MODERN ILLUSTRATED BOOKS
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|ALBIN-GUILLOT, Laure & CHEVALLIER, Louise-Edmée. Le Grand Meaulnes D’ Alain Fournier. Paris: Bordeaux, Henri Colas et Rousseau Frères, 1946. Mise en Scene et Photographies de Laure Albin-Guillot. No. 401 of an edition of 500. Suite of 17 Illustrations in sepia of characters created by Louise-Edmée Chevallier. Photographs by Laure ALBIN-GUILLOT. First Edition. 8 1⁄4 x 6 3⁄4”|
|ALECHINSKY, Pierre. Vacillations by E.M. Cioran. Montpellier: Fata Morgana 1979. With 34 lithographs in color including those on the covers. 4to,  ff., within slipcase. No. 99 of 200 copies on velin, signed by the artist and author. Alechinsky's illustrations, appearing on each page of this book, perfectly express the union of drawing and writing which the artist develped during his famous Cobra period. 50 Livres Illustres Dupis 1947-50.|
|ALECHINSKY, Pierre and Robert MATTA. Le Grand Jamais, by Joyce Mansour. Paris: Maeght Editeur, 1981. With 6 double-page color lithographs, decoupage, and vignettes throughout. Folio, 41 pp.,within decorated wrappers and embossed slipcase. Copy 37 of a total edition of 197. Signed on the colophon by Alechinsky, in pen, and Matta in crayon, have thoroughtly integrated their imagery through cutout lithographs and vigorous drawings.|
|ALLIER, Paul. Les Quatre Saisons. Estampes par Paul Alier. Folio. 11 x 14" Four lovely pochoir designs of the Four Seasons [Automme, L'Hiver, Les Printemps, L'Ete] Ca. 1920's. Copy No. 873 of 1,000 signed in pencil by Paul Allier.|
|ARP, Jean. 11 Configurations. 11 gravures originales de Jean Arp publiees par Max Bill. Avec une text monographique de Gabrielle Buffet-Picabia et une introduction de Max Bill. (30) pp. 11 full-page original woodcuts by Arp, printed in black. Lrg. Sq. 4to. Wraps., with original woodcut (repeat) by Arp on front cover. Glassine d.j. One of 160 hand-numbered copies from the limited edition of 220 in all, printed by Benteli under the direction of Max Bill. Zurich (Allianz-Verlag), 1945. Arntz 105-115; Hagenbach 16; Bolliger 25|
ARP, Jean. Sphere de sable, peoms by Georges HUGNET. Paris; Robert-J. Godet 193. Collection "Pour mes amis" With pictures by J. Arp. Small 8vo,  pp.; lettered gray wrappers. No. 35 of 176 copies on fil. A fine copy of this collection of surrealist poems, some of which were printed earlier in Giration (July 1939) and La Conquete with the Arp illustrations. Peregrinations de Georges Hugnet 93
ARP, Jean. Sphere de sable (LIMITED EDITION), peoms by Georges HUGNET. Paris; Robert-J. Godet 193. Collection "Pour mes amis" With pictures by J. Arp. Small 8vo,  pp.; lettered gray wrappers. No. 13 of 20 copies from a rare limited edition of this book. This copy has chocolate brown covers with two unique woodcuts on the cover and is enclosed in a brown box. A fine copy of this collection of surrealist poems, some of which were printed earlier in Giration (July 1939) and La Conquete with the Arp illustrations. Peregrinations de Georges Hugnet 93.
|ARP, Jean. La Volier dans La Foret, poems by Jean Arp. Preface by Paul Eduard. [Paris]: Louis Broder, October 1957. With 6 black and color woodcuts plus 1 woodcut on wrappers by Jean Arp. Copy no. 50 of a total edition of 130 on BFK Rives wove. Signed on the colophon: Arp. 8vo, 41 pp. Slipcase slightly soiled. The Artist and the Book 5;The Artist and the Book in France p. 160; Le Livre et le Peintre 257; Arntz405-412; Surrealism and The Book pp.85-87. The Artist and the Book in France p. 160; Le Livre et le Peintre 257; Arntz 2-5-221; Bollinger 51.|
Tzara, Vingt-cinq Poèmes, J. Heuberger, Zurich, 1918 (A. 16-25)
woodcuts, 1918, on wove paper, title, text, justification and set of ten, from the regular edition (there were also ten signed and numbered copies), with margins, bound in grey paper boards with woodcut and title on a gilt background on front. Enclosed in cloth box. In very good condition. Rolandseck 6; Arntz 16-25; Hagenbach 46; Dada in Zurich 82; Almanacco Dada p. 593; Gerschman p. 44; Sanouillet 193; Motherwell/Karpel 416; Dada Artifacts 19; Verkauf p. 105; Dusseldorf 108; Zurich 350; Pompidou; Dada 1310, illus. pp.270, 699, 963f.; Washington: Dada, p. 37, pl. 8; Berggruen Tzara-Bibliography 2; The Artist and the Book 2; Castleman p.177; Andel, Jaroslav: Avant-Garde Page Design 1900-1950, p. 128, illus. 135
|BIERMANN, Aenne. 60 Fotos. 60 Photos. 60 photographies. Mit Einleitung von Franz Roh. With introduction by Franz Roh. Avec introduction par Franz Roh. "Der literarische Foto-Streit". "The literary dispute about photography". "La querelle au sujet de la photographie". Klinkhardt & Biermann, Berlin, 1930. 25 x 17,6 cm. With introduction by Franz Roh. 60 photos, 11 pages text. First edition. - Important and rare publication, by the photographer Aenne Biermann, whose work emanates the evolving style connected to the Bauhaus. Typography by Jan Tschichold. Introduction by Franz Roh, who conceived the "Fototek"-series, of which only two of the projected eight issues were published. Genious cooperation between the famous photographer and the famous layouter and typographer Jan Tschichold, who was responsible also for the dustjacket. It is called "Fototek 2", number 2 of a planed longer serie of photography publications, but only two were published ("Fototek 1" by Moholy-Nagy).|
|BOFA, Gus. Zoo. Paris: Editions Morny, 1935. With two-color lithographs after G. Bofa. 8vo,  pp; two-colored lithographed wrappers designed by the artist. No. 900 of 1,150 copies on Navarre. An unsual comic bestiary, with commentary by the artist.|
|BOLTANSKI, Christian. Livres. Walther Konig, 1991. Black cardboard box with paper title label on top and side contains 28 items. Includes: the book Jennifer Flay ed. C.B.: Catalogue: Books, Printed Matter ephemera 1966-1991; the 45 vinyl lp Reconstitution de Chansons.; 10 ephemeral items such as manuscript letters, photos in envelopes and exhibition announcements and posters; and reprints of the following 16 Boltanski artist books: Recherche et presentation de tout ce qui reste de mon enfance 1969, Reconstitution d'un accident. 1969, Reconstitution de Gestes Effectues 1948-54 1970, Cataogue: Essais de reconstitution d'objects.1948-54 1971, Six Souvenirs de Jeunesse 1971, 10 Portrait Photographies 1946-64 1972, L'appartement de a rue de Vaugirard 1973, Les Histories 1973, Inventaire des ObjectsUne Femme de Bois Colombes 1974, 20 Reges et Techniques utilisees en 1972. 1975, Saynetes COMIQUES 1975, Monuments 1986, Le Lycee Chases 1987, Geo Harly danseur parodiste 1988, El Caso 1989, Sans Souci 1991. An edition of 900.|
|BOLTANSKI, Christian. White Shadows, Bayou Books/ Contemporary Arts Museum, Houston, 1991. Soft Cover. Book Condition: Very Good. First Edition. Christian Boltanski; with an accordian fold out of 14 images, images are white on black back ground; limited edition of 500 unnumbered copies; complete fold- out size: 7 x 69in, each fold-out size: 7x5in; printed by Beasley Company, Houston. This is the fifth of the series of books published by Bayou Books for the CONTEMPORARY ARTS MUSEUM of HOUSTON; housed in a cardboard box, 6-1/8x8in; with a short bio of the artist printed on a single sheet of card board paper.|
|BOMBERG, David. Russian Ballet. With 6 original color lithographs by David Bomberg.
London; Hendersons. [The Bomb Shop] 1919. 8 3/8 x 10 1⁄2 Inches, 8
loose sheets, only the half title page being folded. Boxed. Superb example
of Bomberg’s “contructive-geometric” style. The tightly
composed abstract drawings seem to have been executed before the war and
lithographed at the time Diaghilev’s ballet came to London. Bomberg
printed the lithographs and poem himself. One of the finest examples of
a Vorticist Publication.
Ref: Museum of Modern Art, New York 1994 pl 82 p.143, Manet to Hockney 46, Castelman p.143, Andel, Jaroslav: Avant-Garde Page Design 1900-1950, pp.90, 94 illus. 87
|BONNARD, Pierre. Lithographie en Couleurs, with text by Andre Mellerio. Paris; L’Estampe et L’affice, . 8 1/2 x 7 5/8", 48 pp., uncut. One of 800 copies on velin of a total edition of 1,000. With exquisite lithograph frontispiece printed in three colors plus color lithograph cover by Pierre BONNARD. Due to his interest in lithography and lithographic artists, Mellerio published this analysis of the most important printmakers of the day, including Bonnard, Lautrec, Signac,Luce, Cross, Steinlen, Cheret, and Grasset. Mellerio was the co-founder and editor of the periodical L’estampe et l’affice. Offsetting on endpapers from interior of original book cover as usual, otherwise a very fine copy of this lovely book. Bouvet, Bonnard. The Complete Graphic Work 52-53.|
|CAHUN, Claude. Aveux non avenus. Preface by Pierre Mac Orlan. Paris: Editions du Carrefour, . With 10 gravures of photomontages by Moore after the author’s plan. Square 8vo,  pp; wrappers, Fine condition. No. 319 of 417 copies on velin of a total edition of 497. A fine copy enclosed in a slipcase. Claude Cahun was a French photographer and a leftist member of the surrealist movement. L’Amour fou, p. 205.|
|CAHUN, Claude. Le Coeur de Pic. Deharme, Lise. Illustrated with photographs by Claude Cahun. Paris. Jose Corti. 1937. 4to. With 20 black and white plates.|
|CHELONIIDAE PRESS [Browne, Sir Thomas]. Of Unicornes Hornes Easthampton, MA 1984. First published as Chapter XXIII of Pseudodoxia or, Inquiries into very many received tenants and commonly presumed Truths, 1646. Illustrated with 16 wood-engravings by Alan James Robinson with an introduction by Jan van Dorsten. Printed on T.H. Saunders Laid, light blue. Bound quarter vellum by Gray Parrot with a suite of four unicorn wood-engravings. With a frontispiece of Sir Thomas Browne.State proof edition copy X of a total of 15 copies. Full vellum on non adhesive limp binding, state proofs of etching, working proofs of wood-engravings and an original drawing enclosed in slipcase and a separate larger original drawing.|
|CZESCHKA, Carl. Die Nibelungen. Vienna and Leipzig: Gerlach, . With gilt lithographs after C. Czeschka. Square 4 to, 67 pp.; cloth-backed gray boards. Vol. 22 of Gerlach’s Jugendbucherei. Hofstatter, p. 245. Fine condition.|
|DAVIE, Alan. Magic Reader. London: The Paragon Press, 1988. Collection of 18 two-color lithographs, plus limitation leaf, by A. Davie. Folio  ff; color lithographed self-wrappers within gold-lined purple cloth slipcase, with prospectus. No. 50 of 50 copies, the 18 lithographs printed by Ian Lawson on 270 gsm Vellum Arches paper on a water powered Mann Direct Press. The screen printed frontispiece has been printed by Arthur Watson from the artist's original design. The colophon was also designed by the artist and printed by Simon King The binding, slip case, and box were made by Cathy Robert to the artist's design. These primitivist lithographs incorporate the inconography of European and South American folk magic.|
|DENIS, Maurice. Vita Nova, by Dante Aliheri. Paris: Le Livre Contemporain, 1907. Translated by Henry Cochin. With color wood engravings after M. Denis. 4to, viii + 110 pp.; fine binding of gilt 3/4 leather marbled boards within a gilt-lettered portfolio and slipcase, with the original gilt-lettered wrappers bound in. One of 130 copies printed for La Societe du livre contemporain; with one two-color proof bound in. Ray, The Art of the French Illustrated Book 377.|
|DENIS, Maurice. Petites fleurs de Saint Francois d’Assise. Paris: L’Art Catholique, 1919. Translated from the Italian by Andre Perate. With wood engravings after M. Denis. 8vo, (190) pp; rebound in gilt-lettered marbled boards with the original pictorial wrappers bound in.|
|DENIS, Maurice. Sagesse, by Paul Verlaine. Paris: Ambroise Vollard, 1911.With 75 wood engravings by M. Denis. 4to, , 100 + pp.; fine leather binding, designed and executed by Deborah Everts, 1977, with leather-backed linen slip case within a gilt-lettered-leather backed linen box. No. 210 of 250 copies on Holland "Van Gelde", being the first edition in color of designs originally designed in 1889. Also, a set of 38 COLOR PROOFS of the illustrations printed in grey only without text. Within the original lettered slipcase, silk ties. The Art of the French Illustrated Book, Ray p. 493 pl 378; The Artist and the Book 1860-1960, p. 59 pl 77; From Manet To Hockney p. 84 pl 4.|
|DERAIN, Andre. Ballade du paure Macchabee mal enterre, poem by Rene Dalize.Paris: Francois Bernouard/Kahnweiler (The printing press insignia of Bernouard was used here instead of the clamshell vignette of Kahnweiler. This was probably due to the fact that Germans were not looked upon favorably in France at that time.) . With 6 woodcuts by Derain. Memoirs by Guillaume APOLLINAIRE and Andrea Salmon. Oblong 4to,  pp.; lettered wrappers. No. L of 20 copies on Chapelle hors commerce, signed Derain. This was a memorial volume honoring Dalize, financed by Derain, Apollinaire and Salmon. Dalize became a captain in the French army in World War I and was killed in battle in 1918. Reynolds, Surrealism and its Affinities, p. 33, fig. 4; Rauch, Le Peintre et le livre 33; MOMA, Modern Artists as Illustrators, p.30|
|DOMON, Ken. Chikuho no Kodomotachi [The Children of Chikuho]. Illustrated with reproductions of Domon’s chilling photographs of children. 4to, photo-pictorial wrappers; contents lightly foxed and age-darkened. Parr/Badger 278. First Edition.|
|DUBUFFET, Jean. Oreilles gardees, by P.A. Benoit. Paris: PAB, 1962. Illustrated with letterpress designs by J. Dubuffet on variou colored papers. Square folio,  ff; decorated wrappers designed by the artist. Text is stamped as in La Lunette Farcie. No. VII/X of 50 colored copies, initialled and numbered in pencil by Benoit, of a total edition of 350. A fine copy of this wildly energetic and self consciously naïve illustrated book which stands at the point of transition to the artist’s hourloupe style.|
DUBUFFET, Jean. Cerceaux 'sorcellent, poem by Max Loreau. Basel: Editions Beyeler; Paris: Jean Bucher, . With color lithographs by J. Dubeffet. 4to,  pp; color lithographed paper wrappers designed by the artist. No. 117 of 800 copies. From Manet to Hockney 140.
|EVANS, Walker. Message From the Interior. Eakins Press. The uncommon 1966 1st hardback edition. A Near Fine copy in its original dark-gray cloth and without dustjacket as issued. Square folio. 12 sumptuously reproduced Walker Evans photographs with tissue guards between each plate. A magnificent production.|
Magazine. 1981. Assemblage I and II. Spring /1981.Publisher & Literary
Editor: Barbara Gravalle. Sound Direction and Assoc. Editor: Kirk Lumpkin
Advisory Board: Umberto Boccioni, Jean Cocteau, Charles Olsen, Gertrude
Stein, Rimbaud, and Andre Malraux. Zyca I and II is an art object. Two hard
cover magazines of which one has 32 pages and the other containing 20 pages.
Also included is a videocassette of sound assemblage. 11 x 8 1/2."
Z magazine has three intentions:
1.To historically document a movement in the arts by presenting the work of selected theatre artists, musicians, photographers, visual artists, and writers primarily based in the San Francisco area. 2.To research, expand and the conceptual form of the arts magazine. 3. To declare war on mediocrity in the arts.
|GLEIZES, Albert. Au Pays du Mufle. poems by Laurent Tailhade. "Petittes Curiosites Litteraires." Paris: Edouard-Joeph, 1920. With 12 wood engravings (including frontispiece) by A. Gleizes. Square 8vo, pp; two-cover lettered wrappers with red woodcut by the artist on the back. No. 570 of 800 copies on papier verge d'Arches. A beautiful early example of cubist book illustration by the well-known painter and theoretician who was also the co-author with Jean Metzinger of the influential monograph Du Cubisme (1912). Libri cubisti 33.|
(ne en 1927) EHRISMANN, Albert. Magie Der Schiene.
Zurich: Kubus, 1949., 1949, 242 x 183 mm, 32 p., Octavo. Loose, as issued, in original photographic wrappers. Groebli’s signature in green ink to limitation page. A fine copy. First edition, signed, number 561 of 1000 copies of the photographer’s beautifully produced first collection. Magie Der Schienen, or Magic of the Rail, captures the spirit of the new industrial age and its visceral images are reminiscent of the early twentieth century fascination with the steam train. Groebli’s remained an important figure in modern photography, taking photographs for Life Magazine, and holding exhibitinos at MOMA, and participating in the first Subjektive Fotographie Exhibition in Saarbruken in 1952. Hasselblad 152-153; Par & Badgerr 204.
|HOSCH (Paul) and MELCHING (Hans): D'R LUSCHDIG ZIPITI UND SINI SCHBEZEL. Basel: Wepf/Schwabe & Co., . Complete Suite of 8 colored lithographs, expertly printed by W. Wessermann; preserved within its original colored decorative chemise also designed by Paul Hosch and Hans Melchin. First edition, a very fine copy of this extraordinary series of nonsense images by the architect Paul Hosch with "instructional rhymes" in its destinct Basel dialect, possibly hand-lettering by Melching. Kaiser (Martin), Swiss Picture Books pp 32-33.|
|IZIS [BIDERMANAS]. Paradis terrestre, by Colette. With 50 photogravures after D'Izis-Bidermanas. Lausanne: La Guilde du Livre, . 8vo,  pp; photogravure wrappers. No. 5,745 of 15,000 copies. The text is primarily four chapters from Colette's En Pays connu with 8 additional short previously unpublished selections.|
|JACOB, Max. Dos d'Arlequin, Paris: Editions du "Sagittaire," 1921. With 4 color wood-engraved plates and in-text illustrations after designs by Max Jacob. Small 4to, 71 pp. One of 25 copies on japon, WITH AN EXTRA SUITE OF 10 illustrations on papier de Chine, this being copy no. 17.|
|JIRU, Vaclav. Zrcadlo Zivota, Prague: Sfinx, 1949. 182 pp., 10 9/16 x 7 3/4" Discussion and stunning collection of black and white photographs by Vaclav Jiru. Includes sections on nudes and portraiture as well as a section showing how the artist cropped and chose his photographs for the book. Jiru was a prominent Czech photographer, perhaps best known for his magazine work. He was a member of the CFKA and contributed to German, English as well as Czech magazines. He founded and edited the Czech Review, Photography 57-71 in 1957. Cover shows slightly bumped corners and some fading, otherwise in very good condition. Houston MFA, Czech Modernism, p. 247.|
|KRULL, Germaine. Confort. With essays by G. Lenotre, Paul Rebovx, Marcel Prevost, and Pierre Mac-Orlan. Illustrated with numerous gravure reproductions of Krull’s modernist photographs. Tall 4to, gilt-pictorial stiff green wrappers, edgewear; shaken, front cover separating from text block. First Edition. Paris: La Societe Generale de Fonderie, 1931.|
Nerves. Limited Editon of 100 copies. Spiral Bound with zinc cover
10 duotone plates. 14 1⁄2 x 11 1⁄2.”
|KRULL, Germaine; Andre Suares (text). Marseille. Paris: Editions d’Histoire et d’Art-Librarie Plon, 1935. First edition. Quarto. Unpaginated. Original pictorial wrappers. Frontispiece. Pictorial title page. Scarce and fascinating photographic work on Marseille, pearl of Mediterranean. Germaine Krull was the first German photographer to take interest in this Provincial city, and her camera takes us on an unforgettable journey to the “Vieux Port” (Old Harbor), along the Canebiere (the “Champs-Elysees” of Marseille), and through the picturesque narrow streets of the old city. This work is profusely illustrated with numerous b&w photogravures. Minor creasing along spine. Covers slightly soiled/age-toned. Some foxing on first and last page. Text in French. Wrappers and interior in overall very good condition.|
|LAM, Wifredo. Le Theatre et les Dieux, by Antonin Artuad. With 5 color etchings by Wildredo Lam. First volume of the collection "L'arbre de plein vent." Paris: Aubry-Rueff, 1966. 4vo, 40 pp. No. 20 0f 110 copies on papier a la cuve, all signed by artist and the editors, of a total edition of 125. Minor foxing. Artaud's 1936 text about art and theatre has been enlivened by the Cuban artist's primitive brand of Surrealism. The color etchings reveal the grotesque, totemic images so characteristic of his style.|
|LÉGER, Fernand. La Fin du monde, by Blaise Cendrars. Paris: Editions de la Sirene, 1919. With pochoir plates after F. Leger. 4to, 60 pp. No. 899 of 1200 copies on Registre velin Lafuma. Boxed. Cendrars (pseudonym of Frederick Louis Sauser) and Leger had been friends since ca. 1910. In Leger’s first post-war exhibition held in 1919, Cendrars hailed Leger’s work as leading the way to an art of color and figuration. A filmmaker as well Cendrars produced Leger’s film "Ballet Mecaniqe" in 1924. Manet to Hockney 54; Museum of Modern Art, Modern Artists as Illustrators p.29. A Centruy of Artists Books, Museum of Modern Art p. 170 pl 120-121.|
|LÉGER, Fernand, Éluard, Paul. Liberté j’écris ton nom. Paris (Seghers), . Folding broadside (leporello), with continuous color silkscreen by Fernand Léger, integrated with text, extending the full length of the sheet (verso blank). 117 x 290 cm. (11 3/8 x 44 inches). Lrg. sq. 4to. New fitted cloth box. Second issue from Seghers, following the first printing of 212 numbered copies. One of Éluard’s most famous and beautiful lyrics, "Liberté, j’écris ton nom," published not long after the poet’s death late in 1952, inspiring one of Léger’s most majestic graphic productions. One small expert repair at foot, a few tiny holes; generally very bright and fresh.|
|LISSITZKY, El. USSR en Construction. [1931-1941] 1935. Issue no. 12. A lavishly illustrated magazine in the format of photomontage engaged the talents of Avant-garde artists such as Rodchenko, Stepanova and El Lissitzky to glorify communism and its leaders. [Some wear to the cover] One of the most important issues of the entire run of the periodical. It relates to Airplanes, Parachutes and Pilots. Rare. Avant Garde Page Design 1900-1950, Andel p.274|
|LISSITZKY, El. Solntse na izlete. [Sun at the End of its Flight], poems by Konstantin Bolshakov. Moscow, 1916. 8vo, 63 pp +  advert; two-color lithographed self wrappers designed by Lissitsky (minor soiling). One of 480 copies. A lovely copy with the early Cubo-Futurist covers; soon the artist devoted his full energy to Constructivist principles. Markov pp 266; 286; Compton cp 18; Leclsnche-Boule 192; Nobis 9.|
|MAN RAY. La Photographie n'est pas l'art, preface by Andre BRETON. Paris: GLM, 1937. Suite of 12 photogravures after M. Ray on couche creme. 5 ff. of text on alfa; black wrappers embossed with blue lettered label. A fine copy with the rare first printing of the plate, Pein -air artistique. There was a mix-up with this illustration at the printers, requiring a restrike but with coarser screen than the first. Surrealism & its affinities, p. 70; Bibliotheque Nationale, Les Editions GLM 148.|
|MANOLO (Manuel Martinez Hugue). Coeur de Chene by PIERRE REVERDY. Paris: Editions Galerie de la Simon, 1921. With 8 woodcuts by MANOLO.  pp. 9 x 6 1/2." No. 68 of 90 examples on Hollande van Gelder of a total edition of 112. Signed by the artist and author on the colophon. This was the only book illustrated by the sculptor, Manolo during his lifetime. 50 Ans D'Edition de D.H. Kahnweiler, p. 1; Les Peintres et Le Livre, 1867-1957, p. 123; The Artist and the Book, 1860-1960, (180) p. 127.The Artist and the Book in France p. 50.|
MARCOUSSIS, Louis. Indicateur Des Chemins De Coeur. Eaux-Fortes De Louis Marcoussis.11 x 7 7/8" With poems by TRISTAN TZARA. Editions Jeanne Bucher, 1928.  pp., No. 54 of 100 on arches of a total edition of 106. With three Cubist etchings by MARCOUSSIS. Printed by Paul Haasen, Paris, the etchings printed by R. Coulouma. Showing his mastery of intaglio Printmaking, Marcoussis has illustratated Tzara’s surreal journey by Inter-weaving abstraction with ropes, shells, and hands, and enlivening this with beautiful gradations in tone. Stein, The Cubist Print p. 43 pl 211; Lafranchis G 47-49; Milet p. 510-.Victoria & Albert Museum, From Manet to Hockney, No. 82. The Artist & The Book, p. 133; Milet 48-50
|MARCOUSSIS, Louis. Planches de Salut Preface by Tristan Tzara. Paris: Editions Jeanne Bucher, 1931. Printed by Roger Lacouriere. 12 5/8 x 15 3/4." (Sheet size). ALBUM including eleven etchings and engravings by Louis MARCOUSSIS. With poetry by Baudelaire, Rimbaud, Holderlin, Shakespeare and others copy 44 of 60 examples on Arches of a total edition of 77. Signed in the colophon "Marcoussis" and numbered 44. Beautiful copy of one of Marcoussis' bests known albums. Stein,The Cubist Print p. 52; Lafranchis G. 67-77; Milet 66-78.|
|MASIUTIN, Vasilii. Pyesn Torjestvuyuschjay Lyubvi, Moscow: Helikon, 1922. Small 4 to, 78 pp. + (6) pp., including 15 full page lithographs initialled in the plate, vignettes and decorated initials. Original decorated boards illustrated by the artist. One of 100 numbered copies of Turgenev's 1881 tale, The Song of Triumphant Love. Masiutin's striking drawings reflect Symbolist influences in their Egyptian frieze-like compositions. Russian Construcitivist motifs are sometimes apparent within this context, however, infusing the images with a modern feeling.|
|MATISSE, Henri. Les Jockeys Camoufles, with three poems by Pierre Reverdy, 1918. 5 designs after Henry Matisse printed in black. No. 289 of 343 copies on Verge d’art. Paris: A La Belle Editions, 1918. Printed by Francis Bernard. Although the illustrations are not original they represent Matisse’s earliest drawing style as book illustration. The typography is quite imaginative in its use of 4 colors. Editions Albert Skier, Painters et Sculptures 255; The Artist and the Book 195; Barr, Matisse, p. 560.|
|MORIYAMA, Daido. Bye, Bye Photography, Dear [Shashin Yo sayonara]. Tokyo: Shashin hyoron-sha. 1972. First edition. Softbound. Printed stiff wrappers, with printed dust jacket.Photographs by Daido Moriyama, with additional text (in Japanese). 312 pp. with 272 pages of b/w full-bleed reproductions, beautifully printed in rich photogravure. 9 x 7 1/4 inches. Fine copy and fine dust jacket. Moriyama's third book. One of the most extraordinary and influential books in the history of photography. Moriyama's very best and highly sought-after book. Bye, Bye Photography, Dear is a masterpiece book-work, which pushes every image-making 'boundary' to its extreme edge, reflecting both the politically-charged times of Japan in the 1960s and 1970s and Moriyama's unique sensitivity to the seemingly mundane and chaotic subject matter. Raw, gritty, nasty images present a broken picture of a time and strangely draw the viewer in in powerful ways. This contradiction inherent to the work is mesmerizing. The Book of 101 Books, Andrew Roth.|
|MORIYAMA, Daido. Memories of a Dog [Inu No Kioku]. Nazraeli Press, Tucson . 10 x 7 inches, 179 pages, boards, Dust Jacket (fine), Signed by the photographer in felt pen on the title page, Moriyama's chronicle of urban life in Japan. Moriyama is without question one of Japans most important photographers and this memoir, first published as a series of essays in Asahi Camera, is regarded as a classic. Fine condition. First Edition.|
|MUNARI, Bruno. Discovery of the Square. George Wittenborn, New York. 1964-65 First edition. Edition in English. 87pp; illus; ads. Original Stiff white wrappers, small square 8vo. Book mesures 6" square.|
MUNARI, Bruno. 11 Miliardario della Fantasia. Preface by F.T. Marinetti. 6 Illustrations by Bruno Munari in silver and colored backgrounds. 8vo. Spiral bound. Aluminum covers and leaves. 8 x 6 1/2" Savona: Marco Sabetelli, 1896. First Edition. One of 200 copies of this work to accompany the Futurist exhibition at the Palazzo Grazzi in Venice in 1896. Fine condition in original case.
|MUNARI, Bruno. Il Cerchio. All'Insegna del Pesce D'Oro, Milano. Wittenborn and Company, New York. 1964 Printed in Italy. Edition in Italian. Original Stiff white wrappers, small square 8vo. Soft binding with numerous photographs and illustrations, with stamp on freeleaf 82 Pages. Book mesures 6" square.|
|MUNARI, Bruno. Le Macchine di Munari. Torino: Einaudi, 1942. [11 1/8 x 8 3/8"]. 32 pp. 15 illustrations. (15 hors text). Good condition. Pages sewn as issued into original decorated boards.|
|MUNARI, Bruno. Mai Contenti. Np [Milano], 1945, 1st, Monadori. Pict bds, 9 1/2 x 12 1/2" Open mind of various animals to see what they wish for. (Yokoyama 76).|
|MUNARI, Bruno. Libro Illeggibile N.Y.1., The Museum of Modern Art, 1967.[8 1/2 x 8 1/2]. Heavy black wove paper, bound with two staples; in original laminated red paper dust jacket, with screen print reproduction on front no. 1057/2000. Printed by Lucini, Milan. Castelman, A Century of Artists Books, New York: MOMA 1994; p. 224. This is a unique book by Italian Artist Bruno Munari, designed for the Museum of Modern Art following an exhibition of his work in which a "visual discourse, rather than a text composed of words, carries the thread of the story." There are no words, but 13 screenprint reproductions (after drawings and collages) printed in black and white on various papers." Libro Illeggibile Nyl" is part of a group of books by Munari.|
|MUNARI, Bruno. Uomini Sulla Luna [Men on the moon] Series: Panorami Sonori di Bruno Munari el Marcello Piccardo. Milano, Sugar Editore, 1962. LOrg sq. 8vo. Self-wraps. 24 pp. double-sided leporello, lavishly illustrated in color. Loosely inserted, 2 lightweight 33-1/3. A picture book about austronauts, illustrated by Munari. The verso is continuous photomontage strip of a progressive rocket launch. 7 3⁄4 square book.|
|MUNARI, Bruno. Quadri Prints, 1953 are a series of experiments in printing ranging over the field of graphic design, and the plastic arts, literature, architecture and music. 2000 copies. These copies were not for sale and distributed to clients all over the world. The types of paper are M.F. Mechanical cover paper, bluish gray marbled, red slightly mechanical cover paper and matter better offset paper. Designed and developed in Milan, Italy.|
|PARRY, Roger and [Fabian] LORIS. Banalite, Leon-Paul Fargue by Leon-Paul Fargue. Paris: Editions de la Nouvelle Revue Francaise, 1930. With 16 photogravures after R. Parry and Loris. Large 4to, 80 pp; printed wrappers. No. 21 of 300 numbered copies on Hollande, signed in ink by both artists. A fine copy of this fragile book. Parry was inspired to incorporate photographs within a surrealist text by Jacques Andre Boiffard’s designs for Andre Breton’s Nadja. He decided on Fargue’s Banalite, however first published in 1922. Loris was an actor and artist evidently responsible for the cutouts used in Parry’s photographs. The result is a haunting example of Surrealist photography, combining both photomontage and darkroom created rayographs. Coke/Dupont, pp. 72-73; L’Amour fou pp 49, 51 & 226.|
PERIODICAL. Broom: An Internationational Magazine of the Arts. Vol 2, No 2. Illustrated by Kawashima. Harold A Loeb, NY May 1922. Soft cover. Slight Soil. Covers frayed. 2 Small pieces missing on top cover. Groszm Klee Illustrator. First Edition (US). First printing. With cover illlustration by Kawashima May 1922 Issue of Broom, "an international magazine of the arts." This issue includes essays, poems and short stories by a wide variety of writers (Carl Sandburg, Ramon Gomez, and E.E Cummings, among others). Many of the texts are illustrated with woodcut prints. Some prints are featured individually with titles, including four by Richard Seewald. Cover features an illustration of a horned bull or cow lying in an abstracted landscape by Kawashima. Covers frayed. 2 small pieces missing on top.
PERIODICAL. Broom: An Internationational Magazine of the Arts. Vol 4, No1 by LOEB, Harold, ed. Illustrated by Halicka.
|PEREIRA, I. Rice. The Lapis. Folio. 11 color prints in text. Publisher’s boards, stamped in gold. 13 x 15". Title-page printed on uncut handmade wove paper. One of 500 copies. This copy is an inscribed copy with an Original Drawing in ink on the frontispiece. An original Watercolor entitled "IV The Renaissance image of the World View". Signed I. Rice Pereira 12.25.54. is also enclosed. The watercolor has extensive calligraphed annotation and commentary by Pereira in ink.|
|PICASSO, Pablo. O Solitude! O Fontaines!, poems by PAUL DERMEE. Paris: GLM, 1937. With one illustration on frontispiece by PABLO PICASSO, dated Paris 6 Fevrier XXXIV.  pp., 7 1/2 x 5 1/2," uncut. Copy 151 on velin of total edition of 275 plus several examples hors commerce. With title in black on pale green wrappers. Bibliotheque Nationale, GLM 152.|
|RATHMAN, David. Adventures in the Burning Bush. Adapted from Amos Tutuola's "The Palm-Wine Drinker." Minneapolis: Vermillion Editions Ltd. 1987. Suite of 10 linocuts (including title page and limitation leaf). 1 of 5 PRINTER'S PROOFS, signed in pencil by the artist. Conceived, created and printed by D. Rathman at Vermillion Editions Limited under the guidance of Steven Andersen. The project was funded part by a grant fom the Jerome Foundation, administered by the Minesota Center for the Book Arts, and by the Vermillion Editions Limited in Minneapolis, Minnesota. An African folk tale vibrantly ilustrated with primitivist linocuts.|
|RIFKA, Judy. Opera of the Worms. New York: Solo Press Inc. and Joe Fawbush Editions, 1984. 19 color lithographs contained in ten unbound folios. 4to,  pp. Lithographs and handset letterpress on Dieu Donne paper. No. 40 of 80 of a total edition of 100. Each copy signed by the artist and the author. Lithographed paper wrappers, within linen slipcase. Rifka's bold black drawings, often heightened with patches of color are tightly interwoven with Ricard's text and provide rich visual descriptions of the poetic love story. Franklin Furnace, Contemporary Illustrated Books p. 44|
Niki de. The Devouring Mothers, London: Gimpel Fils
Gallery, 1972. Printed in Milan by Sergio Tosi  pp. Story book with ilustrations and text by Niki de Saint Phalle. Revealing her roots in French Nouveau realism, Niki has illustrated this story with exagerated figures such as her famous Nanas. Although upon first glance the book appears jovial and lighthearted, its surface naivite stands in sharp contrast to the disturbing nature of the basic story line.
|SAMARAS, Lucas. Book, New York: Pace Editions, 1968. Unusual book/object of 11 color silkscreens with offset, embossing, thermography, die-cut and collage mounted on masonite. Each page measuring 10 x 10 3/16" Copy 46 of a total edition of 100. Numbered and initialled by the artist on the cover. Interesting comment on the traditional book. Samaras plays on the most sculptural books of all - chilren's pop-up books. Here the pop-ups, cut-outs, and menacing rhymes, however give a biting edge to his commentary. Book also displays the beautiful effects of color patterning for which Samaras is so well-known. Franklin Furnace, Contemporary Illusrtated Books, p. 15.|
|SEDYL (Zdenek) Ruze z pouti. Statni Nakladatelstvi Krasne Literaratury Hubmy a Umeny [Prague]. 1961. Square 8vo, (32) pp: full color pictorial stiff paper covers, dust wrapper, pictorial vinyl record.|
|SMS, New York: The Letter Edged in Black Press, 1968. Collection of 73 original multiples by ARMAN, Richard ARTSCHWAGER, Enrico BAJ, John CAGE, CHRISTO, Marcel DUCHAMP, Roy LICHTENSTEIN, MATTA, Bruce NAUMAN, Claes OLDENBURG, Yoko ONO, Mel RAMOS, MAN RAY and others within 6 portfolios. One of 2,000 sets WITH THE ORIGINAL AUDIO CASSETTE INTACT (these were made in 1968 but not included with the sets at that time.) William Copley, the American Surrealist, invited his fellow rtists, poets, and composers, representative of every current artistic movement from Pop Art to Minimalism to Color Field painting, to contribute to this unusual, uninhibited collection of "objects". As a result, SMS is a lively delicatessan of the Sixties sensibility.|
|SOUCEK. Veci ve fotografi dr. Ludvika Souceka. (Things in the photography of Dr. Ludvik Soucek). Small portfolio with 10 orig. photographs 17 x 12 cm. Published by the author as a New Year card in 1954. Nice and very interesting portfolio of orig. photographs made by L. Soucek, famous Czech photo-theorist, writer and photographer. Some of these photo are undoubtedly influenced by surrealistic photographs by Jindrich Styrsky and new trends in photography of the fifties as well. Copy No.1 from the limited edition of 7 copies. Real rarity.|
291: An American Avant-Garde Magazine. No. 3, May 1915. One double-sided
flat printed sheet. Lithograph. 19 x 25 1/4" Cover design by A. Walkowitz.
I Walked into a Moment of Greatness, poem by Katharine Rhoades. Woman, poem
by Agnes E. Meyer design by Marius de Zayas. Le Cog Gaulois, drawing by
Edward Steichen; *A Bunch of Keys, visual poem by J.B. Kerfoot; plus several
short texts. The cover for this issue is a dramatic black-and-white design
by Abraham Walkowitz that presaged Jackson Pollock's techniques of the 1940s.
The magazine opens to a two-page spread designed by de Zayas that incorporated
poems by Rhoades and Meyer. It is one of the most forceful designs of any
issue, in part because the lower right diagonal of the spread is nothing
but black ink, but the interplay between the verbal and visual elements
was not as compelling as in "Mental Reactions". The back cover
featured a simple drawing by Steichen; the visual poem A Bunch of Keys by
literary critic John Barrett Kerfoot. New York Public Library Collection.
Making Mischief: DADA invades New York Abrams p.56-57; Dada once & for
The arts and literary journal 291 was published from 1915-1916 in New York City. Intended as a way to bring attention to Stieglitz's gallery of the same name (291), it soon became a work of art in itself. The journal published original art work, essays, poems and commentaries by Francis Picabia, John Marin, Max Jacob, Georges Ribemont-Dessaignes, de Zayas, Stieglitz and other avant-garde artists and writers of the time, and it is credited with being the publication that introduced visual poetry to the United States.
Jehlach techto dni Na [On the Needle of These days] 1945.
|SUDEK, Josef. Prague Panoramic. Odeon Belles-Lettres and Art Publishing House, Prague, 1992. White Cloth Decorated Book. Fine condition, Dust Jacket. Second Edition. Oblong Folio 13 in x 9 in. 303 pp., 284 numbered black & white panoramic photographs. Introductory poem by Jaroslav Seifert, Sudek's biography written by Zdenek Kirschner, major body of translation by Michael Hecht.|
|SUDEK, Josef. Pro/Fily 1. Introduction by Petr Tausk. Portfolio containing 18 copy photographs. Silver prints, various sizes on 11 1/2 x 8 Inches. Sheets with number and caption printed on verso. 4to, pictorial folding jacket. Fine condition.|
|SUDEK, Josef. Cykly/Fotografi 1,2,3,4,5. 1982- 1986. 5 Volumes. Paper. Text in Czech Czechoslavakia: Statni Zamek Kozel.(First edition). Thin small oblong quarto. Lettered wraps. Nice condition.Text in Czech.|
|SULTAN, Donald. Warm and Cold, by David Mamet. New York: Solo Press Inc. and Joe Fawbust Editions, 1985. With 9 lithographs, 8 hand-colored with pochoir, letterpress, and two photographs. Folio, loose within publisher's cloth box. One of 100 numbered copies, signed by the artist and the author. An important collarboration between America's foremost playwright and one of its most important artists. Inspired by a letter written by Mamet to Sultan, Mamet's poem tells of the difficulty of travelling to work and leaving one's small child behind. Sultan's expressive drawings directly refer to the poet's imagery. Photographs of the artist's and author's daughters begin and end the book. Franklin Furnace, Contemporary Illustrated Books p. 50.|
|TAL-COAT, Pierre. Sur le pas. Poetry by Andre du Bouchet. Paris: Maeght Editeur, 1959. Illustrated with15 aquatints by Tal-Coat, 5 of which are double-page in color. 10 are in black and include 4 double-page, 2 single page, and 4 vignettes. Folio,  pp.No. 131 of 200, signed by the author and artist. Within original blue-cloth portfolio and slipcase. Beautiful example of European abstract expressionist book illustration. Le Peintre et Le Livre 186; Bibliothque Nationale, 50 Livres Illustres Depuis 1947, pl 24.|
|TAPIES, Antoni. Fregoli, by Joan Brossa. With lithographs by Antoni Tapies. Barcelona: Sasa Gaspar, 1969. Large 4to, 130 pp. Red Cloth cover. No. 712 of 1000 copies, signed by the artist and the author. Wild compilation of unlikely elements, including reproductions of labels, maps, photomontages, envelopes, etc. as well as drawings, strokes and even thumb-prints by Tapies.|
|TEIGE, Karel. Abeceda. Verses by Vietzslav Nezval. Prague: J. Otto, 1926. Letterpress book with 25 half-tone reproductions of photographs by Karel Paspa of dancer Milcha Mayerova’s “choreographic compositions”. With typographical designs by K. Teige. 8vo,  pp; In original wrappers designed by the artist. A nice copy of this modern alphabet book which is one of only a few examples of Czech visual poetry. Teige was Czechoslovakia’s leading exponent of avant-garde theory and criticism. He introduced visual poetry as a new means of combining word and image by incorporating the influences of photography, film and the new typography. Here the model’s poses beautifully reflect Teige’s stylized letters. The Avant-Garde Book 107; Czech Modernism 1900-1945, p. 105|
|TING, Walasse. Hot and Sour Soup. 22 lithograhed plates by Ting, accompanying his poems. Folio, original pictorial wrappers; printed board slipcase. Numbered 266 and signed by Ting on last page, and dated 21 october 1969. From an edition of 1000. Additional pencil inscription by Ting on first page mostly erased; Herald Tribune press photographs laid in.|
|TYTGAT, Edgard. Le Petit Chaperon Rouge. Dessin et Grav par Edgard Tytgat Bruxelles: C. Van Oest, 1921. Thin small 8vo. Colour Woodblock illustrations, original decorated boards. No. 62 of a limited edition of 70 copies on Holland Van Gelder. The entire text of this book and endleaves are printed from woodblocks; the title page is printed in three colors. The endleaves are decorated from a floral design. Inscribed on the blank flyleaf by a father to his young daughter: 'ma petite Gisla/en souvenir de cinq/anset for q'elle/…de temps en temps son papa. Papa.|
|UBAC, Raoul. Vieux pays suivi de Campagne, poems by Andre Frenaud. Paris: Maeght. 1967. With 14 etchings (including vignette on front wrapper) by R. Ubac. Suite of  pp; decorated wrappers with etching by the artist, within lettered maroon cloth box. No. 47 of 125 copies on papier d'Auvergne signed in pencil by both the poet and artist. The two were long-time friends, having met during the war through their association with the magazine Messages. Maeght served as both Ubac's gallery and publisher. This book constitutes the first appearance of "Vieux pays" while "Campagne" is reprinted from Il n'y a pas paradis (1962). Chapon, Le Peintre et Le Livre, pp 194-1967; 50 Livres illustres depuis 1947 37.|
|WIJDEVELD, Hendricus. Der Geesten Gemoeting. By J.W. Schotman. 5 vol. Amersterdam: Van Holkema & Warendorf, 1927. Designed in Gilt, Taupe and Black by Th. Wijdeveld. With 7 tipped-in color plates by Moh Shih Chen. 8vo., gilt decorated clotth sleve designed by the artist (minor foxing). One of 500 copies. This collection of verses taken from Chinese themes is amasterpiece of De Stijl design, with even the typeface elegantly incorporating the principles of this modern Dutch movement.|
|WISNIEWSKI, Adrian. For Max, London: Paragon Press, 1988. Picture novel in a suite of 25 color linocuts and 1 lithograph as a limited leaf by A. Wiszniewski. Square 8vo,  ff; gray cloth within slipcase. No. 46 of 100 copies, signed in pencil, plus prospectus. Handprinted on 225 gsm Zerkall paper by Vivien Hendry at Hega House, London, on a Vandercook SP 20 Cylinder Press. The box and slipcase were made by Perstella Ltd, Dorest. The binding and production was by Mathew Tyson of Imprints. This wordless story describes the search for the function of an object a young man finds in a box. The bold linocuts, varying in solid color from print to print, are in a dynamic post-modern manner.|
|WRIGHT, Frank Lloyd. Wendingen: The Life-Work of the American Architect Frank Lloyd Wright. Complete set of 7 special issues of Wendingen. Vol VII (nos. 3-9). Santpoort, Holland: C.A. Mees, 1925-1926. Edited and designed by H. Th. Wijdeveld. With contributions by F.L. Wright, H. Th. Wijdeveld, Lewis Mumford, Louis Sullivan, and others. Illustrated with many photographs and architectural drawings. With all the original two-color wrappers designed by H. Th. Wijdeveld and all advertisements (some wear), within a black slipcase. One of the most important early recognitions of this American's contribution to world architecture, incorporating tributes by many international authorities in several languages. These issues were later reprinted in a single cloth-bound volume.|
|ZWART, Piet. Het Boek van PTT. Photomontage book designed by P. Zwart. Printed in black and many colors. Original pictorial wrappers. Leiden 1938. Slightly soiled. 10 x 7 inches. Click here to view more Piet Zwart Materials|
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