). Wrappers slightly faded and worn. Paris (Au Sans Pareil), 1922. $6,000.00 Hugues/Poupard-Lieussou 4; Spies/Metken 438-448; Spies: Max Ernst Collages 180-197; Rainwater 13, p. 10; Stuttgart, Institut für Auslandsbeziehungen: Max Ernst Books and Graphic Work 3; Fouché, Pascal: Au Sans Pareil (1989), no. 25; Gershman p. 18; Dada Global 197; Ades 8.53; Sanouillet, Michel: Dada in Paris (Cambridge, 2009), no. 239; Motherwell/Karpel 257; Dada Artifacts 137; Reynolds p. 42; Skira 111; Hubert p. 54ff.; Chapon p. 144; Andel 128; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, no. 407 (full-page color plate); Tendenzen 3/586; Düsseldorf 192; Zürich 317; Pompidou: Dada 1231, figs. 405-406, 712; Washington: Dada pl. 244

33 ERNST, MAX. Une semaine de bonté, ou les sept éléments capitaux. Roman. 5 vols. (10)pp., 182 full-page plates of collages of steel engravings. 4to. Orig. printed wraps., each volume of a different color (purple, green, red, blue and yellow). Publisher’s dec. carton slipcase, the front cover with mounted illustration by Ernst on green stock. One of 800 copies on papier de Navarre, from the limited edition of 816 in all, numbered in separate justifications in each volume. Ernst’s third and final collage novel, assembled in a great burst of energy in just three weeks, and much the longest and most complex, serially issued in five separate cahiers from April through December 1934. The work is orchestrated in seven sections, corresponding to the days of the week, and correlated also with the alchemical elements. “In the five books of ‘Une semaine de bonté,’ Ernst developed a set of iconographical forms based on a wide variety of sources, including Freudian dream theory, alchemy, and his personal life experiences. Taken together, his three collage novels exhibit a poetic and pictorial genius that establishes them as some of the most extraordinary monuments of twentieth-century art. Their unique character was recognized by Breton, who proclaimed that ‘it is Max Ernst’s magic passes that have awakened the book, physically, from its centuries-long slumber: the pages which he has enchanted, rather than merely ‘decorated’ are so many eyelids that have started to flutter. It is the ‘verdant paradise’ of the child’s first picture-book, as well as the herbarium in which every plant consents to flower a second time’” (Evan M. Maurer). Spines a little sunned, the box slightly worn, otherwise a fine copy. Paris (Jeanne Bucher), 1934. $6,500.00 Hugues/Poupard-Lieussou 11; Spies/Metken 1904-2085; Spies: Max Ernst Collages 427-518; Rainwater 33a and pp. 78-91; Stuttgart, Institut für Auslandsbeziehungen: Max Ernst Books and Graphic Work 16; Ades 12.150; Hubert pp. 269-286; Franklin Furnace 134; Reynolds p. 44; Stuttgart 76; Villa Stuck 36; Milano p. 651; Castleman p. 161; Logan Collection 107; Andel, Jaroslav: Avant-Garde Page Design 1910-1950, nos. 430-431

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34 ERNST, MAX & Éluard, Paul. A l’intérieur de la vue. 8 poèmes visibles. 113, (15)pp. 39 illus. (after collages of steel- engravings), of which 7 delicately colored by hand in blue, yellow, rose, and redwashes. Initial letters and subtitles in purple throughout. Dec. wraps., printed in purple, red and orange after a design by Ernst. One of 600 copies on Alma Marais, from the limited edition of 610 in all, the illustrations printed by Mourlot Frères. “Les 8 poèmes visibles de Max Ernst composés en 1931 ont été, aussi fidèlement que possible, illustrés par 8 poèmes visibles de Paul Eluard en 1946” (from the justification statement). “For Ernst and the poet Paul Éluard, the eye represented what they called the ‘interior of seeing,’ a phrase that can be read as a metaphoric description of Surrealist aesthetics. They used the phrase in the title “A l’intérieur de la vue: 8 poèmes visibles” (The Interior of Seeing: Eight Visible Poems), a book created in 1931 and published in 1947, which also includes a dreamlike image of two rows of eyes facing each other. In 1934 the same phrase and image then appeared in the collage novel ‘Une semaine de bonté’” (Andel). Backstrip lightly browned; a fine copy. Paris (Pierre Seghers), 1947. $3,750.00 Hugues/Poupard-Lieussou 20; Spies/Metken 1808-46; Spies: Max Ernst Collages 407-425; Rainwater 31; Stuttgart, Institut für Auslandsbeziehungen: Max Ernst Books and Graphic Work 14; Beyond Painting 70; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, p. 328f., no. 432 (full-page color plate).

35 (ERNST) Iliazd [Ilia Zdanevitch]. L’art de voir de Guillaume Tempel. (44)pp. 1 original etching and aquatint by Max Ernst, signed in pencil, printed in dark brown on japon ancien (loosely inserted, as issued). 12 photographic figs. in text. Tall narrow 4to. (315 x 125 mm.; 12 3/8 x 5 inches). Dec. grey wrapper, imprinted with a design by Ernst. Matching brown envelope (light wear). Contents loose, as issued. Edition limited to 70 numbered copies in all, signed and numbered by Iliazd in the justification. Etching printed by Georges Visat. Published in conjunction with an exhibition of “Maximiliana” at Le Point Cardinal, this little book by Iliazd documents his researches on Wilhelm Tempel, a nineteenth-century German astronomer and lithographer, whose remarkable discoveries (including the planetoid Maximiliana) were ignored by the scientific establishment. “For Ernst and for Iliazd, Tempel was not only a heroic figure...; he represented in its widest sense the creative artist’s credo or belief in l’art de voir, ‘the art of seeing,’ despite a technological society’s faith in machines....In ‘L’art de voir’... Iliazd recounts the results of his painstaking research on Tempel, and tells of the disappointed hopes, the outright rejections that followed each of Tempel’s discoveries. One might find a parallel with his own books, none of which, including ‘Maximiliana,’ met with much success when it first appeared” (Anne Hyde Greet). This copy includes an extra example of the decorative grey wrapper. Paris (Iliazd), 1964. $4,500.00 Spies-Leppien 96B; Paris. Centre Georges Pompidou: Iliazd (1978), p. 116 (bibliography by François Chapon); Firenze. Biblioteca Nazionale Centrale: I libri de Iliazd, dall’avanguardia russa alla scuola di Parigi (1991), no. 23 ; Rainwater, Robert (ed.): Max Ernst: Beyond Surrealism (New York, 1986), no. 83, p. 182f. (text by Anne Hyde Greet)

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36 EVANS, WALKER. American Photographs. With an essay by Lincoln Kirstein. 195, (1)pp. 87 plates. Sm. sq. 4to. Cloth. D.j. (very slightly nicked at head of spine). Re-issue of the 1938 edition with a foreword by Monroe Wheeler. Presentation copy, inscribed by Walker Evans “To Hermann and Esther B./ with best regards/ Walker.” The recipients were the parents of Isabelle Storey. New York (The Museum of Modern Art), [1960]. $2,750.00

37 EVANS, WALKER. Message from the Interior. (6)pp., 12 sheet-fed photogravure plates. Tissue guards. Sm. sq. folio. Orig. cloth with title label. Among the finest and most influential photographic books of the 1960s. Presentation copy, inscribed by Walker Evans “To Jimmy and Tania [Stern]/ a message indeed (what a)/ Walker.” Subsequently inscribed “and with much love/ from Tania + Jimmy.” The Sterns were close friends of Evans and Isabelle Storey. New York (The Eakins Press), 1966. $4,000.00

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38 (FLUXUS) Fluxfest Sale. [Edited by George Maciunas.] 1f., printed on both sides in dense eight-column format. 560 x 430 mm. (22 x 17 inches). Tabloid folio, folded as issued. Circa January 1967. An incredible listing of more than 200 compositions and performance pieces (not counting fluxvariations on them), representing “about half the fluxus repertory,” by Ayo, Robert Bozzi, George Brecht, Albert Fine, Lee Heflin, Hi Red Center O, Joe Jones, Milán Knízák, George Maciunas, Ben Patterson, Paul Sharits, Tomas Schmit, Chieko Shiomi, Ben Vautier, Robert Watts and Emmett Williams. Brief descriptions of the pieces are included, as are payment details for their performance. At the end, an immensely detailed “Expanded Arts Diagram,” genealogically relating hundreds of individuals in the greater Fluxus galaxy, starting with Martha Graham, Maiakovskii and Wagner. New York, 1967. $500.00 Silverman 570; Fluxus Codex p. 57f. (illus.); Phillpot/Hendricks 33

39 DIE FREIE STRASSE. NR. 9 NOVEMBER 1918. “Gegen den Besitz!” [Editors: Raoul Hausmann and Johannes Baader.] (4)pp. (single sheet, folding). Front page with massive block, tilted on the diagonal, printed in black. Tabloid folio, folded as issued. Texts by Raoul Hausmann (“Gegen den Besitz!,” uncredited), Johannes Baader (“Die Geschichte des Weltkrieges,” under the pseudonym Joh. K. Gottlob), Karl Radek (“Revolution und Konterrevolution”), et al. “That psychoanalytic ideas were acceptable to Dadaists in Berlin was consistent with their adherence to systematic politics, which Dadaists in France,

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Switzerland and America rejected. Even so it was not Freudian psychoanalysis that interested Dada in Berlin, but a psychotypology that was based on the researches of Otto Gross as systematized in 1916 by Franz Jung...who, the following year, founded the review “‘Die freie Strasse’ to propagate these views. It became the first voice of Dada in Berlin” (Rubin). A brilliant copy, fresh and crisp. Berlin-Friedenau (Verlag Freie Strasse), 1918. $4,500.00 Dada Global 27; Almanacco Dada 59; Bergius p. 414; Dachy, Marc: Archives dada/ chronique (Paris, 2005), p. 131f. (illus.); Dada Artifacts 35; Pompidou: Dada 1369, illus. p. 125; cf. Ades 4.64, Raabe 26, Rubin p. 10

40 DIE FREIE STRASSE. NR. 10. DEZEMBER 1918. “Präsident Baader. In meinen Gedanken habt ihr alle Platz! Warum sind eure so klein?” [Editors: Raoul Hausmann and Johannes Baader.] (4)pp. (single sheet, folding). Front page with massive inverted obelisk, printed in black. Tabloid folio, folded as issued. The spectacular Baader issue, featuring on the first page Der Oberdada’s famous dictum “Ein Dadaist ist ein Mensch, der das Leben in allen seinen unübersehbaren Gestalten liebt, und der weiss und sagt: nicht allein hier, sondern auch da, da, da ist das Leben!”--”a definition,” Werner Haftmann has noted, “which although certainly false etymologically, is uncommonly apposite.” “That psychoanalytic ideas were acceptable to Dadaists in Berlin was consistent with their adherence to systematic politics, which Dadaists in France, Switzerland and America rejected. Even so it was not Freudian psychoanalysis that interested Dada in Berlin, but a psychotypology that was based on the researches of Otto Gross as systematized in 1916 by Franz Jung...who, the following year, founded the review “‘Die freie Strasse’ to propagate these views. It became the first voice of Dada in Berlin” (Rubin). The remarkable anti-obelisk on the cover would seem inescapably to be the source of Barnett Newman’s famous monumental sculpture to “Broken Obelisk,” though where he is likely to have seen it in 1963 (inasmuch as it was not reproduced in Motherwell’s “The Dada Painters and Poets”) remains to be explained. Foldlines; a little light wear. Very rare. Berlin-Friedenau (Verlag Freie Strasse), 1918. $6,000.00 Almanacco Dada 59; Bergius p. 414, illus. p. 86f.; Dachy, Marc: Archives dada/ chronique (Paris, 2005), p. 172; Richter p. 215; (Haftmann); Raabe 26; Zürich 378; Tendenzen 3.168; Pompidou: Dada 1369

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41 FRIEDLANDER, LEE. The American Monument. (16)pp., 78 plates with 213 illus. Oblong folio, in album format. Cloth, bolted as issued. Text in letterpress. Postscript by Leslie George Katz. One of the great American photographic books. Presentation copy, inscribed by Lee Friedlander “For Isabelle with pleasure/ and friendship/ Lee Friedlander.” Loosely inserted: Inscribed presentation card from the publisher. Isabelle Storey was the organizer of the exhibition of the American Monument photographs at The Institute of Contemporary Art, Boston, March-May 1977. New York (The Eakins Press Foundation), 1976. $4,500.00 Roth p. 236f.; Freitag 3826; Parr, Martin & Badger, Gerry: The Photobook: A History. Vol. II, p. 28

42 (GEYLING, REMIGIUS) Ball der Stadt Wien 1909. Gedenktage aus dem Jahre 1809. Eine Erinnerung. Den Damen Wiens gewidmet vom Ballkomitee der Stadt Wien. 12 farbige Bilder von Remigius Geyling. (2)ff., 12 plates of color lithographs by Remigius Geyling, all printed on hinged leaves of heavy card. Oblong sm. 4to. Elaborately gilt full white kidskin. A.e.g. Red, white and gold dec. endpapers. Publisher’s elaborately decorated clamshell box, printed on all sides in gold and black. Remigius Geyling (1878-1974), a member of the Austrian Werkbund who designed commercial graphics for the Wiener Werkstätte, was a noted stage designer, and teacher at the Kunstgewerbeschule. He produced more than 600 costume designs for the Imperial Jubilee procession (some of which were reproduced as Wiener Werkstätte postcards), and stage sets and costumes for more than 300 productions over the years at the Vienna Burgtheater. “He was famous for his dance presents, designed about 1910 and made by Melzer” (Schweiger). The charming lithographs in the album, highly colored and in a decorative style reminiscent of children’s books, are scenes of Vienna a century before, at the time of the Napoleonic wars. Other aspects of the decoration are pure expressions of Wiener Werkstätte style, such as the Josef Hoffmann-like title-page. Box slightly chipped and worn. Wien (Wilhelm Melzer), 1909. $1,350.00 Schweiger, Werner J.: Wiener Werkstätte: Design in Vienna 1903-1932 (New York, 1984), p. 260

43 (GONCHAROVA) Paris. Union des Artistes Russes. Bal Olympique. Vrai Bal Sportif costumé, organisé par l’Union des Artistes Russes à Paris. 11 juillet 1924, à la Taverne de l’Olympia. Broadside, in narrow folio, printed in black on both recto and verso. 65 x 25 mm. (25 5/8 x 9 7/8 inches). At the head of the recto, line-drawn illus. by Barthe of the Apollo Belvedere; at the head of the verso, a superb and large design by Goncharova, "Projet de costume pour le Bal Olympique pouvant servir aux deux sexes; recommandé aux personnes pressées. Matière: papier ou calicot coloriés". Though not credited, the

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printing and typography are characteristic of François Bernouard. Matted. The broadside poster for one of the fascinating and amazingly distinguished artists’ balls put on by the Union des Artistes Russes in Paris in the early 1920s, which also included the Grand Bal des Artistes Travesti/Transmental of February 1923, the Bal Banal of March 1924 (for which too Goncharova did the poster), and the Bal de la Grande Ourse of May 1925. The scintillating program outlined in this broadside for the Bal Olympique features dances and choreographic events by Olga Koklova and the Ballets Suédois, "danses du homard, crabe et crocodile" with costumes by Vassilieff and Léger, boxing matches overseen by Foujita, a "Spectacle sur l’Échelle" by Tristan Tzara, “poëmes en relief” by Iliazd and Kakabadze, a "nouveau système de projections fantastiques" by Larionov, and many other attractions with designs, scores or participation by Satie, Vernon Duke, Tchelitchev, Pevsner, Pougny, Mane-Katz, Martinou, et al. This example on off-white stock. A fine copy. Paris, 1924. $1,200.00

44 (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

45 GROPIUS, WALTER, ET AL. Staatliches Bauhaus Weimar, 1919-1923. 224, (2)pp. 147 illus., including 20 color plates, of which 9 are original color lithographs by Herbert Bayer, Marcel Breuer, L. Hirschfeld-Mack (2), P. Keler and W. Molnár, R. Paris, K. Schmidt (2) and F. Schleifer. Lrg. sq. 4to. Orig. dec. black boards, printed in red and blue. Typography by L. Moholy-Nagy; binding design by Bayer. One of 2000 German-language copies, from the edition of 2600 in all. Texts by Gropius (“Idee und Aufbau des Staatlichen Bauhauses”), Klee, Kandinsky, Moholy-Nagy, Schlemmer and Grunow. The first book published by the Bauhaus, preceding the Bauhausbücher proper of 1925 and after; Bayer’s brilliant front cover design is fittingly proclamatory. The work was issued on the occasion of the great Weimar Bauhaus exhibition of 1923, organized at the behest of the Thuringian Legislative Assembly, which wished to have a public display of the accomplishments of the first four years. Gropius set the theme as ‘Art and Technics: A New Unity.’ Expertly rebacked; a very handsome copy, the cover fresh and bright (as is the interior). Weimar/München/Köln (Bauhausverlag/ Karl Nierendorf), 1923. $8,000.00 Wingler p. 627; The Avant-Garde in Print 4.2; Andel 115; Minneapolis p. 88f.

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46 GROPIUS, WALTER. Internationale Architektur. Zweite veränderte Auflage. Viertes bis sechstes Tausend. (Bauhausbücher. 1.) 111, (1)pp. Prof. illus. 4to. Dec. wraps. (lightly wear). Typography and layout by Moholy-Nagy; cover design by Farkas Molnar. Discreet signature on flyleaf. München (Albert Langen), 1925. $1,500.00 Wingler p. 627f.; Cf.: Fleischmann p. 153; Bauhaus-Archiv: Das A und O des Bauhauses 148, illus. 135; Andel: Avant-Garde Page Design 1900-1950, illus. 312 (full-page color)

47 (GROPIUS) Anbau Möbel. Entwurf: Walter Gropius, Prof. Dr. E.H. Typo: Herbert Bayer, Dorland. (4)pp. (single sheet, folding). 13 halftone illus. Unfolded: 148 x 420 mm. (ca. 5 7/8 x 16 1/2 inches). Oblong sm. 4to. A promotional brochure, designed by Herbert Bayer, advertising a line of inexpensive modular furniture for the home designed by Gropius for the Berlin firm Feder. Here is shown a selection of desks, armoires, and bookcases, all in tubular steel and lacquered wood, with suggestions how their modules might be combined. “Unsere Grosseltern brauchten andere Möbel als wir im Zeitalter der Autos und Eisenbahnen. Nicht wir sind um der Möbel willen da, wie es vielfach heute den Anschein hat, sondern umgekehrt. Das ‘Anbaumöbel’ befreit uns von dieser Tyrannei.” The leaflet notes that the furniture would be exhibited in the forthcoming Deutscher Werkbund exhibit at the Grand Palais. Another pamphlet designed by Bayer for the same line is illustrated by Fleischmann. A fine copy. Berlin (Feder), [1930]. $950.00 Cf. Fleischmann p. 284

48 (HAMBURG SECESSION) HAMBURG. ALTE KUNSTHALLE. Hamburger Secession 1922. Ausstellung 15. Januar bis Ende Februar. Leporello of 13 panels (verso blank). Front and back covers mounted with card-stock panels lithographically titled and decorated with abstract compositions in black, finished by hand in yellow and brown watercolor (as issued) by the Maetzel-Johannsen family. Text lithographically set (in blue) from manuscript original. 154 x 127 mm. (ca. 6 x 5 inches). Unstated limited edition, completed as needed, reportedly of 99 copies by the end of the exhibition. The catalogue of the third annual exhibition of the Hamburg Secession, with listing of 99 paintings and sculptures by members of the group, together with a selection of African masks from Northern Cameroon, and African decorative art, from the Konietzko Collection, Hamburg. Artists include Fritz Ahlers-Hestermann, Otto Fischer-Trachau, Erich Hartmann, Emil Maeztel, Dora Maetzel-Johannsen, Karl Opfermann, Karl Schmidt-Rottluff, Heinrich Stegemann, Otto Tügel and others. A series of lectures on modern art (also contemporary poetry and atonal music) was delivered during the course of the exhibition by a distinguished roster of art historians and critics, including Hans W. Fischer, Rosa Schapire, Wilhelm Niemeyer, Max Sauerlandt, and H.H. Stückenschmidt. “In stilistischer Anlehnung an Wassily Kandinsky ist das Titleblatt gestaltet, das die Kinder von Emil Maetzel und Dorothea Maetzel-Johannsen handkoloriert haben.... Das Heft wirkt mit seiner handschriftlichen Typografie und der kindlichen Bemalung ansprechend und unkompliziert zugleich” (Friderike Weimar). Very rare. Hamburg, 1922. $2,500.00 Weimar, Friderike: Die Hamburgische Secession 1919-1923. Geschichte und Künstlerlexikon (Fischerhude, 2003), p. 12f.; Jaeger, Roland & Steckner, Cornelius: Zinnober: Kunstszene Hamburg 1919-1933 (Hamburg, 1983), p. 90ff. (illus.); cf. Hamburg. Museum für Kunst und Gewerbe: Entfesselt: Expressionismus in Hamburg um 1920 , (2006), pp. 77, 90 (illus.)

49 HUELSENBECK, RICHARD (EDITOR). Dada Almanach. Im Auftrag des Zentralamts der Deutschen Dada-Bewegung. 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

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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” (Chapon). Small stain on front cover; a fine copy. Berlin (Erich Reiss), 1920. $4,000.00 Gershman p. 24; Dada Global 68; Ades 4.68; Almanacco Dada 34; Bergius p. 108f.; Chapon 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

50 HUGNET, GEORGES. Four plaquettes, illustrated by Miró, Picasso, Duchamp and Valentine Hugo. Each (8)pp., on ivory wove stock, issued in self-wraps. Uniform format: 95 x 145 mm. (3 3/4 x 5 3/4 inches). Oblong 8vo. Boards, 3/4 brown morocco gilt. An exquisitely illustrated series of poems, privately printed by Hugnet and intended largely for circulation among his friends and associates; their tiny format reflects the clandestine nature of these Resistance publications during the German Occupation. Though unnamed and unnumbered, the series is complete in these four plaquettes.The Picasso designs, in his wartime Surrealist manner, are extremely fine; the Duchamp, a moustache and goatee isolated on a blank sheet--hovering in space “like the smile of the Cheshire Cat,” as Anne d’Harnoncourt and Kynaston McShine put it--is a species of “L.H.O.O.Q.,” made during the production of the “Boíte en valise.” Contents as follows: [I] Non vouloir. Frontispiece by Joan Miró. Text and illustration printed in brown. Limitation unstated. Presentation copy, inscribed in red ink “à Valentine Hugo/ son ami/ Georges Hugnet.” Valentine Hugo was herself the illustrator of one of these plaquettes (cf. IV below). Paris, 1940. [II] Pablo Picasso. 6 zincographs by Picasso, printed in black, of which 3 reworked in copperplate engraving by the artist. Text printed in brown. One of 174 copies, from the limited edition of 200. Presentation copy, inscribed in red ink “à Amy Bakaloff/ en souvenir d’un festival/ peu commun/ de nourritures rares/ ce 20/2/41/ Georges Hugnet.” The poet Amy Bakaloff was the author of “Sombre est noir,” written during the Occupation and published in 1945 as a livre d’artiste, with illustrations by Oscar Domínguez. Paris, 1941. Goeppert/Goeppert-Frank/Cramer 35 [III] Marcel Duchamp. Tipped-in pochoir frontispiece by Duchamp, printed in black graphite. Text printed in blue. One of 174 copies, from the limited edition of 200. Paris, 1941. Schwarz 483; Naumann 5.33, p. 143; d’Harnoncourt/McShine 159 [IV] Au dépens des mots. Frontispiece by Valentine Hugo. Text and illustration printed in gold. One of 174 copies, from the limited edition of 200. Hugnet has annotated the title in red ink to place it partly within apostrophes, “Au ‘dépens des mots.’” The cover is also stamped “Bonne Année 1942.” Paris, 1941. Paris, 1940-1941. $4,500.00 Johnson, Robert Flynn: Artists’ Books in the Modern Era 115; Splendid Pages p. 195; Centre Georges Pompidou: Pérégrinations de Georges Hugnet (Paris, 1978), p. 21ff. (illus.)

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51 L’IDÉE ET L’ESPRIT DE L’ART MODERNE./ KINDAI BIJUTSU SCHICHO KOZA. 6 vols. 4to. Cloth. Publisher’s slipcases for all volumes (a bit worn). Contents as follows: 1. Sagara Tokuzo. Réalisme. 205, (3)pp. A little light pencilling. 2. Araki Sueo. Fauvisme. 205, (3)pp. 3. Ihara Usaburo. Cubisme. 211, (3)pp. 4. Kanbara Tai. Futurisme, Expressionisme, Dadaisme. 223, (1)pp. 5. Fukuzawa Itiro. Surréalisme. 218, (2)pp. 6. Hasegawa Saburo. Abstract Art. 190, (2)pp. Prof. illus. throughout. A complete set of this impressive and sophisticated series on movements of modern art, written by a number of distinguished Japanese artists and critics. Text almost exclusively in Japanese. Intermittent light wear, a few spines darkened. Tokyo (Atelier-sha), 1937. $5,000.00

52 JARRY, ALFRED. César antéchrist. 146, (8)pp. 14 illus. (partly in color) on 12 leaves hors texte, of which 2 designed by Jarry, both printed in orange (one original woodcut by Jarry, and another, possibly also in woodcut, derived from a pen drawing by him). Orig. dec. wraps., stamped in gilt on the front cover. Glassine d.j. One of 197 copies on uncut carré vergé à la cuve, from the limited edition of 206 in all. “Aptly enough, Jarry constructed his two earliest books on a cyclic scheme: they contain all his styles. ‘Minutes de sable mémorial’ begins and ends with the refinements of symbolism, yet it holds some of Ubu’s coarsest escapades. Even more patently, the four acts of ‘César-Antéchrist,’ Jarry’s second volume, display a circular development. The drama recounts the collapse of the divine realm (‘God is sleepy’) into the second ‘Heraldic Act,’ during which Antichrist rules, descends further into the third ‘Terrestrial Act,’ where Père Ubu, the ubiquitous, dominates the scene with his oaths and his outrages, and then rises again in final judgment of it all. In this short play, Jarry carries us literally from the sublime to the ridiculous. Better than any statement of values or elaborate cosmology, it expresses his concept of how the universe is arranged. He presents Ubu as the representative of primitive earthly conduct, unrelieved by any insight into his own monstrosity, uncontrollable as an elephant on the rampage, earnest in his blundering.... Creating in Ubu a one-man demolition squad twenty years before Dada, he incorporated this figure into works that go on to broach

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transcendental values” (Shattuck). Carleton Lake has identified Jarry’s second illustration in the book, entitled “Père Ubu à cheval,” as the first portrayal of Ubu. This image had also appeared a month earlier, in the “Mercure de France,” September 1895. The balance of the woodcuts, as in Jarry’s first book “Les minutes de sable mémorial” of 1894, alternate imageries populaires (religious or fantastical in character) with early prints after Dürer and others; they are printed in orange, black and red. The design and production of the volume is identical in all particulars to that of “Les minutes de sable mémorial,” including the astonishingly modern typography of the title- and dedication pages, designed by Jarry, which anticipate the experiments of the Italian Futurists and Russian Constructivists. A leaf with clean marginal tear; a very fine copy. Paris (Éditions du Mercure de France), 1895. $8,500.00 Arrivé, Michel: Peintures, gravures et dessins d’Alfred Jarry (Charleville-Mézières, 1968), pls. 28, 43, pp. 115, 118; Kunsthaus Zürich: Alfred Jarry (1982) 31; Shattuck, Roger: The Banquet Years (New York, 1958), p. 175; Lake, Carlton: Baudelaire to Beckett (Austin, 1976) 250

53 (JARRY, ALFRED) Jarry’s personal dossier de presse of reviews of the première of “Ubu Roi” at the Théâtre de l’Oeuvre, December 11, 1896. 13ff. pink and turquoise stocks, hinged onto stubs, mounted with 17 clippings from the periodic press, most of them titled and dated in pen or pencil by Jarry on the mounts. 4to. Fine modern green-brown polished boards with subdued embossed floral decoration, gilt morocco supralibros, with matching slipcase (Ateliers Laurenchet). Dated between 11 and 14 December 1896, the reviews, supplied by the clippings agency L’Argus de la Presse, have been carefully mounted by Jarry on album leaves, some with folding panels to accomodate longer texts. The newspapers and critics represented are “L’Évènement” (Sarcisque), “Paris” (C. de N.), “Le Figaro” (a review on 11 December and a follow-up article, “Le terreur littéraire,” both by Henry de Fouquier), “Le Temps” (Sarcisque), “L’Écho de Paris,” “Le Matin” (Henry Céard), “Gil Blas” (L. B.-D.), “La République française” (Robert Vallier), “La Patrie” (2 articles, by Henry de Gorsse and Coquerico), “La Paix” (‘Le pompier de service’) “Le Petit Parisien,” “Le Jour” (‘Intérim’), “Le National” (Max Maurey), “Le Soir,” and “La Presse” (‘Un spectateur’). The reviews selected are, almost without exception, hostile. “Le Petit Parisien”: “De qui se moque-t-on au théâtre de l’Oeuvre?” “Le Temps”: “C’est une fumisterie ordurière qui ne mérite que le silence du mépris.” “La Paix”: “Le Théâtre de l’Oeuvre devient un théâtre d’avant-garde robe et son directeur c’est Lugné-Poe... de chambre... Pouah! Brûlons du sucre après en avoir cassé, et bouchons-nous le nez et les oneilles, car M. Jarry dit ‘Oneilles.’ Petit fumiste, va!” “Paris”: “Si l’auteur a eu la prétention d’écrire une pièce ayant la moindre portée, il faut le plaindre, la folie le guette et le gâtisme l’a déjä terrassé.” We quote at length from Roger Shattuck’s spirited account of the event: “All literary Paris was primed for the event. Jarry’s friends saw to it that every critic was present at the première, and the old Théâtre Nouveau in the rue Blanche was filled to the last seat with partisans and enemies, with symbolists, decadents, naturists, independents, and the ‘Mercure’ faithful, to hear the enormity Jarry had perpetrated. Loyal subscribers scarcely new what they were in for. December 11, 1896, the opening night is worth describing in detail. There had been nothing like it since the wild première of Victor Hugo’s ‘Hernani’ in 1830, when Théophile Gautier and Gérard de Nerval carried the day for romanticism by highly organized demonstrations. “Before the curtain went up, a crude table was brought out, covered with a piece of old sacking. Jarry appeared, looking dead white, for he had made himself up like a streetwalker to face the floodlights. Nervously sipping a glass of water, he spoke in his flattest, most clipped tones. For ten minutes, he sat in front of the explosive crowd, thanking the people who had helped in the production, referring briefly to the traditions of the Guignol theater, and mentioning the masks the actors would wear and the fact that the first three acts would be performed without intermission....

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“Jarry vanished with his table; the curtain went up on the set--the handiwork of Jarry himself, aided by Pierre Bonnard, Vuillard, Toulouse-Lautrec, and Sérusier.... Arthur Symons, one of the few Englishmen present at this ‘symbolist farce,’ as he calls it, recalled every detail. ‘[The] scenery was painted to represent, by a child’s conventions, indoors and out of doors, and even the torrid, temperate, and arctic zones at once.... On the left was painted a bed, and at the foot of the bed a bare tree and snow falling. On the right there were palm trees...a door opened against the sky, and beside the door a skeleton dangled. A venerable gentleman in evening dress...trotted across the stage on the points of his toes between every scene and hung the new placard on its nail.... “Gémier, swollen and commanding in his pear-shaped costume (but without a mask, despite Jarry’s campaign) stepped forward to speak the opening line--a single word.... In a voice like a hammer, Gémier pronounced an obscenity which Jarry had appropriated to himself by adding one letter. ‘Merdre.’ Gémier said. ‘Shite.’ “It was fifteen minutes before the house could be silenced. The mot de Cambronne had done its work; the house was pandemonium.... Fist fights started in the orchestra. The critics were on the spot, their reactions observed by both sides. Edmond Rostand smiled indulgently; Henry Fouquier and Sarcey, representing the old guard, almost jumped out of their seats.... Mallarmé sat quiet, waiting to see more of the ‘prodigious personnage’ to whose author he addressed a letter the following day.... “The curtain rang down that night on the sole performance of ‘Ubu Roi’ until it was revived by Gémier in 1908.... This single performance assured Jarry’s celebrity far beyond literary circles. The following morning, and for weeks after, the papers discussed the play. Five critics wrote favorable reviews--the five whom Jarry mentioned in his introductory speech. Ten-odd conservative critics, led by the ponderous Sarcey of ‘Le Temps,’ denounced it as the limit of folly. One of them started his article, “Despite the late hour, I have just taken a shower.’ A critics battle royal soon developed between Henry Bauer, defending Jarry and wielding great power from his post on the ‘Écho de Paris,’ and Henry Fouquier of ‘Le Figaro,’ an elegant Marseillais with a loyal bourgeois following. After ‘Ubu Roi’ he was determined to crush Bauer. Because he knew how to write better bombast than Bauer, Fouquier finally won and his rival lost his column in the ‘Écho de Paris.’” Paris, 1896. $9,500.00 Shattuck, Roger: The Banquet Years (New York, 1958), p. 160ff.

54 JERIMADETH. Direction de la revue: Monique Goldschmidt, Frédéric Studeny. [No. 1: all published.] (8)pp., including introduction by Goldschmidt. 20 signed and numbered contributions hors texte, including original gouaches, drawings, collages, and prints in various media (etching, woodcut, screenprint, lithography; some hand-colored), by Jean-Bernard Arkitu, Édouard Berreur, Gérard-Philippe Broutin, Françoise Canal, Jean-Paul Curtay, Myriam Darrell, Jean-Pierre Gillard, Micheline Hachette, François Poyet, Roland Sabatier, Jacques Spacagna, Jacqueline Tarkieltaub, Antoine Grimaud and Patrick Poulain; an original photocopy by Pierre Jouvet, two texts by Isidore Isou and Alain de Latour, and a superb mixed- media assemblage by Maurice Lemaître. Lrg. 4to. Publisher’s chartreuse silk box and chemise, hand-painted in gold on the front cover and spine. Contents loose, as issued. Edition limited to 50 hand-numbered copies, signed in the justification by the editors. Conceived as the first of a series of Lettrist portfolios, only this inaugural volume of “Jerimadeth” appeared. A fine copy. Paris, 1972. $4,500.00 Foster, Stephen C. (editor): Lettrisme: Into the Present (1983), no. 35

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55 (KITASONO) Murano, Shiro. Taiso shishu [Gymnastic Poems]. 41, (3)pp. 15 halftone illus. 4to. Publisher’s cloth. Dec. d.j. (with German subtitles, “Neuer Körper und neuer Geist” and “Turn Gedichte” ). Edition limited to 500 numbered copies. Designed by Katsue Kitasono, this elegantly spare volume of poems integrates photographs of athletes in competition-- divers, pole vaulters, gymnasts, skiers--some sailing through the air, and through the text. Kitasono (1902-1978) was a member of the ‘Shi to shiron’ movement, advocating, among other things, a form of pure poetry responsive to Surrealism and stream of consciousness composition. “Les membres de ‘Shi to shiron’ introduisent avec ferveur, au Japon, les diverses manifestations de la littérature avant-garde européenne et américaine d’après la Première Guerre mondiale. Simultanément, ils développent, eux-mêmes, autour de ce noyau, une intense activité créatrice.... Kitazono Katsue fonde en 1935 la revue ‘Vou’ et, tout au long de sa vie, poursuit des recherches formelles sur la dimension visuelle de la poésie.... Bref, chez Kitazono, le formalisme consiste, dans la mesure du possible, à exclure du langage toute signification, et à utiliser les mots comme signes (couleurs, lignes, points). Ce que l’on pourrait définir, en d’autres termes, comme une application rigoureuse de l’abstraction” (Yoshihisa). A fine copy. Extremely rare: OCLC records one copy in the U.S.A. (Harvard). Tokyo (Aoi Shobo), 1939. $6,000.00 Urawa Art Museum: Books as Art: From Taisyo Period Book Design to Contemporary Art Objects (2001), p. 93 pl. 77

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56 KOKOSCHKA, OSKAR. O Ewigkeit - Du Donnerwort. So spanne meine Glieder aus. Lithographien von Oskar Kokoschka. Worte der Kantate nach Joh. Seb. Bach. (13)ff., 11 lithographic plates, including self-portrait by Kokoschka at the outset. Title-page illustration by Kokoschka. Lrg. folio. Full vellum over boards, with gilt leather label. T.e.g. First bound edition, following portfolio editions of 1916-1918. One of 100 hand-numbered copies on Bütten, signed in the colophon by Kokoschka, from the limited edition of 125 in all. “Another important series of lithographs [by Kokoschka] appeared in 1914, before the outbreak of war. These were the eleven lithographs to the words of one of Johann Sebastian Bach’s cantatas, ‘O Ewigkeit--Du Donnerwort, so spanne meine Glieder aus (Eternity, thou fearful word...).’ They were published by Fritz Gurlitt in portfolio, and by the same press in 1918 in the series ‘Die neuen Bilderbücher.’ The musicologist Paul Bekker pointed out as early as 1917 in Westheim’s ‘Das Kunstblatt’ that the lithographs had little more than the title in common with Bach’s cantata. Although Kokoschka had become acquainted with this cantata through a piano recital by his friend Leo Kestenberg, his intention from the first was to draw images to the text, not to interpret the music. And here again, Kokoschka allowed himself to be guided more by the underlying states of mind--despair, fear, hope--than by individual passages in the text. ‘O heavy path to the final struggle and conflict’--such was Kokoschka’s theme in a double sense: the bewildering, disconcerting and deeply affecting experience of womankind in the person of Alma Mahler and--again--the presentiment of a danger, erotic as well as social. So it is small wonder that the figure of the man continually assumes Kokoschka’s features, while that of the woman often calls Alma Mahler’s appearance to mind” (Lang). Covers slightly bowed; a very fine, fresh copy. Berlin (Fritz Gurlitt), 1918. $7,500.00 Wingler/Welz 58-68; cf (citing various issues): Artist and the Book 150 ; Lang 189, p. 34f.; Jentsch 28; Rifkind 190; Rifkind/Davis 1564

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57 (LECK) Andersen, H. C. Het Vlas. Uit het deensch vertaald door Marie Nijland-van deer Meeer de Walcheren. Geteekend en gekleurd door B. v.d. Leck. (1), 10, (1)ff. Prof. illus. with elements in color. Sm. 4to. Orig. self-wraps., designed by the artist. Clamshell box (cloth with leather label). Edition limited to 500 numbered copies. Entirely designed by Bart van der Leck, the work is set in his geometric typeface and illustrated with similarly broken illustrations and with bars and blocks of red, yellow and blue in varying sizes. This edition of Hans Christian Andersen’s fairy tale, “The Flax,” is one of the very rare instances of de Stijl book illustration. “‘Het Vlas’ (The Flax) is one of the most important examples of de Stijl art in book illustration. Bart van der Leck was a member of the de Stijl movement founded in 1917 by Theo van Doesburg and Piet Mondrian. It held that art be considered part of universal harmony, universality be anti-subjective in nature, form be abstracted, and color reduced to the primary colors of red, blue and yellow” (Johnson). Title-page with discreet signature and a little light foxing; in general a fine, clean copy. Amsterdam (De Spieghel), 1941. $3,500.00 Johnson, Robert Flynn: Artists’ Books in the Modern Era 114; Manet to Hockney 109; Minneapolis p. 58f.

58 LE CORBUSIER [Charles-Édouard Jeanneret]. Petite “Confidences.” 12ff., loose as issued, including dec. title (original lithograph, printed in black), table and justification (original lithograph, printed in green), and 10 original engravings on Rhodoid, printed in black. Sheet size: 562 x 455 mm. (22 1/4 x 17 78 inches). Lrg. folio. Dec. portfolio (red linen over boards,

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with supralibros title printed in black on an irregular sheet of paper, designed by the artist; ties). Edition limited to 125 copies in all, signed and numbered by the artist in the justification; this copy is designated hors commerce. The ten compositions were drawn by Le Corbusier at Cap Martin in the summer of 1957, and printed in Paris by Mourlot in 1960. A pristine copy. Paris (Mourlot), 1962. $8,500.00

59 LE CORBUSIER [Charles-Édouard Jeanneret]. Série Panurge. 8ff., loose as issued, including dec. title (original lithograph, printed in black, red, yellow and blue), statement by the artist (original lithograph in red and black), table and justification, and 5 original engravings on Rhodoid, printed in black. Sheet size: 562 x 455 mm. (22 1/4 x 17 78 inches). Lrg. folio Dec. portfolio (cream linen over boards, imprinted in red, white and black with a composition by the artist; ties). Edition limited to 150 copies in all, signed and numbered by the artist in the justification. An hommage to Rabelais. “Le livre...ce livre du plus solide langage est toujours sous ma main, quelque part avec ses compagnons Don Quichotte et Ulysse entre le trois continents unis par la mer. Ce livre de la quintessence en total contact humain, esprit, corps, santé.... C’est pourquoi, en ces jours d’août 61, Panurge était ‘Ubu’ et il pantinisait!” (statement by the artist). The five compositions were drawn by Le Corbusier at Cap Martin in the summer of 1961, and printed in Paris the following year. A pristine copy. Paris (Mourlot), 1962. $6,500.00

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60 (LÉGER) Cendrars, Blaise. J’ai tué. Prose par Monsieur Blaise Cendrars et 5 dessins de Monsieur Fernand Léger. (34)pp. 5 compositions by Léger, including 2 hors texte and 1 on front cover, printed in red and blue (the cover with orange pochoir) . Text printed in red. Sm. sq. 4to. Orig. wraps., with front cover pochoir composition by Léger in blue and yellow (a little light wear). New fitted chemise and slipcase (blue boards with tan suede doublures, edged in black morocco, by A. Devauchelle). One of 300 numbered copies on uncut vergé à la forme, from the limited edition of 353 in all. Typography and printing by François Bernouard, A La Belle Édition. “In August 1914, Fernand Léger was mobilized as a sapper in the Engineers Corps. After being gassed at Verdun on the Aisne front, he was hospitalized until his discharge in January 1918. With the war experience lingering in his mind as a source of imagery, Léger’s first project upon recovery was the creation of illustrations for “J’ai tué” (‘I have killed”). This small anti-war book was written by Cendrars who, as a corporal on the Somme, had lost an arm in the Champagne offensive of September 1915. Cendrars laments the stupidity of war, describing how the world’s resources are mobilized to support all men, and ends the work with a ruthless confrontation between two men: ‘Eye for eye, tooth for tooth. It’s up to us two, now. To blows with fist, to blows with knife. No mercy. I leap on my antagonist. I give him a terrible blow. His head is almost cut off. I have killed the Boche. I was more lively and rapid than he. More direct. I struck first. I have the sense of reality, I poet. I have acted killed. Like him who would live.’ Boldly printed in blue and red, evoking the French tricolor, the book reproduces, photomechanically, five drawings executed by Léger at Verdun in 1918. Though not specifically drawn as companions to the prose-poem, these dehumanized war images match the brutal action and are visually equivalent to Cendrars’ powerful, machine-gun writing. The use of inexpensive stenciling to superimpose the title in yellow on the blue cover plate was probably Cendrars’ suggestion since Sonia Delaunay had used this technique in 1913 for their successful collaboration, ‘La prose du Transsibérien et de la Petite Jehanne de France’” (Donna Stein, in “Cubist Prints/ Cubist Books”). “Just how important Cendrars was as a contact between pre-war simultaneity and the Léger of 1918-19 is demonstrated by the fact that Léger’s friendship with the poet was articulated by experiments in book illustration which are in some ways complementary to the first ‘simultaneous book,’ that among his first attempts to combine ‘poetic’ images without regard for the unities of time and place were the illustrations for ‘J’ai tué’...” (Christopher Green, in “Léger and Purist Paris”). Both text and illustrations were published in “Der Sturm” (No. 7, 1919), and, in an English translation, in “The Plowshare” (May/June 1919). An epochal book. Rare. Presentation copy, inscribed "à Georges Pioch/ héros malgré lui/ Blaise Cendrars/ soldat obscur" in black ink above the half-title. There is also one manuscript addition by Cendrars to the text (adding the word "les" to the phrase "toutes les croyances" near the conclusion). Most moving is the hesitation of Cendrars' inscription-which shows his awkwardness in writing lefthanded, having lost his right arm at the front, in September 1915-and his self- description, "obscure soldier," after his signature. George Pioch, initially an anarchist, and then in 1915 a socialist, was expelled from the Communist Party in 1922 for his pacifist beliefs. Paris (A La Belle Edition), 1918. $12,500.00 Saphire p. 299; Cubist Prints/ Cubist Books 62, p. 64 (and back cover illustration); Siena 51 (and front cover illustration); The Cubist Print 122, p. 55; Skira 197; Peyré, Yves: Peinture et poésie 14; Andel, Jaroslav: Avant-Garde Page Design 1900- 1950, nos. 94-95; Winterthur 112; Paris/Berlin 206; Franklin Furnace 35; Tate Gallery: Léger and Purist Paris (1970), p. 43

61 (LÉGER) Cendrars, Blaise. La fin du monde, filmée par l’ange N.-D. Roman. Compositions en couleurs par Fernand Léger. (58)pp. 22 colored pochoir compositions and ornaments by Léger. Lrg. 4to. Orig. dec. wraps. Glassine d.j. New quarter- morocco clamshell box. One of 1200 copies on vélin Lafuma, of a limited edition of 1225 copies (many of which are thought

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to have been lost or destroyed due to difficulties with the pochoir printing). Léger’s most brilliant venture in book illustration, inspired by the anarchic, Americanized cosmology of Cendrars’ scenario. A very fine, fresh copy. Paris (Editions de la Sirène), 1919. $8,500.00 Saphire p. 299; Castleman p. 170; Manet to Hockney 54; Skira 197; Johnson, Robert Flynn: Artists’ Books in the Modern Era 26; Splendid Pages p. 187, fig. 80; Peyré, Yves: Peinture et poésie 18; Reynolds p. 24; Lilly 10; Villa Stuck 65; Wheeler p. 105; Stein, Donna: Cubist Prints/Cubist Books no. 64, p. 64; Siena 52; The Cubist Print 77; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, p. 96, illus. 94-99

62 (LÉGER) Goll, Ivan. Chansons de France. Dessin de Fernand Léger. (Poets’ Messages.) (16)pp. Line-drawn cover design by Léger. Sm. 4to. Dec. self-wraps., stitched with red thread. Glassine d.j. Copy no. 3, numbered in red, from the limited edition of 700 in all, printed on Chippendale Offset. Unspecified édition de tête, in which the blooms of the flowers on the cover--superimposed on a sketchily drawn map of France--have been hand-colored by Léger in red and blue, and initialled in ink by the artist. Published in New York, where both Léger and Ivan Goll were in exile during the war years, these very classical Gallic poems express Goll’s anguished longing for his lost country. Partly uncut. A fine copy. New York (The Gotham Book Mart), 1940. $2,800.00 Saphire, Lawrence: Fernand Léger: The Complete Graphic Work (New York, 1978), p. 299 (alluding to the colored copies); Centre Pompidou: Paris-New York (Paris, 1977), chronology: 1940

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63 LONDON. NEW BURLINGTON GALLERIES. The International Surrealist Exhibition. June-July 1936. Catalogue. Preface by André Breton (translated by David Gascoyne). Introduction by Herbert Read. 31, (1)pp. Sm. 4to. Wraps., with steel-engraved collage illus. by Max Ernst. A remarkable copy of this epochal catalogue, inscribed “exemplaire de René Gaffé,” on the title-page and below that signed in red, green, blue and black inks by some of the most famous participants and members of the “London Bulletin” set: André Breton, Jacqueline Breton, Roland Penrose, Hans Arp (in pencil), E.L.T. Mesens, Sheila Legge (noted for her apparition in Trafalgar Square, masked in roses, flocked by pigeons, on the opening day), David Gascoyne, Humphrey Jennings, George Reavey and Rupert Lee. René Gaffé, the great Belgian collector (of both modern pictures and tribal art) to whom this copy is inscribed, lent important paintings by de Chirico and Miro to the exhibition; he was also a critic of note, the author of early studies of de Chirico and Éluard, of Congolese sculpture, and of “Peinture à travers dada et le surréalisme” (1952). Front cover somewhat spotted, as often; internally bright and fresh. London, 1936. $3,000.00 Sheringham Ac274; Ades p. 347ff., no. 14.55; Rubin p. 412; Reynolds p. 54; Cf. “L’aventure de Pierre Loeb: La Galerie Pierre, Paris 1924-1964” (Musée d’Art Moderne de la Ville de Paris, 1979)

64 (MAAR & MAN RAY) Desroches, Didier [Éluard, Paul.] Le temps déborde. (38)pp. 11 illus. (7 full-page) from photographs by Dora Maar and Man Ray. 4to. Dec. wraps. Glassine d.j. Edition limited to 500 numbered copies. A poetic elegy by Paul Éluard to his late wife Nusch, who had died suddenly the previous November. “Le temps déborde” is in effect a coda to “Facile” (1935), in which, similarly, Éluard’s love poems were illustrated with ravishing photographs of her by Man Ray. Glassine chipped; small soft crease; a fine copy.

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Paris (Éditions Cahiers d’Art), 1947. $6,000.00 Centre Georges Pompidou: Éluard et ses amis peintres 1895-1952 (Paris, 1982), p. 146; Tate Modern: Surrealism: Desire Unbound (London, 2002), p. 157, ill. 138

65 (MAN RAY) Fondane, Benjamin. Trois scénarii. Papièes mûres, barre fixe, mtasipoj. Cinépoèmes. 2 photos de Man Ray. (56)pp. Frontis. portrait photograph of Fondane by Man Ray. Sm. 4to. Dec. wraps., designed by A. Bratashano, printed in black and red with stencilled lettering and rayogram by Man Ray. Unstated limited edition, estimated by Ilk at circa 200 unnumbered copies, on papier impondérable, apart from 29 copies hors commerce. Two film scripts by Fondane, who moved to Paris from Bucarest in 1923, and adopted French for his work as a poet, essayist and scenarist. The double frontispiece portrait of him by Man Ray--seemingly distorted in a funhouse mirror, and duplicated upside down--was taken in May 1928. The abstract rayogram on the front cover is elegantly coordinated with stencilled, colored type. “Documents internationaux de l’esprit nouveau,” directed by Michel Seuphor, Paul Dermée and Enrico Prampolini, and loosely Constructivist in its outlook, published a review under this title, lasting for one issue only. Occasional foxing in text, as often; backstrip worn, covers a bit rubbed, endpapers renewed. An historic presentation copy, inscribed "à Leon Moussinac/ hommage, admiration/ de/ fondane/ Paris, vi, 1928." Moussinac (1890-1964), one of the most prolific and influential critics and theorists of the cinema in the 1920s, was responsible for the introduction of Soviet film to France. A member of the Communist Party since 1923, it was Moussinac who arranged the first French screenings of work by Dziga Vertov and Sergei Eisenstein, which had been commercially banned up to that time; the success of the première of Eisenstein's "Battleship Potemkin” in November 1926 led Moussinac to found the society Les Amis du Spartacus, with the idea of starting a mass cinema movement. Gaining further distribution rights, the society's hugely successful weekly screenings included Pudovkin's "Mother" and "The End of St. Petersburg," and climaxed in the fall of 1928 with the screening of Eisenstein's "October." A theorist and polemicist, Moussinac was also actively lecturing and publishing at this time, publishing "Naissance du cinéma" in 1925, "Cinéma: expression sociale" in 1927, and "Le cinéma soviétique" in 1928. Rare. Paris (Documents internationaux de l’Esprit Nouveau), 1928. $3,500.00 Ilk K450, illus. p. 83; Biro/Passeron 1103; on Moussinac, cf. Abel, Richard: “Introduction to Moussinac’s ‘Cinema: social means of expression’”

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66 MAN RAY. Les mains libres. Dessins illustré par les poèmes de Paul Éluard. 176 (30)pp. Lrg. 4to. Dec. wraps., designed by Man Ray. One of 650 numbered copies on Chester vergé, from the edition of 675 in all. “Though Man Ray had occasionally provided graphic work for books and magazines produced in Surrealist circles after 1921, it was in the 1930s that drawings began to form a significant part of his work. Many of those in ‘Les mains libres’ were later the basis of paintings or reliefs, and a number originated as sketches inspired by dreams made on awakening. The drawings were left by Man Ray with Paul Éluard, who wrote poems for each; the poems thus illustrate the pictures. Man Ray, in his autobiography of 1942, recalled that the drawings had been made when he and Éluard were staying in the Midi at Mougins with Picasso and others” (Manet to Hockney). A very fine copy. Paris (Éditions Jeanne Bucher), 1937. $4,000.00 Gershman p. 102; Ades 12.155; Manet to Hockney 104; Andel 152; Villa Stuck 84; Milano p. 653

67 MAN RAY. La photographie n’est pas l’art. 12 photographies. Avant-propos de André Breton. (10)pp., 12 fine halftone plates on yellow coated stock. Sm. 4to. Publisher’s printed blue folder, within die-cut black outer folder. “This remarkable little book, a return to Man Ray’s dada roots, presages the postmodern artist’s photobook in terms of its self-reflexive attitude and complex referential twists and turns. It can be taken as a summation of his experiments in photography, and might be said to be his photographic swansong. The year the book was published (1937), he decided to give up photography altogether, and rented a studio in Antibes in order to devote himself to painting” (Parr). Blue folder slightly lightstruck; a little light wear.

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Paris (G.L.M.), 1937. $3,750.00 GLM 148; Parr/Badger Photobook I, p. 108f.; Ades 12.156; Gershman p. 37; Reynolds p. 70

68 MARINETTI, F.T. Les mots en liberté futuristes. 107, (9)pp., including 4 folding plates (extending, when opened, to 363 mm., or ca. 14 1/4 inches). Wraps., printed in red and black. Glassine d.j. The great masterpiece of Futurist typographic expression; the folding plates present the most famous of all parole in libertà. Partly unopened. Light browning, a two short splits in the folding plates; a fine copy. Milano (Edizioni Futuriste di “Poesia”), 1919. $3,750.00 Salaris p. 48; Falqui p. 45; Jentsch, Ralph: The Artist and the Book in Twentieth-Century Italy, p. 328; Pompidou: Dada 1261; Franklin Furnace 44; Spencer p. 24f.; The Avant-Garde in Print 1.3, 1.4, 4.1; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, p. 104f., nos. 101, 104; Johnson, Robert Flynn: Artists’ Books in the Modern Era 31; Splendid Pages p. 189, fig. 56

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69 MASCLET, DANIEL. [Nus.] La beauté de la femme. Album du Premier Salon International du Nu Photographique, Paris 1933. (8)pp., 96 heliogravure plates. Sm. folio. Wraps., secured with silk cord, as issued. Albin-Guillot, Boucher, Drtikol (5), Feininger, Fiedler, Hoppé (3), Landau, Lynes (3), Man Ray (2), Mortensen, Perckhammer, Verneuil (3) and others, beautifully printed by Braun. A superb copy, very fresh and crisp. Paris (Daniel Masclet), 1933. $1,200.00

70 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); Reynolds p. 98

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71 (MATISSE) Rouveyre, André. Repli. Gravures de Henri Matisse. 163, (7)pp. 12 original lithographs hors texte, of which 6 printed on white stock and 6 on grey. 6 linocut lettrines and culs-de-lampe (2 printed in red, 4 in black). 4to. Portfolio; all contents loose, as issued. Wrapper, printed in yellow pochoir with a cut-out composition designed by Matisse. Publisher’s chemise and slipcase (heavy boards, slightly rubbed). Édition de tête: one of 25 numbered copies (of 35) printed on Montval vélin à la forme and accompanied by an extra suite of the lithographs on chine, signed by Matisse and Rouveyre in the justification, from the edition of 335 in all, the remainder of which was printed on Arches. Lithographs printed by Mourlot Frères, gravures by Feuquet et Baudier. A cycle in two parts, commemorating, in poems and images, the end of a love affair between Rouveyre--shown in six portraits by Matisse--and an unnamed woman, similarly depicted in brilliantly elegant line drawings, to whom the poet had dedicated two other works in the 1930s. The lemon-yellow design of the wrapper recalls the cutouts of Matisse’s “Jazz,” published in the same year. A few tiny foxmarks; a fine copy. Paris (Éditions du Bélier), 1947. $12,000.00 Duthuit, Claude: Henri Matisse: Catalogue raisonné des ouvrages illustrés 20; Musée Matisse: Henri Matisse: L’art du livre (Nice, 1986), p. 52f.

72 MÉCANO. Gérant litéraire: I.K. Bonset [Theo van Doesburg]. No. 4/5 (of 4 issues published in all). “Hollands Bankroet door Dada” [white issue]. (16)pp. Prof. illus. Sm. 4to. Self-wraps., stapled as issued. The final issue of “Mecano.” Texts by van Doesburg (also as I.K. Bonset and ‘XXX’), Tristan Tzara, Julius Evola, Malcolm Cowley, Cornelis van Eesteren, Arp, Cornelis Nelly Mesens, Kurt Schwitters, and Pierre de Massot. Illustrations by and after Raoul Hausmann, Tour Donas, van Doesburg, Schwitters, and Peter Reuhl. “The founding of ‘Mécano’ is closely linked with the Düsseldorf Congress of International Progressive Artists in May 1922, and the unexpected revival of Dada.... Van Doesburg had founded the international review ‘De Stijl’ with Mondrian in 1917 and it had become the foremost organ in Europe for Constructivist art. ‘Mécano’ was produced, coinciding with the subversion of the Düsseldorf congress, to ‘poke fun at the solemnities of the Bauhaus.’ (‘Begrüssung,’ in the final issue, signed by van Doesburg, Mondrian and van Eesteren, attacks the Bauhaus.) Van Doesburg used his pseudonym I.K. Bonset for the ‘gérant littéraire,’ or literary editor of ‘Mécano, presenting Theo van Doesburg as the mécanicien plastique.’ He had already published Dada poetry as I.K. Bonset in ‘De Stijl’; indeed the whole of the November 1921 issue was devoted to an ‘anthologie Bonset.’ In the final issue (White) of ‘Mécano,’ he published his manifesto ‘Toward a Constructive Poetry,’ which uses a mocking, dada language, and sees the ‘destructiveness’ of dada sound poetry and dada typography as the base on which to build a new constructive poetry. He names three different kinds of destruction and lists those poets important for each: ‘in usage (its meaning)’... ‘in the monstrous (psychic disturbance)’... ‘in typography.’ He then focuses a long attack on the Russian constructivists and the concept of utilitarianism in art-- ‘madness--madness--madness.’ The ‘Mécano’ contributors were mainly ex-Dadaists like Tzara, Hausmann, Ribemont-Dessaignes, Picabia, Arp, but there were also a number of futurists and neo-plastic artists, and a few constructivists like Moholy-Nagy.... “‘Mécano’ was published by ‘De Stijl,’ and was advertised in early numbers of ‘Merz’ side by side with it. It is like a Dada supplement to ‘De Stijl,’ but it betrays its origins in, for example, the choice of primary colours plus white to identify each issue (the yellow number is succeeded by the blue, the red and the white numbers), the chosen colours of the neo-plastic

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painters and architects” (Ades). “‘Mécano’ was a mixture of subversion and aversion. A manifesto which Van Doesburg had introduced into ‘De Stijl’ appeared under the pseudonym I.K. Bonset, supporting Dada typography as the basis of a new poetic language while attacking the Russian Constructivist notion of utilitarian or productivist art. The Bauhaus also came under fire for its ‘solemnities.’ But ‘Mécano’ was more than a vehicle for negative propaganda. Van Doesburg saw the power in graphic design. He experimented with type and layout in a fairly disciplined though free-form manner that commingled raucous Dada and rational Constructivist principles, resulting in a more structured, legible version of Dada ad hoc-ism” (Heller). Horizontal fold; small splits at spine, small chip at foot of front cover; early ink number notation at title; intermittent light wear, but on the whole a very good copy. Very rare. Leiden, 1923. $7,500.00 Dada Global 138; Almanacco Dada 89; Ades p. 124f., 129; Dachy p. 170f.; Dachy: Dachy: Archives dada/ chronique p. 363 (illus.); Lista: Dada libertin et libertaire p. 180f., 194f.; Schippers, K.: Holland Dada (Amsterdam, 1974), p. 39ff. (illus.); Motherwell/Karpel 77. (illus. p. 337); Verkauf p. 180; Zürich 385; Pompidou: Dada p. 676ff., illus. p. 681; Tendenzen 3.283; Heller, Steven: From Merz to Emigre and Beyond, p. 61ff. (illus.)

73 (MIRO) Hirtz, Lise. “Il était une petite pie.” 7 chansons et 3 chansons pour Hyacinthe avec 8 dessins en couleur. (39)pp. 8 color pochoir plates after gouaches by Miró. Lrg. 4to. Publisher’s grey cloth portfolio, the front cover embossed in black and green with a design by Miró, recapitulating one of the plates; cloth ties. One of 280 hand-numbered copies on Arches, from the limited edition of 300 in all, of which this is one of the rare copies signed by Miró in the justification. Pochoir by Jean Saudé (“Maître Coloriste”), Paris. One of the most enchanting of all modern livres d’artiste. “The eight pochoir illustrations in this book constitute Miró’s first interaction with printmaking. Spare yet colorful, they are comparable to his paintings of the period, demonstrating an elegant minimalism to which he would rarely return” (Johnson). “In ‘Il était une petite pie,’ the handwriting gives a naive quality to the book, as though it had been produced by a little girl. At the same time, it is undeniably ornamental. Above all, it clearly shows the intent of the livre de peintre to avoid at any cost the industrial aspects of book production. In ‘Il était une petite pie’ these same homemade, natural, spontaneous features characterize the pochoirs en couleurs” (Hubert). The rare signed and bound issue. A superb copy, the plates in bright, immaculate condition. Paris (Édition Jeanne Bucher), 1928. $16,000.00 Cramer I (hors catalogue); Dupin 1-8; Skira 262; Johnson: Artists’ Books in the Modern Era 98; Splendid Pages p. 191; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, p. 330, illus. 417-419; Chapon p. 197; Hubert p. 101f.; The Book Stripped Bare 43; Wheeler p. 107

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74 MONTENEGRO, ROBERTO. Vingt dessins de R. Montenegro. (6)pp., 20 plates of line and wash drawings, printed in black. Lrg. 4to. Portfolio (ivory boards, printed with a design by the artist). All contents loose, as issued. Edition limited to 50 copies on japon (this copy unsigned and unnumbered), privately printed for the artist by the Société Générale d’Impression, Paris. The Mexican painter, illustrator and stage designer Roberto Montenegro (1885-1968), who studied in Madrid with Sorolla and Zuloaga, was in Paris for some seven years, between 1907 and 1914, when the outbreak of war forced him to relocate to Mallorca before returning to Mexico. In Paris, moving in Cubist circles, he supported himself as an illustrator, also writing a biography of Nijinsky. The present portfolio shows him as an unabashed emulator of Beardsley. Presentation copy to Rodin, inscribed “A Mr. A. Rodin/ Hommage d’admiration/ R. Montenegro” on the interior flap of the portfolio. Rare. Paris (The Artist), 1910. $1,500.00

75 (MUNARI) Belloli, Carlo. Omaggio a Depero. Broadside, printed in pink and black on onionskin paper (verso blank). A superb graphic homage by Munari to his brilliant predecessor, published on the occasion of the founding of the Museo Depero in Rovereto, by the Comitato Internazionale di Onoranze al Pittore Fortunato Depero. Printed in parallel Italian and English, the broadside contains a long tribute by Carlo Belloli, dated Milan, September 1959, and listing of promoters, which includes, apart from Munari himself, Arp, Berlewi, Goncharova, Larionov, and Vantongerloo, among others--all overprinted with Depero’s name, rotating in massive pink block letters. Folded, as issued, An immaculate copy. Milano (Stampa: A. Lucini e C.), 1959. $950.00

76 MUNARI, BRUNO. Libro illeggibile N.Y. 1. (38)ff. Assembled of leaves of heavy stock and translucent paper, with red thread connecting the pages through random cut-outs. One of a limited, hand-numbered edition, designed especially for the

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Museum of Modern Art. “Questo libro... [fa] parte di un gruppo di libri definiti ‘illeggibili’ perchè non hanno parole da leggere, ma hanno una storia visiva che si può capire seguendo il filo del discorso visivo” (colophon). New York (The Museum of Modern Art), 1967. $500.00 Maffei, Giorgio: Munari: I libri (Milano, 2002), p. 123; Castleman p. 224; Splendid Pages p. 192, fig. 113

77 (OKADA TATSUO) Toller, Ernst. Tsubame no sho [The Swallow Book]. Erunsuto Torura cho; Murayama Tomoyoshi yaku; Okada Tatsuo sozu. 106, (2)pp. 15 full-page original linocut plates in text. Lrg. 8vo. Wraps., printed in red and black on cream-colored paper, mounted on heavier brown (as issued). This is one of three books illustrated with original Mavo linocuts by Okada Tatsuo, together with Hagiwara Kyojiro's "Shikei senkoku [Death Sentence]" (1925) and Saito Hideo's "Aozameta Douteikyo [The Pale-Faced Virgin's Mad Thoughts]" (1926). Murayama, who did the translation, knew and admired the Expressionist playwright Ernst Toller's work (as he did Georg Kaiser's) from his extended stay in Berlin in 1922. "The first of many plays that Murayama saw at the Berlin Volksbühne was Toller's 'Machine-Wreckers' (Machinenstürmer); …after he returned to Japan, Murayama translated Toller's collection of poems, 'Swallow Book' (Das Schwalbenbuch; published in Japanese as 'Tsubame no sho' in 1925). Murayama later credited Toller, along with the artist George Grosz and the Volksbühne producer Max Reinhardt, with inspiring him to become a socialist" (Weisenfeld). Okada's linocuts in the "Swallow Book" focus less on the bizarre and macabre than those in "Death Sentence" and "The Pale-Faced Virgin's Mad Thoughts," and are, on the whole, more classical constructivist abstract compositions. One of the prime movers in Mavo and the Miraiha Bijutsu Kyokai (Futurist Art Association, or FAA), Okada Tatsuo was both an extremely visible, even violently prominent, artist and performer, and also a figure of some mystery to later scholarship; even his dates are unknown ("fl. ca. 1900-1935"). "Okada was probably from Kyushu and is thought to have died in Manchuria, or to have remained there after arriving sometime in the late 1930s. Knowledge of his artistic training and personal acquaintances is scant, but according to his later reminiscences, he was an art student when he participated in FAA-Mavo activities…. Okada's few extant works reveal a talented, innovative printmaker aesthetically and politically dedicated to anarchism. Okada represented a radicalizing force in the FAA-Mavo coterie, consistently leveling harsh criticism at the group, prodding them toward more violent and extreme actions. In many ways, he was a divisive force in the group, eventually driving them into opposing factions" (Weisenfeld). Okada's brilliance was multifaceted. In addition to being a significant graphic artist, whose prints and assemblages were major works of the movement, he was a performance artist starring in some of Mavo's most famous events--in June 1924, he was Murayama's dance partner, in Murayama's first documented performance (to the accompaniment of a Russolo-like 'Noise and Sound Constructor'); and Okada's near-naked appearances, with his "Gate and Moving Ticket-Selling Machine" at the second Sanka exhibition in 1925 (to cite but one example) are recorded in some of the most amazing photographs surviving from the early Japanese avant-garde. He was a contributor to "Mavo," the review, in both of its two phases, and was one of its three editors in its second period (issues 5-7). He was also a highly original typographer, designing the layout, as well as most of the linocut illustrations, for "Shikei senkoku [Death Sentence]," the Mavo illustrated book par excellence. As Weisenfeld notes about "Shikei senkoku," "Without the artistic constraints placed on many commercial publications, Mavo artists were free to produce a strong visual response to the tumultuous poems." Intermittent very light foxing: an extremely fine copy, clean and the wrappers in fresh state, far superior to that at the Machida City Museum of Graphic Arts. Of great rarity. Tokyo (Choryusha Shoten), 1925. $9,500.00 Weisenfeld, Gennifer: Mavo: Japanese Artists and the Avant-Garde, 1905-1931 (2002), pp. 37, 98; 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. 280; Machida City Museum of Graphic Arts: Modernism in the Russian Far East and Japan 1918-1928 (Machida, 2002), no. 270.1-2 (illus.)

78 ORLOFF, CHANA. Bois gravés. (2)pp., 11 full-page original woodcuts by Chana Orloff, each signed in pencil by the artist. Sheet size: 565 x 385 mm (22 1/4 by 15 1/8 inches); image sizes range from 160 x 130 to 350 x 295 mm. (6 1/4 x 5 1/4 to 13

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1/2 x 11 1/2 inches). Folio. All sheets loose, as issued, within decorated wrapper repeating one of the woodcuts. Edition limited to 100 copies in all, numbered by hand. Printing by Frazier-Soye. A portfolio by the Ukrainian-born sculptor and printmaker Chana Orloff (1888-1968), active in the Parisian cubist milieu in the teens and twenties, who exhibited at the Salon d’Automne beginning in 1913, and at the Salon des Indépendants. “Although influenced to some extent by Cubism, Modigliani, and the vogue for the primitive, she soon established a distinctive idiom: essentially naturalistic, but tending to a decorative simplication of form and a love of smooth rounded surfaces. In the early 1920s, Orloff gained a considerable reputation for her portrait sculptures of the Parisian cultural élite” (M. Bohm-Duchen, in The Dictionary of Art). Orloff’s distinctively grained woodcuts are instantly recognizable. She published a number of them in “SIC,” and in a book by her short-lived husband Ary Justman, ‘Réflexions poétiques’ (1917). Of this last, Donna Stein remarks that “The most fertile period of Cubist book publication occured after World War I, when adherents of the style had achieved some commercial success, but were no longer a coherent group. Concurrently there was a widespread revival of the art of the woodcut.... Wood was Orloff’s favorite sculptural material, and she was able to transfer the organic sense of Cubist deformation onto her woodblock in the creation of one particularly noble and psychologically penetrating portrait made for this book” (‘Cubist Books, Cubist Prints,’ p. 62). In the present large-format portfolio Orloff carries yet further the exploitation of the grain of the block through eleven portraits of women, utilizing the patterns of the wood to convey the folds of drapery and lines of coiffure, as well as the psychological dimension, in an unusually effective way. Fine impressions of the cuts. A few soft creases; light wear to the portfolio. Paris (D’Alignan), 1919. $8,500.00

79 PARIS. GALERIE BEAUX-ARTS. “Exposition internationale du surréalisme.” A partir du 17 janvier 1938. Poster for the exhibition, printed in red-orange with a large design by Kurt Seligmann, on cream-colored stock, overprinted with text in black. 557 x 380 mm. (ca. 22 x 14 3/4 inches). The very rare poster for this epochal exhibit. Interestingly, an alteration in the date of the opening is visible at the top, where a clipped square with the number “17” is pasted over the original “14” janvier. The extravagant Seligmann image is a silhouetted creature with voluptuous breasts, one hand and one wing, her lower half a tree trunk with coiling roots; she wears, perhaps, a trailing cap reminiscent of Delacroix’s “Liberty Leading the People.” Central foldline; a nice copy, much superior to the copy in the Breton estate. Paris, 1938. $8,500.00 Hauser, Stephen E.: Kurt Seligmann 1900-1962: Leben und Werk (Basel, 1997), p. 132 (illus.)

80 PARIS. GALERIE BEAUX-ARTS. Exposition internationale du surréalisme. Invitation pour le 17 janvier 1938. Card, printed on recto only, with text and halftone photo. 110 x 140 mm. (4 3/8 x 5 1/2 inches). Invitation to the opening of the epochal exhibition. Captions advertise “Apparitions d’Etres-Objets,” “L’Hystérie,” “Clips fluorescents,” “Descente de lit en flancs d’hydrophiles,” and the famous “Taxi pluvieux” of Dalí. At the center, a photograph of the human automaton Enigmarelle (“descendant authentique de Frankenstein” scheduled to appear at the opening at half-past midnight) lurching in a parade among imperturbable guards. A fine example. Paris, 1938. $950.00 Ades 12.137; Rubin 417; Nadeau p. 367; Milano p. 605f.

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81 PICABIA, FRANCIS. Poèmes et dessins de la fille née sans mère. 18 dessins - 51 poèmes. 74, (6)pp. 18 full-page line drawings by Picabia in text. Sm. 4to. Printed wraps. Glassine d.j. A collection of fifty-one poems and eighteen drawings by Picabia, begun in Martigues in November 1917 and continued in Lausanne the following February, where, suffering from an attack of nervous depression, he had gone to convalesce. Forbidden by his doctors to paint, Picabia complemented his poems, melancholy meditations on love, death, and sensation, with spare mechanomorphic abstractions, themselves composed as much of words as of line. Uncut. Unopened. A very fine copy. Lausanne, 1918. $4,800.00 Dada in Zürich 79; Ades 7.21; Almanacco Dada p. 435 (illus.); Gershman p. 34; Sanouillet 136; Sanouillet: Dada in Paris (Cambridge, 2009), 457; Dada Artifacts 106; Motherwell/Karpel 322; Rubin p. 235; Lista p. 243; Dachy: Archives dada p. 475; Tendenzen 3/89 Zürich 336; Pompidou: Dada 1278, illus. pp. 741, 795; Le Bot, Marc: Francis Picabia et la crise des valeurs figuratives (Paris, 1968), p. 150ff.

82 PICABIA, FRANCIS. Jésus-Christ Rastaquouère. Dessins par Ribemont-Dessaignes. (Collection Dada.) 66, (4)pp. 3 full- page linocuts of drawings by Ribemont-Dessaignes. Sm. 4to. Brown wraps. (not blue, as with the regular issue), with printed label. Glassine d.j. One of 50 numbered large-paper copies on pur fil Lafuma, from the edition of 1060 in all. Theoretical reflections by Picabia, regarded by Sanouillet as “perhaps the most important Dadaist document of that period: as opposed to other contemporary works that fall into the domain of literary creation, ‘Jésus Christ Rastaquouère’ is--though this is not obvious from its sacrilegious title--an essay on Dadaist ‘philosophy’: an uncommon essay, no doubt, and a disconcerting one, but largely intelligible and overflowing with original ideas on art, literature, and life.... Thanks to ‘Jésus Christ Rastaquouère,’ Dada found itself endowed with the elementary theoretical foundation it had been lacking until then. Even if it fell far short of winning the unanimous approval of all the members of the movement, the book’s brilliant style, nonchalant tone, novel ideas, and above all the breath of lyricism that ran through it, charmed the Parisian avant-garde milieus.” The text was completed in July 1920, after the demise of “Cannibale.” Though frequently thought to have been published by Au Sans Pareil--Breton having forced René Hilsum’s hand, after he first declined the book--”Jésus Christ Rastaquouère,” was actually published at Picabia’s own expense, and (even while maintaining the “Collection Dada” series statement) was distributed by Jacques Povolozky, at his Librairie-Galerie La Cible. Borràs notes that “‘Rastaquouère’ (together with its abbreviation, ‘rasta’), which signifies a rather flashy foreigner living on a magnificent scale without any known source of income, was a favorite word and concept of Picabia’s.” A brief introduction is provided by Gabrielle Buffet. Small split at foot of front hinge. Sticker of Jacques Povolozky Éditeur. [Paris, 1920]. $2,750.00 Dada Global 211; Ades 7.23; Almanacco Dada p. 436; Gershman p. 34; Sanouillet 143; Sanouillet: Dada in Paris (Cambridge, 2009), 464, pp. 157f., 165; Fouché, Pascal: Au Sans Pareil (Paris, 1989), p. 22ff.; Biro/Passeron p. 332; Dachy p. 219; Motherwell/Karpel 317; Dada Artifacts 124; Verkauf p. 181; Reynolds p. 69; Düsseldorf 208; Zürich 335; Pompidou dada 1276, illus. pp. 271.7, 744; Borràs p. 214 n.63

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83 (PICASSO) Reverdy, Pierre. Le chant des morts. Poèmes. Lithographies originales de Pablo Picasso. 117, (11)pp. 123 original lithographs by Picasso, printed in red., printed by Mourlot Frères. Signatures loose, as issued. Folio. Portfolio (wraps. bearing 2 further lithographs, also in red). Publisher’s board slipcase and chemise (tiny expert mend at label). New fitted clamshell box (cloth with leather label). One of 20 copies hors commerce, designated with roman numerals, signed in pencil by Picasso and Reverdy in the justification, apart from the regular tirage of 250 copies, the whole printed on uncut vélin d’Arches. Massively drawn in vermillion over and around the facsimile of Reverdy’s text, Picasso’s lithographs are conceived as a sequence of illuminations for the manuscript. Despite the electrically abstract character of the imagery, which some have construed as pure decoration, the lithographs are integrated powerfully with the text--a cycle of 43 elegiac poems composed during the Occupation--and have, as J.R. Thomé has observed, the conviction of violent symbols drawn in blood. This is Picasso’s only production for Tériade. A superb copy, extremely bright and fresh, and with no trace of the offsetting often to be found in this book. Paris (Tériade), 1948. $15,000.00 Goeppert/Goeppert-Frank/Cramer 50; Horodisch A11; Bloch (Livres) 50; Mourlot 117; Tériade éditeur 37; Hommage à Tériade p. 140ff.; Chapon pp. 236ff., 297; Castleman p. 129; Artists’ Books in the Modern Era 1870-2000, no. 70; Splendid Pages p. 209; Rauch 70; Strachan p. 340; Peyré, Yves: Peinture et poésie 52, p. 140ff.; Stern 85; Basel 220; Bibliothèque Nationale: 50 livres illustrés depuis 1947, no. 4

84 (PICASSO) Tzara, Tristan. De mémoire d’homme. Poème par Tristan Tzara. Lithographies de Pablo Picasso. 119, (5)pp. 9 full-page lithographs in text, printed in black. Sm. folio. Printed wraps. Glassine d.j. New fitted clamshell box (cloth with printed label). One of 300 numbered copies on uncut Arches, initialled by Tzara in the justification, from the limited edition of

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350 in all, the lithographs printed by Mourlot Frères. “The verve of these lithographs is due to the ease and freedom with which they were drawn. Picasso varied his use of the lithographic crayon by adding loose swirling strokes of his finger” (The Artist and the Book). A very fine, fresh copy. Paria (Bordas), 1950. $3,000.00 Goeppert/Goeppert-Frank/Cramer 59; Horodisch B15; The Artist and the Book 234; Splendid Pages p. 195; Rauch 74; Basel 222; Villa Stuck 83

85 DIE PLEITE. Illustrierte Halbmonatsschrift. [Herausgeber: Helmut Herzfeld (i.e. John Heartfield), Wieland Herzfelde.] Vol. I, No. 1 (of 6 issues published, before being banned). (4)pp. (single sheet, folding). 5 line-drawn illus. by George Grosz, including full-page front cover. Sm. folio. Tabloid format. Texts by Carl Einstein (“An die Geistigen”), Walter Mehring, M. Lunatscharsky; statement from the American Socialist Labor Party. Grosz’ drawings in this issue include the famous “Von Geldsacks Gnaden” on the front cover, and “Spartakus vor Gericht.--Wer ist bezahlt?” “Die Pleite” was one of a series of small, short-lived reviews edited by Herzfelde, Grosz and John Heartfield following “Neue Jugend,” all of them marked by scathing political satire, and all of them banned. After its sixth number (January 1920), “Die Pleite” was absorbed by “Der Gegner,” though it resurfaced briefly and illegally in another guise in July of 1923. “Die Pleite” was illustrated almost singlehandedly by Grosz, and contains some of his most famous line drawings. The anomalous second issue was a pamphlet entitled “Schutzhaft” (‘Protective Custody’) in which Herzfeld reported on his harrowing experiences in prison following his arrest as a dissident publisher. It may be noted that virtually all of the contributors to “Die Pleite”--Carl Einstein, Grosz, Herzfelde, Heartfield and Mehring--were incessantly harassed by the military and the police at this time, and spent part of it either in hiding or in jail. Vertical and horizontal foldlines, with some associated darkening, expertly repaired. Berlin/Leipzig (Der Malik-Verlag), 1919. $4,500.00 Hermann 290; Berlin: Malik 16; Siepmann A7; Raabe 66; Raabe/Hannich-Bode 120.20; Dada Global 29; Ades p. 88, 4.67; Almanacco dada 118; Bergius pp. 216, 334, 414; Verkauf p. 179; Dada Artifacts 43; Marbach 119.9; Düsseldorf 463; Tendenzen 3.231; Pompidou: Dada 1393, illus. p. 813

86 PODHAJSKA, M. Mesice. (4)pp., 18 original woodcuts, of which 12 printed in colors, all tipped onto textured brown paper mounts. Woodcut publisher’s device on title-page, printed in grey. Lrg. 4to. Portfolio (publisher’s printed boards). Contents loose, as issued. Preface by Bedr. Benes-Buchlovan. Edition limited to 200 hand-numbered copies, signed and dated by Podhajska in the colophon; printed by Jos. Hladky in Buchlovicích, Moravia. “The Months,” a suite of 12 color woodcuts, followed by six woodcuts in black with paired images of the signs of the zodiac (printed two to a sheet). Minka Podhajská (1881-1963), born in Vienna and a student at the Kunstgewerbeschule, whose work appeared in “Ver Sacrum” (1902-1903), “Die Fläche” (1903-1904), and “Hohe Warte,” designed toys for the Wiener Werkstätte, as well as a range of books, posters, books and ex-librises during the first World War. She moved to Prague in 1919, the year in which this album was published, where she was one of the founding members of Artel, a Czech artists’ consortium comparable to the Wiener Werkstätte. Contemporary Czech ex-libris. A very fine copy. Praha (Politika), [1919]. $7,500.00

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87 PRASSINOS, GISÈLE. La sauterelle arthritique. Avec une préface de Paul Éluard et une photographie par Man Ray. (Collection “Douze.” Sixième Cahier.) (30)pp. Tipped-in frontis. photograph by Man Ray, showing Prassinos reading her work to a gathering of Surrealists, including Breton, Eluard, Char and Péret. Lrg. 8vo. Printed wraps. Édition de tête: one of 25 numbered copies on Normandy vellum, from the limited edition of 125, apart from 30 hors commerce. Published when the author was only 15, and already an admired contributor to “Minotaure.” “She was fourteen years old when she wrote most of the stories included in her first book, ‘La sauterelle arthritique,’ published in 1935 and was adopted by the Surrealists. The stories that she read at Surrealist gatherings, like the poems later published in ‘Minotaure,’ move freely between the worlds of childhood and Surrealism in their spontaneous, freely associated images” (Chadwick). A fine copy. Paris (G.L.M.), 1935. $2,500.00 GLM 57; Gershman p. 36; Biro/Passeron 2396; Chadwick, Whitney: Women Artists and Surrealist Movement (Boston, 1985), p. 46

88 RÉVERBÈRES. Organe du Club des Réverbères. Directeur: Pierre Minne. Gérant: Michel Tapié. Président du Club des Réverbères: Jean Marembert. Nos. 1-5, avril 1938 - juillet 1939 (all published). 8pp. per issue, each with a loosely inserted hors-texte plate, by Tapié, Roger Sby, Pierre Minne, Aline Gagnaire, and Ulrich Senn. Prof. illus. Each issue of the review is printed on a different shade of colored stock. Sm. folio. Self-wraps. Fitted clamshell box by Bernard Bichon (cloth with leather label). Texts by Noël Arnaud, Jacques Bureau (open letter to Breton), Jean Marembert, Pierre Minne, Marc Patin, Michel Tapié, et al. “Réverbères,” founded by Michel Tapié, Jacques Bureau, Pierre Minne, Henri Bernard and the artist Jean Marembert in December 1937, published five numbers of its eponymous review between April 1938 and July 1939, and also sponsored theatricales, jazz concerts, and exhibitions during its brief existence; essentially neo-Dada in its outlook, it took an often critical view of Surrealism as then constituted in Paris. “Hommage à dada,” the event promoted on the printed side of this sheet, included performances of Tzara's "Première aventure céleste de M. Antipyrine," Ribemont- Dessaignes' "Le serin muet," and "Mort de Socrate," by Satie, Poulenc, Cocteau, Honegger, and Apollinaire. “[Devant] un certain essoufflement du surréalisme, une revue se fonde, ‘Les Réverbères’ (1937 [sic]), qui aboutira ‘La main à plume,’ ‘Les deux soeurs,’ et ‘Le surréalisme révolutionnaire,’ à ‘Cobra international’ (1949-1951). Cette revue critique le surréalisme du moment, rêve à l’âge d’or du mouvement (1924), et réactualise Dada, par ses soirées, des éditions, des disques. Par le biais, on peut y voir une certain reconduction du travail entrepris par Jacques Henri Levesque avec sa revue ‘Orbes,’ pour une continuation de Dada. Michel Tapié est le gérant des ‘Réverbères; Jacques Bureau, son directeur, est un

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défenseur acharné du jazz et Noël Arnaud commence là aussi son activité” (Michel Giroud, “Les mouvement des revues d’avant-garde, 1937-1957,” in “Paris 1937/1957 Paris”). This set is accompanied by an original collaborative drawing by nine members of the "Réverbères" group: a sly line-up of Surrealist lampposts ("réverbères") and other images, one each by nine members of the Réverbères group. Six of the designs are identified as by--from left to right--Jean Jausion, Geneviève La Haye (signed), Michel Tapié (editor of the review), Sby (Roger Sbriny; signed), Pierre Minne (director; initialled), and Jean Marembert (president; signed); three at lower right are as yet unassigned. Pen and black and blue inks, with occasional traces of graphite, on heavy yellow stock, on the verso of a large stencilled broadside program for a performance sponsored by Réverbères, "Hommage à Dada" on 4 May 1938. 330 x 512 mm. (13 x 20 3/16 inches). (This broadside is in a deluxe issue, larger, and on heavier paper than usual). Central fold. In addition, the set is accompanied by the manuscript maquette, prepared for the printer, of the announcement for the exhibition "Les Réverbères" at the Galerie René Breteau, 20 July to 10 August, 1941 (written in pen on blue paper, with list of 26 participants, and details of the musical performances and readings at the vernissage), as well as a very rare mimeographed manifesto by Noel Arnaud, "Préfaces," issued by the review "Cheval de 4" as a corrective to the faulty version of the text which had appeared in the "Catalogue-Anthologie des 'Réverbères" in the same month. Also present with this set is a second copy (on lighter stock) of the "Hommage à Dada" broadside, and promotional flyers for Jean Jausion's "Poly" and Cocteau's "Énigme," both published by Éditions des Réverbères." Intermittent wear and chipping (No. 1 water-damaged on the first leaf). Paris, 1938-1939. $10,000.00 Admussen 190; Reynolds p. 120; Paris 1937/1957 Paris (Centre Georges Pompidou, 1981), p. 174; La planète affolée: Surréalisme, dispersion et influences, 1938-1947 (Marseille, 1986), p. 336; Fauré, Michel: Histoire du surréalisme sous l’occupation: ‘Les Réverberes,’ ‘La Main à Plume’” (Paris, 1982), pp. 9-39, 437-442

89 RIETI, VITTORIO. Tre marcie per le bestie. Per pianoforte. I. Marcia funebre per un uccellino. II. Marcia nuziale per un coccodrillo. III. Marcia militare per le formiche. Musical score. (2), 12, (2)pp. Title-page printed in red and black. Folio. Self- wraps. Signatures loose, as issued. Rieti’s three absurdist compositions--a funeral march for a little bird, a wedding march for a crocodile, and a military march for ants--written as avant-garde parodies of romantic program music, most particularly Saint-Saëns’ “Carnival of the Animals,” were not a statement of conscious Dada intention, but they were so quickly and enthusiastically taken up by the van Doesburgs and others that, as Dada manqué, they became a rectified part of its history. Beginning in the year of its publication, the “Tre marcie” was performed repeatedly at Dada events: first at a soirée organized by Tzara at the Hotel Fürstenhof in Weimar in September 1922; then at other soirées during the Dada campaign in Holland in 1923, including the Kleine Dada Soirée at the Haagsche Kunstkring (it is boldly advertised in Schwitters’ and van Doesburg’s famous poster); and at the Soirée du Coeur à Barbe in Paris. Nelly van Doesburg (who had first met Rieti in avant-garde musical circles in Vienna, where Rieti had become acquainted with Schönberg and Berg) was its most passionate admirer, regularly performing it herself at the keyboard, but Julius Evola also promoted it in Rome. A fine copy, very fresh. Bologna (Pizzi & C. Editori), 1922. $3,500.00 Dada Global p. 67 (illus.); Almanacco Dada p. 638 (illus.); Lista, Giovanni: Dada libertin & liberaire (Paris, 2005), pp. 126, 245; Dacy, Marc: Archives dada: chronique (Paris, 2005), p. 370, 372f.; Dada, l’arte della negazione (Comune di Roma, 1994), p. 125ff. (illus.)

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90 RUSCHA, EDWARD & BENGSTON, BILLY AL. Business Cards. (30)pp. 18 halftone illus. Text in manuscript facsimile, with date-stamps. Stapled onto the last leaf, as issued, the printed business card of Billy Al Bengston, and a reproductive snapshot of drawings by Ruscha for a business card. Sm. 4to. Latigo binding of woodgrain paper secured with knotted leather cord, the front cover with an actual snapshot of the artists, inserted within corner mounts. Edition of 1000 copies, signed in ballpoint pen on the front cover by Ruscha and Bengston. “Bengston’s business card is crumpled in each copy of the book as a nod to the ‘Dento’ series of paintings he did in the 1960s. Photographs in the book are by Larry Bell and Ken Price” (Engberg). A fine copy. Rare. N.p. (Billy Al Bengston and Edward Ruscha, Inc.), 1968. $5,500.00 Engberg B7; Cf. The Open Book p. 198f.

91 (RUSSOLO) Paris. Théâtre des Champs Élysées. 3 concerts exceptionnels des bruiteurs futuristes italiens. Inventés par Luigi Russolo et construits par lui en collaboration avec Ugo Piatti. Les concerts seront dirigés par le maestro Antonio Russolo, auteur des six compositions musicales pour bruiteurs. Causerie préliminaire de M. Marinetti. Le vendredi 17, le lundi 20, le vendredi 24 juin 1924. Handbill, printed on recto only. 293 x 225 mm. (11 1/2 x 8 7/8 inches). “Les bruiteurs futuristes ne sont pas des instruments bizarres et cacophoniques. Les bruiteurs futuristes sont des instruments de musique absolument nouveaux qui donnent, avec des timbres nouveaux (dont plusieurs très doux), toute la gamme musicale” (statement at the foot of the broadside). “In June of 1921 Russolo was in Paris for three concerts at the Théâtre des Champs Élysées. Music composed by Fiorda and Russolo himself was played with 27 ‘intonarumori’ inserted into the orchestra. The program was conducted by his brother Antonio who, while never adhering to Futurism, wrote many scores for the movement. At the first performance (partially disturbed by some trouble-making staged by a group of Dadaists led by Tzara), the audience included Stravinsky, an enthusiastic Ravel, Diaghilev, the Group of Six, Milhaud, Casella, Honegger, De Falla, Kahan, Claudel and Mondrian, who wrote a lengthy article on the ‘intonarumori’ for the magazine ‘De Stijl’” (F. Maffina, in Hultén). Slight browning, tip of one corner renewed. Paris, 1924. $1,250.00 Hultén p. 560; Salaris p. 88 (illus. p. 89)

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92 SCHREYER, LOTHAR. Erster Druck der Kampfbühne. Broadside, with woodcut text printed in black, hand-colored in red and yellow, on buff-colored wove paper; verso blank. 460 x 397 mm. (18 1/8 x 15 5/8 inches). Folio. The prospectus for Schreyer’s “Kreuzigung,” the folio pressbook-score for his expressionist Passion play of this title, produced under the auspices of Schreyer’s Kampfbühne. Grandly designed and printed in the manner of the book, it gives details of the edition as part of a larger appeal to his public, and to those not yet familiar with the Kampfbühne and its aims. Contemporary stamp of Lucas Gräfe Buchhandlung, Hamburg, at foot (as customary). Faint central fold, as usual. A fine copy. Hamburg, 1921. $950.00 Rifkind/Davis 2604

93 SCHWITTERS, KURT. Contemporary postcard reproducing Schwitters’ construction “Der Lustgalgen” (“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.” “Der Lustgalgen” (The Pleasure Gallows) was probably among the earliest of 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. Light browning. 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 6.26

94 SCHWITTERS, KURT. Merz. Band 2, Nr. 7 [No. 7. Tapsheft.] Januar 1924. Redaktion des Merzverlages: Kurt Schwitters. (8)pp. 8 line-drawn and halftone illus. Lrg. 4to. Orig. pale green self-wraps. Texts by Schwitters, Spengemann, “Baaader,” and Tzara. Illus. by and after Schwitters, Lissitzky, Braque, Dexel, Gropius, Arp, Höch, and Charchoune. Horizontal fold with small breaks and old tape stain at one side of front cover; other small chips and losses, as is usual with this especially fragile issue. Hannover (Merzverlag), 1924. $5,000.00 Schmalenbach/Bolliger 238; “Typographie kann unter Umständen Kunst sein”: Kurt Schwitters Typographie und Werbegestaltung (Wiesbaden, 1990) 16; Dada Global 112; Ades p. 130; Almanacco Dada 91; Gershman p. 51; Motherwell/Karpel 78; Verkauf p. 180; Rubin 469; Pompidou: Dada 1385, illus. p. 688.4

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94 (SCHWITTERS, KURT) Wiesbaden. Nassauischer Kunstverein. Plakatausstellung. Juni 1928 im Neuen Museum. Poster, printed in red and black on lightweight buff-colored wove stock. 477 x 650 mm. (ca. 18 3/4 x 25 1/2 inches). Set in Schwitters’ customary Balkenschrift, a blocky sans-serif face (which Robert Michel is also known to have used on occasion), the title in brilliant red, this poster is included among Schwitters’ works in the Wiesbaden catalogue, though the attribution cannot be documented. A bright, fresh copy. Extremely rare. Wiesbaden, 1928. $18,500.00 “Typographie kann unter Umständen Kunst sein”: Kurt Schwitters Typographie und Werbegestaltung (Wiesbaden, 1990), no. 89, color plate 57

95 SCHWITTERS, KURT. Wir zeigen Werbegraphik. Poster, printed in orange and black offset, with text and photomontage incorporating 14 photographic portraits. 625 x 338 mm. (ca. 24 3/4 x 15 1/4 inches), printed on coated card stock. Designed for the exhibition at the Handelsmuseum, Hannover. Schwitters himself is included at upper left, along with thirteen other designers affiliated with the Bund der Gebrauchsgraphiker. Schwitters was a founding member of the Ring ‘Neue Werbegestalter,’ having worked as a designer for the Pelikan firm earlier in the decade. In 1929, he was retained by the Magistrat of the city of Hannover to coordinate municipal typography and graphic design. The poster is discussed in the Hannover Stadtbibliothek catalogue, “Der Typograph Kurt Schwitters” under the heading “Kurt Schwitters als Gebrauchs- und Werbegraphiker in Hannover”: “Um das optische Zentrum des Plakats (eine runde rote Scheibe mit dem Signet des Bundes des Gebrauchsgraphiker in der Mitte) sind Fotos Hannoverscher Graphiker angeordnet: Metzig, Heseler, Harter, Prelle, Hildebrand, Huch, Dröge, Rademacher, Horrmeyer, Hesse, Schacht, Schwitters, Reinstein, Peffer (im Uhrzeigersinn gelesen).” A very fine copy. Hannover, [circa 1930]. $25,000.00 Schwitters-Archiv der Stadtbibliothek Hannover: Bestandsverzeichnis: Nachtrag 1987, no. 310; Hannover. Stadtbibliothek. Der Typograph Kurt Schwitters. Begleitheft zur Ausstellung (Hannover, 1987), B1

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96 SOUSA-CARDOSO, AMADEU DE. XX dessins. Foreword by Jérôme Doucet. (2)pp., 20 line-cut plates printed in black, loose, as issued. Lrg. 4to. Portfolio (dec. boards, designed by the artist; covers a little rubbed, other light wear). One of 100 copies on papier impérial du Japon, from the limited edition of 530 copies. “Among the more exotic examples of pre-war printmaking in Paris is a portfolio of twenty line-cuts published in 1912 by the Portuguese Amadeu de Sousa-Cardoso (1887-1918), who spent several years in Paris and was friendly with many of the Cubists. Like Beardsley, Sousa-Cardoso executed a suite of drawings in India ink specifically for reproduction in line-cut, which was superbly executed for this little-known album. The prints display a lively feeling for primitive abstraction of form, drawing from Derain as well as from Modigliani, Picasso and Braque [and] emphasizing the compulsive gesticulations of the female subject and frenetic patterns of waves and tropical foliage” (“The Cubist Print”). Sousa-Cardoso, who in the course of his brief life was in contact with a fascinating international modernist network, exhibited at the Armory Show (no fewer than seven paintings) and the Erster Deutscher Herbstsalon. In Spain at the outbreak of the war, he returned to Portugal and spent the following years there in close touch with Robert and Sonia Delaunay--collaborating on their project “Album”--as well as with Fernando Pessoa, the Futurist José de Almada-Negreiros, and others. Presentation copy, calligraphically inscribed by the artist on the justification leaf “a Mademoiselle J. Pereira/ Amadeo de Souza Cardoso/ Paris mars 1914.” Paris (Société Général d’Impression), 1912. $8,500.00 Wallen, Burr & Stein, Donna (editors): The Cubist Print (Santa Barbara, 1981), p. 79, nos. 113-114 (illus.); Stein, Donna (editor): Libri cubisti (Siena, 1988), no. 78 (illus.)

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97 (SURREALIST GROUP IN ENGLAND) On the Occasion of the Artists’ International Congress and Exhibition We Ask Your Attention. Broadside, printed in both sides, with a bold abstraction in orange by Henry Moore superimposed on the text of the recto. 377 x 250mm. (ca. 14 7/8 x 9 7/8). A plea for intervention on behalf of the Republican cause in Spain by the Surrealist Group in England, a number of whom had been undersigners of a similar “Declaration on Spain” in October 1936. The text concludes “Intervene as poets, artists and intellecturals, by violent or subtle subversion and by stimulating desire. [Signed:] Eileen Agar, Hugh Sykes Davies, D. Norman Dawson, Merlyn Evans, David Gascoyne, Erno Goldfinger, G. Graham, Charles Howard, Joyce Hume, Rupert Lee, Henry Moore, Paul Nash, Roland Penrose, Herbert Read, Julian Trevellyan.” The London Surrealist community was galvanized at this time in its support; “Several exhibitions and sales were organised to raise money for the Spanish Relief Fund -- Picasso’s ‘Guernica’ for example went on tour in the winter of 1938/39” (Ades). The broadside is a very fine example of Moore’s work in perhaps his most interesting period. Very faint foldlines; a very fine, bright copy. Rare; OCLC locates two copies in the U.S. London (Surrealist Group), [1938]. $2,250.00 Cf. the following for general information: Ades p. 351; Musées de Marseille: La planète affolée: Surréalisme, dispersion et influences 1938-1947 (Marseille, 1986), p. 161f.; Jean Autobiography p. 372

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98 (TEIGE) Nezval, Víteslav. Abeceda. Tanecní komposice milci mayerové. [Alphabet. Choreographic compositions by Milca Mayerová.] 57, (3)pp. 25 full-page plates. Sm. folio. Dec. wraps., designed by Teige. Karel Teige’s remarkable design places photographs of a dancer posed in stylized alphabetic postures (choreographed by Mayerová) against bold Constructivist compositions of the same letter forms, creating typo-photomontages which are juxtaposed with Nezval’s poems on the opposite pages. “Pioneers of new typography regarded photography as intrinsic to their discipline. For example, Teige believed that the use of photography ‘changed the nature, structure, and quality of modern typography,’ and, like Moholy- Nagy, he argued for ‘the synthesis of the two “black arts,”’ coining the term phototypography” (Jaroslav Andel, in Houston). Cover and title-page very slightly creased; a fresh and bright copy. Praha (J. Otto), 1926. $6,000.00 Houston p. 104f. (illus.).; IVAM: The Art of the Avant-Garde in Czechoslovakia 1918-1938 (Valencia, 1993), p. 41, illus. p. 36; Primus 47; Winterthur 157; Andel 107; Andel Avant-Garde Page Design 1900-1950 no. 338-340; The Open Book p. 62f.; Parr, Martin & Badger, Gerry: The Photobook: A History. Vol. I, p. 94f.

99 (TOYEN) Heisler, Jindrich. Cache-toi guerre! Cycle de neuf dessins. Poème de J. Heisler. (4)pp. (single sheet, folding), 9 heliogravure (“intagliotype”) plates of drawings. All contents loose in portfolio pocket, as issued. Folio. Boards, 1/4 cloth, with printed label on front cover. Edition limited to 300 hand-numbered copies, published in May 1947; drawn in 1944, it was first published in Prague in 1946 as “Schovej se, válko!” “After Styrsky died in 1942, Toyen remained the most important proponent of Surrealist painting in Czechoslovakia. Her life, and to a large extent her art, became linked to a newer member of the Prague Surrealist group, Jindrich Heisler. They had

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begun to collaborate as artists in 1939, when Heisler wrote poetic texts for the publication of ‘Spectres of the Desert’ and Toyen illustrated his collection ‘Kestrels’ (‘Postolky’), which because of the Nazi occupation had to be published illegally. This inspired collaboration continued during the war. Toyen illustrated Heisler’s book of poems, ‘The Shooting Gallery’ (‘Strelnice,’ 1939-40) and ‘Hide! War!’ (‘Schovej se, válko!’). In these works both her aggression and her boundless despair are given free rein. These shocking drawings are executed in the impersonal style of textbook illustrations, but they are allegorical parables of the apocalyptic horrors of World War II, projected in ‘The Shooting Gallery’ into the world of children’s games, and in ‘Hide! War!’ into a world devastated by conflict, a world of abandoned things, fragments, and monstrous skeletons” (Frantisek Smejkal, in “Czech Modernism, 1900-1945). “The psychic desert imposed upon Toyen’s shooting gallery is realized with even more frightening clarity in ‘Hide Yourself War!’ Now it is as if a black wind of destruction has blown across the land, shredding the flesh from human bones and sending schools of fish and flocks of birds into panicked flight. Fantasy and reality meet in these drawings, not on Lautréamont’s dissecting table, but in a psychic desert that has become the playing field for man’s most inhumane impulses. There are few other places in Surrealist art where the meeting of the real and the unreal so powerfully challenges our perceptions and our understanding” (Chadwick). Presentation copy, inscribed by Heisler on the title-page, September 1954. N.p., n.d. [Paris, 1947]. $3,000.00 Cf. Houston. Museum of Fine Arts: Czech Modernism, 1900-1945 (1989), pp. 79 (illus.), 82; Chadwick, Whitney: Women Artists and the Surrealist Movement (Boston, 1985), p. 233; Biro/Passeron p. 406; Reynolds p. 78 (illus.); La planète affolée: Surréalisme, dispersion et influences, 1938-1947 (Marseille, 1986), p. 19239; Milano p. 655

100 391. NO. 13. Paris. Juillet 1920. "Ce numéro est entouré d'une dentelle rose." (4)pp. Tabloid large folio. Self-wraps. Cover drawing by Picabia ("Far-niente beau parti," a poem-cum-mechanical drawing in the style of "Poèmes et dessins de la fille née sans mere"). Texts by Ribemont-Dessaignes ("Manifeste selon Saint-Jean-Clysopompe"), Tzara ("Monsieur Aa l'Antiphilosophe nous envoie ce manifeste") and Picabia ("Extrait de Jesus-Christ Rastaquouère"). Illustrations after Duchamp (his "A regarder d'un oeil, de près, pendant presque une heure," a painted glass construction study for the lower right quadrant of the "Large Glass") and Man Ray ("Lampshade"). Clean splits at the folds, expertly conserved. A clean, attractive copy. Paris, 1920. $4,000.00 Dada Global 167; Ades pp. 146, 153; Gershman p. 54; Chevrefils Desbiolles p. 316; Almanacco Dada 160; Motherwell/Karpel 86; Sanouillet 257; Verkauf p. 183; Düsseldorf 248; Zürich 396; Milano p. 648; Pompidou Dada 1340, illus. p. 69

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101

101 TORRES-GARCIA, JOAQUIN. La tradición del hombre abstracto (doctrina constructivista). (78)pp. Prof. illus. throughout, including 16 full-page drawings. Sm. 4to. Orig. dec. wraps., designed by the artist. Printed on rough-textured uncut tan wove stock. One of Torres-García’s most important books, such that it is translated in its entirety, with numerous reproductions, in the catalogue of the Hayward Gallery show of 1985. “In 1938, when Torres-García wrote ‘The Tradition of Abstract Man,’ he had been living in Uruguay for four years. He had returned from Europe to his native country after an absence of forty-five years. In Montevideo, he soon realized that the artistic atmosphere was conservative and provincial but that young artists were eager to learn about the latest art developments in Paris. He formed AAC (Association of Constructivist Art) in 1935, and, in 1944, the Taller Torres-García (Torres-García workshop). There, constructivist art as well as traditional methods of drawing and painting from the model were taught and studied. ‘The Tradition of Abstract Man’ is the result of the teaching and lecturing that Torres-García did during this period. It is a condensed account of his essential ideas.... Torres-García’s concept of Abstract Man, spiritual man, is derived from Hellenism, which for him embodied the highest human ideals in all the arts as well as in philosophy. Particularly important for him was the Protagorian idea that ‘Man is the measure of all things....’ Torres-García wrote and published many texts; ‘The Tradition of Abstract Man’ is perhaps the closest to a summary. It was published in a facsimile of his own handwriting; the size of words and the use of capital letters are evidence of the importance he gave to a particular word or idea” (Ceclia Buzio de Torres). A little faint scattered foxing; discreet mend on flyleaf. Montevideo (Asociación de Arte Constructivo), 1938. $5,000.00 Hayward Gallery: Torres-Garcia: Grid-Pattern-Sign. Paris-Montevideo, 1924-1944 (London, 1985), pp. 103-111 (complete translation, with commentary, by Ceclia Buzio de Torres)

102 (UBAC) Bryen, Camille & Michelet, Raoul. Actuation poétique. Suivie d’examples par Camille Bryen et Raoul Michelet. 22pp. 6 full-page tipped-in plates, of which 5 hors texte of photographs and photocollages by Ubac, and 1 of a drawing by Bryen. Lrg. 8vo. Wraps. Glassine d.j. “‘L’art est le moyen d’amener au jour certaines révélations des profondeurs.... Toutes les techniques sont valables dans la mesure où elles sont subordonnées à cette recherche. Pour ma part, j’ai adopté les moyens photographiques, dont les techniques impersonnelles me séduisaient bien plus que dessin ou peinture pour montrer les aspects insolites du réel.’ Ubac réalise alors des brûlages (‘La nébuleuse,’ 1939), des solarisations (‘Combat de Penthélisée,’ 1937), des collages. Il est proche ami des poètes: Gilbert-Lecomte, qui lui révèle le fait religieux et la pensée traditionelle; Bryen, avec lequel il publie ‘L’actuation poétique’ (sous le pseudonym de Raoul Michelet), Éluard, Scutenaire, Lescure...--qu’il illustrera tous” (Jean-Clarence Lambert, in Biro/Passeron). Partly unopened. A fresh copy. Paris (Éditions René Debresse), 1935. $1,500.00 Biro/Passeron p. 415; Reynolds p. 22; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, no. 414

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103

103 (UBAC) Bryen, Camille. L’Aventure des objets. Avant-propos de J.-H. Levesque. 16pp., 8 photographic plates, by Raoul Ubac. Wraps., mounted with additional photographic plate, as issued. Edition de tête: one of 32 numbered copies signed by Bryen in the justification, from the limited edition of 300 in all. “[Bryen] crée aussi des assemblages d’objets insolites qui poursuivent leur ‘aventure.’ En 1937, dans sa conférence sur ‘l’aventure des objets,’ (texte qu’il publie la même année), il décrit ses expériences plastiques en tenant de les interpréter lucidement. Avec humour, il appelle certains de ses objets ses ‘bryoscopies’” (Biro/Passeron). Bryen had previously collaborated with Ubac on a small book of poems and photographs in 1934, “Actuation poétique.” Here Ubac participates under the pseudonym Ubac Michelet. Text browned, as usual; a fine copy. Paris (Collection Orbes), 1937. $2,500.00 Biro/Passeron p. 70

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104 (ÜECHT-GRUPPE) Einladung zur Eröffnung der II. Herbstsschau Neuer Kunst. Donnerstag 21. Okt. 1920 im Kunstgebäude. Karte vorzeigen. Original woodcut by Gottfried Graf, printed in black on watermarked cream laid stock (verso blank), signed and titled by the artist in pencil. 115 x 147 mm. (ca. 4 1/2 x 5 3/4 inches). Invitation to the second annual exhibition of the Üecht-Gruppe, Stuttgart, a short-lived association that included Oskar Schlemmer and Willi Baumeister as well as the artist of this woodcut, Gottfried Graf (1881-1938), Edmund Daniel Kinzinger, Albert Mueller and Hans Spiegel. Its six members, all modernistically inclined students at the Stuttgarter Kunstakademie, had banded together in 1918 under an Old German word meaning “Dawn”--fittingly auspicious, but chosen as much for its whimsical sound as anything else. Baumeister and Schlemmer left the group in 1921; the remaining members kept it alive as an exhibition association until 1924. In the catalogue for the second exhibition, Graf asserted “For the discerning, the new art is no longer a point of controversy.... To understand the new art, however, one must understand the new language of form.... Here we are still only a few. Our second exhibition shows the work of one year. It is one step further in the search for the way at the dawning of a new day.” A very fine example. Material of the Üecht-Gruppe is very rare. [Stuttgart], 1920. $1,850.00 Barron, Stephanie: German Expressionism 1915-1925: The Second Generation (Los Angeles, 1988), p. 112f.; cf. Rifkind/Davis II.833.1-2 (showing Graf’s cover designs for the 1920 catalogue)

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105

105 (VERONESI) Sinisgalli, Leonardo. Quaderno di geometria. Testo di Leonardo Sinisgalli. Tavole di Luigi Veronesi. (Estratto dalla rivista “Campo Grafico,” Numeri 9-10-11-12.) 8, (2)pp., 6 color plates, printed in green and black. Sm. folio. Wraps. (light soiling). Glassine d.j. Poetic meditations on geometry by the great Leonardo Sinisgalli (opening “L'inverno ci stringe d'assedio nella nostra solitudine”) whose literary career coexisted with one in architecture and graphic design; here in tandem with a portfolio of strikingly beautiful geometric abstractions by Veronesi, who had become a member of the Abstraction-Création group in 1934. A fine copy. Rare: OCLC records one copy in the U.S., at The Metropolitan Museum of Art. Milano (Stampa: “Grafa”), [1936]. $1,950.00

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106 VERVE. Revue artistique et littéraire./ An artistic and literary quarterly. Directeur: E. Tériade. Vols. I - X (Nos. 1 - 37/38), December 1937-July 1960, in 26 separate issues (all published). Sm. folio. Orig. dec. boards. A complete set of the distinguished review, lavishly printed by Mourlot and Draeger. Original lithographs by Chagall, Miró, Bonnard, Rouault, Picasso, Léger, Matisse, Maillol and others; texts by Bonnard, Léger, Bataille, Braque, Picasso, Matisse, Valéry, Reverdy, Masson, Sartre, Lorca, Gide, Michaux, Claudel, Vollard, Giraudoux, et al. Among the more celebrated issues are Chagall’s “Illustrations for the Bible” and “Dessins pour la Bible” (containing, between them, 40 original color lithographs, and 12 in black and white), the “Dernières oeuvres de Matisse, 1950-1954,” and the “Carnets intimes de Georges Braque.” Eight issues are in the English-language edition, the balance in French. A very fine set, the covers generally in bright and fresh condition. Paris, 1937-1960. $25,000.00 Arntzen/Rainwater Q339; Chamberlin 2352; Anthonioz, Michel: Verve. The ultimate review of art and literature (1937-1960) (New York, 1988).; Tériade 1-35/36; Hommage à Tériade, p. 40ff.

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107 VOGENAUER, ERNST RUDOLF. 10 Buchzeichen. (4)pp. (single sheet folding), set in letterpress with title, dedication, poem by Vogenauer, and table/colophon (signed in ink by Heinrich Graf); 10 original drypoint etchings by Vogenauer, all signed in full and numbered I/X in pencil and tipped onto Bütten paper mounts blindstamped with the printer’s initials; 1 additional trial proof of the first etching, annotated and initialled in pencil. Image size varies, from 55 x 48 mm. to 130 x 70 mm. (2 1/8 x 1 7/8 inches to 5 1/4 x 2 3/4 inches). Mount size: 263 x 197 mm. (10 3/8 x 7 3/4 inches). 4to. Publisher’s original portfolio (red boards, 1/4 vellum, with asymmetrical blue paper supralibros printed in black with title and artist’s name). Vorzugsausgabe: copy no. I of X deluxe copies, from the edition of 50 in all (of which 25 were sold). In his collector’s note, Heinrich Stinnes records that only these first ten copies were printed before the plates were steel-faced. This extremely rare portfolio was published by Ernst Rudolf Vogenauer (1897-1969) in the year of his participation in the Bucharest avant-garde exhibition “Contimporanul,” organized by the co-editors of the eponymous review, Marcel Janco and Max Hermann Maxy. Here Vogenauer’s work was shown together with the work of some fifteen other East- and West- European artists (Maxy was in charge of the West-), including Arp, Schwitters, Klee and Viking Eggeling, among others. As Jürgen Holstein and others have pointed out, Vogenauer’s drypoint etchings---proposed as an imaginary series of ex-libris designs for celebrated leftist political and cultural figures--which are conceived in an ideologized Constructivist style reminiscent of the work of the Cologne “Gruppe progressiver Kunst,” and at the same time are marked by a graphic delicacy quite close to that of Paul Klee. The subjects of the prints are titled as follows: 1. An Lenin. 2. Klara Zetkin. 3. Toller. 4. Szemere. 5. Lebedour. 6. Guilbeaux. 7. Nexö. 8. Holst. 9. Whitehead. 10. Siegrist. This copy includes an extra trial proof of the first drypoint--which incorporates Lenin’s famous appeal, ‘Workers of the World, Unite!’--annotated in pencil in the margins “mit diesem Papier nicht drucken” and signed with initials. Particularly compelling is the massively geometrical typography, rather in the spirit of Paul Renner and the later Weimar Bauhaus (Moholy-Nagy), which sets off the spidery elegance of the drypoints with quite unusual effectiveness. Vogenauer had studied with F.H. Ehmcke in Munich, and worked at various small presses throughout his career, running afoul of the East German state after the War for his ‘excessive formalism.’ The Heinrich Stinnes copy, with his ownership inscription in ink, dated July 1924, on title and on the inside cover of the portfolio, and with his collector’s mark in red at the lower left corner of the prints (as well as his discreet pencilled annotation at foot of the mounts, ). Very fresh condition. OCLC records one copy only, at the Deutsche Nationalbibliothek. Muenchen Pfingsten (Heinr. Graf), 1924. $18,000.00 Holstein, Jürgen: “10 Buchzeichen von E.R. Vogenauer. Eine Folge von Pseudo-Exlibris für Pseudorevolutionäre (1924). Mit einem ergänzenden Text von Hermann Baum” (in: Marginalien 168. Wiesbaden, 2002); reprinted in Holstein, Jürgen & Waltraud (hrsg.): Bücher Kunst und Katalogue (Berlin 2007), pp. 148-153 (illus.).; Prügel, Roland: Im Zeichen der Stadt. Avantgarden in Rumänien 1920-1938 (Köln, 2008)

108 VORDEMBERGE-GILDEWART, FRIEDRICH. Millimeter und Geraden. (24)pp., printed on white Holland van Gelder and pink Pannekoek Renaissance papers. 3 tipped-in halftone plates; 1 line-drawn composition (reprinted on front cover). Folio. Portfolio: all contents loose, as issued, within dec. wrapper, designed by the artist. Original glassine d.j. Édition de tête, signed and numbered in the colophon by the artist, from limited edition of 75 copies in all, of which 1-65 were to be reserved for the artist, and 10 further copies, designated a-j, were hors commerce. This copy, which Vordemberge-Gildewart has designated “IV,” presumably comes from the first group, as have other roman-numeralled copies we have seen. The Dutch artist Friedrich Vordemberge-Gildewart (1899-1962), a member of De Stijl, Abstraction- Création, and Schwitters’ Ring Neue Werbegestalter, was a pioneer of modernist typography, as well as a painter. This beautifully designed volume of poems and Constructivist drawings and paintings--dedicated to ‘the white line in my yellow painting--was privately published by Vordemberge-Gildewart himself during the war, while working on a series of large paintings in a new tonality which greatly excited him. According to the Wiesbaden catalogue, part of the edition was destroyed, and copies were already very scarce by the end of the war, such that in 1946 the artist wrote Kurt Schwitters saying that he hoped he could put together one for him from loose sheets, since the edition itself was entirely gone. A beautiful copy. Amsterdam (The Artist), 1940. $4,000.00 “Typographie kann unter Umständen Kunst sein”: Vordemberge-Gildewart Typographie und Werbegestaltung (Landesmuseum Wiesbaden, 1990), no. T440

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109 WACH, ALOIS. Holzschnitte 1918. (12)pp. 10 original woodcuts, printed in black (one finished by the artist in blue, yellow, pink, and grey watercolor), all signed in blue pencil in the margins. Lrg. 4to. Dec. self-wraps. Acetate d.j. Signed and annotated “68. Exemplar/ 1919/ Wach” in blue pencil on the front cover. Alois Wach (Ludwig Aloys Wachlmeier, 1892-1940) was, along with Georg Schrimpf and Fritz Schaefler, one of the most significant Expressionist artists in Munich during the revolutionary interregnum of the Räterepublik after the first World War. A member of Aktionsauschuss Revolutionärer Künstler (Action Committee of Revolutionary Artists), Wach was in fact probably the most open supporter of radical causes in the daily press, where his woodcuts, which drew widespread attention, were published at considerable personal risk. “While a civil war was being fought in the streets, no important artistic activity could be expected, but a few second- generation artists did take active part in the battle for a new order. Wach’s political woodcuts were the first pictures ever printed by the main Munich newspaper, the ‘Münchner Neueste Nachrichten,’ which the Aktionsausschuss had taken over. These Expressionist works, with titles like ‘Auferstehung’ [Resurrection], ‘Freiheit’ [Freedom] and ‘Erlösung’ [Redemption], and their accompanying texts such as ‘Long live the Soviet Republic [of Bavaria]!’ ‘Proletarians and farmers unite!’ and ‘Brother workers!’ were typical of the harsh, ecstatic creations of many second-generation artists. The proletarians, whom they were trying to win for the revolution, were shocked by these unfamiliar representations. Wach, however, sincerely believed that the people would have to understand his works because his was the art that would dominate the new revolutionary state. He also made woodcuts for the masthead of a second paper, the ‘Süddeutsche Freiheit, Zeitung für das Neue Deutschland’... and contributed graphics to ‘Der Weg’ (ten issues appeared between January and the end of 1919)” (Barron). Over the course of his short career, Wach’s woodcuts were also published in “Der Sturm,” “Die Aktion,” “Der Weg,” “Die Bücherkiste,” and “Der Zweemann,” and in a classic Expressionist press book, the illustrated edition of Fritz Usinger’s “Grosse Elegie,” published by Die Dachstube in 1920. Wach’s political work coexisted with a deep spiritual vocation in his art. In this album, extensive quotations from Rudolf Steiner and Goethe, and cosmological aspects of his impassioned Expressionist imagery, clearly express anthroposophical underpinnings in his vision of the world. A fine copy. Rare: OCLC lists one copy only, at the Getty Research Institute. Ach, Oberösterr. (Verlag der Arche), 1919. $4,500.00 On Wach, cf.: Jentsch 97; Rifkind/Davis II.3058-3064; Barron, Stephanie: German Expressionism 1915-1925: The Second Generation (Los Angeles, 1988), p. 113f.

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110 WIENER WERKSTÄTTE. Almanach der Wiener Werkstätte. 126pp., 12 plates (4 color). Borders throughout in green and black; lettrines. Dec. orange cloth, printed in tan with a design by Hoffmann. Texts by Hugo von Hofmannsthal (“Das Bergwerk von Falun, der 4. Akt”), Anton Wildgans, Max Brod (“Verwandlung”), Peter Altenberg, Franz Blei (“Das kleine Spiel”), Arthur Roessler, et al, as well as a selection of poetry including Rainer Maria Rilke (“Aus den Sonettten der Maria Labé”). Plates hors texte by Josef Hoffmann, Gustav Klimt, Ivan Mestrovic, C.O. Czeschka, Koloman Moser, Josef von Divéky, Moritz Jung, Oskar Kokoschka, Josef Schwetz, Berthold Löffler, and Paris von Gütersloh. Design throughout by Josef Hoffmann. “In the ‘Almanach,’ a series of resounding names, the elite of Viennese literature and art, had been gathered...to testify [to the WW] that the heart and mind of Austria were to be found in its camp.... Hoffmann designed the binding and the layout.... Hoffmann’s contribution to the ‘Almanach’ was a design for the Austrian pavilion at the International Art Exhibition in Rome, which was also held in 1911 and brought great acclaim to Gustav Klimt and the sculptor Anton Hanak in particular. A few very faint foxmarks; a fine copy. Wien/Leipzig (Verlag Brüder Rosenbaum), [1911]. $1,500.00 Schweiger, Werner J.: Wiener Werkstätte: Design in Vienna 1903-1932 (New York, 1984), p. 91ff. (4 illus.); Jugend in Wien: Literatur um 1900. Eine Ausstellung des Deutschen Literaturarchivs im Schiller-Nationalmuseum Marbach a. N., 1974, no. 410

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111 YOSHIDA KENKICHI. Butai sochisha no techo [A Stage Designer’s Handbook]. 151, (3)pp., 51 plates with numerous illus. (4 color). 4to. Cloth, inset with two original photographs (of theatrical productions) on the covers, as issued. Photo-illus. d.j. Printed cardboard slipcase. Dec. endpapers, printed in red with banner titles.

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The multitalented Yoshida Kenkichi (1897-1982), artist, dramatist, graphic designer, and stage designer, was a participant in the group Action, who exhibited with Mavo in the Sanka alliance. A founding member of the noted Tsukiji Little Theater, he produced highly acclaimed stage designs for avant-garde stage productions, and for the proletarian theater movement. In all of these enterprises, Yoshida was closely associated with Maruyama Tomoyoshi; he also collaborated with Kon Wajiro on a new discipline termed 'modernology,' which sought to record and analyze the practices of everyday urban life (for which they "developed an elaborate and distinctive style of pictorial notation to record their data, and attempted to quantify and qualify the cultural ramifications of capitalism and industrialism" (Weisenfeld). Yoshida's brilliant production "Button: Opening Play of Opposition between White and Red," the highlight of an extraordinary evening of Dadaist provocations billed as "Sanka in the Theater," on May 25, 1925, featured a bare stage with a sheet of white paper, a huge suspended button and a caged monkey, projected films of a toy truck and a close-up face, factory whistles, billowing smoke, a motorcycle, and a large cast of participants, including Murayama writhing to a Beethoven minuet. This book, extensively illustrated with photographs of set designs and fully staged and costumed productions, codifies and explicates his theories of stage design, many of them influenced by Murayama. A superb copy, in beautiful condition. Tokyo (Shiroku Shoin), 1930. $1,800.00 Weisenfeld, Gennifer: Mavo: Japanese Artists and the Avant-Garde, 1905-1931 (2002), pp. 85, 217, 287n54, 295n7, 314nll,; 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. 278f.

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112 ZDANEVICH, KIRILL. Niko Pirosmani, Irakli Gamrekeli, Beno Gordeziani. 8ff., consisting of front cover title (in Georgian), 6 full-page plates with captions (in Georgian), and back cover with edition statement (in Russian); all contents printed in purple on buff-colored inexpensive wove paper. Lrg. 8vo. Self-wraps., secured with thread. Edition of 100 copies, as noted on the back cover. Of greatest rarity--indeed possibly the only surviving copy--this is evidently the catalogue of an exhibition of three Georgian artists championed by Kirill Zdanevich, the brother of Il’ia Zdanevich, known as Iliazd, who were at the center of the Tbilisi-based Futurist group known as H2 SO4. Apart from the title, captions, and printing credits, this pamphlet of illustrations--two apiece for the three artists--is entirely without text. The artists show considerable variation in their exhibits: the well-known Niko Pirosmani, known also as Pirosmanachvili, a self-taught signpainter who worked in a naïve style reminiscent of Henri Rousseau; Irakli Gamrekeli, who is shown here both in a Cubist-Futurist manner (more like early Robert Delaunay than Goncharova), and in a light, comical figuration; and Beno Gordeziani, who is represented in two different Cubist-derived modes, one linear and caricatural, the other heavily worked and abstract. Gamrekeli is noted for his remarkable Dadaist typography in the group’s eponymous group publication, “H2 SO4,” for which Gordeziani provided illustrations. The H2 SO4 group also produced one issue of a review, “Literatura da skhva” (‘Literature and the Rest’). We quote at length from Françoise Le Gris-Bergmann’s discussion of the Georgian work of Ilizad and Kirill Zdanevich, and the formation of their philosophy of “everythingism:”

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“In a joint lecture given with Ledentu in Moscow, Iliazd articulated the position Benedikt Livshits later described as ‘the left flank’ of art.... ‘The basis of everythingism was extremely simple: every epoch, every trend in art, was declared to be of equal value insofar as each is capable of serving as a source of inspiration for the everythingists, who have triumphed over time and space.... It must be stated loudly and clearly that we do not want to burn the cathedrals or the libraries, on the contrary, we rely upon the past; indeed, in our University we are working on all our great classic poets along with our own. We want to destroy nothing, but rather to create with the materials others have passed down to us.’ “This radical option enables us to grasp the meaning of Iliazd’s modernity as well. One example in this connection is the case of Niko Pirosmanachvili, also known as Pirosmani. What Iliazd perceived in the work of that Georgian folk painter, beyond his ‘primitivism,’ was, above all, the modernity of his compositional framework, his reduction of form to geometrical structures, and the plastic qualities of his work, which were equal to those in the Cubo-Futurist pictures of such an artist as Malevitch. Thus the archaic, hieratical character of Pirosmanachvili’s animals or human figures makes them prime examples of the articulation of certain givens in modern painting. The same process was reflected in the link between Cubism and African art. In addition, Gontcharova’s ‘neoprimitivism,’ reflecting an Eastern tradition and advanced by Iliazd, was directly derived from the order of pictorial concerns of a painter like Pirosmani. ‘And it is to this basic primitivism brought to canvas that Pirosmanachvili owes his dewy perfection, a necessary link between the traditions of the East from which he emerged and the art of a West still seeking its truth. Pirosmanachvili’s work sets a valuable example for the painters of a new generation.’” Kirill Zdanevich published a study on Pirosmanachvili in 1964, and Iliazd a livre d’artiste tribute, “Pirosmanachvili 1914,” with a drypoint by Picasso, in 1972. One element of cover text effaced in black marker, and dated 1923 in ink, in an old hand; chipping at extremities, with loss at lower corner of front cover; split at spine expertly reinforced. No copy listed in OCLC, or in the online catalogue of Georgian books in the National Parliamentary Library of Georgia in Tbilisi. Tiflis (H2 SO4/ Tipogr. “Krasny Voin”), [1923?]. $8,500.00 Cf.: Le Gris-Bergmann, Françoise: “Iliazd and the Constellation of His Oeuvre,” in: Isselbacher, Audrey: Iliazd and the Illustrated Book (New York: Museum of Modern Art, 1987), p. 24; Paris-Moscou p. 438

113 ZÜLOW, FRANZ VON. Die zwölf Monate. 13 color lithographic plates, printed in purple, green, yellow and blue, entirely from the artist’s designs; no element is set in type. 4to. Portfolio (cloth, the covers mounted with two further color lithographs; handmade pastepaper linings within). Contents loose, as issued. Printed and published by the Wiener Werkstätte, this portfolio is one of the major productions of Franz von Zülow (1883-1963), active as a designer of prints and other graphic art sold by the Werkstätte, as well as textiles and decorative items. A member of the Werkbund and Secession, Zülow exhibited widely through the teens and twenties; relevant to the present portfolio, he also published a periodic “Monatshefte” stencilled in small editions beginning in 1909, which was sent to the Werkstätte and its collaborators. The title-page of “Die zwölf Monate,” divided into four sections depicting the four seasons, is followed by a sequence of twelve plates of the months, each densely filled with traditional imagery, including the signs of the zodiac, distributed in six compartments around a central scene, as though on the cover of some folk art (or even art brut) Carolingian binding: Epiphany and Fasching, ploughing and sowing, Easter, spring courtship, swimming, threshing, the return to school, harvest, All Saints Day and Christmas, and other moments of the year. Slight fraying at the backstrip of the portfolio; a fine copy. Wien (Verlag der Wiener Werkstätte), n.d. [1912]. $6,500.00 Schweiger, Werner J.: Wiener Werkstätte: Design in Vienna 1903-1932 (New York, 1984), pp. 77, 267, 185 (illus.); Pabst, Michael: Wiener Graphik um 1900 (München, 1984), p. 340

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