ARS LIBRI ELECTRONIC LIST #84 DADA: BOOKS, DOCUMENTS, REVIEWS

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Electronic List 84: Dada: Books, Documents, Reviews

1 (ARP) Hugnet, Georges. La sphère de sable. Illustrations de Jean Arp. (Collection “Pour Mes Amis.” II.) 23, (5)pp. 35

illustrations and ornaments by Arp (2 full-page), integrated with the text. Publisher’s blue-grey wraps., printed in red and blue. Glassine d.j. Contents loose, as issued. One of 176 numbered copies on pur fil, from the limited edition of 199 in all, reserved for friends of the collaborators. Presentation copy, inscribed on the half-title “à Georges Charaire/ ami fidèle/ de tout coeur/ Georges Hugnet.” Charaire (1914-2001) was a well-connected artist, poet and dramaturge in Montparnasse and, later, Antibes. A fine copy.

Paris (Robert-J. Godet), 1943. $1,850.00 Rolandseck 124; Centre Georges Pompidou: Pérégrinations de Georges Hugnet 93; Skira 4; Basel 10

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2 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

3 DADA. NO. 7: DADAPHONE. Editor: Tristan Tzara. (8)pp. 10 illus. (halftone photographs). 4to. Self-wraps., stapled as

issued, with front cover design by Picabia. Contributions by Tzara, Picabia (“Manifeste Cannibale Dada”), Breton, Éluard, Ribemont-Dessaignes, Soupault, Cocteau,

Dermée, Aragon, Arnauld, Evola and others. The penultimate issue of “Dada,” brought out by Tzara in March 1920, at a moment of inspired Dada activity in Paris, just before the Manifestation Dada at the Maison de l’Oeuvre (March 27), the first appearance of “Cannibale” (April), the Festival Dada at the Salle Gaveau (May). Reminiscent of “391” and with a strong Parisian bias along “Littérature” lines (like “Dada” 6), “Dadaphone”’s visual interest is mostly in its insistent typographic density, rather than its illustration--though it does include a beautiful abstract Schadograph, purporting to show Arp and Serner in the Royal Crocodarium in London, as well as the spiralingly zany Picabia drawing on the front cover. A remarkable copy including an example of the broadside "Manifestation Dada," designed by Tristan Tzara, originally stapled in the middle of the issue, as is sometimes found. A great succès de scandale, the Manifestation Dada was the third, and most elaborate, of three Dada demonstrations after the arrival of Tzara in Paris, precipitating plans for the Festival Dada. This broadside handbill, printed on pink stock, with red mechanomorphic line drawings by Picabia superimposed over the text, is one of the best ephemera of Paris Dada, and among the rarest. In addition to providing a complete program of the performances (works by Dermée, Ribemont-Dessaignes, Picabia, Aragon, Breton and Soupault, Éluard, Tzara and others), it carries advertisements for the forthcoming "Dadaphone," "391" no. 12, and "Proverbe," printed sideways at the right edge, printed in red.Oblong sm. folio. 266 x 373 mm. (10 7/16 x 14 11/16 inches).

Both the issue and the broadside show a horizontal foldline at the center from mailing, indicated by the remnant of a cancelled postage stamp on the front cover of the review, above the title. The issue itself is soiled, particularly on the cover, with some intermittent staining; the broadside bears two small rust stains and little losses at the site of the staples (now lacking), but is otherwise well preserved, the pink tone of the paper fairly strong.

Paris (Au Sans Pareil), 1920. $9,500.00 Dada Global 174; Ades p. 65; Almanacco Dada 32; Gershman p. 49; Admussen 70; Chevrefils Desbiolles p. 284; Sanouillet:

Dada in Paris (Cambridge, 2009), no. 682.7; Motherwell/Karpel 66; Rubin 462; Verkauf p. 178; Reynolds p. 110; Dada Artifacts 118; Zürich 374; Pompidou: Dada 1363, illus. p. 315; Washington: Dada pl. 363

Cf., re “Manifestation Dada”: Documents Dada 14; Dada Global 226; Ades 8.42; Almanacco Dada p. 607 (illus.); Sanouillet: Dada in Paris (Cambridge, 2009), no. 780; Dada Artifacts 115; Motherwell/Karpel p. 176f. (with text from Georges Hugnet),

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p. 191 (illus.); Chapon p. 132; Rubin p. 458; Andel: Avant-Garde Page Design 1900-1950 no. 141; Düsseldorf 258; Zürich 441; Pompidou: Dada 1472, illus. p. 738, 770

4 (ERNST) Arp, Hans. Gedichte: Weisst du schwarzt du. Fünf Klebebilder von Max Ernst. 32pp. 5 plates of collages of

wood engravings by Ernst. Sm. 4to. Silver foil wraps. D.j., with collage cover design by Max Ernst (recapitulating frontispiece). Vorzugsausgabe: one of 50 hand-numbered copies signed by Arp in the colophon, from the limited edition of 250 in all. Only these fifty copies were signed by Arp. Arp’s nine poems, dating from 1924, were illustrated by Ernst in 1929. This is one of the most exquisite of Ernst’s illustrated books, and typographically exceptionally elegant. Discreet stamp inside front cover. A fine copy.

Zürich (Pra Verlag), 1930. $9,000.00 Hugues/Poupard-Lieussou 9; Spies/Metken 1672-1676; Spies: Max Ernst Collages 387-391; Rainwater 27; Stuttgart, Institut

für Auslandsbeziehungen: Max Ernst Books and Graphic Work 12; Rolandseck 96; Dada Global 269; Motherwell/Karpel 189; Winterthur 178; Franklin Furnace 78; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, no. 426

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5 (ERNST) Péret, Benjamin. Au 125 du boulevard Saint-Germain. Conte. Avec une point-sèche de Max Ernst et trois

dessins de l’auteur. (Collection “Littérature.”) (54)pp. 1 original drypoint etching by Ernst on chine (tipped-in frontispiece). 3 full-page illustrations by Péret in text. Sm. 8vo. Dec. wraps., with small illustration by Ernst on front cover. Glassine d.j. One of 50 press copies on vergé, designated P, apart from the edition of 131 numbered copies (of which A on chine, I-X on japon, 1-20 on hollande van Gelder, and the balance on vergé).

The first book illustrated by Max Ernst with an original print, “Au 125 du boulevard Saint-Germain” also has the distinction of containing one of only three original prints made by Ernst during the decade of the 1920s. “In 1923, the year before publication of André Breton’s ‘Manifesto of Surrealism,’ Ernst made three collage-inspired original prints, his entire print production for the decade of the 1920s.... The third and most intriguing print of 1923 is a drypoint issued as a frontispiece to Benjamin Péret’s ‘Au 125 du boulevard Saint-Germain’. Showing a nude man running, or hopping, in a small, fish-filled room, it refers obliquely to Péret’s automatist texts.... It also matches more closely in its diminutive size and hatching technique the collage-derived illustrations of ‘Répétitions’ and ‘Les malheurs des immortels’ than the other two prints of the same year. With its stage-set interior and detailed modeling, it recalls the illustration to the poem ‘nul’ in ‘Répétitions.’ Just as the process of photomechanical reproduction had fused the seams of the cut-and-pasted elements in the illustration and had cancelled out their discreteness, so the time-worn system of fine drypoint lines that Ernst had utilized to delineate the composition of his print onto a copperplate masked its collage derivation. Simultaneously, the linear hatchings of the drypoint summarize the style of the hackneyed engravings the print imitates and parodies. Ernst convinces us of the strange poetic reality of his scene through the use of inexpressive means, and through a technique previously associated with the depiction of the observable world. Ernst’s prints of 1923 were the only significant examples of traditional printmaking realized in accord with concepts advocated by the future Surrealists during the formation of their movement. Corresponding in method to his great proto-Surrealist paintings of 1921-24, the prints have an originality as images that is striking and undeniable” (Robert Rainwater). Presentation copy, inscribed on the front flyleaf “Au baron Éric de Haulleville/ le pied levé vers le ciel/ tombe comme une pomme/ Bien à vous/ Bernjamin Péret/ 23 novembre 1923,” and with the calling card of Paul Éluard loosely inserted.

The Belgian poet Éric de Haulleville (1900-1941) published his first book of verse in this year, brought out by Franz Hellens of “Le disque vert.” Light even browning, wraps. slightly worn (back cover with tiny loss at foot). Rare.

Paris, 1923. $18,500.00 Spies/Leppien 9; Hugues/Poupard-Lieussou ; Rainwater 16, pp. 11f., 96f. ; Stuttgart, Institut für Auslandsbeziehungen: Max

Ernst Books and Graphic Work 5; Almanacco Dada p. 503; Sanouillet: Dada in Paris (Cambridge, 2009) no. 450; Lista: Dada libertin & libertaire, p. 242; Verkauf p. 181; Gershman p. 32; Gershman Surrealist Revolution in France p. 143; Milano p. 648f.

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6 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

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7 (HAUSMANN, RAOUL) Der Sturm. Halbmonatsschrift für Kultur und die Künste. Herausgeber und Schriftleiter: Herwarth

Walden. Vierter Jahrgang, Nummer 186/187. November 1913. (8). (paginated 129-136). Front cover illustration reproducing a drawing by Kandinsky. Folio. Self-wraps., loosely secured with silk cord in later dec, boards.

This copy with the bold ownership inscription of Raoul Hausmann at the top of the front cover (“RHaussmann/ 14” in ink), and with two lines of annotation by him at the foot of p. 132, commenting on a text by the nineteenth-century Catholic philosopher and critic Ernest Hello, “Das goldene Kalb.” Hello writes ‘If pieces of gold could respond to the love they arouse, they would surely be touched.’ Hausmann responds “nein, eben nicht: soviel vornehmer noch ist Gold als der Geizige, dass es wieder Rührung noch irgend eine Regung menschlicher Art kennen wird” (‘No, precisely not: so much more noble is gold than the miser that it knows neither compassion nor any kind of human emotion’). Hausmann’s graphic work at this moment, Expressionist in style, still addressed biblical and Christian subjects not far removed from Hello’s spheres of interest. Centrally involved in the “Sturm” milieu, Hausmann had published his first two essays in “Der Sturm” the year before, in June and November of 1912.

Other texts in this issue include Franz Marc’s “Kandinsky,” poems by Josef Tress, Artur Babillotte’s “Die Schwermut des Geniessers,” Herwarth Walden’s “rbr --- brr --- r,” Alfred Richard Meyer’s “Prag,” and Albert Ehrenstein’s “Literatur.” Neatly reinforced with linen tape at spine. Slight darkening at central fold, a little chipping at edges; generally a clean and fresh copy, the paper strong.

Berlin, 1913. $1,850.00 Raabe 1; Raabe/Hannich-Bode 322.18; Schlawe p. 37ff.; Cf. Benson, Timothy O.: Raoul Hausmann and Berlin Dada (Ann

Arbor, 1987), p. 17ff.; IVAM Centre Julio González: Raoul Hausmann (Valencia, 1994), p. 283ff.

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8 HUELSENBECK, RICHARD. En avant Dada. Eine Geschichte des Dadaismus. 1.-5. Tsd. (Die Silbergäule. Band 50/51.)

44, (4)pp. Lrg. 8vo. Orig. wraps., with elaborate dada typographic composition, printed in red. “[An] extraordinary positioning of German Dada in 1920. In it Huelsenbeck relates his perspective on the Zürich Dadaists, the Futurists, the Cubists, and on psychology. Taking a position against Tristan Tzara, he sets up the German position that all art and culture is a fraud, a moral safety valve, and should be renounced; and that one’s ideas should only be transformed into life through action” (Dada Artifacts). A fine copy.

Hannover/Leipzig/Wien/Zürich (Paul Steegemann), 1920. $1,250.00 Dada Global 67; Bergius p. 388; cf. Sanouillet: Dada in Paris (Cambridge, 2009), no. 186a; Dada Artifacts 47; Pompidou

Dada 1249, illus. pp. 505.2, 722; Washington Dada, illus. 85; Motherwell/Karpel 6; Verkauf p. 101; Gershman p. 24; Rubin 118; Düsseldorf 425; Zürich 325;Raabe 8; Raabe/Hannich-Bode 132.8

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

159, (1)pp., 8 plates. Lrg. 8vo. Orig. printed wraps., designed by Huelsenbeck. Issued in the autumn of 1920, just after the close of the Erste Internationale Dada Messe, the ‘Dada Almanach’ was “the first

attempt to give an account of the movement’s international activities, at least in Europe.... Published on the initiative of

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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

10 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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11 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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12 PICABIA, FRANCIS. Jésus-Christ Rastaquouère. Dessins par Ribemont-Dessaignes. (Collection Dada.) 66, (4)pp. 3 full-

page linocuts of drawings by Ribemont-Dessaignes. Sm. 4to. Brown wraps. (not blue, as with the regular issue), with printed label. Glassine d.j.

One of 50 numbered large-paper copies on pur fil Lafuma, from the edition of 1060 in all. Theoretical reflections by Picabia, regarded by Sanouillet as “perhaps the most important Dadaist document of that period: as opposed to other contemporary works that fall into the domain of literary creation, ‘Jésus Christ Rastaquouère’ is--though this is not obvious from its sacrilegious title--an essay on Dadaist ‘philosophy’: an uncommon essay, no doubt, and a disconcerting one, but largely intelligible and overflowing with original ideas on art, literature, and life.... Thanks to ‘Jésus Christ Rastaquouère,’ Dada found itself endowed with the elementary theoretical foundation it had been lacking until then. Even if it fell far short of winning the unanimous approval of all the members of the movement, the book’s brilliant style, nonchalant tone, novel ideas, and above all the breath of lyricism that ran through it, charmed the Parisian avant-garde milieus.”

The text was completed in July 1920, after the demise of “Cannibale.” Though frequently thought to have been published by Au Sans Pareil--Breton having forced René Hilsum’s hand, after he first declined the book--”Jésus Christ Rastaquouère,” was actually published at Picabia’s own expense, and (even while maintaining the “Collection Dada” series statement) was distributed by Jacques Povolozky, at his Librairie-Galerie La Cible.

Borràs notes that “‘Rastaquouère’ (together with its abbreviation, ‘rasta’), which signifies a rather flashy foreigner living on a magnificent scale without any known source of income, was a favorite word and concept of Picabia’s.” A brief introduction is provided by Gabrielle Buffet. Small split at foot of front hinge. Sticker of Jacques Povolozky Éditeur.

[Paris, 1920]. $2,750.00 Dada Global 211; Ades 7.23; Almanacco Dada p. 436; Gershman p. 34; Sanouillet: Dada in Paris (Cambridge, 2009), no.

464, pp. 157f., 165; Fouché, Pascal: Au Sans Pareil (Paris, 1989), p. 22ff.; Biro/Passeron p. 332; Dachy p. 219; Motherwell/Karpel 317; Dada Artifacts 124; Verkauf p. 181; Reynolds p. 69; Düsseldorf 208; Zürich 335; Pompidou dada 1276, illus. pp. 271.7, 744; Borràs p. 214 n.63

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13 PICABIA, FRANCIS. Pensées sans langage. Poème. Précédé d’une préface par Udnie. 119, (3)pp. Wraps., with fine full-

page mechanical drawing by Picabia on the front cover. Fine fitted clamshell box. Picabia’s first Paris Dada publication, dedicated to Gabrielle Buffet, Duchamp, Tzara, and Ribemont-Dessaignes. “The

title...undoubtedly reveals Picabia’s fundamental preoccupation in 1918: thought-poetry, a poetry freed from the servitude of language. In short, an idea-poetry that paralleled the idea-art of works like ‘Music is Like Painting,’ or ‘American Woman’ (in which a magnetic field or bulb represented idea-art proposals) the year before” (Borràs). “I am reading the ‘Pensées sans langage,” wrote Éluard to Tzara in November 1919, “and for me it is though the Marquis de Sade had become a poet I love.” With fictive mention “2. Édition” at base of the front cover. Small Japanese ownership stamp; a fine copy.

Paris (Eugène Figuière, Éditeur), 1919. $2,000.00 Dada Global 209; Ades 7.22, p. 145; Almanacco Dada p. 435; Gershman p. 34; Sanouillet: Dada in Paris (Cambridge,

2009), no. 462; Motherwell/Karpel 321; Dada Artifacts 107; Verkauf p. 181; Düsseldorf 207; Zürich 338; Pompidou: Dada 1277, illus. p. 741; Borràs p. 199; Andel Avant-Garde Page Design 1910-1950, illus. 143

14 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.

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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.

15 PICABIA, FRANCIS. Unique eunuque. Avec un portrait de l’auteur par lui-même et une préface par Tristan Tzara.

(Collection Dada.) 38, (2)pp. 1 line-drawn illus. Printed wraps. One of 1000 numbered copies on vergé bouffant, from the limited edition of 1025. Picabia’s long and rather aggressively flip

nonsense poem, published shortly before the first issue of his scurrilous “Cannibale.” This is one of a handful of classic texts issued in the Collection Dada (Tzara’s ‘Cinéma calendrier du coeur abstrait,’ Breton and Soupault’s ‘Les champs magnétiques,’ and Picabia’s own ‘Jésus-Christ Rastaquouère’ were others) which Hans Richter noted “constitute the high-water mark of literary production in 1920.” Cover slightly soiled. Ex-libris Marcel Bekus.

Paris (Au Sans Pareil), 1920. $1,500.00 Ades 7.24; Dada Global 210; Almanacco Dada p. 436 (illus.); Gershman p. 34; Sanouillet: Dada in Paris (Cambridge, 2009),

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

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16 DIE PLEITE. VOL. I, NO. 1 (of 6 issues published, before being banned). Illustrierte Halbmonats-schrift. [Herausgeber:

Helmut Herzfeld (i.e. John Heartfield), Wieland Herzfelde.] (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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17 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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18 SCHWITTERS, KURT. Elementar. Die Blume Anna. Die neue Anna Blume. Eine Gedichtsammlung aus den Jahren 1918-

1922. Einbecker Politurausgabe von Kurt Merz Schwitters. 32pp. Orig. dec. green wraps., designed by Schwitters. The new Anna Blume: poems and prose from 1918-1922. Slight fading at extremities of covers. Berlin (Verlag Der Sturm), [1922]. $1,250.00 Schmalenbach/Bolliger 4; “Typographie kann unter Umständen Kunst sein”: Kurt Schwitters Typographie und

Werbegestaltung (Wiesbaden, 1990), p. 15, illus. 3; Dada Global 123; Almanacco Dada illus. p. 450; Motherwell/Karpel 367; Verkauf p. 104; Dada Artifacts 66; Reynolds p. 75; Andel 81; Pompidou Dada 1294, illus. pp. 748, 883

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

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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

20 291. NO. 3. MAY 1915. [Publisher: Alfred Stieglitz. Editors: Alfred Stieglitz, Paul Haviland, Marius de Zayas, Agnes Ernst

Meyer.] (4)pp. Tabloid folio. Cover drawing by Walkowitz; texts by Rhoades (“I walked in to a moment of greatness”) and Meyer (“Woman”) integrated into double-page typographic composition by de Zayas; 4 unsigned texts, including “Being Human in New York” and “Watch Their Steps,” together with drawing by Steichen and calligram by J.B. Kerfoot.

“291” occupies a uniquely interesting position among the great reviews of modernist art. It is really the first magazine to style itself as a work of art in its own right: not simply a venture in luxury printing, as many art reviews had been before it, but a new kind of publication altogether, an experimental series of multiples run off on a monthly basis in an edition of 1100 copies. It is also the first expression of the dada esthetic on American shores; proto-dada, actually, dada avant la lettre, before dada had had its baptism in Zürich in 1916. Only Arthur Cravan’s short-lived “Maintenant” can be said to precede it as an instance of pre-dada sensibility anywhere in the periodic press. “291” took its original inspiration from Apollinaire’s “Soirées de Paris,” emphasizing calligrammatic texts and an abstracted kind of satirical drawing, but it cast these into a much more dramatic form by moving into a gigantic folio format and simultaneously dematerializing into a single gatefold sheet of paper.

Always envisioned as a limited run of twelve numbers, “291” is the critical link between “Camera Work”--which Stieglitz duly suspended in the interim--and Picabia’s own “391”--styled as its radical successor. Issued in a deluxe edition of 100 copies and a regular edition of 1000, “291” was a financial fiasco, failing to sell more than eight subscriptions on vellum and a hundred on ordinary paper, and in the end Stieglitz sold the entire backstock to a ragpicker for $5.80 (“perhaps my gesture was a satirical one,” he wryly remarked).

“In design and content, there was no periodical in America more advanced than ‘291’.... [It] was unparalleled anywhere in the world as a total work of art” (William I. Homer, “Alfred Stieglitz and the American Avant-Garde”). Deluxe edition: one of 100 unnumbered copies on “heaviest Japan vellum.” An unfolded copy, in extremely fine, fresh condition.

New York, 1915. $4,000.00 Ades p. 42f., 2.46; Almanacco Dada 44; Gershman p. 54; Motherwell-Karpel 335; Rubin p. 53; Verkauf p. 183; Dada

Artifacts 80-85; Foster/Kuenzli/Sheppard p. 284; The Art Press p. 34f.; Tashjian p. 29ff.; Homer p. 190; Sanouillet Picabia et 391, II.237f.; Naumann: New York Dada p. 58ff.; Pompidou: Dada, p. 62f., 983f.Washington Dada p. 283, pls. 278-282

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21 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; 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