Ars Libri, Ltd. 500 Harrison Ave. Boston, MA 02118ARS LIBRI ELECTRONIC LIST 94: IFPDA PRINT FAIR...

ARS LIBRI ELECTRONIC LIST 94: IFPDA PRINT FAIR 2013: 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 94: IFPDA Print Fair, Modern Art

1 ANDRE, CARL. Sequence of 5 photographic postcards, published in conjunction with the artist’s exhibition at

the Otis Art Institute Gallery, Los Angeles, January-February 1977. 5 cards, each with halftone photographic image on the recto, and each through-numbered on the verso as a sequence, with caption and mailing panel. 100 x 150 mm. (ca. 4 x 6 inches). In order, the cards are titled: 1. MacArthur Park Lake. 2. Otis Art Institute Gallery. 3. Santa Fe Metals. Forty-first & Alameda. 4. Prime Rectiles. 5. Blue Equivalents. “Prime Rectiles” and “Blue Equivalents” present installation photos of Andre floor pieces; “Otis Art Institute Gallery” presents shadows on the floor of an empty room; “Santa Fe Metals,” stacks of metal sheets of various sizes; and “MacArthur Park Lake,” shadows rippling across the surface of a the water. Fine condition.

Los Angeles, 1977. $650.00


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2 ATGET, EUGENE. Fête du Trône. Gold-toned silver print, titled and inscribed in pencil by Atget with negative

number “43,” and with the artist’s “rue Campagne-Première, 17” stamp on the verso. Image size: 235 x 185 mm. (9 x 7 inches). John Szarkowski writes that the Fête du Trône was rivalled in Atget’s affections only by the Fête de Vaugirard among the travelling carnivals that regularly appeared, at their appointed seasons and in their respective quarters, in Paris. “If Atget had died at sixty he would be remembered as a photographer of exceptional interest, but he would not have done the work for which photographers revere him most deeply. It is Atget’s work of the twenties that is most extraordinary, and most difficult to analyze. We might say that Atget in his last years discovered a new stratum of facts, and that the description of these new facts produced pictures that are, in their sense and their structure, different from any photographs before them” (Szarkowski).

Paris, 1924. $75,000.00 Szarkowski, John & Hambourg, Maria Morris: The Work of Atget. Vol. IV: Modern Times (New York: Museum

of Modern Art, 1985), pl. 114, p. 177f.; Szarkowski, John: Atget (New York: Museum of Modern Art, 2000), p. 207f.


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3 BALDESSARI, JOHN. Brutus Killed Caesar. 35ff. 33 plates without text, each in a triptych format. Oblong lrg,

8vo., spiral-bound along the top edge. 100 x 272 mm. (ca. 4 x 10 3/4 inches). “In ‘Brutus Killed Caesar,’ Baldessari has reduced a story to a few key elements. Each successive page illustrates a different possible weapon, each consists of a central visual pun which stretches the semantics of the ‘murder clue’ to the extremes of flower-pots, pocket watches, and scrub brushes in an explication of the ambiguity of narrative representation” (Guest). As Clive Phillpot has pointed out, the work “is entirely dependent upon its title for its meaning: were it not for the title, it would not be apparent that the paraphernalia of life depicted in the book might also be the instruments of death.” A very fine copy.

Akron (The Emily H. Davis Art Gallery of the University of Akron), [1976]. $2,000.00 Lyons, Joan: Artists’ Books: A Critical Anthology and Sourcebook p. 119 (illus; text by Clive Phillpot); Guest,

Tim & Celant, Germano: Books by Artists (Toronto,1981), p.51 (illus.); Moeglin-Delcroix, Anne: Livres d’artistes (Paris: Centre Pompidou, 1985), p. 182 (illus.); Moeglin-Delcroix, Anne, et al: Guardare, raccontare, pensare, conservare (Mantova, 2004), p. 157 (illus.); Moeglin-Delcroix, Anne: Esthétique du livre d’artiste 1960/1980: Une introduction à l’art contemporain (Paris: Bibliothèque Nationale, 2011), p. 318f. (illus.)


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4 BEUYS, JOSEPH & Brodmann, Jürg. Fettbriefe [Fat Letters]. Edition of 125 copies. 5 sheets of letterhead

stationery for the Stiftung zur Förderung der Kuenste (and Fundaziun per Promover igl Art), each stained with fat, and each signed in full by Beuys in blue ink at lower right; each numbered IV/2.2-097/125 in pencil on the verso. Together with: “Zertificat bezüglich Opus Nr. IV/2.2. - 097/125,” an elaborate formal certificate with mounted embossed paper seal, fully signed by Beuys in black ink, and signed twice by Brodmann and dated 24. September 1973 1.37 in his hand. Sheet size: 295 x 208 mm. (ca. 11 5/8 x 8 1/4 inches). Loose guards (blank second sheets of stationery).

Heidelberg (Edition Staeck), 1973. $4,500.00 Schellmann 77


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5 BRECHT, GEORGE. Lantern Extract. An aspect of Yam Festival. 18 printed score cards on various stocks,

loose as issued in a letterhead business envelope. Envelope: 105 x 240 mm. (4 x 9 3/8 inches). Score cards by Brecht (9, in black and white) and Robert Watts (9, on colored stocks). Scores by Brecht include Three Lamp Events, Six Exhibits, Chair Event, A Christmas Play (for Joseph Cornell), Three Dances, Event for a Year, and Egg. Among the scores by Watts are Subway Event, Mailbox Event, Snow Event, and Winter Event: antifreeze.

“In mid-late 1962, Watts and Brecht developed an idea called ‘The Yam Festival.’ This was to be ‘an ever-expanding universe of events,’ but it started with simple mailings of event cards and other objects stamped with the word ‘YAM,’ ‘The Yam Festival,’ and other variations. The first envelope they used contained event cards in two distinct ‘styles’--Brecht’s were his usual black text in white space, while Watts’ were printed on colored card stock and looked more ‘commercial,’ like a business card. The envelope itself was stamped with a rather mysterious image of a projection and the phrase ‘Lantern Extract: An Aspect of the Yam Festival.’ The notion of a projection is more crucial than this quirky detail might suggest; here it was the trademark for all manner of immaterial, experimental, as yet unclassified forms of expression. There have been a number of explanations of the significance of the word ‘YAM,’ but most important was the way it could function as a frame for their activities and a mode of presentation. ‘The Yam Festival’ was an organizing tool, as Fluxus would be. And like Fluxus, it was also a mode of anonymity.

“Brecht and Watts started up ‘The Yam Festival’ around the same time as George Maciunas began staging the first Fluxus concerts in Europe. As strikingly similar solutions to the same problem, that of finding a platform on which to present new work, the activities of ‘The Yam Festival’ in New York now appear as a kind of prelude to Maciunas’ importation of Fluxus upon returning from Europe in the spring of 1963” (“George Brecht Events: Eine Heterospektive”).

This example is hand-addressed by Brecht to E.M. Plunkett, a mail art collector, in New York City, and postmarked Dec. 29, 1962. Rare.

Metuchen, N.J., 1962. $900.00 Robinson, Julia: George Brecht Events: Eine Heterospektive. Hrsg. v. Alfred M. Fischer (Museum Ludwig,

Köln, 2005), no. 85, illus. p. 93; Gagosian Gallery: George Brecht: Works from 1959-1973 (London, 2004), p. 70


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6 BRECHT, GEORGE. Nectarine. An assemblage comprising ten experimental meetings on 10 Tuesdays at

9AM beginning June 12 at 80 Jefferson St. New York City. Folding mimeographed circular, printed on recto only, enclosed with a printed card in a small envelope. Circular: 215 x 138 mm.(ca. 8 1/2 x 5 1/2 inches).

Envelope: 100 x 165 mm. (3 5/8 x 6 1/2 inches). “Brecht also stored work and tested out events at a loft-space he shared with his friend Robert Watts in New York.... Since New York offered many more sympathetic participants close at hand, the Jefferson Street loft was an ideal site for a series of events Brecht called ‘Nectarine.’ He advertised this as ‘ten experimental meetings on 10 Tuesdays’ with ‘involvement by sending $29 and two solutions to the anagram NECTARINE.’ This call for the participation of friends in New York was the beginning of a collaborative turn in Brecht’s conception of his work” (“George Brecht Events: Eine Heterospektive”).

Following the announcement details on the flyer is the text “J. doors cat/ play glass hat/ coffee hearts/ moisture eyes/ chairs letters/ air diamonds/ nothing talk/ shuffling horn/ mirrors trains/ telephones/ oranges.” The accompanying score card, irregularly shaped, is imprinted “suppose / sup pose” on one side; on the other, printed in orange, is the letter D surrounded by a dizzying field of concentric circles.

This example is hand-addressed by Brecht to E.M. Plunkett, a mail art collector, in New York City, and postmarked May 18, 1962. Another example illustrated in the foregoing, addressed to the Fluxus artist Albert M. Fine, is also postmarked on this day. Small coffeestain on the flyer. Rare.

Metuchen, N.J., 1962. $650.00 Robinson, Julia: George Brecht Events: Eine Heterospektive. Hrsg. v. Alfred M. Fischer (Museum Ludwig,

Köln, 2005), no. 75, illus. p. 99; Gagosian Gallery: George Brecht: Works from 1959-1973 (London, 2004), p. 70


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7 BRECHT, GEORGE & WATTS, ROBERT. Maytime. [Yam Festival Calendar. Maytime/Yam Time.] Double-

sided broadside graphic calendar, printed in blue and green on white stock. 558 x 215 mm. (circa 22 x 8 1/2 inches). Prof. illus., with photocollages and freehand illustrations, appropriated nineteenth-century and modern commercial advertisements, typographic caprices, and other elements. A calendar of events and recommended activities for the May 1963 Yam Festival, edited and designed by Brecht and Watts. Featured--on Clock Day, Box Day, Yam Hat Sale, Balloon Day, Necktie Day, Water Day, Food Day, Key Day and others--was a hectic agenda spread across New York and New Jersey throughout the month. “Yam Day,” at the Hardware Poet’s Playhouse over the weekend of 11-12 May, included performances and projects by George Brecht, Robert Breer, John Cage, Robert Filliou, Red Grooms, Rudy Burckhardt, Al Hansen, Dick Higgins, Ray Johnson, Joe Jones, Alison Knowles, George Maciunas, Jackson Mac Low, Ben Patterson, Yvonne Rainer, Stan Vanderbeek, Robert Watts, James Waring, Diane Wakoski, Emmett Williams, LaMonte Young and others; another major event, “Segal’s Farm,” was held on the 19th, “with a Happening by Allen Kaprow, dance by Yvonne Rainer, Decoll/age by Vostell, Music by LaMonte Young, + All Kinds of Trouble by Dick Higgins” at the New Jersey farm of the sculptor George Segal. An incunable of Fluxus, predating George Maciunas’ return from West Germany. Folded, presumably as mailed. Recto a little browned in one portion, otherwise very fine.

[New York, 1963]. $2,000.00 Happening & Fluxus 01.05.63--31.05.63; Milman, Estera (ed.): Fluxus: A Conceptual Country (Visible

Language, Vol. 26, No. 1/2, 1992), p. 239


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8 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

9 BROUWS, JEFF. Freight Cars. Eighteen photographs of railroad rolling stock, 1995-2001. (2)ff., 18 archival

digital pigment print photographs, each signed, numbered, dated and titled by the artist in ink on the verso. Image size: 160 x 205 mm. (6 1/4 x 8 1/8 inches). 1 additional plate recapitulating the 18 images. Wove paper


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guards. Oblong 4to. Cloth clamshell box, with mounted photographic vignette. Edition of 9 copies in all, signed, numbered and dated by the artist in the colophon. Prints made on the Epson StylusPro 9800 using K3 Ultrachome Inks.

In an artist's statement, Brouws wrote that he "has combined anthropological inquiry and a bleak aesthetic beauty mining the overlooked, the obsolete, the mundane." Fine, as issued.

N.p. (The Artist), 2009. $8,500.00

10 BULLETIN INTERNATIONAL DU SURRÉALISME. Nos. 1-4 (all published). 4to. Self-wraps., stapled as

issued. Fine fitted slipcase and chemise by Devauchelle (black boards, silver label at spine). A complete set, including the sensationally rare No. 2, published in Santa Cruz de Tenerife in October 1935, of which virtually the entire printing seems to have been lost. Remarking on this “inaccessible et mythique numéro,” the Breton sale catalogue of 2003 reported that “d’après Benjamin Péret, la quasi totalité de son tirage contenu dans une valise se trouverait quelque part au fond de l’océan. De la plus insigne rareté.”

Contents of the set as follows: No. 1: Bulletin international du surréalisme. Publié par le Groupe surréaliste en Tchécoslovaquie. Prague,

le 9 avril 1935./ Mezinárodní buletin surrealismu. Vydala Skupina surrealistu v CSR. Praha, 9. duben 1935. 12pp. 4 illus., Styrsky, Toyen and Makovsky. Parallel texts in Czech and French. With extensive quotation from Breton and Eluard, who, at the invitation of the Czech group, visited Prague early in 1935, where they were lionized by the Communist Party press. Declarations by Vítezslav Neval and others; illus. of work by Styrsky and Toyen.

No. 2: Boletín internacional del surrealismo. Santa Cruz de Tenerife, octubre 1935. Publicado por el grupo surrealista de Paris y “Gaceta de Arte” de Tenerife (Islas Canarios). 9, (1)pp. 5 illus. Parallel texts in Spanish and French. “In May, 1935, another invitation was extended to the Paris surrealists, this time from friends of Oscar Dominguez in Tenerife who for four years had been publishing a review of modern art, ‘Gaceta de Arte.’ Breton and Péret went to the Canaries, and met Eduardo Westerdahl, the director of the review, and the poets Domingo Pérez Minik, Domingo Lopez Torres, Pedro Garcia Cabrera and Agustin Espinoza. ‘Gaceta de Arte’ organized an exhibition at the Ateneo Gallery of paintings, water-colours, drawings, collages, engravings, and photographs.... Conferences were held, and Buñuel and Dalí’s film ‘L’Age d’Or’ was shown. A second bilingual edition of the ‘International Surrealist Bulletin,’ this time in Spanish and French, appeared in October 1935 at Santa Cruz de Tenerife, dealing with the same issues--the relationship between art and revolution--as the


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Czech number. It contained reproductions of ‘The Hunter’ by Dominguez, and ‘The Death of Marat,’ an engraving by Picasso for a collection of poems by Benjamin Péret” (Marcel Jean).

No. 3: Bulletin international du Surréalisme. Publié à Bruxelles par le Groupe surréaliste en Belgique, 20 aoùt 1935. 8pp. 3 halftone illus. Opening with a manifesto protesting the Franco-Soviet pact, “Le couteau dans la plaie,” signed by 14 subscribers, including René Magritte, E.L.T. Mesens, Paul Nougé, Jean Scutenaire, André Souris, Achille Chavée, Fernand Dumont, Marcel Lecomte and Max Servais; followed by the text of Breton’s speech to the Congrès des Écrivains pour la défense de la Culture--which, notoriously, he had been prevented from reading. “There was now a clear political accord between the [Paris and Brussels] groups, underlined by Nougé, Scutenaire and Souris, which claimed, as did Breton, that revolutionary action was possible outside the Communist Party” (Ades).

No. 4: International Surrealist Bulletin. Issued by the Surrealist Group in England. September 1936. 18, (2)pp. 11 illus. Texts by Herbert Read and Hugh Sykes Davies; bulletin “read and approved” by Agar, Breton, Burra, Davies, Éluard, Gascoyne, Jennings, Mesens, Moore, Nash, Penrose, Man Ray, Read, Todd and others. The first surrealist periodical in England, following on the International Surrealist Exhibition opened by Breton at the New Burlington Galleries in London in the summer of 1936. A little unobtrusive browning in No. 2; a very fine set.

Praha/ Santa Cruz de Tenerife/ Bruxelles/ London, 1935-1936. $16,500.00 Gershman p. 48; Admussen 27; Biro/Passeron pp. 361, 363; Jean p. 263f.; Reynolds p. 108; Milano p. 565f.

11 CASTRO, LOURDES. D’ombres. 26ff., including leaves of clear acetate, translucent vellum, colored

cellophane, and colored wove stocks, with 14 original serigraphs. Text reproduced from the artist’s manuscript. Oblong lrg. 4to. Self-wraps. (serigraphed acetate with clasp spine). Serigraphy by Paul Verreet, Antwerp. One of 250 copies from the limited edition of 274 in all, signed and numbered by Lourdes Castro and Guy Schraenen in the justification.

The Portuguese artist Lourdes Castro, a member of the KWY group in Paris from 1960 on, has made shadows and silhouettes a focal aspect of her work. “In the early 1960s, she worked on a series of sundry objects bathed in uniform silvery dye. Sinister, serious and humorous, these works bear some affinity to those by Niki de Saint Phalle of the same period. Other works explore the notion of presence and absence, either by uniformly filling in human silhouettes projected on to canvas, or deploying overlapping cut-out silhouettes in transparent materials. Castro worked consistently with shadows from the mid-1960s, making a film with shadows in 1965, publishing ‘Ombres transparents’ in 1967, and staging various ‘Shadow spectacles’ from 1973” (The Dictionary of Art).

“[Les livres] de L. Castro, réalisés à partir de photographies de son théâtre d’ombres (‘D’ombres,’ sur papier calque) ou de la reproduction de silhouettes d’amis (‘D’ombres transparentes,’ 1967, sur rhodoïd de couleur), exploitent à merveille les possibilités de ces surfaces diaphanes où les ombres trouvent à se projeter les unes sur les autres, se confondent, se séparent, au gré du lecteur” (Anne Moeglin-Delcroix). A fine copy.

Antwerp (Guy Schraenen éditeur), 1974. $1,500.00 Moeglin-Delcroix, Anne: Livres d’artistes (Paris: Centre Georges Pompidou, 1985), p. 110ff. (illus.); Dictionary

of Art VI.68


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12 CHARMAISON, RAYMOND. Les jardins précieux. Préface de Henri Régnier. (4), 8pp., 8 full-page color

pochoir plates by Charmaison. 1 original watercolor, heightened in gold, signed in pen at lower left, tipped into windowed passepartout. (Image size: 290 x 290 mm.; ca. 11.5 x 11.5 inches). All contents loose, as issued. Large pictorial color pochoir roundel on the inner cover; large floral vignette on the title-page. Text printed in brown, in facsimile manuscript, with culs-de-lampe in black. Folio. 490 x 335 mm. Publisher's fine dec. board portfolio, with dec. endpapers in yellow and black. New cloth clamshell case with leather label. Édition de tête: one of 8 copies accompanied by one of the original finished watercolours for the plates, from the limited edition of 300 copies in all, on japon Shidzuoka.The original watercolor in this copy depicts "La treille rose," a moonlit scene of a flower-covered trellis enclosing a formal garden with reflecting pool and fountain.

One of the premier books of Art Déco illustration, it is printed in color pochoir with a luxe that only Jean Saudé could achieve. These imaginary "Precious Gardens" are a testament to the power of the printed book as a vehicle for transporting the viewer/reader into the garden and a world of dreams. As Henri Régnier observes in the preface: "Il contient quelques fuilles avec des lignes et des couleurs, à peine les aurez vous considerées que vous serez transporté dans un pays de lumière et de soleil..."

The exquisite colored plates offer garden views centered on a special garden feature. For example, the cover illustrates an idyllic forest stream; plate 1, "La salle verte" shows a Roman garden with pool, bright flowers, and marble columns; plate 2, "Les flo" a yew-covered walk along the seashore; plate 3, "La jarre" a terracotta pot in a brightly-flowered Mediterranean garden; plate 4, "L'allée rouge" an Oriental garden with iris, red walkway, Japanese bridge and exotic trees; plate 5, "L'atrium" an interior garden with fountain, potted trees and lounging cushions; plate 6, "Le berceau" a lush covered berceau with tropical fruit; plate 7, "La charmille" a verdant gateway into a hortus inclusis; and plate 8, "La treille rose" a wisteria and roses on a trellis under the stars.

Pierre Corrard, novelist and poet, established his publishing house in 1912 and began working with such noted illustrators as Georges Barbier, Charles Martin and A.E. Marty. After his death his wife, Nicole Corrard, resumed his publishing efforts under the name "Collection Pierre Corrard." The luxurious pochoir renderings of fashion designs issued by Corrard conveyed the artistry of French haute couture during this period; the same is true of his stunning plates for “Les jardins précieux,” which provided a fresh expression of the new artistic visions of the "jardin d'artiste." Lacking ribbon ties; a very fine copy.

Paris (Meynial), 1919. $15,000.00


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13 CHRISTIAN. Étages des nombres/ Ordre de grandeur. Original drawing, in pencil on vellum graph paper

printed in orange (Canson & Montgolfier), with 8 lines of manuscript text in black ink below. Signed by Christian (in blue) at lower right. 216 x 277 mm. (ca. 8 1/2 x 10 7/8 inches). Matted together with this, a typed transcription of the text above, initialled by Christian at the conclusion. 80 x 200 mm. (ca. 3 1/8 x 7 7/8 inches). A mathematical abstraction by the Dada writer and artist Christian (born Georges Herbiet, Antwerp 1895 - Paris 1969). Close to Picabia, Jean Crotti and Suzanne Duchamp, Christian was intimately involved in the publication of a number of Dada reviews, contributing to “391” and “Le Pilhaou-Thibaou,” as well as to “Action,” “L’esprit nouveau” and the special Dada issue of “Ca ira”; in 1922, he also published the sole issue of Picabia’s “La pomme de pins” and Pierre de Massot’s “De Mallarmé à ‘391’” (for which he wrote the preface) from Saint-Raphaël in the south of France, where he had moved in 1920, opening a bookstore.

The Pompidou “Dada” catalogue devotes a chapter to Christian’s work, featuring three similar esoteric drawings on graph paper, dated 1923-1925. All of these diagrams were made in conjunction with an aesthetic treatise on harmony which occupied him for many years, and was never completed. “Vers 1923, il travaille à un ‘Traité d’harmonie,’ un système d’esthétique globale à visée scientifique, dont il reste des études sous formes de diagrammes. Il s’essaie également à la peinture figurative; quelques-unes de ses toiles sont publiées par ‘The Little Review’ en 1922. Mais l’oeuvre de Christian est rare, l’artiste ayant été peu productif” (Nathalie Ernoult). Small hairline split at one fold; pinholes at one corner; fine condition.

N.p., n.d. $6,500.00 Cf. Lista, Giovanni: Dada libertin & libertaire (Paris, 2005), p. 220; Pompidou: Dada p. 216f. (text by Nathalie

Ernoult, with 5 illus.)


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14 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. Clean splits at backstrip; a fine 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: Dada in Paris (Cambridge, 2009), no. 679; 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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15 CUNNINGHAM, IMOGEN. Magnolia Blossom. Vintage silver gelatin print, on Wellington chamois paper,

signed in pencil in the lower margin. Image size: 230 x 291 mm. (9 x 11 1/2 inches). “From 1923 to 1925, Cunningham made an extended series of magnolia flower studies, which became increasingly simplified as she sought to recognize the form within the object. The results are best represented by the well--known ‘Magnolia Blossom’ and its counterpart, a detail of the magnolia’s core, ‘Tower of Jewels’” (Lorenz). Provenance: Private collector, California. Expertly repaired tear, diagonally crossing through the top right quadrant of the image.

San Francisco, 1925. $72,000.00 Lorenz, Richard: Imogen Cunningham: Ideas without End: A Life in Photographs (San Francisco, 1993), pl. 38


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16 (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

17 (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 inept anatomy is, perversely, to be made glamorous” (High and Low). Small split at foot of fold.

Paris, 1947. $1,600.00


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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.

18 (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. [At the base, corresponding to the top:] “Plus beaux qu’ils veulent/ Beaux malgré eux.” Poster, with manuscript text and portrait drawing at the center, printed on salmon-colored wove stock, in offset lithography. 580 x 400 mm. (22 7/8 x 15 5/8 inches). 2 cancelled taxe d’affichage stamps affixed at blank portion at lower left, as usual.

The extremely rare, graphically riveting poster for one of the most radical exhibitions in postwar France, Dubuffet’s art brut portraits of Parisian intellectuals, at the Galerie René Drouin in 1948. 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 inept anatomy is, perversely, to be made glamorous” (High and Low). A few indetectible very short clean marginal tears mended on verso; a bright, unfolded copy.

Paris, 1947. $5,000.00 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.


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19 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. 268 x 281 x mm. (10 9/16 x 11 1/16 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). Faint foldline, a few discreet small retouchings in black; an exceptionally nice copy. Rare.

[Paris, 1924]. $3,750.00 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


4 November, 2013

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20 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


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21 ERNST, MAX & Péret, Benjamin. La brebis galante. 124pp. 3 original color etchings with aquatint (including

title) and 22 full-page illustrations, of which 18 colored by hand in pochoir. Cul-de-lampe, lettrines. 4to. Dec. wraps. (original color lithograph). Glassine d.j. One of 300 numbered copies on grand vélin d’Arches, from the limited edition of 316. A Surrealist fairy tale by Péret, illustrated by Ernst both with etchings and with punning collages, drawn from textbooks on palaeontology and marine micro-organisms, among other sources. “The book can in a way be considered the most representative Surrealist art form, and the manner in which it evolved adds one more paradox. Volumes that we consider masterpieces of this Janus-faced genre, such as Péret and Ernst’s ‘La brebis galante’ or Eluard and Miró’s ‘A toute épreuve’, appeared after World War Two--long after the heyday of surrealism” (Hubert). A fine copy.

Paris (Les Éditions Premières), 1949. $4,800.00 Spies/Leppien 28G; Hugues/Poupard-Lieussou 22; Rainwater 49, p. 113f.; The Artist and the Book 100;

Johnson, Robert Flynn: Artists’ Books in the Modern Era 1870-2000, no.123; Splendid Pages p. 209; Hernad, Béatrice & Maur, Karin von: Papiergesänge 69; Peyre, Yves: Peinture et poésie (Paris, 2001), no. 55; Hubert p. 26; Gershman p. 33; Ades 17.57; Reynolds p. 67f.; Villa Stuck 40


4 November, 2013

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22 (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, with matching brown envelope. 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).

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)


4 November, 2013

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23 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. $2,750.00 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).


4 November, 2013

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24 (FLUXUS) Fluxus Preview Review. Editorial Committee: Chairman: George Maciunas. Cross Section: Nam

June Paik, Emmett Williams. U.S. Etc. Vertical scroll, printed in offset (both recto and verso) on three joined strips of coated stock, with text and 7 halftone photographic illus. 160 x 10 cm. (ca. 65 1/2 x 3 7/8 inches). 1672 x 99 mm. (65 x 3 7/8 inches). Rolled as issued.

“‘Fluxus Preview Review,’ a preview of the ‘Review’ (Anthology) Fluxus, served as a kind of first Fluxus newspaper and propaganda vehicle. It contains a definition of the word FLUXUS, a list of the editorial committee, advertisements for Fluxus Yearboxes and Fluxus products, scores by a number of Fluxus artists and photographs of performances. George Maciunas, who edited and designed the work, took its format from the November 1961 publication ‘Kalender Rolle,’ edited by Ebeling and Dietrich in Wuppertal, West Germany” (Jon Hendricks). Other members of the editorial committee (listed by national sections) include La Monte Young, Jackson Mac Low, Dick Higgins, Benjamin Patterson, Jonas Mekas, Daniel Spoerri, Jean Clarence Lambert, Henry Flynt, Toshi Ichiyanagi, Yoko Ono, Heinz-Klaus Metzger, and Arthur Køpcke. A Fluxincunable. A fine copy.

Köln-Mulheim, n.d. [1963]. $800.00 Hendricks: Fluxus Codex p. 102f.; Silverman 542; Phillpot/Hendricks 11


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25 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, 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


4 November, 2013

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26 GIBBONS, JOE & ZANE, JOE. [Faux Parkett] “Parkett. No. 81.” [By] Joe Gibbons, Joe Zane. (1), 126, (37)pp.

Prof. illus. (numerous color). 4to. Wraps. Edition limited to 20 copies, plus 3 artist’s proofs, signed and numbered by the artists on the spine, together with a hand-signed printed statement to this effect by Joe Zane on his stationery, loosely inserted. Texts by the artists, Randi Hopkins, and Tony Conrad.

A collaborative artists’ book by Gibbons and Zane, in the form of a faux issue of “Parkett” devoted to their work. Extremely droll (including a mechanically translated parallel text in German, yielding results such as “Joe Gibbonen”), the work is also brilliantly realized from a technical point of view. The video artist and filmmaker Joe Gibbons--whose work has been shown in three Whitney Biennials, and at the Museum of Modern Art, Centre Pompidou, and the Reina Sofia--is on the faculty of the MIT Visual Arts Program; Joe Zane--whose faux Phaidon Monograph was published in 2006, in an edition of 5 copies--is director of production at the MIT Center for Advanced Visual Studies.

[Cambridge (The Artists)], 2008. $2,000.00


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27 LA GUIRLANDE. Album mensuel d'art et de littérature sous la direction littéraire de monsieur Jean

Hermanovits. Sous la direction artistique de monsieur Brunelleschi. 11 issues in 3 volumes. Illustrated with 11 paper fascicle covers, 61 hors-texte plates by Barbier, Brunelleschi, Taquoy, Vallée, Bonotte, Domergue, and others, including 58 with pochoir coloring by Jean Saudé, and numerous colour head- and tailpieces and illustrations within the text. 4to. 277 x 188 mm. Buckram-backed pink cloth, gilt morocco labels, t.e.g. Edition limited to 800 numbered copies. A complete set of one of the rarest and most desirable of Art Déco magazines. In addition to the magnificent full-page illustrations, almost every page of text is enhanced with one or more smaller coloured illustrations. Among the most important contributions is the complete serialization of Abel Herman's “Phili,” illustrated by Brunelleschi. Barbier contributed numerous spectacular plates, among them those illustrating René Boylesve's “La Carrosse aux Deux Lézards Verts” also serialized here. A treasure-house of post-World War I fashion, most copies have long ago been dismembered for the plates. A fine set.

Paris, 1919-1920. $20,000.00 Martorelli, George Barbier, p. 156.


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28 (HAINS/VILLEGLÉ) Bryen, Camille. Hépérile éclaté. [Par] Raymond Hains, Jacques de la Villeglé, Camille

Bryen. (20)pp. Loosely inserted, as issued: folding double-sided tract/prospectus by the three collaborators, handsomely designed with an elaborate lettriste composition. Sm. 8vo. Cream wraps., printed in grey, with wrap-around band printed in black. Stitched and inserted loose in wrapper, as issued. One of 300 copies “conformes à la maquette,” numbered by hand with a lettrist designation, from the edition of 1000 in all. Bryen’s phonetic poem, first published by P.A.B. in 1950, is here reproduced and distorted using a glass frame spline. An exquisite and historic instance of Hain’s and Villéglé’s lettres éclatées, an aspect of Ultra-Lettrist investigation. Presentation copy, inscribed in blue ink (partly in lettriste characters) by Raymond Hains, “avec mes meilleurs voeux pour 1961,” on a preliminary leaf.

Paris (The authors), [1953]. $2,500.00 Poésure et peintrie (Marseille, 1993), pp. 270 (illus.), 272 (illus.)


4 November, 2013

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29 HARVEY, CIG. The Hope Chest. A love story told in twelve parts. 12 vellum pockets imprinted with text,

containing 24 archival Chromogenic print photographs on Kodak Endura luster paper, mounted on gatefold leaves of Stonehenge white paper, each leaf signed on the verso by the artist. Image size with margins: 200 x 200 mm. (8 x 8 inches). Wrap-around letterpress cover/colophon leaf, printed in gold. Sq. 4to. Clamshell box (full navy goatskin gilt). All contents loose, as issued. Edition of 15 copies, signed and numbered by the artist in the colophon. Book design by Cig Harvey and Claire Donnelly. Fine, as issued.

N.p. (The Artist), 2010. $5,500.00

30 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


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autumn of 1920, just after the close of the Erste Internationale Dada Messe, the ‘Dada Almanach’ was “the first attempt to give an account of the movement’s international activities, at least in Europe.... Published on the initiative of Huelsenbeck, who was absent from the exhibition,...it contained important articles on the theory of Dadaism...valuable statements by the Dada Club and some pages by some less well-known Dadaists, such as Walter Mehring (‘You banana-eaters and kayak people!’), sound and letter poems by Adon Lacroix, Man Ray’s companion in New York, not to mention a highly ironical letter by the Dutch Dadaist Paul Citroën, dissuading his Dadaist partners from going to Holland. The volume was also distinguished by the French participation of Picabia, Ribemont-Dessaignes and Soupault, quite unexpected in Berlin; their contributions were presumably collected and sent on from Paris by Tristan Tzara. The latter, living in Paris with the Picabias since early January 1920, gave in the ‘Dada Almanach’ a scrupulous and electrifying account of the doings and publications of the Zürich Dadaists....one of the most dizzying documents in the history of the movement” (Dachy). Light crease at lower outer corner of cover; a generally fresh copy.

Berlin (Erich Reiss), 1920. $4,000.00 Gershman p. 24; Dada Global 68; Ades 4.68; Almanacco Dada 34; Bergius p. 108f.; Dachy p. 111;

Motherwell/Karpel 7; Rubin 464; Reynolds p. 51; Verkauf p. 100; Richter p. 235; Raabe/ Hannich-Bode 132.25; Dada Artifacts 46; Pompidou: Dada 1245, p. 320f., illus. pp. 321, 323, 505, 721

31 JAVADI, RA‘NA. Never-Ending Chaos 6, 2013. Archival pigment print on canvas. 800 x 800 mm. (circa 31.5

inches square). Edition of 10, signed and numbered in pencil by the artist on the verso. The complete suite of “Never-Ending Chaos 2013” comprises 14 individual prints, sequentially numbered.

Currently featured in the widely praised “Iran Modern” show at Asia Society in New York, Ra‘na Javadi has just

been the subject of a solo exhibition at the Golestan Gallery in Tehran. A self-taught photographer, she has worked since 1989 as the Director of Photo and Pictorial Studies at the Cultural Research Bureau in Tehran. She is also a member of the editorial board of “Aksnameh,” the influential quarterly journal of photography, and was from 1997 to 1999 director of Akskhaneh Shahr, the first museum of photography in Iran. Since 1979, Javadi has participated in exhibitions in Tehran, Paris, Boston, Athens, and elsewhere.

In his text, “Ra‘na Javadi's Tile Works: The Jumble of Memories,” Mehran Mohajer has written “We decorate

walls with war stories. Why? What became of those twisting abstract arabesques, the intricate figures at banquets and the carafes and goblets? How did they cede their place to the rough imagery of martial assemblies and veiled faces? What happened to the finely elaborate colors and designs that surrendered to these raw, coarse motifs? Modern photographer Ra‘na Javadi sets down images from our recent memories, the signs of violent conflict and strange bloodied images in the midst of all this. Where did this decoration of our surroundings with the brutality of war originate? How do we want to connect yesterday's and today's


4 November, 2013

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history or draw them closer to each other? Maybe the photographer uses collage to unite these pieces, creating an unbroken interpretation of fragmented narratives. Maybe her decorations are meant to lessen the depth of violence these cracks have left on us. But the lines between the tiles and photographs are visible. The pieces are not joined together as an even surface. It's possible they'll split apart and fall down in a jumble. This is the clutter of memories. We have to contemplate the confusion that fills our eyes and minds but fails to create a seamless culture. Maybe these works are the place for such thoughts.”

Tehran, 2013. $6,000.00

32 JAVADI, RA‘NA. Never-Ending Chaos 13, 2013. Archival pigment print on canvas. 800 x 800 mm. (circa

31.5 inches square). Edition of 10, signed and numbered in pencil by the artist on the verso. The complete suite of “Never-Ending Chaos 2013” comprises 14 individual prints, sequentially numbered.

Since 1979, the distinguished Iranian photographer Ra‘na Javadi has participated in many exhibitions in

Europe, the Middle East and the Americas. Her solo exhibition at the Golestan Gallery, Teheran, In his text, “Ra‘na Javadi's Tile Works: The Jumble of Memories,” Mehran Mohajer has written “We decorate

walls with war stories. Why? What became of those twisting abstract arabesques, the intricate figures at banquets and the carafes and goblets? How did they cede their place to the rough imagery of martial assemblies and veiled faces? What happened to the finely elaborate colors and designs that surrendered to these raw, coarse motifs? Modern photographer Ra‘na Javadi sets down images from our recent memories, the signs of violent conflict and strange bloodied images in the midst of all this. Where did this decoration of our surroundings with the brutality of war originate? How do we want to connect yesterday's and today's history or draw them closer to each other? Maybe the photographer uses collage to unite these pieces, creating an unbroken interpretation of fragmented narratives. Maybe her decorations are meant to lessen the depth of violence these cracks have left on us. But the lines between the tiles and photographs are visible. The pieces are not joined together as an even surface. It's possible they'll split apart and fall down in a jumble. This is the clutter of memories. We have to contemplate the confusion that fills our eyes and minds but fails to create a seamless culture. Maybe these works are the place for such thoughts.”

Tehran, 2013. $6,000.00


4 November, 2013

30

33 KELLY, ELLSWORTH. Avocado [I]. Pen and black ink, on buff-colored wove paper from a drawing pad

(perforated at top edge, verso blank). 300 x 223 mm. (ca. 11 7/8 x 8 3/4 inches). Signed “Kelly” in pencil, at lower right on the recto; it is also dated “1958” by the artist on the verso, and inscribed by him with the Kelly inventory no. “P.34.58.”

From the collection of the late critic and curator, E.C. Goossen. Together with "Avocado [II]" the drawing was found among Mr. Goossen's papers in a file folder annotated in his hand "2 Drawings given to me by Ellsworth K. in 1970-71." In September 2013, the two drawings were brought to Mr. Kelly, who signed them both in pencil, and dated them 1958. At this time, Mr. Kelly also assigned inventory numbers to the drawings, which are inscribed in his hand on the versos. Both depict an avocado plant the artist was growing at the time.

Kelly and E.C. Goossen had a warm rapport, based on mutual admiration. As correspondence in the Goossen

Archive documents, it was at Kelly's invitation that Goossen wrote the text for the issue on him that appeared as "Derrière le miroir" in 1958. The text pleased him very much. Goossen curated the Kelly retrospective at the Museum of Modern Art in 1973.

"Kelly's passion for the contour, the silhouette, has led him to draw almost continuously. The garden of plants

under his skylight is one of the kind of objects he turns to for this purpose. He draws them over and over again with a strong, simple line, perfectly organic in its rhythm but as austere as if they had been shaped in piano wire. Out of these handsome outlines an occasional painting image comes. Not from the leaf or the stalk, but suggested by the 'space between.' The intermingling of things with qualitative contours of their own produces a new shape, a kind of negative silhouette, a symbol of space. Translated to the canvas, however, this continent representative of the emptiness around us becomes a shape in its own right, now surrounded by other space" (E.C. Goossen, "Ellsworth Kelly," "Derrière le miroir" No. 110, 1958).

"In the spring of 1949, Kelly, then living in Paris, bought a potted hyacinth and took it home to cheer up his

room. It became a subject for drawing. It was, in a sense, a surrogate for the portrait drawings that no longer interested him, probably because the human figure, no matter how abstractly handled, asserts a personality


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over which the artist has no control. From that time forward, though he filled his sketchbooks with drawings of architectural elements, reflections, and shadows, gathered as ideas for paintings, he would occasionally make careful, composed line drawings of plants, not intended as sources but as works of art in themselves. A steady stream of these drawings began to appear about 1957 and continues to the present…. Their economy of means is, of course, the first most noticeable thing about these drawings: their seeming accuracy in the horticultural sense is next (though in fact the naturalist's eye has been thoroughly subjected to that of the artist.) But it is ultimately the ordering of the shapes, their placement on the page, and the tension between the line and the shapes it describes that bring us to recognize the combination of toughness and sensuousness in Kelly's work that is rare in drawing. In the late, shaped canvases, the perimeters are hard and tough, as are the curved edges of the shapes; sensuousness is achieved by color. Here both are achieved through line. This combination is probably really a definition of all that we call elegance" (E.C. Goossen: Ellsworth Kelly, The Museum of Modern Art, 1973).

$45,000.00

34 KELLY, ELLSWORTH. Avocado [II]. Pen and black ink, on buff-colored wove paper from a drawing pad

(perforated at top edge, verso blank). 300 x 223 mm. (ca. 11 7/8 x 8 3/4 inches). Twice signed “Kelly” in pencil, at lower right on both the recto and the verso; it is also dated “1958” by the artist, and inscribed by him with the Kelly inventory no. “P.35.58” in pencil on the verso.

From the collection of the late critic and curator, E.C. Goossen. Together with "Avocado [I]" the drawing was found among Mr. Goossen's papers in a file folder annotated in his hand "2 Drawings given to me by Ellsworth K. in 1970-71." In September 2013, the two drawings were brought to Mr. Kelly, who signed them both in pencil, and dated them 1958. At this time, Mr. Kelly also assigned inventory numbers to the drawings, which are inscribed in his hand on the versos. Both depict an avocado plant the artist was growing at the time.

Kelly and E.C. Goossen had a warm rapport, based on mutual admiration. As correspondence in the Goossen

Archive documents, it was at Kelly's invitation that Goossen wrote the text for the issue on him that appeared


4 November, 2013

32

as "Derrière le miroir" in 1958. The text pleased him very much. Goossen curated the Kelly retrospective at the Museum of Modern Art in 1973.

"Kelly's passion for the contour, the silhouette, has led him to draw almost continuously. The garden of plants

under his skylight is one of the kind of objects he turns to for this purpose. He draws them over and over again with a strong, simple line, perfectly organic in its rhythm but as austere as if they had been shaped in piano wire. Out of these handsome outlines an occasional painting image comes. Not from the leaf or the stalk, but suggested by the 'space between.' The intermingling of things with qualitative contours of their own produces a new shape, a kind of negative silhouette, a symbol of space. Translated to the canvas, however, this continent representative of the emptiness around us becomes a shape in its own right, now surrounded by other space" (E.C. Goossen, "Ellsworth Kelly," "Derrière le miroir" No. 110, 1958).

"In the spring of 1949, Kelly, then living in Paris, bought a potted hyacinth and took it home to cheer up his

room. It became a subject for drawing. It was, in a sense, a surrogate for the portrait drawings that no longer interested him, probably because the human figure, no matter how abstractly handled, asserts a personality over which the artist has no control. From that time forward, though he filled his sketchbooks with drawings of architectural elements, reflections, and shadows, gathered as ideas for paintings, he would occasionally make careful, composed line drawings of plants, not intended as sources but as works of art in themselves. A steady stream of these drawings began to appear about 1957 and continues to the present…. Their economy of means is, of course, the first most noticeable thing about these drawings: their seeming accuracy in the horticultural sense is next (though in fact the naturalist's eye has been thoroughly subjected to that of the artist.) But it is ultimately the ordering of the shapes, their placement on the page, and the tension between the line and the shapes it describes that bring us to recognize the combination of toughness and sensuousness in Kelly's work that is rare in drawing. In the late, shaped canvases, the perimeters are hard and tough, as are the curved edges of the shapes; sensuousness is achieved by color. Here both are achieved through line. This combination is probably really a definition of all that we call elegance" (E.C. Goossen: Ellsworth Kelly, The Museum of Modern Art, 1973).

$45,000.00

35 LEWITT, SOL. Grids, using straight lines, not-straight lines & broken lines in all their possible combinations.

[Grids.] 28 etchings. (4)ff., 28 original etchings, each initialled in pencil by the artist on the verso, printed on Rives BFK. 270 x 270 mm. (10 5/8 x 10 5/8 inches). Tissue guards. Lrg. sq. 4to. (285 x 285). White silk over boards, stamped in black. Paper slipcase (slightly abraded). Edition limited in all to 25 copies and 10 artist’s


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proofs, signed and numbered by Lewitt in pencil in the center of the last leaf. Printed by Kathan Brown at the Crown Point Press, Oakland. “Departing from his other offset-printed books, LeWitt’s Crown Point books are beautifully hand printed and bound. ‘Grids...’ holds twenty-eight full page etchings. The progressions are listed first, from combination number one (‘Straight/Straight’) through number twenty-eight (‘Straight, Not-Straight, Broken/Straight, Not-Straight, Broken’). The cut of the etched lines into the soft paper (the lines which at first glance appear straight, and then on closer inspection reveal their freely drawn character), produce a vital page design and pleasurable viewing experience. A hand printed and bound LeWitt exerts a stronger sense of weight and permanence that creates a bridge between the intuitive idea guiding his books, and a stronger, more engaging contact sustained by the viewer while paging through LeWitt’s system” (Minneapolis). A fine copy.

New York (Parasol Press Ltd.), 1973. $20,000.00 Barbara Krakow Gallery: Sol LeWitt Prints Catalogue Raisonné 1947-2006, no. 1973.03; Minnesota Center for

Book Arts: Pick up the book, turn the page and enter the system: books by Sol LeWitt (Minneapolis, 1988)

36 LEWITT, SOL. The Location of Six Geometric Figures (Circle, Square, Triangle, Rectangle, Parallelogram and

Trapezoid). Six etchings. Title/colophon leaf, and 6 original etchings, each signed and numbered in pencil, printed on Rives BFK, loose as issued. 608 x 507 mm. (24 x 19 7/8 inches). Tissue guards. Lrg. folio. (625 x 525 mm.). Publisher’s black cloth box. Edition limited to 25 copies and 10 artist’s proofs, printed by Kathan Brown at the Crown Point Press, Oakland. A fine copy.

New York (Parasol Press Ltd.), 1975. $12,000.00 Barbara Krakow Gallery: Sol LeWitt Prints Catalogue Raisonné 1947-2006, no. 1974.01


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37 LEWITT, SOL. Three Kinds of Lines & All Their Combinations. 1. Straight lines, 2. not-straight lines. 3. broken

lines, 4. alternate straight & not-straight lines, 5. alternate straight & broken lines, 6. alternate not-straight & broken lines, 7. alternate straight, not-straight & broken lines. Seven black & white etchings. Title/colophon leaf, and 7 original etchings, each signed and numbered in pencil on the verso, printed on Rives BFK, loose as issued. 692 x 540 mm. (27 1/4 x 21 1/4 inches). Lrg. folio (710 x 555 mm.). Publisher’s ivory cloth box (slightly scuffed). Edition limited to 25 copies, printed by Kathan Brown at the Crown Point Press, Oakland. A fine copy.

New York (Parasol Press Ltd.), 1973. $15,000.00 Barbara Krakow Gallery: Sol LeWitt Prints Catalogue Raisonné 1947-2006, no. 1973.01


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38 LUCA, GHERASIM & HÉROLD, JACQUES. “Le sorcier noir.” La mise en formule d’une forme de Jacques

Hérold. (12)pp. 1 original etching by Hérold hors texte, printed in two states: blind intaglio (as frontispiece) and in black (at the conclusion). Mounted on the interior of the box, an appropriated multiple by Luca (hand-numbered to match the justification of the book). Sm. 4to. Publisher’s box with hinged lid (black boards with printed white label at spine; slightly rubbed at edges, as usual). Edition limited to 50 hand-numbered copies, signed in the justification by Luca and Hérold, on papier impérial du Japon (and additionally hand-numbered on the spine of the box). The Luca multiple, different in each copy of the book, is an old-fashioned manufacturer’s sampler of 20 dazzlingly colorful paste gems mounted on a printed card, each with handwritten inventory numbers, underlined and framed in groups by hand in red ink. The gemstones--of different cuts and sizes, including a large heart-shaped ruby, and mesmerizing circular sapphire--are arranged in one horizontal row, and three vertical columns below. Both the multiple and the etchings (with their air of ethereal disintegration, faintly evoking frottages by Ernst) are finely callibrated to the esoteric delicacy of Hérold's poetic formulations, which correlate the sun and the moon, the sky and the earth, and the crystal and the target, with parts of the human form.

Paris, 1962. $4,500.00


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39 (MALEVICH) Guro, Elena, et al. Troe [The Three]. By Elena Guro, Velimir Khlebnikov, Aleksei Kruchenykh.

96pp., printed on pale green stock. 4 photomechanical reproductions of drawings by Kazimir Malevich. 1 page of musical score from the prelude to the opera “Victory over the Sun.” Sm. 4to. 195 x 180mm. (7 3/4 x 7 1/8 inches). Orig. wraps., with lithographic design and illustration by Malevich on front cover, and lithographic text in his hand on the back cover. Uncut; partly unopened. Edition of 500 copies. Poems and prose, published by Mikhail Vasil’evich Matyushin, the composer of “Victory over the Sun,” in memory of his wife, the poet Elena Guro, who had died earlier in the year. The other contributors to this book were Matyushin’s collaborators in “Victory over the Sun”: Khlebnikov had written the prologue and Kruchenykh the libretto, and Malevich had designed the sets and costumes.

“For his cover for the anthology of writings and drawings, ‘Troe’ (‘The Three’; 1913), Kazimir Malevich shifted pictorial planes to dissect individual letters and created a dynamic graphic configuration by playing with different scales in letters, often incorporating hugely oversized characters. This composition anticipated the Russian avant-garde’s sculpture/constructions from the late 1910s and early 1920s, and shared with his later Suprematist paintings the effect of free-floating forms” (Andel). Provenance: Robert Shapazian, lent by him to “The Avant-Garde in Russia 1910-1930” (Los Angeles County Museum of Art, 1980). An exceptionally fine, fresh copy, the magnificent Malevich cover bright, rare thus.

St. Petersburg (Zhuravl’), 1913. $6,500.00 MOMA 38; Getty 318; Compton pp. 125, 53f., 56, 78f., figs. 34, 50, 76-78; Barron, Stephanie & Tuchman,

Maurice (eds.): The Avant-Garde in Russia 1910-1930 (Los Angeles, 1980), no. 174 (illus.); Lodder p. 251f.; Aus vollem Halse no. 24; Andel, Jaroslav: Avant-Garde Page Design 1900-1950 (New York, 2002), p. 94, ill. 83; Khnizhnaia letopis’ 1913 no. 24569


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40 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. The great masterpiece of Futurist typographic expression; the folding plates present the most famous of all parole in libertà. Backstrip silked; a fine, fresh copy, unopened.

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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41 DER MARSTALL. Zeit- und Schreit-Schrift des Verlags Paul Steegemann. Heft 1/2 (all published). 58, (6)pp. 5

illus., including 1 full-page drawing by George Grosz. Orig. tan self-wraps., printed in red and black. A Dada almanac from the publisher of Schwitters’ “Anna Blume,” with a special feature, “Das enthüllte Geheimnis der Anna Blume” (“Briefe und Kritiken von Anonymen/ Ärzten/ Freunden und Feinden/ dada/ Unfreiwillige Beiträge von Alfred Kerr/ Theodor Däubler/ Adolf Behne/ Victor Aubertin/ Paul Fechter/ Johann Frerking/ Franz Lafaire/ u.a.”), and with other texts by “Oberdada” Johannes Baader (“Wer ist Dadaist?”), Klabund (“Dadakratie”), Richard Huelsenbeck (“Geschichte des Dadaismus”), Otto Flake (“Über Hans Arp”), Walter Serner (“Die gelösten Welträtsel”), and Melchior Vischer (“Sekunde durch hirn”), among others. There is also an unsigned report on “Die Dada-Kongresse in der Schweiz.” A notice is included advertising a projected second issue of equal interest (Edschmid, Arp, Baader, Holl and others), but “Der Marstall” ceased with its first issue. Small expert mends to the wrappers; a fine copy of this fragile issue. Rare.

Hannover (Paul Steegemann), 1920. $4,000.00 Dada Global 107; Almanacco Dada 88; Motherwell-Karpel p. 162; Verkauf 102; Dada Artifacts 65; Düsseldorf

517; Zürich 384; Pompidou: Dada 1382, illus. 909.5; Raabe 91; Raabe/Hannich-Bode 288.2


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MASAKI, HIROSHI. Original photographs from his book “Uwajima: A Private Landscape.” Gelatin silver prints, in two formats:

1) Large format, printed in an edition of 6, signed and titled by the artist on the verso. Image size: 340 x 412 mm. (ca. 13 3/8 x 16 1/2 inches). Sheet size: 405 x 505 mm. (ca. 16 x 20 inches).

2) Small format, printed in an edition of 10, signed and titled by the artist on the verso. Image size: 238 x 283 mm. (ca. 9 1/8 x 11 1/8 inches). Sheet size: 275 x 350 mm. (ca. 11 x 14 inches). “In this collection of photographs of Uwajima taken by Hiroshi Masaki of his birthplace, to which he returned after an absence of several decades, there is a sense of deep comfort that derives from his having thoroughly excluded any emotional bias or artistic preconceptions. In doing so, he achieves a refreshing matter-of-factness throughout... Hiroshi Masaki has, I believe, brilliantly captured the timeless soul of the archetypal Japanese home town as it exists in our imagination” (Daido Moriyama).

“Uwajima” was published in Paris and Barcelona by Toluca Éditions and RM Verlag, in 2012.

42 MASAKI, HIROSHI. “Marunouchi, Japan, 2009.”Gelatin silver print, signed and titled by the artist on the

verso. Edition of 10. Image size: 238 x 283 mm. (ca. 9 1/8 x 11 1/8 inches). Sheet size: 275 x 350 mm. (ca. 11 x 14 inches). Matted. Illustrated in “Uwajima” p. 27.

Tokyo, 2012. $900.00


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43 MASAKI, HIROSHI. “Tsurushimacho, Japan, 2011.” Gelatin silver print, signed and titled by the artist on the

verso. Edition of 10. Image size: 238 x 283 mm. (ca. 9 1/8 x 11 1/8 inches). Sheet size: 275 x 350 mm. (ca. 11 x 14 inches). Matted. Illustrated in “Uwajima” p. 71.

Tokyo, 2012. $900.00

44 MÉCANO. No. 3 (of 4 issues published in all). “Rot, Red/ Rouge, Rood 1922.” Gérant litéraire: I.K. Bonset

[Theo van Doesburg]. Mécanicien plastique: Theo van Doesburg. (8)pp. (single sheet, folding), overprinted in rose red on the verso. Prof. illus., including 4 halftone reproductions (after Man Ray, Raoul Hausmann, and Georges Vantongerloo) and 2 line reproductions (after Serge Charchoune and Max Ernst). Front cover panel with halftone buzz-saw blade. Fully extended: 322 x 506 mm. (ca. 12 3/4 x 20 inches). Folded as issued: 163 x


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128 mm. (ca. 6 3/8 x 5 inches). Texts by Georges Ribemont-Dessaignes (“Dadaisme et Isthme de Dada,” “Savants”), Hans Arp (“Die schwalbenhode”), Kurt Schwitters (“Zwei Herren”), Theo van Doesburg (writing as “I.K. Bonset”: “Chronique scandaleuse des Pays-Plats,” “Madapolan”), Tristan Tzara (“Dadapourtous”), “Rosie Spotts” (“Bed-Bites”), Benjamin Péret (“L’enfant au ventre blond”); “Chroniek-Mécano” (“Internationaal Congres van Konstruktivisten en Dada 1922 in Weimar”).

“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’.... 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 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).

“Van Doesburg’s fascination with Dada, a movement he understood as a mix of nonobjective art and blasphemous scandal, grew steadily throughout [1920]. Instead of modifying his reputation as an advocate of morally uplifting abstraction, changing the course of De Stijl or abandoning it altogether, van Doesburg decided to channel his newfound, abject love of Dada into a secret alter ego. In a letter to Tzara that June, van Doesburg mentioned casually that ‘one of my literary collaborators, I.K. Bonset, had the intention of establishing a dadaist journal, but he lacks the money, time and people.’ Van Doesburg kept the character Bonset in circulation for many years thereafter and succeeded in hiding the fiction for more than two years because, as Craig Eliason observes, he interacted with fellow dadaists largely through the mail.... Acting on behalf of his alter ego, van Doesburg submissions from dadaists and ex-dadaists in Berlin, Paris and Hannover; Bauhaus master László Moholy-Nagy; founding poets of the little reviews ‘Blast’ (London) and ‘Broom’ (New York); and others. Such an eclectic group would never have collaborated in person, for the dynamics of direct interaction favor declarations of unity and shared guiding principles (or bitter arguments, purges, and rejections.) With his contributors pulled together from remote locations, however, and Bonset as his fence, so to speak, van Doesburg mapped a separate Dada constellation that held an international variety of advanced artists within a common orbit” (Witkovsky). Light dustiness, small clean splits at some of the folds, slightly wider at intersections: a fine copy, clean and attractive, of this fragile and very rare issue.

Leiden, 1922. $7,500.00 Dada Global 137; Almanacco Dada 89; Ades p. 124f., 129; Dachy p. 170f.; Lista: Dada libertin et libertaire p.

180f., 194f.; Schippers, K.: Holland Dada (Amsterdam, 1974), p. 39ff. (illus.); Witkovsky, Matthew S.: “Pen Pals,” in: Dickerman, Leah & Witkovsky, Matthew S. (eds.): The Dada Seminars (Washington, D.C., 2005), p. 274ff.; Motherwell/Karpel 77; Verkauf p. 180; Zürich 385; Pompidou: Dada p. 676ff., no. 1384, illus. p. 680; Tendenzen 3.283; Heller, Steven: From Merz to Emigre and Beyond, p. 61ff. (illus.)


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45 (MEXIQUE) PARIS. RENOU & COLLE. Méxique. Préface d’André Breton. (16)pp. 5 tipped-in halftone illus.

(including 1 by Alvarez Bravo on front cover). Sm. 4to. Dec. self-wraps. All contents loose, as issued. One of 550 copies on vélin du Marais, from the limited edition of 570 in all. Organized by Breton, originally as a solo exhibition of paintings by Frida Kahlo, the show was expanded to include a wide range of discoveries made during his trip to Mexico in 1938: Precolumbian ceramics, colonial retables, woodcuts by Posada, and photographs by Manuel Alvarez Bravo, whom he was anxious to conscript in the Surrealist movement, and to whom he consecrates here a special text (as well as featuring a superb photo by him on the cover). Two of the four reproductive photographs (showing indigenous art) are by Raoul Ubac. Sheringham notes that Breton is the author of the entire pamphlet, not just the preface, as stated. A exceptionally fine copy, bright and fresh.

Paris, [1939]. $1,200.00 Sheringham Ac310; Pompidou Breton p. 248; Biro/Passeron p. 281; Reynolds p. 17; Milano p. 653


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46 MINKKINEN, ARNO RAFAEL. White Underpants. 1f. (title/colophon leaf), 20 vintage selenium-toned gelatin

silver prints, each signed on the verso in pencil by the artist. Sheet size: 10 x 7.5 inches. Image size: 5.5 x 3.5 inches. 4to. Clamshell box with stretch-fabric wrap-around band, mounted with title. Contents loose, as issued. Edition of 20 copies, signed and numbered in ink by the artist in the colophon. Images dated between October 1971 and October 1973, printed by the artist and assembled in 1976. Fine, as issued.

N.p., [1973]. $30,000.00

47 N.E. THING CO. A Portfolio of Piles. 5ff, 59 plates, printed in halftone on sheets with rounded corners. Versos

blank. Commercially printed folding map of Vancouver loosely inserted, as issued. All contents loose, as issued. Oblong sm. 4to. 168 x 242 mm. (ca. 6 5/8 x 9 1/2 inches). Publisher’s brown coated stock portfolio. Designed and photographed by Iain Baxter, “President, N.E. Thing Co.” Introduction by Kurt von Meier. Edition of 555 numbered copies.

An important, and disarmingly fresh, conceptual art portfolio, coordinated with an exhibition for the 1968 Festival of the Contemporary Arts, for which N.E. Thing Co. (NETCO) had created an environment of piles (salt, spaghetti, broken egg shells) in the UBC Fine Arts Gallery. This field was then conceptually extended with the appropriation of piles in the outside world (lumber, wire, scrap metal, rock salt, rubber gloves, etc., in the Vancouver area) by means of the plates in this publication. In her essay for the Baxters’ 1993 catalogue, Lucy Lippard writes: “In retrospect, my favourite piece is the photographic ‘Portfolio of Piles.’ It is a compendium of the Baxters’ preoccupations, their peculiar blend of local and global, matter and anti-matter, ecology and electronics, permitting them to comment on art (Smithson’s sites/nonsites, Morris’ perhaps unfeeling felts), the environment and ecology (it was from Iain that I first heard the term), popular culture


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(thanks to its ‘natural’ sources, ‘Piles’ was devoid of the sexist imagery all too often endorsed by NETCO), industry, fashion, you name it. The notion of the pile--a casual, borderline-ugly form shaped by blunt gravity rather than by the delicate hand of the artist--was in itself part of the Zeitgeist, inherited by minimalism, the stylized classicism of arte povera, and especially the roving, indiscriminating lens of Ed Ruscha, which were conceptual art’s formal roots. ‘Piles’ both extended and poked fun at its elders. It reflected the anarchic stylelessness as style that was a NETCO trademark, so to speak. At the same time, it worked as an educational device (Ingrid’s focus) in that it did what Ad Reinhardt said art should do: teach people how to see.”

“Ian Baxter, founder/director/curator of N.E. Thing Co., Vancouver, confirmed signs as abstraction in the ‘Portfolio of Piles,’ through the use of one term and its possible objective references. The selected term is ‘pile’: a heap of objects stacked up to form a column or an entity. ‘A Portfolio of Piles’ is a photographic documentation of different kinds of heaps: piles of wood, stones, boats, tires, containers, shoes, cars, fruit, sheets of paper, chains, basins, etc. Its significance does not lie in the selection of arguments, but in the proof offered by the selected theme. The book is accompanied by a map of the city in which the piles were found (noted in a list of addresses). The map acts as the mental and visual remains of the piles. Baxter, having recognized the nature of these piles, ‘cannot guarantee that all the piles will remain at these addresses and in those conditions.’ He verifies the physical nature of the term, declares its abstraction through a real iconography, making it vanish totally” (Celant). Inscribed in ink by Iain Baxter on an inside flap of the portfolio.

[Vancouver] (Fine Arts Gallery, University of British Columbia), 1966. $2,500.00 Guest, Tim & Celant, Germano: Books by Artists (Toronto, 1981), p. 95; University of British Columbia Fine

Arts Gallery: You Are Now in the Middle of a N.E. Thing Co. Landscape: Works by Iain and Ingrid Baxter 1965-1971 (Vancouver, 1993), p. 58f.; Fleming, Marie: Baxter.2: Any Choice Works (Art Gallery of Ontario, 1982), p. 37ff., illus. p. 39

48 NEMOGUCE. /Nemogucé./ L’impossible. (2), 136, (4)pp. Prof. illus. Lrg. 4to. Pink wraps., printed in black. The

most celebrated, and most comprehensive publication of Serbian surrealism, edited by Marko Ristic. Texts by Milan Dedinats, Mladen Dmitrijevic, Petar Popovic, Oskar Davico, Vane Zivadinovic-Bor, and Aleksandar Bucno, as well as Paul Éluard, Benjamin Péret, René Char, André Breton, Louis Aragon, André Thirion and


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others. Illustrations by Vane Bor, Djordje Jovanovic, Oskar Davico, Djordje Kostic, Vane Zivanovic-Noe, Rade Stojanovic, Marko Ristic, Nikola Vuco.

‘Outside France, apart from Belgium...the first countries to organize official surrealist groups were those in Central Europe and the Balkans--the countries where French influence was strongest between the two World Wars, and which had the closest ties with Paris.... In Yugoslavia, a properly constituted surrealist group existed, and in 1930 published a collection of texts and illustrations under the title of ‘Nemogoutché’ (‘The Impossible’) at the ‘Surrealist Press’ in Belgrade. This publication, which included articles by French surrealists with whom they were in correspondence... was the ‘first collective manifestation of Surrealism in Yugoslavia.’ Its appearance was not dissimilar to that of ‘La révolution surréaliste,’ and it featured a number of unusual photographs, some executed in Paris, and reproductions of pictures in tragic tones by Vane Bor, others by Zivanovitch-Noe very much influenced by André Masson, and drawings by Stoyanovitch, Jovanovitch, and Davitcho” (Marcel Jean). The double-page title composition, printed in red and black, is a work of haunting beauty. An exceptionally fine copy.

Beograd (Nadrealistichka Izdanja/ Éditions surréalistes), 1930. $8,500.00 Jean, Marcel: The History of Surrealist Painting (London, 1960), p. 259; Biro/Passeron p. 299; Benson,

Timothy O. (ed.): Central European Avant-Gardes: Exchange and Transformation (Los Angeles, 2002), p. 291f.; La planète affolée: Surréalisme, dispersion et influences, 1938-1947 (Marseille, 1986), p. 251; Milano p. 650

49 NEUE JUGEND. WOCHENAUSGABE. NR. 1, MAI 1917 (23. MAI 1917). Mitarbeiter: Friedrich Markus

Huebner, Johannes Reinelt, George Grosz, Richard Huelsenbeck, Franz Jung, Max Herrmann, Helmut Herzfeld [i.e. John Heartfield]. (4)pp. (single sheet, folding), printed in red and black. 555 x 450 mm. (21 7/8 x 17 5/8 inches). Tabloid format, printed in black and red. Large folio. Texts by Richard Huelsenbeck, Friedrich Markus Huebner, et al. One of only two issues constituting the second series of “Neue Jugend,” both of them extremely rare due to their gigantic and perishable format, among other things. This issue features Richard Huelsenbeck’s “Der neue Mensch,” an exalted, Nietzsche-inspired prose-poem/manifesto which was the author’s first contribution to Berlin Dada. The powerful black and red typography is by John Heartfield. Multiple foldlines; a remarkably fresh copy, clean and in fine condition. Extremely rare.

Berlin-Halensee (Malik-Verlag), 1917. $12,500.00


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Hermann 278a; Berlin: Malik 3; Siepmann A3; Raabe 30; Raabe/Hannich-Bode 120.17; Dada Global 23; Almanacco Dada 98; Bergius p. 390; Tendenzen 3.154; Düsseldorf 461; Pompidou: Dada 1387; Washington: Dada p. 429; Heller, Stephen: Merz to Emigre and Beyond (London/New York, 2003), p. 76ff. (illus.);

50 PARIS. SALLE GAVEAU. Festival dada. Mercredi 26 mai 1920 à 3 h, après-midi. Programme. Handbill

poster, printed in black on pale green stock, overprinted in orange with an elaborate dada mechanomorphic drawing by Picabia (and additional text). On the verso: catalogue of the Dada publishers and gallery Au Sans Pareil. 350 x 250 mm. (13 5/8 x 9 3/4 inches). Design by Francis Picabia and Tristan Tzara. On the program (which is headlined in orange with the announcement “Tous les Dadas se feront tondre les cheveux sur la scène!”) are featured “le sexe de dada,” “le célèbre illusioniste” by Philippe Soupault, “le nombril interlope, musique de Georges Ribemont-Dessaignes, interprété par Mlle. Marguerite Buffet,” “festival manifeste presbyte, par Francis Picabia, interprété par André Breton et Henri Houry,” “le rastaquouère” by Breton, “la deuxième aventure de monsieur Aa l’antipyrine” by Tristan Tzara, “vous m’oublierez, sketch par André Breton et Philippe Soupault,” “la nourrice américaine, par Francis Picabia, musique sodomiste interprétée par Marguerite Buffet,” “manifeste baccarat” by Ribemont-Dessaignes, enacted by Soupault, Breton and Berthe Tessier, “système DD” by Louis Aragon, “je suis des javanais” by Picabia, “poids public” by Paul Éluard, and “vaseline symphonique,” by Tzara, among other things; foxtrots were played on the famous organ, accustomed to Bach; Ribemont-Dessaignes performed his “danse frontière,” wrapped in a large cardboard funnel oscillating at its tip. The audience, pettishly put out by the Dadas failing to have their heads shaved as promised, pelted the participants with tomatoes, rotten eggs, bread rolls, and, from one corner, veal cutlets, a novel touch. Tiny tears at edges, with a few small losses at bottom; a very fine, comparatively bright copy, superior to those exhibited in the 2005/2006 exhibitions, particularly rare with such strong color.

Paris, 1920. $9,500.00 Documents Dada 20; Dada Global 229; Almanacco Dada p. 607; Sanouillet, Michel: Dada in Paris

(Cambridge, 2009), no. 768; Motherwell/Karpel 45, p. 111ff., illus. p. 179; Dachy p. 136 (illus. in color); Dachy: Archives Dada/Chronique p. 422 (illus. in color); Düsseldorf 257; Zürich 443; Tendenzen 3.112; Pompidou 1472, illus. p. 431; Washington: Dada pl. 360


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51 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: Dada in Paris

(Cambridge, 2009), no. 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.


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52 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


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53 New York. Betty Parsons Gallery. “JACKSON POLLOCK. Betty Parsons Gallery. 15 East 57th St. Nov. 26 -

Dec. 15, 1951. Opening 4 - 7.” Double-sided poster (O’Connor & Thaw 1090 [P26]), printed by Acme Press, New York, in an edition of unknown size. Serigraph (per O’Connor & Thaw) or offset lithograph, in black on cream wove stock. 431 x 558 mm. (16 15/16 x 22 inches. On the verso, an abstract composition by Pollock filling the full sheet, with serigraphed or lithographed signature at lower left. Pollock himself designed and executed this poster, made for the important exhibition of 26 November - 15 December 1951, Pollock’s last with Betty Parsons: 21 oils, watercolors and drawings. Clement Greenberg wrote, “Jackson Pollock’s problem is never authenticity, but that of finding his means and bending it as far as possible toward the literalness of his emotion. Sometimes he overpowers the means but he never succumbs to it. His recent show at Parsons’ reveals a turn but not a sharp change of direction; there is a kind of relaxation but the outcome is a newer and loftier triumph. All black and white, like Kline’s, and on unsized and unprimed canvas, his new pictures hint, as it were, at the innumerable unplayed cards in the artist’s hand. And also, perhaps, at the large future still left to easel painting...” (Partisan Review, Jan.-Feb. 1952). The edition of this poster was folded by the gallery for insertion into the catalogue of the exhibition. This example has been expertly flattened and conserved, and the foldlines are scarcely visible. An extremely fine copy, very crisp and clean.

New York, 1951. $4,800.00 O’Connor & Thaw 1090 (P26)


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54 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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55 DIE ROTE ERDE. Herausgegeben von Karl Lorenz. Zweite Folge, Erstes Buch. 200pp. Prof. illus., including

25 full-page original woodcuts and 5 full-page original linocuts; 1 tipped-in color plate. Title woodcut by Heinrich Stegemann. Lrg. 4to. Wraps., gilt. One of 450 numbered copies, from the limited edition of 500 in all. Original prints by Willi Tegtmeier (6), Karl Opfermann (6), Heinrich Stegemann (7, including title), Josef Achmann (6), and Fortuna Brulez-Mavromati (6). Literary contributions by Karl Lorenz, Kurt Heynicke, Kurt Bock, Friedrich Wolf, Georg Britting, Paulfried Martens, H.H. Stuckenschmidt, Alexander Graf Brockdorff, et al. Two series 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). Covers a bit worn, slightly bumped.

Hamburg (Adolf Harms), 1922. $1,250.00 Söhn VI.67201; Lang p. 72f.; 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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56 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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57 (SANDER, AUGUST) Portraits of Artists by August Sander. / Künstlerporträts von August Sander. 1f.

(colophon on board), 12 original silver print photographs, handprinted from the original glass plates on Portriga photographic paper and embossed with the artist’s seal, each tipped into heavy passepartout mount, and signed, numbered and dated by Günther Sander on the back of the mount. Photographs: ca. 290 x 210 mm. (11 1/8 x 8 1/8 inches). Mounts 547 x 447 mm. (21 1/2 x 17 1/2 inches). Lrg. folio. Publisher’s brown cloth dropdown box. One of 75 numbered copies from the limited edition of 81 in all, including 6 artist’s proofs. The photographs were printed by Günther Sander, the artist’s son and assistant.

The subjects are as follows: 1. The Painter Gottfried Brockmann, 1924. 2. The Painter Willi Bongartz, 1924. 3. The Painter Gerd Arntz, 1929. 4. The Painter Anton Räderscheidt and Marta Hegemann, 1924. 5. The Painter Franz Wilhelm Seiwert, 1928. 6. The Dadaist Raoul Hausmann, Posing, 1930. 7. The Dadaist Raoul Hausmann, Sitting, 1930. 8. The Painter Heinrich Hoerle, 1929. 9. The Painter Otto Dix and Wife, 1926. 10. Heinrich Hoerle Painting the Boxing Champion Hein Domgörgen, 1929. 11. The Painter Otto Freundlich, 1929. 12. The Painter Jankel Adler, 1929. A fine copy, as issued. München (Schirmer Mosel), 1974. $9,500.00


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58 SCHWITTERS, KURT. Merz. [No.] 4. Banalitäten. Juli 1923. Redaktion des Merzverlages: Kurt Schwitters.

(16)pp. (paginated 33-48). 9 line-drawn and halftone illus. Contents printed on pink stock. Lrg. 8vo. Orig. wraps., with typographic composition by Schwitters. Contents printed on pink stock. Containing Schwitters’ “Banalitäten,” Arp’s “Die Hausernkaserne,” Hausmann’s “Chaoplasma,” and other texts and verse by Ribemont-Dessaignes, Tzara, Malespine and others. Illustrations by and after Picasso (‘Sacipos’), Rietveld, Schwitters, Oud and Van Doesburg, Segal, Arp, Moholy-Nagy, et al. Slightest wear to wrappers, two very small clean marginal tears within: a clean, crisp and attractive copy.

Hannover (Merzverlag), 1923. $8,000.00 Schmalenbach/Bolliger 235; “Typographie kann unter Umständen Kunst sein”: Kurt Schwitters Typographie

und Werbegestaltung (Wiesbaden, 1990) 7; Wilpert/Gühring 6; Raabe/Hannich-Bode 273.12; Heller, Stephen: Merz to Emigre and Beyond, p. 61ff.; Gershman p, 51; Dada Global 110; Ades p. 123ff., 6.19; Almanacco Dada 91; Gershman p. 51; Motherwell/Karpel 78; Verkauf p. 180; Rubin 469; Dada Artifacts 71; Pompidou Dada 1385, illus. pp. 687, 901; Washington: Dada p. 169ff.


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59 (SCHWITTERS) Vischer, Melchior. Sekunde durch Hirn. Ein unheimlich schnell rotierender Roman. (Die

Silbergäule. Band 59/61.) 49, (3)pp. Sm. 4to. Orig. wraps. With the magnificent dada cover design by Kurt Schwitters, printed in black on the buff-yellow stock. A superb copy, extremely fresh.

Hannover (Paul Steegemann), 1920. $1,500.00 Meyer, Jochen: Paul Steegemann Verlag 1919-1935/ 1949-1955: Sammlung Marzona (Sprengel Museum

Hannover, 1994), no. 42; Schmalenbach/Bolliger p. 22; Dada Global 249; Motherwell/Karpel 129a; Verkauf p. 183; Dada Artifacts 64; Pompidou: Dada 1315 (illus. p. 909); Raabe/Hannich-Bode 318.1 (illus.)


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60 [391. NO. 15.] LE PILHAOU-THIBAOU. Supplement illustré de “391.” (16)pp. Tabloid folio. Self-wraps.

Contributions by ‘Funny Guy’ Francis Picabia, Jean Crotti, Ezra Pound, Guillermo de Torre, Cocteau, Duchamp (as Rrose Sélavy: “Si vous voulez une règle de grammaire,” being extracts from a letter to Picabia of January 1921, using puns to ridicule grammatical rules), Georges Auric, Céline Arnauld, Pierre de Massot, Clément Pansaers, Gabrielle Buffet, Paul Dermée, et al.

“‘Le Pilhaou-Thibaou’ (Editor: Funny Guy) was announced as an ‘illustrated supplement of “391”’ but the only illustration it contains is an extremely rudimentary drawing by Picabia (from ‘Poèmes et dessins de la fille née sans mère’) on the back cover: ‘Monument à la bêtise latine.’ Picabia considered it no. 15 of the ‘391’ series, temporarily changing the name because of ‘391’s close association with Paris Dada. It is less aggressive in both tone and appearance than the preceding ‘391’s; the typography is still very varied, and some pages look like posters, there are still banner headlines, aphorisms running round the page and texts facing in different directions but the over-all look is more static.

“Neither Ribemont-Dessaignes nor any of the ‘Littérature’ group, naturally, appear, but Picabia gathered new adherents like Ezra Pound and Pierre de Massot. The two poems by Pound were the first to be translated into French.... ‘Pilhaou-Thibaou’ also contains the first mention of Jean Crotti’s movement ‘Tabu,’ restricted to himself and his wife Suzanne Duchamp. ‘And besides DADA has no importance because I am TABU-DADA or DADA-TABU,’ to which Picabia was party as he was all for sowing maximum confusion round Dada” (Ades). Central fold, as usual; discreet small stamp; a fine copy.

Paris, 1921. $5,000.00 Ades pp. 146f., 153; Gershman p. 54; Almanacco Dada 160; Chevrefils Desbiolles p. 316; Sanouillet: Dada in

Paris (Cambridge, 2009), no. 740; Motherwell/Karpel 86; Verkauf p. 183; Pompidou Dada 1340, illus. p. 72.1; Düsseldorf 250; Zürich 396; Milano p. 648


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61 TZARA, TRISTAN. La première aventure céléste [sic] de Mr. Antipyrine. Avec des bois gravés et coloriés par

Marcel Janco. (Collection Dada.) (16)pp. 8 original color linocuts, of which 6 full-page in teal blue and black, and 2 other in black (front cover and cul-de-lampe illustration), printed on uncut fine laid paper. Image size: 170 x 90 mm. (6 3/4 x 3 1/2 inches). Sm. 4to. Orig. grey wraps., with handcut typography on front cover, reproduced from a woodcut design by Janco. Dated 28 July 1916 in the justification, this is the first publication of the Collection Dada and possibly the first Dada imprint; it is also the first book of Tristan Tzara, then nineteen years old. Mr. Antipyrine takes his name from a now forgotten patent medicine which Tzara found helpful for his migraines (and not, as is sometimes said, from a type of fire extinguisher). Its contents contain a selection of his early verse, African chants, and the first Dada manifesto, included by Tzara under his own name rather than that of one of his characters (“Dada est notre intensité.... Dada est l’art sans pantouffles ni parallèle...”). Wraps. lightly worn, with a few nearly indetectible expert mends. An historic early presentation copy, inscribed by both Tzara and Janco on the inner front cover: "Sympathie + affection/ Tristan Tzara/ [flower]/ Zürich I/ Fraumünsterstrasse 21/ Centralhof/ [flower] (the foregoing in turquoise ink, and all but the first line in capitals); "Considération/ Marcel Janco" (in black ink, adjacent). The text also contains, on the recto of f. 7, two autograph corrections in black ink, in the hand of either Janco or Heuberger, the printer. Tzara's address here is at the Pension Altinger, where he shared lodging with Janco, who was then enrolled at the Technische Hochschule. By 1918, Tzara had moved to the Hotel Limmatquai.

Zürich (Collection Dada/ Imprimerie J. Heuberger), 1916. $25,000.00 Harwood 1; Berggruen 1; Ilk, Michael: Marcel Janco: Das graphische Werk (Ludwigshafen, 2001), CR1-8, pp.

11ff, 77f.; cf. Cernat, Paul: Avangarda româneasca si complexul periferiei: primul val (Bucharest, 2007), p. 111; Gershman p. 43; Dada in Zürich 81; Almanacco Dada illus. p. 461; Sanouillet, Michel: Dada in Paris (Cambridge, 2009), no. 626; Motherwell/Karpel 414; Verkauf p. 183; Dachy p. 38 (color illus. p. 37); Dada Spectrum p. 275; Dada Artifacts 9; Düsseldorf 107; Zürich 348; Pompidou: Dada 1309, illus. pp. 270, 537;


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Washington: Dada pl. 6; Franklin Furnace 65; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, pl. 134; Tendenzen 3/45; The Artist and the Book 135; Castleman p. 176; Manet to Hockney 39

62 (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, and here with a fine original drawing by Bryen in black ink, signed with initials, on the front flyleaf.

“[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. Small stamp on inside front cover; text browned, as usual; a fine copy.

Paris (Collection Orbes), 1937. $2,750.00 Biro/Passeron p. 70


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63 WATKINS, CARLETON. Washington Column, 2052 Feet, Yosemite. No. 841. Watkins’ New Series.

Mammoth plate albumen print, mounted. Image size: 533 x 387 mm. (21 x 15 1/4 inches). Photographer’s letterpress label, with title, series number and title, and his studio address (427 Montgomery Street, San Francisco) affixed to the mount. New series print, circa 1878-1881, from the original glass-plate negative of circa 1865-1872.

Two versions of the photograph are known. The first, “Washington Column, Mirror View, Yosemite” is variously dated circa 1865-66 (Naef & Hult-Lewis, Palmquist) and circa 1872 (Nickel). This second one is dated 1878-1881 (Naef & Hult-Lewis). Given the point-by-point correspondence of so many transitory details in the two images, Naef & Hult-Lewis’s assertion that the second version “represents a return to the site of an earlier picture,” in which “Watkins was able to re-create the foreground elements almost exactly” may be open to question. If, instead, all prints were actually made from one “Old Series” negative that Watkins managed to retain, this may raise dating issues for the chronology of other Watkins negatives as well.

Provenance: The Old Bookstore, San Francisco, 1978; Gordon L. Bennett (with his collector’s stamp on the verso of the mount). This print is cited in Weston Naef’s and Christine Hult-Lewis’ “Carleton Watkins: The Complete Mammoth Photographs.”

San Francisco, circa 1878-1881. $185,000.00 Naef, Weston & Hult-Lewis, Christine: Carleton Watkins: The Complete Mammoth Photographs (Los Angeles:

J. Paul Getty Museum, 2011), p. 102, fig. 231; Nickel, Douglas R., et al: Carleton Watkins: The Art of Perception (San Francisco: San Francisco Museum of Modern Art, 1999), cat no. 122, pl. 35; Palmquist, Peter E.: Carleton E. Watkins: Photographs 1861-1874 (San Francisco, 1989), pl. 52


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64 WESTON, EDWARD. Pepper No. 30. Gelatin silver print, signed, titled, dated and inscribed by Weston with

the negative number, in pencil, on the verso of the mount; initialled and dated 1930 on the recto of the mount. Image size: (238 x 190 mm. (9 1/2 x 7 1/2 inches). Printed by the artist before 1949. Provenance: Acquired directly from the artist by a Milwaukee private collector, 1949.

“The glorious new pepper Sonya brought me has kept me keyed up all week and caused me to expose eight negatives:--I’m not satisfied yet!... But the pepper is worth all time, money, effort. If peppers would not wither, I certainly would not have attempted this one when so preoccupied. I must get this one today: it is beginning to show the strain and tonight should grace a salad. It has been suggested that I am a cannibal to eat my models after a masterpiece. But I rather like the idea that they become a part of me, enrich my blood as well as my vision. Last night we finished my now famous squash, and had several of my bananas in a salad...yet something kept me from taking it to the kitchen, the end of all good peppers. I placed it in a funnel, focussed with the Zeiss, and, knowing just the viewpoint, recognizing a perfect light, made an exposure of six minutes.... I have a great negative,--by far the best!” (Edward Weston, Daybooks II).

Examining aspects of modernism in Weston’s work after 1927, Karen Quinn has discussed the influence of Brancusi, whose photographs of sculpture Weston saw before he saw the sculptures themselves in the collection of Walter and Louise Arensberg. Replying to a review by Ansel Adams in 1931, “Weston responded: ‘No painter or sculptor can be wholly abstract. We cannot imagine forms not already existing in nature,--we know nothing else. Take the extreme abstractions of Brancusi: they are all based upon natural forms. I have often been accused of imitating his work,--and I most assuredly admire, and may have been ‘inspired’ by it,--which really means I have the same kind of (inner) eye, otherwise Rodin or Paul Manship might have influenced me! Actually, I have proved, through photography, that Nature has all the “abstract” (simplified) forms Brancusi or any other artist can imagine. With my camera I go directly to Brancusi’s source. I find ready to use, select and isolate, what he has to ‘create.’ The full impact of Weston’s acquaintance with the actual work of Brancusi surfaced in the still lifes he worked on through summer and fall 1930. Certainly Weston’s tendency to reduction could be traced to the various influences of many of the modernists he had already


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seen, but in 1930 he seems to have had a surge of interest in the sculptural forms of his still lifes. The distilled forms of the great ‘Pepper,’ for example, were made after his first visit to the Arensbergs” (Quinn, in Stebbins et al).

Carmel, 1930/ before 1949. $235,000.00 Stebbins, Theodore E., et al: Edward Weston: Photography and Modernism (Boston, 1999), p. 89f.; Hochberg,

Judith G.: Edward Weston: Life Work: Photographs from the Collection of Judith G. Hochberg and Richard P. Mattis (Revere, Pa., 2003) pl. 43; Conger, Amy: Edward Weston: Photographs from the Collection of the Center for Creative Photography (Tucson, 1992), fig. 607/1930

65 WOLMAN, GIL. Duhring, Duhring. (64)pp. Most prof. illus. Tabloid folio. Self-wraps. Signatures loose, as

issued. Wolman’s second livre d’artiste, published in the same year as “L’homme séparé.” “In October 1979, he exhibited all 64 plates of ‘Duhring, Duhring,’ an appropriation of Engels’ ‘Anti-Dühring’ text, from which he excerpted a few words--nouns, individually enclosed in transparency mounts and arranged at regular intervals on the separate images of the heads of miscellaneous characters. In passing, they included Isou, mixed with Brezhnev and heads drawn by Wolman, thus defined by the noun associated with them, except that the photos recurred in a changed order and with different words. Once again, Wolman produced this large coloured wall fresco and a black-and-white version on cheap paper; a book with a tabloid or punk fanzine look about it, quite the opposite of the small edition of 150 of ‘L’homme séparé.’ Keen for the book to be widely distributed, he printed an edition of 5,000. Nearly all these copies were destroyed in the act of arson committed on 28 November 1980 i the Galerie Speiss warehouse, where ‘L’arbre séparé’ was also in storage. Paradoxically the work that had been promised a wide distribution would once again be ‘underground’” (Acquaviva/Mar). Very slightly browned at spine; a fine copy.

[Paris (The Artist), 1980]. $2,800.00 Acquaviva, Frédéric & Mar, Bartomeu (editors): Gil J Wolman : I Am Immortal and Alive (Museu d'Art

Contemporani de Barcelona, 2010), pp. 36f., 132


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66 Prince, Douglas. FRANCESCA WOODMAN in Her Studio, 1976-1978. (4)pp., 12 archival digital pigment print

photographs, each signed, numbered, dated and titled in pencil on the verso. Image size: 233 x 233 mm. (9 x 9 inches). Sheet size: 355 x 355 mm. (14 x 11 inches). Sm. folio. Portfolio (black boards with mounted cover panel). All contents loose, as issued. One of 12 numbered copies, from the limited edition of 12 with three artist’s proofs. Printed by the artist on Caslon Infinity paper with an Epson 7900.

Portraits of Woodman in her Providence studio, made by Prince on five visits between 1976 and 1978, while teaching photography at RISD. “While I never had Francesca in a class, I came to know her as a friend and fellow artist.... I made many environmental portraits of people I knew in Providence, including students. I was particularly interested in photographing Francesca because her unique ‘lifestyle’ was such rich territory and integrated part of her art-making. Her clothing and studio situation incorporated the richness of Victorian textures coupled with the ever-present evidence of entropy. This was a genuine projection of her persona and not some ‘style’ or device put together as photographic prop for her own photography” (from the introduction).

N.p. (Douglas Prince), 2012. $4,000.00


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67 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, notament, 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.

Kobe (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


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68 (YANASE) Andreyev, Leonid. Kuroi kamen [Black Mask]. Translation by Masao Yonekawa. (Senku Geijutsu

Sosho. 11.) 122, (4)pp. Frontis. portrait photograph. Dec. wraps. designed by Yanase, printed in red, violet and black. Book design by Yanase Masamu, with fine, complex abstract compositions by him on the front cover (printed in red, violet and black) and on the title-page (in green and black). In 1924-1925, Kinseido published a number of modernist Western writers in its “Senku Geijutsu Sosho” series, including Marinetti’s “Denki ningyo” and Capek’s “Robotto” (both designed by Kanbara Tai), and other works by Pirandello, Hasenclever, Toller, and O’Neill. Pale trace of staining, generally very fresh and crisp.

Tokyo (Kinseido), 1924. $1,200.00

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