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Ars Libri, Ltd. / 500 Harrison Ave. / Boston, MA 02118 Electronic List 74: New Acquisitions: Modern 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 ARS LIBRI 2 NEW ACQUISITIONS: MODERN ART 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 ARS LIBRI 3 NEW ACQUISITIONS: MODERN ART 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 Surrealism,’ 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 Dada 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. ARS LIBRI 4 NEW ACQUISITIONS: MODERN ART 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...
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