ARS LIBRI NEW ACQUISITIONS: MODERN ART

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

Electronic List 74: New Acquisitions: Modern Art

1 BIFUR. Rédacteur en chef: G. Ribemont Dessaignes. Directeur: Pierre G. Lévy. Nos. 1-8, 1929-1931 (all published). 168- 192pp. per issue, advts. Numerous collotype plates hors texte. 4to. Modern dec. boards, 1/2 red morocco. Orig. wraps. bound in. One of 1700-2000 numbered copies on Alfa de Lafuma-Navarre (edition size varies in some issues), from the limited editions of 1730-3200 in all. One of the most elegant reviews of the period, with sophisticated photographic contents. Texts by Benn, Cendrars, Michaux, Babel, Soupault, Tzara, Lurçat, Salmon, Limbour, Ehrenbourg, Ribemont Dessaignes, De Chirico, Picabia, Gómez de la Serna, Giono, Williams, Leiris, Mac Orlan, Desnos, Joyce, Hemingway, Milhaud, Malraux, Döblin, Keaton, Huidobro, Kafka, Arp, Varèse, Langston Hughes, Jolas, Eisenstein, Prévert, Sartre, Hikmet, and others. Photographs and film stills by Krull, Kertész, Lotar, Moholy-Nagy, Tabard, Man Ray, Buñuel, Modotti, Ivens, Cahun, Eisenstein, et al. A fine set. Paris, 1929-1931. $3,750.00 Gershman p. 47; Admussen 25; Reynolds p. 107; Biro/Passeron p. 362

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2 CIZEK, FRANZ. Weihnacht. Vierzehn farbige original Steinzeichnungen. (4)pp., 14 color-lithographic plates. Lrg. 4to. Dec. boards, printed in red with designs of children and their toys. Endpapers with vignettes of fables and other scenes, in red. A Christmas picture book produced in the special school for children’s art started by the painter and pedagogue Franz Cizek (1865-1946), which eventually was made a division of the Kunstgewerbeschule des Österreichischen Museums in Wien. Cizek is recognized today as a pioneer in the study and encouragement of children’s art. The charming compositions were designed by Trautl Conrad (2), Marta Zehenter, Steffi Kraus (2), Herta Zuckermann (3), Bella Vichon (3), Marie Kind, Gretl Hanus (2), Ine Probst and Elly Stoi. Boards a bit rubbed, rebacked with linen (and linen tape at inner hinges); a little light soiling within. Wien (Burgverlag Richter & Zöllner), 1922. $900.00

3 (DUBUFFET) Paris. Galerie Nina Dausset. Vernissage samedi 4 février à partir de 15 h. vous êtes invité à visiter l’exposition de: La Métromanie ou Les Dessous de la Capitale, par Jean Paulhan, calligraphié et orné de dessins par Jean Dubuffet, à la galerie Nina Dausset... du 4 au 24 février 1950. Offset lithograph, printed in black on bright pink tissue. 330 x 213 mm. (ca. 13 x 9 3/8 inches). Verso blank. A superb copy, bright and fresh. Paris, 1950. $950.00 Webel, Sophie: L’oeuvre gravé et les livres illustrés par Jean Dubuffet (Paris, 1991), no. 174

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4 (ERNST) Péret, Benjamin. Au 125 du boulevard Saint-Germain. Conte. Avec une point-sèche de Max Ernst et trois dessins de l’auteur. (Collection “Littérature.”) (54)pp. 1 original drypoint etching by Ernst on chine (tipped-in frontispiece). 3 full-page illustrations by Péret in text. Sm. 8vo. Dec. wraps., with small illustration by Ernst on front cover. Glassine d.j. One of 50 press copies on vergé, designated P, apart from the edition of 131 numbered copies (of which A on chine, I-X on japon, 1-20 on hollande van Gelder, and the balance on vergé). The first book illustrated by Max Ernst with an original print, “Au 125 du boulevard Saint-Germain” also has the distinction of containing one of only three original prints made by Ernst during the decade of the 1920s. “In 1923, the year before publication of André Breton’s ‘Manifesto of ,’ Ernst made three collage-inspired original prints, his entire print production for the decade of the 1920s.... The third and most intriguing print of 1923 is a drypoint issued as a frontispiece to Benjamin Péret’s ‘Au 125 du boulevard Saint-Germain’. Showing a nude man running, or hopping, in a small, fish-filled room, it refers obliquely to Péret’s automatist texts.... It also matches more closely in its diminutive size and hatching technique the collage-derived illustrations of ‘Répétitions’ and ‘Les malheurs des immortels’ than the other two prints of the same year. With its stage-set interior and detailed modeling, it recalls the illustration to the poem ‘nul’ in ‘Répétitions.’ Just as the process of photomechanical reproduction had fused the seams of the cut-and-pasted elements in the illustration and had cancelled out their discreteness, so the time-worn system of fine drypoint lines that Ernst had utilized to delineate the composition of his print onto a copperplate masked its collage derivation. Simultaneously, the linear hatchings of the drypoint summarize the style of the hackneyed engravings the print imitates and parodies. Ernst convinces us of the strange poetic reality of his scene through the use of inexpressive means, and through a technique previously associated with the depiction of the observable world. Ernst’s prints of 1923 were the only significant examples of traditional printmaking realized in accord with concepts advocated by the future Surrealists during the formation of their movement. Corresponding in method to his great proto-Surrealist paintings of 1921-24, the prints have an originality as images that is striking and undeniable” (Robert Rainwater). Presentation copy, inscribed on the front flyleaf “Au baron Éric de Haulleville/ le pied levé vers le ciel/ tombe comme une pomme/ Bien à vous/ Bernjamin Péret/ 23 novembre 1923,” and with the calling card of Paul Éluard loosely inserted. The Belgian poet Éric de Haulleville (1900-1941) published his first book of verse in this year, brought out by Franz Hellens of “Le disque vert.” Light even browning, wraps. slightly worn (back cover with tiny loss at foot). Rare. Paris, 1923. $18,500.00 Spies/Leppien 9; Hugues/Poupard-Lieussou ; Rainwater 16, pp. 11f., 96f. ; Stuttgart, Institut für Auslandsbeziehungen: Max Ernst Books and Graphic Work 5; Almanacco p. 503; Sanouillet: Dada in Paris (Cambridge, 2009) no. 450; Lista: Dada libertin & libertaire, p. 242; Verkauf p. 181; Gershman p. 32; Gershman Surrealist Revolution in France p. 143; Milano p. 648f.

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5 GE.GJMGJGAM.PRRR.GJMGEM. Editors: Takashi Nogawa (i.e. Ryu Nogawa), Kenkichi Hashimoto (i.e. Katsue Kitasono). Vol. I, No. 1 - Vol. II, No. 7, in 8 issues (of 10 issues published in all, including Vol. II No. 8 and Vol. III No. 1). 275 x 200 mm. (ca. 10 13/16 x 7 7/8 inches; the first two issues fractionally larger). Nos. 3, 5, 6 and 7 printed entirely in cinnabar red. Collation: Preliminary issue: (18)pp.; no. 1: (24)pp.; nos. 2-7: each (28)pp. 4to. Printed self-wraps., stapled as issued (no. 1 with glassine d.j.). Texts by Nogawa, Kitasono, Taruho Inagaki, Haruo Takagi, Kondo Masaji, Zennosuke Tamamura and others. The legendary Japanese Dada literary review “Ge.Gjmgjgam.Prrr.Gjmgem” (hereafter referred to as “GGPG”) is the first of three cardinal dadaist reviews of the mid-1920s, together with the peerless “Mavo” (which it preceded by a month) and the radical poetry journal “Damu Damu” (‘Dumdum,’ begun six months later). “GGPG” was published in a total of ten issues between June 1924 and January 1926. Launched as a successor to the review “Epokku” (and initially subtitled in Esperanto “La Unua Volumo”), “GGPG” was meant to challenge the expectations of the reader, beginning with its title. Nogawa wrote in the first issue, “‘There are people interested in asking about the name, but that is unnecessary. (At least according to my interpretation) it is sufficient to understand it with a musical sensitivity. ‘To add feet to a snake,’ for the machine-made, human-like animal dolls who move the quarters within a city, the oscillation frequency and the wave shape of ‘G’ are appealing....’ Whatever “GGPG” meant to Nogawa, the name signalled a complete break with literary tradition and the notion that a title should embody meaning. The European dadaists, who had playfully selected an ‘empty’ name for their movement, were at the same time experimenting at their poetry readings with phonic poems dislodged from meaning. Nogawa followed in their footsteps with his chosen string of letters” (John Solt). With the youthful Kitasono’s editorial participation, starting with the second issue, the content and typographic format of the review stepped up its radical approach. “The GGPG poets showed their visual stylishness not only in the typography and arrangement of words and syllables--often upside-down and sideways--but also in the color of print and type of paper used: nos. 4, 6, 7 and 8 [i.e. nos. 3, 5, 6 and 7, according to the stated numbering] are printed in cinnabar instead of the customary black ink.... Kitasono’s poetry from 1925 to 1929, when he was most influenced by dadaism, often contains a phrase or line that acts as a critical aside and undercuts the poem. It is as if a timed fuse runs through the lines and, at a certain place, detonates the poem in an attempt to destroy the traces of its own creation.... Kitasono started publishing poems with a semiotic orientation beginning with the third issue of ‘GGPG.’ In ‘Electrical Enunciation,’ he paints with language, using signs for their outward shape and sound as much as for their inner content.... Kitasono sprinkles an assortment of scripts and signs into the poem--kanji, hiragana, katakana, roman letters, arabic numerals, arrows, dots, and straight and wiggly lines. As the logical connection between words, phrases and lines dissolves and meaning recedes, what remains is a swarming field of visual and auditory signifiers.... “Despite their seeming attraction to dadaism, [Nogawa and Kitasono] were ambivalent about, if not outright hostile to, the movement. Readers labelled the magazine Dada, and the poets felt they had to fight their way out of the shadow of the imposed image. In ‘GGPG’ no. 4, [Nogawa] stated: ‘Dada is one of the products of contemporary people’s intellectual freedom, but dadaists, without realizing it, have imprisoned themselves in their dadaist concept’” (Solt). Considerable reciprocity existed between “GGPG” and “Mavo.” “[Kitasono] and Murayama were on good terms: each published in the other’s magazine, and ‘GGPG’ and ‘Mavo’ exchanged advertisements. There was much overlap between the two groups: they differed in that Mavo openly championed dadaism, constructivism and anarchism, whereas GGPG aimed at continual absorption of Western techniques and methods without aligning itself with any specific -ism” (Solt). This set is accompanied by the facsimile edition of the review, published by Fuji-Shuppan, , in 2007 (10 vols., slipcased together with introductory booklet). A few infrequent small foxmarks; a fine, fresh run. Of greatest rarity: the final two issues are indeed so nearly impossible to locate that the Japanese reprint edition of the review was forced to rely on photocopies in order to include them. Tokyo (Epokku-sha), 1924-1925. $45,000.00 Solt, John: Shredding the Tapestry of Meaning: The Poetry and Poetics of Kitasono Katue (1902-1978) (Cambridge: Harvard University Asia Center, 1999), pp. 22-45 (“Dadaism and Ge.Gjmgjgam.Prrr.Gjmgem”); Solt, John (intro.): Hashimoto Heihachi and Kitasono Katue: Unusual Pair of Brothers, a Sculptor and a Poet (Mie Prefectural Art Museum, 2010), nos. K1-

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BT-002-005, K1-BO-2; 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. 275ff.; Weisenfeld, Gennifer: Mavo: Japanese Artists and the Avant-Garde, 1905-1931 (2002), p. 100; Centre Georges Pompidou: Japon des avant-gardes 1910/1970 (Paris, 1986), pp. 190, 517

6 (HEARTFIELD) Tucholsky, Kurt. Deutschland, Deutschland über Alles. Ein Bilderbuch von Kurt Tucholsky und vielen Fotografien, montiert von John Heartfield. 1.-20. Tausend. 231, (5)pp. Prof. illus. 4to. Publisher’s yellow cloth, with complex colored photomontage design by Heartfield laid into embossed portions of both covers, as issued. First printing of the first edition of Tucholsky’s scathing anthology, filled with both documentary photographs and photomontages by Heartfield (including “German Sports,” reminiscent of the cover of “Jedermann sein eigner Fussball,” and “The Dormant Reichstag”). Heartfield’s brilliant cover is one of the masterpieces of twentieth-century avant-garde book design. Contemporary inscription at base of first blank leaf; covers lightly rubbed, but a fine copy. Berlin (Neuer Deutscher Verlag), 1929. $2,250.00 The Avant-Garde in Print 5.7; Franklin Furnace 89; The Open Book p. 76f.; Ades, Dawn: Photomontage (, 1976), fig. 117; Herzfelde, Wieland: John Heartfield Leben und Werk, (Dresden, 1971), pl. 51; Pachnicke, Peter & Honnef, Klaus (eds.): John Heartfield (New York, 1992), p. 33, illus. 60-62

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7 IZOBRAZITEL’NOE ISKUSSTVO. Zhurnal Otdela Iobrazitel’nykh Iskusstv Komissariata Narodnogo Prosveshcheniia [Visual Art. Journal of the Division of Visual Arts of the People’s Commissariat for Education.] N° 1 (all published). 87, (1)pp. 45 illus. Folio. Orig, wraps., with cover design, printed in color, based on a collage by David Shterenberg. The sole issue of ‘Visual Art,’ the official organ of the Division of Visual Arts of Narkompros (Commissariat for Education), with articles by Malevich ("Nashi zadachi" [‘Our Tasks’], "Os’ tsveta i formy" [‘The Axis of Color and Form’], "O poezii” [‘On Poetry’]), Kandinsky, Punin, Brik and others; and illustrations of advanced work by Malevich, Tatlin, Al’tman, Shterenberg, Rozanova, Miturich and others. “In spite of rebuffs, an illustrated journal with contributions by principal members of the avant-garde was planned in 1918 to run in parallel with the newspapers ‘Art of the Commune’ and ‘Art.’ After considerable delay, the journal (though dated 1919) came out in a single number in 1920. It was called simply ‘Fine Art (‘Izobrazitel’noe iskusstvo,’ No. 1), connecting it in the minds of readers with ‘IZO,’ and, without doubt, this helped to foster the notion that avant-garde art was the instrument of the Party. The cover has a sober Cubist design by Shterenberg, and ‘Fine Art’ included good-quality photographs of paintings and sculptures by the principal avant-garde artists, including Malevich and Tatlin. It served as a herald of new Russian art in Western Europe, where it bears comparison with the spate of avant-garde journals in the early 1920s” (Compton). Mends to the wrappers (back cover discolored at spine), discreet contemporary owner signature in red at head of title and top corner of front cover. A fine copy, complete with the fragile wrappers, which are often missing. Peterburg (Narkompros), 1919 [1920]. $3,000.00 MOMA 248-249; Getty 276; Compton, Susan: Russian Avant-Garde Books 1917-34, p. 46ff. (illus.)

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8 KLEIN, YVES. Yves Klein présente: le Dimanche 27 novembre 1960. (Dimanche. Le journal d’un seul jour. Numéro unique.) (4)pp. (single sheet, folding). 4 halftone illus. (including one from a photo by Shunk-Kender); 1 panel of judo diagrams. Tabloid folio. Central fold, as issued. Self-wraps. This fake edition of the newspaper “Dimanche” was published by Klein as his contribution to the Festival d’Art d’Avant-Garde, which included a group exhibit of the Nouveaux Réalistes held in November-December 1960; copies of it were distributed to newsstands, where they hung in confusing juxtaposition with the real Parisian daily. Famously, on page one, is Shunk-Kender’s (manipulated) photograph of Klein leaping from a roof ledge, to soar into the void (“Un homme dans l’espace!”); there are also his texts “Théâtre du vide,” “Sensibilité pure,” “Les voleurs d’idées,” “Du vertige au prestige (1957-1959),” “Ballet du feu,” “Stupéfaction monochrome,” and others. “In 1960, Yves’ thoughts turned directly to the theater, and his gestures of appropriation reached the very limits of the universe, in what may be his most brilliant work: ‘Dimanche, the Newspaper of a Single Day....’ The text is an astonishing tour-de-force, Yves Klein pursued by Yves Klein through a maze of imaginary theaters and disguises, simultaneously asserting and exposing the myth of his own omnipotence” (Thomas McEvilley, in Rice). An exceptionally fine copy, crisp and fresh. Paris, 1960. $3,500.00 Rice University Institute for the Arts: Yves Klein, 1928-1962 (Houston, 1982), pp. 67f., 126f.; Lyons, Joan (ed.): Artists’ Books: A Critical Anthology and Sourcebook (Rochester, 1985), p. 93; Wye, Deborah & Weitman, Wendy: Eye on Europe: Prints, Books & Multiples, 1960 to Now (New York: Museum of Modern Art, 2006), p. 118

9 MALLARMÉ, STÉPHANE. Un coup de dés jamais n’abolira le hasard. (30)pp. Folio. Printed wraps. Originally published in 1897 in an issue of the review “Cosmopolis” (in somewhat different form and in a smaller format); this is the first independent and most influential edition of “Un coup de dés,” without doubt the single most important composition in the history of modernist typography. “Mallarmé’s work occupies a seminal position in avant-garde page design comparable to that of Picasso’s ‘Les Demoiselles d’Avignon’ in the history of modern painting. It directly or indirectly influenced works by many artists and writers, including typographical compositions by Guillaume Apollinaire and the Futurists, the Cubists’

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juxtapositions of different viewpoints in different image planes; the Suprematists’ invention of infinite space inhabited by geometric forms; the use of figure-ground relationships in functional typography; Henri Matisse’s notion of harmony as a balancing act, and Marcel Duchamp’s visual and verbal displacements” (Andel). A little light wear. Paris (Éditions de la Nouvelle Revue Française), 1914. $5,000.00 Carteret II.100; Andel, Jaroslav: Avant-Garde Page Design 1900-1950 (New York, 2002), p. 24ff. (illus. 6); Andel, Jaroslav: The Avant-Garde Book 1900-1945 (New York, Franklin Furnace, 1989), no. 3; Baudelaire to Beckett 307; Poésure et peintrie p. 70f.

10 (MAN RAY) Cocteau, Jean. L’ange Heurtebise. Poème, avec une photographie de l’ange par Man Ray. (38)pp. Heliogravure frontispiece by Man Ray. Uncut. All contents loose, as issued. Folio. Orig. printed wraps. Glassine d.j. One of 250 numbered copies on vélin d’Arches à la cuve, from the limited edition of 355. The photograph of the angel is a stunning rayogram (295 x 235 mm., with large margins), printed in a very rich gravure. Cocteau’s remarkable poem, a spiritual fantasy, arose from an anguished dream in which he was tormented by an angel/incubus of this name. A very fine copy. Paris (Librairie Stock), 1925. $4,000.00 Splendid Pages p. 188; Paris/Berlin: Annexe 540

11 OPPENHEIM, DENNIS. Project Proposals for Western United States. 10 color lithographs, each boldly signed in full, numbered and dated 1978 by the artist in pencil. Each ca. 39 1/2 x 27 inches (103 x 68.5 cmm.). Loose sheets. Editions of 100 copies each (of which each lithograph is differently numbered), printed on fine uncut wove paper. The subjects are titled

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as follows (dates refer to the date of the proposals): "Ghost Trip" (1976), "Tar Wells" (1976), "Ground Based Shape Collections" (1976), "Two Ways to Skin a Cat" (1977), "Death Ramp" (1977), "Star Field" (1977), "Tank Skid" (1977), "Cage Screen Test" (1977), "Dry Wells" (1977), "No Room for Horses" (no date). This impressive series of lithographs, all titled (or subtitled) "Project Proposal for Western United States" (two simply "Proposal for Western United States") and all uniform in size, edition, and style, was possibly published as a group of separate, independent prints, rather than as a single suite. All of them present, on a very large scale and with overlays of sometimes phosphorescent color, multi-part compositions of aerial photographs--manipulated to depict the unbuilt monuments and earth-art constructions as they might might actually appear, casting shadows on the landscape--in juxtaposition with large-scale drawings, sketches, plans, and maps of the location and terrain. "Dry Wells" includes an aerial view (from a model) of six concrete stacks spread out over one square mile; “Two Ways to Skin a Cat," a vast inscription of the title, 200 feet long, in excavated earth; "Tank Skid," towers in concrete and glass, 20, 30, 40 and 50 feet high. The prints have a grandeur and graphic assurance that work perfectly with the visionary dimension of the projects. [New York?], 1978. $6,500.00

11 LE PETIT JÉSUS. Journal intime, publié par Noël Arnaud. Nos. 1-11 in 9 issues (including No. 4/5 1/2), mai 1951 - 1963 (all published). (12)-(52)pp. per issues. Numerous illus. No. 7/8/9 printed on salmon-colored stock. Masthead design by Robert Willems. 12mo. to lrg. 8vo. Self-wraps. Glassine d.j. One of several post-Surrealist reviews directed by the pataphysician Arnaud after his involvement with Surréalistes révolutionnaires and CoBrA. Texts and illustrations by Arnaud, Louis Scutenaire, Irine, François Caradec, Jean Laude, Marcel Béalu, Roland Dubillard, René Passeron, André Martel, Jacques Bureau, André Blavier, Camille Bryen, Jean Dubuffet, Aline Cagnaire, André Frédérique and others. No. 10 is consecrated in its entirety to Dubuffet’s “L’hourloupe,” entirely designed by the artist and printed in blue and red on black backgrounds, with autograph texts; Webel records the edition as 850 copies. Together with this, a mimeographed afichette from Arnaud to subscribers, and a typed letter, signed, from Arnaud to a subscriber, dated October 1963, explaining his current predicaments vis à vis the review. Both the letter and envelope are on Collège de ‘Pataphysique stationery. A fine set, Dubuffet’s “L’hourloupe” (no. 10) in an hors-commerce copy. Paris, 1951-1963.. SOLD Cf. Biro/Passeron p. 32; Webel, Sophie: L’oeuvre gravé et les livres illustrés par Jean Dubuffet (Paris, 1991), nos. 933-959; Silkeborg 577

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12 DIE ROTE ERDE. Herausgegeben von Karl Lorenz. Zweite Folge, Zweites Buch. 289, (5)pp. 53 full-page original woodcuts (1 color), all signed in pencil by the artists. 8 additional original woodcut illustrations (including full-page title and closing prints). Lrg. 4to. Publisher’s boards, 1/4 vellum, the front cover stamped in red. Vorzugsausgabe: one of 50 hand-numbered copies on handmade Bütten, with all plates signed in pencil by the artists, from the limited edition of 450 copies in all. Original woodcuts by Heinrich Stegemann (11), Evarist Adam Weber (6), Karl Opfermann (7), Robert Köpcke (6), Josef Achmann (6), Willy Menz (6), Kurt Löwengard (6), Otto Niebuhr (8), and Adolf Bauer-Saar (5, including frontis. printed in 4 colors). Literary contributions by Karl Lorenz, Helmut Paulus, Paul Zech, Kurt Heynicke, Theodor-Wilhelm Danzel, Wilhelm Niemeyer, Alfred Wolfenstein, Georg Britting, Fred Antoine Angermayer, Paulfried Martens, Rudolf Pannwitz, and Kurt Bock; critical notices by Gustav Schiefler, Ludwig Benninghoff, Oskar Beyer, and Paulfried Martens. Two series of “Die rote Erde” were published in all: Erste Folge (Hefte 1-4/5 in 4 issues altogether), and this Zweite Folge (Erstes and Zweites Buch). “Similar to ‘Der Anbruch’ in opinion and appearance was ‘Die rote Erde’ (1919-23, published monthly by Karl Lorenz and Rose Schapire) in Hamburg and containing many poems and plays by the editor Karl Lorenz....” (Lang). “Schapire was coeditor with Lorenz of an outstanding Expressionist journal, ‘Die Rote Erde’ (‘The Red Earth’). The tenor of its opening announcement is familiar: ‘Die rote Erde’ cultivates with all means at its disposal the newest Expressionist art....’ This journal, though well produced and with many original graphics, did not survive long” (Peter W. Guenther, in Barron). Light wear to boards; a fine, fresh copy, with strong impressions of the woodcuts. Hamburg (Gemeinschaftsverlag Hamburgischer Künstler), 1923. $6,500.00 Söhn VI.67202; Lang p. 72f.; cf. Jentsch 73; Raabe/Hannich-Bode 195.38 Raabe 80; Schlawe II.45; Perkins 195; Rifkind 298; Barron, Stephanie: German Expressionism 1915-1925: The Second Generation (Los Angeles, 1988), p. 110

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13 LES TROIS ROSES. Revue d’art. [Directeur/Fondateur: Justin-Frantz Simon.] Nos. 1-11/12 in 7 issues, juin 1918 - avril-mai 1919 (all published). 191, (1)pp. Numerous woodcut illus. 4to. Dec. colored wraps. with woodcut illus. Fine new fitted slipcase and chemise by Devauchelle (boards, 1/4 morocco gilt). Texts by Simon, Francis Viélé-Griffin, Pierre Reverdy, Max Jacob, André Breton (“Age,” “Façon,”), Paul Valéry, Louis Aragon (“Pur jeudi”), Guillaume Apollinaire, Paul Éluard (“”Un seul être”), Philippe Soupault (“La fenêtre ouverte”) and others. Woodcuts by Ortiz de Zárazate (including full-page portraits of Apollinaire and of himself), Gabriel Fournier, André Favory, André Lhote and others. An important literary review, with early contributions by major figures of the Paris Dada and Surrealist avant-garde, as well as those of the Cubist realm. A fine set. Very rare. Grenoble, 1918-1919. $6,500.00 Almanacco Dada 161; Sanouillet: Dada in Paris (Cambridge, 2009), no. 741; Admussen 228; Sheringham Ab10, Ab11

14 (UHDE, WILHELM) PARIS. HÔTEL DROUOT. Catalogue des tableaux, aquarelles, dessins...composant la collection Uhde, ayant fait l’objet d’un mesure de Séquestre de Guerre.... Vente, 30 mai 1921. Me. Bareillier-Fouché, liquidateur-Séquestre, Léonce Rosenberg, expert. (8)pp., 8 collotype plates with 16 illus. Tissue guards. Sm. 4to. Self- wraps. Works by Georges Braque, Nils de Dardel, Raoul Dufy, Juan Gris, Auguste Herbin, Marie Laurencin, Fernand Léger, Jean Metzinger, Pablo Picasso, Jean Puy, Henri Rousseau, et al. Included are no fewer than 17 canvases by Braque and 13 by Picasso, including such major Cubist masterpieces as Picasso’s portrait of Uhde and “La joueuse de mandoline,” and also 5 important pictures by Rousseau (“Portrait de M. Brummer” and “L’enfant à la poupée de carton” among them), on whom Uhde had written the first book. A distinguished collector, gallerist and writer, Uhde bought his first Picasso in 1905; he was married to Sonia Delaunay from 1908 to 1910. A German national, he was forced to flee Paris at the outbreak of the War, leaving his collection behind. His pictures were confiscated by the French state after the armistice, though their sale at the Drouot did not take place until 1921. Light wear. Very rare. Paris, 1921. $750.00

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15 YAMANAKA TIROUX (EDITOR). Hommage à Paul Éluard. Numéro spéciale de L’Étoile de Mer. (38)pp., 1 photographic plate (reproducing Éluard manuscripts). Line-drawn portrait of Baudelaire, from Matisse. Flexible boards. Glassine d.j. Édition de tête: one of 50 numbered copies on japon impérial, from the edition of 300 copies in all. Texts--in French, Japanese and English--by Éluard (translated by Tiroux Yamanaka), André Breton and Éluard (“Le jugement originel”), René Char (translated by Seiichi Fujiwara), Junzaburo Nishiwaki (“Le cerveau combustible,” “Aegean Sea”), Tiroux [Chiru] Yamanaka (“Jouer au feu,” etc.), Katue Kitasono (“Opera poetica”), Hajimé Cato and Sadam Asoh (“Sacraçaux”). “[A] une ou deux exceptions près, la plupart des poètes japonais accueillent le surréalisme comme une variété de style, ou comme un savoir, alors même que ceux eux le terrain favorable à son apparition fait défaut. Un homme comme Yamanaka Chiru, par example, est plus un bon théoricien, un bon initiateur du surréalisme qu’un vrai ‘pratiquant.’ Il entretien une correspondance avec Breton, notammnet, et en 1937 organise avec Takiguchi Shuzo l’Exposition internationale du surréalisme, intitulée en japonais ‘Exposition d’oeuvres surréalistes de l’étranger’” (Tsuruoka Yoshihisa, in “Japon des avant- gardes”). A very fine copy. Very rare. (Éditions de l’Étoile de Mer), 1934. $2,250.00 Centre Georges Pompidou: Japon des avant-gardes 1910/1970 (Paris, 1986), pp. 193 (illus.), 516, cf. p. 176